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History of literature of Iran
Taghi Pournamdarian; Mostafa Mousavi
Abstract
Abstract:Nezami Ganjavi, a Persian poet of the sixth century AH, has been introduced as a Turk in some directional studies of the last few decades. In this article, we have tried, firstly, by referring to the works of Nezami Ganjavi, in which there is no doubt about their attribution, and secondly, by ...
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Abstract:Nezami Ganjavi, a Persian poet of the sixth century AH, has been introduced as a Turk in some directional studies of the last few decades. In this article, we have tried, firstly, by referring to the works of Nezami Ganjavi, in which there is no doubt about their attribution, and secondly, by referring to sources that have existed in this regard from the distant past to the present. And also published research and analysis on the subject under discussion, to examine the language of the military. In this study, it became clear that the mother tongue of the Iranian military dialect has been one of the various dialects in the history and vast geography of Iran, to which we have received many poems known as Fahlaviyyat in the margins of texts and manuscripts. The language of Nezami poetry was Persian Dari and there is no credible evidence that the verse was written in Turkish.
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”.
Mohammadbager Bahadori; Afsaneh Salmani
Volume 68, Issue 231 , January 0, , Pages 17-40
Abstract
Parvin is the Persian literature’s shining star. The beautiful form and rich content of her poems are not hidden to any researcher. To this end, numerous subject matters and topics of her anthology which contain elegant and thoughtful resources necessitate to be searched which the current paper ...
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Parvin is the Persian literature’s shining star. The beautiful form and rich content of her poems are not hidden to any researcher. To this end, numerous subject matters and topics of her anthology which contain elegant and thoughtful resources necessitate to be searched which the current paper attempts to carry out. The present research is a qualitative study. In this study the reflection of oppression and tyranny, based on Parvin’s viewpoint, has been investigated. Evidently, she has used exciting examples, debates, elegies, odes, Mathnavis, and multiple poems to illustrate sagely the oppression and oppressor and their consequences and repercussions. She acknowledges that oppression causes the darkness of our soul and disreputation and destruction of humans in this world and the next one. Therefore, she invites people to oppose oppression. In Parvin’s viewpoint and thinking, oppressor has been likened to a snake, a biting dragon, a predacious wolf, and a sharp blade. Also, rulers, agents, judges, predators, and money-grubbers are considered four categories of oppressors who in one way or another are people’s killing thunderbolt and calamity. Parvin’s utopia is a place without oppression which provides welfare and tranquility including values for human beings. She believes that people’s acceptance of oppression is the reason for the tyranny of tyrants and people’s honesty and dishonesty arise from rulers’ honesty and dishonesty.
Atefe Bank; Mahdi Eftehhar
Volume 68, Issue 232 , January 0, , Pages 17-29
Abstract
مسئله توحید و بحث وحدت از مهمترین مباحث ادبیات عرفانی فارسی است. در گذشتۀ عرفان اسلامی، عارفان شاعر، از وحدت به زبان نظم سخن میگفتند. نسیمی شروانی از خلفای فضلالله ...
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مسئله توحید و بحث وحدت از مهمترین مباحث ادبیات عرفانی فارسی است. در گذشتۀ عرفان اسلامی، عارفان شاعر، از وحدت به زبان نظم سخن میگفتند. نسیمی شروانی از خلفای فضلالله حروفی از شاعران آذری زبانی است که به فارسی و عربی نیز شعر میسروده است. اشعار فراوانی در مبحث توحید عرفانی و شهود وحدت در کثرت از او در دست است که برخی در ظاهر مشعر به انسان خدایی است. در افق وحدت است که سالک همه جا حتی در وجود خود، خدا را میبیند. شهود وحدت در مسیر عرفان عملی، در عرفان نظری وحدت وجود را نتیجه میدهد. مشکل بودن تعبیر از شهودهای عرفانی ، عارفان را بر آن داشت تا از زبان نظم برای بیان مشاهدات خود استفاده کنند. گزارش عطار از شهود وحدت و تحلیل آنان از وحدت وجود در مقایسه با اشعار عمادالدین نسیمی شروانی نشان میدهد همان حقایقی را که آنان در باب وحدت در قالب های شعری بیان نمودهاند ، نسیمی نیز در قالب غزل و ترجیع بند و غیره به شیوائی تمام بیان کرده است. برخی از اشعار نسیمی که در ظاهر به انسان خدایی اشعار دارد را میتوان شطحیاتی دانست که در اثنای سلوک از سالک سرمیزند و گویای حال سکر و مقام فنای وی میباشد.
