مجله پژوهش های ادب عرفانی (گوهر گویا)
پیاپی 3 (پاییز 1386)

Title is a kind of proper name indicating praise or revilement. It thus, functions like a noun in introducing semantic properties about people, occupations, etc. Its usage is as old as that of the name. According to Nakhjavani the entitlement has been a part and parcel of the Persian dynasties’ rite and was not common among the Arabs. Historically speaking, One can see that the official titles bestowed upon people are more or less compounds i.e, they are formed by using words such as “Din”(religion), “dowlat”(state), “molk” (kingdom), “Saltanat” (monarchy), “Mellat” (nation), etc. The entitlement has lost its dignity and proper status through the passage of time. In Ghajar period, for example, the entitlement had simply a commercial function. The following article aims at a historico-structural analysis of titles.

This article deals with a survey of authenticity of two words "fīl" (elephant) and "šotor" (camel), in the story of "Mard-e dar čâh" (A man within well) in two texts Nasr-ol-lâh-e Monšī's Kalīla wa Dīmna (Sixth century A.H) & Sanâīy-ye Qaznavī's Hadīqa-tol-Haqīqa (Sixth century A.H). Although Late Modarres Razavī studied this case in Ta’līqât-e Hadīqa, we are to complete his work. Thus, in what follows, we are to make use of different versions of these texts Belawhar wa Būzâsf, Kalīla wa Dīmna, Mahabharata. The word “elephant” has been quoted in texts which have been written before Monšī's Kalīla wa Dīmna & Sanâīy's Hadīqa-tol-Haqīqa. While these two texts, both, have mentioned “camel”, in our opinion, Nasr-ol-lâh-e Monšī follow Sanâīy's example.

Rozat-Al-nazer- o- Nozhat-Al-khater is an ancient and precious anthology which consists of the best and the most beautiful selection of the Persian and Arab poems up to the 7th century(lunar year) which has been collected and edited by Ezz-Al-Din Abd-Al-Aziz e Kashi, one of the authors and poets of the late 7th and early 8th century.The selected poems show that the author had a good proficiency in Arabic and non-Arabic literature and had access to great Divans. In this article, while introducing the ancient manuscripts and analyzing the stylistic characteristics of the author, we have clarified and interpreted the points below: 1. The author has presented the verses of great poets not available in their present poetical works thus Rozat-Al-Nazer is a credible text which could be an aid to complete some poetical works. 2. This anthology introduces several unknown poets who Hafez and some other poets after the 7th century were under their influence. 3. In this collection we come across some poets of Persian and Arabic literature who are still unknown and introducing and publishing their poems might bedeck the brilliant papers of Persian literature. 4. Rozat-Al-Nazer is a credible text worth considering in the field of contrastive literature and common Persian and Arabic contents.

Like metaphor, metonymy, and elegy, symbol is being used as a device for making an Act more fair, deep and effective in its structure, subject and themes and helps the writer to keep himself away from despotic Government censorship and shows his/her emotional feelings, as well. Simin Daneshvar has employed symbols in her novels: “Sawvashoon”(Syavash mourning), ”Jazire sargardani”(Suspense island) and “Sareban sargardan”(Wandering camel-driver) repeatedly. Despite the fact that these novels may seem realistic, they are full of a variety symbolic words, comments, images, adventures, and characters. This essay tries to study and analyze the different dimensions and types of Daneshvar’s symbolization and its causes, intentions and motives in her novels.

Marxist coup-detat (1357/1998) in Afghanistan is the origin of the literary changes in this country within the last decades. The coup-detat, which accompanied by severe public resistance, the entering of the (late Soviet Union) Red-army and the emergence of war in the Afghanistan paved the way for the emigration of the Afghan people, writers and poets to the other foreign countries especially to the neighboring countries. Due to the very close cultural linguistic and religious proximity between the two nations, Iran hosted a large groups of Afghan emigrant poets who gradually founded and developed the Afghanistan emigration poetry in Iran. Considering the content of these poems, Afghanistan emigration poetry has greatly been affected by the Iranian poets, revolutionary poetry of the Holy Defense, and the (Imposed – war) resistance poetry. mAfghanistan emigration also consists of interesting features in terms of both from and aesthetic aspects. The present paper attempts to investigate and analyse these features as well as its form and content changes within the last decades in Iran.

Since ancient times, man has mostly had inclination towards mythical narratives and archetypes. Therefore, he usually has transferred historical characters and events to the field of myth, epic and legend (mythopoeia from history). Imam Ali, in Iranian culture and literature, probably is the best example of transforming a historical character to an equivalent mythical /fictional personage. Due to this fact, his well-known sword, Dholfagâr, also has been described through legendary features among which are: 1. Divine origin 2. Having two blades 3. Heaviness 4. Inherited armour 5. Transformation 6. Power of cutting 7. Speaking 8. Being elongated and shortened 9. Remaining of enemieś blood on Dholfagâr 10. Being thrown into the sea.

The King and maiden is the first story in the Mathnavi and Mawlavi's first word after the symbolic adventures of the Groan and Letter of Flute. It is most likely to be one of the most serious stories of the Mathnavi due to the spatial and temporal affinity with the Flute Letter. Whatever Mawlavi intends to put forth in his Mathnavi has been declared apriorily in the Flute Letter. Moreover, the principles and opinions pertaining to world perspective, physical and spiritual experiences and the adventure of the accommodation of spirit in the human's body have been stated in a symbolic story. In this study, some reasons have been put forward to prove the essence of its symbolic nature, which is doubted by some researchers, while the story is being analyzed. Besides some of the Mawlavi's views realized in the story have been mentioned.

Adib-ol-Mamâlek Farâhâni is one of the Constitutional Revolution Period’s poets. There is an ode (qasida) in his Divan in which one could find a wrong record in one of the couplets. The couplet is: Goftâr -e marâ yâfe mapendâr ke az sedq Goftâr -e man ey shâh cho goftâr -e jozâm ast. This article shows on the basis of testimonies from Arabic and Persian proverbs and literature, that goftâr -e Hazâm is correct for goftâr -e jozâm.

The 'Al Emla-fi-eshkalat el- Ehya' is an unknown book belonging to Ghazzali, in which he has explained some of the terms existing in Ehya-ol-Olum. In this book, he has also explained some mystical terms. Also Ibn-e-Arabi’s writing, that is, Fotuhat-al-Makkieeh has entered in the- so called- field of lexicography. This was owing to the fact that such a kind of attitude toward “Fotuhat-al-Makkieeh” had forced him to extract, arrange, and subsequently describe some of the terms. Consequently, Both Gazzali and Ibn-e-Arabi came to field of lexicography through writing their books. In this research, these books are considered according to their lexicographical features.

A very precious collection containing 209 works, written both in verse and prose, both long and short, compiled and written in 720 to 723 (lunar year) by Abo-l-Majd Mohammad-Ibne-Masood-e-Tabrizi, one of the scholars of Tabriz, has been recently possessed by Islamic Parliament and fortunately a facsimile edition of that was published after a short time, and could, in this way, delight the scholars and researchers. Some of the works in this collection were not acknowledged at all in recent years, and some others were known, but sometimes this edition seems to be more reliable and more accurate There are also some works in this collection which are not attributed to those who have been considered the author of those works until now. In this essay, the writer describes this collection first, and then discusses about "Gol-o-Mol Dialogue" (one of the eleven dialogues of this collection) which is attributed to "Seraj-e-Ghomri", the gifted poet of seventh century, and inspects whether the attribution of this collection to "Ghomri" is correct or not.