The remoteness of Khorâsân, where Rudaki was based, provided a hospitable atmosphere for a "renaissance" of Persian literature. In the tenth century the Caliphate power, with headquarters in Bagdad, gradually weakened. He is widely regarded as "the father of Persian poetry, for he was the first major poet to write in New Persian language, following the Arab conquest in the seventh and eighth centuries, which established Islam as the official religion, and made Arabic the predominant literary language in Persian-speaking lands for some two centuries. 880 CE-941 CE) was a poet to the Samanid court which ruled much of Khorâsân (northeastern Persia) from its seat in Bukhara. The findings of this book not only contribute to better understanding of Persian syntax, but also have important implications for grammar theory.Ību ‘Abdollâh' Jafar ibn Mohammad Rudaki (c. Unlike the previous analyses which consider the experiencer as the subject of the psychological constructions, the author argues that the psychological state is the subject of the sentence. Adopting the framework of Distributed Morphology, the author argues that agreement is in fact obtained with the plural inanimate subjects but a morphological rule may block the result. This book adopts the Minimalist Program of Chomsky (1995-2004) which is at the forefront of recent theories of formal syntax and applies it to the Persian language.Īlthough it is commonly believed that in Persian the verb agrees with the subject, several constructions seem to constrain this obligatory rule. Persian is a field of research within theoretical linguistics that is yet to be sufficiently explored. They reflect a high degree of engagement with the existing scholarship in the field, they revive and challenge traditional views on the poet and his work and are indispensable both for specialists in the field and for anyone interested in the movement of ideas in the Medieval world.Īgreement Restrictions in Persian is the first comprehensive attempt to tackle the issue of verbal agreement in Persian from a cross-linguistic point of view. they show how classical Greek knowledge mingles in a unique manner with the Persian past and the Islamic culture in Nizami’s world. They focus on topics such as mysticism, art history, comparative literature, science, and philosophy. The essays in the present volume constitute a significant development in the field of Nizami-studies, and on a more general level, of classical Persian literature. His heroes, Khosrow and Shirin, Leili and Majnun, Iskandar count amongst the stars of the Persian literary firmament and have become household names all over the Islamic world. His five masnavis (long poems) address a variety of topics and disciplines and have all enjoyed enormous fame, as the countless surviving manuscripts of his work indicate. His work has influenced such other immense poets as Hafez, Rumi, and Saadi.
He has left his mark on the whole Persian-speaking world and countless younger poets in the area stretching from the Ottoman to the Mughal worlds (present-day Turkey, Azerbaijan, Armenia, Georgia, Iran, Afghanistan, Uzbekistan, Tajikistan, Pakistan, India) have found him an inspiration and have tried to emulate him. He is widely recognized as one of the main poets of Medieval Persia, a towering figure who produced outstanding poetry, straddling mysticism, romances and epics. Nizami (1141-1209) lived and worked in Ganja in present-day Azerbaijan. This “Key” to the Khamsa consists of thirteen essays by eminent scholars in the field of Persian Studies, each focusing on different aspects of the Khamsa, which is a collection of five long poems written by the Persian poet Nizami of Ganja.
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