Persian Literature

A comparative study of the conceptual metaphor of satire from the linguistic point of view in Khaqani's and Motanabi's poems

ali Abasalizadeh; Homeyra Zomorrodi

Articles in Press, Accepted Manuscript, Available Online from 10 March 2024

Abstract

  The present study investigates how to conceptualize satire and slander in the language of two prominent poets of Persian and Arabic literature based on the theory of conceptual metaphor. ...  Read More The present study investigates how to conceptualize satire and slander in the language of two prominent poets of Persian and Arabic literature based on the theory of conceptual metaphor. Metaphorical examination of the concept of satire can certainly have a significant function in understanding poets from a psychological point of view, and in a broader form, the effects of this metaphor can also express the cultural issues of those societies and their social conditions. The comparative study of this issue based on the theory of conceptual metaphor has an essential contribution to entering the mental world of Khaqani and Motanabi and knowing thoughts and emotions as well as their similarities and differences. The research method in this article is a library, and the data has been analyzed using the content analysis method. In the end, the differences and similarities between both poets have been shown in a diagram. The research findings show: The source areas used in the language of the two poets are almost the same. The most source area used in the language of both poets is related to the use of animal names. The second source area used in Khaqani language is related to his use of verbal expressions, but the second group of source areas that clearly shows itself in the textual language is his use of the words taboo and abstinence, and the findings of Others are described in detail in the text. It is hoped that this research will help better to understand the thoughts and emotions of both poets.

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Semantic Analysis of verses from Divan-e-Kabir based on Edition and Translation

shirin RazmjooBakhtiri; Elham khalilijahromi

Articles in Press, Accepted Manuscript, Available Online from 07 April 2024

Abstract

  The current research is a semantic analysis of verses from Mevlana’s Divan-e-Kabir due to the lexicon and phrases edition, and syntactic relationships in the verses. The mentioned ...  Read More The current research is a semantic analysis of verses from Mevlana’s Divan-e-Kabir due to the lexicon and phrases edition, and syntactic relationships in the verses. The mentioned verses in the article, are difficult ones of Mevlana’s poetry, which have created a big challenge for both the commentators and the translators, who have been editor themselves. Even these translators have not been able to find a suitable equivalent for some verses. First, these verses have been studied from the perspective of authenticity of manuscripts according to the manuscripts used by professor Farozanfar in edition of Divan-e-Kabir and 4 authentic new versions. Then the reflection of the incorrect edition of these verses in the interpretations and translations of Arberry and Nicholson has been studied. The mentioned verses are studied under the title "Effect of edition on translation". Then the verses that the translators have not been able to analyze correctly in the source language and have provided an inappropriate equivalent in the target language have been discussed, under the title "Translation based on a misapprehension of the text". In both titles, the effect of incorrect edition on the understanding of commentators and translators is obvious. Therefore, it has been tried to present the original form of these verses to the readers

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The LNP Usage in Golestan Saadi's Anecdotes with an Emphasis on Butterfly Effect (Chaos) Theory

Mousa Zare; Kobra Nodehi; Mohammad Ali Khaledian

Articles in Press, Accepted Manuscript, Available Online from 07 April 2024

Abstract

  The butterfly effect (chaos) is a theory proposed in physics, one of the applied techniques in its science that has effective use in the communication system. According to the butterfly ...  Read More The butterfly effect (chaos) is a theory proposed in physics, one of the applied techniques in its science that has effective use in the communication system. According to the butterfly theory (chaos), the smallest deviation or error by the most effective and important member of a communication system will cause chaos and disintegration of that system. Among the great writers of Persian literature in line with Butterfly's perspective, Saadi is a seasoned and experienced orator who tries to present his opinions and suggestions to improve relations in communication systems and adaptive behaviors in Golestan. Therefore, the purpose of this research is to analyze all chapters of Golestan with an analytical method to show that not all members are equally effective in the space of communication and systems. The hypothesis is to emphasize this point that in Golestan Saadi, in every effective relationship, there is a system and system. In every communication system or system, there is a more practical element. The findings showed the application of L.N.P the foundation of Saadi's Golestan is based on six major issues: the chaos of kings, the chaos of hypocritical ascetics, the chaos of judges, the chaos of teachers and trainers, the chaos of administrators, and the chaos of intellectuals and scholars. The result of the research indicates the important issue that Saadi in Golestan believes in this basic principle that everyone should know their place in a communication system and the effect of their behavior on the whole system in order to prevent chaos.

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The functions of present condition in Saadi Golestan’s anecdotes

Faranak Shojaee Bahabadi; mahmood fazilat khakian

Articles in Press, Accepted Manuscript, Available Online from 24 April 2024

Abstract

  In this speech, we discuss how Saadi in Golestan considered all the effective factors in establishing verbal communication (prolocutor, audience and speech) and observed the requirements ...  Read More In this speech, we discuss how Saadi in Golestan considered all the effective factors in establishing verbal communication (prolocutor, audience and speech) and observed the requirements of each one in its place. He enumerates the characteristics of an eloquent theologian and advises the speaker to always keep in mind the requirements of the situation and position and speak the words appropriate to the situation. Saadi considers the mental preparation of the audience to be as important as the eloquence of the speaker in the impact of the speech. In Golestan he has arranged all three aspects of speech (subject, structure and tone) according to the current requirement the diversity of the subject in Golestan shows Saadi's careful attention to the divers rang of different audience and their moods. Saadi also considers the requirements of the present in the structure of the speech and uses all the possibilities and linguistic tools such as brevity and verbosity, simile, allegory and allusion. Saadi also considers the diversity of his audience in the choice of tone and the various tones in Golestan's text are indicative of this. In this research, the requirement of the present in Golestan's anecdotes has been investigated and examples from Golestan has been mentioned for each of them. A better understanding of Golestan's anecdotes can be achieved by realizing the appropriateness’ of the speech and the secondary purposed of the sentence. This research has been done by analytical - researched method and using library resources.

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Manifestation element of dialogue in the beautification of the Ashurai mourning song (Battle of the Kaaba and Karbala) by Gholamreza sazegar

mahdi sadeghi; fazlollah rezaei ardani

Articles in Press, Accepted Manuscript, Available Online from 29 April 2024

Abstract

  Abstract The dialogue element is effective as a lever in explaining the content and content of the speech and is a platform for creating realities and highlighting the characters of ...  Read More Abstract The dialogue element is effective as a lever in explaining the content and content of the speech and is a platform for creating realities and highlighting the characters of the work. This research investigates this component in Ashurai mourning (controversy between the two holy shrines of Makkah and Karbala) by Gholamreza sazegar with a descriptive-analytical and testimonial method. The words, combinations and tone of the words during the speeches of the two shrines depict the incidents and events of the two lands in the horizontal axis of the word, but the words of the shrine of Karbala emphasize the nature and perspective of the Ashura incident by introducing the characters. The semantic nature of the theme and the content of the poem, with the help of dialogue or two-way conversation as the basic element and help of creative arts, advances the framework of the word system in the vertical axis, towards a specific goal (Knowledge of the philosophy of Ashura) and the three main factors of dialogue, (Mutalkam, audience and message), are directed in a circular radius towards the horizon of Ashura philosophy. By using this element correctly, the poet puts the burden of creating and paying attention to the content of the events on the shoulders of this tool so that it can be removed from the text and made available to the reader. Finally, the rhetoric of the dialogue between the two shrines, by enhancing the linguistic and structural side of the poem as required by the prevailing context, takes a step towards crystallizing the hidden layers of the Karbala incident.

