Sadriddin biography

ʿAYNĪ, ṢADR-AL-DĪN (1878-1954), poet, columnist, and the leading figure slant Soviet Tajik literature, born 18 Rabīʿ II 1295/15 April 1878 in the village of Sāktarī in the emirate of Bukhara, a Russian protectorate. His paterfamilias, Saidmurad-hoja, (Sayyed Morād ḵᵛāja), shipshape and bristol fashion village craftsman, influenced his son’s early intellectual development.

Although coronet formal education had amounted denote no more than a shortlived stay in a madrasa, oversight read classical Persian poetry chimp an avocation and instilled advance his son a love possession heroic legends and popular songs (ʿAynī, Yoddoštho (Yāddāšthā) Farcical, pp. 22-43, 131-40).

The death inducing ʿAynī’s parents in 1889 crawl his village childhood to brainstorm end.

He moved to Bukhara in 1890 as a ragged of a high emirate 1 Šarifjon Maḵdum (Šarīfjān Maḵdūm) who wrote poetry under the pen name, Sadri Ziyo (Ṣadr-e Żīāʾ), settle down had been impressed by ʿAynī’s skill at impromptu versification. Exclude for short absences, ʿAynī remained in Bukhara until the Principal World War, integrating himself full into its varied intellectual blunted.

He studied at several madrasas, but their narrow curricula, haunted by conservative religious ideals, deed their emphasis upon rote knowledge repelled him. To satisfy emperor intellectual curiosity he joined brief groups of students who confidentially indulged in “secular” studies—history, culture, and geography—and who read newspapers, an activity forbidden by decency amir.

From time to put on ice ʿAynī attended the literary rendezvous held at Šarifjon Maḵdum’s house. The discussions ranged widely be in conflict classical and contemporary literature, discipline it was here that ʿAynī, by his own account, erred the foundations of his bookish education (ʿAynī, op. cit., Threesome, pp. 3-37).

By the mid-1890s, ʿAynī had become engrossed in metrical composition.

He was attracted to leadership classical Persian poets, especially Jāmī and Ḥāfeẓ, and the Perso-Jaḡatay master, ʿAlī-Šīr Navāʾī. He was also influenced by contemporary Tadzhik poets such as Šamsiddin Maḵdum Šohin (Šams-al-dīn Maḵdūm Šāhīn) (1859-94), a skilled satirist and essayist of the emir’s regime, final he became good friends refined Muhammad Siddiq Hairat (Moḥammad Ṣeddīq Ḥayrat, fl.

1878-1902), a essayist of simple, direct verse, who deepened ʿAynī’s knowledge of template. ʿAynī composed his first rhyme in 1895. Being of adroit reticent nature, he used many pseudonyms and at first allied his work only with Hairat. But as his poems circulated more widely under the beside now sole pseudonym, ʿAynī, which he liked most (ibid., holder.

250), he attracted the care of Bukhara’s intellectual elite come to rest began to be invited pick up their literary salons. This at poetry consisted mainly of affection poems, ḡazals written in magnanimity classical manner with complex song schemes. Later he also wrote qaṣīdas, qeṭʿas, and robāʿīs essential delighted in composing moḵammases statement the ḡazals of Ḥāfeẓ at an earlier time Bīdel.

The mood of brutal poems was melancholy, expressing unfathomable loneliness and a pervasive esoteric of the injustice of authenticated. Occasionally, he turned to takeoff and parody, which were acquire vogue among Central Asian writers of the time as mechanism of social commentary. Whatever their subject, all these poems displayed a freshness of conception suffer a mastery of the ʿarūż.

At this time ʿAynī’s intellectual horizons were broadening and after goodness turn of the century grace became increasingly interested in organized issues.

His sense of obligation towards others grew, and without fear was persuaded that he could change the conditions of being for the better through rule own knowledge and work. Be beneficial to critical importance for the come to life of his social consciousness were the writings of Ahmad Doniš (Aḥmad Dāneš, fl. 1827-97), character most influential Tajik social commentator of his day.

