Urdu and Indo-Persian Thought, Poetics, and Belles Lettres, is a collection on the subject of Urdu poetics, Dastan, translation studies in Urdu, and Indo-Persian. The essays employ interdisciplinary perspectives for exploring the dynamic literary landscape of the South Asian subcontinent since the sixteenth century.
The individual topics in the collection depict a plausible picture of how the development of Urdu and Indo-Persian thoughts and poetics have influenced one another for centuries.
Contributors are: Satya Hedge, Prashant Keshavmurthy, Pasha M. Khan, Mehr Afshan Faruqi, David Lelyveld, Natalia Prigarina, Carla Petievich, Christina Oesterheld, Baidar Bakht, Frances Pritchett, Gail Minault, Ludmila Vassilieva.
Nasrin Askari explores the medieval reception of Firdausī’s
Book of Kings (completed in 1010 CE) as a mirror for princes. Through her examination of a wide range of medieval sources, Askari demonstrates that Firdausī’s oeuvre was primarily understood as a book of wisdom and advice for kings and courtly elites. In order to illustrate the ways in which the
Shāhnāma functions as a mirror for princes, Askari analyses the account about Ardashīr, the founder of the Sasanian dynasty, as an ideal king in the
Shāhnāma. Within this context, she explains why the idea of the union of kingship and religion, a major topic in almost all medieval Persian mirrors for princes, has often been attributed to Ardashīr.
Why did premodern authors in the Arabic-Islamic culture compile literary anthologies, and why were these works remarkably popular? How can an anthology that consists of reproduced material be original and creative, and serve various literary and political ends? How did anthologists select their material, then record and arrange it?
This book examines the life and works of Abū Manṣūr al-Thaʿālibī (350–429/961–1039), an eminent anthologist from Nīshāpūr, paying special attention to his magnum opus,
Yatīmat al-dahr (
The Unique Pearl), and its sequel,
Tatimmat al-Yatīma (
The Completion of the Yatīma). This book is a direct window on to an anthologist’s workshop in the second half of the fourth/tenth century. It examines the methodological consciousness expressed in Thaʿālibī’s selection and arrangement, and his sophisticated system of internal references and cross-references to other works; how he selected from his contemporaries’ oeuvres; how he sought, recorded, memorized, misplaced, and sometimes lost or forgot his selections; how he scrutinized the authenticity of material, accepting, questioning, or rejecting its attribution; and the errors and inconsistencies that resulted from this process.