Ali-Asghar Seyed-Gohrab – författare

The True Dream is a Persian satirical drama set in Isfahan in the lead up to Iran’s Constitutional Revolution of 1905-11. Although its three authors hail from the clerical class, they criticize the arrogance, corruption and secularity of the Iranian ruling dynasty and clergy, taking Isfahan as their example. The work blends fact and fiction by summoning the prominent men of the city to account for themselves on the Day of Judgement. God speaks offstage, delivering withering judgements of their behaviour. The dream of the authors is a vision of an Iran governed by law, where justice prevails and the clergy are honestly religious.This book has the Persian and English translation on facing pages. The introduction presents brief biographies of the authors – who wrote anonymously, but were all executed. One of the authors was the father of Mohammad-Ali Jamâlzâdeh, a pioneer of modern Persian fiction, and The True Dream was one of the first dramas, in European style, to be written in Persian. The book shows that today’s struggle for a modern society began more than a century ago, and then and now pivots on the role of the Islamic clerics (the ulama).Using colloquial language, this first English translation of a significant and humorous Persian satirical drama will prove an accessible and valuable resource for students of Persian. By marking a significant point in the influence of Western political philosophy and Western drama on the Persian intellectual classes, this book will also appeal to students and scholars of Middle Eastern History and Political Science.

The True Dream is a Persian satirical drama set in Isfahan in the lead up to Iran’s Constitutional Revolution of 1905-11. Although its three authors hail from the clerical class, they criticize the arrogance, corruption and secularity of the Iranian ruling dynasty and clergy, taking Isfahan as their example. The work blends fact and fiction by summoning the prominent men of the city to account for themselves on the Day of Judgement. God speaks offstage, delivering withering judgements of their behaviour. The dream of the authors is a vision of an Iran governed by law, where justice prevails and the clergy are honestly religious.This book has the Persian and English translation on facing pages. The introduction presents brief biographies of the authors – who wrote anonymously, but were all executed. One of the authors was the father of Mohammad-Ali Jamâlzâdeh, a pioneer of modern Persian fiction, and The True Dream was one of the first dramas, in European style, to be written in Persian. The book shows that today’s struggle for a modern society began more than a century ago, and then and now pivots on the role of the Islamic clerics (the ulama).Using colloquial language, this first English translation of a significant and humorous Persian satirical drama will prove an accessible and valuable resource for students of Persian. By marking a significant point in the influence of Western political philosophy and Western drama on the Persian intellectual classes, this book will also appeal to students and scholars of Middle Eastern History and Political Science.

This book examines and contextualizes Abū Ḥāmid Muḥammad Ghazzālī’s (d. 505/1111) fierce response to antinomian and freethinking currents in twelfth-century Persia. Seyed-Gohrab offers a translation of Ghazzālī’s treatise on antinomians, and one of his religious rulings (fatwa) on the topic. Both were written after Ghazzālī’s intellectual crisis in 488/1095, when he voluntarily withdrew from his position as a Professor at the prestigious Niẓāmiyya College in Baghdad. He determined to live an ascetic life, devoting all his attention to God. In this period, Ghazzālī wrote his masterpieces in Arabic and Persian. Seyed-Gohrab shows that these two less-known works shed new light on the motivation for Ghazzālī's major works. The book depicts Ghazzālī’s Persian intellectual context, and the tumultuous political period in which a strong literary and Sufi antinomian trend emerged from the social periphery to become central to literary activities at the Saljuq court. The book also treats Ghazzālī’s Persian poetry, offering original insights into Ghazzālī’s contemporary, the celebrated polymath ʿUmar Khayyām (d. about 525/1131), whose transgressive quatrains are interpreted as a response to a suffocating religious context.

This book presents fresh insights into the life, teachings, and enduring legacy of the Persian mystic poet Jalāl al-Dīn Rūmī. Across thirteen chapters, scholars introduce innovative perspectives on under-explored and emerging themes, from the hagiography written by Rūmī’s son, Sulṭān Valad, and his journey towards accepting spiritual leadership, to Rūmī’s passionate relationship with his beloved friend, Shams-i Tabrīzī. The volume also provides new approaches to reading Rūmī’s monumental didactic narrative, the Mathnavī. Topics range from shāhid-bāzī – worshipping a beautiful face to commune with the divine – to supplication (munājāt), immolation, sensory perception, and the transformative role of music in reaching ecstatic states. Chapters deal with Rūmī’s reception history, examining the works of figures such as Anqaravī (d. 1041/1631) and Abdülbâki Gölpınarlı (1900-1982), as well as the Dutch-Iranian novelist Kader Abdolah. The book further explores Rūmī’s visual reception history and his impact on contemporary artists. Finally, it examines Rūmī’s popularity in the United States, analysing how his poetry continues to offer people from diverse backgrounds a Lacanian "imaginary": an internalized representation of the spiritual.

This is the first study of Persian literary riddles to appear in English, analyzing a wide range of complex riddling poems systematically from the tenth to the twelfth century. In addition to the genre of riddles, the book examines the relationship between metaphors and riddles and the genre of literary description. Literary riddles occur in the early specimens of Persian literature from the tenth century and they continue to be used in modern Iranian society. What is it that it has neither trousers nor shirt? [Yet] you can place on her lap whatever you wish Although she has no tongue, she speaks the truth, With a dragon, a scorpion upon her neck. a scale (quppân)

The Safina is a massive, well preserved manuscript from 14th-century Tabriz in Persia, a centre for learning and cultural activities including manuscript production and illumination. Containing 209 works in Persian and Arabic, it is a complete treasure-house between two covers. The texts in the compendium show the canon of learning for a man of letters in the Islamic world. It covers prophetic traditions, ethics, mysticism, jurisprudence, theology, exegesis, history, grammar, literature and literary criticism, philosophy, astronomy and astrology, geomancy, mineralogy, mathematics, medicine, music, cosmography and geography. For the first time, Safina Revealed introduces diverse aspects of this compendium. Safina Revealed contains fourteen articles each revolving around a specific topic, explaining its importance in the cultural and literary milieu of the 14th-century Islamic world.

Gog and Magog, as archetypes of evil, have dwelt in our consciousness since their threatening appearance in the Bible and Quran. Maps, literature and texts ranging from Medieval Europe, the Byzantine and Arab world, in Berber, Persian and Indonesian traditions, to contemporary internet texts: all use these imaginary monstrous creatures. The figures are constantly reinterpreted as the enemies of order change. Gog and Magog have been represented with dog heads, snake tongues. On the covers of contemporary Arab apocalyptic literature they may be giants or half-humans.This volume Embodiments of Evil: Gog and Magog reveals in eight essays the images of the 'Other' in genres ranging from contemporary folk religion on the internet to the rich literary heritage of Alexander romances.