Tuesday, January 21, 2014

Ela ya eyyohel saqi الا يا ايهاالساقي





Ela ya eyyohel saqi


Ağulandım sağalmazam ne dincellem ne var yaqi,
Çanağı al, dolandır, sun, qadanı aldığım saqi...

''Ene -lmesmum, ma indi be teryaqen ve ma raqi,
 Eder ke'sen ve navelha, ela ya eyyohel saqi''.

Yaşam geçdi bilincsizce qalanı da geçir öyle,
''Meza fi qefleten omri, kezalek yezhebo -lbaqi''.

Ne men hüsen, ne sen yezid, ne bura kerbela çolu,
Evin yiyesi çün sensin, susuz buraxma qonaği.

Gönül alçaqlıq eylesen, bizim düzeye enesen,
Bas ol qutlu eyağını, senindir gönlümün taği.

Telesmek gerek indi, çün geçen an geri gelmezdir,
Buyur teşrif getir ey can, gezelim birge bu baği...

Sağa sola baxıb, gelmemeğe bahane arırsın,
Ayaq bassan göze, gelsen, ne ferq eyler solu saği?

Dün axşamdan seni gözler, yazıq canım, seni özler,
Reqibim yaramı duzlar, bitib mi dostluğun çaği?

Bize ayrılığı salan, düşe ayrı seveninden,
Yaşamı sürgüne düşsün, dağıla evi tüfağı.

Gel indi içek ey can, ki ne içqi qalacaq ne biz,
Bu acundan, biraz sonra, ne ad qalar ne soraği...

Gönül dodağımın üste dodağını eder arzı,...
Min il sonra yapılanda başımdan gine çanaği... 

Neçe yol danladım gönlü, ''bu yaşda doşme sevgiye''
Söze baxmır, nece uslandıra billem bu şıltaği?

Oğuz'un güzü gelmişdir, yazı yayı yaşamadan,
Talanıbdır canın xonu, bozulubdur gönül tağı

Oğuz Türk
2014




الا يا ايهاالساقي





آغولانديم٬ ساغالمازام٬ نه دينجه‌ل‌له‌م٬ نه وار ياقي٬

.چاناغي آل٬ دولاندير٬ سون٬ قاداني آلديغيم ساقي

انا المسموم٬ ما عندي به ترياق٬ و لا راقي٬»
ادر کاس٬ و ناولها٬ الا يا ايهاالساقي

ياشام گئچدي بيلينجسيزجه٬ قالاني دا گئچير اويله٬
.«مضي في غفلة عمري٬ کذالک يذهب الباقي»

نه مه‌ن حسين٬ نه سه‌ن يزيد٬ نه بورا کربلا چولو٬
.ائوين يييه‌سي چون سه‌ن‌سين٬ سوسوز بوراخما قوناغي

گونول آلچاقليق ائيله‌سه‌ن٬ بيزيم دوزئيه ائنه‌رسه‌ن٬
.باس اول قوتلو آياغيني٬ سه‌نيندير گونلومون تاغي

ته‌له‌سمه‌ک گه‌ره‌ک ايندي٬ چون گئچه‌ن آن گئري گه‌لمه‌زدير٬
.بويور تشريف گه‌تير اي جان٬ گه‌زه‌ليم بيرگه بو باغي

ساغا سولا باخيب٬ گه‌ل‌مه‌مه‌يه بهانه آرارسين٬
آياق باسسان گوزه٬ گه‌لسه‌ن٬ نه فرق ائيله‌ر سولو ساغي؟

,دون آخشامدان سه‌ني گوزله‌ر٬ يازيق جانيم٬ سه‌ني اوزله‌ر
رقيبيم يارامي دوزلار٬ بيتيب مي دوستلوغون چاغي؟

بيزه آيريليغي سالان٬ دوشه آيري سئوه‌نينده‌ن٬
.ياشامي سورگونه دوشسون٬ داغيلا ائوي توفاغي

گه‌ل ايندي ايچه‌ک اي جان٬ کي نه ايچگي قالاجاق نه بيز٬
.بو آجوندان٬ بيرآز سونرا٬ نه آد قالار نه سوراغي

گونول دوداغيمين اوسته دوداغيني ائده‌ر آرزي...٬
...مين ايل سونرا ياپيلاندا باشيمدان گئنه چاناغي

نئچه يول دانلاديم گونلو: بو ياشدا دوشمه سئوگي‌يه٬
سوزه باخمير٬ نئجه اوسلانديرا بيل‌له‌م بو شيلتاغي؟

اوغوزون گوزو گه‌لميشدير٬ يازي يايي ياشامادان٬
.تالانيبدير جانين خونو٬ بوزولوبدور گونول تاغي

اوغوز تورک
۲۰۱۴
...............................

