Persian Literature

The Language in Naser Khosrow's Elegies on Syntactic Level

Mahdi Olyaee Moghaddam; Pedram Shahbazi Bakhteeyari

Volume 8, Issue 2 , May 2019, , Pages 79-102

Abstract

  Answering the question: "What are the factors make the language in Naser Khosrow's elegies prominent?" is the main effort has been done in present study. Since it was not possible to ...  Read More Answering the question: "What are the factors make the language in Naser Khosrow's elegies prominent?" is the main effort has been done in present study. Since it was not possible to examine all the language features in the poetry in his elegies, it has mainly been tried to explore some aspects of his language on syntax level, which is the structure of syntactic groups and sentences. Although the phonetic level of his speech has also been somehow considered in a glance. This study will be completed when it comes to comparing the syntactic elements of his language with poets before him and his contemporary poets, to determine the prominence of his poetry. Therefore, the study of the linguistic features of his elegies, in comparison with the language is used in the elegies of two pioneering poets (Farrukhi and Unsuri) and one of his contemporary poets (Qatran), is the most important part of this research. To study the frequency of each syntactic elements in Naser Khosrow's specific elegies and to compare it with the frequency in the elegies of Farrukhi, Unsuri and Qatran, which are similar in their meter and rhymes, we have used the statistical method. The results show that Naser Khosrow's elegies are more distinguishable than the other three poets' on the level of syntax for following reasons: shortness of syntactic equilibrium and verb deletion, shortness of counterfeit nominal group and praying mode, the irrelevance of syntactic arrangement of quotation with the vertical axis of imagination, increasing hortative role of the language, syntactic abnormality, archaism, the role of following sentence(s) in  conditional, contradictory and causative dependents in creation of the philosophical forms of his word. Rather than the general and obscure interpretations have often been provided about the elegies of Naser Khosrow, some quantitative data is provided in present paper that its analysis is just one of their possible results.

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Few Points on the Evolution of Form and Meaning in Sāghināmeh

Sayyed Morteza Mirhashemi

Volume 4, Issue 2 , March 2015, , Pages 81-99

Abstract

  The Sāghināmeh composing is one of the poetic subjects in Persian literature. Likely inspired by the poems called Khamriyyas, a style which had already had some records, Nizāmi Ganjavi ...  Read More The Sāghināmeh composing is one of the poetic subjects in Persian literature. Likely inspired by the poems called Khamriyyas, a style which had already had some records, Nizāmi Ganjavi introduced this literary subject. Many Iranian literary figures have paid attention to the subject and had made some changes to transform it in Form and Meaning. This paper debates on these changes which can be divided into three kinds: 1. the evolution in form (such as the use of some other forms like Tarjie-band and Tarkib-band), 2. evolution in meaning (fitting some unprecedented subjects with no records in other Sāghināmehs ) and 3. transition in poetic images and interpretations (creating new interpretations and images, especially for the promised wine in the Saghinamehs). Although, the intellectual efforts of composers during different periods are more or less obvious, but the nature of the poets who lived through the Saffavids’ era is absolutely different and undoubtedly was under the influence of a new poetic style ( Isfahani or Indian style) of the period.   :

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The Ups and Downs of Children and Adolescents’ Poetry in Iranian Post-Revolution Literature

Mehdi Hejvani

Volume 5, Issue 1 , June 2015, , Pages 81-100

Abstract

  This article is to describe and analyze the situation of children and adolescents’poetry in Iran during three decades after the Islamic revolution. Poetry movements, their peculiarities, ...  Read More This article is to describe and analyze the situation of children and adolescents’poetry in Iran during three decades after the Islamic revolution. Poetry movements, their peculiarities, the social situations, the more prominent poets and the leading poets are all the questionable central matters of a field with theoretical, historical descriptive and analytic framework. This is the first article pays attention to these movements, works, and the poets of three previous decades. A discussion about some of the eminent features of 1980s (Revolution and Sacred Defense,  writing growth, empiricism, the village homesickness, the absence of criticism, and the prevalence of children’s poetry in comparison with adolescents’), the 1990s (the introduction of themes such as peace and homeland, the prevalence of lyrics, reduction in empiricism and increase in criticism and theory, divergence among the poets), and the 2000s (refusal of traditions, individualism, being impressed by translations, new definition of children’s poetry and its audiences, prevalence of satire, paying attention to the objects instead of concepts) show that the poetry of children and adolescents has experienced three various, rather distinct, movements in this period. This literary genre has been impressed by social impacts in a rugged path, and in overall it is indicated that it has a progressive trend.