Khalil Baygzadeh; Sanaz Khoshhesab
Volume 69, Issue 234 , January 0, , Pages 17-32
Abstract
Obeyd Zakani is the humor poet in the eighth century whose the humorous tales of poet are sarcasm in Resaleh Delgosha, in order to show the social, political conditions of time. Theory of "meaning image of humor" of Victor Raskin is the main movement on the contrary with the traditional classification ...
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Obeyd Zakani is the humor poet in the eighth century whose the humorous tales of poet are sarcasm in Resaleh Delgosha, in order to show the social, political conditions of time. Theory of "meaning image of humor" of Victor Raskin is the main movement on the contrary with the traditional classification theory. This theory is the threshold of linguistic and semantics in the humorous reign that has influenced on the later models and theories such as that of Robert Lew's .For him, the linguistics humor is out of linguistics and there is some illusion forming the linguistics features in the phonetic, vocabulary and rhetorical region and Obeyd Zakani has used some humorous means either linguistic (expression humor) and non-linguistic (situation humor) in Resaleh Delgosha. Therefore, this study aims to introduce Robert Lew's Model to assign the humorous tales of Obeyd Zakani's Resaleh Delgosha due to theoretical form in 355 tales of Resaleh Delgosha concluding that theoretical form is able to analyze the humorous tales of Obeyd Zakani's Resaleh Delgosha.
Mohammad Pashai; Abolfazl Ramazani
Volume 70, Issue 235 , January 0, , Pages 17-38
Abstract
Realistic story writing in Persian literature was common among the writers since the beginning of story writing in the new style until present and most of the great contemporary writers have employed these realistic elements in their works. Jamalzadeh was one of the first Iranian writers who combined ...
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Realistic story writing in Persian literature was common among the writers since the beginning of story writing in the new style until present and most of the great contemporary writers have employed these realistic elements in their works. Jamalzadeh was one of the first Iranian writers who combined the old traditions of story writing with European story writing techniques and wrote the first Persian short story. His first collection of short stories, “Once Upon a Time” marks the beginning of the Iranian realistic literature. On the other hand, the fictions of Jalal Al-e Ahmad demonstrate the traditional life and religious environment of some part of the society which have been exposed to civility and modernity. Al-e Ahmad has tried to represent social life realities by expressing his critical view in his stories and he never victimized reality and truth for the sake of artistic visualization. In his opinion, the mission of story writing is critical reflection of reality in the first place. Therefore, this article aims to investigate the realism components in the fiction of Jamalzadeh and Al-e Ahmad as prominent writers of Iranian fiction, and compare their realism components as an aid to the analysis of their personal style and a tool for explaining the Iranian fiction. Both writers have employed the story writing realistic components and principles including characterization, description, language, and realistic theme for narration of the stories.
Mohammad Hossein Khan Mohammadi
Volume 66, Issue 227 , January 0, , Pages 21-44
Literary theories
Sayyed Ahmad Parsa; Negin Rostami
Abstract
Researchers of Persian literature have studied the use of Quranic verses by poets in their poems only with a rhetorical approach and have been unaware of their goals in using these verses. The present study examines this issue in Anwari's poems and tries to analyze Qur'anic verses from the perspective ...
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Researchers of Persian literature have studied the use of Quranic verses by poets in their poems only with a rhetorical approach and have been unaware of their goals in using these verses. The present study examines this issue in Anwari's poems and tries to analyze Qur'anic verses from the perspective of their functions by using Researchers of Persian literature have studied the use of Quranic verses by poets in their poems only with a rhetorical approach and have been unaware of their goals in using these verses. The present study examines this issue in Anwari's poems and tries to analyze Qur'anic verses from the perspective of their functions by usingJari and Matching. The research method is descriptive-analytical. The statistical population is 207 poems of Divan Anvari, Modarres Razavi correction and sample size according to Cochran's formula 132 poems that have been selected using simple random sampling method. The result shows that Anwari has adapted the Qur'anic concepts and themes to his desired subjects by using the Jerry rule and applying the verses; In such a way that the final theme of his poem is far from the dignity of the true revelation of verses. In other words, he has used Qur'anic concepts with functions such as persuading the audience, magnifying, reasoning, expressing his discourse, and the like, in a concise and adaptive manner in his poems, which are discussed in detail in the text of the article.
Ali Akbar Sam Khaniani; Mustafa Malek Paein
Volume 65, Issue 226 , January 0, , Pages 23-47
Abstract
The Story of Lion and Cow in Kelile and Demne has a lot of literary beauties; applying different literary criticisms and various meaningful readings in the context of this story, one can determine the aesthetic factors and their effects on the readers. One the most efficient literary criticism in this ...
