Persian Literature

An analysis on “Malakoot” Story based on Structuralist Approach

taghi Pournamdarian; Roghayeh Hashemi

Volume 1, Issue 6 , August 2011, , Pages 17-38

Abstract

  “Malakoot” Story (literally celestial kingdom), the only novel written by Bahram Sadeghi, is one of the memorial work that has been witten under the influence of “Boof-E-Koor” ...  Read More “Malakoot” Story (literally celestial kingdom), the only novel written by Bahram Sadeghi, is one of the memorial work that has been witten under the influence of “Boof-E-Koor” Story (literally Blind Owl) written by Sadegh Hedayat by a distinctive style and during a specific period of time. Aside from unique content of this story, form and structure of this work are also remarkable and marvelous. The present paper is intended to interprete some of lingual, structural and technical characteristics of this work; thus, with respect to the modern structuralist approach which has been purposed in the field of literary cticism during several years including strong strategies, the current essay was written. After a brief prologue concerning to structuralism and history of Malakoot (Celestial Kingdom) and definitions of structuralists’ views like Janet, Tzvetan Todorov, and Baret etc and purosing of their ideas, this paper dealt with omniscient point of view and presentation of Malakoot parameter as well as analysis on this story at two levels: Narative structure and narrative syntax. Despite of the seemingly existing inconsistent structure in narration of the story, Malakkot is considered as an interpretation of a solid and deliberate form and structure that begins with an unstable state and this lead to uttermost state following of the story trend. In part of narration syntax, functional, active, and their special function or action are taken into consideration so that with respect to story’s surface structure, Dr. Hatam as the main subject (agent) may affect other characters.

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A Comparison Between Ferdowsi's "Khosrow and Shirin" story and "Fountain of Baghchisaray" by Alexander Pushkin

Abdoreza Seif; Maria Gen

Volume 4, Issue 1 , September 2014, , Pages 17-32

Abstract

  The comparative study of the works of Iranian and Russian authors such as Ferdowsi Tusi and Alexander Pushkin makes the opportunity of being familiar with the culture of two Russian ...  Read More The comparative study of the works of Iranian and Russian authors such as Ferdowsi Tusi and Alexander Pushkin makes the opportunity of being familiar with the culture of two Russian and Iranian people more possible.  Although there is not that much similarities between Persian and Russian classics from the perspective of style and content, but studying the love stories in both literatures the common subjects and the influence of eastern literature on the Russian one are obviously clear. Common subjects in two different literatures are very interesting, for they can show the cultural differences poets and their points of view as well. The characters of both stories are historical figures."Khosrow and Shirin", a love story composed by Hakim Abu ʾl-Qasim Ferdowsi Tusi (940–1020 CE) the highly revered Persian poet, "The Fountain of Bakhchisaray" written by Alexander Sergeyevich Pushkin(6 June [O.S. 26 May] 1799 – 10 February [O.S. 29 January] 1837), are  both love stories that reflect the writers’ viewpoints about the phenomenon of love. Meanwhile, both stories are tragic ended.    

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The Displacement and Continuity of Myths in the form of the Mystics' Keramas

teymoor malmir; naser mohebi

Volume 6, Issue 1 , September 2016, , Pages 17-36

Abstract

  Myths are powerful and stable. They can survive in the toughest conditions by changing their shape and remain alive and active keeping their dynamicity. Much of the issues in mysticism, ...  Read More Myths are powerful and stable. They can survive in the toughest conditions by changing their shape and remain alive and active keeping their dynamicity. Much of the issues in mysticism, such as customs, tales, stories and gnostic literature, have either emanated from myth or affected by it in other ways. The existence of ancient myths in some Sufis' traditions is a sign of wholesomeness and integrity of these ideas with the teachings of Sufism. To explain the coherence of myth and mysticism, we have reviewed the functions of myth and the ways it has continued in Persian mystical texts up to the end of the eighth century. The results of this study show that mythical thoughts such as salvation, Asha, and the holiness of  water and fire as sacred elements has continued to exist according to context of mystical ideas and in the form of mystics`"Keramas"(Miracles).The structure of the mystics`"Magamas" books is also based on the myth of salvation. Initiation rites have been replaced in form of testing pass of mystics through the water or over the fire and in framework of Keramas. The importance of the characters such as Sage, Ghotb and the Abdal is also a form of displacement of myth in the form of Keramas.  

