فصلنامه متن پژوهی ادبی
پیاپی 37 (پاییز 1387)

Owing to the extensive implication of myths underlying the original work of Masnavi-i Ma`navi, this exquisite peculiarity prompts us to put much insight and scrutiny into studying this work compared with other ones. The attachment between this work and other mystical worlds has led to the formation of a multi-layered and comprehensive text that establishes a mysterious atmosphere in the work, the interpretation of which elevates us to go beyond the superficial commonalities. Myths of the tree of life, tree of Kharrub, and the botanical origin of man, which have been referred to several times in Masnavi, are amongst the ones swing the text from side to side and engaging it with the primeval ontology of human being. In the present research, putting these three myths along with other materials and expanding on their relations to other mythologies, we have tried to give a sound realization of these myths.

This research represents sixty six accumulated and analyzed verses of Mirza Jahanshah Haghighi. The chosen verses penned about Mawlana, Mawlana`s tomb, and his Nay are derived from his Persian and Turkish Diwans. In the first section, the analysis and research on the Turkish Literature of the Ottoman Period has been briefly introduced. Furthermore, the life of Mirza Jahanshah Haghighi, his statesmanship, his literary personality, the political issues and natural geographic climate of the country have been discussed. In the survey done on his Persian and Turkish Diwans in Turkey, Iran, England, and Armenia, some information has been provided on his Persian and Turkish facsimile copies. The poems that have been written about Mowlana, his resting place, and his Nay that exist in Mirza Jahanshah Haghighi`s Diwan, were published with efforts of Firuz Refahi Alemdari in Iran. Alemdari’s edition has been compared to that of Veyis Degirmencay`s edition of Mawlana in Turkey. In this analogy, the analysis made by Firuz has been the basis of this work. Meanwhile, the letters A and D refer to Alemdari and Degirmencay respectively.

Which criteria and symbols in traditional aestheticism have led our ances- tors to call someone beautiful or otherwise? Have these criteria changed over the years? In the traditional world in which everything is predefined in specific concepts, was beauty a concrete concept and was everything be- yond it defined as not beautiful? The answer would be that we sometimes find examples of difference in taste in the traditional standards for beauty and, although rare, they give a new color to the monotonous world chang- ing the seemingly stable and everlasting symbols and criteria. A different virtue sometimes deeply affects the poet’s mind and therefore leads him to present his work differently. Beauty is sometimes an external aspect which has been inserted into the minds and tastes as a result of interaction with other cultures.

Fictional literature is an important part of literary writings which has not yet been examined thoroughly in Iran. Amongst these works exist fascinating stories which contain the essence and spirit of rural tradition. The long novel of Sālhā–ye Abri written by Ali Ashraf Darvishian is one of these works, whose elements have been the subject of investigation in this article. The conclusions laid out by the author have been that the rules for the formation of characters and the arrangement of the design, events, motif and other elements, irrespective of some weaknesses, are based on a solid foundation. "Events" are the most important element of this work. However, the element of "motif" is also equally significant, as its effects on many other elements are clearly visible.

In the course of its socio-intellectual developments, literature in Iran has undergone a number of various and diverse ups and downs in regard to Poetry. Hereby, a comparative study about different literary periods provides us with perspectives that have instigated new ideas. Language development and appreciation of stylistic features are the by-products of contrastive analysis and criticism. In the course of these studies, analysis of the similarities and differences in the elements of Nima and Hindi poetry styles has been of less concern to literary researchers to date. By bringing up brief definitions of “Style” and the appraisal of ideas in this case, the present article seeks to analyze and expand some of the characterizations of form and meaning. It must be noted that this narrow scope has not made it possible for us to find elemental and point to point equivalents or fundamental discussions of the structures between these two styles. However, I have attempted to represent these significances in an analytical note.

The purpose of this article is to examine how components of postmodern literature have been utilized in the works of the late Nāder Ebrāhimi. The authors have initially made attempts to clarify their own interpretations of the most important features of postmodern fictional literature. These features include chronological disorder in the description of events, uncertainty, contradiction, transposition, incoherence, lack of rules, overuse of literary devices, circuit, paranoia, language disturbances and finally exaggerated usage of stream of consciousness. Through offering a new interpretation of Nāder Ebrāhimi’s works, the author has tried to indicate that his writing style has been influenced by the school of postmodern literature, and many of its components are evidently traceable in his works.

Love poetry is a type of lyric poetry, in which the poet expresses his own personal feelings. To define it more concisely, love poetry can be said to be an artistic expression, in which the poet/lover places himself as the subject, then describes and praises his beloved as an object.This article is intended to sketch out this type of artistic expression in the lyrics of five innovative poets: Nimā, Shāmlou, Forough, Akhavan and Sepehri. This requires us to offer a short description of ghazals of the constitutional (Mashrouteh) period. Since ghazals of this period are the continuation of the forms employed by earlier lyricists, we are also compelled to briefly probe into the meanings of lyrics of ancient poetry.