چکیده:
"Ikhtiyarat-e Shahnameh," according to Mohammad Awfi, was the first compiled work in the subcontinent by Masoud Saad Salman, which consisted of selections from the Shahnameh and other contemporary Persian works that apparently no longer exists. Evidence of the Shahnameh's influence in various regions of the subcontinent, including Deccan, Balochistan, سند (Sindh), and Kashmir, has been obtained among all classes, including the Persians of India. Then, reflections of similarities in themes and content of Masnavis in the Urdu language, such as Tarjuma-e Manzum-e Khawaran Nama, Muhammad Khusrau Khosravi Khorasani, Ali Nama, Nasrati, containing the battles of Ali and Aurangzeb of Bijapur, are also mentioned. Additionally, some references to the influence of the Shahnameh on the individual and social lives of the people of the subcontinent have also been brought forward.
خلاصه ماشینی:
With the passage of time, the Shahnameh, along with other works of the sweet Persian language that encompassed the essence of the spiritual, mental, moral, and popular thought of the flower-strewn lands of Iran, in the land of security, India found widespread popularity and played such an active and prominent role in the formation and establishment of the rich and fruitful Iranian culture in this newly opened region that it was as if the subcontinent had become the backyard of Iran.
A poet known as Sayyid Muhammad Taqi Shah Qandahari, who was initially a resident of Lasbela and later joined the court of Sardar Nuruddin Mangal, composed a heroic masnavi in the style of the Shahnameh in the Balochi language, regarding the untimely death of his mentor along with seventy-one of his companions in a confrontation with his opponents, under the title Gulshan-e-Shahadat in the year 1296 AH / 1879 AD, and proved his skill in heroic poetry (15).
The Shahnameh is a voluminous book, containing more than 50,000 verses, and although "it is the best of Persian poetic works" and "there is no perfection in Persian poetry beyond this," according to the late Master Badi'ozaman Forouzanfar, "certainly one quarter of it is of such a high level that its like cannot be spoken of, one quarter consists of good verses, and the other two parts are medium (65)," undertaking the study and investigation of such a massive text for a non-Iranian—even if the motive of their endeavor were that intense sense of patriotism, nationalism, and affection for the lost glory and greatness of Iran and the thought of reviving the ancient majesty of their ancestors—is not possible without significant perseverance, great patience, and an extraordinary love and passion for the shared culture, civilization, language, and literature of Iran and the subcontinent.
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