نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 15 (پاییز و زمستان 1386)

In composing Masnavi and formidable sonnets, Mulana used new terms and compounds which have rendered fresh meanings to his poetry. A group of them can be categorized in collection of new Persian terms, and the others in proverbs, irony and symbols. One of these terms which can be found in his metaphorical language is ladder that takes the form of a symbol. He used it not only to make new compounds that brought about a new joyful atmosphere to highten Persian language but also to make a means to reach the kingdom of Almighty. The present article aims at the usage of the term ladder in religious books such as the Quran and the Holy Book. Later, it proves that ladder is a religious and transcendental symbol of Iranian, Islamic and world Languages. To support the argument the compounds made in pre_Mulavi`s poetry will be considered. by referring to Amsal – al – Hekam examples of these compounds will be shown with particular indication to the poetrty of Attar and Sanaee. Finally, the metaphorical and symbolical usage of the term in Masnavi and Shams` sonnets will be examined.

Literary researchers and critics have long been obsessed with the discussions on eloquence and rhetorics of various textual structures such as lexical, syntactic, rhetoric structures, and so on. The point is that the speech should be stated to the addressee in its most eloquent form and away from any ambiguities to the possible extent. Contemporarily, many critics have taken an interest in the issue of ambiguity in literature and studied it in the different areas of literature, especially semantics. Reviewing the issues of eloquence and rhetorics in Persian literature and investigating the perspectives of the contemporary researchers on ambiguity are what the current research studies. The ambiguities occurring through rhetorical structures, particularly simile, are shown while citing instances. The study reveals that many of the ambiguities of the rhetorical structure of the contemporary poetry result from the ambiguity in the structures of similes.

Among succesful studies expounding the mechanism of narratives, one can mention Todorov`s method of analysis in studing folktales. First, on the basis of logical relationship of structural units, he differentiates between two kinds of narration: methological narration and ideological narration. By describing the features of mythological narration, he has attended to this narratology from different aspects. by discovering the structure of this kind of narration Todorov has put forward his global grammer theory. This article, besides describing the features of mythological and ideological narration, studies the kind of narratology of Haft peikar from this point of view. It is evident that the determination of the kind of narration. is an introduction to discovering the structure of the work and its effective application. so first I will explain Todorov`s theory. Then, besides explaining the feature of narration types, I study Haft peikar.Finally, the type of Haft peikar narratology will be presented.

Lyric is one of the most extensive literary genres. This field is the extended Persian lyric poetry and the continuation of iambic verse. Associating narrative with poetry and presenting it in the form of couplet poem and creating masterpieces such as Nezami's Khamseh and Vis and Ramin made this field flourish.Bahram and Golandam is one of the lyrics that a poet named Aminoddin Mohammad with the pen name Safi from Sabzevar has recited in ninth and tenth centuries. The verse has been attributed to Shamsoddin Katebi Neyshaboori in some sources. In this article, the relation is rejected and after the account of the narrative, the verses and the person that has recited it are introduced. We also consider briefly its narrative motifs.The objective of this article is to introduce one of the famous verses in the opinion of people so that the readers may understand its stylistic and linguistic values and also its plots.

Persian language has had relationship to Semitics before and after Islam in exchanging words and expressions. After Islam, Persian language has been related to Arabic and this relation has continued until the present day. Before Islam, this relation existed in some Semitic languages and flourished in Mesopotamia such as Chaldean, Assyrian, Bobylon, Syriac, Aramaic. From Achaemenian period, there are some remaining inscriptions on stones, but these inscriptions are without any signs of the Semitics. The reason for this may be that the language of these inscriptions had been formal and royal and the writers intended to use pure Persian language. In the manuscripts and inscriptions which have been left of Parthian and Sassanid periods, there are about one thousand words that are considered to be Aramaic or Syriac and called Hozvaresh. This term has been, for the first time, mentioned by Ibn al – Nadim in his compilation Al – Fihrist. In dialogues and every day speeches, we are sure that many or some Semitic words were used, About their characteristics and qualities, however, we do not know anything authentically. In the present Persian language, there are some words that somehow resemble Arabic words, but they are not Arabic, such as " afsoos" meaning; alas, near Arabic "asaf" and "ostovar" meaning; "solid" near Arabic " rasi" and also " faravan, meaning, plenty, near Arabic " mawfur" or " mutawaffir". In this article, I have tried to prove that such kind of words in modern Persian language have Semitic roots and somehow entered Persian during the periods preceeding Islam.

Abu-Novas, an Iranian poet, is one of the famous poets of the Abbasid reign. His collected poems represent an amalgam of his contemporary cultures particularly Iranian culture to the point that they may be regarded as the main representative of the Iranian history and culture in the 2nd century A.H. This issue is mainly evident in his carousing poems in which he is free to go beyond the limits imposed on him such as the necessity for praising the Caliphs, writing whatever he likes. In such poems, he protests against the old Arabic traditions and prides since he was proud of being an Iranian poet. Some aspects of the Aryan race are manifested through descriptions of his companions, the most important of which are freedom of spirit, honesty, modesty and wisdom.

People have been familiar with sonnets since Ignorance Age and they have left behind a a number good poems. Sonnet age was a means in ignorance not an end and had corporeal aspects but sonnets ahained. independence in the Islamic period.They were not a means as before but were an end with a specific purpose. The new religion and the Quran affected the development of sonnets. Poems in this period. were pure and appeared to be common between the nomads who lived in slums. Poverty and destitution purified. the spirits and language of people. But civil sonnts were to the cities where civilized people were living in ease and comfort. The most famous sonneteers were Gheys ben Almeloh (Majnoon), Jamil Bothneya, Kaseer Azeh, Orvah, and Tobah.