Historical novel set in the aftermath of the constitutionalism

The Constitution which was achieved, harsh criticism of existing institutions reduced; and then the earlier critics had been more or less responsible for running the country. Poet and journalism that both had political interpretation already served more time to praise and sometimes criticizing and evaluating of new power candidates; discussion of political theory, measuring the capacity of young leaders in handling the tasks related to the constitution or insults of rivalry groups to each other in a new democracy. What does it needs to writing about this country and what needs to be done and was too much. Some people recounted political immaturity of in an openly and lucidity blunt way and offered suggestions for treatment of that and published treatises about the meaning of the law. It was the era of hope and excitement for all but, not too long this optimism lasted. All the Journalists concern for a while was focused on the civil war and live events reports, especially events in Tabriz where the constitutionalists had stood against siege forces loyal to Ali Shah. The Politicians in the midst used their skills in talking and setting influential cables. But, these critical days does not give chance to creative literature; the calligraphic fonts and beautiful poems that created on an occasion, at the time being, is serving to give statements. It is true that Parliament had been formed again, but the problems threatening constitutionalists, doubts and self-discovery of some of them difficult to improve lost security due to the revolution and devastative conflicts of the years afterward as well as the plots and tricks of England and Russia all of these did not leave any room for prosperity and optimism.
The political events by nature affected literature however; the authors used two procedures that no one was imminent or they tried merely creative writings or historical concepts; they expressed their patriot praising the past. Therefore, a type of historical story-writing came out. The most important writers of historical stories are Shah Zadeh Mohammad Bager and etc. These four writers were busy writing separate from each other in Kermansha, Hamedan, Tehran and Kerman but, all of them were out of the educated class and superior feelings and the method of the creator if the society has put them in passion. The movement of constitutionalism of these types of urban medium class men, mostly from high status and trade men had come to prominence. Even though these people at the time of hardship and suffering, usually today, are regarded as part of patriotic citizens of Iran and are immersed into the sweet dreams and past regrets. Four authors of our discussion have also showed such a trend. Ferdowsi Iranian national epic composer both in the fourth century and the beginning of the fifth century probably did the same thing - although we can say that criticism of Shahnameh of political processes of the era (though ironically) are far more than story writers of new era. The difficulty of their job was that in the inappropriate times they begain to write when political conflict became a national pastime and continued so far that reaction went up meaning that political conflicts does not result in something other than disinterest thus, four of them avoided policy. Instead, they noted public and private morality; you can consider this event as result of the country events in the last decades of the nineteenth century. Islam in Iran has consistently been an institution not only religious but also political and legal one. With the reform of political structure, religious institutions were weakened which means greater moral depravity that had already suffered in the result of years of social and political insecurity. These four authors, but no one was in any way Islamic commentator - on the contrary, showed liberal tendencies. But all of them were disillusioned and fearful of the growing moral decadence environment and seeking moral guidance and returned not to Islam, epic battles of the past, to the days of chivalry and heroic legend, the ancient spiritual traditions with a view emanating from Romantic literature and regretful century in nineteenth Europe . The first novel of the series of historical novels, Shams and monogram, in 1327 AH (Solar 1288) was published in Kermanshah. Author, MB Khosravi, was from middle-class landowners who had gradually become a poor and had joined the middle class people. At the time of Mohammad Ali Shah Massacring and the rise of constitutionalism, Khosravi was repeatedly jailed and was driven from his hometown. His book was written in three volumes in the years 1327-1328 AD where the country was undergoing a civil war. But in fact cover story is independent, but heroes are the same. But each volume was in fact an independent one but, they are the rivals. The issue of Iran novel in the seventh century AD, when Saadi spent the last years of his life in Shiraz and known Khatoon (died 685 AH) under the name of the Persian Mongols was ruling on Iran. The protagonist, Shams, the former destitute survived princes of Dailamite dynasty of Persian, was in love with monogram, daughter of Mongol Khan. A love story with all the elements and perennial problems such as these as “prohibition of marriage between Mongols and "Tajiks"” associate young hero in the court, buried treasure, a dream palace, bondage at the hands of bandits and so on. The reader is confronted with many historical events, but these scenes are only fleeting romance novel to advance loving mechanism of the novel and to empower realism in the legend. Shams and monogram as a work of awareness about the situation in Iran is worth seventh century. The Customs and habits of that era, such as weddings and mourning, life of courtiers, Khans states of Illinois, heroes and the frauds of the time and also rivalry between them trips, hunting