Shayegan: Trials and Tribulations of an Iranian Philosopher

Shayegan: Trials and Tribulations of an Iranian Philosopher
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Shayegan: Trials and Tribulations of an Iranian Philosopher

Shayegan: Trials and Tribulations of an Iranian Philosopher

“We had one life, after all,” said the Daryush Shayegan as he sipped his double espresso as if it were the nectar of gods. “The question is: what did we do with it?”

The scene was a just over a year ago in a café in Paris’ posh Avenue Alma Marceau where we had gathered for lunch with a mutual friend, Professor Shahin Fatemi. At the time none of us knew that Daryush was on his last visit to the French capital which he had always regarded as a second home and that, a year later, he would pass away in his first home, his beloved Tehran.

Last Monday, a small group of mourners attended the burial ceremony in Tehran of the 83-year old Daryush under the watchful eyes of “Islamic Security” deployed to make sure there will be no “disturbances.”

The answer to Shayegan’s question, “what did we do with our life”, is both simple and complex in his case.

He has been described as polymath, philosopher, poet, mystic, linguist, and master in “Eastern” civilizations, whatever that means. But he had also dabbled in literary criticism, historic research, and, theological speculation. Moreover, he was also a keen collector and connoisseur of objects of art, books, and calligraphy.

Perhaps as a side-line, he had also dabbled in grand political strategy by promoting the concept of “a dialogue of civilization” which was first adopted by Empress Farah and, after the mullahs seized power in Tehran, Hojat al-Islam Muhammad Khatami who served as President of the Islamic Republic for eight years.

However, those who knew him best remember him for his passionate love of Iran, almost bordering on idolatry, and what he described as his lifelong love affair with the Persian language.

Shayegan was a typical product of what one may, at the risk of provocation, call the imperial culture of Iran.

He was born in Tabriz, capital of the East Azerbaijan province in northwestern Iran, of an Azeri father and a Georgian mother and thus learned both Azari and Georgian languages from childhood. At the same time, however, he learned Persian, the lingua franca, of “Iranzamin” (The Realm of Iran) which bound the many ethnic and linguistic communities of the country into a tightly-knit nation. At the time of Shayegan’s birth, Iran was home to 18 living languages, all but one of which represented ethnic communities. (Right now, sadly, only six of those languages still exist.)

The exception was Persian which, not identified with an ethnic group, was the language of every Iranian.

But Persian is a dangerous language; it could bewitch and bewilder you with its charm and mystery, throwing a lasso around your neck and leading you to regions beyond your intentions. It is like a femme fatale whose charisma makes you forget that she has a loaded gun hidden in her crocodile bag.

Shayegan was one of many Iranian intellectuals so smitten by Persian that, rather than commanding it in the service of their thoughts, became vehicles for the projection of its beauty. You marvel at a prose that, beautiful and fascinating, makes any thought it is supposed to express of secondary importance. “You say: I love it, it transports me to the seventh heaven, but what does it mean?”

Again, like many other Iranian intellectuals, Shayegan had to use other languages, in his case mostly French, to deal with the “beard-and-butter” of his philosophical speculations and historical observations. This is why most of his 18 books were written in French while he also used English for some seminar papers and essays.

Shayegan’s mastery of six languages, acquired during studies in England, Switzerland, France and, of course, Iran itself gave him direct access to the bulk of the literature he needed for inspiration and research in Islam, Sufism, Hinduism, Christianity and a whole raft of esoteric religions.

As a popular Professor of Comparative Philosophy at Tehran University between 1968 and 1979, Shayegan trained a whole new generation of scholars who have continued his work in all those domains. However, Shayegan’s focus during his decade of professorship was “Iranian Islam”, a term coined by Henry Corbin, the French Iranologist who forged a bond of friendship with Shayegan. He ended up translating part of Corbin’s work into Persian and writing a whole bio-critical book on the French master. Corbin and Shayegan shared a deep love of Iran and played a significant role in remembering and re-introducing some of Iran’s great half-forgotten Islamic philosophers.

In my view the Corbinist vision exaggerated Iran’s role in transforming Islam from a rather simple religious code into a complex culture and multifaceted civilisation. The French scholar failed to see that Iran and Islam were separate entities that met at some points but diverged at others. Worse still, Corbin was too focused on the mystic version of “Iranian Islam” to allow adequate space for the many other forms in which Iranians expressed their Islamic-ness.

