Genesis and evolution of the sonnet (chahar-pare) composing in Iran

Name: Genesis and evolution of the sonnet (chahar-pare) composing in Iran
Author: Bbagher Sadrinia

İsim	Genesis and evolution of the sonnet (chahar-pare) composing in Iran
Yazar	Bbagher Sadrinia
Basım Yeri	Iṣfahān - University of Isfahan
Konu	Authors, French literature, Influence (Literary, artistic, etc.), Iranian literature, Persian literature, Poetry, Poets, Recognition (Psychology), Rhyme, Sonnets, Turkish literature
Tür	Kitap
Dil	Farsça
Dijital	Evet
Yazma	Hayır
Kütüphane:	Danimarka Kraliyet Kütüphanesi
Demirbaş Numarası	ISSN: 2008-8027, EISSN: 2322-3448
Kayıt Numarası	cdi_proquest_journals_3151183797
Lokasyon	DOAJ Directory of Open Access Journals, EBSCOhost Academic Search Complete, ProQuest Central
Notlar	Persian "Sonnets" (chahar-pare) or "continuous quatrains" are already mentioned briefly here and there but the emergence, evolution and the influence of the modern ottoman poetry on the inclination of Persian poets to this new poetic form have not been thoroughly discussed yet. The author of this paper, while studying the origin of this form of poetry by referring to its currency in French literature, seeks to answer the following questions: 1 – Did the Iranian poets compose sonnets under the influence of European and especially French literature? 2 – How much did the ottoman modern poetry influence the inclination of Iranian poets to this form? 3 –When did sonnet composing begin exactly and who first composed his poem in this form? It seems that there is no doubt about the idea that this form of sonnets or continuous quatrains as a new form in Persian poetic was borrowed from the European and especially French literature, but it is disputable whether the Iranians received this form and its special rhyme scheme directly from Europeans or they got accustomed with it through an intermediary language? From the viewpoint of the author these continuous quatrains were first considered by modern Turkish poets of Tanzimat and constitutional Revolution period such as Akif Paşa (1316 AH), and later Ibrahim Şinasi (d. 1871 CE), Ziya Paşaa(d. 1881 CE), Namik Kemal (d. 1888 CE) and the poets of the next generation such as Recaizade Ekrem Beik (d. 1914 CE) and Abdülhak Hamit Tarhan (d. 1937 CE) Tevfik Fikret (d. 1915 CE) who were familiar with french poetry and literature (Habib, 1340: 95); then this form entered Iranian literature via Turkish language and literature. On the one hand the distant priority of the Turkish modernist poets in using this form and on the other hand the familiarity of the first Iranian sonnet-composer poets such as Ja’far Xamene’i, Lahuti and Taqi Raf’at with the modern ottoman poetry and literature confirms the correctness of this hypothesis. First sonnets and first iranian sonnet-composers The researchers of the contemporary persian poem have generally considered the poem “Fulfillment of the Covenant” ( vafa be ‘ahd) of Ab al-Qasem Lahuti, which is composed in 1908 CE/1327 AH, the first persian sonnet (cf. SHafi‘i Kadkani, 1390: 423-425; SHams Langrudi, 65/1). However it is difficult to accept this opinion. Doubt about this view stems from this fact that there is no witness which shows that he was familiar with french literature and ottoman modern literature when composing this poem. The available evidences show that lahuti has composed his poem according to his iranian models of sonnet. In other words before Lahuti some other iranian poets such as Ja‘far Xamene’i who were familiar with french and modern ottoman literature have composed such sonnets and Lahuti has been accustomed with this poetic form via their poems. The sonnet which is published two years before “Fulfillment of the Covenant” by Lahuti in Azarbayejan newspaper at 15 rabi’ al-āxar 1325 confirms this opinion (cf. Maqṣudi, 1356: 697). With regard to what Brown and Ariyan-pur (Brown, 1335: 317; Ariyan-pur, 1372: 454/2) have stated about Xamene’i and his poem and also considering the existing examples of his poetry one can infer that because of his familiarity with french language and also modern turkish literature he has had definitely more necessary literary and theoretical capabilities than Lahuti for composing sonnets, and he began to compose sonnets before Lahuti. So with regard to these evidences one can consider Ja‘far Xamene’i the first or one of the first iranian sonnet-composers during the Constitutional Revolution. The sonnet form in its historical trend has undergone changes in regard to the rhyme (in this paper five sorts of it are discussed). In the end one kind of it, in which the second and fourth hemistiches rhyme with each other, has gained popularity and acceptance. This form of poetry, because of its concomitance with a kind of romantic poetry, in the course of time has changed to the original form of the poems with the romantic theme
Telif Hakkı	2015. This work is published under https://creativecommons.org/licenses/by-nc-nd/4.0/ (the “License”). Notwithstanding the ProQuest Terms and Conditions, you may use this content in accordance with the terms of the License.
Görüntüle	Funūn-i adabī, 2015-04, Vol.7 (1), p.23

