JOURNAL OF LANGUAGE AND LITERATURE FACULTY OF LETTERS AND HUMANITIES
Year:2004 | Volume:37 | Issue:2|Papers Count:16

This article focuses on symbolicimages and figurative symbols that abound in mysticliterature.The writer first divides mystic tenns into two kinds: fonnal termsand figurativesymbols.Then, after discussingthe way symbolic images is formedin the mystic poetry, the writer shows the importance of the analysis of images for an understanding of the artistic creation of mystics. Raising the questions of innovation and imitation in creating mystic images, the writer .suggestsa method for understandingand analysis of the individualityof mystic poets.Finallythe writer discussesthe esthetics of symbolic images in the mystic literature.

In the Iranianculture, what is attributedto the ideal hero has been affected by the way the first human being is depicted in u~eancient rituals and myths. In this article,consideringman"s earliest functions,the writer discusses the process and cause of the change of the first human being to the first king. Then, consideringthe cause of the association of the hero with the first human being, the writer explains the replacementof the myth of the first human being with the savior hero, referring to figures such as Keykhosrow,Tahmoores, Jamshid,)Keyumars and Seyawosh,who have the attributes of the first human being and the first king. Referencehas also been made to them as saviors and idealheroes. To illustratethe ritualistic and religious nature of this question, some examples have been taken from the text of the story of Seymorgh, Ghoghnoos (the phoenix) and the Seal.

Mowlavi, the most prominent figure in the Persian mystic literature,turned to poetry after he met Shams Tabrizi. This meeting, which totally changed his life, resulted in the most profound and beautiful mystic literature of all times. Thus to know Mowlavi we must first know Shams. Shams lived in a time of turbulence, a time of human values crisis, a time when man, weary of all the injustices surroundinghim, had alienatedhim from his human nature. Looking for true man in his agitation, Shams turns to the religion of compassion. In Mowlavihe finds the man he has been seekingas Mowlavifinds himself in total mental conformitywith him. Thus they turn to an ideal love which has been the support of mystics ever since, a love which helps man realize his potentialsand turn into a perfectman.

This article is a description of the clause structure in Persian, within the ftameworkof Halliday"s systemic functional grammar. In this grammar, the clauseis taken to be the main unit for analysis. According to Halliday, all languagesoperate based on four main metafunctions, interpersonal, textual, logicaland experiential. This latter metafunction shows the way we perceive and conceptualize the events inside and outside the mind, showing our experimentsof the world as a set of processes in grammar.The processwhich is the most important constituent in the sentence, is used as a criterion for semanticclassification, based on which sentences are divided into material, mental and relational. This article analyses the constituents of the sentence basedon the experimentalmetafunction.

Akhavan Sales, or M. Omid, is one of the greatest contemporary Persian poets, and the most devoted follower of Nima"s school. One of the prominent aspects of Akahvan"s personalitywhich has remained neglected is the fact that he is a literary theorist. Being an authority in literature, he has used every opportunity to express his opinion about various aspects of word meaning. In this article, the writer has collected, from various sources, all Akavan"s scatteredcommentson word meaning,includingthe relationshipbetweenwords and imagination,divine and satanic words, exotic words, music of words, and classified and briefly introduced them. A knowledge of Akhavan"s views on word. helps us have a better understanding of not only his own poetry but Nima"s school as well.

After the death of his father, Malakosh"shoar Bahar went to AdibNishaboori to study Arabic literature.This was coincided with his promotionto the status of poet laureate of Astan Quds Razavi, a position previouslyheld by his father. To show his poetic power to his poet rivals in Khorassan, Bahar sometimes felt himself compelled to boast about his poetic power in his poems. His master . AdibNishabooricouldnot toleratesuchboastfulacts,so muchso thathejoined his opponents. However, Bahar held his master in great esteem though he did not consider him a great poet, and for this reason wrote no elegy after his death. In this article, the writer makes an attempt to show . the relationship between Bahar and Adib Nishaboori in Khorassan circle of poets.

One way to study Sufism and its development is to study its definitions presentedby the Sufis themselves. Throughthis study,we can not only explore the Sufi"s thoughts and tendencies, but to describe the effects of political and socialsystemson Sufism. In this article, the writer first classifies the definitions of Sufismpresented from the first to the fifth centuries, under nine topics in tennsof the content of the definitions.The writer then classifies the definitions in terms of the people who have presented them. These people belong to four major Sufi schools: Khorassan, Baghdad, Fars and Damascus schools. But becauseof the importance of the two Baghdad and Khorassan schools, the writerconfines himself to these two schools. The third part is devoted to the structural study of the definitions found in Helyatol O"liya. The article concludeswith an alphabeticallist of the definitionstaken form Sufi texts.