In the end, trying to understand art or culture through the sole prism of religion may do a disservice to both. Does one need delving into Christian dogma to enjoy Bach’s “Passion According to Saint Matthew”? And should one attend a theological course to be admitted in the universe of great Persian poets such as Nasser Khosrow, Mowlawi, Hafez, and Nizami?

Or Saadi who said: ”Everything is good, in its own place!”

In the mid-70s Shayegan was spotted by Empress Farah, who was also French-educated, and invited to join the newly created Royal Philosophical Centre, coordinated by the Empress’s Private Secretary Sayed Hussein Nasr, a noted academic and scholar of Shi’ism.

A number of mullahs, some of whom later became prominent figures in the Khomeini’s Revolution, were also enlisted, among them Hojat al-Islam Mortaza Motahhari. Non-Iranian “philosophers” attracted to the scheme included the French Communist theoretician Henri Lefebvre, and Roger Garaudy, also a French Communist who had converted to Islam. Local philosophers who joined included Ahmad Fardid, a Heideggerian who was to achieve iconic status in the Khomeinist regime.

When Khomeini shut Iranian universities for two years to “purge and Islamicize” them, Shayegan found himself among thousands of professors and lecturers who were shown the door for not being Islamic enough.

Khomeini’s Cultural Revolution Committee, headed by one Jalal Eddin Farsi and including Abdul-Karim Sorush, a British educated Islamist philosopher, decided that those excluded from universities would have to undergo an Islamic re-education scheme to be considered for re-employment.

Many decided to go into exile rather than sign up for re-education. Some decided to stay in Iran but keep a low profile. Shayegan was among them.

The irony in all that was Shayegan had briefly supported the Islamic Revolution and even expressed the belief that Ayatollah Khomeini, the mullah who emerged as leader of the anti-Shah movement, might be “the Gandhi of Islam.” The philosopher’s saccharin-soaked vision of the Khomeinist revolution led many of his friends to stay away from him. (I was among them!)

But Shayegan was above such pettiness, especially because, as he was to admit later, his fascination with “the Gandhi of Islam” had lasted no more than a month. At the end of that month we happened to be together in a gathering and I feigned to ignore him. He, however, rushed towards me, tapped me on the shoulder and said: “I was mistaken. Let’s move on!” Who could resist that master demonstration of the power to subdue one’s ego?
Many years later, Shayegan put his “one month-long slip” into context by recalling that a good many Iranian intellectuals had been seduced by the idea of a revolution and that their fascination had done great damage to Iran.

“All our generation (of intellectuals) made a mess of things,” he wrote in a mea culpa that continues to have an echo among many Iranians.

Shayegan’s most directly political book ”What Is A Religious Revolution?” remains a masterpiece of socio-political observation of the confusion that reigns in many Muslim-majority countries trying to meet the challenges of the modern industrial, and now post-industrial, world in the creation of which they had played no role.

Shayegan further probed that theme in his “Mutilated Gaze” (1996) and “Cultural Schizophrenia: Islamic Societies Confronting the West” (1997), both of which helped inspire many debates across the Muslim world.

By the end of the 1990s, having observed the failure of the Islamic Revolution in Iran, Shayegan, always a man of passions, joined a 200-year-old dynasty of Iranian “westernizers” arguing that Iran won’t progress unless it adopted the values of the renaissance and its grandchild democracy. The result was his “The Light Comes from The West”, published in 2003 and then 2015.

The start of what was later called “The Arab Spring” in December 2010 gave Shayegan a new hope that Muslim societies might be able to find a way out of their predicament without breaking with their religion-dominated culture. It was in that hope that Shayegan dubbed the uprisings “The Islamic Awakening”.

Once again, however, Shayegan soon realised that dabbling in politics was always risky for a philosopher. By 2012, as “The Arab Spring” was beginning to turn into a dicey autumn and then a deep winter, Shayegan admitted to friends, including this writer, that he had been too hasty in supporting the uprisings.

But, where to go after that? Fortunately for Shayegan he could always return home, in the sense of seeking shelter in “Iranianism” which had always been a refuge for Iran’s disillusioned intellectuals for centuries. In that spirit, Shayegan used his prestige and moral power to launch a new series of books, many of them translations from various Western languages, on Iranian history and culture before Islam. The first series that I have seen are well chosen and edited, and printed at the highest standards. As often in Iran’s history popular disappointment in religion encourages a return to nationalism. However, excess in nationalism could be as deadly as excess in political religion.

We don’t know what this return to nationalism might lead Iran. But Shayegan had high hopes for it. The hope we could have is that he wouldn’t prove politically wrong once again.

