فصلنامه پژوهش زبان و ادبیات فارسی
سال سوم شماره 2 (پیاپی 5، پاییز و زمستان 1384)

There are at least two viewpoints upon the poetry inspiration: 1- inspiration is a phenomenon beyond the nature and outside the poet existence, 2- inspiration is a power originated from the poet unconscious self. Theorisians and poets have spoken a lot on these two theories to accept for and against them. As the human being mind structures are not the same, naturally their treatments toward and conceptions about the same experience, be it objective or abstract, will be different. In other words, each poet, in special situation, understand the message more or less ambiguous. He does not know the origin of it. These new and to some extend ambiguous messages are mixed with the poets presuppositions in such a way that separation of “God given inspirations” or “mind made ones” is generally impossible. In this article tries to study this mind complex procedure which was generally subject of a lot of poets and art theorists’ discussion.

This study is an attempt to deal with the critics, made in form of speeches and papers, on the life, thoughts and works left by Sohrab Sepehri (1928-1978), the Iranian poet and painter. The study tries to examine and analyze the critical method and literature critics value clear making, critics health, failure and success of the criticisms made by critics on Sepehri, contents of the works by Sepehri, treatment with Sepehri’s works and the likes as of the first time made till 1997 in Farsi literature publications.In the contemporary Farsi poetry extensive speaking has been made on Sohrab Sepehri after Nima Yushij. These parses and blames have continued from the time of the poet life till now. Most of the critics have been made on the links between Sepehri’s poem and painting, hit attention on the East Philosophy and Gnosticism, naturalism, simple style and sincerity of the poems, non dealing with politics-social issues, abstract concepts, language and style of expression. Among the critics, those dealt with Sepehri’s poems and arts on scientific-research viewpoints are handful. Moreover, some viewpoints are imitation and calques from the others’ works. The writers of the present article maintain that the criticisms made by the critics should be criticized aimed at evaluating their correctness.

Akhavan Saleth poetry link to ancient persian language and literature. Using its words, combinations and expressions in a various way and scattered is clear cut to any one. It is one of his poetic arts giving his language epic and fixed form and appearance. This feature is one of the ways toward defamiliarization with the past archaic element of the language called archaism as one of the most important feature of Akhavan’s poetry. This article tries to study and describe Akhavan’s poetry word related elements having ancient form and style and make his poetry prominent. The result of the study shows that Akhavan’s poetry archaism can be divided into two groups: A-The first one concerns the words not used today or used rarely including general, B-epic science related words such as the words used in medicine, musician and the like. The second one concerns the words experienced in archaic way some changes such as aphesis, heightening, mutation and inversion.

Apocalyptic literature is one of the genre in the area of Sacred Books and religious-faith texts. Apocalyptic literature foresee past and future events by tools of various types based on the culture dominating the society and its opinions and express it in form of art, literature and by codified and symbolic language. Top and complete type of this, exists in Hannah Sacred Book, Nostrdamous universal apocalyptic and Farsi Shah Nemat-U Allah Vali literature. (Divan Ashaar, 1373:228). This issue have been circulated in any period of art and literature specially in Farsi contemporary literature. Among these we can mention Sohrab Sepehri’s, Forokh Farrokhzad and the likes ones poetries. This article tries to criticize and analyze its type of literature in the past and its origins and then criticize Sepehri’s Hasht Ketan from this view point and analyze the apocalyptic singled out in the ten areas such as dream and the likes. The major points is that pointing the first apocalyptic (poetic revelation and apocalyptic), Sohrab points to its second meaning namely apocalyptic while pointing the manifestation related tools proior to deal with the prediction itself and the event concerning the Last Time.

Style reflects selection and combination of the language capabilities applied by the poet. On the other hand, it reflects the imitation and innovation in the language various aspects like phonology, words and grammar. Rhetoric system is one of the language systems. Rhetoric system includes all the language decorative tools such as expressive, rhetorical and, in other word, all the language decorative elements. Rhetoric system is the most important and major language system in which literature creation process can be observed. The reason includes that style related changes are occurred in this system. Simile, from which the other systems such as metaphor, personification and even irony are originated, is the basic element in this system. Rhetoric language system change can be simply shown by studying the simile structure. This article tries to have a glance at the style related changes in Modern Poem simile by the statistics available on the full analysis of the similes used in the poetries by Nima, Akhavan and Sohrab Sepehri.

Various types of grammar have been written on Farsi language and different viewpoints have also been put forward on the “sentence” and “word” elements and features. Variety of the materials generally leads students and those learning Farsi language to the fact that there is no fixed rules and regulations for Farsi language and disagreements on the issue is a must. All are looking for a source in which they can find the scientific procedures in this regards. This article tries to make the readers familiarized with Farsi grammar and to have a look at all the grammars written in this area. Definition of the grammar from a scientific viewpoint and up-to-now written grammars on Farsi also their merits and demerits have been scattered throughout the article. In fact, strong-points and weak-points of the traditionalists and linguists have been dealt with by criticizing the grammar 2 in applied way. All the critics are made based on the scientific linguistic viewpoint.

This paper is the result of a reasearch which has been done for studying and analysis of the coordinate structures in Kalila - o - Demna. Applying coordinate structures in Kalila - o - Demna is one of the techniques by Abolmaali for creating dignified prose which is imitated by other writers in the periods after him not only in literary prose but also in writing historical and scientific books. What we mean by "coordinate structures" is two words, two phrases or two sentences which are connected by conjunction particularly ''and''. The coordinate structures may have been made of two parts or more. These parts which may be synonymous, antonym, cause and effect, etc. occupy the place of subject, object, complement, adjective and adverb in sentence structure. The most important using of the coordinate structures in Kalila-o-Demna is for aesthetic techniques.

Farsi words along with more other languages words has entered into English language in various ways or for different reasons. These words have been dealt with in different dictionaries as the case may be. Oxford Etymoloical dictionary, known as one of the most reliable English language expertise etymology dictionary, has dealt with some of the Farsi words entered into English. The important point is that some of the Farsi words entered into Arabic language and changed into Arabicized have been regarded as the Arabic words in etymology. Today those referr to Oxford dictionary think that these words are Arabic. As the article will show, this is not correct. 38000 words have been studied in this research and some 90 words with Farsi origin and some 160 words with Arabic origin have been introduced. Studying the words regarded as the Arabic scattered throughout this survey will show that 20 of the words regarded as the Arabic ones are Farsi. To approve this claim, 10 words of the group have been studied in analytic-descriptive way.