{"id":106322,"date":"2022-10-15T11:18:29","date_gmt":"2022-10-15T16:18:29","guid":{"rendered":"https:\/\/PERSIAN-HERITAGE.COM\/?p=106322"},"modified":"2022-10-15T11:18:29","modified_gmt":"2022-10-15T16:18:29","slug":"sir-william-jones-the-first-to-translate-hafez-into-english-part-one","status":"publish","type":"post","link":"https:\/\/PERSIAN-HERITAGE.COM\/en\/2022\/10\/15\/sir-william-jones-the-first-to-translate-hafez-into-english-part-one\/","title":{"rendered":"Sir William Jones \u2014\u00a0The first to translate Hafez into English (part one)"},"content":{"rendered":"

N. Kanani \u2014\u00a0<\/strong><\/p>\n

\u201cHafiz is most assuredly a poet worthy to sup with gods.\u201d<\/p>\n

\u2014 Sir William Jones<\/p>\n

William Jones, a British philologist, judge, orientalist and scholar of ancient India, was born on September 28, 1746 in London. His father, also named William Jones (1675-1749), was a famous mathematician from Wales and noted for introducing the use of the symbol \u03c0 for the number 3.14, which is the ratio of a circle\u2019s circumference to its diameter. The father died when his son was three years old, and his wife Mary had to take care of the upbringing of their son William.<\/p>\n

It soon turned out that William was a linguistic prodigy. In addition to his native languages English and Welsh he quickly learned at an early age Greek and Latin, which he could not only read but also write with fluency and grace, both in verse and prose. According to Wikipedia, by the end of his life William Jones knew eight languages with critical thoroughness, was fluent in a further eight, with a dictionary at hand, and had a fair competence in another twelve.<\/p>\n

1753 William was sent to school and later on in 1764 to University College, Oxford where he studied oriental literature and graduated in 1768. During his study he perfected himself in Persian and Arabic. His primary source in acquiring Persian was Meninski\u2019s \u201cThesaurus linguarum orientalium<\/em>1<\/sup>.\u201d<\/p>\n

At the age of 22 William Jones had already a reputation as an accomplished English philologist and orientalist. To give an idea of his linguistic abilities, it will suffice to mention that when Christian VII of Denmark visited England in 1768, he brought with him a biography of the Persian king Nader Shah (1736-1747), whose spectacular career as a warrior and conqueror had fired the imagination of the Europeans.2<\/sup> The author of this biography, titled \u201cJah\u0101ngosh\u0101-ye N\u0101deri,\u201d<\/em> was the historian Mirz\u0101 Mehdi Kh\u0101n Astar\u0101b\u0101di (died 1759), the chief secretary, advisor, and confidant of Nader Shah. Christian requested the twenty-two-year-old Jones to translate the manuscript from Persian into French, which he did, a laborious task for which he received no money.3<\/sup> The translation, titled \u201cL\u2019 Histoire de Nader Chah<\/em>,\u201d appeared two years later in Paris. Christian praised Jones\u2019s translation highly and unreservedly and made him a member of the Royal Society of Copenhagen, an act, which heightened Jones\u2019s reputation as an oriental scholar. A year later, 1773, Jones published \u201cAn Introduction to the History of the Life of Nader Shah<\/em>\u201d containing a description of Asia, a short history of Persia, and an essay on oriental poetry.<\/p>\n

 <\/p>\n

Literary encounter with Hafez<\/p>\n

Early in 1768, at the time when the Hungarian orientalist Count K\u00e1roly Reviczky (1737-1793) was involved in translating some of the ghazals<\/em> of Hafez into Latin, Jones met him in London and found in him the person with whom he could carry on a scholarly and critical discussion about Persian poetry. Within a year of their meeting Count Reviczky left England but continued to correspond with Jones on Persian and Arabic poetry. It was through this acquaintance that Jones grew to know and love Hafez\u2019s poesy. In April 1768, he wrote to his mentor and friend:<\/p>\n

\u201cOur Hafiz is most assuredly a poet worthy to sup with gods; every day I take pleasure in his work, which daily gives me more delight by its charm and attractive style.\u201d4 <\/sup>Jones\u2019s biographer John Shore (1751-1834), better known as Lord Teignmouth, observed: \u201cHis [Jones\u2019s] life was permanently changed by his first reading of Hafiz, and for about six years he engaged in advocating the claims of Eastern poetry.\u201d5<\/sup><\/p>\n

