sirT1VAQ AHMAD ZILLI 16 i ine classical style” asitServed as amo, sified asthe classical sty : later came ieee tradition of insliawritng. The more salient fay tn cassia his style may be summarized as follows of this st ; became an essential feature, Saja has been y 1 = ore ee due to the influence of the language of we Que. speech was often carried to extre, 2:The ea oe ew follow the content, “=, 3 Posi imapination was given free reign virally turning insha com, position into poetry in the Form of prose; the rhyme was there only ths metre was lacking.” ; a 4 Frequent resort was taken to literary and historical digressions which would be dificult oflly appreciate unless a person was adequately acquainted with the vast literary heritage.” 5, Thetendency to quote poetry became still more pronounced. Judicious use of poetry imparts effect and force o the contents but its excesses use makes it cumbersome.*! 6 Thepractice of diestreferenceto the addressee by name was abandoned and the etiquette of writing formal algab" in the beginning of the document cameinto vogue.” A set formullaof tiles forevery group wae specified, Different titles were to be used for the people of differen stations in life.* }nihis way nsha became an ar with a peculiar style anda whole listo technicalities was worked out. Special terms were coined for different 2 Ibid. vol. I, pp, 308-9, * Safa means speech or language ha a aving fawésil (ends) of the clause like the thy . like the thyme {te poetry withoutbeing measuredand itconvines intheagreement and resemblance of the ‘words which endits clauses. See E,W. ra 204 Edinburgh 1865,» Taop LAME AYabie-EnglshLeticon, vol L pot 3 Lag 2 Zaidi, vol. p10, id "much longer peried in , r n Spain which was not so direct ep ant Se Kutd ‘Al, Umard at ape Lis© Seas DEVELOPMENT OF SHA Lite “ATURE, sot style SUCH 85 1057, tarsi oy 307 rat style® was Ton ul“Amid, the fan moa repr vin wi-Davlah” (947-77). The great tradition an ih Abdu’ Hamid is considered 16 have con 0 "2*4 that had bog 11 was roughly towards the close of the nai 2" eM With hin. ascendancy of the classical style of Arabic ince one _wasthe most prominent exponent, that the emerge, Which Iba ulAmiq Ja vehicle of distinct literary tradition may be oP eManguage ‘val of Persian literature and language ney eS: Sits ofthe yyafqibbin Laig (867-77) the Saffarid emperor aaa been discernible ruler todiscourage the use of Arabica his coun, This seo eee fist pesinning of the revival.” - This may be aken a the Early Development of Persian Insha ie carliest works of Persian prose were composed und ' | i9t005). Even as Arabic continued w be the exclsie eS administration under them, they seemto havebeen alivetotheimnc | ofPersian as a cultured language and took deep interest interne” | | st init Tnwas perhaps not before the Ghaznavids that Persian cametobe wetig the chancellery, Some scholars are of the view that under the Ghazna i hi andthe Saljugs both Arabic and Persian were used asthe language of te » Tas iterally means setting, ixing or puting ogeter (Jewels, precious stones gems, peath, ccc) Instore it signifies the making ofthe words of «cause ofrayming pose. or ates, woof them, conformable in their measures and agreing in thir later pas, with seconspning werk of ecometpongcle Sx EL. op. coh at, Pll % Zaidan, vol. Il, p. 308; also see Umardi ul-Bayain, vol. I, p. $46, * Abu'l Faz] Muhammad al-Husain, betier known as Ibn ul-‘Amid, came from an bscare family but rose to the high position of wizdrat under the Buwaihid ruler, Rukn ud- aah. His fame rests mainly on his contribution to Arabic literature and patronage t0 ‘earning. He died in 360/970- |. For more details abouthis life and work see Umard ul-Baydn, ‘ol Il, pp. $46-60. Also see Ahmad Hasan a2-Zayy3t, op. cit. vol. IL pp. 178-81, ™ Zaidin, vol. I, pp. 312-13, ™ Yagi bin Lais (40 867-77), founder of the Safari dynasty, was not fais with, Antic: Heis reported tohave expressed his ispleasureof the use of language hatte coslé *ot understand when the poets facilitated him over a vitory inthe form of AaB PS Accadingta the autor of Tari Str peep 0: taken wring in Pegg TS tie, Literary historians have taken ths episode as aturnig pir nite istry of Pe Language. See Tarikh-i Sistin, ed. Malik us wu‘ard? M.Tagi Bahar, Tebren, Le cae ‘Zabinulah Safa, Tavikt-iAdabiyyat dar dn, vol. 1, Tehran, 1332,P. 35; idem, a Tarith-i Tahawwul-i Nagm wa Nasr-i Farsi, Tebran 1338, p. 39 hereafter Tartij [six AHMAD Z1LLE v ; cnc iss dring his eto hat For he sing os ain Persian ; a cs ciaetescet ib Sy PCs prose is simpli ale It ok sometime before the Persian wnites were app assimilate the msn Features of classical Arabic prose af Which 5 eventually came to be moulded: This simple, direct and m, rose syle prevailed almost up to the end of the tenth cent collection of insha of this period, and most probabl ves Znatul-Kurtabof Abu! az Baibagi (1077), the fame, dobry the Gheznavids Unfortunately, his book ismo longeravaileh Onecan however, have some idea of Baihagi's prose from the extant Portions ofthe Torti Bata is imple diet and eectve. Literary darn a anifices are conspicuous by their absence Towards theend ofthe tenth centu ity of © fully | it alle of fay Y- The on} Y the Firs of king HY, New trends in isha w ritingcoulg zoel Tehsil Ra, That 1, Tarith-i Adabiyyar-i tran, ‘Tebran, ‘Or an } account of the career of Yaryat XN oe an La we. Nee tear one ne StS Land EG. Browne 4 Lier 2.09 IT6a, Aioae iG 7 M6 4 ca Nima Tanti wo ind Daared Since aga Beano eet nk sud Pesiaveewala elegy of the Khwatizm sania ‘nd Salas both Aras establishes, s Sibidyan p30, Rypka. p. 434; Tarith.i a Step a, MAY halo. 2, Re pit lip kk vb Tan ception Was the author of Qabvs-ndma,“Unsut m TaeUNit (978-1012) ruler of Tabistn oreo 276-8