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Ending Styles in Mathnawi Stories

Ali Muhammadi; Arezoo Baharvand

Volume 3, Issue 2 , March 2014, , Pages 19-37

Abstract

  Story-ending is one of the elements which have led to a new approach to the literary criticism. Mowlānā’s art of storytelling is really a unique one. The narrative techniques ...  Read More Story-ending is one of the elements which have led to a new approach to the literary criticism. Mowlānā’s art of storytelling is really a unique one. The narrative techniques have made the structure and the contents of Mathnavi intertwined. Story-ending is one of the aesthetic features that play an impressive role in the stories this masterpiece.  Mowlānā’s story-ending technique has been analyzed, in present study, through all six volumes of his Mathnavi, with a further reflection on the more prominent. His unique endings can be explained according to the association of ideas, the plot of his stories, his attention to his addressed reader the dialogues- what has no similar in other works – and his polyphonic narration. Each story ends in such a way that persuades the reader to pursuit next story, to stimulate the action and motivation of the reader as the main purpose of the story. The method Mowlānā chooses to end his stories has a profound link to the literary intends of the text and its structural contents.

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Anti- West Beliefs in Works of Hedayat, Al-e-Ahmad and Sāedi

nasser alizadeh; bahram afzali

Volume 5, Issue 2 , March 2016, , Pages 19-37

Abstract

  A new antagonistic discourse has been formed among intellectuals, in the intellectual history of the world.  Some anti-British, and after September 1941 anti-American activities ...  Read More A new antagonistic discourse has been formed among intellectuals, in the intellectual history of the world.  Some anti-British, and after September 1941 anti-American activities are evident among Iranian intellectuals under the rule of Pahlavi I. The westerns' anti-west beliefs disclose the unjust behavior of west in contrast to non-westerns, what Chamskey introduces as one of intellectualism components. As a component of intellectual discourses, anti-west activities appear in fiction works of some authors. Based on a documentary and library analytic- descriptive method, the concept of anti-west component has been reflexed in fiction works of Hedayat, Al-e-Ahmad and Sāedi in form of any xenophobia and anti- hegemonic concepts through the present paper. The humiliation feelings of Iranians against the greatness of their past history, civilization and their original culture, and their criticism and pessimistic attitude toward the West because of the disgraceful history of colonialism and despair of their intellectuals after the coup of August 1941 are the reasons can be considered for anti-west discourses in Iran. Hedayat has criticized, in some of his works, the American-propaganda and has revealed the Americans' inhumane treatments. Al-e-Ahmad's anti-west attitudes appear in his criticism to the exploitation of his country by foreigners and to the manifestation of western civilization and anti-Americanism. Sāedi's anti-west beliefs appear in form of anti-colonialism, anti-Americanism and anti-Russian attitudes.      

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Representation of Literary Subject and Techniques in the Works of Bahram Beyzai

Maryam Hoseini; Roghyeh Vahabi Daryakenari

Volume 7, Issue 1 , October 2017, , Pages 19-38

Abstract

  There is an impressive variation in the subjects and the themes of Bahram Beyzai's works. To create his literary works he uses different literal techniques that are going to be explained ...  Read More There is an impressive variation in the subjects and the themes of Bahram Beyzai's works. To create his literary works he uses different literal techniques that are going to be explained in present study besides reviewing, analyzing and categorizing his fictional topics. 24 Beyzai's literary works including 13 screenplays, 8 plays and 3 barkhanies (loud verbal narrating) have been reviewed in present study through an analytic-descriptive method, in a way that the topics have been used by Beyzai are determined, initially, and then each of them are analyzed presenting some specific instances. Beyzai's favorite topics generally include national, social, historic and religious subjects and protesting cinema. He has displayed different spaces in his works, although he has paid more attention to social and national issues and has created numerous works in these fields. To bring these social themes up he benefits several artistic techniques such as “adaptation from ancient texts”, “allegory” and “utilization of public literary abilities”. 

