مجله زبان و ادبیات فارسی
سال هشتم شماره 1 (بهار 1390)

Hakim Falaki Shervani is a great sixth century poet of Azarbaijan. He uses Koranic stories and concepts in his poems in different ways. This has given his poetry a special subtlety and spirituality. A brief study of his poetry shows his attitude to the Koran and his attention to Koranic concepts. Due to the spread of religious sciences and dominance of religious morality in the sixth century, poets and authors used religious and Koranic concepts and allusions in their works; Falaki was one of them. In this article, the poems with Koranic references are presented first, and then the exact verse, the chapter number, and other details will be mentioned.

Fathollah Khan Sheybani is one of the great poets and writers of thirteenth and fourteenth centuries (A.H.), who abandoned the Indian literary style because of its abstruse metaphors and allegories and adopted the Khorasani and Iraqi styles. He was at the imperial court of the Qajar dynasty (Mohammad Shah, Nasseroddin Shah, and Mozaffaroddin Shah).Sheybani has numerous works including Bayanat-e-Sheybani, Ganj-e-Gohar, Masoodnameh, Fath-o-Zafar, Kamraniyyeh, Dorj-e-Dorar,Yousefiyyeh,Tongs-e-Shekar, etc. He was dexterous and conversant in prose and verse and authored his works masterfully.By lineage he was originally from Bani sheyban Arab tribes; hence, he used Sheybani as his pseudonym. At the age of sixteen, he was summoned to serve in Mohammad shah Qajar's court. The King sensed his gift and selected him as one of the court’s special servants. This proficient man of art experienced many ups and downs in his life. This article attempts to reveal some angles of his life.

The sage of Ganjeh believes that love is the basis of all creation and that loveless life is in fact death. Love, in his view, is an elixir that polishes the mind’s mirror and consists of different Kinds: mystic, physical, pure, and maternal. Mystic love is over and above the other kinds. This pure love is a splendid example of the unity of the lover and the beloved, since, unlike physical love, it never speaks of the facial beauties of the beloved. Archimede's love of a Chinese maid, which took him away from Aristotle’s classes, was of the physical type.Nezami speaks of pure love, the basic principle of which is secrecy, confidentiality, and chastity. The lovers’ chastity was the sole cause of their separation. Such lovers bear the pains of love and are ready to die; they are in fact martyrs.Another kind of pure love is maternal love, an innate love that remains intact evens years after the death of the beloved. Women in Khamseh are unique in beauty and love; they have beautiful and enchanting faces and hearts, yet they are still deprived of their basic right to choose their spouses. Their marriages were forced upon them, arranged politically, or were done according to a will. Only in a few cases, they married with love and desire.

Sheikh Ahmad Jaam Jendehpil (536-440A. H.) is considered to be one of the most complicated and ambiguous figures of literature and mysticism in Khorasan and Iran. The existence of various statuses and legendary stories about his life and his personality has caused the reality of his life to remain shrouded and hidden in ambiguities.Based on two documented stories, the present article tries to study and analyze an important part of his life and personality.

Current aesthetic criticism, which is based on non-standard language and its overt and covert structures and functions, is relatively new. Its origin goes back to the era of formalism, which valued the role of language in creating beauty in a literary work. An aesthetic critic does his best to study the quantity and quality of the pleasurableness of a work of art. Since beauty is the origin of pleasure, the approach to aestheticism is to focus on the idea of pleasure.The present article tries to embark on an aesthetic review of the story of Zaal and Roodabeh, taking into account the current status of this Kind of literary criticism in the realm of language and literature.In this story, there are parts that are beautiful in language and high in aesthetic values. This story is replete with figurative features, such as simile, metaphor, trope, and kenning. Ferdowsi’s conscious approach to the magic effects of language to make ideas and thoughts eternal is certainly to be acknowledged and praised.

Roodaki`s famous ode "The Tooth" is one of the famous and long lasting odes in Persian literature, which is in fact a versed biography of Roodaki in thirty four distitches and reflects many of the literary and historical realities of the Samanid era. In this article, the author presents his stylistic interpretations of this ode, remarking that poets, from Amir Moezzi to Master Bahar and to Dr Shamisa (contemporary), welcomed this ode whenever they were in the same old age situation as Roodaki was.

