>> From the Library of Congress in Washington DC. ^M00:00:06 [Music] ^M00:00:18 >> HIRAD DINAVARI: Hi, I'm Hirad Dinavari, the Iranian World Reference Specialist at the Library of Congress. I'm responsible for Persian Language, other Iranic languages. I want to welcome you to this amazing exhibit, 1,000 Years of the Persian Book. We have a large Persian speaking community in the Washington, DC, and California regions which are Iranian, Afghan, and Tajik background, and essentially live in the United States and this is their heritage. We are trying to show you the background which is often lost in modern times. The lingua franca aspect of Persian, a common language of an entire region, and this exhibit goes out of its way to not just focus on Iran but also show you works and the Persian language materials from all the areas that use the language -- Afghanistan, Tajikistan, historically in Mughal India, the Ottoman Empire, Central Asia. ^M00:01:19 [Music] ^M00:01:23 >> Persian is an Indo-European language, actually closely related to English, German, French, Spanish, Hindi, and related to Sanskrit and Latin. And it is crucial to understand that Persian is one of the number of Iranic languages. There are a number of languages from the Indo-European Iranian family. Of course, Persian is the west's best known. However Pashto, Kurdish, Ossetic, Balochi, these are other Iranic languages that are related to Persian closely. And there are a number of regional names for the language. Many Iranian Americans here have started to use the term Farsi. In the native language they call it Farsi as well. In Afghanistan, both Farsi and Dari are used. So, many Afghans would refer to the language as Dari. And under the Soviet influence in Uzbekistan and Tajikistan, the language is referred to as Tajiki. In English we have a historic name for the language and the name in English has always been Persian. And this is why we are using the term Persian and the Library of Congress uses the term Persian for the language. ^M00:02:34 [Music] ^M00:02:39 >> We decided to explain the history through the writing systems, the scripts of the language, and we have selected three panels. First panel is an example of the Cuneiform script. As you see, the writing system is taken from ancient Mesopotamian Cuneiform. This is the Persian that here you're familiar with through the stories of the Bible, Queen Esther, King Cyrus, Darius, Xerxes. I also want to bring to your attention this replica of the famous Cyrus cylinder. This was a very important document in the ancient Near East. We are using this beautiful replica as an example of how cuneiform would have been used in ancient Persian. Second panel is the Pahlavi language, or Middle Persian. And even though it is Middle Persian, the writing system is borrowed, or taken from the Aramaic or Syriac language. Third panel, and the focus of the exhibition is modern Persian, the last thousand years plus and it written in the modified Arabic script. But, Persian of course has an additional number of letters as well. And the last thousand years, more or less, the language has been written in this script. However, as we go through the exhibit you will see that modern Persian, which is the period we are talking about. And yes, modern Persian does go back a thousand years, which is quite an achievement -- modern Persian is also written in additional scripts. And Jewish Persian communities did write Persian in the Hebrew script and the language is known as Judeo-Persian. So in medieval times we have a body of literature that looks like Hebrew but actually it's Persian and Hebrew script. And areas that fell under czarist Russian and then Soviet rule in Central Asia - today's Tajikistan and Uzbekistan, where there are large Persian speaking communities, experimented with writing Persian first with the Latin script and presently in the Cyrillic script. Hence today, Tajik Persian is written in Cyrillic. ^M00:04:45 [Music] ^M00:04:51 >> I also want to showcase this amazing map that you see. We decided not to go with the modern map that is political and based on nation states. We went with a thematic map that is from the 1700's. It's a Dutch map in the language of Latin. It's showing you the cultural world of Persian. It shows you the areas to the east from the Indus River, what is the border of present-day India, all the way coming west to the Tigris and Euphrates, what is present-day Iraq. The areas you see in color, highlighted what is present-day Iran, Afghanistan, Central Asia, coming up into the Caucasus and Azerbaijan are where the language was spoken on a day-to-day basis by native speakers. As we explain in the exhibition, the Persian language was also used as lingua franca, a language of culture and elites extensively for 600 years in India, in Moghul India, from the 1500's to the 1900's. For many centuries, it was the official language of the Indian Court and the Ottoman Empire in the west also used Persian in addition to Ottoman Turkish, and Arabic. Persian became a language of literature, of historiography, and also some scientific works. So it became an international lingua franca to which many contributed and it wasn't narrowly identified with a specific ethnic group. ^M00:06:21 [Music] ^M00:06:26 >> Every language in the world has areas of strength and areas in which it has excelled in. Persian is best known for its literary tradition and its contributions in the fields of literature and poetry. The Shahnameh is the seminal piece of Persian literature that really set forth and formed the modern Persian language in a very substantial way. Around the 7th, 8th Century, after Persia became part of the Islamic world, Persian was on the decline. The language was