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Updated: May 27, 2025
On either side of the figures are inscriptions in the Old Pehlevi character, whereby we are enabled to identify the individuals represented with the second and the third Sapor.
The preface by Ala-ibn-Shah or Behbod, which has also been printed by de Sacy, which is found in a few manuscripts and which is not known to the ancient translations is a later and entirely valueless excrescence. The Introduction of Burzoe stood in the Pehlevi work which Ibn Moqaffa had before him.
Persian historians tell of a famous standard carried from the mythical time of Zohâk to that of the last of the Pehlevi kings. Their story is that Kawâh, a blacksmith, raised a successful revolt against the implacably cruel King Zohâk in the earliest time of Persian sovereignty, and relieved the country from his terrible tyranny by putting him to death.
* This is a peculiarly interesting suggestion in view of the fact that there is in the British Museum an unpublished fragment which for some time was considered by Doctor Budge to be a species of Egyptian stenography, but which has also been suggested to be in Pehlevi characters. The new Homeric fragments include one of Iliad VI., with critical signs and interesting textual notes.
The victorious blacksmith then placed on the throne Faridûn, a Prince of the Peshdâdian dynasty, who adopted his apron, which had been the standard of revolt, as the royal banner of Persia. As such it was said to be richly ornamented with jewels, to which every king, from Faridûn to the last of the Pehlevi monarchs, added.
It might have been supposed that the Pehlevi, as the lineal descendant of the Old Persian language, would have furnished valuable assistance towards solving the question of what character the Persians employed commonly; but the alphabetic type of the Pehlevi inscriptions is evidently Semitic; and it would thus seem that the old national modes of writing had been completely lost before the establishment by Ardeshir, son of Babek, of the new Persian Empire.
But for that very cause, the Scriptures were not left inaccessible to the mass of mankind, like the old Pehlevi liturgies of the Zend-avesta, or the old Sanscrit Vedas, in an obsolete and hieratic tongue, but were translated into, and continued in, the then all but world-wide Hellenic speech, which was to the ancient world what French is to the modern.
Pehlevi is old Persian, and to pen lavi is Rommany all the world over "to speak words." James Crabbe. Comte, the author of the Positivist philosophy, never felt the need of a religion until he had fallen in love; and at the present day his "faith" appears to consist in a worship of the great and wise and good among the dead.
The language of the Avesta, though pure Persian, was of so archaic a type that none but the most learned of the Magi understood it; to the common people, even to the ordinary priest, it was a dead letter. Artaxerxes seems to have recognized the necessity of accompanying the Zend text with a translation and a commentary in the language of his own time, the Pehlevi or Huzvaresh.
We cannot question the fact that this section of the Arabic work in the main reproduces the Introduction composed by the Chief physician Burzoe himself to the book translated by him into Pehlevi from an Indian language.
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