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Journal of Renewable Natural Resources Bhutan
ISSN: 1608-4330
Spring in Khorasani Poetry Style
Solmaz Razzaghzadeh Shabestari
M. A., Islamic Azad University, Karaj Branch, Iran
ABSTRACT
In Persian literature spring is the most repetitious topic in Farsi poem and literary. May be the shortage
of this season in Iran and the global rebirth and nature proliferation are the reasons according to which
spring become the most favorite topic in Farsi literary, when spring arrives, happiness and
vivaciousness not only brought to the trees and nature, rather it burnish the human soul and such spring
is the best time for the grieves removal. Indeed each term of poem is the mixture of artistic aspect of
poet and equality of nature inherit from it, the poetry terms do not have stable meaning, and the poet
each time put them in a new position and used them on a way. Each term has one or different definition
in language contracts and every time it used in poetry factory can find a new various meanings. These
meaning explain the poet status toward recognitions and objects because the term is the turning point
for anxiety or happiness, the question and answer and pointing to the life and death of internal or
external phenomenon, hence each term of poetry is more than what explained by usual language in
itself and with itself. The spring term also have valuable status in the poetry world and he poets view
in different periods is significant to this term. Among the poets the KHORASANI poetry style followers
had special interest to spring and elements in it and we see too many imaginations about nature and its
application in their works of art.
Keywords: Khorasani Style, Poetry
Introduction
The most ancient Persian Dari poetry which is in our hand related to the last poets of TAHARIAN era
and SFAVI period. There are documents in hand that the Persian poetry in this era, passed its completing
phase from the syllable poetry to prosodic poetry. Some of poetry which is dedicated to the poets of
this era hardly fitted to the prosodic poetry format like;
How the mountain deer run in the weald
Doesn’t have a fellow to know how the loneliness is
This poem and a part of its interpretation is possibly related to this era and the decedent dr. Ahmad Ali
Rejaie published it by the name of ( the bridge between the Persian syllable and prosodic poetry) which
confirm this point that a group of poetry related to Samani era which have heavy and vague meaning
also could show the Persian poetry completion period, Rajaie 1356;31, anyway, Taherian- apparentlyhad not been the encourager of Persian language but because YAQHOB LAITH did not know Arabic,
forced poets to say in Farsi and we can imagine his famous word which is declared about SISTAN
history, was not empty of political and national intentions. The few literature remained from the poets
of this era, s really rudimentary and simple and words pronunciation alteration and movement saturation
is a lot in them and in some of the remained poets from SU=YSTENI VASIF MOHAMMAD, we can
see the Quran verses effect clearly and it has coordination with Arabic language
Background
The eternal write or the tablet given by landowner
To Abi Yusef Yaqhub Abn Layth Homam;
Surly read my lord it as domain
By little category of that dominant army, Qolam Rezaie, 1991, 52
When Samanian became dominant the condition changed and new prospect opened for Iranian poetry
and literature. Samanian were Iranian civilization who had special interest to Iranian traditions, culture
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Salmaz Razzaghzadeh Shabestari
and language and tried a lot for its reliving. They made too much afford to relive the Farsi language
andiron tourism and of their attempts we can name to reliving the Persian language as official and
scientific language and strengthening it toward Arabic language. Formation of this language and
strengthening it is due to interest and motivation of this civilization lords because they supported the
poets and encourage them and to translate and edition of Farsi books like BALQHAMI history and
translation of DABARI interpretation, they gave decree. Simultaneously with them, other Iranian clan
like Choqhanian, Maemonian, Fariqhonian, also presented their interest to science and literacy and
sages attributed to their palaces. The special historical condition and KHORASAN social condition in
this period made influential effect in Persian poetry, KHANLORY, 1375, 45.
