پژوهشنامه ادب غنایی
پیاپی 2 (بهار و تابستان 1383)

Iranian myths have had adventures full of ups and downs, wonderful and interesting to read; these myths have gone through many changes and developments since the beginning of Islamic era. One of these myths is Soroush. It has existed since before the Zoroaster period, then in Zoroastrianism, in the late Zoroastrianism, in Mani’s religion, in Zorvanism and also in different eras- from before the Mads until Sassanid era and thereafter- it has undergone many developments until the Sassanid era in which it turned into a strong and popular god whose strength and popularity has been increasing among the Zoroastrians. Besides, its name has been mentioned in the different genres of Persian Dari literature (epic, mystical, court, …). In this article we have tried to survey and discuss the adventures of this ancient god based on the most important evidences.

Djalal al-Din Muhammad Ibne Hossein Balkhi-e-Rumi was a mystic and an amorous man, who eradicated the filth of the world of senses with the light of mysticism, who led the dwellers of ignorance to the world of wonder. He composed the love parlance so that a tumult of knowledge arose from the souls. In this bereaved article, the endeavor is to express why the Indian Persian-speaking poets were under his influence. Therefore, after taking a glance over the works of others, as an instance Biqam-e- Biragi's poems are reviewed.

Tarqime or colophon which is referred to by modern scribes as “'anjame”, “payane” and “dastine” is one of the most important elements of a manuscript. If we simulate a manuscript to a human body, tarqime stands for the leg of it (i.e. the manuscript). Tarqime is a document or contract which introduces the geographical and cultural features of a manuscript. It is like a passport by the credit of which a manuscript can go everywhere at every time to every library round the world. We can release a manuscript from obscurity with the assistance of Tarqime. We can find the name of the scribe, the date and the place of the writing of the manuscript and the name of the patron. Millions of Persian manuscripts are kept in the libraries, lacking a date or Tarqime, without which they remain obscure. Therefore, we can say that Tarqime is crucial in showing the importance and value of the manuscript and scribism.

The parrot of India, Amir Yamin al-Din Ab-al- Hassan Khusraw Ibne Amir Seyf al-Din Mahmood, although known in Iran mostly as a poet, is a great musician, a historian, a mystic, a critic, a writer and a Persian- speaking poet, who is familiar, besides Persian, with Turkish, Arabic and Sanskrit, Brij Bahaka and Urdu languages. The testimony of his endurance in the world of poetry and art is the numerous works left after him. What is interesting in my view are the prose works such as: Afzal al-Favaid, Khazayen al-Fotooh, Rasail al-A’ajaz, The collection of Javahir- e- Khusrawi and the prologues of his poetical works. In the prologue of Qorrat al-Kamal he has a valuable discussion about criticism of poetry and one of the wonders of his work is that in this prologue after commenting about poetry and its critique and review and critique of Arabic poetry, he evaluates his own poetry and enumerates its weak and strong points. Few writers have dared to do so. Even most of the literary critics believe that the poems of a living poet cannot be criticized, and it is just after his death that we can judge about the language he has used. But Amir Khusraw with complete artistry and justice has expressed the weak and strong aspects of his own words, by which we can say he has done one of the most wonderful and difficult jobs and also one of the most daring and best critiques about poetry. This is the subject of the present article.

Any type of perfection in man, in human societies and, in general, in the world of creation results from patience and perseverance in hardships. Man’s involvement in sufferings and agonies and his patience and perseverance in them makes his soul powerful. Hence, in mysticism which is an endless spiritual revolution and journey toward absolute perfection, much attention is paid to the tolerance of hardships. One of these hardships is hunger. Patience in hunger is one of the important factors in the battle against the self. The mystical and spiritual status attained through patience in hunger will be discussed in this article.

Pashootan, the elder son of Goshtasb, is one of the great mythical men of our Iranian culture, who is eternal according to the tradition of Mazdeyasna a Zvar. He lives in Gang Dej, which in accordance to the narration of Bondhesh and Dinkart, is the origin of the resurrection of Iran. At the end of the millennium of Zoroaster, he will return to Iranshahr as a savior. In Shahnamih by Ferdowsi, Pashootan is one of the chosen of Goshtasb dynasty and here his sanctity is kept as in Zoroaster. But there is another narration in Bahman Namih by Iranshah Ibne Ab-al-Khair which says that the eternal and immortal Pashootan is killed by Banoo Goshasb who is Rustam’s daughter. However, it seems that the poet of Bahman Namih has not followed Zoroastrian tradition in collecting his story. Perhaps it is a convincing reason for the independent growth of epical narration from Zoroastrian religious centers.

