Representation of Zahâk in Ottoman Critical Literature
From the classical era until the 19th century, Iranian literary texts occasionally served as a source of inspiration in the Ottoman Empire. One such example is Zahâk, a myth from Ferdowsi’s Shâhnâmeh, which was used to criticize the political situation in the Ottoman Empire. As Ottoman thinkers beca...
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| Format: | Article in Journal/Newspaper |
| Language: | Persian |
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Alzahra University
2022
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| Online Access: | https://doi.org/10.22051/hph.2024.46429.1711 https://doaj.org/article/f74036db47c84f9e86ae0b8cd903fff5 |
| Summary: | From the classical era until the 19th century, Iranian literary texts occasionally served as a source of inspiration in the Ottoman Empire. One such example is Zahâk, a myth from Ferdowsi’s Shâhnâmeh, which was used to criticize the political situation in the Ottoman Empire. As Ottoman thinkers became familiar with the intellectual works of the West and the political structure of Europe, they began to criticize the governance of their declining empire. The prominent writer Şemseddin Sami, for instance, protested against despotism in various works, including plays such as Kāveh. This play not only exemplifies modern literature but also serves as a critical work by a Turkish thinker, expressing political issues in literary language. In Iran, Kâveh was translated by Mirzâ Ebrâhimkhan Amir Toumân as Zahâk, aiming to convey a different political context. This essay, inspired by “New Historicism” as a functional approach, illuminates the intended concepts of both the author and the Iranian translator. It reveals that both Iran and the Ottoman Empire had similar political experiences. Moreover, it shows that both the writer and the translator were aware of political despotism as a problem in their “homeland”. However, the political situation in Iran appears to be more complex. Understanding the political structure and the distinct experiences of monarchy in these contexts simplifies the question: why was Kâveh translated as Zahâk in Iran? Additionally, this play reflects social issues in Kâveh’s life, which adds another dimension to the work. |
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