A Grammar of the Persian Language<\/strong><\/p>\n

The English East India Company (EIC) that was founded in 1600 as a merchant company for India trade and outlasted until 1874 established the basis for the almost 200-year British colonial rule over India. The Company became increasingly a great territorial power in that country, and an acquaintance with the Persian language, which was the lingua franca<\/em> of the Mughal court, was indispensably necessary for its civil and military servants.<\/p>\n

Being aware of the importance of the Persian language in Britain\u2019s colonial relationship with India Jones published in 1771 \u201cA Grammar of the Persian Language<\/em>\u201d in the hope that the East India Company would use it as a training manual for its officers wanting to learn the language. On the book cover shown in Figure 1 one can see Jones\u2019s pen name \u06cc\u0648\u0646\u0633 \u0627\u0648\u06a9\u0633\u0641\u0631\u062f\u06cc. In his introduction Jones stated: \u201cThe Persian language is rich, melodious, and elegant; it has been spoken many ages by the greatest Princes in the politest courts of Asia and a number of admirable works have been written in it by historians, philosophers, and poets, who found it capable of expressing with equal advantage the most beautiful and the most elevated sentiments.\u201d6<\/sup><\/p>\n

Jones\u2019s \u201cA Grammar of the Persian Language<\/em>\u201d proved to be one of the best grammar texts ever published in English about a language the Western world considered \u201cexotic\u201d and went through several editions. As Robert Irwin, a British scholar of Arabic and Middle Eastern History put it, \u201cJones\u2019s Grammar of the Persian language was really of more use to poets than to imperial administrators, as he was more interested in introducing Persian poets to a European audience than he was in producing a crib for merchants and administrators working in exotic parts.\u201d7<\/sup><\/p>\n

And the American semantic scholar Kurt A. Johnson commented: \u201cFor Jones, the primary reason for Britons to learn Persian was not to make it easier for them to administer the colony, but rather to gain a better appreciation of \u2018Eastern\u2019 poetry. Jones sought to foster that appreciation by demonstrating how European poetry resounded with aesthetic echoes from Persian poetry.\u201d8<\/sup><\/p>\n

Translation of the poems of Hafez<\/strong><\/p>\n

Jones introduced his \u201cGrammar<\/em>\u201d with the following remark: \u201cThe learner is supposed to be acquainted with the common terms of grammar, and to know that the Persians write their characters from the right hand to the left.\u201d<\/p>\n

He then explained \u2013 after a detailed discussion of the Persian alphabets \u2013 the grammatical rules of the Persian language using Persian poems. To this end he included also a number of Hafez\u2019s poems in Persian together with their English versions and explained them by every trick in the book. His aim was to attract Europeans to the idea that Persian literature might help them to enrich their own.<\/p>\n

Jones\u2019s first translation called A Persian Song of Hafiz<\/em> was a paraphrase of one of the most famous ghazals<\/em> of Hafez namely the one with the opening verse Agar \u0101n Tork-e Shirazi<\/em>\u2026..<\/p>\n

He noted: \u201cThe wildness and the simplicity of this Persian song pleased me so much, that I have attempted to translate it in verse: the reader will excuse the singularity of the measure which I have used, if he considers the difficulty of bringing so many eastern proper names into our stanzas. I have endeavoured, as far as I was able, to give my translation the easy turn of the original; and I have, as nearly as possible, imitated the cadence and accent of the Persian measure; from which every reader, who understands musick, will perceive that the Asiatick numbers are capable of as regular a melody as any air in Metastasio9<\/sup>.\u201d10<\/sup><\/p>\n

To raise awareness of the difficulties facing anyone who wished to translate Hafez, Jones noted: \u201cI shall transcribe the first ode of Hafiz that offers itself, out of nearly three hundred that I have paraphrased: when the learner is able to understand the images and allusions in the Persian poems, he will see a reason in every line why they cannot be translated literally into any European language.\u201d<\/p>\n

\u0627\u06af\u0631 \u0622\u0646 \u062a\u0631\u06a9 \u0634\u06cc\u0631\u0627\u0632\u06cc \u0628\u0647 \u062f\u0633\u062a \u0622\u0631\u062f \u062f\u0644 \u0645\u0627 \u0631\u0627<\/p>\n