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Arabic Monsha'āt of Khāghāni Shirvāni

Mohammadreza Torki

Volume 8, Issue 2 , May 2019, , Pages 19-38

Abstract

  As one of the greatest Persian literates of the 12th century and one of the most prominent characters of his time, Khāghāni spoke both languages of Persian and Arabic fluently and ...  Read More As one of the greatest Persian literates of the 12th century and one of the most prominent characters of his time, Khāghāni spoke both languages of Persian and Arabic fluently and many of his literary works have survived in both languages. However, none of his Arabic works are available, except for a few verses and some short prose pieces which has come down in his divan and perhaps his Persian Monsha'āt. For the first time in this study, two Arabic letters of Khāghāni have been introduced, copies of which are kept in Chester Beatty library of Dublin and Ibrahimpasha's groom section of Suleimaniyah library of Istanbul. The mentioned treatises are of the best examples of Iranians Arabic writings and hold many literary and historical advantages, such as making the recognition of events happened during Khāghāni's life easier to the scholars and solving the ambiguities this Persian poet used in the words of his complex poems. As a result, some first-hand and valuable information would be obtained about the recipients of these two letters, Qutb al-Din Abhari and Awhad al-Din Ghaznawi, besides some unsaid matters about the history and Sufism of Azerbaijan in the 12th century. The author of present study has corrected the above-mentioned treatises and is going to publish it under the title of "Qāyat-e Ibda'e" (the Utmost Innovation) with an introduction and analysis.  

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The Shadow of Qajar Texts on Contemporary Style of Persian Prose Writing

Ahmad Khatami; Mozhgan Asghary Taraghy

Volume 2, Issue 2 , May 2013, , Pages 21-43

Abstract

  In present research, four of Qajar prose works were initially selected as following: Nasekh al-Tavarikh of Muhammad Taghi Lesan al-Molk Sepehr, Masalek al-Mohsenin of ‘Abd al-Rahim ...  Read More In present research, four of Qajar prose works were initially selected as following: Nasekh al-Tavarikh of Muhammad Taghi Lesan al-Molk Sepehr, Masalek al-Mohsenin of ‘Abd al-Rahim Tabrizi, Majma’ al-Fosaha of Reza Gholi Khan Hedayat, and Hezar-o-yek Shab translated by ‘Abd al-Latif Tasuji Tabrizi. Their most important writing and editing errors such as verbs, plural signs, words and structures, adverbs, conjunctions, infinitives and adjectives and their continuation up to contemporary Persian prose were shown and analyzed to be classified in different categories at last. The research hypothesis is that Qajar prose, despite of its productivity and worth, has many remarkable writing and editing errors, and we can easily see the continuation of these problems in Persian contemporary prose. We intend, in this article, to trace the writing and editing problems of Persian contemporary prose and convince the writers to stop such errors being penetrated in their own works.

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Greek poems in Mowlavi’s Divan-e-Kabir

Muhammad Yusef Nayeri; Shirin Razmjoo Bakhtyari; Elham Khalili Jahromi

Volume 3, Issue 1 , September 2013, , Pages 21-58

Abstract

  One of the most controversial issues about Mowlavi’sDivan-e-Kabir is the existence of Turkish and Greek poems in it. ItsGreek poems will be studied in this paper.Theresearcheshave ...  Read More One of the most controversial issues about Mowlavi’sDivan-e-Kabir is the existence of Turkish and Greek poems in it. ItsGreek poems will be studied in this paper.Theresearcheshave been conductedonTurkishpoems of this collection havebroaderscopes.Codicology of these sonnets is one of the best ways to evaluate them. Considering the background of the research, we try to study the frequency of Greek poems through the Divan and their codicology. Meanwhile, the researches were previously accomplished by the others would be criticizes.  

