Persian Literature

Abstract Muslim mystics have turned to political issues relying on both unity and plurality criteria.  They have explained the characteristics of a mystic politician emphasizing the necessity of mysticism for politicians and even the necessity of politics for mystics. Taking a social viewpoint, the early Sufis, paid a particular attention to this important matter in their speech and behavior, and invited other Sufis to be bounteous and to get a fair and compassionate approach to their disciples.  The Sufis who lived in the reign of oppressive Umayyad [1]and Abbasid caliphs tried to clarify the real face of Islamic ruler explaining the features of a mystic ruler and modeling the manner of holy prophets and the companions of Prophet Muhammad (peace be upon Him).  They have also had some political attitudes in their works which can be discussed independently. Considering the primary sources and trying to establish a close association to the main origins, in present essay, we have determined the range of the research up to the 4^th Hijri century with a glance on the works and speeches of some mystics such as Hasan Basri, Sofyan Suri, Fozeil Ayāz, Hārith Mohāsebi, Zonnun Mesri, Yahyā bin Maʻāz, Abu-Hātam Rāzi, Bāyazid Bastāmi, Sahl Tostari, Abu-Saeed Kharrāz, Termazi, Joneid, Shebli, Kolābāzi, Sarraj, Makki, Khargushi and Solami.
 



 

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 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.

Abstract This paper wants to investigate why Fereydūn’s mace was bull-headed. Since such weapon has a prominent role in our epics and it has been used by most of our heroes, it seems important to find its origin out.  To achieve this goal, there is a brief explanation about mace and all kinds of it in the texts of different periods in Iranian and some other Indo-European cultures. Then some mythological samples about the role of this weapon in Fereydūn’s stories will be offered to survey its role through Iranian mythologies from Avestan texts to the texts of the Islamic period. In order to clarify the discussion, further evidences from Indian mythologies, especially the Vedic ones, has been provided. Then, on the basis of similarities between the two cultures, there will be a suggestion to know why Fereydūn’s mace was bull-headed. It has been resulted, by analysis and comparison of existing evidences, that the background of Iranian Fereydūn and Indian Trita is probably the god of thunder who was born as a bull (or an ox) or it is somehow a metaphor of it. So, it can be said that Fereydūn’s bull-head mace is an indication of his relationship with the bull.
 
 

Abstract Mowlavi’s sonnets have been repeatedly and from different points of views analyzed by several famed literary characters. Considering the structure and features of sonnet, as a poetic form, and its evolution course, it seems that Mowlavi is offering a new version of narrative sonnet – the issue had been paying attention by Attar and Sanaie before him. ‘What measures and techniques had Mowlavi used to enrich his sonnets as the base of storytelling?’ and, ‘what kind of literary genres and features are there in his sonnets?’ are the main questions to be answered in present essay. 
 
 

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, 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.
 
 
 
 

Abstract Parvin E'tesami is one of the famous outstanding Persian poets of the constitutional era and also the reign of Pahlavi I who composed her poems based on Persian classical literature with moral contents and new political and social themes in the field of didactic literature. Under the influence of European newfangled intellectuals, Romanticism formed during 18^th century and devided into different branches of thought entering other parts of the world, when social-political changes made Classicism to be declined in western countries. During the constitutional era, following the political changes and the social developments occurred in Iran, Literature – especially the poetry, as the main cultural medium of the period was deeply influenced by the process. The effect is manifested in Parvin’s poetry as a criticism on injustices, taking the rights of the oppressed of her society, paying attention to the rights of women and to show her political protest. Accordingly, the present research has been accomplished to study the social poems in Parvin’s poetry to make the influence of romanticism on her poem through an analytic approach.

Abstract Simile is the most important principle of rhetorical figures that other principles such as metaphor, metonymyandallusion are caused by it. In this study, different types of imagery have been evaluated, classified, and compared with each other in Veis and Ramin, and Khosrow and Shirin from the various common aspects such as analogies, metaphors, similes, emotionality or rationality, simplicity or complexity, their ostensible structure, the frequency of similes have been uses and etc. and, at the end, a scientific statistical analyses is presented through the comparison of ^[1]several types of similes. As the main issue of our study, we’ve compared the types of similes, in terms of the aforementioned modes, to determine the rate of innovation and imitation of Nizami from Fakhr al-Din As'ad Gorgani’s works. The story of Khosrow and Shirin consists of 5300 verses that simile has been used in 1005 verses of it (19 percent). Veis and Ramin also consists of 8300 verses that simile has been used in 1260 verses (15.5 percent).Of the most important aspects of this study are the new and innovative similes Nizami has used in his poems, what shows his ability to create new meanings and themes. Also there are common similes and imageries in the works of both poets; what indicates thatNezami has utilized the themes of Gorgani’s Veis and Ramin repeatedly.



