RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2010 | Volume:3 | Issue:4 (SEQUENTIAL 12)|Papers Count:8

Dreams and visions are of central importance in Islam because the first revelations of the Prophet were received in the form of true dreams. Early Islamic writers gave particular attention to dreams and their interpretation and a rich literature was developed on this subject. Mystics and Sufis were well acquainted with and followed the premises that Islamic thinkers proposed in books of dream interpretation.However, for them, the true dream was of particular importance and through it they could access unique knowledge which helped them in their spiritual progress.This paper tries to analyze dreams and visions in the works of Rumi. As one would expect, Rumi does not have a systematic presentation or a holistic theory on this subject. Hence we have divided our investigation into five main subjects: The taxonomy of dreams and visions and their definitions; The world of dreams and visions; The relationship between the world of dream and reality; The vision of God; The return to the origin.Through these five sections, some dimensions of dream and vision in the works of Rumi and their status in his thought are elucidated.

Literary structuralism, which is rooted in structural linguistics, is one of the approaches which reached its climax in 1960s. The backbone of this approach is binary opposition.In this paper, binary oppositions have been adopted as research method to analyze Ahmadi’s poems with the aim of a new interpretation of his poems. The work of Ahmadi, Tarh, published in 1962, is generally considered as the starting point of so-called "New Wave" movement in Persian literature. The binary oppositions are categorized into three classes of presence versus absence.1. Nostalgia (childhood vs. adulthood, good old days vs. unpleasant present days).2. Death vs. life3. Grievance (poetic values vs. poetic anti values of the poet in the past and present, moral values vs. moral anti values)The number of poems which might be classified under the grievance is more than the others. The principal binary opposition in Ahmadi’s poems is opposition of form versus content; the very opposition of new forms of "New Wave" with melancholy content.Poetic suggestions of Ahmadi in linguistic and formal fields can be found in the works of certain poets like Ali Babachahi, Seyed Ali Salehi and also postmodern poets.

Naqqali is an old art in Iranian culture and literature but its documents belong to Safavid period and later ages. Various accounts of Sohrab kosi’s (to klill Sohrab) narration are important evidences for Naqqali’s influence on Iranian people. The influence of Naqqâli on official literature and art continued from Safavid to the middle of Pahlavi period. Evidences from poems of Salim, Sohbat, Qaani and some paintings of Shahname confirm this claim.Naqqâli had special methods and those interested in it could learn it from skillful Naggal (story-teller) if they had certain characteristics like: good memory, eloquence and good voice. After some time, they could possess the scroll and tell the story (naql goftan). Some of the formalities of Naqqali are: to stand on a bed in coffe -house or to sit on a chair, prologue, to demand praise and greeting to God, Mohammad and his descendants, to use gestures and to harmonize body parts with intonation, to use cane, reciting poems during prose reading, to perform some scenes, keeping sequence etc.

Beihaqi History is one of the masterpieces of Persian history & literature. The study of this work, by using different approaches and from various dimensions can have valuable results One of these dimensions is comparative study of this work’s narratives. In this article, historical events of “Bubakr Hasiri” & “Afshin & Budlof” are compared with each other. Therefore a summary of the two narratives come at first and then fictional aspects of the two narratives are analyzed. The results of this article show that two mentioned events have stable & coherent structure and although the general structure, characters and actions of the two events have many similarities, the narration style, characters introduction, description and setting have significant differences. It seems that writer’s use of referential language in Bubakr Hasiri whose events has happened in Beihaqi days, has made this story more historical, and in “Afshin & Budlof” which has happened before Beihaqi days and the writer was more free in narration, the use of emotional language has made the story more narrative and theatrical.

The aim of the present study is to give a structural analysis and criticism of the phonological features of a sonnet by Sa’di, So, in the first part; the structural criticism and Jakobson’s approach are discussed briefly. In the second part, a sonnet by Sa’di is criticized on the basis of this approach. It studies whether rhythm, meter, and rhyme, selected by the poet, show the meaning of the sonnet. Then, being considered that phonemes can affect the music and meaning of a work, this sonnet is analyzed phonologically and different factors like phonotactics, place and manner of articulation, the distance of the place of articulation of different phonemes and the repetition of the phonemes are studied by considering their effect on the music and meaning of poem. Finally, the effect of vocabulary selection on music and meaning of this sonnet is studied. It concludes that this type of criticism can be effective for a better understanding of literary texts.

The aim of this research is to study the elements of story in Faraj Ba’d az Seddat translated by Hossein Asad Dehestani. The analysis of these stories is on the basis of elements such as subject, moral results, characters, point of view, narrator, setting, language, fabulous events and theme.There are two hundred and thirty one stories that contain religious and ethical subjects. Eighty six (36.44 percent) stories contain fabulous events. Characters are of different kinds such as historical persons, animals (1.72 percent) and fabulous beings (2.11 percent). Human characters are chosen from different kinds of people such as those who are presented by their jobs (32.62 percent), men and boys (47.03 percent), kings and ministers (20.33 percent), women and girls (4.66 percent), prophets and thinkers (4.23 percent), slaves and dervishes (2.54 percent) and unknown characters (1.27) and (0.86 percent) are inhuman. Most stories are narrated in first person point of view (one hundred and twenty five (52.52%) stories). Seventy four stories (31.32%) have unknown or general time and seventeen stories (7.20%) have place. Language of the story is simple Moral results such as self sacrifice and justice are the main themes.

The first reading of seven exploits of Rostam and Esfandyar, which are both examples of rebirth archetype, seems to show that these two sections of Shahname are completely different, except in third exploit (fight with dragon) and fourth exploit (fight with witch). But the analysis of symbolic concepts of the exploits of the two mythical heroes of Shahname reveals something else.Although the surface structure of these two travels with seven symbolic levels is different, their deep structure is the same. The study of symbols of these exploits reveals the mysterious and symbolic presence of develish powers behind unconscious levels. These powers, in the form of lion, wolf, dragon, witch, demon etc, force Rostam and Esfandyar into hard but inevitable struggles. It is only through confrontation with these devils and destroying them that reaching to the innermost level of unconscious that is the self, is possible. At the end of this symbolic travel, the fourth dimension of unconscious is added to the three dimensions with the help of anima and the perfection of the two heroes is achieved.