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Development of the Ghazal and Khaqani's Contribution Development of the Ghazal and Khaqani's Contribution A Study of the Development of Ghazal and a Literary Exegesis of a 12th c. Poetic Harbinger Bearbeitet von Alireza Korangy 1. Auflage 2013. Buch. XIV, 465 S. Hardcover ISBN 978 3 447 06955 7 Format (B x L): 17 x 24 cm Gewicht: 1100 g Weitere Fachgebiete > Literatur, Sprache > Literatur sonstiger Sprachräume > Iranische Literatur Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Alireza Korangy Development of the Ghazal and Khāqānī’s Contribution KKorangy,orangy, GGhazal.inddhazal.indd AAbs11bs11 007.05.20137.05.2013 113:25:473:25:47 Alireza Korangy Development of the Ghazal and Khāqānī’s Contribution A Study of the Development of Ghazal and a Literary Exegesis of a 12th c. Poetic Harbinger With a foreword by Wolfhart P. Heinrichs 2013 Harrassowitz Verlag . Wiesbaden KKorangy,orangy, GGhazal.inddhazal.indd AAbs13bs13 007.05.20137.05.2013 113:25:533:25:53 Bibliografi sche Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografi e; detaillierte bibliografi sche Daten sind im Internet über http://dnb.dnb.de abrufbar. Bibliographic information published by the Deutsche Nationalbibliothek Th e Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografi e; detailed bibliographic data are available in the Internet at http://dnb.dnb.de . For further information about our publishing program consult our website http://www.harrassowitz-verlag.de © Otto Harrassowitz GmbH & Co. KG, Wiesbaden 2013 This work, including all of its parts, is protected by copyright. Any use beyond the limits of copyright law without the permission of the publisher is forbidden and subject to penalty. This applies particularly to reproductions, translations, microfilms and storage and processing in electronic systems. Printed on permanent/durable paper. Printing and binding: Memminger MedienCentrum AG Printed in Germany ISBN 978-3-447-06955-7 KKorangy,orangy, GGhazal.inddhazal.indd AAbs14bs14 007.05.20137.05.2013 113:25:533:25:53 To Ghazal, Wheeler and Amir Contents Foreword........................................................................................................ ix Acknowledgments............................................................................................ xiii 1 The Ghazal................................................................................................... 1 2 Early Centuries of the Ghazal........................................................................... 12 3 The Twelfth Century and the Advent of Khaqani.................................................. 113 4 Khaqani: Times and Ideas............................................................................... 261 5 Khaqani’s Ghazal.......................................................................................... 324 6 Conclusion................................................................................................... 429 Bibliography................................................................................................... 437 Index............................................................................................................. 453 Foreword By Wolfhart P. Heinrichs I have been asked by Alireza Korangy, author of the present volume dealing with the beginnings of neo-Persian literature, to write a preamble to his book. Though not an Iranist, I have decided to write something that would reflect the new poetry as well as the new society (as best I can). The locations of these new events are not that easy to characterize, which has to do with the fact that, after the Arab conquest, the various Persian dynastic families established themselves in smaller governorships. Thus did the Ṭāhirids and the Ṣaffārids in Khurasan, but also the Samanids likewise in Khurasan, and also beyond this area in Bādghīs, Soghdia and Khwārazm. Khurasan turned out to be a cultural center, which created the sabk-i Khurāsānī “the Khurasanian cast/style.” This notion entailed “the strict rules of embellishment and eloquence,” and these were the only considerations that apply. As true as this may be, in any search for the origins of sabk-i Khurāsānī (i.e., “the Khorasanian style”)—recognized as the first literary movement in the Persian-speaking world—the sabk’s unique qualities can be defined only through the careful study of all aspects of rhetoric. This is the case even when analyzing its earliest known forms. When scrutinizing different opinions of the most important elements in this sabk, the one constant among