پژوهشنامه ادبیات تعلیمی
پیاپی 47 (پاییز 1399)

In the world literature generally and Iranian literature particularly, literary works are divided into four types, i.e. epic, didactic, lyric and dramatic literature based upon their thought and content. Some literary texts, including poetry and prose, are single-genre; however, some texts have emerged which combine two or more different literary genres and they accompany each other and through this accompaniment they have been able to provide sources for literary text researches. The common feature of the two is their struggle against the incompatibilities: one from without the other from within and finally establishing an ideal society. One form of combining genres is mingling epic literature and didactic literature. Through descriptive-analytical method and by relying on the library studies based upon inductive method, this research attempt to re-read the intergenrality of epic literature and didactic literature in Iskandarnāmeh. The purpose of this paper is to explain the features, differences, commonalities of these two genres in Iskandarnāmeh, and also the intersection of these two genre in this literary work. One of the achievements of combining epic and didactic genres is that they complement each other. Epic literature (e.g. Sharafnāmeh) often focuses on human's will, but didactic literature (e.g. Iqbālnāmeh) addresses wisdom and awareness and while epic literature insists on objectivity (managing governmental affairs) and didactic literature (moral concepts) insists on subjectivity. The ultimate cause of both literary genres is to lay the groundwork for peace and tranquility, one in the external level and the other in the internal or spiritual level to establish Nizami Ganjavi's desired utopia.

Sheykh Abdol Qāder Gilani is one of the mystics of the 5th century who was eminent in Feqh, Hadith, exegesis and literature. His writing style in didactic literature has ‎influenced some of the prominents like Mohy ed Din ibn Arabi. He chose to preach in Baghdad and he was licorice. In his training Assemblies, more than 400 thousand people used to gather and Sohrewardi, ‎Moqaddasi, and ibn Jozi were among his pupils in mysticism. Fotouh al ghayb is a didactic work written by Abdol Qāder Gilani in which the author explains the epistemological concepts, training and ethical points for the audience. His ‎training method includes coordination between Tariqat and Shari’at, as well as adherence ‎to Qur’an and tradition in order to achieve Haqiqat (ultimate truth). Using a descriptive ‎method and an analytic approach, the present study aims at surveying the ‎principles of mystical trainings declared by Sheikh to a mystic to reach the ultimate ‎truth. Besides, the impact of Sheikh’s teachings' on Nokāt by Bidel, one of the Murids (disciple) of Abdol ‎Qāder in India would be analyzed. Regarding the significance of this study it could be ‎mentioned that Gilani, the founder of the sufi dynasty of Qāderiyeh, has many Murids in ‎India who practice his didactic traditions to purify soul. However, Gilani’s ‎works and teachings are not truly known yet. The present study attempts to depict a more vivid ‎presentation of his didactic and training principles for the researchers. The results of the ‎research show that Bidel and Abdol Qāder have got a lot in common in ethical and didactic issues; however, some differences in their view points is to be demonstrate in this article. ‎

Abolmajd Majdood Ibn Adam Sanāi Ghaznavi also called Hakim Sanāi (473-545 AH), is one of the greatest poets of Persian language who wrote in ode and Masnavi form. Praise, guidance and admonition are among the frequent themes of his odes. Sanāi well understands language and is fully acquainted with its features and capabilities. Description, praise, wisdom and advice, admonition, story of the soul, blame, and reproach exist in Sanāi's odes. Many instances of compositional sentences (interrogative, imperative, exclamatory, and prohibitive) exist in Sanai's odes used in their indirect (or secondary) meanings. He has been successful in choosing the expressing methods, grammatical patterns (according to the type of message and communication), and in selecting words by considering their harmony, rhythm, and subject. The secondary meanings of the compositional sentences, in fact, express Sanāi's inner thoughts and they can be understood by analyzing the poet's thoughts. This research deals with interrogative and imperative based upon grammatical and semantic categories in Sanāi's odes in order to determine the relationship between the poet's moral thoughts and the meanings of sentences. clarifying and explaining Sanāi's aim in using such kinds of sentences analytically, the researchers use diagrams.

