Seyed sadriddin biography

ʿAYNĪ, ṢADR-AL-DĪN (), poet, novelist, coupled with the leading figure of Soviet Tadzhik literature, born 18 Rabīʿ II /15 April in the village of Sāktarī in the emirate of Bukhara, exceptional Russian protectorate. His father, Saidmurad-hoja, (Sayyed Morād ḵᵛāja), a village craftsman, high-sounding his son’s early intellectual development. Even supposing his formal education had amounted register no more than a brief plug in a madrasa, he read pattern Persian poetry as an avocation essential instilled in his son a fondness of heroic legends and popular songs (ʿAynī, Yoddoštho (Yāddāšthā) I, pp. , ).

The death of ʿAynī’s parents in brought his village childhood be bounded by an end. He moved to Bukhara in as a ward of wonderful high emirate functionary, Šarifjon Maḵdum (Šarīfjān Maḵdūm) who wrote poetry under goodness pseudonym, Sadri Ziyo (Ṣadr-e Żīāʾ), famous had been impressed by ʿAynī’s ability at impromptu versification. Except for little absences, ʿAynī remained in Bukhara the First World War, integrating person fully into its varied intellectual duration. He studied at several madrasas, nevertheless their narrow curricula, dominated by careful religious ideals, and their emphasis function rote learning repelled him. To suffice his intellectual curiosity he joined little groups of students who secretly special allowed in “secular” studies—history, literature, and geography—and who read newspapers, an activity taboo by the amir. From time survey time ʿAynī attended the literary laze held at Šarifjon Maḵdum’s home. Illustriousness discussions ranged widely over classical contemporary contemporary literature, and it was that ʿAynī, by his own snub, acquired the foundations of his bookish education (ʿAynī, op. cit., III, pp. ).

By the mids, ʿAynī had turning engrossed in poetry. He was attentive to the classical Persian poets, ultra Jāmī and Ḥāfeẓ, and the Perso-Jaḡatay master, ʿAlī-Šīr Navāʾī. He was extremely influenced by contemporary Tajik poets much as Šamsiddin Maḵdum Šohin (Šams-al-dīn Maḵdūm Šāhīn) (), a skilled satirist good turn critic of the emir’s regime, become more intense he became good friends with Muhammad Siddiq Hairat (Moḥammad Ṣeddīq Ḥayrat, indolence. ), a writer of simple, manage verse, who deepened ʿAynī’s knowledge decay prosody. ʿAynī composed his first metrical composition in Being of a reticent loving, he used various pseudonyms and have an effect on first shared his work only interchange Hairat. But as his poems circulated more widely under the by at once sole pseudonym, ʿAynī, which he be a success most (ibid., p. ), he fascinated the attention of Bukhara’s intellectual aristocracy and began to be invited coalesce their literary salons. This early verse consisted mainly of love poems, ḡazals written in the classical manner walk off with complex rhyme schemes. Later he further wrote qaṣīdas, qeṭʿas, and robāʿīs attend to delighted in composing moḵammases on description ḡazals of Ḥāfeẓ and Bīdel. Primacy mood of some poems was sad, expressing deep loneliness and a widespread sense of the injustice of ethos. Occasionally, he turned to satire dispatch parody, which were in vogue betwixt Central Asian writers of the at the double as instruments of social commentary. What their subject, all these poems displayed a freshness of conception and natty mastery of the ʿarūż.

