RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2010 | Volume:4 | Issue:2 (SEQUENTIAL 14)|Papers Count:7

The subject of ‘Determinism’ and ‘Free will’ is one of the most debatable and abstruse theological arguments. This argument has very old historical roots and has been appeared in different ways in the sayings and thoughts of philosophers, mystics, poets and others. It can be said that the concept of determinism is one of the key and practical concepts in the poetry of Hafez and Abu Ala Maari. Judging from the form of words, some people assume that these two poets belong to determinism and another group of people assume that they believe in free will by commenting and interpreting theirs verses. This study tries to deal with this matter and do a comparative study of the poetry of these two eminent poets in this ground.Although in the scales of the attitudes of the two poets determinism outweighs free will, a halo of doubt and distraught shadows on the ideologies of these two, so that in Hafez’s attitude it tends towards the specification of free will-oriented thought in many cases, while Maari just suffices to follow a mean manner, and speaks scarcely about  determinism. We see, therefore, that in Hafez’s attitude there is a type of spirituality combined with profligacy (rindi) which cannot be elicited from Abu-Al-Ala’s ideology.

Mutual cultural and literary relations among world nations, especially neighboring countries, have been customary and conventional. A prevalent relation, worth mentioning, could be that of Iran and Iraq. The contemporary Iraqi poet, Jameel Sedqi Zohawy (d.1936), possesses a particular status in this regard.The author tries to write about his life, works, views, style and position in contemporary Arab world, and also his competence in and familiarity with Persian language and literature.No doubt Zohawy's friendship with contemporary Iranian men of letter like the late poet laureate Bahar, his attendance in the congress for the millennium of “Ferdowsi’s Shahnameh” and presentation of Persian and Arabic poems in this congress, are studied in this article.Also stated in the article are some words on the Farsi poems of Jameel's father, Mula Mohammad Zohawy.The author believes that these topics are great steps in understanding literary and cultural cooperation of Persian language & literature with that of Arab and Muslim countries.

The problem of compound verb and determining clear criteria for distinguishing this form of verb from verb phrase and simple verb has been a subject of hard debates among grammarians, especially over the last few years.While providing answers to some of the existing open questions about compound verbs, this paper focuses on analysis of the structure of this grammatical category from two aspects, semantic and morphological, and establishes a framework that offers a clear pattern for the analysis of this linguistic phenomenon based on the presented information.It is our belief that compound verb, like all compound words, is one of the linguistic phenomena playing a role in extension of semantic field in Persian language.

Mazdak appearance on Sassanid era is one of the most important historical events of Persian history which has certain complexity and ambiguity. This event has narrated extensively by Ferdowsi in Shahnameh and the historians and researchers of Shahnameh have always referenced to Shahnameh in their analysis of this story. They also have used the contents of the national epic in their reviews. But the wonder is that neither Iranian researchers nor the orientalists referred to several fundamental differences between the narrative of Shahnameh and other histories about this event. The most important difference is the change of a part of Ghobad history after the emergence of Mazdak in Shahnameh. In this paper, the advent of Mazdak is studied critically in Shahnameh and other historical sources.

Many ancient epic and folk stories have mythological bases. Characters, creatures and events in these stories are presented with a mythological coverings, so that sometimes it is impossible to distinguish reality from myth.Sam-Nameh is a half epic-half lyric series which depicts the story of Sam's travel for finding his beloved. This series, which consists of many intervowen short stories, in some respects adopts mythological patterns. Some of these patterns have their roots in Iranian myths, especially in Avesta and Shahnameh, and some others can be traced back tonon–Iranian mythology. Sam, the protagonist, is comparable to the Gods in non-Iranian myths and heroes in Iranian myths.Also, the female protagonists share a lot of similar characteristics with mythological goddesses. The present study aims to detect mythological bases in some events experienced by Sam and to compare the protagonist and some other characters with mythological patterns.

This article aims at a narratological study of the “Haftgordan story” of Ferdowsi’s Shahnameh and the story of “Afrasyab-ibn Pashang” as narrated by Anushirvan Marzban in Hormozdyar. After a review of the summaries of the two narratives, a comparative structural study of the works coupled with a study of their mythical and ritual origins are presented. These studies show that Ferdowsi’s account of the story is characterized by its bucolic, nationalistic and rationalistic nature as well as the exclusion of some ritual (Rostam as a Zoroastrian hero) and mythical (Afrasyab’s visit to Satan) parts. Although it seems that the exclusion of  ritual parts may have occurred some time before Ferdowsi, it is quite probable that the omission of mythical parts was his own decision. Conversely, Anushiravan’s narrative, originating from priestly order with emphasis on the teachings of Mazdisnai, is more original and unified, and it enjoys from an equally mythical and ritual deep structure that is more in harmony with the similar patterns in Persian stories. This story particularly plays an important role in the analysis of the Persian epic in its transmission from priestly to bucolic narration.

Tarikh-e Baihaq by Abu al-Hasan Ali Ibn Zaid-e Baihaqi, known as Ibn-e Fundoq, is undoubtedly one of the most important and significant works on local historiography. As the title of the book indicates, it deals with the region of Baihaq (now: Sabzevar), as well as the biographies of the renowned persons who lived there. In fact, the book is a historical geography which illuminates many ambiguous dimensions of that area.Since Ibn-e Fonduq had unique knowledge of Persian and Arabic literature, he cited many poems of famous and non-fomous poets of Beigaq in his work. Thus, this book has a lot of Arabic and Persian poems remained without any scholarly research so far.In this paper, I have dealt with the Arabic poems of the preamble and of the epilogue which demonstrated the current technical prose of the 6th century and also tried to give the meaning of the Arabic poems as well as  distinguishing the poets.