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The Theory of Mystical Supremacy A Review Analysis of Sheikh Ahmad Sarhendi’s Viewpoints

madi sarifiyan; maisam amadi

Volume 4, Issue 2 , March 2015, , Pages 21-40

Abstract

  The concept of supremacy (velāyat) is highly considered and discussed as one of the most fundamental concepts of Sufism points of view and its thought structure. Little reflection ...  Read More The concept of supremacy (velāyat) is highly considered and discussed as one of the most fundamental concepts of Sufism points of view and its thought structure. Little reflection on the history of Sufism depicts that Sufism, as an intellectual and ideological thought system, has improved and developed by passing the years of its birth.  After Ibn Arabi, this expansion got to a point that made it difficult for other existed key concepts of this spiritual system to develop.  The avarice of supremacy theory gradually created a situation that some preferred it to prophecy and placed it on the top of introverts’ education list, until the 10th Hijri century when Sheikh Ahmad Sarhendi criticized the previous theories by his rational and traditional knowledge and his intuitive insight and introduced a new definitions of Supremacy and Prophecy which were unprecedented in the history of Sufism.  He believed, however, that Prophecy is more important than Supremacy but had a great struggle to propagate the theory of Supremacy and explained new order for it.  In this analytic-descriptive study, it has been tried to make the fundamental ideas of Sheikh Ahmed Sarhendi about the steps of conduct, Supremacy and Prophecy and the realities of Sharia clear.      

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Meter in Poetry and Music A research on the Basis of Prosody and Rhythm

majid kiyani; Roodabeh Shah-Hoseini; Ahmad Rezaie

Volume 5, Issue 1 , June 2015, , Pages 21-40

Abstract

  Rhythm is a criterion for harmonic music, just in a way that prosody is for poetry. Like prosody, rhythm has meters that were called periods or rhythmic periods. Rhythmic periods consist ...  Read More Rhythm is a criterion for harmonic music, just in a way that prosody is for poetry. Like prosody, rhythm has meters that were called periods or rhythmic periods. Rhythmic periods consist of noqrehs (silver) or stresses that are equal to words in poem. Present article is to study the science of Rhythm and Prosody, considering the similarities and dissimilarities in their divisions such as their history, their innovators, and sometimes the reasons of appellation of their different parts. Due to rhythm, which is available in prosody, there will be some recommendations along with concordance of different parts. We have described prosody and rhythm according to Iranian old music books and traditional prosody. The rate of concordance possibility of prosody and rhythm and their obtained capacities are the findings that result in better understanding of inner meter and music of poetry and help to the better application of words in music. Prosody and rhythm can be considered from a single origin which appeared in two fields of music and poetry, as many know their founder Khalil Ibn Ahmad Farāhidi. 

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Anvari's Style in His Sonnets and Quatrains, Relying on Syntax

Mohama torki; somaye rajabi

Volume 6, Issue 2 , June 2017, , Pages 21-40

Abstract

  Many experts believe in Anvari as a leading innovator in Sonnet, a pioneer and the initiator of a style that culminated with Sa'adi's romances. But language scholars have not paid so ...  Read More Many experts believe in Anvari as a leading innovator in Sonnet, a pioneer and the initiator of a style that culminated with Sa'adi's romances. But language scholars have not paid so much to Anvari's syntactic issues discussing his innovations.  The present paper is to get a stylistic understanding out of Anvari's syntax in his sonnets and quatrains, because explaining the reasons why he is considered a stylist, a poet who is genius in language and completely aware of his behavior to it, would basically possible through exploring the syntactic features of his language. It can be seen, in this review that the high frequency of verbal mode (to say) and metonymy compounds, using more than two verbs in a verse, semantic integration of two hemistiches, hiding the element of repetition with syntax games and taking advantage of the syntax diversity in language are the dominant elements of Anvari's style in his sonnets and quatrains. And it will also be seen how the poet uses prepositions to establish an independent personal style and this step was the first stark ignited the fire of this surprising usage, for the first time, in the poetry of Sa'adi, the genius poet.