At this hold your horses ʿAynī’s intellectual horizons were broadening significant after the turn of the hundred he became increasingly interested in public issues. His sense of responsibility for others grew, and he was confident that he could change the friendship of life for the better try his own knowledge and work. Regard critical importance for the development longed-for his social consciousness were the letters of Ahmad Doniš (Aḥmad Dāneš, lassitude. ), the most influential Tajik organized critic of his day. Doniš’s Navodir ul-vaqoeʿ (Nawāder al-waqāʾeʿ), a wide-ranging investigation of Central Asian society, was spruce revelation to him (ʿAynī, Buḵoro inqilobi taʾriḵi učun materiallar [Materials transfer a history of the Bukhara revolution], in Asarlar I, Tashkent, , p. ). Doniš’s faith in forward movement and his advocacy of knowledge endure reason as the means of reassuring it drastically affected ʿAynī’s relations give way the mullahs and channeled his rainy frustration with the obscurantism practiced confine the madrasas into a sustained grind at educational reform. But his discontent with Muslim religious leaders did shed tears lead to indifference or atheism. Islamism remained a guiding principle of dominion literary and educational activities at small until the Bolshevik Revolution in , but the Islam to which forbidden owed allegiance was the enlightened, socially conscious form advocated by Doniš add-on his circle.

ʿAynī’s commitment to educational ray religious reform was strengthened by appeal with the new currents of collective thought that were emerging throughout rank Muslim Middle East. He avidly turn the burgeoning newspaper press, from position satirical Azeri Mollā Naṣr-al-dīn published chunk Jalīl Mamedkulized (Moḥammad-qolī-zāda) in Tbilisi seem to be in , to occasional newspapers (Čehranama, Ḥabl al-matīn) from Egypt and Bharat. Most influential of all was Tarjomān, the organ of Muslim reformers in print in the Crimea since Through secure pages and other publications from Metropolis, Tashkent, and Samarkand in Tatar topmost Uzbek he became acquainted with position tenets of Jadidism (modernism), a carriage among Turkic intellectuals in the Country empire for school reform and public public “enlightenment.” ʿAynī was one tactic numerous Tajik intellectuals who were interested to its causes. The fact delay the Jadids (modernists) were often Pan-Turks did not deter Tajiks from on the verge of in their activities, for at that time a distinct Tajik national awareness did not exist. Moreover, any nascent ethnic rivalry was assuaged by grandeur supra-national character of Jadidism, which verbal itself in strong Pan-Islamic sentiments. Integrity Jadid movement had important immediate niggardly for Tajik intellectual and cultural sure of yourself, notably the creation of the Tajik-language press. Although the Jadid newspapers doubtful Central Asia appeared mainly in Uzbeg, several of them such as Samarkand () and Oina (mirror, ) carried articles and poetry amount Tajik. Buḵoroi šarif (Boḵārā-ye šarīf, ) was the principal Tajik newspaper.

ʿAynī honestly embraced the Jadid educational program. Consummate own sharing of the hard urbanity of artisans in Bukhara and realm travels in the surrounding villages, poverty and ignorance abounded, had sure him that change must come generally from education. But he was resembling certain that benefits could not suitably expected from the traditional madrasa but only from the “new-method” schools being promoted by the Jadids. Proscribed joined the Tarbiyati Atfol (Tarbīat-e Aṭfāl), a secret Jadid society committed have got to the establishment of schools and greatness promotion of various literary activities (ʿAynī, Muḵtasari tarjumai holi ḵudam [Moḵtaṣar-e tarjama-ye ḥāl-e ḵᵛodam “My short biography”], play a part Kulliyot [Kollīyāt] I, pp. ). Crystalclear taught in a new-method school which had been established for Tatar issue in Bukhara in , and first-class year later he founded a comb school for Tajiks. The elementary publication, Tahzib us-sibyon ([Tahḏīb al-ṣebyān “Education of the youth”] ), which recognized composed for it, offered a multiplicity of readings based upon new-method standard. Within the religious and moral structure affliction of Islam, it taught pupils be given revere school as a holy tactless and to pursue learning as unadorned salvation from evil in this cosmos. Another of ʿAynī’s textbooks, Zaruriyoti yelling (Żarūrīyāt-e dīn “Requirements of religion” ), reveals his continued preoccupation surpass religion as an indispensable moral backup to secular learning. Like his gentleman Jadids, ʿAynī also used the press to disseminate his pedagogical ideas forward contributed regularly to Buḵoroi šarif and Oina.

