"The
poetic
world of
the
great
Iranian
poet,
Bidel
Dehlavi
is
considerable
from
various
perspectives:
the
peculiarity
of
words,
un-imagined
similes,
inventive
subject
matters,
unexplored
formats,
and a
variety
of
issues
including
love,
mysticism
and
social
criticism,"
said Dr.
Seyyed
Ali-Muhammad
Sajadi.
Reported
by the
Public
Relations
of the
Academy
of Arts,
on the
first
day of
the
scholarly
program
of
Isfahan
School
Literature,
Dr.
Sajadi
gave a
lecture
titled,
"Bidel
and
Bideli
Art."
He said:
"Undoubtedly
in Farsi
literature,
both in
prose
and poem
the word
'del
(heart)'
is
employed
more
than any
other
word.
How
sublime
and
generous
is
someone
who
presents
the most
precious
treasure
of life
and
sacrifices
it and
sets his
heart on
love to
become
'bidel.'
Bidel is
the
lover
and art
is love.
Thus
bidel is
the
artist
and the
embodiments
of art
are
visible
in his
thoughts,
works
and
behavior."
On the
qazal-s
of
Bidel,
Sajadi
remarked:
"Each
of
qazal-s
composed
by Bidel
is like
a
'mirror
house'
which
reflects
a
hundred
various
images
of one
object.
It
represents
the
light of
a candle
more
brilliant
than
sunlight
and
someone
who is
not
familiar
with
this
variety
will
inevitably
be
baffled
by such
a
confrontation."
After
Dr.
Sajadi
as the
first
lecturer
made his
speech
and
recited
the
poems of
Bidel,
Dr.
Muhammad-Reza
Qolam-Reza'ei
presented
his
article,
"The
Relation
of Bard
and
Audience
in the
Poems of
Sa'eb
Tabrizi"
which is
written
to
introduce
the
great
Iranian
poet. He
said,
"Sa'eb
Tabrizi
is one
of the
poets
whose
works
have
always
appealed
to the
large
number
of
readers.
Both
elites
and
public
audience
have
loved
Sa'eb's
poems
and
admired
them.
They
have
regarded
him as
the most
prominent
poet of
Hindi or
Isfahani
style."
Qolam-Reza'ei
followed
his
discussion
with an
analytical
study of
five
qazal-s
composed
by Sa'eb
with a
special
focus on
their
relation
with the
audience.
"If
we
accept
that
poet
employs
similar
grounds
and
factors
similar
to those
of the
audience,
we least
should
observe
two
factors:
language
and
culture.
If we
consider
a
language
from two
views of
words
and
syntax,
and pay
an
attention
to
literary
language,
we also
have to
discuss
two
factors
which
make the
language
prominent
and
literary.
These
two
factors
are
reinforcement
of the
rules
and
evading
the
normalities,"
he
pointed
out.
"In
Safavid
era the
poets
were
following
the
language
of their
time in
terms of
using
words
and
syntax,"
Qolam-Reza'ei
said. On
the
usage of
words in
Sa'eb
poetry
he
remarked:
"Sa'eb
has
evaded
using
discarded
and
difficult
Farsi
and
Arabic
words,
as a
matter
of fact
he has
employed
the
mainstream
words of
that
era.
Even
some of
his
words
which
seem
ancient
are not
among
the
discarded
and
difficult
words,"
he
added.
Qolam-Reza'ei
also
accounted
for the
literary
aspects
of
Sa'eb's
language,
"In
Sa'eb's
poetry
the
music of
words
mostly
is
transferred
through
the
usual
Farsi
rythms,
radif-s
and
rime,
the
other
elements
including
harmony,
pun (jenās),
balance,
explanation
and
other
figures
of
speech
which in
ancient
literature
are seen
as the
major
elements
of
music,
have
less
employed
in his
poetry,"
he said.
Following
the
session,
Dr.
Mansour
Servat
read his
article
titled,
"The
Oppressed
Farsi
Prose
and
Anecdotes
in
Safavid
Era."
He
firstly
indicated
to the
characteristics
of
Safavid
era as
the age
of
tendency
to
attributions,
political
centrality,
increment
of
capital,
human
work
force
and the
development
of arts,
"These
developments
led to
the
emergence
of the
new
social
class
which
can be
called
original
industrialists.
That new
social
class
lacked
the
necessary
educational
background
for
communication
with the
complicated
classic
Farsi
literature,
both as
prose
and
poetry;
from the
other
hand
they had
no
spiritual
communication
with the
content
of such
a
literature.
Consequently
they
developed
a new
literature
with its
own
features
included
popularity,
simplicity
and
literary
terms,
appealing
to its
audience.
Such a
situation
caused
an
approach
to
popular
literature
and even
the
poetry
was
influenced
by the
situation
and
found
its way
to tea
houses."
Servat
said.
He
classified
the
story
writing
of
Safavid
era into
four
items:
religious,
romantic,
epical
and
popular,
then he
accounted
of for
the
ignorance
toward
the
literature
of
Safavid
era:
"The
Farsi
prose of
Safavid
era
suffers
from a
severe
illness
which is
the
result
of
despotism
and
illiteracy
or the
limited
knowledge
of the
writers.
This
problem
is
visible
in both
the
official
language
of court
and
story
writing
and
obviously
shows
the
decline
of
literary
elegance,
influence,
integrity
and
sublimity
of the
method
of
expression,
the
problem
is
mostly
clear in
story
writing
which
suffers
from
populism,"
Servat
added.
The next
lecturer
Dr.
Ahmad
Tamimdari
made his
speech
on
"The
Literature
of
Safavid
Era,
Decline
or
Progression?"
He said:
"The
comparison
of
Safavids
with
their
prodecessors
who were
living
before
the nine
century
A.H. is
misleading,
as all
the
poets
don't
compose
like
Sa'di or
Hafez,
since
these
two are
meta-periodical
and
meta-spatial
poets
and we
can't
compare
the
poets of
other
periods
and
styles
with
them,
because
in each
historical
period,
the
styles
undergo
various
changes.
The
style is
like the
surface
of the
ground,
when it
penetrated
by the
water,
the
useful
water is
wasted
and
reaches
to
deeper
layers."
In the
other
section
of his
speech,
Tamimdari
said:
"The
felicitous
event of
that
time was
the fact
that
poetry
went out
of
court.
Subsequently
poem
found
its way
to
mosques,
Khaneqah-s
and
takayas.
The same
event
happened
in the
other
artistic
fields,
also for
the
first
time the
religious
books
and
treatises
were
written
in or
translated
to
Farsi."
Next,
Dr.
Shakour,
the head
of the
Orientalist
Studies
Department
of
Warsaw
University
gave a
lecture
on the
correspondence
of
Safavid
culture
with
Polish
culture,
"Geographically
and
culturally
Iran and
Poland
are far
from
each
other,
but in
Safavid
era both
countries
had been
influential
and
inspiring
to each
other.
While
there
was a
kind of
enmity
between
European
and
Muslim
nations,
a
relationship
had been
established
between
these
two
countries,"
she
said.
Finally
Ms
Shakour
added:
"The
Iranian
influence
and
power
was not
just
symbolized
with
art, but
Polish
cultural
waves
were
deeply
influenced
by them
and
mostly
were
advocated
by the
nobles
of the
court."
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