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The Story of Lion and Cow in Kelile and Demne has a lot of literary beauties; applying different literary criticisms and various meaningful readings in the context of this story, one can determine the aesthetic factors and their effects on the readers. One the most efficient literary criticism in this regard is the mythical criticism. This study tries to analyze the Story of Lion and Cow in Kelile and Demne based on the Theory of Jung regarding Archetypes and Symbols, and its integration with the Northrop Fry Theory about the mitoses forming a literary work. To do this, after explaining the theoretical framework and method of this study, the symbols and archetypes of different parts of this story would be analyzed applying mythical analysis; then their relations with mitoses forming that part would be expressed. The Story of Lion and Cow in Kelile and Demne has a lot of literary beauties; applying different literary criticisms and various meaningful readings in the context of this story, one can determine the aesthetic factors and their effects on the readers. One the most efficient literary criticism in this regard is the mythical criticism. This study tries to analyze the Story of Lion and Cow in Kelile and Demne based on the Theory of Jung regarding Archetypes and Symbols, and its integration with the Northrop Fry Theory about the mitoses forming a literary work. To do this, after explaining the theoretical framework and method of this study, the symbols and archetypes of different parts of this story would be analyzed applying mythical analysis; then their relations with mitoses forming that part would be expressed. The Story of Lion and Cow in Kelile and Demne has a lot of literary beauties; applying different literary criticisms and various meaningful readings in the context of this story, one can determine the aesthetic factors and their effects on the readers. One the most efficient literary criticism in this regard is the mythical criticism. This study tries to analyze the Story of Lion and Cow in Kelile and Demne based on the Theory of Jung regarding Archetypes and Symbols, and its integration with the Northrop Fry Theory about the mitoses forming a literary work. To do this, after explaining the theoretical framework and method of this study, the symbols and archetypes of different parts of this story would be analyzed applying mythical analysis; then their relations with mitoses forming that part would be expressed.
mir jalil Akrami; Masood dehgani
Volume 67, Issue 229 , January 0, , Pages 23-41
. Epicical and Mythical Literature
sajjad Aydinloo
Abstract
The greatest act of epic-mythological stories is kill the dragon. Other than Sistan’sheroes in Iran’s gladiatorship-national narratives, a number of kings also fight with dragon, creatures like dragon and dragons that have changedand they kill or capture them.In well-known sources and common ...
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The greatest act of epic-mythological stories is kill the dragon. Other than Sistan’sheroes in Iran’s gladiatorship-national narratives, a number of kings also fight with dragon, creatures like dragon and dragons that have changedand they kill or capture them.In well-known sources and common narrations about him,Keixosrow Kiani is also one of these kings whohe is not a dragon race, but the story of his confrontation with the dragon is a genuine and ancient narrative that its background may be pre-Islamic sources of Iran and two different reports have survived in Arabic and Persian sources.The first report is in the book of “history of the Senii of the Moluk al-arz va al-anbia” written by Hamze Isfahani and then Zajjaji’sHomayoon nameh and Tarikhe Gozideh and Mostofi’sNozhat al goloob, in which Kexosrowkilled a dragon on the mountain between Fars and Isfahan and the other is the history narrative of Qom that the king is going to Qom to keeping back the dragon’s damage and the dragon escapes from her.The story of killing the dragon by Keyxosrowdue to lack of it in important and impressive texts such as Shahnameh and Tabari historyandagain tobe more prominent of the sacred and spiritual aspect of the king than his warfare and gladiatorship remained unknown and far from attention.
Literary theories
behdad beyranvand; Jamileh Akhyani; Amir Momeni Hezaveh
Abstract
"Other" is a concept related to individual identity, and individual identity only makes sense when it is weighed against others. The concept of the "other" is the result of the epistemology and ontology of modern man, which has a different life and experience from that of ancient man. This concept entered ...
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"Other" is a concept related to individual identity, and individual identity only makes sense when it is weighed against others. The concept of the "other" is the result of the epistemology and ontology of modern man, which has a different life and experience from that of ancient man. This concept entered literature with the theory of the logic of Bakhtin's dialogue and opened a new window to literary works. One type of literature in which this concept can be explored and has not yet been considered is the "parable", which leads to the omission of the "other" due to the lack of dialogue. Proverbs have been widely used as a linguistic feature and literary genre in the works of Persian writers; but there are those whose words have become proverbs. Sadi is one of these writers. By accurately recognizing the specific capacities of the parable, he presents many of his words as parables and in this way conveys his views to others. In the present study, while analyzing The Proverb structure, its features are related to the elimination of "other" such as: "using proximity magic", "addressing", "warning", "using the names of famous people", "using humor", and ... Sadi's method of use of this type of literature is examined in order to eliminate the "other" and induce speech artistically to others in Golestan and Bustan.
