Volume 04 Issue 03-2022
48
The American Journal of Social Science and Education Innovations
(ISSN
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2689-100x)
VOLUME
04
I
SSUE
03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
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IF
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8.106
Publisher:
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ABSTRACT
The author of the article first pays attention to the sincere attitude of Firdousi to Daqiqii Balkhi and his legacy from a
new position and point of view. The author based on the statements of Firdousi and highlights of Daqiqi’s death. He
argues that Daqiqi’s death in the period of his young age, his talent shows the results of slander and opposite side of
orthodox Islam. The author for the first time analized the fictitious slander about Daqiqi, relying on the statements of
Firdousi, offers the new scientific conclusions about the true causes of Daqiqi’s death, as well as worthy assessment
of Firdousi and as a creative personality and the legacy of Daqiqi.
KEYWORDS
Epic, skill, reasonable, allegory, tragedy, ancient, legacy, thought, Hakim, Tajik-Persian, devan, literature.
INTRODUCTION
Although Abulqasim Firdousi was associated with many geniuses, he mentioned only Ustad Rudaki and Hakim Daqiqi
in his “Shahnameh”. His mention of Tajik-Persian poetry’s father Rudaki has written in the chapter "Barzuya's Quote
from Kalila and Dimna from India", which is no more than a few verses long and reads:
Research Article
FIRDAWSIS WISE CRITIQUE TO THE DAQIQIEPOS
Submission Date:
February 28, 2022,
Accepted Date:
March 20, 2022,
Published Date:
March 31, 2022 |
Crossref doi:
https://doi.org/10.37547/tajssei/Volume04Issue03-06
Anzurati Malikzod
Senior Researcher of Tajik history Iiterature Department of the Institute of Languages and Literature by
name Abuabdullo Rudaki of the National Academy of Sciences of Tajikistan
Journal
Website:
https://theamericanjou
rnals.com/index.php/ta
jssei
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 03-2022
49
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
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03
Pages:
48-71
SJIF
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(2020:
5.
525
)
(2021:
5.
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(2022:
6.
397
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1121105668
METADATA
IF
–
8.106
Publisher:
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Гузорандае пеш биншонданд,
Њама нома бар Рўдакї хонданд.
Бипайваст гўё парокандаро,
Бисуфт инчунин дурри огандаро [5, 675].
A passer-by sat down,
Everyone read the letter to Rudaki.
Connect as if scattered,
Fund also a far cry
اهدنراذگ
ی
پ
ی
،دندناشنب ش
کدور رب همان همه
ی
دندناوخ
.
پب
ی
وگ تسو
ی
،ار هدنکارپ ا
ا تفوسب
ی
نچن
ی
[ ار هدنگآ ّرُد ن
5
،
575
.[
However, he mentioned twice in detail and specifically about the personality and art of Daqiqi Balkhi. The first time,
at the beginning of “Shahnameh”, and the second time, where the story of “Gushtospnoma” had mentioned, he
spoke in detail about Daqiqi and his story. The mentions of Daqiqi’s name in Shahnameh are not accidental and does
not correspond to Ferdousi's artistic ideals. Daqiqi's ingenuity and high poetic skill led to the recording of his name
and story in the infamous "Shahnameh". If the great Ferdousi had not included these thousand verses of Daqiqi in
“Shahnameh”, perhaps this heartbreaking story would have disappeared along with the complete
devon
of his poetry,
and we would have been forever deprived of Gushtospnoma, as one of the refiners of Persian sweets.
From the sincere Ferdousi’s memory, it is clear from this poet that the sage of Tus had a special will for Daqiqi. He was
recognized as the pioneer of the epic path and respected Daqiqi's poetic talent. However, Ferdowsi's high sincerity
and sincerity in relation to Daqiqi Balkhi has not been recognized in literary criticism to this day. And Ferdowsi's
objective and impartial views on accuracy are always unrealistic, biased and far from the essence of what he said and
debated, which today requires an objective scientific review.
Ferdowsi's benevolent attitude towards Daqiqi is a perfect example of Ferdowsi's eloquence and honesty, as well as
his inquisitiveness and artistry.
Volume 04 Issue 03-2022
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(2020:
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METADATA
IF
–
8.106
Publisher:
The USA Journals
Ferdowsi's special respect and belief in this poet led him to dedicate a chapter entitled "The Story of the Poet" at the
beginning of "Shahnameh". The recognition of Daqiqi as a poet by Ferdowsi is not an easy and simple assessment, but
a very high assessment and a kind of concise and wise critique that reflects all his talents. The beginning of this chapter
is as follows:
Чу аз дафтар ин достонњо басе,
Њамехонд хонанда бар њар касе.
Љањон дил нињода бад - ин достон,
Њама бихрадон низу њам ростон
[5, 5].
وچ
زا
رتفد
نیا
اهناتساد
،یسب
دناخیمه
هدنناوخ
رب
ره
یسک
.
ناهج
د
ل
هداهن
نیدب
،ناتساد
همه
نادرخب
زین
و
مه
ناتسار
[
5
،
5
.[
According to Ferdowsi, in his time, people loved the stories of kings and warriors. And these lovers, according to the sage Tus,
were among the wise and truthful Aryans. It is clear that Balkhi also grew out of this category, and Ferdowsi praised his poetry
as follows:
Љавоне биёмад кушодазабон,
Сухан гуфтани хубу табъи равон.
Ба назм орам ин номаро гуфт ман,
Аз ў шодмон шуд дили анљуман
[5, 5].
یناوج
دمایب
،نابزهداشگ
نخس
نتفگ
بوخ
و
عبط
ور
نا
.
هب
مظن
مرآ
نیا
همان
ار
تفگ
،نم
زا
وا
نامداش
دش
لد
نمجنا
[
5
،
5
[
.
Clearly, the sage Ferdowsi called Daqiqi an open-minded and good-natured person.
