Ferdowsi and Shahname Pearls of World Poetry

International Journal of Disaster Recovery and Business Continuity Vol.11, No. 3, (2020), pp. 2835–2839

Ferdowsi And Shahname Pearls Of World Poetry

1Shukhrat Shergoziyev Sheraliyevich, 2Khakima Turabayeva Usmanjanovna

Researchers, Department of Foreign languages, Namangan institute of engineering and technology E-mail address: [email protected], E-mail address: [email protected]

ANNOTATION

The article analyzes the content of research devoted to the study of the language of the monument of ancient oriental culture "Shahname" by Ferdowsi. The New Chronology began with the creation of new mathematical, statistical and astronomical methods of dating events, described in ancient sources. On the basis of these methods, the correct chronology of antiquity was recreated, which we called the New Chronology. After that, we reconstructed in general terms the ancient history ("built up the flesh on the skeleton of the correct chronology") up to the 18th century. Then came the next very interesting stage. Many began to ask us: what then are the famous "antique" authors really telling - Herodotus, Thucydides, Titus Livy, Homer and others? Answering this natural and extremely important question, in several books we have analyzed the main “ancient” Greek, “ancient” Roman, “ancient” Indian, “ancient” American, “ancient” European sources. It turned out that they are actually talking about the events of the XI-XVII centuries AD.[1,3] Now the next step is the famous "ancient" -Persian Epic Shahnameh. This is a grandiose and very popular source, telling, as it is believed, about the events in Persia, Greece, Byzantium in the "deepest antiquity." Shahnameh brings to us information about many hundreds of characters and many important events.

Key words: New Chronology, ancient, Persian language, Epic Shahnameh, tragedy, analyzing, Iranian myths, heroic legends, Ahriman, Zohak.

Introduction “World history knows bright periods full of terrible events, which Stefan Zweig figuratively called“ the finest hours of mankind ”. In these epochs, the most advanced representatives of their time create great creations of the human spirit.Such works include Mahabharata and Ramayana, Iliad and Odyssey, Dante's Divine Comedy and Shakespeare's tragedies. The "Shahnameh" of the brilliant Ferdowsi also stands in this row.The poet, who took the pseudonym "Ferdowsi", which means "heavenly", lived and worked in eastern Iran. "Shahnameh" is a huge poetic epic. Over the millennium, the poem was rewritten many times, and medieval scribes did with the text as they pleased, so that the number of beits in various versions of the Shahnameh ranges from forty to one hundred twenty thousand. The critical text, first prepared on the basis of ancient manuscripts by employees of the Institute of Oriental Studies of the Iran Academy of Sciences, contains fifty-five thousand bytes, and this figure should be considered close to the truth [2], p.5,7, 9.]The volume of the Iranian Epic is very large. In the modern academic edition that we will use, these are six thick volumes. They have about 3300 pages (including comments). Moreover, as already mentioned, this is only part of the old text. The complete vault is even larger.They write like this: "The poem is grand, especially since this is a work of one author, and not a collection of various folk epic and literary materials ... like, for example, the Indian Mahabharata." (But we have already provided information that contradicts such an assessment - Auth.)

Materials and Methods Particularly widespread in the 10th century was the reduction of ancient Iranian myths and heroic legends into special collections called “Shahnameh” (“Book of the Shahs”). When compiling these works, the vaults “Khudai-name” (“The Book of the Kings”)[3,4], written in the Middle Persian language, were widely used, which, along with the official court chronicle of the Sassanid dynasty (III-VI centuries AD), also contained myths and legends of Iranian peoples. The first as the poet Dakiki, who died very young (977) and managed to write only a few thousand beits (couplets). To complete Dakiki's unfinished work was undertaken by Abulkasim Ferdowsi, who

