Lyrical and Didactic Literature
Alireza Nabilou
Abstract
Introducing, Comparing, and Criticizing the Exegesis of Mohammad ibn Qavâm Balkhi and the Exegesis of Qâzi Ibrâhim Tatavi (Based on Verses from Maxzan al-Asâr) In the present research, it is tried to select verses from the Maxzan al-Asrâr by referring to the manuscripts ...
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Introducing, Comparing, and Criticizing the Exegesis of Mohammad ibn Qavâm Balkhi and the Exegesis of Qâzi Ibrâhim Tatavi (Based on Verses from Maxzan al-Asâr) In the present research, it is tried to select verses from the Maxzan al-Asrâr by referring to the manuscripts of two important exegesis of Nezâmi's Maxzan al-Asrâr, namely the exegesis of Mohammad ibn Qavâm Balkhi, known as Karri, from the 8th century AH and the exegesis of Qâzi Ibrâhim Tatavi from the 11th century AH, and then The exegesis and analysis of both commentators about these verses should be examined and compared. The commentary of Mohammad bin Qavâm Balkhi is one of the oldest commentaries of the Maxzan al-Asrâr, the manuscript of which is available, and subsequent commentators are often influenced by this work. Qâzi Ebrâhim Tatavi has repeatedly mentioned Muhammad Qavâm Balkhi in his commentary on Maxzan al-Asrâr. In this research, while comparing the explanations of the verses from both commentators, it is shown that Qâzi Ebrâhim was not just an imitator, and in some verses, he innovated and provided different explanations and analysis, and traces of imitation are also evident in some verses. For this purpose, some verses that are sometimes difficult and ambiguous have been selected to determine whether these interpretations are sufficient in their analysis or whether they have not been able to resolve the ambiguity and the problem still remains.
Lyrical and Didactic Literature
Faramarz Jalalat; Ebrahim Danesh
Abstract
Analysis of intertextual relationships of literary texts of different genres is a practical way of investigating the fusion or “coexistence” of literary types. Qaboosnameh and Nizami’s works as focal texts in Persian literature played a media role in transferring Iran's culture, literature, ...
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Analysis of intertextual relationships of literary texts of different genres is a practical way of investigating the fusion or “coexistence” of literary types. Qaboosnameh and Nizami’s works as focal texts in Persian literature played a media role in transferring Iran's culture, literature, and civilization. There is numerous intertextual evidence proving Qaboosnameh's influence on Nizami. One of the crucial signs of this influence is the intellectual and linguistic intrusion of Qaboosnameh in his works. The study of Nizami’s works and Qaboosnameh shows the importance of intertextual interactions in the coexistence of literary genres. This paper in a descriptive-analytical way has studied the intertextuality of Qaboosnameh and Nizami’s works offering evidence and concluding that intertextual interactions indicate the coexistence of different literary types clearly. Both Onsorolma?ali and Nizami were aware of the coexistence of literary genres and established a dialogue between literary genres and works in this way. In Qaboosnameh, in addition to some lyric and epic chapters, there are lyric and epic elements within didactic materials. Nizami has benefited from didactic elements as an inseparable part of his non-didactic works based on the text and situation. One of its prominent examples is the insertion of "Andarznameh" in lyric and epic works, especially in the continuation of "Saghinameh". The high frequency of implicit and explicit intertextuality indicates Nizami’s genius and creativity in applying former prose heritage, especially Qaboosnameh. He has covered this precious heritage of rhythm, rhyme, and imagery to enrich his works' content, semantic dilation, textual cohesion, and artistic appeal.
Lyrical and Didactic Literature
Ghodrat Ghasemipour
Abstract
با توّجه به اینکه سیمای شیرین در منابعِ تاریخی با سیمای داستانیِ او تفاوت دارد، در این مقاله ابتدا به چگونگیِ جایگاه و موطن او در منابعِ کهنِ فارسی، سریانی، رومی و ارمنی ...
