First, the source of belief in Persian classical religious poems
As early as around 1000 BC, Zoroaster, the oldest monotheistic prophet in the world, was inspired by Iranian Aryan polytheism and established the basic teachings of Zoroaster on the basis of reforming ancient Iranian religions. From then on, until the Arabs invaded Persia in the middle of the 7th century, Zoroastrianism-centered ideology dominated all aspects of the social life of ancient Persians, and the development of literature was naturally guided by Zoroastrianism. During the development and final establishment of Zoroastrianism monotheism, the traditional form of Persian classical poetry came to an end. Zoroaster compiled a certain number of religious hymns, together with religious ceremonies, ancient folk songs, fairy tales and historical legends in Iran and Central Asia, into the classic literature of Zoroastrianism, Avista. These religious hymns can be regarded as the earliest classical poems in Persia, and they are still in their infancy. This kind of classical poetry is most closely related to religious belief, and its content directly reflects the world outlook, moral norms and belief characteristics of Zoroastrianism. Zoroaster himself is a pioneer of classical poetry creation. According to records, most of Janus' poems in the sacred book of Zoroastrianism, Avista, were written by him himself. This poem emphasizes the teachings of Zoroastrianism:
I ask you these questions-Lord, declare the truth!
Who is the father, the "holy" ancestor?
Who created the orbits of the sun and the stars?
Who taught the moon to be perfect and incomplete?
These and others, I want to know.
I ask you these questions-Lord, declare the truth!
Who protects the earth?
Teach heaven not to collapse? Who caused Shui Mu?
Who is flying in the clouds and wind?
Who is Huzda, the founder of Good Thinking?
I ask you these questions-Lord, please tell the truth.
Who created darkness and light?
Who created sleep and awakening?
He distinguishes morning, noon and night,
Remind the wise not to forget their responsibilities.
The "Lord" here is Ahu Rameze, the Zoroastrian god of creation. Zoroaster asked the Lord God in his poems, which basically revolved around Zoroastrian cosmology, that is, "from the invisible and spiritual universe to the visible and material universe". [1] In addition, there are some concepts related to ethics and morality in the poem, such as kindness and kindness, which embodies one of the basic characteristics of Zoroastrianism-the fanatical worship of good gods and emphasizes "acting with good words, good thoughts and good deeds"; [2] The most prominent symbol of "goodness" is fire, which also reflects the worship of fire by Zoroastrians. Because the basic purpose of Persian classical poetry is to record and spread Zoroastrianism, its core must be the emotional expression of the creator based on certain theological concepts. Religious belief became poetry.
The source of human creation, this essential feature determines the subsequent development direction of Persian classical poetry. Different from the above situation, although the earliest poems in ancient China also contained hymns and prayer poems about the sacrifice of primitive gods, their root lies in the praise of ancestors' merits and spiritual traces, as well as the worship and gratitude to national gods. The objects of praise in China's ancient sacred poems are related to the primitive farming civilization and the witchcraft activities of ancestors, and they are art forms based on people's real life. Its nature from real life shows that people's worship of God has not risen to the height of "belief" and has not been influenced by systematic religious theology. Therefore, the religious color of China's classical poems is very weak. In the "elegance" and "ode" in the Book of Songs, most of the poems praising the gods are directly related to history or legends, and there are also music songs about ancestral temple etiquette; The Nine Songs in the Songs of Chu is the result of recording and sorting out the sacrificial songs sung by Qu Yuan in the primitive witchcraft sacrificial activities of Chu during the Warring States Period. Although the content of Tian Wen is similar to some of the contents in the Holy Book of Zoroaster, it is completely different in the intention of poetry creation: Tian Wen expresses the poet's bold doubts about nature and traditional ideas by questioning the heaven, and the poet's feelings about his own destiny are hidden behind the poems, so it can be said that it is conceived and created from the poet's own feelings; The purpose of Zoroaster's creation of holy books is to vividly convey "the revelation of God, the commandment of God", and [3] rarely contains personal subjective feelings. It can be seen that the formation process of religious belief and Persian classical poetry is the relationship between "source" and "flow", which leads to the absolute loyalty of the main body of Persian classical poetry. On the contrary, China's classical poetry has devoted great enthusiasm and concern to the real existence of human beings since its birth. In this sense, China's classical poetry is people-oriented and a poet's poem; Persian classical poetry is a kind of religious poetry based on God.
