Persian Literature

Abstract According to the importance of symbolism in mystical narratives, and of course to the existence of a need for them to be interpreted in order to understand the text and its narrative details, we have analyzed three authentic and effective works: initially Tazkirat al-Awliyā by Attar, secondly Kashf-ol-Mahjoob by Hojviri and at the end Resaleh of Ghoshairieh by Ghoshairi through a semiotic approach. The method of Charles Pierce is one of the most effective methods suitable for the narratives of mystical semiotics. He pays more attention to the importance of interpretation and explanation and emphasizes on referential function. So, using his method, we have studied the symbols of the religious experiences in three above-mentioned works.  The symbols of religious experience narratives appear in two categories of Delight and Fear. The root of the delight experience, which is full of joy and happiness, is in the encounter of “You and I” to a sacred existence. The root of the fear experience, which is full of bewilderment and horror, is in the encounter of “You and We” to a sacred existence. The results of this research show that many of these multi- layer symbols have referential functions. There are several means of transmission and reflection for the feeling sacred existence and religious experience in different cultural horizons.
 

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 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 10^th 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.
 
 
 

Abstract There has not yet accomplished a comprehensive research on the  details of  Khāqānī's life incidents and his relationship with the courts of the kings and the lords ruled during his period, so a very vague image has remained of the faces of his praised ones. It would be undoubtedly impossible to get a minute understanding of the poems of this great poet of 12^th century or even to try to correct them carefully and academically without suitable information on his time situation, historical points on his works and realizing the identity of his praised characters.   One of Khāqānī's celebrated poems is a ballad with the word “namāyad” as its rhyme which can be briefly called “namāyad ballad” or Shāhed-e-jān (the soul-mate). Who is the one has been admired in this ballad? There is a fierce controversy between the experts and of course the manuscript versions of Khāqānī's Divān about the quantity and the identity of the admirer(s). We are going, in present paper, to make this historical ambiguity clear via existing historical documents and taking the analysis of contemporary Khāqānī experts in to consideration. Additionally, it would be proved that the above mentioned ambiguity and the controversies surrounded the praised character in this ballad are all the result of a fundamental problem in the version of Khāqānī's Divān available in British Museum (on which Sadjadi had edited).
 
 
 

Abstract The 6^th and 7^th Hijri centuries were two of the very brilliant periods of Persian language and literature, especially in the field of mystical poetry which emerged and developed by three of Iranian-Islamic great mystics: Sanāie, Attar and Mowlavi. Their same and close understanding and feeling toward God, universe and … resulted in an intellectual system on which realizing the effect of each depends on the understanding of the work, the individuation and the special identity of two others. We would point, in present essay, to some of Mowlavie’s derivations and connexions with the thoughts, works and allegories Sanāie used in his Hadiqa depending on both works of Mathnavi and Hadiqat al Haqiqa. Not only in thought but in the manner of his presentation,Mowlavi was inspired by Sanāie in many cases. The primacy of mercy belongs to Sanāie over here and the development to Mowlavi. Mowlavi expressed the difficulties and the delicacies of mysticism in a popular and very persuasive language, but Sanāie’s language in Hadiqa, regardless to its literary complexity had its own special features.
 
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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 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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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 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.
 
 

Abstract There is not much information about the life and the works of Abū al-Ma‘ālī Nasrollāh Munshī, and his only known work is a translation of Kalila and Dimna.  But he had composed poems too. There are three of his quatrains in Lobab al-Albab. There are also two lines of his Arabic verses in his translation of Kalila and Dimna which had composed in praise of King Bahram. It can be taken as another proof in account that shows his interest in poetry; however any other similar example has yet reported in other sources. Based on a new evidence, a ballad will be introduced in present study which wrongly attributed to four other persons.  
 
 

Abstract Ambiguity, as one of the aesthetic tricks or techniques, makes the speech seem attractive, and the reader surprised. It looks pleasurable when its delay for accepting the meaning and its role in creating different meaning layers of speech is discovered. Fifteen cases of ambiguity which results in development of the words’ meaning circle on the axis of companion, have been explained in present study examined through 30 verses of Homam’s Divān to explain the plurality of meanings and dilative concepts. The author concludes his essay that Homam's Divān is full of poetic and rhetorical ambiguities that the poet has created aesthetic horizons in his poetry using several types of these artistic techniques and has opened the path of interpretation and commentary to the reader through reproduction and expansion of speech meaning in a way that it looks multi-dimensional and volumetric from the point of semantics.
 
 

Abstract The specific aspects of words and, by extension, the language of Sohrab Sepehri have been explored through this descriptive – analytic study.It includes the study of words from the perspective of their types and structures with an emphasis on innovation, the study of adjective deviations such as: "the green silence of the grass",  the study of the archaic words, grammatical changes of the words such as the changes occur in the adjectives: " the net-curtain black", or the changes occur in the nouns: " the claws of silver" and the changes occur in the adverbs: "With a body of forevers of injury", and the study of innovative descriptive - possessive Compounds. We are going to show, through this study, that Sepehri has had a considerable share in coining new words (neologism), and ultimately in Persian language enrichment.