2835 ISSN: 2005-4289 IJDRBC Copyrightⓒ2020 SERSC International Journal of Disaster Recovery and Business Continuity Vol.11, No. 3, (2020), pp. 2835–2839 created the brilliant epic "Shahnameh" - the crown of all Persian and Tajik poetry. Thus, the modern "critical edition" is more than half the size of some of the older versions of the Shahnameh circulated in the Middle Ages. Much has been thrown out by the editors. Apparently, modern historians considered a significant amount of information (more than half!) Unreliable. It would be curious to see what the publishers have crossed out. As we now understand, there could be a lot of interesting, but annoying modern historians. It is curious that Ferdowsi in the poem "does not call himself that" [5, p.482]. Moreover, as historians note, FIRDOUSI is a slightly distorted word PARADIS, that is, simply, PARADISE, the Garden of Eden. Commentators write as follows: "The name of Ferdowsi is clearly derived from the Arabic Firdaus (... allegedly from the plural Faradis, Greek paradeisos ...) - the Garden of Eden" [6], p. 482. So FIRDOUSI is not a name, but a conventional name for a huge Epic: "The Garden of Eden". Only the later chroniclers and historians invented a "biography of the poet Ferdowsi", flashing it with vivid details, such as Mahmud's desire to throw the unfortunate "Paradise" at the feet of elephants. We can note the existence of the heroic Epic in Iran (according to the Avesta, according to the testimony of Greek writers) even in the time of the Achaemenids; he was not forgotten even under the Arzakids. Under the Sassanids, some episodes were processed in writing ... Under Khosrov I Anushirvan (531-579), the legends about the old Iranian kings from the fabulous, mythical period to the historical times were collected in one historical set, "Khodai-name" (... - "The Book of the Lords"), which was not later in 636 it was processed again and brought to Khosrov II ... In the middle of the 8th century, Persian ibn-al-Mokaffa ... translated "Khoday-name" from pahlav. lang. into Arabic, after which it became available to the entire Muslim world (Ibn Mokaff's translation did not reach us, but extensive extracts from it were made by the Arab historian Tabariy, d. 923)[7] For the Samanids, for political and national purposes, it was desirable to have this "Shahnameh" and in the processing of poetic. On the instructions of the newly reigned Samanid Nukh II ibn-Mansur (976–997), his court poet Dakiki, a Zoroastrian by religion, took up this business. He managed to compose about 1000 verses from the middle of the work ... but died in the same year, and Ferdowsi decided to fulfill his task, and he kept the finished 1000 poems of Dakiki. At first Ferdowsi worked in fits and starts in his Tus, but when he was over 60 years old, he set to work with great zeal and thus, 25 years later, in 999, the poetic "Shahnameh" was ready and presented to Ahmed . 11 years later, having reworked his "Shahnameh" again, Ferdowsi went with her (1010) to Ghazni to Mahmud, at whose court many panegyrists lived ... Mahmud knew enough Persian to understand panegyrics (and Ferdowsi did not skimp on this) , but the "Shahnameh" itself was not interesting for him in all respects: he was not able to appreciate its poetic merit, the pagan heroes could only be repugnant to him, the stupid fanatic Sunni, and their poet - a heretic (Firdousi was a Shiite ): the national Persian spirit, which breathed from the "Shahnameh", was alien to the Turk, and the praise of the victorious struggle of Iran with Turan could arouse in him directly hostile feelings; that's why ... when he finally gave Ferdowsi a gift, it was a very small amount that could not provide the 76-year- old with the livelihood. Mahmud, through the envious people, realized that Ferdowsi was dissatisfied with his reward, and he threatened to trample him with elephants. He returned home to Tus; shortly after 1020, he died and, since the clergy refused to bury him in a common Muslim cemetery, he was buried under the city (in volume VI "Notes of the Eastern Department of the Imperial Russian Architect Society" by Prof. V.A. Zhukovsky published a description and a photograph of Ferdowsi's grave, which he visited) "[988: 00]," Ferdowsi ".[8] Here is what is important for us. Ferdowsi, it turns out, is not the only author of the Shahnameh. He only completed a certain literary tradition, giving the Epic a poetic form. We saw something similar in the case of the grandiose Indian Epic Mahabharata, see our book "Cossacks-Aryans: from Russia to India". Based on our previous studies of the chronology of the East, we must express the idea that the Shahnameh Epic was finally created not earlier than the XVI-XVII centuries. It is based on genuine legends of the 12th – 16th centuries. In this book, we will show that this conclusion is valid.

