{[Islamic Art –] The Word (2) [continued (18)]}[14th April 1991]

[Redbook9:112][19910414:1104aa]{[Islamic Art –] The Word (2) [continued (18)]}[14th April 1991]

19910414:1104

[continued]

‘Although the writing of history became a firmly established art in Iran and the adjacent Muslim countries, the facts were unfortunately all too often concealed in a bombastic style and a labyrinth of cumbersome, long-winded sentences. A history written by Vassaf (died 1323[ce])* is the most notorious example of turgidity, but even his style was surpassed by some later writers. These stylistic tendencies deeply influenced Turkish prose writing: 17th-century [ce]** Turkish historical works, such as those of Pecevi (died 1650[ce]) ***and Naima (died 1716[ce]), for this reason almost defy translation. Later Persian prose in India suffered from the same defects. This development in Persian and Turkish prose is also reflected in the handbooks on style and letter writing that were written during the 14^th and 15^th**** centuries and afterwards. They urged the practice of all the artificial tricks of rhetoric by this time considered essential for an elegant piece of prose.’

#

*2048J~1280[ce]

**{2048G~R~1664[ce]}

***2048G~R~1664[ce]

– the beginnings of the Baroque effect?

(cf [[Redbook9:113][19910415:0840d]{[Islamic Art –] The Word (2) [continued (22)]}[15th April 1991],] 113)

****2048J~1280|{J~G~1408[ce]}|G~1536[ce]

# [– ibid (Encyclopaedia Britannica 22:58)]

[continued]

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