نشریه ادب فارسی
سال سوم شماره 1 (پیاپی 11، بهار و تابستان 1392)

In the poetics of Aristotle، Art and literature are imitations of reality and all literary elements have objective representation in the real world. Following the theories of Ferdinand de Saussure and Roman Jakobson and formation of new literary approaches such as Structuralism، there existed a modern poetics which didn’t consider Literature as an imitation of Reality but introduces it as reconstruction of a world absolutely different from real world، a world in which the elements، through a dialectic interactive relationship، consist whole literary text. In present article، The authors have tried، on theoretical basis of linguistic and structural approaches، to analyze the differences between Aristotelian poetics and what known as Modern poetics (depended on Saussure theory) in “An Indian in Astara”، one of the stories of a collection titled “Again from those Streets” written by Bizhan Najdi. They want to explain how Modern poetics can show that a literary text belongs to the present time not the past history.

One of the most controversial issues about Mowlavi’sDivan-e-Kabir is the existence of Turkish and Greek poems in it. ItsGreek poems will be studied in this paper. Theresearcheshave been conductedonTurkishpoems of this collection havebroaderscopes. Codicology of these sonnets is one of the best ways to evaluate them. Considering the background of the research، we try to study the frequency of Greek poems through the Divan and their codicology. Meanwhile، the researches were previously accomplished by the others would be criticizes.

Of the most essential tasks should be done in the field of researches on Shāhnāmeh is collecting and analyzing its sporadic verses in other works of Persian old literature. The purpose of such approach is Shāhnāmeh correction. Since there is a 200 years gap between the time Shāhnāmeh was composed (400 AH) up to the time of its earliest version (Florence، 614 AH) and since there are almost some other versions belonging to 7th and 8th centuries AH (less than 10 versions) the Shāhnāmeh corrector must consider every other sources beside existing manuscripts of the book. Among the side sources، there are some sporadic verses of Shāhnāmeh in the texts of 7th and 8th centuries which have remained as handwritten manuscripts. Taj al-moaser، as a prominent example of above mentioned sources، is the book has been chosen to extract the Shāhnāmeh verses to be compared with their positions in Shāhnāmeh itself.

The present paper would firstly present the characteristics of critical realism in brief. Critical realism is a phenomenon belonging to the golden era of Russian literature. Some Iranian writers such as Mohammad Ali Jamalzade، Bozorg Alavi، Jalal Ale Ahmad and Mirza Fathali Akhondzadeh created their eternal works much impressed by this school. They used a simple language to expound people''s social and cultural problems. Afterward، we would analyze the realization of critical realism in the works of Akhoondzadeh، in particular his comic play «The Attorneys». The writer has pointed his bitter criticism at the judiciary of his time (the Qajar era) and the mechanism of dealing with people''s judicial cases. Considering the ideas of the greatest Russian writers and the Russian critical realism، Akhoondzadeh in his «The Attorneys» has depicted his own picture of the social issues of the time

Most of the Islamic sciences and teachings root in deep knowledge of Quran. Islamic Mysticism which has glorified under the impact of Quranic verses، aims to understand the conscience of Quran. The Rumi’s Mathnavi، as a masterpiece which links theoretical and practical mysticism from the perspective of both structure and content، has been exposed under such efficacy. Just like Quran، Mathnavi uses allegory to express profound meanings and، in addition، its bulk is an imitation to Quran. In Mowlavi’s pattern، impressed by Quranic manner، the stories have been sometimes expressed redundantly، like the story of Moses، and sometimes have been repeated in a very short form. Furthermore، there is a kind of invisible influence of Quran on Rumi’s Mathnavi which is apparently untraceable but can be found through scrutinizing.

Due to its current and global context، Poetry arises from the poets’ unconsciousness، the issue that Nizami has implicitly and explicitly referred to in his poems. It has been tried، through this article to survey the inspirational or creative essence of poetry in Nizami’s viewpoints. He believed that the process of artistic creativity - including poetry - would be performed in two modes، i. e. inspiration and creativity. He also believed that there exists no pure inspirational or creative poetry. The sequence of poems، include the aforementioned contents، shows that the origin of poetry is inspiration but it would be brought to perfection through edition and modification. Furthermore، religious and cosmological changes، and as a result، social and cultural evolutions have made several differences between Nizmi’s inspiration sources with the other poets’، the case that is going to be analysed in present article.