The term rah, a basic Iranian musical term, refers to a melody to be played by an instrument but for which no song is written. In this article, the writer discusses the term from three points of view: 1. Etymology.In this section the writer discusses the meanings and the origin of the word as recorded in dictionariesof literature, languageand musical terms, and shows its connectionwith gab, tarigh, mrayeghol molukiye, rahhaye Khosravfumi,dastgah, rawasin and rawashin. 2. Rab as used in music: In this section, the writer clarifies the relationshipbetween rah and rak and kinds of rnk in Rast Panjgah and Mahoor tunes or dastgahs. 3. Rah as used in the Persian literature. This section is divided into two parts: the use of rah and its derivativesin literatureand the use of variouskinds ofrah in literature.

Motanabbi,who lived in the 4thcentury AH, is among the great Arab poets writing boastful poetry. Among Persian poets, Khaghani Shervani, writer of the boastful book of poetry Mofdkherdt, who lived in the 6th century AH, is of equally great fame and importance.A comparison of the poetry of these two poets reveals that the most important factors that made them turn to boastful poetry are the following: cultural, social and political conditions, attempts to win the favor of their patrons, defending oneself against critics, an air of self importance and a response to failures and an inferioritycomplex. The purpose of this study is to compare.the two poems and to show the similarities and differencesof their poems.

A story in verse is a blend of two rhetorical arts: poetry and story telling. Herethe poet,dependingon poetic inspiration,promotes the story to the level of poetryand blends the two arts in a more elaborate picture which reflects the characteristicsof both arts,. To achieve success in this art, the greatest requirementfor the poet is the poet"s power of inspiration and his talent for creatingimages and allusions. Besides these two inner requirements, the poet needsto make use of the findingsof sciences,especiallypsychology,for writing storiesin verse. A story inverse has various forms, genres and motifs; some of them are as old as the Arabic poetry itself. That is why the quantity of such storiesare also important. However, examples of stories inverse which reflect thebasics of both arts are infrequentin the ancient Arabic literatureand are rare incontemporaryArabic literature

Innovations in the realm of thought is such a common practice, explaining the developmentof thoughtsthrough ages. Naturally, each innovativethought is boundto face oppositionby those who are attached to traditions, but it is always the innovativethoughts that win in the long run. Before this happens, however,there is a serious conflict of ideas between modernists and traditionalists.This is particularly true about poetry. In this article the writer briefly explains one such conflictwhich happened in the Arabic poetry arena.

The Qur"an, though primarily a book for the guidance of human beings, is also a great literary piece of work. This book pays attention to poetry, which was a serious preoccupation of Arabs. The Qur"an"s approach to poetry is one of ethical. The Qur"an explicitly states that it is not a book of poetry and that its Author is not a poet. The Arabs held poetry and poets in high esteem, but, showing an aggressivebehavior toward the Prophet, reduced him to the rank of a poet. The purpose of this article is to show the reason for this ambivalent behavior of Arabstoward the Prophet.

In this article, the writer makes an attempt to explain the use of linguisticand literary questions such as vocabulary, syntax, poetry and rhetoric in interpreting the Qur"an. The revelation of the Qur"an in clear Arabic was followed by the efforts of literarymen and interpretersto express its subtle points; the increasingreferenceto lexical, syntacticand rhetoricalquestions in the interpretationof the Qur"anprovides proof to this claim. There are few theological, philosophical, mysticand jurisprudential interpretationsof the Qur"an which have not made extensiveuse of linguistic and literary questions. Great men of letters such as AbdolghaherGeorgani, Ragheb Isfahani, Zamakhshari, Sakkaki and Zarkeshi haveemphasizedthe fact that a knowledge of literaryand rhetorical issues is a mustfor every interpretor and that it would not be possible to interpret the Qur"anwithoutpaying attentionto these fundamentals.

In the history of translation, the methods literarytranslators have used may bedescribedby two very general terms "word-for-word"and "sense-for-sense" andthe pendulum of the preferred method has been swingingback and forth in favorof now this and now that method. Those have claimed the superiority of one method over the other, have based their argument on criteria that are externalto the practice of translation. These criteria fall into three broad cultural,linguisticand ethical categories.The writer argues that the definition of thepreferredliterarytranslationmethod is fallaciousand tit is possible to define the method based on internal criteria, which are neither subjective nor prescriptive.Having presented a definition of literary translation based on objectivecriteria derived from the very practice of translation,the writer briefly describesthe situationof literarytranslationin Iran as a case of fallacy.