The Goddess Selket (with A Scorpion Upon Her Head) And Queen Nefertari In The Distance, Depicted Within
The goddess Selket (with a scorpion upon her head) and queen Nefertari in the distance, depicted within the Tomb of Nefertari, Valley of the Queens.
More Posts from S-afshar and Others
Κοσμάς Μεγαλομμάτης, Νεργκάλ: Παγκόσμια Μυθολογία-1989
Κοσμάς Μεγαλομμάτης, Νεργκάλ: Παγκόσμια Μυθολογία, Ελληνική Εκπαιδευτική Εγκυκλοπαίδεια, 1989
Кузьма Мегаломматис, Нергал: мировая мифология, Греческая педагогическая энциклопедия, 1989
Kosmas Megalommatis, Nergal: Weltmythologie, Griechische Pädagogische Enzyklopädie, 1989
Kosmas Gözübüyükoğlu, Nergal: Dünya Mitolojisi, Yunan Pedagoji Ansiklopedisi, 1989
قزمان ميغالوماتيس، نرگال : اساطیر جهانی، دایره المعارف آموزشی یونانی، 1989
Côme Megalommatis, Nergal: Mythologie mondiale, Encyclopédie pédagogique grecque, 1989
1989 قزمان ميغالوماتيس، نرغال : الأساطير العالمية، الموسوعة التربوية اليونانية،
Cosimo Megalommatis, Nergal (o Nerigal): mitologia mondiale, Enciclopedia pedagogica greca, 1989
Cosimo Megalommatis, Nergal: mitología mundial, Enciclopedia pedagógica griega, 1989
Cosmas Megalommatis, Nergal: World Mythology, Greek Pedagogical Encyclopedia, 1989
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The classical Kufic script of the Blue Quran, by unknown, North Africa or Southern Spain, 9th or 10th Century CE.
Το Πλοίο του Σουλεϋμάν – Εισαγωγή
Stohastis Publishing House, 1993
The Ship of Suleyman – Safinah-i Sulaymani / سفینه سلیمانی Introduction of the Greek edition of The Ship of Suleyman / Book review:
https://www.academia.edu/23396049/Safina_i_Sulaymani_Shah_Sulaymans_diplomatic_missions_deeds_in_Thailand_edition_M_S_Megalommatis Αυτό το κείμενο αποτελεί την Εισαγωγή της νεοελληνικής έκδοσης του συγγραφέντος από τον Ιμπν Μουχάμαντ Ιμπραήμ κειμένου – αναφοράς για τα πεπραγμένα της αποστολής στην οποία αυτός είχε συμμετάσχει. Ο Μουχάμαντ Ράμπια Ιμπν Μουχάμαντ Ιμπραήμ (محمد ربیع بن محمد ابراهیم/Muhammad Rabi` ibn Muhammad Ibrahim) ήταν ο επίσημος σαφεβιδικός γραφέας της αυτοκρατορικής αποστολ΄ής στο Σιάμ (Ταϋλάνδη). Υπέβαλε την αναφορά του αυτή στον Σάχη Σουλεϋμάν και ακριβώς γι’ αυτό ο τίτλος κάνει λόγο για το Πλοίο του Σουλεϋμάν. Ο Σάχης Σουλευμάν βασίλευσε από το 1668 έως το 1694. Η αποστολή στο Σιάμ ανεχώρησε την 27η Ιουνίου 1685 από το Μπαντάρ Αμπάς (ένα από τα λιμάνια του Ι΄ράν στον Περσικό Κόλπο) και επέστρεψε την 14η Μαΐου 1988. Η μετάφραση έγινε από την αγγλική έκδοση του John O’Kane, The ship of Sulaiman [by ibn Muhammad Ibrahim], London, Routledge & K. Paul [1972]. Η νεοελληνική έκδοση ακολουθεί την αγγλική στην διάρθρωση του κειμένου σε εισαγωγή, τέσσερα κεφάλαια (‘μαργαριτάρια’) και επιμύθιο. Είναι αναλυτικά σχολιασμένη και επεξηγημένη από τον μεταφραστή. Κυκλοφόρησε ως βιβλίο στις εκδόσεις Στοχαστής το 1993 (368 σελίδες). Το χειρόγραφο βρίσκεται στο Βρεταννικό Μουσείο. Περισσότερα για την αγγλική έκδοση: https://catalogue.nla.gov.au/Record/496059 Σχετικά με το θέμα (σε φαρσί): https://fa.wikifeqh.ir/سفینه_سلیمانی_(کتاب)
Εδώ μπορείτε να κατεβάσετε μία από τις ιρανικές εκδόσεις (σε φαρσί): asmaneketab.ir/product/کتاب-سفینه-سلیمانی-محمدربیع-بن-محمداب/ Εκδόσεις Στοχαστής, Αθήνα 1993 - Stohastis Publishing House, Athens 1993
Cosmas Megalommatis, Zurvan: World Mythology-1989
Κοσμάς Μεγαλομμάτης, Ζερβάν: Παγκόσμια Μυθολογία, Ελληνική Εκπαιδευτική Εγκυκλοπαίδεια, 1989
Кузьма Мегаломматис, Зерван (Зурван или Зарван): мировая мифология, Греческая педагогическая энциклопедия, 1989
Kosmas Megalommatis, Zurvan (auch Zervan): Weltmythologie, Griechische Pädagogische Enzyklopädie, 1989
Kosmas Gözübüyükoğlu, Zurvan (veya Zervan): Dünya Mitolojisi, Yunan Pedagoji Ansiklopedisi, 1989
قزمان ميغالوماتيس، زروان : اساطیر جهانی، دایره المعارف آموزشی یونانی، 1989
Côme Megalommatis, Zervan (ou Zurvan): Mythologie mondiale, Encyclopédie pédagogique grecque, 1989
1989 قزمان ميغالوماتيس، زورفان: الأساطير العالمية، الموسوعة التربوية اليونانية،
Cosimo Megalommatis, Zurvan (Zurvan Akarana o Zervan Akarana): mitologia mondiale, Enciclopedia pedagogica greca, 1989
Cosimo Megalommatis, Zurvan (o Zervan): mitología mundial, Enciclopedia pedagógica griega, 1989
Cosmas Megalommatis, Zurvan: World Mythology, Greek Pedagogical Encyclopedia, 1989
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Phrases in Coptic
ⲁϣ ⲡⲉ ⲡⲉⲕⲣⲏϯ?(ash pe pekrēti?) : How are you?
ⲛⲓⲙ ⲡⲉ ⲡⲉⲕⲣⲁⲛ? (nīm pe pekran?) : what’s your name?
ⲕϧⲉⲛ ⲟⲩⲏⲣ ⲛ̀ⲣⲟⲙⲡⲓ? (K-khen wēr nrompi?) : how old are you?
ⲟⲩ ⲡⲉ ⲡⲉⲕⲓⲟⲡⲓ? (Ou pe pekyopi?) : what do you do for a job?
Here we fucking go. No space for hesitation this time, lads - we break the English connection now or never.
Beyond Afrocentrism: Prerequisites for Somalia to lead African de-colonization and de-Westernization
What follows is the quasi-totality of my response to a Somali scholar, intellectual and activist, who happened to be a very good personal friend since the early 2010s and my days in Somalia. Being a perspicacious reader, my good friend, who originates from two different tribal backgrounds and has an unmatched knowledge of his great but recently (since 1991) beleaguered nation, noticed several recent articles of mine in which I call for a definite and irreversible replacement of the Anglo-French colonial rule in Africa with a genuine, secular African-Chinese-Indian-Russian alliance.
The Great Cat - Horus (Messiah) defeats the Ancient Serpent - Seth (Anti-Messiah); wall painting from the Tomb of Pashedu (TT3) in Deir el Medina (Luxor West)
Afrocentrism will be a total failure if it is thought to be just an African intellectual's thought, idea, theory or ideology. Theorizing is already part of Western intellectuals' falsehood and evildoing. Philosophy is nonsensical, absurd, false and inhuman. There was never 'philosophy' in Africa, because it would be viewed as deviation and decay. Contrarily, in Ancient Africa there were Truth, Transcendental Spirituality, Primordial Myth, World Conceptualization, Supratemporal Eschatology, and Spiritual-Material Synergy. So, the primary tasks of African Afrocentric intellectuals involve the irrevocable obliteration of all Western terms and their replacement with Oriental African concepts, notions, terms, values and virtues. Consequently, there cannot be "an Afrocentric University", because this term follows a Western pattern. Offering herewith an example, I suggest that every institution in which African students will learn the truth should be called after the Ancient Egyptian term "the Place of Truth" and the instructors "Servants in the Place of Truth". This title was associated at the time with all the great scholars specializing in mummification and in the preparation of the human soul for the Hereafter. However, this has always been the value of life, learning and knowledge according to all the varieties of African culture: material life is subject to moral judgments that enable us to gain eternal life.