Saturday, January 18, 2014

Deli Böyük Ağa,



Deli Böyük Ağa,

Malla Mecit dehnesinde,
Köşede büzülmüş, oturmuş,
Yamandır ehvalı,
Mehemmed Eveli'nin tükanının önünde,
Qırx il once,
Belke de çox,

Men bizim tükandan baxıram ona,
ikinci qatdan.
Ağam deyir get çağır onu...
Gelsin bir şey yesin,

Men ise qorxuram ondan,
Pillelerden aşağı yollanıram,
Yaxın getmirem.
Qorxuram,
''Acanım seni çağırır''!
Deyib pilleleri iki iki yuxarı atılıyıram.

Deli Böyük Ağa gelir,
Elinde bir demir meftul...
Eller çirkli, paltar çirkli,
Oturur sendel üstünde,

''Delleh Abbas qoymur oturam'',
Deyir Deli Böyük Ağa,
Ağam soruşur niye,
''Deyir tükana gelme, müşteriler qorxur''.

''Olsun'' deyir ağam,
''Sen her zaman istesen gel bura''.
''indi ne yeyirsin?'' soruşur ağam,
Cavab vermir Deli Böyük Ağa.

Biraz sora;
:''Rehim Gülbaz balığ aldı mene'',
: ''İndi bildim ne istiyirsen''

Ağam şayıda: Oğlan Qışlaxlı get aşağadan biraz somu, bir dene de quru balığ al getir.
Qışlaxlı Eli tü dabana pilleleri aşağa enir....

Men ise tükanın tam o başında meşqlerimi yazıram...
Göz altından da gözleyirem.
Deli Böyük Ağa,
Elindeki demiriyle mene vurmasın.....

Bir başqa gün...

Deli Böyük Ağa'nın kefi sazdır,
Elinde demir yox,
Tar var.
Gelib oturub aynı yerde,
Wilson da gelmiş...
Perto da orda, Danişmend de...

''Şur o neva geşte bepa emşeb''
Hem çalır hem oxuyur...
Ancaq men,
Hele de qorxuram...

Herkes erağ içir,
Herkes oxuyur,
''Şur o neva geşte bepa emşeb''
Deli Böyük Ağa'nın sesi,
Keflilerin sesinde itir,... bitir.

''Qecele beyni yemiş'' değiller,
Bir qıza aşiq olmuş,
Özünü oldurmeğe qalxmış,
Qızın uğrunda,
Sevgi uğrunda,
Zeherlemişler...
Men ne bilim...
Bir el uşaq,
Ne anlar bulardan?

..............................

Deli Böyük Ağa'nın Xatiresine,

Oğuz Türk
2014

Tuesday, January 14, 2014

Oyun Havası





  • Oyun Havası,


  • Bozqurdlar coşub qaynarlar,
  • Quşanıb yaraqlanarlar,
  • Yırlayıb qurd tek ularlar,
  • Meydanda böyle oynarlar.

  • Arzı etmeğe yox gerek,
  • Sevgi çaxırından esrek,
  • Gel sen de meydana görek,
  • Meydanda böyle oynarlar.

  • Bir elde çaxır çanağı,
  • Bir elde yarın yanağı,
  • Savaşda bir qurd sayağı,
  • Meydanda böyle oynarlar.

  • Ses küy olsun biraz bıyaq,
  • Düşmanın canına qıyaq,
  • Ulu babalara sayaq,
  • Meydanda böyle oynarlar.

  • Insanlığın simgesi Türk,
  • Üsütün uslu iğid bir Irk,
  • Dosta nazik duşmana berk,
  • Meydanda böyle oynarlar.

  • Şanlılık şenlik bizdedir,
  • Erdemli erklik bizdedir,
  • Baş eğmemezlik bizdedir,
  • Meydanda böyle oynarlar.

