پژوهشنامه ادب غنایی
پیاپی 10 (بهار و تابستان 1387)

In this article we will discuss the internal structure and the mode of syntactic derivation of the verbal phrase core in Persian language based on the minimalist program which itself is derived from ‘Chomsky’s theory 1995’ The core verbal groups of Persian language keeping in view the transitive and intransitive nature of core words from which several other words can be formed. In this research we will be discussing the derivational structure of the core verbal groups which come at the end of a sentence or in between a paragraph. There are certain particular syntactical groups of this functional language which are involved and help in making convergent derivations for example Guzinish {select(tion)}, Idgham {merge(er)}, Asle Haste {Headedness, Principle}, Rabiteye Mutamim {complementhood} and Rabiteye Tatai {thematic relation}. Moreover it will be indicated that while making the core verbal groups of the Persian language – the relation of the core – the core of the transitive verbal words and the core structure of the complementary group of nouns and prepositions is different from that of the clausal complement.

In this article Furughe Farrukhzad’s music of poetry is discussed with a stylistic perspective. Keeping in view that being natural is the fundamental component of all her poetic elements. In addition to this music is illustrated and intertwined in a natural and tangible way throughout her poetry. Moreover in this article the prominence and the distinction of the external components and the role of rhyme and prosodic schemesof her poetry which work as the pillars of musicality and are the prominent characteristics of internal music especially created by repetation will be also discussed.

This research is about the conceptual relationship between words. The conceptual relationship gives rise to many kinds of relations which in the meaningful system of language are words which in the beginning seem to be autonomous but actually while functioning there is a tightly packed relation between them. Considerable research has taken place regarding the number of relations and there extension. In this research with the help of semantic associational mental test it is tried to identify the most frequent conceptual relation between some Persian words. The findings of this research show that hierarchical relations (including semantic) functional relations, semantic comparison and words with similar meanings have focused on more than hundred connecting words in the data of the present research.

Undoubtedly Nima is an eminent poet of contemporary persian poetry whose name shines as a jewel in the crown of modern poetry.The contemporary persian poetrydivided into three divisions known as ‘Sher e Nimai’, ‘Sipid’and ‘Mauj e Naw’continues in a stream like form in the field of contemporary literature. But Nima has a good number of supporters and it seems that he has reached the highest peak of the art of poetry. The question arises why and how this modern literary tradition instead of all the hardships made its way and continued. In this article we have tried to point out the secrecy of Nima’s everlasting poetry and his style which is universally accepted. Moreover the beauty and innovation in Nima’s poetry will be discussed.The fact is that Nima’s poetry is not only appreciated due to the long and short hemistiches or repeated rhyming words but it is admired due to the innovation brought in the theme and contents by him. The form and contents of Nima’s poetry move together and enlightens the mind of the reader.The innovative contents of Nima’s poetry will also be discussed in this article.

The attack of the lion on the cow in the tale Kalila and Dimna (Panchatantra) has a similarity with a few myths such as the Hindu Myth ‘Sooma and Mitra’, Mithraism myth ‘The cow and Mithra’, and the Zoroastrian myth ‘The cow and Satan’. These myths make us suggest that these tales were unintentionally present in the minds of their writers. The productive role of the lion and the cow have transferred the myths to the original characters of this tale. (productivity of fertility). The lion is the son and the cow is the greenery which without the powerful function of the sun cannot exists.

Poetry is the secret language of the heart and people have sensitive emotions.Poetry is a kind of alchemy in the spectrum of thought with a language having similes, metaphors, allegory, allusion, anagram, paradox, exaggeration, alliteration, homonymsand several other figures of speech, which together become the factor of beautifying it. By the help of the language a poet impresses and conveys his emotions to others. He selects the words from his word store case and arranges them in such a way that particular music occurs. It is obvious that the arrangement of these words creates music in poetry and harmony occurs between the words and the music. The allegorical and metaphorical meanings beautify poetry and makes it alluring. Harmony of words and music in all the Diwans have brought astonishing undulation whether an ode composed in the praise of Sultan Mahmood or whether composed in his mourn. The elegy for Mahmood Ghaznavi is a master piece composed by Farrukhi in Persian which is pictured in a gloomy atmosphere and is one of the most beautiful ode, where the innovative poet has sincerely shown his grief and sorrow for Mahmood.The poetic foresight of Farrukhi bringing harmony between the poetic meter and the contentsclearly shows his expertise in music. He while using different meters selected the musical terms and has brought them in his poetry such as: bang(call,cry), zar(loud), surood(song), sama’(ecstasy), shehnaz(kind of iranian music), ushaq(kind of Iranian music),nawa (melody), and by using the names of various musical instruments such as arghanun (kind of an rgan,spinet),barbat(lute),rabab(viol),zakhme(plectrum),zeer(high pitched),ghanoon(an old stringed instrument). He has also brought the names of the musicians of Mahmood’s court such as Bu Amr,Bu Nasr, and the names of the musicians who lived before him like Sargab, Sarkhash hame, and all other encyclopaedic. information which has been given in his poetry shows his knowledge of music. Farrukhi is such a capable poet who with the magnanimity of a virtuous poet criticises the government in his poetry. To soften the hearts of the rulers this innovative poet has used unusual meters believing that harshness could only be removed by using such coarse meters. But in vain, the stone hearts of the lauded rulers did not turn soft. Such an innovation is less found in Persian poetry.The ode composed by Farrukhi for Amir Yousuf is a witness to what is said. The intermixing of felicitation and condolence was accustomed before Farrukhi but no one can compete him in his literary skill.By using different Persian meters this rhetorician has left the other contemporary poets far behind and has shown excellent mastery in poetry. He has very nicely merged eloquence and music in poetry and in this way he has inspired the expert poet Sadi Shirazi to select short meters with a variety of topics.It can therefore be said that Farrukhi is the master to merge the contents with music

