نشریه تحقیقات تمثیلی در زبان و ادب فارسی
پیاپی 22 (زمستان 1393)

Symbols are part of the culture of a nation and in order to better understand the myths and literature of that nation, we have to realize the meanings these symbols convey. Symbol, sign, is an indication having a meaning beyond what it signifies. Symbols can be observed in all forms of nature cases in point are animals, human beings, plants, things, etc. This paper tries to answer the question that what the significations of the names of birds are in Khosrow and Shirin, and in Leili and Majnoun? How have each group of the birds been presented in these two works considering their symbolic meanings? And how to find if there is a relationship existing between their symbolic meanings? To find answers for the questions raised, first, these two works have been studied in detail, next the symbolic meanings behind the words and the figurative meanings extant in these two works have been demonstrated, then meanings with lyrical themes have been determined, and in the end, the comparison between the symbols and their meanings have been presented in Fig.

Mahmoud Moshref Azad Tehrani was one of the greatest poets of fortieth decade. The study of imagination in his poems as an impressive poet in modern poetry caused the discovery of his innovation in the field of imagination and revealed some aspects of emotions, feelings and social problems. In this research which is taken by taking note and library method, three hypotheses were the bases of work. One hypothesis was that Moshref as well as other contemporary poets has paid more attention to detection element among imagery elements and he has paid more attention to nature and tangible objects among constructive elements of imagery. Another hypothesis was that the emotions which are mixed with his imagination and have caused his poetic experiences were not personal emotions but social ones and they were derived from pains, sufferings and his joint hopes with people of his society and Moshref was a poet who could create beautiful images and take responsibility toward his society as an artist.

Complication is one of the important, attractive and exciting elements of the story. Joint obstacles are the most casual and the most interesting complications that the famous story tellers used beautifully. The poet of lyric verse Weiss and Ramin is also among them. Such obstacles would increase the attractiveness of the story and at the same time encourage the readers and listeners to follow the adventure enthusiastically. It is in a way that until s/he reaches the level of resolution. Often at the end of the story con not quench the thirst. In this verses has lovers with different names. One of them is Viro and since he exits the scene soon the obstacles in the way of Mobed shah and Ramin are more colorful. By reading the story and mentioning the poetic evidences such obstacles will be investigated. This study shows that Mobed-Shah has more obstacles than Ramin and the role of women in success or failure in love affairs is more remarkable and because of Weiss's support, the winner is finally Ramin.

Artistshavelongbeen familiarwith theeffects of colorsand Iranianarchitecture, and stainedtileshave fixedthis link. Butincontemporary era scientific discoveriesand findings haveshaken up the nature of institutionalized perceptionand symbols; and contemporarypsychologyprovidesa new understandingofcolors. These differencesare notextensive, because the sense of innate perception of human beings cannot easily be changed. This process can well be analyzed in the poems of Persian language poets. Color and its analysis have less been paid attention to in thepoetryof Khwaja Hafiz. The present paper has studied semiotics, aesthetics, psychology, social impact of colors, and the link among the color, the sound and the nature in the poetry of Hafiz. This study shows that in the field of color and nature Hafiz encounters with the concept of the nature subjectively. In his poems Hafiz weaves a coherent network of colors into each other with the help of different meanings of the word “color” and in the shadowed fitness opacity. In the field of semiotics, turquoise color, which is also are ligious symbol, is highlighted in his poems. And also, a social, political, and mystical effect of black color is not hidden from the eyes of Hafiz.

Shahnameh and Mahabharata may be assumed as the greatest masterpieces of the Epic genre. The sixth part of Mahabharata, Bhagavad-Gita (hymn of gods), according to some scholars, is the most philosophical part of Mahabharata, that presents some profound aspects of Hindi mysticism and wisdom. The fearful hesitation of Arjuna, a great hero in the battlefield, to entering the realm of avarice and indecency is the departing moment of Bhagavad-Gita, and then his long conversation with Krishna, an Avatar, is presented in which Krishna puts forward three ways to salvation in order to make Arjuna overcome his hesitation. On the other hand, Avarice is a repeated theme in Shahnameh, and whenever it has been used, the very counter-argument of wisdom has been presented, that like a shield protects man against the avarice. This article aims at surveying these two approaches against Avarice in Iranian and Indian Myths.

In Persian literature tavern is meant cabaret and the place of debauchery in real and negative meaning, and the place of gathering the lovers and mystics together in the virtual and positive meaning. The Persian poets have created intact concepts by this word. The different contrasting meanings of tavern with frequent usage of this word and conversion it to a key word in the literary and mystical texts has led to gain significant position in Persian literature. Furthermore, this research investigates the etymology and evolution of tavern in the literary and mystical texts. The results of this research showed that tavern has different etymology and origin. The simple and negative meaning of this word has been evolved into the positive and mystical meaning and it has been converted from the scandal to the place of catharsis and releasing the superstitions and reaching to immortality.