not being used. But by the 10th Century Eastern parts of the Islamic Empire, the Abbasids that ruled out of Baghdad, became little too far flung and Arabic was not as dominant. Regional rulers and dynasties that arose - the Samanids, the Saffarids, the Ghaznavids, started to encourage the use of Persian. And this was a new modern Persian, a Persian that was derived from Middle Persian, from Pahlavi, but used Arabic vocabulary, was written in Arabic script, and the language was strengthened by this amazing work produced by the poet and the writer, Firdawsi who started his work under the Samanid court. And in 977, he started to compile works and stories from the ancient Persian, Sasanian pre-Islamic Persia, works that were often in Middle Persian, and he composed it and translated it into modern Persian but into verse, into poetry. He created a work, the Shahnameh, that essentially encompasses 62 stories, 990 chapters, and it is 50,000 rhyming couplets. A very important work for modern Persian because it set forth a standard for modern Persian that over the centuries has become a blueprint for Persian authors and writers. And this has allowed the language to change very little over the centuries. Today when you hand the Shahnameh to a modern Iranian, an Afghan, a Tajik, they can easily read it and understand it. The Shahnameh also became a cultural and civilizational masterpiece that captures Persian and a greater Iranian identity but is also multi-ethnic and diverse with many different ethnic groups represented in it, many heroes and heroines. It is the Persian version of the Iliad and Odyssey. It has heroes like Rustam, the Persian Hercules. Many women heroines at a time when women characters were scarce, the Shahnameh is filled with a number of very powerful women characters. The language and the stories became so popular that it influenced the neighboring languages as well in neighboring cultures, the Turks of Central Asia, of Azerbaijan, the Caucasus of the Ottoman lands, the Kurds, the Pashtuns, and the Georgians, all have taken the Shahnameh and have adapted it to their own cultural and linguistic traditions. We have selected from the library's collection three or four great examples of Shahnamehs. The library's oldest Shahnameh is this amazing manuscript on display. It is dated 1618 in the back but it's believed that the text is from 1618. The art historians who looked at the miniatures feel that the miniatures are older and are in the Iranian style. The script is the Nastaliq script which is the preferred script for Persian writing. However, the binding, the leather olive green binding that the book is presently bound in is believed to be from the 18th Century, much later, and from Central Asia, from the cities of Samarkand and Bukhara. Next to it we have on the wall an example of a page from a Safavid Shahnameh from 16th Century Iran, and on display we have a regional Indian Shahnameh from the 18th Century. The reason why we selected these two is because they are essentially showing you that the content of the Shahnameh hasn't changed but different regions used their own regional esthetic. On the wall you see a classically Iranian Safavid style from the 16th Century. In this amazing manuscript, you see a regional Indian style of Shahnameh book manuscript making which uses the local Indian esthetic. Both of them are telling you the story of the hero, the Persian Hercules if you like, Rustam and his battles with the various demons, the Div. Here on the wall you see Rustam battling Div-i Akavan and Div-i Akavan has picked up Rustam while he's sleeping and is about to toss him into the sea. Below in the Indian manuscript, you're seeing Rustam slaying the white demon or the white Div as his mythic horse Rakhsh is watching from beyond the mountain. Next we have a lithographic Shahnameh, and lithography and Shahnamehs became very important because many of the early works of lithography in Persian that were produced in India and in Iran itself later, were essentially Shahnamehs. Now the stones for this original work were produced in 1906 and the book was published in India in the city of Pune. But this edition which was a gift to the library by the Mehrizi family, is a reprint from 1913 but produced by the Parsi Zoroastrian community of India. The Parsi community of India very much feels that the Shahnameh is a book that captures the ancient glory of pre-Islamic Persia, because the stories and the tales are all based in pre-Islamic Persia. Even though the Shahnameh isn't technically an Islamic work, to the Zoroastrian community it is revered and seen as a work that captures their heritage and history. And the book has in the front a page with the image of the Prophet Zoroaster, and an additional chapter has been added to the end of all the great notables and important personalities of the Indian Parsi community. Similarly we have another page from a Georgian Shahnameh that has been enlarged and put on display to show you how the region and neighboring cultures also took the Shahnameh and adapted it to their own traditions. ^M00:12:57 [Music] ^M00:13:02 >> Classical Persian literature has evolved over time. Of course the first style or genre that is important is the panegyric epic style of the Shahnameh, which started in the east of what is now Persia - areas that are today essentially Afghanistan, Tajikistan, and Central Asia. It's also referred to as the Khurasani style. The Khurasan is the eastern Persian lands and that's the style in which both the Shahnameh and the works of the great poet, Rudaki are produced in. Later, by the 13th Century, the center of focus moves westward to the area presently known as western Iran or at the time referred to as 'Iraq-i 'Ajami