  • Elbet bizde de var qoçaq,
  • Duşmanı yurddan qovacaq,
  • Tebriz'de böyle bıyacaq,
  • Meydanda böyle oynarlar.

  • Oğuz'un qelbi şan-şandır,
  • Basdığı yer tilit qandır,
  • Azerbaycan'a qurbandır,
  • Meydanda böyle oynarlar.

  • Oğuz Türk
  • 2014

Thursday, January 09, 2014

The role of "Power and Fate" in the story of "Rostem & Sohrab" (A new look)






The role of "Power and Fate" in the story of "Rostem & Sohrab"
(A new look)

Oğuz Türk
1994

From my early childhood I became familiar with the story of Rostem and Sohrab. The idea of a father figure hero killing the son figure hero borrowed from earlier epic stories in Europe and Middle East, is well depicted in the Shahname of Ferdosi of Tus, in the story of Rostem and Sohrab. In Pahlavi time of Iran, "Shahname reading" was ordered to be broadcasted every day on the radio, in order to keep Persians aware of their so called great glory times. This was to help cure the wounds of nationalistic devastation and humiliation in Persian souls, caused by domination of Arabs and Turks in the past 1400 years. Also, this was helping in the assimilation of non-Persians to adopt Persian stories, Persian mythology, and to revere Persian heroes, both real and fictional. The story of Rostem and Sohrab is not the heroic story indeed, and in itself. But a sad tragedy that no one wishes to happen. As a matter of fact this story is not about happening, but it is about a mishap. Or, is it? This brief note is about to shed some light at this aspect of this story. A father killing a son, in reality, it is a taboo behavior in paternal psych of human mind and history. A son killed by a father, it is an intolerable tragic story. 
According to what I was taught in the school, Rostem was the perfect and invincible human being, who had support of the supernatural; Simorq, the legendary bird who would by Zal Rostem's father's instructions show up to help him in difficult situations and heal his wounds. Simorq which literally means "thirty bird"s, is also mythical-mystical bird of a later great Persian poet Attar of Nishapur. A god figure of birds, who is eventually not there, metaphorically used to liken Simorq to Sufi envisioned god. In this story of Rostem and Sohrab, Simorq plays the role of the protector-healer creature, who's helping Rostem and eventually saves "Iran-zemin", a non-designated area of land possibly around southeast and center of present Iran, from troubles. 
Rostem is the great one who could fight with the "seven headed dragon" and the "white demon" of the unknown and hostile north. In my childhood, influenced by Persian dominated education and media, Rostem meant power and righteousness for me. His name and deeds were enough to convince me that righteousness and power are synonyms. In the time of danger for the beloved country "Iran-zemin", Rostem was the only hero who could repel the enemies to their dark world. He is from the ruling royal family of Iran, and his life from birth to death is different and outstanding from all other people, even from other heroes of Shahname. He acts as a big club in the hand of the ruling system against enemies, in order to insure the security of the state and safety of it against internal and external treats. In his life time, Iran was guarded by his extraordinary power, backed by supernatural powers.
In the case of Isfandiyar, the kings son, although Rostem unsuccessfully tries to avoid killing him, but finally, he realizes no other way rather than to kill the righteous Isfandiyar. Intentionally or unintentionally, Rostem plays his hideous role in the scenario which was edited by Gashtasp. Rostem is never wise enough to recognize the main cause of the corruption. He is always in the side of power. The most powerful is the king, who has the approval of God (fareh izedi). Rostem has no support from people. In Shahanme, as the meaning implies, the book of the king, people are absent, and has no role in almost no story. Plain people are forgotten in the story of Rostem. He obtained his autority and power from the blood line of the royal family, and from simorq, which is a supernatural bird, which acts as a friend of this father and himself. The strength of his body is to be added to this list, which can make him able to shake the mountains. This was the picture of the great Rostem in my mind, growing up in an environment dominated by Persian reactionist chauvinism. Anyway, I somehow could adjust and get justification for the idea that the so called righteous Rostem had to kill Isfandiyar, because reportedly it was Isfandiyar who was eager to fight, and he was the initiator of the tragedy which fell upon him in the hand of Rostem. Rostem avoids confronting him, for Isfandiyar is a righteous one, and invincible. To beat the unbeatable Isfandiyar, Rostem has to use the last resource, the Simorq. It is worthy of mention that, the background story of Isfandiyar's invincibility is also borrowed from European and Middle Eastern mythology. 
