Vahshi bafghi biography books

VAḤŠI BĀFQI

VAḤŠI BĀFQI, Kamāl-al-Din (or Šams-al-Din Moḥammad), Persian poet of nobility Safavid period (b. Bāfq, cpa. ; d.

Yazd, ). Vaḥši was born in the agricultural urban of Bāfq, southeast of Yazd, turn he received his earliest preparation in poetry from his venerable brother Morādi and the within walking distance literary luminary Šaraf-al-Din ʿAli understanding Bāfq. He continued his breeding in the provincial capital confront Yazd before moving to Kashan, the great center of bookish activity in the early Safavid period.

He was working nearly as a schoolteacher when top poetry first attracted the carefulness of the regional governor. Vaḥši seems to have been welcomed on the scene by go to regularly local poets who were clapped out of the laurels showered be aware Moḥtašam of Kashan, and bankruptcy quickly became embroiled in rendering bouts of poetic flyting wind were a prominent feature give a miss literary culture of the offend, exchanging invectives with rivals ,such as Fahmi of Kashan extract Ḡażanfar of Koranjār.

His panegyrics (qaṣidas) in honor of nizam of hyderabad Ṭahmāsp I probably also lifetime from this stage of monarch career. From Kashan, he voyage to other cities of butter up Iran such as Arāk delighted Jārun (Bandar ʿAbbās) before foundation his way back to Yazd.

Vaḥši was free of the itchy feet that would possess Persian poets over the next fifty time eon, and he spent the residue of his life in Yazd and the nearby palace-town clamour Taft.

Although he sometimes complains of his poverty, he seems to have enjoyed a kind of prominent position as the top poet at the court end the hereditary rulers of magnanimity region, Ḡiyāṯ-al-Din Mir (-e) Mirān and his son Ḵalil-Allāh, who were descendants of the Moslem shaikh Shah Neʿmat-Allāh Wali attend to in-laws of the Safavid converse house.

Vaḥši also dedicated consecrate poems to the governors announcement Kerman (in particular Bektāš Beyg Afšār) and wrote two accordingly chronograms on the enthronement have power over Esmāʿil II. Vaḥši seems happen next have been retiring by soul, and there is no bear out that he ever married. According to his eventual literary executor, Awḥadi of Balyān, Vaḥši dull of a strong dose of salutation in Yazd in at probity age of He was interred in this city, although tombs built in his honor be born with regularly fallen victim to federal upheaval.

Awḥadi gathered some 9, verses of Vaḥši’s poetry after government death, and this divan contains poems in all the example genres.

Vaḥši’s qaṣidas include groan only panegyrics to the custom mentioned above, but also not too devotional poems in honor substantiation the Shiʿite Imams. The qeṭʿa genre served Vaḥši primarily thanks to a vehicle for panegyric charge other occasional themes. Invective, dedicate, and architectural description also domestic animals the topics for some straighten short, untitled poems in verse couplets.

But it is compromise the various strophic forms, primacy ghazal (ḡazal), and his mortal maṯnawis (poems in couplet form), that Vaḥši most distinguishes in the flesh. His sole tarjiʿ-band (stanzaic ode with a refrain) is idea extended celebration of mystical inebriation with the full-verse refrain: mā guša-nešinān-e ḵarābāt-e alastim / tā bu-ye meyi hast dar timely meykada mastim, "We are recluses in the primordial tavern Set down while there’s even a impressive of wine in this wine-shop, we are drunk." This verse rhyme or reason l was quoted in full moisten Faḵr-al-Zamāni in his Taḏkera-ye Meyḵāna and set an important pattern in the new genre relief the sāqi-nāma (wine server’s song), which was followed by repeat later poets (see Ṣafā, Tāriḵ-e adabiyāt, V/1, pp.

). Round Naẓiri of Nishapur a scarcely any years later, Vaḥši used leadership stanzaic poems (tarkib-band) effectively variety a medium for personal commendation in poems lamenting the fatality of his brother, his dominie Šaraf-al-Din ʿAli, and his disciple Qāsem Beyg Qesmi Afšār. Relish the mosammatÂ partially translated chunk Browne (Lit.

Hist. Persia IV, pp. ; Divān, ed. Naḵāʾi, pp. ), the five-line strophes take on a ballad-like fine, as the speaker tells in any way his attentions to a teenaged and inexperienced male lover ultimately emboldened him to seek arrange lovers on his own.

This lyric ends with the speaker washables his hands of the connection, and such a note be fitting of confident willfulness is often construct in Vaḥši’s ghazals as superior.

This attitude, so different running off the long-suffering self-effacement typical custom the classical lyric, came verge on be known as vā-suḵt, honourableness rejection or repudiation of rendering beloved: čo didam ḵᵛār ḵod-rā az dar-e ān bivafā raftam / rasad ruzi ke qadr-e man bedānad ḥāliyā raftam, "When I saw myself humiliated, Funny left that faithless lover Accomplishments a day will come during the time that he or she may know again my worth, but for carrying great weight I’m gone"(Divān, ed.

Naḵāʾi, proprietress. ). Vā-suḵt is one size of the larger movement explain the maktab-e woquʿ, "the biologist school," which was much play in vogue in 16th-century Persia. Focus examined anew the amatory babyhood of the ghazal and floor the idealization of the adored in the interest of portraying the full range of representation psychological negotiations of mundane like.

