پژوهشنامه متون ادبی دوره عراقی
سال چهارم شماره 3 (پاییز 1402)

This article is an attempt to recognizing the place of Ovhadi Maragheei in a kind of lyric writing as: "Qalandariyat" and “Malamati literature”. For this purpose, the accuracy and study of Divan Ovhadi proves that in addition to dealing with the simple themes of Malamati literature such as: fighting against the ego, disregarding whether people praise or condemn, Freedom from worldly attachments, emphasis on honesty and sincerity and etc, he has a special insistence on the most extreme and reckless of this kind themes. Also, the study of other works of Ovhadi, such as the Masnavi "Jam Jam" and Qasead of his Divan, shows that these themes raised in his sonnets are more to reach the Malamati motivations and have a metaphorical and poetic aspect rather than retelling the reality of his situation. Also, if we consider Malamatieh's works as emerging from two internal and individual or external and social motives, the analysis of Ovhadi's sonnets shows that in dealing with Malamati literature, his tendency is more towards external and social motives than internal motives.

In Sufism and mysticism history, one of the important theoretical issues that has had a lasting and deep impact on all mystical and literary currents, is the issue of the covenant (Surah Al-A'raf, 172). At the beginning of Islam, this concept was mainly reflected by the words included in the verse and presenting its apparent meaning, but when it entered the works of thinkers, its semantic course and lexical development also changed and was mainly mixed with "eternal love" which reached its peak in the works of Molavi. In his poems, both in Masnavi and Diwan Kabir, he refers to the eternal covenant with all its various manifestations and concepts with additional and descriptive compounds, and he interprets them in a semantic cluster with words replaced by the word Alsat.</em> Rumi in his prose works, including the book Fiehmafieh, also dealt with the concept of firstness in a special way, by correlating these terms with the common ones in Masnavi and Diwan Kabir. It is possible to interpret them in such a way that these three books should be explained and in a way known as each other's expansion and interpretation. </em>This article, by presenting the reflection of the Alsat verse in the book Fiehmafieh, by showing some of the key topics associated with this one in the mentioned book, explains the difference in the style of this work with the Masnavi Ma'navi and Diwan Shams.

Faghani Shirazi's trip Harat and deal with him based on the narrative Ovhadi Belyani, caused a group of contemprary poetry researchers and Persian literature, based on that narrative, criticize and evaluate the Harat school of literature in the 9th and 10th centuries. Relying on a single narrative and ignoring thers Narratives and side points of the issue, on the other hand, hindered the accurate knowledge of Herat poetry and literature at the end of the Timurid perid and the beginning of the Safavid era, and on the other hand, another place of Harat in the creatin of Nazukkhyal School is in doubt. This approach makes Faghani Shirazi the only founder of the school of imaginatin what is known as the Indian style, he introduces and expresses the rule of there pets of that time, such as Asefi Heravi, in the founding of the school. Shrewd, avids. Since hadi's narratin is not the only narratin and ther narratins proverb the apposite of this issue, addressing this the issue becomes important. Reviewing Faghani's trip to Harat and examining the dark corners of this trip and Faghani Shirazi's influence by Asefi Heravi and his influence on the same pets of Harat is the main topic of this article, which is presented analytically-descriptively with the method of historical reference becomes the result of this research is that, contrary to Ovadi Belyani's narrative, Faghani Shirazi's poetry was welcomed and praised in Harat. Faghani was influenced by the style of popular poetry of that time in Harat, especially Asefi's poetry, and was influential in same cases.

Fakhr al-Din Iraqi, a mystic poet of the 7th century, composed his poems with the theme of love. This research, using Norman Fairclough's critical discourse analysis, analyzed Iraqi’s lyrical poems, quatrains, love poems and glosses in three levels, and seeks to show which discourses and levels of power had influenced Iraqi, and how he involved in reproducing or resisting against them. Therefore, at the level of description, after finding the threads of the discourses, with their help, Iraqi’s discourse and its impact and impression are analyzed. The most prelevant word and theme in Iraqi’s poetry is love. The dominance of indefinite sentences tells about the silence of the lover and the field of love. The most vivid expression of his love is “pain of separation”. Iraqi’s domination by the rule of the indefinite pronoun “thou” (lover) that “I” has made him subordinate to “she” (lover). In the situational context, the invasion of the Mongols and the emergence of Ibn Arabi led to the scientific, practical and public growth of Iraqi’s discourse, and encouraged him to speak more fearlessly of the eternal lover and unity of existence in Lamaat</em>. In terms of intertextuality, he is influenced by the discourse of verses from the Qur'an, the idea of existential unity of Ibn Arabi and aestheticism of Ahmad Ghazzali. In Qalandari, he is under the influence of the legacy of Sana'i and Attar. The most basic Iraqi confrontational point of view is love-centered discourse against asceticism. Due to the passive nature of his language and expression, this orientation has worked to stabilize the structure of the ruling power institution.