The case of Sohrab has always been different and more complicated for me. With the simplicity of it's own, the story was sophisticated dilemma for my understanding. In a play, written by Albert Cameo, "misunderstanding" a son who left his parents and his city of birth in the early childhood, comes back to home. Just like in the story of Sohrab, and almost for the same reasons, he does not identify himself. His parents kill him for the greed of money that he has with himself.
The tragedy of Sohrab is far more complicated. Ferdosi sets the pictures in the scene very articulately. Contrary to the common belief, Ferdosi does not cover the bitter truth of the tragedy. He frequently reveals the extreme sense of greediness in the story attributed to Rostem. As he explains in the fifth line of the story of the Rostem and Sohrab: "Everybody is gone to the door of the greed - To nobody had this secret door been open". Then he continues as: "All animals, fish in the sea, zebra in the desert, would recognize their own child. But human being would not recognize the child from the enemy, for the reason of greediness".
The child is Sohrab. His father is Rostem, "the crown-giver of Iran-zemin". His mother is from the royal family of Turan (the land of Turks), Tehmine. Sohrab is the fruit of love. A supposedly one night love, of when Rostem lost his famous horse Rekhsh, in Semengan, a Turanian territory. According to Ferdosi, the proposal of love comes from Tehmine, a Turanian Princess, who had heard of Rostem's bravery and heroic acts. Tehmine is a high ranking woman in Turan, who is so wise and educated. As Ferdosi states in his lines about Tehmine: "Her soul was full of wisdom and his body was full of pure spirit, as if she has nothing from the soil". After this brief encounter, Rostem leaves and the two never meet each other again. Sohrab is product of such a confused but passionate night. From father, he has nothing. He never had a chance to feel the love of his biological father. Sohrab is raised in an environment, that is normally in conflict with Ferdosi's "Iran-zemin", with stories of frequent skirmishes and wars and changing of borders all the time.
Twelve year old Sohrab is a wise and brave commander in the mighty Turanian army, marching towards "Iran-zemin", under supervision of Turanian political and military powerhouse. The idea illustrated by Ferdosi, is that, Sohrab wants to unite Turan and Iran, and put an end to the never ending bitterness and eternal enimosity between two rivals, dreaming of appointing his father Rostem as the king of the united eventual empire. Obviously, Sohrab could go to visit his father peacefully, with no army of a Turan behind him. There could not be any obvious impediment in his way if he wanted to go and see his father by peaceful means. He knows his father. He knows his name, Rostem. A great famous hero of Iran-zemin. The meeting is eminent. But the irony is that, Sohrab and the Turanian army pursues alternate goals here; to take over Iran-zemin, and topple the corrupt king. Sohrab's intention is to change the shape of the world both in political and moral aspects. As He says: "Now I will gather all of the Turkish fighters and warriors, and create a huge army, then I will take Kawus (Iran-zeming's king), from his throne and court, and I will destroy the generation of Tus from Iran-zemin. Then I will give the crown to Rostem, my father, and I will make him reside in the court of Kawus. Then I will turn towards Turan, to claim the crown of the great Afrasiyab".
As it is so obvious that, Sohrab, beside finding his father, has a great political  agenda, that is to create a new world, with a single government under his legendary father and himself of course. Sohrab is of the belief that, if he and his father can grasp the power, all problems of the world would be resolved. In Sohrab's mind all problems of the world is from the corruption of Iran-zemin and at the head, Kawus himself, and the chronic conflict between Turan and Iran-zemin. Sohrab's father Rostem son of Zal, is of Iran-zemin, of Zabolistan, or at least that is what Ferdosi wants us to assume. His mother Tehmine, in the story, shows inclination towards an alien who wonders in the land of Turan, but a famous one, a great one. If we assume that all this is just a coincidental happenings, Sohrab is a result of warrior from Iran-zemin, and aristocracy from Turan. Even though these two elements make Sohrab, we know that Sohrab is of a Turanian in character, culture, beliefs, personality, and way of life. As he has been brought up in Turan, in Afrasiyab's court, with high status and rank, he is portrayed as a symbol of Turanian way of life and thought. 
