Akhlaq al-Ashraf: Book Conclusion and Inference

English Translation

Khwaja Ubayd Zakani (Nizam al-Din Ubayd Allah Zakani) did not provide an explicit conclusion or summary at the end of his book Akhlaq al-Ashraf. Instead, at the close of the seventh chapter, he contented himself with a satirical piece of advice, urging novices to internalize the “ethics of the chosen school of thought” as a habit of the soul—thereby securing positions of power, gold, and success in both this world and the Hereafter.

However, this deliberate concluding silence—tinged with a tone of vārūneh-gūyī (saying the opposite of what is meant)—served as an invitation to the discerning reader—described by the author as mardum-e tīz-fahm-e bārīk-bīn (people of keen insight and contemplation)—to deduce for themselves the book’s substance and its moral and political purpose.

Through our reading and translation of the seven chapters, we examine this conclusion, which encapsulates the essence of the treatise, its literary techniques, and its historical resonance.

First: The satirical use of classical poetry and sacred texts (varūneh-gūyī).

1- The genius of the poet Ubayd Zakani is evident in his use of the technique of satirical parody; He did not merely mimic the logical structure of Peripatetic philosophical texts (such as Nasir al-Din al-Tusi’s Akhlaq-i Nasiri and Awsaf al-Ashraf); rather, he went so far as to extract the finest verses by great Persian poets from their noble contexts and place them into satirical ones—thereby justifying the vices he witnessed in his own time.

2- Ferdowsi’s Shahnameh: The poet evoked Ferdowsi’s epics and their heroes (such as Rostam and Farhad) to draw a contrast between the glories of the magnificent past and the humiliating subservience of the “nobles” of his own era—men who equated enduring slaps and degradation with heroism and the steadfastness of a “lower millstone.”

3- Saadi Shirazi’s Golestan: Saadi structured his book into eight chapters akin to the gates of Paradise; the poet Ubayd Zakani divided his book into seven chapters, symbolizing the seven gates of Hell.

4- He also appropriated Saadi’s famous maxim—”A lie that serves a beneficial purpose is better than a truth that incites strife”—to demonstrate that “charming” lies and bribery are the lifeblood of the class of judges and jurists.

5- Nizami Ganjavi and Rashid al-Din Watwat: He borrowed epic tales of romance (Farhad and Shirin, Majnun and Layla) to redefine fidelity—within his “chosen doctrine”—as mere folly and a futile existence in the wilderness.

This blending of classical poetry, Quranic verses, and inverted Prophetic Hadiths, became as a literary shock, revealing how despots and opportunists co-opted noble texts to justify administrative and financial corruption—and even moral and psychological corruption.

Second: The Structure of the Two Doctrines (Exposing the Inversion of Standards)

The book is built upon the shocking contrast between two doctrines:

a- The “Abrogated Doctrine”: The idealistic moral philosophy of the ancients (wisdom, courage, chastity, justice, generosity, forbearance, and modesty/loyalty/truthfulness/mercy).

b- The “Chosen Doctrine”: The utilitarian behavior prevalent among the elite of the Mongol (Ilkhanid) and Muzaffarid eras. Where courage becomes folly, chastity deprivation, justice the ruin of the realm, generosity madness, forbearance an invitation to be struck, loyalty baseness, and truthfulness the vilest of traits.

Third. The Book’s Reception in Critical Discourse (Critics vs. Proponents)

The book Akhlaq al-Ashraf (The Ethics of the Aristocracy) has been the subject of critical and intellectual debate throughout the ages, with opinions regarding it divided into two camps:

1. The Critical and Conservative Camp (Detractors)

1- Accusations of Frivolity and Indecent Language (Crude Expressions): Some traditionalist jurists and historians accused Ubayd Zakani of “moral depravity” and the excessive use of profanity and indecent language; …which led them to obscure the book’s philosophical value for centuries, regarding it instead as a work of mere jest and frivolity.

2- Accusations of pessimism and overgeneralization: Some modern critics (such as Dr. Ali Asghar Halabi and Dr. Khanlari) have argued that Ubayd Zakani portrayed societal vices with such sharp, caricatured exaggeration that society appeared entirely devoid of any goodness.

They also criticized him for failing to offer a positive reform agenda, noting that he limited himself to shock and dissection.

