RESEARCHES IN MYSTICAL LITERATURE GAWHAR-I GUYA)
Year:2008 | Volume:2 | Issue:2 (SEQUENTIAL 6)|Papers Count:11

Iskandar is one of the historical personalities whose life has been applied both by Ferdowsi – in Shahname – and Nezami – in Sharafname and Ighbalname – for planning narrative.Narrations are countless, however, in spite of varieties in narrative forms, all narrations requires a requisite; i.e. a narrator. This is the narrator who is the major source of distinction in almost every narration.In this paper, narrative techniques which are applied by Ferdowsi and Nezami in “Iskandar tale” are analyzed. To achieve this purpose, after a brief definition of narrative, some differences between historical narrative and story narrative are mentioned. Afterwards, both texts are analyzed and interpreted according to the way in which viewpoints and verisimilitude methods are dealt with.The range of success to which verisimilitude is obtained is estimated on the basis of such factors as speech techniques, descriptions, transition strategies, and correspondence to genre restrictions.

Seventh century (A.H) is highly prominent both for the perfection of verse and prose in the history of Persian literature. In this period, 'Araghi's works - both in verse and prose - present themselves as remarkable artistic collections. He shows his exceptional talent and versatility to employ mystical concepts and poetical style in an innovative fashion. In particular, his Lama'at contains a detailed exposition of Ibn Arabi's complex mystical thoughts, being written in the form of an attractive and a poetic prose. In a sense, it can be regarded as an excellent example of prose in 7th century. This paper, then, aims to investigate the stylistic characteristics of Lama'at and its profound mystical contents.

Modifying the narratives and creating new ones, is a style on which traditional Iranian narratives are based. Owing to this fact, there are lots of narratives which are formed completely different according to their particular modification of elements. The object of this essay is to identify:1. What kinds of modifications have been mostly used by the narrators?2. What patterns do the structures of Persian narratives follow in their evolutionary process?3. Which elements or particularities have similar narratives been based upon?In addition, we are going to clarify how a historical-religious narrative is converted to a fictional–mystic one. The method of this research is based on an analytical comparison of similar samples from typology, narratology, semantics, semiotics, inter-textuality, dialogue and so on.

Although the age of mythology, an era during which man strove to establish a meaning for his life and the world around him through the power of imagination and the language of mythology gad come to an end, many centuries ago, man could never disregard the magical charms of mythological stories. Throughout the ages and by resorting to the immense power of their imagination, many artists tried to either recreate the ancient mythology or to conform it to the current needs and conditions of their time. In order to meet the cultural challenges of their time, contemporary Iranian poets have also shown great interest in the recreation and the reproduction of myths in their works. One of these contemporary poets is Dr Shafi'ee Kadkani; a prominent Iranian poet who has appropriately reconstructed ancient Iranian myths. He has also created some modern myths on chiefly mystical and historical figures. The present work makes an attempt to demonstrate how Kadkani’s mostly humanistic mental and intellectual background contributed to a transformation of the functions of old mythological stories into the creation of modern myths.

Tharikh-e- Bala'ami and Ferdowsi's Shahnameh are among the most important works produced in the first half of the fourth century. Although the works share thematic commonality (Iran's history) and were written within a short time interval of each other, they indicate some certain differences, as well. Of the most important differences are the divergent ways in which characters are developed. A comparison of the 27 common characters (kings and heroes) in the above books indicates the differences tellingly. In The History of Bal'ami 17 percent of the characters are purely mythological, whereas in Shahnameh 34 percent of the characters can be subsumed under this category. The epic characters in Shahnameh and The History of Bal'ami are 24 and 30 percent, respectively. Briefly the major differences in the two works are as follows: 1. Differences in the literature used 2 stylistic differences 3. Ferdowsi's poetic requisites 4. Fardowsi's religious beliefs and 5. Different approaches of Ferdowsi and Bal'ami to the rationalization of the narratives. The comparison indicates that Ferdowsi's Shahnameh is both more mythological and heroic than The History of Bal'ami. However, it has to be emphasized that some mythological aspects of certain characters, Kiumarth in The History of Bal'ami is more prominent. This is also true of certain heroic characters in The History of Bal'ami.

In any given independent Arabic clause, one could observe an ABSOLUE object in place of subject, or predicate. This kind of absolute object, having an elliptical action verb in its deep structure, is considereded to be grammtically over-dominated by this elliptical action verb. However, one question might be whether the "signified" for such an object equals with that of mentioned object, or else? Semanticians consider three "signified"s for such grammatical forms.Any such object's signified1. can both iclude the concept of the mentioned object and ellpitical action verb.2. can solely include the concept of the elliptical action verb.3. can solely include the concept of the time,subject-free infinite verb.In this article, whereas the first hypothesis is set aside as syntactically wrong, the second one will be more closely analysed. Although the third one, in our case, is correspondent with persian language, and is due have an equivalent, translators in their Quranic transltion has handled such an issue quite differently.

Hadiqat ol-Haqiqah va Shariat ol-Tariqah is one of the outstanding and most influential educational-mystic mathnavis in Persian literature which belongs to Abolmajd Majdud Ibn Adam Sana’i Ghaznavi (6th century AH). The book starts with a long introduction in prose and is divided in ten chapters comprising 10000 lines of poetry in some manuscripts. In order to express his ideas which are mostly complex and long mystical views, he has used allegorical story telling. All together there are 112 stories (hekayat) which are included in the body of the text and they have titles such as “story of…”, “the tale of …”, and “al-tamseel fi…”. They have varied lengths and play an important role in making the text easier to be understood.The characters in these stories are divided into five categories of religious-mystical, historical-mythical, clichés, symbolic-allegorical, and hamraz. The findings are then shown in a few charts.

Nostalgia is the so-called human sense of regret involving the time past and the things lost. Political and social conditions are effective in bringing out the nostalgic sense. Almost all poets and artists have expressed their nostalgic sense in their works through different poetic images, but this feeling has been canalized via special tools so as to obtain the capability of expressing individual sympathies. This could be found in the works of such poets as Manoocher Atashi, Nader Nadrepoor, and Mehdi Akhavan Sales in Neo poetry. In this essay, the nostalgic sense, its reasons and styles of explanation has been analyzed in their poems.

This essay compares the life and poetry of the contemporary Arab poet, Buland –al-Haidari with Mehdi Akhavan Sales, the contemporary Persian poet. One of the most remarkable subjects which play a main role in the poems of the two poets is the similarity between their life and other social and political aspects of their countries' atmosphere. In other words, they were living in a very similar condition which has been reflected through their works. The similarities extracted in our study have been classified as follows:1. Both poets faced many difficulties in their family life and also their social and political life in their own countries.2. Both poets played an important role in developing the modern poetry in their own countries.3. Both poets have a strong desire to return to the roots. In Akhavan's works, this desire appears in the shape of ancient Persian mythology and legends specially those words that he has borrowed from Zoroastrian culture, and Haidari shows this in the shape of ancient cultures that were still alive in Iraq before Islam, such as Sumerians and Akkadians.4. There is a common theme in their poems such as: feeling of loneliness, losing hope, being defeated, sadness, and …

The quality of Interaction (Literary influence and impression) in poetry is one of the critical subjects in the Literary criticism. The quality and quantity of this interaction from former poets or inter-textuality makes clear the degree of the innovation and helps the readers to realize the personal style of poets. In this article, the author tries to express the interaction between Saeb and Molavie.