مجله عرفانیات در ادب فارسی (ادب و عرفان)
پیاپی 10 (بهار 1391)

Qudsi’s poem is a prominent example of Indian style which represents most of the properties of this style. Though some features such as compounding, paradoxical pictures, personification, numerical associations, etc. are not very frequent in his poem, conceptualization, and equation system, the two major bases of Indian style, are seen so much in his work. This has made his poem the outstanding example of this style. Illustrations network (motive) is another property of Indian style in his poem. Motive is the center of picture and association network in poem. Candle and butterfly are two examples based on which the poet does conceptualization and imagery. The present article attempts to study motive and illustration according to three motives-bubble, candle, and bud in his poem regarding Indian style specifications to know the poetic art of this great poet.

Avesta is the holy book of the Zoroastrians. It is also the name of the collection of sacred texts the Mazdayasnians traditioal religions. Avesta Comprises 21 Yašts. Bahrām yašt (Yt.14), dedicated to the God of victory (vərəθraγna), belongs to the most ancient parts of the Younger Avesta or, at least, contains many archaic elements. Bahrām Yašt is not one of the better preserved yašts, yet it gives us a vivid and exhaustive picture of the divinity. It includes 64 verses concerning the ten incarnations in which the deity appeared to zaraθuštra, as It also wind, a bull, a horse, a camel, a boar, a youth, a bird, a ram, a buck, and a man (1-28).It also enumerates numerates the powers and gifts such as victory in thought, in word, and in action that he bestows upon zaraθuštra and those who have worshiped him according to the cult (31-33), it describes the particular magical feather the magical particular feather which makes invulnerable in fighting (34-46), and finally ends with a praise (47-64). Due to having many forces, Bahrām became the prototype of masculinity in every respect in Aryan times. He also has similar mythical features such as the Vedic Indra Vrtrahan The Indian worshipped him, as the greatest fighter, lover and drinker. This Indian god had originally a less abstract character. Iranians made him a demon because of his being fond of the Saoma drink, yet they created his honor by deifying his distinctive Vedic epithet vrtrahan “repeller of the charge” in the form of vərəθraγna, the Iranian god of victory.

Long time ago, to satisfy his extravagant nature the, visionary man reacted myths which, not only became sturdy and flourished in literature, but also helped to enrich literature. Phoenix is one of the great mythological elements that has been present and played its role in literature arena, in particular in epic and mysticism. Here, two questions need to be answered :Did phoenix appear for the first time in epic or mysticism? What are the essential differences of phoenix existence dimensions in two literary forms? The answer to these questions will help to justify the role-playing manifestations of the myth and mysticism as an indicator elements in Persian literature mythology. Undoubtedly, phoenix had appeared in epic and then shifted to mysticism. The mythical character has slightly been changed. This article tries to present a brief definition of phoenix and the most important changes in its character from epic to mysticism based on the two mentioned literary masterpieces.

Competition is not always a blameworthy action; even it can be the cause of the development of thoughts and civilization. In every competition, conflicts and disputes are blameworthy. Competition often happens in mundane activities that Sufi doesnot like it because of their worldview. But in fact, in many eras, not only not only the supporters and followers of sheiks, but also the great sheiks themselves had controversies in the areas of thought, remembering, and indulgence in mystic states manners. The main reasons of these conflicts were differences between views about some manners and thoughts, and also conflicts between people and their selfishness and megalomania. Because of these conflicts in first century of Sufism emergence, many competitive societies emerged. At last, in later eras, many famous and well-known Sufism groups emerged because of many disagreements between then.

Directing literary tastes is under the influence of many factors including taboos which are the most important ones. Anti-values and formed religion-like beliefs without any logical reason or definite root have created thoughts in the minds of common people and poets, thereby guiding them. A cognitive analysis of some of the versified texts causes us to have a different comparative study between the same poets with similar approaches and literary tastes. In this article, a comparison between taboofavored and anti-taboo approaches of Farrokhi-e-Sistani, Manuchehri, Ferdowsi, and Naserkhosrow causes us to replace literary taste by type of literatier in our analysis. It seems that the four cited poets, in spite of having different poetic contents, have chosen the same approach (i.e., panegyrics) to express themselves. Taboos more than anything else form the essence of these poets’ versifications and have revolved the literary taste in each of them. In spite of the fact that “Court Taboo” has tempted Farrokhi and Manuchehri to prioritize the court, “Myth Taboo” has led Ferdowsi to revive myths and history, and finally “Religion Taboo” has caused Naser Khosro to prove his Esmaili related beliefs, all the poets have benefited from the same methodology and approach: all of them have attached to a specific taboo and have broken the other ones. Anyhow, it seems that their approaches can be attributed to other poets and poems as far as the domains and taboos can become a starting point for verification. In this way values and anti-values can be incorporated into a single text, one taboo is ‘born’ while another taboo ‘dies’.

The present article has dealt with the possibilities, difficulties and criteria for a contrastive analysis on English-Persian literary terms. Possessing a rich literature, contrastive analysis remains a sacred discipline. Classifying literary terms in terms of rhetoric, poetic, semantic, rhyme, and prosody fields and conducting contrastive studies on the terms of each of these fields in any two languages will result in bilingual works that will be significant for the students, teachers, translators and researchers.

Perfect man is the source of prophets' education about God. He is the eternal divine truth. In defining capabilities and features of perfect man he should be described as the abstract of all human beings and the heir to the prophets, and his heart a mirror pane of the universe. The perfect man embodies the divine favor and the world will be kept by his wisdom. He is Caliph of God and God's deputy who landed into the earth to embody the glory of someone of whom the universe has existed. The field of creation is never going on without him and among all the Divine deputies at one time, there is a complete pole position and his rank is above all. What was mentioned about the perfect man is a reflection of the views of Rumi and Ibn Arabi. This paper investigates thoughts of these two famous mystics on perfect man.

“Naz” and “Niyaaz” is one of the common themes of Romantic and Mystical poems of Persian literature. In Romantic relationships whenever in one of two sides “Niyaaz” is felt, usually the other side tends to “Naz” and when one of them almost does not feel any need, the other one needs to move towards him or her. It should be said that such kind of relationships, which is based on “Naz” and “Niyaaz” in the romantic and mystical Persian literature, becomes essentially significant. In this article attempt has been made to analyze the quantity and quality of “Naz” and “Niyaaz” in romantic and Mystical style of Iraqi and Voghu's school relying on Sanaei, Hafiz and Vahshi’s ghazals.Moreover, the article defines “Naz” and “Niyaaz” and investigates its effects in Hafiz, Sannai and Vahshi’s ghazals.