Each poet had his own view to the world which applies his intended terms. This application could be
considered in the term array. These terms are the aesthetic science known as motif, (actually by
evaluation of a poet motifs we can understand his intentions and purposes. From this direction we see
that poets like KHAQHANI known as morning poet; because too many terms about morning and
blooming are seen in his works of art) Ashory 1372, 31. In this research we try to analyze the spring
subject in Iranian Persian poetry style.
The Khorasani style
In SMANI era we know many poets reputation of which we have many poets in hand but among them
a few collection still remained. About the abundance of RODAKI poetry many explanation given
(Rashidi Samarqhandi, declared his verses up to 13 parts of 100 thousand line and said;
Count his poets over than 13 paths of 100 thousand
Come over than you might to count
Oufi assumed his poets book more than 100 article which exaggeration and only fewer than thousand
lines remains. Of Balki Shokor encouragement- which was about 40 thousand verses equal to 2/3 of
Ferdosi epopee only 300 lines remained (that 67) except two famous poet, many other poets lived in
that era of whom we have separated poets and ballades in hand, the best source declared from the
Samani era is the Euofi Labab Alalbab (Jelber Lazar) the French orientalists, gathered these poets works
from Hanzaleh to Daqhiqi in a book by the name of scattered Iranian poetry. In this field we see poets
like; Shahid Balkhi, Moradi, Faralavi, Aghaji, Torki Keshi Eilaqhi, Manteqhi Razi, Estiqhani
Neishabory, Mohamad Abdeh Kateb, Kasai Marouzi, Abo Saleh Mohamad Shoib Harvi, Daqhiqhi,
Khosravi Sarakhi, Rabeh Qhazdady, Badeh Balkhi, Boshar Marhqazi, Ronaqhi Bokharaie, Aboalalah
Shoshtary, Jonaydi, Khosravani, Abulabas Rbanjeny, Agazy Bokharaie, Manjik Tarmadi, Amari
Marouzy, Hqamari Jorjany, Marofi Balkhi.
The most important literary element in Khorasany poetry style:
In this ear poetry the literary craft is few. Also idiomatic and allusion are not dominant in poetry.
Although metaphor exists in the poem, it is not dominant. The most used metaphor could be
distinguished is the simile as the most important literary element in the era poetry, most of similes in
this era are sensitive. Of course different kind of similes could be recognized in the poetry but special
attention given to thorough similes in their poetry. Sometimes poet accompanied these similes with
verbs or terms which represents a kind of alert or appreciation. Some sample of these similes could be
seen in KASAIE poetry
Open thee eyes and profoundly look at the fenugreek
Illuminated as a jewel inside self
Like lover due to his shame
Covered the face with cloth in green
KASAIE, simile, page 14
Look those rose hang black
Seems to reap emerald like
And in the mid day garden hear the shout
Like the new clay water hold down
Fully detail simile, KASAIE, page 19
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This similes are obvious and in details and the poet deduct them from his environment and nature and
although all of them are natural and in usual appearance, the poet took attention in finding similes
aspects and vehicles and by using terms and phrases like (open the eyes), (look profound), see, hear,
look, see- although are redundance- special condition given to its claim
The poets who had tendency to invisible issues and mentality and logic, sometimes chosen the vehicle
from the individual and mental maters in simile like the following verse from Shahid Balkhie:
If look whole the world
Find not the wise eternal
If fire grieved for the whiff
The dark world remained perpetual
Shahid Balkhi, simile
In the poems of this era, personalization applied abundantly so in the poetry of ear movement and
animation find specially. Personalization samples are ; the domain ear, the determination foot, the
loyalty face, the hope view, future throat, … and in SAMANI era poetry, there are no many similes and
allusions based on scientific concepts. Astronomic points in their poetry are more than other sciences.
Use of poets from astronomy expressions also is at simple and ordinary status and attention to details
and rules of astronomy have no reflection and whatever exists is in the usual condition
The soft , black lily like the Pleiades, eglantine stem and branches, like a Taurus and Gemini that some
time some of the philosophical and logical points seen in the some poets works of art like;
His resections are like meandering
The kind remain and the person perishes, Khosro Sarakhsi
Of course these kinds of pointing and concepts are rear. Among the poets of this era, we see the
KHORASAN geographical reflection. This feature continues up to fifth century. The poets in using
adjectives have applied interpretations, some of similes and imaginations from Khorasan geographical
names and from Turkestan and areas around them frequently.
