فصلنامه شعر پژوهی (بوستان ادب)
سال نهم شماره 4 (پیاپی 34، زمستان 1396)

Revelatory literature is considered as a literary genre in the field of religious and mystical literary texts and it has been well received due to the function of hope and promise for the "future", while communicating the mysteries of "the past." After reviewing this literary genre, its history, and types of revelations, Hafez Shirazi’s prophetic revelations are analyzed and similarities in the attitudes and motifs of this great poet and scholar compared to the basic principles of this literary genre are discussed. The results of the research indicate that the frequency of messenger symbols such as Hatef, Soroush, Saba, and Nasim, confirms the deliberate use of prophetic and revelatory purposes in Hafez’ poetry. This literary genre, in the words of Lassan al-Gheyb, has helped to extend ontological, sometimes mystical, sometimes humorous, and often promising and hopeful goals by using elements such as myth, revelation, dream, allegory, symbol and metaphor.

One of the valuable achievements of mysticism in comparison with jurisprudence, philosophy and theology, is the specific definition of the man's particular you-I relationship with God turning it into a lover-beloved one reflected in the dialogues. On the other hand, some of the classic poets and mystics, contrary to the dominant discourse of mystical relationship of creature and creator which moves toward unity with man's surrender to God, have presented a relationship of arrogance, recklessness in addressing God that evokes the intimacy and independence of the interlocutors reminding one of continuity in Martin Buber's philosophy of interlocution and dialogue. In the lyrics of Hafez, the relationship between man and God goes beyond the relationship of lover and the beloved with Hafez opening the dialogue as a friend. Sometimes he criticizes God, the universe and creation.

The word “bud” in the distich “hamčo golbarg-e tari bud vojud-e to latif” (you are as a fresh rose petal), the second verse of a ghazal of Hafez with the opening line “ay hama šakl-e to matbu’ o hama jāy-e to xvaš,” has been a source of controversy among scholars. Since the word does not make sense as a past tense verb and therefore it is not relevant to the setting of the aforementioned ghazal, some editors of the Divan of Hafiz have chosen the word “hast” according to some manuscripts. Some others have kept the word “bud” because it is supported by many older manuscripts and a minority of scholars have preferred the variant “bud o” or edited the word analogically to “pud”. Considering forty old manuscripts of the Divan and semantic and rhetorical reasons, we argue that the word “bud” is the original choice. We believe that the word “bud” is not a past tense verb meaning “was”; rather it means “all”. The suggested meaning is used in old texts as well as some Iranian dialects. Regarding the reading “bud-e vojud,” the verse is more harmonious to the poet’s emotions and more concordant to the grammatical tense of the first distiches of the ghazal. By choosing this variant, the semantic defect of the first hemistich is also solved.

Harkat Poetry is a poetical current of the past two decades in Iran. Abolfazl Pasha introduced this movement with the publication of an essay, "Movement and Poetry" (Harkat va Sher), in the first half of 1370s, and years later he published of a book with the same title. This current as a subdivision of the poetry of the seventies has two features beside the general features of the seventies. These features are: lack of independent meaning of each stanzas and transformation that distinguish Harkat poetry from other literary currents. Transformation is one of internal features of Harkat poetry without which the poem is not considered to belong to the movement. Having studied samples of Harkat poems I have classified many patterns of transformation such as cluster transformation, break and link, ladder parallel, and combination. Hinging (Lolagozari) which has played an important role in the creation of transformation is also explained.

Generally, identity is a complex and multidimensional concept leading to identity appearing in various contexts with different effects. Changes caused by identity can be seen in the behavior of the person so that a specific person in different contexts can potentially behave with various identities and manners. Facing the “other” is an important approach in the social life of people. In such an encounter, choosing between tolerance and violence has a significant role; violence limits the “other” while, tolerance provides coexistence and cooperation for the people. The aim of this study is to investigate Sadi’s approach to facing the “other” at two different contexts; as a teacher and as a lover. These two contexts are very important indices of Sadi’s identity. Gulestan is an indicator of how Sadi behaves as a teacher and Ghazels display how Sadi is as a lover. Differences due to the approach of Sadi about “other” can clearly be observed in these different genres based on the effect of contextual impact of identity. As a result, Sadi as a teacher shows more violence to the “other” in comparison with Sadi as a lover.

Ancient Iranian literature is an appropriate source for playwrights and screenwriters to adapt them for the stage. Ancient Iranian literature lacks some aspects of dramatic literature like dramatic narrative or characterization. Thus they have not been used frequently by dramatist. Bahram Beyzai who is well versed in Ancient Persian literature has adapted ancient texts to dramatic ones. “Straw Curtain” is a script that can be a good example for dramatic adaption from a literary text. Bahrām Beyzāi (1938 in Tehran) is an outstanding Iranian film and theatre director, screenwriter, playwright, film editor, producer, and researcher who is famous for his special use of literature and a unique language that preserves traditional Persian language. In this paper Beyzai's adaptation of “Straw Curtain” is analyzed based on Aristotle's views on six factors of a drama components and the relation between plot and character. Beyzai has presented new portrayal of the primary character in “Devout Woman” so that the central female character is not passive.

Shahriyarnameh is one of the heroic literary texts composed after the Shahnameh, and its subject is the story of Shahriyar, son of Borzoo, that left his family and went to the India. Then he returned back to Iran after showing his skills in that place; he had some battles with his family that eventually led to a reconciliation. This poem is considered as one of the controversial heroic poems after Shahnameh, because there are many differences among the researchers about its narrator and time of its composition. The main reason of these disagreements is the incompleteness of known versions of this poem. Some scholars attribute the Shahriyarname to Farokhi Sistani and others attribute it to Osman Mokhtari. A number of scholars consider the narrator of this poem Indian (non-Iranian), and believe that the time of its composition goes back to the late periods. In this paper, we first examine the most important differences of several known manuscripts of Shahriyarnameh, and thereafter, we investigate the possible period of its composition and also its different versions.

The poet's choice of any word or phrase is effective not only in a line but also throughout the poem. If we look at the choice of a word or phrase repeated as an identical ending syllable in every verse, we find out the importance of choosing it by poet and the need for comprehensive proportionality of identical ending syllable with the whole poem. Due to the importance of choosing the identical ending syllable, I have studied the role and function of the identical ending syllable in ghazals of Hafez based on formalist and structuralist theories. I have examined functionality, value and rule of identical ending syllables of Hafez beyond the verse and in form and structure of ghazals. The result of this study shows that Hafez has chosen identical ending syllables which often fit with the theme, elements, texture and overall structure of the ghazal. Sometimes identical ending syllable is a tool in his hands to use it in difficult situations to express something that there is no possibility of expressing it with a nonpoetical word. Sometimes the basis of choosing identical ending syllable fits with the structure of ghazal in order to create humor. Sometimes the meaning of identical ending syllable is in contrast with some parts of the content and other words in the context of poem creating new semantic features.

This paper analyzes how the texture of the literary work and its elements such as word repetition, types of harmony, imagery, metaphor, pause, and stress create the dramatic, heroic, happy or sad tones in Ghazals of Shams. Tone has an interaction with the affective aspect of the work. In Russian Formalism, extra regularity is considered as a device of defamiliarization that highlights the literary text and in Ghazals of Shams leads to harmony. Augmentation principle in Ghazals of Shams is the result of phonetics, syllable, word and syntax repetitions manifesting the harmony and presenting innovation and tone. Artistic techniques in Molavi’s ghazals result in innovation in structure and form of ghazals giving identity to this literary masterpiece through defamiliarization, deviation, and abstract metaphors.