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Thread: Baba Taher's Tomb

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    Baba Taher's Tomb

    Baba Tahir is known as one of the most revered and respectable early poets in Iranian literature. Most of his life is clouded in mystery. He was born and lived in Hamadan, the capital city of the Hamedan Province in Iran. He was known by the name of Baba Taher-e Oryan (The Naked), which suggests that he may have been a wandering dervish. Legend tells that the poet, an illiterate woodcutter, attended lectures at a religious school, where he was not welcomed by his fellow-students. The dates of his birth and death are unknown. One source indicates that he died in 1019. If this is accurate, it would make Baba Tahir a contemporary of Ferdowsi and Pour Sina (Avicenna) and an immediate precursor of Omar Khayyam. Another source reports that he lived between 1000 and 1055, which is most unlikely. Reliable research notes speculate that Baba Tahir lived for seventy-five years. Rahat al-sodur of Ravandi (completed 603/1206), describes a meeting between Baba Tahir, and the Saljuq conqueror Togrel (pp. 98–99). According to L. P. Elwell-Sutton: He could be described as the first great poet of Sufi love in Persian literature. In the last two decades his do-baytis have often been put to music.

    egend has it that Baba Tahir was a very simple and innocent man whom everyone mocked and made fun of in his town. He was not a poet to begin with. One very cold winter day, people of the town decided to make a fool out of him just for fun. They brought him to a frozen fountain and told him if he swim in the icy water, he will become a poet. Being innocent, he believed them. He took off his clothes and entered the icy water. Everyone started laughing at him as he was swimming in the cold water. He realized he was made fun of and was heart broken. He came out and, to everyone's surprise, a "true poet" was indeed born out of the icy water on that day. Hence, he is called "the naked". His poetry has touched many souls.


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    Baba Tahir poems are recited to the present day all over Iran accompanied with setar (in Persian: Seh Tar), three stringed viol or lute. They say Pahlaviat to these kinds of poems and they are very ancient. Baba Tahir songs were originally read in Pahlavi (Middle Persian), as well as Luri and Hamadani dialects, taking their present form in the course of time. The quatrains of Baba Tahir have a more amorous and mystical connotation rather than philosophical. Baba Tahir's poems are of the do-bayti style, a form of Persian quatrains, which some scholars regard as having affinities with Middle Persian verses, Classical Persian Music is based on Persian literature and Baba Tahir's poems are the weight that carries a major portion of this music. Baba Tahir's poetry is the basis for Dastgahe Shoor and in particular Gooshe of Dashtestani, Choopani and Deylaman.

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    Attributed to him is a work by the name Kalemat-e qesaar, a collection of nearly 400 aphorisms in Arabic, which has been the subject of commentaries, one allegedly by Ayn-al-Qozμat Hamadani. An example of such a saying is one where Baba Tahir ties knowledge with gnosis: Knowledge is the guide to gnosis, and when gnosis has come the vision of knowledge lapses and there remain only the movements of knowledge to gnosis”; “knowledge is the crown of the gnostic, and gnosis is the crown of knowledge”; whoever witnesses what is decreed by God remains motionless and powerless.


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    Original in Persian alphabet:
    مگر شیر و پلنگی ای دل ای دل
    به مو دایم بجنگی ای دل ای دل
    اگر دستم فتی خونت وریژم
    بوینم تا چه رنگی ای دل ای دل
    Translation:
    Art thou a lion or leapoard, O Heart, O Heart,
    That thou warres ever with me, O Heart, O Heart?
    Fall thou into my hands; I'll spill thy blood,
    To see what colour it is, O Heart, O Heart!

    Original in Persian alphabet:
    خداوندا که بوشم با که بوشم
    مژه پر اشک خونین تا که بوشم
    همم کز در برانن سو ته آیم
    تو کم از در برانی واکه بوشم
    Translation:
    Lord! who am I, and of what company?
    How long shall tears of blood thus blind mine eyes?
    When other refuge fails I'll turn to Thee,
    And if Thou failest me, whither shall I go?