Sufism and Mysticism
Hmidreza Tavakoli
Abstract
Shams' first conversation with Rumi was about Bayazid. Shams specifies this point at the end of an Arabic speech in Maqalat-e Shams-e Tabrizi (Discourse of Shams-i Tabrīzī). In a similar way, Bayezid's criticism appears many times in the words of Shams. The same criticism is repeated about Hallaj. ...
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Shams' first conversation with Rumi was about Bayazid. Shams specifies this point at the end of an Arabic speech in Maqalat-e Shams-e Tabrizi (Discourse of Shams-i Tabrīzī). In a similar way, Bayezid's criticism appears many times in the words of Shams. The same criticism is repeated about Hallaj. After all, the points related to this critical remark are often seen in the articles; reflections on obedience and heresy, shath (an ecstatic utterance) and drunkenness, sobriety after drunkenness, predestination and silence. But the main point is that Rumi obviously has a different view and words on this issue. He is not only a praiser of Bayezid and Hallaj; rather, he talks about drunkenness and romantic predestination with increased passion. At the same time, in the mind and language of Rumi, the spirit of Shams' speech is present without its application in the criticism of people like Bayazid. This article is an attempt to analyze the first question of Shams and propose various aspects of the duality of Shams and Rumi's view in this perspective, as well as suggestions to explain this distinction and independence of the perspective.
Batoul Ashrafi; Geti Taki; Mohammad Behnamfar
Volume 67, Issue 230 , January 0, , Pages 26-47
Abstract
Functions and characterizations are two main elements in stories. Functions are related to a series of limited actions used in stories and characterization to the selection, arrangement, arrival and the role of characters. This article studies the functions according to Propp’s view and characterization ...
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Functions and characterizations are two main elements in stories. Functions are related to a series of limited actions used in stories and characterization to the selection, arrangement, arrival and the role of characters. This article studies the functions according to Propp’s view and characterization based on Propp and Rimmon-Kenan’s views in Sulaiman Story in The Quran in order to study the structure of this story. The data collected from Mohammad Reza Safavi’s translation of Quran stories and examined with a descriptive-analytic method. The findings of this study show that: (1) In spite of using the similar functions to colloquial stories, some of the Quran functions do not accord with Propp’s classification of detailed function subtypes completely. (2) They are meaningful, brief and in some cases moral. (3) All the mentioned stories about Sulaiman in The Quran have just one move. Except the cited story in surah Alanbia extended through the function of difficult task, extension through the functions of difficult task-solution and struggle-victory cannot be observed in none of the other stories. In addition, in spite of the different nature of some functions with Propp analysis, a partial conformity can be seen between the sequences of these stories and the four sequences discovered by Propp. (4) The discovered differences in characterization analysis including: help done by evil creatures to the heroes and different nature of beneficent and evil forces also verifies that the nature of The Quran stories is different from the fables or myths.
Mohammad Taheri-Khosroshahi
Volume 69, Issue 233 , January 0, , Pages 27-54
Abstract
At the time of expansion of the intellectual and spiritual influence of sheikhs of Khorasan in the realm of the Islamic mysticism, the Sufi-schools expansion in Azerbaijan and the emergence of authentic figures of Sufism is obvious in the region. The first Sufis of Tabriz, in the principles, from 3rd ...
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At the time of expansion of the intellectual and spiritual influence of sheikhs of Khorasan in the realm of the Islamic mysticism, the Sufi-schools expansion in Azerbaijan and the emergence of authentic figures of Sufism is obvious in the region. The first Sufis of Tabriz, in the principles, from 3rd to 5th centuries focused mainly on the East of Sufism and were unfamiliar with the West of Sufism (the schools of Baghdad). Jovinani, as the first figure of Sufism of Azerbaijan were one of the Bayazid’ disciples who returned to Tabriz from Bastam after the Tabriz earthquake in (244 AH) and opened a way to transfer the Khorasan Sufism to the Azerbaijan. Another Sufi figure of Azerbaijan in this period is the Abu Nasr Shervani, one of the disciples of Abu Said Abyalkheyr who transferred the Mysticism of the Khorasan to Shirvan in Arran. Azerbaijan, in some period of time, was receptive of the mystics of Khorasan which could mention to the travels of Ahmed Ghazali, Yahya Bakhezri and Nizamuddin Ghori. The two narrations of the Hajviri in Kashf al-Mahjub are another reason for this claim. The sheikhs of Azerbaijan not only in the first centuries but during the development and expansion of Sufism of Tabriz (6th to 8th centuries), yet, have been interested in Khorasan. The mystical works in the Tabriz valuable collection of manuscripts namely “Safineye Tabriz” (ship of Tabriz) is evidence to this claim. The attention of Sufis of Azerbaijan to sheikhs of Khorasan could be regarded as a sign of mystical love of mysticism school of Tabriz and its intellectual features. In this article, providing the evidence from the Sufi prime literature on the relationship between the sheikhs of Azerbaijan and Khorasan, we are endeavoring to clarify the point that mysticism school of Tabriz, besides having unique features of mysticism of Azerbaijan, throughout the history of Sufism, has been connected to the mystical sources of Khorasan and has been watered.