‘Love’ is one of the most important issues to which both spiritual and gnostic philosophers have had eyes on and have had orated about. They recognize ‘love’ as the foundation of the universe because of which, all creatures from the lowest to the highest, are moving toward the source and origin of ‘love’ i.e., the almighty God. Sanayee Ghaznavi and Mola Sadra Shirazi are from the two spiritual and gnostic philosophers who have had ‘love’ as the key role in their works. The similarity in their views can be straightforwardly seen in Sananyee’s works and poems and Mola Sadra’s masterpiece; Shavahed Alrabobye. ‘The significance of love’, ‘the flow of love’, dividing love into ‘real’ and ‘virtual’ love, ‘convergence of love with pain and suffering’, and the virtual love as a bridge to reality of ‘annihilation in Allah’ are from the issues about which both Sanayee and Mola Sadra have analogous opinions. After illustrating the concept of ‘love’, this study aims at investigating the correspondence between Sanayee and Mola Sadra’s impressions about the issue.

love and affection for the most basic theoretical and practical discussions mysticism. In fact is the manifestation of love that all of creation and to create and to be in the path to His creatures the same right to love that is motion and the perfection of and times a To, to the right. Love discussion in Persian literature has the scope of the. Love the story and Majnun including the lyric poem in the Persian text of a long welcomed by writers and poets and Persian language Persian language is also the story of the Yousef and Zoleykha of the story in which Persian literatureimpact wide. contemplation and meditation in every one of these stories is the story of love and Majnun "and" Yousef and Zoleykha "every one life and spiritual bodies to man again and mirror the blight has been polished to within the. A Jami in defining love has reached the conclusion that it is love and it lands a heart which is the love of the body of life. He believes that the world and everything in it from the whiff of love. love has been created as a gem elixir He knows that it is joy and freshness men and love to encourage.

Nezami's lyrics, Khosro and Shirin, as a great example of Persian lyrics, have embedded different parts of dramatic type in it. Nezami's Khosro and Shirin is very significant in dialogue and characterization. It is also eminent when there is a necessity of monologue. By bringing the examples from the inside of the context, the writer in this essay has tries to analyze the characters and their dialogues and finally the readers can believe that a work can be both dramatic and literary, whether it is the lyrics type or other types.

A condition for prayers to be accepted is to know god and to give attention to prayers. Therefore prayer is the beginning of the way and not the end of it. Any sort of attention to god and any sort of heartily connection with divine spirit is considered as pray and worship. The strongest connection between human and their creator is in the prayer. Fervent prayer in the Persian literature is in the category of lyrical literature and originates from feelings and sentiments. Ferdowsi utilizes benediction instead of fervent prayer more than other poets. In hardship, characters of the Shahnameh after purification, beg to God for their problems to be solved. They sometime find private connection with God without thinking to their own wills. This research is an investigation in the Shahnameh with respect to prayers and with the aim of obtaining knowledge on Shahname’s theism.

In Persian poetry any poet hasn’t exploited as much as Molana Jaleledin Mohammad Balkhi (604-672 AH) from rhythms and various capacities of music for explaining and interpreting philosophical and mystical meanings and any eloquent hasn’t used like Molana from music in different meanings of poetry and no poet as Molana has grasped at music harp for explaining mystical and philosophical issues, and no poet to the extent of Molana hasn’t relied on music in using music terms and music instruments, wind and percussion, and using prosodic verbs and periodic rhythms and different rhythms in a single Ghazal and letters and words neighborhood magic and inducing various meanings from mystical terminology, even in the loving Sufism, no poet has resorted to music for stating worship manners and spiritual wayfaring that is of Sufi's conventional trainings and in using mystic's books and theses and authentic learnings of this dynasty's great persons hasn’t been like him the guidance source of seekers of Tarighat (mystical path), Sharia (shariat) and truth (haghighat).

Revolution 1980 years after the events of the Constitutional Revolution in Iran, the number goes on. The revolution in his heart, in addition to a variety of issues and topics that are associated with them, also leads to a new literary experience. Although some say the poem after the revolution, a transformation (not innovation) has moved, The traditional form of poetry in consort with the new format of the aspirations, emotions and approach to imagery Dgrafryny the structure, format, and could be leading the trend. One of the most important developments in the poetry of the Islamic Revolution occurred Additionally, doubt change the language poets. Since the majority of poets thoughts around a new polarizing elements of education, ethics, values ​​and lingers new Regulations, The culture arose from the desire of the various forms of poetry and revolution embodied in it has undergone transformation.

Didactic literature, has been one of the most extensive areas featuring many poets and authors of literary works. Through creativity and charisma that discuses to their teaching effectiveness and ability to penetrate the hearts of audiences have given tenfold. Dastoorname of Nazari who appeared in Masnavi is a short description of the costoms of drinking wine created to motivated his children to teach and preach, but familiarity with the stylistic features and other content and accuracy of cachexia in particular in ghazal and check again. Dastoorname shows the frequency content of the themes in the lyrics of his likenesses and is Dastoorname which is mainly Nazari indication Malamati motivated. Understanding the common benefits of this work provides new meanings. So that you can be said: Dastoorname content in recreating popular Malamati themes in Persian ghazals.