فصلنامه کهن نامه ادب پارسی
سال چهارم شماره 3 (پیاپی 9، پاییز 1392)

Eulogistic ghazal is a kind of poem that is related to poet’s emotions. Sometimes، it can be consisted of different contents. To predecessors، ghazal has just amorous content. By studying evolution of ghazal، we may notice، in the course of time، some other themes–besides amorous theme–have come into the ghazal. So، we can see some new themes in the ghazal such as eulogistic، critical، didactic and so on. In this paper، by using authentic sources in a descriptive and analytical way، eulogistic ghazal and its evolution in the works of some eminent poets–from Sanā''ī to Hafiz- has been studied. Although، Khāqāni–one of the important poets in Persian literature –has been introduced as the first poet of eulogistic ghazal، the conclusion of this research shows Sanā''ī is the originator of eulogistic ghazal.

Sādeq Hedāyat’s the Blind Owl may at first be seen as a work having more tendency towards occidental styles rather than oriental ones. The previously written criticisms mainly put forward such similarities and influences، while the recent ones'' considerations have been paid to the traces of the influences of Iranian culture. It seems that since some books and articles about Khayyām and Vis o Rāmin have been written by Hedāyat، the discussions in the field often circulate about these two names، and، of course، usually discontinue there. The fact that as a story writer، Hedāyat has scrutinized and investigated the heritages of Persian literature and might be influenced by them is completely assumable. This article attempts to confirm that Hedāyat، in creating his The Blind Owl، has been influenced by Tūtīnāmeh (Tales of the Parrot); especially the very image of ‘the old man and the girl’ has been extracted from one of the anecdotes of Tūtīnāmeh.

By investigating into the Persian poetry، we find out that the poets have used natural elements for various purposes، such as describing، praising، criticizing، etc. The purpose of this research is to investigate the role of nature and its elements، and to find to what extent the imagery based on natural elements is used in Shams Tabrizi''s divan. The appearance of nature in Ghazalīyāt-i Shams is numerous. This presence is noticeable both in the number of verses and variety of the natural elements used. The Mowlana''s high attention to nature which is the result of his poetic taste and abundant reading demonstrates Mowlana’s awareness of the verbal facilities and the impact of nature. His view of the nature is based on Islamic culture and the Qur''an. He has observed natural elements from a different perspective and used them to express his educational and spiritual purposes.

Khwaja Hossein Thanā''ī of Mashhad is one of the eminent poets of the tenth century A. H.، whose famous literary work is his divan. In addition to this divan، some letters composed by him have remained in the monsha''āt of the following centuries. A mathnavi composed of eight hundred couplets composed by him under the title of «Iskandarnameh» is at our disposal. It can be dared to say that there are no anthologies or collections after the 10th century A. H. that do not include a sonnet، ode or even a couplet from Thanā''ī. In the present article، we have attempted to review Thanā''ī''s biography، literary works as well as his poetic characteristics. Furthermore، we have dealt with the codicology of this poet''s works including his divans as well as dispersed poems in the anthologies and collections encompassing sixty four codices. These manuscripts have been available in the libraries in Iran، India and Pakistan''.

Bayhaqi''s Tarikh is a distinguished text of classic Persian prose that has moved from the field of history to the field of literature because of the literary and artistic approach of the writer to history. «Tone» in every literary work is the result of diverse elements such as narrative setting، linguistic idiolect، and universe of discourse. Bayhaqi''s Tarikh has also a particular tone; that is، it is a synthesis of different elements of literary narration like setting، characterization، dialogue، description، etc، and language devices like vocalization، neologism، composition as well as diverse dynamic dislocation of sentence. This paper studies this work in an analytic and positive method. It reviews the dominant tone in this work by studying the constitutive factors of tone as well as the quality of conformity of these factors. It finally concludes that the dominant tone of Beyhaqi''s Tarikh is an epic sublime one that both corresponds with the nature of the work and answers to the concerns of the writer and reader.

According to Yung، there is a close relationship between dreams on the one hand، and myths and literature، as art، on the other hand. He talked about the reflection of mythical symbols and eternal forms in dreams and literary as well as artistic works، because the ideal forms in art and literature reveal themselves like dreams. Marzban-nameh is among the works of Persian classic prose in which the ideal forms are revealed in mythical and ethical stories. This paper attempts to study the essential archetypes such as “ego”، “the ideal mother”، “wise old man”، “rebirth”، “anima” and “persona” in the eighth chapter of Marzban-nameh. We draw the conclusion that the weaver is the symbol of the person who is directed towards self-inspection and self-understanding through his wife who is the symbol of his unconscious anima. Furthermore، the snake، which symbolizes the wise old man، guides him to know his true self. Also، the content of the king’s dreams indicate the contrasts and controversies in the Weaver’s mind، which include the shadows and persona. Which are ignited by the weaver and guided by the snake to pave the way for his perfection. In general، the story of the weaver symbolizes a kind of individuality and is the manifestation of the unconscious and collective thoughts and wishes which have been materialized in Marzban-nameh.