RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2009 | Volume:2 | Issue:4 (SEQUENTIAL 8)|Papers Count:9

With search in heroic, religious and historic verses after Ferdowsi and Shâhnâmeh comes to hand considerable points about different aspects of Ferdowsi's adventures and his verse. This information is divided to following four sections:1. Ferdowsi and Shâhnâmeh being acclaimed by others.2. Ferdowsi's biography and quality of his verse's versification.3. Criticizing Ferdowsi and Shâhnâmeh, especially because of Shâhnâmeh's Magi (pre Islamic) perspective.4. Claiming of being equal with and even having preference over Ferdowsi.

Dreams are general phenomena that have long been given attention by humans. In this phenomenon, concepts and notions appear symbolically. Thus, understanding them involves their analyzing and decoding, which is referred to as dream interpretation in our culture. The oldest dream book in verse is from Sanaee (stated in Hadighat-al- Haghigah) and the oldest Persian dream book in prose is "Khabghozari" whose author is actually unknown. It has been written or translated in 6th century. Kamel-Attabir from Hobeish Tefisi is the most famous Persian prose dream book. We have no good publication from any corrector of this book, although it has some useful linguistic points. The most complete and useful Persian dream book in prose is "Tabir-e- Soltni" from Ghazi Esmail Abarghouhi which has been compiled in the age and city of Hafez. In this dream book, some interpretations of "Manzoom-e-Khargoushi" (rabbit verse) – whose origin isn't yet known to us- have been narrated. In this text, the main Persian dream books are introduced and studied in terms of linguistics literature and anthropology.

Iranian national epics – especially Shahnameh- are up and down of Iran history in Iranian attitudes in the way they do exist; or else, in the way Iranians want or suppose them to be. Such masterpieces could be studied from different perspectives. One of these perspectives is contextual study of these works on the basis of literary genres. Although epic is independent, because of its broad subjects, there could be some other genres in it. Through an exact study of ten national epics of Iran (Shahnameh, Garshaspnameh, Borzoonameh, Faramarznameh, Banoogoshaspnameh, Shahreyarnameh, Bahmannameh, kooshnameh, kok e koohzad and Jahangirnameh), there seems to be up to 46 genres overlapping with each other.

Explaining the criterion and the basis of the good and evil deeds is one of the fundamental subjects that – prior to the Muslim philosophers- in Ionia, the Greek philosophers have brought up. They had concluded that Reason is the only criterion for the distinction of such deeds, and had considered it as a backup for the eternal moral principles. But, after the emergence of Islam, the Muslim philosophers used the Reason, first for the recognition of God acts and then, for the measurement and recognition of the human deeds. In this article, Mowlavi's viewpoint will be explained with the references to the opinions of the theologians. Considering the way that Molawi has defined justice, and his admiration of reason, one could find similarities between Molawi and the rationalists, especially Matoridiyyeh. Molawi accepts things' goodness and badness. However, he thinks of God's affairs as being relative, and therefore considers religion as assistance for Reason.Molawi, sometimes, has related the deeds' vice and virtue to their results and has considered the criterion of goodness and badness as being dependable on the emergence of their influence in the human's conscience. Therefore, in Mowlavi's viewpoint, the criterion of good and bad deeds is both rational and necessary.

Mire Nowroozi was one of the national Iranian festivals that were celebrated on the occasion of Nowrooz. Here, the author has attempted to have a deep look into this ancient festival from different angles so as to unveil its underlying structure. Contrary to views of the public and some intellectuals, this was not a festival for fun and amusement; however, it was an expectant celebration that our ancestors held magnificently to consummate the expectancy of nature. By the end, the author has thrown a brief look at some celebrations, like Mire Nowroozi, in the mythology of other nations.

Each story is composed of a firm relationship between its surface structure and its constituent structure. In fact, the merit of any story is on the basis of its potent aesthetic values, and this in itself can promote its aesthetic values. So, the knowledge of narrative structure and description of anecdotal characters are one of the most important factors in literary researches. One of the new methods in establishing relationship between characters is Gremas's action pattern.Gremas, one of the theorists of structuralism, semanticist and follower of Vladimir Prop, produced a theory of action pattern. This pattern aims to show the role of characters and also, the meaning of the relationship between action and character. Action patterns are: sender, receiver, valuable object, preventing actor, assistant. Actor may be a person, an object or a group.The present article, after introducing Gremas's action pattern, deals with the investigation of three short stories by Nader Ebrahimi: Khanee baraye shab, Doshnam and Seda ke mipichad.

Poetry is usually the result of poet’s experiences and observations. Many of these experiences and findings are not reached through a single sense. To express and transfer such cases, a poet needs to impact different senses of the reader at the same time. One way to do this is through synesthesia. This rhetorical ornament can be achieved by using the word related to a sense about another. This ornament can also influence two or more senses, using amphebolical senses of a word. Synesthesia in western literature is sometimes because of the theory of correspondence or a belief in a hidden relation between the five senses. This theory can be compared to Rumi’s point of view about senses. In some other cases, synesthesia is the result of a synesthetical mood in a poet; a status which has been possibly experienced by poets as Rimbaud and Victor Hugo. Synesthesia has had few examples in ancient Persian literature, as well. Its frequency increased during the Hindi style and finally it grew completely common in contemporary poetry. The path of this process is discussed in this essay.