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analysis of child and adult narrator's communication network with structure and meaning in the poem Parvin Etesami

fazlollah khodadadi

Articles in Press, Accepted Manuscript, Available Online from 29 April 2024

Abstract

  The purpose of this study is to classify the structure and study of the communication networks of child and adult narrators and their relationship with the structure and process of ...  Read More The purpose of this study is to classify the structure and study of the communication networks of child and adult narrators and their relationship with the structure and process of creating meaning in the Parvin Etesami Court. a contemplation in the court of Parvin Etesami shows that in some of his poems we are faced with the narrator of a poor or orphaned child who expresses a shouting question or a social issue that is an issue He has a protest and a question, or he discusses class differences with an innocent childish look. What is seen in the succession of the child-centered poems of Parvin is the existence of a kind of communication network on two structural-educational axes in such poems. According to the structure, the narrative begins with the narrator of the child, man or bird, and then with the narrative of an adult, usually mother, is done and so on This type of training is done From the narrative lies in the communication networks and the context of the text, which, with the mother's answer to the child's question, with three types of reaction (approval)، Void and use conveys a moral message to the audience. The results of the study show that the process of beginning the narrative with the narrator of the child and entering the adult has two major structural-meaning goals and is concerned with self-error with different motives، Totan completes Parvin.

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Examining the components of the expressionism school in the novel, focusing on the novel "Life is like this" by Mohammad Hashim Akbaryani.

ayoob Moradi

Articles in Press, Accepted Manuscript, Available Online from 01 May 2024

Abstract

  Apart from the schools of realism and naturalism, which have a special relationship with the literary type of the novel, the characteristics of other art schools such as symbolism, ...  Read More Apart from the schools of realism and naturalism, which have a special relationship with the literary type of the novel, the characteristics of other art schools such as symbolism, cubism, impressionism, Dadaism, surrealism and expressionism are mostly represented in arts such as painting, poetry and even theater. Therefore, Meanwhile, the expressionism school has special conditions. The specific attitude of the followers of this school towards reality and the way it is represented, as well as the presence of characteristics such as extreme subjectivism, attention to strange things and avoidance of simulations, have made the relationship of this school with the novel more ambiguous. Therefore, in this article, with the analytical-descriptive method and focusing on the novel "Life is like this" by MohammadHashim Akbaryani, the issue of how to reflect the characteristics of the expressionism school in the literary genre of the novel has been investigated and the question has been answered as to which characteristics of this school From two levels of form and content and in what way is it reflected? The results show that expressionism can appear in the novel at two levels of form and content. At the content level, with features such as dealing with strange and illogical matters, nightmarish atmosphere, typical characters and grotesque world, and at the formal level as well, in the form of paying attention to modern methods in narration, such as the use of the flow of the mind technique, multiple narratives, non-commitment to the classical ending. And episodic structure.

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The Roots of Anecdote in The Language of Mysticism until the End of the Third Century (Based on The Works of Shaqiq, Hares Mohasebi, Nouri, Kharraz, Junaid)

Maryam Jafarzadeh; Alireza Fouladi

Volume 13, Issue 1 , November 2023, , Pages 1-14

Abstract

  Anecdote is one of the most widely used types of stories in the language of mysticism. However, until the 4th century, which is the century when mystical stories were established, we ...  Read More Anecdote is one of the most widely used types of stories in the language of mysticism. However, until the 4th century, which is the century when mystical stories were established, we do not encounter many stories among the early works of Muslim mystics, and this point prompted us to search for the roots of this type of literature in the language of mysticism. During the study of the works of Shaqiq Balkhi (d. 194 A.H.), Kitab al-Raa'yah for the rights of Allah, Harith al-Mashabisi (165-243 A.H.), Kitab al-Maqamat al-Qulob Abul Hossein Nouri (d. 295 A.H.), the letters of Abu Saeed Kharaz (d. 297/277 A.H.?) and Junaid al-Baghdadi's letters (d. 298 A.H.) we found simple forms that can be attributed to the origin of the story in the language of mysticism. This fact is not far from the general flow of the emergence of literary genres; Because these genres were not created at once and simple forms can be considered for them.This fact is not far from the general flow of the emergence of literary genres; Because these genres were not created all at once and simple forms can be considered for them. This article, which was done with a descriptive-analytical method, helps to know the roots of story types such as allegory in mystical literature, because all these types, in the first place, arose from anecdotes. By analyzing mystical texts until the end of the 4th century, we came to the conclusion that Quranic verses, prophetic hadiths, religious traditions, mystical experiences, parables and Socratic polemics form the six roots of stories in the language of mysticism.

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The Effect of Double Reading of Poetry on Its Grammatical, Rhetorical and Semantic Structure

Alireza Nabilou

Volume 13, Issue 1 , November 2023, , Pages 15-34

Abstract

  How to read a poem affects its grammatical, rhetorical and semantic structure; This reading casts a shadow on all parts of the poem whether it is under the influence of ambiguity and ...  Read More How to read a poem affects its grammatical, rhetorical and semantic structure; This reading casts a shadow on all parts of the poem whether it is under the influence of ambiguity and confusion or under the influence of changing the tone of the words. Some poems have two types of readings and two types of interpretation for different reasons, and this leads to different perceptions of that poem. The purpose of the present research is to investigate this important matter. Another goal of this research is to show the necessity of paying attention to the difference in the reading of poems, that is, we should not read all the texts of Persian verse and poetry in the same way. Especially in poetry, more attention should be paid to grammatical, rhetorical and semantic structure.The present research is descriptive and analytical, based on library sources, after studying the divan of poems of several Persian poets, verses that have double readings were extracted and analyzed in three grammatical, rhetorical and semantic levels. It has been classified and analyzed.According to the topics proposed in this research, the role and effect of double reading in creating different grammatical, rhetorical and semantic structures in poems was discussed and it was determined that the verses that have two types of reading at the lexical and syntactic-sentential level are under the influence of each of readings, they can induce double impressions to the reader. This causes changes in three grammatical, rhetorical and semantic levels and gives at least dual analyses. At the grammatical level, each of the readings may change the grammatical role and type; At the rhetorical level, it causes double rhetorical interpretations, and at the semantic level, it causes two relatively different meanings from verses. Therefore, paying attention to the correct form of reading leads to a more correct understanding of grammar, rhetoric and meaning, and neglecting this can cause wrong and incorrect perceptions.

