Document Type : علمی- پژوهشی
Author
Persian Language and Literature Group, Payame Noor University, Tabriz Iran
Abstract
The life and art of Farhad, the unfulfilled lover of Khosrow and Shirin's story, has always had the capacity to be interpreted in Persian literature and other languages in different and sometimes conflicting with the original spirit of the story. Farhad's continuous presence is not only limited to the field of poetry, but also extended to the field of drama. Hekmat wrote the play Shirin and Farhad with an eye to the Nizami’s works, and perhaps based on a local legend as well as some the principles of socialist realism. In this article, which has been done with analytical-descriptive method, we have first listed the macro-Marxist concepts that were influential in the development of this play. Opposing the institution of monarchy, heroizing and leading the masses, favoring the inferior people and emphasizing public love over private love are some of these opinions. Then we have followed the discussion about what are the characteristics of Farhad's character that Hikmat came to this story. Farhad's militant and revolutionary character, as well as his ambiguous and mysterious face in legends, along with his huge and heroic stature, have made him a suitable person for socialist payment. On the other hand, Farhad has a bright face in Turkish literature. Turks have taken this type from Persian literature and cultivated it in various forms. Farhad's influence in folk literature, having dramatic structures and having a hopeful ending are among the factors that probably made Hekmat interested in rewriting and turning this story into a play.
Highlights
The creation of Farhad's character based on the standards of socialist realism in the play "Shirin and Farhad" by Nazim Hekmat
Saeed Karimi Qarebaba
Associate Professor of the Department of Persian Language and Literature,
Payame Noor University
1.Introduction
Farhad does not appear much in pre-Nizami texts. The processing of his character was more due to his imagination and military attitude. Nizami has created Farhad as an excellent example of the pure and unfailing love. In the history of Persian literature from the 6th century until now, in the background of all types of lovers, one can clearly see the work of Farhad. Nizami has raised Farhad in the context of lyrical literature. Farhad becomes infatuated with Shirin, but Khosro Parviz urges him to dig Bistun with the wish that he will give his life for this work, but Farhad enthusiastically takes Bistun out of the way. Upon seeing Farhad's success, Khosrow sends an old woman to Farhad and falsely informs him of Shirin's death. Out of grief, Farhad hits his ax on his own head and dies immediately. Later poets have given completely different accounts of this story. For example, in Farhadnameh's verse, unlike Khosrow and Nizami's Shirin, Farhad reaches captures Shirin and takes advantage of her (Arif Ardabili, 1974: 193), or Vasal Shirazi in his poem, portrays Farhad's character as a mystic or seeker (Bashiri and Ostad Mohammadi). 2012: 58). In Salimi Jeroni's narration of Shirin and Farhad, Farhad is a symbol of Majzouban clan. "From the first moment of meeting, he encounters the grace and attraction of his lover, and with his pull and care, he goes through the stages of conduct until the Qibla becomes the target of other people and they turn to him from all sides" (Hosseini Moghadam, Bameshki and Qawam, 2019: 92). The post-military speakers have taken Farhad out of his text and in separate contexts. "Texture is the linguistic, environmental, temporal and spatial context in which the text is created, understood and interpreted. Text without context is incomplete. A word or phrase in any context has a different meaning than the same word in another context" (Elahian, 2011: 35). Context is divided into types such as: linguistic and non-linguistic. What is important in our discussion is the non-linguistic context. "The non-linguistic context is the cultural context and the context of the situation and includes all the extra-linguistic factors with which the text is understood" (ibid).
- Research method, questions and background
In this article, which was done in an analytical-descriptive way, we have been looking for answers to these questions, why did Nazem Hekmat go for recreating an old story? How did this Turkish poet build Farhad as a hero of the people based on his marxist tendencies? And what are the characteristics of Farhad in terms of story and personality that made him susceptible to such confiscation by Hekmat?