Over the tenth and mid twelfth Century, Persian prose experienced a noticeable transformation toward being degraded and inferior. Meanwhile, AbulFazl Allami, being the first to address the issue, began to reform and change the style of prose. He was aware of the Persian language and works of predecessors and, accordingly, got away from Safavi prose. Precisely, he had shifted to Iraqi style and created an innovative format called AbulFazl’s style". The Current paper aims at investigating Allami’s style and his prominent and frequent features via layered stylistics at five levels comprising; phonetic, lexical, syntactic, rhetorical, and intellectual. Having in mind that possessing a mixture of old and new features is one of the most important Characteristics in Iraqi style, Abulfazl's style is a combination of technical and simple prose, considering the predominance of simple prose. His avoidance in using secretarial tasks and artifices in phonetic and rhetorical levels has made his prose simple, and it is quite noticeable that the only weakness of his composition is the dominance of some grammatical defects in some points of his prose which was related to this period. From the intellectual point of view, the ideology of total peace, as the intellectual color of the correspondence, can be referred to as a decisive aspect to his prose. This intellectual feature, alongside Persianism and lexical combinations, which is the main feature of Allami’s prose, has made his prose unique. Therefore, Abulfazl's style can be characterized as a new thinking style and distinct from the existing style of the era. </em>This article, by presenting the reflection of the Alsat verse in the book Fiehmafieh, by showing some of the key topics associated with this one in the mentioned book, explains the difference in the style of this work with the Masnavi Ma'navi and Diwan Shams.

Evolutions and their reflection in aspects of the society are as pivots of the system moved parallelly, from ancient time, political and social evolutions in society have reflected nearly in culture and literature of society. The modern era started in Iran since constitutional era (awakening era), in addition to political area and sovereignty, it manifested in literature of the Iran in that time. Some of poets who played a role of undertaker and didn’t ignore problems, deficiencies and today’s issues; they looked forward to systematic and influential innovations in development of literary modernity in Iran. Poets knew new horizons opened for audiences of this era and they believed evolution and literary modernity due to disconformities existed in ancient literature and modern perspectives. In the modern era, they knew Saadi (Saadi’s works) as a complete representative of the Persian ancient literature; therefore, we witness criticism and biases to great extent against his works and thoughts. We have analyzed reader’s reactions toward Saadi’s works and thoughts by Hans Robert Jauss’s Horizon of Expectation theory who is one of the founder of the school of reader-centered criticism. Therefore, in each era, the audiences’ horizon of expectation changes in society with regard to status que in the society and the most important reason of the literary isolation in Saadi’s works (Saadi’s sonnets) in modern era is the same disconformity of the audiences’ horizon of expectation with Saadi's works and thoughts.

The most important message of Hafez and his deliberation is rogue (Rendy) and fighting against rulers who behave with hypocrisy. The language of an artist Rend in fighting against hypocrisy has two characteristics which are pun and irony. Sarcasm (or Tahkkomiyeh) metaphor is one of the necessary and effective tools and methods to generate irony. In this essay, in order to epic the importance of being precise in the coherence of Hafez's sonnets, we have been meticulous in the regular system of words and meanings and their geometric fit in creating the sarcasm metaphor. In many cases that Hafez explainers voted for mystical aspects of his poems is for the lack of attention to this point of Hafez sonnets, while by paying attention to the usage of Sarcasm metaphor will find that it has no common point with mystical ideas and it is rather a rogue utterance to criticize the group of Sufis. When Sufis, Ascetics, Preachers, Sheikhs, Mohtaseb and those in power abuse their positions, and due to the preaching power and sacred levers at their disposal, it is not possible to confront them and warn the people in a normal way, the poet uses this method to criticize effectively their way of manner.

One of the most important sources of knowledge of ancient Iranian proverbs is the books of Arabic proverbs, especially the books whose authors were Iranian. In this regard, two books have a prominent position in terms of references to ancient Persian proverbs: one, Al-Akhmool-e-Sadarah-on Bayot-e-Shaar by Abu Hamza Esfahani (died: before 360), the seventh chapter of which is "Fi Abyat-e-Zat-e-Akhmool-e-Manqula-i Min-Al-Farisiyah" To the Arabic".