نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 29 (پاییز 1395)

As with their other doctrines which are based on another world beyond this tangible one, the Sufis think of religion as having an inner nature in addition to its outward appearance. In their opinion, the outward appearance of the religion, cut off from its inner nature, is a framework with no value in itself and can lead its believers neither to their destination nor to their goals. In their religious discourse, inner nature and appearance, principles and commandments, and theory and practice are blended together. They conceive the true meaning of the religion as revelatory certitude and serving people and put more emphasis on the latter, i.e. serving people. The writers, throughout this essay, are seeking to discover the true manifestation of religion. In conducting this research, the researchers have relied mainly on quotations and works of the greatest Muslim Mystics of 2nd to 5th centuries (AH) – Bayazid Bastami, Abul-Hassan Kharaqani, Abū Saʿīd Abi’l-Khayr, Imam Mohammad Ghazālī and Ayn-al-qożāt Hamadānī.

Qalandari poetry represents the final stage in achieving Sufi revelations and the culmination of the Sufis’ contemplations through an artistic language. The only way to understand the peculiar evolution of mystics is no doubt to discover the linguistic and contextual changes in their thoughts. Sanāʾi is the inaugurator of this concept in the realm of poetry. His language and contemplations in composing Qalandariyyāt takes an altered mode; an audacious language and such unconventional considerations as to achieve candor, an attitude of radical detachment from the world. This paper is to study the contents of Sanāʾi’s Qalandariyyāt.

One of the touchstones to appraise the value and the durability of literary fiction is the appropriateness between the function of language and its users, i.e. fictional characters. Language has a close relationship with the paralinguistic and social propositions such as social status, age, gender, education, environment, job and hierarchy of authority. Sadeq Hedayat’s works are the inherent part of Iranian contemporary fiction. As the title of this paper may suggest, his works are worth to be studied in that sense. This paper explores, through an analytic-descriptive approach, the relationship between the function of language and Hedayat’s characters while considering the paralinguistic and social propositions. It also argues that Hedayat has been aware of the paralinguistic and social propositions and successful in applying them in characterization of his stories.

Apparel is among human beings’ primary essentials. The representation of apparel in the oldest myths of nations reveals how significant it had been for man.  This paper studies the origination and evolution of apparel among Iranian tribes. First, the early representations of clothing in Iranian myths are searched historically, and then, its different forms and functions in the varying lives of Iranians are uncovered. The search is based on the mythological phase of Iranian tribes, from the Pishdadian dynasty coming to power to Pre-Zahhak era, and displays the socio-ritual impressions of using apparel in the literary, historical and mythological texts related to those eras. Accordingly, the Ghats, as the oldest Iranian text, is examined first, and the later Avestan and other medieval and Islamic narrations are studied after.

After Nimaic verse revealed indistinct in applying metric feet, a number of modernist poets tried their hands in devising and correcting the ambiguities in their own poems. Contrary to other types of new poetry, their new romantic poems, practiced in different frames and forms, were not void of metric feet. It is admitted, however, that the metric feet applied in Nimaic versification were of typical and regular types. The present research investigates the prosodic metrics in the romantic poems of four Nimaic-style practitioners (Nader Naderpour, Ahmad Shamlou, Forough Farrokhzad, Fereydoun Moshiri) as well as the impact of using those metrics in deciding their preference of certain frames and forms.

Didactic literature is an old and significant literary genre. Since 4th century (AH) onward moral lessons and advices have been major themes in the works of numerous Persian poets including Asadī Tūsī, whose Garšāsp-nāma, a long heroic epic, contains religious, ethical and social themes as well as domestic economics and politics teachings. In spite of numerous verses on the epic, mythical and heroic combats between Garšāsp and Nariman, didactic and moral lessons make up the greater part of Garšāsp-nāma.  Among teachings of Garšāsp-nāma one is domestic economy. Compared with such literary works as Golestān, Nafāes Al-fonūn, Latāef Al-hekma and Aklāq-e Nāserī which are mainly concerned with moral lessons and practical philosophy in specific, Garšāsp-nāma focuses on the same subjects too, though not exactly in the same structure and description. This research is to reveal the way the domestic economy is presented in Garšāsp-nāma.

Ferdowsi’s Šāh-nāma, Iranians’ greatest epic in verse, is comprised of stories, myths and historical events which are all interrelated and interwoven together, so that excluding or leaving out any part of it disintegrates the whole. Šāh-nāma provides one of the sources for the story of Alexander (Eskandar) the Great who invaded Iran and brought a debacle to the Achaemenids, and so did he commit his very sin of his ruling period. He is, however, a man of different credit as presented in Šāh-nāma. He is not an evil as a whole. His treatment of women is noteworthy. This article is to investigate his character through a rather feminine point of view and compare and contrast two warrior Alexanders; one as a historical character and one as introduced in Šāh-nāma.