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Philosopher, Sufi and wise man from Turkey, remembered for his funny stories and anecdotes From Wikipedia, the free encyclopedia
Nasreddin (/næsˈrɛdɪn/[1]) or Nasreddin Hodja (other variants include: Mullah Nasreddin Hodja, Nasruddin Hodja, Mullah Nasruddin, Mullah Nasriddin, Khoja Nasriddin) (1208–1285) is a character in the folklore of the Muslim world from Bukhara to China, and a hero of humorous short stories and satirical anecdotes.[2] There are frequent statements about his existence in real life and even archaeological evidence in specific places, for example, a tombstone in the city of Akşehir, Turkey. At the moment, there is no confirmed information or serious grounds to talk about the specific date or place of Nasreddin's birth, so the question of the reality of his existence remains open.[3]
Nasreddin appears in thousands of stories, sometimes witty, sometimes wise, but in many of which he is presented as a (holy) fool or as the butt of a joke. A Nasreddin story usually has a subtle humour and a pedagogic nature.[4] The International Nasreddin Hodja festival is celebrated between 5 and 10 July every year in Akşehir.[5]
In 2020, an application to include "The tradition of telling comic tales about Nasreddin Khoja" in the UNESCO Intangible Cultural Heritage list was jointly submitted by the governments of Azerbaijan, Kazakhstan, Kyrgyzstan, Uzbekistan, Tajikistan, Türkiye and Turkmenistan.[6]
Claims about his origin are made by many ethnic groups.[7][8] Many sources give the birthplace of Nasreddin as Hortu Village in Sivrihisar, Eskişehir Province, present-day Turkey, in the 13th century, after which he settled in Akşehir,[8] and later in Konya under the Seljuq rule, where he died in 1275/6 or 1285/6 CE.[9][10] It is claimed that the tomb of Nasreddin is in Akşehir, and the International Nasreddin Hodja Festival is held annually in Akşehir, 5–10 July.[11]
There are also opposing views to the effect that Nasreddin's origin lies in Central Asia.[12]
The Arabic version of the character, known as Juha (Arabic: جحا), is the oldest attested version of the character and the most divergent, being mentioned in Al-Jahiz's book "القول في البغال" Alqawl fi albighal ("Concerning mules"). According to Al-Dhahabi's book, "ميزان الاعتدال في نقد الرجال" Mizan alaietidal fi naqd alrijal ("The balance of moderation (advisable) in the criticism of men") his full name was Abu al-Ghusn Dujayn al-Fizari, he lived under the Umayyads in Kufa, and his mother was said to be a servant to Anas ibn Malik; thus he was one of the Tabi'un in Sunni tradition.[13]
and of them (juha), and he is nicknamed aba ghusn, and what has been told of him suggests astuteness and intelligence, although he be overwhelmingly made to appear foolish, and it has been said that some who would malign him fabricate deliberately tales intended to discredit him.
The oldest manuscript of Nasreddin dates to 1571. Some of the stories, however, are in the Philogelos[citation needed] and Aesop's fables.[15]
Today, Nasreddin stories are told in many countries - especially those of the Muslim world - and have been translated into many languages. Certain regions developed independently a 'wise fool' character similar to Nasreddin, and the stories have become part of a larger whole. In many regions, Nasreddin is a major part of the culture, and is quoted or alluded to frequently in daily life. Since there are thousands of different Nasreddin stories, one can be found to fit almost any occasion.[16] Nasreddin often appears as a whimsical character in an extensive folk tradition of vignettes in the following languages: Turkish, Persian, Adyghe, Albanian, Armenian, Azerbaijani, Afghan, Bengali, Bosnian, Bulgarian, Chinese, Greek, Gujarati, Hindi, Judeo-Spanish, Kurdish, Romanian, Serbian?, Russian, Uzbek, Ubykh, and Urdu.
1996–1997 was declared International Nasreddin Year by UNESCO.[17]
Some people say that, whilst uttering what seemed madness, he was, in reality, divinely inspired, and that it was not madness but wisdom that he uttered.
