Journal of Lyrical Literature Researches
Year:2007 | Volume:5 | Issue:8|Papers Count:8

This article intends to describe the degree of relationship, similarities, disparities and manipulations by Moulavi in the sources of the ‘Mathnavi’ stories. In view of the fact that the structure of the stories is the true means of better and further understanding of conceptions, and common and uncommon points in them; and the allegorical stories of catastrophic narration by Attaar is one of the mainstreams of “Mathnavi” as adopted by Moulavi. The writer has turned to review the allegoric story in the said two tales.By comparing the superstructural elements (design and plot, personality and character development, conversation and artistic expression, knots and obstacles, time and place, and stage- management and narrator) and their substructural and thematic analysis, the writer has attempted to find out the answers to the following questions:1) Has Moulavi manipulated the sources of his stories? If so, what effects would the superstructure and the substructure have on the tales?2) To what extent would the degree of utilization of story-elements in the ‘Mathnavi’ tales and their sources be?3) How far has Moulavi advanced in the utilization of artistic and narrative techniques, and what results has he achieved?

The culture, language, and literature of the two nations that is the Iranian and the Indian are so vehemently blended that they seem to be a unitary entity. The existence of renowned towering figures in Farsi language and their magnum opus, without which the Farsi literary history remains incomplete, found in the Indian sub-continent manifest the century-old deep-rooted cultural solidarity of Iran and India. One such eminent though anonymous literary figure in the Indian sub-continent, who had the authorship or had composed various literary and eloquence works, playing a crucial role in disseminating and educating Farsi language and literature in India, was Shams-uddin Fagheer Dehlavi. Keeping the aforementioned facts in view, attempts, apart from briefly reviewing the socio-political and literary period of Fagheer Dehlavi, have been made in this article to introduce, analyse, and discuss the general state of affairs as well the thoughts and opinions of the said period.

This article is a research into the nostalgia (homesickness) found in the contemporary Persian poetry. This issue has been reviewed in the poetry of Sohrab Sephri as unselfconscious behaviours of individuals. After finding out the etymology and the definition of this terminology, the factors causing nostalgia were referred to and the relationship between nostalgia and memory in pursuance of cultures were taken into account after making use of the opinions and ideas of psychologists. In the part of individual recollection regarding nostalgia as homesickness, and in the part of social nostalgia as poets, and recollections of certain depressed poets for the legends of Iran supported by poetical evidences have been discussed in this article.

Though under a command, a corporal body can be imprisoned, but a soul can never be turned into servitude, so was the case with M. T. Bahar, the poet laureate, who on the offence of truth-seeking and because of the backbiting of the enviers was kept in jail for some years, but even then his tender temperament never hesitated from darting into the vast expanses of literary firmament. His confinement-songs were the outcome of his imprisonment-pre-occupations, however, the songs have been composed on the pattern as adopted by Masood Sa'ad, Khaghaani and Naser Khusroo.  The research in hand has attempted to briefly review the odes composed in prison by Bahar with regard to their literal and content characteristics, and the pictures emerging from the conception of the night, the bird, the flower, the musical instruments, and the interests and detestation of Bahar on this account.

