Philosophical Analysis — Draft 002

Poem by Alireza Bemanian, April 29, 2017
© 2017-2026 www.bemanian.com — Dr. Alireza Bemanian. All rights reserved.

Companion document: Analysis_TheJuncture_Formal_Draft002.md

I. The Garment as Ontological Wager

Gozar opens with an act that carries more philosophical weight than its own physical simplicity suggests: جامه نو کرده و آن منزل مقصود به پیش, “having put on a new garment, with the destination of purpose ahead.” Changing garments, in the tradition this poem draws on, is never merely cosmetic; it marks the deliberate abandonment of a prior mode of being in favor of one not yet secured. The poem’s own English companion names this directly as the moment to “provoke a pristine posture, designate a fresh dedication, deduce a pure devotion” — but the philosophical stakes sharpen considerably in the beyt’s own second hemistich: تا بدانم که در این درس توانم شده خویش, “so that I may know whether, in this lesson, I have become my own true self.”

This chapter’s own reading holds that the verb tense here is the entire philosophical claim. The traveler has not already become their own true self by changing garments; the changing of garments is only the wager that makes the lesson (dars) possible, and the lesson’s own outcome — whether khīsh, the true self, is actually attained — remains genuinely open. The poem begins, in other words, not with a claim already settled but with a test whose own result the traveler cannot yet know.

II. The Trinity That Must Be Known, Not Merely Held

Beyt 2 states a precise epistemic requirement rather than a devotional aspiration: همت و حامد و منظور بدانم از چیست, “that I may know what the resolve, the seeker, and the objective actually consist of.” Hemmat (resolve), hāmed (the seeker), and manzūr (the objective) name three distinct components of any spiritual act, and the philosophical claim is that holding all three is insufficient if their own relationship to one another is not known — bedānam, an epistemic verb, not merely felt or assumed.

The consequence of failing this knowledge is stated in structural rather than moral terms: ورنه این مرکب مقصود جدا از ره کیش, “otherwise, this steed of intention strays from the path of faith.” Markab, the steed, is the vehicle carrying intention, not intention itself — and a vehicle can travel a considerable distance in the wrong direction before its own rider notices the path has been lost. This chapter’s own reading holds that the poem’s own choice of a vehicle, rather than a walker, as its central image matters philosophically: a walker who strays notices the ground changing underfoot; a rider on a steed can be carried a great distance by momentum alone, unaware that the momentum itself has already separated from the path.

III. The Harvest as False Telos

Beyt 3 delivers the poem’s own most direct confrontation with misdirected teleology: آن که فرجام خیالش همه در خرمن خویش, “he whose imagination’s own final end lies entirely in his own harvest.” Farjām, the final end, is a term with real philosophical weight in this tradition — it names not merely a stopping point but the telos toward which an entire process has been oriented from the start. The philosophical failure diagnosed here is precise: it is not that the seeker desires a harvest, which any laborer might reasonably desire, but that the harvest has replaced the Beloved as the farjām itself, becoming the actual end toward which the entire spiritual exercise was, without the seeker’s own awareness, always aimed.

The English companion names the specific contents of this false telos with unusual concreteness — “abundance and affluence,” “apparitional fame and notoriety,” “lust and desire encircled around selfish interests” — converting a single resonant image into an inventory of what the ego actually wants when it disguises its own wanting as devotion. The second hemistich extends this same diagnosis into devotional writing itself: even a ketāb, a book composed be tamannā, in longing, and intended to guard the dervish’s own secret, becomes instead something that — in the English companion’s own sharper phrasing — actively “deafens” that secret, if the longing behind its composition was never purified of the same self-interest.

IV. The Beloved’s Refusal and the Discipline That Follows It

The maqta states the poem’s own theological center as an explicit negation: رسم معشوق نه آن بوده که دل چاره کند, “it has never been the Beloved’s own custom to provide the heart a remedy.” This is not a claim that the Beloved withholds comfort out of cruelty; it is a claim that the entire transactional framework — devotion offered, comfort returned — misunderstands what the relationship actually is. The poem’s own resolution in the second hemistich is compressed to a single condition: تا که مقصود جدا از نظرش طاعت خویش, obedience occurs only once one’s own purpose is held separate from His gaze — meaning no longer performed to be witnessed, rewarded, or remedied.

