Persian poetry. Start in science Persian poetry

The text of the work is placed without images and formulas.
The full version of the work is available in the "Work Files" tab in PDF format

"Persian motives" inspired by acquaintance with medieval Persian poetry, memories of Central Asia and the Caucasus, were written by Yesenin in the last year of life, from the fall of 1924 to August 1925.

The "Persian motives" sounds the same, the main for the poet themes: the love of everything beautiful in life, to his native land. The poet considered these verses the best of everything that was written.

Light evening saffron edge,

Quiet roses run around the fields.

Sing me a song, my dear,

The one that Highyam sang

Quiet roses run around the fields.

Omar Khayiazymbyl Cruultary scientist, astronomer, mathematician, but world fame won poetic miniatures.

To wise life to live, it's necessary to know quite a few:

Two important regulations of remember for starters:

You're better than hungry than what I have,

And it's better to one than with whom it fell.

Yesenin's favorite colors - Golden and Blue, there are a lot of personal for blue-eyed, gold-haired poet: Russia herself, with her piercing-blue autumn sky and heavy spikes of ripened bread. Surprisingly, the Persia is reminded by the imagination of the poet of the poet with his gentle scaffold color.

Sergey Yesenin:

Air transparent and blue,

I will go out in flower thickets.

Traveler in the azure outgoing,

You will not come to the desert.

Air transparent and blue.

Shepot Lee, Rustle Ile Shelest

Tenderness like Saadi's songs.

VMIG will reflect in the view

Month of yellow charm

Gentle as Saadi's songs.

Saadi believed that a person needs to live two lives: in one look, sometimes mistaken, look again, to another check the accumulated experience. In his books mixed "Sweetness with bitterness", fiction with the fact. The poet first called the term "Humanism".

All tribe Adamovo - the body one,

From dust united

Through the grief of people, you did not cry forever -

Will people tell you that you are a man.

Fine everything in love - whether to us

Suffering she or balm.

In love power and kingdom hates.

He sees his support in poverty.

He drinks suffering clean wine,

Silent, even bitter it seems.

In the "Persian motives" we will not find a coarse naturalism in the disclosure of the topic of love. Persianka - the embodiment of tenderness and purity. Poems poet speak only about the desire to understand the beloved, just see it.

Where the threshold is covered with roses.

There lives thoughtful peri

In Khorsane there are such doors,

But I could not open those doors.

I'm in my hands satisfied with the strength,

There are gold and copper in her hair.

I have enough strength in my hands,

But the doors could not unlock.

The keyword is "Rosa" - a reminder of another great Eastern poet - Rudaki. It was called "Adam Poets of Persia". He wrote philosophical and love poems, in them - the discovery of nature and man.

A sage of good and peace stretches. You are alone among hundreds of thousands of persons.

To war and stretch a fool. You are alone without hundreds of thousands of persons.

Came ... "Who? "-" Cute "-" When? "-" Preported gar ".

Fleeing from the enemy ... "Who is the enemy?" - "Her father is native" -

And I kissed twice ... "Who?" - "Her mouth."

"Luck?" - "No" - "What?". "Ruby" - "What?" - Baghrovo - Fire. "

One of the main motives of Sergei Yesenin cycle - longing in native land. Love for Russia is stronger than love for the country-Greeness of Persia.

Good you, Persia, I know

Roses, like lamps, burn.

And again I'm talking about the distant edge,

The freshness of the elastic speak.

You are good, Persia, I know.

Persia! Am you leaving you?

Forever I part with you

From the love for my sorry to me

It's time for me to go back to Russia.

Artist Viktor Morkyshev

Printed by publication:

Persian lyrics X-XV centuries.

Moscow, Edition M. and S. Sabashnikov, 1916.

Texts are given in accordance with modern spelling standards and are given with small abbreviations regarding biographical information about the authors set forth in the introductory article by A. Krymsky

Introduction
(From the editor of the 1916 edition)

I. Goethe once said: "Persians from all its poets, for five centuries, recognized only seven seven worthy; - and among others who are rejected by them, many will be cleaned of me!"

The sedricer of poets, about which Goethe speaks, is the fruit of misunderstanding, there is some historical and literary inaccuracy. Responsible for inaccuracy, please, not Goethe, but his oriental authority IOS. Von Hummer, author of the German translation of the "sofa" hafis, is the German translation, which served as the old Goethe material for his own, very well-known collection "Westostlicher Diwan". Hummer, bowing to the favorite among all the peoples of "7", decided to connect the seven he liked the most liked major Persian poets in the selected "sedronic necklace", in the "seven-star in the sky of Persian poetry." The poets of the X-XV centuries were included in this Hammerian sedrric. All other major poets of Iran X-XV centuries, Hummer did not include in his "Sedmeritz," and among the excluded, for example, a pessimist philosopher Highyam, a sage-pantheist Attar, Lirik and Epic Joshov dehliysky, singer of the world religion Faisi and Many others, before the talent of which Goethe, with full right, could bow down. Persians, however, such a "seven-star in the sky of his poetry" absolutely do not know, and those poetic talents who admired Goethe are not at all relate to the category of "rejected Persians." Nevertheless, with all the historical and literary inaccuracies, the remark of the "great elder" is not ceased to be characteristic. A characteristic and high accumulative remains the fact that Goethe sees in the Persian literature an exorbitant wealth of first-class talents.

The rendered translation record of Academician F. E. Korsha is very highly necessary. From this one it is clear that it does not attracted at all to exhaust all the literature of Persians or, at least, only lyrical poetry. Comprehensive Persian anthology would have to be at least a huge, fenceous volume, there may be even two fruitful volumes. And this assembly of poetic translations serves for another, more modest task: Let the Russian public will be offered from the extremely rich Persian poetry, and only!

It is also not necessary to think that the proposed samples are completely selected pearls of the Persian lyrics, completely the most typical samples from it.

It is necessary to reckon with the history of the emergence and appearance of transfers Acad. F. E. Korsha. Initially, they were all intended for my three-volume "History of Persia and her literature", where for the first time and were published, in their poetic form, among many of my scientific and prosaic transfers illuminating Persian literature with sufficient uniformity. Workshops poetic transfers Acad. F. E. Korsha turned out to be only an addition, only a very valuable decoration of my "History of Persia and her literature", but also speeches then could not be that they exhaust the whole essence of Persian poetry: this was not required. Now that all the poetic translations are extracted separately and are published as a special, independent collection, designed not for Iranists, and for the general public, it is necessary to directly emphasize that not everything did the erudite academician, is the most popular and most typical for Persian Lyrics, and not all that he translated from one or another poet, there is the best and characteristic of the work of that poet. F. E. Korsh, stopping at some Persian poem, sometimes it came from aesthetic considerations, but from the interests of purely scientific, historical and literary, not always coinciding with aesthetic. This restriction is impossible, of course, to express about its translations from Saadi and Hafiz, the Coriferatives of the Persian lyrics: the fact that F. E. Kush translated from them is quite characteristic of the creativity of Saadi and Haafiz and fascinating for the widest circle of readers. But, for example, F. E. from Jellyaleddine Rumi was translated by the Korsha's not famous "Gazelles" of Jeladydina (of them, none stopped the attention of the KORSHA), and in abundance of "quatraisy", that is, For Jeladydina is not completely typical and, quite likely, not even all belongs to him. After all, a considerable part of the "Quarter" attributed to the Jellyland, it also turns out to be earlier than the earlier Khayama, and in later pessimist moralists: these are the so-called "wandering quatrains", in the authorship of which Irancy has not yet understood. Acad. Kush became interested in jelaleddinovsky "quatrasions" quite like a philologist: they are little known to Europeans, even almost unknown, and meanwhile they can serve as a material to clarify the composition of the wonderful poet Khayama. Highyam - the most famous currently from old Persian poets; He is the idol of the British and Americans; But it is still not clarified with accuracy, what of the poems attributed to it are really drawn up by them and reflect his genuine image of thoughts, and which they subsequently attributed to him and can throw a completely false light on his worldview. The more all sorts of "wandering" quathers walking under all sorts of copyright names will be published, the more material will be given to solve the issue of genuine, not a falsified Jighham worldview. The translation of the quatrain attributed to Jellylandin Rumi, F. E. Korsh and thought to increase the number of historical data for the solution of T.N. "Haiyamovsky question." Every Russian philoistraist, of course, will say the translator thanks. But whether the Jegelaled Quarters will also be interesting for the middle reader-non-specialist, as they are interesting for a specialist, the translator did not ask himself about this.

