This book describes the structure of modern Persia, showing the methods by which it conveys meaning in sentences and connected passages and illustrating its special characteristics. As an introduction there is a brief account of Persia, its inhabitants, their occupations and beliefs; some attempt is made also to show how the language has been modified by the events of Persian history. A section is devoted to representative writings.

This volume contains thirty-five translations of Persian poetry, arranged in five groups as well as two examples of prose translations from Arabic, which offer examples of ‘rhymed prose’ of which the earliest examples are to be found in the Koran. To help the reader, a substantial introduction on Persian poetry is included, as well as a personal memoir of the author by J B Atkins.

This book is the first full-length analysis of the theory and practice of Persian singing, demonstrating the centrality of Persian elements in the music of the Islamic Middle Ages, their relevance to both contemporary and traditional Iranian music and their interaction with classical Persian poetry and metrics.

This volume gives a brief outline of the life of Ibn Yamin (who died in 1367), based on the biography of Rashid-i-Yásimi and the background of his writing at a time when the Sultans of Khurásán at a time when they were constantly at war with one another. This version of the Qita’s was collated from the 1890 Bhopál edition with that of the Calcutta edition of 1865. The “Fragments” are arranged alphabetically.

‘Among the many national poets of historical Persia, Ferdowsi is perhaps the greatest...In this superb translation of the epic, the Western reader would not fail to discern clear equivalents of chapters in Genesis, The Odyssey, Paradise Lost or the Canterbury Tales.’ Islamic Review The Shah-nama is the national epic poem of Persia. Written in the tenth century it contains the country’s myths, legends and historic reminiscences. This edition makes available a valuable prose translation selecting the most representative parts of the original including the stories of Rustum, the giant hero and his son Sohrab.

Khayyam has been the subject of speculation on the part of literary critics ever since Edward Fitzgerald published his own version of the Rubaiyat in 1859. This edition represented the first opportunity to study in English the work of Khayyam by a Persian scholar. There is no conclusive evidence to prove which of the many quatrains attributed to Khayyam are authentic. Ali Dashti therefore constructs a likeness of the poet from references found in the works of writers of his day or immediately after, and from Khayyam’s own works on philosophy, mathematics and astronomy, of which the authenticity is not questioned. Khayyam emerges as a widely read and broad-minded scholar, immersed in his own studies, cautious and moderate, averse to committing himself on controversial questions. Using this portrait Dashti draws up a list of some hundred quatrains which are in keeping with Khayyam’s character. Selling point: An elegant and accurate translation which throws light on the nature of Khayyam’s religious and philosophical beliefs.

Sir Muhammad Iqbal (1873-1938) was not only amongst the leading political figures of his time, but regarded by many as the spiritual father of Pakistan and a great champion of the reform movement of modern Islam. He was also a poet, in both Urdu and Persian. The recurrent theme of his poems is the infinite potentiality of man, as partner with God in shaping the destiny of the universe. As an ardent Muslim, Iqbal saw the realization of mankind’s future in a union of Islamic peoples, unfettered by the bonds of separate nationhood, fully liberated from the chains of imperial domination. The Javid-nama, commonly acknowledged as his greatest work, develops this theme within the frame-work of the ‘Ascension’ story. In imitation of the Prophet of Islam, the poet soars through the spheres, encountering on his heavenly journey many great figures of history with whom he converses. The resemblance to Dante’s Divine Comedy is obvious.