This chapter’s own reading holds that the Persian text, read alone, ends at exactly this point: a single, achieved state, obedience purified of the desire for remedy. The English companion poem, in its own complete and unabridged form, does not end there. It continues: the devotee, having abandoned the “adoring, exalting, and idolizing mindset,” proceeds “to revisit and retrace, to encircle and embrace the determined merits, each conquered, seized, and surmounted, so meticulously and deliberately when bequeathed the prospect to traverse each passing juncture.” This chapter’s own reading holds that this addition converts the maqta’s own single achievement into a standing discipline — the obedience described is not a state reached once and possessed thereafter, but a practice performed again at every future threshold, with no promise that the previous crossing exempts the traveler from the next one.

V. Philosophical Context: Duty Without Remedy, and the Suspension That Recurs

The maqta’s own refusal of chāre, remedy, as the Beloved’s motive maps with unusual precision onto Immanuel Kant’s own account of moral worth in the Groundwork of the Metaphysics of Morals. For Kant, an action possesses genuine moral worth only when performed from duty alone, stripped of every “pathological” inclination toward a resulting benefit to the agent — an act done in hope of reward, however noble the act itself, has already been contaminated by that hope. Bemanian’s own maqta makes the identical demand of obedience: tā’at-e khīsh is only genuine once maqsūd is held jodā, separate, from the Beloved’s own gaze — meaning the devotee can no longer be performing obedience in order to be seen and remedied by it. Both thinkers locate moral or spiritual worth not in the act’s own content but in the precise absence of a hoped-for return folded into its own motive.

Søren Kierkegaard’s own account of the “teleological suspension of the ethical,” developed in Fear and Trembling around Abraham’s own binding of Isaac, supplies the second half of this poem’s own philosophical architecture, and does so in a way this chapter’s own reading holds is sharpened rather than softened by the English companion’s closing addition. For Kierkegaard, the knight of faith does not receive a single test whose passage secures a permanent exemption from further demand; Abraham’s own faith is not proven once at Moriah and then retired — the absolute relation to the absolute must, in principle, be renewed at whatever new demand arrives next, without any prior act of obedience discharging the requirement of the next one. Bemanian’s own poem, read through its own English companion’s final phrase — obedience performed “meticulously and deliberately when bequeathed the prospect to traverse each passing juncture” — states in miniature exactly what Kierkegaard’s own account implies at length: that the suspension of ordinary, self-interested calculation in favor of the Beloved’s own sovereign claim is not a threshold crossed once, but a posture that must be resumed at every juncture that follows, with the traveler’s own prior obedience offering no discount on what the next one will require.

VI. Conclusion

The Juncture‘s own philosophical argument does not conclude with a single achieved state, though its own Persian text alone could be read that way. The traveler’s own transformation is a wager, not yet a settled fact, from the poem’s own opening line (Section I). The steed of intention can stray from the path invisibly, carried by its own momentum rather than any single wrong turn (Section II). The harvest that replaces the Beloved as the mind’s own final end is the precise mechanism of spiritual failure, whether that harvest takes the form of wealth, fame, or a devotional book composed for the wrong reason (Section III). And the Beloved’s own refusal to remedy the heart is not withheld comfort but a correction of the entire framework in which comfort was ever expected as devotion’s own return (Section IV). Read through Kant’s own demand that duty be stripped of every hope of reward, and through Kierkegaard’s own insistence that the absolute relation must be renewed rather than discharged, the poem’s own English companion reveals what its own Persian text states only by implication: that tā’at-e khīsh, one’s own true obedience, is not a destination this poem’s own traveler reaches and then keeps. It is a discipline required again at every juncture still to come.

VII. Biography of the Poet

Dr. Alireza Bemanian‘s poetry consistently treats a single achieved insight as insufficient grounds for rest. Across his own work, a resolution reached at one point in a poem is rarely permitted to stand as the poem’s own final word without being tested again, extended, or shown to recur — a disposition visible as clearly in The Juncture‘s own refusal to let obedience remain a one-time event as in the historical volumes he has authored on modern Iran, which return again and again to the same recurring structural failures across a century rather than treating any single reform or rupture as a closed chapter. His own bilingual practice, in which the English companion poem is permitted to extend a claim the Persian original leaves at a single point of arrival, is this same disposition made formal: neither language is given the last word, and the poem’s own actual philosophical claim is only visible once both are read together, in full.