them seems to be the social environment. As for tenth-century Samarqand and Bukhara, which gave birth to this fledgling literary movement, it can be said that a perfect environment for the advancement of the arts existed, one which was, without doubt, the very opposite of that which had prevailed in previous (probably less advanced) dynasties. Because of the extinction of the arts and many other aspects of culture during the Arab conquest, the Samanid dynasty decided to ensure its stronghold further over its realm by encouraging an artistic renaissance. The subsequent literary movement fostered in the tenth century was primarily one that favored panegyrics. The munificence of the Samanid dynasty encouraged literati to express themselves, as they had never been able to do before in Persian under the less tolerant Arabs: the Umayyads. The panegyric qaṣida, inherited from the Arab poets, became the genre of choice. This was an especially interesting occurrence, particularly in the creation of the ghazal form, which did not exist in the Persian-speaking world in the tenth century. In tenth-century Transoxania ghazal emerged as a form of “musical” expression (sic!), going back to roots in the Sasanid period. Five musical forms developed (or existed already, their creation being attributed to the famous musician Bārbad) which were considered by Arab poets of the time and place as composed in rhymed prose (musajjaʿ). The ghazal as it emerged as something like a Sasanid heritage, and mainly at the Samanid court (or, more specifically) the court of Khusrau Parvīz, appeared as rhymed ballads (called Khusravānī), as invented by the musician Bārbad. The “ballads” were organized not through prosodical structure (as Arabic poetry would be), but by syllable-counting methods. One of the most famous Persian poets in these early days was Rūdakī, who started out as a musician. He was not the first to have versified Persian poems, but he was the first to have versified poems that were masterful and mature. These were the true beginnings of Persian poetry. The development of the ghazal flourished under the influence of another unexpected model, to wit that of Afḍal al-Dīn Badīl b. ʿAlī Khāqānī Shirvānī, who was the conduit of the qaṣida into the world of the ghazal. Both the qaṣida and the ghazal influenced each other on the molecular level, which in this case means on the level of the “conceit” (“concetto”) (maʿnī [or maʿnā]). This may also involve Arabic poetry, cf. the following example: Al-Maʾmūnī (as quoted in al-Thaʿālibī: Yatīma, ed. ʿAbd al-Ḥamīd, iv, 165, ll. 11—16): Ana bayna aḥshāʾi ‘l-layālī nāru hiya lī dukhānun wa-‘l-nujūmu sharāru I am in the entrails of the nights a fire which is smoke from me, while the stars are sparks. fa-matā jalā fajru ‘l-faḍāʾi ẓalāmahā ṣaliyat biya ‘l-aqṭāru wa-‘l-amṣāru And when the dawn of the sky removes their [i.e. the nights’] darkness, regions and cities are exposed to me [being a fire] bī taḥlumu ‘l-dunyā wa-bi-‘l-khayri ‘lladhī lī minhu bayna ḍulūʿihā asrāru The world dreams of me and of the good, Of which there are secrets for me between its ribs. fa-bi-kulli mamlakatin ʿalayya talahhufun wa-bi-kulli maʿrakatin ilayya uwāru And in all realms there is yearning for me and in all battles there is thirsting after me. yā ahlu mā shaṭṭat bi-raḥlī riḥlatun illā li-tusfira ʿanniya ‘l-asfāru O people, no journey makes my saddle go far except for the purpose of the travels revealing me. lī fī ḍamīri ‘l-dahri sirrun kāminun lā budda an tastallahū ‘l-aqdāru In the bosom of time I have a hidden secret which the destinies will undoubtedly unsheathe. The proportions in line 1 are: I : night : stars = fire : smoke : sparks = love-passion (aḥshāʾ!) : (smoke-like) sighs : tears (?, the red bloody tears) The third series of correspondences is not beyond doubt, but there are sufficient indications to open up this third level of meaning. Cf. with this Khāqānī’s ḥabsiyya (jail poem), l. 1: ṣubḥ-dam chun killa bandad āh-i dūd-āsā-yi man x chun shafaq dar khūn nishīnad chashm-i shab-paymā-yi man In the early morning, when my smoke-like sigh is erecting a tent, My night-traversing eye is sitting in blood [red] like aurora. Proportions: Smoke : [tent :] sigh : night Blood : tears : aurora As can be seen, Khāqānī’s line is one concentrated conceit (concetto), in which are contained both beauty and character, and this is what later Persian poetry perfected. The beginnings of Persian poetry are, roughly speaking, to be sought in the tenth century AD., however several lines of development have
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