Ferdosi
mentions the exact date for his sixty-third birthday in the
Shahnameh. After reconciling the calendar he used with
the ones still in use today, it’s been determined that he was
born on Friday January 3rd, 940 A.D. (329 A.H., lunar calendar).
His birthplace, Bazh, was a village in the neighborhood of Tabaran,
the main district of the old city of Tus, in the province of
Khorasan, Iran.
His
honorific title (konye) is unanimously recorded as Abu’lQassem,
which indicates that he had a son named Qassem. His son’s
death at a young age grieved the poet immensely. According
to Nezami-Aruzi, Ferdosi left behind only a daughter – a high-spirited
lady. But there seems to be no trace of her in the poet’s
work.
Ferdosi’s
first name and that of his father are given variously.
The most reliable version is Mansur son of Hasan, recorded by
al-Bondari of Isfahan. We know no other forebear of Ferdosi,
and he himself makes no direct mention of his family history.
A well-known fact, however, that he came from a dehqan (a noble
landowner) family, throws light on his background, and on his
monumental undertaking, the Shahnameh.
For
Centuries after the fall of the Sassanian (the last Iranian
dynasty overthrown in the Arab invasion of the seventh century
A.D.), the dehqans remained pillars of the Iranian community.
They endeavored to preserve the memories of the golden days
of the perished empire. They upheld the heroic traditions
and the cultural heritage of Iran. Consequently, they
became the paragons of the Iranian people. The very term
dehqan became synonymous with “Iranian”, and the “learned narrator
of history and sagas” of Iran.
Ferdosi
came from this class, the landed nobility. Although his
early years are obscure, being the son of a well-to-do squire,
he undoubtedly received a high education and a strenuous physical
training. The type of education and training which the
sons of Iranian nobility would traditionally undergo.
It is evident from his masterly creation, the Shahnameh, that
his educational concentration was on the Persian literature,
and the Iranian history & sagas. He learned a great
deal about ancient Iran and its heroes, culture, and heritage.
In
360/970, Ferdosi, then thirty years old, was an accomplished
poet, married, with a two-year old son. He had a number
of celebrated friends; among whom Mansur, the son of Abu Mansur
Mohammad Abd-al-Razzaq, occupied a special position. Ferdosi’s
life was filled with efforts to learn incessantly and attending
the learned gatherings. He had a profound appreciation
for beauty, especially natural beauty. This combined with his
astonishing imagination made him an artist whose descriptions
of the scenes are as colorful, as lively, and as absorbing as
the great work of a master painter of the Realism School.
Ferdosi
was a tall figure with a lively and optimistic nature.
He lived much in the same way, as did his Sassanian ancestors,
with prosperity and joy. He enjoyed such pastimes as horseback
riding, playing games, feasting and drinking wine, and listening
to music and songs. He loved life and all it had to offer.
He was courteous, kindhearted, truthful, open-handed, warm,
and faithful. He despised prejudice, ignorance, and greed.
Ferdosi’s personality is well reflected in his work.
He
admired wisdom sincerely. For Ferdosi, “truth” and “wisdom”
were the keys to salvation. He emphasized that in moments
of defeat and decline, hope must be retained; because old fallen
trees can grow anew if their roots are preserved. This
is one reason why he wanted to preserve the memories of Iran’s
glorious past – which someday it might rise again. It
was as if his love for Iran was part of his religion and governed
his way of thinking. He idolized Iranian heroes, glorified
their ways of life, and defended their traditions with zeal
and conviction.
Ferdosi
spent his best years pouring his energy and heart into charming,
meaningful, and exciting poetry. The Shahnameh is
an impressive monument of poetry and historiography; a poetical
recast of what Ferdosi and his predecessors regarded as the
account of Iran’s history. The singular message that the
Shahnameh strives to convey is the idea that the history of
Iranshahr was a complete and immutable whole. It started
with Gayumarth, the first man, and ended with his fiftieth scion
and successor, Yazdegerd III: six thousand years of history.