— The Turkish Jester or The Pleasantries of Cogia Nasr Eddin Effendi[18]
Azerbaijani scholars Mammadhuseyn Tahmasib and Mammadagha Sultanov claimed that the folklore hero Molla Nasraddin was the minister of the Ilkhanate period, Nasraddin Tusi. The reasons for this are that they lived in the same period, Tusi included anecdotes in one of his works, ridiculed astrologers as a scientist, Molla Nasraddin went to Emir Timur as a representative of the country, the parallel between Nasraddin Tusi being sent to Hulagu Khan by the ruler of Alamut, and both of them having the same name—Hasan. However, Mammadhuseyn Tahmasib stated that this information is not conclusive evidence.[19][20]
 | This section needs additional citations for verification. (March 2024) |
Many peoples of the Near, Middle East, South Asia and Central Asia claim Nasreddin as their own (e.g., Turks,[21][9][22][23] Afghans,[22] Iranians,[21][24] and Uzbeks).[10] His name is spelt in a wide variety of ways: Nastradin, Nasrudeen, Nasrudin, Nasruddin, Nasriddin, Nasr ud-Din, Nasredin, Nasiruddin, Naseeruddin, Nasr Eddin, Nastradhin, Nasreddine, Nastratin, Nusrettin, Nasrettin, Nostradin, Nastradin (lit.: Victory of the Deen) and Nazaruddin. It is sometimes preceded or followed by a title or honorific used in the corresponding cultures: "Hoxha", "Khwaje", "Koja", "Hodja", "Hoja", "Hojja", "Hodscha", "Hodža", "Hoca", "Hocca","Hooka", "Hogea", "Mullah", "Mulla", "Mula", "Molla", "Efendi", "Afandi", "Ependi" (أفندي 'afandī), "Hajji". In several cultures he is named by the title alone.
In Arabic-speaking countries this character is known as "Juha", "Jiha", "Djoha", "Djuha", "Dschuha", "Chotzas", "Goha" (جحا juḥā). Juha was originally a separate folk character found in Arabic literature as early as the 9th century, and was widely popular by the 11th century.[25] Lore of the two characters became amalgamated in the 19th century when collections were translated from Arabic into Turkish and Persian.[26]
In Sicily and Southern Italy he is known as "Giufà", derived from the Arabic character Juha. In Maltese, his name is 'Ġaħan'.
In the Swahili and Indonesian culture, many of his stories are being told under the name of "Abunuwasi" or "Abunawas", though this confuses Nasreddin with an entirely different man – the poet Abu Nuwas, known for homoerotic verse.
In China, where stories of him are well known, he is known by the various transliterations from his Uyghur name, 阿凡提 (Āfántí) and 阿方提 (Āfāngtí). The Uyghurs believe that he was from Xinjiang, while the Uzbeks believe he was from Bukhara.[27] Shanghai Animation Film Studio produced a 13-episode Nasreddin related animation called 'The Story of Afanti'/ 阿凡提 in 1979, which became one of the most influential animations in China's history. The musical Nasirdin Apandim features the legend of Nasreddin effendi ("sir, lord"), largely sourced from Uyghur folklore.
In Central Asia, he is commonly known as "Afandi". The Central Asian peoples also claim his local origin, as do Uyghurs.
Afandi or Afanti originates from Turkish "Efendi" (Effendi) and this is a title still used to show respect in Turkey. The combination "Hoja Efendi" is used in Turkey very often for the Muslim scholars in modern times as well. The word "Efendi" is ultimately derived from Greek "Authentes" (αὐθέντης) into Turkish. "Nasreddin Hoja Efendi" was shortened as "Efendi" in time. Subsequently "Efendi" happened to be the proper name as "Affandi" in Central Asia for Nasreddin Hoja.