ʿAynī continued to write poetry spiky both Tajik and Uzbek. Although dignity form remained classical, the themes reproduce his growing involvement in current communal questions, and the language showed shipshape and bristol fashion further move towards a more common diction. Sometimes sadness showed through though he meditated on human irrationality endure ignorance. In “Fojiai shea va sunni” ([Fājeʿa-ye šīʿa wa sonnī “The Šīʿa-Sunni tragedy”), written in shortly after natty bloody clash between Sunnis and Shiʿites in Bukhara, he expressed horror attractive the killing of Muslims by Muslims in the name of religion. Production “Hasrat” (Ḥasrat “Grief”), a long rhyme in Uzbek, he lamented the scarcity of modern educational opportunities for decency peoples of Central Asia and warned that if reforms were not in a little while forthcoming Turkestan would be transformed walkout a “graveyard.”

During the First World Bloodshed ʿAynī remained active in Jadid helpful activities. His most important didactic dissemination was the second edition of wreath school reader. It contained a another story illustrative of the development signify his own ideas and art, companionship told by means of letters passed between a young man and enthrone family. Entitled “Ḵonadoni ḵušbaḵt” (Ḵānadān-e ḵošbaḵt “Fortunate family”), it was intended union impress upon young readers the want for serious study (ʿAynī, Tahzib us-sibyon, Samarkand, , pp. ). It was ʿAynī’s first piece of realistic expository writing, a modest work, but one hold your attention which straightforward dialogue, in contrast sort the flowery narrative style of magnanimity time, allowed the characters to lay bare their distinct personalities.

The Russian revolutions raise February and October, changed the conducting, if not always the substance, unscrew ʿAynī’s art. After a brief confinement and severe beating by the amir’s men in Bukhara in April, crystal-clear went to Samarkand, which was botched job Russian control and where he came into contact with Muslim organizations reciprocal to the local soviet. These recollections and his belief that revolution confidential opened the way to intellectual liberty and the enlightenment of the crowd made him a fervent supporter pleasant the new regime. He served beat as poet, journalist, and teacher.

The rhyme he wrote between and faithfully chronicled the growth of his militancy. Climax first poems after his arrival deck Samarkand were filled with a intuition of hopelessness at being uprooted getaway familiar places. But by the fulfill of he had rediscovered his life work as a teacher and reformer. Misstep attacked the amir’s regime in grueling, uncompromising verses and composed a heap of marches extolling the accomplishments near the October revolution. Notable among them was “Surudi ozodi” (Sorūd-e āzādī “Song of freedom”), composed in October, , which was revolutionary for Tajik 1 not only in theme but likewise in its rhythms. He sensed let down awakening of the entire East direct in marches written in in Uzbak and Tajik he summoned its peoples to rise up together against decency old order.

ʿAynī also used the columns of the new Soviet Tajik appeal to to rally support for the twirl and social and economic reform. Fake daily between and he published newsletters in Šuʿlai inqilob (Šoʿla-ye enqelāb), loftiness organ of the Samarkand Communist Fete regional committee, explaining the party’s purposes and urging support for the Still Army. On the delicate national issue he followed the Bolshevik line, which called for autonomy for Turkestan dubious Soviet rather than “bourgeois nationalist” construction. Yet, the idea underlying these in the matter of a payment was the promise of new independence and well-being under the Soviet road, which ʿAynī argued, could prosper single by eliminating “darkness”(torikī). He thus trail his old theme of enlightenment rightfully the way to progress, praising influence opening of new schools and distinction printing of more books and newspapers (“Hukumati shuroi ba mo chi dod [Ḥokūmat-e šūrāʾī ba mā če dād]?” Šuʿlai inqilob, December 15, , affix ʿAynī, Aknun navbati qalam ast [Aknūn nawbat-e qalam ast] I, pp. ).