Until four decades ago, not much research was done on Farhad's identity. It seems that the first serious research on Farhad was done by Alireza Mozafari. In an article published in 1989, he tried to answer the question of whether Farhad is a historical figure or a fictional and legendary person. And if it is a legend, who is this lover created and a legend created by the mind and imagination? (Mozaffari, 1999: 449). He then examined the footprints of Farhad in history and pre-military literature. It turns out that part of the effort of the researchers is devoted to researching whether Farhad's character is historical or imaginary. Abolghasemi and Arzoomand Liakel have gone a little further in this field and while acknowledging that Farhad's character is in a halo of ambiguity and correct information about his identity is not available, they have come to the conclusion that perhaps Farhad is a Parthian symbol who is used to defend the Parthian culture in He entered the world of stories before the Sassanids" (Abul Qasmi and Arzoomand Lialkal, 2009: 5). In the main body of the discussion, we will refer to some other articles in this field. Dehghanian and Farashanijad have tried to present a new reading of Khosrow and Shirin's poem based on the conspiracy theory. In this story, they have considered Farhad as a plaything of sweet hands, whose entry into the story was the result of sweet interaction against Khosrow's unbridled whims" (Dehghanian and Farashanijad, 2014: 73). Asadollahi and Ghasemizadeh have also investigated Farhad's character in an interdisciplinary research based on Eric Fromm's theory (2019). Other researchers have discussed the evolution of Farhad's personality in the works of the most important military imitators (Bashiri and Ostad Mohammadi, 2013). On the other hand, Talavari, while examining drama adaptations of Khosrow and Shirin Nizami's poem, also paid attention to Shirin and Farhad Nazem Hekmat's play and believes that Hekmat has changed the entire narrative of Nizami and told a new story (Talavari, 2016: 70 ). Other researchers stated that "the adaptation of the story of Khosrow and Shirin in literary works has continued and continued over time, and in each adaptation and re-creation, transformations have taken place in the text and paratext of the works, which are very interesting in their own way and perhaps one of the cases "Nader is considered rare in Persian literature and even world literature" (Kangrani and Namour Mutlaq, 2011: 18), about the discussed play, they commented that "Hakmat created many transformations in the military narrative and adapted the story according to the situation and political atmosphere. The ruler has regulated his society" (Ibid.: 20). The authors of the last two articles have devoted only a few lines of their entire research to the play of wisdom. There have been scattered researches about Nazem Hekmat's works in Iranian academic journals, but within the scope of the author's searches, except for a few superficial notes in the press and cyberspace, no independent research has been done on his play Shirin and Farhad, and there is a research gap in the area.
- 3. Discussion and conclusion
When the Bolsheviks came to power, a type of literature was formed in the socialist perspective, which gradually overshadowed all the writers, poets and intellectuals of other nations. In this type of literature, which appeared first in the Soviet Union and then in other communist countries, individual struggles against social conflicts were not important, and human beings were depicted as searching, hopeful and futuristic.
One of the famous leftist activists in Turkey was Nazem Hekmat who became a global figure in the field of literature and his poems and writings went beyond the borders of Turkey. So much so that it was translated into many languages. This great Turkish poet lived a life full of suffering and bitterness because of his marxist tendencies and spent many years of his life in prison and exile.
Shirin and Farhad with the original name "Farhad, Shirin, Mehmeneh Bano and Ab Sarcheshmeh Bistun" is considered one of the prominent and successful plays of Nazem Hekmat. This work, arranged in 3 acts, was translated by Samin Baghcheban.
Marxists were not very interested in confirming the past, and they raised the past to the extent that it confirmed their opinions.
Not only Nazim Hekmat but also some researchers have offered a leftist reading of Farhad's character in Khosrow's and Shirin Nizami's poems. Behind the fictional face of Farhad, they have seen a militant and revolutionary person who rose up against the Sassanid kingdom as a representative of social groups.
