نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 51 (زمستان 1400)

The image of Jesus in the lyric poems of Sā’ib Tabrīzī is especially outstanding so that we can present a fairly comprehensive reflection of this heavenly prophet by collecting couplets in this regard. Since the study of all aspects of this subject is beyond the scope of a single article, it is attempted to focus particularly on the ascension of Jesus in the poems of Sā’ib in order to analyze the philosophy behind the subject as well as its impact on the conceptual trends in his poetry. The descriptive analysis of the study shows that Sā’ib has integrated the Qur’ānīc and biblical texts as well as story books and literary traditions; and has made use of all details on this event to represent his ethical, mystical, social, theological, didactic, and lyric thoughts in the form of three pairs named Jesus-the fourth heaven, Jesus-the sun, and Jesus-the needle. This allusion has been used as a device in creating his themes and fantasies being effective in attracting more audience to his poems.

Persian literature and Islamic mysticism have been very popular in India for many years and many precious works in Persian have been left by them. Among these works is the book Miftah al-Fotuh written by Sheikh Abdul Haq Mohaddith Dehlavi (1058-1052), a scholar of hadith, researcher, historian and Indian Sufi. In Sufism, he was a follower of Sheikh Mohieddin Abdolqader Gilani (471-561), an Iranian mystic, narrator and poet of the fifth and sixth lunar centuries, and the founder of the Qaderiyya Sufism dynasty. The main issue of this research is to introduce the description and commentary, classify the criteria of description writing and analyze his views in the description. To explain this issue, the author seeks to answer the following questions by using the method of content analysis and citing the achievements of the genre approach to the text: Who is Mohaddith Dehlavi, what are the characteristics of his mystical description and what are the author's views? What role has this description played in the revival of Sufism on the subcontinent? The results of the research show that Miftah al-Fotuh is a translation and intertextual description of prose and extended into Persian, which was written in the 11th lunar century by the order of Shah Abu al-Ma'ali, the ruler of that region and one of the lovers of Qaderieh way. In writing this work, in addition to translating the words and meanings of the book Fotuh al-Ghayb,

The most important base of the common romance is the love united with the war. Characters become meaningful in relationship with this term with regards to their role in the romance; either an oppressor or an oppress seeker. In the conflict between the romantic loves, the function of the story structures are considered particularly important. In this paper, it is attempted to study the signs of the romance and love discourse in the story united with the community and mentality of both the creators of the work and the readers after giving definitions for both idealist and real loves in the Persian common romances as well as the roles and positions of the characters. The results of the study show that the story’s target readers’ contexture variation into particular readers like Nasser-aldin Shah and his daughter Fakhrodoleh along with the social evolutions in Qajars’ era and moving from a socialistic view to an individualistic mentality has made the story bilateral. Thus, the characters’ roles and the love-related signs are moving through an idealist-realistic discourse. In this kind of discourse, the relationship between the lovers and their beloved ones, whatever, is a conflict between the mythological characters and lived ones as well as the ideal and reality encounter. The symbols possess dual images in combination with the love discourse and a transition between the fundamental and modern samples.

Folk stories have a long history dating back to pre-Islamic times. These stories contain many valuable sources and topics of moral, social, educational, counseling, etc., so research in them is necessary. The art of storytelling reached its peak in the Safavid era. One of the popular stories of this period is Mahboob al-Gholoob, which was written by Mirza Barkhordar bin Turkman Farahi. This article has been done by descriptive – analytical methods. The verses that come through this story are examined in terms of subject matter and function. In terms of subject, moral, social and educational verses with 41.80% in the first rank, descriptive verses and currently with 20.16% in the second rank, rulings and advice verses with 16.41% in the third rank and romantic verses that have a great connection with descriptive verses They are in the fourth place with 14.17%. In terms of function, supplementary verses are in the first place with 52.23%, descriptive verses are in the second place with 20.16%, emphatic verses are in the third place with 17.16% and confirmation verses are in the fourth place with 10.46%. In this book, in addition to Mirza's poems, the verses of other poets have also been used. According to statistics, 24.63% of the verses in this book are proverbs. Due to his secretarial profession, Mirza Barkhordar Farahi has used Arabic words, long words, long phrases and nested anecdotes in the form of Kelileh va Demneh.