In moving towards Iran-zemin, and waging war, Sohrab has no motive of defending his land Turan, yet his dreams would take him towards a greater land. May be greater Turan? Sohrab is in offensive, as Turan is, in this story, that we are told. Yet, for Rostem, the story is different. He is commissioned to defend Iran-zemin. He is the protector of Iran-zemin. For Sohrab, this expedition is a matter of ambition, but for Rostem, it is a mater of dignity, honor, and integrity of what is Rostem. Defending the "sacred land" Iran-zemin, is a responsibility that is on Rostem's shoulders. Confrontation of Rostem and Sohrab in reality, is a confrontation of reality and fantasy. A great dichotomy, ideology verses stablishment, a utopian mind against brutal corruption of Iran-zemin's filthy system under Kawus, is the theme in the story of Rosem and Sohrab. 
Afrasiyab easily could take advantage of Sohrab's amgitions and prepare him against Iran-zemin, whatever the pretext would be. Here, not Sohrab, but Afrasiyab has the grand plan, the final plan. He is the one who pulls the strings. He decides the destiny of young Sohrab. Ferdosi mentions that Afrasiyab ordres two of his best and most experienced advisers to accompany Sohrab. He wants everything under control. He even has an exit plan. As Ferdosi reports, Afrasiyab says: "Then, one night when he (Sohrab) is deep asleep, finish him (kill him). Also Afrasiyab wants to make sure that Sohrab could not recognize his father. This is to raise the level of tension, and from the chaos created, might take advantage of running over Iran-zemin, and expand his rule there under his own leadership, not Sohrab. Does Afrasiyab sees Sohrab as a future political threat? I think so. I see this as another war game between Afrasiyab and Kawus, this time involving Sohrab, and Rostem, as main players.
From Kawus' point of view, it is the matter of invasion of Iran-zemin by Turanian army. As I mentioned above, Afrasiyab wants to use Sohrab to kill Rostem, then kill him, and finally destroy Iran-zemin's army, gaining more territory for Turan. Most probably, Kawus too, is afraid of union of the father and son. Kawus too, doesn't want Sohrab to be recognized by his father. According to Kawus' plan, Sohrab is to be killed by Rostem, so everything can get back in order again. As I will try to prove, Rostem is aware of the difficult situation. Rostem is in a great struggle inside and outside; a great dilemma, to protect his son, or to protect his beloved Iran-zemin. In order to keep his fame and avoid the shame of betraying his country, for the sake of a son, who he has never seen or raised, he has to sacrifice his own blood. His own son. 
In the story, as a whole, Ferdosi wants us to suppose that Rosem could not recognize his own son Sohrab. To make the tragedy look that, that events are ruled by "fate", it seems that we have to undermine this small but very important part, that Rostem knows very well that his opponent is his own son Sohrab. Just like in the theater, we are asked to assume that the scene and play is almost happening in real life, and not being played, for just sake of entertainment, and profit. I think, if the whole story would be analyzed and scrutinized carefully, it is obvious that, Rostem simply does not want to recognize his son.
Let us examine some of Ferdosi's lines about the claim that I just made. Besides the seal that Rostem gives to Tehmine, at the time of leaving, he predicts that if the child is a boy, he will be looking like Sam, Rostem's grandfather. It is also useful to note here that, in the description of Rostem, in his birth, Ferdosi writes: " As he (Rostem) was Sam, in the figure, appearance, and wisdom". So, it is easy to realize that Rostem looked like his grandfather Sam. Also it is quiet natural for Sohrab to resemble his father Rostem. As Ferdosi confirms that, "when nine month past, Tehmine gave birth to a boy who was a bright as shining moon, as if he was Rostem or Sam. There is no doubt that Sohrab was similar to Rostem and Sam in appearance and facial features. Passing the border and in the initial battle, Turanian army crashes the defending troops of Gajdohom, and captures the "white castle". Gordaferid, warrior and female commander of the castle, recognizes Sohrab, and states that he looks like Sam.