if you like, Western Persia or Persian Iraq. It is this region that you have the lyrical Sufi mystical style of Persian poetry that evolves. By the 15th/16th Century, so much Persian was being produced in India, that a new genre of Persian is developed and it is essentially the Persian that is developed out of Indian Mughal Court known as the Sabk-i Hindi or the Indian style of Persian. If we had to roughly divide our Persian into three styles these three would be it. But, this is an over-generalization - there are many styles of Persian. But, these three are the largest subcategories that exist in Persian. The grandfather if you like, or the founding father of Persian Poetry in many ways is the poet, Rudaki. Rudaki predates the great poet Ferdowsi who wrote the Shahnameh. But he does come from the same period, the Samanid period around the 7th/8th Century. To honor him, I have selected a modern work of his poetry from Tajikistan. Since he is today a hero and an icon of Tajik society, this Tajik book beautifully captures his works both in the Arabic Persian script used in Iran and Afghanistan but also in the Tajik Persian script in Cyrillic. And it also has a Russian translation next to it. The tradition of the lyrical Sufi style of Persian poetry or 'Iraq-i 'Ajami, is a style in which a number of poets wrote in. Of course Omar Khayyam was one of them. But, the great poet, Rumi who wrote in this lyrical and mystical Sufi style. In many ways he is the maestro of this genre. From the city of Shiraz, the city of poets, we have the great poet S'adi and the great poet Hafiz. Both of them wrote in this lyrical style. Continuing with the regional styles of Persian manuscripts, you have a Safavid Persian manuscript from Iran that captures beautifully the esthetics of Safavid Persia with very ornate illuminated gold leaf. This book known as Licit Magic by the famous Shirazi poet Ahli-yi Shirazi, is the manuscript that we have used for the banner of the exhibition and the brochure cover. And it shows you a uniquely 16th Century Iranian style. For the great poet Nizami, who also wrote in this lyrical style, we chose to go with a Kashmiri Indian work of his famous work, the Khamsah. The Khamsah or the Quinary is a long series of five stories. And Nizami is a great poet from the city of Ganjah which today the Azerbaijanis essentially have made in their national icon and hero. Another great Persian author that in recent years has become very popular with American audiences is the great Persian poet, Rumi. Rumi is a poet that essentially was born in an area that is present-day Afghanistan (near Tajikistan as well. Over the years he lived in Nishapur, Iran, what is present-day Iran, and Baghdad, and Damascus, what are present-day Iraq and Syria, and he settled in Konya, what is today's Turkey, and is buried there. Oldest manuscript here is from 1441. It is the Rumi manuscript that's on display, it is believed to have been produced in Shiraz. Although some have also said that it could be a work from the city of Herat. We have on display the great poet, Sanai from what is now Ghazni in Afghanistan. The lithographic work that you're seeing here by Sanai is actually produced in India but the reason why we have it on display is because this use of calligraphy in the shape of animals and birds is something that didn't start in India, it started in Ottoman lands in what is now Turkey. It became a style that became so popular it traveled all the way to India and even though the poet comes from what is now Afghanistan and the work is produced in India, the esthetics did come out of what is Turkey. It's showing you the dialogue and conversation of this vast region all being conducted in the Persian language and a common style and esthetic that is developing. From Central Asia, we have the great love story of Yusuf and Zulaikha. In English, Joseph and Potiphar's wife from the biblical tale. And this Central Asian manuscript shows you the elaborate colorful designs of Central Asia in which they use borders and bright orange and purple and green and colors that are not so prevalent in Iran. All of them showing you the diversity of manuscript and Persian bookmaking from a range of territories stretching from Ottoman lands to the Indian subcontinent. The interest in Persian literature in Europe and the United States really began in the 18th/19th Century. By the early 20th Century in the United States, the famous Edward Fitzgerald had created and produced this amazing translation of the Rubayat of Omar Khayyam, which became a bestseller in the United States and really captivated American audiences with Persian literature. On display from our rare books collection, we have a translation of the Rubayat by Edward Fitzgerald with the beautiful paintings of Arthur Szyk, the famous Jewish American painter of the Washington Haggadah. Despite maintaining a uniquely Arthur Szyk style, beautifully captures the essence and touch and feel of Persian miniature painting as well. ^M00:19:39 [Music] ^M00:19:44 >> When you speak of classical Persian literature, mainly the genre is poetry. Poetry became a very important force not just for literature. It's crucial to understand works that were based on philosophy, religion, science even, history, were often delivered in verse. For religion, it was crucial that we showcase the diversity of the religious and philosophical traditions of the larger Persian-speaking world. We decided to showcase the region in two sections in a timeline - eastern and western. For the western regions, which essentially today would be the Caucasus, western Iran, and parts of Mesopotamia, we are showcasing how the ancient near eastern traditions, Mesopotamian traditions mix in with the