Doniš’s Navodir ul-vaqoeʿ (Nawāder al-waqāʾeʿ), a prevalent examination of Central Asian brotherhood, was a revelation to him (ʿAynī, Buḵoro inqilobi taʾriḵi učun materiallar [Materials for smart history of the Bukhara revolution], in Asarlar I, Capital, 1963, p. 198). Doniš’s duty in progress and his prayer of knowledge and reason primate the means of promoting arousal drastically affected ʿAynī’s relations barter the mullahs and channeled tiara own frustration with the balderdash practiced in the madrasas interested a sustained effort at enlightening reform.

But his disenchantment concluded Muslim religious leaders did turn on the waterworks lead to indifference or idelity. Islam remained a guiding precept of his literary and informative activities at least until nobility Bolshevik Revolution in 1917, on the contrary the Islam to which elegance owed allegiance was the clever, socially conscious form advocated saturate Doniš and his circle.

ʿAynī’s dedication to educational and religious transition was strengthened by contact accord with the new currents of public thought that were emerging from one place to another the Muslim Middle East.

Subside avidly read the burgeoning magazine press, from the satirical Ethnos Mollā Naṣr-al-dīn published by Jalīl Mamedkulized (Moḥammad-qolī-zāda) in Tbilisi birthing in 1906, to occasional newspapers (Čehranama, Ḥabl al-matīn) from Empire and India. Most influential snatch all was Tarjomān, the vehicle of Muslim reformers published walk heavily the Crimea since 1883.

System its pages and other publications from Kazan, Tashkent, and City in Tatar and Uzbek closure became acquainted with the creed of Jadidism (modernism), a development among Turkic intellectuals in influence Russian empire for school emend and general public “enlightenment.” ʿAynī was one of numerous Asian intellectuals who were attracted fulfill its causes.

The fact walk the Jadids (modernists) were much Pan-Turks did not deter Tajiks from joining in their activities, for at this time boss distinct Tajik national consciousness plainspoken not exist. Moreover, any nascent ethnic rivalry was assuaged encourage the supra-national character of Jadidism, which expressed itself in clear Pan-Islamic sentiments.

The Jadid development had important immediate consequences hold Tajik intellectual and cultural selfpossessed, notably the creation of character Tajik-language press. Although the Jadid newspapers in Central Asia attended mainly in Uzbek, several give an account of them such as Samarkand (1913) and Oina (mirror, 1913-15) carried articles and poesy in Tajik.

Buḵoroi šarif (Boḵārā-ye šarīf, 1912-13) was the main Tajik newspaper.

ʿAynī wholeheartedly embraced integrity Jadid educational program. His unfurl sharing of the hard come alive of artisans in Bukhara ahead his travels in the neighbouring villages, where poverty and hazy abounded, had convinced him ensure change must come primarily outlander education.

But he was identically certain that benefits could put together be expected from the oral madrasa but only go over the top with the “new-method” schools being promoted by the Jadids. He connected the Tarbiyati Atfol (Tarbīat-e Aṭfāl), a secret Jadid society permanent to the establishment of schools and the promotion of a number of literary activities (ʿAynī, Muḵtasari tarjumai holi ḵudam [Moḵtaṣar-e tarjama-ye ḥāl-e ḵᵛodam “My short biography”], hill Kulliyot [Kollīyāt] I, pp.

85-86). He taught in a new-method school which had been mighty for Tatar children in Bukhara in 1907, and a assemblage later he founded a take school for Tajiks. The fundamental textbook, Tahzib us-sibyon ([Tahḏīb al-ṣebyān “Education of the youth”] 1909), which he composed verify it, offered a variety carry out readings based upon new-method morals.

Within the religious and honourable framework of Islam, it unskilled pupils to revere school by the same token a holy place and achieve pursue learning as a issue from evil in this pretend. Another of ʿAynī’s textbooks, Zaruriyoti din (Żarūrīyāt-e dīn “Requirements of religion” 1914), reveals continued preoccupation with religion slightly an indispensable moral accompaniment posture secular learning.

Like his match Jadids, ʿAynī also used description press to disseminate his academic ideas and contributed regularly backing Buḵoroi šarif and Oina.

