مجله پژوهش های ادب عرفانی (گوهر گویا)
پیاپی 2 (تابستان 1386)

In this paper, after a qvick reference to Coleridge's view on imagination, an attempt is made to have a new look at this concept. Three faculties were believed by philosophers and physicians to exist in mind: 1) fancy which is the store of perceived images; 2) memory; and 3) imagination which is on the one hand related to the memory and on the hand to the fancy.In th next part of the peper, different predicatcs are explained. Three stories -- "Elahi- Nameh", "Mantegh al-Tayr", "Mosibat- Nameh" and some stories about some Sufi learned men narrated by Attar in "Tazkere-Al Oulia" are analysed and interpreted.

'Khajoo', a famous poet of 8th century, is one of the men of distinction from Kerman and his pen name 'Khajo' refers to this association. From the young age, he was familiar with some arts such as painting and music. His connection with Sheikhs of Kazeroon should be studied in conjunction with the relationship of the Injo family with them. His mystic poerty has little of mysticism. His 'Homay and Homayoon' in addition to its common elements with Nezami's 'Khosro and Shirin' and Fakhredin Asad Gorgani's 'Veis and Ramin', has also common elements with Ayyoghi's 'Varaghe and Golshah'. Khajoo is one of the most famous followers of Nezami and his last Divan – 'Gooharnameh' – shows that he was familiar with Amir Khosro Dehlavi's works.

'Forughi' is one of the first contemporary scholars who has focued in his works on Ferdowsi. His enterprise in constructing Ferdowsi's tomb and holding Ferdowsi's millennium has found historical importance. Forughi,s scholarly articles and lectures have provided guidelines for most contemporary scholars. In his articles, Forughi has discussed some critical issues such as the significance of Shahnameh, dignity of Ferdowsi, national unity, Ferdowsi,s birth date, etc. He has also provided some fundamental keys for amending Shahnameh which still are considered as the most principled bases for a critical analysis of the national saga of Iran. The synopsis of Forughi,s Shahnameh in his selection is one of the most fundamental and original selections of Shahnameh. It has been very effective in expanding the pubic familiarity with Shahnameh. In this paper, attempts are made to shed light on Foroughi's work on Shahnameh as well as his efforts concerning issues such as Ferdowsi's tomb and his millenium.

Reading and appreciating literary texts and enjoying them are not necessarily contingent upon knowing the biography of the creators (authors) of those texts. Many "open texts" could be read and enjoyed regardless of the intentions of their creators. However, a close analysis and examination of signs within the text may enable the reader to get an insight into the author’s viewpoint. 'Shamlou' and 'Sepehri' are two of the most famous contemporary Persian poets, on whose works a great deal of research has been done. In this article, in order to have a proper judgment, from among all the poetic elements, the symbol of bird is focued on. Within this category, one species -- raven -- has been taken into account and examined in the poems by 'Shamlou' and 'Sepehri'. The results reveal that 'Shamlou', perhaps due to the allegorical nature of his works, has a traditional view towards the subject, while 'Sepehri' has tried to defamiliarize the subject in order to give us a new outlook

The 'Office for Advancing Persian Language and Literature' of the Ministry of Science, Research and Technology of the Islamic Republic of Iran has the mission of advancing Persian language and literature in foreign countries. In order to achieve the above objective, this office has established the chairs of Persian language in different universities all over the world and sends Persian professors to them. In spite of many advantages, such chairs face a number of challenges. A scientific survey on these chairs and proposing proper strategies could promote them qualitatively. After a short account of the situation of the Persian chair in Brazil, the writer would present a critical examination of it. Afterward, certain practical strategies would be proposed which can help the Ministry overcome the problems and promote Persian teaching conditions in Brazil.

The present article investigates Molavi’s special point of view concerning heavens and stars and the way they are linked with his mystical thoughts and moral instructions. To achieve this purpose, the document searching approach is applied to gather information and analytic, descriptive approach is used for analysing data. A major finding is that Molavi has formed some aspects of his own complex symbolism by using mysterious heaven by creating various semantic features and countless ambiguities. This is to some extent based on the Quran’s instructions and shows Molavi’s attitude towards the sky as one of God’s important signs and thus as a delibaratable and expedient case.

The rich Persian Dari literature was from the very beginning heavily under the influence of the powerful Islamic culture, particularly benefiting from this rich and all-inclusive culture. Iranian literary works firmly established themselves in the Iranian and world culture. It is also known that the divine wisdoms of the Master of the Virtues (Ali's title), parts of which introduced to the world of science and literature as 'Nahjul Balagheh' by 'Sayyed Razi', is looked upon as a major and authentic source of the Islamic culture, and as history testifies, has always been the focus of Iranian and Islamic philosophers and thinkers in various ages. Of these philosophers, Hakim Sanai, the powerful mystic and thinker of the early Persian literature who was looked upon as a solid pillar in this area is among those who by virtue of his scholarly, literary and mystic status is among those who must have benefited from the Lord of Word and Knowledge (Title of Saadi - the Persian poet). In this paper, having given an analytic introduction, I have sought to demonstrate tentatively and authoritatively that as a distinguished poet and thinker, he has in many respects taken into consideration the valuable words of Hazrat Amir and that under the difficult circumstances of the time when expressing certain beliefs might have resulted in being pro-Rafezi, by praising the valuable words of the Hazrat, he reinforced his own thoughts and beliefs.

The monopoly of epic genre to 'Shahnameh' and a few heroic verses after that in Iranian studies is a point raised as a defect in this research. As such, in investigations related to dragon and dragon killing motifs in Iranian epics, examples and explanations are mostly based on 'Shahnameh' and verses like 'Garshasb Nameh' and 'Faramarz Nameh'. In this paper, based on 'Shahnameh' and eleven heroic verses after it, some important aspects of this motif are analysed. These points are as follows: amphibious dragon, dragon and grave, two- headed dragon, invulnerable dragon, dragon and water, dragon and daughter, dragon and lunar eclipse, dragon killing of Sistanian heros, damage after dragon killing, etc.

Isfahan has been the source of great as well as deep changes in science, architecture and Iranian literature in different ages specially in some historical periods in which this city was the capital of different governments (mostly in Safavid period). The present paper studies the role of Isfahan in creation and development of poetry styles. It focuses on two main styles: 1) the Indian (Isfahani), and 2) literary return, as well as two secondary (middle) styles: 1) Seljuki, and 2) Interval period.

Paying attention to and reflecting on the causes and motives which play an important role in composing poems have been taken into consideration by philosophers and poets since a long time ago. Most of them have considered a celestial and unseen source for poetry. In this article, first a background on the source of inspiration is introduced and then Mowlavi’s poetic motives are discussed in detail. The author has divided Mowlavi’s poetic motives and his source of inspiration into two general classes -- amatory and external -- and has explained and sometimes analysed each one by providing examples. An attempt has been made to show that Mowlavi has referred to his poetic motives and sources sometimes intentionally or consciously and sometimes unintentionally or unconsciously. The origin of these motives returns to love and the beloved's appearance, attraction and call. Of course, the eagerness, request and need of the audience in addition to the concerns of guiding are effective in Mowlavi’s approach to the love-centered, rhythmic speech.