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
maqsood mesbah; Ebrahim Pourdargahi; Hamidreza Farzi
Abstract
Abstract: Plants, as one of the important sources of food and medicine, have been the focus of human attention since long ago. Our ancestors over thousands of years, in addition to providing the medicine, food and clothing have gained more knowledge on the plants and have used the color and smell of ...
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Abstract: Plants, as one of the important sources of food and medicine, have been the focus of human attention since long ago. Our ancestors over thousands of years, in addition to providing the medicine, food and clothing have gained more knowledge on the plants and have used the color and smell of a number of plants in painting, dyeing, making perfume and doing the makeup. Indigo is one of the dye-producing plants that have attracted the attention of people due to its color stability and high ability to combine with a wide range of other natural colors. The extensive reflection of this plant in the poem indicates the prosperity and healthy use of the natural color of indigo, along with its healing properties, by the ancients. In the 6th century, for some reasons, including competition, the development of science or idealism by the poets, the therapeutic functions of Indigo, like the information of other sciences, have been mixed with the irony and metaphors and made it difficult to understand the meaning of the poem. This research aims to extract the reflections of the Indigo from the , Divan of Sanai, Anwari, Khaghani and Nizami by using the descriptive-analytical method to investigate and analyze its medical, literary and artistic functions and its public beliefs.
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
Meisam Jafarian Heris; Mohammad Ali Mousazadeh
Abstract
Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques Meisam Jafarian Heris 1Mohammad Ali Mousazadeh 21 Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran2 Assistant Professor ...
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Criticism and Correction of Twelve Verses of Hafez Based on Textual Documentation and Rhetorical Techniques Meisam Jafarian Heris 1Mohammad Ali Mousazadeh 21 Persian Literature and Language, Faculty of Persian Literature and Foreign Languages, University of Tabriz, Tabriz, Iran2 Assistant Professor of University of Tabriz, Tabriz, Iran The previous custom in correcting the texts was that the most archaic manuscript was absolutely the basis, and except for gross errors in the oldest manuscript, they did not consider it permissible to deviate from the oldest recording. Although this method was correct in most of the revised texts, the nature of Hafez’ poems and the variety of his sonnets were such that in the work of correcting his poetry, relying only on the oldest manuscript does not lead to a superior recording. On the one hand, Hafez was constantly in the process of completing various aspects of his poetry and possibly changing and modifying them, and on the other hand, he did not collect his poems himself, and the oldest written copy of Hafez’ Divan is dated after his death, which is said to have been collected by Mohammad Golandâm. It is possible that other people have been assigned to collect and edit Hafez’ sonnets. Based on this, in addition to the fact that we are faced with several original copies, the existence of numerous secondary manuscripts as well as the distortions of the scribes in his Divan, and the number of recordings in some verses and disagreements about them have caused that only referring to the older manuscripts will not cause these disagreements to disappear. In such a case, one of the ways is to examine disputed verses based on textual/semantic documents and rhetorical techniques
Lyrical and Didactic Literature
Nasrollah Pourjavady
Abstract
Despite the simplicity and clarity of most of the verses, the texture of expression in Hafiz’s poetry is based on a complex and generally hidden semantic network, which sometimes the deep and precise meanings hidden in it do not appear at the first glance. For this reason, several verses of his ...
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Despite the simplicity and clarity of most of the verses, the texture of expression in Hafiz’s poetry is based on a complex and generally hidden semantic network, which sometimes the deep and precise meanings hidden in it do not appear at the first glance. For this reason, several verses of his poem collection are exposed to understanding only with repeated reflections and re-readings. Among these verses is this famous one: عشق دُردانه است و من غواص و دریا میکده/ سر فروبردم در آنجا تا کجا سر برکنم “Love is a unique pearl and I am a diver and the sea is a winehouse/ there, my head, I plunged without knowing where I would come out”. The meaning of this verse has been considered clear and straightforward by commentators and connoisseurs, as evidenced by their works. In spite of this general opinion, the author of the present essay, relying on a more detailed reading and reflection on the complex and interwoven semantic network of the parts and words of the verse, tries to present his own inferred meaning of the verse to the readers while criticizing the aforementioned opinion. The genealogy of the poetic interpretations and Sufi concepts of the said verse shows a connection between Hafiz’s mystical school and Ahmad Qazzâli’s thoughts and his book “Sawâneh”.
