Parvin, daughter of Sasan and Isfahan, half of the world


Title: Parvin, daughter of Sasan and Isfahan, half of the world

Author: Sadegh Hedayat

Publisher: Forbidden

Subject: Persian short stories, forbidden

Age category: Adult

Cover: Paperback

Number of pages: 163 p

Language: Farsi



Parvin is the daughter of Sasan and Isfahan Half of the world is one of the famous writings of Sadegh Hedayat and of course, the book of Parvin is the daughter of Sasan. This book, which is a play, is written in three scenes. The writing of this book began in 1307 and ended in 1309. In the first scene, he talks about the love between Parvin and Parviz. Parviz is one of the officers of the city garrison who says goodbye and returns to his base in the defensive trenches. The end of this curtain is in the form of Melordam.

In the second act, Parvin’s father becomes seriously ill for unknown reasons. He dies after four soldiers enter the house and kill the servant and take Parvin with them. In the third scene, the commander of the Arab Division informs Parvin that his fiancé was killed in the war. He then commits his crime. Parvin kills the same soldier with a dagger.
Parvin Dokhtar Sasan
Parvin Dokhtar Sasan is the name of a play by Sadegh Hedayat written in 1307 in Paris, which narrates the year 22 AH, the peak of the Muslim Arab-Iranian war. The story is about a make-up artist and his daughter Parvin and his son-in-law Parviz, who live in the last days of the Sassanid kingdom and are attacked by the Arabs in the city of Rey. The story takes place in the atmosphere of a beautiful love between Parvin and Parviz, which was formed during a cowardly war and the brutal killing of Iranians. It seems that Hedayat has prevented himself from judging, but he repeatedly provokes the reader about the historical events of the arrival of Islam in Iran.

An overview of the play
Parvin Dokhtar Sasan, written in Azar 1307, completed in 1309, is a play in three scenes by Sadegh Hedayat. The place and time of its occurrence is in Rey and the first lunar century. In the first period, the Arabs conquered almost all the cities of Iran and now they have reached behind the gates of Rey. There is a lot of talk about the previous battles and the terrible fate of the occupied territories. The end of the first scene is in the form of a melodrama and shows the two lovers of Parvin and Parviz together. Parviz, one of the officers of the city garrison, says goodbye and returns to his base in the defensive trenches. In the second scene, Parvin’s father suffers from a deadly disease for which the cause is unknown, and he dies after four soldiers enter the house and kill the servant and take Parvin with them.

Review of Parvin Dokhtar Sasan and Isfahan Half of the World
Sadegh Hedayat, who started writing the play “Parvin the Sassanid Girl” in 1307, finally published it in 1309 by the Ferdowsi Library. This play, like other archeological plays of that time, looks at the glory of ancient Iran, but with a look full of sorrow and grief. Sadegh Hedayat’s play, unlike the optimistic works of that era, has a violent ending. The Arabs have reached Ray and conquered all the cities. When Parvin finds himself surrounded by the enemy, he pulls out a dagger and commits suicide. This tragic and metaphorical ending does not seem so strange considering life and other works of guidance.

But the interesting point is that the name of this play was changed to Ferdowsi Library and then to Amirkabir Publications. In 1309, it was published under the name of Parvin Dokhtar Sassanid, but later, when it was published with “Isfahan Half of the World”, its name was changed to Parvin Dokhtar Sasan.
Undoubtedly, according to the theme of this play, the name of the Sassanid girl seems more correct than the Sassanid girl.

A review of the play by Parvin Dokhtar Sasan
The play Parvin Dokhtar Sasan is nothing special in terms of the whole story and the ups and downs of the play, and it happens to be a weak work.

From the very beginning, there is a weakness in the plot and its details and the way it is told.

What is readable in this work is the descriptions it gives of the destruction of Iran by the Arabs; The metaphors and metaphors he uses to portray this black space of war and destruction. These sections are readable and thought-provoking. Hedayat emphasizes that he has tried to make his work more historically authentic by referring to history. This may not be unreasonable in the case of Arab violence – at least by eliminating some extremist one-sidedness, but I do not think it is possible to say anything about the authenticity of the Sassanid society and the goodness of its leaders.

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