نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 18 (زمستان 1392)

Music</span> and literature are inseparable as the season has long been of particular interest As far as the actual border identity can not be And while these two categories according to the different contexts have their own personalities are independent. Set to music appreciation and respect, indeed reverence the Persian language is Persian literature and a great attitude to this important, valuable and worthy of study. Nezami explicit references to musical instruments, Despite the frequent repetition of phrases and elements of music,his poetry,</span>Indicate the extent of his knowledge and familiarity with the art. Five military Treasure addition to literary and poetic collection is extremely valuable in the music industry can be a useful reference for research. It is a great source of wisdom and the arts, while introducing musical instruments and their use; Reflect customs and traditions of the past in the field of musical instruments in different times and occasions, such as the welcome ceremony of the kings and elders, ceremonies, celebration and mourning, beginning and middle of the campaign, etc., have been played. Although every occasion has its own special tools, but there are common tools that were used. The use of equipment, instruments and songs at the banquet, and the combat is very diverse, Many different instruments are played by others, such as the trachea, windpipe and the lute, harp, R., harp and lute, and Rvyynh bending or bugles have been together in symphony.</span>

The emergence of Iran's first Turk establishment was realized by Mahmud of Ghazni and it set the stage for formation of other Turk establishments in Iran.</span> Following his expansionist objectives, Mahmud of Ghazni wiped off a number of Iran's local clans from historical and political geography of Iran. Emirates like the Saffarids, Sharan Gharjistan, Al-e Farigun and the Khwarazmians were among the clans whose overthrow was aimed at fulfilling the expansionist ends of the Ghaznavid king. </span>This is the basic question that lies here: Is it possible to reach an authentic report about this case through contrast and comparison of the works of the Ghaznavid’s poets and historicans? In this research, which has been done by an expository-analytical method in line with Iran’s local historical studies, the authors have tried to exactly analyze these events with the help of the poets’ poetry and after corresponding them with the viewpoints of historians,  compare their reflections through the eyes of the two groups

Psychology as a science indicates that the suppressed wishes of a writer and his daily unfulfilled dreams could be realized in his works, but these works are narrated through symbols and motifs as well as myths. The restructured myths, however, find new meanings due to the time they are used, and so reflect different themes and interpretation of life. In this way they bear an intellectual aura. Each generation receives and interprets the myths in accordance with his needs, motivations and ideological beliefs. The post-coup (August, 19th, 1953) generation of writers deal mostly with themes of war, suffering, sin and death, indicating that the individuals or the society experiences a significant crisis of being. In stories of Heavenly Kingdom</em> and Yakolya and Her Loneliness</em> the recurring theme of death wipes out the pleasant and delightful living of characters. Bahram Sadeqi and Taqi Modarressi substitute, in a surrealistic style, the usual with the unusual, and make the strange and supernatural consequences familiar. Weir and bizarre events appear quite conventional and customary in their illusory world. Believing in individualism and the then social suppression drives the intellectual writers of these two stories refer to the burden of a difficult life derived from specific socio-historical conditions as mythical pains of human beings. Archetypal approach on the background of mythological criticism has a literary work interpreted as a prototype or archetype, and this research studies the above-mentioned stories via an archetypal approach.

In Iranian literature, Abol-Fazl Bayhaqi’s Tarikh-e Bayhaqi</em> is a unique masterpiece which has a narrative structure. Bayhaqi opens a window to the historical events, and uses such elements of fiction as characterization, dialogue, point of view, plot details and description to make the readers involved and familiar with the setting and atmosphere. He, by so doing, establishes a close relation with his readers.This article is to study Bayhaqi’s art of story-telling through investigating the elements of fiction in the story of “Afshin and Bodelaf” in order to find out whether he had been to narrate stories or applying those elements of fiction in his work had been unintentional. To achieve the answer for that question, all the elements in “Afshin and Bodelaf” are compared to the theories of fiction.

The present research, focusing on the ethics of a married life in Ferdowsi’s Shahnameh</em> and the other works preceding it, tries to reveal, through excerpts and facts taken from Avesta</em>, medieval texts, Shahnameh</em>, and also famous quotes of experts, to what extent the marriage etiquette, such as compromise, frankness, love, good behavior, faithfulness, commitment, mutual respect, virtue, frankness, etc. are emphasized in them.

In this article, it has been tried to present an account of Bahram Chobin’s rebellion as narrated in Shahnameh</em> as well as Ferdowsi’s point of view about the causes of the rebellion. In addition to Shahnameh</em>, we have had a look at other sources, and a comparative study has been carried out. In this comparative study, Ferdowsi’s unique view about Bahram Chobin’s rebellion has been discussed, for this story has been given a new epic feature by Ferdowsi, and his description of Bahram Chobin reminds us of other epic heroes, and Rostam in specific. Then it is for this reason that Ferdowsi’s account and viewpoints about Bahram Chobin are different from those of others.

Simile is the most significant and main basis of all imagery knacks in poetry. So its analysis can be useful for having a good knowledge of aesthetic aspects of the poem, understanding its meaning and knowing the poet’s attitudes, trends and style. In this paper, Shafi’ee kadkani’s use of similes in his two collections of poems has been analyzed in an attempt to find some of his poetry’s style features, literary innovations, mental tendencies and artistic aspects. For this purpose, the simile has been classified in accordance with traditional rhetoric first, and then creative and cliché similes have been extracted and studied. After classification and analysis of vehicles in eight semantic fields, the two prominent characteristics of simile i.e. musical and naturalistic characters have been examined. The results of the study show that Shafi’ee Kadkani is very interested in Nature, and the essence of the music of the poetry, especially inner music, is very important for him, so that he tries to observe the musical aspects of the words in choosing the tenor and vehicle for most of the similes.

Reza Baraheni’s “Daf” – the first in his collection of poems, Addressing Butterflies</em> – represents a part of recent challenges in Persian modern poetry, and this research is to identify and analyze the post-modern elements of it. Due to the great variety of themes and definitions of post-modernism, the writers have tried to analyze and interpret Baraheni’s poem based on the poetics of one of the trends in American post-modern poetry, i.e. L=A=N=G=U=A=G=E Poem, and theories of Charles Bernstein in order to have applied a more objective method. The study reveals that “Daf” is the textual performance of going beyond the history of Persian poetry to make it free from any limitations. The poet intends to reflect the meaning – or rather the sense of meaning – through producing the sound of daf, and although a number of its lines seem to be far from conveying any meaning, they are not as equal as being nonsense; rather they separate themselves from an exact and accepted meaning. On the other hand, “Daf” is not a narrative poem, for every single line of it opens a new horizon for the readers, making it difficult to guess what would be the next line and where it will end. Altogether, this paper admits and approves some post-modern elements in “Daf”, despite the fact that it can’t be emphatically considered as a post-modern piece of poetry, and classifying it under the category of post-modern poetry is in doubt and contrary to the intellectual exercises and leftist ideas of its composer.