Contents
Introduction
I. Decolonization and the failure of the Afrocentric Intelligentsia
II. Afrocentric African scholars should have been taken Egyptology back from the Western Orientalists and Africanists
III. Western Usurpation of African Heritage must be canceled.
IV. Afrocentrism had to encompass severe criticism and total rejection of the so-called Western Civilization
V. Afrocentrism as a form of African Isolationism drawing a line of separation between colonized nations in Africa and Asia
VI. General estimation of the human resources, the time, and the cost needed
VII. Decolonization means above all De-Anglicization and De-Francization
Introduction
Realizing what is at stake and being well acquainted with earlier African attempts for a final decolonization (notably the intellectual-academic sphere of Afrocentrism and the political activists of African Renaissance), my friend, who has the same age with me and who studied, lived, worked and prospered in the USSR, Canada, Yemen and Pakistan, wrote to ask me how Somalia could eventually contribute to or lead the African decolonization and de-Westernization movement, thus taking the Black Continent to the next stage and justifying the great expectations that were created across Africa back in 1960, due to the independence and the unification (of only two out of the five parts) of Somalia.
At this point, I have to add that the present response is only the first of three letters that I planned to send to my friend. The urgent need for worldwide decolonization and de-Westernization has become a major issue for great nations, organizations and alliances, like the BRICS+. Many people across the world would therefore question the entire conversation, stating that presently Somalia is too small, too weak, and too disunited in order to possibly undertake international tasks that seem to be best suited rather to some of the world's leading states.
I believe that, although this approach may be shared by many people, it is ostensibly very shallow. This is so because stronger a nation is, more difficult it becomes for their rulers, elites, and people to undertake an in-depth self-criticism, reassessment, and restart or partly rectification. In other words, a better organized nation is by definition more conservative and therefore less inclined to changes; these traits and conditions have been attested repeatedly throughout History.
Consequently, when it comes to colonization and Westernization, self-scrutiny must be very deep, and this -at the national level- can be extremely painful. That is why, in Russia, de-Westernization will be a far more difficult process to be carried out than in India.
Taken into consideration that Westernization (not only behavioral-cultural but mainly educational-academic-intellectual) is tantamount to alteration, corruption and degeneration, one has to underscore at this point that national identity is not necessarily proportionate to national independence. It is quite possible that an educationally-academically-intellectually corrupted nation, although in possession of an independent state, has minimal national consciousness (because of their entirely Westernized education), whereas an enslaved nation struggling to achieve national independence may have fully preserved their national identity and intellectual originality.
Back in January 2021, I explained exactly this to an Oromo friend, who wrote to ask me why Egypt does not help the Oromo liberation movements achieve national independence for Oromia and in the process demolish the obsolete and genocidal state of Abyssinia (Fake Ethiopia). Egypt is an independent state without national consciousness of historicity whereas the Oromos are a non-independent nation with emphatically strong Cushitic national identity and cultural originality. It took me a series of five articles to fully respond at the time; in the last article of the series, one can find titles of and links to the earlier parts:
I expand on these topics, because there is a multitude of parameters in the much needed effort of African decolonization and educational-academic-intellectual de-Westernization. To offer an example, I have to say that even the nefarious term "university" (from the Latin "universitas") cannot be possibly accepted by all those who -in Africa, Asia, Eastern Europe and Latin America- seek decolonization, de-Westernization, and restoration of the ancestral values, moral standards, cultural integrity, and academic-educational traditions. This is however discussed in a second letter dispatched to my friend. Last, in a third letter, I examine a number of major issues around which the refutation of the Western colonial forgery and pseudo-historical doctrine will have to revolve.
---------------------- Letter to a Somali friend -----------------------
Thank you for the opportunity you offer me to write down my observations, perceptions, reflections, and conclusions on the topic under discussion!
I. Decolonization and the failure of the Afrocentric Intelligentsia
Several educational, academic, intellectual and political efforts have been undertaken over the past six (6) decades in order to take Africa out of the disastrous and heavy, colonial impact and to help the various nations of the Black Continent achieve national identity, cultural integrity, and ultimate liberation from the Western yoke.
Explaining why the Afrocentric African intellectuals failed (or at least they did not meet the early enthusiastic expectations) necessitates an extremely lengthy treatise the size of an encyclopedia; however, at this moment, I have to pinpoint the crucial mistakes made by the leading figures of the movement that became known as Afrocentrism.
To offer beforehand a recapitulative judgment, I would say that they all viewed their tasks within a far narrower context, thus minimizing the extent of the work that lies ahead.
They did not realize the importance of inter-African concertation, reciprocal knowledge, and systematized cooperation.
They failed to evaluate the extent to which they all have been altered, Westernized, and alienated from their t=roots.
They did not examine how sick, absurd, criminal, and inhuman the Western world was - even before colonizing Africa and other parts of the world.
And they did not consider as their priority to contact other colonized nations in Asia, Eastern Europe, and Latin America, to exchange descriptions of common experience, and to decide about their much needed common struggle and decolonization effort.
II. Afrocentric African scholars should have been taken Egyptology back from the Western Orientalists and Africanists
First and foremost, their overall mental and intellectual endeavor was utterly wrong, misplaced, upended, and factitious. Although this statement seems to be extremely disappointing and perhaps even unfair, it is not. When people like Cheikh Anta Diop and Molefi Kete Asante decided to oppose the colonial powers and their historical distortions by means of Afrocentrism, they acted (without even understanding it) as typical Western intellectuals or philosophers.
The Afrocentric African intellectuals thought that their own African culture could give them the foremost insignia of originality, but this was a wrong assumption. Unfortunately, they never questioned their authenticity and they failed to notice that they had already been exposed to overwhelming colonial impact at the mental, intellectual, educational, academic and scientific levels. So, they did not even imagine that they had first to methodically filter their mindsets, concepts and beliefs, and to remove the clutter. They did not realize that they had first to thoroughly study in-depth Egyptian hieroglyphics, Ancient Egyptian civilization, and the History of Egypt down to Modern Times in order to have access to the foremost African past.
This would not be an easy task, because they would have to take Egyptological courses mainly in French- or English-speaking countries (or alternatively in Italy, Germany, Russia, Austria, Poland or Egypt - without however major differences in the syllabus, methodology or apparoach). In these countries' academic institutions, their professors would teach and propagate the compact, pseudo-historical dogma, which has progressively covered all sectors of Humanities and which was geared in order to historically legitimize and consolidate the Western colonial power at the educational, intellectual, and academic levels. This Western historical forgery is at the origin of every colonial evildoing, because it stipulates the preposterous Western supremacy, it defines the cruel and inhuman West as 'the realm of civilization', it denigrates all the other great nations (not only Africans) as barbarians, and it offers to the Western gangsters the foremost pretext to colonize the world.
So, as Afrocentric African students, they would have to meticulously search, find out, and identify -in the manuals that they would study and in the courses that they would attend- endless inaccuracies, deliberate errors, obvious lies, and a multitude of techniques geared by Western Egyptologists in order to distort the historical truth and to adjust all newly found data to the arbitrarily preconceived and shamelessly pronounced diagram of World Pseudo-History that the evil intellectuals of Western European Renaissance composed in the 15th and the 16th centuries, before sending their heinous, anti-Christian, barbarian and racist conquistadors and rascals to invade the rest of the world and carry out unstoppable series of genocides.
This means that, instead of blindly accepting their Western professors' assumptions and teachings, the Afrocentric African students of Western Egyptologists should scrutinize every single word, argumentation, conclusion, pretension, interpretation, lecture and publication of their professors, denounce -point by point- every single case of falsehood or deliberate distortion, and reject the Western Egyptology across the board.
The task of the first Afrocentric African Egyptologists would be immense, involving
a) the publication of encyclopedias and books, academic periodicals, and secondary education manuals, and
b) extensive activities in terms of science popularization in newspapers, reviews, movies and TV programs – all available in many African languages, not in French and English.
All the criminal lies of the Western Eurocentric Egyptologists should be ferociously denounced, whereas Egypt, Sudan and Libya should be persuasively asked by all the other African states to effectively ban every Western European, Australian, and North American Egyptologist and Egyptological mission member, who did not denounce the fallacies of Eurocentrism, Judeo-Christian tradition, Greco-Roman civilization, Hellenism, Classicism and Renaissance.
To give you an approximate idea, if the aforementioned development had taken place at the time, by now there would have been formed several hundreds of Afrocentric African Egyptologists teaching factual, truthful and unadulterated Egyptology in more than a hundred universities across the Black Continent. You certainly can fathom what a devastating blow against the Western European and North American colonial academia this development would have been.
