مجله زبان و ادبیات فارسی
سال چهارم شماره 2 (تابستان 1386)

This article is about the exegesis by Molla Hossein Kashefi. At first, the literal and technical meanings of the words "exegesis (tafsir)" and "interpretation (tavil)" as well as their differences will be mentioned. The article continues to comment on what an exegetist should know and discusses different types of exegesis: narrative, scientific, apostatic, literary and mystic exegeses. There will also be a discussion of Hosseini Kashefi`s exegesis, which has been published with a scholarly introduction by Professor Jalali Naeeni. The exegeses before Kashani`s as well as Molla Fathollah Kashani`s exegesis, Esmaeel Haqqi Broosooy`s exegesis (written in ten volumes) and Molla Sadra`s exegesis have also been briefly introduced.

A social problem of the Arabs before Islam was the Salooki phenomenon, according to which some members of the tribe were, for some reasons, deserted to starve in poor and helpless conditions. They had not been born with such features, but it was a certain destiny the society had given them, as were the labels: bandit, thief, and wolf. Reminding us of these liberal and chivalrous people, this article tries to wipe the blots of slander off their distressed faces and search for the main reasons behind this phenomenon in the society itself.

Western linguists and, following them, Iranian linguists believe that there are no infixes in Farsi, because an infix should be used in a simple word. But as prefixes and suffixes are attached to compound and derived words, an infix can be used in the same way; in addition, if "a (ا) " in words like sarapa سراپا and joorvajoor جورواجورis not an infix, then what is it? Keywords:

Abu Moeen Nasser Khosrow Qobadiani Marvazi Balkhi is a great poet and a renowned elegist in Persian language. After an awakening dream, he started his seven-year-long journey. In this journey, he converted to Esmaeelieh in Egypt and the title "hojjat" was granted to him. He returned to Khorasan and after a few years of wanderings in Balkh, Neishabur and Mazandaran, he finally took refuge in the valley of Yamgan.There are some doubts about this awakening dream and the title "hojjat."Nasser Khosrow has an elegy beginning with the following line: The Hajjis came with humiliation / grateful of the mercy of the merciful God. It is a question and answer with a dear, sincere and generous friend about the hajj rituals; it is a mystic interpretation of the Hajj rituals. A dialogue like this has also been reported between Hazrat Sajjad (PBUH) and Shebli. There is a mystic interpretation by Imam Jafar Sadeq (PBUH) in the book "Mesbah al-Sharia." Had Nasser Khosrow known of these materials and related them to himself?

The story of the birds moving to their king is one of the points and views of great interest to Sufis and mystics in the 5th and 6th centuries A.H. Not only have Iranian and Persian poets focused on it and benefited a lot from it to represent symbolic views, but, all over the world, intellectuals and sages have used it to make readable and fascinating stories and allegories. This story goes back to Greek, Indian and perhaps ancient cultures. This article has revealed this point.Ebn Sina was the first to introduce this story in the Islamic culture. Gnostics, such as Ahmad Ghazzali and Emam Mohammad Ghazzali, have also dealt with it before Attar. But Attar`s "Manteq al-Tayr (the logic of the birds)" is the most famous of all and is one of the world`s deepest symbolic stories.

Ferdowsi`s Shahnameh and Saadi`s Boustan represent the cultures of two eras: ancient Iran and Islamic Iran. Ferdowsi relates the Iranian national epic and ancient history, while Saadi speaks of an ethical epic of self-training. In addition to style and stylistic differences, the difference between Ferdowsi and Saadi`s language may have another origin: the difference in the type of societies. Although Ferdowsi and Saadi belong to two different eras, they have included an abridgement of Iranian history and culture in their masterpieces. This article mentions some similarities and differences between these two eternal Persian works.

Compared to the general public, artists in every society enjoy more emotion, affection and discernment. They are quick to realize the deficiencies, problems and difficulties of their environment. Since they are unable to tolerate the chaotic conditions, they resort to artistic works to create a mirror so that others, especially the future generations, can see the existing conditions clearly in that mirror.When artists cannot express their ideas clearly, they use two outlets: humorous language and symbolic language. These factors not only enrich their art, but also they cause it to be more interesting and to last longer.Eskandar-nameh is an invaluable work in Persian literature that has hidden mysteries and secrets in between its stories. The sage man of Ganjeh has decoded some of its mysteries for his readers and left some to them to decode. This article mentions some of these decodings.

Satan has an exceptional face in different religions and sects and is so shrouded in mystery and ambiguity that discovering its existential nature is still a problem for researchers, especially those who deal with religion, mysticism and philosophy. All through history, many views and comments have been presented about this mysterious and controversial character and many people have spoken for or against his insubordination and insolence. A group of religious people and scholars have blamed and condemned him for his disobedience of the divine order, while some mystics and thinkers have sought to justify his insubordination. This article studies the character of Satan in some outstanding books that are among the eternal works of Persian, English and Italian literature in order to study their author's points of view on this mysterious and milli-faced creature.

Sharif Razi`s Hejaziat comprise forty lyrical odes that have been composed during the Hajj rituals in Hejaz. There are two types of odes in his book: the introductory odes, especially those which praise and eulogize somebody, and independent odes. A few of the independent odes are not Hejazi. Seyyed Razi writes lyric odes about the holy land instead of the nature and the mountains. His poems combine the fluency of language with solemnity and the simplicity with the strength of structure. In his Hejaziat, dignity wins over lust and caprice, and wisdom overcomes affection.These poems are the best examples of clean odes in Arabic literature. They are distinct for their primitive tint, the pure Arabic nature and the nomadic style of expression. These poems enjoy fluent and pleasant words which enchant any listener. They are like refreshing water for those who are thirsty for love and infatuation.

The main issue in this article is to compare Siavash`s wonderful horse, Shabrang Behzad, with Pegasus, a surprising horse in Greek mythology. The abundant similarities between these two horses and their owners as well as the differences have been discussed.Shabrang has been discussed in more detail. First, the name "Shabrang Behzad" and the name "Siavash" will be corresponded. Then, the following issue has been raised: If the burning of Siavash in fire was based on the belief that "the innocent will not be harmed," then why was his horse not burned in fire? This question has been answered according to the information found in epics and myths. At the end, the relationship between Kay Khosrow and Shabrang has been studied and the last traces of Shabrang`s presence in the story have been presented.