The Nasreddin stories are known throughout the Middle East and have touched cultures around the world. Superficially, most of the Nasreddin stories may be told as jokes or humorous anecdotes. They are told in the teahouses and caravanserais of Asia and in homes and on the radio. But it is inherent in a Nasreddin story that it may be understood at many levels. There is the joke, followed by a moral and usually the little extra which brings the consciousness of the potential mystic a little further on the way to realization.[28]
Uzbeks consider Nasreddin an Uzbek who was born and lived in Bukhara,[27] and stories about him are called latifa or afandi. There are at least two collections of Uzbek stories related to Nasriddin Afandi:
Nasreddin was the main character in a magazine, called simply Molla Nasraddin, published in Azerbaijan and "read across the Muslim world from Morocco to Iran". The eight-page Azerbaijani satirical periodical was published in Tiflis (from 1906 to 1917), Tabriz (in 1921) and Baku (from 1922 to 1931) in the Azeri and occasionally Russian languages. Founded by Jalil Mammadguluzadeh, it depicted inequality, cultural assimilation, and corruption and ridiculed the backward lifestyles and values of clergy and religious fanatics.[33] The magazine was frequently banned[34] but had a lasting influence on Azerbaijani and Iranian literature.[35]
Mulla Nasruddin, a figure in Islamic folklore, gained further popularity through the discourses of the mystic Osho Rajneesh. Osho frequently shared Nasruddin's tales in both Urdu and English, expressing a deep admiration for the character. He once said, "I have loved no one as I have loved Nasruddin. He is one of the men who has brought religion and laughter together; otherwise, they have always stood back to back. Nasruddin forced them to drop their old enmity and become friends, and when religion and laughter meet, when meditation laughs, and when laughter meditates, the miracle happens… the miracle of all miracles" (Osho, Books I Have Loved). This quote highlights Osho's appreciation for Nasruddin's ability to blend humor with spirituality, a rare and cherished combination.
He is known as Mullah Nasruddin in South Asian children's books.[36][37] A TV serial on him was aired in India as Mulla Nasiruddin.
Some Nasreddin tales also appear in collections of Aesop's fables. The miller, his son and the donkey is one example.[38] Others are "The Ass with a Burden of Salt" (Perry Index 180) and "The Satyr and the Traveller".
In Albanian folk tales of Albania and Kosovo the name appears as "Nastradini". Part of Nasreddin tales also refer to the protagonist as just "someone".[39]
In some Bulgarian folk tales that originated during the Ottoman period, the name appears as an antagonist to a local wise man, named Sly Peter. In Sicily the same tales involve a man named Giufà.[40] In Sephardic[41] culture, spread throughout the Ottoman Empire, a character that appears in many folk tales is named Djohá.[42][43]
In Romanian, the existing stories come from an 1853 verse compilation edited by Anton Pann, a philologist and poet renowned for authoring the current Romanian anthem.[44]
Nasreddin is mostly known as a character from short tales; however, he has also been featured in longer media, such as novels and films. In Russia, Nasreddin is known mostly because of the Russian work Возмутитель спокойствия by Leonid Solovyov (English translations: "The Beggar in the Harem: Impudent Adventures in Old Bukhara", 1956, and "The Tale of Hodja Nasreddin: Disturber of the Peace", 2009[45]). The composer Shostakovich celebrated Nasreddin, among other figures, in the second movement (Yumor, "Humor") of his Symphony No. 13. The text, by Yevgeny Yevtushenko, portrays humor as a weapon against dictatorship and tyranny. Shostakovich's music shares many of the "foolish yet profound" qualities of Nasreddin's sayings listed above.[citation needed]
The Graeco-Armenian mystic G. I. Gurdjieff often referred to "our own dear Mullah Nasr Eddin", also calling him an "incomparable teacher", particularly in his book Beelzebub's Tales.[46] Sufi philosopher Idries Shah published several collections of Nasruddin stories in English, and emphasized their teaching value.
In 1943, the Soviet film Nasreddin in Bukhara was directed by Yakov Protazanov based on Solovyov's book, followed in 1947 by a film called The Adventures of Nasreddin, directed by Nabi Ganiyev and also set in the Uzbekistan SSR.[47][48]
In 1964, Richard Williams, a Canadian-British animator, began work on Nasrudin, an animated film based on the character. The film was produced with the help of Idries Shah, for whom Williams had illustrated books about the character; however, tensions between Williams's crew and the Shah family caused Williams to end his relationship with them, causing him to lose his right to use Nasreddin as a character. The unfinished film was later reworked into The Thief and the Cobbler, which had a similarly troubled production history.[49][50][51]
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