No use of facing to adytum
Loving Bokhara and top idols
The loving temptation is our God
Accept of you not the prayer, Rodaki
And there are some samples of this kind; spring the home of Keshmiran, top wolfs, the arrow wheel,
Kabul knife, Amoy pebble, Moliian river, Bokhara, Samarqhand, the staple form and …. In the era
when Persian poetry came out of Khorasan and Turkestan realm and arrived to Azerbaijan and Iraq and
apparently poets from the Khorasany poetry effect applied these kinds of geographical names in their
poetry frequently.
In the Khorasany poetry, the national heroes named frequently and they are respected gratefully. The
traditions and beliefs and Iranian celebrations also mentioned in this era
Although the night gift was the rain
Me and yours gift is pearls
Should Simorqh not injured by Qaz arrow
Neither Rakhsh receive magic nor the tyrant Zall, Daqhiqhi, allusion
The Khorasani era thinking style features
A- Low importance of Islamic elements in Khorasani style
In Khorasan and Altra Alnhr in the third and fourth century, the religious mentality like other periods
did not have overcoming. The sects' discrepancies and religious arguments and verbal discussions
usually are not seen in this era poetry. In reverse a kind of interest to Iran before Islam and ethnical
stories has reflection in poetry. Khorasan distance from the center of government and lack of authorities
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dominance in that province and poets access to the era of pre-Islamic era, and occurrence of revolutions
against the administration and similar issues of this kind are the factors which made such condition for
the poetry of this era. AKHLAQHI, 1372, 81
This word does not mean lack of Islamic work of art in poetry, rather the effect of Islamic believes and
Quran stories are obviously clear but the dominance of Islamic elements is not vivid as it is in sixth
century. The Gnosticism is not dominant over the poetry format, the beloved is the earthly not heavenly
and due to this matter, there is no secret and gloss in this era poetry.
Farsi in this era is the mother language of poets, it means that the writer of the era in contrast to other
eras from the Farsi language time did not learn of their past literal works of art, hence their language is
natural and simple and there is no ambiguity and complexity, regardless of this factor, if today some of
the terms are difficult for us, it is due to the KHORASAN great region and different dialects were
prevalent there like; Saqhdi and Kharazmi
This matter has led to use of Khorasan ancient city names and other beside provinces in this poetry lie;
Khalaj, Chagal, Noshad, Qhirovan, Khata, Khatan and etc.
Some of the frequent sued terms in this style are interesting in mentality. Of them is AZ which means
ambition and greed which regarded as alive, the reason is that AZ in Iran traditional stories is the name
of an ogre and as used in past it eats everything and even eat itself if not find anything else, it is demon
if all world properties given to it, never satisfied
Never look to him who enemy is
His heart salves the devil soul, FERDOSI
B- The existence of balance in KHORASANY poetry style
The poet view is based on the world reality. Attention to wisdom and leaning is emphasized, the advices
and suggestions of most poets are prudently not ethical and the poet tone is calm in their expression not
harsh and imprudent which shows that the society is the rather balanced atmosphere far from
exorbitance and wastage
The wise soul and shadow inside me
Capability gathered internally
If the man asked for the harsh
He terminates if decides
Increased of his wisdom and decide
The poor never achieves anything, Abu Shakour Balkhi
The balance or poetry in this era and being far from exaggeration and lies exists in the SMANI poetry
but not as much as next periods and paucity of impolite smut, shows that immorality in the next era in
KHORASAN lead to the balance condition in poetry from different aspects, the language precision also
is due to prejudice and duplicity of next era still did not expanded in the society intensively. And as
more we get distance from the SAMANI era we see the imbalance effects in the life and social affairs
and in the poetry the ambiguity, imagination, superfluity become obvious.. NARAQHI, 1383; 114
C- KHORASANI style poetry pleasance and mirth
External view of KOHRASANI poetry is accompanied with exhilaration and happiness and bender.