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Aspects of Practical Mysticism and Unity of Intuition in Attar of Nishapur’s Divan

Shirzad Taefi

Volume 7, Issue 2 , February 2018, , Pages 81-100

Abstract

  The practical part of mysticism is the mystical realm of the behavioral and experimental findings which, based on the courageous conduct of the path of excellence, the refinement of ...  Read More The practical part of mysticism is the mystical realm of the behavioral and experimental findings which, based on the courageous conduct of the path of excellence, the refinement of the soul and the purification of the conscience and getting to the essence of being, leads to a kind of monotheistic worldview called "pantheism" that has been constructed on intuitional experiences; hence the intuitive mystics have called it the "Unity of Intuition". In other words, the intuitional pantheism is experienced and proven in this type of monotheistic mysticism. This type of intuitional and practical mysticism is clearly manifested in the sonnets of Attar of Nishapur's divan. It will be possible to achieve a clear vision of Attar's attitude toward monotheism through analysis those parts of his verses portray this type of worldview. Attar suggests his own special "pantheism" as a combined intuitional insight in the mirror of his sonnets which are all based on his spiritual experiences and are results of higher mystical positions achievement. Analyzing the sonnets of Attar of Nishapur's divan through an inductive-analytic method, it has been tried in present study to explore his viewpoints and to prove the attitudes of this monotheist mystic about intuitive pantheism.  

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A Comparative Ecocriticism of Farsi and Arabic Textbooks

Atefeh Jamali; Farahangiz Shokoohi

Volume 10, Issue 2 , March 2021, , Pages 81-101

Abstract

  Literary critics of ecocriticism consider the prevailing culture as one of the main causes of the enviromental crisis, therefore they try to correct the cultural attitudes. Since the ...  Read More Literary critics of ecocriticism consider the prevailing culture as one of the main causes of the enviromental crisis, therefore they try to correct the cultural attitudes. Since the educational system and textbooks are the main factors in culture developing, in this paper, through a qualitative content analysis method, Farsi and Al-Arabia Loghati textbooks of Iran’s  and UAE’s primary schools have been comparatively studied. We examined environmental concerns in these texts and finally evaluated the strategies offered to internalize respect for nature in children. The results show that issues such as the importance of the environment, water crisis, air pollution, waste recycling, species protection, planting, and practical government policies are more reflected in Al-Arabia Loghati books. The authors of these books, explicitly or implicitly represent environmental issues in  45.4%  of thecourses; in Farsi books, these concerns are reflected in only 15% of the courses. It seems that the UAE’s geographical location and government supports for the protection of environmental resources have brought the education system in line with the government’s goals. While in Iran, despite biodiversity and various environmental crises, the authors of Farsi books have used their linguistic capacities to create literary images focused on nature. In fact the pivotal environmental issues have been addressed in experimental science and social education textbooks.

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Narration Techniques in Akhavan’s Narrative Poems

Mohammad Shadrooy Manesh; Azam Baramaki Baramaki

Volume 2, Issue 2 , May 2013, , Pages 83-102

Abstract

  Narrative style is the main feature of Mehdi Akhavan Sales (1928-1990), one of the famous contemporary Persian poets. But what gives a special prominence to his narrative poems and ...  Read More Narrative style is the main feature of Mehdi Akhavan Sales (1928-1990), one of the famous contemporary Persian poets. But what gives a special prominence to his narrative poems and makes it distinct from the works of other contemporary poets is his idiosyncratic use of narrative techniques and methods. He employed in his works the element of narration in a distinctive manner. Although, the narrative techniques mostly appear in his poems, they have been used in a way that they never distort the essence of his poems. In his works, techniques of narrative are at the service of the poetry, rather than the poetry being at the service of narrative. Characterization, dialogue, creation an ambiance/atmosphere, creation or using myths, applications of symbols and symbolic language are narration techniques being discussed, in this article, to indicate their special functions.