The task of Ferdosi was to prevent this history from losing
its connection with the future Iranian generations. Needless
to say, he succeeded in a way that no other historian has, either
before or after him.
As
a man of strong principles, Ferdosi kept the Shahnameh undedicated
for a long time. In all the years he was composing the
Shahnameh, he had saved it for a royal patron who would recognize
the value of such a treasure and would be worthy of receiving
it. Such patron would ensure preservation of copies of
the Shahnameh, and would help to propagate them throughout Iran.
In
the eyes of many Iranians, including Ferdosi, Soltan Mahmud,
the Ghaznavid, had created a burning hope for an Iranian renaissance.
For the first time since the Arab invasion, an Iranian dynast,
speaking Persian and following all Iranian traditions, had unified
the whole of Iran and appeared to be heading for the revival
of the Sassanian culture and empire. The Divan system
was being kept in Persian instead of Arabic; a nationalistic
move that only Mahmud’s sanction could have made possible.
With his mighty armies, lofty palaces, valuable treasures, hosts
of musicians, singers, and poets, his “eagle banner”, his elephants
and park games, his banquets with wine, and his celebration
of Noruz, Mehrgan, and Sadeh, for the first time since the fall
of the sassanians, their magnificence and splendor had been
revived in the court of Soltan Mahmud. In order to emphasize
his “Sassanian origin”, Mahmud had gone so far as to publish
a fictitious pedigree tracing his descent to Yasdgerd III.
Ferdosi
regarded Mahmud as a new Freidun, a just, brilliant, worthy
and legitimate Iranian King. He finally presents his Shahnameh
to Soltan Mahmud, a sovereign whom he viewed as deserving of
such a treasure. This occurred in 395/1004, when Ferdosi
was sixty-five years old, and exactly twenty-five years after
he had begun to compose these stories in verse.
The
popular myths about Ferdosi agreeing to compose the Shahnameh
in return for sixty thousand gold coins (Dinars) from Soltan
Mahmud, as well as his visit to Mahmud’s court and defeating
the court poets in a poetic contest are all false.
By the time Mahmud came to power in Khorasan, Ferdosi had been
working on the Shahnameh for nineteen years. Furthermore,
he never met Mahmud.
As
it happened, Mahmud did not appreciate the Shahnameh, nor did
he realize the honor that its dedication had bestowed upon him.
Many reasons have been given for Mahmud’s cool reception.
First and foremost, Ferdosi never presented the Shahnameh in
person. As a result, the Shahnameh was deprived of a traditional
and highly effective “ceremony of presentation to the royal
patron” by the author himself. Unattended, his work had
little chance of fair introduction and, therefore, little chance
of fair attention.
Secondly,
unfamiliar with Mahmud and his pretentious and lordly nature,
Ferdosi employed a bold and advisory tone in his panegyrizing
passages. He called the king’s attention to the achievements
and nobility of Iranian heroes in the Shahnameh. Undoubtedly,
Mahmud took such remarks too personally and as an affront to
his own majesty; he therefore received Ferdosi’s work with no
enthusiasm. Furthermore, Ferdosi had praised Mahmud’s
grand vizier, Fazl ebn-e Ahmad-e Asfarayeni, a bold counselor
imposed upon him by his father, Sebuk-Tegin, while Mahmud was
the Sepahsalar of Khorasan.
Asfarayeni
frequently questioned Mahmud’s Judgments and threatened him
with resignation. By the time Ferdosi sent the second
edition of the Shahnameh to Mahmud’s court, in 395/1005, almost
certainly through the grace of Asfarayeni, the king had made
up his mind to remove this powerful and headstrong minister.
Ferdosi’s warm and impressive praises of Asfarayeni and his
statesmanship most certainly further alienated Mahmud.
Thirdly,
political developments had in the meantime shifted Mahmud’s
interests and had changed his personal behavior. While
rising to power, he posed as an Iranian king wishing to revive
the Sassanian state. Having achieved his aim in becoming
the most powerful sovereign of his time, he no longer deemed
it necessary to rely on ethnic or national loyalties.