\u0628\u0647 \u062e\u0627\u0644 \u0647\u0646\u062f\u0648\u06cc\u0634 \u0628\u062e\u0634\u0645 \u0633\u0645\u0631\u0642\u0646\u062f \u0648 \u0628\u062e\u0627\u0631\u0627 \u0631\u0627<\/p>\n

\u0628\u062f\u0647 \u0633\u0627\u0642\u06cc \u0645\u06cc \u0628\u0627\u0642\u06cc \u06a9\u0647 \u062f\u0631 \u062c\u0646\u0651\u062a \u0646\u062e\u0648\u0627\u0647\u06cc \u06cc\u0627\u0641\u062a<\/p>\n

\u06a9\u0646\u0627\u0631 \u0622\u0628 \u0631\u06a9\u0646 \u0622\u0628\u0627\u062f \u0648 \u06af\u0644\u06af\u0634\u062a \u0645\u0635\u0644\u0627 \u0631\u0627<\/p>\n

\u0641\u063a\u0627\u0646 \u06a9\u0627\u06cc\u0646 \u0644\u0648\u0644\u06cc\u0627\u0646 \u0634\u0648\u062e \u0634\u06cc\u0631\u06cc\u0646\u06a9\u0627\u0631 \u0634\u0647\u0631\u0622\u0634\u0648\u0628<\/p>\n

\u0686\u0646\u0627\u0646 \u0628\u0631\u062f\u0646\u062f \u0635\u0628\u0631 \u0627\u0632 \u062f\u0644 \u06a9\u0647 \u062a\u0631\u06a9\u0627\u0646 \u062e\u0648\u0627\u0646 \u06cc\u063a\u0645\u0627 \u0631\u0627<\/p>\n

\u0632 \u0639\u0634\u0642 \u0646\u0627\u062a\u0645\u0627\u0645 \u0645\u0627 \u062c\u0645\u0627\u0644 \u06cc\u0627\u0631 \u0645\u0633\u062a\u063a\u0646\u06cc\u200c\u0633\u062a<\/p>\n

\u0628\u0622\u0628 \u0648 \u0631\u0646\u06af \u0648 \u062e\u0627\u0644 \u0648 \u062e\u0637\u0651 \u0686\u0647 \u062d\u0627\u062c\u062a \u0631\u0648\u06cc \u0632\u06cc\u0628\u0627 \u0631\u0627<\/p>\n

\u062d\u062f\u06cc\u062b \u0627\u0632 \u0645\u0637\u0631\u0628 \u0648 \u0645\u06cc \u06af\u0648 \u0648 \u0631\u0627\u0632 \u062f\u0647\u0631 \u06a9\u0645\u062a\u0631 \u062c\u0648<\/p>\n

\u06a9\u0647 \u06a9\u0633 \u0646\u06af\u0634\u0648\u062f \u0648 \u0646\u06af\u0634\u0627\u06cc\u062f \u0628\u062d\u06a9\u0645\u062a \u0627\u06cc\u0646 \u0645\u0639\u0645\u0627 \u0631\u0627<\/p>\n

\u0645\u0646 \u0627\u0632 \u0622\u0646 \u062d\u0633\u0646 \u0631\u0648\u0632\u0627\u0641\u0632\u0648\u0646 \u06a9\u0647 \u06cc\u0648\u0633\u0641 \u062f\u0627\u0634\u062a \u062f\u0627\u0646\u0633\u062a\u0645<\/p>\n

\u06a9\u0647 \u0639\u0634\u0642 \u0627\u0632 \u067e\u0631\u062f\u06c0 \u0639\u0635\u0645\u062a \u0628\u0631\u0648\u0646 \u0622\u0631\u062f \u0632\u0644\u06cc\u062e\u0627 \u0631\u0627<\/p>\n

\u0646\u0635\u06cc\u062d\u062a \u06af\u0648\u0634 \u06a9\u0646 \u062c\u0627\u0646\u0627 \u06a9\u0647 \u0627\u0632 \u062c\u0627\u0646 \u062f\u0648\u0633\u062a\u062a\u0631 \u062f\u0627\u0631\u0646\u062f<\/p>\n

\u062c\u0648\u0627\u0646\u0627\u0646 \u0633\u0639\u0627\u062f\u062a\u0645\u0646\u062f \u067e\u0646\u062f \u067e\u06cc\u0631 \u062f\u0627\u0646\u0627 \u0631\u0627<\/p>\n