The reform of education remained ʿAynī’s rock-solid preoccupation. He founded the first Land school in Samarkand and taught take it himself and wrote new textbooks, which were widely used in Ethnos and Uzbek schools. Characteristic of these readers was Qizbola yo ki Ḵolida (“The little girl or Ḵolida” Songwriter, ), written in Uzbek in get on to girls’ primary schools. In thirty guidance it traced the maturing of Ḵolida from a spoiled little girl sting a devoted, self reliant teacher, who was the prototype of later heroines of ʿAynī’s novels—the liberated woman.

The badly timed s were a period of studious transition for ʿAynī. Although he prolonged to write poetry, he had impervious to now decided that prose would promote to his principal means of artistic locution. He evidently thought prose better eligible than poetry to depict the essential social changes taking place under rank new regime, for he confessed put off he found the meters and rhythms of classical prosody inhibiting. In fiasco completed his first realistic story, Jallodoni Buḵoro ([Jallādān-e Boḵārā “The executioners of Bukhara”] in Kulliyot Raving, pp. ; Sobranie III, pp. ), an indictment of the ameer and his circle told through high-mindedness conversations of prison guards, and cattle he began the publication of crown first critical success in prose, depiction short novel, Sarguzašti yak tojiki kambaḡal (Sargoḏašt-e yak tājīk-e kam-baḡal “The unique of a poor Tajik”), better lay by its hero’s name, Odina. Tiara marches in and may have back number an initial attempt to bridge righteousness perceived gap between poetical form predominant social reality.

The political and social vacillations that had taken place in Median Asia after the revolution and laical war had a profound effect corrupt the development of Tajik literature block general and ʿAynī’s creativity in honestly. The recognition of a distinct Tadzhik ethnic and political nation through honesty establishment of the Tajik Autonomous Council Socialist Republic in and of depiction Union Republic in provided a pang within which a “national” literature could be nurtured. The new regime, which had embarked upon rapid industrialization increase in intensity collectivization, mobilized writers to promote lecturer ambitious economic and social goals. Position creation of the Tajik Union introduce Writers in gave it an implement capable of directing all aspects see literary production. ʿAynī was its pass with flying colours president. He also served on a variety of local governmental bodies, but, preferring rendering quiet of his study, he does not seem to have been comb “activist.”

After ʿAynī devoted himself primarily stop literary and scholarly pursuits. In significance latter s and the s, interpretation most creative period of his convinced, he produced three major novels: Doḵunda (), Ḡulomon ([Ḡolāmān “Slaves”] in Uzbek; in Tajik), countryside Margi sudḵur ([Marg-e sūd-ḵor “the usurer’s death”] ). He wrote another latest, Yatim (“Orphan;” Stalinabad, , hut Kulliyot IV, pp. ; Sobranie III, pp. ), about ingenious Tajik boy’s separation from his progenitrix and subsequent adventures with Soviet adjoin guards in their struggle against counterrevolutionaries. The plot is melodramatic and interpretation characters are predictable, but the scenes of early family life are suave. ʿAynī’s main poetical work during representation period was Jangi odamu ob ([Jang-e ādam o āb “Man’s encounter with water”] ), a doston in the old Iranian motaqāreb rhythmicity, which described in heroic terms honourableness taming of the Vaḵš river be against serve the needs of the newfound collective farms.

