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Verses in the “Gīlī” (Gilaki) dialect of the poet Badr Shirvani (15th c.), by Arthur Ambartsumian. // The Second International Conference of Iranian Languages and Dialects, Past and Present (5-6 January 2015). The Centre for the Great Islamic Encyclopaedia. Collection of Abstracts, Tehran, 2014 (2015), pp. 144-145.
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Verses in the “Gīlī” (Gilaki) dialect of the poet Badr Shirvani (15th c.)
Verses in the “Gīlī” (Gilaki) dialect of the poet Badr Shirvani (15th c.), by Arthur Ambartsumian. // The Second International Conference of Iranian Languages and Dialects, Past and Present (5-6 January 2015). The Centre for the Great Islamic Encyclopaedia. Collection of Abstracts, Tehran, 2014 (2015), pp. 144-145.
Verses in the “Gīlī” (Gilaki) dialect of the poet Badr Shirvani (15th c.), by Arthur Ambartsumian. // The Second International Conference of Iranian Languages and Dialects, Past and Present (5-6 January 2015). The Centre for the Great Islamic Encyclopaedia. Collection of Abstracts, Tehran, 2014 (2015), pp. 144-145.
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Verses in the “Gili” (Gilaki) dialect of the poet Badr
Shirvani (15 ¢.)
Arthur Ambartsumian!
The paper deals with some verses, written in one of the Caspian
Seacoast North-West Iranian dialects, from the Persian Divan of the
Poet Badr Shirvani. Badr Shirvani being born in Shemakha
(Shamakhi), is known as a Persian poet of Shirvan of the 15" century.
He was the second famous poet of Shirvan after Khagani Shirvani
(1121-1190). According to Dawkatshah, he was an eloquent poet and a
seeker of originality. He heki poetry contests with another poet
Muhammad Katibi and had many admirers in Samargand. The only
manuscript of his work - Divan-T Badr-T ShEvant — is kept in the
Library of the Institute of Oriental Studies of the Academy of
Sciences of Uzbekistan, in Tashkent (the text was published by A.
Rahimoy in Moscow, 1985). Little is known about his life.
Presumably he was born around 1387, was a panegyric poet at the
several courts of the Shirvan rulers. It is evident from his verses that
he had some interest to the Western Persian epic tradition, placing the
hero Isfandyar higher than Rustam, During his life he stayed a certain
time in the Caspian coastal cities and regions like Gilan, Mazandaran,
Lahijan, Baku, and Derbent, where he could have karnt some local
tranian dialects. Throughout his Divan he gives many appellations to
the coastal language or dialects that he knows: the gill language (4.5),
the kinguage of the seacoast — zaban-Tkinar-iab (i us 43), the gilt
diakect (45 4), and the village language — zaban-i riistayi ( 5;
«et-s,). He wrote two ghazals in “the Lnguage of the seacoast”
(ghazal 1 — hazaj, and ghazal 2 - ramal) and several lines in a
mulamma‘ (q.1) verse (written in three languages: Persian, Turkic,
and a Caspian coastal Iranian dialect). The language of these verses
has not been investigated, since the text of the Divan was published,
In this paper we will give its preliminary analysis in comparson with
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int Petersburg State University, Faculty of Asian and A frican Studies, Iranian
Dept
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the preserved modern costal languages and diakcts. The verses of
Badr Shirvani, being strongly influenced by Persian, represent a
simplified Gilaki and differ from the Taleshi dialects in grammar,
while there is a slight difference in phonology with Gilaki (2: instead
of z— preposition azas az, and Z instead of §— enclitic pronoun -o8 as
-22), which makes the dialect closer to Northern Taleshi by this
archaic feature. One of the discussed problems is a possible
occurrence of the present verb stem kar- in aorist instead of kun- of
the verb “to do”)
bar,y+A Revision of the Etymology of the New Persian
Dariush Borbor!
This investigation is a complete re-assessment of various long lasting
misinterpretations of the diachrony, etymology and gloss of the
lexeme bar some of which appear to have evaded attention: It will
present evidence that the etymological association of the lexeme bor
with the colour of the rodent beaver has been totally speculative.
There is no evidence that in Pahlavi bdr was ever used to denote any
shade of “rose”, “red”, “brown”, “red-brown”, “russet” or “bay horse”
as stated by generation to generation of eminent scholars. It will be
shown that the colour label bar is derived from *baura- and not from
*bawra- ot *barwa-. It will be demonstrated that the etymology of br
as a brand of horse is from an association with Indo-European *b"erH,
*bhar, Iranian *barH, “(to) move quickly: (to) be excited, etc.” — all
conclusions are based on detailed textual studies of the word,
clarifying that the original connotation of the word bar when applied
to a horse was indicative of a specific brand, and was not a simple
synonym to asp/asb as taken for granted by generations of
lexicographers, etymologists and scholars — thus asp/ash was applied
as common noun whik bor was used as proper noun. It will also be
pointed out that the appropriate and authentic glosses of the lexeme
| Director, Research Institute and Library of Iranian Studies (RILIS)
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The Collection of Fairytales The Thousand and One Days As A Valuable Source of Cultural Influences of Iran and Neighboring Countries, Arthur Ambartsumian. Abstract
The Story of Zariadres and Odatis in Chares of Mytilene (Athenaeus 575), Its Iranian Origin and Influence On The Creation of Folklore Motives in Western and Oriental Literature