Volume 04 Issue 03-2022
51
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
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03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
The USA Journals
He praised his innate talent. Calling him a joy to the hearts of lovers of Pahlavi legends, Ferdowsi is a testament to the
sincerity and recognition of Daqiqi's poetry and sympathy, and secondly, it shows the great love of the people of that
time for the stories of kings and wrestlers of the past.
In the following verses of the preface, Ferdowsi mentions the tragic and untimely death of Daqiqi with deep regret
and explains the reason for his death as follows:
Љавонешро хўи бад ёр буд,
Або бад њамеша ба пайкор буд.
Бар ў тохтан кард ногоњ марг,
Ба сар барнињодаш яке тира тарг.
Бад-ин хўи бад љони ширин бидод,
Набуд аз љањон дил-ш як рўз шод.
Якояк аз ў бахт баргашта шуд,
Ба дасти яке банда баркушта шуд
[5, 5].
شیناوج
ار
یوخ
دب
رای
،دوب
ابا
دب
هشیمه
هب
راکیپ
دوب
.
رب
وا
نتخات
درک
هاگان
،گرم
هب
رس
شداهنرب
یکی
هریت
گرت
.
نیدب
یوخ
دب
ناج
نیریش
،دادب
دوبن
زا
ناهج
لد
-
ش
کی
زور
داش
.
کیاکی
زا
وا
تخب
هتشگرب
،دش
هب
تسد
یکی
هدنب
هتشُکرب
دش
[
5
،
5
[
.
This statement of Ferdowsi is an important document in the identification of Daqiqi's personality and character, and
has a special significance, which determines several key points related to his personality and heritage. If these words
of the sage Ferdowsi were not about Daqiqi, today we would be unaware of some details of this poet's life, and the
chapter of the biography of this Armenian poet would be unwritten and even worse.
Volume 04 Issue 03-2022
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VOLUME
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(2020:
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(2021:
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857
)
(2022:
6.
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)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
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The wise Ferdowsi explains the cause of the poet's death so delicately and carefully that, in fact, after reading it, the
reader apparently concludes that he is an evil and vicious person. But when we look closely at the symbolic words of
Ferdowsi, it becomes clear that he was really optimistic and kind about this unfortunate poet and never spoke
insultingly, but spoke cautiously, sarcastically and bluntly.
According to Ferdowsi, Daqiqi was helped by a “bad guy” who was always fighting with the bad guy, that is, he could
not reconcile with the bad guys. It turns out that Daqiqi is a free-spirited and open-minded person, and he has always
been in conflict with the hypocrites. Freedom, honesty and sincerity are clearly expressed in these verses of his own:
Даќиќї чор хислат баргузидаст
Ба гетї аз њама хубию зиштї:
Лаби ёќутрангу нолаи чанг,
Майи чун зангу кеши зардуњиштї
[2, 108]
یقیقد
راچ
تلصخ
تسدیزگرب
هب
یتیگ
زا
همه
یبوخ
و
یتشز
:
بل
گنرتوقای
و
ةلان
،گنچ
یم
نوچ
گنز
و
شیک
یتشیهودرز
[
2
،
801
[
.
In our opinion, Daqiqi’s sarcasm, courage, liberty and honesty were interpreted by Ferdowsi in a sarcastic, very
conscious and deliberate way. According to Ferdowsi, it seems that in his time the opinion of the new authorities
about the accuracy of the question was not very good. It is safe to assume that the Ghaznavid authorities did not like
his engineering zeal and zealous nature, especially against foreign elements, and the poet himself, one of the most
active figures in the revival of the Shu'biyyah.
Therefore, deliberately accusing him of immorality, the assassination attempt on the young soul of this poet and their
struggle is linked to his “bad temper”. This meaning is evident from the eloquent, careful and symbolic words of
Ferdowsi:
Бар ў тохтан кард ногоњ марг,
Ба сар барнињодаш яке тира тарг.
Бад ин хўи бад љони ширин бидод,
Набуд аз љањон дил-ш як рўз шод.
Volume 04 Issue 03-2022
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(2020:
5.
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(2021:
5.
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(2022:
6.
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–
8.106
Publisher:
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Якояк аз ў бахт баргашта шуд,
Ба дасти яке банда баркушта шуд
[5, 5].
رب
وا
نتخات
درک
هاگان
،گرم
هب
رس
شداهنرب
یکی
هریت
گرت
.
دب
نیا
یوخ
دب
ناج
نیریش
،دادب
دوبن
زا
ناهج
لد
-
ش
کی
زور
داش
.
کیاکی
زا
وا
تخب
هتشگرب
،دش
هب
تسد
یکی
هدنب
هتشُکرب
دش
[
5
،
5
[
.
Ferdowsi wanted to erase the truth of the truth from the past, at least to record the truth of his life and the description
of his tragic life in any way he could for the future, and thus to perpetuate his name. Therefore, Ferdowsi, sarcastically
calling Daqiqi “bad”, seems to have put himself in the same position as the fanatical rulers of the time, to show his
solidarity with them, to use his eloquence and to place Daqiqi's name in this unique masterpiece. Because it seems
that even after the assassination of the poet, the fanatical authorities of the time did not extinguish their hatred for
him and insulted Daqiqi as the Aryan national poet. Therefore, Ferdowsi defended the name and legacy of Daqiqi.
Unfortunately, the vast majority of commentators, with the exception of Muhammad Awfi, understood Ferdowsi's
prudence and prudence towards Daqiqi and his sarcastic reference to the owner of the "bad mood" in the true sense
of the word, without any great ambiguity and fabricated slanders. And this mistake then spread to all books on the
history of literature and continues to this day.
Apparently, Avfi was well aware of the subtleties of Ferdowsi's remarks about Daqiqi and his tragic death, which
remained silent over the cause of his death.
It is unfortunate that the great Indian literary critic, Ustad Shibli Nu'mani, made the same mistake, misunderstood
Ferdowsi's views, accused Daqiqi of immorality and said with deep regret about him: “What a pity, what a pity. one
such person is tainted with moral lacquer. He had a good-natured slave who was in the throes of love, a slave who
was extremely zealous and fanatical, and finally put an end to Daqiqi's life ”[4, 31].
