مجله پژوهش های ادب عرفانی (گوهر گویا)
سال سوم شماره 1 (پیاپی 9، بهار 1388)

Among the Persian-speaking poets, Mirza Mohammad Ali-e Saeb-e Tabrizi is the one who has repeatedly and more than the others admired Mowlana Jalalo’din-e Balkhi with extreme praise knowing himself as one of the disciples of his thoughts. Saeb has gained great benefits of Mowlana’s works either from the form which means; rhymes and rhythms, compounds, phrases and poetic images or the meanings including contents and thoughts, anecdotes and allegories so that there are few pages of his voluminous book (divan) with no signs of Mowlana’s. Mowlana’s thoughts have highly mixed with Saeb’s soul and have been manifested in his statements that he can be reckoned as one of the most eminent of those who have known Mowlana in the past centuries. In this article, what mentioned above is proved through various examples and reasons; with the emphasis that these examples are just a handful of the whole.

To Present the narrative structure of "Death & Resurrection" motif, we need to Limit the stories influenced by this myth by a Sequence. The sequence of "Death & Resurrection" includes four functions in which the love goddess falls in love with the hero of the story but the hero pays no attention to her. So he is killed tragically by her. At the end, this death leads him to the resurrection. This myth which is the symbol of herbaceous fruitfulness is about 6000 years old and, in fact, its roots must be searched in the Baynonnahrayn civilization. Considering the antiquity of the myth and motif of "Death & Resurrection" in the west Asiatic countries and the spreading of its narrative area in the eastern and western nations, this mythical sequence can be introduced as an archetype in man's Culture.

“Thousand and one night” –with 251 narratives- is the best example of distinct storytelling in Indian and Iranian cultures. Perhaps, it is the most voluminous story collection which has so far attracted researchers and theorist of narratology. Narratology is a dynamic branch of literary theory. Its final goal is discovering universal pattern of narrative. Narrative is a closed chain of events with both an ending as well as a beginning. Beginning and ending methods of story telling are so important in narrative configuration. Many narratologists describe beginning of stories as a firm primary state. It goes to an imbalanced situation because of one or other forces. At the end, the story comes to a balanced position through the action of a reverse power. In spite of 91 tales which do not have a story structure, approximately all “thousand and one night” tales have this pattern of beginning and ending. Only three tales begin in imbalance, however even these stories finish in a balanced state. A statement like “they said that” is the opening sentence of most of these tales. This statement not only puts the intertexual and extratexual readers at the same level of consciousness-regarding the narrating or regenerating of the story- as the writer, but it also refers to such a kind of timelessness which is the hallmark of such tales. Ending statements of numerous tales have the same function as the opening sentence, as well.

Rooster`s eye has been used a lot in Shahnameh and other contexts. Poets and authors, following their ancestors, have talked about it as a symbol of beautification, purity, and redness; however rooster`s eye doesn’t have any of these features, nor are these features important enough to be noticed by poets. Researchers have mentioned some opinions to match these features with rooster`s eye, and paying attention to the importance of rooster in ancient Iran. They believe the idea of rooster`s eye comes from that culture. They often match it with its Arabic equivalent Ayn-al-dic, and even its Greek equivalent Adonis. Going through the texts shows something that has not so far been noticed. In this article, offering some evidence, we have tried to show the concepts of rooster`s eye as pheasant`s eye. Pheasant has been used in texts as rooster and moor rooster. It has beautiful eyes and beautification, purity, and redness are confirmed to pheasant`s eye.

A survey of stylistics of literary works as a means of discovering relationships between text construction elements would be effective when the relationships between the work and artistic mentality of the poet on one hand and socio-cultural situation of the time in which the work has been created come under close scrutiny. Late 9th century and early 10th century (AH) is considered in the history of Iran as an era which enwombed with great revolutionary changes as far as socio-political issues are concerned. The monarchy of Safavids Dynasty and accepting Shiism as the official religion in the country provided the poets with such a pleasing cultural condition which they did not have before. Babafaghani Shirazi, a well-known poet lived in the second half of the 9th and early decades of 10th century. His lifetime coincided with the time of fall of Iraqi Style of poetry and flourishing era of a new style which is now called the "Indian Style". Faghani Shirazi is among the few poets that most critics and other poets have had a biased judgment against him. Few critics can ever be found who have not opened up a hostile language to reprimand or admire Faghani in their critical discussions or comments. Simply put, there is no medium point in judging about Faghani. Poets and writers either have praised or humiliated him and his poems. These kinds of attitudes towards Faghani have made us consider him as an influential figure. His exaggerative adherence to Hafiz and his attempts to devise a new style in sonnet made the present writer to examine his stylistics in his Diwan (collection of poems) and report it in this piece of writing.

In Indo-European Mythology, a steed is always the best companion of any hero. Famous heroes, as well, have their own deserving steeds. Since then, both of them have been always together in all events of their life whether in hardness or pleasure. They come to a common understanding. They live and die together; even they sometimes sign a brotherhood agreement. Hero's steeds graft to Myths in the same way as the heroes, and in the light of such an attribute they accept unique characteristics. Even the steed turns to a subject of worship as gods, or seems to be sun-like, water descendant, or even to be of wind nature. They become winged and sometimes they fly to sky. In this way, much of the power of every hero is hidden in his steed, as if his steed is his efficient weapon. Steeds of heroes struggle with dragons, demons and serpents; and sometimes they help heroes achieve their goals.

Narratology is the systematic study of narration which has come in the realm of structuralism since about 1960. Since then, the theoreticians have attempted to structurally analyze most stories; they often do so by the use of some frameworks as grammar, linguistics and so on. In doing so, they have come to some results as well. Among these theoreticians, we can name William Labov who through analysis of folk stories came to a new model of analysis called hexagon structure, known as diamond pattern as well.The story style of stories in Marzban Nameh`s fables is in a way that makes it appear in the same way as folk stories. Therefore, in the present paper, it is attempted to compare the structure of Marzban Nameh`s fables with the Labov`s diamond pattern. This comparison shows that Marzban Nameh`s fables have all been featured to have the same structure as what Labov claimed to obtain. On the other hand, the significance of admonition and advice as the main motif of this book is highlighted in this structure.