Lyrical and Didactic Literature
Maryam Mosharrafolmolk
Abstract
Understanding the Element of Water and Its signs in Sanaʾi’s Seyr al-Ebâd[1]One of the prominent characteristics of literary knowledge is to pay attention to the concept of sign. If we accept Saussure’s view that language is an order of signs that is based on an interconnected ...
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Understanding the Element of Water and Its signs in Sanaʾi’s Seyr al-Ebâd[1]One of the prominent characteristics of literary knowledge is to pay attention to the concept of sign. If we accept Saussure’s view that language is an order of signs that is based on an interconnected system of elements and relationships, we may get close to understand the systemic view of signs. In this view, codes and signs of language are not eternal and independent concepts that represent an external reality, but are “signs” that take their meaning only from the text.On the other hand, understanding each sign in the text is only possible if the reader is also familiar with the rules and conventions governing the text, because as Saussure and Jacobsen have shown, signs do not emerge only on the basis of a single text, but also on the basis of the literary genre which they are dependent to, and knowing the rules of a genre would not be possible except by evaluating the different ways that individual speakers apply in using signs. From this point of view, knowing the codes and textual signs of individual speakers or writers, becomes important because it not only opens the way in understanding individual literary works, rather, it is an effective and even necessary step in defining the conventions and rules governing a certain genre.Now, one wonder, if it is possible to classify and examine the signs and symbols used in a certain field in Persian classical texts, based on the common ground between them?In this research, I tried to survey the allegorical signs and codes which refer to the vital elements: “The essence of water” and the “essence of air” in the symbolic and allegorical Maθnavi “Seyr al-Ebâd” by Sanâʾi Qaznavi.It is obvious that by “code” in this article, I mean the semiotic concept, which is different from old rhetorical concept that can be seen in the books of “Maʾâni and Bayân”. Here we are seeking to identify and understand the specific signs that Sanâʾi used in his mystical language.An Allegorical creature in Maθnavi “Seyr al-Ebâd”Sanâʾi has used a number of animals in allegorical meanings in his Seyr al-Ebâd. Animals are usually a sign of moral imperfections and weakness of the soul. Here, marine animals have a special place. Marine animals such as oyster, turtle, alligator, crab, fish and whale indicate the qualities of the essence of water: they may be a sign of cold and wet nature and represent the qualities of “phlegm” among the four Humoral (Axlât). Laziness, laxity and weakness are attributes that these animals symbolically embody. Allegorical creature for Nature of Water By creating composite faces, Sanâʾi has created imaginary animals that represent the human lower soul or Nafs e Bahimi. In this concern, he has created an imaginary whale in the “Essence of Air”, an episode of his longish poem. He also talks about a creature with the head of a dragon and the tail of a fish and mentions attributes for these creatures that have a figurative and allegorical aspect. In creating this world of signs and these illusory creatures, Sanâʾi has used a set of signs that are related to the functioning of the soul in a combined way.To understand the more complex meanings of imaginary figures, it is necessary to pay attention to the context of the text and consider the verses together in the context of the poem. In this case, the components of imaginary figures create an interwoven web of connected signs that one cannot be understood without the other, i.e. they should not be viewed partial and separated: a common mistake by previous commentators. Any explanation is acceptable if it can create harmony between all the parts of the symbolical context, not if it is verified in one case and not in the rest.In describing the powers of the moon, Sanâʾi talks about the existence of “dragon head and fish tail creature”. With the help of old philosophical works, we understand that this weird creature refers to moon’s cold and humid nature, and at the same time, it signifies the heat-creating properties of the moon, which guarantee the influence of the moon’s powers in the prosperity of life. These properties are more powerful in the first half of the lunar month.Therefore, Sanâʾi created a mixed and illusory creature of water and fire that brought together these heterogeneities and opposite qualities. Allegorical creature for Nature of AirIn the episode “Properties of Air Element”, Sanâʾi created a crocodile whose head is towards water and whose tail is towards fire. The crocodile is a sign of the air element in nature. At the same time, it indicates the power of the Lust (Arabic: Hawa’) in lower soul. This is a fundamental power of soul, on which continuity of life is dependent on, and Sanâʾi’s goal is to make the reader aware of its dangers in an allegorical language.This paper is only one step in the way of knowing the significant philosophical signs in the intellectual world of Sanâʾi, and it will certainly not be the last one.Undoubtedly, choosing signs that belong to the same or opposite thematic areas can help us to draw the network of these signs. Drawing the map of contrasts and similarities of the signs, ultimately leads us to understand the meaning of them. ReferencesBressler, Charles E., (2011). Literary Criticism (Fifth Edition). Longman.Culler, J., (2001). The Pursuit of Signs (Second Edition). Routledge.