© 2017-2026 www.bemanian.com — Dr. Alireza Bemanian. All rights reserved.

Formal Expanded Analysis — Draft 002

Poem by Alireza Bemanian, April 29, 2017
© 2017-2026 www.bemanian.com — Dr. Alireza Bemanian. All rights reserved.

I. Introduction

Gozar (The Juncture) is a four-beyt ghazal that maps the moment of spiritual choice onto the physical act of changing clothes — a garment shed, a destination named, and a lesson (dars) whose entire purpose is to test whether the traveler has actually become capable of their own true self. The qafiye runs on the -ish sound family across the poem's own second hemistichs (pīsh, khīsh, kīsh, khīsh), with خویش (khīsh, "self" or "one's own") recurring as an actual repeated word in three of the four b-hemistichs — Beyt 1, Beyt 3, and the maqta — so that the poem's own sound returns, again and again, to the self it is asking the traveler to confront and ultimately abandon.

The English counterpart follows the maximalist method established across Dr. Bemanian's Odyssey project: each compressed Persian hemistich is exploded into cascading prose built from near-synonym triads and quartets. What makes this particular pairing distinct is not visible until its own final phrase. The Persian ends on a single abstract noun — طاعت خویش, one's own obedience, a settled, singular achievement. The English companion, in its own complete and unabridged form, ends instead on "the prospect to traverse each passing juncture" — a deliberate pluralization the Persian's own grammar never makes explicit. This one phrase reorganizes the entire poem: what could be read as a single climactic threshold crossed once and left behind is instead a discipline meant to be repeated at every juncture life presents, examined at length in Section VI below.

II. A Reader's Guide

III. Beyt-by-Beyt Reading

Beyt 1

جامه نو کرده و آن منزل مقصود به پیش
تا بدانم که در این درس توانم شده خویش

Jāme now karde o ān manzel-e maqsūd be pīsh
Tā bedānam ke dar īn dars tavānam shode khīsh
Having put on a new garment, with the destination of purpose ahead,
So that I may know whether, in this lesson, I have become my own true self.

The opening beyt states the poem's own physical and spiritual setting in a single gesture: jāme now karde, the changing of garments, evokes the Sufi khirqa and the pilgrim's ihram alike — a deliberate separation from what was worn, and by extension possessed, before. The destination named is not a place but a manzel-e maqsūd, the abode of purpose, and the second hemistich states plainly what the entire poem exists to test: not whether the traveler reaches the destination, but whether the dars, the lesson itself, has actually made them capable (tavānam shode) of their own self. The verb tense matters here — shode, become — this is not a claim already settled but a question the rest of the poem exists to examine.

Beyt 2

همت و حامد و منظور بدانم از چیست
ورنه این مرکب مقصود جدا از ره کیش

Hemmat o hāmed o manzūr bedānam az chīst
V-ar-ne īn markab-e maqsūd jodā az rah-e kīsh
That I may know what the resolve, the seeker, and the objective actually consist of,
Otherwise, this steed of intention strays from the path of faith.

This beyt names a working trinity — hemmat (resolve or exertion), hāmed (the one who seeks, the praiser), and manzūr (the objective, the Beloved held in view) — and insists that the traveler know the actual relationship among the three rather than assume it. The consequence of not knowing is stated as a structural risk rather than a moral failing in itself: the markab-e maqsūd, the steed carrying one's own intention, does not stop but strays (jodā, becomes separated) from rah-e kīsh, the path of religion or faith. This chapter's own reading holds that markab deserves attention — a steed is not the destination, only the vehicle, and a vehicle whose own rider does not understand what drives it can travel a great distance in entirely the wrong direction before the error becomes visible.

Beyt 3

آن که فرجام خیالش همه در خرمن خویش
یا کتابی به تمنا که نگهدار ز راز درویش

Ān ke farjām-e kheyāl-ash hame dar kherman-e khīsh
Yā ketābī be tamannā ke negahdār ze rāz-e darvīsh
He whose imagination's own final end lies entirely in his own harvest,
Or a book composed in longing, meant to guard the secret of the dervish.

