چكيده لاتين :
1. Introduction
Understanding, recreating, and recognizing the authorial semantic
field of Golestan is one of the controversial approaches of Sa'adi
researchers because its commentators do not agree on its meanings
unanimously. Contradictory opinions about the general structure of
Golestan and inconsistent interpretations of its tales are so widespread
that some researchers have accused Sa'adi of “self-contradiction” and
have criticized him (cf. Kamyar Abedi, 2012, p. 370-87). Terms like
“quarrel with Sa'adi”, “Sa'adi phobia”, and “killing Sa'adi” (cf.
Homāyoun Kātouzīan, 2017, p. 116-139) and many reckless insults to
Sa'adi show the inconsistency of the proposed interpretations about his
works particularly Golestan.
2. Methodology
This research has been done in a descriptive method, based on library
tools and the method of collecting data and information in the form of
research, which is one of the most important literary points of this
article. The question is what causes all these differences and
inconsistencies? Are the meanings of its tales and sentences
understood as the author intended? Answers to these questions cover a
wide area. However, the authors of this paper focus on a widelydiscussed
tale that has received contradictory interpretations in an
attempt to lay the groundwork for a new approach to interpreting Golestan and defend it as a consistent text.
It is worth mentioning that Sa'adi tells the reader how to clearly
understand Golestan. For instance, he is well-aware of the important
role of “genre” in understanding and defines genre as: “we have
included in this book a few short words comprising anecdotes,
proverbs [allegory], poetry, stories, and tales of past Kings”
(Golestan, 2002, p. 10).
Reflecting on these genres, the commentator must go beyond the
apparent or referential implications of words and determine the
implications of the words of Golestan according to literary rules and
figures of speech (similes, metaphors, allegories, irony, etc.). Despite
Sa'adi's direct reference in the preface, most commentators consider
the tales of Golestan as real and experimental events or memories.
Sa'adi researchers have interpreted the tale of “Faqih’s Extremely
Ugly Daughter’s Marriage to the Blind Man” from their own point of
view. Although there is no convergence between these interpretations,
they have judged and criticized the author.
The full text of the story reads as follows:
It is related that Faqih (the Jurisprudent) had a daughter extremely
ugly. She had reached womanhood and notwithstanding dowry and
fortune, no one was inclined to marry her.
On a bride, not a cutie,
Silk and brocade are devoid of beauty.
In short, they had but to marry her to a blind man. It is related that at a
physician had arrived from Serendib who could restore sight to the
blind. They asked Faghih, “why wouldn't you have him cure your sonin-
law?” He replied, “I am afraid lest he might recover his sight and
divorce my daughter. The husband of an ugly woman had better be
blind.” (Golestan, 2018, p. 217)
The writers of this research have put forward a new interpretation of
the tale and pointed to the superficial interpretations and semantic
mistakes of those Sa'adi commentators and researchers who have
failed to understand the “linguistic and historical behavior of the texts.
Since the “presuppositions” and “prejudgments” contrary to "Sa'adi’s
logic" in Golestan obscure the path of correct and meaningful understanding for the researcher, some Sa'adi researchers have failed to enter the semantic field of the tale and attributed meanings not
intended by the author to this text. For instance, Iraj Pezeshkzad
considers this tale among funny and harsh jokes that follow no
purpose but laughter (Pezeshkzad, 2003, p. 36). Henri Massé, the
French orientalist, comments on this story and states that "In the
second chapter (On the Manners of Dervishes), it is unclear why
[Sa'adi] tells the ridiculous story of a blind person who married an
ugly girl" (Massé, 1985, p. 262).
It is the presence of women in this tale that has attracted Gholam
Hussein Yousefi’s attention in his foreword to Golestan (Golestan,
2002, p. 29). Ahmad Reza Yalameha and Moslem Rajabi also found a
moral message in the story: “it is informed with a message that some
people are selfish and, in order to fulfil their personal interests, they
are unmindful of the others and stay indifferent to others' sense of
altruism” (Yalameha and Rajabi, 2015, p. 19).
In a severe criticism against Sa'adi, Hamid Sahebjam’i believes that
Sa'adi not only fails to blame the jurist’s inhumane behavior towards
his blind son-in-law but also treats it with humor and approves of his
behavior” (Sahebjam’i as quoted by Abedi, 2012, p. 259). Amir
Esmail Azar interprets the tale by saying “Sa'adi attaches considerable
significance to the women’s beauty” and “shrewdly praises the
beauty” (Azar, 1996, p. 100-101). Hamid Yazdanparast has the same
interpretation and believes the tale to be about the importance of
feminine beauty: “Beauty is so important that the husband of an ugly
woman is right to avoid her or he must be blind” (Yazdanparast, 2007,
Vol. 2, p. 1125).