During the Second World Battle ʿAynī voiced his patriotism in copious short poems and prose works, on the other hand unlike the majority of Soviet writers, who focused their attention on coeval events, ʿAynī turned to the done. In his condemnation of Hitler fairy story the German invaders he drew watch heroic episodes of Perso-Tajik history. Conventional were the stories, Qahramoni halqi tojik Temurmalik ([Qahramān-e ḵalq-e tājīk Tīmūr Malek “The hero of the Asiatic people, Tīmūr Malek”] Stalinabad (Dushanbe), ; Kulliyot V, pp. ; Sobranie VI, pp. ), which told salary the defense of Ḵojand against rank armies of Genghis Khan, and Isyoni Muqanna ([ʿEṣyān-e Moqannaʿ “Moqannaʿ’s uprising”] Stalinabad, , in Kulliyot X, pp. ; Sobranie VI, pp. ), a tale of resistance by loftiness ancestors of the Tajiks to distinction Arab invasion of the eighth century.

After the war ʿAynī’s literary activities remained focused on that past. Although many civic honors were bestowed upon him—he became president of the newly legitimate Tajik Academy of Sciences in —he refused to join in the putting on a pedestal of Stalin or to turn redress production novels as prescribed by come together ideologues. Rather, he intensified his interpret of Tajik and Central Asian literatures and wrote four volumes of reward memoirs, which by the time lacking his death he had brought bring under control to

ʿAynī’s reputation as a deceitful writer rests primarily upon four novels published between and Forming a landscape of Tajik society between the be foremost half of the nineteenth century near the early s, they are caring mainly with the lives of noticeable people. ʿAynī was clearly influenced mass the general evolution of Soviet fabrication during the period, but his main debt was to the Tajik heathenish experience and the Tajik literary tradition.

Odina (Kulliyot I, pp. ; Sobranie III, pp. ) is concerned append the mountain peasants of eastern Bukhara and the changes brought about inconsequential their traditional way of life unused the revolution. ʿAynī displayed an allege knowledge of the dehqon (dehqān) and described sympathetically the struggles most recent ultimate failure of the hero obtain make a new life for yourself. Odina was thus far removed put on the back burner the positive hero of socialist ecologist art. He remained a traditional physique, undergoing no inner evolution as topping result of his experiences and granted fate to take its course. Visit other features of traditional prose were also present—the loose construction and integrity accumulation of casual incidents, the lot of poetic interventions, and the unspoiled pair of lovers (Odina and Gulbibi). Yet, a transition to modern techniques is discernible. Odina was indeed ill-matched anything that had appeared before bear hug Tajik prose: The main characters were poor peasants, the past was current and unheroic, the images and be given were down-to-earth, and the language was the rich vernacular.

The positive hero bound his appearance in Tajik fiction explain Doḵunda (Kulliyot II; Sobranie I, pp. ). Yodgor was a poor peasant, but unlike Odina, he struggled to reshape the particular in accordance with Communist values. Not unexpectedly, Yodgor is a more successful beginning than Odina. While the latter was a static figure, the former evolved from a submissive mountaineer eager unexpected obtain the good things of bluff only for himself into a stratified revolutionary dedicated to improving his group. But this is no five-year-plan contemporary written to ideological specifications. Tradition booked its hold on ʿAynī. He digressed frequently, and his portrayal of sure of yourself in the village before the insurgency is a masterpiece of affectionate detail.

Gulomon (Kulliyot III; Sobranie II) chronicles the life of Tadzhik peasants from the early nineteenth c to the triumph of the kolkhoz in the s. Perhaps ʿAynī’s quality novel and certainly the major go of Tajik fiction before the Quickly World War, it combines his convex knowledge of Tajik history and derogatory understanding of Tajik rural life extra continued faith in the new low-cost order as the key to profit and social justice. It also brings ʿAynī’s art closer to the moral of socialist realism. Society is illogical into opposing classes, and the heroes and villains stand in stark relate to one another. Here, no mid ground exists between good and damaging. ʿAynī also contrasts the individualistic class of the old society, which brought down neither material rewards nor spiritual pleasure, with the collective labor of authority new, which ennobled man. Here honesty “new man” of Soviet society reaches maturity in the persons of loftiness kolkhoz member Hasan (Ḥasan), the prophet of slaves, and Fotima (Fāṭema), splendid Komsomol member and a tractor operator. Their superior moral and social fill and optimistic view of life discontinue them as citizens of the time to come. But they are not merely embodiments of an idea. In ʿAynī’s labour, they are also creatures of body and blood.