Mir Jalil Akrami; Hadi Dini
Abstract
The mystical manifestations of self-control in Attar's Mathnawies (Manṭiq-uṭ-Ṭayr, Ilāhī-Nāma, Asrār-Nāma and Muṣībat-Nāma) Mir-Jalil Akrami1/ Hadi Dini2 1 Professor of Persian Language and Literature, Tabriz University (corresponding author), E-mail:m-akrami@tabrizu.ac.ir 2 M.A. ...
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The mystical manifestations of self-control in Attar's Mathnawies (Manṭiq-uṭ-Ṭayr, Ilāhī-Nāma, Asrār-Nāma and Muṣībat-Nāma) Mir-Jalil Akrami1/ Hadi Dini2 1 Professor of Persian Language and Literature, Tabriz University (corresponding author), E-mail:m-akrami@tabrizu.ac.ir 2 M.A. of Persian Language and Literature, Tabriz University Abstract The most important type of jihad is the struggle against the soul and its desires, and this is of considerable importance that it is regarded as the Greater Jihad. The soul is one of the most fundamental concept in Islamic mysticism Attar-e-Neishaburi has visualized his ideas about the soul in the form of anecdotes, stories, narratives and a plentiful supply of allegories in his Mathnawi's. From his point of view, the desires of the soul are regarded to be the worst enemy of man and an intermediary between Satan and the human beings; the soul is the greatest barrier and obstacle to the perfection of the seeker's paths; not only must the seekers strive to struggle against this enemy, but they must also take care of its invasions. Key words: struggle against the soul, Attar-e-Neishaburi, mystical manifestations. Soul from lexical point of view: From lexical point of view, the word soul has various meanings such as spirit, ego, object truth, blood, flesh, evil eye, intention, disgrace, defect, strength, punishment, magnitude, dominance, venerability (Shad, 1335, vol. 7: 4368-4367) (Ma'alov, 1973: 826), and essence, near, ambition, verdict, punishment, moisture, water, mind, breath of the eternal (Dehkhoda, 1342: under soul). Soul as a mystical term: The mystics and Sufis agree in the fact that the soul is the source of evil, and it is considered to be the cause of the immorality and despicable acts, which is divided into two types: 1) sins 2) immorality like arrogance, envy, stinginess, anger, rancor, and other contemptible meanings in Sharia and wisdom (Hujwīrī, 1992: 246-245). The struggle against the soul (Greater Jihad): Wise men and the mystics believe that self-control is one of the most difficult tasks facing mankind and in order to overcome it, self-improvement and many endeavors are needed; therefore, the uppermost type of jihad is the struggle against the soul and is referred to as the Greater Jihad. The struggle against the soul in Mysticism: The soul has been regarded as the greatest enemy of Man by the mystics, so fighting against it is considered as the greatest jihad. Frequently and in different forms, the seekers were demanded to struggle against the desires of the soul. In all matters of mysticism, self-improvement of the soul has been taken into account. The soul from Attar's perspective: Attar-e-Neishaburi has visualized his ideas about the soul in the form of anecdotes, stories, narratives and a plentiful supply of allegories; and in his tallest story, The Conference of the Birds, he expresses the involvement of Sheikh San'an with the soul and his scandal. In his Mathnawi's, Attar depicts various traits of soul in human existence, such as egotism, ambition, wrath, lust, greed, etc. The inciting nafs (An-nafs al-ʾammārah) is considered by Attar, and the sense of soul in his poems is the inciting nafs, not the self-accusing (An-nafs al-luwwāmah) one; hence, he always condemns and denounces it. According to Attar, the desire of the soul is the worst enemy of mankind which is regarded as an intermediary between Satan and the human beings; it is also the biggest obstacle to the perfection of the seekers. Attar compares the soul to a house full of sensual pleasures and lusts which must be wiped up from the soul desires. In Attar's view, the soul is placed in front of God that the seeker must abandon it and go through the divine's straight path: خدایت گر ازین پرسد مرا گیر فضولی از دماغ ما برون کن (عطار، 1386ب: 105) تو را چند از هوا راه خدا گیر خدایا نفس سرکش را زبون کن The manifestation of struggle against the soul in Attar's Mathnawies: Attar in his mathnawies, which are considered as major mystical sources, orders the seekers of the right way to throw off the veils of the soul, and makes them more familiar with the inciting nafs and its degrading traits. He draws up the various manifestations of this struggle in front of seekers of the truth in order to make it easy to overcome the obstacles and difficulties of this uphill and arduous way. In this section, the