پژوهشنامه ادبیات تعلیمی
پیاپی 1 (بهار 1388)

Professor Badiolzaman Foruzanfar is considered to be one of the great researchers in the field of Molana jala ledineroumi: part of his research is related to the literary critisicm which has put him as a pioneer in this area. His book ‘words and eloquents, has’ special prestige in the literary criticism. This book is one of the first academic formulated book in Farsi. Paying attention to the critique values of this book can reveal some of the histroricel background in the field of literary criticism in Iran. The book contains both researches and literary talent. This work shows how professor made use of old manuscript verses Divan at hand to open up new horizon for the researchers enthusiasts. This book written at a time when the literary critisicm was filled with wordy explanation and composithion like style. Foruzanfar in his book focus the attention of researchers to the need for the revision and critical publicathion of the old Divans. Selection of poets in the ‘words and eloquents’ as classical poets and movement – makers in the history put this book as one of the first selected books in the Persian literatures. Finally, it should be mentioned that this book is one of the first literary critisicms in the Persian literature.

Mohammad Ibn Jarire al Tabari is the great historiand and commentator in the third century. Tabari followed special style in his writing. For example like most historians and commentators in the news about prophets and races of the past specially what has been mentioned in the Koran, Tabari relyed on narratives of Jews and Nasari which some led to weaknesses in his writing. Taberi for the first time in the his history of Islamic in an atmosphier in which some groups were contradict with commentary and other groups consider commentataory allowable on the condition that it was based on prophet helpers and propletic commentaryies gave a complete commentary of Koran based on the narratives.Although the translations based on Tabri’s works are quite different its literary value and aestethic aspect can not be ignored.

Numerous achievements of the works and researches by orientalists in various fields of science, culture, literature and art of Iran clearly express the fact that from the ancient time till the recent centuries Iran has been regarded as a cradle of culture and civilization, and one of the few civilizations of the ancient world. Herzfeld says: “Iran has been the focus of prehistory civilization”, and based upon the testimony of those archaeologists and excavators who have excavated the historical sites, the Iranians initiated creation of artistic and industrial works during ancient time and even before the Achaemenian period. At present which national identity is weakening spontaneously and unwantedly, and which all the nations are forced to follow globalization policy of the superpowers, it is must to safeguard national identity. As the most important components of our identity formed by geographical, racial, ethnic, cultural, linguistic, religious, literary, and art attachments we have to spare no effort to safeguard them chiefly the language which plays a significant role among the other elements, because language is a key-factor in exchange of culture. Language and literature of any society is regarded as basis of thought and mirror of history of that society. In the history, the Iranian dynamic and permanent art in its various dimensions and backgrounds has always brought about our joviality and pride so that we are also commited to preserve its different manifestations as the components of our identity. Our earlier artists never forgot their national heritage and made a serious attempt to elevate it. It is quite right that the manifestations of our artistic identity are so various and expanded that today, by taking into account the genuine sources of our identity we will be able to rebuild our genuine and vernacular identity as a source of pride.

Saebetabrizi is one of the brilliant and famous Persian poets in Indian style. During his long journey to Indea,he gained deep insight into Indean culture. Moreover through his fruitful life, he probed deeply into Farsi Diavans of Indean and Persian poets. By synthetizing these two nobel cultures, He compiled a large number of concepts pertaining to human valuse and benefited from them in his poetry. Therefore Saeb’s Divan, from one perspective, is considered to be the essence of these two cultures. In this article some evidence has been presented to confirm the synthetizing cultures of India and Iran in saeb’s Divan.