and historical sites of Iran and other Islamic countries have been clearly depicted. The author narrates this detailed evidence documenting to historical evidences often mentioned in a bibliographies word by word. Khosravi by paying attention to the accuracy of the historical issues in Persian literature puts as innovation. Khosravi’s dealing with religion is not entirely negative, however does not refrain from criticizing outdated customs. In describing the criteria permitting to polygamy and what is known as women slavery a lot of irony and even sarcasm are used. He asserts his trends of constitutionalism describing the political and social situation of the seventh century AD, and by strongly condemning the perpetrators of violent government and its agents, the local and external feudal lords. Khosravi does not pay much attention to the artistic aspects of the monuments and landscapes and scenes of battle. But, in describing people and their lives has the power. Professor Mikhaleski says "He is the first person that in new story writing in Iran has artistically created a natural traits and mental and very justified nature. However, due to work beginning, the authors try to advance new Persian novel to the European paragons appear does not go anywhere in, for example, in characterization of the hero rather than an idealized image of the noble aristocracy, which perhaps partly was meant by the author, is dealing with an adventurous man whose aim has always been not far from suspicion. However, as Yevgeni Bertels says, this about D'Artagnan and Monte Cristo - two obvious patterns - can be said. And maybe due to these innovations and capabilities of this book that Jamal Z, a prominent novelist, Shams and monogram slightly exaggerate so: In literature, our recent prose is totally unique and inimitable and undoubtedly it is only book deserves to be known as new Persian literature to be translated into foreign languages. Shams language and the monogram, with all its proximity to the language of all educated of the time, especially in comparison with the simplicity and distinctness writings coming years is very complicated. The author does not use enough of Proverbs and Farsi languages, common phrases and other resources. The dialogue in the story is very little and speak longevity is too much. Arabic words and combinations can be seen in the book abundantly.
In general, we can say that monogram and Shams are at a crossroads of ancient and modern literature and it should be judged as an entrance at modern Persian novel
Sheikh Musa Nasri
The second historical novel, Love and Reign, written by Sheikh Musa Nasri, the administrator of state public school of Hamadan, was originally scheduled to be the first volume of a series on the history of ancient Persia. However three volumes of the series were published. Volume I, love and reign or conquests of the Great Cyrus, was published in 1337 AH in Hamadan. The Subject related to the Acts of the Great Cyrus is - at the dawn of Iranian history – is from his childhood to conquering Complex (Hamadan) and sitting on the kingdom throne. Iran's ancient names in an inappropriate way from their French (finally Greek) have been written to Persian and no effort to record their Old Persian pronunciations have been made. It is not clear that if this is another great example of the kind of national amnesia that Iranians of large periods of their history have almost entirely forgotten or the author did it while knew. Edward Brown criticizing this book says: it is full of historical records, mythological notes and archaeological and historical lengthy discourses. Volume II describes Lady Star (published in 1343 AH), Cyrus campaign against krusos (King of Lydia), and conquering Sardis and Lydia accession Iran's fledgling empire.
The third volume named the story of Babylonian Princess and was published in Kermanshah in 1310. Attachment story of Hormuzian, the last commander of the Medes, and Aridis is the last princess of Babylon. However, in the final two volumes many developments are seen; the author's review of the history has got better, Iranian names, especially in the final volume, written in a more genuine form and the story itself is more compact and readable. The Language of Sheikh Musa, although sometimes is strict and spiritless, after all is clear and compelling. Figures of the story rarely talks but, when they open their mouth, not differ from what kind and class them are, their language and their expression is the same; however, as it expected in all three volumes plenty of historical inaccuracy is seen.
Hassan Badi
The third historical novel of this period was the ancient story written by Hasan Badi that was published in 1299 in Tehran. Badi, like the other three authors, in the preface, has mentioned his as the first historical Persian novel that this probably is not out of arrogance, but is rather a sign of the remoteness of the authors from each other. The ancient story, other than Arabic and French sources, mostly derived from Shahnameh, which is why it has both real and mythical quality. The major theme of the book is love of two lovers, Mania and Bijan and Manijeh, and its historical background, the rise of the Achaemenid King and the Great Cyrus and by conquering Lydia and Babylon by Cyrus, the story ends.
So, Badi by describing the location and space uses many skills. His image of historical sites, ancient monuments (in particular monuments) and paintings found in Babylon is very real. Of course, A number of historical errors and uvula can be seen in the ancient story, but sometimes the precise dates and thought provokes the reader's attention, the plan and plot of the book as a work of art in an appreciated form can be considered.
Ultimately, it was a small turning point in the evolution of our literature that was discussed. As we shall see, the natural dialogue was one of the natural intellectual engagements of next novelists.