As far as written records and oral traditions indicate, entertainment in the Qajar era touched on all aspects of life, both public and private. Contrary to Western opinion about this period, Qajar society exhibited a great variety of entertainments, many of which (even when public) were not visible to the outsider, given the constraints of a strongly traditional society and of the class-bound nature of many of the entertainments requiring access to the court, the aristocracy or the inner sanctums of the houses of the grandees. Nevertheless, the picture that now emerges is one of plenty rather than penury, and a closer look at the variety of entertainments is thus eminently relevant and in order.

The establishment of Qajar rule by Agha Muhammad Khan in 1786 initiated a period of relative stability in Iran which lasted through the nineteenth century to 1925. His two most important successors, Fath ‘Ali Shah (1797–1834) and Nasir al-Din Shah (1848–1896), during their long reigns, saw the stabilization of Iran's borders to their present limits and maintained a cautious balance in domestic policy with the religious, administrative, and commercial authorities, and in international relations with European powers. One of the main results of Qajar foreign policy was increased contact between Europeans—such as diplomats, military personnel, technical and educational experts, merchants, archaeologists, and curious travelers who spent long periods of time in Iran, and the Iranians who received them. As hospitality is one of the main features of Iranian social culture, receptions and entertainment played a major role in both formal diplomacy and at private picnics and parties.

This paper will discuss the role of the jesters at the court of Nasr al-Din Shah, with more particular reference to Karim Shire′i, whose humor gained a lasting place in popular memory. It will look at the jesters in the context of their essential role, to remind the king that he was human. This poses a number of questions with regard to who the jester was and how he carried out his function. First, there is the question of the relationship between the Shah and jester, the degree to which it could become personal and why. Second, the paper will look at the jester's identity and the way it is defined by his relationship with the Shah. Third, it will consider the jester's relationship with the court as a whole and his function within a strictly related hierarchical environment. All of these required that the jester constantly maintain a delicate and sometimes dangerous balance, which could only be carried out by one who inherently possessed a particular kind of wit. Consideration will be given as to what the jester represented both to the court and to the public, specifically with reference to the widely held concept of the wise fool, and its religious implications. This relates to the issue of ‘innocence,’ (‘the mad have cast upon their tongues words from the unseen’) whether natural or assumed and its purpose in allowing freedom to the jester to draw the ruler's attention to unpalatable truths. Further points to explore are the relationship between the jester and chaos in an ordered environment and how far the jester pressed the boundaries, or even exerted political influence, and how far his function was in fact conservative and destined to help preserve the existing order. Last, the paper will look at the origins of the court jesters as far as they are known and consider their implications for the rise of these individuals. It will attempt to establish if each was characterized by a particular kind of buffoonery by comparing and contrasting them. In particular, the jokes attributed to Karim Shire'i will be discussed both in terms of how far it is possible to identify him as their author with any certainty and how far they may be considered as constituting a genre of humor. Finally, the legacy of this humor within the popular memory will be assessed.

Social life in Qajar Iran was segregated by both gender and class. Parallel to social life were social pastimes and amusements which were generally segregated in the same manner. Foreign travelers to Iran, in true Orientalist fashion, frequently mention that people had few amusements. This paper will discuss various amusements and diversions, ranging from outdoor activities such as hunting and shooting, to physical and intellectual games, to high drama such as passion plays (ta‘ziya) and folk performances as well as street performers, puppeteers and mimicry, dancers and musicians, and to activities promoting leisure and enjoyment. It attempts to cover as many activities as possible, but it will also show that there was such a wide choice of amusements that it is, in fact, difficult to discuss them all.

The Assyrian “Camelot” in Iran, centered in northwest Iran around the towns of Urmia and Salamas, began with a surprise championship of their community by American missionaries and ended with ethnic cleansing between 1914 and 1918. During the eighty odd years of intellectual and material progress made in this community, Assyrians not only learned a multiplicity of European languages within a generation, but adopted western genre of entertainment on a broad scale. Among these were theater performances. Assyrian plays drew on many sources including French and Azerbaijani plots. But plays also became a means of retrieving their own historical past as it was being revived in Europe in the late nineteenth century under the influence of archeology and related classical sources on Mesopotamian and Iranian ancient history. In addition, Assyrians drew on another source of inspiration for theatrical performance, a source buried deep within their own medieval culture. To what extent does church theater performance soften attitudes toward theater in an environment where American-inspired religiosity frowned on frivolities like stage entertainment? To what extent does the Assyrian experience mirror the production of theater in Qajar culture in general? How, if at all, has the Assyrian cultural flowering, however brief, affected the encouragement of diverse entertainment in northwest Iran?

The literary genre known as dastan-e ‘ebrat (morality tale or play) had already gained currency before the turn of the century and the awakening that preceded the Constitutional Revolution. It was, however, in the context of that Revolution and the impulses the Revolution brought forth, that this form of writing achieved greater popularity. Through the new medium of newspapers available now to a mass audience, the mode of delivery of the traditional morality tale in daily or weekly installments also took on the new role of entertainment while retaining the old role of socio-political commentary. Combining the tradition of his grandfather, Mohammad Taher Mirza Eskandari, who as translator, brought the romantic novels of Alexandre Dumas to the attention of the court and the Persian public, and that of his father and uncle who were pioneers and founders of the early humanist societies (anjoman) in the late Qajar era, Yahya Mirza Eskandari also used literature as a means of conveying his progressive social and political views. The two works, ‘Eshgh-e doroughi and ‘Arousi-e mehrangiz, in particular, capture the genre and the message of the dastan-e ‘ebrat well while taking it further to a level of political and social critique, particularly directed at the autocratic foundations of the government of the time. While focusing on the political critiques of tradition and traditionalism that these works represent, this article will also try to highlight their entertainment aspect, achieved through the process of serialization and publishing by installment, the publication format the papers Majjaleh-ye nesvan and Iran-e now chose for them.

Iraj was a leading poet of the late Qajar era, a major poet in the whole history of Persian poetry, and by far the greatest of the poets who descended from Fath'ali Shah. Two things in particular distinguish Iraj's poetry: eloquence and humor. It is difficult to describe him as a satirist in the strict sense of this term since satire in his works is normally incidental and a natural result of his unique humor when writing about most subjects. His best works are Aref-Nameh, Enqelab-e Adabi and Zohreh o Manuchehr, although there is hardly any piece by him which is less than delightful, especially those which he wrote during the Constitutional era.