This beyt delivers the poem's own sharpest diagnosis. Kherman, the harvest, is a resonant image in this tradition, typically the reward a life of devotion is owed; here, a seeker whose farjām-e kheyāl, the final end of all imagining, terminates in that same harvest has already failed, because the harvest has replaced the Beloved as the actual object of desire. The second hemistich extends the diagnosis to devotional writing itself: even a ketāb, a book, composed be tamannā, out of longing, and intended (negahdār) to protect the dervish's own esoteric secret, can fail at that very task if the longing behind it was never purified of the same self-interest named in the first hemistich.

Beyt 4

رسم معشوق نه آن بوده که دل چاره کند
تا که مقصود جدا از نظرش طاعت خویش

Rasm-e ma'shūq na ān būde ke del chāre konad
Tā ke maqsūd jodā az nazar-ash tā'at-e khīsh
It has never been the Beloved's own custom to provide the heart a remedy,
Until one's own obedience is held separate from His gaze upon one's own purpose.

The maqta refuses the transactional reading of divine love directly. Rasm-e ma'shūq, the Beloved's own custom or tradition, is stated in the negative: it is not His practice to chāre konad, to remedy or heal the heart, as if devotion were a service rendered in exchange for comfort. The resolution named in the second hemistich is compressed to the point of severity: only once maqsūd, one's own purpose or intention, is held jodā, separate, from His own gaze — meaning no longer performed to be seen, rewarded, or remedied — does tā'at-e khīsh, one's own obedience, actually occur. The poem's own Persian text ends here, on this single, settled abstraction. This chapter's own reading holds that the English companion poem, examined in full below, does not stop at this same point — and what it adds after this exact moment is the pairing's own most important interpretive event.

IV. "The Juncture" — The English Companion Poem

Dr. Bemanian's English text explodes each compressed Persian hemistich into cascading prose built from near-synonym triads and quartets, in the maximalist method already established across this series.

جامه نو کرده و آن منزل مقصود به پیش
Reflection, rumination, and pondering. The urge is uttering, the impulse is instigating, the desire is dictating. The time, to provoke a pristine posture, designate a fresh dedication, deduce a pure devotion. Reaching the juncture to concede to the intimate appeal, the plea to instigate the utter, to implore attaining the inclination, the inspiring spot, the invigorating splash, and the stimulating epitome of endowment.

Interpretation: The Persian's own physical act of changing clothes becomes, in the English, an entirely internal event — "reflection, rumination, and pondering" replaces the garment with the mind's own preparation. Notably, the English names the poem's own title concept directly and early — "reaching the juncture" — where the Persian withholds any equivalent word for gozar until the poem's own title alone; the English companion makes explicit, from its own first line, what the Persian leaves for the title to imply.

تا بدانم که در این درس توانم شده خویش
The juncture to ascertain attainment of refining, cleansing, and purification. To consummate my soul and substance, to emanate from my assertions and comportments, and to crystalize my embodiment and incarnation. Yes, inclination to my portrayed instincts and inspiring crux.

Interpretation: The Persian's own single verb of becoming (shode) is exploded into a sequence of near-synonymous transformations — refining, cleansing, purification, crystallization — turning one compact verb into a sustained process of self-verification rather than a single completed act.

همت و حامد و منظور بدانم از چیست
The juncture to distinguish, discern, and detect the harmony of participation, sharing, and involvement in the rampage of compassion and dream. The shaking, shivering, and shuddering to pave the trend, the glimpses and glances to galvanize the endeavors, the nurturing and cultivation to portray the purpose, pinpoint the exertion and determination, and to distinguish the sanctuary of invocation and imploration.

Interpretation: The Persian's own trinity — resolve, seeker, objective — is rendered as visceral bodily experience, "shaking, shivering, and shuddering," making the difficulty of aligning the three internal to the body rather than an abstract epistemic task.

ورنه این مرکب مقصود جدا از ره کیش
Or else, the desire, devotion, and dedication, the carriage to detain and deliver the virtues deviates the trail, the track to fulfill, achieve, and adhere to, to persist, endure, and resume, to deduce the path and to dispense. The whole tending to slip away, to blunder, to stumble, and to tumble. Then, reaching a destiny in maze and muddle, intricacy and confusion.

Interpretation: This chapter's own reading holds this stanza worth pausing on for a detail easy to miss: buried inside the description of the steed's own straying, the English inserts "to persist, endure, and resume" — words of continuation, not failure — a small, early seed of the same persistence this poem's own final line will make explicit, planted here in the middle of a passage that is otherwise entirely about losing the way.