Iranian and Indo-European traditions. In the eastern regions, what is today eastern Iran, Khurasan, Central Asia, and Afghanistan, we are showing how the Indian traditions mix in with the local Indo-Iranian or Iranic traditions. From there, the next major faith traditions that come into the area are the Jewish and Christian traditions which come in through Mesopotamia followed by Islam which came in through Arabia and equally influenced both the western and eastern regions. However, in the eastern regions, Buddhism and Hinduism also make an impact as we have seen with the great Buddha's of Bamiyan and Afghanistan and the great Buddha's and Buddhist culture of central Asia and Tajikistan and Uzbekistan. After the coming of Islam in the 8th Century, within 200 years a mystical form of Islam, Sufi Islam develops in the entire region. And within another couple hundred years we have the first form of Shiite Islam or the Ismaili path that develops. And then by the 1600's and what is Safavid Iran, parts of Iraq, and Azerbaijan, the western region of the Persian speaking lands, the Twelver form of Shiite Islam becomes dominant. And that's the Twelver form that is now dominant in this region as well. However in the Eastern regions, Afghanistan and Central Asia, people predominantly remain Sunni. By the 19th Century in Iran in the western regions, we also have the Bahai' faith that blossoms. All of these faith traditions that I mentioned are still presently practiced there in the region. We have a selection of wonderful manuscripts and lithographs, modern printed materials here to showcase this rich, religious, and philosophical tradition in the greater Persian speaking lands. The dominant religion of this region is Islam so we selected a number of items that are on basic Islamic tradition across all denominations. We have a book of morning prayers that you see there ornately illuminated in the Persian style. Next to it we have a Quran from Iranian Azerbaijan region in the Iranian style. Next to it we have a lithographic book published by the Royal Publishing House of Kabul for all the judges in Afghanistan for practicing Sunni and Hanafi branch of Sunni Islam. We have a Sufi Treatise here that you see from 1520, and this comes from Afghanistan or Iran, and essentially the Sufi material tends to be predominantly in Persian language. The earlier works that we discussed, because they are scriptural, are in Arabic language. And according to Islamic law, scripture cannot be translated into other languages, it has to remain in the original Arabic. But as soon as you enter the realm of mystical Sufi works, Persian becomes dominant and often it's delivered through poetry. Lithography or essentially in Persian, Chap-i Sangi, which is prints made from stone, stone prints, were introduced to the region in the mid 19th Century. Earlier on, printing press modern prints did come to Iran. It was introduced by the Armenian community. However, printing did not become popular in the region because calligraphy was a high art that was very valued and the printing press didn't capture the beauty of the calligraphy or allow for the illustrations. But lithography, which are prints that are done on stone, became very crucial because they allowed the beautiful esthetics, the beautiful calligraphy, and the illustrations to be continued. And here you have showcased three pieces that are clearly Iranian and Shiite, and I would like to bring your attention to this beautiful lithography from Iran. And as you see, this is discussing metaphysical and mystical concepts of awareness and consciousness. You see in this circular form human depictions that are upside down and sitting up. The areas that are upside down and that are dark represent the subconscious mind and the areas where people are sitting up is the aware mind. Next to it you see in a circular spiral form, like a staircase going deep down, down, and further down, different layers of awareness. Each layer has been categorized, it has been given a name and the use of gold ink. Now remember, these are lithographs and lithographs are essentially prints made from stone. The use of gold in lithography is not easy and as you see this is a beautiful representation and you also see in the Iranian tradition of lithography, there is a number of human figurines which is quite unique in many ways to the Iranian lithographic tradition. Next to it, we have two great Shiite pieces, the words and the writings of 'Ali, the son in law of the prophet Muhammad. And for the Shiites, he being the son in law and the first Imam, he's very revered. And these books would be items that would be usually used as prayer books on the gravesite or the mausoleum of 'Ali in various Shiite religious sites of Iraq. The one item on top is an interlinear. Starting in the 1500's or a little earlier, a tradition of writing Arabic prayers with a Persian explanation, became popularly known as interlinears in which the Arabic original prayer was written in the bold Naskh script. And underneath it in the Nastaliq script, the Persian explanation was there for Persian speakers to understand the Arabic content. Another tradition that comes out of the Iranian and other spiritual practices is the Bahai' faith. And at the very top you see a modern publication from Germany in Persian of heavenly verses by Bahá'u'lláh, morning and evening prayers for the faithful. The most ancient religion of the Persian-speaking world that has survived of course is the Zoroastrian faith. The Zoroastrian faith is native to greater Persia and the Gathas, the holy scriptures have survived. The Gathas are the oldest examples of religious poetry and were written in Old Persian. Here we have a book from the Zoroastrian