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Analysis of Narrative Structures in Hafiz Sonnets

Teymoor Malmir; Shadi Ahmadi

Volume 7, Issue 2 , February 2018, , Pages 21-39

Abstract

  Have discrete structures is the prevailing concept on Hafiz's sonnets, but narratology shows that such a structure is proportional to the type of speech and condition of the poet's ...  Read More Have discrete structures is the prevailing concept on Hafiz's sonnets, but narratology shows that such a structure is proportional to the type of speech and condition of the poet's age; this apparent disconnection results in coherence through the audience's reading. The field of speech and the meaning exist in Hafiz's sonnets need “reading” of his audiences. In order to make this narrative system being understood by the audience, the poet has come up with various techniques such as combination of description, incident and dialogue to start the sonnets, bringing propositions with time and place, dialogue and dialogue-ending, and the hadith of the soul, in harmony with the synthesis of the whole sonnet. The narrative system of his sonnets has been, in present research, explained according to the theme, situation, audience and poet’s objectives. His narrative sonnets have been divided into two groups: sonnets with complex and obscure narrative designs and sonnets with obvious narrative designs. The narrative structure of the second group including 23 sonnets has been studied in terms of type, quantity, composition of sequences, statements and codes to show the solidarity of narrative sonnets of Hafiz. The most usage of codes relates to conversation codes (94 cases/such as debate, dialogue, and Hadith of self) that include verisimilitude, advice, and psychological codes, and it shows that narration is among the goals of Hafiz's lyricism. Active, informational and psychological codes were reported 37, 29 and 7, respectively.  

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The Details of Rafsanjan's Feminine Traditional Clothing in Local Quatrains

Mostafa Moosavi; Zeynab Kabiriyan

Volume 8, Issue 1 , September 2018, , Pages 21-36

Abstract

  The city of Rafsanjan is located in the northwest of Kerman province, Iran and its people speak in a local dialect of Persian. Oral literature plays a significant role in the popular ...  Read More The city of Rafsanjan is located in the northwest of Kerman province, Iran and its people speak in a local dialect of Persian. Oral literature plays a significant role in the popular culture of the city and reflects well the way people live in it. Based on aesthetic criteria and indigenous make-up and jewelry, the details of Rafsanjan's traditional feminine clothing have been explored from 600 local quatrains in present study. Since there are many similarities in the names and the forms of clothes in the cultural geography of the Persian language, it has been attempted, to some extent, to refer to these similarities in explaining the components of these types of clothing. Chādor and burqa, Chārqad (a kind of headdress), shirt, skullcap, ārkhāluq (a kind of long and collarless shirt with no button), shoes and handkerchief are among the list of clothing and the details of the coverings have been mentioned in the quatrains that show the importance and the diversity of Rafsanjan's traditional feminine clothing, their social status, their occupations and even their wealth. The type of women's makeup and its related norms and the few attempts were common in their traditional thinking for the sake of being more beautiful are also being mentioned in present study. Rafsanjan's local quatrains, called in local dialect "Charbeitu", have been collected for the first time by the authors through a field study method. The purpose of this research is to study the traditional feminine clothing of Rafsanjan to achieve a clear picture of it.

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Chronological and Analytical History of Discourse on Literary Genres up to the End of the Seventh Century

