Samak-E Ayar (Vol 7) - AZ Pase Ghafa

az pase ghafa - khaneshi az Samak-e Ayar (Away and beyond - a study on Samak-e Ayar) is the first serious and extensive research ever done on "Samak-e Ayar." Robab Moheb has studied the tale in detail and examined it from different perspectives. The concept Ayar and its meaning, the customs and habits of kings and royal families, fatalism and the belief in destiny, occultism and superstition, the instruments and rules of war, cultural rituals and holidays, drinking habits of the people, musical instruments, marital rules and laws, the position of women, eroticism, the language of story and its structural forms and literary value are motives brought up in the study. The final words are a long list of name, holding the names given in the story "Samak-e Ayar." "Samak-e Ayar" (dated to around the 13th century) is an oral story which has traveled from mouth to mouth for centuries. It's a long prose story in five volumes and is seen as the first Persian novel, with a large research value. Existing written volumes signify that several people in different times and in different places have amassed the story. The story is told in simple prose, close to the colloquial language, sometimes adorned with various prosoaic techniques (rhythm, rhymed prose e t c). The sentence structures are simple and clear with a sparse use of implied meanings. The story abounds with lush descriptions and metaphors, used primarily in the conventional depictions of beauty, battles, sunrise and sunset. The verses are used to amplify its message and comments on the narrative situation. The verses lack references and are therefore very likely composed by the teller. The dialogues, as the story itself, is direct speech. The language is typical for the classic Persian spoken and written before the 14th century and encompasses a large amount of archaic Persian words which have changed over time. The changes include semantics as well as grammar and phonology. Some words are spelled according to the conventional pronunciation (for instance naqm instead of naqb). From the lexical point of view the text is therefore very interesting for research.
About the Author: Robab Moheb was born 1953 in south east of Iran (Ahvaz) next to the Iran/Iraq boarder. After finalizing secondary school, she studied sociology at the University of Teheran. In 1992, Robab Moheb, left Iran for Swedish Exile, where she lives until today. She was engaged as teacher in Stockholm, where she received in 2004 her Bachelor in Pedagogical Sciences from the University of Vaxjo and her Master Degree from the University of Stockholm. As a poet, Robab began her work in early teenage times, but hiding her works from her family and her father, who strictly prohibited her to write due their own conservative ideals and believing. Hence, her first collection of short stories, which was written for teenagers, was published under cover by the pseudonym Golnar Moheb (1979 Negah Publishing Tehran/Iran). Since early childhood, she has been dedicated to painting and to "the joy of the game of colours" - as she herself comments: Her paintings are not reflections of the outside world, moreover, in her world of colours and shapes, each mental process matures to a specific level of excellence, and each mental flow then manifolds itself. Robab Moheb says about herself and her work "I land from poetry to painting and from painting to poetry, but none of them, I live myself, neither a poet nor a painter, I solely 'think' by means of colours and words" In March 2000 Robab opened her first exhibition of paintings in Sundbyberg, which was titled "Woman."