 

Abstract Many students are being faced to some problems in instructive skills such as Reading and Comprehension especially when they study literary texts, ^[1]both in school and university. To solve this problem, such skills should ^[2]be taught with a method that the learner(s) has an active relation to the text and its components. He (She) should be able to make a connection between the text and his (her) previous knowledge, learn some points out of it and eventually comprehend it. Active reading strategies such as repetition and practice, displaying the reading process, mass-reading, simultaneous use of reading’s four skills, discussing the characters and comprehension of literary texts for the children of 8 to 12 years old (primary) are the element will be analyzed in present essay through three phases of pre-reading, reading and post-reading. Besides the features of a literary text (its relation to the standard language, to the grammar and to the literary arrays) suitable for a special age-group are listed and it has been reasonably tried to answer these questions: “Is it really necessary to re-write the literary texts to this age-group or not? ; and if it is necessary, How should it be done?”



 


 

Abstract Haft-Peykar (or Bahram-nameh) is the fourth Nizami’s verse composition in terms of time and one of his masterpieces besides his Khosrow and Shirin. Haft-Peykar consists of two general parts: the first part is about Bahram and his life and the second one is about the stories of his seven wives. The structure of the book makes it possible to be criticized through a formalistic approach. The character, in this approach, isn’t considered as a real human being, but a collection of actions, images and lingual symbols. The characters, in the stories of Haft-Peykar, lose their central position, in a way that it would be possible to analyze them regardless the context and upon their own ^[1]behavior. In this paper, Character, as a word, will be criticized through formalistic approach, and then as a narrative element.  Direct and indirect representation of characters and their sources in Haft-Peykar will be done in the frame of action, name and title, language, environment and external appearance.  



 

Abstract The historical awareness of Iranian Intellectuals reached its peak by the constitutional revolution and began a new trend of life. The Literary genre was one of the fields on which such a matter was reflected. The Intellectual contemplations have significant meaningful alignment with the principles outlined in contemporary fiction, and they can make the mutual interactions and relationships clear to discover the potential of contemporary fiction if they are examined. Considering the overall orientation of intellectuals, in present essay, the Iranian intellectual movement has been divided into three periods on the basis of library studies and an inductive method. It can be understand out the results that the Iranian intellectual generations and the fiction works produced during their periods have passed trials and errors to retrieve the mustiness of their country; however, they failed to reach the Utopia the sought and a main part of the contemporary fiction works has been allocated to depict such failures.

Abstract Kashf al-Mahjoub is the first Persian independent mystical text, written by Abu al-Hasan Ali bin Osman Al-Jolabi Al-Hojwiri Al-Qaznavi which contains valuable information about different subjects of Sufism. Since one of the effective methods on which one can understand a Sufi’s viewpoints and can figure out his ideology and even his anagogic and mystical Psychology is to analyze his esoteric interpretation on Quranic verses, hadiths and other sheikhs’ words and the interpretation of Existence and natural phenomenon, I’ve ^[1]tried, in this essay, to study Hojwiri’s mechanism to interpret the sheikh’s words, such as discursive and chimerical instances, the rate of the author’s commitment to the appearance of the text, and the style he attend the components of the sentences and the syntax relations on his perception.



 

Abstract Narrative has being existed in many different forms through communities in all places and all times. It began with human history, and there has been no nation with any narrative. Narrative is just like life. Since the man is under the influence of story’s narrative logic, the structure of ^[1]narration has an extensive range just like the variety of lives of human societies. What makes the narrative forms look different is the way the narrative elements such as plot, narrator, etc. are being used in the story. We examine, in this paper, the narrative techniques and specific methods used by Sadegh Hedayat and Abbas Maroufi in their modern novels, Boofe Koor and Paykare Farhad, respectively. Finally, we try to realize and find out the author’s linguistic syntax and Show the distinctions exist between two narratives, and also, to represent the ambiguity of each work exposing some examples from both stories.