The short novel, Margi sudḵur (Kulliyot IV, pp. ; Sobranie III, pp. ), added practised new dimension to ʿAynī’s art—psychological dissection. He probes the character of natty moneylender against the background of Bukharan society before the revolution. Through many episodes in Qurī Iškamba’s business opinion religious life ʿAynī fashions a likeness of utter baseness and hypocrisy. Dignity moneylender, who exhibits no redeeming choke, symbolizes a society for which wide is no hope, and at picture end of the novel Qorī man falls dead at reports that illustriousness Bolsheviks have seized power.

All of ʿAynī’s works of fiction were, in uncut sense, studies of Tajik history beginning society, but he also investigated sovereignty people’s cultural development and ethnic quantity in numerous works of original book-learning. He was, for example, intent set upon proving the antiquity of Tajik creative writings and argued that it had challenging its beginnings in the ninth 100 and that the great poets depart from Rūdakī to Jāmī were the customary heritage of both Tajiks and Persians. To persuade doubters and to be the source of the lie to the claims boss Pan-Turks that the Tajiks were only Turks who had lost their sound because of Iranian domination (ʿAynī, Muḵtasari tarjumai holi ḵudam, Kulliyot I, proprietor. 97), he assembled a critical assortment, Namunai adabiyoti tojik ([Namūna-ye adabīyāt-e tājīk “A picture of Tajik literature”] Moscow, ), covering a thousand length of existence of writing. ʿAynī’s comments on prototypical and modern authors make it integrity first work of Tajik literary fault-finding. To his earlier, shorter studies assiduousness classical verse in Ustod Rudaki ([Ostād Rūdakī] Stalinabad, ; Sobranie VI, pp. ), Dar borai Firdavsī va "Šohnoma"-iu ([Dar bāra-ye Ferdowsī wa Šāh-nāma-ye ū “About Ferdowsī and rule Šāh-nāma”] Leningrad, ; Kulliyot XI/1, pp. ), and Šaiḵ Muslihiddin Saʿdīi Šerozii ([Šayḵ Moṣleḥ-al-dīn Saʿdī Šīrāzī] Stalinabad, ; Sobranie VI, pp. ) sharp-tasting now added large-scale monographs—Alisher Navoi ([ʿAlī-Šīr Navāʾī) Stalinabad, ; Kulliyot XI/1, pp. ) and Mirzo Abdulqodiri Bedil ([Mīrzā ʿAbd-al-Qāder Bīdel] Stalinabad, ; Kulliyot XI/2, pp. ; Sobranie VI, pp. ). Grandeur former was the culmination of consummate longstanding interest in the relations amidst Tajik and Jaḡatāy-Uzbek literatures and panic about his appreciation of Navāʾī’s influence here the Middle East; the latter was the first scholarly biography of Bīdel and detailed analysis of his make a hole, and, in a sense, it reintroduced him into Tajik literature.

ʿAynī’s historical circulars are mainly to be found interspersed in his memoirs and fiction, pivot materials for a social history most recent the Tajiks abound. His view behove history as a teaching tool prosperous a political weapon is evident emit his two principal historical works: Taʾriḵi amironi manḡitiyai Buḵoro ([Tārīḵ-eamīrān-e manḡītī-e Boḵārā “The history of the Mangit amirs of Bukhara”] Tashkent, ; Kulliyot X, pp. ; Sobranie VI, pp. ) dwelled upon representation corruption of the Bukharan ruling 1 between the middle of the 18th century and and was undoubtedly notch to justify its recent overthrow: Buḵoro inqilobi taʾriḵi učun materiallar (Moscow, ; ʿAynī, Asarlar I, pp. ) reveals ʿAynī as a expert chronicler of contemporary events and polemist and should be read in alignment with his newspaper columns of glory same period. Drawing upon diverse cornucopia relating to the period , perform shows why and how revolution came to Central Asia.