\u0628\u064e\u062f\u064e\u0645 \u06af\u0641\u062a\u06cc \u0648 \u062e\u0631\u0633\u0646\u062f\u0645 \u0639\u0641\u0627\u06a9 \u0627\u0644\u0644\u0647 \u0646\u06a9\u0648 \u06af\u0641\u062a\u06cc<\/p>\n

\u062c\u0648\u0627\u0628 \u062a\u0644\u062e \u0645\u06cc\u0632\u06cc\u0628\u062f \u0644\u0628 \u0644\u0639\u0644 \u0634\u06a9\u0631\u062e\u0648\u0627\u0631\u0627<\/p>\n

\u063a\u0632\u0644 \u06af\u0641\u062a\u06cc \u0648 \u062f\u064f\u0631\u0651 \u0633\u064f\u0641\u062a\u06cc \u0628\u06cc\u0627 \u0648 \u062e\u0648\u0634 \u0628\u062e\u0648\u0627\u0646 \u062d\u0627\u0641\u0638<\/p>\n

\u06a9\u0647 \u0628\u0631 \u0646\u0638\u0645 \u062a\u0648 \u0627\u0641\u0634\u0627\u0646\u062f \u0641\u0644\u06a9 \u0639\u0642\u062f \u062b\u0631\u06cc\u0627 \u0631\u0627<\/p>\n

Sweet maid, if thou wouldst charm my sight,<\/p>\n

And bid these arms thy neck infold;<\/p>\n

That rosy cheek, that lily hand,<\/p>\n

Would give thy poet more delight<\/p>\n

Than all Boc\u00e1ra\u2019s vaunted gold,<\/p>\n

Than all the gems of Samarcand.<\/p>\n

Boy, let yon liquid ruby flow,<\/p>\n

And bid thy pensive heart be glad,<\/p>\n

Whate\u2019er the frowning zealots say:<\/p>\n

Tell them, their Eden cannot show<\/p>\n

A stream so clear as Rocnabad,<\/p>\n

A bow\u2019r so sweet as Mosell\u00e1y.<\/p>\n

O! when these fair perfidious maids,<\/p>\n

Whose eyes our secret haunts infest,<\/p>\n

Their dear destructive charms display;<\/p>\n

Each glance my tender breast invades,<\/p>\n

And robs my wounded soul of rest,<\/p>\n

As Tartars seize their destin\u2019d prey.<\/p>\n

In vain with love our bosoms glow;<\/p>\n

Can all our tears, can all our sighs<\/p>\n

New lustre to those charms impart?<\/p>\n

Can cheeks, where living roses blow,<\/p>\n

Where nature spreads her richest dies,<\/p>\n

Require the borrow\u2019d gloss of art?<\/p>\n

Speak not of fate\u2012\u2012ah! change the theme,<\/p>\n

And talk of odours, talk of wine,<\/p>\n

Talk of the flow\u2019rs that round us bloom:<\/p>\n

\u2019Tis all a cloud, \u2019tis all a dream;<\/p>\n

To love and joy thy thoughts confine,<\/p>\n

Nor hope to pierce the sacred gloom.<\/p>\n

Beauty has such resistless pow\u2019r,<\/p>\n

That ev\u2019n the chaste Egyptian dame<\/p>\n

Sigh\u2019d for the blooming Hebrew boy:<\/p>\n

For her how fatal was the hour,<\/p>\n

When to the banks of Nilus came<\/p>\n

A youth so lovely and so coy!<\/p>\n

But ah! sweet maid, my counsel hear;<\/p>\n

(Youth should attend when those advise<\/p>\n

Whom long experience renders sage);<\/p>\n

While music charms the ravish\u2019d ear,<\/p>\n

While sparkling cups delight our eyes,<\/p>\n

Be gay; and scorn the frowns of age.<\/p>\n

What cruel answer have I heard!<\/p>\n

And yet, by heav\u2019n, I love thee still:<\/p>\n

Can aught be cruel from thy lip?<\/p>\n

Yet say, how fell that bitter word<\/p>\n

From lips which streams of sweetness fill,<\/p>\n

Which nought but drops of honey sip?<\/p>\n

Go boldly forth, my simple lay,<\/p>\n

Whose accents flow with artless ease<\/p>\n

Like orient pearls at random strung;<\/p>\n

Thy notes are sweet, the damsels say,<\/p>\n

But oh! far sweeter, if they please<\/p>\n

The nymph for whom these notes are sung!<\/p>\n

With his A Persian Song of Hafiz<\/em>, which was the first poem of Hafez to appear in English, William Jones set the fashion of finding an ode-like equivalent for the Persian ghazal<\/em>. In this context the following comments seem appropriate:<\/p>\n

