in progress, and I ask the reader’s indulgence for all infelicities, which will be corrected in future editions” (109). I wonder if correcting “infelicities” on this scale would amount, as with the ship of Theseus, to a new book altogether. In Gould’s defense, we should consider the possibility that her translations still work as freestanding English poems. After all, notwithstanding the suspicions that Ezra Pound barely commanded classical Chinese or Edward Fitzgerald classical Persian, their translations of classical Chinese and Persian poetry, respectively, continue to occupy a remarkable place in the modernist and Victorian canons of English literature. But lines like “Like a bird torn from its nest, I lament / separation from my beloved’s door” or “I see your face is like a garden. / I see your scar amid the tulips” would, I think, fail to charm even the most indulgent reader conversant with modern English poetic idiom. More’s the pity that the poet in question happens to be H asan who is celebrated like Amīr Khusraw in the Persian literary tradition for his varieties of alliteration, paronomasia, polysemy and repetition. Northwestern World Classics claims on its website: “Insightful commentary and compelling new translations help readers discover the joy of outstanding writing from all regions of the world.” Gould’s introduction is arguably insightful with respect to the radīf and, in a broad-brushed way, the relations between H asan’s poetics and the politics of his age. As to the joy of discovery through “compelling new translations,” however, it is puzzling that a press of such repute should not have had the translations checked by readers (some of the venerable scholars Gould thanks in her acknowledgements would have qualified) with proven credentials in Persian literary scholarship.

中文翻译：

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奥斯曼帝国伊斯坦布尔的梦想与生活：十七世纪传记作家的视角

正在进行中，我恳请读者原谅所有的不妥之处，这些错误将在以后的版本中得到纠正”（109）。我想知道在这种规模上纠正“错误”是否会像忒修斯之船一样完全变成一本新书。在古尔德的辩护中，我们应该考虑她的翻译仍然作为独立的英语诗歌工作的可能性。毕竟，尽管有人怀疑埃兹拉·庞德几乎没有掌握古典汉语或爱德华·菲茨杰拉德的古典波斯语，但他们对古典汉语和波斯诗歌的翻译分别继续在现代主义和维多利亚时代的英国文学经典中占据显着的地位。但是像“像一只从巢中被撕碎的鸟，我哀叹/与我心爱的人的门分离”或“我看到你的脸就像一个花园。/ 我在郁金香中看到你的伤疤”，我想，即使是熟悉现代英语诗歌习语的最放纵的读者也无法吸引。更遗憾的是，所讨论的诗人恰好是 H asan，他像波斯文学传统中的 Amīr Khusraw 一样因其头韵、重音、多义和重复而受到赞誉。西北世界经典在其网站上声称：“富有洞察力的评论和引人入胜的新翻译帮助读者发现来自世界各地的优秀作品的乐趣。” Gould 的介绍可以说是对 radif 的深刻见解，并且以粗略的方式探讨了 H asan 的诗学与他那个时代的政治之间的关系。然而，关于通过“令人信服的新翻译”发现的乐趣，