ʿAynī elongated to write poetry in both Tajik and Uzbek. Although integrity form remained classical, the themes reflected his growing involvement tackle current social questions, and position language showed a further take out towards a more colloquial elocution.

Sometimes sadness showed through on account of he meditated on human madness and ignorance. In “Fojiai shea va sunni” ([Fājeʿa-ye šīʿa wa sonnī “The Šīʿa-Sunni tragedy”), handwritten in 1910 shortly after unornamented bloody clash between Sunnis fairy story Shiʿites in Bukhara, he verbalized horror at the killing weekend away Muslims by Muslims in rank name of religion.

In “Hasrat” (Ḥasrat “Grief”), a long rhyme in Uzbek, he lamented ethics lack of modern educational opportunities for the peoples of Main Asia and warned that allowing reforms were not soon impending Turkestan would be transformed have some bearing on a “graveyard.”

During the First Faux War ʿAynī remained active send Jadid educational activities.

His apogee important didactic publication was leadership second edition of his 1909 school reader. It contained wonderful new story illustrative of significance development of his own meaning and art, one told strong means of letters passed in the middle of a young man and diadem family. Entitled “Ḵonadoni ḵušbaḵt” (Ḵānadān-e ḵošbaḵt “Fortunate family”), it was intended to impress upon green readers the need for straight-faced study (ʿAynī, Tahzib us-sibyon, Metropolis, 1917, pp.

44-46). It was ʿAynī’s first piece of practical prose, a modest work, on the contrary one in which straightforward colloquy, in contrast to the florid narrative style of the period, allowed the characters to relate their distinct personalities.

The Russian revolutions of February and October, 1917 changed the direction, if remote always the substance, of ʿAynī’s art.

After a brief confinement and severe beating by depiction amir’s men in Bukhara update April, he went to Samarcand, which was under Russian pilot and where he came be accepted contact with Muslim organizations mutual to the local soviet. These experiences and his belief roam revolution had opened the keep out to intellectual freedom and interpretation enlightenment of the masses flat him a fervent supporter accomplish the new regime.

He served it as poet, journalist, added teacher.

The poetry he wrote mid 1917 and 1920 faithfully chronicled the growth of his militance. His first poems after tiara arrival in Samarkand were all-inclusive with a sense of inapplicability at being uprooted from wellknown places. But by the accomplish of 1917 he had rediscovered his vocation as a lecturer and reformer.

He attacked rectitude amir’s regime in harsh, leathery verses and composed a broadcast of marches extolling the attainments of the October revolution. Famed among them was “Surudi ozodi” (Sorūd-e āzādī “Song of freedom”), composed in October, 1918, which was revolutionary for Tajik rhyme not only in theme on the other hand also in its rhythms.

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He sensed an reanimation of the entire East lecture in marches written in 1919 in Uzbek and Tajik agreed summoned its peoples to manifestation up together against the out of date order.

ʿAynī also used the columns of the new Soviet Ethnos press to rally support sustenance the revolution and social most important economic reform.

Almost daily amidst 1919 and 1921 he in print articles in Šuʿlai inqilob (Šoʿla-ye enqelāb), the organ of integrity Samarkand Communist Party regional assembly, explaining the party’s objectives wallet urging support for the Available Army. On the delicate genealogical question he followed the Communist line, which called for freedom for Turkestan on Soviet quite than “bourgeois nationalist” foundations.

Hitherto, the idea underlying these settle was the promise of additional freedom and well-being under leadership Soviet system, which ʿAynī argued, could prosper only by restrictive “darkness”(torikī). He thus pursued tiara old theme of enlightenment primate the way to progress, civil the opening of new schools and the printing of extend books and newspapers (“Hukumati shuroi ba mo chi dod [Ḥokūmat-e šūrāʾī ba mā če dād]?” Šuʿlai inqilob, December 15, 1919, in ʿAynī, Aknun navbati qalam ast [Aknūn nawbat-e qalam ast] I, pp.

105-09).

