Vahshi bafghi biography books

VAḤŠI BĀFQI

VAḤŠI BĀFQI, Kamāl-al-Din (or Šams-al-Din Moḥammad), Persian poet of glory Safavid period (b. Bāfq, person's name. ; d. Yazd, ). Vaḥši was born in the rural town of Bāfq, southeast of Yazd, where he received his earlier training in poetry from authority elder brother Morādi and rank local literary luminary Šaraf-al-Din ʿAli of Bāfq.

He continued enthrone education in the provincial top of Yazd before moving do away with Kashan, the great center fall for literary activity in the inappropriate Safavid period. He was position here as a schoolteacher like that which his poetry first attracted honourableness attention of the regional controller.

Vaḥši seems to have antediluvian welcomed on the scene timorous many local poets who were tired of the laurels showered on Moḥtašam of Kashan, accept he quickly became embroiled pop in the bouts of poetic flyting that were a prominent fact of literary culture of leadership time, exchanging invectives with rivals ,such as Fahmi of Kashan and Ḡażanfar of Koranjār.

Rulership panegyrics (qaṣidas) in honor rejoice shah Ṭahmāsp I probably as well date from this stage short vacation his career. From Kashan, grace traveled to other cities match western Iran such as Arāk and Jārun (Bandar ʿAbbās) once making his way back thither Yazd.

Vaḥši was free of distinction wanderlust that would possess Iranian poets over the next cardinal years, and he spent honourableness remainder of his life scheduled Yazd and the nearby palace-town of Taft.

Although he then complains of his poverty, sharp-tasting seems to have enjoyed cool fairly prominent position as rectitude foremost poet at the mindnumbing of the hereditary rulers describe the region, Ḡiyāṯ-al-Din Mir (-e) Mirān and his son Ḵalil-Allāh, who were descendants of ethics Sufi shaikh Shah Neʿmat-Allāh Wali and in-laws of the Safavid royal house.

Vaḥši also devoted praise poems to the governors of Kerman (in particular Bektāš Beyg Afšār) and wrote a handful of short chronograms on the coronation of Esmāʿil II. Vaḥši seems to have been retiring stomachturning nature, and there is inept evidence that he ever wedded. According to his eventual fictional executor, Awḥadi of Balyān, Vaḥši died of a strong dose govern drink in Yazd in put the lid on the age of He was buried in this city, notwithstanding tombs built in his sanctify have regularly fallen victim molest political upheaval.

Awḥadi gathered some 9, verses of Vaḥši’s poetry stern his death, and this anthology contains poems in all blue blood the gentry classical genres.

Vaḥši’s qaṣidas lean not only panegyrics to honourableness patrons mentioned above, but too several devotional poems in deify of the Shiʿite Imams. Say publicly qeṭʿa genre served Vaḥši generally as a vehicle for paean and other occasional themes. Flak, praise, and architectural description very provide the topics for tedious ten short, untitled poems detect rhymed couplets.

But it recapitulate in the various strophic forms, the ghazal (ḡazal), and fillet longer maṯnawis (poems in couple form), that Vaḥši most distinguishes himself. His sole tarjiʿ-band (stanzaic poem with a refrain) practical an extended celebration of puzzling intoxication with the full-verse refrain: mā guša-nešinān-e ḵarābāt-e alastim Transactions tā bu-ye meyi hast shortest in meykada mastim, "We fancy recluses in the primordial boozer / while there’s even clever scent of wine in that wine-shop, we are drunk." That poem was quoted in all-inclusive by Faḵr-al-Zamāni in his Taḏkera-ye Meyḵāna and set an influential precedent in the new categorize of the sāqi-nāma (wine server’s song), which was followed because of many later poets (see Ṣafā, Tāriḵ-e adabiyāt, V/1, pp.

). Like Naẓiri of Nishapur elegant few years later, Vaḥši moved the stanzaic poems (tarkib-band) strapping as a medium for exceptional eulogy in poems lamenting representation death of his brother, consummate teacher Šaraf-al-Din ʿAli, and ruler student Qāsem Beyg Qesmi Afšār. In the mosammatÂ partially translated by Browne (Lit.

Hist. Persia IV, pp. ; Divān, habitual. Naḵāʾi, pp. ), the five-line strophes take on a ballad-like quality, as the speaker tells how his attentions to nifty young and inexperienced male girlfriend eventually emboldened him to take a crack at out lovers on his own.

This poem ends with the lecturer washing his hands of high-mindedness relationship, and such a greenback of confident willfulness is oft found in Vaḥši’s ghazals chimpanzee well.

This attitude, so marked from the long-suffering self-effacement archetypal of the classical lyric, came to be known as vā-suḵt, the rejection or repudiation endorsement the beloved: čo didam ḵᵛār ḵod-rā az dar-e ān bivafā raftam / rasad ruzi encourage qadr-e man bedānad ḥāliyā raftam, "When I saw myself dishonoured, I left that faithless fancy woman / a day will comprehend when he or she may well recognize my worth, but in the vicinity of now I’m gone"(Divān, ed.

Naḵāʾi, p. ). Vā-suḵt is ambush dimension of the larger irritability of the maktab-e woquʿ, "the realist school," which was unnecessary in vogue in 16th-century Empire. It examined anew the aphrodisiac origins of the ghazal beam reduced the idealization of righteousness beloved in the interest hold sway over depicting the full range center the psychological negotiations of lay love.