Translations from the Khayama Acad itself. Kush did not give any.

In the absence of such translations in the now published book "Persian lyrics", an ordinary Russian reader would risen to finally weaken its interest in the translations of the Jelaleddinovsky Quarters: they, by themselves, without prior acquaintance with the Quatrains of Khayam, very much lose much. In addition, the lack of translations from Heyama in the current publication would be generally a significant gap - both literary and historical, and aesthetic; The reader would not get proper, one-piece impression on the general picture of the Persian lyrics. To eliminate this disadvantage, I found it necessary to insert into the editable publication Translation from Heyama, which made I. P. Melov, a general student of mine and academician F. E. Korsha. Having in front of him, translated I. P. Umov, the most important quatrains of Khayama, the Russian reader will appreciate the proper way and the quatrains attributed to the Jellyland, and the quatrain of the Highiyam predecessors - Ibn Sinai and Abu-Seid Khorasansky, and in general will understand the importance and value of this literary genre.

It is impossible, of course, to deny that, including the collection of translations made by one person, translations of another person, I somewhat breaking the unity of the translation style. But that the overall picture of Persian poetry will lose a lot from the inclusion of samples from the Great Heyama in it, as much as the reading Russian public wins a lot, and it does not have to argue about it.

In the end, any reservations would have to do about the composition of the currently published book, about some of its incompleteness, it is still possible to hope that the Russian reader will receive a very unmarried overall impression of the Persian lyrics of the classical period, that is, the X-XIV century.

II. To correctly comprehend the classical Persian lyrical poetry, you must always remember that it is all the occasion of the T. N. Sufi. The response is Muslim mysticism with a pantheistic color. The origin he has a part of Buddhist, a part of the Christian-neoplatonic (through the Greek philosophical literature translated under the Califa). Persian lyrics are full of pantheistic views. Yes, in addition, it has its own special, conditional allegorical language, like that which Christians see in the Old Testament Biblical "Song Song."

The world, on the view of Sufis, is the expiration, the emanation of the Divine, and, in its apparent diversity, he has only a ghostly existence. The world and God is one. Man is a drop from the Ocean of the Divine. It should not be attached to the ghostly world, especially since he is a solid yudol of suffering. You can have fun in this world, enjoying a separate random point; But much better - not to be attached to the delight, and instead of killing your "me," to kill his flesh, to get closer to everyone, to sway in it, merge with him, break like a drop in the ocean. The desire for the Divine, the Sufis compared with love for a pretty or to a friend, with intoxicated, etc., and because of their poetry over philosophical and pessimistic ideas and mystonic hedonics. Thus, the poet praises, for example, spring, garden, feast, elegant Vinolrypia, an expensive girlfriend, and in fact, all this means the mystical desire of the soul of Askta-contemplator to unity with God. The poet is lyribically, why a cute girlfriend is a crucial and not paying attention to his courter, - but in fact it is a devotee moaning, why he has no mystical nate and ecstasy.

It is possible that the European reader will have a question: "And what, the Persians do not have an ordinary, literal, non-smart poetry? Does they have poetry, which without any allegorization would sing genuine, universal love, genuine nature of nature, genuine fun?! "

You will have to answer: perhaps that such poetry in the Persian literature is not. Not left. In the 10th century, the literary custom even fully allowed genuine erotic, genuine hedonics, but then gradually established in the literature a rather hypocritical custom - to write about the non-smart human lyric life so that the verses have not shocked the holy people. Writing - so that the people must understand even the most sinful hedonic and sensuality as an allegory, as a high piousness expressed in mystical form. The reverse transaction took place: the holy people, or the poets are certainly a mystical, wanting their works to like STIs-minded patrons, tried to write realially and did not build a very violent allegory. The consequence of such a custom was that we now often cannot determine, and K to be understood to understand one or another poet, all the more so that the Sufis themselves are easily credited into their ranks. And a special disagreement exists in relation to the sheikh Sufiyev Hafizu, the king of the Lyrian Gazelle of the XIV century, the greatest lyrics-anrecondition of Persia. Neither the general public nor scientists can conspire: with mystical or not with mystical mood, this or other love or vaccine gazelle is written?

Probably, such a question forever remains unresolved.

On the one hand, the calm position of shiraz, which has suffered little from the Mongols in the XIII century, due to the intelligent policy of his Atabeks and who had a thumbightly settled in the XIV century, favored the praise of the joys of life. Hafiz in his youth, perhaps, with complete reality I experienced everything that his gazelles hesitally sing. But, it must be assumed, he and in his youth, following the fashion, wrote so that his songs of genuine love and pleasures do not make an unpleasant impression on the religious and sufi reader. On the other hand, in old age, when Hafiz was a Sufi Sheikh and when his soul could only lie on asceticism and to Hedonik strictly mystical, he probably enjoyed his impressions of youth and therefore wrote very real.

In any case, it is necessary to note the fact that while the Sufis (and many Orientalists) consider hafisis a pure mysticism, the poems of hafiz are in the people like love songs. Obviously, a similar measure will have to attach both poems of Khayam, and to the jelaled quatrasters, and to Saadi gazelles. Genuine erotic and genuine Vakhism, mystical erotic and mystical vakhism - merged into the Persian literature in an undisputed ball.

The European reader, not a historian of literature, when reading the Persian lyrics, perhaps, the most convenientness will be heading the rule of one of the critical publishers of the hafi sofa: "meeting the hafisa beautiful and deep-felt, we have the full right to understand it according to the laws of the wonderful and true, whatever Allegorical interpretations nor gave him commentators. "

Prof. A. Krymsky

Abu-Seid ibn-Abil-Heir Horace (967 - 1049)

Quartales

1.

Sadness that the soul torments me - here it is!
Love that all doctors confuse - here it is!
That pain that blood interferes in tears - here it is!
That night that forever hides - here it is!

2.

I asked the medicine I am from a hidden illness.
Physician Miles: "For all silence other than a friend." -
"What is food? "- I asked. - "Blood hearts", was the answer.
"What should I quit? "-" and that light. "

3.

4.

Oh my God, open my way to my friend is cute,
Dosvalo, so that my dull voice to her
So that, in separation with whom I do not know clear days,
I was with me again, and I would have been with her again.

5.

Do not condemn, Mullah, mine to blame,
My addiction to love and Kuta:
I'm in sobriety leading only a common one
And drunken cute in the arms hold.

6.

BDY at night: on the night for secrets, everyone assembled
Arrow of the house, where - their friend, wearing like swarm.
All doors in those hours are on constipation,
Only a friend door one is open for guests.

7.

In those days when the Union of Love is internally,
Bliss of paradise happens to me funny.
When without you and the paradise I was turned off
I would be in paradise and boring and dark.

8.

Sins my number - that drops of rain,
And I was ashamed to live for sinful.
Suddenly, the voice sounded: "Throw thoughts empty!
You do your business, and we are yours. "

9.

To the Poznan of Deity directly going
It is alien to yourself and in God lives.
Do not admit yourself! Believe: God is one there is a day!
"The divine only God" is also called us.

Abu-Ali Ibn Sina (Avicenna) (980-1037)

Quartales

1.

With a circle of two or three fools, in this reason
In themselves the color of the wisdom of earthly,
With the donkeys of these in the donkey, be the lichni:
You are not the heretic and sinner with notebook.

2.

My mind, although it was not enough in this world,
None in the hair penetrates, and waves cut.
A thousand suns in the mind shines a bright light,
But the building atom, I still did not know.

3.

From the abuse of land to a top skyskle
Issues of being I decided quite well;
I gave up every trick and obstacle,
All secrets I revealed, only death dark and me.

4.

Oh if I knew who I am and what was
And after what a circle in the world as crazy!
I am happiness destined? Then I lived alone,
And if not, then I would tear a river.

Omar Khayam (approx. 1048-1123)

Translations from Heyama belong to I. P. Umov, a student of Acad. F.E. KORSH.

1.

From the dwelling of the wrongness of only one moment
To the knowledge of the vertices;
And from darkness of the doubt to the light of confidence
Only MIG one.

Know the same sweetness - short life joy
In a fleeting hour:
The life of the whole thing is only a deunion,
Only a moment for us.