Kaynağa git Danimarka Kraliyet Kütüphanesi Royal Danish Library

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Danimarka Kraliyet Kütüphanesi

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Genesis and evolution of the sonnet (chahar-pare) composing in Iran

Yazar Bbagher Sadrinia

Basım Yeri Iṣfahān - University of Isfahan

Konu Authors, French literature, Influence (Literary, artistic, etc.), Iranian literature, Persian literature, Poetry, Poets, Recognition (Psychology), Rhyme, Sonnets, Turkish literature

Tür Kitap

Dil Farsça

Dijital Evet

Yazma Hayır

Kütüphane Danimarka Kraliyet Kütüphanesi

Demirbaş Numarası ISSN: 2008-8027, EISSN: 2322-3448

Kayıt Numarası cdi_proquest_journals_3151183797

Lokasyon DOAJ Directory of Open Access Journals, EBSCOhost Academic Search Complete, ProQuest Central

Notlar Persian "Sonnets" (chahar-pare) or "continuous quatrains" are already mentioned briefly here and there but the emergence, evolution and the influence of the modern ottoman poetry on the inclination of Persian poets to this new poetic form have not been thoroughly discussed yet. The author of this paper, while studying the origin of this form of poetry by referring to its currency in French literature, seeks to answer the following questions: 1 – Did the Iranian poets compose sonnets under the influence of European and especially French literature? 2 – How much did the ottoman modern poetry influence the inclination of Iranian poets to this form? 3 –When did sonnet composing begin exactly and who first composed his poem in this form? It seems that there is no doubt about the idea that this form of sonnets or continuous quatrains as a new form in Persian poetic was borrowed from the European and especially French literature, but it is disputable whether the Iranians received this form and its special rhyme scheme directly from Europeans or they got accustomed with it through an intermediary language? From the viewpoint of the author these continuous quatrains were first considered by modern Turkish poets of Tanzimat and constitutional Revolution period such as Akif Paşa (1316 AH), and later Ibrahim Şinasi (d. 1871 CE), Ziya Paşaa(d. 1881 CE), Namik Kemal (d. 1888 CE) and the poets of the next generation such as Recaizade Ekrem Beik (d. 1914 CE) and Abdülhak Hamit Tarhan (d. 1937 CE) Tevfik Fikret (d. 1915 CE) who were familiar with french poetry and literature (Habib, 1340: 95); then this form entered Iranian literature via Turkish language and literature. On the one hand the distant priority of the Turkish modernist poets in using this form and on the other hand the familiarity of the first Iranian sonnet-composer poets such as Ja’far Xamene’i, Lahuti and Taqi Raf’at with the modern ottoman poetry and literature confirms the correctness of this hypothesis. First sonnets and first iranian sonnet-composers The researchers of the contemporary persian poem have generally considered the poem “Fulfillment of the Covenant” ( vafa be ‘ahd) of Ab al-Qasem Lahuti, which is composed in 1908 CE/1327 AH, the first persian sonnet (cf. SHafi‘i Kadkani, 1390: 423-425; SHams Langrudi, 65/1). However it is difficult to accept this opinion. Doubt about this view stems from this fact that there is no witness which shows that he was familiar with french literature and ottoman modern literature when composing this poem. The available evidences show that lahuti has composed his poem according to his iranian models of sonnet. In other words before Lahuti some other iranian poets such as Ja‘far Xamene’i who were familiar with french and modern ottoman literature have composed such sonnets and Lahuti has been accustomed with this poetic form via their poems. The sonnet which is published two years before “Fulfillment of the Covenant” by Lahuti in Azarbayejan newspaper at 15 rabi’ al-āxar 1325 confirms this opinion (cf. Maqṣudi, 1356: 697). With regard to what Brown and Ariyan-pur (Brown, 1335: 317; Ariyan-pur, 1372: 454/2) have stated about Xamene’i and his poem and also considering the existing examples of his poetry one can infer that because of his familiarity with french language and also modern turkish literature he has had definitely more necessary literary and theoretical capabilities than Lahuti for composing sonnets, and he began to compose sonnets before Lahuti. So with regard to these evidences one can consider Ja‘far Xamene’i the first or one of the first iranian sonnet-composers during the Constitutional Revolution. The sonnet form in its historical trend has undergone changes in regard to the rhyme (in this paper five sorts of it are discussed). In the end one kind of it, in which the second and fourth hemistiches rhyme with each other, has gained popularity and acceptance. This form of poetry, because of its concomitance with a kind of romantic poetry, in the course of time has changed to the original form of the poems with the romantic theme

Telif Hakkı 2015. This work is published under https://creativecommons.org/licenses/by-nc-nd/4.0/ (the “License”). Notwithstanding the ProQuest Terms and Conditions, you may use this content in accordance with the terms of the License.

Görüntüle Funūn-i adabī, 2015-04, Vol.7 (1), p.23