Instead, Mahmud decided to play the role of an Islamic hero
crusading for the spread of the faith. This way, he could
rely on mass support throughout the Islamic Asia, and especially
from Baghdad. He was being hailed as the restorer of the
traditional Islamic beliefs. Obviously, Iranian nationalistic
tendencies ran contrary to his new pro-Arab policies.
As the symbol of Iranian heroes and veneration of Iranian traditions,
Ferdosi had gone so far as to condemn the Arab conquest of Iran.
To champion such a book as the Shahnameh meant weakening his
Islamic support, and this, Mahmud was not prepared to do.
Two
other factors contributed to the cool reception of the second
edition in 396/1005. One was the envy of Mahmud’s court
poets, who depicted their king as greater, wiser, braver, and
more splendid than the most illustrious Shahnameh heroes, while
condemning Iranian sagas as “baseless tales”. The flatterers
attended the king constantly, and had ample opportunity to belittle
the value of the Shahnameh. The second factor was Mahmud’s
constant occupation with state affairs, preparing and carrying
out military expeditions and time consuming feasts, and ceremonial
occasions, which all combined to leave him little time or enthusiasm
to read or listen to long stories of ancient Iranian kings and
heroes.
How
much of this was known to Ferdosi, it is not clear. He
often wondered over the lack of response from the royal court.
Yet he continued to perfect his work and supplement his stories.
Occasionally, he inserted a few lines panegyrizing, at the same
time criticizing, the king and hinting at his own condition.
Finally, in 400/1009-10, the third and principal version of
the Shahnameh was completed. As a grand and continuous
history of the Iranian nation, it was sent to Ghazne with definite
dedication to Soltan Mahmud. It contained nearly sixty
thousand distiches of imposing epic and lyrical nature and was
the result of thirty long years of hard work by the greatest
Iranian poet. Seventy-one years of age, weak, lonely and
distressed, Ferdosi expected a handsome reward from a king whom
he once viewed as a second Freidun, a reward that never came.
The
popular sentiments toward Ferdosi exacted a terrible “revenge”
from Soltan Mahmud by fabricating a biting satire on him.
As it stands, the Satire is a truly fascinating literary creation.
It contains a fair number of genuine verses taken from Ferdosi’s
statements on occasions with no relevance to himself or to his
relation with Mahmud. They are skillfully joined together
to supposedly convey Ferdosi’s judgment on a pact-breaking king.
No reader could remain unimpressed. It succeeds in presenting
Soltan Mahmud as a ruler of lowly origin who was envious of
the glorious descent and deeds of the ancient heroes and kings.
It depicted him as vengeful, greedy, and incapable of appreciating
poetry and fine skills. Above all, the Satire explains
Mahmud’s lack of appreciation of the Shahnameh as due to his
fanatical anti-Shiism.
However
impressive, the Satire is a forgery. Ferdosi did indeed
show his disapproval of Mahmud’s excesses and fanaticism.
He, however, did so very politely and indirectly, in the form
of advice and warnings often inserted in the passages panegyrizing
the king. Although one can see clear traces of Ferdosi’s
complete disappointments, there is nothing in his work to suggest
that he actually denounced Soltan Mahmud.
As
reported by Nezami-Aruzi and echoed in the Shahnameh, Ferdosi
was a wealthy landowner with a considerable estate when he began
composing the Shahnameh. He lived comfortably for sixty
years. At that point, his occupation with the Shahnameh
and, as a result, lack of attention to his land forced him to
sell most of his property. All that remained was an orchard
wherein he was later buried.
When
nearing sixty, he laments over the time when he was a rosy-cheeked
young man with thick black hair, proud of his horsemanship and
other outdoor sports, enjoying a comfortable life and a skill
for composing poetry. By the age of sixty-five, in 395/1005,
he is completely white haired. He has become deaf, shortsighted,
empty-handed, and exhausted. To top things off, a disaster
strikes. His only son dies at age thirty-seven.
Ferdosi’s mourning over his son is one of the most personal
and moving pieces of the Shahnameh.