Satire shares such common ground with other types of humor like lampoon and farce that it is very unlikely to consider an exact borderline between them. Moreover، satirists do not agree with each other on this realm. Adopting such an approach، in present article، we consider the Khaghani’s works، especially his Divan، and evaluate his attitudes about Satire regarding his poems. Nonetheless، the main part of our discussion is based on Khaghani’s techniques of satirizing because he used specific methods to create satire، depending on the atmosphere and conditions he confronted to and also for the sake of the stability of his words. Since it is impossible to investigate various examples separately and minutely، it sufficed to mention just few verses

Although old texts are distorted or changed due to various reasons such as unfamiliarity of writers who take them away from their origin and make it difficult to achieve a correct edition by using of the manuscripts، especially when there is a unique manuscript of the text or the existing manuscript is different with the other available versions، the Correction of each text should be usually done on the basis of its manuscript or manuscripts. The corrector has no way except referring the sources or references had been used by the author. The corrector of Bostan al-`Arefin va Tohfat al-Moridin، one of the mystical prose texts of the fifth century which its known manuscripts are different and the problems and ambiguities of the oldest of its manuscript are not solved just through comparing، had used such method in many cases and had corrected its inaccuracies. Offering some examples of Bostan al-`Arefin va Tohfat al-Moridin and some of the other ancient texts we want to confirm the importance and the role of Sources and References in the prcess of texts correction.

The narrations of Mahmoud Dowlat-ābadi can be considered as a prism which should be criticized in different aspects. There are threads of realistic، naturalistic and somehow surrealistic thoughts in his works. Due to the wide range of subjects، we try to analyze just a few of his naturalistic thoughts in present article. Naturalism is the extremist form of realism. This school of literary theory assumes behavior، tendency and thought as the results of natural desires and instincts. It respects any supernatural phenomena and interprets all the facts and phenomena of nature and natural sciences. Naturalism، in literature، emphasizes on inheritance of environment and viewing life apart from idealism and tries، in this way، to draw the details even unpleasantly. Literary naturalism entered Iran in the period of Constitutional Movement through translation of foreign works and impacted some Iranian authors such as Sadegh Hedayat، and Sadegh Choobak. This article has studied، in a descriptive-analytic manner، the influence of naturalism on the works of Mahmoud Dowlat-ābadi.

Afzalodin Badil Khaghani Shervani and Nezami Ganjavi are two major stylist poets who had profound influences on later poets. Most of the Khaghani’s poems are lucid and uncomplicated; but many ordinary people، and sometimes some of educated ones find it hard to understand some of his ballades because of different linguistic combinations and scientific terms he used in them. Although، what makes his poetry hardly comprehended is his tendency to use different Quranic verses، Islamic cognitions، stories of the prophets، and especially rare allusions to Islamic events and sources. The diversity of allegorical sources in prophets stories roots back to Khaghani’s vast information about Quran، interpretation of Quranic concepts and hadith and above all، to his powerful imagination. Using the stories of the prophets، he goes beyond the stories of Quran and interprets them referring other sources. Concentrating on different researches have been conducted by scholars on Khaghani، present article attempts to study two allusions have been used in his Divan.

The different uses and meanings of “Rā” have been repeatedly discussed in grammatical books and articles. Some of grammarians know it as an Indicator and some others know it as a Preposition. There have been brought some other meanings for it in traditional grammar books such as: allocation، assistance، argument، description، agreement and concordance. Seven uses of “Rā” would be analyzed in present article: “Rā” as a sign of direct and indirect object، “Rā” as a preposition، “Rā” as a possesive، “Rā” as a junction or disjunction preposition، “Rā” for emphasis، “Rā” with subject، and “Rā” with passive verbs. Each of the above uses has been discussed through the attitudes of different grammarians with several references to the Persian literary works، and finally، some new examples and new discussions would be offered by the author.

A large number of verses in Holy Quran deal with the issues of women، such as their rights and duties and the juridical commandments about them. In addition، the names of some famous women have been pointed out in some of its chapters (Surahs) who played main roles in Quranic stories or historical events. Utilizing library sources، women-related Quranic verses which have been brought in third edition of Kashf al-Asrar will be criticized for the sake of their interpretation and Sufi perspective through a descriptive-analytic method. An overall survey shows that most of Meybodi’s interpretations are comparative and he tries to analyze the fundamentals of Sufism and expresses his mystical thoughts by use of Quranic verses with no attention to the gender of Woman. So، Meybodi’s attitude about the status and sexuality of women would be clear. Regardless some few cases، he has a lovely and compassionate attitude toward them.