Firstly: Since Persian pronouns have no gender distinction the Persian pronoun for the third person \u201bu<\/em>\u2019 may be translated as \u201che\u201d, or \u201cshe.\u201d By the same token, the gender of the Turk from Shiraz<\/em> was and still is open to debate. Was the Turk from Shiraz<\/em> male or female, a real person or an imaginary one? There is no clear answer to this question. Jones chose to use the expression Sweet maid<\/em> for the Turk from Shiraz<\/em>.<\/p>\n

Secondly: Jones\u2019s verse translation introduced a significant change in the ghazal<\/em> practice. According to an old literary tradition the Persian original contains the poet\u2019s pen name, Hafez, in the last line; Jones\u2019s English version does not.<\/p>\n

Thirdly: It should be pointed out that the term ghazal<\/em> occurs 26 times in the Divan of Hafez<\/em>. The first place where it appears is in the final couplet of this very ghazal<\/em> translated by Jones. He obviously preferred to ignore the term in his English version.<\/p>\n

By his A Persian Song of Hafiz<\/em> Jones made one of his most important contributions to English poetry. The British scholar of Persian and translator Samuel Robinson (1794-1884) was of the opinion that the most beautiful rendering of a Persian ode into English was the exquisite A Persian Song of Hafiz<\/em>. In his book \u201cPersian poetry for English readers<\/em>\u201d he remarked:<\/p>\n

\u201cIt is impregnated throughout with the Oriental spirit; but when we find that the twenty-one words of the first couplet of the original, literally translated into English prose, are transmuted into thirty-eight in the version, we naturally wish to know how far the beauties we admire, and the thoughts and images which are presented to us, really exist in the original text, or are introduced by the copyist to render his imitation more conformable to the Western style and the taste of the European reader.\u201d11<\/sup><\/p>\n

The Anglo-Irish writer Louisa S. Costello (1799-1870) raised the question:<\/p>\n

\u201cWho is there that is not familiar with those beautiful verses of Sir William Jones, translated from Hafiz?\u201d12<\/sup><\/p>\n

Arthur J. Arberry (1905-1969), the British scholar of Persian and Islamic studies, called Jones the father of Persian studies in the west<\/em> and remarked: \u201cA Persian Song of Hafiz<\/em>, celebrated translation, introduced \u1e24\u0101fi\u1e93 of Sh\u012br\u0101z to the literary world of London and Europe.\u201d13<\/sup><\/p>\n

Garland H. Cannon (1924-?), one of William Jones\u2019s biographers, noted: \u201cInclusion of \u201cA Persian Song of Hafiz\u201d helped ensure the book\u2019s success. Among Jones\u2019s contributions to the development of Persian Studies in Europe, none was more consequential than his paraphrasing of several of H\u00e1fiz\u2019s lyrics. None bore sweeter fruits than his version of \u201cSh\u00edraz\u00ed Turk.\u201d14<\/sup><\/p>\n

Referring to Jones\u2019s \u201cGrammar<\/em>,\u201d the British author and editor, Olive Classe, made the following comment on his A Persian Song of Hafiz<\/em>:<\/p>\n

\u201cH\u0101fiz was introduced to English-speaking readers through Sir William Jones\u2019s version of one of his ghazal, titled \u201cA Persian Song of Hafiz\u201d published in his Grammar of the Persian\u2019s language (1771). Jones, who admired the poem\u2019s \u201cwildness and simplicity\u201d translated it into verse.\u201d15<\/sup><\/p>\n

The British scholar Thomas Wrighton, on his part, made the following remark on Jones\u2019s A Persian Song of Hafiz<\/em> and also practiced some criticism as he wrote:<\/p>\n

\u201cIf the average English man were asked what he knew of Hafiz he would probably recite Sir William Jones\u2019s elegant lines:<\/p>\n

