425:
Firdawsi already makes
Iskandar an exemplary figure, whom the companionship of Aristotle helps to rise still higher, by the path of wisdom and moderation, in the direction of abstinence and contempt for this world. And Firdwasi laid stress on the defeat of Dārā (the Darius of the Greeks) as something desired by "the rotation of the Heavens"....At the time of Niẓami, however, Islam is from then onwards well established in Iran, and it is the prophetic and ecumenical aspect of his destiny that the poet makes evident in his hero. As a learned Iranian poet, Niẓami, who demonstrates his eclecticism in the information he gives (he says, "I have taken from everything just what suited me and I have borrowed from recent histories, Christian, Pahlavi and Jewish ... and of them I have made a whole"), locates the story of his hero principally in Iran. He makes him the image of the Iranian "knight", peace-loving and moderate, courteous and always ready for any noble action. Like all Niẓami's heroes, he conquers the passions of the flesh, and devotes his attention to his undertakings and his friendships. These features appear in the account, which follows ancient tradition, of his conduct towards the women of the family of Darius, in his brotherly attitude on the death of that ruler, in his behaviour towards queen Nushaba (the Kaydaf of Firdawsi, the Kandake of the pseudo-Callisthenes) whom he defends against the Russians.
167:). When Khidr and Ilyas see what happened to the fish, they determine that they have discovered the water of life and begin to drink from it. Finally, Nizami introduces yet another third version of the narrative which he claims to be the correct one: as with the second version, Khidr and Elijah find the water of life together and drink from it. They decide to leave Alexander's party and both go their separate ways, one of them going to the sea and another to the desert.
216:) in 1947, under the purview of Ä. Ä. Älizadä (Šaraf-nāma) and F. Babayev (Eqbāl-nāma). Behrūz Ṯarvatīān's recent edition of the Šaraf-nāma (1989) primarily replicates the text and apparatus found in the Baku edition. However, it also includes explanatory notes. Another edition has been produced by Ḥasan Waḥīd Dastgerdī (Tehran, 1937–38), but it is uncritical and filled with error.
151:, and instructs him to use it to help find a body of shining water. Khidr does so, drinking from the water when he finds it. In doing so, he also learns that Alexander will not drink as he did and so disappears without informing him. At this point, Nizami introduces a second version of the narrative unconnected to the Shahnameh. This account, says Nizami, derives from the
424:
Abel, A. (1978), “Eskandar nāma”, Encyclopaedia of Islam, New Ed., vol. 4:127–129. Online: Abel, A.; Ed(s). "Iskandar Nama." Encyclopaedia of Islam. Edited by: P. Bearman, Th. Bianquis, C.E. Bosworth, E. van Donzel and W.P. Heinrichs. Brill, 2007. Brill online edition). Excerpt: "In the
Shahnama,
224:
Complete translations of both poems into
Russian verse were produced by K. Lipskerov in Baku in 1953. There are Russian prose translations by Y. E. Bertel and A. K. Arends (Baku, 1983). An English prose translation of the Šaraf-nāma, accompanied by extensive extracts from Indian commentators, was
260:. The Shahnameh provided Nizami with the outline of an Alexander cycle, and Nizami fully develops the incipient ideas in Ferdowsi's writings that a pre-Islamic ethos was embodied by Alexander the Great. Therefore, Alexander is represented as a prophet on a righteous, divinely sanctioned path.
225:
also created by
Wilberforce Clarke in 1881, though this translation is hard to read and very literal. J. Christoph Bürgel wrote a free German prose paraphrase of both sections, excluding parts of the prologues and epilogues, though it is disadvantaged by its reliance on Dastgerdī's edition.
123:) and a major portion of the text is devoted to the discourses he has with seven Greek sages. The poet then tells of Alexander's end and adds an account of the circumstances of the death of each of the seven sages. Nezami's image of Alexander is that of an Iranian knight.
103:
The Sharaf-nama discusses the birth of
Alexander, his succession to the throne of Rum (Greece), his wars against Africans who invaded Egypt, his conquest of Persia and his marriage to the daughter of Darius. The episode also discusses Alexander's pilgrimage to
108:, his stay in the Caucasus and his visit to Queen Nushaba of Barda' and her court of Amazons. Alexander conquers India, China and the land of the Rus. The Sharafnama concludes with Alexander's unsuccessful search for the water of immortal life.