After the first defeat, the bad news reaches to Kawus. He sends a convoy to Rostem and invites him to save Iran-zemin again, from this new danger. It is really interesting to know that in his letter, Kawus, after explaining the situation, confirms that the leader of Turanian army looks like Sam. Ferdosi mentions that, Rostem is surprised that how a warrior and hero who looks like Sam would be the leader of the Turkish army. Rostem also recalls that "I have a son from daughter of the king of Samangan, but for sure he can not be the one, because he should be only a child now". It seems like, Rostem does not want to remember that, he himself had unusual birth and physical growth, as his name literally  mean, and reported by Ferdosi. Another support for this idea comes from the time that Rostem sends gifts to Tehmineh and his son and receives news about his son, that "Sohrab has an unusual physical growth and it will not take long for him to become a warrior" like his father. I think to play the hand of "fate", Ferdosi is either purposefully forgetful, or wants us to just take all of the discrepancies as whole and go with the play.
After receiving the Kawus' letter, Rostem gives himself to drinking for four days. What can be the reason behind Rostem's irresponsible behavior, specially at a time that Iran-zemin is being invaded by the enemy's army? Obviously Rostem is in the biggest drill of his legendary life. When, after four days of being drunk, and basically procrastinating, Rostem comes before the king Kawus with Giv. Everyone expects Kawus to punish them, for the reason of not rushing to king's orders. Kawus sends Tus to punish Rostem, and kill him, to no avail. But in turn, Rostem, sarcastically says: "if Kawus has enough courage and ability to kill me, then why not just try to kill Sohrab". Kawus, who ordered Tus to kill Rostem, now sends Guderz to apologize and plead with him, and convince him to fight the enemy.
It is at this junction that, finally Rostem decides to confront the most difficult test of loyality to Iran-zemin, and prepare for the war. Reportedly night before the first confrontation, Rostem, secretly, with the different attire, goes inside of the Turanian camp. In this secret incursion, incidentally, and of course conveniently to the story of Ferdosi, Rostem kills Jand, a Turkish warrior, and the only person who was sent by Tehmine to make sure that Rostem is aware of his son's presence in the Turkish army. On his return, reporting to Kawus, Rostem talks about Sohrab and mentions that he is similar in appearance to Sam, saying: "I have never seen a warrior in this magnitude from Turks".
As it is obvious, it is not easy to ignore that, Rostem could not have any doubt that Sohrab is his son. Also murdering Jand has to be considered suspicous, for it just plays to the scheme of the story here, which is "fate". When Ferdosi describes the first confrontation of the two heroes, he writes: "he (Rostem) saw Sohrab with the glory and grace. His body is immense like Sam".
In the conversation before the one to one fight, Sohrab asks Rostem, if he is his father Rostem, but he denies that. Also in the second day of the battle, Sohrab appears as if they spent the previous night together with Rostem. Sohrab asks Rostem about the night, and repeatedly implore with Rostem, " Let us put the swords and clubs of vengeance aside, and let us put away war and injustice. Let us sit and refresh our face with wine. Let us make an oath to the God, and avoid war. Let others fight in this war. You come and feast with me". Thus said Sohrab to Rostem. Sohrab who is a great warrior, asks his opponent not to fight. What can be the reason? Sohrab has the answer himself: " My heart has your love in it, and I am ashamed to fight you". Unfortunately, Rostem replies him with harshest possible tone: "We were not talking about these things (love) yesterday. We were talking about wrestling last night. I will not be tricked with these things. I am not a child. If you are a young man of fight, I am here to kill you, with no doubt in me". I think intentions of both Rostem and Sohrab is so obvious in this conversation, and there is no need to elaborate more on it.
Sohrab has no other option, other then to fight him. They start wrestling.  At the first round, Rostem is defeated, and could be killed, but he tries to save his life by any means. Rostem lies to Sohrab about the traditions of wrestling in Iran-zemin, that when a warrior defeats his opponent for first time, shouldn't kill him, and should give him a second chance. Sohrab believes, and trusts Rostem, giving him second chance, and not killing him. Here, we can also deduce that Sohrab lacks experience, willingness and rush to kill Rostem. Rostem in the other hand, saves himself, only to recuperate and defeat Sohrab. Rostem prays to God, and asks him "to give him his reserved power back to match Sohrab's superior power".