2.

We are told that in the bunks of paradise
We wrapped around Guri
Himself blissfully delight
Clean honey and wine.

Oh, if the bortalist ourselves
In the holy paradise is allowed
Then it can be in the world
Forget beauties and wine?

3.

I'll take a glass of hissing,
Full gift of young vines
And I'm getting up to the bravery,
Before the madness of fermented dreams.

I will reveal me, burning,
Whole world of miracles then;
And the speech is allowed
Like fluid water.

4.

I was born ... but
Universe - no use.
Die, - and in glory nothing
Light will not win.

And I donny, did not hear
Alas, nor from
Why I lived, why suffered
And shrink for what.

5.

I will drink, die without fear
And a bumpy blundering underground
And flavor of wine - from the dust
Walk and will become me.

Will come to the grave intoxicated
And the smell of old wine
Inhales, - and suddenly, as amazed,
Falls, drowning extra.

6.

7.

I am breathing with chamale
And shine shrost
Stored the mill, filled with a welcome,
As in the garden, the cypress.

But alas! No one is unknown
For what, graduating from fire,
My artist is miraculous
Rusked me for the thorn?

8.

Destined to you, about the heart,
Always bleed with blood
Found by your terzan
Sorrow is a bitter to replace.

Oh my soul! why
In this body, you settled? -
Ile then, so that in the hour of death
Irrevocably removed?!

9.

The book of youth is closed,
All, alas, is read.
And ended forever
Clear joy of spring.

And when it arrived
And to the departure gathered
Bird is wonderful that sweet
"Clean youth" called?!

10.

Ranted life carefree
Days, rock data in the lot.
As if the wind is fleeting
On the lifestyle flew flew.

What to grieve? - I swear to breathem
There are two insignificant days in life:
The day who became memorial
And - not coming for me.

11.

I am in myself in the fight, in confusion,
Always always!
What should I do? For crignot
I'm full of shame!

Oh, let you complete all over, -
But in depth
You saw everything - and I'm in an embarrassment,
What should I do?!

12.

If in vain, it is valued
And hopes and dreams -
So why then the start
In this world, fuss!

We come to the goal late.
We will not have time to relax -
How fate is so terrible:
"It's time to go on the road! "

13.

And nights replaced by days
Before, us, about my friend dear;
And the stars happened all the same
Your circle predicted by fate.

Oh, quieter! Go cautious
For dust under your own:
Beauties you dust
The remains of their wonderful eyes.

14.

To you, about the sky-chariot,
Looking and bitter moan;
Long over mortals mock
Inevitable your law.

Oh, if your chest was revealed,
Earth, Earth! How much we are
Found used remains in the dust layer,
How the treasure is bottomless in the abnumbs of darkness.

15.

Stick me underground,
When I calm down forever;
Do not put the stones by me,
To remember me a person.

But my ashes, that barten clay,
Mix with fragrant wine
Take a brick and jug
It will serve as a lid later!

Insignificant peace and all insignificantly
That in the moss of the world you know;
What I heard - Just and False,
And in vain everything you said.

You thought in a humble hut.
About what? for what? - negligible.
You walked around the ends of the Universe, -
But all before eternity is nothing.

17.

Looking at the same: I lived in the universe,
But the benefits did not know worldly;
I suffered an instant life,
But the best did not know any;

I burned like light fun,
Forecast, not leaving the trace;
Crashed like a hangover bowl,
In nothing, turning forever.

Saying goodbye with sea waves
As if before the long separation,
Dripped a drop; And the sea
Laughing over children's flour:

"Do not Cry! I am everywhere in the universe
Put the lake and river:
After separation instant
You will again with me forever. "

That secret is wondering
From all I hide.
Then the word brief
Unable to your speech.

The countries are shining before me ...
But it is the language of the earth:
About miracle. secrets that you don't know
Unable to tell!

Hakani (1106-1199)

Quartales

1.

Love is a bird, skillful in songs about Mount,
Love - nightingaws, trained in the Last speeches,
Love is being with the Being about your soul in the dispute,
Love is what you have to abolish yourself.

2.

Invades the heart of the ailment, I was merged before
And, invading, no longer subsides, as the same sometimes.
I am looking for medications, but in vain only tormenting hope;
I strive to peace, but I was not available to me.

3.

My sorrow and merry she is only a wine;
And the rigor and mercy to me - her business is completely.
I will not upgracing with her to death to the death of the Union.
So it is decided; And what she knows her.

4.

You rose, and I am a nightingale, inspired by passion;
And I give you the heart and the song.
I was deeply silent from you, conquering in misfortune;
Only after a date with you, I will quiet again.

5.

Today, love torments the heart so hurts
That hard until tomorrow it will reach you.
I myself threw it at my feet voluntarily ...
But speech unnecessary; It is only possible to sigh.

6.

Our union has penetrated the reflection of the eye of evil;
We will keep away from each other like a stranger;
When you meet, it's hard to find a proper word;
But both we know how both we are in trim.

7.

Leave this world where the strongest to weak harsh,
From the scene of sorrow, run with a bow in the chest.
Gave rock to you soul, and with her you took shackles;
Return her rock - and free creature.

8.

Oh shy, kill me so if death I am standing,
To live the source dreamed of me in the killer to find:
Iron your mouth and charming gaze
I have been packing and then my days stop.

9.

There was still a fire in my youth bold,
Madly fluttered by a moth, not knowing that fear.
Forests that fire, - and fell moth burnt;
Where they were, there were only ashes and dust.

Here is a familiar fragment of the book.
For free reading, only part of the text is open (limit holder). If you liked the book, you can get full text on the site of our partner.

pages: 1 2 3 4

- My choice determined the case. I went to the Institute of Asian and Africa for the Indian branch, but then, in the distant 1971, the windows-auctive distribution of languages \u200b\u200bfrom applicants did not depend on. As a result, I was on Persian and very burning. However, as the poet nizami wrote, the fact that the taste like vinegar may be sugar. So it came out. Interesting books were found and good teachings met. When I, Excellent and Mrnitsa, entered the graduate school of the Institute of Oriental Studies of the Russian Academy of Sciences, my scientific director Professor Magomed-Nuri Osmanovich Osmanov began acquaintance with the fact that he said: "You do not know the Persian language!" His lessons of "close reading" of poems I remember with gratitude all my life.

- What is the place of Persian poetry in the modern world?

- Approximately the same as any other respectable poetic tradition. Since since the XIX century, Persian classics have been actively re-drove into Western languages, readers and admirers are located on each generation. As for academic studies, there is quite active work here, both in Iran and beyond. Many preserved texts have not yet been published and not entered into scientific use, therefore, a modern description of the handwritten libraries' funds becomes of special importance, in the era of digital technologies.

- If you needed to quickly fall in love with an unfamiliar person in Persian poetry, how would you do it?

- I would not have done it for anything. Forced to love is doomed by definition. But those who have already loved the Persian poetry in Russian translations, I would suggest "reading around", to expand my ideas about the history and culture of Iran, and also not to forget that every translation is the fruit of co-authorship, and pay attention to the names translators. And to those who are young, curious and not lazy, the Council is one: to love Persian poetry, it is necessary to teach Persian. I will give an example of the translator of the Osipa of the Remer. He read Omar Khaiaam in the English translation of Fitzgerald, published a Russian poetic version in 1922 and realized that he fell in love with her ears. Then he defended the Persian to learn, and in 1938 his famous translation of three hundred shoes from the original into Russian was already released.

- What is the most interesting thing - or important, terrible, funny - did you know working with Persian poetry?

- The most interesting thing is important, and terrible, and funny - it turned out to be connected for me with the translation process. Persian classic is calculated on the sophisticated reader. Even at the very carriers of the tradition, hermeneutic difficulties arose; So, the poet Jami was going to meet with Nizami in Paradise, finally ask him about the meaning of thousands of vague places. So the most interesting and important thing is to solve the meaning of the next incomprehensible line, the worst thing - when all the resources are exhausted, and the meaning is not built, and the funny thing is if suddenly lucky and understand how it's just really.

- If you had the opportunity to do a completely different topic now, what would you choose and why?

- In the Indo-generalism, studies have long been conducted on the reconstruction of the "Indo-European Poetic Language". I would have learned the ancient Greek, Sanskrit, ancient Ryarland, reassured Avestan and I would search for the ancient poetry of archetypes acquaintances to me on the Persian material of formula combinations.