2 – Proponents and Appraisers (Academics and Writers)

a- A Rare Social Document: Prominent scholars and researchers (such as Abbas Iqbal Ashtiani, Mohammad Ja’far Mahjoub, and Paul Sprachman) have regarded the book as the most important political and social document of the eighth century AH; …while traditional historians focused on the chronicles of kings and wars, the poet Ubayd Zakani presented the true picture of the moral decline among the elite—viewed from the perspective of the common people—during a reign marked by great volatility.

b- The Progenitor of Satirical Literature: Scholars of comparative literature unanimously regard the poet as the pioneer of purposeful satire in the Persian language; his techniques inspired Sheikh Baha’i in the Sufi tale Mush-o-Gorbeh (The Mouse and the Cat) and—during the Constitutional era—Iraj Mirza (who was dubbed “Sa’di the Inspired”).

c- Comparison with Machiavelli and Aristophanes: Researchers have compared the poet to Machiavelli—specifically regarding the latter’s work The Prince and the demystification of politics), and with Aristophanes in the play The Clouds (regarding the satire of Sophist concepts).

Fourth: The Ultimate Message of the Treatise (The Core Argument)

The true message of Khwaja Ubayd Zakani in Akhlaq al-Ashraf (The Ethics of the Aristocracy) was not an invitation to vice; rather, it was an ethical and eschatological outcry—delivered through caricature—aimed at shocking the human mind. When the reader sees “evil” presented in the guise of organized virtue, and observes “lying and treachery” becoming the official modus operandi of institutions, the human conscience is shaken and roused from its slumber.

Thus, Akhlaq al-Ashraf proves itself to be a work that transcends time and place; As long as the world harbors a despot who distorts texts, a judge who accepts bribes, or a sycophant who swears the sun is shining at midnight, Ubayd-i Zakani’s book will remain the clearest mirror for dissecting the fall of elites and the degradation of principles.

Fifth: The Book’s Reception—Then and Later

1- At the time: The book circulated among the elite and reflective thinkers as a scathing, clandestine manifesto against the court of the Muzaffarid sultans and hypocritical judges.

2- Subsequently: Akhlaq-e Ashraf (The Morals of the Nobles) became the spiritual progenitor and foundational work of social satire in Persian literature, inspiring scores of poets.

3- In the modern era: It is considered one of the most significant manuscripts edited by eminent scholars (such as Abbas Iqbal Ashtiani, Mohammad Ja’far Mahjoub, Henri Ferté, Ali Asghar Halabi, and Parviz Atabaki), and it is studied as an enduring socio-political and literary document.

Sixth: Has the book been translated? Arabic or other languages?

European Languages

It has been translated into French (by the Orientalist Henry Massé) and into English within the context of comparative literature studies (by researchers Paul Sprachman and Daniela Meneghini).

Arabic Language

Excerpts and studies regarding the work have appeared in comparative literature theses; today—praise be to God—we have completed, on this website, a comprehensive translation of all seven of its sections, fully vocalized and analyzed.

Seventh: What was ‘Ubayd’s true school of thought? And did Shi‘ism exist during his era?

a- The Presence of Shi’ism in His Era (8th Century AH / 14th Century CE): Shi’ism was present and growing in Iran during the Ilkhanid era—particularly following the conversion of Sultan Öljaitü (Muhammad Khodabandeh) to Shi’ism at the hands of Al-Allama Al-Hilli and Nasir al-Din al-Tusi—and in cities such as Qazvin, Qom, Kashan, and Rayy.

b- Ubayd Zakani’s True Sect: Ubayd belonged to the “Zakani” family of Qazvin (a family of Arab origin that had settled there).

In his Diwan (collected poems) and its formal introductions, he begins by praising the Prophet, his family, and all his Companions—a practice characteristic of moderate Sunni scholars or those who were free from sectarian fanaticism during that period.

c- The essence of his stance: Ubayd Zakani was neither sectarian nor bigoted; rather, he was a humanist and rationalist thinker who opposed religious hypocrisy and charlatanism. He mocked corrupt judges and ascetics regardless of their sectarian affiliation—a stance that closely mirrored that of the poet Hafiz Shirazi.