Parsi community of India. This book has the Gathas in the Middle Persian language of Pahlavi and next to it you have a modern Persian translation. Beside it, I have from the ancient Christian community of northwest Iran, the Urmia region, today referred to as the Assyrians, the book of Ewangeliyon or the four books of the gospels. The language used is Aramaic, and present day Assyrians in Iran still speak Aramaic. The Assyrians historically were known as Church of the East or Nestorians at times. And they have been in the region since the biblical times. The language, Aramaic is crucial to understand, it was a lingua franca of pre-Islamic Persia. Pre-Islamic Persia, both under the Parthians and Sassanians, encouraged the use of Aramaic because it was a language that was used in the entire empire and beyond. Therefore, its writing system influenced Persian itself. As you see, middle Persian here, Pahlavi, is written in a script based on Aramaic and similarly the large Jewish community that lived in Mesopotamia from the period in which the Talmudic works and writings were developed onwards to the Jewish communities who ended up living in Persia. Aramaic also became important in the Jewish tradition. So right next to the Ewangeliyon, from the Assyrian community, I have a modern Psalms of David in both modern Persian and the original Hebrew produced by Ayatollah Masumi Tehrani in Iran. All of these faiths were interconnected in the ancient world and Aramaic was an important language of that time. ^M00:29:19 [Music] ^M00:29:25 >> There are a number of important works in the Persian language that essentially are on subjects such as science and historiography. I would like to give a little background on the importance of how language interplays here. From around the 7th to the 10th Century, modern Persian was still evolving and Arabic had become the lingua franca. Many Persian scholars, historiographers, and scientists wrote their works in the Arabic language. These works later on were translated into modern Persian. But, what's also crucial is Persia itself was a center of science and technology and historiography prior to coming of Islam in the middle Persian language of Pahlavi. From the 7th to the 10th Century, especially in the city of Baghdad under the Abbasid rule for a number of centuries, the great works of Aramaic, ancient Sanskrit, Greek, Middle Persian, Pahlavi, and other ancient languages were all translated into modern Arabic. Arabic plays an important role here because it ended up preserving middle Persian works like the Kalīlah wa Dimnah that otherwise would have been lost to modern Persian-speakers. Subsequently by the 10th/11th Century many of these works that were now in Arabic, were translated from Arabic into modern Persian. And it's crucial to understand the interesting play of language here. In Iran and Central Asia, Arabic remained an important language for scientific and religious writings. So you would see science manuscripts produced in Iran as late as the 18th/19th Century in Arabic. However, as Persian became the lingua franca of the Indian Mughal court and the language of culture in the Mughal court, in India from the 16th Century onwards, you see a large number of Persian language manuscripts on science and history. Far more, you could argue, science manuscripts in Persian came out of India in some ways that actually came out of Iran or Persia itself. I have a number of wonderfully illustrated and beautiful manuscripts and lithographs that represent the scientific tradition in the Persian speaking lands. The first example over there is from Afghanistan, produced by two Pashtun commanders from the Durrani ruling elite of Afghanistan who have created this amazing book on medicinal and herbal plants known as 'Amal-i Salihin. Now the book is a lithograph and because it's fairly late in the 19th Century, it has an amazing index on the side and the index lists all the primary and secondary sources that went into the creation of it. Next to it from Tabriz Iran, we have a book on human anatomy. This amazing lithograph focuses on different parts of the body and it really is intended to be used as a textbook or a manual in the Dar al-Funun University in Tehran for educating young doctors or physicians. The book is filled with these amazing fairly modern illustrations and various parts of the human body. Here you see depicted is the dissection of the lower half of a woman's body and next to it we have a work that showcases the interplay of language I was discussing earlier. The author Qazvini, who is of Persian origin, has created this amazing work known as "The Marvels of Creation and Oddities of Existence." The work was originally written in Arabic which was the lingua franca of the time. However, the library is proud to have this in manuscript form in the Arabic original, in the Persian translation which you see showcased here and even in Ottoman Turkish. We have it in three languages. The Persian version is beautifully illustrated and has an amazing map and it shows you oceans and continents and wild beings, et cetera. We have an example of geographic surveys which is a tradition that started in Baghdad, actually by the scholar Yaqut originally in Arabic but became popular through the Islamic lands. Here you see a Persian lithographic version of it from the Nasir al-din Shah period. And showcased on display I have selected the city of Baghdad because Baghdad is a great place where both Persian and Arabic culture came together. You see depicted the ancient Sasanian Persian palace of pre-Islamic times and you see a map of the Tigris, Euphrates and the city of Baghdad during the Islamic period. Next to it we have a manuscript from India and this is a