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لیلی و مجنون نظامی گنجوی – جلد چرمی دوزبانه - Layli-o-Majnun - Bilingual (English/Persian)

لیلی و مجنون نظامی گنجوی – جلد چرمی دوزبانه - Layli-o-Majnun - Bilingual (English/Persian)

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Language: Farsi and English
Book Size ≈ 10 x 7 inches
Number of pages: 336
Cover: PU Leather Hardcover
Paper type: Glossy
Printed in: Colors 
Illustrations: Yes (Persian miniatures)
Dust cover:


جمال‌الدین ابومحمّد الیاس بن یوسف بن زکی بن مؤیَّد، متخلص به نظامی و نامور حکیم نظامی (زادهٔ ۵۳۵ هـ. ق در گنجه– درگذشتهٔ ۶۰۷–۶۱۲ هـ. ق) شاعر و داستان‌سرای ایرانیو پارسی‌گوی حوزهٔ تمدن ایرانی در سده ششم هجری (دوازدهم میلادی)، که به‌عنوان پیشوای داستان‌سرایی در ادب پارسی شناخته شده‌است.

اگرچه نام لیلی و مجنون پیش از نظامی گنجوی نیز در اشعار و ادبیات پارسی به چشم می‌خورد، ولی نظامی برای نخستین بار، آن را به شکل منظومه‌ای واحد به این زبان در ۴۷۰۰ بیت به درخواست پادشاه شروان به نظم کشید. نظامی خود از بابت این سفارش ناراضی و بی‌میل بوده‌است و کار را در چهار ماه به پایان برده‌است.

وزن این مثنوی جدید بوده و پس از نظامی شعرای زیادی در این وزن داستان‌های عاشقانه سروده‌اند. همچنین ده‌ها شاعر در ایران، هند و ترکستان منظومه‌هایی را به استقبال از لیلی و مجنون نظیره پردازی کرده و شعرای دیگری نیز به داستان نظامی شاخ و برگ بیشتری افزوده یا آن را تغییر داده‌اند. در بحر هزج مسدس اخرب مقبوض مقصور و محذوف، نظم این مثنوی به سال ۵۸۸ هجری به پایان رسیده‌است

Nizami Ganjavi (Persian: نظامی گنجوی‎, translit. Niẓāmī Ganjavī, lit. 'Niẓāmī of Ganja') (1141–1209), Nizami Ganje'i, Nizami, or Nezāmi, whose formal name was Jamal ad-Dīn Abū Muḥammad Ilyās ibn-Yūsuf ibn-Zakkī, was a 12th-century Persian Sunni Muslim poet. Nezāmi is considered the greatest romantic epic poet in Persian literature, who brought a colloquial and realistic style to the Persian epic. His heritage is widely appreciated and shared by Afghanistan, Azerbaijan, Iran, the Kurdistan region and Tajikistan.

A story of Arabic origin which was later absorbed and embellished by the Persians.The poem of 4,600 distichs was dedicated, in 1192, to Abu al-Muzaffar Shirvanshah, who claimed descent from the Sassanid King, whose exploits are reflected in Nezami's "Seven Beauties"(Haft Paykar). The poem is based on the popular Arab legend of ill-starred lovers: the poet Qays falls in love with his cousin Layla, but is prevented from marrying her by Layla's father. Layla's father forbids contact with Qays and Qays becomes obsessed and starts signing of his love for Layla in public. The obsession becomes so severe that he sees and evaluates everything in terms of Layla; hence his sobriquet "the possessed" (Majnun). Realizing that cannot obtain union even when other people intercede for him, he leaves society and roams naked in the desert among the beasts. However the image of Layla was so ingrained in him that he cannot eat or sleep. His only activity becomes composing poetry of longing for Layla. Meanwhile, Layla is married against her will, but she guards her virginity by resisting the advances of her husband. Arranging a secret meeting with Majnun, they meet, but have no physical contact. Rather they recite poetry to each other from a distance. Layla's husband dies eventually which removes the legal obstacles to a licit union. However Majnun is so focused on the ideal picture of Layla in his mind that he had fled to the desert. Layla dies out of grief and is buried in her bridal dress. Hearing this news, Majun rushes to her grave where he instantly dies. They are buried side by side and their grave becomes a site of pilgrimage. Someone dreams that in Paradise they are united and live as a king and queen.[48] Nezami composed his romance at the request of the Shirvanshah Akhsatan. Initially, he doubted that this simple story about the agony and pain of an Arab boy wandering in rough mountains and burning deserts would be a suitable subject for royal court poetry and his cultured audience.[48] It was his son who persuaded him to undertake the project, saying: "wherever tales of love are read, this will add spice to them". Nezami used many Arabic anecdotes in the story but also adds a strong Persian flavor to the legend. He adapted the disconnected stories about Majnun to fit the requirement of a Persian romance.

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