Abstract:
Siraj al-Din Ali Khan Arzoo is one of the most prominent literati of the subcontinent, who has authored nearly thirty-six books and treatises in the field of Persian literary research and has presented novel views in various fields such as stylistics, linguistics, rhetoric, literary criticism, tazkira writing, etc. One of his important works is Tazkirat al-Majma' al-Nafa'is. Despite its importance in the field of literary criticism, this work has not received the serious attention it deserves from researchers and literary critics. Although Khan Arzoo's critical views regarding poetry criticism in this tazkira are often scattered and inconsistent, they can be classified into specific viewpoints, and through this, his critical approach in the category of poetry criticism can be recognized. In this article, an effort has been made through a careful study of Tazkirat al-Majma' al-Nafa'is and comparison with other works of Khan Arzoo, to examine, analyze, and classify his critical opinions in various fields of poetry criticism, so that through this path, a basis for broader research in the analysis and criticism of Khan Arzoo's views on various literary subjects is provided.
Machine summary:
In his tazkirah, the author does not merely limit himself to describing the lives and poems of poets; rather, with keen observation and a comprehensive grasp of the subtleties of Persian poetry, he has engaged in the criticism and analysis of poets' verses by presenting his critical views in various domains of literary criticism, such as language, style, form, and meaning.
" He continues by adding: "After Saib, poetry in India found new vigor and excitement, and they favored Saib's style; such that Shah Nasir Ali, Iradat Khan Vaze, and Mirza Abd al-Qadir Bedil each became extraordinary poets in their own way" (Arzoo, 1383: 1192) As we have seen, like a modern stylist, Arzoo addressed the explanation of the evolution of the ghazal style based on the role that prominent poets of different periods of literary history played in the language and theme of the ghazal; however, what is noteworthy in this approach is that he does not attribute a role to prominent poets such as Sanai, Khaqani, Attar, and Rumi in this transformation.
Considering that Arzoo in Majma al-Nafa'is has praised the poetic style of the aforementioned poets and refers to them as masters of style, it can be said that he has followed the stylistic transformations of the ghazal based on the form and language of the romantic ghazal and has been indifferent to the meaning in this regard.
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