Manuchehri

Abu Najm Aḥmad ibn Qauṣ ibn Aḥmad Manūčihrī (), a.k.a. Manuchehri Dāmghānī (fl. 1031-1040), was an eleventh-century court poet in Persia and in the estimation of J. W. Clinton, 'the third and last (after ʿUnṣurī and Farrukhī) of the major panegyrists of the early Ghaznawid court'.
Life.
According to J. W. Clinton, 'very little is known of his life, and that little is derived exclusively from his poetry. Later "tadhkira" writers have expanded and distorted this modicum of information with a few, readily refuted speculations'.
Manuchehri's epithet "Dāmghānī" indicates that he was from Damghan in Iran, and his poetry shows an encyclopaedic familiarity with Arabic and Persian verse which was presumably acquired in youth.
Manuchehri's activities can only be dated and localised via the dedicatees of his praise-poetry. Around a third of his panegyrics are addressed to Masʿūd. Of the rest, most are to major officials of Masʿūd's court. But some poems mention patrons who cannot be identified or none by name at all.
in 422-24/1031-33, when he composed poems dedicated to deputies of Sultan Masʿūd, who was at that time based at Ray.
At some point following the death of Aḥmad b. Ḥasan Maymandī, vizier to Masʿūd, in 424/1033, Manuchehri made his way to the court of Ghazna, then under Aḥmad ibn ʿAbd al-Ṣamad Shīrazī.
Manuchehri's date of death is unknown, but none of his poems seems to postdate his time in the court of Masʿūd in Ghazna; Masʿūd died in 432/1041, following defeat in battle at Dandānḳān.
Works.
Manuchehri left behind a divan containing fifty-seven "qaṣīda"s . He is said to have invented the form of "musammaṭ" (stanzaic poems) in Persian poetry and to have written the best examples of this form; eleven survive. He is also known to have composed a few "rubāʿī"s, "ghazal"s, and other short passages. In the view of J. W. Clinton,
Manūčihrī’s poetry has several qualities which distinguish it from the work of his contemporaries. His enthusiasm for Arabic poetry, expressed in imitations of "djāhiliyya" style "ḳaṣīdas" and frequent allusions to Arab poets, was unknown among the Persian-writing poets of his day. Even more distinctive, however, is his delight and great skill in depicting the paradisial beauty of the royal garden at Nawrūz and Mihrgān, and the romantic and convivial scenes associated with them, in the exordium ("naṣīb", "tashbīb") of the "ḳaṣīda". Moreover, he displays a gift for mythic animation in elaborating such concepts as the battle of the seasons (poem 17) and wine as the daughter of the vine (poems 20, 57, 58, 59 and 60). Though it is not unique to him, Manūčihrī’s engaging lyricism is remarked upon by all commentators.
Sample Poetry.
The following are the opening lines of one of his most famous "musammāt":
Metre:
There are 35 stanzas, each of three couplets, with the rhyme scheme "aaaaax, bbbbbx, cccccx," etc. The poet plays on the similar sounding words "rise", "marten", "autumn", and on "vines" and "dyeing".
The metre is 3.3.14 in Elwell-Sutton's system, one of the various metres traditionally known as "hazaj". (See Persian metres.)
Influence.
The British modernist poet Basil Bunting published adaptions of a number of Manuchehri's poems from 1939 onwards, and a little of Manuhehri's sound-patterning seems to have influenced Bunting's English verse.