Contrarily to this indispensable task and inevitable priority, the first Afrocentric African Egyptologists were merely theorizing in a most harmless manner, while having a very shallow understanding of Ancient Egypt. As a matter of fact, they never challenged, let alone endangered, the academic, educational and intellectual interests and biases of the Western colonial elites. Even worse, they intended to make political use of the Ancient Egyptian heritage; but this was really calamitous because "politics" is an entirely Modern Western fabrication that did not exist in the past in Africa, Asia or Europe. There will never be decolonization with politics anywhere, because there was no politics before the colonial era.
More importantly, the aforementioned approach, which applies to Egyptology, should have also been followed in all the other sectors of Humanities that concern Pre-Islamic Africa, namely Meroitic-Cushitic Studies, Axumite Abyssinian Studies (to best document the Yemenite, non-African, origin of the Axumites), Punt and Ancient Somali Studies, Punic (Carthaginian) Studies, Libyco-Berber Studies, Late Antiquity Africa, and African Christianity.
III. Western Usurpation of African Heritage must be canceled.
In addition to the aforementioned, the Afrocentric African Egyptologists should undertake another, turly enormous endeavor, namely the ultimate denunciation and the irrevocable cancellation of the Western usurpation of a sizeable part of African and Asiatic historical heritage. Example:
Plotinus (204-270), who was an Egyptian mystic, erudite scholar, and spiritual master, has been distortedly named as "Greek Platonist philosopher" by the racist, colonial forgers of Western universities; but Plotinus was born in today's Asyut (Zawty in Egyptian Hieroglyphics; Syowt in Coptic; Lycopolis in Ancient Greek) in Central Egypt. He was an Egyptian, and his spiritual doctrine was entirely Egyptian; Plotinus wrote in Ancient Greek only to further propagate his knowledge, wisdom and world conceptualization, but his knowledge of Ancient Egyptian Hieroglyphics is unquestionable.
Would it be therefore normal to consider an African American as an Anglo-Saxon only because he writes in English?
Many non-specialists may wish to formulate another question about Plotinus:
Why do then Western forgers call Plotinus "a Platonist philosopher"?
This is simple to answer.
Plato had traveled and studied in Egypt; in fact, his theories and world views are not his, but have derived from well-known, fundamental Ancient Egyptian concepts of transcendental knowledge, spirituality, moral, and world conceptualization. The underlying nature of Plato's so-called philosophy is the Ancient Egyptian Iwnw (Heliopolitan) dogma (also called among Greeks as "the Ennead"), i.e. one of the most influential religions of Ancient Egypt, which progressively spread throughout the Mediterranean Sea and Europe. So, Plotinus is a valuable part of Ancient African heritage that has been usurped after it was labeled "Greek" by the racist and criminal French, English and American academics and forgers.
Another example is offered by Porphyry of Tyre (234-305), Plotinus' student; he was a Phoenician spiritual master, cosmologist, mathematician, intellectual, debater, and author. Although Assyrian-Babylonian spirituality, science and wisdom are evident in his works, Western academic fraudsters still call him "Neo-platonic philosopher", which is another blatant case of Western usurpation of Oriental Asiatic heritage.
There is nothing "Greek", nothing "European", and nothing "Western", in the highly valuable works of those great spiritual mystics and erudite scholars; they were genuinely Oriental, either African or Asiatic. But faithless, atheist, and materialist forgers of the Western universities have ludicrously labeled all these great masters "philosophers", thus propagating the use of a profane word, which during the Antiquity was of low connotation, because it was in straight opposition to words such as "wise", "sacred", "venerated", "pious", and "consecrated".
Compared to the high priests of Egypt, Cush/Meroe, Punt/Somalia, Carthage, Phoenicia, Assyria and Iran, the so-called Ancient Greek and Roman "philosophers" constituted villainous and degenerate evildoers. The profanity of those corrupt, obscene and barbarian malefactors (like the Epicureans) is beyond description, as they pretended that Man has the right to perform all the absurd crimes and the most repugnant sins if this is 'good' for his sensual pleasures.
No Afrocentric African Egyptologists and Africanists will ever do good service to the Black Continent, their national identity, their cultural integrity, and the values and virtues of their ancestors, if they do not irrevocably reject the Western usurpation of Oriental heritage; actually, it is their obligation to irreversibly eradicate the last shred of Western impact on African education, academic knowledge, intellectual life, and moral tradition.
IV. Afrocentrism had to encompass severe criticism and total rejection of the so-called Western Civilization
Second, the overall mental and intellectual endeavor of the Afrocentric African intellectuals was definitely incomplete. Not only they did not study Egyptology to acquire access into the Ancient Egyptian Hieroglyphic sources that constitute the utmost African originality, but they also failed to duly explore, analyze and criticize the Modern Western world. All the same, they would have two major tasks in this regard; more specifically, they had to first, evaluate the Western world on the basis of their own African criteria and values, and second, publish their argumentations, evaluations, and conclusions.
As a matter of fact, they had to ultimately investigate the so-called Western world per se, identify its nature and origin, describe the process of its fabrication, denounce its unreliability and inhumanity, and discredit the Western intellectuals' conclusions, assumptions, pretensions, and fake stories. In other words, they had to effectively check whether the so-called Western world was anything more than spiritual corruption, deliberate alteration, and degenerate disfigurement of a part of the Ancient Oriental world.
This is a very critical point; although no Afrocentric African Egyptologists and Africanists have been formed until now (in order to subsequently re-establish an Afrocentric version of Egyptology and of several other related fields of Humanities), African universities have been flooded with numerous types of absurd, preposterous Western propaganda, notably the academic fields of French Literature, Art, History and Culture, English Literature, Art, History and Culture, Italian Literature, Art, History and Culture, Modern European Philosophy, etc.
All these fields have been accepted and developed in African universities; and the contents of numerous syllabuses were instructed to African students on African soil. This was carried out very thoughtlessly and extremely disastrously. Due to this situation, a great number of texts written by Western poets, playwrights, authors, philosophers and others were diffused among African populations. This means that immoral concepts, evil plots, inhuman stories, criminal ideas, vicious thoughts, counterfeit values, and execrable vices made their way into the hearts and the minds of millions of innocent Africans, fully corrupting them and effectively destroying their culture. This very deceitful and extremely pernicious method made many Africans unconsciously accept what would be impermissible for their parents' and ancestors' standards, values, and measures to tolerate.
It is most unfortunate that the Afrocentric intelligentsia of Africa failed to make it clear that no Western European and Northern American text can be taught, studied, printed or diffused on African soil, if it does not comprehensively comply with African values, virtues and traditions. Voltaire, Jean Jacques Rousseau, William Shakespeare, François Rabelais, Joachim du Bellay, Montesquieu, Victor Hugo, Charles Baudelaire, Rudyard Kipling, Albert Camus, Agatha Christie, and scores of other supposedly important, valuable or even acceptable authors are absolutely pathetic and worthless when evaluated as per African moral values, measures and cultural criteria.
In fact, most of these pathetic, anomalous and evil individuals were heinous fanatics, paranoid fraudsters, and abhorrent sinners, who carried out crimes, propagated evildoing, despised their fellow countrymen, and promoted immoral manners and unethical behavior. They were abnormal to the extent of loathing and reviling the Christian culture of the societies in which they belonged and which they wanted to destroy. Clearly, there is only one reason for which Agatha Christie's novels (to offer an example) could be accepted as a study topic in African universities: in order to castigate the evil plot and to articulate a devastating critique of English Literature on the basis of African moral considerations, traditional values, and literary standards.
V. Afrocentrism as a form of African Isolationism drawing a line of separation between colonized nations in Africa and Asia
Third, the overall mental and intellectual endeavor of the Afrocentric African intellectuals proved also to be disturbingly egocentric; this is due to the fact that the interpretation of their approach leads us to the conclusion that they considered the colonial wrongdoings as necessary to eliminate only from Africa. In other words, they failed to notice that Africa was only one of the colonial powers' targeted lands or continents and that the Spaniards, the Portuguese, the English, the French, the Dutch, and the Belgians also colonized vast territories in Asia, Europe and Latin America. Last, they did not take into account that the Western colonial practices have been continued by several derivative states of the colonial powers, notably the US, New Zealand, Australia, and Canada.
It would however be very helpful for all the Afrocentric African intellectuals to examine how the Ottoman Empire (one of African History's largest empires), Iran, the Mughal Empire of India, China, and even Russia were systematically and incessantly targeted by the colonial empires of the West. Furthermore, it would be very useful for those intellectuals to observe and assess that, for the colonial powers, the military occupation or the political dependence of a land, nation or kingdom is not the only means of effectively impacting a colony and introducing it into the colonial metropolis' sphere of influence.