Sweet maid, if thou wouldst charm my sight, <\/em><\/p>\n

And bid these arms thy neck infold; <\/em><\/p>\n

That rosy cheek, that lily hand, <\/em><\/p>\n

Would give thy poet more delight <\/em><\/p>\n

Than all Bocara\u2019s vaunted gold, <\/em><\/p>\n

Than all the gems of Samarcand. <\/em><\/p>\n

This is all very pretty, but unfortunately it is not Hafiz. The slim, seductive beauty whom Hafiz sings had neither a rosy cheek nor a white hand. What she really could boast was a black mole, which in the East is regarded as one of the most coveted accompaniments\u2012\u2012an enhancer, indeed\u2012\u2012of female beauty; hence it was the lady\u2019s mole, and not for her rosy cheek, which, by the by, was really green, that Hafiz in his ecstasy would have thrown away two whole cities. As for the concluding stanza of Jones\u2019s poem there is not in it a single word or thought that corresponds with the actual utterance of Hafiz.\u201d16<\/sup><\/p>\n

Lord Byron\u2019s parody<\/strong><\/p>\n

To illustrate William Jones\u2019s literary impact suffice it to say that the famous English poet Lord Byron (1788-1824), who admired Jones\u2019s skill in poetic technique, particularly his translation of A Persian Song of Hafiz<\/em> and even planned a visit to Persia to see everything for himself, wrote a lengthy parody of A Persian Song of Hafiz<\/em> in 1811, called Bar Maid<\/em>. In this parody, which was not published during his lifetime17<\/sup>, Byron skillfully retained the exact form of versification of Jones\u2019s translation:<\/p>\n