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Introducing Hudai Afendi’s Translation of the Mushaf No. 20: Analyzing Some Points in the Variant Readings of Quran

MohammadHossein Jafaritabar; Alireza Hajian Nejad

Volume 13, Issue 1 , November 2023, , Pages 35-67

Abstract

  The significance of research in old translations of Quran is evident to scholars in various facets, ranging from the linguistic benefits in the history of Persian language to various ...  Read More The significance of research in old translations of Quran is evident to scholars in various facets, ranging from the linguistic benefits in the history of Persian language to various Quranic sciences. Among numerous Quran translations that are not studied and explored yet, we identified an incredible opportunity to introduce and examine the manuscript of Hudai Afendi’s translation of the Mushaf No. 20 for the first time, which dates back to the early 7th century. In addition to the linguistic and lexical benefits within the context of Persian language, which can be found in majority of old translations, the Hudai Efendi’s version includes some additional insightful points pertaining to Quranic sciences such as counting verses, Tajweed, and especially, the variant readings of Quran. The main focus of this article is to explore and investigate how the variant readings of Quran is captured in this mushaf, and how the variant readings of Quran has impacted this translation. By studying Al-Fatiha Al-Kitab up to the end of Surah An’am as well as the beginning of Surah Az-Zumar towards the end of Quran, we point out and analyze cases that have influenced the translation, and rare occurrences of the variant readings of Quran in this Mushaf, independent of the translation, while comparing with some main references in the field. We discuss how the writing of this Mushaf has affected the translation due to employing the traditional ways of scribing Quran through choosing from different variants based on the writer’s discretion.

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Translation and Frequency Measurement of Persian Morphemes in the First Ten Stanzas of the Terki̇b-bend of Bağdatlı Ruhî

Abdoreza Seif; Mahmoud Fazilat; Mohammad Hassan Gholami

Volume 13, Issue 1 , November 2023, , Pages 69-88

Abstract

  The interactions between languages are very common. The languages that are connected with political power, social dynamics and cultural ability have wider effects on their neighboring ...  Read More The interactions between languages are very common. The languages that are connected with political power, social dynamics and cultural ability have wider effects on their neighboring languages. Iranian languages have enjoyed such a position for many centuries, both before and after the arrival of Islam in Iran. The existence of numerous elements of Sogdian, Pahlavi and Persian languages in different languages shows this. The Persian language, as one of the most important and influential languages of the Islamic world, has had a wide impact on other languages of this vast geography throughout its long history. Indeed, after Iranians accepted Islam, the Persian language found a privileged position among the languages of Islamic culture and civilization and became a medium for transferring religious topics and words to other non-Arab Muslim societies. In such a way that even many Arabic words found their way to other languages, not directly but through the Persian language. The role of Iranians in the bureaucracy system of Islamic societies and the formation of a rich literature were other factors that made other Muslims pay attention to this language. The Ottoman Turkish is one of the languages that has received the most linguistic, intellectual and literary influences from Iranian culture and Persian language. Turkic languages are a group of languages that have been influenced by the Persian language to different degrees and have also had some effects on it. When Divan literature, which was based on Islamic culture and Persian language and literature, was formed, the frequency of Arabic and Persian words in the Ottoman Turkish language increased highly. For example, the frequencies of such words in the poetries of Nef’i and Baki have been estimated at 60% and 65% respectively. This increase in Divan poetry reached such a point that sometimes only verbs were expressed in Turkish. With the beginning of the era of reforms and the increase of western and archaistic ideas in Anatolia, especially after the establishment of the Republic of Turkey, the rejection of eastern values intensified and extensive measures were taken to purify Turkish language in this country. In this way, many Arabic and Persian words were discarded and Turkish equivalents were found or created for them. Despite this, nowadays, many Arabic and Persian words, combinations, grammatical elements and expressions can still be observed in Turkish language; although their frequency has undoubtedly decreased compared to Ottoman Turkish. In this research, in addition to translating the first ten stanzas of the famous Terki̇b-bend of Bağdatlı Ruhî into Persian, we use the statistical analysis and frequency measurement method to calculate the influence of the Persian language on this sample of Ottoman Turkish lyrical poetry at the morpheme level. The findings of this research show that more than one fifth of the morphemes in this text are borrowed from Persian. There are also important intellectual common aspects between Persian literature and the aforementioned poetry. 

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An Archetypal Criticism of the Character of "Driyōš" in the Story of the Nooshafarin Gohartaj

Saeed Vaez; Zahra Manouchehry

Volume 13, Issue 1 , November 2023, , Pages 89-110

Abstract

  The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, ...  Read More The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, a driyōš refers to a person who, willingly or unwillingly, has nothing and is poor. Of course, "true driyōš" is needy, eager and in need of God. The attribute of such a driyōš is contentment and satisfaction. This study seeks to investigate the character of Driyōš in the story of Noosh Afarin GoharTaj, based on Jung's archetypal theory, and to present a new reading of this story, which leads to the understanding of the instinctive, cultural and idealistic substrata of Iranian society at a particular time. Analyzing the character of Driyōš as a key character in this story and his psychological truth can strengthen this goal; at the same time, it is also a confirmation of the importance of popular stories from Jung's point of view. The research method is a qualitative and quantitative analysis that was formed based on library sources. There are seven characters in this story that can be matched with the character of "Driyōš". These characters can be generally divided into three categories: the hero (self-willed poor), the hero's helper (the true Driyōš), and the anti-hero (Non-Driyōš). The archetypal roles of Driyōš in order of frequency in this story are "self, mask, hero, wise old man, animus and shadow". The character of "Driyōš" has been a positive and respectable character in general. The roles played by this character in the story present him with a likable and ideal face: a savior hero and a pious person with dignity who solves all problems and has a function like the saints of God. The prince (the one who is going to be the king in the future) and pious generous (the religious leader of the community) as the two main pillars of the country, both are driyōš-character and Shiite-religion. The enemy of the hero/prince can be compared to the ostentatious and hypocritical here Driyōšoid. In the end, the prince forms a new and ideal government with the guidance of pious. According to the results of the research, it shows how concepts derived from popular belief, people's unconscious needs and desires, and the political-cultural structure of society affect the characterization of the story (here Driyōš type). Also, the story has emphasized on a certain type of lifestyle, i.e. laziness and abandoning dependencies, trust, relationship and reconciliation of man with the surrounding world (nature and animals) and patience in reaching the goal; And the way and custom of Driyōš is the main way to reach the purpose and knowledge. But it should be noted that these stories are popular, and mysticism and driyōš religion in them are very superficial.