Russia was never occupied militarily by the Western colonial powers, but from the beginning of the 18th c., the Romanov dynasty was targeted with a sophisticated and multifaceted process of Westernization (Europeanization) to which many Russian nobles, clerics and intellectuals reacted ferociously. It is quite telling that the Imperial Russian elite was successfully dragged to the extent of becoming an ally of the atheist and profane state of France (instead of naturally siding with Germany and Austria-Hungary), only to be exhausted in WW I, defeated by the Germans, and replaced by the Communists, who were totally alien to Russian culture.
This shows that to best serve African nations' interests and anticolonial vocation, the Afrocentric intelligentsia of Africa should enlarge their horizons, see Africa as only one colonially targeted land or continent, and enrich their knowledge and experience with the study of non-African civilizations, lands and nations that have also been colonized by the Western colonial powers. No one can possibly assess the historical distortions made by the Western academics during the formulation of their bogus-historical dogma, without duly delving into numerous fields of Humanities and fully checking endless inaccuracies, deliberate errors, obvious lies and a multitude of techniques geared by Western scholars in fields like Assyriology, Hittitology, Iranology, Biblical Studies, Indology, Islamology, Turkology, Slavic and Russian Studies, and Sinology.
VI. General estimation of the human resources, the time, and the cost needed
The aforementioned criticism may now help as a guideline for the future; what was not achieved in the past can be attempted now. Presently, perhaps the international context is more favorable to such an effort. Speaking for a middle-size African state, such as Algeria (in guise of an example), the effort to launch numerous sectors of Humanities, as new academic fields entirely free of colonial falsehood and distortion, would not be difficult to undertake. All the same, it would certainly demand perfect conceptualization of the commendable objective and proper contextualization within the international community. As it consists in a project of national and all-African dimensions, it should be placed under central (governmental) guidance and supervision.
It goes without saying that a project this important would also involve fully committed students, who would be absolutely conscious of the national and all-African character of the undertaking, and of their role in it. They should first be prepared during a 3 or 4-year syllabus (leading to a B.A.) and then financially supported during their graduate, postgraduate and doctoral studies. They should finally be committed to
a) returning to their 'alma mater',
b) being appointed there, and
c) launching a new department of studies in the sector in which they would have already been specialized.
To give an estimate, this national and all-African project (covering sectors named or insinuated in the aforementioned parts II, III, IV and V) would encompass around 50 (fifty) different sectors of Humanities. Selecting 10 (ten) genuinely interested and devoted students, who would be ready to specialize in the designated fields and return to be employed, means a total of 500 students, i.e. 500 scholarships for 10 years, and one secretariat in order to adequately administer the whole project. For a country like Eritrea or Mauritania, this would certainly be difficult to undertake, but for Algeria it is affordable. It would not exceed 100 million US$ for the entire period (including also the infrastructure and the establishment of basic libraries).
It would not only be a historic investment in terms of National and All-African Education, but it would also constitute a formerly colonized nation's most radical, resolute and drastic step out of the colonial era. In other words, in 15 (fifteen) years, an effort of such magnitude would bring forth results that would be exponentially greater than what the reputed Institute of African Studies of the University of Ghana achieved in more than 60 years (it was incepted in 1962).
VII. Decolonization means above all De-Anglicization and De-Francization
The previous paragraphs contain a brief criticism of the Afrocentric movement and at the same time reveal why it failed to bring forth substantive results. As a matter of fact, it should have started with an in-depth effort of self-knowledge. Today, in reality, Africans do not know one another, and if they do, this happens at a so superficial level that it is insignificant. This is exactly what I wrote before more than 10 years in a presentation which was widely publicized in Nigeria:
There is no African unity, no African identity, and no African interconnection, when Africans need colonial nations' languages (English and French) to communicate with one another. In this regard, it is essential at this point to highlight that the current political appearance and the political map of Africa are also of entirely colonial nature; it is what the colonial powers wanted to impose on the Black Continent. That's why it cannot be taken seriously into account.
Any genuine and integer African cannot accept the colonial falsehood as per which Arabic is the main language throughout North Africa. This 'happens' only according to the Orientalist falsehood and due to colonial involvement and interference. In reality, Berber (Amazigh) is the main language throughout North Africa, and all the Africans, who deny this reality, are -quite unfortunately- victims of the colonial powers and of the delusion that European Orientalist and Africanist academics methodically created in order to effectively prevent Africans from achieving true nation building. Then, this implies that there should be Departments of Berber Language and Culture in at least 15 African countries. A Hausa-speaking Nigerian, a Somali, and a Swahili-speaking Kenyan should have the chance (in the perspective of 15 years after the beginning of the herein described educational-academic-intellectual decolonization project in their respective countries) of learning Berber in their high school. Similarly, an Algerian, a Moroccan, a Tunisian or a Libyan should have the chance of learning Hausa, Somali or Swahili in their relevant high schools.
More than 10 million people in Egypt are Copts; for a real African and Afrocentric thinker, the absence of Departments of Coptic Language, Literature and Theology is one of the worst results of the colonial rule throughout Africa. Somalia is an entirely Muslim country; yet, a Department of Coptology would be necessary in Somalia, because only then all the Somalis would understand the historical dependence of the Amhara and Tigray Abyssinians on the Copts, the existing differences between the Amhara and the Copts of Egypt, the pseudo-Christian nature of the Amhara, the reason for which the Christian Orthodox Oromos rejected to have any connection with the Amhara and were (few years ago) directly connected to Copts (the Coptic Patriarchate of Alexandria), and many other similar issues.
To underscore few specific points around which Somali Education, Academic Research, and National Building become one unitary endeavor, I would say the following: if the Amhara tribe and the Abyssinian colonial state proved to be a serious problem and a real threat for Somalia and the Somalis, it is then a national obligation of the Somali government to form a small force of academic specialists, who by studying and learning Coptic language, Coptic cult, Coptic theology, and History of the Coptic Church, will be able to advise correctly on all topics related to the Amhara Abyssinians and to the reason of their hatred of Somalia, Egypt, Islam, and Coptic Christianity. Furthermore, these Somali scholars will be able to unveil to many other Christian Africans the anti-Christian nature of the Amhara and their leaders.
For this to happen, after a first 3 or 4-year curriculum (leading to a B.A.), a Somali graduate should first choose this field as the main objective of his professional academic career; at the same time, he will have to be fully conscious of the fact that his desire to study Coptic in Egypt, specialize in Coptology, and become an expert on the matter does not constitute only his own career choice, but it is also a matter of national importance for Somalia. For this to be confirmed, governmental scholarships will have to be announced and offered for a certain number of years.
A certain perspective has to be given to similar projects leading to the preparation and the launching of a Department of Coptology in Somalia. As I already said at the end of part VI), if we calculate a) the first circle of studies that will lead to a B.A. in Somalia (during which the selection of one or two candidates for specific scholarship for Coptic Studies will take place), b) the postgraduate & doctoral studies (5-7 years) that the Somali graduates will undertake, and c) their return to Somalia in order to launch for the first time a Department of Coptology, it will take ca. 10 years until the state of Somalia establishes a pertinent educational-academic foundation in this regard.
If this is what is needed for the launching of Coptic Studies in Somalia, similar effort has to be deployed for the establishment of many other sectors of Humanities. It will be a matter of Somali students' commitment and Somali government's investment in a national and all-African cause.
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Download the article in PDF:
Cosmas Megalommatis, Nabu: World Mythology, Greek Pedagogical Encyclopedia, 1989
Κοσμάς Μεγαλομμάτης, Ναμπού: Παγκόσμια Μυθολογία, Ελληνική Εκπαιδευτική Εγκυκλοπαίδεια, 1989
Кузьма Мегаломматис, Набу: мировая мифология, Греческая педагогическая энциклопедия, 1989
Kosmas Megalommatis, Nabu: Weltmythologie, Griechische Pädagogische Enzyklopädie, 1989
Kosmas Gözübüyükoğlu, Nabu: Dünya Mitolojisi, Yunan Pedagoji Ansiklopedisi, 1989
قزمان ميغالوماتيس، نبو : اساطیر جهانی، دایره المعارف آموزشی یونانی، 1989
Côme Megalommatis, Nabû: Mythologie mondiale, Encyclopédie pédagogique grecque, 1989
1989 قزمان ميغالوماتيس، نابو : الأساطير العالمية، الموسوعة التربوية اليونانية،
Cosimo Megalommatis, Nabu: mitologia mondiale, Enciclopedia pedagogica greca, 1989
Cosimo Megalommatis, Nabu: mitología mundial, Enciclopedia pedagógica griega, 1989
Cosmas Megalommatis, Nabu: World Mythology, Greek Pedagogical Encyclopedia, 1989
===============
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Εθνικός Ποιητής των Αζέρων o Νεζαμί Γκαντζεβί, Χαφτ Πεϋκάρ (Επτά Ομορφιές), κι η Αναζήτηση της Υπερβατικής Ομορφιάς Γαιών και Εθνών από τον Σάχη Μπαχράμ Γκουρ
Nezami Ganjavi, National Poet of the Azeris, his Haft Peykar (Seven Beauties) and the Search for the Transcendental Ebullience of Lands and Nations by the Shah Bahram Gur
ΑΝΑΔΗΜΟΣΙΕΥΣΗ ΑΠΟ ΤΟ ΣΗΜΕΡΑ ΑΝΕΝΕΡΓΟ ΜΠΛΟΓΚ “ΟΙ ΡΩΜΙΟΙ ΤΗΣ ΑΝΑΤΟΛΗΣ”
Το κείμενο του κ. Νίκου Μπαϋρακτάρη είχε αρχικά δημοσιευθεί την 1η Σεπτεμβρίου 2019.