Nazem Hekmat wrote the play Shirin and Farhad probably based on Khosrow and Shirin Nizami or a local legend. The principles of socialist realism have been influential in the development of this play. In this work, some leftist macro-narratives such as opposing the institution of monarchy, favoring the lower masses, emphasizing public love over private love, heroizing ordinary people can be clearly traced. Also, in this article, Farhad is described as a special character in the official and popular literature, and these characteristics have prepared him for occasional impressions far from the main spirit of the story. His conflict with Khosrow, who is a symbol of royalty; Along with the inherent ambiguity of Farhad's appearance, his heroism and his popularity in Turkish literature are considered part of the reasons that have made Farhad's character a significant capacity for interpretation and confiscation by some contemporary intellectual currents. In addition, it is believed that Farhad's influence in Turkish folk literature, having dramatic structures and a hopeful ending made Hikmat interested in rewriting this story.
- Keywords
Farhad, Shirin, drama, wisdom, socialist realism and leftism.
The creation of Farhad's character based on the standards of socialist realism in the play "Shirin and Farhad" by Nazim Hekmat
Saeed Karimi Qarebaba
Associate Professor of the Department of Persian Language and Literature,
Payame Noor University
1.Introduction
Farhad does not appear much in pre-Nizami texts. The processing of his character was more due to his imagination and military attitude. Nizami has created Farhad as an excellent example of the pure and unfailing love. In the history of Persian literature from the 6th century until now, in the background of all types of lovers, one can clearly see the work of Farhad. Nizami has raised Farhad in the context of lyrical literature. Farhad becomes infatuated with Shirin, but Khosro Parviz urges him to dig Bistun with the wish that he will give his life for this work, but Farhad enthusiastically takes Bistun out of the way. Upon seeing Farhad's success, Khosrow sends an old woman to Farhad and falsely informs him of Shirin's death. Out of grief, Farhad hits his ax on his own head and dies immediately. Later poets have given completely different accounts of this story. For example, in Farhadnameh's verse, unlike Khosrow and Nizami's Shirin, Farhad reaches captures Shirin and takes advantage of her (Arif Ardabili, 1974: 193), or Vasal Shirazi in his poem, portrays Farhad's character as a mystic or seeker (Bashiri and Ostad Mohammadi). 2012: 58). In Salimi Jeroni's narration of Shirin and Farhad, Farhad is a symbol of Majzouban clan. "From the first moment of meeting, he encounters the grace and attraction of his lover, and with his pull and care, he goes through the stages of conduct until the Qibla becomes the target of other people and they turn to him from all sides" (Hosseini Moghadam, Bameshki and Qawam, 2019: 92). The post-military speakers have taken Farhad out of his text and in separate contexts. "Texture is the linguistic, environmental, temporal and spatial context in which the text is created, understood and interpreted. Text without context is incomplete. A word or phrase in any context has a different meaning than the same word in another context" (Elahian, 2011: 35). Context is divided into types such as: linguistic and non-linguistic. What is important in our discussion is the non-linguistic context. "The non-linguistic context is the cultural context and the context of the situation and includes all the extra-linguistic factors with which the text is understood" (ibid).
- Research method, questions and background
In this article, which was done in an analytical-descriptive way, we have been looking for answers to these questions, why did Nazem Hekmat go for recreating an old story? How did this Turkish poet build Farhad as a hero of the people based on his marxist tendencies? And what are the characteristics of Farhad in terms of story and personality that made him susceptible to such confiscation by Hekmat?