most important components of the struggle against the soul are expressed in his four-dimensional mathnawies (Manṭiq-uṭ-Ṭayr, Ilāhī-Nāma, Asrār-NāmaandMuṣībat-Nāma): Self-defeating in mysticism does not mean self-immolation or humiliation; but the main purpose is to subjugate the inciting nafs; in this way, the seeker humiliates the inciting nafs whenever it orders to do sinful and evil deeds, and quarrel with its rebellion so as to shame it from re-ordering misconducts, and lay the grounds for self-perfection. In Asrār-Nāma, Attar says: The soul is like an unbeliever who will never become a Muslim, and should be beheaded. One of the manifestations of piety is giving up the unstable and disloyal world. The seeker should not demand the world, even if the world is looking for it; he should have no desire for the beauty of the world and be deceived by its adornments and blessings. Attar points out that attachment to the world is one of the obstacles to the way of success. Even the smallest belonging to the world will keep the seeker from continuing the journey: لاجرم مهجور معنی آمدی ز آفرینش چشمِ جانِ کُل بدوز نُزل حق هر لحظه بیش آید تو را (عطار، 1386: 262) بستۀ مردار دنیی آمدی هرچه پیشت آید از گرمی بسوز چون بسوزی هرچه پیش آید تو را Leaving greed and ambition: The love of property and position causes the corruption of religion and faith in mankind, which is a means of snobbishness, and it's one of the greatest obstacles in the course of journey. Attar states: leave off the wealth and authorities of the world. Do not depend on anything which is a barrier to the path and leads you astray. Leaving arrogance and pride: Attar believes that pride leads to the disappearance of arrogance and distracts him from knowing the divine. Pride stems from self-control over the soul and sprit of mankind. Proudness leads to self-confidence and makes people ignore the causes of the world: بود آن حضرتش در پیش، بی‌پیش به جوهر از دو گیتی بیش گردد (عطار، 1386 ب: 135) مقرب آن بود کامروز بی‌خویش همه حق بیند و بی‌خویش گردد Poverty: according to Attar, poverty is not meant to be material, but he sees poverty as needing God and not requiring others. From his point of view, poverty means jihad and self-control and the passage from existence to reach God. That is why Attar in Manṭiq-uṭ-Ṭayr calls poverty as the seventh and last resort: بعد ازین روی روش نبود تو را گر بود یک قطره قُلزُم گرددت (عطار، 138۳: 380) هفتمین وادیّ فقر است و فنا در کشش افتی روش گم گرددت
mahmood nadimi harandi
Abstract
Geophagia means the habit of consuming soil, mud, etc. It has a long history in many parts of the world. This phenomenon has also been reflected in Ancient Persian and Arabic texts in different ways, and various groups of people have tended to it. Many ascetics and Sufis, caliphs and kings and ...
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Geophagia means the habit of consuming soil, mud, etc. It has a long history in many parts of the world. This phenomenon has also been reflected in Ancient Persian and Arabic texts in different ways, and various groups of people have tended to it. Many ascetics and Sufis, caliphs and kings and statesmen, poor people, women, children, madmen and the general public have been inclined towards it. In this research, we have investigated the reflection of geophagia in Persian and Arabic poetry and prose texts and we have tried to answer these questions: 1. How is geophagia reflected in ancient Persian and Arabic texts? 2. How is geophagia among different social spectrums? 3. How is geophasia in medical, religious, ethical and literary texts and in proverbs?We have done this research in a descriptive-analytical method, and by identifying various sources in which geophagia is mentioned and referring to them, we have examined and analyzed the issue. According to the evidence of Ancient texts, geophagia in addition to madness, is often due to poverty, asceticism and piety, pleasure and addiction, or the longing of pregnant women. Various proverbs among Iranian tribes with the theme of geophagia have shown the prevalence of geophagia and also the difficulty of quitting it. Except for the early ascetics, who considered geophagia as a form of piousness and ascetic practices, insisting on halal eating and less annoying, poets and writers often had a negative attitude towards this issue and considered it one of the disgusting and sick habits. They have invited others to avoid it. In medical texts, geophagia has been recognized as a kind of disease and they offered solutions for its treatment. In moral texts, geophagia has been considered as one of the diseases of the soul, and sometimes mud eating addiction has been mentioned in parables. In Islamic religious texts, geophagia is also forbidden.