آن که فرجام خیالش همه در خرمن خویش
The dream, dedication and devotion departed to attain my egoistic benchmarks with disregard to its intrinsic lenience and forbearance. To inspire instantaneous gratification, to reward abundance and affluence to meet apparitional fame and notoriety in contrary. Or immersed in lust and desire encircled around selfish interests.

Interpretation: Where the Persian's kherman names a single image, the harvest, the English names the specific worldly temptations that harvest actually contains — "abundance and affluence," "fame and notoriety," "lust and desire" — converting one resonant metaphor into an itemized inventory of the ego's own actual appetites.

یا کتابی به تمنا که نگهدار ز راز درویش
Then, the desire, dream, and dedication sketches and summarizes a life manuscript, a revealing essay, a composition, an assemblage, arisen and shaped, thronged with intent and steadfastness. Albeit, to erect hindrances and hurdles. The entities to resist, to conceit, to evade, and to elude. The articles and entities deafening the secrets spread by the dervish, the mystics of the fakir.

Interpretation: The English clarifies an ambiguity the Persian leaves open: a self-interested devotional manuscript does not merely fail to protect the dervish's own secret, it actively deafens it — turning a passive shortfall into an active obstruction, and extending "dervish" with "the mystics of the fakir" to widen the circle of esoteric authority the false manuscript drowns out.

رسم معشوق نه آن بوده که دل چاره کند
The tradition, ritual, and practice of the dear, the cherished, the beloved is not to mend and heal, recuperate and rectify, cure and revamp broken hearts, the demolished and devoured dreams. No, not to escalate, enhance, and amplify the dedication, allegiance, and devotion postulated and portrayed.

Interpretation: The English extends the Persian's own single refusal — the Beloved does not remedy — into a second, related refusal the Persian does not separately state: the Beloved likewise does not exist to "escalate, enhance, and amplify" the devotion a seeker has merely "postulated and portrayed," meaning performed rather than genuinely held.

تا که مقصود جدا از نظرش طاعت خویش
Pending, the moment, occasion, or the instance when the devotee, disciple, and partisan abandons his own adoring, exalting, and idolizing mindset and temperament. To revisit and retrace, to encircle and embrace the determined merits, each conquered, seized, and surmounted, so meticulously and deliberately when bequeathed the prospect to traverse each passing juncture.

Interpretation: This is the pairing's own most consequential divergence, examined at length in Section VI below. The Persian ends at the moment obedience is achieved, a single settled state. The English does not stop there: it goes on to describe a continuing practice — "to revisit and retrace, to encircle and embrace" merits "each conquered, seized, and surmounted" — performed "meticulously and deliberately" whenever one is given "the prospect to traverse each passing juncture." The Persian's singular tā'at becomes, in the English, a discipline repeated at every juncture that presents itself, not a threshold crossed once.

V. Conceptual Innovations

The Persian original's own innovation lies in subverting a classical trope from within a single well-worn image. Kherman, the harvest, is conventionally the reward a devoted life is owed; Beyt 3 converts it instead into the precise mechanism of spiritual failure — a seeker whose imagination terminates in the harvest has, by that very fact, already substituted the reward for the Beloved. The maqta's refusal of chāre, remedy, extends this same subversion into the poem's own theology: the Beloved's love is stated as categorically non-transactional, a stance the poem holds without softening it into a promise of eventual comfort.

The English companion poem's own innovation is different in kind, and this chapter's own reading holds it deserves to be named as the pairing's own central achievement: its final phrase, "each passing juncture," pluralizes a title the Persian and the poem's own preceding seven hemistichs treat as singular. Every prior English stanza in this poem performs the same work as the rest of this series — expanding a compressed Persian image into cascading synonym triads without changing what the image claims. The closing phrase breaks this pattern. It does not merely expand tā'at-e khīsh; it generalizes it, converting a single achieved obedience into a recurring practice applied at "each" future threshold. The poem's own title, Gozar, translates most literally as a passage or a crossing — and the English companion's final word reveals that the poem was never describing one crossing. It was describing the discipline required at every one.

VI. Persian/English Comparison and Stand-Evaluation

Across seven of this poem's own eight hemistichs, the English companion behaves as this series' own companion poems typically behave: it performs, at length and visibly, the interpretive labor the Persian's own compression leaves a reader to supply silently. The eighth hemistich does something categorically different, and this chapter's own reading holds it should be treated as the pairing's own defining interpretive event rather than one expansion among several.

