The poet Muhtasham Kshnī (d. 1588) is today known primarily for his strophic elegy on the martyrdom of Imam Husayn at Karbal, but such devotional poems make up only a tiny fraction of large oeuvre. Far more substantial are two works of a very different tenor, Nuql-i ''Ushshq (The Lover''s Confection) and Risla-yi Jalliyya (The Glorious Epistle). Using an innovative combination of prose and poetry, these works tell the story of the poet-narrator''s stormy affairs with, respectively, an upper-class courtesan and a footman attached to a nobleman''s house. As part of the larger literary movement known as the maktab-i vuq'' or “realist school,” these purported autobiographical accounts of Muhtasham''s amorous adventures reveal a sophisticated culture of eros and desire that differs strikingly from the usual representations of the state of literature and the arts under Shah Tahmsp. After situating these works in their historical, literary, and cultural contexts, the article turns to a close analysis of an extended passage from each work to show how Muhtasham integrates lyric poetry, narrative, and setting to depict the pursuit of desire in the urbane world of early modern Persia.
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机译:诗人MuhtashamKshnī(卒于1588年)今天主要以他在Karbal的Imam Husayn the难中的挽歌挽歌而闻名,但这种虔诚的诗歌只占大笔作品的一小部分。更具实质性的是男高音调的两幅作品,《 Nuql-i》《 Ushshq》(情人的甜食)和Risla-yi Jalliyya(《光荣的书信》)。这些作品结合了散文和诗歌的创新,分别通过上层贵族的妓女和贵族家中的侍者讲述了诗人叙事者的风风雨雨的故事。作为被称为“ maktab-i vuq”或“现实主义学校”的较大文学运动的一部分,这些自称穆塔瑟姆多情历险记的自传叙述揭示了一种复杂的色情和欲望文化,与通常的绘画形式截然不同。 Shah Tahmsp领导的文学和艺术现状。在将这些作品置于其历史,文学和文化背景中之后,本文转向对每部作品的延伸段落进行仔细分析,以显示穆塔瑟姆如何将抒情诗,叙事和场景融为一体,以描绘都市世界中对欲望的追求早期的现代波斯。
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