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Romanticism in Khaqani’s Poetry

Narges Oskouie

Volume 9, Issue 1 , September 2019, , Pages 83-99

Abstract

  Khaqani is a unique poet in ancient Persian literature, since he allows the thorough emergence and appearance of his “I” in his poetry. In his poems, he does not appear ...  Read More Khaqani is a unique poet in ancient Persian literature, since he allows the thorough emergence and appearance of his “I” in his poetry. In his poems, he does not appear only as a poet, but he reveals the appearance of a human who is emotional, excited, love seeker, fighter, freedom seeker, noble, and humanitarian. These features are among those which the Romantics considered themselves to have and which they included in their literary manifesto. In addition to these features, the images in his poetry have the qualities of Romantic images. This means, like the images of Romantic poetry, his are ambiguous and shadowy, structured, united, coherent, timeless, placeless, metaphorical, intellectual, and naturalistic. This article tries to present a further explanation on Romantic manifestations in Khaqani’s poetry and thought. Choosing a descriptive and analytical method, it endeavors to confirm the existence of many similarities between Khaqani’s poetry and the school of Romanticism. The research demonstrates that Khaqani’s personal and emotional poetry is unparalleled in classical Persian poetry.  His poetry has a sentimental, humanistic, and libertarian backdrop. Therefore, it can be argued that the Romantic features of Khaqani’s poetry are unique in classic Persian literature.

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Signing Language, a Prominent Feature of Discourses of Shams Tabrizi

dd aa

Volume 1, 7و8 , February 2011, , Pages 89-120

Abstract

  Signing is an important informative – affective aspect of language which is overshadowed by the traditional speaking – writing distinction and the priority of written form ...  Read More Signing is an important informative – affective aspect of language which is overshadowed by the traditional speaking – writing distinction and the priority of written form over spoken form in both linguistics and literary criticism. This paper attempts to introduce a new form of language which can be referred to as signing language, which can shed light on understanding and analysis of the oblique text of Discourses of Shams Tabrizi. Avoiding the philosophical and psychological grounds of signing language, this paper keeps the trace of signing language in the texts other Discourses of Shams Tabrizi.  

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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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Prophets in the Iranian Long Folk Stories

Hasan Zolfaghari; Bahador Bagheri

Volume 3, Issue 2 , March 2014, , Pages 77-94

Abstract

  Of the most outstanding features of Iranian folk stories, which had not been precisely scrutinized, are their meaningful deep links with the archetypes in the stories of the prophets, ...  Read More Of the most outstanding features of Iranian folk stories, which had not been precisely scrutinized, are their meaningful deep links with the archetypes in the stories of the prophets, and the reiteration or reproduction of the events of their lives. In such context, three types of roles can be considered for the prophets in these stories are: 1) their active and leading role in the process of the stories, 2) their supporting roles, and 3) recreation the stories similar to the adventures of prophets. The use of weapons and tools of prophets by hero characters, the helps prophets grant heroes through their dreams to guide them or their enemies are some examples of such a link. Due to the attraction and great reputation of above-mentioned archetypes, the narrators of folk tale have used them in their stories mixing them with miraculous and religious character to give more special identity to their own stories. This paper studies 17 folk prose stories to deliberate this important issue.        

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Contemplation on Nizami's Viewpoints on the Essence and Origin of Poetry

Mahmoud Fazilat; Yasin Esmaeely

Volume 3, Issue 1 , September 2013, , Pages 91-110

Abstract

  Due to its current and global context, Poetry arises from the poets’ unconsciousness, the issue that Nizami has implicitly and explicitly referred to in his poems. It has been ...  Read More Due to its current and global context, Poetry arises from the poets’ unconsciousness, the issue that Nizami has implicitly and explicitly referred to in his poems. It has been tried, through this article to survey the inspirational or creative essence of poetry in Nizami’s viewpoints. He believed that the process of artistic creativity - including poetry - would be performed in two modes, i.e. inspiration and creativity. He also believed that there exists no pure inspirational or creative poetry. The sequence of poems, include the aforementioned contents, shows that the origin of poetry is inspiration but it would be brought to perfection through edition and modification. Furthermore, religious and cosmological changes, and as a result, social and cultural evolutions have made several differences between Nizmi’s inspiration sources with the other poets’, the case that is going to be analysed in present article.  