Until four decades ago, not much research was done on Farhad's identity. It seems that the first serious research on Farhad was done by Alireza Mozafari. In an article published in 1989, he tried to answer the question of whether Farhad is a historical figure or a fictional and legendary person. And if it is a legend, who is this lover created and a legend created by the mind and imagination? (Mozaffari, 1999: 449). He then examined the footprints of Farhad in history and pre-military literature. It turns out that part of the effort of the researchers is devoted to researching whether Farhad's character is historical or imaginary. Abolghasemi and Arzoomand Liakel have gone a little further in this field and while acknowledging that Farhad's character is in a halo of ambiguity and correct information about his identity is not available, they have come to the conclusion that perhaps Farhad is a Parthian symbol who is used to defend the Parthian culture in He entered the world of stories before the Sassanids" (Abul Qasmi and Arzoomand Lialkal, 2009: 5). In the main body of the discussion, we will refer to some other articles in this field. Dehghanian and Farashanijad have tried to present a new reading of Khosrow and Shirin's poem based on the conspiracy theory. In this story, they have considered Farhad as a plaything of sweet hands, whose entry into the story was the result of sweet interaction against Khosrow's unbridled whims" (Dehghanian and Farashanijad, 2014: 73). Asadollahi and Ghasemizadeh have also investigated Farhad's character in an interdisciplinary research based on Eric Fromm's theory (2019). Other researchers have discussed the evolution of Farhad's personality in the works of the most important military imitators (Bashiri and Ostad Mohammadi, 2013). On the other hand, Talavari, while examining drama adaptations of Khosrow and Shirin Nizami's poem, also paid attention to Shirin and Farhad Nazem Hekmat's play and believes that Hekmat has changed the entire narrative of Nizami and told a new story (Talavari, 2016: 70 ). Other researchers stated that "the adaptation of the story of Khosrow and Shirin in literary works has continued and continued over time, and in each adaptation and re-creation, transformations have taken place in the text and paratext of the works, which are very interesting in their own way and perhaps one of the cases "Nader is considered rare in Persian literature and even world literature" (Kangrani and Namour Mutlaq, 2011: 18), about the discussed play, they commented that "Hakmat created many transformations in the military narrative and adapted the story according to the situation and political atmosphere. The ruler has regulated his society" (Ibid.: 20). The authors of the last two articles have devoted only a few lines of their entire research to the play of wisdom. There have been scattered researches about Nazem Hekmat's works in Iranian academic journals, but within the scope of the author's searches, except for a few superficial notes in the press and cyberspace, no independent research has been done on his play Shirin and Farhad, and there is a research gap in the area.
- 3. Discussion and conclusion
When the Bolsheviks came to power, a type of literature was formed in the socialist perspective, which gradually overshadowed all the writers, poets and intellectuals of other nations. In this type of literature, which appeared first in the Soviet Union and then in other communist countries, individual struggles against social conflicts were not important, and human beings were depicted as searching, hopeful and futuristic.
One of the famous leftist activists in Turkey was Nazem Hekmat who became a global figure in the field of literature and his poems and writings went beyond the borders of Turkey. So much so that it was translated into many languages. This great Turkish poet lived a life full of suffering and bitterness because of his marxist tendencies and spent many years of his life in prison and exile.
Shirin and Farhad with the original name "Farhad, Shirin, Mehmeneh Bano and Ab Sarcheshmeh Bistun" is considered one of the prominent and successful plays of Nazem Hekmat. This work, arranged in 3 acts, was translated by Samin Baghcheban.
Marxists were not very interested in confirming the past, and they raised the past to the extent that it confirmed their opinions.
Not only Nazim Hekmat but also some researchers have offered a leftist reading of Farhad's character in Khosrow's and Shirin Nizami's poems. Behind the fictional face of Farhad, they have seen a militant and revolutionary person who rose up against the Sassanid kingdom as a representative of social groups.
Nazem Hekmat wrote the play Shirin and Farhad probably based on Khosrow and Shirin Nizami or a local legend. The principles of socialist realism have been influential in the development of this play. In this work, some leftist macro-narratives such as opposing the institution of monarchy, favoring the lower masses, emphasizing public love over private love, heroizing ordinary people can be clearly traced. Also, in this article, Farhad is described as a special character in the official and popular literature, and these characteristics have prepared him for occasional impressions far from the main spirit of the story. His conflict with Khosrow, who is a symbol of royalty; Along with the inherent ambiguity of Farhad's appearance, his heroism and his popularity in Turkish literature are considered part of the reasons that have made Farhad's character a significant capacity for interpretation and confiscation by some contemporary intellectual currents. In addition, it is believed that Farhad's influence in Turkish folk literature, having dramatic structures and a hopeful ending made Hikmat interested in rewriting this story.