Undoubtedly the main objective of organizing the glorious convention in Sistan and Baluchistan is to know the great and eminent scholars of this region. Keeping in view the above mentioned point this article is an introduction of Malik Shah Hussain e Sistani and his literary works. Malik Shah Hussain was one of the Saffari Prince of Sistan. According to the Prince himself his ancestry goes back to Amru Laith Saffari.He lived in the second half of the tenth century and the first half of the eleventh century.Tazkira e Khair ul Bayan and the book Ahya ul Mulook are the two major works of Malik Shah Hussain. Tazkira e Khair ul Bayan is a general biography of all the scholars and poets from the ancient times till the author’s period. This Tazkira consists of a preface, two chapters and a conclusion. The concluding chapter is of much importance as it comprise the life histories of the authors contemporary’s. The book Ahya ul Mulook contains the introduction of great historical personalities from the ancient times till Malik shah Hussain’s period.This book consists of a preface, three chapters and a conclusion. The concluding part of this book is of more importance as all the events and incidents which are narrated by the author had occurred during his period therefore it seems to be more authentic. At the end of this article Malik Shah Hussain Sistani’s Diwan and his Mathnawi’s are introduced to the readers.

Due to some similarity among the tale The Blind Owl and the mental process specially due to the existence of individual exposure in this novel it may be imagined as some people think that this novel is an indeterminate mental process. The objective in writing this article is to introduce the mental process and inner individual exposure and a complete study of the novel The Blind Owl on the basisof its criterion. Concerning the mutual characteristics seen in the famous novels acquainted with the indeterminate mental situation, moreover keeping in view the definition given by scholars and knowledgeable people regarding this means it is tried to give an accurate explanation regarding the outstanding aspects of the novel, that a novel separates the mental process from the rest. Therefore, basing on such standards I have tried to study the novel The Blind Owl so that it could be clearly shown that this novel has not been written in an indeterminate mental situation.

Till now several books and articles have been written explaining the history of Isphahan,but throughout these works little has been written about the historical changes and the root of this word. The names of many geographical places are still unknown due to different narrations. We can easily find out the original names of many places with the help of the phonetic changes in their names. To write this article at first all the geographical text written by the pre Islamic or Islamic authors was collected, secondly the view of different German linguists regarding phonetic changes was gathered from different books available in the libraries. In the beginning of this article a brief history and the meaning of the word Isphahan is being given. This information is collected from different historical sources.Moreover the phonetic changes from the Indo European till the Modern Persian era in the two reconstructed words ‘Sipah’(army) and ‘Asb’(horse) have also been pointed out. As a conclusion it can be said that on the basis of the phonetic changes in the above mentioned words it is apprehended that the word Sepah is linked to Isphahan.

The art of the philosopher of Toos, his style and knowledge of language has given rise to one of the biggest and unique epic poems of the world Today it is due to this great work that we all are proud of ourselves and consider it as the enduring dignity of language and identity of the Iranian’s. Due to the outstanding discourse of the philosopher of Toos in Shahnama it is the use of allusion which on one hand is poetry and on the other is a painting. Allusion is an oral painting, which means that it glorifies the poetry to the height of a painting and it clearly delivers sense of the message. It is two dimensional and shows two different views. According to Sartar, Picasso always longed to make a match box which could also be a bat(Sartar 1352:21) In this article using this artful technique, the story of Rustam and Ashkboos is analyzed.