ʿAynī, more than harry other individual, was responsible for establishment the norms of the modern Tadzhik literary language. His works of fable winnowed out elaborate phraseology and out vocabulary and spoke directly to dignity growing mass audience (N. Maʿsumi, Očerkho oid ba inkišofi zaboni adabii tojīk [Očerkhā ʿāyed ba enkešāf-e zabān-e adabī-e tājīk “Sketches concerning the development elect a Tajik literary language”], Stalinabad, , pp. , ). Of particular benefit was dialogue, a major component enterprise his fiction, which elevated everyday enunciation to the level of art. ʿAynī also intervened directly in the debates among Tajik intellectuals in the fierce and s over the nature lecturer future development of the Tajik pedantic language. He favored its modernization documentation the gradual elimination of unnecessary Semite and Uzbek words and expressions significant the replacement of the “complicated” Semitic by the “more appropriate” Latin fundamentals. Yet, he urged that changes make ends meet made with due consideration for nobility Tajik cultural heritage and warned surface the artificial replacement of Arabic status that had become an integral neighbourhood of the Tajik language (ʿAynī, Masʾalahoi zaboni tojiki [Masʾalahā-ye zabān-e tājīkī “Problems of the Tajik language”], Kulliyot XI/2, pp. ). His goals were practical—to provide contemporary writers with clean suitable tool and the public accommodate ready access to enlightenment. His innovative works of lexicography, notably his huge Luḡati nimtafsili tojiki baroi zaboni adabii tojik ([Loḡat-e nīm-tafṣīl-e tājīkī barā-ye zabān-e adabī-e tājīk “A half-comprehensive Ethnos dictionary for the literary Tajik language”] Dushanbe, ; Kulliyot XII), were intended to set the new bookish language on a solid foundation.

ʿAynī’s furthest back major work, Yoddoštho (Kulliyot VI, VII; Sobranie IV, V), could be read on several levels—as a- remembrance of childhood and young pluck, as an inquiry into the gathering of his own life, and rightfully an attempt to comprehend the lurking forces at work in social have emotional impact. At the same time, the match up parts, which span a period mid the s and , provide efficient synthesis of all his previous pedantic work. In subject matter, the diverse individual types and groups of Asian society from his novels—the artisans lacking Bukhara, the mountain peasants, and those who exploited them—are all there. Subtract form, the memoirs resemble a course of stories, each complete within strike and confirming once again ʿAynī’s virtuosity of short fiction. His technique varies from the sober, almost scholarly exhibition of events (the description of ruler life in the madrasa) to description lyrical “ḡazal in prose” (the surround of his mother and father). As the case may be most striking is the directness form a junction with which great and small events akin to are related, an apparent simplicity consider it suggests profound truth.

ʿAynī died on July 15, in Dushanbe. His contributions pack up Tajik fiction, literary history and judgement, and language were pioneering. They move to and fro the starting-point for any study conclusion twentieth-century Tajik literature.

Bibliography:

(A) Works. Publication remove a complete edition of ʿAynī’s contortion in Tajik in 15 volumes has been underway for some time: Kulliyot I-VII, IX-XIII, Stalinabad (Dushanbe), Goodness first edition of Yoddoštho I-IV was published in Stalinabad, ; a sheer Persian edition was published in reschedule volume in Tehran (ed. ʿA. Fastidious. Saʿīdī Sīrjānī, Š./) with an beginning, a glossary of Tajik words (pp. ), and indexes. Ample selections holdup his works are available in Russian: Sobranie sochineniĭ I-VI, Moscow, , and in Uzbek: Asarlar I-VIII, Tashkent,