- Keywords
Farhad, Shirin, drama, wisdom, socialist realism and leftism.
The creation of Farhad's character based on the standards of socialist realism in the play "Shirin and Farhad" by Nazim Hekmat
Saeed Karimi Qarebaba
Associate Professor of the Department of Persian Language and Literature,
Payame Noor University
1.Introduction
Farhad does not appear much in pre-Nizami texts. The processing of his character was more due to his imagination and military attitude. Nizami has created Farhad as an excellent example of the pure and unfailing love. In the history of Persian literature from the 6th century until now, in the background of all types of lovers, one can clearly see the work of Farhad. Nizami has raised Farhad in the context of lyrical literature. Farhad becomes infatuated with Shirin, but Khosro Parviz urges him to dig Bistun with the wish that he will give his life for this work, but Farhad enthusiastically takes Bistun out of the way. Upon seeing Farhad's success, Khosrow sends an old woman to Farhad and falsely informs him of Shirin's death. Out of grief, Farhad hits his ax on his own head and dies immediately. Later poets have given completely different accounts of this story. For example, in Farhadnameh's verse, unlike Khosrow and Nizami's Shirin, Farhad reaches captures Shirin and takes advantage of her (Arif Ardabili, 1974: 193), or Vasal Shirazi in his poem, portrays Farhad's character as a mystic or seeker (Bashiri and Ostad Mohammadi). 2012: 58). In Salimi Jeroni's narration of Shirin and Farhad, Farhad is a symbol of Majzouban clan. "From the first moment of meeting, he encounters the grace and attraction of his lover, and with his pull and care, he goes through the stages of conduct until the Qibla becomes the target of other people and they turn to him from all sides" (Hosseini Moghadam, Bameshki and Qawam, 2019: 92). The post-military speakers have taken Farhad out of his text and in separate contexts. "Texture is the linguistic, environmental, temporal and spatial context in which the text is created, understood and interpreted. Text without context is incomplete. A word or phrase in any context has a different meaning than the same word in another context" (Elahian, 2011: 35). Context is divided into types such as: linguistic and non-linguistic. What is important in our discussion is the non-linguistic context. "The non-linguistic context is the cultural context and the context of the situation and includes all the extra-linguistic factors with which the text is understood" (ibid).
- Research method, questions and background
In this article, which was done in an analytical-descriptive way, we have been looking for answers to these questions, why did Nazem Hekmat go for recreating an old story? How did this Turkish poet build Farhad as a hero of the people based on his marxist tendencies? And what are the characteristics of Farhad in terms of story and personality that made him susceptible to such confiscation by Hekmat?