Except occasional cases in which poets presented their grief, in other cases the mental mirth and the
live seizing the life captured the poets' works of art atmosphere. (the reason is due to two main issue;
first the tragic events of has not occurred yet and other matter is the Iranian culture before Islam is
KHORASAN and ultra alnhr is recognizable from those times because in Iranian traditional culture, the
sorrow is the devil and the foundation of life is based on the happiness and joy, the same 135.
4- The spring definition in KHORASANI style;
Undoubtedly among the different human kinds, poets, writers, artists the spring has special significance,
as among most of artistic works in the world have spring smell and color in themselves and it bring
such effervescence to the works that without doubt protect them for continuous years. So the spring has
special attraction in Iranian works of art; to the point the poetry find new version known as spring poetry
and most of Persian poets have spring poetry in their works.
On the other hand we can categorize the poetries in which spring described in the group of spring poetry
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Everybody study about NUROUZ ,remind the universe creation and according to Iranian theory, the
GOD created the universe in 6 steps and completed it and I each step GOD created the sky first and in
next level the water and in the next created the earth and creatures and plants and in final level before
the NUROUZ human was created. BAHAR, 1376; 312
IN the idea of ancient people the GOD relive the souls and they return to it so they celebrate 12 days
and did stomp and happiness equal to 12 months of the year the representation of each month , the same
337.
This is Iranian thought which show the universe creation, so if NUROUZ ignored, we don’t know when
the universe creation finished, in traditional stories we read that JAM the third king of PISHDADY,
after travel, sat on the kingdom throne. FERDOSI story in SHAHNAMEH also the same that after JAM
travel from DAMAVAND Mountain he sat on the throne in BABEL. But ABURAYHAN in his book
(Altafhim) assumed throne is in Azerbaijan. His throne was decorated with jewelries which illustrated
the world. People astonishes of that illumination and present jewels to JAM
FERDOSI said that day named as new day and it was in DAY or OURMAZD days, (in every New Year
from FARVARDIN/ remove the body from the hatred and relief)
This is the day that Iranian past kings and ancient people respect it up today and it is a memorial from
ancient time. Of course NUROUS also attributed to TAHMORETH and QUMARTH too but FERDOSI
assume JAM as its founder. It should be noted that after the sun rise to the JAM crown that named him
JAMSHID, it was a brief history about NUROUZ
From the fourth century by formation of ballade and its prevalence, many poems were written about the
spring, hence some of spring poetries just regarded as spring odes. By expansion of rejuvenation in
ballades and birth of sonnet, the spring poetry was not limited to ode and gradually reformed to other
poetry formats like lyric and MASNAVI. The first famous spring poetry from ROUDAKI is thoroughly
about spring description by this format;
Arrived the vivacious spring with pure color and smell
By thousand adoring and strange ornament
May the old man rejuvenated in this time
The world gets young from the graying
The great wheel gathered the whole to martial
The dark could is the army and the morning wind its captain
The light flash deep and the thunder drums
Saw thousand of dreams and no such dread Roudaki
In those times, Daqhiqhi also assume the earth as the heaven full of trees and Ordibehesht clothing
Throw the heavenly cloud my dear
The earth covered by the cloth of Ordibehesht
Like the Eden heavenly rosary
Tree decorated angle heavenly
The world seems as the peacock
Some Place softness and other harshness
The earth become as a bloody cloth
The air as the NILE river scent contain
Of flowers smell we get rosewater
Thee think created by flowers internally, Daqhiqhi, simile
Onsory Balkhie made poetry about spring as below;
So the new day made idols in garden
Of its art each tree plays other role
Garden filled as the mercer store by clothes
Meadow got full of odor as grocer tabor
Earth each line become Chinese garment