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MYAN KHANEH

Moahmmad Reza Torki

Volume 1, Issue 6 , August 2011, , Pages 93-100

Abstract

  In this essay, through pondering into meaing of a line of verse versified by Khaghani Shervani and surveying and criticism on the points which have been purposed about its intrerpretation ...  Read More In this essay, through pondering into meaing of a line of verse versified by Khaghani Shervani and surveying and criticism on the points which have been purposed about its intrerpretation and description since of yore, we have tried to explain about term “MYAN KHANE” (literally world field) within the poem of this leading versifier (6th Hegira cen./ 13th AD cen.). It seems such interpretation for the meaning which was given in this line of verse, to be special argot used by Khghani; in other words, it is one of those terms which have been adapted in works of Shervani as famous versifier only at level of investigation. The presence of such terms and implications in works of Khaghani and other orators in Persian literature may require codification of Special Terminology for Khaghani and other Persian literarure versifiers separately

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A New Glance on the Life of ‘Imadi Qazvini (with an introduction of some newfound sources of his poems)

Mohammad Afshin- Vafaie

Volume 4, Issue 1 , September 2014, , Pages 93-112

Abstract

  Amir Abu Mohammad ‘Imadi Ghazvini was one of the most prominent poets of the 6th century A.H who was very famous in his lifetime, but we don’t know much about his life and ...  Read More Amir Abu Mohammad ‘Imadi Ghazvini was one of the most prominent poets of the 6th century A.H who was very famous in his lifetime, but we don’t know much about his life and have not yet obtained his divan. The author, in present study, has tried to eradicate on the life of this great poet of the Seljuk era introducing several sources, sometimes new, depending on ‘Imadi’s published or unpublished poems. Finally, the sources of ‘Imadi’s poems would be presented through several published books, poem collections (Jongs) and manuscripts.    

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The Semantic Relationship between Main and Consequence Clauses in Conditional Sentences

seyedmohammad ebnorasool; somaye kazemi; mehri kazemi

Volume 6, Issue 1 , September 2016, , Pages 93-112

Abstract

  Language is a system of overlapping relations, in a way that the concept of a component would not be transferred except in relation with other components and elements. There are two ...  Read More Language is a system of overlapping relations, in a way that the concept of a component would not be transferred except in relation with other components and elements. There are two types of relationship between the linguistic structures: verbal and semantic relationships which are intimately linked to each other, because the word holds the meaning and is a means to express it.  Considering the importance of semantic relations in compound sentences and conditional sentences in special, it has been tried in present essay through a descriptive – analytic method, to study the semantic  structure of these sentences, the factors affect the meaning expression, and the relation between the main and the consequence clauses(protasis and apodosis clauses) of conditional sentences - as a matter has been neglected by Persian grammarians, scrutinizing the linguistic structures of the Persian conditional sentences have been selected from Persian literary works. The main achievements of this paper indicate that there is a semantic correlation between the main and the consequence clauses in conditional sentences, and this semantic relation divides in to two types of causative and non-causative correlation. 

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Examining Four Theories about a Verse Composed by Abdul-Qādir Bedil

mahdi tabatabaey

Volume 6, Issue 2 , June 2017, , Pages 95-112

Abstract

  The comment of Professor Shafiee Kadkani about the incomprehensibility of one of Bidel's verses drew itself the particular attention of researchers, as far as Sayyed Hassan Hosseini ...  Read More The comment of Professor Shafiee Kadkani about the incomprehensibility of one of Bidel's verses drew itself the particular attention of researchers, as far as Sayyed Hassan Hosseini has devoted one of the chapters of his book: Bidel, Sepehri and Indian Style to explain it, and Mohammad Reza Akrami has written some explanations about it in 25 pages of his book: Metaphor in the sonnets of Bidel. Ali Mo'alem Damghani has also proposed some discussions on this verse in 7th volume of monthly magazine of poetry. Each of these experts has criticized the verse from their own point of view, however its conceptual problem seems being unsolvable.  Exploring the opinions of other scholars and depending on other Bidel's verses, the present research is to provide a correct concept of the verse through an analytic-descriptive methodology and using library documentations. The research is important because this verse is an example of Bidel's obscure and vague verses and commenting on it can show the judgments of researchers about such verses of him. In addition to the clarification of this verse, the most important result of the research is that the inability of the audience in describing the inner balance between the components of a poem, make one or more verses of a poet's divan being looked meaningless and incoherent.                                                                                                       

