Journal of Kavoshnameh in Persian Language and Literature
Year:2008 | Volume:9 | Issue:16|Papers Count:8

Beyhaghi`s History is a scene of mainfold and sometimes contrary personalities so that anyone reading the events can see a portrait of his personality in them, and perhaps history is nothing but the repetition of this personality created in similar events in the arenas of history. The stiffness of individuals like "Hasanake Vazir", "Abdollahe Zobeyr" in the heyday of resistance, manliness and bravery, what type of personality they allocate to themselves that are exactly opposite of individuals like "Bosahle Zozany" that pave the way for others with their personality changes. And how do some personalities like "Saboktakin" reach the climax of honor and credit whereas they were in the abyss of wretchedness after enduring an adverse life under the dominance of slavery just because of a true dream?! Beyhaghi describes very carefully and critically the personalities that create this opinion in the minds of those who get engaged in "psychology of personality" in his work. This article is an attempt to give a brief summary of the abovementioned personality from point of view of Abraham Mazlow, Carol Gostav Joung, Eric Forom. and Alfred Adler. A brief account of the effect of environment and heritage on shaping the personality as well as personality contracts will be also given.

Stylistic analysis of significant literary works is of great importance as a scientific and methodological approach toward the literary theory and criticism, in which, differentiation of style elements, as its smallest components in terms of both form and function, plays an important role in demonstrating some specific corners of the artist's world and his attitude toward the world. Articulation of Khagani-e-sharvani in his odes (Qasideh) has long been interesting for the poets, researchers, and critics from point of view of both form and content. This part of his poetry, beside the characteristics of the period style, enjoys some specific and private features that need very deep and precise stylistic investigation to be understood. Among them is the selection and orderly use of digits. This linguistic feature has reached an innovative point in his works for frequent usages, as he follows certain rhetoric and artistic goals through developing various analogies among the numbers. The present paper tries to illustrate the different manifestations of this linguistic innovation, as an individual feature in the rhetoric style of Khaghani-esharvani.

In the opinion of scholars in rhetorics "concient is one of the embelishments that shows every unreal phenomenon specially images and other literary subjects." Anwari is a great poet of the sixth century A.H. who has eulogized the kings and sovereigns of his time. He has made an amazing use of concient in creating new themes and images. Giving a short biography of Anwari and a definition of concient, the author studies Anwari’s application of concient in his odes. Anwari’s concient covers subjects such as the sun and the moon, the firmament, the stars, and related themes like water, wind, and the earth, the laws of the nature, natural rules, literary traditions, strange, exaggerated and sometimes commonplace reasoning the evidence of which is given as the case necessitates.

Ferdowsis Shahnameh is an outstanding literary work dating back to an epoch which is known as the Iranian Renaissance. Samanid kings paid a lot of attention to the revival of Iranians` identity. Shahnameh is one of the most invaluable works, related to the realm of culture and literature, which has glitters during history. This literal masterpiece is concerned not only with literature, language, history, mythology, epics, and fiction but also with thought, insight, and semantics. The thought governing Shahnameh does not belong to Iran solely but to the entire world so that, after so many centuries, it is not out dated yet. This excellence originates from its all-embracing and balanced attitude prevalent in the book and avoidance of go-to- extremes, prejudice and petrifaction which are indicative of an utmost profundity of thinking of its creator. Ferdowsi scrutinizes through strata of Iranian belife during new and ancient periods of time, seeking for fundamentals which bind the cultureand myth to the history with which to reveal their identity. What he finds is wisdom and religion. He believes that rationalism and piety are the basis of Iranian identity. Shahnameh tries to relate the pre-Islamic era to the post-Islamic time and teach the Iranian piety and rationalism. This article is on attempt to shed light on this topic.

There are two ways of interpreting any mystical story: 1. study and analyze the paradoxical/reversed mystical terms 2. study and analyze the theme of the story. Sheykh San’an’s tale as other mystical tales/stories has, from linguistic viewpoint, many paradoxical terms It signifies that the poet uses the words, terms or phrases and intends the reversed (censured/commendable) meanings of them; Ffor example he uses the terms wine, blasphemy, infamy, etc. and intends their reversed/paradoxical meanings i. e. commendable meanings. He also uses the terms such as faith, islam, religion, repentance, prayer, etc. and intends the reversed meanings of them i. e. censured meanings. The theme of this mystical tale is based on the most famous mystical subject namely. “The four Journeys/Trips” (Asfar e arba’ah). Journey/trip in mysticalphilosophical authorities is equal with motion of the soul or gradual changes in the mystic’s soul. We can see these four separate Trips (Motions) into this celebrated symbolic-poetical story.

Sanai and Mohammad Ghazali are among the eminent literary figures whose works brought about a turning point in the mystical legacy of Persian literature. The present article, as a comparative study of how these two poets view the concept "tanzieh", seeks to investigate if Sanai has drawn upon Ghazali`s points of view or he has been on his own in this regard. Although intended just to be about tanzieh, the article highlights Sanai`s approach to Ghaznavi`s works as well. To be suggestive enough, it deals with comparisons in the light of Sannai`s creativity on such basic matters as tanzieh and simile, firmament dwelling, interpretation of Quranic verses and religious sayings, and the Creator versus man and his sins.

Despite their various origins, the materials of Shahnameh have been shaped into an organic whole under Ferdowsi's superb art and craftsmanship. But, in the course of time, some copyists have added to it new materials and stories, and others have supplemented or replaced the original narratives. Also, some scholars have analyzed and interpreted some parts of the work in isolation without paying attention to the totality of the work and its unity of purpose and structure. The present article is intended to illustrate the formal and structural qualities of the book and the relation of its parts, thereby revealing the roots of such fallacies and problems, so that the work's genuine meaning and value may be recovered via a systematic method.