    Original in Persian alphabet:
    مو آن بحرم که در ظرف آمدستم
    مو آن نقطه که در حرف آمدستم
    بهر الفی الف قدی بر آیه
    الف قدم که در الف آمدستم
    Translation:
    I am that sea and have come into a bowl;
    I am that dot and have come into a letter;
    in every thousand one straight-as-an-alef (alef-qadd) appears;
    I am that straight one, for I came in a thousand


    Original in Persian alphabet:
    دلم از درد ته دائم غمینه
    به بالین خشتم و بستر زمینه
    همین جرمم که مو ته دوست دیرم
    ز هر کت دوست دیره حال آینه؟
    Translation:
    Grieving for thee my heart is ever sad,
    A brick my pillow, and my couch the earth:
    My only sin is loving thee too well:
    Surely not all thy lovers suffer so?

    Original in Persian alphabet:
    هزارت دل بغارت برده ویشه
    هزارانت جگر خون کرده ویشه
    هزاران داغ ویش از ویشم اشمر
    هنی نشمرده از اشمرده ویشه
    Translation:
    More than a thousand hearts has thou laid waste,
    More than a thousand suffer grief for thee,
    More than a thousand wounds of thine I've counted,
    Yet the uncounted still are more than these.



    Original in Persian alphabet:
    سیه بختم که بختم سرنگون بی
    توه روژم که روژم واژگون بی
    شدم خار و خس کوه محبت
    ز دست دل که یارب غرق خون بی
    Translation:
    Black is my lot, my fortune's overtuned,
    Ruined are my fortunes, for my luck is brought low;
    A thorn, a thistle I, on the Mountain of Love,
    For my heart's sake. Drown it in blood, O Lord!


    Original in Persian alphabet:
    نگارینا دل و جونم ته دیری
    همه پیدا و پنهونم ته دیری
    ندونم مو که این درد از که دیرم
    همی ذونم که در مونم ته دیری
    Translation:
    My Beautiful! thou hast my heart and soul,
    Thou hast mine inner and mine outer self;
    I know not why I am so very sad,
    I only know that thou hold'st the remedy.



    Original in Persian alphabet:
    دلی نازک بسان شیشه ام بی
    اگر آهی کشم اندیشه ام بی
    سرشکم گر بوه خونین عجب نیست
    مو آن دارم که در خون ریشه ام بی
    Translation:
    My heart is dainty as a drinking cup,
    I fear for it whene'er I have a sigh;
    It is not strange my tears are as blood,
    I am a tree whose roots set in blood.



    Original in Persian alphabet:
    مسلسل زلف بر رو ریته دیری
    گل و سنبل بهم آویته دیری
    پریشان چون کری اون تار زلفون
    به هر تاری دوی آویته دیری
    Translation:
    Thy tangled Curls are scattered o'er thy face,
    Mingling the Roses with the Hyacinths;
    But part asunder those entangled strand
    On ever hair thou'lt find there hangs a heart. (Translation by: Edward Heron-Allen)



    Original in Persian alphabet:
    دلا راه تو پر خار و خسک بی
    گذرگاه تو بر اوج فلک بی
    گر از دستت بر آیو پوست از تن
    بیفکن تا که بارت کمترک بی
    Translation:
    Briar and thorn beset thy way, o Heart
    Beyond the Dome of Heaven is thy road;
    If thou art able, then thy very skin
    Cast off from thee, and lighten thus thy load



    Original in Persian alphabet:
    ز دست دیده و دل هر دو فریاد
    که هرچه دیده وینه دل کنه یاد
    بسازم خنجری نیشش ز پولاد
    زنم بردیده تا دل گرده آزاد
    Translation:
    Beneath the tyranny of eyes and heart I cry,
    For, all the eyes see, the heart stores up:
    I'll fashin me a pointed sword of steel,
    Put out mine eyes, and so set free my heart


    Original in Persian alphabet:
    دلت ای سنگدل بر ما نسوجه
    عجب نبود اگر خارا نسوجه
    بسوجم تا بسوجونم دلت را
    در آتش چوب تر تنها نسوجه
    Translation:
    O heart of Stone, Thou burnest not for me,
    That stone burns not, is not, indeed, so strange
    But I will burn till I inflame thy heart.
    For fresh-cut logs are difficult to burn alone.