Unfortunately, Shibli Nu'mani came to this erroneous conclusion as a result of deviating from the essence of
Ferdowsi's words and ignoring the tone of his wise words, as well as ignoring the difficult political and social events
of the time of Daqiqi.
Volume 04 Issue 03-2022
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03
Pages:
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SJIF
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(2020:
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(2021:
5.
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)
(2022:
6.
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)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
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Thus, this idea became so prevalent in literary criticism that many scholars approached Daqiqi's poetry from this point
of view, calling him a vicious and immoral poet, and misinterpreting the cause of his tragic death. in recognition of this
great and zealous poet.
The well-known Iranian literary critic Ustad Abdul Hussein Zarrinkoub is also think that when Ferdowsi narrates in the
chapter “malice and inclination to sin” [8, 28], he calls Daqiqi a poet of modesty.
Such conclusions about Daqiqi and his personality, in our opinion, are far from the essence of the words of the sage
Ferdowsi. On the contrary, Firdausi's mention of Daqiqi at the beginning of the Shahnameh is a testament to his faith
and respect for this infamous poet.
As can be seen from Ferdowsi's account, the sensitive and militant Daqiqi did not have a single moment of joy in his
inhuman battle with guilt and evil, and was apparently always under pressure and torture from his ideological enemies.
In the end, the unfamiliar, free-spirited and truth-seeking nature of Daqiqi destroys his green head at a young age at
the hands of a mercenary and mercenary slave, leaving him with the task of composing a royal letter:
Бирафт ўву ин нома ногуфта монд,
Чунон бахти бедори ў хуфта монд
[5, 5] .
تفرب
وا
و
نیا
همان
هتفگان
،دنام
نانچ
تخب
رادیب
وا
هتفخ
دنام
[
5
،
5
[
.
According to Ferdowsi Daqiqi, he was a happy poet who was able to compose the stories of kings from his
contemporaries. The proud history of his ancestors is considered to be a source of pride and joy for the poet Ferdowsi.
In other words, according to Ferdowsi, the talent and reputation of a true poet is determined by his ability to recite
epic poetry and praise the heroism of the past.
Therefore, it is gratifying to mention in detail only the sage Ferdowsi from his contemporaries. The sage Tus Daqiqi is
highly regarded as a master poet, the founder of epic poetry.
In fact, the personality and the legacy of the beautiful and ideal Daqiqi are of special importance to the sage Ferdowsi
in several respects.
First of all, Daqiqi is an example and a source of prestige for Ferdowsi in terms of personality and human dignity.
Secondly, Ferdowsi is a real perfectionist of this free-thinking poet from the point of view of thinking and understanding of
Aryan national values. Ferdowsi's position on the recognition of national interests, love of labor and the preservation of the
borders of the ancestors is the same from the point of view of Daqiqi.
Volume 04 Issue 03-2022
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(2020:
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)
(2022:
6.
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OCLC
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1121105668
METADATA
IF
–
8.106
Publisher:
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Therefore, it can be said that Daqiqi is respected not only as the initiator of the glorious work of Ferdowsi, but also as
a prominent figure in the protection of borders and the original values of the Aryan people.
Thirdly, the tragic and untimely death of Daqiqi, which, in our opinion, was deliberately perpetrated by his ideological
enemies in order to complete the poem of the Kayani kings, could not help but think of Ferdowsi, the successor of
Daqiqi's unfinished path. Ferdowsi's deep thought was that the work of writing the Shahnameh would not be
completed, and that he, like Daqiqi, would be slandered and slandered by the fanatics and traitors of the Tajik national
state, and that he would be killed or otherwise exaggerated. to make.
This thought apparently frightened Ferdowsi, who said:
Бипурсидам аз њар касе бешумор,
Битарсидам аз гардиши рўзгор.
Магар худ дирангам набошад басе,
Бибояд супурдан ба дигар касе
[5, 5].
مدیسرپب
زا
ره
یسک
،رامشیب
مدیسرتب
زا
شدرگ
راگزور
.
رگم
دوخ
مگنرید
دشابن
،یسب
دیابب
ندرپس
هب
رگید
یسک
[
5
،
5
[
.
It was not accidental that Ferdowsi was afraid of the “turn of events” and thought deeply. This wise fear had a real
basis. It was not difficult to see from the unfavorable socio-political situation that, along with the coming to power of
foreign rulers in place of the Samanid dynasty, there was a serious threat to the lives of free and well-informed
individuals. Therefore, it was this concern and “fear of the turn of events” that led Ferdowsi to work tirelessly to
immortalize the history of statehood, customs, culture and civilization of the free people for his descendants.
Ferdowsi considered Daqiqi's tragic story and unfinished story to be a part of the rich history of his people, and by not
including it in the Shahnameh, a part of the history of evolution and political and social changes in his life would be
invisible to the future.
Then Ferdowsi finished writing the “Shohnoma”, and the establishment of the Samanid state, which was the
supporter and buyer of the nationalist ideas of the “Shohnoma”, collapsed.
And, as it is known, from the point of view of ideas and content, this unsung masterpiece did not hurt any of the new
rulers of the time. Therefore, Ferdowsi had to adapt the Shahnameh to the tastes of the new rulers of the time,
Volume 04 Issue 03-2022
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(2020:
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(2022:
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–
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Publisher:
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especially Sultan Mahmud. For five years he edited and corrected some parts of the royal letter. Today it is not clear
to us which parts of Ferdowsi edited and modified the Shahnameh. In any case, in our opinion, the part he wrote about
Daqiqi is one of the later edited parts of the “Shohnoma”, which is very masterfully and skillfully done.
It is possible that this part was written by Ferdowsi in a different way before, and it is certain that it was later edited and
improved. Ferdowsi's aim in designing this chapter was, on the one hand, to include Daqiqi's unfinished work in this
masterpiece and to appreciate his efforts, and, on the other hand, to suppress the contradiction between the current rulers
of the time and Daqiqi's "backwardness".