great example of Persian manuscripts from India not produced by an Indian, a Persian, a Turk, or an Arab. The author, James Skinner is actually British and these were the British dignitaries and personalities in the Mughal court in India who had learned the language and were communicating and writing in Persian because that was the language of the court, and produced amazing manuscripts. This book discusses the various castes and kinsfolk of the Indian subcontinent and the trades and technologies they were involved in. You are seeing a group of papermakers in the Indian style here, and this book itself is from our Rare Books collections at the library and part of the Rosenwald Collection. ^M00:35:01 [Music] ^M00:35:07 >> On the subject of history, one of the most famous works by the scholar of Persian origin, Tabari, is his famous history Tarikh-i Tabari. Many historians in the period of the 9th/10th Century wrote in Arabic. However, Tabari's work was of such importance that it was translated a couple of centuries later by Bal'ami and the manuscript on display is Bal'ami's translation of Tabari's history. And many manuscripts were broken up and various pages were sold to different institutions. What we are trying to do at the library is virtually reconnect manuscripts that have been broken up. Other works of history that are on display are lithographic pieces. We have a book produced by the Parsi Indian community known as the "Monuments of Persia." It showcases beautifully the latest work of archeology that was being done in the 18th/19th Century by western archeologists in Persia. So many of these works were produced in lithographic form in India, in modern Persian, to essentially educate and bring knowledge to Persian speakers around the world. Next to it, we have a lithographic book known as Kuliyat-I Riyazi. The page on display is on current events, current history. It showcases portraits from recent Iranian kings ranging from Nadir Shah to the last Qajar king on the throne in Iran. But simultaneously underneath, you have two rows of Afghan Barakzai and Durrani kings showing you side by side Persian-speaking kings from Iran and Afghanistan and the formation of the modern nation states of Iran and Afghanistan. Similarly we have a memoir by the Amir of Bukhara, from what is now Uzbekistan. At the time, Bukhara was being fought over in Central Asia by the czarist Russian forces. The memoir known as "The Anguish of Nations", "Huzn-i Milal," is an account by the Amir of the troubles that the Central Asian populations were having with the czarist Russians. It is beautifully done in lithographic form. The map and the photography is modern French, the binding is western. However, the lithography is in the traditional classical form. A whole genre of travel literature that had started with Europeans coming to the Islamic world, set forth a whole tradition of historiography known as Safarnamehs in the Persian-speaking world. Safarnameh are travel letters or travel books. This time a number of Persian-speaking elites including this example of Muzaffar al-Din Shah Qajar or the Qajar King of Iran, they traveled to Europe and they wrote their memoirs and stories about their visits to Europe. The book however is a very good example of early printing in Persian and it is essentially known as Chap-i Surbi in Persian, or lead prints, produced by single typeset. And here you have an interesting example of early printing. The library's most exquisite Persian language book of historiography is this amazing precious manuscript of the rule of Shah Jahan, the famous Mughal emperor of India who produced the famous Taj Mahal. The book is compiled of two parts, the Padishahnameh which is the first 10 years of Shah Jahan's rule, and the Shah-Jahan Nameh, which is the remaining years of his rule. The book is an amalgam or a mixture of Mughal Indian styles with Safavid Persian styles with Western European influence as far as perspective and art design. It's beautifully illuminated with gold, lapis, and turquoise. Almost every other page is jeweled with precious metals and precious stones. It is from 1825 and it is a perfect example of Persian from the Indian world. It is a part of the Rosenwald Collection from Rare Books. ^M00:39:17 [Music] ^M00:39:22 >> Persian in the Indian style is another very important style that develops in the 15th/16th Century. And of course the great poet, Bidil is a great example of that. Here in the 18th/19th Centuries we have a legacy of Indian style Persian that continues with a variety of poets from the Indian subcontinent. We have on display the works of the great poet Ghalib and Iqbal. Their Persian works are very important for two reasons. In addition to being a continuation of the Indian style, they also happen to be capturing the modernity trend which was coming in from the west and Europe. Similarly in Afghanistan, we have on display a great book by the founding father in many ways of the Tarzi family. A great Pashtun family that brought modernity and advancement to Afghanistan. And the anthology is in the Shahnameh style and it is written beautifully in the Khurasani style of Persian and it's showing you the use of Persian styles across the different regions. Moving onwards, the library's most exquisite Iranian Persian manuscript is the small pocket-sized manuscript with a lacquer binding. All the paintings are done with a single haired brush, but it's a book selection of all the choicest of Persian poems. It's the great poems of S'adi, Hafiz, Jami, and other great poets coming all the way down to the 19th Century. The handwriting is in the Shikastah script, which is a script that develops later in the Persian-speaking world, and it is a perfect example