From a text at project gutenburg: PERSIAN LITERATURE
comprising
THE SHÁH NÁMEH, THE RUBÁIYÁT THE DIVAN, AND THE GULISTAN
Revised Edition, Volume 1, 1909
With a special introduction by
RICHARD J. H. GOTTHEIL, Ph.D.
The greatest of all Eastern national epics is the work of a Persian. The “Sháh Námeh,” or Book of Kings, may take its place most worthily by the side of the Indian Nala, the Homeric Iliad, the German Niebelungen. Its plan is laid out on a scale worthy of its contents, and its execution is equally worthy of its planning. One might almost say that with it neo-Persian literature begins its history. There were poets in Persia before the writer of the “Sháh Námeh”—Rudagi, the blind (died 954), Zandshi (950), Chusravani (tenth century). There were great poets during his own day. But Firdusi ranks far above them all; and at the very beginning sets up so high a standard that all who come after him must try to live up to it, or else they will sink into oblivion.
The times in which Firdusi lived were marked by strange revolutions. The Arabs, filled with the daring which Mohammed had breathed into them, had indeed conquered Persia. In A.D. 657, when Merv fell, and the last Sassanian king, Yezdegird III, met his end, these Arabs became nominally supreme. Persia had been conquered—but not the Persian spirit. Even though Turkish speech reigned supreme at court and the Arabic script became universal, the temper of the old Arsacides and Sassanians still lived on. It is true that Ormuzd was replaced by Allah, and Ahriman by Satan. But the Persian had a glorious past of his own; and in this the conquered was far above the conqueror. This past was kept alive in the myth-loving mind of this Aryan people; in the songs of its poets and in the lays of its minstrels. In this way there was, in a measure, a continuous opposition of Persian to Arab, despite the mingling of the two in Islam; and the opposition of Persian Shiites to the Sunnites of the rest of the Mohammedan world at this very day is a curious survival of racial antipathy. The fall of the only real Arab Mohammedan dynasty—that of the Umayyid caliphs at Damascus—the rise of the separate and often opposing dynasties in Spain, Sicily, Egypt, and Tunis, served to strengthen the Persians in their desire to keep alive their historical individuality and their ancient traditions.
Firdusi was not the first, as he was not the only one, to collect the old epic materials of Persia. In the Avesta itself, with its ancient traditions, much can be found. More than this was handed down and bandied about from mouth to mouth. Some of it had even found its way into the Kalam of the Scribe; to-wit, the “Zarer, or Memorials of the Warriors” (A.D. 500), the “History of King Ardeshir” (A.D. 600), the Chronicles of the Persian Kings. If we are to trust Baisonghur’s preface to the “Sháh Námeh,” there were various efforts made from time to time to put together a complete story of the nation’s history, by Farruchani, Ramin, and especially by the Dihkan Danishwar (A.D. 651). The work of this Danishwar, the “Chodainameh” (Book of Kings), deserves to be specially singled out. It was written, not in neo-Persian and Arabic script, but in what scholars call middle-Persian and in what is known as the Pahlavi writing. It was from this “Chodainameh” that Abu Mansur, lord of Tus, had a “Sháh Námeh” of his own prepared in the neo-Persian. And then, to complete the tale, in 980 a certain Zoroastrian whose name was Dakiki versified a thousand lines of this neo-Persian Book of Kings.
In this very city of Tus, Abul Kasim Mansur (or Ahmed) Firdusi was born, A.D. 935. One loves to think that perhaps he got his name from the Persian-Arabic word for garden; for, verily, it was he that gathered into one garden all the beautiful flowers which had blossomed in the fancy of his people. As he has draped the figures in his great epic, so has an admiring posterity draped his own person. His fortune has been interwoven with the fame of that Mahmud of Ghazna (998-1030), the first to bear the proud title of “Sultan,” the first to carry Mohammed and the prophets into India. The Round Table of Mahmud cannot be altogether a figment of the imagination. With such poets as Farruchi, Unsuri, Minutsheri, with such scientists as Biruni and Avicenna as intimates, what wonder that Firdusi was lured by the splendors of a court life! But before he left his native place he must have finished his epic, at least in its rough form; for we know that in 999 he dedicated it to Ahmad ibn Muhammad of Chalandsha. He had been working at it steadily since 971, but had not yet rounded it out according to the standard which he had set for himself. Occupying the position almost of a court poet, he continued to work for Mahmud, and this son of a Turkish slave became a patron of letters. On February 25, 1010, his work was finished. As poet laureate, he had inserted many a verse in praise of his master. Yet the story goes, that though this master had covenanted for a gold dirhem a line, he sent Firdusi sixty thousand silver ones, which the poet spurned and distributed as largesses and hied him from so ungenerous a master.
Via: Project gutenburg, THE SHÁH NÁMEH, THE RUBÁIYÁT THE DIVAN, AND THE GULISTAN