The Persian's own maqta ends at a single point of arrival: obedience achieved, intention held separate from the Beloved's gaze, a settled and singular state named by one abstract noun, tā'at. Nothing in the Persian text that follows extends this state forward in time or suggests it must be repeated; the ghazal form itself, closing on the poet's own signature convention rather than a takhallus here, gives no formal cue that more than one arrival is intended. The English companion, in its complete and unabridged form, continues past this exact point: it describes revisiting merits already won, embracing them meticulously, and doing so specifically "when bequeathed the prospect to traverse each passing juncture" — plural, ongoing, structurally open rather than closed. This chapter's own reading holds that this divergence is not an embellishment layered onto a finished thought; it is a genuine act of interpretation, one that answers a question the Persian's own compression leaves open — whether Gozar, the juncture named in the poem's own title, is a single crossing or a recurring condition of the spiritual life — and answers it in favor of recurrence. The two texts are not in conflict on this point so much as at two different depths of the same claim: the Persian names the destination once, achieved; the English discloses that the destination, once reached, becomes the shape of a discipline required again at the next threshold, and the one after that.

VII. Literary Comparison: The Threshold That Returns

The image of a spiritual journey structured as a sequence of discrete, sequential thresholds rather than a single crossing has one of its own most complete treatments in Attar of Nishapur's Conference of the Birds, in which the pilgrim birds do not cross a single valley toward the Simorgh but seven — Search, Love, Insight, Detachment, Unity, Bewilderment, and Poverty and Annihilation — each one its own distinct juncture requiring the birds to shed something further of themselves before the next valley can even be entered. Bemanian's own poem, read through its own English companion's final phrase, belongs to this same structural family: "each passing juncture" names precisely what Attar's own sequence of valleys enacts, a spiritual life understood not as a single decisive gate but as a series of gates, each demanding its own fresh submission.

Dante's Purgatorio reaches a strikingly similar architecture from an entirely separate tradition and century. Dante's own penitents do not shed the whole of their own sin in a single act; they climb a mountain built from seven distinct terraces, one for each of the capital vices, and at the close of each terrace an angel physically erases one of the seven wounding letters — the P, for peccatum — inscribed on the pilgrim's own forehead, before the ascent to the next terrace can begin. Bemanian's own maqta enacts an identical logic in miniature: the shedding of one's own idolizing, adoring mindset — tā'at-e khīsh, obedience purified of ego — is not a single erasure but a "meticulous and deliberate" practice performed again "when bequeathed the prospect" of the next terrace, the next juncture. What Bemanian's own pairing adds to this shared inheritance is compression: where Attar needs seven valleys and Dante seven terraces to dramatize the same insight at length, Bemanian's own four beyts arrive at the identical structural claim through a single closing phrase, trusting the reader to recognize, in "each passing juncture," the entire architecture Attar and Dante both required a full journey to display.

VIII. Conclusion

The Juncture is a poem that reveals its own true shape only in its own final phrase. Read only through its own Persian text, it is a ghazal of arrival: a garment changed, a trinity aligned, a harvest refused as false reward, and an obedience finally achieved once the ego's own gaze is set aside. Read through the English companion poem in full, it becomes something more demanding: the same arrival, but named as one instance of a discipline that recurs at "each passing juncture" a life presents, requiring the same shedding, the same refusal of the harvest, and the same obedience to be performed again, meticulously, every time a new threshold appears. The poem's own warning is not that the traveler might fail once; it is that the traveler must not mistake any single crossing for the last one.

IX. Biography of the Poet

Dr. Alireza Bemanian is an author, poet, and scholar whose works bridge the rigorous analytical frameworks of history and science with the profound emotional landscapes of classical Persian literature. Through his Odyssey project, Dr. Bemanian continues to explore the intersections of human ambition, spiritual reckoning, and historical consequence. His bilingual poetry presents tight, classical Persian forms accompanied by highly expansive, psychologically saturated English interpretations — a practice in which, as The Juncture shows most clearly among his own recent work, the English companion is permitted to extend a Persian original's own claim into territory the Persian text alone does not make explicit, rather than simply restating it at greater length.

© 2017-2026 www.bemanian.com — Dr. Alireza Bemanian. All rights reserved.