Στο κείμενό του αυτό, ο κ. Μπαϋραρκτάρης δημοσιεύει περίληψη ομιλίας μου (στο Πεκίνο τον Ιανουάριο 2019) αναφερόμενης στην υπερχρονική Κοσμογονία, Κοσμολογία και Εσχατολογία του Νεζαμί Γκαντζεβί και στο τι αυτή σημαίνει για τα μεγάλα έθνη της Γης σήμερα ως αποκαλυπτική προφητεία. Αντίθετα από τις πρόχειρες ερμηνείες δυτικών οριενταλιστών, η ποίηση του Νεζαμί Γκαντζεβί δεν έχει τίποτα το λυρικό ή ερωτικό, και οι αναφορές του στον Σασανίδη σάχη Μπαχράμ (Ουαραχράν Ε'; 420-438 τεμ) δεν είναι ούτε ιστορικές ούτε προσωπικές. Ο Μπαχράμ Γκουρ είναι ένα μυστι(κιστι)κό σύμβολο του Μεσσία-Μάχντι.
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https://greeksoftheorient.wordpress.com/2019/09/01/εθνικός-ποιητής-των-αζέρων-o-νεζαμί-γκα/ ===================
Οι Ρωμιοί της Ανατολής – Greeks of the Orient
Ρωμιοσύνη, Ρωμανία, Ανατολική Ρωμαϊκή Αυτοκρατορία
Σε δύο πρότερα κείμενά μου αναφέρθηκα στον Φερντοουσί, εθνικό ποιητή Ιρανών και Τουρανών, και στο μνημειώδες έπος του Σαχναμέ (Βιβλίο των Βασιλείων), το οποίο ολοκληρωμένο στις αρχές του 11 ου αιώνα, επηρέασε την λογοτεχνία και την φιλοσοφία, την κοσμολογία και την εσχατολογία πολλών άλλων εθνών με την υπερχρονική θεώρηση του Είναι και του Γίγνεσθαι που εισήγαγε στην μυθολόγηση της Ιστορίας και στην εξιστόρηση του Μύθου. Στον ίδιο τον Φερντοουσί και στο Σαχναμέ θα επανέλθω, αλλά μέχρι τότε τα κείμενα εκείνα μπορείτε εδώ:
Το Σαχναμέ του Σάχη Ταχμάσπ (1524-1576): οι πιο Όμορφες Σμικρογραφίες Χειρογράφου στον Κόσμο
https://greeksoftheorient.wordpress.com/2019/08/19/το-σαχναμέ-του-σάχη-ταχμάσπ-1524-1576-οι-πιο-όμ/
(πλέον: https://www.academia.edu/56206313/Το_Σαχναμέ_του_Σάχη_Ταχμάσπ_1524_1576_οι_πιο_Όμορφες_Σμικρογραφίες_Χειρογράφου_στον_Κόσμο)
Φερντοουσί, ο Παραδεισένιος: Εθνικός Ποιητής Ιρανών και Τουρανών, Θεμελιωτής του Νεώτερου Ευρασιατικού Πολιτισμού
https://greeksoftheorient.wordpress.com/2019/08/28/φερντοουσί-ο-παραδεισένιος-εθνικός-π/
(πλέον: https://www.academia.edu/61682121/Φερντοουσί_ο_Παραδεισένιος_Εθνικός_Ποιητής_Ιρανών_και_Τουρανών_Θεμελιωτής_του_Νεώτερου_Ευρασιατικού_Πολιτισμού)
Τυπικό παράδειγμα επίδρασης του Φερντοουσί είναι τα πολλά και εκπληκτικά έπη του Νεζαμί Γκαντζεβί, δηλαδή του Νεζαμί από την Γκάντζα του Αζερμπαϊτζάν, που είναι ο εθνικός ποιητής των Αζέρων και ο σημαντικώτερος υπερβατικός φιλόσοφος, επικός και λυρικός ποιητής, μυστικιστής και πάνσοφος πολυμαθής του Καυκάσου. Φίλος σάχηδων και ηγεμόνων, ο Νεζαμί Γκαντζαβί ασχολήθηκε γράφοντας ποίηση με θέματα ιστορικά, επιστημονικά και ηθικά.
Σήμερα, θα κάνω μια πρώτη αναφορά στο έπος του Νεζαμί Γκαντζεβί Χαφτ Πεϋκάρ, στο οποίο μέσα από συμβολισμούς κοσμολογικού κι εσχατολογικού χαρακτήρα ο Νεζαμί Γκαντζεβί δίνει ολότελα άλλη διάσταση σε ένα προϊσλαμικό Σασανίδη σάχη και εξερευνά τις όψεις του κάλλους και της αισθητικής τελειότητας που αποτελούν την εγγύηση της άριστης βασιλείας.
Σμικρογραφία χειρογράφου του Χαφτ Πεϋκάρ
Ενδεικτικό μάλιστα της απήχησης της αζερικής επικής παράδοσης είναι ότι προ ετών χορογραφήθηκαν αποσπάσματα από το Χαφτ Πεϋκάρ και ανέβηκαν ως μπαλέτο. Στιγμιότυπα από το μπαλέτο θα δείτε στο βίντεο. Στο εισαγωγικό σημείωμα, σε ρωσσικά, αγγλικά κι ελληνικά, εξιστορώ διά βραχέων την υπόθεση του έπους. Περισσότερα μπορείτε να διαβάσετε παρακάτω είτε κατεβάζοντας επισυναπτόμενα άρθρα είτε πηγαίνοντας στους συνδέσμους που παραθέτω.
Βασικές αρτηρίες των Ιστορικών Δρόμων του Μεταξιού
Δείτε το βίντεο:
Низами Гянджеви, Хафт пейкар (Семь красавиц) 1197 Составлено как балет доктором Лорел Викторией Грей (Silk Road Dance Co)
https://www.ok.ru/video/1494107032173
Περισσότερα:
Основанный на эпической поэме Хафт пайкар («Семь красавиц»), написанной Низами Гянджеви, национальным поэтом азербайджанцев, фольклорный балет «Хафт пайкар» («Семь красавиц / Йедди Гезл рэкси»), составленный доктором Лорел Викторией Грей, был впервые показан в 2005 году. Настоящая версия из спектакля 2011 года приглашенных артистов (постановка танцевального ансамбля «Шелковый путь»).
«Семь краса́виц» (перс. هفت پیکر — Хафт пайкар) — четвёртая по счёту поэма классика персидской поэзии Низами Гянджеви из его сборника «Хамсе», написанная в 1197 году на персидском языке. В основу сюжета поэмы положена легенда о сасанидском шахе Бахрам Гуре (420—439 годы). Почти половину всей поэмы составляют семь рассказов жён Бахрама — царевен, живущих в семи дворцах (в шатрах), каждый из которых, в соответствии с древней мифологией, посвящён какой-либо планете и дню недели и имеет соответствующий цвет.
После смерти отца Бахрам возвращается в Персию и восходит на престол. Став царём, Бахрам предпринимает поиски семи принцесс и женится на них. Он приказывает архитектору построить семь величественных зданий — по одному для каждой из своих новых жён. Архитектор рассказывает Бахраму, что, согласно астрологии, каждой страной, или «климатом», то есть одним из семи «поясов», на которые разделена Земля, правит одна из семи планет, и даёт совет Бахраму украсить каждый из дворцов для его жён в оттенках цвета, с которым ассоциируется планета, правящая страной, откуда прибыла каждая из красавиц.
Вначале Бахрам относился скептически к предложению архитектора, но потом даёт согласие на такое оформление дворцов для своих жён. После завершения строительства принцессы поселяются в своих дворцах. Бахрам посещает каждую принцессу в определённый день недели.