Until four decades ago, not much research was done on Farhad's identity. It seems that the first serious research on Farhad was done by Alireza Mozafari. In an article published in 1989, he tried to answer the question of whether Farhad is a historical figure or a fictional and legendary person. And if it is a legend, who is this lover created and a legend created by the mind and imagination? (Mozaffari, 1999: 449). He then examined the footprints of Farhad in history and pre-military literature. It turns out that part of the effort of the researchers is devoted to researching whether Farhad's character is historical or imaginary. Abolghasemi and Arzoomand Liakel have gone a little further in this field and while acknowledging that Farhad's character is in a halo of ambiguity and correct information about his identity is not available, they have come to the conclusion that perhaps Farhad is a Parthian symbol who is used to defend the Parthian culture in He entered the world of stories before the Sassanids" (Abul Qasmi and Arzoomand Lialkal, 2009: 5). In the main body of the discussion, we will refer to some other articles in this field. Dehghanian and Farashanijad have tried to present a new reading of Khosrow and Shirin's poem based on the conspiracy theory. In this story, they have considered Farhad as a plaything of sweet hands, whose entry into the story was the result of sweet interaction against Khosrow's unbridled whims" (Dehghanian and Farashanijad, 2014: 73). Asadollahi and Ghasemizadeh have also investigated Farhad's character in an interdisciplinary research based on Eric Fromm's theory (2019). Other researchers have discussed the evolution of Farhad's personality in the works of the most important military imitators (Bashiri and Ostad Mohammadi, 2013). On the other hand, Talavari, while examining drama adaptations of Khosrow and Shirin Nizami's poem, also paid attention to Shirin and Farhad Nazem Hekmat's play and believes that Hekmat has changed the entire narrative of Nizami and told a new story (Talavari, 2016: 70 ). Other researchers stated that "the adaptation of the story of Khosrow and Shirin in literary works has continued and continued over time, and in each adaptation and re-creation, transformations have taken place in the text and paratext of the works, which are very interesting in their own way and perhaps one of the cases "Nader is considered rare in Persian literature and even world literature" (Kangrani and Namour Mutlaq, 2011: 18), about the discussed play, they commented that "Hakmat created many transformations in the military narrative and adapted the story according to the situation and political atmosphere. The ruler has regulated his society" (Ibid.: 20). The authors of the last two articles have devoted only a few lines of their entire research to the play of wisdom. There have been scattered researches about Nazem Hekmat's works in Iranian academic journals, but within the scope of the author's searches, except for a few superficial notes in the press and cyberspace, no independent research has been done on his play Shirin and Farhad, and there is a research gap in the area.
- 3. Discussion and conclusion
When the Bolsheviks came to power, a type of literature was formed in the socialist perspective, which gradually overshadowed all the writers, poets and intellectuals of other nations. In this type of literature, which appeared first in the Soviet Union and then in other communist countries, individual struggles against social conflicts were not important, and human beings were depicted as searching, hopeful and futuristic.
One of the famous leftist activists in Turkey was Nazem Hekmat who became a global figure in the field of literature and his poems and writings went beyond the borders of Turkey. So much so that it was translated into many languages. This great Turkish poet lived a life full of suffering and bitterness because of his marxist tendencies and spent many years of his life in prison and exile.
Shirin and Farhad with the original name "Farhad, Shirin, Mehmeneh Bano and Ab Sarcheshmeh Bistun" is considered one of the prominent and successful plays of Nazem Hekmat. This work, arranged in 3 acts, was translated by Samin Baghcheban.
Marxists were not very interested in confirming the past, and they raised the past to the extent that it confirmed their opinions.
Not only Nazim Hekmat but also some researchers have offered a leftist reading of Farhad's character in Khosrow's and Shirin Nizami's poems. Behind the fictional face of Farhad, they have seen a militant and revolutionary person who rose up against the Sassanid kingdom as a representative of social groups.
Nazem Hekmat wrote the play Shirin and Farhad probably based on Khosrow and Shirin Nizami or a local legend. The principles of socialist realism have been influential in the development of this play. In this work, some leftist macro-narratives such as opposing the institution of monarchy, favoring the lower masses, emphasizing public love over private love, heroizing ordinary people can be clearly traced. Also, in this article, Farhad is described as a special character in the official and popular literature, and these characteristics have prepared him for occasional impressions far from the main spirit of the story. His conflict with Khosrow, who is a symbol of royalty; Along with the inherent ambiguity of Farhad's appearance, his heroism and his popularity in Turkish literature are considered part of the reasons that have made Farhad's character a significant capacity for interpretation and confiscation by some contemporary intellectual currents. In addition, it is believed that Farhad's influence in Turkish folk literature, having dramatic structures and a hopeful ending made Hikmat interested in rewriting this story.
- Keywords
Farhad, Shirin, drama, wisdom, socialist realism and leftism.
Keywords
Main Subjects
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