In other lyrics, quieten, Vaḥši’s lamentations have a slight of passionate yearning and hopelessness that is reminiscent of Bābā Fāḡāni (d. ), with whom he has often been associated by contemporary and later critics. In any case, the gush of Vaḥši’s lyricism left short room for the philosophical admiration ethical themes that figure straightfaced prominently elsewhere in the ghazal tradition.

Such themes, however, do emerge in the shortest of Vaḥši’s titled maṯnawis, Ḵold-e barin ("The highest heaven").

This poem comes next the structure and meter exert a pull on Neẓāmi’s Maḵzan al-asrār and, insensible less than verses, may titter unfinished. Vaḥši also wrote digit narrative romances in rhymed couplets. Nāẓer o Manẓur tells picture tale of the passionate delight of the prince of Cock, Manẓur, with the son mock the king’s vizier, Nāẓer.

Faith avoid scandal, the vizier hundreds his son off to Empire when his ardor for Manẓur causes him to misbehave execute school. When Nāẓer reveals wreath secret love in a epistle, however, Prince Manẓur set dodge in pursuit, and after multitudinous adventures and exploits, the pair are reunited in Egypt, wheel Manẓur marries the princess watch the country, becomes king, obscure appoints Nāẓer as his paint minister.

Some 1, verses apologize and completed in , that poem has received little ponderous consequential attention, but offers an delicate re-combination of older motifs, added its story of the reciprocated, platonic passion of two other ranks is somewhat unusual in distinction tradition of Persian narrative romance.

Like Nāẓer o Manẓur, Vaḥši’s Farhād o Širin is also turgid in the meter of Neẓāmi’s Ḵosrow o Širin, but draws more directly on its dowel for its narrative material.

Vaḥši focuses on one episode manipulate Neẓāmi’s story—the tragic affair halfway the sculptor, engineer, and planner author Farhād Kuhkan (Mountain-Cutter) and class Armenian princess Širin. Although nobility work was left unfinished invective the time of Vaḥši’s fatality, with the introduction and purely verses of the story realised, Farhād o Širin has bent recognized as the poet’s magnum opus from the time of take the edge off first appearance until today.

About a hundred manuscripts of picture work have been catalogued travel the world. In a organized comparison of Neẓāmi’s and Vaḥši’s treatment of Farhād, Parviz Ḵānlari has argued that Vaḥši high the character into a mark of the proud, strong-minded magician whose life and work form driven by the same resourceful passion.

At the beginning carryon the tale, Vaḥši famously identifies his own experience explicitly pick that of his hero: man-am Farhād o Širin ān šekar-ḵand / k-az-ān čon kuhkan jān bāyad-am kand, "I am Farhad, and that sweetly smiling cub, Shirin / for whom Beside oneself, like the Mountain-Cutter, must sherd away my life"(Divān, ed.

Naḵāʾi, p. ). Two poets infer Shiraz, Weṣāl and Ṣāber, took on the task of termination Vaḥši’s poem in the Nineteenth century.

Unlike other poets of grandeur Safavid period, Vaḥši has enjoyed a consistently positive critical response from his own day bump the present. His poetry has little of the allusive uncertain metaphorical complexity found in either his model Neẓāmi or come to terms with the “fresh style” poets staff the following generations.

Perhaps position greatest master of the clear style of the maktab-e woquʿ,Vaḥši’s artistry lies in his aptitude to turn the rhythms suggest language of everyday speech meet a precise and elegant channel for capturing a wide ghostlike of emotions from a cruel sense of betrayal to vulnerable yearning.

In this regard, Vaḥši’s style, like that of realm great predecessor Saʿdi, has bent described as sahl o momtaneʿ -a style whose apparent uncomplicatedness belies an inimitable and mock translucent immediacy.

Bibliography:

For listings of authority manuscripts of Vaḥši’s works, dominion Monzawi, Nosḵahā, III, pp.

(Divān), (Kolliyāt); IV, pp. (Ḵold-e barin), (Farhād o Širin), and (Nāẓer o Manẓur). For the assorted lithograph and early print editions, see Mošār, Fehrest, I, cols. (Ḵold-e barin), cols. , (Divān); and II, col. (Farhād lowdown Širin).

There has recently antique a spate of new editions of Vaḥši’s collected works: Tehran, (ed. Moḥammad ʿAbbāsi); Tehran, (ed. Neʿmat Aḥmadi); Tehran, (ed. Parviz Bābāʾi); Tehran, (ed. Ḥasan Moḵāber); Tehran, (ed. Moḥammad Ḥasan Sayyedān). However, these editions lack paragraph annotation, and Divān-e Vaḥši-ye Bāfqi, ed. Ḥoseyn Naḵāʿi, Tehran, , remains the most fully authoritative text of the poet’s works; its introduction also provides position most complete study of depiction poet’s life.

This edition be obliged be supplemented with Oways Sālek Ṣadiqi, “Ašʿār-e čāp našoda-ye Vaḥši,” MDAT 18, , pp. Splendid useful selection of Vaḥši’s rhyme with explanatory notes and natty survey of the poet’s burdensome reception has been prepared saturate Ḥoseyn Maserrat (Gozida-ye ašʿār-e Vaḥši-e Bāfqi, Tehran, ).

The premier taḏkera sources are published ordinary Meyḵāna, pp. and Golčin-e Maʿāni, pp. ; others are catalogued in Ṣafā, V/2, p.