Интересно, что Бахрам является к принцессам в одеянии цвета их дворца. Каждая из принцесс рассказывает царю свою историю, которая соответствует определённому настроению и её соответствующему цвету. Сюжет каждой новеллы — любовное переживание, причём, в соответствии с переходом от чёрного цвета к белому, грубая чувственность сменяется духовно просветлённой любовью. Некоторые видят в этом переходе мистический путь, который должна пройти человеческая душа от мрака к чистоте, к божеству.
Соответственно этому царь, проходя этот путь, обретал высокие душевные качества. Впоследствии, испытав горечь поражения, предательство и другие невзгоды, он из любителя приключений превращается в достойного и справедливого правителя.
Таким образом, вторая тематическая линия поэмы — превращение Бахрама из легкомысленного царевича в справедливого и умного правителя, борющегося с произволом и насилием.
Проходят годы. Пока царь был занят своими жёнами, один из его визирей захватил власть в стране. Неожиданно Бахрам обнаруживает, что дела в его царстве в беспорядке, казна пуста, а соседние правители собираются на него напасть. Расследовав деяния министра, Бахрам приходит к выводу, что тот виновен в бедах, постигших царство.
Он приговаривает злодея-министра к смертной казни и восстанавливает справедливость и порядок в своей стране. После этого Бахрам приказывает превратить семь дворцов своих жён в семь зороастрийских храмов для поклонения Богу, а сам Бахрам отправляется на охоту и исчезает в глубокой пещере.
Пытаясь найти дикого осла (гур), Бахрам находит свою могилу (гур).
Μαυσωλείο του Νεζαμί Γκαντζεβί στην Γκάντζα του Αζερμπαϊτζάν
Δείτε το βίντεο:
Nizami Ganjavi, Haft Paykar (Seven Beauties) 1197 Composed as Ballet by Dr. Laurel Victoria Gray (Silk-Road Dance Co)
https://vk.com/video434648441_456240286
Περισσότερα:
Based on the epic Haft Peykar (Seven Beauties) written by Nizami Ganjavi, who is the national poet of the Azeris, the folkloric ballet Haft Paykar (Seven Beauties / Yeddi Gözəl rəqsi) composed by Dr. Laurel Victoria Gray premiered in 2005. The present version is from the 2011 performance of special guest artists invited by the Silk Road Dance Company.
Haft Peykar (Farsi: هفت پیکر) also known as Bahramnameh (بهرامنامه, The Book of Bahram, referring to the Sasanian king Bahram Gur) is a romantic epic by Persian poet Nizami Ganjavi written in 1197.
This poem is a part of the Nizami’s Khamsa. The original title in Persian Haft Peykar can be translated literally as “seven portraits” with the figurative meaning of “seven beauties”.
The poet starts by giving an account of the birth of Bahram and his upbringing in the court of the Arab king al-Nu’man and his fabled palace Khwarnaq. Bahram whose upbringing is entrusted to al-Nu’man becomes a formidable huntsman.
While wandering through the fabled palace, he discovers a locked room which contains a depiction of seven princesses; hence the name Haft Paykar (seven beauties).
Each of these princesses is from the seven different climes (traditional Zoroastrian division of the Earth) and he falls in love with them. His father Yazdegerd 1st passes away and Bahram returns to Iran to claim his throne from pretenders. After some episodes he is recognized as shah and rescues the Iranians from a famine.
Once the country is stable, the shah searches for the seven princesses and wins them as his brides. His architect is ordered to construct seven domes for each of his new brides.
The architect tells him that each of the seven climes is ruled by one of the seven planets (classical planetary system of Zoroastrian world) and advises him to assure good fortune by adorning each dome with the color that is associated with each clime and planet. Bahram is skeptical but follows the advice of the architect.
The princesses take up residence in the splendid pavilions. On each visit, the shah visits the princesses on successive days of the week; on Saturday the Indian princess, who is governed by Saturn and so on.
The princesses names are Furak (Nurak), the daughter of the Rajah of India, as beautiful as the moon; Yaghma Naz, the daughter of the Khaqan of the Turks; Naz Pari, the daughter of the king of Khwarazm; Nasrin Nush, the daughter of the king of the Slavs; Azarbin (Azareyon), the daughter of the king of Morocco; Humay, the daughter of the Roman Caesar; and Diroste (wholesome), a beautiful Iranian princess from the House of Kay Kavus.
Each princess relates to the shah a story matching the mood of her respective color. These seven beautifully constructed, highly sensuous stories occupy about half of the whole poem. While the shah is busy with the seven brides, his evil minister seizes power in the realm.
Bahram discovers that the affairs of Iran are in disarray, the treasury is empty and the neighboring rulers are posed to invade. He clears his mind first by going hunting.
After returning from hunt, he sees a suspended dog from a tree. The owner of the dog, who was shepherd, tells the story of how his faithful watchdog had betrayed his flock to a she-wolf in return for sexual favors.
He starts investigating the corrupt minister and from the multitude of complaints, he selects seven who tell him the injustice they have suffered.
The minister is subsequently put to death and Bahram restores justice and orders the seven pleasure-domes to be converted to fire temples for the pleasure of God.
Bahram then goes hunting for the last time but mysteriously disappears. As a pun on words, while trying to hunt the wild ass (gūr) he instead finds his tomb (gūr).
Nizami Museum of Azerbaijan Literature, Baku
Δείτε το βίντεο:
Νεζαμί-Γκαντζεβί, Χαφτ Πεϊκάρ (Επτά Ομορφιές) 1197 Αποδομένο σε Μπαλέτο – Dr. Laurel Victoria Gray
Περισσότερα:
Βασισμένο στο επικό-λυρικό ποίημα Χαφτ Πεϊκάρ (Επτά Ομορφιές) του εθνικού ποιητή των Αζέρων Νιζαμί Γκαντζαβί (1141–1209), το φολκλορικό μπαλέτο Haft Paykar: Seven Beauties – Yeddi Gözəl rəqsi συντέθηκε από την χορογράφο κι ιστορικό χορού Dr. Laurel Victoria Gray και παρουσιάστηκε για πρώτη φορά το 2005. Στο βίντεο βλέπουμε αποσπάσματα από την παραγωγή και παράσταση του 2011 που ανέβασε η Silk Road Dance Company.
Το ποίημα Χαφτ Πεϊκάρ (φαρσί هفت پیکر) γράφηκε το 1197 κι αναφέρεται στις αναζητήσεις του κάλλους γαιών και εθνών εκ μέρους του Σάχη Μπαχράμ Γκουρ. Συμβατικά μεταφράζεται σαν ‘ομορφιές’ ή ‘beauties’ ή ακόμη και ‘πριγκίπισσες’ αλλά η λέξη ‘πεϊκάρ’ στα περσικά σημαίνει ‘σώμα’, ‘ομοίωμα’, ‘πορτρέτο’ ή ακόμη και ‘μορφή’.
Κατά το υπερβατικό, μυστηριακό και φιλοσοφικό αυτό ποίημα, στις περιηγήσεις του ο Μπαχράμ Γκουρ, ενόσω είναι ακόμη ο διάδοχος του θρόνου, ανακαλύπτει ένα μυθικό ανάκτορο και καταφέρνει να μπεί σε ένα κλειδωμένο δωμάτιο όπου υπάρχουν επτά απεικονίσεις ωραίων πριγκιπισών. Η κάθε μια τους αντιστοιχεί σε μια χώρα και σε ένα έθνος και αναλογεί σε μια διαφορετική ημέρα της εβδομάδας και σε ένα διαφορετικό χρώμα.
Ο Μπαχράμ Γκουρ ερωτεύεται και τις επτά πριγκίπισες αλλά πρέπει να επιστρέψει στο Ιράν, όπου πεθαίνει ο σάχης πατέρας του, ανέρχεται ο ίδιος στον θρόνο και περνάει κάποιο διάστημα μέχρις ότου βάλει τα πράγματα σε μια τάξη. Τότε ως Σάχης ο Μπαχράμ Γκουρ ψάχνει και βρίσκει τις πριγκίπισσες και ζητάει από τον αρχιτέκτονά του να ανεγείρει ένα ανάκτορο με επτά θόλους, ένα για την κάθε νύφη του.