— Written and prepared by the editorial team at
(Garden of Translation)

Arabic Text

خَاتِمَةُ الكتابِ والإستنتاج

«أَخْلاَقُ الأَشْرَافِ»: مِرْآةُ الاِنْحِطَاطِ وَالسُّخْرِيَةُ التَّهَكُّمِيَّةُ عَبْرَ «الْقَوْلِ الْمَقْلُوبِ»

لَمْ يَضَعْ الخَوَاجَه عُبَيْدُ الزَّاكَاَنِيُّ (نِظام الدِين عُبيد الله زاكاني) فِي نِهَايَةِ كِتَابِهِ «أَخْلاَقُ الأَشْرَافِ» خَاتِمَةً أَوْ إسْتِنْتَاجًا صَرِيحًا، بَلْ أكَتَفَى فِي نِهَايَةِ البَابِ السَّابِعِ بِوَصِيَّةٍ سَاخِرَةٍ يَدْعُو فِيهَا المُبْتَدِئِينَ إِلَى إتِّخَاذِ “أَخْلاَقِ المَذْهَبِ المُخْتَارِ” مَلَكَةً فِي نُفُوسِهِمْ لِيَنَالُوا المَنَاصِبَ وَالذَّهَبَ، والنجاح في الدنيا والأخرة

غَيْرَ أَنَّ هَذَا الصَّمْتَ الخِتَامِيَّ المَقْصُودَ المَصْحُوبَ بِنَبْرَةِ «الْقَوْلِ الْمَقْلُوبِ» (وارونه‌گویی) كَانَ دَعْوَةً لِلْقَارِئِ اللَّبِيبِ – المَوْصُوفِ عِنْدَهُ بِـ “مَرْدُمِ تِيزْفَهْمِ بَارِيک‌بِين” (أَهْلِ الفَطَانَةِ وَالتَّأَمُّلِ) – لِيَسْتَخْلِصَوا بِنَفْسِهِم مَضْمُونَ الكِتَابِ وَغَايَتَهُ الأَخْلاَقِيَةَ وَالسِّيَاسِيَةَ

وَمِنْ خِلاَلِ قِرَاءَتِنَا وَتَرْجَمَتِنَا لِلأَبْوَابِ السَّبْعَةِ، نَسْتَعْرِضُ هَذَا الإسْتِنْتَاجَ الَّذِي يُلَخِّصُ جَوْهَرَ الرِّسَالَةِ، وَتَقْنِيَاتِهَا الأَدَبِيَةَ، وَصَدَاهَا فِي التَّارِيخِ

أَوَّلاً: التَّوْظِيفُ التهَكُّمِيُّ لِلشِّعْرِ الكِلاَسِيكِيِّ وَالنُّصُوصِ المَقْدَسَةِ (وارونه‌گویی)

تَجَلَّتْ عَبْقَرِيَةُ الشاعر عُبَيْدِ الزَّاكَانِيِّ فِي إسْتِخْدَامِ تِقْنِيَةِ الْمُحَاكَاةِ التَّهَكُّمِيَّةِ؛ فَلَمْ يَكْتَفِ بِمُحَاكَاةِ البِنَاءِ المَنْطِقِيِّ لِكُتُبِ الفَلْسَفَةِ المَشَّائِيَةِ (مِثْلِ أَخْلاَقِ نَاصِرِى وَأَوْصَافِ الأَشْرَافِ لِلنَّصِيرِ الطُّوسِيِّ)، بَلْ عَمِدَ إِلَى إنْتِزَاعِ أَمْهَرِ الأَبْيَاتِ الشِّعْرِيَةِ لِكِبَارِ شُعَرَاءِ اللغة الفَارِسِيَةِ مِنْ سِيَاقَاتِهَا النَّبِيلَةِ وَوَضْعِهَا فِي سِيَاقَاتٍ سَاخِرَةٍ لِتَبْرِيرِ الرَّذِيلَةِ، التي عاينها في زمانهِ

شَاهْنَاَمَه الفِرْدَوْسِيِّ: أسْتَحْضَرَ الشَّاعِرُ مَلاَحِمَ الفِرْدَوْسِيِّ وَأَبْطَالَهَا (مِثْلَ رُسْتُمَ وَفَرْهَادَ) لِيُقَارِنَ بَيْنَ أَمْجَادِ المَاضِي العَظِيمِ وَبَيْنَ الخُضُوعِ المَهِينِ لأَشْرَافِ عَصْرِهِ الَّذِينَ يَجْعَلُونَ مِنْ قَبُولِ الصَّفْعِ وَالمَذَلَّةِ بَطُولَةً وَ”حَجَرَ رَحًى سُفْلِيًّا”

