پژوهشنامه ادب غنایی
پیاپی 7 (پاییز و زمستان 1385)

"Sharafoddin Fazlollah Hosseini the writer and poet of the 7tb. and 8th. centuries was contemporary of "Fazluyeh" Rulers or "The Great lor" and has eulogized "Atabak Nosratoddin Ahmad-e-Lor" (695-730 Hijra). One of his works is "Almoajam Fi Asar-e-Moloukel Ajam", while the other one is "Altarassolal Nosratieh". He also versified and adapted the pen-name of "Sharaf". he was born in 660 and died in 740 Hijra.The book’s style is prose mingled with poems, some of which are written by the writer himself, though some others are adapted from other poets.The book represents technical prose style and its features are as follows: prolongation of sentences, using difficult and abstruse words, using the Holy Quran’s verses and the prophet’(pbuh) sayings, using the Arabic and Persian proverbs and philosophical Maxims.The writer has largely taken advantage of the poetry and prose of others, while referring to some of the poets and avoiding mentioning some other’s names.The theme of the books is the history of Iran, and it covers the most ancient times from the era of kiomars to Anushirwan. Nevertheless, he has paid more attention to the superficial aspects of the words rather than their historical contents, hence, his historical reports reports lack authenticity. We face some archaic application of verb and vocabulary whil examining the semantic features of the book.Considering the eloquence of the book, we may conclude that he has employed many figures of speech and embellished language in other to adorn his sayings. I have presented some examples of this embellished language in this essay.

Khayyam is a poet, philosopher, mathematician and a thinker who lived in a period of time during which the exactingness and prejudice were order of the day. A review of the social and political conditions of his age which carved a deep influence on his disposition and personality stands quite important. His rubaiyats reaching our hands unveil the visage of a sceptical philosopher who, on one hand can make no suggestion but to seize opportunities and to benefit from pleasures in order to have the salvation from living in anguish and agony, and on the other hand, his rubaiyats expose the physiognomy of a person who in order to face his time and age and to alleviate and heal the internal afflictions and pains resorts to a sort of a negative encountering in all his discourse, whereas his practical and every day life is vehemently different from having such an outlook. An approach to such problems will be the theme of our discussion.

Jami has a prominent position among the Gnostics. By choosing a pure virtue, he distinguishes himself from other pseudo- Sufid, and on the other hand, by expressing concern about human beings lives and livelihoods and life’s obstacles, he reconciliates lifs with earth.Despite most famous Sufis, he does not extricate himself from the struggle with his era! He pays attention to all people’s corruption and perversion factors, and point out root causea; and thus, presents a worthwhile model of mysticism which without regarding the life’s concerns, the religious and mystic concerns will be futile.

The story of Zaal and Raodaba is taken from the ground of binary opposition. The confrontation between Zabolestan with Zaal as its core and Kabol with Mehrab as its centre. Zaal and Zabol are defined in the light of God and propositions of Ahura-mazdaie, while Mehrab and Kabol are associated with satamic qualities, since Mehrab hails from Zahhak Mardoush family. The elements of the story including persons and events move in the binary opposition. The parts of the said binary opposition are at interaction at one time and are at paradox at the other. The chief figures of the story are: Saam, Manochehr, zaal, Raodaba, Sohrab, Siemorgh, while the central events are: the birth of Zaal, bringing up of Zaal, and banishing of Zaal by Saam. The collection of people and events, each in proportion to the performance, situation and personal identity composes the entire frame-work of the legend of Zaal and Raodaba.

As a man who was spiritually and wholeheartedly thoughtful about the afflicated and the helpless, Parvin used different literary techniques such as: allegory, mystery, and fables to liberate the helpless people who suffered from pain and misery. She expressed the expectations and hopes of the oppressed, and skillfully revealed the oppressor’s actions, those who had hidden their cruelty under the deceptive cover of charity and humanism. By the help of her innate ability and talent, she could express the deepconcepts of Antioppressionism in her poems; sometimes as a direct address to the oppressors, sometimes addressing to the oppressed and encouraging them to fight oppressors, and sometimes as conversation between objects.Not only did Parvin indicates some ways of fighting against autocracy in her poems, but also she fought it in her real life. For example, she refused to be the queen’s tutor, or she didn’t accept the honour medal of the ministry of education.