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A Study on Intertextuality of Common Anecdotes in Attar's Tazkerat al-Awlia and Mantiq al-Tayr

Sayyedeh Maryam Rozatiyan; Fateme Sadat Madani

Volume 7, Issue 1 , October 2017, , Pages 95-112

Abstract

  Living in a period between Sanāie and Mowlavi, Attar of Nishapur is a poet and writer who becomes the connection loop of the beginning and the peak of mystical path of Persian poetry. ...  Read More Living in a period between Sanāie and Mowlavi, Attar of Nishapur is a poet and writer who becomes the connection loop of the beginning and the peak of mystical path of Persian poetry. With regard to his acquaintance with storytelling and the use of various narratives, there are thematic similarities in his works. The intertextuality discussions, especially what has been posed in the theory of Gérard Genette, have been used in present research to analyze the common narrations of Tazkirat al-awlia and Mantiq al-Tayr and o find their relations in a way that their relation can be analyzed according to the categories of this theory. The important point is that, due to the unique features of Persian literary texts, it is possible to go beyond the classifications and to expand them. Such studies make the relationship between the works of Attar and the method he uses to narrate in these two books clear.

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Two Versions of Jāmiʻ al-Tamthīl

shahram azadian; mohammad ali ejtehadian

Volume 5, Issue 2 , March 2016, , Pages 97-111

Abstract

  Jāmiʻ al-Tamthīlwas written in 11th Century AH. by Muḥammad ʻAlī Hablehrūdī. This book is a collection of proverbs, insights and anecdotes and some sermons associated ...  Read More Jāmiʻ al-Tamthīlwas written in 11th Century AH. by Muḥammad ʻAlī Hablehrūdī. This book is a collection of proverbs, insights and anecdotes and some sermons associated with them. There are a lot of manuscripts of this book in different libraries all over the world. The authors have found two different forms of writing through their critical corrections. Although both forms are generally similar, they are fundamentally different in content and style of writing. The differences between these two forms of writing and the reasons why one of them is preferred are payed attention, in present essay, and the incentives which made them to exist are studied. The results show what we know as Jāmiʻ al-Tamthīl in Iran is a different manifestation of Hablehrūdī's work and it is likely that someone has changed it and has added to or reduced its content to make Jāmiʻ al-Tamthīl seem as a merely preaching book, or in other word, or to help its preaching, ethical and religious aspects to overcome its literary aspect.

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The Principles of a New Plan for Reading 'Ajayeb-namehs

Fatemeh Mehri

Volume 8, Issue 1 , September 2018, , Pages 97-113

Abstract

  The present study is about the old literary works known as 'Ajayeb-namehs(wonderings). Not being of much interest to the scholars, such texts have been re-readin some literary studies ...  Read More The present study is about the old literary works known as 'Ajayeb-namehs(wonderings). Not being of much interest to the scholars, such texts have been re-readin some literary studies on the basis of the theory proposed by Tzvetan Todorov (a Bulgarian-French structuralist) about the genre of fantasy, and have been distinguishedconsistent with some of the concepts of his theory. But some methodologicalcontradictions have occurred by mixing of concepts or the researchers' carelessnesshave led 'Ajayeb-namehs not being read correctly or being misunderstoodin course of their nature. This study is to open up a new way of conducting adifferent reading of these texts and to outline the reasons for the importanceof the “method” in the looking types about them through scrutinizing "science"as one of the fundamental concepts in definition of 'Ajayeb-namehs. Ithas been shown, in present study that 'Ajayeb-namehs can be read indifferent ways, based on the pictures we draw from science. Although paying attentionto concepts evolution is one of the key points in reading these texts. In thisway, enjoying a historical perspective that examines the emergence anddevelopment of texts in their own historical context has a fundamental role inunderstanding their nature.