mohamadreza torki; Asiyeh Farahi Yazdi; Roohollah Hadi

Volume 9, Issue 1 , September 2019, , Pages 21-40

Abstract

  In this paper the theoretical history of “types of poetry,” as defined in ancient times up the seventh century, has been chronologically analyzed. The study was necessitated ...  Read More In this paper the theoretical history of “types of poetry,” as defined in ancient times up the seventh century, has been chronologically analyzed. The study was necessitated upon noticing that despite the wide extent of discussion about categorization and definition of types of poetry in contemporary studies, the question of whether there was a clear definition and categorization of types of poetry in ancient literary theories remains unanswered; and if the answer is yes, what was the basis for categorization of types of poetry? The existence of phrases in Khaqani’s verses that explicitly refer to ten types of poetry reinforces the hypothesis that ancient literary theories clearly defined and categorized types of poetry. So, under the four titles of philosophers and logicians, Arab literary scholars and rhetoricians, Persian works of literary and rhetorical criticism, and poets, ancient theories are studied and it is concluded that literary genres—particularly poetry—was a well-known subject among the ancients and especially Arabs, and in their works of literary and rhetorical criticism, a chapter or at least a title was devoted to it. In Persian literature, the theory of types of poetry is much more recent than the Arabic theory and is entirely influenced by it. Nevertheless, an evolution of the theory of types of poetry can be detected in Persian poetry.

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Nima Yushij’s “Mostazads” and the Experiment of Omission of Rhyme

Mahdi Olyaee Moghadam

Volume 9, Issue 2 , July 2020, , Pages 21-39

Abstract

  “Mostazad,” which is a classical form of Persian poetry, is the most important background of Nima Yushij’s poetry. Studying the recent posthumous publications of Nima, ...  Read More “Mostazad,” which is a classical form of Persian poetry, is the most important background of Nima Yushij’s poetry. Studying the recent posthumous publications of Nima, we understand that many of his experiments were done in the form of mostazad. He mostly used masnavi to write mostazads, a practice that does not have a long history in Persian poetry. His mostazads with their creative forms regarding the order of lines and the rhyme scheme merit further attention. It seems that no other poet has this many masnavi-based mostazads and his experiments with this form are unprecedented. Modifying the rhyme scheme in his mostazad, he found an opportunity to experiment with this element. Thanks to such experiments with this form and other classical poetic forms, he eventually created his own poetic form in which lines did not necessarily end with rhyme. Nevertheless, some of his mostazads, due to their creativity, have not been recognized as mostazads, inasmuch as some editors have published them without using the typography suitable for this form. Accordingly, his skill in writing mostazads is not yet apparent to his readers and even to some researchers.

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A Critical Review of the Correction of Mirsad al-Ebad by Mohammad-Amin Riahi

yaghub noruzi

Volume 10, Issue 1 , September 2020, , Pages 21-41

Abstract

  Mirsad al-Ebad is one of the dominant mystical works of the seventh century AH. Mohammad-Amin Riahi, a contemporary researcher, has corrected this text. Riahi has set the Bursa manuscript ...  Read More Mirsad al-Ebad is one of the dominant mystical works of the seventh century AH. Mohammad-Amin Riahi, a contemporary researcher, has corrected this text. Riahi has set the Bursa manuscript as a basis for his correction and has used other manuscripts for comparative correction in some parts. Although it is a scholarly correction, it is not methodical and the corrector does not have a fixed method and criteria in correcting the text. Considering that rhetorical, linguistic, and literary elements of a text are the fundamental and recurrent features of stylistics, paying attention to them can result in a scientific and methodical correction. One of the aspects of Mirsad that has been neglected in Riahi’s correction is its artistic aspect (musicality and saj’), which is the dominant aspect of Mirsad. Another technique for creating musicality is changing sentence structure, and Riahi has not paid attention to this aspect either. Another dominant aspect that has been neglected is the linguistic attributes. Carelessness to this aspect has caused some mistakes in correction. In addition, some words have been chosen carelessly from manuscripts and are false. The reason for most mistakes is relying too much on Bursa manuscript. This article endeavors to correct of mistakes relying on dominant aspects of Mirsad.

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The Rhetorical Function of Sentence Mood in Nezami Ganjavi’s Poetry