In 1997 a collection of articles entitled "The Mawlavi Flute" was published in English in India. The review of one of those articles by an Englishman, Rasih Quven is the subject of the present article. Throughout his article he claims that Shams-e-Tabriz was originally an Indian and he tries to prove it according to some evidences. In this article, while mentioning his reasons, I will present the necessary critique for his opinion and I will try to mention all the pros and cons of the article.

The aim of this article is the study of the effect of the nucleus vowel on the selection of consonant clusters in the coda of cvcc syllables in Persian. Therefore, the words with cvcc syllable in their structure have been looked up in Persian dictionaries. This research is going to study the phonotactic dimension of phonology. Some of the results of this research are as follows: 1. When consonants with the feature of [+obstruent] in cvcc syllable, are placed in the coda after the [a, i, u], both of the consonants have the feature [-voice]. For example: بيست [bist]; ريخت [rixt]; ساخت [sâxt]; بافت [bâft]; گوشت [gÛʃt]; پوست [pÛst]. 2. Whenever one of the vowels of [a, i, u] is the nucleus of cvcc syllables, glottalic consonants do not appear in the coda. While one of the vowels of [a, e, o] exists in the nucleus, glottalic consonants [h, ʔ] can be selected in the clusters of coda. 3. The existence of one of [a, i, u] vowels in the nucleus of cvcc, removes the application of glide consonants [j, w] in the coda. 4. Sonority hierarchy principle will be observed with the vowels of [a, i, u] as nucleus and cannot be appropriately observed when the vowels of [a, e, o] are the nucleus in cvcc syllables. These results show that the vowels in Persian can be classified as two natural groups from the phonotactic point of view.

Djalal-al-Din Muhammad Mawlavi in his Masnavi makes use of the tale form to express the grand mystical learnings. The source for his didactic tales was Attar-e-Neishabouri’s works with whom he was acquainted from early childhood. Their meeting in Neishabour and the granting of Asrar Namih by Attar to him is well-known. In this article the endeavor is to introduce some of the tales of Masnavi which are somehow related to and are directly or indirectly derived from Attar’s mystical works.

This article bearing the title “This Masnavi Was Postponed for Sometime” surveys and analyzes the accounts and topics which deal with the initiation of the second book and illustrates the falsity or weakness of their reasoning according to historical accounts and poems in Masnavi. Then it expresses its own opinion based on historical documents and poems in Masnavi. Herein the effort is to deal with the viewpoints chronologically.

Farrokhi Yazdi is a bereaved man who sacrificed himself for the cause of freedom and independence and illuminated the light of liberty with tenderness. The antagonism he felt toward injustice and the original source of his expression is indebted to the people of a city renowned from ancient times as “Dar al-Ibadah”- place of worship- and to a culture originated in Islam and Iran. In the present article, an attempt has been made to depict religious aspects of Farrokhi’s poetry as well as to introduce their limpid sources. Thereby, some concepts like Theology, The Day of Judgment, Paying Attention to Men of God, Quranic Learnings, and Religious Ethics have been discussed. The writer of this article concludes that although the aforementioned ideas have not been Farrokhi’s main concerns of thought, and they have not appeared in his mind and work consciously and abundantly, they are- though few in number- indicating a familiar culture which has inspired and inseminated his thought.

The formation of human societies has gone through a layered method. In social sciences they use the term stratification to describe the inequalities and the unjust distributions of rare values among the people of a society. The sociological aspect of literature, despite the well-based Persian literature, is new, nevertheless the sociological researches of literature seem to be essential; one of those deals with the content analysis of literary works, including: extraction, classification, social, political, cultural and historical concepts of literary works. The methodology of this text is documentary and content analysis. The extracted layers in the collection of the authors in question have been discussed to represent the stratification of Iran and Gilan during Qajar and Pahlavi dynasty and to reflect the absence of the satirical genre in the sociological history of these eras.