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Some Notes on the Biography of Suzani Samarqandi

Siavash Goodarzi

Volume 9, Issue 2 , July 2020, , Pages 97-116

Abstract

  Since old times, many books have been written about Persian poets, providing biographical information about them. At first glance, most of the materials seem to be completely valid, ...  Read More Since old times, many books have been written about Persian poets, providing biographical information about them. At first glance, most of the materials seem to be completely valid, but when examined precisely and critically, plenty of contradictions and differences arise. Thus, it is a better idea for researchers to refer directly to the poems to extract correct information. One of the greatest Persian-speaking poets is Suzani Samarqandi. Academicians know him mostly for his obscene literature. Therefore, they have not paid enough attention to him. This essay is an effort to evaluate some biographical materials about Suzani based on his own words. It also tries to dispel some doubts and uncertainties of contemporary researchers about his life — regarding his date of birth and death, his repentance in old age, and his religion. It demonstrates that Suzani was born between the years 476-486 AH and died in 569 AH. He most probably followed the Hanafi School. Moreover, he most probably did not stop writing obscene literature and panegyrics until the end of his life. From his mid-life on, however, he expressed regrets about his obscene literature and the eulogies he had written for the people in power.

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The Morphology of Dream Stories in Sufis’ Prose Texts

Dr.Homeira Zomorrodi; Dr.Mahboobeh Heydari

Volume 1, 3-5 , January 2011, , Pages 101-123

Abstract

  The circumstance of dream formation, although repetitive, is still complicated and wonderful. Except the contents of dreams, the atmosphere they’ll be quoted is also important. Dreaming ...  Read More The circumstance of dream formation, although repetitive, is still complicated and wonderful. Except the contents of dreams, the atmosphere they’ll be quoted is also important. Dreaming or being seen in a dream are two frequently repeated subjects in sufic traditions. In this analysis, we have tried, introducing the characteristics of formalistic and structural schools, to assess the morphologic features of dream quoting as a short story. Sufic dreams include such narrative themes that have main roles in their biographies and in sufic catechetic. We are going to indicate the significant repetitive pattern of dream stories.

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A Study and Analysis of Taboo in"Boof-e Koor"

Shirzad Tayefi; Elnaz Khojasteh

Volume 2, Issue 1 , October 2013, , Pages 101-122

Abstract

  Sadegh Hedayat, as a pioneer writer of Iranian contemporary novel, has always used psychological motifs in his works. His "Boof-e Koor"[The Blind Owl], out of his other works, is much ...  Read More Sadegh Hedayat, as a pioneer writer of Iranian contemporary novel, has always used psychological motifs in his works. His "Boof-e Koor"[The Blind Owl], out of his other works, is much more influenced by psychological motifs and can be regarded as a psychological novel. What seems important being analyzed in this story is the approach of narrator and his contradictions toward Sadegh Hedayat, himself.The narrator, as the story’s main axis, is the one whose mind structure should be carefully recognized to judge about his manner of narration. Since the narrator’s mind has many contradictions and incompatibilities, his character structure seems being constructed out of various taboos orienting his mind.In this study we try to psychoanalyze the narrator’s character, his spiritual taboos and the reasons of their formation to understand why the narrator's character has been formed in this way. Woman seems being the most principle social and psychological taboo of the story. The narrator’s special psychological structure in various stages of his mental development reflects three female characters throughout the story.

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Minimalism in Attar’s Tadhkirat-ul-Awliyā: An Esthetic Strategy

Ebrahim Salimi Koochi; Nikoo Qasemi Esfahani

Volume 4, Issue 2 , March 2015, , Pages 101-113

Abstract

  The social situation and the cultural requirements of the early 1970s became the groundwork of minimalism which gradually appeared in different fields of art and literature. The short ...  Read More The social situation and the cultural requirements of the early 1970s became the groundwork of minimalism which gradually appeared in different fields of art and literature. The short story is one of the most prominent instances of such approach in narrative literature. Although, many believe that the root of this gender is in Western literature, but many of the authors in East, especially the Persian ones, have benefited it in their own works. There are lots of minimalistic examples in Persian classical literature such as Attar’s Tadhkirat-ul-Awliyā (Memoirs of Saints and Mystics). Tadhkirat-ul-Awliyā contains many anecdotes and short stories which had been written by the author to transfer his rational concepts to the ordinary people through a very simple and concise language, in a way that the presence of minimalistic elements can be considered as the most prominent feature of this didactic literal work. We want, in present paper, from one side, to make the features of minimalistic texts clear using some stories of Tadhkirat-ul-Awliyā through the structural features of Short Story, and on the other side, to know why Attar used such modern approach in his work.    