گُلِسْتَانُ سَعْدِي الشِّيرَازِيِّ: جَعَلَ سَعْدِي كِتَابَهُ فِي ثَمَانِيَةِ أَبْوَابٍ كَأَبْوَابِ الجَنَّةِ، فَقَسَّمَ الشاعر عُبَيْدٌ زاكانى كِتَابَهُ إِلَى سَبْعَةِ أَبْوَابٍ رَمْزًا لِأَبْوَابِ جَهَنَّمَ السَّبْعَةِ

كَمَا أنْتَزَعَ مَثَلَ سَّعْدِيَّ الشَّهِيرَ (دُرُوغِ مَصْلَحَتْ‌آمِيزْ بِه كِه رَاسْتِى فِتْنَة‌أَنْگِيزْ/الكذب الذي يجلب المصلحة أفضل من الصدق الذي يجلب فِتنة) لِيُثْبِتَ أَنَّ الكِذْبَ المَلِيحَ وَالرِّشْوَةَ هُمَا شَرِيَانُ الحَيَاةِ لِطَبَقَةِ القُضَاةِ وَالفُقَهَاءِ

نِظَامِي كَنْجَوِيّ وَرَشِيدِ الدِّينِ الوَطْوَاطِ: أسْتَعَارَ قِصَصَ العِشْقِ المَلَحَمِيِّ (فَرْهَادَ وَشِيرِينَ، وَمَجْنُونِ لَيْلَى) لِيُعَرِّفَ الوفَاءَ فِي “المَذْهَبِ المُخْتَارِ” بَأَنَّهُ حَمَاقَةٌ وَعَيْشٌ فِي الصَّحَارَى دُونَ جَدْوَى

هَذَا المَزْجُ بَيْنَ الشِّعْرِ الكِلاَسِيكِيِّ، وَالآَيَاتِ القُرْآنِيَّةِ، وَالأَحَادِيثِ النَّبَوِيَّةِ المَقْلُوبَةِ، كَانَ صَدْمَةً أَدَبِيَةً لِكَشْفِ كَيْفَ يُجَيِّرُ المُسْتَبِدُّونَ وَالنَّفْعِيُّونَ النُّصُوصَ الشَّرِيفَةَ لِتَبْرِيرِ الفَسَادِ الإِدَارِيِّ وَالْمَالِيِّ، وحتى الأخلاقي النفسي

ثَانِيًا: هَيْكَلِيَةُ المَذْهَبَيْنِ (تَعْرِيَةُ إنْقِلاَبِ المَعَايِيرِ)

يَقُومُ الكِتَابُ عَلَى المُنَاقَضَةِ الصَّادِمَةِ بَيْنَ مَذْهَبَيْنِ

أ- «الْمَذْهَبُ الْمَنْسُوخُ»: وَهُوَ الفَلْسَفَةُ الأَخْلاَقِيَةُ المِثَالِيَةُ لِلْقُدَمَاءِ (الحِكْمَةُ، الشَّجَاعَةُ، العِفَّةُ، العَدَالَةُ، السَّخَاءُ، الحِلْمُ، وَالحَيَاءُ/الوَفَاءُ/الصِّدْقُ/الرَّحْمَةُ)

ب- «الْمَذْهَبُ الْمُخْتَارُ»: وَهُوَ السُّلُوكُ النَّفْعِيُّ السَّائِدُ لَدَى نُخْبَةِ العَصْرِ المغولي (الإِيلْخَانِيِّ) وَالمُظَفَّرِيِّ؛ حَيْثُ تُصْبِحُ الشَّجَاعَةُ حَمَاقَةً، وَالعِفَّةُ حِرْمَانًا، وَالعَدْلُ خَرَابًا لِلْمُلْكِ، وَالسَّخَاءُ جُنُونًا، وَالحِلْمُ صَفْعًا، وَالوَفَاءُ دَنَاءَةً، وَالصِّدْقُ أَرْذَلَ الخِصَالِ

ثَالِثًا: صَدَى الكِتَابِ فِي المِيزَانِ النَّقْدِيِّ (بَيْنِ المُنْتَقِدِينَ وَالمُؤَيِّدِينَ)

شَهِدَ كِتَابُ «أَخْلاَقُ الأَشْرَافِ» صِرَاعًا نَقْدِيًّا وَفِكْرِيًّا عَبْرَ العُصُورِ، وَتَقَسَّمَتِ الآَرَاءُ حَوْلَهُ إِلَى فَرِيقَيْنِ