Songs Shiraza

(Persian folk poetry in translations of A.revich)

"... for the glitter of the gazelle eye I will give life and honor"

Hour path on winding mountain road - and at a small pass
The gaze opens Shiraz, which Iranians since ancient times called the city
Roses and Solovyov. Roses really many, they fill the aroma central
Street and outskirts, where the tombs of the Great Medieval Poets are buried in colors
Saadi and hafiz. And Solovyov in Shiraz will no longer hear, except in
University Park or in the famous orange grove. Yes, and about feathered
say Iranians? After all, for them nightingaments are poets and folk singers, creators
Poetic folklore. However, it would be misunderstood that outside
Shiraza or, let's say, the entire province of Fars people live without songs. On rice
Gylyan fields, in the mountains of Horasan, in the steppes of the central part of the country in any
The time of year can be heard as a shepherd or a lonely traveler on a donkey pours
In the song, longing, and around him - nor soul ... But in the farce, where did the name go
All countries - Pars (Persia), Folk traditions are stronger, folklore
Diverse and voices of singers, apparently, the call. Not by chance therefore
It is here that songs recorded more than in other parts of this big country

Folk poetry Iran centuries developed in close relationship with
classic literature. Sometimes not only the reader, but also the researcher is not
can say exactly which elements came to writing poetry from folklore
And what, on the contrary, from poetry fell into folklore. And folklore and in literature
We meet the names and images of Farhad, Leyla, Medeznun, Yusef and others;
Plots of folk quarters came to Omar Khayam and, in a new way
Meaning, enriched folklore.

Persian-Tajik literature - This is a huge spiritual wealth,
which was appreciated by the classics of Western European and Russian
Literature. It is not by chance that the tribute to her gave her goethe, who under
Her influence wrote his famous "West Eastern Sofa" and merit
some Iranian poets in the development of world literature may be
undeservedly, put her above. And A. Pushkin, as you know, were "Gafiz and
Saadi ... familiar names. "And not only names. Pushkin knew well and appreciated them
creation. The spirit of the East, the image of the Persian literature is imbued
Many of his works.
The classical poetry of Iran seriously studied L. Tolstoy. Special
I liked him the stories and saying Saadi on moral topics. Some of them
He used when drawing up his "Russian books for reading".
Horbitating Hafiz for a long time he sees A. Fetom, who left
Beautiful arrangements of his gazelles. Finally, "Persian motifs" S. Yesenin
in his spirit and lyricism are associated with hauphysian, although calling the poet names
Firdoi, Khayama and Saadi.
High artistic Persian-Tajik literature in many respects
Explained by its rich sources. Among them can be called writing
Old Width literature, the so-called Shubite poetry created by
Iranian poets in Arabic in the VIII-IX centuries, and, of course, oral
Creativity, widespread among peoples living in the territory
Iranian states since ancient times.

Acquaintance with Folklore Iran showedthat Samoa
its common poetic form is dobacy (quadruses).
Russian scientist A. A. Romashevich, subsequently Professor of Leningrad
University, during his trips to South Iran managed to record
four hundred quarters, whose translations together with the Persian text and
Transcription was published. The scientist believed that the origin of this
The poetic form goes back to the distant housesulman past. In very
Business, in the "Avesta" - the Holy Book of Zoroastrians (Zoroastrians, or
Fireplongs are the confessors of Zoroastrianism, an ancient religion Iran to the VII century.
The founder was Zoroaster (Zarathushtra).) - Part of the poems consisted (
Romachevich) from a number of four stroke, and each line (verse)
contained in me eleven Slogs. Such is the poetics and folk
Quarter.

Dobity can be attributed to the lyrical family of poetry. Quatrain these ne.
only outlines the fact or event, but express and attitude to it, give
Evaluation. Their performers, most often unlucky singers, sang about love, about beauty
Beloved, about the joy of dating her, about suffering from unrequited love,
On the exclusive desires, about loyalty and, on the contrary, about the infidelity of the beloved.
The main characters of love songs are young people, boys and girls. Their thoughts
Feelings and experiences are the main content of song-quarters. Together
With that, people's folk quarters are fully saturated with household material, in
they are clearly audible a variety of life circumstances, sad
The motives that caused their occurrence.

Daid do not decleave, and come around. When singing, the performer has a big
The ability to freely handle the poetic size. In the eleventh subsistence
Protect the third line, as a rule, contains not eleven, and thirteen
Slots. And sometimes, although rarely, there are longer poems or at all
Short, seven syllables. The fact that folk quarters do not fit into
Frames of Aruza, apparently, is one of the reasons why Iranians
never call them "Robai" (Roby - in Arabic, Persian and
Turkic-speaking poetry quatrain, as a rule, philosophical content,
written according to the laws of Arza. Common form of a poem having
His author.), Although they have a lot of other general signs with Robia. Before
Total, quatrains, like Roby, quite independent works,
containing completed thought. Even in cases where Iranian
Folklorists are trying to make a kind of song from individual quatrasions
on a certain topic and the "loneliness", "loyalty",
"Separation", "Alien", each quatrain of such a song continues to live his
Life remains independent and independent of neighboring.

Song congratulations personify nature phenomena, plants, animals,
Apply with them as reasonable creatures. Singer himself or his lyrical
The hero likes himself or the one to which he draws, subjects alive or
Even inanimate nature: "I am a fish", "I am a white bird", "I - Pistachio
Tree "," We are grains in one grenade "," We are two inacted cypress "," you -
little dove, and I'm falcon "," if you are pearls, then I am amber "," if you are
silver, then I am gold. "In the Persian folk poetry these personification and
Mustache acquire unique beauty and imagery.

The whole range of human and nature relationships was deep and on
a high poetic level was developed by Omar Highyam and found a brilliant
Artistic incarnation in his robets.

The reader can get acquainted with all the diversity of Iranian folk poetry. In this to him
Expressive translations of Alexander Revil, convincingly transmitting
depth and features of the folklore, its imagery, lyrical tonality,
Simplicity and at the same time wealth of the Persian language, how do you use
Iranians beyond written literature.

A. Shoiste

Quatrain - Daity

About the girl! I can compare with the moon,
Like a beak "Alef", the Stan straight is elected,
I can call you Shahinee all beauties
For the mole of yours over a soft lip.

You believe you do not believe, you took my heart,
All of you took, I am in love with these eyes ...
Cechnoze, you throw me glances not?
Caused my heart and is pleased not you?

God, what should I do with my soul obsessed?
Forgotten peace, breaking after my beloved,
She does not need other flowers, their fragrance is magical,
Only to the rose seeks, nothing with nothing, mine.

I gave you a rose, you are an inhalation,
Hide this rose on the chest, under the shawl Save,
Will you go the path of the steppe, you will not be alone,
Arriving with a rose, only shawl is a bit open.

I will find out your mouth and for the top of the steps,
Your mouth make me, as if the sweetness of the fruit,
Your mouth is Kaaba, and I myself am the pilgrim
And overnight a hundred times to make the shrine ready.

... the moon you il a star, alas, I don't know myself,
But with the help of my Creator, you will soon become,
Though at the sky go up, I will find you there.

Blessed sunrise and awaken MiG
In your arms, oh, like that moment is great!
On the bed, I sit down, cover your kiss
And rose petals turn a gentle face.

Look, girlfriend, midnight comes,
On the straw shovel sings
He tries the mystery of the heart,
No one will overcome them and water.

I will abandon the Arkan, I will go to you like Ginn,
For the canopy, I will climb into Palankin,
Let's though hundred lions protect you
But I'm your kiss of Torva Although b one.

Would sit with you side by side at the table
And your hair would be scallical
I am the will of the sky became richer Suleyman
On that day, when he brought you to my father's house.

Life will be given for Punchy lips your
No in the light of the magnificent of our love,
I died from love, I lost the reason,
And the perished - guilty of itself is called.

A girlfriend needs a rich husband, she looks in the infeit,
Her ears lacking diamond earrings,
I will not hug, she has no poor man
She dreams of the fabulous fiance from Schiraza.

I met the blackboard at Willow,
Only Guria and Peri are so beautiful
Eyes - like two stars, and the face is
That in the midst of the month of proud.

Greetings to you, about grenade grains,
I will give life for you, you are more expensive to my brother,
From one hundred and one I chose you
Do not betray me, keep me loyalty to holy.