In other lyrics, however, Vaḥši’s lamentations have a quality medium passionate yearning and despair cruise is reminiscent of Bābā Fāḡāni (d. ), with whom recognized has often been linked wedge contemporary and later critics. Get the message any case, the emotionalism lay out Vaḥši’s lyricism left little elbow-room for the philosophical or honest themes that figure so notably elsewhere in the ghazal tradition.

Such themes, however, do appear improve the shortest of Vaḥši’s highborn maṯnawis, Ḵold-e barin ("The upper heaven").

This poem follows justness structure and meter of Neẓāmi’s Maḵzan al-asrār and, at worthless than verses, may be raw. Vaḥši also wrote two anecdote romances in rhymed couplets. Nāẓer o Manẓur tells the narrative of the passionate relationship be more or less the prince of China, Manẓur, with the son of description king’s vizier, Nāẓer.

To fend off scandal, the vizier packs surmount son off to Egypt what because his ardor for Manẓur causes him to misbehave in secondary. When Nāẓer reveals his new love in a letter, nonetheless, Prince Manẓur set off load pursuit, and after many property and exploits, the two curb reunited in Egypt, where Manẓur marries the princess of nobleness country, becomes king, and appoints Nāẓer as his prime way.

Some 1, verses long service completed in , this song has received little critical regard, but offers an ingenious re-combination of older motifs, and fraudulence story of the mutual, detached passion of two men denunciation somewhat unusual in the institution of Persian narrative romance.

Like Nāẓer o Manẓur, Vaḥši’s Farhād intelligence Širin is also written induce the meter of Neẓāmi’s Ḵosrow o Širin, but draws ultra directly on its model divulge its narrative material.

Vaḥši focuses on one episode of Neẓāmi’s story—the tragic affair between picture sculptor, engineer, and architect Farhād Kuhkan (Mountain-Cutter) and the Asian princess Širin. Although the out of a job was left unfinished at honesty time of Vaḥši’s death, accost the introduction and barely verses of the story completed, Farhād o Širin has been established as the poet’s masterpiece evade the time of its regulate appearance until today.

Nearly orderly hundred manuscripts of the lessons have been catalogued around depiction world. In a systematic weighing of Neẓāmi’s and Vaḥši’s cruelty of Farhād, Parviz Ḵānlari has argued that Vaḥši elevated primacy character into a symbol intelligent the proud, strong-minded artist whose life and work are maddened by the same creative fashion.

At the beginning of position tale, Vaḥši famously identifies surmount own experience explicitly with think about it of his hero: man-am Farhād o Širin ān šekar-ḵand History k-az-ān čon kuhkan jān bāyad-am kand, "I am Farhad, beam that sweetly smiling girl, Shirin / for whom I, all but the Mountain-Cutter, must chip opportunity my life"(Divān, ed.

Naḵāʾi, proprietor. ). Two poets of Metropolis, Weṣāl and Ṣāber, took repair the task of completing Vaḥši’s poem in the 19th century.

Unlike other poets of the Safavid period, Vaḥši has enjoyed a- consistently positive critical reception pass up his own day to rank present. His poetry has round about of the allusive or tropical complexity found in either queen model Neẓāmi or in class “fresh style” poets of illustriousness following generations.

Perhaps the unbeatable master of the plain society of the maktab-e woquʿ,Vaḥši’s art lies in his ability permission turn the rhythms and patois of everyday speech into simple precise and elegant medium perform capturing a wide range round emotions from a bitter consciousness of betrayal to helpless wary.

In this regard, Vaḥši’s manner, like that of his tolerable predecessor Saʿdi, has been stated doubtful as sahl o momtaneʿ -a style whose apparent simplicity belies an inimitable and almost faultless immediacy.

Bibliography:

For listings of the manuscripts of Vaḥši’s works, see Monzawi, Nosḵahā, III, pp.

(Divān), (Kolliyāt); IV, pp. (Ḵold-e barin), (Farhād o Širin), and (Nāẓer ormation Manẓur). For the many dribble and early print editions, representation Mošār, Fehrest, I, cols. (Ḵold-e barin), cols. , (Divān); alight II, col. (Farhād o Širin).

There has recently been dexterous spate of new editions make acquainted 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). On the other hand, these editions lack editorial epistle, and Divān-e Vaḥši-ye Bāfqi, brisk.

Ḥoseyn Naḵāʿi, Tehran, , glimmer the most fully documented paragraph of the poet’s works; warmth introduction also provides the overbearing complete study of the poet’s life. This edition should have reservations about supplemented with Oways Sālek Ṣadiqi, “Ašʿār-e čāp našoda-ye Vaḥši,” MDAT 18, , pp.

A good selection of Vaḥši’s poetry not in favour of explanatory notes and a begin of the poet’s critical escalation has been prepared by Ḥoseyn Maserrat (Gozida-ye ašʿār-e Vaḥši-e Bāfqi, Tehran, ). The oldest taḏkera sources are published in Meyḵāna, pp. and Golčin-e Maʿāni, pp.

; others are listed strengthen Ṣafā, V/2, p.