-------, (1973). Structuralist Poetics. Routledge.Damiri, K., (1395). Xavâs al- hayavân. tr. Xâje Mohammad Taqi Tabrizi. ed. F. Mehri. Tehran: Markaze našre dânešgâhi.de Saussure, F., (1966). Course in General Linguistics. New York: McGraw-Hill.du Bruijn, J. T. P., (1983). Of Piety and Poetry. Leiden: Brill.Empson, W., (1949). Seven Types of Ambiguity, Chatto and Windus. London.Eqbâl Lâhuri, Mohammad, (1380). Seyre falsafe dar Iran. tr. A. H. âriyânpur. Tehran: Negâh.Ibn Sinâ, Šeyx al-Raʾis, (1383). Resâleye Nafs. ed. M. Amid. Hamedan: Anjomane âsâr va mafâxere farhangi.Sajjâdi, J., (1373). Farhange Maʾârefe eslâmi. Tehran: kumaš.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1360). Masnavi-hâye Hakim Sanâʾi be enzemâme šarhe Seyr al-ebâd elâ al-Maʾâd. ed. M. T. Modarres Razavi. Tehran: Bâbak.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1377). Hadiqat al-Haqiqat Va Šariʾtat al-Tariqat. ed. M. T. Modarres Razavi. Tehran: Dânešgâhe Tehran.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1388). Divâne Sanâʾi. ed. M. T. Modarres Razavi. Tehran: Entešârâte Sanâʾi.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1396). Divâne Sanâʾi. ed. M. Mosaffâ. Tehran: Zavvâr.Sanâʾi Qaznavi, Ab al-Majd Majdud ibn Âdam, (1396). Seyr al-ebâd elâ al-Maʾâd. ed. M. Ranjbar. Tehran: Mowlâ.Tafazzoli, A., (1354). Minuye xerad. Tehran: Bonyâde farhange Iran.Tusi, Mohammad ibn Mahmud ibn Ahmad, (1382). Ajâyeb al-Maxluqât. ed. M. Sotude. Tehran: Elmi Farhangi. [1] Maryam Mošarraf: Associate Professor of Persian Language and Literature, Šahid Behešti University.
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)
Lyrical and Didactic Literature
Mahmood Fotoohi
Abstract
AbstractIn the 16th century (11the AH), the ideas of Shiite philosopher, Mullā Sadrā (1572-1640 AD / 979-1050 AH) brought about fundamental changes in Islamic ontology, especially some of his innovative ideas on the originality of existence, and Substantial Motion. Simultaneously with these changes, ...
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AbstractIn the 16th century (11the AH), the ideas of Shiite philosopher, Mullā Sadrā (1572-1640 AD / 979-1050 AH) brought about fundamental changes in Islamic ontology, especially some of his innovative ideas on the originality of existence, and Substantial Motion. Simultaneously with these changes, the imaginative style of Persian poetry (indo-Persian poetry) underwent changes, with a dynamic view to existence and substance of nature.The article is actually a comparative study on philosophy and poetry, which deals with the "Substantial Motion of nature" as a common theme in poetry of Saeb Tabrizi (1006-1087 AH), the Persian poet of the 16th century, and Mulla Sadra's transcendental wisdom, and tries to show the similarity between Sadra's philosophical thought and Saeb's poetic attitude to movement in essence of nature.
Lyrical and Didactic Literature
ali shahlazadeh; mir jalil akrami
Abstract
The extent and depth of the lyric literature concepts along with the examples variety of this literary genre in the area of Persian literature are considered as the most outstanding features of Persian language and literature.While the creation of other literary genres (epic and didactic) has shown weaknesses ...
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The extent and depth of the lyric literature concepts along with the examples variety of this literary genre in the area of Persian literature are considered as the most outstanding features of Persian language and literature.While the creation of other literary genres (epic and didactic) has shown weaknesses in some periods of history, lyric literature has been encountered with growing attention and increasing evolution.But what it takes to understand the various aspects of this literary genre as a point of ambiguity has the sufficiency to express and research about is that under what constraints lyric prose works are impressively low in number comparing to forms and types of its poetry.The lack of a determined and proposed theory in the case of Persian prose method makes it difficult to find an answer to this question.Therefore, it was attempted foremost by referring to prose works and books related to writing principles and rules to elicit some of the definitions and criteria of Persian prose, so by the way of setting the necessity of providing the lyric words and the frameworks of Persian prose essays against each others, the theoretical impediments to the growth and development of prose lyric works become more clear.Since the present study focuses on theoretical components, the literary criticism and analysis of lyric prose texts and fragments are neglected and four theoretical factors were introduced as possible contributing factors to lyric prose deficit in Persian literature.