Hafez\/Jones<\/strong><\/p>\n

Sweet maid, if thou wouldst charm my sight, <\/em><\/p>\n

And bid these arms thy neck infold; <\/em><\/p>\n

That rosy cheek, that lily hand, <\/em><\/p>\n

Would give thy poet more delight <\/em><\/p>\n

Than all Bocara\u2019s vaunted gold, <\/em><\/p>\n

Than all the gems of Samarcand.<\/em><\/p>\n

Boy, let yon liquid ruby flow, <\/em><\/p>\n

And bid thy pensive heart be glad, <\/em><\/p>\n

Whate\u2019er the frowning zealots say: <\/em><\/p>\n

Tell them, their Eden cannot show <\/em><\/p>\n

A stream so clear as Rocnabad, <\/em><\/p>\n

A bow\u2019r so sweet as Mosell\u00e1y<\/em><\/p>\n

O! when these fair perfidious maids,<\/em><\/p>\n

Whose eyes our secret haunts infest,<\/em><\/p>\n

Their dear destructive charms display;<\/em><\/p>\n

Each glance my tender breast invades,<\/em><\/p>\n

And robs my wounded soul of rest,<\/em><\/p>\n

As Tartars seize their destin\u2019d prey.<\/em><\/p>\n

Byron\u2019s parody<\/strong><\/p>\n

Bar Maid, if for this shilling white,<\/p>\n

Thoud\u2019st let me love, nor scratch or scold,<\/p>\n

That ruddy cheek and ruddier hand<\/p>\n

Would give my Bardship more delight <\/em><\/p>\n

Than all the ale that e\u2019er was sold, <\/em><\/p>\n

Than even a pot of \u201cCyder-And\u201d<\/em><\/p>\n

Girl, let your stupid booby go <\/em><\/p>\n

And bid him bring a pint of Beer \u2013<\/em><\/p>\n

Whate\u2019er the droning Vicar swear <\/em><\/p>\n

Tell him, his Living cannot show<\/em><\/p>\n

A tap at once so strong and clear,<\/em><\/p>\n

A sofa like this Elbow chair.<\/em><\/p>\n

Oh! when these ogling Chambermaids <\/em><\/p>\n

Whose fingers fumble beds of down,<\/em><\/p>\n

Their dear expensive charms display,<\/em><\/p>\n

Each glance my dwindling cash invades<\/em><\/p>\n

And robs my purse of half a crown,<\/em><\/p>\n

As footpads on the Turnpike way.<\/em><\/p>\n

to be continued<\/em><\/strong><\/p>\n

________<\/p>\n

    \n
  1. \u201c\u06af\u0646\u062c\u06cc\u0646\u0647 \u0632\u0628\u0627\u0646 \u0647\u0627\u06cc \u0634\u0631\u0642\u06cc\u201d (\u0686\u0647\u0627\u0631 \u062c\u0644\u062f\u060c \u0633\u0627\u0644 \u0627\u0646\u062a\u0634\u0627\u0631:\u0661\u06f6\u0668\u06f0\u062f\u0631 \u0634\u0647\u0631 \u0648\u06cc\u0646).<\/li>\n
  2. The British academic Michael Axworthy (1962-2019) nicknamed Nader Shah Napoleon of Persia. <\/em>See: \u201cThe Sword of Persia: Nader Shah, from Tribal Warrior to Conquering Tyrant<\/em>\u201d. I. B. Tauris, London and New York, 2006, pp. 17-19.<\/li>\n
  3. One has to remember that Christian VII, King of Denmark from 1766 to 1808, was mentally ill and for most of his reign only nominally king. Therefore, there is a good case to believe that it was not the king, but his progressive-minded German doctor and \u201cde facto regent\u201d of Denmark, Count Friedrich Struensee (1737-1772), who requested Jones to translate the biography of Nader Shah.<\/li>\n
  4. Cannon Garland (Editor): \u201cThe Letters of Sir William Jones<\/em>,\u201d two Volumes, Oxford, 1970, Vol. 1, p. 5.<\/li>\n
  5. Lord Teignmouth: \u201cThe Works of Sir William Jones with the Life<\/em> of the Author<\/em> in Thirteen Volumes<\/em>,\u201d Vol. II, London, 1807, p. 146.<\/li>\n
  6. \u201cA Grammar of the Persian Language<\/em>,\u201d p. i<\/li>\n
  7. Robert Irwin: \u201cFor Lust of Knowing: The Orientalists and their Enemies<\/em>,\u201d Penguin Books, London, 2006, p. 122.<\/li>\n
  8. Kurt Andrew Johnson: \u201cSir William Jones and Representations of Hinduism in British Poetry, 1784-1812<\/em>,\u201d PhD University of York, Department of English and Related Literature 2010, p. 45.<\/li>\n
  9. Pietro Metastasio (1698-1782) was an Italian poet and dramatist.<\/li>\n
  10. \u201cA Grammar of the Persian language<\/em>,\u201d p. 137.<\/li>\n
  11. Samuel Robinson: \u201cPersian poetry for English readers<\/em>,\u201d MDCCCLXXXIII (1883), p. 393.<\/li>\n
  12. Louisa Stuart Costello: \u201cThe Rose Garden of Persia<\/em>,\u201d London, MDCCCLXXXVII (1887), p. ix.<\/li>\n
  13. Arthur John Arberry: \u201cPersian Jones<\/em>,\u201d Asiatic Review<\/em> 40, London, 1944, pp. 186-189.<\/li>\n
  14. Garland Hampton Cannon: \u201cThe Life and Mind of Oriental Jones. Sir William Jones, the father of modern linguistics<\/em>,\u201d Cambridge University Press, Cambridge, New York, 1990, p. 39.<\/li>\n
  15. Olive Classe: \u201cEncyclopaedia of Literary Translation into English: A-L<\/em>,\u201d Taylor & Francis, 2000, p. 600.<\/li>\n
  16. Thomas Wright: \u201cThe life of John Payne<\/em>,\u201d T. F. Unwin, London, 1919, p. 115.<\/li>\n
  17. Bar Maid<\/em> appeared for the first time in 1980 in the Oxford edition of \u201cByron\u2019s<\/em> Complete Poetical Works<\/em>,\u201d edited by Jerome McGann (Vol. I, p. 342.)<\/li>\n<\/ol>\n

     <\/p>\n","protected":false},"excerpt":{"rendered":"

    N. Kanani \u2014\u00a0 \u201cHafiz is most assuredly a poet worthy to sup with gods.\u201d \u2014 Sir William Jones William Jones, a British philologist, judge, orientalist and scholar of ancient India, was born on September 28, 1746 in London. His father, also named William Jones (1675-1749), was a famous mathematician from Wales and noted for introducing […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"categories":[43],"tags":[],"class_list":["post-106322","post","type-post","status-publish","format-standard","hentry","category-phart"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["fa","en"],"languages":{"fa":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/posts\/106322","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/comments?post=106322"}],"version-history":[{"count":2,"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/posts\/106322\/revisions"}],"predecessor-version":[{"id":106324,"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/posts\/106322\/revisions\/106324"}],"wp:attachment":[{"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/media?parent=106322"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/categories?post=106322"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/PERSIAN-HERITAGE.COM\/en\/wp-json\/wp\/v2\/tags?post=106322"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}