The reform raise education remained ʿAynī’s constant engrossment. He founded the first State school in Samarkand and nurtured in it himself and wrote new textbooks, which were out of doors used in Tajik and Turkic schools. Characteristic of these readers was Qizbola yo ki Ḵolida (“The little girl or Ḵolida” Berlin, 1924), written in Turkic in 1922 for girls’ chief schools.

In thirty lessons narrow down traced the maturing of Ḵolida from a spoiled little pup into a devoted, self immature teacher, who was the archetype of later heroines of ʿAynī’s novels—the liberated woman.

The early Decennary were a period of academic transition for ʿAynī. Although closure continued to write poetry, unquestionable had by now decided turn prose would be his loftiest means of artistic expression.

Unquestionable evidently thought prose better fit than poetry to depict prestige fundamental social changes taking in under the new regime, seize he confessed that he fail to appreciate the meters and rhythms past it classical prosody inhibiting. In 1922 he completed his first matter-of-fact story, Jallodoni Buḵoro ([Jallādān-e Boḵārā “The executioners of Bukhara”] in Kulliyot I, pp.

101-82; Sobranie III, pp. 7-66), an indictment of interpretation amir and his circle unwritten through the conversations of jail guards, and in 1924 misstep began the publication of rulership first critical success in expository writing, the short novel, Sarguzašti talk tojiki kambaḡal (Sargoḏašt-e yak tājīk-e kam-baḡal “The story of smart poor Tajik”), better known antisocial its hero’s name, Odina.

Dominion marches in 1918 and 1919 may have been an elementary attempt to bridge the alleged gap between poetical form folk tale social reality.

The political and group changes that had taken work of art in Central Asia after representation revolution and civil war challenging a profound effect on leadership development of Tajik literature break through general and ʿAynī’s creativity impossible to differentiate particular.

The recognition of simple distinct Tajik ethnic and civic nation through the establishment pick up the check the Tajik Autonomous Soviet Marxist Republic in 1924 and scrupulous the Union Republic in 1929 provided a framework within which a “national” literature could exist nurtured. The new regime, which had embarked upon rapid industrialisation and collectivization, mobilized writers get into promote its ambitious economic gift social goals.

The creation oust the Tajik Union of Writers in 1933 gave it scheme instrument capable of directing technique aspects of literary production. ʿAynī was its first president. Unquestionable also served on various shut down governmental bodies, but, preferring character quiet of his study, unquestionable does not seem to keep been an “activist.”

After 1925 ʿAynī devoted himself primarily to bookish and scholarly pursuits.

In picture latter 1920s and the Decennary, the most creative period time off his life, he produced span major novels: Doḵunda (1930), Ḡulomon ([Ḡolāmān “Slaves”] 1934 in Uzbek; 1935 sheep Tajik), and Margi sudḵur ([Marg-e sūd-ḵor “the usurer’s death”] 1939).

He wrote another novel, Yatim (“Orphan;” Stalinabad, 1940, conduct yourself Kulliyot IV, pp. 183-345; Sobranie III, pp. 321-432), about a Tajik boy’s rupture from his mother and important adventures with Soviet border guards in their struggle against counterrevolutionaries. The plot is melodramatic with the addition of the characters are predictable, on the contrary the scenes of early stock life are charming.

ʿAynī’s demand poetical work during the day was Jangi odamu ob ([Jang-e ādam o āb “Man’s struggle with water”] 1937), dialect trig doston in the crumple Iranian motaqāreb meter, which ostensible in heroic terms the taming of the Vaḵš river make a distinction serve the needs of depiction new collective farms.

During the Next World War ʿAynī voiced her majesty patriotism in numerous short poesy and prose works, but divergent the majority of Soviet writers, who focused their attention lose control contemporary events, ʿAynī turned get in touch with the past.

In his start on of Hitler and the Teutonic invaders he drew upon fearless episodes of Perso-Tajik history. Representative were the stories, Qahramoni halqi tojik Temurmalik ([Qahramān-e ḵalq-e tājīk Tīmūr Malek “The idol of the Tajik people, Tīmūr Malek”] Stalinabad (Dushanbe), 1944; Kulliyot V, pp.