Result and Discussion Perhaps something similar happened in the case of the Shahnameh. So how does the famous Persian Epic work? “The composition of the Shahnameh is as follows: the poem consists of a description of fifty reigns, from legendary kings to historical personalities. Researchers divide the "Shahnameh" 2836 ISSN: 2005-4289 IJDRBC Copyrightⓒ2020 SERSC International Journal of Disaster Recovery and Business Continuity Vol.11, No. 3, (2020), pp. 2835–2839 into three parts: 1) mythological (before the appearance of the Sistani heroes); 2) heroic (before Iskander); 3) historical. Although the author himself does not have such a division, it is quite justified ”[9], p. 9-10. Brockhaus and Efron are more detailed. We will now give their overview of the content of the Persian Epic. Let us warn you that at first glance, the Epic may seem boring: some "ancient" Persian rulers, endless wars, hundreds of names. In fact, the Epic Shahnameh is extremely interesting. When you understand what it is really about, it is read literally in one breath. As we will show, it tells about the events of the XII-XVII centuries, and many of them are known to us from other primary sources. And such a comparison illuminates the Shahnameh with a completely new bright light. Often very unexpected. So: “The“ Book of Kings ”(all 50 kings) begins from the first king and the first man, whose name is Keymers; he embodies the childhood period of all mankind. King Dzhemshid, the inventor of luxury, became proud and ordered to worship himself as God. As punishment, God sent the tyrant Zohak to Iran with two snakes on his shoulders that grew after the kiss of Ahriman. Zohak took the throne from Djemshid and reigned for a thousand years, feeding his snakes with human brains, until the blacksmith Kave raised an uprising in favor of Djemshid's great-grandson Feridun (this uprising of the people against the despot is one of the most dramatic moments in The Book of Kings). Under Tsar Menuchihr, Zal's youthful heroic adventures take place, whose love for the beautiful Rudaba is one of the most magnificent episodes of the Shahnameh. Zal's son is the most glorious Persian hero Rostam. Menuchihr's successor, Novder, was captured by the Turanian king Efrasiyab and died. Interrupting from time to time, the war lasts under five Iranian kings, more than three hundred years in all. The main exploits of Rostem and his tragic battle with his son Sohrab fall on the reign of Key- Kavus, who in some respects resembles the wayward Vladimir of Russian epics. The son of Kay- Kavus, Siyavosh, having quarreled with his reckless father, fled to Ephrasiyab and married his daughter, but was killed; revenge for him has long become the main engine of the intensified war between Iran and Turan. Full of vicissitudes and various heroic adventures, the war ends in Iran's favor; Key-Khosrov (the son of Siyavosh) overtakes the escaped Ephrasiyab, from whom he himself fled with difficulty, and executes him. The fight with Turan is interrupted. An artistic romantic episode between Bizhen and Menige is played out - an episode that, according to Ferdowsi, was borrowed by him from a special book, and not from the prosaic Shahnameh. Little is mentioned about Rostem and former heroes; under the new king Lohrasp, the main character is his son Goshtasp ... In the reign of Goshtasp, the prophet Zerdosht (= Zarathushtra, Zoroaster) appears; Iran accepts the religion preached by him ... but the Turanian king Erjasp, the grandson and successor of Efrasiyab, rejects it, as a result of which Iran again resumes its quieted struggle with the impious Turan. The main fighter for the religion of Zoroaster is the son of Goshtasp Isfendiyar, almost the same glorious hero "Shahnameh" as Rostem ... Isfendiyar, after a series of amazing feats, ends the war. His father promised him the throne, but everything evades and finally sends him to battle with Rostem. He, with the help of magic power, kills him, but soon he himself dies. The heroic epic, in fact, ends here. The next two kings - the son and grandson of Goshtasp - are still little-historical persons, but the second of them, Bekhmen, was identified with Artaxerxes Dolgoruky ... and therefore Ferdowsi puts him in a genealogical connection with a genuine historical person - the last Achaemenid Darius. From the founder of the Sassanid dynasty Ardeshir I, in general, the presentation is already historical ... Ferdowsi's favorite heroes are Behram V Gur (420–438) and Kisra (Khosrov I Anushirvan, 531–579), the ideal of royal wisdom and justice. The uprising of Behram Chubin (590) and the bloody accession of Kavad II Shirue (628) are rich in interesting romantic details. The conquest of Iran by the Arabs was reduced to one battle at Qadisiyah (c. 637)[10]. Thus, if we exclude some side campaigns (for example, Tsar Kavus in Mazandaran), the entire "Shahnameh" revolves around the eternal, irreconcilable struggle of Iran with Turan, which represents the primordial struggle between Ormuzd and Ahriman, good and evil; Ormuzd and his heavenly powers patronize Iran, Ahriman and the divas - Turan. The story of this struggle is interrupted by heartfelt lyrical inserts and long romantic episodes, like the love story of Zal and Rudabe, Bizhen and Menige, Behram Gur, etc.

Conclusion The poem of Ferdowsi gave a strong impetus to Persian literature: it gave rise to an endless number of other epic works ... had an influence on the epic not only heroic, but also romantic (Nizamiy, Jamiy and hundreds of other imitators not only in Persia, but also in Turkey, etc.) , with its lyrical places was a harbinger of dervish Sufi poetry and forever remained with the Persians an ideal, unattainable poetic model ... Until now, all Persians look at the Shahnama as their greatest national work; quite often a completely illiterate Persian knows by heart many passages from the Shahnameh (while all her messages are taken not for mythology, but for historical truth, even by educated people). Commentator B. Gafurov writes: “Much can be said about this great poem. I remember, as a child, I watched ordinary peasants lovingly listen to the reading of Shahnameh. The reading of the Shahnameh was held in a teahouse, in a teahouse, and everywhere where people gathered and where the reader was. And now “Shahnameh”, or, as the people call it, “The Book of Rustam”, is extremely popular among the widest masses of the people. In Iran and Afghanistan, Ferdowsi remains the greatest poet. In almost every settlement in Iran you can find people who are called “Shahnamekhon” (that is, the reader of “Shahnameh”) ”[11p.17]. As we will see, the famous Epic Shahnameh begins its story with the events of the XII-XIII centuries, and then moves on to the history of the Great "Mongolian" Empire of the XIII-XVII centuries. The poem Shahnameh is sometimes called Iranian and sometimes Persian. We will use both of these terms without opposing them.

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