Persian Literature

Abstract The rise-point of Muḥyī al-Dīn Ibn 'Arabī’s thoughts in Persian literature seems somehow vague.   Awhad al-Din Kermani was the closest person to him in term of time and is known as one of his same-age close friends. Awhad al-Din has pointed to their own intimate relationships and meetings in Konya, Cairo and Damascus in his biographies and praising works. This intimacy was to the extent that Ibn 'Arabī gave Awhad al-Din the esoteric training of Sadr al-Din Qunawi. Moreover, in his Al-Futūḥāt al-Makkiyya ("The Meccan Illuminations"), Sheikh al-Akbar referred to Awhad al-Din and explained what he had heard from his mouth. There are also pantheistic concepts with declaration of word in Awhad al-Din’s quatrains that have romantic tone and confirm that he was affected by sheikh al-Akbar. The concepts of permanent archetypes and perfect human have been explored through a romantic mysticism and an aesthetic thought in the quatrains of Awhad al-Din. We are, in present article, to prove Awhad al-Din as the first Persian poet who was influenced by Ibn 'Arabī’s thoughts using historical evidences and based on his poems, and even that he had granted the color of pantheistic ideas, just like what belonged to Ibn 'Arabī, along with a romantic mysticism  before Qunawi and his colleagues.

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 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. 

Abstract Looking at the history of adaptation from literary sources in various kinds of worldwide dramatic arts such as cinema, television and theatre shows that adaptation can well fill the existing text-gaps in theatre and other forms of dramatic arts. In Persian literature, although the literary texts aredescriptive, there are many works possess high dramatic potentials and may be used to enrich the dramatic texts. One of the works like this, known as Ilāhī-Nāma, has been written by Attar of Nishapur that considers with less artistic and literary value under the effect of his Mantiq-ut-tayrandTadhkirat-ul-Awliyā. It’s a work full of narrative stories from which some stories have considerable dramatic potentials have not yet attracted the attention of researchers.Relying on the importance of adaptation from literary sources, in this article, the dramatic potentials of the story “The Pious Woman” have been analyzed through a descriptive-analytic method based on 18^th century definition of Aristotelian theatre. It has been endeavored to study the semantic aspects and structural features to get an appropriate source for literary adaptations.

Abstract “Resistance literature” is a new term in Iranian literature with subject of their Islamic Revolution and their Sacred Defense (related to the war Iraq imposed Iran from 1980 up to 1988). There are many poets who have being worked in this field and their names are listed in relevant books and encyclopedias. This article is to prove that the late Farshidvard was one of the pioneer activists against Shah’s ruthless regime, the one who was incarcerated in 1960s and added one of the most eloquent prison-writings (Habsiyyas) to contemporary Persian literature (such as his sonnet with the opening-verse: O Friends, I’m the oppressed of Shah’s prison,   O Friends! patriotism and piety, as my crime).  He has a history of poetry in fight against Shah’s evil regime that dates back to 1960s. He published them underground on September 1978, and publicly on September 1979. His book of poems with the subject of war shows his leadership in such field.

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, 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.

Abstract Abu Hafs al-Haddad was one of the masters and founders of Malāmatiyya (or Malamatis) in Nishapur in the 9^th century (about 3^rd 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.

Abstract  
This article is to analyze the tendency of Mirza Fath’ali Akhoondzadeh to freemasonic circle, his relations to the members of Mirza Malkam khan’s freemasonry center and his playwriting on the basis of such relations. Initially, his tendency to freemasonic cycles in Tbilisi and his relations to Malkam khan’s freemasonry center have been proved and   his common intellectual elements with Malkom Khan Freemasonry center and its members are being pointed out; and finally, the position of play in his opinion has been explained. It has been shown how his selection of playwriting was compatible with his freemasonic thoughts. So his play “The story of Monsieur Jordan, the herbalist physician and Dervish Most’ali-shah known as magician” has been scrutinized and its freemasonry thoughts have been reflected. Monsieur Jordan, in this play, is the representative of an intellectual insight which belonged to Akhoondzadeh and his colleagues in freemasonry center. Shahbaz-Beyk, a young scholar who loves to get Europe, is an example of educated people of Akhoondzadeh’s period who were insisted to take advantage of European sciences.  At the other side, Dervish Most’ali-shah and female characters, who obviously represent the eastern culture, are symbols of undeveloped and irrational world from the point of Akhoondzade’s view.
 

Abstract Abu'l Faid Thawban ibn Ibrahim, known as Dhu'l-Nun al-Misri, is one of the most prominent figures in the history of Sufism.  He is certainly considered as one of the top ten Sufi scholars throughout the history. Recognition of his status and his unheard words, as an effective criterion of western Islam-world, seems necessary to recognize Islamic Sufism, for most of resources appreciate him as the first one who had spoken of “Blame” and its role in Sufis status reformation. Present article has been written for this purpose, but it’s not possible to make all aspects of Dhu'l-Nun’s life clear because of his exceptional and privileged position in Islamic Sufism; so some of them such as his works, the extent of his relationship with his contemporaries, with religion and alchemy, and his role in Mihnah, as a very important and controversial event, aren’t now considered up to an appropriate time.