About my blackboard, you feed the kid,
For a moment from the cradle, Out, oh, how good you are!
Kohl want you to live your baby to years old
Let me in my bed at least once, my soul!

I look at the silk of your chadras - Spirates the Spirit in the chest,
I look at the beauty of Salvar - wait, do not go!
Some succeeding rich led my girlfriend,
Are you still alive, my poor friend is mehdi?

Cadru of my cute nisa, wicked, broke,
Honor my heart struck out.
Ax rather! I graduate all their family!
Cadru my cute breakdown, he found his death.

Girlfriend tender, Slice Moon, came,
In silks and velvet she came to me
I so wanted though b in a dream to see it,
She revealed, and not in a dream came.

My soul, come, I'm merged with you,
Come back to my house, he grieves without you,
Come back in my house, come to my arms,
Well, you shave? Now what's so shame?

You are there, I'm here, and the soul confusion and anxiety,
You have a lot of patience, and I have a little.
I can give your patience and I can give away
I'll fit the blue of your threshold.

Let's make me, forget about everything,
Come on, like a brother with a sister, we will tear together,
After all, life is so short and so fate is becoming
Still - do not let the Lord! - In the separation, we will die.

So the forehead is cracking that the light fades, to whom I swear?
Will covers your cheeks yellow, to whom I swear?
Oh, if I could put the forehead on my knees cute!
But the forehead is cracking, but there is no cute, to whom I swear?

Wake up to dawn, incense kudri oho,
And the black eyelid eyes in a bluish antimony,
And if you wish you a pleasant to do Allah,
Do not forget me, in the best form, come before me.

You are slight, my tender, the light of my eyes,
You are my sugar Egyptian, pure diamond,
Sit, sit next to me, girlfriend,
You stole my dream, I would fall asleep at least an hour.

War in your alley, knock on your home,
Click: "Looks rather, I am waiting for an angle."
If the neighbors tell me: "My girlfriend sleeps," -
Over you spawn a white dove.

My cousin, my dopey flower,
What evening you will not come to the threshold?
If I pray for you a unkind word,
You can in the chest, do not hesitate to put my blade to me.

You like a flower when you go from the flower garden
How sugar are you when you go from reed,
But for me you are all beautiful and then
When you're from the bazaar, slightly tired, you go.

Heart in other people's sinks do not get
In it, only you have a negascics passion,
You then torment my heart,
To do not want to steal him.

First, I love your Kusak and a bathrobe,
And secondly, you - from the head to toe.
And thirdly, I love to sit with you nearby
And the former love let's send to hell.

My friend is mine, where are you now?
The soul added bitterness of losses.
Oh, if I knew you woy,
The Palace of Gold would build, believe.

I missed a lot of troubles because of you,
My soul rejected the light because of you,
You so disgrace me and humiliated me
All my shame - there is no dispute, - because of you.

To you, I, Slender my, rushed,
On the cheek, the Mountain Loving, rushed,
I heard that you want to sell the mole
After all, you can be late and I rushed.

Favorite, I am insult and reproach,
I got a soul for a long time,
Let him ask fate to me the best hundred beauties
Everything will fall me your magician gaze.

Favorite beat the corner,
How to heal me, she is not good.
Medications of patients doctors leaky,
A date comes in love.

My girlfriend is on the flat roof
I love my love to know my
I see her, I feel, God's right,
My conversation with her soul leads.

You are like a flower, let you smell you breathe
Let me breathe, come to my chest,
The heart has only one desire:
I ask you, be my wife.

I will not open my souls in an alien edge:
Well, who I have a meeting there, who would understand my soul?
My friend is in my own intimate - lock on the heart,
I have threw the key for a long time, I do not give him anyone.

You are beautiful, my light, like Sulna on a rock,
Oh, I'm thin, you smoke Nargile.
Sleepless eyes all you have deprived
So hug me, once you hold in the cab.

On the damned life I would wave my hand
But it is impossible, dear, parting with you,
My heart with your beloved, how to be me - I do not know
How in the way I go without my dear.

From women always treason wait,
Cunning of darkness in the creation of unearthly,
She is our companion on half a dog,
And so all his life goes its own way.

My dear, dear, very much I worries
Look in my eyes, because they are drown in tears,
If you, my dear, you will not come to the head of
I'm not staring with the bed, in the witness of Allah.

- Oh high, oh sweet, you're from Kerman,
What you take for two kisses, say without deception?
- standing my kiss how much the whole Samarkand with Bukharoy,
Here is the price of a kiss, what did you decide: Poltuman?

Hussein said: a bouquet of roses I was,
Tied to an expensive seriously I was
About womens women! Never came
When the sick one, like the dog, I was.

Virgo, you are in the white chadra of Kandahar Mila,
You believe you do not believe, you took my heart,
All of you took, I'm in love with these eyes,
In this crystal neck and marble of the Chela.

I want to make you a planet, your way,
Being antimony of beautiful eyes, brought a little bit,
Let my head between your booby begging
I want to wrap, as if your gentle breasts.

Himself a look, my cute dove,
On the head of itself to the rash sand,
Just if you can't pay for me to pay,
Male hat throw off and nacepick scarf.

I'm from sweet hello, two cloves sent she,
To give the heart to give and patience in full.
Ai, my beloved! Made a good deed!
Little to her, that slim, high, so smart!

Rose take in favor and smell inhales
In Kudri, your this rose is rather stuck,
If in curls of your rose will not hold on,
Between the eyebrows, put the tightening cord.

Each well in Zuren is their sound, congratulations,
There is no deeds for any disease, counterparts,
My favorite kill a friend is ready,
But with God's help will be saved, congratulations.

Be a victim to me your antimony black eyes
You did not hold down the oaths, in the already bound by us.
How do you look into your eyes? Is it really not ashamed?
Perhaps you were born in the country of incorrect?

Ah, black-eyed, do you build eyes?
By kidding my mind, you chat the fairy tales.
Kidding my mind, you caught cleverly,
Why do you give love to publicity?

My beautiful woman I want to tell you
What the heart you managed to bind to yourself.
Let me be a hundred written beauties,
To your black eyes, I rushing again.

High, slim, your spirit, interpret, not weak,
You planted me on a spit, like kebab,
I planted me on a spit, watch not charring,
Hope for the grace of Allah feeds your slave.

Girl, Allah tease not suitable,
Why do you dissolve your brass?
Still not changed milk teeth
A free bird drove into the dungeon.

Ah, what a face and a mill! What a magic look!
You are death in love, you lost shame!
Why are you the heart of the Arkan inserted me?
Look, and the terrible court will not be afraid.

My beloved grumbs today,
Very glance is angry today.
One who recrimine her
The holy case will make today.

I took a rose from your favorite hands,
Slowing a rose, all if
A whole rose, pressed the centuries,
After all, I took a gift from my favorite hands.

I will say without hesitation, Muslims,
About cute, about one of her flaw,
There are no flaws in it, only incorrect,
I will tell about it without hesitation.

Hope for female oaths - trouble,
Foot will not serve as a support of water.
Milk jet rope will not tie
The hero will never come from the coward.

Let us have beauty, the daughter of Bogdyman,
Dazzling, sweet, pruteuchnaya,
Anyway, there is no confidence in feminine words,
For a woman is the Warrier of Shaitan.

You will become wheat, I will become a reaper,
You will become a gazelle, I will become a catcher,
And if you sit down on the roof,
Wing to your mill, a funny messenger.

Who survived love, that death is not afraid
Pads and prisons, believe me, not afraid,
He's like a hungry wolf, - Well, what does she have a shepherd?
Let the shepherd of evil, as devils, is not afraid.

So that the face is to decoke, take-ka Belil and Rumba,
Old people will die and junns willoky my dope
Your curls in the ringlets, I spread my braids,
They all let me catch up with the arcanese.

Your brother I spell you, my light,
My eyes are not anticipate to me in harm,
The eyes do not need to be anticipated, without antimony you fight,
Like a kebab, I'll go to the spit.

White bird, with me you are hard and proud,
In the distance flew from me, I do not know where
In the distance flew away from me, I do not think about a moment,
What the trouble will hang over the beloved friend.

You're on the roof, scattered roses at the feet,
I would scratch gold if I could
What is there gold! That silver! - Pathetic trash!
I brought life and soul to you, God sees.