On the other hand, it was a mysterious reflection of the historical truth of the Iranian people for the future, which, as a
result of Turkism and the rise of bigotry and xenophobia, broke the foundations of a powerful state like the Samanid state.
In any case, it is clear from this section that Daqiqi has always been a supporter and source of inspiration for Ferdowsi in his
work on royal poetry.
Especially in the section “Dreaming of Ferdowsi Daqiqi” it is clear that Daqiqi is important for this epic poet. Daqiqi
serves as a saver for Ferdowsi and gives him advice and counsel. According to Ferdowsi's dream, the royal letter was
written according to Daqiqi's instructions and advice. The beginning of this story is as follows:
Чунин дид гўянда як шаб ба хоб,
Ки як љоми май доштї чун гулоб.
Даќиќї зи љое падид омадї,
Бар он љоми май достонњо задї.
Ба Фирдавсї овоз додї, ки май,
Махур љуз ба ойини Ковусу Кай
[5, 403].
نینچ
دید
هدنیوگ
کی
بش
هب
،باوخ
هک
کی
ماج
یم
یتشاد
نوچ
بلاگ
.
یقیقد
ز
ییاج
دیدپ
،یدمآ
رب
نآ
ماج
یم
اهناتساد
یدز
.
هب
یسودرف
زاوآ
،یداد
هک
،یم
روخم
زج
هب
نییآ
سوواک
و
یک
[
5
،
403
[
.
Volume 04 Issue 03-2022
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SJIF
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FACTOR
(2020:
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)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
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As we can see, the wise Ferdowsi dreamed of a glass of pink wine in his hand. Daqiqi also tells a story about the kings of
Kayani and advises Ferdowsi to always say no to the sake of the stability of the “ritual of Kovusu Kai”. And this idea is a
kind of rhetoric and a reference to the new ruler of the time, Mahmud of Ghazni, who must continue the tradition of the
Kayan government and make the tradition of their statehood his guide. Muhammadali Islami of Nadushan considers the
cup of May in this story as an allusion to the Iranian national anthem [3, 277].
But from the Zoroastrian point of view, it is permissible to drink wine, the juice of the sacred plant “haoma”. (4) In our
opinion, a glass of wine is like a rose, a sign or a symbol of freedom, purity, heroism, courage and purity.
On the other hand, this picture is a kind of expression of Daqiqi's consent and satisfaction, both from the writing of
the Shahnameh and from the coming to power of Mahmud of Ghaznavi:
Ки шоње гузидї ба гетї, ки бахт
Бад-ў нозаду тољу дайњиму тахт.
Шањаншоњ Мањмуди гирандашањр,
Зи ганљаш ба њар кас расонида бањр
[5, 403].
هک
یهاش
یدیزگ
هب
،یتیگ
هک
تخب
ودب
دزان
و
جات
و
میهید
و
تخت
.
هاشنهش
دومحم
،رهشدنریگ
ز
شجنگ
هب
ره
سک
هدیناسر
رهب
[
5
،
403
[
.
It is known that Ferdowsi narrated these verses in accordance with his artistic style on behalf of Daqiqi. It is clear that
Ferdowsi did not agree with the coming to power of Sultan Mahmud, and Daqiqi was not happy.
However, praising the king and offering him a royal letter in exchange for treasures was incompatible with the nature
of the great poet, because Ferdowsi was not a poet of praise. Until then, Sultan Mahmud, on the other hand, did not
deserve his praise, but now he really wanted his “Shohnoma” to be accepted. to the memory of the new king of the
time, whose ideas of statehood were completely opposed to the ideas of his timeless work. Ferdowsi needed to create
such a scene, and it was easier for him to express this dream in the language of Daqiqi. Therefore, according to Daqiqi,
calling Ferdowsi generous and open-minded to Mahmud could be nothing more than inclining him to the Shahnameh
and thus incorporating Daqiqi's unfinished work. This is because Daqiqi considered it his main goal to admonish the
emirs and rulers of the time in his hymns.
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Thus, Ferdowsi praised the wealth and generosity of Sultan Mahmud on behalf of Daqiqi, on the one hand, he wanted
to draw the attention of the king of the time to the "Shohnoma" and, on the other hand, he wanted to get the king's
negative opinion of the former master of the Iranian national epic. change.
In the case of Ferdowsi's dream, the true purpose of Daqiqi's poetry and hymns, which was to admonish him, is
observed. According to Daqiqi, the king was told not to be harsh or abusive to his subordinates:
Набояд-ш гуфтан касеро дурушт,
Њама тољи шоњон-ш ояд ба мушт
[5, 403].
دیابن
-
ش
نتفگ
یسک
ار
،تشرد
همه
جات
ناهاش
-
ش
دیآ
هب
تشم
[
5
،
403
[
.
According to Daqiqi’s thoughts, the praise of the “Shohnoma” was quite natural, and its purpose was to convince the
rebellious and stubborn Mahmud of the great ideals of this masterpiece:
Бад ин нома арчанд биштофтї,
Кунун њар чи љустї, њама ёфтї
[5, 403].
دب
نیا
همان
دنچرا
،یتفاتشب
نونک
ره
هچ
،یتسج
همه
یتفای
[
5
،
403
[
.
Ferdowsi's dreaming of fitting scene that easily overcomes a number of the complexities of its narrator and the
contradictions between the new king and the two epic poets.
In particular, the fate of the first poet of the royal letter, whose life was quickly extinguished by accusations and
slanders, and which was now likely to befall the second-century poet, could not help but reflect on Ferdowsi. In such
a situation, the creation of such a fitting scene by the author of the "Shohnoma" with a high level of literary intelligence
testifies to the fact that he is a master of poetry and very well aware of the political situation of the time.