Roohollah Hadi; Alireza Hajiannezhad; Zeinab Nasiri

Volume 10, Issue 2 , March 2021, , Pages 21-37

Abstract

  Nezami’s poetry has great rhetorical value. The poet’s attention to rhetorical principles and the relationship between the poet and the reader are the most important characteristics ...  Read More Nezami’s poetry has great rhetorical value. The poet’s attention to rhetorical principles and the relationship between the poet and the reader are the most important characteristics of Nezami’s poetry. Through the illustration of these characteristics, we can understand the poet’s ability in his poetic art and his influence on the audience. In Khosro and Shirin, the poet has used conversation more than in his other works. The reader’s presence and the poet’s attention to them are completely evident, and there is a mutual relationship between the speaker and the listener. Therefore, his poems have many different sentence moods, and by analyzing these moods, we can perceive their literary and artistic function. One of the syntactic characteristics of sentence is “mood” which has a very important function in rhetorical analysis of literature. Sentence mood indicates the interactive function of language and shows the extent of the relationship between the author and the reader. Accordingly, the sentence moods are the most effective principles of mobility and polyphony of the text. In declarative sentences, the relationship between the author and the reader is one-sided and the sentences have less mobility. However, in interrogative and imperative sentences, the audience interacts with the author and this interaction increases the text’s mobility. In this research, the role of sentence mood in Nezami’s Khosro and Shirin is discussed.

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Inter-textual relations in Persian Versed Eskandarnamehs (Ferdosi, Nesami, Amir khosro)

qq qq; Mohammad Parsanasab; Sima Abbasi

Volume 1, 7و8 , February 2011, , Pages 27-44

Abstract

  Abstract   Julia Kristeva's intertextuality was first used in the relations between texts . also after him some ones examined the issues from different views and changed it’s ...  Read More Abstract   Julia Kristeva's intertextuality was first used in the relations between texts . also after him some ones examined the issues from different views and changed it’s concepts. One of these characters was  Julia Kristeva who considered it more organized and comprehensive and examined it with all it’s variables and called it metatextuality. Versed eskandarnameh have been effected by pretexts in their formation during their life history have mixed with many cultural elements and beliefs of different nations and languages and found mythical and romantical content. Despite the distinctions of  the authors intent, social and mental requirements of each work day, and then "Fear Effect" created in the works, the borrowings and being effective and effected of these texts demonstrate their vivid intertextulity . Persian  versed eskandarnamehs could be considered based on his opinions and to explore relations between these textes via novel perspectives .  In this paper, the characteristics of intertextuality of  (Ferdowsi’s Askndrnamehs, nezamy’s and Amyrkhsrv’s)are considered through intertextuality  view  point (co-attendance) and extra-textuality (being effected and effective ) of gerar gent , to recognize quality and quantity of their being effected and effective on each other   determining intertextuality common features of these works and will show on which areas it has been realized more often and how much  is informative .

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Structural Analysis Of Khaghani poetry

Dr. Jalil Tajlil; Dr. Sayyed Gholam Reza Gheybi

Volume 1, 3-5 , January 2011, , Pages 31-48

Abstract

  Since the attractiveness of an artwork roots in its structural strength, and since it can, depending on its linguistic, expressive and aesthetic usage, make an artwork outstanding to ...  Read More Since the attractiveness of an artwork roots in its structural strength, and since it can, depending on its linguistic, expressive and aesthetic usage, make an artwork outstanding to the rate that being considered, socially, as a literary word; taking the alignment of the poem and meter in Khaghani word, we are going to analyze his poetry for the type of his linguistic and expressive usage. For he is an inimitable poetic feature in Persian Literature. Techniques of a poetic language, allegories of a poetic expression, specific use of grammar and syntax, new semantic compositions, lexical innovation, the importance of language in verse, and the objective of his works, Creation, are all the things that indicate the significance of the matter.

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Ahmad b. Khidroya, a Sufi from Balkh

Naser Rahimi

Volume 2, Issue 1 , October 2013, , Pages 33-56

Abstract

  Introducing Ahmed Khidroya, a Sufi from Balkh in the 3rd century (AH.), is the aim of present essay. So the author provides information about his name and family, hometown, date of ...  Read More Introducing Ahmed Khidroya, a Sufi from Balkh in the 3rd century (AH.), is the aim of present essay. So the author provides information about his name and family, hometown, date of death, works and companions, using old sources in historical analysis method.