Examining into the history of the ancients and looking into the mode of life of the people of the world of today, it seems that one of the permanent necessities of the mankind has always been his adherence to the ethical norms. Such adherence to admirable ethical norms can play a vital role inpersonality-making of each individual and its existential equilibrium as well as the creation of a bondage between the people from all walks of life and the human societies. The scholars and Persian poets have always been mindful of the laudable ethics and of the correction of the ethical abnormalities. Many of them earned the title of 'philosopher'. Their recommendations about the praiseworthy ethics have mostly been manifested in the form of preaching and advice.Ameer Khosro is one of the poets whose works on ethical considerations carry due importance since not only his private life is endowed with special features but his poetry and works have also taken on abundantly such characteristics.He is one of the unique persons who had the privilege to enter the courts of kings quite in his prime youth and this affiliation to courts remained intact till last months of his life; and according to some narrative, he had turned to be a follower and wayfarer of “the path of truth” from his very childhood. He had devoted himself to the bondage of a perfect mentor and guru and had remained a loyal devotee to him till his last breath.The person of Ameer Khosro, thus, can be a symbol and model for such people who, despite their indispensable attachment to courts of kings, have always remained aloof of haughty and corrupt manners of courts, rather have had maintained this mystic and affectionate demeanour till their last breath and as such have established themselves as paragons for others.In addition, he pays substantial attention towards ethical issues in his works, particularly in his ‘mathnavis’ in which he exhorts praiseworthy and ideal conduct.In this regard, he has composed an enormous body of his verses in the form of preaching and advice.Since a major portion of the preaching is addressed to his children and naturally every human being wishes the most valuable things for his offsprings, as such one can find out the ideal ethics of the poet only by reading between the lines in these couplets. Because of this, the first half of this article deals with the investigation into Ameer Khosro's life, while the second half concerns itself about Ameer Khosro's advice in which he addresses his progeny.

The innovations of Neema are not confined to rhythm, pattern, and rhym. His poetical language is quite fresh, too. He makes his poetical language as simple as possible. He endeavours to bring his poetical language closer to the language of prose and drama. Turning to the nature and exploiting the natural elements as well as benefiting from their symbolic concepts in framing poetical images make one feel and realize more and more about his thoughts and sentiments. Whatever is contained in the poetry of Neema is far away from imposition and formalities. The phrases he uses in his poetry or the imagination he portrays night be quite proportionate to his motives and enthusiasm. The live and creative language conveys the true mentality of he poet as it exists to the vigilant mind of the reader. He loves the literature that rises from the heart and surges from the soul. He never segregates poetry from the poet, rather he considers poetry as an essential constituent of life. As such his poetical language is the language of the common people. However, his tackling of social issues and narrating the related matters never go without their effects. Adopting allegorical style, story-telling and narration all show his utter nearness to common culture and language. He traces beauty in simplicity. He abhors intricate language which he considers as a sheer deviation. The simplicity of Neema’s poetry is more obvious in his lyrical poems. Even in the simplest speeches, he gives a poetical colour and breaths a new life into it. Hence, a world he creates in his poetry is replete with delicacy, freshness and beauty.

In the ancient epics and according to the old convictions of the general masses of the Iranian heartland, the fiends have, in most cases, been described as gigantic, horrible, and destructive-beings who are the friends and supporters of Ahriman, and are perpetually bent on damaging and creating corruption and destruction for the world of Ahurais. Disparate and multifarious activities are attributed to fiends in the epic of Ferdousi. These activities are quite mind–boggling and truly astounding for the discernment of the man of today. The first part of the article in hand narrates those assignments and responsibilities as are taken on by these Ahrimanian creatures in the Shahnama, while the second part contains an introduction to the fiends whose names are described in the primitive letter.

The aim of carrying out of this research was Discourse-Grammatical analysis of Sohrab Sepehri's poem: 'Sedaye Paye Aab' on the basis of the methodology expounded by Halliday (1976), Shafaie (1984), and Farsheed Verd (1984). While utilizing the method of text analysis, the said poem has been examined at two levels, namely: macro and micro levels. The macro level pertained to the identification of cohesive devices, while the micro level dealt with the types of sentences which were used in the said poem. The findings revealed that the referral cohesive device (399 cases, 49.62%) had the highest frequency in the entire poem. It is followed by the lexical, deleted and conjunctive devices having 27.49%, 11.82% and 11.07% respectively. They stood at the subsequent positions. At the same time it was made clear that the poet has made more use of referral devices like pronouns and verbal adjunctives (353 cases, 88.47%) and additive–conjunctive devices (96 cases, 86.49%) than the other kinds of references and conjunction devices. Amongst lexical cohesive elements and repetition also (185 cases, 83.71%) had the highest frequency. At the micro level, no traces of passive and conditional sentences were found. At the same time, it became clear that the writer has used active, declarative, simple, and verbal sentences as compared to other types of sentences.