Paying attention to the intellect and wisdom at the outset of islam for understanding the koran and the narratives was presented to the people. This presentation was in such a way that Islam was equal to rationality and pagan was equal to irrationality. The effect of this thought was so obvious in the verses of the early poets of the persiaen literatures like ferdousi and Naser khosrou that the praise of intellect was one of the movties in their verses. Due to religious diversities and the advent of the speech schools, especially ofter the appearance of Abolhasan Ashari in the third century and the establishment of this thought by the militants in the fifith century, the arguments against rationanily started.The effect of this thought with the appearance of Sanai became obvious in the Persian literature. After that irrationality became one of the themes in the poetry and intellection became the biggest rival for the love, this thought was dominant for several years in such a way that the attempts of philosophers like Molla Sadra, in the subject of the supreme philosphy, or writers like saenaldin Ali torkeh couldnt eradicate such thoughts entirely.

Experts in the persian language consider saadi’s Gazal as one of the masterpieces in the Persian literatures, the Gazals of saadi’s Divan has revised and published several times. One of the revison in 1385 A.H. sixteen years after the death of Yousefi, published. This book was under the title of saadi’s Gazal revision and comments by gholam Hosein yusufi. This revision which has been done with the help of Parviz Atabaki is quite different from Mohammad Aali Foroughi’s revision. Howerer, many of these differences havn’t been presented in the revision. while foroughi’s revision has been one of the source for the revision, Gholam Hosein yusufi has published Boostan and Golestan in the years 1359, 1363 A.H, namely before the revision of Saadi’s Gazals. Despite of these facts, from quality point of view his latter work is not as equal as the former one. In this article Some differences of saadi’s Gazals in foroughi and yusufi's revision have been compared and contrasted.

The goal of the present article is to study the different form of the multiply figurative speeches in the Persian poetry. The attempt is to classify the of figurative speeches. The methodology in this paper is library research and the obtained results is presented analytically and descriptively.Multiply figurative speeches are the rare form of the figurative speech in which one figurative speech is combined with the amother but with a new adornment and form a new one. Based of this analysis multiply figurative speeches are divided into two forms. a)The combination of two figurative speeches with each other. That is of two kinds combination of one figurative speech with itself. like metaphore to metaphore which is divided into three forms. Metaphore to metaphore in stipulated metaphore metaphore to metaphore in the covered metaphore. Finally the combination of the stipulated metaphore with the covered one. Simili to simili, allusion to allusion, and allegory to allegory. The combination of one figurative with another like simili after metaphore, metaphore to simili, allusion to simili and etc…b)The combination of one Figurative speech with a new adornment, like metaphore to ambiguty, in the simili. c)Before studying these figurative speeches in the Persian literatures, I have analysed them from aesthetic point of view based on different theories.

Freedom is an innate need which is a salient feature of human being. Mankind is created free as it cited in Imam Ali’s spcech: Don’t be slave, God has created you freely. The reflection of this feature has been in the Persian literatures long ago, this thought has been presented in the early Persian literatures till the present himes in different ways. In this article I have tried to analyze and follow this sabject matter in the Persian literatures, I have come to the conclusion that freedom has three distinctive meanings in the Persian literatures.The first meaning is in the early poets such as Naser khosrou, Masoude Sad, and khaghani. It refers to the releasing from prisons and abstacles towhich free humans for difherent reasons are involved. In his respect, poets such as Masoude Sad and khaghani and in the recent times lecturers like Malekolshoarabahar and Faroukhi Yazd, have verses under the title of ' imprisonment that at the present times, they are known as prison literatures. The second meaning is in the mystical contexts and refers to the setting free from materialistic obstacles to which human spirits are involved. These materialistic obstacles restrain human spirits to reach to their highest level of the spirituality. Body, time, place, sensual pleasures, ambitious, celebrity, etc… are all obstacles which restrain human spirit these obstacles are Presented through frameworks of novels, anecdotes, allegories etc….The third meaning hasn’t any record in our ancient literatures. It has been started from Mashroutiyat period till the present times. Poets and writers like Mirzadeh eshghi, Nasimeshomal (Seyyed Ashrafodin Gilani) faroukhi yazdi, Malekolshoarabahar, Dehkhoda and the likes have made use of it in their works.