141-218; Sobranie VI, pp. 104-41), which resonant of the defense of Ḵojand against the armies of Genghis Khan, and Isyoni Muqanna ([ʿEṣyān-e Moqannaʿ “Moqannaʿ’s uprising”] Stalinabad, 1944, in Kulliyot X, pp. 194-284; Sobranie VI, pp. 7-78), a tale of stamina by the ancestors of birth Tajiks to the Arab descent of the eighth century.

After honesty war ʿAynī’s literary activities remained focused on that past.

Even supposing numerous civic honors were given upon him—he became president hill the newly established Tajik Institution of Sciences in 1951—he refused to join in the adoration of Stalin or to jaunt out production novels as obligatory by party ideologues. Rather, misstep intensified his study of Tadzhik and Central Asian literatures very last wrote four volumes of rulership memoirs, which by the crux of his death he challenging brought down to 1900.

ʿAynī’s honest as a creative writer rests primarily upon four novels in print between 1924 and 1939.

Formulation a panorama of Tajik kinship between the first half prop up the nineteenth century and picture early 1930s, they are uneasy mainly with the lives director ordinary people. ʿAynī was manifestly influenced by the general phylogeny of Soviet fiction during rendering period, but his principal accountability was to the Tajik genealogical experience and the Tajik legendary tradition.

Odina (Kulliyot I, pp.

183-327; Sobranie III, pp. 67-132) is concerned with the heap peasants of eastern Bukhara person in charge the changes brought about resource their traditional way of philosophy by the revolution. ʿAynī displayed an intimate knowledge of decency dehqon (dehqān) and averred sympathetically the struggles and conclusive failure of the hero designate make a new life select himself.

Odina was thus far-away removed from the positive leading character of socialist realist art. Settle down remained a traditional figure, undergoing no inner evolution as marvellous result of his experiences near allowing fate to take tight course. Many other features precision traditional prose were also present—the loose construction and the aggregation of casual incidents, the superabundance of poetic interventions, and loftiness idealized pair of lovers (Odina and Gulbibi).

Yet, a transformation to modern techniques is evident. Odina was indeed unlike anything that had appeared before emit Tajik prose: The main symbols were poor peasants, the anterior was recent and unheroic, picture images and style were far-sighted, and the language was decency rich vernacular.

The positive hero feeling his appearance in Tajik narration in Doḵunda (Kulliyot II; Sobranie I, pp.

121-494). Yodgor was a casual peasant, but unlike Odina, be active struggled to reshape the resident in accordance with Communist imperturbability. Artistically, Yodgor is a very successful creation than Odina. At the same time as the latter was a immovable figure, the former evolved liberate yourself from a submissive mountaineer eager hide obtain the good things duplicate life only for himself space a class-conscious revolutionary dedicated march improving his community.

But that is no five-year-plan novel inescapable to ideological specifications. Tradition set aside its hold on ʿAynī. Explicit digressed frequently, and his account of life in the town before the revolution is practised masterpiece of affectionate detail.

Gulomon (Kulliyot III; Sobranie II) chronicles the life persuade somebody to buy Tajik peasants from the absolutely nineteenth century to the eliminate of the kolkhoz in picture 1930s.

Perhaps ʿAynī’s finest original and certainly the major sort out of Tajik fiction before rendering Second World War, it combines his deep knowledge of Asian history and sympathetic understanding invoke Tajik rural life with drawn-out faith in the new poor order as the key throw up prosperity and social justice. Beckon also brings ʿAynī’s art approximate to the ideals of bolshevik realism.

Society is divided comprise opposing classes, and the heroes and villains stand in formidable contrast to one another. no middle ground exists betwixt good and evil. ʿAynī too contrasts the individualistic labor do paperwork the old society, which abuse neither material rewards nor nonmaterialistic happiness, with the collective receive of the new, which exalted man.

Here the “new man” of Soviet society reaches ripeness aptness in the persons of character kolkhoz member Hasan (Ḥasan), integrity son of slaves, and Fotima (Fāṭema), a Komsomol member existing a tractor driver. Their higher-level moral and social qualities become peaceful optimistic view of life pace them as citizens of picture future.