of the love affair of Persian speakers with poetry. Last but not least is a tradition of bookbinding making from Iran, this is from Qajar Iran and it illustrates the use of leather and gold but there's also a tradition of lacquer bookbinding making. But around the same time, around the 19th Century, new trends come into the region. You have the great author Īraj Mīrzā, who in Iran starts to write Persian in colloquial everyday language. Next to it in Central Asia, you have Sadriddin Aĭnī who starts to write novels and short stories and is seen as the father of Tajik Persian literature. In the Caspian region of Iran, Nima Yushij starts to write poetry, this time free verse, influenced by his Tabari roots, which is a regional dialect. He creates a genre of Persian poetry, a new genre, which didn't use any of the old rhyme schemes and structures. And similarly in Afghanistan, Khalilullah Khalīlī the great poet of Afghanistan, also starts to produce Persian language free verse poetry. Short story writer, Jamālzādah who lived in Europe many years, starts the genre of short stories with famous works like "Once Upon a Time" and "Persian is Sugar." This is the time in which works have been produced for mass audiences. Education of the masses begin to become important, and you see a number of regional writers and authors come about. And what is interesting is there's no central court necessarily for which the authors are producing, but the main focus becomes the public square. And regional styles and modern styles influenced by the west also come about. These styles begin to form in what is now today, the Iranian form of Persian, Afghan form of Persian, and Tajik form of Persian. ^M00:42:57 [Music] ^M00:43:03 >> Women writers and authors have been present in Persian speaking lands for many, many centuries. There is this notion that somehow women have not been active. It is true that oftentimes in medieval times women writers were of elite backgrounds or were royalty. But, we have a number of women authors showcased here from the great poetess Rābi'a Balkhi from the city of Balkh who wrote at the same time as Firdawsi and Rudaki when they wrote the Shahnameh in the 9th/10th Centuries. And we have other great poets displayed here. The famous Indian princess, Zeb-un-Nissa who wrote under the pen name, The Hidden One, and whose works were banned. Her father had imprisoned her for 20 years for her works. Today the Tajik nation has fallen in love with her works and many of her works have been turned into pop songs. So, on display we have Tajik edition of her poems and it essentially says in Tajiki "101 Odes" by Zeb-un-Nissa. The library's oldest book by a Persian-speaking woman is this beautiful lithograph from the Afghan Queen and Princess, 'Āyisha Durrānī and it's from 1881. And this important woman was the first to start a women's school in Afghanistan. And she essentially represented a new trend of modernity coming to Afghanistan in the period. Similarly in Iran, you have the great poetess, Táhirih Qurrat al-`Ayn who in many ways wanted to reform society and became very controversial. Many of her works have been destroyed but we have here on display the works that have survived and have been translated into English. The great poet, Parvīn Etesami from Iran who wrote beautifully in the classical style and is often compared to the classic poets of the medieval era. The new trendsetters and modernizers. From Iran we have the author Simin Danishvar, the great novelist. From Tajikistan we have the great author and poet, scholar, Gulrukhsor Safi, a great scholar of Persian literature. This is one of her latest anthologies Shulah Dar Sang, "The Flames from the Stone," in Tajik Persian. The great poetess, Simin Behbahani who you have first edition of her first anthology, Ja-yi Pa, "Footprint" that the library has in its collections. The library also has a first edition of "Another Birth" by the great poetess iconoclast Furūgh Farrukhzād, probably the best-known woman poet of the Persian language. And she is a very important author that has been translated into 16, 17 languages. Similarly we have the author, Shahrnush Parsipur who has written many novels in the magical realist style. A number of her works have been translated. One book, "Women without Men," has become a feature film here and has been turned into a movie. And of course we have a book from the Armenian Iranian author, Zuya Pirzad, who has won several awards in Iran and often her stories deal with stories about Christian and Armenian traditions and characters that are of Armenian background. She's become very popular in Iran and is outselling many men in the marketplace. We have on display here a range of authors including a page from the Quran, the chapter on women, Sūratu an-Nisā. This 13th Century chapter on women is quite important because it shows you a very archaic old form of Persian in which the dots and diacritics have not been set in place yet. I really recommend that you look at the website and read in detail about each one of these women. They're all very important starting with the great poetess Rābi'a in the 10th Century, all the way to the 21st. Mind you that this is just a small selection of women authors. There were literally hundreds from all three of these countries and beyond and it was very hard to reduce to such a small number. ^M00:47:08 [Music] ^M00:47:14 >> Here we have showcased a number of Iranian, Afghan, and Tajik contemporary authors. I'm not going to get into detail on each author because they all have lengthy biographies and I really recommend you read the descriptions on each one of these titles. I would just like to showcase the great writers and poets of this era. The great Sadiq