Second, the religious significance of Persian classical philosophical poems
Philosophy is a major feature of Persian classical poetry. Persians have loved and worshipped wisdom since ancient times. People are good at embellishing many aphorisms with wisdom and philosophy in poetry, thus adding interest and ideological depth to poetry. Due to the invasion of Arabs, the dominant position of traditional Zoroastrianism in Persia was replaced by Islam, so the mainstream ideology that runs through classical poetry creation is also biased towards Muslim belief. However, the influence of Zoroastrianism has not been completely eliminated, so classical philosophy poetry is influenced by these two religions, and its content also involves two basic teachings.
Rudaji (850-940), the "father of Persian poetry", lived in an era when Islam spread in Iran for nearly 200 years, but he still adhered to the ancient Zoroastrianism thought and advocated the moral standards established by Zoroastrianism in his poems. In his philosophical poems, he emphasized four conditions for judging whether a person is perfect or not:
There are four treasures in the world.
It can make people get rid of sadness and be full of laughter.
Good health and high moral character,
Good reputation, smart mind.
Lu Daji's philosophical poems also reflect the interpretation of Zoroastrianism and a distinct view of good and evil:
Even if you raise poisonous snakes carefully,
In the end, we will also replace gratitude with negativity.
The nature of the wicked is no different from that of a poisonous snake.
Don't sympathize with him just because of his appearance.
Another famous poet khayyam's philosophical poems (1048- 1 122) also reflect the contents of justice, self-denial and abstinence that religious thoughts have always advocated:
( 1)
Early in the morning, dew sticks to the tulip's face-
Green violets also salute it.
My justice is like a budding flower Jt~-
It is ready to show its beauty.
(2)
Every secret in a wise man's heart,
It should be hidden in the eagle's claws.
Pearls are formed when water drops fall into shells.
It hides its secrets in the center of the ocean.
Sadie's philosophical poems (1208- 1292) are full of religious and moral admonitions.
( 1)
If you want to climb high, you must not be arrogant.
Modesty is a step-by-step ladder.
(2)
Some people say forgive their mistakes and reward their achievements.
Punishment should not be too hasty.
It is a fact that flowers and thorns coexist.
Don't throw flowers away when you see thorns.
Although poets in different historical periods have different religious concepts, their philosophical poems are all guided by their own beliefs and convey some teachings with philosophical words. Compared with Persian classical philosophical poems, pure philosophical poems in China's classical poems are rare. This is largely due to the unique expression of China's classical poems. Poets often express their feelings in scenery and use metaphors to express their views on the world and life. Therefore, in China's classical poems, we can only see poems with certain philosophical significance. The philosophic nature of these poems can be said to be an attachment to the poet's emotional expression.
It is a product, unlike the philosophical nature of aphorisms in Persian classical philosophical poems. For example:
Day after day, day after day.
Heaven and faith change, long life?
After all, the world is just a small place.
But since the water is still flowing, although we cut it with our swords and raise our glasses to drown our sorrows.
Silkworms in spring will weave until they die, and candles will drain the wick every night.
Obviously, the philosophy of these poems is the poet's real feelings and rational thinking about life based on personal experience in a specific era and environment. Here, poetry has completely become a means or way to express the poet's mood. Compared with Persian classical philosophical poems, it is more humanistic, but it also lacks profound moral and ethical connotations in Persian classical philosophical poems. Therefore, reading China's classical poems full of philosophical meaning, people can find more similarities with the poet in their minds, and on this basis, they will have a * * * sound with the philosophy embodied in the poems, and finally achieve the purpose of appreciation and taste; As for Persian classical philosophical poems, we need to be modest and understand what the poet wants to convey. Poetry always needs reading.
Readers have a sincere and admirable heart, so they are invited to "look up". In addition, Persian classical poetry is outspoken in explaining philosophy, with the nature of admonition and admonition, while China's classical poetry is quite profound, concise and meaningful. During this period, religion played a vital role, objectively shaping Persian classical philosophical poems into carriers of deified morality. Poetry should not only publicize the outlook on life and world under the influence of religious thoughts, but also contain the code of conduct established by religious ideas. In other words, poetry has inadvertently become an important means for religion to play its social function. In China, poetry can express personal will, and can "inspire, view, group and complain", but objectively it does not undertake the obligation to spread religious morality or theological thoughts; Poetry is the author's spiritual consumer goods, the concentrated expression of personal feelings, not the materialized product of religious thoughts. Thus, compared with China's classical philosophical poems, Persian classical philosophical poems are more religious.