Escaping syntactic norms is one of the most difficult techniques that poets have exploited to remove the dust of familiarity from the language of poetry. This article studies this norm deviation in the poetic language of Mehdi Akhavan Saless and Ahmad Shamlou, both of whom were Nima’s pupils and are regarded as leading contemporary poets.

A branch of satirical literature, Parody is an indirect way to express social criticism. In addition to having the audience smile, it reveals the author’s critical views in the form of a caricature of words. Among the existing parodies, Nezam Qari's parody is a revolution in mystic poetry. He revolutionizes the language of mysticism and the new structure of social language. A satirist with his own style and insight, he has made parodies based on his understanding of the essence and morality of his time. His parodies constitute a satirical strategy and introduce a social goal followed masterfully in every distich. The words of his poetry seem to be a collection of non-structures. In fact, this is his satire: a reflection of social conflict.

Idris Badlisi (856_ 926 A.H.) was a famous scribe, historian, and scientist of the ninth and early tenth Hegira centuries, contemporary with Sultan Yaqoob Aq Quyunloo, Iranian Shah Esmail Safavi, Sultan Bayazid II, the early government of Sultan Saleem I in the Ottoman Empire. His most important and renowned work is H, a book about the Ottoman history.Following the style and literature of works, such as Tarikh-e-Jahangosha by Atamalek joveini, Tarikh-e-Vassaf by Vassaf al-Hazara, Tarikh-e-Moeeni by Moeen al-Din Yazdi, and Tarikh-e-Zafarnameh Teimoori by Mowlana Sharaf al-Din Ali Yazdi, Hasht Behesht has a technical and artificial prose. This work includes biographies of the first eight Ottoman kings, beginning with Othman Beig Ghazi and ending with Sultan Bayazid II and Yavooz Sultan saleem. The present article tries to introduce this work, its author, and a few manuscripts.

A myth is a right holy story that has occurred in the time immemorial and explains why something was created, exists, and will perish in a symbolic, imaginative, and whimsical way. A myth is a symbolic way to discover the existence. In Zoroastrianism, there are two types of calendars: ancient Avestan and modern Avestan. The ancient Arestan calendar divides the year into six unequal parts (gah). Festivals called gahanbars (proper seasons) indicate the border lines. The first gahanbar is called Maidyozarem, when the sky was created. The second is called Maidyoshahem, when water was created. Paitishahem is the third gahanbar, celebrating the day when the earth was created. Plant was created in the fourth gahanbar, called Ayathrem. The fifth gahanbar, Maidyarem, is dedicated to the creation of animals. In the sixth gahanbar, Hamaspathmaidyem, man (kiyumars) was created. The seventh phenomenon created was fire. Modern Avestan calendar was the formal Sassanid calendar, which divided the year into twelve months of thirty days with five extra days, totaling 365 days. The present article studies the gahanbars and the relevant phenomena.

The Koran is a strong and stable text, replete with literary beauties. Rhetorical techniques and methods are eloquently used in the context of its chapters and verses. In this article, examples of rhetorics in the Koran have been identified through a rational system and have been examined against the works and views of Islamic scientists. The main purpose has been to familiarize researches and scholars with the beauties of the Koran so that they can understand their deep meanings.This original study is a qualitative-descriptive research. The population includes all the verses; the sample consists of the verses in which rhetorical examples are significant. The research started with the reading of every single verse and the topic-related library resources. Rhetorical instances were extracted, written on note cards, and analyzed.According to the findings of this research, it was concluded that most figures of speech in the Koran primarily include rhyme, pun, repetition, and epanorthosis, and secondarily consist of commitment, antimetabole, balance, crossed rhyme, symploce, and metathesis. Also, the organization of the text is based on the combination method of words and expressions and the stability and consistency of discourse originating from the natural use of these figures in the verses. This is why the Koran is eloquent, expressive, and extremely fluent and rhetorical.