پژوهشنامه ادب حماسی
سال هفتم شماره 2 (پیاپی 12، پاییز و زمستان 1390)

The interpretation of Quranic verses in Kashf al-Asrar Maybodi is comprised of three parts which Maybodi speaks of them under the titles of first, second, and third round. Hence first round is concerned with the word for word translation of Quranic verses. Second round deals with the interpretation in a general sense peculiar to Sunni tradition and third round is the interpretation of certain verses according to the taste of mystics ( in the form of rhyming prose). Most authorities and writers have called the latter, hermeneutic, whereas everywhere in his interpretation, Maybodi strictly opposes with hermeneutic (interpretation according to his own impression). This article is concerned with examining the scientific validity of hermeneutics in the third round of Kashf al-Asrar and attempt is made to present a viewpoint which is more scientific and systematic in this regard.

Silence and speaking to the point are among the themes which have long been considered throughout the vast instructive mystical literature. The importance and the standpoint of silence in the domain of Persian literature from the past till present have been to such an extent that it has determined the life and the death of individuals, and have entailed their welfare or damnation. Poet and the prominent literary figure of Hindi style (Isfahani), Sa’eb Tabrizi relying upon the ideas and mystical thoughts of Moulana regarding silence and its three kinds such as (silent tongue and speaking mind, silent tongue and mind, silent mind and speaking tongue) and upon making use of poetic imageries such as allegorical simile and allusion in his divan, appropriately called “Khamoushi Nameh” could well fulfill his mission as a poet and master towards his own people and future generations. This article deals with silence along with presenting evidence from other poets.

What distinguishes the art of Hafez and makes it untranslatable is the harmony between the word and sense and the common sincere concealment breathed into their veins. Concepts and novel sublime meanings emanated from his mind have incarnated in the form of words which are more often irreplaceable. It is that neither the word disguises the meaning and foreign to it, and neither meaning fugitive of the word and its form. It is as if the words and their senses in the divan of this great poet have in essence an eternal connection.
Attempt is made in this article to demonstrate the harmony between word and meaning by setting forth vivid evidence.

Vandidad is one of the five sections of the present Avesta. Certain words in Vandidad have only been used once in Avesta, hence in terms of meaning they are quite ambiguous. Attempt has been made in this article to remove such ambiguities by analyzing the structural and etymological roots of one of these words.

Since ground shows the power of imagination in a poet, it is one of the most important elements of simile. In traditional books of rhetorics, ground has been divided into different categories such as sensitive and rational ground, real and imaginary ground, allegorical and non-allegorical ground. However in these works the relationship between the imaginary ground and the two sides of simile is less emphasized.
In many of his similes, Nima has made use of imaginary ground. In this article attempt has been made to analyze the ground with tenor and vehicle based on the Goteli table and from a new standpoint. What is remarkable in Nima’s imaginary grounds is the employment of imageries which can not only personify tenor or vehicle but also can more artistically personify both these elements.

Style and Stylistics is an analytical science which was recognized in 1909 by Bally, a disciple of De Saussure. Later, this science was well received in Iran by the great literary authorities. The purpose of this article is to analyze the stylistic features in the poetry of Hossein Panahi (1335-1383) such as the influence of cinema and Art on his works, his peculiar language, abundance of proper nouns and foreign words. Examination of colors also leads us to another aspect of the poet’s language. Frequency and percentage of each feature in his poetry is given at the end of the article.

This article is concerned with the analysis of manner of death regarding the characters in Tarikh Bayhaghi and discussion of its relevant issues. As the role players of this book are quite distinct in their characters, their deaths are also quite unique from different aspects such as sensitivity, quality, and consequences it entails. In the first part the following deaths under the titles “particular and sensitive deaths”, “ordinary deaths”, “epic deaths”, “political-religious deaths” are analyzed. In the second part, methods of death of persons are discussed under the title of murder, natural death, sudden death, and unknown death. Part three is divided into two sections, characters before and after death. Part four deals with such issues as will, funeral procession and mourning, and finally part five is concerned with elegy.

The purpose of this article is to explain the school of Romanticism, speak of its root, discuss its characteristics, and to discuss lyrical poetry in this school, hence to take another step towards making this school better known. Then upon discussing the subject of manifestation of Romanticism in the Persian literary style, an analytical comparison was made between “ the chimney Sweeper” composed by William Blake and “ Orphan Child” composed by Parvin E’tesami to exemplify the influence of this trend in the poetry of these two poets.

Great Persian literary figures have always admired Sa’di because of his sweet, eloquent and simple language. The purpose of this article is to examine and analyze the language of his Ghazaliat from different aspects in order to reveal the secret of his simplicity and the beauty of his language. First, the characteristics of Sa’di’s language in terms of words, syntax and methods of phrasing have been analyzed. Next, other elements of Sa’di’s language that is employment of letters, elision, and brevity, employment of colloquial language and allegorical language are discussed, and finally the role of language in the formation of imageries without images are investigated.

Due to attachment to certain principles such as the supreme system of creation, determinism and fatalism, submission in faith and also because of the inclination towards endurance and idleness in behavior, mysticism fundamentally has not much objection to the present state of affairs however the fact is that in practice the complaint of the great sufi figures of their times and their people in general is not less significant than that of the other classes. The root of these dissatisfactions should be sought in what factors? The truth is that in many periods the country had undergone such agitation and turbulence that even great sufi figures had begun to raise their voices. In addition to the worldliness and indifference towards religious teachings particularly oblivion of the remembrance of God from the mind, and tongue of people, and those in power in everyday life and formation of conflicts between fanatical groups, attachment to wealth and position by the religious authorities and certainly the sensitive temperament of sufi figures are among the influential factors causing dissatisfactions.

Prayer to Ahunawar is the most sacred and perhaps the most ancient prayer of the Zoroastrians which had probably been a sort of prelude to Gahan before the rewriting of the Avesta in the Sassanid era. This versified piece has allegorical characteristics of Gahan and has also the complexity and sublime meanings of this work. It is composed in the same meter as Ahunudgah, whereas in the present Avesta, it is included in the 13th section of the yasn 27th. The prayer of Ahunawar in terms of theme contains deep meanings, and in terms of diction it has precise metaphorical meanings makings its true understanding rather difficult. In the foregoing discussion attempt is made to examine this prayer on the basis of the past research and based on the concepts from the Gahani Avesta and the present Avesta. Also relying upon the Pahlavi texts particularly the first Fargard, “Bagh Nask” which deals with the faith in the 9th Dinkard which in turn had been less considered by the researchers has been used as reference in this article. Bagh Nask is one of the nasks of the Avesta in the Sassanid era although its Avestai text did not last, a summary of its contents based on the understanding of the composer of Dinkard, is included in the 9th Dinkard. “Baghan Yasht” also including the three yasns 19th, 20th, and 21st from the Avesta, is the oldest interpretation in the Avestai language of the three most significant prayers of the Zoroastrians remaining to this day.