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Realism and Illusory Realism, the Basis of the Formation of Dual Confrontations in the Stories of K‌‌ahram's Worries and Colorless Buttons, by Hasan Farhangfar

Nasrin Asadpoor; Aliakbar Bagheri Khalili

Volume 13, Issue 1 , November 2023, , Pages 111-131

Abstract

  Hassan Farhangfar, Gilani's contemporary writer, is known in the realm of novels and short stories. Farhang-Far's effort to purify the society from class distance, cultural backwardness ...  Read More Hassan Farhangfar, Gilani's contemporary writer, is known in the realm of novels and short stories. Farhang-Far's effort to purify the society from class distance, cultural backwardness and the necessity of enjoying civil rights, caused him to make social realities the subject of his stories by combining realist and imaginary realist perspectives. He based them on dual oppositions. Although Saussure is the inspiration of structuralism, structuralism is known by the names of personalities such as Strauss, Barthes and Foucault, and Strauss plays a significant role in organizing it. Strauss considers dual oppositions to be the main function of the mind and the foundation of the culture of any nation. Because every structure in structuralism is expressed based on double opposition, the structure of literary works can also be analyzed based on double oppositions. In this research, the dual contrasts are divided into: 1) personality and thought, 2) place, 3) time, 4) symbolic-lexical, and the role of the realist and illusionary view of culture in their formation in two sets. The concern of Kahram and colorless buttons has been analyzed in a descriptive-analytical way. Based on the results of the research, place and time and conventional traditions determine the formulation of individual ethics in realistic and fictional fictional stories of culture, personality contrast is more prominent than other contrasts in them. One of the reasons is the author's entry into the details and psychoanalytical description of the world inside and outside of the characters. Because illusory realism wanders between two things, it is more capable of creating double oppositions. In these stories, the nature of personality confrontation is such that it manifests spatial, temporal and symbolic confrontations in order to provide the grounds for the emergence of realistic and imaginary realist events.

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Social-Cultural Discourse of Wasef Bakhtari’s Poems

Nematollah Iranzadeh; Mohammad Shahpoor Qadery

Volume 13, Issue 1 , November 2023, , Pages 133-153

Abstract

  In critical discourse analysis, linguistic concerns and connections between discourses are examined in light of social and cultural frameworks and power dynamics in an effort to uncover ...  Read More In critical discourse analysis, linguistic concerns and connections between discourses are examined in light of social and cultural frameworks and power dynamics in an effort to uncover hidden truths in the complex production of literary works. The poems of Wasef Bakhtari have been examined in this paper using this methodology to examine social propositions, ethnic nationalism, and linguistic hegemony of the discourse of domination, representation, social atrocities, and "cultural crimes" of the dictatorial rulers of Afghanistan in the 1960s and 1970s. In contrast, using a descriptive and qualitative analytical approach, Fairclough's critical discourse analysis has been used to interpret the critical discourse of Bakhtari's poems in the field of contemporary Persian poetry from Afghanistan in three levels of description, interpretation, and explanation. In Bakhtari's poems, the 1960s and 1970s represent the bright lights in the frameworks that reflect many of the social and cultural transformations that took place in ancient Iran and Khorasan. The current study helps readers in comprehending the ideologies of the poet and analyses the prevailing discourse of Afghanistan's contemporary history during the 1960s and 1970s. The findings of this study have demonstrated that Bakhtari frequently exposed the obscure elements of the strict system of the ruling discourse and the challenging class existence of the time. The poet has harshly criticized the social structure and the resentful inaction of the people against social tyranny. He has also vigorously contested the linguistic hegemony of the time.

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Investigating the Effect of Animism on Interpretability in the Poems of Yadollah Royaee Based on the Theory of Reception

Fatemeh Modarresi; hadi tite; mahsa imani

Volume 13, Issue 1 , November 2023, , Pages 155-165

Abstract

  Yadollah Royaei is one of the poets and theorists of volume poetry or spasmantalism in whose nature nature has a significant presence. A dreamer looks at nature as an independent human ...  Read More Yadollah Royaei is one of the poets and theorists of volume poetry or spasmantalism in whose nature nature has a significant presence. A dreamer looks at nature as an independent human being or organism that has the behavior, states, actions, and reactions of a living being. In rhetoric, this type of function is called animism. This animism has two aspects in royaei  poetry, either at the level of composition and in a metaphorical way, or in the axis of companionship and by attributing human adjectives, behaviors, actions and reactions to objects and phenomena. It happens naturally. In royaei poetry, natural phenomena sometimes appear not as a human being but as an independent being. Royaei in animation-related images uses techniques and arrangements that trigger multiple perceptions and interpretations and help the audience to reproduce the work, in other words, it is the audience who recites the poem. Reproduces. In this way, the poet constantly renews his poetry. These tricks include collecting mental images related to animism, using rhetorical interference, and associating eroticism with animism. In this research, we study the techniques and royaei arrangements to achieve multiple interpretations in images related to animism based on the theory and analyze the samples, express multiple interpretations and reasons for interpretability based on We will deal with the measures taken.

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A Study and Comparison of Common Anecdotes in Attar's Asrarnameh and Tazkirat al-Awliya

Abdolreza Seif; Hamidreza Fahandezhsaadi

Volume 12, Issue 2 , March 2023, , Pages 1-20

Abstract

  One of the most common techniques in the works of Persian language poets is to turn prose stories into poetry, especially mystical stories and sayings. In this regard, Attar Neishaburi ...  Read More One of the most common techniques in the works of Persian language poets is to turn prose stories into poetry, especially mystical stories and sayings. In this regard, Attar Neishaburi has a prominent position among poets. In order to create his valuable masnavis, Attar took a lot of inspiration from Tazkirat al-Awliya, which is apparently the result of his studies in the sources of Sufism during his youth. One of these masnavis is called Asrarnameh. Asrarnameh is the shortest masnavi of Attar Neishaburi. This Masnavi in the latest critical edition has eighteen sections and a total of 3307 verses. Tazkirat al-Awliya contains stories and sayings of ninety-seven of the most prominent Islamic ascetics and mystics. The Tazkira al-Awliyai that we have today consists of two parts, the first part of which has been attributed to Attar Neishaburi from the past until now, and the second part of which, according to the majority of researchers, cannot be from Attar and is probably added by anonymous authors or scribes. This article is an attempt to explain the commonalities of the content of Tazkirat al-Awliya and masnavis of Attar Neishabouri, which has specially reread and adapted the common anecdotes of Asrarnameh and Tazkirat al-Awliya. The authors studied and compared the two recent works with the motivation to better understand how the masterpieces of the Persian language were created; With the aim of providing quantitative and qualitative statistics of the details of the comparative examples and after giving an introduction about these two books, they have shown that Attâr took at least fifteen anecdotes from Tazkirat Al-Awliyâ to create Asrârnâmeh and regardless of minor additions and deletions, he has been faithful to the core of the narrative in most cases. Most of the anecdotes are related to Bayazid Bastami. The anecdotes under study are used to simplify and express mystical concepts such as demand (Talab), poverty (Faghr) bad ending (Sou al-’Aghebat), consent (Reza), sacrifice (’Isar), unworldliness (Tark-e Ta’alloghat-e maddi), self-purification (Tahzib-e Nafs) and unity of being (Vahdat-e Vojoud). Among them, "unity of being" is the most repeated. Studying the biographies of the characters in these stories, such as Bayazid, Shibli, and Abulhasan Bornouzi, shows that in the cases that Attar took from Tazkirat al-Awliya, he was more interested in the stories of mystics who were inclined to Sokr. We also found that in the majority of these fifteen anecdotes that Attar arranged, he was faithful to the text of Tazkirat al-Awliya and preserved the core of the anecdotes with full skill and elegance. The minor additions and deletions that he included in the verse forms were only to maintain brevity, prosodic limitations and literary attractiveness enhancement or explanation and interpretation of the text.  

