Wagh wagh sahab

8.00

Title: wagh wagh Sahab

Author: Sadegh Hedayat

Publisher: Forbidden

Subject: Persian short stories

Age category: Adult

Cover: Paperback

Number of pages: 136 p

Language: Farsi

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Description

Introducing the book Vagh Vagh Sahab by Sadegh Hedayat
You can see the intertwined sky and string and the intertwined earth and time only in “Vahagh Sahab”, a unique book written by someone with the genius and creativity of “Sadegh Hedayat” accompanied by “Masoud Farzad”. Sahab’s book Voghogh does not have a uniform narrative and includes thirty-five pieces of short stories, which the author has named as a theorem or, in his own words, “Ghaziya”.

Eleven of these cases were written by Farzad and Hedayat separately and thirteen together. Of course, Farzad himself has said in this regard that “the initiative and thought of writing Sahab’s woo was from Hedayat and I did nothing but follow his ideas. “It was in the light of his guidance that a corner of my mind was opened and I made a few theorems and added them to this book.” The theorem used by Hedayat in this book later became the model for other writers.
In the book “Doing good is filling” by Abbas Tawfiqi and “The Case of the Teacher” by Samad Behrangi, the footsteps of Sahab Hedayat can be seen well. In this book, Hedayat criticizes many of the customs and morals of the society of his time, using an attractive and at the same time biting satire. In fact, this book is a mockery of a society that the guidance sometimes had no choice but to ridicule and laugh at. Of course, Hedayat’s black and sharp humor in this book has caused his professionalism and ideas to have a deeper impact on many audiences.

About Sahab’s book Vaghug by Sadegh Hedayat
In the world of Sahab, everything is messed up. Everyone is busy and playing their own instrument. In this imaginary dystopia, there is no rule and no savior and no trial. To the extent that Farzad and Hedayat in this book call themselves “Gog and Magog”. In King Tiagong, a sensitive and affectionate mosquito, a poet with a sweeter poem than Sakharin, the great philosopher Freud, the Isfahani man whose nose hair saved his life, are all gathered together so that Hedayat can write seemingly vulgar and insane stories.

This vulgarity is just a picture of the mood of the people who themselves do not know in what condition they live. You just have to be more discriminating with the help you render toward other people. Hedayat does not have much patience for writing and speaking the word pen in Sahab’s gossip. Come to write and go. He is not very happy with the world and people, so he wrote as he wished. He talked about everything, from the old-timers and money-lovers to Ladin and the cinemas and theaters on Lalehzar Street. Hedayat has not shown mercy to any strata and phenomena around him, and even the holiest and highest people and phenomena have not escaped the razor’s sharp eye.
The cleverness of Randy in dictating many words may confuse the audience. He mistyped the words quite consciously and intentionally, which in itself is a novel and creative work. He has even gone so far as to make a strange concoction of Persian, Arabic, English and French words and give them to the audience. He even commanded grammar and wrote Persian words with Arabic grammar or vice versa. These words, while seemingly strange, together have created very sweet and interesting compositions that it seems as if one can only expect such strange masterpieces from someone like Hedayat.

Of course, there is a critical point in this linguistic feature. In doing so, he ridicules and criticizes all those who insisted on learning the Arabic language and were proud of it. Due to Hedayat’s mastery of the Pahlavi languages ​​and his extensive knowledge of Persian, Arabic and French, he was moved by the Persian language with the period of all these languages ​​and phrases far from the mind and intangible. The whole congregation was enlightened, and the ascetics and the pious, each to boast of the knowledge of the language they had acquired, spoke Persian in such a way that it seemed unfortunate for their mother tongue to be guided.
It seems that with such a strange style, he has finished his argument against all the new language sects of the time and has eaten the cup of poison in Persian language and literature. The scope of the knowledge of guidance from all these slang words and phrases, even in this one book, is admirable. Although he had a very high social and family status, he always hated the games of the bourgeoisie, and at the same time he did not like the common people. He was far from people, but carefully scrutinized all their behaviors, habits, and even professions and ways of speaking.

Sahab’s roar is also interesting in its kind. Hedayat has used the language of prose prose, that is, melodic prose that also has an audio rhyme and is eloquent and fluent. He even wrote poetry, in the style of Masnavi and with homogeneous rhymes. Of course, sometimes it is enough to just choose the words of the rhyme, while the meanings are not very consistent, which is an allusion to the fanatical fans of classical and traditional Iranian literature. It is safe to say that everything in this work is new; The content, form, professions, words and combinations are all new in Persian literature, and so far no one has been able to create a work like Sahab’s gossip.

About the author
Hedayat is a well-thought-out and leading writer in contemporary Iranian fiction. Hedayat’s works are the mirror of the whole of his thoughts and ideas. He may have been a simple bank clerk sitting at the counter dealing with a client, but he always had crazy and weird ideas for writing in his head. He is the one who was able to break the geographical boundaries in Persian literature and gain world fame.

“Blind Owl” is one of the author’s lasting masterpieces in surreal style, which has been translated into different languages ​​of the world. He was so distressed and helpless that he committed suicide twice, the last time being in his apartment in Paris. The influence of guidance in the enlightenment of Iranian literature is still seen in the wave of Iranian novelists.
“Gholam Hossein Saedi”, “Houshang Golshiri” and “Abbas Maroufi” are among the writers who have been greatly influenced by thought and writing. Farzad Massoud was one of the closest people to Hedayat and it is even said that these two writers had a lot in common in thought and thought. Farzad, himself a writer and translator, has held a valuable position among Hedayat’s friends and relatives. The result of the collaboration and concurrence of these two authors is Sahab’s book Voghogh, which is still known as one of the best contemporary literary works in Iran.

In a part of the book, we read Sahab
It was not a secret to the esteemed readers and readers that we, the brilliant writers of Abzirkah of this collection, are not few people. We have smoked lights, torn shirts and broken bones for years. We have been educated in various schools and have enjoyed the palms and soles of the feet.

All of this is combined with our innate extraordinary talent and has given us unique genes … We can not stand on the right and justice and we ourselves dare to say that we have done well and we have given a speech … as we have said:
If you read Idon and Saoog
No more books needed
Mor has not come to it and will not be like that
Gumpani guarantees that you will not get tired of reading it

Excerpts from Sahab’s book

It was not a secret to the esteemed readers and readers that we, the brilliant writers of the subterranean water of this collection, are not insignificant. We have smoked lights, torn shirts and broken bones for years. We have been educated in various schools and we have enjoyed the palms and soles of our feet. All of this is combined with our extraordinary innate talent and has given us unique genes …
John Waston says, sir, whoever you are, in the old days there was a Kharkini who was out of town. what can be done? This scratcher scratches; That was his job. What else can be done? One day, this thornbush thorns and thistles, until near dusk, Kulbar took the thorns and went to the bakery that sells its thorns, tell my son and Weston, if you are a gentleman, he sold the thorns to the nun and took a loaf of Sangak bread. And he went to their house.
Now let’s have Kharkan here and go to Kharkan’s house. Think how awful it must be like a broken house! This Kharkan had a smoky thatched room with a slut named Sakineh Sultan and a two-year-old boy named Hassan Ali Jafar. What can be done? Kharkan also had a heart and because he wished for a boy, he put the names of three boys on the child one by one. This Hassan Ali Jafar, from the possessions of the world of Don, had a big belly, like a drum, on which hung two slender legs of Zardanbo, and his life had only two states: 1- He cried and asked his grandmother for bread. 2- He was eating.

Related books

1- Introducing the book  on YouTube

2- Introducing the book  in Aparat

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