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Narrative Satire and its Mystical use in Hadiqa

Ahmad Khatami; Elham i Bagher

Volume 4, Issue 1 , September 2014, , Pages 33-59

Abstract

  Hakim Abul-Majd Majdūd ibn Ādam Sanā'ī Ghaznavi, is often characterized as the "ingenious poet". Using satire in mystical texts is the technique can be considered as one of his ...  Read More Hakim Abul-Majd Majdūd ibn Ādam Sanā'ī Ghaznavi, is often characterized as the "ingenious poet". Using satire in mystical texts is the technique can be considered as one of his inventions, what had already been used in socio-critical texts. Theosophists, after Sanā'ī Ghaznavi, have frequently utilized this approach to teach moral aspects. To find satirical techniques applied by Sanā'ī Ghaznavi (467-529 or 545A.H.), in this paper, as well as expressing his purpose to teach ethical, moral and spiritual lessons in his masnavi, "Hadiqat Al-Haqiqa"; we initially introduce a general definition of irony and satire and their conventional techniques, and then, we will review and classify the  features of Sufi language. At the end, the Hadiqa stories, their humors, messages of mystical techniques, and their moral and philosophical analyses will be expressed, if available. Summarizing and understanding the mystical, wise, moral and satirical messages of Hadiqa as well as the special language for which Sanā'ī Ghaznavi attempted to reach are all the results would be obtained out of present study.  

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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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Conterminous Opposition, an Eloquent and Meaning-maker Element in Masnavi

taghi poornamdarian; laleh marefat

Volume 6, Issue 1 , September 2016, , Pages 37-56

Abstract

  The "conterminous opposition" (the companion of two opposite pillars) is a term connects with rhetoric of syntax. This term is a kind of hidden structural art of Masnavi and several ...  Read More The "conterminous opposition" (the companion of two opposite pillars) is a term connects with rhetoric of syntax. This term is a kind of hidden structural art of Masnavi and several structures and different models of this art are going to be analyzed and explained on the basis of construction theory and rhetoric of syntax in present essay. Conterminous opposition in a sentence with similar grammatical identity (focus oppositions; the possessive conterminous oppositions and adjectival conterminous oppositions), conterminous opposition in a sentence with dissimilar grammatical identity, and conterminous opposition in two sentences including conjunctive and non-conjunctive oppositions are some of the oppositional models. Association of these models with other aesthetic elements such as different types of rhetorical techniques and the music of speech increases the meaning potential and their rhetorical elegance. This diversity has made Mowlavi's poetry being more dynamic linguistically, rhetorically and syntactically. The high frequency of this structural art has created a stylistic feature in the poetry of Mowlavi and impacts the semantic induction of his speech, especially the fundamental ideas of his mind, in addition to its rhetoric and aesthetic aspects. The conterminous oppositions have been introduced in present essay and the syntactic structure of the lines include this structural art has been analyzed aesthetically.  

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A Comparative Look at Allegory in Literary Studies

Davood Esparham; zeynab akbari

Volume 8, Issue 1 , September 2018, , Pages 37-55

Abstract

  “Allegory” is one of the oldest concepts that have been taken into consideration in many literary studies from rhetoric up to hermeneutics. No attempt has been made to clarify ...  Read More “Allegory” is one of the oldest concepts that have been taken into consideration in many literary studies from rhetoric up to hermeneutics. No attempt has been made to clarify the semantic fields of this widely used concept in numerous studies have been, directly or indirectly, conducted; however, the recognition of the semantic fields of applied terminology is considered as the most basic needs in every knowledge. This study is to explore various examples of allegory in the field of literary studies in Persian, Arabic, and English languages and seeks to provide a clear definition of allegory in each domain. Therefore, referring to the first-hand resources in all mentioned languages, and looking comparatively at the definitions of allegory in the most important sources of Islamic rhetoric, it will be tried to examine this term in rhetoric and other fields of literary studies in West. Based on the opinions of rhetoric experts about allegory and the ways the poets and the writers used it, three main meanings can be recognized for this term: a) allegory as a rhetorical technique; b) allegory as a literary type; c) allegory as a form of reading and interpreting literary works.  

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