الفَرِيقُ المُنْتَقِدُ وَالْمُحَافِظُ (الخُصُومُ)

الإتِّهَامُ بِالْهَزَلِ وَالأَلْفَاظِ المَكْشُوفَةِ (الفاظ رکیک): أتَّهَمَ بَعْضُ الفُقَهَاءِ وَالمُؤَرِّخِينَ التَّقْلِيدِيِّينَ عُبيد زَاكَاَنِي بِـ “السُّقُوطِ الأَخْلاَقِيِّ” وَالإِفْرَاطِ فِي إسْتِخْدَامِ الشَّتَائِمِ وَالأَلْفَاظِ المَكْشُوفَةِ؛ مِمَّا جَعَلَهُمْ يَطْمِسُونَ القِيمَةَ الفَلْسَفِيَةَ لِلْكِتَابِ لِقُرُونٍ وَيَعْتَبِرُونَهُ كِتَابَ “مُزَاحٍ وَهَزَلٍ” 2- الإتِّهَامُ بِالسَّوْدَاوِيَّةِ وَالتَّعْمِيمِ (پلید بینی): رَأَى بَعْضُ النُّقَّادِ المُحْدَثِينَ (مثل د. عَلِي أَصْغَر حَلَبِي وَد. خَانْلَرِي) أَنَّ عُبيد زَاكَاَنِي أَبْرَزَ المَفَاسِدَ بِمُبَالَغَةٍ حَادَّةٍ كَارِيكَاتُورِيَةٍ تَجْعَلُ المُجْتَمَعَ يَظْهَرُ وَكَأَنَّهُ خَالٍ كُلِّيًّا مِنَ الخَيْرِ.

كَمَا أنْتَقَدُوهُ لأَنَّهُ لَمْ يُقَدِّمْ بَرْنَامَجًا إِصْلاَحِيًّا إِيجَابِيًّا، بَلْ اكْتَفَى بِالصَّدْمَةِ وَالتَّشْرِيحِ

الفَرِيقُ المُوَافِقُ وَالْمُثَمِّنُ (الأَكَاَدِيمِيُّونَ وَالأَدَبَاءُ)

أ- وثِيقَةٌ إجْتِمَاعِيَّةٌ نَادِرَةٌ: أعْتَبَرَ كِبَارُ الْمُحَقِّقِينَ (مثل عَبَّاس إِقْبَال آشْتِيَانِي، مُحَمَّد جَعْفَر مَحْجُوب، وَبُولْ سِبْرَاكْمَان) الكِتَابَ أَهَمَّ وَثِيقَةٍ سِيَاسِيَةٍ وَإجْتِمَاعِيَةٍ لِلقَرْنِ الثَّامِنِ الهِجْرِيِّ؛ لأَنَّ الْمُؤَرِّخِينَ التَّقْلِيدِيِّينَ أهْتَمُّوا بِأَخْبَارِ المُلُوكِ وَالحُرُوبِ، بَيْنَمَا قَدَّمَ الشاعر عُبَيْدٌ الزاكاني الصُّورَةَ الحَقِيقِيَةَ لِسُقُوطِ القِيَمِ عِنْدَ النُّخَبِ مِنْ وِجْهَةِ نَظَرِ عَامَّةِ الشَّعْبِ، خلال فترة حكم شهدت تقلبات كثيرة

ب- الأَبُ الشَّرْعِيُّ لِلأَدَبِ السَّاخِرِ: يُجْمِعُ أَعْلاَمُ الأَدَبِ المِقَارَنِ عَلَى أَنَّ الشاعر هُوَ “المُؤَسِّسُ الأَوَّلُ لِلأَدَبِ السَّاخِرِ المُوَجَّهِ، فِي اللُّغَةِ الفَارِسِيَةِ؛ حَيْثُ أَلْهَمَتْ تِقْنِيَّاتُهُ، الشَّيْخَ البَهَائِيَّ فِي قصة صوفية (موش وگربه)، وَإِيرَجْ مِيرْزَا فِي عَصْرِ المَشْرُوطَةِ (الَّذِي سُِمِّيَ بـ “سَعْدِي المُلْهَم”)

