نشریه پژوهش های ادبی
پیاپی 20 (تابستان 1387)

Morality books cover a large extent of literary works. This article seeks to find the origin of these morality books and express the statue of Jalali’s Morality. Since this book is written following Naseri’s Morality (written by Khajeh Nasir Tousi), and Naseri’s Morality was also compiled through an adaptation of Purification of Morality by Moscouyeh, it seems necessary to discuss the flow of morality-writing in Iran. In this way, by studying the source of morality books- which take the majority of instructional and educational Persian books in the field of literature- the root of several of the advice-like concepts in the Persian literature will be known and realized. In this essay, in addition to making a survey on the historical roots and the most significant traditions leading to morality-writings, the Islamic tradition will also be surveyed separately. Afterwards three books which count as the major representatives of this tradition are studied; Naseri’s Morality, Jalali’s Morality, and Mohseni’s Morality. Finally we demonstrate the ancestry model of morality works in Iran with emphasizing on the position of Jalali’s Morality. As a matter of fact this article attempts to reveal some of the dimensions and aspects of thought-flow in the book entitled as Jalali’s Morality.

In the last years of Teimorian’s dynasty, when Soltan Hossein Baqera earned kingdom, Harrat became a scientific and cultural center; and actually a major place for several writers and scholars. Harrat’s court earned dignity and grandeur through the presence of Amir Alishir Navayi; the wise and literary minister of the time. Molana Kamal-Edin Hossein Vaez Kashefi was one of the figures who proved his abilities during this era and created great works. This prolific scientist has written books in a variety of fields; whereas Rozat-ol-Shohada’e is one of them. This book depicts the great Islamic event of Karbala (which led to the martyrdom of Imam Hossein) through a literary narrative manner. This essay reviews Kashefi’s works and manners, while Rozat-ol-Shohada’e is also surveyed from a literary point of view regarding the literary elements as well as the innovations and the originalities in fictional narrative prose.

One of the complicated and ambiguous issues discussed in the books on the history of Iranian literature is the starting point and the manner in which the Indian style was established. A review of the works done by researchers working in this area reveals a considerable diversity of opinion and view. Some researchers believe this style was the inevitable outcome of the natural path that the Persian literature went through. On the other hand others have surveyed this issue regarding social factors and the environment leading to its constructor. Still there are researchers who assume that the root and origin of this style springs from the poetry of past times rather than social factors or even the environment shaping it. These researchers have mostly mentioned poets such as Khaqani, Hafez, and Vahshi Bafqi etc as the founders of this style. But the significant point is that the result of such researches has not been accepted generally. The truth is that a wide scope style -such as the Indian style- can not be regarded as taken from the poetry of one poet, instead it is preferred to speak of the quality and quantity of the influence of these poets on this style, whereas this can merely happen using a new method; which is content analysis. This essay also intends to show how and in what manners poets like Khaqani, Hafez, Vahshi Bafqi and Baba Faqani- the four leading poets of the Indian style- affected the foundation of the Indian style.

In the Persian poetry and literature, Omar Khayam is the representative figure of a peculiar worldview and the voice of several thinkers and silent poets who kept silent and as a matter of fact offered their words and speech through his name. Therefore this article intends to show the major principles and characteristics of Khayam’s school of thought. The research method chosen for this purpose is a combination of critical methods based on written material, historical events and phenomenal methods. And instead of relying on unfinished issues such as the originality of Khayam’s poetry and identity, it offers his message in a rather more balanced manner. Through referring to the previous researches made on Khayam, this goal was made practical. So for earning this purpose various interpretations, and even contrasting ones, made on Khayam’s poetry and their relevance with his thoughts and speech was surveyed. Finally for determining the principles and structure of Khayam’s school of thought, his thought system was divided into five major categories considering the common concepts and messages within these poems. Then by offering an example from Khayam’s poetry, the message and motif that he had in mind was analyzed.

One of the profits of research on the poetry books of the past poets is enrichment of the scope of vocabulary. Without studying and making a survey on all the literary works, even the infamous literary works, it is impossible to compile and prepare a comprehensive dictionary of vocabulary. Therefore, the writer of this article, who is working and studying Badr Shervani’s poetry book, a poet of the eight and ninth century A.H in Qafqaz., surveys the words and vocabularies of this poet not mentioned in the Persian dictionaries, and in other cases the meanings are offered in dictionaries such as Dehkhoda’s dictionary of vocabularies; where there is actually no example for it whether in prose or poetry. Efforts have been made to offer examples from Badr complete poetry book for words lacking any concrete example; while words missing in the Persian dictionaries were to be found in other sources including the Arabic and Turkish dictionaries or even through referring to the other poetry books of other poets. Still, some words were not found and as a result these words were given meaning considering the poet’s poetry.

One of the prominent contemporary poets of Iran, who compiled creativity and originality along with research and survey, and was indeed taken seriously by both the literary associations and the academic personalities during his lifetime, was the late Qeysar Aminpoor. Works such as All Flowers are Sunflowers, Sudden Mirrors, etc along with his last poetry book entitled as The Grammatical Structure of Love, prove the high value of his works; while one can discuss the significance of his works from a variety of perspectives and approaches. The researcher dares say that after studying Aminpoors’ poetry collections and books, he realized that Aminpoor was as a matter of fact one of the greatest poets of the last three decades concerned about human and its related concepts including the pain and suffering a man goes through. He was actually involved with these issues in his artistic life and social life as a reality and concept. In this article the author initially surveys the diverse dimensions of this issue as related to the essence and concept of pain and suffering which ruled over Aminpoor’s thoughts and language. Then the collection of his poetry is surveyed and analyzed within four categories; conceptual, existential, teleology, and the moral statue of pain and suffering.

One of the manifestations of beautiful expression in literary works is paradox. This literary art may be used in the form of interpretation or combination. In Saeb’s poetry, both forms of this literary device is intermingled with aesthetic and discourse arts including metaphor, simile, bifacial image, irony, imagery, equivocation, and exaggeration which increased the beauty of both content and expression. Discovering these links can be quite helpful in understanding the poet’s purpose and final point. This essay reveals variety of paradoxes along with an offered diagram on Saeb’s poetry and then the factors leading to this issue are analyzed.