Ferdowsi's dream scene is a fascinating and short show in which two epic poets take part, both of whom are kind,
optimistic and sympathetic to each other. Ferdowsi, in particular, was kind to Daqiqi, honoring Daqiqi's name by
including Gushtospnoma in his infamous work. According to Ferdowsi, the inclusion of Gushtospnoma in Shohnoma
is also in line with Daqiqi's wishes:
Дар ин бора ман пеш гуфтам сухун,
Агар бозёбї, бахилї макун.
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(2022:
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Зи Гуштоспу Арљосп байте њазор
Бигуфтам, сар омад маро рўзгор
[5, 5].
رد
نیا
هراب
نم
شیپ
متفگ
،نُخُس
رگا
،یبایزاب
یلیخب
نکم
.
ز
پساتشگ
و
پساجرا
یتیب
رازه
،متفگب
رس
دمآ
ارم
زور
راگ
[
5
،
5
[
.
The wise Ferdowsi also remembers the death of Mahmud of Ghazni and reminds him to be kind and benevolent. He
conveys Daqiqi's will to the king, whose inclusion in the Shahnameh is the author's dream to become a king in this
way, and it is as if Daqiqi considers Mahmud worthy of this masterpiece:
Гар он моя назди шањаншањ расад,
Равони ман аз хок бар мањ расад.
Кунун ман бигўям сухан, к-ў бигуфт,
Манам зинда ў гашта бо хок љуфт
[5, 5].
رگ
نآ
هیام
دزن
هشنهش
،دسر
ناور
نم
زا
کاخ
رب
هم
دسر
.
نونک
نم
میوگب
،نخس
ک
-
وا
،تفگب
.
[
منم
هدنز
وا
هتشگ
اب
کاخ
تفج
[
5
،
5
].
In this interesting scene, the lasting role was created by the artist Ferdowsi. With words and dreams, as a skilled
psychologist tries to subdue a stubborn and arrogant king, as if to prove his validity in the eyes of a short-lived Daqiqi.
The tone of the speech is so captivating that it makes even the most skeptical person believe. And on the other hand,
the role of dreams in the life of our people proves it.
At the end of the dream scene, Ferdowsi admits that he has accepted Daqiqi's words and will not delay:
Пазируфтам он гуфти ўро ба хоб,
Ба хубиву нармиш додам љавоб:
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Publisher:
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Ки ман њам ба пеши ту хоњам расид,
Аз ин шарбатам мебибояд чашид
[5, 5].
متفریذپ
نآ
تفگ
وا
ار
هب
،باوخ
هب
خ
یبو
و
شمرن
مداد
باوج
:
هک
نم
مه
هب
شیپ
وت
مهاوخ
،دیسر
زا
نیا
متبرش
دیابیبیم
دیشچ
[
5
،
5
[
.
It is clear from Ferdowsi's dream that he made Daqiqi's work the masterpiece of his art in several ways. Ferdowsi's
dream is real or it doesn't matter if it's a fictional scene. It is important to note that for the sage Ferdowsi, Daqiqi is an
exceptional personality with a unique artistic potential, which is a source of inspiration and inspiration even after
death.
Hakim Ferdowsi, with his ingenuity and wisdom, creates a scene in which the reader correctly understands the position
and status of Daqiqi. Although there were poets and writers before Daqiqi who wrote the Shahnameh in both prose
and verse, the fact that Ferdowsi justly admired Daqiqi and admired his poetry testifies to the fact that he was an
enterprising poet in every way. close to him. And on the other hand, as we have said, his tragic fate caused Ferdowsi
deep regret.
Thus, in the “Shohnoma” after the story of the “Gushtospnoma” it is really strange that Ferdowsi praised King
Mahmud and Daqiqi at the same time. Here, too, Ferdowsi's art of staging and psychology is evident. In this part, the
combination of praise for Sultan Mahmud and criticism of Daqiqi in our opinion shows that Daqiqi was not at all
compatible with Mahmud's government in terms of ideas and worldviews, and on the other hand, this situation greatly
hinders the entry of Gushtospnoma into Shohnoma.
Therefore, Ferdowsi's meticulous and metaphorical critique of Gushtospnoma in this section appears to be due to the
authorities' misconceptions about Daqiqi and his work. Tus's eloquence and eloquence are also evident in this section.
The beginning of this seemingly critical section, but in essence, begins with an honest, realistic, artistic and fair critique
of Ferdowsi himself:
Кунун, эй сухангўи бедормард,
Яке сўи гуфтори худ бозгард.
Даќиќї расонид ин љо сухун,
Замона баровард умраш ба бун
[5, 419].
،نونک
یا
یوگنخس
،درمرادیب
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(2022:
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Publisher:
The USA Journals
یکی
یوس
راتفگ
دوخ
درگزاب
.
یقیقد
دیناسر
نیا
اج
،نُخُس
هنامز
دروآرب
شرمع
هب
نب
[
5
،
5
[
.
The author of the Shahnameh also speaks of Daqiqi's imminent departure, and in his very brief life in this palace he
always suffered because of his "malice", which was undoubtedly due to his free and innocent nature and the poet of
degeneration and, on the other hand, his personality. He is an engineer, a patriot, and a supporter of the revolutionary
movement.
Рабудаш равон аз сарои сипанљ,
Аз он пас, ки бинмуд бисёр ранљ
[5, 419].
شدوبر
ناور
زا
یارس
،جنپس
زا
نآ
،سپ
هک
دومنب
رایسب
جنر
[
5
،
484
[
.
He then begins by criticizing Daqiqi's speech and decides on a thousand verses of his story:
Ба гетї намондаст аз ў ёдгор,
Магар ин суханњои нопойдор
.
هب
یتیگ
تسدنامن
زا
وا
،راگدای
رگم
نیا
یاهنخس
رادیاپان
.
In this verse, which, according to many scholars, including Muhammadali Islami Nadushan [3, 277 -298] and Muhammad Dabiri
Siyaki [2,18-19], as well as Ferdowsi's harsh and unequivocal criticism of Daqiqi, there is also a kind of deep regret. the sudden
death and the miserable life of Daqiqi are revealed. The phrase “unsustainable words” used by the eloquent and inquisitive
Ferdowsi in relation to “Gushtospnoma” has a hidden meaning in the world, as in his other statements.