Rahat al-Sodoor and Aya al-Sorroor are among the few surviving books in the history of the Seljuks that were written in 603 AH. Many scholars have argued that this is a mere plagiarism, and that Najmuddin Ravandi is the one who misused the Seljuk letter, a book written twenty-one years ago, to display it in a different form and by adding material to That or the abbreviation of that book, has achieved peace and has placed its name in the ranks of historians as well as writers of technical and artificial prose. This article, unlike other scholars who have often transcribed each other's beliefs, states that although there is ample evidence of plagiarism in Rahat al-Sodoor; But there are points in this book that indicate that there is evidence that the Seljuk letter was borrowed, not stolen, and this fact is confirmed by the silence of many great literary figures and historians of literature.

The study of the literary works from different nations of the world, along with the analysis of similarities and differences in these works is always one of the interesting and important topics in the field of literary research. China and Iran, as two great ancient civilizations with a history of common commercial and cultural relations, inevitably have a great deal of similarities and effects over time. Li Bai (701-762C.E.) is the most famous Chinese poet to date with his poetic genius for writing lyric and romantic poems. He lives contemporary with the Tang Dynasty and has his own poetic style, which is creatively different from the structural form of eulogy and luxurious style before him. There are about a thousand poems left by him, which have attracted a lot of attention from Chinese and non-Chinese poets after him due to their creative features. Less than 2 centuries after Li Bai's death, in Iran contemporary with the Samanid dynasty, the Persian poet and writer Roudaki (237-319 AH) appeared as the father of Persian poetry in the field of Persian literature. He is one of the prolific poets of Persian language, and the existing poems are about 1000 verses which is mostly Qasida and Taghazol. This study compares the lyric poems of Li Bai and Rudaki. Our case study will be the thousand poems left by Li Bai and the thousand verses left by Rudaki. The similarities and differences between of these two poets have been studied in a comparative descriptive-analytic approach.

A critical view of society, is one of the components of social commitment in Persian literature. Introducing intellectuals acquaintance with western political and social developments during the constitutional period, and the emergence of social symbolism in the Nima era, strengthened the socialist view literature. . meanwhile, writing caricature (Karikalmator) is also an ilustrator of social truths such as despair and hope, love and hate, afflication and happiness, and so on. In fact, authors of writing caricature have converted this literary current to an arena for expression of social emotions, and have put the tast of explanatory, criticism, and disclosure on it's shoulders. This study aims to investigate the use of social criticism in creating a humorous atmosphere by examining the caricatures of the nineties. By examining the collections of Abbas Golkar , sohrab Gol Hashem, Mohammad Ali Azadikkah and Amir Khosh vagti, the autors have ananlyzed Scial criticism in terms of poverty and inflation, censorship, closed society, social silence, destruction of nature, moral decadence bribery and lawlessness. According to the results, the frequency of social criticis in the caricatures of the nineties are: Golkar (33%), Khosh vagti (30%), Azadikhah (32%) and Golhashem (19%), respectively.

Abul-Hassan Ali ibn Uthman Hujwiri was one of great Sufis and the writer of one of the oldest and most valuable Sufi texts. He had a great influence on Sufism after him, like Tazkirat al-Awliya, while being influenced by mystic writings of his past. Kashf-ul-Mahjoob, while including Mystical, historical and social aspects, also contains great knowledge on the character, life and thoughts of its writer, who stated what he found, saw and heard with scrutiny and accuracy. Researching, investigating, engaging in debates with people of wisdom and knowledge, complaining about insipient Sufis of his time, defending Malamatiyya, giving a full report on Sufi intellectuals and factions, Sufi habitude, complete explanation of his journeys and life experiences, are only a part of the knowledge upon which we can figure out the personality of Hujwiri and the process of his individual growth. Based on this data, we can assume the base of Hujwiri’s character and thoughts to be a combination of “controversial knowledge” and “innate intuition”. Because on one hand there is a great value for learning from it ,and on the other hand seeing the truce in this life and the next is due his strives. After an introduction on his life, journeys, titles, and writings the writer tried to point out the most prominent characteristics and viewpoints of Hujwiri, so that he can compensate for the lack of information about his life and personality.