فصلنامه شعر پژوهی (بوستان ادب)
سال سوم شماره 3 (پیاپی 9، پاییز 1390)

Due to the importance of comparative research on languages and its important role in discovering the common aspects of different languages, this survey, drawing on the results of the studies done by the grammarians and lexicographers of Arabic and Persian languages, adopts an analytic-comparative approach to studying entehay-e ghayat, as the one of the most significant concepts shared by Arabic and Persian prepositions. In so doing, this survey identifies the words used to express this concept and the way these words are used in Persian and Arabic languages. This helps to determine the similarities and the differences between the two languages in this respect. The most important finding of this research is that there is not a one-to-one correspondence between Arabic and Persian prepositions while expressing a certain concept. That is, sometimes one preposition in one language is equal to two different prepositions in the other. This issue is particularly important when we are concerned with translating from Arabic to Persian or vice versa.

Time analysis in narratology is concerned with three topics: order, duration, and frequency. Duration is the ratio of the duration of the story to the time length of narration, which occurs in three forms: isochronous presentation, acceleration, and deceleration. Besides duration, one can find traces of these three forms in order and frequency. Kelileh & Demneh by Nasrollah Monshi, is well-known as an expatiated work because of the technical style of its prose. Reviewing the episodes of this literary work based on acceleration and deceleration factors shows that from among the three forms of duration, acceleration has the largest share. So Kelileh & Demneh, in spite of having a technical prose style, has maintained a kind of conciseness and balance in its style, too.

The present article is a supplementary work on an article entitled “The effect of Anoshirvan and Bozorgmer’s Advice on Golestan-e Sadi” published in the journal of arts- Tarbiyet Moalem University. The aim of the article, as its title reveals, is to show the effects of the advice attributed to Anoshirvan and Bozorgmehr on Golestan-e Sadi. Unlike the above article, whose scope was confined to Golestan-e Sa’di and Anoshirvan and Bozorgmehr, in the present article, the author presents some new pieces of evidence from other Sadi’s works whose origins go back to the philosophy of the ancient Iran. In addition, the author has attempted to provide related items in Arabic and Persian literature for every subject and by explaining the Persian literary texts, the study has aptly shown that there is a need for a comparative study and a search for traces of the Persian thoughts and philosophy in the ancient literary texts. Similarly, taking into consideration the traces of the Iranian annals in the Arabic ancient texts, there is a great need for the reconsideration of the present subject in hand. The article also tries to critically discuss the ideas and notions of Hossain Ali Mahfooz as he, without knowing the Persian background of Sa’di, has attributed much of Sadi’s philosophy to the Arabic literature; unfortunately, such a hypothesis is more or less carried out in analyzing texts even after Sa’di.

Ahmad Shamlu is one of the few poets who display dramatic potentials in their works. An investigation into the common aspects of dramatic and poetic domains contribute to the recognition of the dramatic elements in the works of Ahmad Shamlu.The majority of Shamlu’s poems can be classified as blank verse, which is popular among the poets of "dramatic poetry" like Shakespeare. The dialogue, monologue, scene order, narrative, dramatic effects, and attention to declamation, are dramatic elements of Shamlu’s poems. The first step in examining the dramatic elements of a poem is the correct reading and comprehension of the meaning of each poem; the second stage is the analysis of the dramatic elements and, finally, extracting a dramatic project from the poem. This research, in terms of the nature and purpose, is analytic, being carried out in the form of a library research. The data of his research has been gathered through note-taking from written sources, interviews, and observing plays.

Persian literature is considerably enriched with moral anecdotes; meanwhile, some of the prose writers have devised creative, artistic and rhetorical methods, which distinguish their structure not only from poetry (poem) but also from other similar works. Kellile and Demneh written by N. Monshi is considered as an example of such artistic works. In this book in addition to exploitation of all the attractions of technical Persian prose, an innovative form of narration has been employed, which makes it unique in its type. This book, in addition to enjoying all the attractions created by the Persian technical prose, is characterized by its innovative narrative style. That is, in some of the anecdotes of this book, through using the imagery technique, the story’s harmony is designed in such a way that it is in line with the manners and personality of the hero or other characters in the story. The present study aims to review and analyze the story “kabkangir, rabbit and fasting cat” (chapter 8 owl and raving) and elucidate this specific method of narration in Kellile Demneh.