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Exploring the Life and the Thoiughts of Abu Hafs al-Haddad

iNaser Rahimi; Rahimeh Edham

Volume 5, Issue 1 , June 2015, , Pages 101-120

Abstract

  Abu Hafs al-Haddad was one of the masters and founders of Malāmatiyya (or Malamatis) in Nishapur in the 9th century (about 3rd Hijri century). Through a deep study of ...  Read More Abu Hafs al-Haddad was one of the masters and founders of Malāmatiyya (or Malamatis) in Nishapur in the 9th century (about 3rd Hijri century). Through a deep study of ancient sources, in present article, we have rendered some valuable details about his life and family, some of the aspects that reflect the main lines of his thoughts have been made clear, on one hand; and the principles of Malāmatiyya have been shown, on the other hand.

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The Influence of Mystical interpretations of Qur'an on Mowlavi's Mind and Language

Maryam Mosharrafolmolk

Volume 7, Issue 2 , February 2018, , Pages 101-116

Abstract

  The Qur'an interpretation has had a powerful influence on Mathnawi in a way that his Mathnawi can be considered a treasure of Qur'anic interpretation, however the mystical interpretations ...  Read More The Qur'an interpretation has had a powerful influence on Mathnawi in a way that his Mathnawi can be considered a treasure of Qur'anic interpretation, however the mystical interpretations of the first four Hijri centuries have been neglected among the various interpretations used by Mowlavi. Relying on interpretations had been accomplished by Sahl ibn Abdullah Tustari (died: 283 AH) and Abu Abd al- Rahman Sulami (died: 412 AH), it has been shown that Mowlavi's esoteric Mathnawi approach to the Qur'an and the way of hermeneutic interpreting of Qur'anic verses are influenced by older mystical interpretations. Some topics in Mathnawi such as the “Struggling against the lower soul”, "interpreting soul as idol and 'Ijl (calf)", "seduction of self", and some parts of Sufi customs such as "long fasting" and "eating halal foods", and "avoidance of persecution and altruism"  are what existed in these interpretations and are reflected in Mathnawi. Some other topics in Mathnavi such as "divine indulgence", "divine wisdom", and “keeping reliance on God” and "leaving the trick" are all rooted in Qur'anic mystical interpretations. Mowlavi has deliberately used this type of hermeneutics, so he has called Mathnavi as "the Decoder of Qur'an".  

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The Verses of Shahname in Neyshaburi’s Khalgh al-Ensan

Javad Bashari

Volume 9, Issue 1 , September 2019, , Pages 101-124

Abstract

  Khalgh al-Ensan is an unpublished Arabic book by Bayan al-Hagh Neyshaburi (died in 521 AH) in the field of commentary on the Koran in which there are some verses from Ferdowsi’s ...  Read More Khalgh al-Ensan is an unpublished Arabic book by Bayan al-Hagh Neyshaburi (died in 521 AH) in the field of commentary on the Koran in which there are some verses from Ferdowsi’s Shahname. Neyshaburi was the judge of Ghazne on behalf of Ghaznavids, but in the last years of his lifetime, returned to his birthplace, Neyshabur, and collected his Majalles in commentary of a chapter from the Koran, called “Khalgh al-Ensan.” The existence of these verses in such an old book indicate the fame of Shahname in so-called era in the eastern territory of the Persian literature which Second Ghaznavid had the power beside Seljuqids. In fact, an author who was known as a religious scholar with a strong attention to Ferdowsi’s Masnavi can demonstrate the relationship between religious scholars and non-religious poems. In this article, moreover we noted to important variants between ancient MSs of Shahname and Khalgh al-Ensan that can improve some parts of Ferdowsi's Masnavi in future. In our opinion, Neyshaburi’s reference for Ferdowsi’s poems, was a selective book like an anthology of Shahname, that existence of some old instances of those books is proved; for example, the selection of Ali ibn Ahmad that is existed at the moment and is published, or Mas’ud-e Sa’d's selection which is missed, both of them very close to Neyshaburi’s lifetime.

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