نشریه نثر پژوهی ادب فارسی
سال هفتم شماره 15 (زمستان 1384)

This is a study of the poems of mystic women until the end of the 4th century A.H.Survey in the sources of mystical poetry and the origin of the formation of Gnostic speech is one of the necessary studies in Persian and Arabic literature. Some researchers and critics have tried to find the sources of mystical poetry. This article is an attempt to show how mystic women who were in the realm of poetry had a great effect onfirst mystical poems and how they tried to make use of the ‘Love of God’ in their poems.We found some information about twelve female poets. Also, there were other women except Rabia who spoke about Love of God. We can find some of their preaches,prayers and poems in some biographical books and hagiographies

Rahi-e Moayyeri, is the famous Persian contemporary poet whose eloquent and charming language has attracted many people. This paper has tried to analysis the reasons ofthis attraction and popularity. To do this, firstly the rank of Rahi-e Moayyeri among the contemporary poets, especially among the traditionalists one, is studied. Then the mostimportant elements of the popularity of his poets are inquired. The primary inquiry showed that the great part of this success is related to formal aspects of Rahi’s poetry. Therefore in following parts of paper the form and structure of Rahi’s poems were examined more precisely by a point of view based on structuralism and formalisms. As a conclusion, it is supposed that the attraction of Rahi’s poetry is due to the musicality of his language that is the result of a deep knowledge of music taught from childhood.

The epic of Rostsm and Isfandiar is the story of man’s bewilderment at the junction. In written narratives, Isfandiar becomes vulnerable through eating a pomegranate on whichZoroaster has prayed. Pomegranate is the symbol of eternity as well as immortality, but his father blindly fought with Rostam in order to reach to the crown and the throne. Hence, vulnerability of the eyes of this “blind prince” is the sign of his lack of insight. In myth, blind eyes are the symbol of lack of wisdom and mean death and annihilation.

The current paper deals with metaphorical trade names in Preand Post-revolutionary times. Based on a binary framework, in particular applying the views of Jakobson and Vorlat, this study adopts a contrastive approach to investigate the two sets of data. The data are described in terms of syntactic structure, type of projected features, andthe implicatures. The comparison reveals certain degree of differences between the two sets of data from each period. In other words, the comparison of data shows that linguistic features (e.g. syntactic structure, projected features and implicatures) of metaphorical names in the post-revolutionary data tend to be more complex than thecorresponding features of the pre-revolutionary data. This phenomenon receives its own socio-cultural explanation. Furthermore, on the basis of Jakobson's binary apparatus, it can be argued that the distribution of trade names can be best described in terms of metonymy and metaphor respectively for the pre- and post-revolutionary data. This distinction, by itself, can explain why the type of linguistic features triggered by thepost-revolutionary data hold a more complex position in contrast to the pre-revolutionary data

Among the contemporary poets, the strong drive of Akhavan- Sales to the old works of the Persian language and the past culture of Iran has caused many components of old language to be revealed in his poems. The use of old elements in poems or prose in order to foreground it, referred to generally as archaism. Archaism in Akhavan`s poems is too vast to be discussed in a paper; therefore, parts of his archaism which we have named archaic structures are searched and analyzed in this paper. They are sentence archaic structures, verb archaic structures, plural nouns, prepositions and so on. In spite of the fact that some critics do not admit using archaic elements in poetry, Akhavan with his wonderful ability in the best selection and composition has created a dignified andfirm language in his poems by using archaic elements.

In their “Books of Birds”, Ahmad Gazzali, Pour-e Sina, Shahaboddin-e Sohrevardi, and even Ibn-e Moghaffa in “Hamamatol Motavvagha” (The Riged Dove) of his Kelila va Dimna have dealt with the story of the birds. But the allegory of Attar’s Manteghotteir on the one hand, and its mild alliteration to clarify the concept of pantheism on the other, have made Attar’s poetry outstanding.The present essay intends to deliver some historical and literary backgrounds of Attar’s Manteghotteir and its influence upon the literature after the poet. In the eighth section of his Hasht ketab, entitleb “Ma Hich, Ma Negah” (Nothing we Are, Jast A Glance), Sohrab Sepehri, our coeval poet is a reporter of the mysterious realm of sheikh-e Eshraghwhich is similar to the allegorical realm of Attar.Attar and Sepehri, although different in time and language techniques, enjoy a same chore of thought. The thought of the both is mystical: Keeping aloof from the present foreing land where man feels lonely, passing from strange and dreadful valleys, and reaching the last city of Gnostics. A quest though which man comes to revelation connects these two mystical poest together. A revelation that comes to you after yousurpassed the realm of knowledge and made a camp beyond the domain of wisdom.

The elegance of simile is the oddity and avoidance of verbose, and if simile is accompanied with the other figures of speech and rhetoric such as metanoid, rhetorical question,it will look certainly new and rhetorical. On the other hand using what a thing is likened seldom and whimsically imaginary, also compound likeness and odd mode makes it possible to move from likened to what a thing is likened, and this is with the thought and exactitude.This kind of simile in Farsi is the sign of changing the Khorasani style to Iraqi one. Beautiful depending, condition, preference image, implicitness, tools of scarce and emphaticsimiles are the various factors of innovation in simile. We decide to analyze the methods of renewing in four Farsi and Arabic divans to search which poets during the times have been more artfully to move the simile to climax in the sky of image.

Color, as the most prominent element in aesthetics, has had a strong impact on man's mind ever since creation. Today, it is regarded as the cornerstone in the manifestation of artistic creativity and productivity. Prominent poets such as Goethe have recognized the nature and value of color in igniting their artistic creativity. Color is responsible for humankind's various mental attitudes; it is also the building block of embellishment in the universe. As the history of symbolism indicates, poets as the prime esthetes in the world, use 'painted' words in their works to objectify their images, to discover and explain the relation among the components of their images and, sometimes, to express the inexpressible latent in the symbolic atmosphere of their poems. Bearing all these in mind, the authors analyze the use of color in the poetry of three contemporary Iranian poets: Nima, Sepehri and Mousavi-e-Garmaroodi.

The aim of this essay is studying the mystical thoughts of Sohrab Sepehri the Iranian contemporary poet. In order to find his mystical points of view, first, the poetical works ofSepehri was searched, by comparing these views with the ideas of traditional Iranians mystics it is shown that the mystical thoughts of Sepehri, being a unique and special kindof mysticism, are completely different with that of the traditional mystics.