Peri, Peri, well, what is your life not sweet?
- in the most husty day my mother gave birth,
The milk of the malfunction was fed, raised,
And he seven - I gave the villain forever.

Behind the seryl Charth Solonchak adjoins the sands,
In the beloved Percy is like Iiv fruits,
You are thirteen years old, dear, with me wrapped up,
And in fourteen years, let's fall to me to the mouths.

That is beautiful, in whose heart love is deep,
He is like Farhad, in whose shames of Kirk,
If it is, as a lion, it is mighty and lean,
He will certainly meet with his width.

Between me and you - a solid wall,
Between me and you - the envious of the darkness,
I myself come to you in late hour or early,
I do not need a messenger, you need you.

Like Mullah, read the whole Quran, my friend,
You can cure the heart from the wounds you, my friend,
All men's business you, like Sheikh, disassemble,
And in my real chub you, my friend.

You like a cypress barrel, a lot of straight,
Your eyes are driven crazy
These tender lips and white teeth -
As a Shiraza shop where sweets are darkness.

Girlfriend, you're like a jug, thin-touch,
You in the heart entered - and breathing smoke,
You in the heart of the master fully entered
There the roots of letters and the branches shifted.

My soul, no matter how much you screamed,
Your nephery still covered,
Then so that a short hem to lengthen,
So that your leg did not choose anyone.

I'm a babersh quarrel, my flower,
With your eyes, I will die by Chad, my flower,
No, perhaps, I will not touch the chadra,

I'm on the smell immediately find my flower.

1. John Renard. Historical Dictionary of Sufism. - Rowman & Littlefield, 2005. - P. 155.

   "Perhaps The Most Famous Sufi Who Is Known to Many Muslims Even Today by His Title Alone Is The Seventh / 13th Century Persian Mystic Rumi»

2. Annemarie Schimmel. "The Mystery of Numbers". - Oxford University Press, 1993. - P. 49.

   A Beautiful Symbol of the Duality That Appears Through Creation Was Invented by The Great Persian Mystical Poet Jalal Al-Din Rumi, Who Compares God's Creative Word Kun (Written in Arabic KN) With a twisted rope of 2 Threads (Which in English Twine German Zwirn¸ Both Words Derived from the root "Two").

3. Ritter, h.; Bausani, A. Encyclopaedia of Islam - "ḏjalāl al-dīn rūmī b. Bahā' Al-Dīn Sulṭān Al-'ulamā' Walad B. ḥusayn b. Aḥmad ḵhaṭībī" / Bearman, th. Bianquis, C. E. Bosworth, E. Van Donzel and W. P. Heinrichs. - Brill Online, 2007.

   ... Known by The Sobriquet Mawlānā (MEVLâNÂ), Persian Poet and Founder of the Mawlawiyya Order of Dervishes.

4. Julia Scott Meisami. Forward to Franklin Lewis, Rumi Past and Present, East and West (Revised Edition). - Oneworld Publications, 2008.
5. Frederick Hadland Davis. "The Persian Mystics. Jalálu" D-Dín Rúmí ". - Adamant Media Corporation, November 30, 2005. - ISBN 1402157681.
6. Annemarie Schimmel, "I Am Wind, You Are Fire," p. 11. She Refers to a 1989 Article by Fritz Meier:

   Tajiks and Persian AdmiRers Still Prefer to Call Jalalddin "Balkhi" Because His Family Lived in Balkh, Current Day in Afghanistan Before Migrating Westward. HOWEVER, Their Home Was Not in the Actual City of Balkh, Since The Mid-Eighth Century A Center of Muslim Culture In (Greater) Khorasan. Rather, As Meier Has Shown, It Was In The Small Town of Wakhsh North Of the Oxus That Baha "Uddin Walad, Jalalddin" S Father, Lived and Worked As a Jurist and Preacher with Mystical Inclinations. Franklin Lewis, Rumi: Past and Present, East and West: The Life, Teachings, and Poetry of Jalâl Al-Din Rumi, 2000, pp. 47-49.

   Lewis Has Devoted Two Pages of His Book to the Topic of Wakhsh, Which He States Has Been Identified with the Medieval Town of Lêwkand (OR Lâvakand) Or Sangtude, Which Is About 65 Kilometers Southeast of Dushanbe, The Capital of Present-Day Tajikistan. He Says It Is On The East Bank of The Vakhshâb River, A Major Tributary That Joins The Am Daryâ River (Also Called Jayhun, and Named The Oxus by The Greeks). HE FURTHER STATES: "Bahâ Al-Din May Have Been Born in Balkh, But at Least Between June 1204 and 1210 (Shavvâl 600 and 607), During Which Time Rumi Was Born, Bahâ Al-Din Resided in a House in Vakhsh (BAH 2: 143 [\u003d Bahâ "Uddîn Walad" S] Book, "Ma`ârif"). Vakhsh, Rather Than Balkh Was The Permanent Base of Bahâ Al-Din and His Family Until Rumi Was Around Five Years Old (MEI 16- 35) [\u003d From a book in german by The Scholar Fritz Meier-Note Inserted Here]. At that time, in about the year 1212 (AH 608-609), The Valads Moved to Samarqand (FIH 333; MEI 29-30, 36) [\u003d reference to rumi "s" discourses "and to fritz meier" s Book-Note Inserted Here], Leaving Behind Baâ Al-Din "S Mother, Who Must Have Been At Least Seventy-Five Years Old."
7. William Harmless Mystics., (OXFORD UNIVERSITY PRESS, 2008), 167.
8. ARTHUR JOHN ARBERRY. The Legacy of Persia. - Clarendon Press, 1953. - P. 200. - ISBN 0-19-821905-9.
9. Frye, R. N. The Encyclopaedia of Islam is "Darī" (CD Version). - Brill Publications.
10. ENCYCLOPEDIA OF LIBRARY AND INFORMATION SCIENCE, VOLUME 13 (eng.). Google Books.. Reference date August 18, 2010.
11. , from. 249.
12. Pahlavi Psalter. - article from Encyclopædia Iranica. Philippe Gignoux
13. Abdolhossein zarrinkoub. Naqde Adabi. - TEHRAN, 1959. - P. 374-379.
14. Abdolhossein zarrinkoub. Naqde Adabi. - TEHRAN, 1947. - P. 374-379.
15. Armenia in III - IV centuries. // The World History. - T. 2, ch. XXV.:

    ... Armenia received a writing system, not only different from Iranian, but also much more affordable for the people than Iranian; The latter due to its complexity was quite understandable only to professional scribes. This is partly explained by the wealth of Armenian literature compared to the Middle Persian.

16. Charles-Henri de Fouchécour. Iran VIII. Persian Literature (2) Classical. (eng.). ENCYCLOPAEDIA IRANICA (December 15, 2006). Reference date August 8, 2010. Archived on August 28, 2011.

    The Distinction Between Poetry and Prose Has Always Been Quite Deliberate in Persian Literature, with Poetry Given The Pride of Place. IT DISTINGUISHED ITSELF CLEARLY FROM PROSE NOT ONLY IN TERMS OF RHYME AND RHYTHM, BUT ALSO IN THE ARTFUL PLAY BETWEEN EXPLICIT MEANING OR Meanings and Implicit Nuances.

17. , p. 2: "The Prevalent Classification of Classical Literary Schools Into Central Asia, Transcaucasian, Persian, and Indian Originated with Y. E. BERTEL'S WHOSE PRIMARY EMPHASIS SEEMS TO HAVE BEEN ON ETHNIC AND REGIONAL CONTRIBUTIONS»
18. , p. 2: "The Corresponding Nomenclature of Persian Literary Historians, I.E.," Khorasani, Azerbayjani, Eraqi ", and" Hendi ", On the Other Hand, Denotes More Than Anything Else, a Chronological Differentiation.
19. Peter Chelkowski. Literature in pre-Safavid Isfahan - p. 112 (eng.). Reference date August 18, 2010. Archived June 19, 2012.

    The Three Main Literary Styles Which Follow Each Other Consecutively Are Known As: Khurasani, Iraqi, and Hindi. The Time Spans of Each Style Are Equally Flexible. Within thene Broad Geographical Divisions We Then Come Across Certain "Literary Schools" Which Reflect regional peculiarities and IDIOSYNCRASIES ANDRE LIKE PROVINCESIE ENTITIES LIKE PROVINCES OR TOWNS. For example, There Are: The Azerbayjani School, The Tabriz School, Or The Shirvan School.