Lyrical and Didactic Literature
Ziba Ghalavandi; Mohsen Noorpisheh Ghadimi
Abstract
The image as part of the message is the affect intermediate between the speaker and the audience. Examining the components of the image and its impact on the audience can inform us about the amount of emotion and affection of the poet; The diversity and dynamism of the image leads to its permanence in ...
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The image as part of the message is the affect intermediate between the speaker and the audience. Examining the components of the image and its impact on the audience can inform us about the amount of emotion and affection of the poet; The diversity and dynamism of the image leads to its permanence in the minds of the audience and, as a result, conveying more affection. The diversity of the image, on the one hand, shows that the speaker has experienced it with all his senses, and on the other hand, it enables the audience to receive the message with various sensory receptors. In the present paper, we first review the theories related to affection, image, demilitarization, and their interactions with each other and with the audience; Then, a variety of verbal, visual and vocal images, cinematic images, and transformation in the vertical axis of imagination, identification through the image as well as the components of the image, such as verbs, the image of words and colors, and their connection with Rumi’s affection and emotion in Shams' sonnets are investigated.
Lyrical and Didactic Literature
fatemh mehrabani mamdouh; hosein sedghi
Abstract
Literature and social has mutual effects together and it can know that the literature is a reflection of social realites. One of these influences is the effect of class system and autocratic on the society and membersʼs communication, and the literature as the principle of social appearance itʼs reflect ...
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Literature and social has mutual effects together and it can know that the literature is a reflection of social realites. One of these influences is the effect of class system and autocratic on the society and membersʼs communication, and the literature as the principle of social appearance itʼs reflect at itself. Class system is a social inclusive system that people disport to some separate class, and in this system some of people enjoyed complete citizenship rights, and the rest of them deprived the primary rights. Acceptance and emphasis on difference, opposition, and generally inequality are the characteristics of this system. Class system has results to autocratic that itʼs components are the sanctity of the king and one-way conversation, and the fear has form itʼs founding. This system has effects on peopleʼs attitude, belives, moods, and expression of the contentsʼs manner. So that literary language tendency to indirect expression and aphorism, and sideways of the content of the literary works to serve the interests of the socialʼs ruling and powerful class. This article studies these effects and itʼs reflection in the educational literature by descriptive-analytic method, relying on the most prominent Persian prose educational texts that classified in political advice writtens.
Lyrical and Didactic Literature
Assadollah Vahed; Meisam Jafarian
Abstract
Perhaps there is no text like Divan-I Hafiz in which the author himself makes so much changes in it. In fact the main variants is the work of the poet himself who has developed the poem to literal and spiritual perfection. If we want to make a meaningful relationship between poetical aspects of Hafiz ...
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Perhaps there is no text like Divan-I Hafiz in which the author himself makes so much changes in it. In fact the main variants is the work of the poet himself who has developed the poem to literal and spiritual perfection. If we want to make a meaningful relationship between poetical aspects of Hafiz that is to say short of words, exemplifications in speech, the broken form of discourse, resemblances of the poet with predecessors and his contemporaries, the hypothesis that Hafiz has had frequent studies on others steady works is reinforced. Sometimes his variant transcriptions in his poems exist exactly in past literary texts and sometimes the difference in the transcriptions is at the result of different scientific sources which Hafiz has refered to them and meditated in them. As if, it is probable that one of the creative factors of this different variants is because of the Hafiz research texts themselves. Searching in intertextualities of Hafiz poems make it possible for reader the reasonable understanding of Hafiz mind and language and also the scientific and critical edition of his poem. Up until now, the Hagia Sophia manuscript -copied in 1410 AD- and the Khalkhali manuscript -copied in 1424 AD- have been considered as two head / base-text in the valid editions of the Divan-I Hafiz, By introduction and publishing facsimile edition of Noor Uthmaniya Library manuscript -copied in 1398-99 AD, it seems to be necessary the critical review / edition of this manuscript's readings compared to existing ones