The question what we did with our “one life” doesn’t apply to Shayegan. For he is destined to live for ever both as philosopher, and a great human being.



Jeddah's Red Sea Museum Announces Ramadan Program 

The Red Sea Museum. (Red Sea Museum)
The Red Sea Museum. (Red Sea Museum)
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Jeddah's Red Sea Museum Announces Ramadan Program 

The Red Sea Museum. (Red Sea Museum)
The Red Sea Museum. (Red Sea Museum)

Jeddah's Red Sea Museum announced on Thursday a curated program of creative and cultural activities for the holy month of Ramadan, running from February 22 to March 14.

Led by local artists, artisans, and cultural practitioners, the museum's Ramadan program includes contemplative workshops, storytelling sessions, outdoor community gatherings, and musical performances that honor the spirit of reflection, creativity, and connection.

The series of engaging sessions creates space for visitors to explore traditional crafts, contemporary storytelling, and cultural heritage through hands-on experiences blending creativity and reflection.

Curated for families, artists, and visitors of all backgrounds, the program runs alongside "Sunken Treasures: The Maritime Heritage of the Red Sea," the museum's major temporary exhibition opening on February 25, which explores how archaeological discoveries reveal centuries of trade, navigation, and human connection across the Red Sea.

In celebration of Founding Day on February 22, the "Inspirational Threads: Makkah & Madinah" contemplative embroidery workshop invites participants to engage with archival black-and-white photographs of the Red Sea, Makkah, and Madinah. Through basic embroidery techniques, participants can embellish these images with Islamic geometric and symbolic motifs, adding layers of color, texture, and meaning while reflecting on devotion, memory, and connection.

The "Radiance in Pieces: Mosaic Lantern" hands-on workshop on February 24 explores the tradition of Islamic mosaic art through the creation of illuminated lanterns inspired by Red Sea heritage. Children and families will learn how small, colorful pieces come together to form meaningful geometric designs, blending creativity, cultural heritage, and reflection.

The opening evening of "Sunken Treasures: The Maritime Heritage of the Red Sea" on February 25 features a panel discussion with archaeologists, scientists, and historians exploring the maritime heritage of the Red Sea.

The "One Big Table - Ramadan Gathering" on March 5 brings everyone together in a shared space where families, friends, and neighbors celebrate the spirit of Ramadan.

On March 7, the "From Sand to Porcelain" painting workshop invites participants to paint calligraphy on fine porcelain using natural sand collected from Jeddah to add subtle texture and depth. While learning basic porcelain painting techniques, participants will engage in a reflective, hands-on experience that encourages mindful creation, resulting in a personal keepsake that embodies devotion, place, and the spirit of Ramadan.

In the spirit of International Women's Day on March 8, the "Ramadan Spirit: Thread & Needle" hands-on punch needling workshop explores Ramadan iconography through traditional symbols, including the crescent, star, and lantern. Participants will create textured textile pieces while learning basic punch needle techniques, celebrating both the holy month and the creative contributions of women to traditional textile arts.

On March 14, the "Spirit of Ramadan and the Tale of Jabir Al-Khawatir" storytelling session for children and families explores Ramadan as a season of compassion and healing, reminding people that the spirit of the holy month lives in small acts of care and human connection.


Saudi Arabia: Ship of Tolerance Initiative Promotes Cultural Dialogue in Jeddah

The Royal Institute of Traditional Arts (Wrth) will offer traditional craft workshops throughout Ramadan. SPA
The Royal Institute of Traditional Arts (Wrth) will offer traditional craft workshops throughout Ramadan. SPA
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Saudi Arabia: Ship of Tolerance Initiative Promotes Cultural Dialogue in Jeddah

The Royal Institute of Traditional Arts (Wrth) will offer traditional craft workshops throughout Ramadan. SPA
The Royal Institute of Traditional Arts (Wrth) will offer traditional craft workshops throughout Ramadan. SPA

The Saudi Ministry of Culture, in collaboration with the "Lenobadir" volunteer and community partnership program and the Athr Foundation, has launched the Ship of Tolerance initiative in Historic Jeddah during Ramadan.

The initiative aims to enhance shared human values through arts, and promote tolerance and coexistence among children and families. It provides an educational and cultural experience aligned with the area’s unique character as a UNESCO World Heritage site.

As part of this global art project, children will create artworks that represent acceptance and dialogue.