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با توّجه به اینکه سیمای شیرین در منابعِ تاریخی با سیمای داستانیِ او تفاوت دارد، در این مقاله ابتدا به چگونگیِ جایگاه و موطن او در منابعِ کهنِ فارسی، سریانی، رومی و ارمنی پرداختهایم؛ در منابعی همچون تاریخ بلعمی و شاهنامه، شیرینْ کنیز و محبوبۀ خسرو است و ذکری هم از موطن و اصالت او نیامده، امّا در منابعی دستهاوّل و همروزگار با خسرو و شیرینِ تاریخی، همچون رویدادنامۀ سریانی، تاریخ سبئوس، تاریخ تئوفیلاکت سیموکاتا، شیرینْ اهلِ خوزستان و نواحیِ جنوبِ غربیِ ایرانشهرِ عهدِ ساسانی یا میانرودان دانسته شده است. امّا اینکه چرا شیرین که در روایات تاریخی، اهلِ جنوبِ غرب ایران یا خوزستان بوده و در روایاتِ ناحیۀ اران، مبدّل به شاهدختی ارمنستانی شده، برخاسته از چند پیشزمینه و دلیلِ تاریخی دانستهایم بدین قرار: 1) روایتپردازانِ این قصه خود اهلِ این ناحیه بودهاند و او را از آنِ خود کردهاند؛ 2) بینِ ایران و ارمنستان در ادوارِ تاریخیِ باستانی، با وجود کشاکشهای گوناگون و دخالتهای رومِ شرقی، روابط و مناسباتِ فرهنگیِ فراوانی وجود داشته؛ 3)
Persian Rhetoric and Grammar
saeed karimi
Abstract
Artistic games with words form the central part of Nizami's aesthetic. The major share of these games are played in Khamsa with the name of fictional characters. With the help of 41 word names, Nizami has performed 400 cases of artistic games. Most items of games have been conducted with Shirin, Shekar, ...
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Artistic games with words form the central part of Nizami's aesthetic. The major share of these games are played in Khamsa with the name of fictional characters. With the help of 41 word names, Nizami has performed 400 cases of artistic games. Most items of games have been conducted with Shirin, Shekar, Mahan, Shabdiz, Goor (Bahram) and Leili. Nizami employed literary arrays such as proportion ambiguity, total pun, partial pun, repetition, derivation pun, pseudo-derivation pun, redundant pun, subsequent pun, and difference pun in long vowels (from the most to the least) to run artistic games. Shedding light on these games would reveal the essence of Nizami's art and power. In addition to artistic aesthetics, the poet has followed other objectives too. For instance, with the help of these games, he has supported fictional atmosphere to attract the attention of his readers. Apparently, the poet has deliberately played with the word names, but in some cases the game has been so appropriately that the reader takes it as granted. The high frequency of games with word names is the major stylistic feature of Nizami's works.
Firouz Fazeli; Mohammad Mohammad
Volume 68, Issue 231 , January 0, , Pages 77-108
Abstract
dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality ...
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dramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidaritydramatic Spacing was first introduced by the german playwright and director, brecht, but the origin of this term stems from the divisions in epic and tragedy presented by plato and Aristotle. Aristotle considered tragedy as dramatic and epic as narrative. since brecht believed that the illusion of reality in a drama deprives the audience of an independent viewpoint and a sense of judgement he created a type of drama based on narration and spacing derived from aristotles theory on epic and studies he conducted on eastern literature. There were no play in Persian classical literature؛ meaning that epic poems and drama lyrics had a narrative style and This was in contrast with aristotles notion on the non-narrative nature of tragedy, therefore Persian drama lyrics, much like epics, do possess a kind of spacing which originates more from eastern tradition than it does from brechts design. In this study, spacing in aristatelian epic and brechts theatre will be explained first and then spacing in nizamis poems, as one of the most prominent Persian lyricists, will be scrutinized so that we can have an understanding of the ideology of Persian literature and also analyze the spacing in these works as a fallacy for their lack of reality and solidarity