Mohammad Khakpour
Volume 66, Issue 228 , January 0, , Pages 33-60
Abstract
According to his remaining literary works, saeb tabrizi is the most eloquent and rhetorical poet of narration style in his period in terms of Iranian and Hindi branch of Hindi style. Poet motives in content and creation of exotic and unrealistic images which considered an appropriate field among poets ...
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According to his remaining literary works, saeb tabrizi is the most eloquent and rhetorical poet of narration style in his period in terms of Iranian and Hindi branch of Hindi style. Poet motives in content and creation of exotic and unrealistic images which considered an appropriate field among poets of Hindi style for manifesting the reader's wonder and chanter's performance play a significant role in saeb's poetry. Through motives and also complex association series he established an equation and creating correspondent relations between two hemistiches that are done only for creating new and various contents. However, despite the efforts of the poet, the poetry often leads to pains and artifice and gets far from his emotional outburst.
Indulgence in fantasy, hard saying and hard approving, is seen better in his poem when the poem like other followers of Hindi
style, changes motives in to the equation and arriving at the ultimate aim of the poem that is, content creating, which we can't understand their significance and concept, today, except through the cultures of safari era. However, when the emotional dimension balance of word and meaning and solidarity of lyrics overcome the theme making, and creation of complex and amazing relations, Saeb's single – couplets and his bright.
Persian Rhetoric and Grammar
Mohammad Hasan Jalalian Chaleshtari
Abstract
Compounding is one of the prosesses of word-formation in some languages. Because simple words and derivatives satisfy just a part of the speakers’ need of vocabulary, the speakers are forced to make compound words using the available language elements and compounding patterns. These patterns always ...
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Compounding is one of the prosesses of word-formation in some languages. Because simple words and derivatives satisfy just a part of the speakers’ need of vocabulary, the speakers are forced to make compound words using the available language elements and compounding patterns. These patterns always have certain rules and criterions and each language uses them in it’s syntactic structures and historical backgrounds. Hence, no two languages, even two sibling languages or those that one of them is derived from the other one, can be found to have the same rules of compounding. Among the Persian contemporary poets, Mehdi Akhavan-sales with the full knowledge of Persian language, has created a large number of compound words and used them in his poetry . This knowledge, which is the product of scrutinizing the old and new Persian literary texts has resulted in the words being structured in accordance with the rules of compounding in Persian language. So far, no research has been carried out on the various types of Akhavan’s compounds. In this research by extracting compound words from several books of this poet, these words are categorized structurally and the poet’s approach to the structures are evaluated.
History of literature of Iran
hasan heydarzade sardrood
Abstract
The story of "The Animals Lawsuit against Humanity", the oldest version of which is found in the Arabic Epistles oF Ikhwana al-Safa, has received more attention from Persian (and Turkish) writers in the two periods of the eighth and thirteenth centuries. In these two periods, twelve translations and ...
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The story of "The Animals Lawsuit against Humanity", the oldest version of which is found in the Arabic Epistles oF Ikhwana al-Safa, has received more attention from Persian (and Turkish) writers in the two periods of the eighth and thirteenth centuries. In these two periods, twelve translations and adaptations of this story have been identified, which this study seeks to introduce and discover genealogy and the relationship between them in general. Based on the findings of this study, there are three main streams and one sub-stream (eclectic) in these translations and adaptations: the main stream maintains the structure of the Arabic narrative (plot, time and place, characters and trajectory of the story) and fundamental changes has not given. The intrusions and occupations of this steam have been mainly the change of its writing style from the sent prose to the artificial prose. The second stream summarizes the story; and the third stream, which begins with the initiative of Mir Hosseini Heravi, makes fundamental changes in the narrative and presents a story with a different structure, trajectory, and plot. In this process, although the main themes of the conversations and some characters are preserved, the plot and trajectory of the story are reproduced in the light of mystical discourse. The manifestation of the influence of mystical discourse is in adding the theme of "travel" and "Pir" and setting up seven courts in seven days, as well as the topics of conversation.
Volume 71, Issue 237 , September 2018, , Pages 21-35
Abstract
MaftoonAmini is an experimentalist poet.Theelementsof his poetryrevealhis desire to make a change andattain new experiences. This tendency has led to some intermittent changes in the structure and language of his poetry and provided the ground for the emergence of exclusive features in his works. In ...