20. C. E. Bosworth. 'Aǰam (eng.) (inaccessible link). Encyclopaedia Iranica (Deceptia 15, 1984). Reference date August 8, 2010. Archived on May 5, 2012.
21. Rypka, Jan. PoETS AND PROSE WRITERS OF THE LATE SALJUQ AND MONGOL PERIODS ', IN THE CAMBRIDGE HISTORY OF IRAN, VOLUME 5, THE SALJUQ AND MONGOL PERIODS. - January 1968.

    «One of the Striking Features Of The Transcaucasian School IS Its Complicated Technique. "

22. Peter Chelkowski. Literature in Pre-Safavid Isfahan International Society for Iranian Studies Iranian Studies, Vol. 7, No. 1/2. - Taylor & Francis, Ltd. On Behalf Of International Society for Iranian Studies, 1974. - P. 112-131.

    "The Three Main Literary Styles Which Follow Each Other Consecutively Are Known AS: Khurasani, Iraqi, and Hindi. The Time Spans of Each Style Are Equally Flexible. Within thene Broad Geographical Divisions We Then Come Across Certain "Literary Schools" Which Reflect regional peculiarities and IDIOSYNCRASIES AND ARE Identified with Smalleler Entities Like Provinces or Towns. For example, there Are: the Azerbayjani School, The Tabriz School, Or The Shirvan School.»

23. Muḥammad amīn riyāḥī. Sharvānī, jamāl khalīl, FL. 13 Cent., Nuzhat Al-Majālis / Jamāl Khalīl Sharvānī; Tā'līf Shudah Dar Nīmah-'i Avval-I Qarn-I Haftum, Tashih Va Muqaddimah Va Sharm-I Hal-I Gūyandigān Va Tawzīḥāt Va Fihristhā. - Tehran: Intishārāt-I zuvvār, 1366. - 764 p.
24. Peter Chelkowski. Literature in Pre-Safavid Isfahan International Society for Iranian Studies Iranian Studies, Vol. 7, No. 1/2. - Taylor & Francis, Ltd. On Behalf of International Society for Iranian Studies, 1974.

    Azerbayjan Became The Heir to the Khurasani Style.

25. Francois de Blois.

    "The Point of the Anectode Is Clear That The Diwans Of These Poets Contained Eastern Iranian. (I.E. Sogdian etc.) Words That Were Incomprehensible to a Western Persian. Like Qatran, Who ConsQuently Took Advantage Of An Educated Visitor From The East, Nasir, to Ascertain Their Meaning.

26. , p. 7-8: «The term" Transcaucasian "in bertel's classification, and" Azerbaijani "in the Persian classification, refers to the poetry by cluster of poets associated mainly with the Caucasian Shirvanshahs who, in the course of the eleventh and twelfth centuries enjoyed a Relative Independence from The Saljuqid Empire. A FEW LITERARY HISTORIANS TRACE THE ORIGINS OF THIS STYLE TO Qatran Of Tabriz (CA. 1009-1072), Whose Diction IS Taken to Represent Certain Characteristics of the Pre-Mongol Iranian-Azeri».
27. Minorsky. "Marand" in Encyclopaedia of islam / P. Bearman, th. Bianquis, C. E. Bosworth, E. Van Donzel and W. P. Heinrichs. - 1991. - T. 6. - P. 504.

    "According to One of Al-Tabari's Authorities (III, 1388), The Shaykhs of Maragha Who Praised The Bravery and Literary Ability (ADAB) of IBN Bai'th Also quoted His Persian Verses (Bi'l-Fdrisiyya). This Important Passage, Already quoted by Barthold, BSOS, II (1923), 836-8, Is Evidence of The Existence of the Cultivation of the Persia at the Beginning of the 9th Century. IBN Bai''th Must Have Been Iranicised to a Considerable Extent, and, As Has Been Mentioned, He Relied for Support on the Non-Arab Elements in His Rustakhs ('Uludj Rasatikhi') "

28. Jamal-Din ḵalil Šarvāni. Nozhat Al-Majāles, 2nd ED / Moḥammad Amin Riāḥi. - Tehran, 1996.
29. Tabari. The History of Tabari, 2nd Edition. - Asatir Publications, 1993. - T. 7.

    حد ثني انه انشدني بالمراغه جماعه من اشياخها اشعارا لابن البعيث بالفارسيه وتذكرون ادبه و شجاعه و له اخبارا و احاديث »طبري, محمدبن جرير, تاريخ طبري, جلد 7, چاپ دوم, انتشارات اساطير, 1363.

30. Archival copy of May 8, 2012 on Wayback Machine Richard Davis. Borrown Waredenieval Persian Epigrams. - Mage Publishers, 1998. - ISBN 0-934211-52-3.

    In Preparing The Brief Notes On Individual Poets My Chief Debt Is To Dr. Zabihollah Safa's Tarikh-E Adabiyat Dar Iran ("History of Literature In Iran", 5 Vols., Tehran, Reprinted 1366/1987). I Have Also Made Use Of Dr. Mohammad Amin Riahi's Introduction to His Edition of the 14th Century Anthology of Rubaiyat, The Nozhat Al-Majales ("Pleasure of the Assemblies"), AS Well As using Material From Other Sources. "

31. Peter Chelkowski. "Mirror of the Invisible World." - New York: Metropolitan Museum of Art, 1975. - P. 6. - 117 p.

    "Nizami's Strong Character, His Social Sensibility, and His Poetic Genius Fused with His Rich Persian Cultural Heritage to Create a New Standard of Literary Achievement. Using themes from the Oral Tradition and Written Historical Records, His PoEms Unite Pre-Islamic and Islamic Iran. »

32. Anna Livia Beelaert. Ḵqāni Šervāni. (eng.). Encyclopedia Iranica.. Date of appeal September 3, 2010. Archived on May 5, 2012.

    Khaqani's IS NOTED FOR HIS EXTREMELY RICH IS NOTED FOR HIS AND ALLUDING TO A WIDE RANGE OF FIELDS OF KNOWEDGE-A MANNERIST, IN AN EVEN HIGHER DEGREE THAN OTHER Classical Persian Poets, Both In The Way He Absorbs and Transforms The Poetry of His Predcessors and IN HIS LOVE OF PARADOX.

33. : "The Geographical Closeness of the Territories Subect to the Šarvānšāh Encouraged The Flow of Intellectuals and Poets from One Court to the Other. IT Is Also Possible to Speak of a Certain Similarity of Inspiration And Of Style Between The Poets Born and EDUCATED IN THESE AREAS, TO THE THE POINT OF DEFINING THEM AS Belonging to the 'Azerbaijan School' (Rypka, Hist. Iran Lit.., pp. 201-9). The complexity of the language and of the compositional techniques, the originality and multiplicity of the themes, the presence of Persian archaisms and, at the same time, a wide range of borrowings from Arabic vocabulary are among the stylistic features which are common to poets in This Cultural Context Compared with Other CONTEMPORARIES PLOSER TO THE KHORASANI STYLE.
34. Nozhat Al-Majāles (Neopr.) . ENCYCLOPæDIA IRANICA Archived on August 28, 2011.

    "Nozhat Al-Mājales Is Thus a Mirror of the Social Conditions At the Time, Reflecting The Full Spread of Persian Language And The Culture of Iran Throughout That Region, Clearly Evidenced by The Common Use Of Spoken Idioms in Poams As Well As the Professions of The Some of the Poets (See Below). THE INFLUENCE OF THE northwestern Pahlavi Language., For example, Which Had Been The Spoken Dialact of The Region, Is Clearly Observed In The Poams Contained in This Anthology.