One of the main desires of man is yearning for life. But death threatens this desire continually. The problem is how man can reconcile these two, and what moral and emotional consequences such a challenge may have. Being confronted with this emotional and philosophical conflicts, men are divided into two groups: some incline to deny the life chance, while others wish to gain it. Believing in the dynamic death, Attar accepts life and death as two undeniable realities. He believed that pondering on these two realms adorn man's soul with virtues such as searching for the perfect, self-promotion, living a conscious life, controlling the sense of dependency, appreciating the life chance, enjoying life as much as it would be sufficient, paying attention to the moral values and farseeing. The picture of life in the eyes of a man demanding for life and believing in the dynamic death is portrayed in the images like prison, heating fire of the bathhouse, field and caravansary. These images indicate that man realize worldly life as a medium. Therefore, he would adjoin his will to his function to experience an ethical life.

Jāme al-Asrār, a mystical-didactic essay written by Mohammad Ali Isfahāni, also called Noor Ali Shāh (died in 1212 AH), the famous mystic of the early thirteenth century AH. Imitating Sa'di's Golestān, Jāme al-Asrar has been written both in verse and prose by him. Noor Ali Shāh is one of the leading mystics of the Qajar period, from whom many mystical works of prose and poetry have been left. Studying his works will help understanding the mystical literature of the Qajar period. This paper aims at answering the following questions: What didactic trainings could be found in Jāme al-Asrar and what techniques did he uses to train them? In this study, the didactic lessons of Jāme al-Asrār were investigated by using a descriptive-analytic approach, and some of its salient didactic teachings were classified into three main headings (theoretical mysticism, moral-educational, and Mystical-Sufi). The results show that though like Sa'di, he paid much attention to moral and educational lessons due to the general popularity of Sa'di's Golestān to these matters, like many others who embark to write a similar work to Golestān as one of the masterpieces of Persian literature, however, in Noor Ali Shāh's Jāme al-Asrār, the Mystical-Sufi teachings which was the ultimate reason for writing this treatise, is higher in frequency than the other two classified subjects. The author has also used both the direct and the indirect methods of teaching the concepts and has used tricks such as storytelling, teaching through dialogue between characters, teaching through prayers, training through advice, and training through questions and answers and in writing this work. It is also inferred that the writer has paid attention to all levels of society from ordinary people to the high rank mystics as his audience.

Literary works, depending on the literary genre they belong to, have specific characteristics. In some literary works, diversity of the content may cause confusion and incompatibility of language with the characteristics of that particular literary type. Haft Peikar is a literary work whose content diversity does not reduce its values. The relation between language with the form and the content in literary types and the subtleties of the artistic connection between language and the meanings in different layers are among the highlights of this literary work. Since the literary work is made of entangled layers, analyzing the text of Haft Peikar with the layered stylistic approach seems to be an effective way in discovering the artistic subtleties and linguistic capacities of each layer. In each section, when changes happen in the content of Haft Peikar, language layers find specific characteristics. Considering the content which would be didactic, lyric, or epic, Nezami moves language further, strengthens the content, and promotes didactic genre by creating proportion between linguistic features and the content, selecting and using the language units, interconnecting the language layers, arousing tension in the language elements, and signifying. In this work, using the formal and content characteristics of didactic literature have fortified the language

Being among the oldest and most common kinds of literature, didactic literature presents moral and rational doctrines to the audience to be applied in their lives to achieve prosperity and happiness. Persian literature has long represented the purest and most precious moral and didactic meanings and themes in a way that a large part of Persian poetry has been dedicated to advice, wisdom, and sermons. Emād Faqii Kermani is one of the Persian poets in 8th century AH who was proficient in composing different genres of poems including Sonnet, Ode and Masnavi. His poems have been integrated with Sufism and mystical thoughts and doctrines. Using descriptive-analytic approach, this study aims at investigating the moral and didactic doctrines in Panj Ganj by Emād Faqih Kermani to determine the position and value of morality and training in his poetry and also, some of the literary merits of him would be clarified. The findings reveal that the moral and didactic subjects which are a combination of ancient advice, mystical and Sufi doctrines are widely reflected in his Masnavis. The most prevalent and frequent moral and didactic themes in Panj Ganje Emād include political and governmental sermons, worship and servitude to God, instability of the world, generosity, knowledge and gaining knowledge, confidentiality, harmlessness.