The "Stream of Consciousness" presents the psychological aspects of the characters of the story and refers to the whole area of consciousness and emotional–psychological reaction, which begins from the pre–speaking stage and leads to the highest level, which is a distinctly logical stage. This article examines the stories, "Be Ky Salam Konam?" by Simin Daneshvar and "Shohar-e- Amrykaei" by Jalal Al-e Ahmad, both written based on a surreal style. In "Be Ky Salam Konam", the author represents the combination of first person point of view and direct internal monologue and writes about a lonely and oppressed woman and her thoughts, sorrows, and emotional–psychological reactions against her life events. In "Shohar-e- Amrykaei," the author, in a dramatic monologue form, writes about the thoughts and memories of a westernized woman who has had an unsuccessful marriage with an American husband and tells her story to an unknown person and, at the same time, talks about social and political events of the time.

Symbol is one of the means of imagary and its most important characteristic is not having a distinct and definite meaning. That is why the same symbol can have different meanings. In Pahlavi era, since the writers and sociologists were not allowed to explicitly criticize the system and the social values of the time, the use of symbols in artistic works became quite prevalent. Efficient use of symbol for social purposes was started by Nima and later developed later by such poets as Naderpur, Akhavan, and Shamloo, to name a few. Ebtehaj, who seems to have been a committed poet being concerned about the social issues of his time, has used symbol as a tool for expressing social concepts. As a matter of fact, the symbols he has used in his poems mainly originate from «Nature», «Colours» and «living tools». His social poems are characterized by two main groups of symbols: one, ordinary symbols (night, morning, sea, forest, spring, sun, light, etc.), and the other, innovative symbols)grass, lawn, curtain, window, axe, grass, meadow, etc.). Using these symbols along with other figure of speech such as congeries, paradox, Similie, etc has given symbol a more prominent status among the other literary ….. Sayeh has used symbol not only in social poems but also in in his sonnets; however, his social symbols are more prominent and efficient than those of his sonnents.

Jahangiri dictionary is one of the sources in which verses from Rudaki’s poems have been used to exemplify the words defined. That is why this dictionary has been referred to as a source of Rudaki’s poems By Saeed Nafisi. The dictionary is also one of the first books containing one of the poems of Rudaki called Qatran. This article basically analyzes a couplet attributed to Rudaki, which appears in dictionaries as an example illustrating the use of the phrase “certainly and never" which is used as a definition for the word "Arang." However, this couplet is the second couplet of a quatrain by Qatrane Tabrizi in which the word “Anak” is written as “Arang.” The oldest document attributing this couplet to Rudaki is Jahanshiri dictionary where this couplet is used as an example for the usage of the word “hamana" (Really) as a definition for the word “Arang;” other authors, following Jahanshiri, have used this couplet in their dictionaries and attributed it to Rudaki. This paper also reviews some other quatrains and couplets which are attributed to Rudaki but appear in the works of other Iranian poets.

Due to the fact that in the rhetoric books, the subject of anastrophe and hyperbation is not offered in an orderly and fixed pattern, dealing with this topic-teaching, criticism, and analysis of works of art-is hardly possible. The aim of this study is determining the order and change in the positions of sentence components, which is the basis for studying anastrophe and hyperbation: Boostan-e Sa’di is used as the evidence for this analysis. The study will also discuss that in anastrophe and hyperbation, one can use the structure and literal meaning of the discourse as well as its secondary meaning to establish a relation with the interlocutor. Through underlining the new research findings in the field, the author has concluded that anastrophe or placing the subject at the beginning of the sentence is considered as one of features of Persian language, which makes the news appealing to the reader/listener. In addition, anastrophe of verb increases the speed of conveying the message. Moreover it is discussed that sa’di uses verb anastrophe because of his didactic motives to speed up the conveying of the message. Finally the new forms of anastrophe and hyperbation, such as the distance between the noun and adjective, will be presented through the evidence provided from Sa’di’s Boostan.