Hidayat, who started a whole new genre of prose writing and really changed Persian prose. Similarly, the father of modern Persian poetry, Ahmad Shamlu. The great novelist Sadiq Chubak, who wrote beautiful novels that were really focused on details and were a new genre of novel writing. Short story writer, Samad Bihrangi, his "Little Black Fish" has become essentially a sensation and translated into English. The great painter, Suhrab Sepehri who took Buddhists and Sufi thoughts and delivered it in free verse poetry but using nature as his theme or muse for delivering the poems. Other great authors of the time from Iran, have three critics of society and social trends. Jalal al Ahmad, who wrote about the influence of western culture in '60s Iran, with his famous book "Westoxification." Akhavan Salis who essentially writes from a voice from the past, a voice from the Shahnameh or the Holy Book of Avista, looking at modern times and looking at society in the present but from a view from the past. Or a great writer, Dawlat'ābādī who would essentially be the voice of a peasant or a villager in his famous series of novels Kalidar, in which as a Kurdish peasant coming to town, he is exploring modernity and looking at things from the prism of a small towns person. Then other genres that have developed from Tajikistan, the great poet Loiq Sheralī, who essentially writes Persian poetry but with a uniquely Tajik identity and nationalistic twist. From Iran, the humorist writer, "My Uncle Napoleon" is his famous work, Iraj Pezeshkzad who you see on display here. This work has been translated and also been turned into a TV series. From Afghanistan, the great writer, Sultanzadeh who essentially writes often about exile and lamenting life not being in his homeland of Afghanistan. ^M00:49:32 [Music] ^M00:49:36 >> One of the oldest traditions of literary works is of course, the genre of storytelling. Going back to the stories our grandmothers told us in Persia growing up or the famous tales that have now been passed on century after century starting from Gilgamesh all the way down to the modern stories of the Middle East. One of these rich traditions is of course the stories of the Thousand and One Nights, here also known as the Arabian Nights. On display we have a lithographic Persian version put to verse, known as the Hizar Dastan, "A Thousand Nights." And we have an amazing example of a 19th Century lithographic style in this "Thousand and One Nights" genre. Of course the heroine of it, Sheherazad was Persian and the villain also Shahriyar, was Persian. Another great storyteller of the medieval times was Ubayd Zakani from the 13th Century. Many of these great old stories have in present times been turned into children books. On display, we have the work of Ubayd Zakani's, "The Joyous Treatise" and adapted to a Tajik children's book. Similarly we have from Iran and Afghanistan works that are inspired by the Shahnameh, the stories of the Shahnameh that have been today turned into children's books. We have the great author, Parvin Pijvak who essentially has written a series of books on the character Arash that is from the Shahnameh, as well as Zarrin Kilk from Iran who has done a series of books on the various stories from the Shahnameh. This one on display is the mythic bird Simurgh saving the albino prince Zal. Also, the same character Simurgh, or Phoenix if you like in English, has been an inspiration for other artists. We have on display here a vinyl cover from the works of the Armenian Iranian composer Loris Tjeknavorian, who has created a number of operas and ballets and musicals based on the Shahnameh. We have the pop-up genre of children's books. Inspired by Ken and Barbie here in the west, we have "The Voyages of Sara and Dara through Iran." It's a beautiful pop-up book from Iran. Storytelling has come into the modern age. Graphic novels have become quite popular. On display we have the famous work of French Iranian artist, Marjane Satrapi who told the story of the Iranian Revolution, the Iran-Iraq war in the form of a graphic novel published in Paris. We began with the Shahnamehs, the old ones from middle ages, and we are ending with the 2013 modern Shahnameh that you see on display here translated into English by Ahmad Sadri in New York and all the graphics are produced by Hamid Rahmanian by using images from Indian, Persian, Central Asian and Ottoman manuscripts and lithographs all turned into high-tech graphic images. The book is geared toward American youth and the diaspora communities, Iranian Americans, Afghan Americans, and Tajik Americans. And it is essentially bringing the stories of the Shahnameh to the American and English speaking audiences. ^M00:52:48 [Music] ^M00:52:52 >> I would like to finish with a number of sound recordings showcasing three different styles of Persian starting with a few seconds of the Shahnameh, a few seconds of the lyrical style of Rumi, and of course, free verse poetry of the Persian poetess, Furūgh Farrukhzād in her own voice. This recording is from a collection of stories from the Shahnameh by Firdowsi. Here is an excerpt from "The Battle of Kumarth with the Demon" narrated by Parviz Ahur. ^M00:53:25 >> [RECORDING IN FOREIGN LANGUAGE] ^M00:53:59 >> This recording is from the book, "Divan-i Shams" by Rumi. This poem is titled, "I was Dead and Came to Life" narrated by Abdul Karim Sorush. ^M00:54:09 >> [RECORDING IN FOREIGN LANGUAGE] ^M00:54:40 >> This recording of the poem, "Conquest of the Garden" is from an Iranian radio broadcast written and recorded by the poet, Furūgh Farrukhzād. ^M00:54:50 >> [RECORDING IN FOREIGN LANGUAGE] ^M00:55:15 >> [Music] ^M00:55:31 >> This has been a presentation of the Library of Congress. Visit us at loc.gov.