Every trees earring will be jewel chain
ONSORY, eloquent simile and perceptible
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By prevalence of KHORASANI style, naturalism raised. The poets from second period of forth century
and beginning of fifth century is full of flowers color and birds signings. MANUCHEHRY is the
representative of this era in poetry imagery. He is the magnificent poet of Persian spring poetry and his
images and poets are always pretended by other poets, YUSEFNIYA, 1388, 30
Like:
The great a NUROUZ sing thee chanter today
That was the time of new day to NUROUZ
Persian partridge seems to perfume the eyes
High cedar seems to buy green sena
Lebanon almond rape scarf from head
My lord covered the hairs by Chinese color
Personalization and far similes are obvious in his poetry and new Arabic rhythms are seen in his works
or other poem about the spring beauty
Arrived the green spring and bring blooming
Of new spring splendor adoring by wine
Human is merry on the season spring all time
By modulation clamoring and grief of cranium
Why there is no few of gardenia
Till the cool plague removed of rosary
Dropped from new spring cloud the rain
Thousand tulips bloomed of thorn
The garment great man surly weaved
Amir Maqhzi,
The poet and imagery presented similes about spring by simple but solid language
The day is the mirth due to spring and new day
The world full of flower color and scent
In every land merry is due to New Year
In every lawn freshness is of spring breeze
The spring breeze passed to garden
Rained the eglantine on the trees branch
Over the lawn, the trees branches full of glory
As the simper idol is the musky barb
ANVARY also said poems about spring
Night, candle, sugar and spring breeze and odor
Wine, beloved, tambour, straw, kiss and beside
Grass, flower watering and sabouhi in garden
Nightingale singing and song of barb musk
Arrived new the spring and the mirth in rosary
What a spring remove patience of hearts
In continuity we should say that, the ancient poets not only describe the spring features rather they got
lessons for themselves and others from this great upheavals and declared them by elegant language of
poetry. One of the lessons is the view of spring beauties and making sense of alteration and desists of
past fixations, for example Manuchehri Damqhani said
NUROUZ arrived and new day celebration began
Workers again began worldly affairs from the first. MANUCHEHRI, page 86
Poets to support SAMANI kingdom who looked for happiness and success made different poetry and
attributed the spring adjectives to eulogize them
In KHORASANI style many of spring poetry are to celebrate the new year which was the sign of Iranian
jubilation in that time and connection of spring with new yea in next period do not have reflection to
this extend, the same 33
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Among the poets of this style, NASER KHOSRO talks about spring differently and assume spring as
the time of destiny and instability and disloyalty
So when say the spring arrived
Flower rains and almond ripened
The rosary scene as the face of beloved
The face become blossom and covered by grass
Not to say vain with me like this
That I disdain of idle word
Conclusion:
Khorasani poetry style had profound look to nature and its application in literary terms and spring and
its requirements had magnificent status. It should be noted that this view mainly focused on beauties
and details of spring in nature and it is observed rarely that they are to get advice from spring. As the
basis of KHORASANI style is on the happiness and mirth, the poetry application of spring also is due
to vivacity, exultation and enjoying the nature and tasting it as well.
References
1-morality, Zakariya, eastern smiles, Tehran, Mahareb Andisheh, 1372
2-Ash, RY, Dariyoush, poetry and wisdom, Tehran, center, 1372
3-spring, Mehrdad, from myth to history, Tehran, CHESHMEH, 1376
4-Rajaie, Ahmad ALI, the bridge between the Farsi prosodic and syllabic poetry, Tehran, Iran culture
institution, 1353
5-Qholam Rezai Mohamad, Farsi poetry style from Roudaki to Shamlo, Jami, 1377
6-Naraqhi, Mohammad, KHORASANI poetry style from beginning to end, Arak university M.A thesis,
1383
7-Yousef Niya, Saied, spring secrets color, poetry magazine, spring1388, no. 65
94