فصلنامه متن پژوهی ادبی
پیاپی 55 (بهار 1392)

In the wars between Iran and Aniran, Kaviani flag had a high and critical status. This flag was significant in that sometimes it was impossible to continue to fight without raising it. Iranians would try to hoist the flag during the war no matter what it takes. On the other hand, Touranians too knew the important status of the flag, so when they would encounter even a ripped flag, they would loudly shout that “Iran’s force is in this flag”. Thus, they would try to fail Iranians by possessing it. What was the significance of Kaviani flag that even a ripped part of it would change the end of the war and why would Iranians and Aniranis do anything to possess it? In this research, different evidence from the world’s mythological stories are studied, and it is concluded that Kaviani flag has nothing to do with Kaveh the Blacksmith and was more than just a simple flag. As Iranian’s idol, it is linked to the past when the primitive men would leave their life as a pledge with an object. Evidently, they had no fear of death as long as the object was sound and safe. However, men who had pledged their life would think that any damage to the object means they are doomed to failure and death. Therefore, victory or failure of Iranians in war depended upon raising or destruction of Kaviani flag.

Literary texts interfere with other texts in saving common literary traditions through quotations, allegory, adaptation and absorption of formal components from previous texts. This relation has sometimes been established through translation in Persian literature. The changes made at the beginning of the 20th century and development of relations between Iran and France have led prominent Iranian poets to tend towards the French literature and art and thus the culture, story and poetry of the two languages influenced one another. One of the most interesting areas of literary criticism is study of how poets have impacted one another in their style. Rashid Yassami is among the poets who have taken steps towards modernity and reform and also developed the horizon of thinking by transferring the thoughts and themes of Western poets including French ones. It is worth discussing his poet from this perspective too, because there are many intertextual elements and relations in Rashid’s Divan. Rashid Yassami is an artist who has been influenced by his predecessors and has given a new color of creativity to the experience of previous artists. He has taken a great step towards modernity and developing Persian literature by using the experience and knowledge of poets of other languages.

Motenabbi has undoubtedly been one of the most influential poets of all times in the literature of the East, because not only has he been a great poet in the Arab literature, he has also influenced great Persian poets such as Rumi and Sa’di. Thus, I as the translator of Mutenabbi Divan consider him as the pioneer of poets of the East, as no other poet in both Persian and Arab literatures has been so much influential and no other Arab poet as been named in different Persian literary texts as much as Motenabbi. This paper briefly studies the effect of style of Motenabbi in great Persian poets.

Coinage has always been the need of all languages which is more felt with the development of sciences, because new words should be invented for new findings and concepts or new connotations should be added to the existing words. One of the ways of coinage in Persian language is use of compound and derivation based on specific inflectional patterns. Persian texts are reliable sources for extraction of coinage patterns; texts that are the result of thought and art of great authors like Ferdowsi, Nezami, Rumi, Sa’di, etc. everyone knows about the place of Ferdowsi and Sa’di in Persian language and literature. In this paper, common compound structures in Shahnameh and Boostan are mentioned, and then a number of differences between them are discussed. Due to limitation regarding derivation, only some points gained via comparing these two concepts in the said two texts are mentioned. Later on, conceptual differences between the words are named and at the end, the frequency of some structures is shown by graph.

From the ancient times till now, the sacredness and mysteriousness of number seven has led to creation of different heptad works in various cultures. Some heptad poems are created to achieve the objectives of their authors in line with their thoughts and teachings. Mystics are among the ones interested in number seven and its mysterious manifestations, and samples of such heptad poems can be found in their work. Najm Razi is a mystic who was quite fond of number seven. In his theory of modes of the heart, he refers to the parallelism between the seven modes of the heart and seven skies. He mentions features of each mode which are the same as their planet in the sky, indicative of his knowledge about planets. We believe that the final goal of mentioning such parallelism is expression of the significance of self-knowledge in line with knowledge about God, because God is inside man and the seven skies he must pass to reach Him are actually the seven modes of his heart. What is present in the world also exists in human beings. This paper explains the thought and objective of Najm Razi by showing each mode of heart and its related planet and also expressing similar features of them.

Interdiscipline studies and seeking help from theories of critical studies are the ways to make applicable the critical researches of literary texts. New historicism is one of the most novel methods of text analysis in the field of critical studies of literature which believes in historicism of the text and textuality of the history and renovates the mentality and worldview behind the next and understanding the relation between this mentality and structure of the power of its time. In the present paper, the life of Seyyed Ashraf Neyrizi, known as “Shahab” is first introduced and reviewed, and then his most important poem of praise written for Ahmad Shah Qajar in celebration of his return from abroad is analyzed. Shahab is one of the poets of the Qajar period whose poems should be considered as one of the unknown loops of “the return to classical poetry” in the time of constitutional revolution. He had been the Shekhul Islam of Neyriz in Fars province during the Qajar period and had a knack for love poems. Despite the statement of EmadFaqihKermani who says that one can’t be a Sheikhul Islam and at the same time be in love, Shahab was able to be both in love and in fond of saying poems and at the same time the Sheykhul Islam of the Neyriz city. In the present paper, the events and social situation of the period Shahab lived in and his poem of praise are first reviewed, and then the relation between the mentality in the text and the “power” of that time is analyzed based on New Historicism. As a result, rather than praising the Qajar Shah, the poem of praise written by Shahab indicates a secret and sometimes disclosed criticism of the hegemony of the ruling government. Poems of Shahab can be analyzed to achieve an exact image of and knowledge about the era of “return to classical poems” and the literature of the era of the constitutional revolution both in terms of form and meaning behind the text.

Using the theory of ambiguity by Empson, ambiguity in the word and poems of Hafez should not be considered as solely artistic. The truth is that the wonderful events in 14th century left Hafez with no choice but to wisely use the ambiguity technique both on an artistic and a rational level in his ghazals. Basically, the ambiguity in Hafez’ ghazals is a wise and meaningful silence he as achieved and used knowingly. Understanding this thinking style is basically possible through reflection on linguistic indications and referential intratextual and extratextual relations. Thus, the present paper attempts to prove this relation with evidence by using library research tools and an analytic methodology.