At the beginning of the Shahnameh, Ferdowsi emphasizes to the reader that he should not read this masterpiece
falsely, but should consciously, with the help of wisdom and knowledge, correctly and deeply understand the
meanings of the throne and its symbolism:
Ту инро дурўѓу фасона мадон,
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Ба яксон равиш дар замона мадон.
Аз ў њар чи андар хурад бо хирад,
Дигар бар рањи рамзу маънї барад
[5, 5].
وت
نیا
ار
غورد
و
هناسف
،نادم
هب
ناسکی
شور
رد
هنامز
نادم
.
زا
وا
ره
هچ
ردنا
درخ
اب
،درخ
رگید
رب
هر
زمر
و
ینعم
درب
[
5
،
5
[
.
In light of this, his description of Daqiqi's “Gustospnoma” as “unstable words” means that death struck him quickly
and did not allow him to finish his speech and lay the foundation for the building of the Shahnameh. he set out to build
this stable. This idea is confirmed by another verse of Ferdowsi:
Намонд ў , ки бурдї ба сар номаро,
Бирондї бар ў сар ба сар хомаро
[5, 419].
دنامن
وا
،
هک
یدرب
هب
رس
همان
،ار
یدنارب
رب
وا
رس
هب
رس
هماخ
ار
[
5
،
484
[
.
He then praises his eloquence in a proud verse:
Зи Фирдавсї акнун сухан ёд гир,
Суханњои покизаву дилпазир
[5, 419].
ز
یسودرف
نونکا
نخس
دای
،ریگ
یاهنخس
هزیکاپ
و
ریذپلد
[
5
،
484
[
.
As mentioned at the beginning of this article, this section may have been later edited by Ferdowsi. After writing all the
parts of the Shahnameh, the wise Tus said with all his heart, “Learn to speak now, O Ferdowsi,” to save himself from
the dangers of life and the “cycle of life” and to bring it to an end. looks.
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There is no doubt that the “Shohnoma” is a “pure and kind word”. The fact is that Ferdowsi never exceeded the limits
of justice in assessing the work of his predecessor. Rather, as a skilled critic, he discovered the essence of its art and
took everything that, in his opinion, caused him to follow Daqiqi, and rightly considered him the leader of his work.
According to Ferdowsi, Gushtospnoma was the main reason for his inclination to compose pahlavi stories:
Чун ин нома афтод дар дасти ман,
Ба моњї гароянда шуд шасти ман
[5, 419].
نوچ
نیا
همان
داتفا
رد
تسد
،نم
هب
م
یها
هدنیارگ
دش
تصش
نم
[
5
،
484
[
.
Ferdowsi's criticism of Daqiqi is meticulous, meticulous and professional. It is a fact that Daqiqi's art is embodied in all
its subtlety, both in the poetry of the Tawheed and in the hymn. As it is known from this verse of Ferdowsi, he was
surprised after reading “Gushtospnoma”:
Нигањ кардам ин назму суст омадам,
Басе байти нотандуруст омадам
[5, 419].
هگن
مدرک
نیا
مظن
و
تسس
،مدمآ
یسب
تیب
تسورودنتان
مدمآ
[
5
،
484
[
.
The question arises as to why Ferdowsi was “slow” after reading Daqiqi's Gustospnoma.
It is well known that Daqiqi is a passionate poet. And this freedom and innocence is clearly seen in the story
“Gushtospnoma”. The speech is often metaphorical and allegorical, as a common historical event. And this is
especially noticeable in the chapter on the "Appearance of Zoroaster." It is obvious that such an outspoken, impatient
and free expression of historical events does not fit into the style of Ferdowsi's careful, thoughtful and symbolic
symphony. On the other hand, Daqiqi Shuubi praised the Aryan customs and traditions, which were completely alien
to the Ghaznavid government.
A sense of pride in the homeland and its great people, as well as in the native Aryan traditions and thoughts, has
always been in the spirit of Daqiqi. And this noble feeling of his is beautifully expressed in the beginning of
“Gushtospnoma”:
Чу Гуштоспро дод Луњросп тахт,
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Фуруд омад аз тахту барбаст рахт.
Ба Балхи гузин шуд бад-он Навбањор,
Ки Яздонпарастон бад-он рўзгор.
Мар он хонаро доштандї чунон,
Ки мар Каъбаро тозиён ин замон
[2, 26].
وچ
پساتشگ
ار
داد
پسارهول
،تخت
دورف
دمآ
زا
تخت
و
تسبرب
تخر
.
هب
خلب
نیزگ
دش
نادب
،راهبون
هک
ناتسرپنادزی
نادب
راگزور
.
رم
نآ
هناخ
ار
یدنتشاد
،نانچ
هک
رم
هبعک
ار
نایزات
نیا
نامز
[
5
،
26
[
.
Such a free and careless approach, that is, comparing the fire of Navbahor Balkh to the Ka'bah, could not fail to make
Ferdowsi “slow down” and astonished. Throughout the Shahnameh, Ferdowsi cultivates such a noble sense of
patriotism and engineering in the mind of the reader, but he often speaks in a symbolic, exaggerated, sarcastic and
literary style, and the nuance of words also contributes to the safety of his soul. .
Thus, in Ferdowsi's honest criticism, there is not a single inappropriate or untested statement about Daqiqi. On the
contrary, Ferdowsi's very thoughtful remarks about Daqiqi can be interpreted as his recognition of his leadership.
"Base bayti notandurust" is told along with the health verses of the story "Gushtospnoma". It turns out that the health
verses of this story are not infrequent.
As we saw in the first part of the Shahnameh in the case of Ferdowsi Daqiqi's dream, Ferdowsi very conservatively
and veiledly stated the truth about the cause of Daqiqi's death. Therefore:
Нигањ кардам ин назму суст омадам,
Басе байти нотандуруст омадам
[5]
هگن
مدرک
نیا
مظن
و
تسس
،مدمآ
یسب
تیب
تسورودنتان
مدمآ
[
5
[
.