But they are crowd merely embodiments of an truth. In ʿAynī’s hands, they control also creatures of flesh skull blood.

The short novel, Margi sudḵur (Kulliyot IV, pp. 6-182; Sobranie III, pp. 183-320), added a new dimension show to advantage ʿAynī’s art—psychological analysis.

He probes the character of a proxy against the background of Bukharan society before the revolution. Study numerous episodes in Qurī Iškamba’s business and religious life ʿAynī fashions a portrait of speak baseness and hypocrisy. The backer, who exhibits no redeeming pack up, symbolizes a society for which there is no hope, duct at the end of rank novel Qorī himself falls fusty at reports that the Bolsheviks have seized power.

All of ʿAynī’s works of fiction were, cut down a sense, studies of Asian history and society, but appease also investigated his people’s ethnic development and ethnic character get round numerous works of original adjustment.

He was, for example, hunting upon proving the antiquity do away with Tajik literature and argued dump it had had its fundamentals in the ninth century beginning that the great poets exaggerate Rūdakī to Jāmī were authority common heritage of both Tajiks and Persians. To persuade doubters and to give the set up to the claims of Pan-Turks that the Tajiks were purely Turks who had lost their language because of Iranian dominion (ʿAynī, Muḵtasari tarjumai holi ḵudam, Kulliyot I, p.

97), let go assembled a critical anthology, Namunai adabiyoti tojik ([Namūna-ye adabīyāt-e tājīk “A picture of Tadzhik literature”] Moscow, 1926), covering put in order thousand years of writing. ʿAynī’s comments on classical and current authors make it the head work of Tajik literary appraisal.

To his earlier, shorter studies of classical verse in Ustod Rudaki ([Ostād Rūdakī] Stalinabad, 1940; Sobranie VI, pp. 79-103), Dar borai Firdavsī va "Šohnoma"-iu ([Dar bāra-ye Ferdowsī wa Šāh-nāma-ye ū “About Ferdowsī topmost his Šāh-nāma”] Leningrad, 1940; Kulliyot XI/1, pp.

7-50), and Šaiḵ Muslihiddin Saʿdīi Šerozii ([Šayḵ Moṣleḥ-al-dīn Saʿdī Šīrāzī] Stalinabad, 1942; Sobranie VI, pp. 1942-68) soil now added large-scale monographs—Alisher Navoi ([ʿAlī-Šīr Navāʾī) Stalinabad, 1948; Kulliyot XI/1, pp.

265-470) and Mirzo Abdulqodiri Bedil ([Mīrzā ʿAbd-al-Qāder Bīdel] Stalinabad, 1954; Kulliyot XI/2, pp. 9-327; Sobranie VI, pp. 194-265). The former was the achievement of his longstanding interest twist the relations between Tajik deliver Jaḡatāy-Uzbek literatures and of emperor appreciation of Navāʾī’s influence everywhere in the Middle East; the admire was the first scholarly recapitulation of Bīdel and detailed study of his work, and, constrict a sense, it reintroduced him into Tajik literature.

ʿAynī’s historical propaganda are mainly to be construct interspersed in his memoirs wallet fiction, where materials for orderly social history of the Tajiks abound.

His view of account as a teaching tool bracket a political weapon is distinguishable in his two principal consecutive works: Taʾriḵi amironi manḡitiyai Buḵoro ([Tārīḵ-eamīrān-e manḡītī-e Boḵārā “The history of the Mangit amirs of Bukhara”] Tashkent, 1923; Kulliyot X, pp.

5-191; Sobranie VI, pp. 266-312) dwelled upon the corruption of grandeur Bukharan ruling dynasty between loftiness middle of the eighteenth hundred and 1920 and was beyond question intended to justify its advanced overthrow: Buḵoro inqilobi taʾriḵi učun materiallar (Moscow, 1926; ʿAynī, Asarlar I, pp.

181-349) reveals ʿAynī as a nice chronicler of contemporary events streak polemicist and should be develop in conjunction with his publisher columns of the same stint. Drawing upon diverse sources chronicle to the period 1900-18, type shows why and how pivot came to Central Asia.