Ο αρχιτέκτονας του λέει ότι πρέπει να βρεθεί η αντιστοιχία της καταγωγής των πριγκιπισών με τους επτά πλανήτες, τις ημέρες της εβδομάδας και τα σωστά χρώματα. Έτσι λοιπόν ορίζεται η εξής αντστοιχία και αναφέρονται τα ονόματα των πριγκιπισών:
Φουράκ – Ινδή Πριγκίπισσα – Κρόνος – Σάββατο – μαύρο
Γιάγμα Ναζ – Τουρανή Πριγκίπισσα – Ήλιος – Κυριακή – κίτρινο
Ναζ Παρί – Πριγκίπισσα της Χωρασμίας – Σελήνη – Δευτέρα – πράσινο
Νασρίν Νους – Ρωσσίδα (ή Σλαύα) Πριγκίπισσα – Άρης – Τρίτη – κόκκινο
Αζαρμπίν – Βέρβερη Πριγκίπισσα – Ερμής – Τετάρτη – τυρκουάζ
Χουμάυ – Ρωμιά Πριγκίπισσα – Δίας – Πέμπτη – σανταλόξυλο (ανοικτό καφέ)
Ντιροστέ – Ιρανή Πριγκίπισσα – Αφροδίτη – Παρασκευή – λευκό
Στη συνέχεια, οι επτά πριγκίπισες εγκαθίστανται στο μεγαλειώδες ανάκτορο, και κάθε πριγκίπισσα αφηγείται και μια διαφορετική ιστορία στον Σάχη Μπαχράμ Γκουρ κατά τις ημερήσιες επισκέψεις του στην κάθε μία από αυτές.
Αυτές οι επτά ιστορίες υπερβατικού έρωτα για το Απόλυτο καταλαμβάνουν την μισή έκταση περίπου του όλου έπους. Στην διάρκεια αυτών των αφηγήσεων όμως η χώρα του Σάχη αναστατώνεται από την κακή διοίκηση, τα ταμεία αδειάζουν, και τα γειτονικά κράτη είναι έτοιμα να επιτεθούν.
Ο Μπαχράμ Γκουρ πρώτα καθαρίζει το μυαλό του απασχολούμενος σε ένα κυνήγι. Όταν γυρίζει, βλέπει σε ένα δέντρο κρεμασμένο ένα σκύλο. Ο τσομπάνος, στον οποίο ανήκε ο σκύλος, αφηγείται στον επιστρέφοντα Σάχη πως ο σκύλος του τον επρόδωσε παρασυρόμενος από το πάθος του για μια λύκαινα.
Για να εκδικάσει τον βεζύρη (πρωθυπουργό) του για την κακοδιοίκηση ακροάται επτά άτομα που του αφηγούνται πως από την κακή διοίκηση έγιναν θύματα. Έπειτα, ο Μπαχράμ Γκουρ εκτελεί τον κακό βεζύρη, μετατρέπει το ανάκτορο των επτά θόλων σε επτά ναούς, και φεύγει για ένα τελευταίο κυνήγι όπου και χάνεται για πάντα.
Ο ποιητής κάνει ένα λογοπαίγνιο λέγοντας ότι, προσπαθώντας να κυνηγήσει τον όναγρο (γκουρ) ο Σάχης έφθασε μπροστά στον τάφο (γκουρ) του. Η ίδια λεξη στα φαρσί έχει δύο νοήματα. Στην ιρανική και τουρανική παιδεία, ο Μπαχράμ έμεινε γνωστός ως Μπαχράμ ο Όναγρος (γκουρ).
Βεβαίως το επικό-λυρικό ποίημα είναι γεμάτο κοσμολογικών, μεσσιανικών, σωτηριολογικών κι εσχατολογικών συμβολισμών. Όπως συχνά συμβαίνει και στην περίπτωση του Φερντοουσί, του εθνικού ποιητή των Ιρανών και των Τουρανών, ο Σαχης Μπαχράμ Γκουρ του έπους Χαφτ Πεκάρ δεν είναι αυτό τούτο το ιστορικό πρόσωπο, ο Μπαχράμ Ε’ (420-438 / σε μέσα περσικά: Ουαραχράν και Ουαχράμ) της σασανιδικής δυναστείας, όπως αυτός είναι γνωστό
ς μέσω των συγχρόνων του ιστορικών κειμένων. Πρόκειται για μυθολογογημένο πρόσωπο που επιλέγεται με βάση κάποια από τα καθοριστικά χαρακτηριστικά του ιστορικού Σασανίδη σάχη. Άλλωστε, ο Μπαχράμ Γκουρ είχε επίσης μυθολογηθεί (μέσα σε άλλες ιστορίες) από τον Φερντοουσί (που πέθανε περίπου 120 χρόνια πριν γεννηθεί ο Νιζαμί Γκαντζαβί) στο Σαχναμέ και αργότερα (μέσα σε επίσης διαφορετικές ιστορίες) από τον Αμίρ Χουσράου (εθνικό ποιητή των Ινδών που γεννήθηκε 50 χρόνια μετά τον θάνατο του Νιζαμί Γκαντζαβί) στο Χαστ Μπεχέστ (Οκτώ Παράδεισοι).
Ο Μπαχράμ Γκουρ στο κυνήγι
Ο Μπαχράμ Γκουρ και η Φίτνε, μία σκλάβα που εκτρέφει μία αγελάδα
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Διαβάστε:
Haft Peykar
Haft peykar, a famous romantic epic by Nezami of Ganja (Neẓāmi Ganjavi) from the last decade of the 6th/12th century. The title can be translated literally as “seven portraits,” but also with the figurative meaning of “seven beauties.” Both translations are meaningful and the poet doubtless exploited intentionally the ambiguity of the words.
Editions and translations
The Haft peykar has come down to us as part of the Ḵamsa, the posthumous collection of Nezami’s narrative poems. A critical edition of the Haft peykar was produced by Helmut Ritter and Jan Rypka (Prague, printed Istanbul, 1934) on the basis of fifteen Ḵamsa manuscripts and the Bombay lithograph of 1265. This is one of the very few editions of a classical Persian text that uses a strict text-critical methodology: the editors divided the principal manuscripts into two families (called ‘a’ and ‘b’). Only those verses shared by both families are regarded as authentic.
The ‘b’ family is taken as the main basis for the edition, with those verses missing in the ‘a’ family printed in square brackets. The verses specific to the ‘a’ family are printed in the critical apparatus. More recently, the Haft peykar was re-edited by the Azerbayjani scholar T. A. Magerramov (Maharramov) (Moscow, 1987).
This edition quotes variants from fourteen manuscripts, the Ritter/Rypka edition and the uncritical edition by Waḥīd Dastgerdī (Tehran, 1315 Š./1936 and reprints), but Magerramov made no attempt to divide the manuscripts into families and in this regard his version is a step backwards from the Prague edition. There is also an edition by Barāt Zanjāni (Tehran, 1373 Š./1994), but the present writer has not been able to consult it. In the following, all references are to chapter and line of the Prague edition.
Ο Νεζαμί Γκαντζεβί γίνεται δεκτός από τον Κιζίλ Αρσλάν, τον Κιπτσάκ Τουρανό ηγεμόνα (αταμπέκ) του Αζερμπαϊτζάν
There are three complete translations in western European languages. First, the one in very rough English “blank verse” by C. E. Wilson (The Haft paikar, 2 vols., London, 1924, with extensive notes), wherein the post-Victorian translator felt compelled to render a fairly large number of verses in Latin; second, an Italian prose version by A. Bausani (Le sette principesse, Bari, 1967), based on the critical edition by Ritter/Rypka, with omission of the bracketed verses; and finally an English version by J. S. Meisami (The Haft Paykar, a medieval Persian Romance, Oxford and New York, 1995), in “free verse” (partially rhymed, partially in near-rhymes, partially unrhymed) based on the Ritter/Rypka edition (but retaining the bracketed verses).
There are also versions in Russian prose (R. Aliyev, Baku, 1983) and verse (V. Derzhavin, Moscow, 1959 and reprints). Of the various partial translations it might suffice to mention the one by R. Gelpke in very elegant German prose (Die sieben Geschichten der sieben Prinzessinnen, Zurich, 1959), also in English metatranslation by E. Mattin and G. Hill (The Story of the Seven Princesses, Oxford, 1976).
Date and dedication
The Haft peykar is probably Nezami’s last work. The manuscripts of the superior ‘b’ recension contain a dedication to the ruler of Marāḡa, ʿAlāʾ-al-Dīn Körpe-Arslān b. Aq-Sonqor (he is named in V. 12), who is known to have died in 604/1208 (see Storey/de Blois V, p. 441, n. 2), and the date of completion is indicated in LIII, 63-64 with the words: “three conjunctions after five hundred and ninety I recited this book like the famous (poets of the past), on the fourteenth day of the month of fasting, when four hours of the day were complete,” evidently meaning on 14 Ramadan 593 (early August 1197).
This is probably correct. But the manuscripts of the ‘a’ recension have altered (or miscopied?) the name of the dedicatee to Qïzïl Arslān, retained the verse giving the day, month and hour of completion, but altered the year to “after ṯā (variant: tā) and ṣād and ḥē” i.e., either “after 498” (which is much too early) or “after 598/1202.”