It appears as if the festivity and joy has had different reflections in each and every poem of the Persian poets. Some of them such as Manochehri have constantly resorted to merrymaking and vivacity; as such his complete collection of poems is crammed with a calling for merriment, and indicate the celebrations and ceremonies in connection with these manners and traditions; and Masood Sa′ad have mostly employed the description of their internal sorrows and grief’s; and although their poems do not lack Iranian celebrations, yet these poets cannot be called merry-making poets. Amongst them, however, Farokhi Sistani can be called a merry-making poet. The reasons for such an assertion can be enumerated as:1) A poet of self-enjoyment2) Being a contemporary with Sultan Mohmood Ghaznavi-a successful king-who had a special devotion towards sumptuous entertainments and rejoicing along with war and victory.Endeavours have been made in this article to demonstrate the effects of Iranian culture on other cultures and nations. In view of Farokhi’s poetry, his state of mind has been analyzed in addition to hinting upon the Iranian etiquettes and mores. Apart from this, by segregating Iranian celebrations and Islamic festivities in the poetry of the poet, the degree of his attachment with national or religious values and their causes are investigated.

Farokhi Sistani, the great poet of Iran, has been living in the 5th century A. H. Khoras ani style has been in vogue at the time of Farokhi. Similarly, composing verses in the form of elegies bearing themes of admiration and depiction has been the fashion for displaying the artistic skills of most of the poets of that age. However, in both the areas of admiration and depiction under discussion, Farokhi had a powerful but wonderful temperament and an inborn disposition. The style was used in a manner to bring about pride and honour for the poet as well as to pave the way for the poet’s entry into the courts of Emirs. The famous elegy “Daghgah” is the distinct evidence of Farokhi’s art.We would make attempts in this article to discuss the display of virtuosity and temperament strength of Farokhi in the two areas of admiration and depiction and would also emphasize on the fact that Farokhi has used all the means of versification including description to serve eulogy and admiration as being the main topic of his poetry.

One of The very old epics of The disteny s bitter plays is the fate of a father who is condemned to fight his son, and neither s endeavour can stop the indispensable will.The fatherly love emerges in the German version and looth father and son s love is manifest in the persion version, but none have a good ending; as if, the concept of this passionate epic has been associated with a sad catastrophe in all ancient races.Although the final part of the veres is missing in the German version, by pay attention to other version of the epic in other languages; it can be guessed that the assassination of son by father ends this ancient tragedy.

This paper is intended to illustrate the role of extratextual background knowledge in the translation of literary works. A translation can be rendered either interlingually or intralingually, For the purpose of this paper, I define an interlingual translation as the process of conveying a literary work from a source language (SL) into a target language (TL). As for the intralingual translation, it is meant transforming the sense of a work in one form in the same language, e.g.: transforming a poetic version into prose in Persian language. In this paper, it will be emphasized that a literary translation to be produced appropriately, is not to be determind by the surface structure of the source language in a strict sense. It should be based on a deep apprehension in such a way that the outcome may consist not only the textual components that are represented in the text, but also an elaboration of those extratextual mental images that are not represented in the text. It will be concluded that decisions on how much extratextual knowledge has to be made explicit in the translated version, must be dependent on the relevance principle. The pedagogical impact of this technique for teaching to the translation major students, will be discussed.

The Bayhaghi History is one of the most prominent proses in presian literature and a grand subject of the Iranian history. Short and useful sentences, the capacity discovery and power of verb in Farsi, understanding the point that more transition force lies in the verb, and also the artistic diction of the words in the sentence structure, creation of a new structure of words based on the rule-addition and rule- reduction process, and all of these have made Bayhaghi more successful in union with the addressee than other writers, and has led his word toward eternity. This article is aimed at elaborating some artistic and articulatory point of Bayhaghi History from aesthetic point view.