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Nomination and Categorization in the Social-Political Poems of Farrokhi Yazdi Based on the Model of Van Leeuwen's Social Agents

Mohammad Kishanifarahani; Manoochehr Akbari

Volume 12, Issue 2 , March 2023, , Pages 21-44

Abstract

  The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events ...  Read More The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events of the day, either as critic, advocate or opponent. The literature study of this era is of paramount importance aligned with social and political changes to get basic texture reading, and is an excellent source for analysis and investigation in the field of sociological-semantic studies. Farrokhi Yazdi is one of the poets of turbulent times of constitutional era who dedicated his poetic talent to the service of social goals and concerns and his poems are full of social and folky themes. Diversity of social and national concepts in Farrokhi Yazdi’s poems require an analysis of its discourse with a society-oriented perspective. Discourse criticism according to Van Leeuwen’s model is helpful in better understanding the ideology and value system governing the poems’ text, as well as understanding Farrokhi Yazdi’s intellectual and social views in the constitutional era. The result of this research is not only the linguistic interpretation of Farrokhi Yazdi’s poems, but also the interpretation of the society in which this freedom-loving poet lived and struggled with its crises and difficulties. In this research, it is assumed that social-political poems of Farrokhi Yazdi contain discourse-oriented components that can be analyzed and examined by Van Leeuwen’s model. This study is done in order to discover the position of social agents and how they are depicted in the poems of Farrokhi Yazdi.In Van Leeuwen’s model, the text is not examined from the perspective of formalism, but rather the impact of social issues on the text. In this model, each text expresses the social intellectual views or the specific class of the writer or poet. The degree of utilization of power sources has a direct effect on the openness and concealment of the text in such a way that the greater access to power sources, the franker and more transparent the text and the social agents are displayed in an active manner, and the lower access to power sources, the image of social agents is more covered Although, in Van Leeuwen’s approach, sociological components are preferred over linguistic, but the analyst is still bound to use linguistic components. This is because the foundations of social functions are in language and words are linked with meaning. The current research has taken advantages of the application of nomination and categorization in the discourse approach of Van Leeuwen’s social agents. This research seeks to show the result of using these two components in Farrokhi Yazdi’s poems and rereading them in his social-political thought system. Based on this, in the first step, verses that have social-political contexts were selected. In the following, discussed components were marked in every verse and the application rate and statistic of the components were determined. The result of the study show that Farrokhi has paid much attention to deliver social matters indirectly and in a hidden way due to the asphyxiation and mutes of the era. Highest frequency based on the numbers of occurrences respectively, is assigned to the components of negative appraisement, classification, nomination and functionalization.

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Origin and Development of Authors’ook to His Child in the Literary History of Persian (from 4th Century A.H. to Contemporary Period)

Asieh Zabihnia Emran

Volume 12, Issue 2 , March 2023, , Pages 45-61

Abstract

  Introduction: In the history of Persian literature, poets and writers used to dedicate part of their works to educate their child which attested to the importance of children’s ...  Read More Introduction: In the history of Persian literature, poets and writers used to dedicate part of their works to educate their child which attested to the importance of children’s education by means of literary text. Authors’ book to his child forms the text in literary corpus though embedded in text, yet conveys an independent meaning. Though these books of authors’ to his child find no special mention in texts but are visible in a text at the beginning or the end of the book. Books of authors’ to his child are often found in the lyrical poems of Sabk-i Iraqi. Men of letters have inculcated moral values in their son and help them to overcome human vices. The purpose of the research is to trace the works of authors’ book to his son in the annals of Persian literarture since 4th Century A.H. to the present day. It seeks to have the practical dimension of training and up bringing in the comtemporary period. Methodology:The research method in this article is descriptive and contains analysis. This research is applied with a purpose to generalize and use for education and child-upbringing indicators in the present era. Since the purpose of this study is to identify the components of optimal education embedded in text, the basis of this work is to develop concepts and contents of advising child by using qualitative data. These ideas have been developed from the works of the poets of lyrical poems. They  have seen, heard, and experienced what they have imbeded in their writings. The poets of the lyrical poems portray to their children the truths of all classes of society in attractive and pleasing manners and convey it to the audience in the form of maxim and advice. The present study encompasess nine lyrical poems including  Leily and Majnun of Nizami, Leily and Majnun, Hasht Behesht (Eighth Heaven) and Duval Rani-Khizr Khan of Amīr Khusrau , Leily and Majnun, Yousef-Zuleikha and Salaman-Absal of Jami, Salman Savoji Divan, and Yousef-Zuleikha of Masoud Ghomi. Indices of individual and social moral development have been selectively extracted and compiled from the core of child-advising poetry of romantic poets. Results and Discussion: Books of authors’ to his child are often found in the form of lyrical poems of Sabk-i Iraqi. Nezami Ganjawi dedicated 36 couplets in Laili wa Majnoon to his son Muhammad, Amir Khusro Dehlvi in Daval Rani and Khezr Khan dedicated 224 couplets to his son Mubarak and in Majnoon wa Laili dedicated 157 couplets to his son Khezr. Salman Savji in Firaq Nama dedicated 93 couplets to his adopted son Sultan Owais and Jami in Yusuf wa Zuleikha dedicated 99 couplets and in Laili wa Majnoon 32 couplets and in Salaman o Absal dedicated 11 couplets to his son Ziyauddin. Khwaja Masood Qummi who was a poet in the second half of the 9th century A.H. in his poem Yusuf and Zuleikha dedicated 143 couplets to his Ghiyasuddin Muhammad in which poets’ children are addressed in poetry. Poets and writers have encouraged their son to imbibe ethical virtues and shun human vices. Only Amir Khusro in his lyrical composition Hasht Behesht has advised his daughter Afeefeh in 76 couplets. Conclusion: In all the nine given romantic poems of this article, the individual moral refinement, as well as the teachings related to science and friendship, secrecy, social relations, etc., have been highlighted and this theme is a knack of the poets of romantic poems for expressing their thoughts.

