مجله پژوهش های ادب عرفانی (گوهر گویا)
سال ششم شماره 1 (پیاپی 21، بهار 1391)

Asrar al-Tawhid was published some years ago with the abundant commentaries of Dr Shafiee Kadkani. Many difficulties of this book have been solved in such version but there are still some ambiguities unsolved. One of these ambiguities is the verb “bekoft” in the phrase “be eradete sheikh bekoft” that Dr Shafiee Kadkani thinks this verb means “affinity and intimacy” in this phrase. This article tries to prove the claim that this verb is probably the frequently used verb “goftan” which has been used by the preposition “be” in a number of old texts. It should be mentioned that one of the meanings of this verb in Persian texts is “to consider and believe in something”. This menaing has been probaly borrowed from the Arabic construction “ghala be (folan)”.

Persian lyric poetry in its long history has profited from diverse themes in all its different styles. One of these themes which has promoted the Persian poetry is the story of religious personalities. In the present essay, this important poetical theme is studied in Samanid period (819–999), the first era of Persian poetry. More than 3775 lines of verses, written by poets who lived in this period, are studied. The results are analyzed to answer questions such as the presence of Iranian and non-Iranian personalities, the attention paid to each of prophets or the Shiite Imams and the role of these themes in the promotion of each genre of Persian lyric, descriptive or panegyric poetry.

Form, known as a unified set of poetic language, imagery and music, is one of the fundamental building blocks of poem that goes beyond framework and appearance of poem. Form of a poem is not identical to its framework and hence does not encompass the poem’s content. Rather, form takes shape along with the process of poem emergence. That is why most poets’ sonnets are non-identical despite enjoying an analogous appearance. In other words, form can be referred to as the manner in which content is displayed. Innovation and violation of ordinary norms in the form of poem are among the resources to which the poet may resort in the process of poem composition. In effect, these resources can provide the poets with a unique style. As long as the poet observes unity and coherence in his poem, his innovation will enable him to avoid repeated poems. Mohammad Ali Bahmani is one of the contemporary lyricists who has made an efficient use of innovation in the form of sonnet in an attempt to reserve his discourse chain. The present study tries to investigate different types of Bahmani’s innovation in the form of sonnet.

Literature of “Waiting” (Entezar) is one of the motives which was considered by poets and literary critiques especially in early sixties but the approach of critiques to it has been mainly journalistic and not academic. Hence, there is space for academic and scientific researches. For studying such genre, it is valuable to explore and investigate it from different perspectives. The main questions of this article are how the musical function of this kind of poetry works and how this function and the theme of the poem are related. Accordingly, the authors analyze statistically ninety poems of this genre written by twenty great poets to find out the answers of these questions. In analyzing external music of waiting poetry, functions of rhythm in this kind of poetry, harmony between rhythm and theme, rising and falling rhythms, and transparent and opaque rhythms are investigated. Then, investigating marginal music of waiting poetry, the function of rhyme and its relation with the theme of waiting, the word rhyme and its musical link with other words of the verse, rhetorical and spiritual rhymes in this kind of poetry and dynamic and static radifs and their relation with the theme are all studied. Finally, internal music of waiting poetry and repetition and music in the titles of this poetry are explored. One of the results and findings of this article is that the poet of waiting poems unconsciously establishes a deep link between the sad concept of waiting and the form of such poems at the moment of composition.

A study of the text of Sām Nāmeh and certain indications found in two of its side stories suggests the conversion and transformation of certain myths of India in this text, myths whose themes were probably introduced into Persian literary epic first through ma lil-Hind of Abū Raihān Bīrūnī and then on a more extensive scale through the era of translation movements during the time of the Mughal rule in India and the early Safavid rule in Persia. Thus, probably they entered into Persian epic texts via these translations. This research shows: i) the way in which these myths are cited and put into rhyme in Sām Nāmeh is different from that of Abū Raihān’s work, and ii) the author of Sām Nāmeh must have been little informed about these Hindu myths, by virtue of which the lack of knowledge about these myths on the part of the audience may be inferred. Moreover, given the time of the transfer of these themes from India to Persia, one can say that the timing of the creation of this work cannot be earlier than that of the rule of Jalāl ad-Dīn Akbar in India if Sām Nāmeh happens to be the work of one single author, and otherwise, one can say that at least those sections in which figures of the Hindu myths are present must have been related to this hypothesized period.

In the opinion of Allameh Dehkhoda, proverb is one of the twenty four kinds of literature. In addition, proverbs are always the place of manifestation of people's experiences and also they are considered as people’s experimental wisdoms. When we study the history of different literary styles, genres and also Persian speaking poet's divans, it becomes clear that they have used proverbs as one of the important sources. Not only the poets have benefited from the great treasure of proverbial literature, but also they have added to its wealth. This interaction has not been considered quantitatively and qualitatively up to now. In this article, a definition of the proverb and also its importance and background are presented. Then the usage manner of proverb in poet's poetry and Persian poetical proverbs and its position through paroemia are indicated. In addition, the difference between paroemia and comprehensive word, allusion, methods of equation and allegory are presented. With a quantitative and qualitative method, this article indicates the reflection of proverbs in poet's poetry of different centuries and analyzes the proverbs in poetry of the thirteen famous poets. In this way, we understand practically and theoretically the ways that poets have used the proverb and also its reflection in their poetry.

Dialogic discourse is the product of Mikhail Bakhtin's thought, the theorist of human sciences in 20th century. This view wants to establish a permanent interaction between text, author and addresser and that actual knowledge is gained only through participations, differences and semantic contradictions of these three elements. In his opinion, discourse has a dialogic nature and dialogism is seen completely in the literary genre of novel because novel reflects different voices, languages and styles. Thus, novel is naturally polyphonic and due to this it is the main theme of Bakhtin’s studies. In this survey, it is attempted to prove this theory in Beyhaqi's History (Abolfazl-e Beyhaqi's work) and attention is paid to some of its elements such as fiction writing, secret saying, mimesis and dialectic. The method of this research is proving-analyzing and it investigates the components of dialogism like heteroglossia, polyphonicity and chronotope.

Nezami's Haftpeykar is one of the beautiful tales of lyrical verse that has many similarities to fairy tales from structuralist viewpoint. The authors analyze structural similarities and differences based on dutifulnesses, their interaction and dichotomy, fixed or variable characters and the logical sequence of narrative structure. The results demonstrate that this tale conforms to Propp's model and also narrative structure of fairy tales because shahe siyahpushan consists of about twenty dutifulnesses out of thirty-one dutifulnesses of fairy tales and the order and sequence of the story is the same as Propp’s model. The order and sequence of the whole narrative is based on opposition.