Familiarity with literary taboo breaking and its evolution in classical Persian literature مقالة

ملخص الجهاز:

However, a comprehensive discussion about breaking the boundaries of sacred things and prohibitions in Persian literature has not yet taken place, although partial discussions have been raised in critical literature or Sufi ecstatic utterances, but none of them fully encompass the subject of our discussion. For example, many of the sayings of Sufis are of the type “shatah” and similar to shatah, a kind of taboo breaking, but they never seek doubt or denial like critical literature, but are the fruit of ecstasy and intoxication, and only appear audacious on the surface and are entirely submissive within. With regard to these premises, literary taboo breaking means that the poet or writer, beyond the permission they have, enters into the construction of the forbidden, whether sacred or unsacred, and this is sometimes in the form of a protest based on doubt, skepticism, and even denial; like non-mystical taboo breakings. Among the types of Persian literature, lyric, mystical, and also critical literature – with a philosophical, religious, and socio-religious background – has been a very suitable place for taboo breaking, the scope of which extends from Rudaki to the present day. Considering “wine” as permissible in Persian literature, for any reason – whether it is court patronage, Iranian eschatology, or a kind of protest against beliefs or literary tradition – is a form of taboo breaking, because “wine” is forbidden for all Muslims forever, except in special – Shiite – cases. In Persian literature, too, some literary genres such as lyrical, mystical, and critical provide a favorable ground for various forms of taboo breaking, in which the sanctity of many sacred things and prohibitions has been violated.