ج- المُقَارَنَةُ مَعَ مِيكْيَافِيلِي وَآرِيسْتُوفَانَ: قَارَنَ البَاحِثُونَ الشاعر بِـ “مِيكْيَافِيلِي” فِي كِتَابِهِ الأَمِير (مِنْ حَيْثُ نَزْعِ المِثَالِيَةِ عَنِ السِّيَاسَةِ)، وَبِـ “آرِيسْتُوفَانَ” فِي مَسْرَحِيَّةِ السُّحُبِ (مِنْ حَيْثُ سُخْرِيَةِ المَفَاهِمِ السُّوفَسْطَائِيَةِ)

رَابِعًا: الخَاتِمَةُ المُطْلَقَةُ لِلرِّسَالَةِ (الْمَدْعَى)

إِنَّ رِسَالَةَ الخواجة عُبَيْدِ الزَّاكَانِيِّ الحَقِيقِيَّةَ فِي «أَخْلاَقِ الأَشْرَافِ» لَمْ تَكُنْ دَعْوَةً لِلرَّذِيلَةِ، بَلْ كَانَتْ صَرْخَةً أُخْرَوِيَةً وَأَخْلاَقِيَةً كَارِيكَاتُورِيَةً تَهْدِفُ إِلَى صَدْمِ العَقْلِ البَشَرِيِّ؛ فَعِنْدَمَا يَرَى القَارِئُ أَنَّ “الشَّرَّ” يُقَدَّمُ فِي ثَوْبِ الفَضِيلَةِ المُنْظَمَةِ، وَأَنَّ “الْكَذِبَ وَالخِيَانَةَ” يُصْبِحَانِ مَنْهَجًا رَسْمِيًّا لِلْمُؤَسَّسَاتِ، يَهْتَزُّ الضَّمِيرُ الإِنْسَانِيُّ لِيَسْتَفِيقَ مِنْ غَفْلَتِهِ

وَبِهَذَا يُثْبِتُ «أَخْلاَقُ الأَشْرَافِ» أَنَّهُ كِتَابٌ عَابِرٌ لِلزَّمَانِ وَالمَكَانِ؛ فَمَا دَامَ فِي العَالَمِ مُسْتَبِدٌّ يُحَرِّفُ النُّصُوصَ، أَوْ قَاضٍ يَقْبَلُ الرِّشْوَةَ، أَوْ مُتَزَلِّفٌ يُقْسِمُ أَنَّ الشَّمْسَ سَاطِعَةٌ فِي مُنْتَصَفِ اللَّيْلِ، سَيَظَلُّ كِتَابُ عُبَيْدِ الزَّاكَانِيِّ المِرْآةَ الأَشَدَّ نَاصِعِيَّةً لِتَشْرِيحِ سُقُوطِ النُّخَبِ وَإنْحِطَاطِ المَبَادِئِ

خامساً: صَدَى هَذَا الْكِتَابِ فِي وَقْتِهِ وَمَا بَعْدَهُ

فِي وَقْتِهِ: شَاعَ الكِتَابُ بَيْنِ النُّخَبِ وَالْمُتَأَمِّلِينَ كَبَيَانٍ سِرِّيٍّ لاَذِعٍ ضِدَّ بَلاَطِ السَّلاَطِينِ الْمُظَفَّرِيِّينَ وَالْقُضَاةِ الْمُرَائِينَ

مَا بَعْدَهُ: صَارَ أَخْلاَقُ الأَشْرَافِ الأَبَ الشَّرْعِيَّ وَالْمُؤَسِّسَ الأَوَّلَ لِأَدَبِ السُّخْرِيَةِ الاِجْتِمَاعِيَّةِ فِي الأَدَبِ الْفَارِسِيِّ، وَأَلْهَمَ عَشَرَاتِ الشُّعَرَاءِ

فِي الْعَصْرِ الْحَدِيثِ: يُعَدُّ مِنْ أَهَمِّ الْمَخْطُوطَاتِ الَّتِي حَقَّقَهَا كِبَارُ الْعُلَمَاءِ (عَبَّاس إِقْبَال آشْتِيَانِي، مُحَمَّد جَعْفَر مَحْجُوب، هَانْرِي فَرْتِيه، عَلِي أَصْغَر حَلَبِي، بَرْوِيز أَتَابِكِي)، وَتُدَرَّسُ بِوَصْفِهَا وَثِيقَةً اجْتِمَاعِيَّةً-سِيَاسِيَّةً وَأَدَبِيَّةً خَالِدَةً