The Royal Institute of Traditional Arts (Wrth) will offer traditional craft workshops throughout Ramadan, linking the initiative's values with local heritage and enriching visitors' connection to the region's identity.

This effort supports cultural programs with educational and social dimensions in Historic Jeddah, activating local sites for experiences that combine art, crafts, and community participation. It aligns with the National Strategy for Culture under Saudi Vision 2030, focusing on heritage preservation and expanding culture's impact on daily life.


Oscar Contender ‘Hamnet’ Boosts Tourism at Shakespeare Heritage Sites 

A view of Shakespeare’s Birthplace, William Shakespeare's childhood home, in Stratford-upon-Avon, Britain, February 9, 2026. (Reuters)
A view of Shakespeare’s Birthplace, William Shakespeare's childhood home, in Stratford-upon-Avon, Britain, February 9, 2026. (Reuters)
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Oscar Contender ‘Hamnet’ Boosts Tourism at Shakespeare Heritage Sites 

A view of Shakespeare’s Birthplace, William Shakespeare's childhood home, in Stratford-upon-Avon, Britain, February 9, 2026. (Reuters)
A view of Shakespeare’s Birthplace, William Shakespeare's childhood home, in Stratford-upon-Avon, Britain, February 9, 2026. (Reuters)

On a cloudy winter's day, visitors stream into what was once William Shakespeare's childhood home in Stratford-upon-Avon and the nearby Anne Hathaway's cottage, family residence of the bard's wife.

Hathaway's cottage is one of the settings for the BAFTA and Oscar best film contender "Hamnet", and the movie's success is drawing a new wave of tourists to Shakespeare sites in the town in central England.

Shakespeare's Birthplace is the house the young William once lived in and where his father worked as a glove maker, while Hathaway's cottage is where he would have visited his future wife early in their relationship.

Typically, around 250,000 visitors, from the UK, Europe, the United States, China and elsewhere, walk through the locations each year, according to the Shakespeare Birthplace Trust. ‌The charity looks after ‌Shakespeare heritage sites, which also include Shakespeare's New Place, the site of ‌the ⁠Stratford home where the ⁠bard died in 1616.

Visitors are flocking in this year thanks to "Hamnet", the film based on Maggie O'Farrell's 2020 novel, which gives a fictional account of the relationship between Shakespeare and Hathaway, also known as Agnes, and the death of their 11-year-old son Hamnet in 1596.

"Visitor numbers have increased by about 15 to 20% across all sites since the film was released back in January. I think that will only continue as we go throughout the year," Richard Patterson, chief operating officer for the Shakespeare Birthplace Trust, said.

"They particularly want ⁠to look (at) Anne Hathaway's cottage and the specifics around how the family ‌engaged in the spaces and the landscape in and around ‌the cottage... you can see why he would have been inspired."

NEW ACCESS TO SHAKESPEARE

"Hamnet" has 11 nominations at ‌Sunday's British BAFTA awards, including best film and leading actress for Jessie Buckley, who plays Agnes. It ‌also has eight Oscar nominations, with Buckley seen as the frontrunner to win best actress.

"Hamnet" is set in Stratford-upon-Avon and London although it was not filmed in Stratford.

It sees Paul Mescal's young Shakespeare fall for Agnes while teaching Latin to pay off his father's debts. The drama, seen mainly through Agnes' eyes, focuses on their ‌life together and grief over Hamnet's death, leading Shakespeare to write "Hamlet".

"Shakespeare... is notoriously enigmatic. He writes about humanity, about feeling, about emotion, about conflict, ⁠but where do we understand ⁠who he is in that story?" said Charlotte Scott, a professor of Shakespeare studies and interim director of collections, learning and research at the Shakespeare Birthplace Trust.

"And that's driven people creative and otherwise for hundreds and hundreds of years. Where is Shakespeare's heart? And this is what the film I think has so beautifully opened up."

Little is known about how the couple met. Shakespeare was 18 and Hathaway 26 when they married in 1582. Daughter Susanna arrived in 1583 and twins Judith and Hamnet in 1585.

The film acknowledges the names Hamnet and Hamlet were interchangeable back then. While grief is a dominant theme, audiences also see Shakespeare in love and as a father.

"A lot of people will see this film not necessarily having... had any kind of relationship with Shakespeare," Scott said.

"So people will come to this film, I hope, and find a new way of accessing Shakespeare that is about creativity, that is about understanding storytelling as a constant process of regeneration, but also crucially, looking at it from that kind of emotive angle."