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MaftoonAmini is an experimentalist poet.Theelementsof his poetryrevealhis desire to make a change andattain new experiences. This tendency has led to some intermittent changes in the structure and language of his poetry and provided the ground for the emergence of exclusive features in his works. In this paper, some of the main components of Amini’s poetry, which are mainly based on a diverse linguistic approach and structural changes, have been examined and analyzed in terms of motion, meaning, ambiguity, observation, and narration. The quality of change and its chronological developments have been elaborated on respectively throughout theanalysis. The quality of elaboration, the kinds of emphasis and the establishment of the meaning along with the devices for creating ambiguity and the methods of concealment of meaning have also been analyzed. Furthermore, detailed and tangible descriptions of observable objects as one of the aesthetic elements of Maftoon’s poetry and the possibility of using objects and words in the poetry have been examined. Ultimately, Maftoon’s use of narrative techniquessuch as scene, play, movement, characterization, dialogue, and ... has been analyzed and explained.
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.
Akhtar Paryad
Volume 68, Issue 232 , January 0, , Pages 31-47
Abstract
نمادگرایی برای بیان مفاهیم در طی زمان‌ها و قرون شکل گرفته و در تفکرات و رؤیاهای نژادهای مختلف جای گرفته است و درفراسوی مرزهای ارتباطی جای دارد. نماد، اندیشه را برمی‌انگیزد ...
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نمادگرایی برای بیان مفاهیم در طی زمان‌ها و قرون شکل گرفته و در تفکرات و رؤیاهای نژادهای مختلف جای گرفته است و درفراسوی مرزهای ارتباطی جای دارد. نماد، اندیشه را برمی‌انگیزد و انسان را به گسترة اندیشه بدون گفتار رهنمون میکند. تاریخ نماد نشان میدهد که هر چیز میتواند ارزش نمادین پیدا کند، مانند مظاهر طبیعت (سنگها، گیاهان، جانوران، کوهها و درهها، خورشید و ماه، باد، آب، آتش) یا حتی اشکال مجرد (اعداد، مثلث، مربع و دایره). در حقیقت همه جهان یک نماد بالقوه است. انسان با تمایلی که به آفرینش نمادها دارد، اشیاء و اشکال و جانوران را به نماد تبدیل میکند؛ به این وسیله اهمیت روانشناسی بسزایی به آنها میدهد و آنها را در هنر بصری خود بیان میکند(لایافه، 1352: 364). شیر و گاو از جملة حیواناتی هستند که در فرهنگهای مختلف کارکردهای نمادین دارند. بررسی منشأ و نوع این کارکردهای نمادین نه تنها در شناخت هرچه بیشتر تمدنها و فرهنگها مؤثر خواهد بود، بلکه سیر فکری مشترک آنها را نیز نشان خواهد داد. بر این اساس، در پژوهش حاضر به بررسی تطبیقی کارکردهای نمادین شیر و گاو در تمدنهای متعدد میپردازیم و عناصر مشترک و وجوه اختلاف آنها را از نظر نمادشناسی تبیین میکنیم.
Mehdi Rezaei
Volume 69, Issue 234 , January 0, , Pages 33-54
Abstract
The mythical trips of the world have special structures that differentiate it with other kinds of the trips. The structure of those trips have different practical modes. The characters and transportation vehicles are two important practical factors, which help the realization of the trips with their ...
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The mythical trips of the world have special structures that differentiate it with other kinds of the trips. The structure of those trips have different practical modes. The characters and transportation vehicles are two important practical factors, which help the realization of the trips with their magical power. There are many trips in shahname, which match the structure of universal mythical trips and some trips, which do not match them. This article aims at comparing the stories of shahname up to the end of Alexander’s story with the other mythical stories. The similarities and differences of these stories have analyzed.
Persian Rhetoric and Grammar
Mohammad Hasan Jalalian Chaleshtari
Abstract
Shahnameh isone of the most detailed works of the first centuries of the officialization and spread of Dari Persian after Islam. This precious treasure contains authentic and reliable evidence of the Persian language elements of this period and contains many keys in solving the unknown issues of the ...
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Shahnameh isone of the most detailed works of the first centuries of the officialization and spread of Dari Persian after Islam. This precious treasure contains authentic and reliable evidence of the Persian language elements of this period and contains many keys in solving the unknown issues of the mother of Dari Persian language, i.e. Middle Persian. Conversely, due to the antiquity of its language, there are points in this work that cannot be known except through the knowledge of Middle Persian and other Middle and Old Iranian Languages. In this article, three words "šād", "may" and "pašēmān šudan" are discussed in Shahnameh and using the internal evidence of this work as well as some evidence of other Persian texts as well as evidence from ancient languages, different meanings for the first two words and a lesser-known construction for a specific structure of the third one is presented in Dari Persian. The suggested meaning for "šād" is "rich and wealthy". The word "may" is considered to be the original Persian form of "maγāk" and "pašēmān šudan" is considered as an impersonal verb.