سادساً: هَلْ تُرْجِمَ الْكِتَابُ لِلُّغَةِ الْعَرَبِيَّةِ أَوْ لُغَاتٍ أُخْرَى؟

اللُّغَاتُ الأُورُوبِيَّةُ

تُرْجِمَ إِلَى الْفَرَنْسِيَّةِ (عَلَى يَدِ المَسْتَشْرِقِ هَانْرِي مَاسِيه Henry Massé)، وَإِلَى الإِنْكِلِيزِيَّةِ فِي دِرَاسَاتِ الأَدَبِ المِقَارَنِ (عَلَى يَدِ الْبَاحِثِ بُولْ سِبْرَاكْمَان Paul Sprachman وَدَانْيِيلاَ مِينِيغِينِي Daniela Meneghini)

اللُّغَةُ العَرَبِيَّةُ

نُقِلَتْ أَجْزَاءٌ مِنْهُ وَدِرَاسَاتٌ حَوْلَهُ فِي أُطْرُوحَاتِ الأَدَبِ المِقَارَنِ، وَاليَوْمَ – بِحَمْدِ اللَّهِ – أَتْمَمْنَا فِي موقعنا هَذَا تَرْجَمَةً مُتَكَامِلَةً وَمَشْكُولَةً وَمُحَلَّلَةً لأَبْوَابِهِ السَّبْعَةِ كَامِلَةً

سابعاً: مَاذَا كَانَ المَذْهَبُ الحَقِيقِيُّ لِعُبَيْدٍ؟ وَهَلْ كَانَ التَّشَيُّعُ مَوْجُودًا فِي فَتْرَتِهِ؟

أ- وُجُودُ التَّشَيُّعِ فِي عَصْرِهِ (الْقَرْنِ 8 هـ / 14 م): كَانَ التَّشَيُّعُ مَوْجُودًا وَمُتَنَامِيًا فِي إِيرَانَ خِلاَلَ العَصْرِ الإِيلْخَانِيِّ (خَاصَّةً بَعْدَ تَشَيُّعِ السُّلْطَانِ أُولْجَايْتُو “مُحَمَّد خُدَابَنْدَه” عَلَى يَدِ العَلاَّمَةِ الحِلِّيِّ وَنَّصِيرِ الدين الطُّوسِيِّ)، وَفِي مُدُنٍ كَقَزْوِينَ وَقُمَّ وَكَاشَانَ وَالرَّيِّ

ب- مَذْهَبُ عُبَيْدٍ زَاكَاَنِي الحَقِيقِيُّ: يَنْتَمِي عُبَيْدٌ إِلَى أُسْرَةِ “الزَّاكَاَنِيِّينَ” فِي قَزْوِينَ (وَهُمْ مِنْ أُصُولٍ عَرَبِيَّةٍ أسْتَقَرَّتْ هُنَاكَ)

وفِي دِيوَانِهِ وَمُقَدِّمَاتِهِ الرَّسْمِيَةِ، يَبْدَأُ بِالثَّنَاءِ عَلَى النَّبِيِّ وَآلِهِ وَأَصْحَابِهِ أَجْمَعِينَ، وَهُوَ مَسْلَكُ مُعْتَدِلِي عُلَمَاءِ أَهْلِ السُّنَّةِ أَوْ مَنْ لاَ يَتَعَصَّبُونَ فِي تِلْكَ الْفَتْرَةِ

ج- جَوْهَرُ مَوْقِفِهِ: لَمْ يَكُنْ عُبَيْدُ زَاكَاَنِي طَائِفِيًّا أَوْ مُتَعَصِّبًا؛ بَلْ كَانَ مُفَكِّرًا إِنْسَانِيًّا وَعَقْلاَنِيًّا ضِدَّ «الرِّيَاءِ وَالدَّجَلِ الدِّينِيِّ»، حيث سَخِرَ مِنَ القُضَاةِ وَالزُّهَّادِ الفَاسِدِينَ بِغَضِّ النَّظَرِ عَنْ أنْتِمَائِهِمُ المَذْهَبِيِّ، وَكَانَ مَوْقِفُهُ فِي ذَلِكَ شَبِيهًا تَمَامًا بِمَوْقِفِ الشَّاعِرِ حَافِظٍ الشِّيرَازِيِّ

كَتَبَتْهُ وَأَعَدَّتْهُ إِدَارَةُ التَّحْرِيرِ فِي
(Garden of Translation)