پژوهشنامه ادب غنایی
پیاپی 3 (پاییز و زمستان 1383)

Literature is an incident which occurs in the language. Hence, we can say that the unfamiliar language is the base for verbal arts. The speakers use this beautiful language which represents their feelings and emotions. They imbue their discourse with emotional pictures in order to objectify their inner worlds by this expressive language. Amir Khusraw Dehlavi, the talented Indian poet has utilized this picturesque, sacred, dancing and melodious language in all his works. Our concern is about the textural and the super-structural issues of language in the works of Dehlavi- the Indian Sadi of the 7th and the 8th century, to identify the linguistic structure in the imagery he has used in his lyrics. We also try to identify what superstructures he has used in his similes, metaphors, semi-metaphors, ironies, and metonymies, to gain his unique, defamiliarized and aesthetic language. We also want to identify how the beloved of emotions moves through his lyric poems melodically and rhythmically and presents its beauty on the syntagmatic axis of his artistic language in a word, a noun group, a sentence or a phrase. The answer to these questions is the subject of the present article.

1- How is the relationship between language and outer world reality?2- Does language determine reality as we see it?3- Do we know the world out of our mind via our mother language?4- To what extent can the structure of language affect the structure of our thought?5- Is human being able to think without language?These questions come to our mind when we concern the relationship between language and mind. When we think about linguistic Determinism and linguistic Relativism, in fact we want to find answers to some of the philosophical questions mentioned above. Sapir and Whorfe, two outstanding linguists, in their works concerned these concepts and after a long lifetime research and comparison and contrast of so many languages and also their speaker’s culture, gave some answers to them. Now, in this piece of work we want to have a closer look on the language-mind relationship and discuss about some other aspects of Determinism and Relativism in language to help the reader think more about the subject.

Thought of death is the loftiest state in the appreciation of Grandeur and Elegance of the Lord. Of course, in the world of art, the absolute observance leads to the absence of the artist; likewise, the use of mind to change the attitude toward nature does not lead to the truth of art. But in a loftier state, connection to the world of fancy (celestial world) presents a more beautiful and richer picture of the objective art to the world of art. Hence, in this article we try to illuminate the world of fancy which is divided into the connective and isolated fancy, which is a rejection of individualism as a direct intuition. We must mention that it is impossible to reach an isolated fancy (intuition) unless in the case of the thought of death which is the gift of the prophets to the human beings. If we take a look at the Western art on the basis of Eastern mystic's principles, we will see that the Western art from Renaissance onward is no more than illusion. The aforementioned are all explained in the article in hand to achieve clear and reliable criteria for the evaluation of artistic works, especially paintings.

The basic foundations of the existence, victory and fame of a government in Shahnamih are the kings and heroes, although the main concerns of Shahnamih are the kings, the real victors and decorators of the kingdom are the heroes. They are conductors, consulters and decision-makers for the kings, but the ignoring of their views leads to the failure and the loss of power of the state for the kings. On the other hand, in Shahnamih the heroes are the main representatives of bravery and the symbols of humanity, whose mission is to protect national spirit and unity. The hero is both the representative of group and national hopes and individual traits and behaviors. The protection of national boundaries and the infliction of national and cultural unity on the basis of stalwartness and heroic traditions is one of the idealistic and behavioral tasks of the heroes in Shahnamih.

This article reviews the methodology of the Persian translation of the renowned Arabic book Alvasit fel-Adab-al-Arabi va Tarikheh, written by two Egyptian Professors- Ahmad Eskandari and Mustafa Anani. This book was translated into Persian by Dr. Seyyed Muhammad Radmanesh, professor of Tehran University. The first edition of this translation was distributed in the same year with the currency of 3300 copies and was presented to those interested in Arabic letters. The aim of this article is to review the methodology used by the translator and to express the strong and weak points influencing this scientific-literary work.

Arab culture in the history of man has a lofty standing, since, the Arabs have had a significant role in the world literature. The geographical literature of Arabic is one of the skills of the prolific Arabic literature which could achieve a unique standing. This literary genre is an important and reliable source for the review and study of the history of the Islamic world, which could be reviewed in two ways: on the one hand, this literary genre concerns sciences and on the other hand, it turns to literature which is a fine art. In this last attitude it goes on until it reaches innovation.

There is a special attention to Rumi’s Masnavi in India and there are many expositions written on it. Also, there are translations of it in Urdu. One of these translations is Pirahan-e-Yousephi which is a poetic translation. This article tries to present some information about these translations to scholars and those who are interested in this subject.

The study of translations and adaptations and their careful assessment and the determination of their status and their effects on human reflection are related to the vast circle of important artistic principles, national originality of literature and the appearance of a noble literary work. Up to now, the preliminary studies on comparative literature show that the issue of absolute originality in the domain of creating artistic works is impossible, and that literary originality by rejecting external elements is impossible. As the hereditary elements under the influence of environment effect the nature of the formation of personality, the creation of an artistic work under the influence of culture is dependent on the dominant desires of society and culture, though with a different degree. The age of Enlightenment (the 18th century France) as a period in the European and the Eastern literary development had a great effect on the world literature, including Iran, by adaptations and translations; however, it has grown under the influence of foreign literature, especially Eastern literature at a time renowned as the Enlightenment and has influenced the world literature and thought. The article in hand studies and analyzes the social, historical, literary- aesthetic and cultural changes, by whose effect the foreign values have been adapted to the native spiritual life of the countries and have led to the evolution in the ways of life and to the belief in the relation among cultures.

In this article, the relation between Persian-speaking poets and India is overviewed, since, we can trace India in the poetry of most of the Persian poets, which is definitely by virtue of the same race, language and heart of the two nations of Iran and India, where the oppressions and pressures of some rulers in their histories have had no bad effect on the friendly relations of the two nations and their deep linguistic, literary and cultural relations has still continued.

Mysticism is not considered as a major aspect of Saib’s thought, life and art, but like other cultural elements it is a means for thematizig and strengthening the literary and rhetorical structure of his poetry; although, it does not have a distinct and significant theme and importance by itself. The mystical terms and diversions in Saib’s poetry which is one of the components of his Diwan is a relish for those who are interested in his gentle and agreeable poetry. To prove this, I will mention some of Saib’s poems.

Development is an inseparable part of the world and human being as the most outstanding and the most deserving creature to develop. In fact, his cultural and internal development prevail other aspects of his nature. Since, the only distinctive feature is his soul and thought. Mawlavi, the Iranian literary mystic, has fully elaborated the real aspects and components of human culture including the destructive elements. Moreover, he has provided the practical measures for cultural development. He believes that we should recognize the problems first, then, through coping with the problems we should find our way out towards the favorite cultural development. This article investigates Mawlavi's different reflections and ideologies and shows that he approaches the subject psychologically rather than sociologically, which reveals the difference between Mawlavi and Ghazzali regarding cultural development.