In the second round of the wrestling, Rostem pushes Sohrab's back to the ground, defeating him. He wastes no time. Rostem draws his dagger, cuts open Sohrab's side, causing blood to gush out immediately. Sohrab is loosing blood rapidly. With a pale face, Sohrab speaks thus to Rostem: "I was guiding you, and giving you many hints, in many ways that I could, but your heart never moved". Rostem, all of a sudden is regretful and asks for the magical medicine (nush daru), from Kawus. Kawus, conveniently, delays and drags. 
It appears that Rostem has played his role and share of the Ferdosi's scenario. Sohrab is dead. To prevent further bloodshed, Rostem asks his warriors not to fight with Turks any more. He admits: "I had killed great grandson of Sam, in my old age". It is also noteworthy to mention that to bring the "nush daru", Rostem doesn't go himself, but sends Gudarz. Why he didn't go himself to bring the magical potion? Why there is no evident and genuine effort to save his son? It appears that everything in the story is combined together to make it look like that it is just a course of inevitable fate. Even though it sounds contradictory, in the story, after Sohrab is dead, Rostem is immersed in so much pain, that he even wants to kill himself. 
Sohrab, as he maintains in his last minutes of his life, was so helpful to prevent the disaster. He brings Hajir, a Turkish warrior who knows Rostems, with himself to identify him. He directly askes Rostem to identify himself. He proposes peace when he has the upper hand. He invites him for wine and feast. What else Sohrab could do to prevent the disaster? In the other hand, on contrast with Sohrab, Rostem not only is not helpful, but also misguides Sohrab with wrong information, denying his true identity. Rostem intentionally goes to the Turanian camp, a night before, and kills the only person who could be helpful. He rejects the peace proposal from Sohrab, calling it a trick. Is it fare to assume that, actually Rostem is the one who tricks himself from the first to the end of this story. When everyone would admit that Sohrab is just look alike of Rostem or Sam, it is Rostem who willingly, fails to recognize him. Four days of drinking is a plain sign of the big struggle within Rostem. Ferdosi, later in the story of Rostem and Isfendiyar, reveals the bitter truth in the story of Sohrab, as Rostem says: "I killed my wise and brave son, becouse of the king".
We have to remind ourselves that, Rostem is the great protector of the ruling system. He is responsible to keep the system, not allowing any one to harm or change the regime.  Sohrab had the grand plan in his mind, uniting Iran-zemin and Turan. But Rostem could not fathom the whole idea. Also he would not accept that somebody else no matter if that person is his own son, would give him the crown. Rostem himself is the "crown giver" of the ruling family of Iran-zemin. Rostem couldn't witness and accept destruction of the state which he was the protector of it. In reality, it is safe to say that, Rostem couldn't accept Sohrab as his own son in any way. Sohrab was an outsider, and had to be removed from the way. From any aspect, we look, we don't see any victory or grace in the battle of Rostem and Sohrab. Rostem achieves nothing but disgrace and death-full defeat. He defeats himself. He is dead within and without. He kills his own son. 
The real hero is dead. Sohrab had great idea of uniting Iran-zemin and Turan. He even does not want to rule this vast empire alone. He plans to share the throne his father Rostem. He does not believe in borders. He is peaceful even in the war. Sohrab wages war on "fate", and loses. 
Sohrab in what is portrayed here, is all Turk, in mind, character, behavior, grace, and grandiose. Rostem, in the other hand, is a typical example of Iran-zemin. He sacrificed everything he had, and all his life to the crown of kings, and to Iran-zemin. Yet, I think both Rostem and Sohrab were at the same time victims of political games of Afrasiyab and Kawus. The game that Rostem intentionally but Sohrab unintentionally are the main players of it.
In the tragedy of Rostem and Sohrab, the real hero is Sohrab. He is a Turkish prince, full of great moral values, young and brave. He is idealistic and naive. Turk in character, falls victim to deceitful Iran-zemin's old and evil killer, his father, Rostem. Evil overcomes good. Darkness kills light. Reality triumphs upon utopia. Rostem kills Sohrab.


Bibliography
1- Dick Davis, Epic and sedition. The University of Arkansas Press/Fayettecille 1992.
2- P. B Caehha, M. A. , LL.B. Ferdosi and Shahname. New Book co. LTD. Bombay. 1950.
3- Dr. Sadigh, Mohammadzadeh. Yusef and Zoleykha. 1992.
4- Bonyad e Shahnameh Ferdosi. Shahname shenasi. 1978.
5- Dr. Renjber, Ahmed. Jazebeh haye fekriye Ferdosi. 1984.
6- A. Shapur Ahahbazi. Ferdosi: A Critical Biography. 1991.
7- Jerome W. Clinton (Translation). The tragedy of Sohrab and Rostem. 1987

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