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An Analysis of the Similarities and Commonalities of Boof-e Koor̍s (The Blind Owl) Structure with the Student of Prague

Ebrahim Ranjbar

Volume 12, Issue 2 , March 2023, , Pages 63-80

Abstract

  The Blind Owl is an artistic text with a psychological background. The novel has been written using the technique of Transposition. This technique has a long history in Europe, especially ...  Read More The Blind Owl is an artistic text with a psychological background. The novel has been written using the technique of Transposition. This technique has a long history in Europe, especially in the works of Hoffmann and Maupassant. Sadegh Hedayat, the author of the novel, has been influenced by the literary and artistic works, as well as the theories of the western psychoanalysts, such as Ewers, Freud, Jung, etc. One of the goals of psychoanalysis is to reveal important psychological aspects buried in the unconscious. One of the theories proposed in psychoanalysis is that “double” is one of the buried belongings of the human psyche, and some people can see the double of their psyche. In Freud’s psychology, human natural passions become important as the unconscious becomes important. As a result, the artists and writers influenced by Freud choose the psyche’s freedom and its tendency to deviate from the norm as the subject of their work. The world of The Blind Owl’s characters is overfilled with romantic perspectives and emotional feelings. In this novel, the influence of psychological perspective of “shading” and the tradition of focusing on the “double” in the world of narrative literature is observed more than any other perspectives. All the characters in the novel are in fact shadings or doubles of the protagonist. The representation of the characters in different personas has caused the development of the novel, the structuring of its world, and the complexity of its language. One of the works with which The Blind Owl has the most commonalities and similarities is the screenplay of The Student of Prague written by Hannes Heinz Ewers, whom Otto Rank has called the modern Hoffmann. Ewers wrote the screenplay of The Student of Prague in the genre of horror, adapting the works of his predecessors, including Goethe's play Faust, some of Hoffmann’s stories, etc. The screenplay was premiered in Germany in 1913, reformed in 1926, and voiced in 1935. The purpose of this article is to find the commonalities and similarities between these two works. To this end, a methodology of comparison has been applied: comparing the structures, the procedural development, the use of instruments and symbols, the role of the characters, the relationship of the characters with the protagonist, and the messages of the works. The results of the study indicate that the commonalities and similarities between The Blind Owl and The Student of Prague are more highlighted than the other works compared with The Blind Owl so far. These commonalities and similarities are conveniently seen in the elements mentioned in the methodology. Among the similarities in the area of content, the following can be mentioned: man’s destiny is subject to his emotions and his emotions are subject to chance; the ultimate value of life is unique to the supreme lover to whom everything must be sacrificed; a double could be more original than the real one.

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Tahmoureth's Blade

Behzad Atooni

Volume 12, Issue 2 , March 2023, , Pages 81-102

Abstract

  One of the common themes in the legends and epics of the world is the allocation of amazing weapons for the heroes ,that the common feature of them is the difference and distinction ...  Read More One of the common themes in the legends and epics of the world is the allocation of amazing weapons for the heroes ,that the common feature of them is the difference and distinction they have with ordinary weapons. Although in the original heroic poems such as Shah-nameh, Garshasb-nameh, Bahman-nameh and Kush-nameh, we are faced with a handful of these amazing weapons of heroes, but instead, in the scrolls of the Shah-nameh, later Pahlavani poems and Persian folk epic-adventure stories, there are a lot of such weapons that we are faced with them, arising from the structure of such stories; A structure that one of its characteristics is modeling the stories of the Shahnameh, heroic  poems and religious-historical sources, and building new narratives and references; In other words, the requirement of the structure of such texts is to model from several examples of martial weapons mentioned in the Shah-nameh or other authentic heroic  texts and to create a large number of new weapons and war tools. Although some of these weapons expressed in Naqali scrolls and long folk tales have their roots in ancient sources such as Avesta and Ferdowsi's Shahnameh, but many of them are created by the minds of storytellers and narrators. One of the most famous and prominent weapons in the Naqali scrolls and long folk tales is "Tahmoureth's blade". This blade, which is made and prepared by the creative mind of the narrators and storytellers, is a magical blade that only the Rostam family uses, and if we see very few examples of it in the hands of other fighters, they are the fighters who their actions were influenced by Rostam's stories. The importance of the present research is that the author deals with the mythological roots of Temmorth's blade, and examines its formation in scrolls and folk tales based on the common discourse in mythological and heroic literature. This research, which was carried out in a descriptive-analytical method and by using first-rate mythological, historical and epic sources, comes to the conclusion that the reason for the attribution of the anti sorcerer's blade to Tahmoureth is three mythological events: first, his being among the first kings; Second, Having a weapon, which is called "Zinavand" in mythological and Pahlavi texts.; And third, the anti-demonic function of Thammorth in Avesta, Pahlavi, epic and historical texts, which has caused him to be nicknamed "Divband". In addition, this blade, due to the "phenomenon of transmission", (which is one of the most important common topics in mythology and history, and by means of it, the features and characteristics of a mythological or historical character, for reasons such as similarity, proximity, kinship, companionship, substitution and synchrony, is transferred to another person), has also been attributed to kings or prophets such as Kiyoumarth, Jamshid and Suleiman, and has three important functions in narrative and folk texts, which are: killing Invulnerable demonic creatures; Killing Divan and dragons, invalidating the magic of witches.