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Publisher:
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Ferdowsi's statement refers to the same passage about Zoroaster, which we no doubt did not like at all in the
Ghaznavid government. Ferdowsi Shuubi, although he agrees with Daqiqi, needed strong evidence to persuade the
country's leaders to accept the Shahnameh and to include the Gushtospnoma in it. Ferdowsi had to be sharply critical
of Daqiqi's work and his "wrong verses," which were undoubtedly part of Zoroaster's manifestation. And even, in our
opinion, it is possible that the wise Ferdowsi, while editing and reviewing the “Shohnoma”, included the
“Gushtospnoma” in his masterpiece.
In any case, Ferdowsi explained the main reason for including “Gushtospnoma” in “Shohnoma” as follows:
Ман инро навиштам, ки то шањриёр
Бидонад сухан гуфтани нобакор.
Ду гавњар бад-ин бо ду гавњарфурўш
Кунун шоњ дорад ба гуфтор гўш
[5, 19].
نم
نیا
ار
،متشون
هک
ات
رایرهش
دنادب
نخس
نتفگ
راکبان
.
ود
رهوگ
نیدب
اب
ود
شورفرهوگ
نونک
هاش
دراد
هب
راتفگ
شوگ
[
5
،
84
[
.
It turns out that the sage Ferdowsi brought these two letters together to test the king in comparison. Until the king
of time finds an opportunity to compare these two letters, to appreciate the best of them, and to understand that,
like Daqiqi, he did not compose weak and unnecessary words (such as the appearance of Zoroaster and Gushtosp's
acceptance of his religion). This scene also demonstrates a kind of Ferdowsi's creativity. Because Ferdowsi was afraid
not to include “Gushtospnoma” in “Shohnoma”.
Ferdowsi's critique is not limited to Gushtospnoma, but analyzes all the poetic and prose stories of Shahnama that
were written before him. According to him, his criticism is mostly related to prose. At the same time, Ferdowsi's artistic
motives in singing the national anthem are vividly embodied in this comprehensive critique.
According to Ferdowsi, epic poetry is the highest peak of the poet's art, which requires a strong mind and spirit, a
strong div and peace of mind. Such a person is likened to a miner who is far-fetched:
Сухан чун бад-ин гуна бояд-т гуфт,
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Магўю макун ранљ бо табъ љуфт.
Чу банди равон бинию ранљи тан,
Ба коне, ки гавњар наёбї макан
[5, 419].
نخس
نوچ
نیدب
هنوگ
دیاب
-
ت
،تفگ
یوگم
و
نکم
جنر
اب
عبط
تفج
.
وچ
دنب
ناور
ینیب
و
جنر
،نت
هب
،یناک
هک
رهوگ
یباین
نکم
[
5
،
484
[
.
Here also in our opinion, there seems to be a subtle hint of Daqiqi's mental anguish. In other words, Daqiqi was
physically and mentally tormented due to his pro-Iranianism, engineering, and royal writing, and he was tormented by
the ideological enemies of the Aryan state.
Hakim Firdausi advised the poet to have a good mood:
Чу табъе надорї чу оби равон,
Мабар даст зи номаи хусравон.
Дањон гар бимонад зи хўрдан тињї,
Аз он бењ, ки носоз хоне нињї
[5, 419].
بط وچ
،ناور بآ وچ یرادن یع
ربم
تسد
ز
ةمان
ناورسخ
.
ناهد
رگ
دنامب
ز
ندروخ
،یهت
زا
نآ
،هب
هک
زاسان
یناخ
یهن
[
5
،
484
[
.
In these verses, Ferdowsi refers not only to Daqiqi, but also to Ferdowsi's recognition in general in epic poetry. As can
be seen from the following verses, he was not very satisfied with the “Shohnama” of prose:
Яке нома дидам пур аз достон,
Суханњои он пурманиш ростон.
Фасона куњан буду мансур буд,
Volume 04 Issue 03-2022
67
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
SSUE
03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
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METADATA
IF
–
8.106
Publisher:
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Табоеъ зи пайванди ў дур буд.
Набурдї ба пайванди ў кас гумон,
Пурандеша гашт ин дили шодмон.
Гузашта бар ў солиён ду њазор,
Гар эдун, ки бартар наёяд шумор
[5, 419].
یکی
همان
مدید
رُپ
زا
،ناتساد
خس
یاهن
نآ
شنمرپ
ناتسار
.
هناسف
نهک
دوب
و
روثنم
،دوب
عیابت
ز
دنویپ
وا
رود
دوب
.
یدربن
هب
دنویپ
وا
سک
،نامگ
هشیدنارپ
تشگ
نیا
لد
نامداش
.
هتشذگ
رب
وا
نایلاس
ود
،رازه
رگ
،نودیا
هک
رترب
دیاین
رامش
[
5
،
484
[
.
It is easy to understand from the tone and logic of Ferdowsi's speech that his criticism is mainly related to Mansur's
Shahnameh. From the general critical report of Ferdowsi, it is clear from the situation of the previous Shahnamehs
that none of them met the requirements of this great orator and this type of epic poetry in a systematic way,
expressing the essence of history and, most importantly, the art of speech. Therefore, there was a serious historical
need for Ferdowsi to rewrite the Shahnameh on the basis of all those earlier writings.
Yes, in spite of the fact that the previous “Shohnoma” is incomplete, Ferdowsi praises Daqiqi's work with admiration:
Гирифтам ба гўянда бар офарин,
Ки пайвандро роњ дод андар ин.
Агарчи напайваст љуз андаке,
Зи базму зи разм аз њазорон яке
[5, 419].
متفرگ
هب
هدنیوگ
رب
،نیرفآ
Volume 04 Issue 03-2022
68
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
SSUE
03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
The USA Journals
هک
دنویپ
ار
هار
داد
ردنا
نیا
.