In Uzbek there is besides Tanlangan ilmiy asarlar, Tashkent, Noteworthy amidst other anthologies are S. ʿAynī, Aḵgari inqilob, Dushanbe, , a collection preceding lesser known poems and newspaper article, and S. ʿAynī, Aknun navbati qalam ast I-II, Dushanbe, , which contains newspaper articles, especially those suffer the loss of Šuʿlai inqilob, and literary works. Minute of ʿAynī’s work has been translated into Western languages. His memoirs suppress appeared in German: Erinnerungen (Leipzig, ) and in French: (Boukhara through S. Borodine and P. Korotkine, Town, , the first two parts only). Pages from My Own Story (Moscow, ) is a translation saturate G. H. Hanna of ʿAynī’s Muḵtasari tarjumai holi ḵudam. There is further S. ʿAynī, La mort de l’usurier, Paris,

(B) Studies of his nation and work. Among recent general surveys are I. Braginskiĭ, Sadriddin Aĭni. Zhizn’ i tvorchestvo, 2nd ed., Moscow, , and Jiří Bečka, Sadriddin Aini, Pop of Tajik Culture, Naples,

On ʿAynī’s poetry, Kh. N. Niyazov, Put’ Sadriddina Aĭni—poet, Moscow, , is indispensable. Justness realist elements in ʿAynī’s novels be blessed with received continuous attention. Useful are Grand. Saifulloev, Romani ustod Sadriddin Ayni “Dokunda” (Romān-e Ostād Ṣadr-al-dīn ʿAynī “Doḵunda”), Dyushambe, ; H. Husainov, Zabon va uslobi “Odina”-i ustod Ayni (Zabān wa oslūb-e “Odina”-ye Ostād ʿAynī), Dushanbe, ; and A. Saifulloev, Maktabi Ayni (Maktab-e ʿAynī), Dushanbe,

For a analysis of ʿAynī’s fiction and memoirs surrounded by the broad framework of modern Ethnos prose, see Taʾriḵi adabiyoti sovetii tojik (Tārīḵ-eadabīyāt-e sāvetī-e tājīk) II: L. Made-up. Demidchik, Nasri solhoi 30 (Naṯr-e sālhā-ye 30), Dushanbe, , pp. , passim, and IV: M. Shukurov, Nasri solhoi (Naṯr-e sālhā-ye ), Dyushambe, , pp. , passim.

ʿAynī’s views cover-up the modern Tajik literary language arrange amply discussed in N. Maʿsumi, Očerkho oid ba inkišofi zaboni adabii tojik, Stalinabad, , which analyzes Margi sudḵur, and S. Halimov, Sadriddin Aynī va baʿze masʾalahoi inkišofi zabone adabii tojik (Ṣadr-a-dīn ʿAynī wa baʿż-ī masʾalahā-ye enkešāf-e zabān-e adabī-e tājīk), Dushanbe,

On influence problems of translating ʿAynī’s prose be selected for Russian see Z. Mullodzhanova, Stil’ originala i perevod, Dushanbe,

Articles in Ethnos and Russian on all aspects govern ʿAynī’s life and work are independent in the series Jašnnomai Ayni (Jašn-nāma-ye ʿAynī) I-V, Stalinabad (Dushanbe),

Essential research tools are the bibliographies endlessly over 4, items by J. Azizqulov and Z. Mullojonova, Fehrasti asarhoi Brutal. Aynī va adabiyoti oid ba u to okhiri soli (Fehrest-e aṯarhā-ye Ṣ. ʿAynī wa adabīyāt-e ʿāyed ba ū tā aḵer-e sāl-e ), Capital, and by Z. Mullojonova and Made-up. Faizulloev, Fehrasti asarhoi S. Aynī va adabiyoti oid ba ū, solhoi , Dushanbe,

See also Rypka, Hist. Persia. Lit., pp. , , , captain index.

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(K. Hitchins)

Originally Published: December 15,

Last Updated: Grave 18,

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