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Delineation of Didactic Discourse System in Several Persian Narrative Texts

Fazlollah Khodadadi

Volume 12, Issue 2 , March 2023, , Pages 103-119

Abstract

  Since a long time, one of the basic pillars of the narrative literature of Persian verse has been its didactic and moral pillar. So that most of the narrative texts of our poems have ...  Read More Since a long time, one of the basic pillars of the narrative literature of Persian verse has been its didactic and moral pillar. So that most of the narrative texts of our poems have a didactic tone. When we talk about didactic literature in verse, it means that one "I" conveys an idea to another in the form of a narrative text, and in the narrative literature of verse, it is the "story" that is the container of this container. This introduction shows a general structure of narrative literature, which is drawn based on the general mission and moral message hidden in these works, but the deep structure of these narratives, which includes the discourse that governs them and has multiple narrative aspects, is due to the existence of a methodical process. It informs in a context-oriented, artistic and creative manner. The texts of Persian narrative-didactic poems play an important role in our lives with the help of stories.On the surface, it may seem that there is no difference in the narrative structure of Persian narrative texts that have an educational motive, and the claim of the creators of these works was to create a narrative text with the intention of conveying a moral message to the audience. These works show that the process of producing meaning in each of these works is based on discourse patterns and unique structural systems; So that each text has a distinct discourse system. Also, the function of the story as a container in these works has many aspects, which can only be achieved by studying the deep structure of the discourse. Accordingly, in the present research, we intend to explain the structural system of several of these works by going through the structure of poetic narratives, so that at the end of the research, we will witness the drawing of the discourse system in each of these works. The results of the current research, which have been provided in a descriptive-analytical way, show that four types of discourse systems: "a system of stepwise development of a message with a high frequency emphasis on a theme", "narrative Chinese introduction and distributive expression of a message", "message development with a tone" There is an address to the motive of persuading the audience" and "Ethical Discourse System of Davarani - Parateti" in Persian didactic texts.

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Fluidity of Motifs in Saeb Tabrizi's Poetry and Indian Style (A Case Study of Cypress and Cuckoo Motif)

Saeed Rahimi; Alireza Emami

Volume 12, Issue 2 , March 2023, , Pages 121-139

Abstract

  Motifs are one of the most important structural and unifying elements in artistic and literary works. In the field of literature, motifs are among the important elements of many texts, ...  Read More Motifs are one of the most important structural and unifying elements in artistic and literary works. In the field of literature, motifs are among the important elements of many texts, both poetry and fiction, as recurring stylistic elements. Of course, there are differences in the definition and role of motifs in poetry and fiction, and in this research, motifs are considered in their poetic function. In the history of Persian poetry, from the beginning, poets have used various motifs; For example, "candle and butterfly" and "flower and nightingale" are among the oldest motifs of Persian poetry. Some poets are more related to the use of motifs, and some have a special relationship with one or more specific motifs. With a more detailed study of the poetry of the Safavid period, known as Indian style poetry, we find that the use of motifs in the works of most of the poets of this period has a high frequency and significance. In addition to using this literary element a lot, the poets of this era also made some changes in the motifs in order to differentiate between their poems and the tradition of Persian poetry. One of the most important of these poets is Saeb Tabrizi, a poet of the 17th century and one of the most famous poets of the Indian style. He has a great tendency to thematize through the use of poetic motifs. Apart from that, the other characteristic of his poetry is the changes he makes in the meanings of the themes compared to their common and conventional meanings in the previous poems. In Persian literary research, these symbolic meanings are referred to as associations. In the present research, an attempt has been made to examine the evolution of poetic themes from a new perspective by matching the concept of the term association with the term motivation in the works of Gérard Genette, a contemporary French theoretician. In the end, by basing the theme of cypress and lunar/cuckoo in Saeb Tabrizi's sonnets, it has been concluded that one of the characteristics of Saeb's individual style and on a more general level, his period style is that his great desire to create new and original motivations for Poetic themes have caused a feature that was called "fluidity of motifs" in the present research. In many cases, this feature has led to the abstraction of multiple and sometimes chaotic and contradictory motivations for a single motif. In fact, the fluidity of the motifs can be seen as the excess of thematization and unbridled imaginations in the poetry of the period in question and a reaction to the possible loss that the poets of this period felt when looking at the great poets before them.

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Report a Plagiarism (Plagiarism of Risal al-Quds and Ghalatat al-Salekin by Qutb al-Din Jami in Hadiqa al-Haqiqah)

Homayon Shekari

Volume 12, Issue 2 , March 2023, , Pages 141-162

Abstract

  The purpose of writing this article is to report the different aspects of plagiarism. This plagiarism happened in the sixth century (A.H.) in the city of Torbat Jam in northeastern ...  Read More The purpose of writing this article is to report the different aspects of plagiarism. This plagiarism happened in the sixth century (A.H.) in the city of Torbat Jam in northeastern Iran. There, the successor and grandson of Sheikh Ahmad Jami, Qutb al-Din Muhammad Jami, stole two books from Rozbahan Baghli Shirazi (Rasala al-Quds and Ghalatat al-Salekin). Qutb al-Din Muhammad Jami was known among mystics and scholars of that time, and he was considered a mystical writer. Rozbahan lived before Qutbuddin. He is a great mystic. A mystic who has written more than fifty books. His books are taken all over Iran. It seems that Qutb al-Din was unaware of this issue. Qutb al-Din has included two books of Rozbahan in one volume and presented them to the audience under the name of Hadiqah al-Haqiyah. To start the work, it was necessary to determine who the books were written by. I have provided a lot of evidence to identify which author each book belongs to. In this article, I have determined with what tricks Qutb al-Din did this plagiarism. In order to hide his plagiarism, he asked the scholars of his time to confirm the authenticity of his writings. I have examined these confirmations from another point of view. I have also determined which manuscripts of Rozbahan's books he had access to. For this purpose, I have compared the manuscripts of the books. Qutb al-Din stole Rozbahan's books but did not agree with all his opinions. In the investigation of this plagiarism, I have examined the difference in the views of these two people. These differences can be called ideological differences. This article is done by descriptive analytical method. Examining and comparing Roozbahan's books with Qutb al-Din Muhammad's Hudiq al-Haqiq shows that he stole Rozbahan's Risal al-Quds and Ghalatat al-Salekin, with minor changes, and presented them in his own name. The concern of convincing the audience has caused Qutb al-Din to change some signs of dependency of Rozbahan's books and remove others in a process that we have called the process of personalization. The most important characteristics of personalization of the text are: removing Rozbahan's rejection, modifying some of his views, extensive quoting of poems attributed to Sheikh Jam's family, adding the text of Sheikh Jam's treatises and adding personal views; In addition, in order to stay away from the disciples' question, he has asked the elders approved by Sheikh Jam's family to confirm that the text of Hadiqa al-Haqiyah is in accordance with Mustafa's Shariah; But now we know that Qutb al-Din, in this way, sought to prove the dependence of this work on himself and remove the accusation of plagiarism. The issue of including the poems of Sheikh Jam and his family in Hadiqah is also one of the issues to consider. By comparing the poems in the treatises and Hadiqa, it became clear that Qutb al-Din did not follow the trust in attributing poems and attributed other people's poems to Sheikh Ahmad Jam. Based on this, the attribution of the poems to the narrators claimed by Qutb al-Din is seriously doubtful. Some changes applied in the course of this plagiarism have gone beyond a simple difference and can be called an ideological difference. Differences in topics such as al-Tabas, unity, hearing, the expression of mystical experiences and the issue of vision are among these ideological differences. The revelation of this plagirismalso helps to examine the etymology of Rozbahan treatises. In this way, by examining the degree of correspondence between the versions of Risal al-Quds and Ghalatat al-Salekin with Hadiqa al-Haqiqah, we can approach the original version of Rozbahan's treatises. In the review of the versions, it was found that version "A", which was written in 817-822 A.H., is the closest version to the versions of Hadiqa al-Haqiqah and the closest version to the version approved by Rozbahan.