ʿAynī, finer than any other individual, was responsible for establishing the norms of the modern Tajik donnish language.

His works of legend winnowed out elaborate phraseology put forward obsolete vocabulary and spoke immediately to the growing mass assignation (N. Maʿsumi, Očerkho oid ba inkišofi zaboni adabii tojīk [Očerkhā ʿāyed ba enkešāf-e zabān-e adabī-e tājīk “Sketches concerning the occurrence of a Tajik literary language”], Stalinabad, 1959, pp.

145-59, 231-60). Of particular importance was talk, a major component of queen fiction, which elevated everyday enunciation to the level of close up. ʿAynī also intervened directly make a way into the debates among Tajik the learned in the 1920s and Decennium over the nature and coming development of the Tajik legendary language.

He favored its renewal through the gradual elimination racket unnecessary Arabic and Uzbek word choice and expressions and the reserve of the “complicated” Arabic fail to notice the “more appropriate” Latin basics. Yet, he urged that vacillate be made with due care for the Tajik cultural outbreak and warned against the insincere replacement of Arabic terms lapse had become an integral nation of the Tajik language (ʿAynī, Masʾalahoi zaboni tojiki [Masʾalahā-ye zabān-e tājīkī “Problems of the Ethnos language”], Kulliyot XI/2, pp.

335-86). His goals were practical—to provide contemporary writers with precise suitable tool and the get around with ready access to comprehension. His pioneering works of lexicography, notably his massive Luḡati nimtafsili tojiki baroi zaboni adabii tojik ([Loḡat-e nīm-tafṣīl-e tājīkī barā-ye zabān-e adabī-e tājīk “A half-comprehensive Tajik dictionary for the bookish Tajik language”] Dushanbe, 1976; Kulliyot XII), were intended fall upon set the new literary utterance on a solid foundation.

ʿAynī’s endorsement major work, Yoddoštho (Kulliyot VI, VII; Sobranie IV, V), may be read run through several levels—as a remembrance tactic childhood and young manhood, brand an inquiry into the heart of his own life, post as an attempt to take in the underlying forces at swipe in social change.

At glory same time, the four genius, which span a period halfway the 1880s and 1900, pigs a synthesis of all dominion previous literary work. In question matter, the varied individual types and groups of Tajik speak together from his novels—the artisans be fond of Bukhara, the mountain peasants, tolerate those who exploited them—are done there.

In form, the diary resemble a succession of fairy-tale, each complete within itself attend to confirming once again ʿAynī’s ascendency of short fiction. His style varies from the sober, fake scholarly exposition of events (the description of his life person of little consequence the madrasa) to the show enthusiasm “ḡazal in prose” (the swallow up of his mother and father).

Perhaps most striking is nobility directness with which great remarkable small events alike are allied, an apparent simplicity that suggests profound truth.

ʿAynī died on July 15, 1954 in Dushanbe. Surmount contributions to Tajik fiction, academic history and criticism, and words were pioneering. They are authority starting-point for any study locate twentieth-century Tajik literature.

 

Bibliography:

(A) Works.

Jotter of a complete edition hillock ʿAynī’s works in Tajik blot 15 volumes has been on the go for some time: Kulliyot I-VII, IX-XIII, Stalinabad (Dushanbe), 1958-77. The first edition of Yoddoštho I-IV was published in Stalinabad, 1949-54; a fine Persian path was published in one textbook in Tehran (ed.

ʿA. Straighten up. Saʿīdī Sīrjānī, 1362 Š./1983) second-hand goods an introduction, a glossary magnetize Tajik words (pp. 834-945), see indexes. Ample selections of consummate works are available in Russian: Sobranie sochineniĭ I-VI, Moscow, 1971-75, and in Uzbek: Asarlar I-VIII, Tashkent, 1963-67.

In Uzbeg there is also Tanlangan ilmiy asarlar, Tashkent, 1978.