    Original in Persian alphabet:
    بی ته اشکم ز مژگان تر آیو
    بی ته نخل امیدم بی بر آیو
    بی ته در کنج تنها شو و روز
    نشینم که تا عمرم بر سر آیو
    Translation:
    When thou’rt away, mine eyes o’erflow with tears,
    Barren the Tree of Hope when thou’rt away:
    Without thee, night and day, in a solitary corner,
    I sit, till life itself come to an end.



    Original in Persian alphabet:
    به گلشن بی تو گل هرگز مرویا
    وگر رویا کسش هرگز مبویا
    بی شادی بی تو هرکس لو گشایه
    لوش از خون دل هرگز مشویا
    Translation:
    Without-Thee in the Garden, Lord, may no rose bloom,
    Or, blooming, may none taste its sweet perfume,
    So, should my heart expand when Thou art not nigh,
    T were vain! my heart's grief nought could turn to joy

  5. #5
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    Baba Taher is known as one of the most revered and respectable poets in Iranian literature. He was an 11th-century Iranian poet and mystic.

    Most traditional sources call his dialect Lori, while the name commonly applied from an early date to verses of this kind is Pahlaviyat, Iranchamber wrote.



    Biography

    Most of Baba Taher’s life is clouded in mystery. He was born and lived in Hamedan, the capital city of Hamedan province.

    Also known by the name of Baba Taher-e Oryan (The Naked Baba Taher), he may have been a wandering dervish.

    A famous version of his life tells us that the poet was an illiterate woodcutter who attended lectures at a religious school, but was not welcomed by his fellow-students.

    The dates of his birth and death are unknown. One source indicates that he died in 1019. If this is accurate, it would make Baba Taher a contemporary of Ferdowsi and Ibn Sina (Avicenna) and an immediate precursor of Omar Khayyam.

    Another source reports that he lived between 1000 and 1055, which is most unlikely. Reliable research notes that Baba Taher lived for 75 years. Rahat Al-Sodur of Ravandi (completed 603/1206), describes a meeting between Baba Taher and Seljuk conqueror Togrol (pp. 98–99).

    According to L. P. Elwell-Sutton, Baba Taher could be described as the first great poet of Sufi love in Persian literature. In the last two decades, his verses have often been put to music.

    Legend has it that Baba Taher was a very simple man whom everyone mocked in his town. He was not a poet to begin with. One very cold winter day, people of the town decided to make a fool of him just for fun. They brought him to a frozen fountain and told him if he were to swim in the icy water, he will become a poet.

    Because of his innocence, Baba Taher believed them. He took off his clothes and entered the icy water. Everyone started laughing at him as he was swimming in cold water. He realized he was made fun of and was heart broken. He came out and, to everyone’s surprise, a “true poet” was, indeed, born out of the icy water on that day. Hence, he is called “The Naked”. His poetry has touched many souls.



    Poetry

    Baba Taher poems are recited to the present day all over Iran with the accompaniment of setar, a three-stringed viol or lute. They call these kinds of poems Pahlaviyat.

    His songs were originally read in Pahlavi (Middle Persian), as well as Lori and Hamedani dialects, taking their present form in the course of time. The quatrains of Baba Taher have a more amorous and mystical connotation rather than philosophical.

    Baba Taher is well known for his quatrains, which some scholars regard as having affinities with Middle Persian verses.

    Classical Persian music is based on Persian literature and Baba Taher’s poems are the weight that carries a major portion of this music. His poetry is the basis for Dastgah-e Shoor and in particular Gooshe of Dashtestani, Choopani and Deylaman.



    Writings

    Attributed to him is a work by the name Kalemat-e Qesaar, a collection of nearly 400 aphorisms in Arabic, which has been the subject of commentaries, one of which has been attributed to Ayn Al-Qozmat Hamedani.

    An example of such a saying is one where Baba Taher links knowledge with gnosis: Knowledge is the guide to gnosis, with which the vision of knowledge lapses and there remain only the movements of knowledge toward gnosis.

    A famous maxim attributed to him states: “Knowledge is the crown of the gnostic and gnosis is the crown of knowledge.”

    Another saying linked to Baba Taher notes: “Whoever witnesses what is decreed by God remains motionless and powerless.”

    Baba Taher’s tomb is located near the northern entrance of Hamedan in a park, surrounded by flowers and winding paths. The structure consists of 12 pillars surrounding by a central tower. It was renovated in 1970.



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