175:
Manuscripts of the
Iskandarnameh are often illustrated with various paintings and drawings. Statistical analysis has identified 127 themes across the illustrations of Iskandarnameh manuscripts, out of a total of 338 themes across Nizami's entire
159:(Ilyas). They bring some provisions of food during their journey, including bread and a salted fish. Upon finding the body of water, the fish falls into it and comes to life (this episode is thought to be related to a narrative in
78:(Book of Glory) followed by the Iqbal-nama (Book of Fortune) (though the names are reversed in some copies). Both are written in rhymed couplets. In India, the two sections are known as the
180:. The most popular illustration depicts Alexander with the dying Dara, appearing 86 times. The one with Qaidafa appears 45 times. The construction of the iron gates against
63:
as an idealized hero, sage, and king. More uniquely, he is also a seeker of knowledge who debates with great philosophers Greek and Indian philosophers, one of them being
111:
The Iqbal-nameh is a description of
Alexander's personal growth into the ideal ruler on a model ultimately derived, through Islamic intermediaries, from
286:(The Alexandrine Mirror). Though Nizami portrays Alexander as a prophet and philosopher, Khusrau portrays him as an adventurer and scientist.
638:. A history of Persian literature / founding editor - Ehsan Yarshater. London New York Oxford New Delhi Sydney: I.B. Tauris. p. 512.
613:. A history of Persian literature / founding editor - Ehsan Yarshater. London New York Oxford New Delhi Sydney: I.B. Tauris. p. 491.
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One manuscript of the
Iskandarnameh, which has received a dedicated study, was originally produced for and presented to
700:
282:
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The first considerable effort to produce critical editions of the two sections of the
Iskandarnameh occurred in
74:, a posthumous collection of five of Nizami's major works. It consists of two main and independent parts: the
276:, a Persian poet and scholar of the thirteenth and fourteenth centuries, modelled the fourth masnavi of his
233:
Ultimately, the
Iskandarnameh belongs to the genre of literature originating with the third-century Greek
715:
705:
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three times in the 19th century: by Munshi Azam Ali in 1849, by Ghulam Haider in 1878 under the title
453:
A Key to the Treasure of the Hakim : Artistic and Humanistic Aspects of Nizami Ganjavi's Khamsa
188:
392:
242:
486:
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Casari, Mario (2023). "The Alexander Legend in Persian Literature". In Ashtiany, Mohsen (ed.).
609:
Casari, Mario (2023). "The Alexander Legend in Persian Literature". In Ashtiany, Mohsen (ed.).
412:
Persian Literature - A Bio-Bibliographical Survey: Poetry of the Pre-Mongol Period (Volume V)
450:
Berg, Gabrielle van den (2011). Bürgel, Johann-Christoph; Ruymbeke, van, Christine (eds.).
8:
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Nizami's work would also come to have a substantial impact on Indo-Persian literature.
314:
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665:. Classical presences. Oxford, United Kingdom: Oxford University Press. p. 108.
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Persian narrative poetry in the classical era, 800-1500: romantic and didactic genres
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Persian narrative poetry in the classical era, 800-1500: romantic and didactic genres
591:
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437:
Identifying Cultural Intersections in the Works of Shota Rustaveli and Nizami Ganjavi
435:
Abdullaeva, Firuza; Melville, Charles (2023). Ratiana, Irma; Elbakʻiże, Maka (eds.).
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composed by Pseudo-Callisthenes. The genre may have been translated into
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155:. In this account, Khidr is accompanied to the water by the prophet
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was identified 9 times in the analysis, though more are known now.
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553:. Cambridge, Massachusetts: Harvard University Press. p. 95.
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A book of conquest: the Chachnama and Muslim origins in South Asia
348:, it was translated by Maulvi Siddiqullah some time before 1910.
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119:. He has debates with Greek and Indian philosophers (e.g.
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In the bazaar of love: the selected poetry of Amīr Khusrau
456:. Amsterdam: Amsterdam University Press. pp. 87–88.
147:. First, Alexander gives a jewel to the mystical figure,
418:
487:"An Iskandarnāma of Nizami Produced for Ibrahim Sultan"
344:, it was translated by Ghulam Muhammad in 1873. In
252:The Iskandarnameh was profoundly influenced by the
143:, in its narration of how Alexander encounters the
439:. Cambridge Scholars Publishing. pp. 204–206.
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131:The Iskandarnameh follows the general outlines of
580:. New Delhi: Penguin Books India. pp. xlix.
692:
574:Amīr Khusraw Dihlavī; Losensky, Paul E. (2011).
90:respectively. It was likely completed by 1194.
249:is not universally accepted among historians.
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414:. Taylor & Francis. pp. 366–368.
269:Influence on subsequent Alexander legends
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289:Other progenies of Nizami's include the
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393:"ESKANDAR-NĀMA OF NEẒĀMĪ"
199:Editions and translations
59:(d. 1209) that describes
84:Sekandar-) nāma-ye barrī
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462:10.5117/9789087280970
229:Literary predecessors
530:Encyclopedia Iranica
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