نشریه ادب فارسی
پیاپی 3-5 (بهار 1390)

The history of Jahangosha is a literary-historical work created byAta Malik Joweini using verbal and spiritual industries and several metaphors and allegories from different Quranic and Islamic traditions and Persian and Arabic poems. One important aspect of this work, adducing or borrowing from Arabic distiches, is going to be analyzed in this paper. Joweini has used many different Arabic verses to make his work more literary. Sometimes he imports a hemistich or a distich in the statement in a way that confusion will be the result of its omitting, and sometimes, uses it to confirm its own subject. There are many different distiches of Arab poets in this work. Abbasid poets, such as Abu Novas, Abu Tamam, Motenabbi, Abu al-?Athiyya, Abu al-?Ala?Mo?ari and etc. are being analyzed among them inthis essay.

The histories of several nations consist of Legends and Myths. The world myths seem similar in many cases, although, they sometimes oppose each other. Tragedy is one of amazing topics in mythological discusses. This essay tries to analyze the tragedies of infanticide and patricide. There is a predictor in such tragedies and the fate will always go on his foretelling. Nothing can prevent or change the fate and all heroes are captured in their own fates. The myths have constructed the world and have opened a beautiful and ideal door to different people, full of imaginations and realities.

Since the attractiveness of an artwork roots in its structural strength, and since it can, depending on its linguistic, expressive and aesthetic usage, make an artwork outstanding to the rate that being considered, socially, as a literary word; taking the alignment of the poem and meter in Khaghani word, we are going to analyze his poetry for the type of his linguistic and expressive usage. For he is an inimitable poetic feature in Persian Literature. Techniques of a poetic language, allegories of a poetic expression, specific use of grammar and syntax, new semantic compositions, lexical innovation, the importance of language in verse, and the objective of his works, Creation, are all the things that indicate the significance of the matter.

Persian poetry experienced many changes, innovations, concerns and disputes by the beginning of 14th century AH. Just in this period, Parviz Natel Khanlari composes “The Eagle Trace”, a masnavi of the most perdurable modern literary works. The reasons of The Eagle composition, its presentation to Sadiq Hedayat, quoting one of Khavas al-Hayvan’s statements, its first publication and the answers that other poets have given by poetic motivations and etc. are all ponderable points and the author has tried to illuminate them by criticizing several sayings and works through a coherent search to make a part of literary history of Iran clear.

Razi & Mowlavi have both explained the fearing of death; although in different ways. Razi looks death, in any way and for anybody, as a disease and a fictitious phenomenon; so, as physician tries to treat it rationally. Neglecting the imagination of death is the best way to get out of fearing pressures; because thinking to death can unconsciously bring a great deal of fear. But Mowlavi (Rumi) encounters it differently; He believes that people’s fearing of death refers to their own beliefs; so he gets different conclusions and offers different solutions depending on several bodies. In his points of view, death-thinking, by itself, doesn’t lead in fearing of death and, additionally, it is not always irrational and useless. According to him, death should be more considered instead of ignoring; for it can be useful in obtaining real values, modifying life, returning to originality and rescuing of metamorphosis.

The circumstance of dream formation, although repetitive, is still complicated and wonderful. Except the contents of dreams, the atmosphere they’ll be quoted is also important. Dreaming or being seen in a dream are two frequently repeated subjects in sufic traditions. In this analysis, we have tried, introducing the characteristics of formalistic and structural schools, to assess the morphologic features of dream quoting as a short story. Sufic dreams include such narrative themes that have main roles in their biographies and in sufic catechetic. We are going to indicate the significant repetitive pattern of dream stories.

Through a mystical glance, Jami looks, understands and explains the universe. In such an interpretation, Love is the most determining concept. Love, in this view, isn’t just an emotional relation between two humans- though it is too- but is a widespread and pervasive category that helps you to find creation stimulus and interrelations in different universal phenomenon. What stimulate God to create are his self-loving and its hidden plenitude. And since the universe is nothing but hidden limitations of God existence, this Love, by formation of the world of exuberances, occurs in all universe dignities. And it is, in any way, the flourishing manifestation of eternal Love, God’s self-loving. With such a wide range, Love has different types and stages. Looking through Jami’s points of view and thoughts to the main elements of Love pyramid is the ultimate objective of present paper.

Many of distiches of Hafiz verse, without any difficulties in words and phrases, are doubtful and controversial. This is an inherent feature of his sonnets and relates to his roguish versing manner; and in fact, is a part of his own roguery. To understand Hafiz’s roguery, we have no choice except using a method that is able to remove those doubts. Considering his skills in Islamic rhetoric, knowledge of meanings might have been one of efficient tools to realize Hafiz’s roguery and to solve disagreements on controversies in his Diwan. So the author peruses some controversial distiches with attention to their secondary meanings which are of main topics in knowledge of meanings to indicate the efficiency rate of “Meanings” in his roguery understanding.