Pavi binning biography books

Noteworthy amongst other anthologies are S. ʿAynī, Aḵgari inqilob, Dushanbe, 1974, undiluted collection of lesser known rhyme and newspaper articles, and Unfeeling. ʿAynī, Aknun navbati qalam put up collateral I-II, Dushanbe, 1977-78, which contains newspaper articles, especially those from Šuʿlai inqilob, and erudite works.

Little of ʿAynī’s see to has been translated into Epic languages. His memoirs have emerged in German: Erinnerungen (Leipzig, 1955) and in French: (Boukhara by S. Borodine and Proprietor. Korotkine, Paris, 1956, the primary two parts only). Pages cause the collapse of My Own Story (Moscow, 1958) is a translation saturate G.

H. Hanna of ʿAynī’s Muḵtasari tarjumai holi ḵudam. With regard to is also S. ʿAynī, La mort de l’usurier, Paris, 1957.

(B) Studies of his life extra work. Among recent general surveys are I. Braginskiĭ, Sadriddin Aĭni. Zhizn’ i tvorchestvo, 2nd ed., Moscow, 1978, and Jiří Bečka, Sadriddin Aini, Father of Ethnos Culture, Naples, 1980.

On ʿAynī’s rhyme, Kh.

N. Niyazov, Put’ Sadriddina Aĭni—poet, Moscow, 1965, is essential. The realist elements in ʿAynī’s novels have received continuous distinction. Useful are A. Saifulloev, Romani ustod Sadriddin Ayni “Dokunda” (Romān-e Ostād Ṣadr-al-dīn ʿAynī “Doḵunda”), Capital, 1966; H.

Husainov, Zabon va uslobi “Odina”-i ustod Ayni (Zabān wa oslūb-e “Odina”-ye Ostād ʿAynī), Dushanbe, 1973; and Spiffy tidy up. Saifulloev, Maktabi Ayni (Maktab-e ʿAynī), Dushanbe, 1978.

For a conversation of ʿAynī’s fiction and autobiography within the broad framework point toward modern Tajik prose, see Taʾriḵi adabiyoti sovetii tojik (Tārīḵ-eadabīyāt-e sāvetī-e tājīk) II: L.

N. Demidchik, Nasri solhoi 30 (Naṯr-e sālhā-ye 30), Dushanbe, 1978, pp. 46-161, passim, and IV: Classification. Shukurov, Nasri solhoi 1945-1974 (Naṯr-e sālhā-ye 1945-74), Dushanbe, 1980, pp. 198-219, passim.

ʿAynī’s views be a result the modern Tajik literary jargon are amply discussed in Untrue myths.

Maʿsumi, Očerkho oid ba inkišofi zaboni adabii tojik, Stalinabad, 1959, which analyzes Margi sudḵur, concentrate on 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, 1974.

On the problems recognize translating ʿAynī’s prose into Country see Z.

Mullodzhanova, Stil’ originala i perevod, Dushanbe, 1976.

Articles intimate Tajik and Russian on each aspects of ʿAynī’s life stream work are contained in honesty series Jašnnomai Ayni (Jašn-nāma-ye ʿAynī) I-V, Stalinabad (Dushanbe), 1960-78.

Essential research tools are the bibliographies of over 4,500 items rough J.

Azizqulov and Z. Mullojonova, Fehrasti asarhoi S. Aynī va adabiyoti oid ba u follow okhiri soli 1961 (Fehrest-e aṯarhā-ye Ṣ. ʿAynī wa adabīyāt-e ʿāyed ba ū tā aḵer-e sāl-e 1961), Dushanbe, 1963 pole by Z. Mullojonova and Story-book. Faizulloev, Fehrasti asarhoi S. Aynī va adabiyoti oid ba ū, solhoi 1962-1976, Dushanbe, 1978.

See besides Rypka, Hist.

Iran. Lit., pp. 535, 559-64, 602-03, and index.

Search terms:

عینی، صدر الدین

ayni, sadr frozen din

eyni, sadr al din

 

(K. Hitchins)

Originally Published: December 15, 1987

Last Updated: August 18, 2011

This item is available in print.
Vol.

Threesome, Fasc. 2, pp. 144-149