Thirdly, the religious complex of Persian classical love poems.
In ancient Persia, religious belief not only penetrated into the rational world of poets, but also influenced their spiritual world.
It has a great influence, resulting in a large number of lyric poems closely related to religious concepts. On behalf of Bo Gu
Classical lyric poetry with the highest artistic level should be classical love poetry. Speaking of Persian classical love poems, we have to
Sufi mysticism, a "religion among religions" involving Islam. Early Sufism demanded the purity of God.
Belief, advocating abstinence and asceticism. Around the 9th century, a group of Sufi theorists in Persia gradually established the theoretical system of Sufi mysticism. Sufi followers in Islam advocate "filtering one's soul" through certain forms of penance, self-denial and abstinence, respecting the Lord and doing good deeds, and "uniting with God in silence, and obtaining eternity in unity" [4] With Sufi mysticism becoming the main research object of Persian medieval classical poetry, taking the acceptance of love content by Sufi mysticism as an opportunity in the late 8th century, Persian classical poetry began to appear in the10th century. This phenomenon is fundamentally determined by the ideal state of advocating "unity with God" in Sufi mysticism. History of Persian classical poetry
Several famous poets in the world are masters of "Sophie's love poems". Khayyam, Ilyas Jamalddin nezami, Atal, Molavi, Sadi, Hafez, Islamic Cathedral, etc. There are well-known masterpieces. Like classical religious poems and philosophical poems, the original intention of classical love poems is still not divorced from the influence of religious beliefs, but is embodied in the interpretation of Sufism's "sacred love" through the description of worldly love. In this process, poets often use a lot of metaphors, metaphors, symbols, puns and other artistic techniques to construct the core part of love poems into a perfect realm of the unity of man and god to express their infinite yearning for God. This feature is reflected in Masna d's poems:
A beautiful woman sends love to Venus and the moon all night;
By magic, she closed Tianyu's eyes.
Look inside you! Muslims, no matter what happens,
There is always no heart that can be integrated with me. I have been with her for a long time.
Persian classical love poems convey the highest ideal of the unity of poetry and god to a great extent, which is the universal ideal of the whole Persian nation in a specific historical period. It is far from the poet's life and has great fantasy and mystery. The powerful religious ideology leads the poet to believe in the divine world, which is reflected in his love poems as firm belief and enthusiastic praise of God's love. Therefore, Persian classical love poems are also poems serving religion to a certain extent.
China's classical love poems present a completely different landscape. Generally speaking, when poets express such themes, they express their true feelings here and now. Each love poem refers to different objects and expresses complex personal feelings, but in general, it is the poet's aesthetic experience in the realm of "having me" without interference from religious consciousness. Therefore, it is a great pity that China's classical poetry can develop along the road of literary development and embody the aesthetic feeling of pure literature. Therefore, the emotions carried by China's classical love poems are not as thick and rich as Persian classical love poems, but give people a fresh, meaningful and cordial aesthetic feeling. From the perspective of literary creation and acceptance, two kinds of classical love poems also
There are great differences: in order to highlight the beauty and nobility, wisdom and strength of God, Persian classical love poems often pay great attention to praise and boldly praise God who believes; China's classical love poems, on the other hand, focus on expressing the poet's own good wishes for love, or expressing the feelings of parting caused by love, which are often subtle and euphemistic, concise in language and long in meaning. Reading China's classical love poems is helpful to better grasp the overall aesthetic tendency of Persian classical love poems;
Guan Guan Sui dove, in Hezhou.
A beautiful and virtuous woman is a good spouse of a gentleman.
Acacia is bitter, but the ceremony can't stay.
The husband beyond the Great Wall has not returned, and it is dusk to pick lotus in Jiangnan.
We hope to fly in heaven, two birds become one and grow on the earth, two branches of a tree. ..
The implication of China's classical love poems is faint feelings, and his poems are like tea, full of leisure. Persian classical love poems are influenced by Sufism. Mysticism often leads to the poetic realm of "unknowable", and love has changed from "human love" to "divine love", giving people an elusive confusion. It is hard to believe that these two classical love poems with different styles are rooted in ancient oriental cultural traditions. Therefore, regional differences and national cultural differences are of great value for studying different literary concepts.