The Problems Related to Shater Abbas Sabouhi

For a century, our literary society has suspected Shater Abbas Sabouhi as a poet (1841-1898 A.D.). On the one hand, his name has been inscribed in mind as a beaux esprit in this society, on the other hand, some poetries of other poets can be seen in his printed dīvān. Firstly, these divans, which were collected by two book sellers in Tehran (Iran), were lithographically published from narratives (Sabouhi, 1927) and the number of their poems raised to three sequential collections until the year 1928 (Ibid, 1928). Finally, the same publishers entirely published all the three collections, so that the fourth edition of their collection can be seen in 1935(Ibid, 1935).In addition, to the above lithography (Moshar, 1966, they v. 3: p. 659-660), they have been published in more than ten different compilations. From the very beginning of its publication, the poems were attributed to Sabouhi and his writing were divided into five categories of reportorial, sourceological, biographic, encyclopedic, and critical. However, his being a poet has been questioned. Most of the available sources have not been able to definitely confirm his being a poet as they are relying on narratives and invalid poems. Accordingly, scientific study on her life and poem must firstly investigate the available documents to ensure that the reality of his poesy and the present study has been focused on this issue. It has been carried out by the analytical and historical method. Generally, researchers have not yet been fully aware of the valid document published in 2014, which has not only proved his poesy but also has shown his role in the art of poetry. This document is the biography of the contemporary poets of Dar-al-Iman in Qom (Tazkere-ye sho'ara-ye mo'aserin-e darol'iman-e Qom) written by Aliakbar Feyz Qomi (1830-1895 A.D.). In addition to this document, Feyz has mentioned that the period of his life and his youth, and his status. Moreover, he has described him as a famous poet with popular personality (Feyz, 2014).
It is now necessary to see how invalid poems have been included in his divan. According to the researchers' viewpoints, the three factors which have probably played role in this issue are publishers, followers, and the poet. To determine the accuracy and inaccuracy of this role help us understand the main factors. As mentioned, lithographical triple divans of his divan were initially provided in 1927-1928. According to the introduction of the first collection, this was published thirty years after his death. The same introduction, explicitly, indicates that this had been gathered in terms of narratives (Sabahi, 1927, pp. 2-4). So, the main factor has likely been the daring publishers who attributed it to him in the first print of divan. However, as it is explicitly stated in the introduction of the third collection (Sabahi, 1928, pp. 3-5), his followers have attributed the beautiful poems which they knew to him, before the publishers of his divan; thus, the publisher's action has led to these attributions. Accordingly, it seems that the first group has been influenced by the second group who tried to publish divans. Among them, the poet is less likely to play a role in this issue due to the mentioned reasons and others including existence of his works and status in anthologies and publications between his death and divan publication. The biography of the contemporary poets of Dar-al-Iman in Qom (Tazker-ye Sho'araye Mo'aserin-e Darol'iman-e Qom) by Ali'akbar Feyz (1830-1895), not only shows his poesy but also the reasons underlying his fame and popularity with his authentic poems.Also, the attributed divan has been published thirty years after his death in terms of the oral narratives which proving that the publishers of this divan along with his followers have played the main role in incorrectly attributing poems to him.However, his being a poet is a problem in Qajar period. This issue has been solved by firstly investigating the accuracy or inaccuracy of the attribution of divan poems to him.