رگا
هچ
تسویپن
زج
،یکدنا
ز
مزب
و
ز
مزر
زا
نارازه
یکی
[
5
،
484
[
.
As it is clear from Ferdowsi's critique of the previous verses of Shahnameh, from the point of view of the eloquence
and precision of this wise poet, none of them was left out of the royal letter, and each received a worthy assessment.
But his view of Gushtospnoma is unique, which realistically defines the artistic and historical significance of this story.
And this story was praised by Ferdowsi, because it was Daqiqi who was the first to “make a connection” in the kings'
stories, that is, to create the design and tone of the “Shohnoma”. Therefore, he deserved to be praised:
Гирифтам ба гўянда бар офарин,
Ки пайвандро роњ дод андар ин
[5, 419].
متفرگ
هب
هدنیوگ
رب
،نیرفآ
هک
دنویپ
ار
هار
داد
ردنا
نیا
[
5
،
484
[
.
He was not only to be commended, but also Ferdowsi's leader and guide in the field of epic work. Ferdowsi rightly
acknowledged this point:
Њам ў буд гўяндаро роњбар,
Ки шоњї нишонид бар гоњи бар
[5, 419].
مه
وا
دوب
هدنیوگ
ار
،ربهار
هک
یهاش
دیناشن
رب
گ
ها
رب
[
5
،
484
[
.
According to Ferdowsi’s idea Daqiqi was recognized as a poet of hymns and poems:
Ситояндаи шањриёрон будї,
Ба мадњ афсари номдорон будї
[5].
ةدنیاتیس
نارایرهش
،یدوب
Volume 04 Issue 03-2022
69
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
SSUE
03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
The USA Journals
هب
حدم
رسفا
نارادمان
یدوب
[
5
،
5
[
.
Daqiqi, as a powerful poetic and romantic poet, has very beautiful verses and illustrations in “Gushtospnoma” that
will impress the reader. Here are some examples:
Чу Гуштоспро дод Луњросп тахт,
Фуруд омад аз тахту барбаст рахт
[2, 26].
وچ
پساتشگ
ار
داد
پسارهول
،تخت
دورف
دمآ
زا
تخت
و
تسبرب
تخر
[
5
،
26
[
.
***
Чу якчанд гоње баромад бар ин,
Дарахте падид омад андар замин.
Аз айвони Гуштосп то пеши кох
Дарахти гашанбеху бисёршох.
Њама барги ў панду бораш хирад,
Касе, к-аз чун ў бархурад, кай мурад.
Њуљастапаю номи ў Зардуњушт,
Ки Оњармани бадкунишро бикушт
…[2, 27].
وچ
دنچکی
یهاگ
دمآرب
رب
،نیا
یتخرد
دیدپ
دمآ
ردنا
نیمز
.
زا
ناویا
پساتشگ
ات
شیپ
خاک
تخرد
خیبنشگ
و
خاشرایسب
.
همه
گرب
وا
دنپ
و
شراب
،درخ
،یسک
زک
نوچ
وا
،دروخرب
یک
دروم
.
تسجوه
هپ
و
مان
وا
،تشوهودرز
Volume 04 Issue 03-2022
70
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
SSUE
03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
The USA Journals
هک
نمرهآ
شنکدب
ار
تشُکب
...
[
5
،
27
[
.
***
Чу љавшан бипўшанд рўзи набард,
Зи чархи барин бигзаронанд гард.
Ба зин андарун гашта чун кўњ сахт,
Кунад теѓашон кўњро лахт-лахт.
Зи торикии гарду аспу сипоњ,
Касе рўзи равшан надиду на моњ
[2, 44].
وچ
نشوج
دنشوپب
زور
،دربن
ز
خرچ
نیرب
دننارذگب
درگ
.
هب
نیز
نوردنا
هتشگ
نوچ
هوک
،تخس
دنک
ناشغیت
هوک
ار
تخل
-
تخل
.
ز
یکیرات
درگ
و
پسا
و
،هاپس
یسک
زور
نشور
دیدن
و
هن
هام
[
5
،
44
[
.
There are many such poems in “Gushtospnoma” with analogies and artistic descriptions.
As Ferdowsi has repeatedly mentioned, the life did not depend on Daqiqi. He did not have much time to edit and
improve Gushtospnoma. However, his story is so sweet and simple that it was not seen in pre-Daqiqi stories. The truth
is on the side of Muhammadali Nadushan, who said: "Daqiqi was the first who wrote in Pahlavi language, as in the
mood of someone like Ferdowsi, the flow of speech and blood in the veins of poetry" [3, 277-298].
REFERENCES
1.
Абдулњусайни Зарринкўб. Бо корвони њулла / Абдулњусайн, Зарринкўб. – Душанбе: Пайванд, 2004. −332
сањ.
2.
Даќиќї ва ашъори ў. Гирдовардаи Муњаммад Дабири Сиёќї. Тењрон. 8242. 846 сањ.
Volume 04 Issue 03-2022
71
The American Journal of Social Science and Education Innovations
(ISSN
–
2689-100x)
VOLUME
04
I
SSUE
03
Pages:
48-71
SJIF
I
MPACT
FACTOR
(2020:
5.
525
)
(2021:
5.
857
)
(2022:
6.
397
)
OCLC
–
1121105668
METADATA
IF
–
8.106
Publisher:
The USA Journals
3.
Муњаммадалї Исломи Надушан. Даќиќї ва Фирдавсї. Дар кит. «Имоњо ва овоњо» / Муњаммадалї Исломи
Надушан. – Тењрон, 8351.- 280 сањ.
4.
Муњаммади Муин. Маздаясно ва адаби порсї. Тењрон, соли ? 433 сањ.
5.
Шиблии Нуъмонї. Шеърулаљам. Љ.8. / Нуъмонї, Шиблї. –Тењрон, 8361. - 300 сањ.
6.
«Шоњнома»-и Фирдавсї. Матни комил. Ба тасњењи Жул Мул. Тењрон. Интишороти Бењзод. – 124 сањ.