This group of Sa'adi researchers has clearly approached the tale with a
view on marital and marriage issues. They have failed to go beyond
the surface structure, for they have thought its genre to be a real event
with a common sense of humor, jugged Sa'adi with their own beliefs,
and misinterpreted the tale.
3. Discussion
The process of understanding the text begins with determining the
implication or implications of each sign and the relationships between
and rules governing the signs of the text (with all the semantic loads).
As long as there is ambiguities in implications, even for a single sign,
neither does the process of understanding end nor does the process of interpretation begin. For instance, Bozorgmehr is quoted in Kalila wa
Demena as saying: “the reader of this book should know the
“purpose” and “intent” behind the authorship of this book” (Nasrollah
Monshi, 2010, p. 39). Therefore, determining the “text genre” which
is the “conventional” function of language guiding the reader while
facing the text is the first step to determine the “purpose” and “intent”
or the systems of implications (ref. Ahmad Vaezi, 2008, p. 278). In
other words, the internal genre is an invisible chain holding and
organizing the signs and consolidating their structure in order to
correctly understand the meaning of the whole text” (ref. Hirsch,
1967, p. 68-111).
Therefore, it is impossible to understand the tales of Golestan if the
internal genre of the book and its tales, although limited, is not
revealed. Sa'adi unveils the internal genre of Golestan intentionally
yet symbolically: “Moreover, it is repugnant to the correct course and
the Sages’ discourse that Ali’s sword should rest in its scabbard and
Sa'adi’s tongue in his mouth” (Golestan, 2002, p. 53).
Golestan was written out of need felt by the society as Imam Ali (AS)
had inevitably chosen to fight to reduce extremisms and reform the
society. We may conclude that the text of Golestan is politicallyoriented.
It was a reaction against the “movements that opposes the
thinking of Sa'adi”.
"Daughter" is a metaphor for "human nature"; therefore, "a very ugly
girl" is a metaphor for an ill nature. In Sa'adi's words, "Ill nature has
ensconced in him" and his daughter has turned ugly. Sa'adi is a
religious scholar and jurisprudent with a very broad knowledge and
moral character. The manifestation of this nature is found in his
works which have attracted a great range of scholars and readership:
The sweetness of the daughters of your wit
Hath all the distinguished men amazed (Sa'adi, 2007, p. 477)
Sa'adi, your daughter is enchanting
So adorned in form and spirits (Ibid, p. 596)
According to Sa'adi, however, the Faqih has a very ugly daughter or
nature. Nature is an invisible essence and “words” are manifestations
of it.
Daughters of taste, that are beautiful words,
Come short before that of the handsome boy (God's creations) (Ibid,
p. 517).The final manifestations of nature are "works" and "books" as well as
actions of the individual. In this light, "the very ugly daughter" is the
books and works of Faqih. The cobbler does not know the habits of
consummation, and his predominant temperament is derived from
anger and lust. The cobbler’s nature is neither “rational soul” as
meant by sages, nor is it “Nature of Love” as interpreted by mystics.
In Sa'adi’s words, he is "deplorable", "cruel" and "ill-tempered".
Metaphorically speaking, the cobbler is the very Faqih; each has an
inappropriate approach to his situation and gives an inappropriate
interpretation of his affairs. The Faqih’s approach to religious texts -
from interpretation to practice - is similar to the cobbler’s behavior to
the nice old man’s daughter. Therefore, this Faqih’s nature is all
given to anger and inelegance.
“Spinster” is a term used to refer to an unmarried woman who is
older than what is perceived as the prime age range during which
women should marry. It could also indicate that a woman was
considered unlikely to ever marry. In its metaphorical sense, the “old
girl” in Sa'adi stands for Faqih’s “old temperament”. The final
manifestation of this ugly taste is Faqih’s book; a book that is ugly in
terms of form and meaning. In contrast to these ugly words (Faqih’s
daughter), there are Sa'adi’s elegant and informed words:
Sa'adi, your daughter is enchanting
So adorned in form and spirits (Sa'adi, 2007, p. 596).
By "great dowry," Sa'adi hints at Faqih’s connection with the
Caliph’s court. In order to preserve his power through divine right of
kings, the Caliph provides the Faqih with much landed and movable
property. In minute detail, Sa'adi pictures the exact amount of the
dowry in its cultural and situational context. In the story of the Faqih
in the fourth chapter of Boostan, Sa'adi gives us the precise size and
extent of the dowry owned by Faqih’s ugly daughter. This Faqih
(despite his ugly daughter) is in the chair, has a lot of pupils, has a
leadership, and is the supreme judge of the city. He is attired in an
impressive robe and is called "Mowla". When walking in the city or
going for a congregational prayer, he is attended by "One hundred
valets" who will go before him.