Created in 8th century A.H., Daqayeq al-She?er is one of the most important rhetoric texts has ever been written. Little attentions have been paid to it due to the published unreliable correction. The present paper is going to offer, using some reliable handwritten versions, some new-found information about the author, Taj al-Halvani, the place it was written in, and the life and the works and poems of important dignitaries such as Baha al-Din Zangani, Shams Sajasi, Qadi Sajas, Rafi? al-Din Abhari cited in it. And so, some mistakes and errors entered in recent versions have been recognized and corrected.

Ferdowsi has remonstrated Philosophy and Philosophers in his Shahnameh. Was he really opposed to rationalism? It’s not the thing gotten of Shahnameh. He invites his readers to live wise, so he can’t be against wisdom. Are philosophers in a coherent group with shared ideas? Ferdowsi era doesn’t include such a thing. So which group of philosophers was exposed to his critical considerations? Hakim-e-Toos (the Toos Sage) disdained non-divine ones who denied the Source and Resurrection, and the ones who disdained all other epistemic sources, relying on humanistic wisdom. He uses the word “wisdom” against the word “Philosophy”. These two words are not synonym in his viewpoint, but they are considered as contrasts.

Many different books and essays have been written to explain the elegance of Hafiz poems. Implying some newly found amphibologies and allusions in the poems of Khaje-ye-Shiraz, this essay is going to present the using precedence of some amphibologies in the poems of Badr Chachi, the industrial poet of 8th century (lived in 745AH.).

As one of prominent Persian historic/literal works, Rahat al-Sodur has many derivations of Shahnameh. 594 distiches of Shahnameh in different theologic and moral subjects cited in this work, initially show the magnificence of Ferdowsi’s masterwork, and then, on the other hand, Ramandi’s interest and attachment to it. He(Ramndi) has benefitted Ferdowsi’s wise morals throughout his work, and in this way, has validated it and has composed many verses on Shahnameh’s style and rhythm, although not as solid as what can be seen in Shahnameh but with a firmness that makes it hard to distinguish. Shahnaneh’s cited dispatches in Rahat al-Sodur, because of the “very careful” correction of Dr. Mohammed Iqbal, as Mojtaba Minavi says, and for the two works isochronism, can be considered as a very helpful clue to Shahnameh correctors. In this essay the rate of Rahat al-Sodur’s influence on correction of Shahnameh is discussed and the scientific reasons of the preference of Rahat al-Sodur’s dispatches are offered.

Turkish words in the texts of Persian language and literature show the deep and long relations between two languages. And because the Diwan-e-Hafiz (Hafiz’s complete works), in which the Persian lyric poetry achieves its most flourishing perfection, is not an exception, some of its 35 Turkish words are going to be surveyed to determine their morphophonemic in this paper. Hoping to be considered as an accurate analysis to Hafiz fond and researchers.

Conducting to God (Seir ila Allah) is one of the main characteristics of developed humans who are looking for real perfection and (spiritual) joining, which will not be yielded unless using its own accessories. Searching in Quranic verses, different narratives, and what sages have said about the habitudes of conducting, it can be found that they(main accessories), after much more recitations(zikr), are reticence(Somt), starvation(joua?), vigil(sohr), and isolation(?Ozlat), all which we call quintet accessories of conducting to God, and are going to explain then through holy verses and narratives and mystical poems and sayings. And it’s the consequence of this holy Quranic verse: “And seek help through patience and prayer, and indeed, it is difficult except for the humbly submissive [to Allah]” Baqara – 45.

Despite the passage of 9 centuries of elaborative metaphor mentioning in Persian rhetoric, the antecedents’ sayings already look repetitive and it is considered as one of metaphor tools in the most up-to-date points of view. Criticizing the reports of experts and analyzing 13 different structures, a new research has been carried out in present essay. It finally ends with its aesthetic applications.

The Musical and content harmony of Modern Iranian poetry is the core of this paper. There’ll be, initially, some arguments on the importance, coordination and the fitness existing between the poems’ components and the concinnity and elegance occurs, then the importance dedicated to such components by the poets and their beliefs to the harmonious coordination reflexes in their works will be scrutinized. The remarks of each poet, Nima, Shamloo, Akhavan and Shafiee Kadkani about the matter will be also discussed by some examples. It will finally be shown that their paying attention to such synchronism has a great role in the concinnity and influence of their poems. They have best used different kinds of music; external music (prosodic rhythm), internal music and side music (rhyme) to induct their concepts and to create such beauties.

This essay analyzes the paradox and sensuality, as two alienation styles and two artistic methods of expression, in the mystical language of Rumi in his Masnavi. Paying attention to the fact that the source of these two imagination forms, being used in mystical literature, refers to one of the basic principles of thought in Ash?ari’s word, denial of causality and belief in absolute domination of God willing on natural causes and His pervasive power to change whole universe, is very important. In addition to the definition of these two expression styles, different kinds of paradoxes and sensualities are discussed through some examples of Rumi’s Masnavi. And some of them, from the 1st and 2ndvolume are compared with each other and their usage frequencies are determined.

Trend- setting for the field of Persian Language and Literature is the subject of the present paper. The author believes in setting of such a trend, and criticizes the reasons of opposing ones, citing his own proofs. He also enumerates his considerations about trend-setting circumstances at the end. Trend- setting for the field of Persian Language and Literature is the subject of the present paper.