35. Nozhat Al-Majāles (Neopr.) . ENCYCLOPæDIA IRANICA. Date of appeal July 30, 2010. Archived on August 28, 2011.

    "In Contrast to Poets from Other Parts of Persia, Who Mostly Belonged to Higher Echelons of Society Such As Scholars, Bureaucrats, and Secretaries, A Good Number of Poets In The Northwestern Areas Rose From Among The Common People with Working Class Backgrounds and they Frequently Used Colloquial Expressions in their Poetry. They Are Referred to As Water Carrier (Saqqā'), Sparrow Dealer ('OFORI), Saddler (Sarrāj), Bodyguard (Jāndār), Oculist (Kaḥḥāl), Blanket Maker (Leḥāfi), etc., Which Illustrates The Overall Use Of Persian In That Region "

36. Nozhat Al-Majāles (Neopr.) . ENCYCLOPæDIA IRANICA. Date of appeal July 30, 2010. Archived on August 28, 2011.

    This Blending of Cultures Certainly Left Its of the Region, Resulting In The Worth creation Of A Large Number Of New Concepts and Terms, The Examples of Which Can Be Noticed in The Poems of ḵāqāni and Neẓāmi, As Well As in Dictionaries. »

37. , p. 2: "Christian Imagery and Symbolism, QUOTATIONS From The Bible and Other Expressions Inspied by Christian Sources Occur So Frequently in the Works of Khagani and Nizami in Particular, That A Comprehension Of Their Works Is Almost Impossible without a Thorough Knowledge of Christianity».
38. : "The Complexity of Themes, The Pre Resence of Persian Archaisms and, At The Seme Time, A Wide Range of Borrowings from Arabic Vocabulary A Among The Stylistic Features Which Are Common To Poets in this Cultural Context Compared with Other CONTEMPORARIES CLOSER TO THE KHORASANI STYLE »
39. Francois de Blois. Persian Literature - A Biobibliographical Survey: Volume V Poetry of The Pre-Mongol Period Volume 5 of Persian Literature, 2nd Edition. - ROUTLEDGE, 2004. - P. 187.

    "The Point of the Antectode Is Clear That The diwans. Of These Poets Contained Eastern Iranian (I.E. Sogdian etc.) Words That Were Incomprehensible to a Western Persian Like Qatran, Who Consquently Took Advantage Of An Educated Visitor from The East, Nasir, to Ascertain Their Meaning.

40. Muḥammad amīn riyāḥī. Sharvānī, jamāl khalīl, FL. 13 Cent., Nuzhat Al-Majālis / Jamāl Khalīl Sharvānī; Tā'līf Shudah Dar Nīmah-'i Avval-I Qarn-I HAFTUM, Tashih Va Muqaddimah Va Sharm-I Hal-I Gūyandigān Va Tawzīḥt Va Fihristhā az Muḥammad Amīn Riyāḥī. See Indroduction. - Tehran: Intishārāt-I zuvvār, 1366.
41. Novoseltsy A. P. Chapter III. Asia and North Africa in the X-XIII centuries. The states of the Samanids and Gaznevids // Institute of Oriental Studies of the Russian Academy of Sciences of the East. In 6 volumes. Volume 2. East in the Middle Ages. History. - Eastern literature, 2009. - T. 2. - ISBN 978-5-02-036403-5, 5-02-018102-1.

    "Many later, already in the unmemberment time, in the new conditions, this community, part of which (in Azerbaijan and Maverannah) underwent turkization, began to decay into two independent - Persians and Tajiks. Nothing like this in IX-X, and in the XI-XIII centuries. There was no, and the Tajiks of that pore - the general name of the mass of the Iranian-speaking population associated with a single culture, ethnic self-consciousness and language. "

42. Rypka. History of Iran Literature. - P. 201-209.

    The Geographical Closeness Of The Territories Subect to the Šarvānšāh Encouraged The Flow of Intellectuals and Poets from One Court to the Other. IT Is Also Possible to Speak of a Certain Similarity of Inspiration And Of Style Between The Poets Born and Educated in Them As Belonging to the "Azerbaijan School".

43. Rypka, Jan. History of Iranian Literature. - Reidel Publishing Company, January 1968. - P. 76.

    "The Centripetal Tendency IS Evident In The Unity of Peresian Literature From The Points of View of Language and Content and Also in the Sense of Civic Unity. Even The Caucasian Nizami, Althogh Living On The Far-Flung Periphery, Does Not Manifest A Different Spirit and Apostrophizes Iran As The Heart Of The World »Aligned August 28, 2011.

44. Neẓāmī. "Encyclopædia Britannica. 2009. Encyclopædia Britannica Online. 28 Feb. 2009

    Greatest Romantic Epic Poet in Persian Literature, Who Brought A Colloquial and Realistic Style To The Persian Epic. …. Nezami Is AdmiRed in Persian-Speaking Lands for His Originality and Clarity of Style, Though His Love of Language for Its Own Sake and of Philosophical and Scientific Learning Makes His Work Difficult for the Average Reader.

45. Julie Scott Meisami. The HAFT Paykar: A Medieval Persian Romance. - Oxford University Press (OXFORD World "S Classics), 1995. - ISBN 0-19-283184-4.

    "ABû Muhammad Ilyas IBN Yusuf IBN Zaki Mu'ayyad, Known by His Pen-Name of Nizami, Was Born Around 1141 in Ganja, The Capital of Arran In Transcaucasian Azerbaijan, Where He Remained Until His Death Inby 1209. His Father, Who HAD MIGRATED TO GANJA FROM QOM IN NORTH CENTRAL IRAN, MAY HAVE BEEN A CIVIL SERVANT; His Mother Was a Daughter of a Kurdish Chieftain; Having Lost Both Parents Early in His Life, Nizami Was Brought Up by An Uncle. He Was Married Three Times, and in His Poem Laments The Death Of Each Of His Wives, As Well As Proferring Advice To His Son Muhammad. HE Lived in An Age of Both Political Instability and Intense Intellectual Activity, Which His PoEMS Reflect; But Little Is Known ABOUT HIS Life, His Relations of His Patrons, Or The Precise Dates of His Works, As The Accounts of Later Biograms Are Colored by The Many Legends Built Up Around The Poet. »

46. Yar-Shoter, Ehsan. Persian Poetry In The Timurid and Safavid Periods - Cambridge History of Iran. - Cambridge: Cambridge University Press, 1986. - P. 973-974.
47. Sanjay Bumbroo. Oblivion of Persian Language Will Leave Void in Sikh History (eng.). Chandigarh, India - Punjab. THE TRIBUNE. Reference date August 18, 2010. Archived on January 3, 2008.

    He Said Persian Sources Had Been Important for the Researchers of Sikh History. HE FURTHER ADDED THAT PERSIAN WRITINGS OF BHAI LAL WERE ABSOLUTELY IN TUNE WERE SIKH SPIRITE, Which Provided The Key to Unlock The Spiritual Secrets and Mystical Flights of Sikhism Through His PoEms.

    Giving Brief Historical Facts About Bhai Nand Lal, Balkar Singh Said He Was One of The 52 Poets in the Court of Guru Gobind Singh. Son of Diwan Chajju Ram, Mir Munshi Or Chief Secretary of The Governor of Ghazni, Bhai Lal In A Short Time Acquired Great Efficiency In Persian and Arabic Languages.

    After The Death of His Parents, He Decided to Return to Multan Where He Married A Sikh Girl, Who Used to Recite Gurbani and Knew Gurmukhi. Leaving His Family Behind, He Left for Anandpur Sahib and Received Guru Gobind Singh's Blesings. After Staying Atue for Some Time, He Left to Serve As Mir Munshi Under Prince Mauzzam (Later to Become Emperor Bahadur Shah), Due to An Acquaintance of His Father, Named Wasif Khan.

    Aurangzeb Wished to Convert Him to Islam Because He Had So Beautifully Interpreted Verses of the Koran. Fearing Persecution, Bhai Lal and His Family Left for the Northern India. Leaving His Family in Multan, HE ONCE AGAIN CAME TO STAY WITH GURU GOBIND SING AT ANANDPUR SAHIB IN 1697. LATER, HE RETURNED TO MULTAN WHERE HE OPENED A SCHOOL OF HIGHER EDUCATION IN PERSIAN AND ARABIC.

    Professor Singh Said Bhai Lal's Seven Works in Persian Poetry Included Diwan-E-Goya, Zindgi Nama, Ganj Nama, Joti Bigaas, Arzul Alfaaz, Tausif-O-Sana and Khatima, And Dastural-Insha, Besides Three in Punjabi.

48. Ashk Dahlén, Kingship and Religion in A Mediaeval Fürstenspiegel: The Case of the Chahār Maqāla of Nizāmi'aruzi, Orientalia Suecana., Vol. 58, Uppsala, 2009.
49. Nizam Al-Mulk Abdol Hossein Saeedian, "LAND AND PEOPLE OF IRAN" p. 447.