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From the Myth of Farr to Cosmic Energy in Ferdowsi's Shahnameh

Zahra Jalili; Abdollah vasegh abbasi; Mohammadamir Mashhadi

Volume 12, Issue 2 , March 2023, , Pages 163-185

Abstract

  Due to the fact that most of the works written in the field of "farr" are focused on its literal meaning, its derivatives and mythological manifestations, and also because the concept ...  Read More Due to the fact that most of the works written in the field of "farr" are focused on its literal meaning, its derivatives and mythological manifestations, and also because the concept of "Farr" in our time is the basis of many topics of modern physics, including luminous aura, energy chakras and it is energy therapy, in the review of Ferdowsi's Shahnameh, the historical roots of "Farr" and its various forms are less mentioned in connection with the manifestations of cosmic energy. The authors, looking at the concept of "Farr" and its characteristics, with a descriptive-analytical method and a library approach They have investigated the metamorphosis of "Farr" and its connection with cosmic energies, how it has appeared in today's world issues and what are its main sources? What are the types and interpretations of "Farr" and today's manifestations, and what is the reflection of "Farr" in Ferdowsi's Shahnameh. This article aims to investigate the material and spiritual forms and incarnations of "farr" and its connection with cosmic energy, and to analyze and investigate its transfer from the Mehri religion to the Avesta and then from Ferdowsi's Shahnameh to the present age. Some of the researches that have been written in connection with the theoretical foundations of this article in the field of cosmic energy include books on traditional cosmology and modern science, the quantum ideas of Rumi, the quantum world, research in Iranian mythology, Yashta, Farrah Ezadi in the ancient Iranian monarchy. and the article "Farah, this magical and heavenly force". The conducted research shows that human beings are surrounded by a subtle energy called aura of energy. In the past, this subtle energy, especially in the area of the head chakra, was known as "farr", and it is the most important discipline that connects humans to the beyond; At first, the donors of the "farr" were Mehr and Apam Nepat, and "farr" belonged to the sun and water, but after Zoroastrianism came into use, Ahura Mazda became the donors of the "farr" and fire became its main element. In the Shahnameh, "farr" is the main pillar and the fundamental element and in its incarnations it is transformed into an alive creature or objects and manifests itself in the form of strength and talent in the form of beauty, wisdom and power or mysterious objects. The appearance of the "farr" in Mehri religion, Avesta and Shahnameh is a luminous aura, and the appearance of the "farr"  has been attributed to tangible signs and forms, for example, in the Avesta, it is the bird of Verghan and Ghorm, and... after that in the Shahnameh, it is called Simorgh, Homa, A deer, a horse, a Jahanbin Cup, a ring, etc., and also the effect that this energy had on the head chakra and made the aura of energy  around the head brighter, they called Shamse, Crown, Dastar, Dihim, etc. as well as the effect that this energy had on the head chakra and made the aura of energy around the head more luminous, were like Shamse, Taj, Dastar, Dihim, etc., of course, in the Shahnameh, "Farr" is a divine gift, and sometimes it shines in the form of light from the faces of kings, etc., and sometimes it is manifested in the form of a divine thought in finding secrets and breaking magic.

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A Study and Analysis of the Role of Color in the Afghanistanian Resistance Poetry Based on Max Luscher's Theory A Case Study of Khalilullah Khalili's Poetry

Shafiullah Salik; Mahsa Rone; Seyed Ali Ghasemzadeh

Volume 12, Issue 2 , March 2023, , Pages 187-210

Abstract

  The contemporary Persian literature of Afghanistan, affected by the social and cultural factors of the constitutional revolution and then the 7th Soar coup (7th Ardibehesht), was transformed ...  Read More The contemporary Persian literature of Afghanistan, affected by the social and cultural factors of the constitutional revolution and then the 7th Soar coup (7th Ardibehesht), was transformed and became the basis for the formation of different poetic movements. Each of them interpreted poetry based on their idealistic ideas. The poets of these poetic movements have also used colors as a tool to express their political and social goals; especially the poets of the movement of resistance. One of the best movements of contemporary poetry in Afghanistan, have used a range of different colors in expressing their thoughts.Since colors play an important role in reflecting the emotional and spiritual personality of a human being. They have also been considered in the modern psychology and thus, Psychologists can understand the mental states of the composers by considering the quality of the choice of colors in poems. One of the tests that can tell the artist's mental state based on the quality of the use of colors, is Max Luscher's theory of color psychology.This article is looking for a precise and methodical reading of the poetry of Afghanistan resistance based on the theory of Max Luscher, so that it can help us in a comprehensive and accurate understanding of the thoughts and personalities of the poets of this movement and the important reflected elements of their poetry. To introduce the hidden layers of contemporary poetry of Afghanistan and the way of thinking of its contemporary poets.The present study, using the descriptive and analytical method, investigates and analyzes the colors used in the poetry of the first poet of the Afghanistan resistance, Khalilullah Khalili. In this article, Luscher's applied colors and their evocative have been collected first. Then each of them has been classified, analyzed, and studied with the approach of Max Luscher's theory.A case study of Lusher's use of eight colors in Khalilullah Khalili's poems shows that his first choice in his poems is red and black. Red is a symbol of life and death. The symbol of death with burning flames that destroys everything and the symbol of life that pours the passion of love in the heart. The choice of black color next to red in the first choice expresses his displeasure and disgust with the surrounding environment and his protest against the current situation, hatred of aggression, injustice, and the suffocating atmosphere of the society. But the green and blue color in the second choice, which reflects the real situation and the desired goal of affairs, shows his desire for a better life and hope for the future, which requires peace and intimacy. The choice of brown and gray colors in the third step shows that due to social unrest, Khalili expresses his feelings and emotions in a hidden manner, and this issue makes his poetry more mysterious and consequently more artistic. And the choice of yellow and purple in the fourth step shows the poet's desperation, which has led him to take refuge in himself. He hides his natural passion and imaginative nature as much as possible, and this issue has made his poetic language symbolic.As a result, it can be inferred that the abundant use of red and black colors in the first situation shows the poet's tendency towards the concept of the uprising and struggle against aggression, tyranny, and social disorder.  The red color in his poems tells about martyrdom and struggle, and he seeks the way out of black color in red color, and therefore all his poems are covered with blood and martyrdom, and it tells about struggle. But also, the frequency of green and blue colors in the second situation which indicates the real situation, manifests the poet's desire for a better life, the end of aggression, tyranny, the creation of deep change and transformation in the society.

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