İsgəndərnamə

by Nizami Ganjavi

İsgəndərnamə Böyük Azərbaycan şairi və mütəfəkkiri Nizami Gəncəvinin "Xəmsə" toplusuna daxil olan əsərlərindən sonuncusudur. Poemanın 1200-1203-cü illər arasında yazıldığı ehtimal edilir. Şairin lirik şeirlərində və digər poemalarında qaldırdığı ictimai problemlər bu əsərdə tam bədii əksini tapmışdır.

İyirmi min misraya yaxın olan "İsgəndərnamə" poeması iki hissədən ibarətdir: birinci hissə "Şərəfnamə", ikinci hissə "İqbalnamə" adlanır. "Şərəfnamə" Azərbaycan Atabəylərindən Nüsrətəddin Əbubəkr ibn Məhəmmədə, "İqbalnamə" isə Mosul hakimi Məlik İzzəddinə ithaf edilmişdir. "Şərəfnamə" Abdulla Şaiq, "İqbalnamə" isə Mikayıl Rzaquluzadə tərəfindən fars dilindən Azərbaycan dilinə tərcümə edilmişdir.

Genres: Poetry

Unknown Binding

First published January 1, 1194

About the author

Nizami Ganjavi, also spelled Nezāmi, (Persian: نظامی گنجوی) is considered the greatest romantic epic poet in Persian literature, who brought a colloquial and realistic style to the Persian epic. His heritage is widely appreciated and shared by Azerbaijan, Iran, Afghanistan and Tajikistan.

Reviews

[Peiman E iran · Rating 2 out of 5]

‎‎دوستانِ گرانقدر، <اسکندر نامه> یکی از آثارِ حماسیِ مشهور در تاریخِ ادبیِ این سرزمین است که از دو دفترِ "شرفنامه" و "اقبالنامه" تشکیل شده است و <نظامی گنجوی> تلاش بسیار کرده است که ذره ای از استعداد و هنرِ استادِ بزرگ <ابوالقاسمِ فردوسی> را در سرودنِ این 10500 بیتِ حماسی، بکار گرفته و همچون فردوسی بزرگوار حماسه سرایی نماید... امّا حتی نزدیک به شاهنامه نیز نتوانسته است بسراید و در مقایسه ضعفِ <نظامی> کاملاً به چشم می آید
‎به نظرم نکته ای که <نظامی> در نظر نگرفته است، این است که: یکی از اصلی ترین رموزِ سراییدنِ اشعار پهلوانی و حماسی و ملیِ زنده یاد <فردوسیِ خردمند>، حسِ میهن پرستی و یا همان وطن دوستی این بزرگوار بوده است
‎سرودن از جنگ ها و تعریف و ستایش از موجودِ خونخوار و غارتگری همچون <اسکندر مقدونی> هرچه با ظرافت نیز انجام شده باشد، بازهم در بینِ آثار ملی و حماسیِ ایرانی، پشیزی ارزش نخواهد داشت... <نظامی گنجوی> ذره ای از میهن پرستی و وطن پرستی سخن نگفته است، چگونه باید این اثر در بین حماسه هایِ ملی جای بگیرد!! ممکن نیست
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‎امیدوارم این ریویو در جهتِ شناختِ این کتاب، کافی و مفید بوده باشه
‎<پیروز باشید و ایرانی>

[Trounin · Rating 3 out of 5]

Царь Македонии Александр, прозванный Великим, никогда не будет забытым. Сложил двустишия о нём и Низами, описал любовно, уподобив Александра созданию мечты. Его Александр, известный на востоке под именем Искендера, совершил многое, завоевав известное, действуя смело. Но скучно внимать похождениям царя, говоря о нём восторженно, во всём его хваля. Проще назвать Александра лучшим из людей, так сказание о нём сложится скорей. Низами начал, уведя разговор в несуществующие дали, у него Искендер был там, где о его существовании никогда не знали. Покорил Александр Индию, Китай и бил Русов он, всю Азию покорил, империей громадной владел он.

(c) Trounin

[Hal Johnson · Rating 3 out of 5]

In this side-place (the world) I behold two butterflies (day and night);
Of face, one is fair; the other, dark.

Of none, become they the moth (of desire) of the (little) candle (of joyousness);
For they read only the order of vexation to us (men of the knowledge of God).

Richard Stoneman calls this, the H. Wilberforce Clarke translation of Nazami’s epic, “bizarre” and “a true Victorian eccentricity” (I’m quoting from memory). I’m assuming it’s a very literal translation—Clarke says it is—but literal to the point of incomprehensibility. Presumably the nonstop compound words—throne-possessor, man-overpoweringness, moon-seizing, remedy-devising—sound less awkward in Farsi, but in English…well, here are some sample couplets:

For thee the crown (is) helper; for me, the sword, ally;
I am sword-striker, if thou be throne-possessor.
*
(Only) in thieving, and treachery, and highway robbery,
Display they manliness and man-overpoweringness:…
*
If his be a noose, moon-seizing,
Mine is a noose king-seizing.
*
Everyone hastened to remedy-devising (for coming out of the darkness);
No one found the path to the devising of the remedy.

There are times when Clarke’s stilted syntax attains a kind of antiquarian beauty—

Verily, the lion that makes his lair in the forest
Meditates on the treachery of man.

—but just as often it offers a bare amount of sense, concealed beneath a mound of presumed literalness. There are probably epics that could survive such a treatment because the plot or incident pushes the story along regardless of a translator’s bumbling. But this epic is a prodigality of discursiveness, and if the discursiveness is ugly and confusing, it makes for a long slog. Alexander isn’t even born until Canto XV, the previous cantos bearing titles such as “On the composing of the book” and “On the circumstances of this poem.”

The book has fun parts—the battles with the Zanj and the Russians, the art contest in China, Balinas vs. the Zoroastrian dragon sorceress—but these are the exceptions. And then there’s the fact that this very long and discursive book turns out to be only half the story! Nizami wrote a whole nother book of equal length to finish it up. Clarke actually warns the reader of this fact back on page xviii, but you may well have forgotten 800 pages later, and then boy is it a shock!

Still, for a particular masochist or student of the weird, the book is well worth reading, largely because its vices are also, in a weird way, virtues. The following characteristic lines are simultaneously good and bad in a way that is not easy to find in literature.

Come, cup-bearer! that milk of vermilion colour (the ruddy wine of senselessness),
Whose reflection brings blood (red colour and vigour) to mercury (the palsied one),
Give me; for I am like mercury (palsied) at beholding God's majesty;
I am in perturbation like the torn finger-nail (bound up with thread).

Clarke’s footnotes are also, although usually unhelpful, occasionally a delight, such as his miscellany on everything he could think of about snake gems; a great anecdote about how Nimrúd was killed by a gnat gnawing its brain; and (craziest of all) the long discursus on the relationship between cholera and sunspots.

Here’s Clarke again, from his preface, in an unusually lucid mood “Finally, I would mention that the translation was made in a tropical country, in leisure moments, amidst the pressure and the stress of professional duties most arduous and laborious, and under circumstances most harassing and wearing.”

[رقیه خدابنده اویلی]

...بدین بی کسی در جهان کس مباد