Ο Νεζαμί Γκαντζεβί γίνεται δεκτός από τον Τουρανό ηγεμόνα (αταμπέκ) του Αζερμπαϊτζάν
Synopsis of the frame-story
The Haft peykar is a romanticized biography of the Sassanian ruler Bahrām-e Gūr. His adventurous life had already been treated in Persian verse by Ferdowsi in the Šāh-nāma, to which fact Nezami alludes a number of times. In general, his method is to omit those episodes that the earlier poet had treated, or to touch on them only very briefly, and to concentrate in new material.
After the customary long introductory sections, the poet gives an account of the birth of Bahrām, the often-told story of his upbringing at the court of the Arab king Noʿmān (here, as often, mislocated in the Yemen instead of al-Ḥira) and the construction of Noʿmān’s fabled palace, Ḵᵛarnaq. Reared in the desert, Bahrām becomes a formidable huntsman. Wandering through the palace, Bahrām discovers a locked room containing the portraits of seven princesses, one from each of the seven climes, with whom he immediately falls in love.
Bahrām’s father Yazdjerd (i.e. Yazdegerd I) dies, and Bahrām returns to Persia to claim his throne from a pretender. After much palaver he is recognized as king. He rescues his people from a famine. Next Nezami picks up the story of Bah-rām’s hunting expedition with the loose-tongued slave-girl Feṭna, but alters the version known from the Šāh-nāma considerably; here the girl is not put to death, but eventually pardoned, and the king learns a lesson in clemency.
The king sets out in search of the seven princesses and wins them as his brides. He orders his architect to construct seven domes to house his new wives. The craftsman tells him that each of the climes is ruled by one of the seven planets and advises him to assure his good fortune by adorning each dome with the color associated with the clime and planet of its occupant. The king is at first skeptical but eventually lets the architect have his way. The princesses take up residence in the splendid pavilions.
The king visits each princess on successive days of the week: on Saturday the Indian princess, who is governed by Saturn, in the black dome, on Sunday the Greek princess, who is governed by the sun, in the yellow dome, and so on. Each princess regales the king with a story matching the mood of her respective color. These seven beautifully constructed, highly sensuous stories occupy about half of the whole poem.
Years pass. While the king is busy with his wives an evil minister seizes power in the realm. Eventually Bahrām discovers that the affairs of the kingdom are in disarray, the treasury is empty and the neighboring rulers poised for invasion. To clear his mind, he goes hunting in the steppe. Returning from the hunt he comes across a herdsman who has suspended his dog from a tree. He asks him why. The shepherd tells the story of how the once faithful watchdog had betrayed his flock to a she-wolf in return for sexual favors.
The king realizes that his own watchdog (the evil minister) is the cause of his misfortune. He investigates the minister. From the multitude of complainants he selects seven, who tell him of the injustices that they have suffered (the stories of the seven victims are the somber counterweight to the stories of the seven princesses). The minister is put to death. The king restores justice, and orders the seven pleasure-domes to be converted into fire temples for the worship of God. Bahrām goes hunting one last time and disappears mysteriously into a cavern. He seeks the wild ass (gūr) but finds his tomb (gūr).
General characteristics
In his introduction to the critical edition, Ritter described the Haft peykar as “the best and most beautiful epic in New Persian poetry and at the same time . . . one of the most important poetical creations of the whole of oriental Indo-European literature,” a judgment with which it is difficult to disagree. The poet made artful use of various older sources, among them the Šāh-nāma and other versions of ancient Iranian history and legend, also the Siāsat-nāma of Neẓām-al-Molk, from which he took the crucial story of the shepherd and his unfaithful dog.
It is possible that the seven stories told by the princesses derive from earlier works, but it has not actually been possible to trace any of them to known literary sources. Nezami’s telling of the stories has in any event had great influence on the later development of Persian literature and world literature; for example the story told by the fourth (Russian) beauty is the oldest known, and arguably best, version of the tale of the cruel princess who is unnamed in Nezami’s version, but known in Pétis de la Croix’s translation of a later retelling as Turāndoḵt (Turandot; see, e.g., Meier).
Nezami’s Haft peykar is a masterpiece of erotic literature, but it is also a profoundly moralistic work. In some modern studies it has been regarded more or less as a versified treatise on astrology, but this is a misapprehension. The point of the story is clearly that Bahrām’s attempt to find happiness by living in accordance with the stars is a failure.
The seven domes are built in perfect accord with the properties of the stars, but they are very nearly the cause of his downfall. In the end it is only justice that matters. Only by abandoning the pleasures represented by the seven domes and heeding the complaints of the seven victims of tyranny does Bahrām acquire the status of a true hero.
And the essentially anti-fatalistic message is underlined by the story of the second (Greek) princess, which tells of a king who, because of an unhappy horoscope, had foresworn marriage, but then is led by the selfless love of a slave-girl to defy the astrologers and take his fate in his own hands.
Although there are mystic (Sufic) traits in the narrative (notably in the story of the seventh victim) it is also misguided to regard it, with some, as a Sufic allegory. It is a work of art that is very firmly rooted in this world, and its ethical content is of essentially worldly, not religious, nature.
Μπορείτε να βρείτε την αναφερόμενη βιβλιογραφία εδώ:
http://www.iranicaonline.org/articles/haft-peykar
======================
Περισσότερα:
A Key to the Treasure of the Hakim – Christine van Ruymbeke & Johann-Christoph Bürgel (eds.)
Κατεβάστε το Pdf με πολλά άρθρα ειδικών σχετικά με τον Νεζαμί Γκαντζεβί και το έπος Χαφτ Πεϋκάρ:
https://vk.com/doc429864789_620827883
https://www.docdroid.net/Y6MroCn/key-to-the-treasure-of-the-hakim-on-nizami-khamsa-pdf
Cameron Cross The Many Colors of Love in Niẓāmī’s Haft Paykar
Κατεβάστε το Pdf:
https://vk.com/doc429864789_620829460
https://www.docdroid.net/OUB35qe/cameron-cross-the-many-colors-of-love-in-nizamis-haft-paykar-pdf
Δείτε σμικρογραφίες άλλου χειρογράφου του Χαφτ Πεϋκάρ: https://findit.library.yale.edu/?f%5Blanguage_sim%5D%5B%5D=Persian&f%5Bsubject_topic_sim%5D%5B%5D=Persian+poetry
Επίσης:
https://www.sid.ir/en/journal/ViewPaper.aspx?id=408542
http://www.complete-review.com/reviews/nizami/hpaykar.htm
http://azeribooks.narod.ru/poezia/nizami/sem_krasavits.htm
https://ru.wikipedia.org/wiki/Семь_красавиц
https://en.wikipedia.org/wiki/Haft_Peykar
https://ru.wikipedia.org/wiki/Низами_Гянджеви
https://en.wikipedia.org/wiki/Nizami_Ganjavi
https://en.wikipedia.org/wiki/Bahram_V
https://ru.wikipedia.org/wiki/Бахрам_V
https://en.wikipedia.org/wiki/Amir_Khusrow
https://ru.wikipedia.org/wiki/Сакалиба
https://en.wikipedia.org/wiki/Saqaliba
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Σχετικά με τις παραστάσεις μπαλέτου Χαφτ Πεϊκάρ:
Haft Paykar: Seven Beauties Dance Concert
February 26, 2011 at 2:00 PM
INTERSECTIONS: New America Arts Festival
WASHINGTON DC PREMIERE!
This epic romance is a visual treat, taking viewers to seven different cultures.
Based on the 12th century poem by Nizami Ganjavi, the tale tells of the young warrior Bahram Gur, who enters a mysterious, locked room to discover the portraits of seven beautiful princesses, each from a different land.
After he wins a kingdom and achieves great wealth and power, he remembers the maidens and sets out on a quest to bring each to his kingdom, commissioning the architect Shideh to build seven domed structures – one for each bride
http://www.silkroaddance.com/2011.html
Περισσότερα για τους συντελεστές και παραγωγούς της παράστασης:
https://www.facebook.com/HaftPaykar
http://www.laurelvictoriagray.com/
http://www.silkroaddance.com/
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Κατεβάστε την αναδημοσίευση σε PDF:
https://www.slideshare.net/MuhammadShamsaddinMe/o-250655546
https://issuu.com/megalommatis/docs/nezami_ganjavi
https://vk.com/doc429864789_620935781
https://www.docdroid.net/8Lza618/ethnikos-poiitis-ton-azeron-o-nezami-gkantzevi-xaft-peykar-epta-omorfies-pdf
~ Clay bulla with impression of a stamp seal depicting the Persian king spearing a Greek hoplite.
Place of origin: Near Eastern, Iranian
Culture: Persian
Period: Achaemenid
Date: 550–331 B.C.
Medium: Clay
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