What is the meaning of consummation? In its ordinary sense of the
term, consummation is the action of making a marriage complete by
having sexual intercourse. Consummation of a marriage initiates a new perception of life, together with imagination, contemplation,
carnal and spiritual pleasure, and finally a birth. In Persian literature,
consummation has often been used as a metaphor to explain, by way
of analogy, the audience’s taste (=groom) in perceiving meanings
(marriage) from an author or other taste (bride) and reproduction of
secondary meanings (= childbirth). “Marriage” in the story in
question has multifaceted significations against each word or
imagery. If we locate temperament in speech, then marriage stands
for the act of listening to the Faqih; in this light, nobody is willing to
marry his ugly daughter; that is, nobody is willing to listen to his
meaningless words.
Ugly is the Wedding Dress on an Ugly Bride: An ugly bride is hardly
beautified by applying cosmetics. In Persian literature, the bride is
sometimes a metaphor for “temperament and taste”. It could still
remain unappealing even if her appearance was beautified. Before
Sa'adi, many poets had likened meaningless words to an ugly bride:
Your words are of neither form nor meaning
As an ugly bride beautified with spurious jewels (Khāghānī, 2009, p.
921).
For the same reason, Sa'adi defends beautiful taste in the sense of
defending sophisticated and scientific works. Unintelligent and ugly
words should not be disguised in attractive cover:
My audience is only Men of Heart as a bride
Undresses only for the groom
An ugly bride is far from lovable,
Even if attired in glorious wedding gown (Sa'adi, 1993, p. 732).
Due to Exigency: At the other extreme is Faqih’s ugly daughter
whom no body desires to marry despite her glorious gown and great
dowry. Due to exigency, she is wed off to a blind person. In its
connotative sense, blind person indicates a person who is blind to
everything, that is, he/she is blind in reasoning and in feeling. In other
words, a blind person is in capable of understanding meanings.
Khaghani juxtaposes the term “eye for meaning” with “blind”:
Jacob may have lost his eye for meaning
Should he give affection to Judah rather than Joseph (Khāghānī,
2009, p. 140).
Similarly, Sa'adi uses the term “blind” for “taste” or “heart” and
employs the metaphor of a man who is blind in wisdom. A “sage” is the master of “ethics”. The sage cures through advice. The Faqih is
afraid of the blind’s treatment. If the groom is healed, he will never
stand Faqih’s ugly books and words; therefore, the illumination of
heart and mind will lead to the divorce of the audience and Faqih’s
nature. The cunning Faqih has contemplated the issue a lot. He well
knows what the consequences are if his pupils and people grow
conscious of the otherwise fake knowledge he has fed them through
their ignorance.
“The husband of an ugly woman had better be blind”: This apparently
compelling sentence evidences a historical current between the court
and Faqihs in controlling the public and the elite for survival of
monarchy. Immediately in the next story, Sa'adi addresses this issue
and exposes the Faqih forever, claiming that he is “a con man though
attired in cleric robe”.
Oh thou! Denuded of virtue inside!
Having a garb of hypocrisy outside!
Hang not a variegated curtain,
Cause on a reed mat thou doest abide. (Golestan, 2018, p. 219)
In other words, Thou are indulgent within yet a wolf in sheep's
clothing. Do not flaunt glorious curtains when your room is empty
behind.
4. Conclusion
The meaning of the words in Tale of Faqih (jurisprudent) is not
limited to the referential and automated signification of the language.
Rather, a secondary semantic structure is embedded in the story. The
story is a political-religious allegory in genre and sets forth the
critique of court Faqihs. The structure of this symbolic allegory draws
on a number of well-known, widely-used and well-established
metaphors in the Persian literature. The reason behind the veiling of
meanings (by metaphors with no invocation of tenors) had political
grounds. The author uses the empirical and structured concepts of
"visit of girls and courtship", "desire to marry", " bridal make-up and
dress", "manners of the blind", "eye treatment" and "divorce
etiquette" to structure the reasonable concepts of the story. The
comprehension of the story depends on familiarity with metaphorical
concepts already set in the tradition of Persian literature. This
understanding process calls for yoking the referents with the reasonable meanings and summoning the missing context from the
text of Sa'adi’s works. In this light, Sa'adi has criticized the mean and
peevish Faqihs for their "distorted inference of moral system" from
the religious system and for "its legitimization and spread through
mischievous imitators" in a "humorous, amusing, yet decent style"
much in sagacious manner as is expected from Sa'adi.
