Year:2005 | Volume:22 | Issue:3 (44)|Papers Count:18

Abd-al-Ghader Bidel Dehlavi (1675-1754) is one of the most imaginative poets of Hindi style. Of the most important factors underlying ambiguity in his poetry are dynamic and farfetched metaphors. The opening line of one of his sonnets (I have poured out amazement, the burning rose is an excuse / The peacock of your beauty is a mirror-hall) is regarded meaningless according to Shafiee Kadkani. The present article, while introducing a new meaning of this line, has attempted to analyze it from lexical, structural, and aesthetic points of view and ascribed its ambiguity to dynamic, equivocal, and farfetched metaphors. Moreover, the metaphorical expressions such as: amazement, burning rose, peacock, mirror-hall, and other rhetorical figures, have been specified with many examples. This line is an image in which the poet, while waiting with open, amazed, and tearful eyes for his beloved, is making mirrors for her to see herself reflected in tears.

The tone and the style of reading are the most important creative processes in any work of art and literature. Readers re-create the artistic, affective and semantic properties in the text and in fact the way they read reveals their interpretation and understanding of the text. Therefore, the completion of artistic creation depends directly on the addressees and their creative mind. This article attempts to investigate the manner and tone of reading as the final link in the chain of creation of a work of literature.

The presence of various occupations in each society poses the question whether the occupation and social status of individuals have an impact on their speech or not. This article is an attempt to investigate the impact of rural and urban occupations on proverbs as a part of language and folklore. Therefore, three thousand Persian proverbs, selected by systematic sampling, were studied. They were selected out of the book Davazde hezar masale va sy hezar moadele anha (Twelve Thousand Persian Proverbs and Their Thirty Thousand Equivalents). The main reason for choosing this book as the source of this study is its comprehensiveness in comparison to other references in the field such as Dehkhoda's Proverbs and Sayings. The study of proverbs from this perspective may show the social context of the society in the past, the significance of the occupations and their impact on proverbs as an important part of the language.

Mohammad Eqbal Lahouri was a remarkable intellectual in the late nineteenth and early twentieth century. Through his studies, Eqbal chose Persian as the .most expressive messenger in the "East". Nicolson' a British Orientalist, translated Selfhood Secrets into English during the life time of Eqbal. The aim of this paper is to identify Eqbal's themes in his first and richest philosophical, religious political and social book. His new look at mankind was followed by human wish-recognizing and wish-praising. Such a theme does not correspond with old Eastern-Islamic Iranian thoughts. Yet the art of Eqbal was such that he reconciled past and present and presented a new perspective to the East and the West.

The age of Khayyam was fraught with different events. This paper is a study of these events and how they affected Khayyam, the poet, whose ruba'is have brought him universal fame. In this paper the blossoming of Khayyam's ideas with regards to sociopolitical and cultural contexts of the time are analyzed. It is proposed that Khayyam's engagement in astronomy, algebra, geometry and medicine saved him from blind prejudice while his contemplation in different aspects of existence presented him with astounding questions which can be an excuse for the reactionaries to condemn him for heresy and dissent while many thinkers consider him as an example of a free spirit and an intellectual.

Hafez and Khaqani are two great poets of Persian language with two different styles; Hafez is the creator of ghazals (sonnets) and Khaqani is the creator of qasida (odes). Besides Sa'di, and some other poets like Khadjou, Hafez has been greatly influenced by Khaqani in different aspects of style such as rhythm, rhyme, diction, figures of speech and themes. This influence shows the greatness of Khaqani, on the one hand, and the artistic talent of Hafez in combining two different forms of poetry, ghazal and qasida, in his poetry, on the other hand. This paper studies the common stylistic aspects of the poetry of these two great poets.

From the time before Socrates till the eighteenth century, beauty has been studied by philosophers and art scholars as a secondary subject. In the middle of the eighteenth century, Baumgarten coined the word "aesthetics" for the science that studied beauty. So since the late eighteenth century, aesthetics has become a discipline of its own merites for studying fine arts distinguished from the other activities of human kind. Since poetry is a transcendental art and any art is beautiful, it can be analysed from the aesthetic point of view. In poetry, feelings appear in a verbal form and acquire the power to impress readers with music and images. So the aesthetics of poetry consists of the aesthetics of poetic language, music, imagery and content.

Many thinkers as well as many different currents of thought have contributed to the emergence and development of cultures and civilizations on earth. Civilizations are the result of all these efforts and thoughts. Human beings have faced many challenges and differences due to the passage of thousands of years and vast development of ideas putting a very different future in front of mankind. In order to continue and to refine these civilizations, new decisions and rational comprehensive solutions to problems are needed to induce more friendship among their numerous members. Due to the complex nature of this subject, different views, and opinions from various aspects can contribute to elaborate this issue. In this article, the importance of views of beauty-worshiping mystics in their poetry regarding dialogue among cultures or civilizations are discussed.

The seemingly disjointed structure of the poetry of Hafez has encouraged those new to his art to analyze lines and other components of the ghazals separately with no connection to each other. Thus, they gain no knowledge of the fine, yet strong, structure of his poetry. In this way, they destroy part of the literariness and the spirit of the ghazals because poetic message can be understood through the inner cohesion and the relationship between literary elements. That is, understanding content is not possible without understanding the structure and semantic harmony of its elements. Some contemporary researchers believe that by focusing on the structure and meaning of words as well as gaining information about Hafez's outlook in the context of Persian poetry, one can follow the movement of poet's mind and sequence of imagery and other elements to show the unity of structure and meaning. This paper suggests five unifying elements in the ghazals of Hafez to the reader in understanding and following the sequence and harmony of these great poems. They are 1) use of narration 2) use of harmonious atmosphere of restricted motifs 3) application of a common theme or meaning in the whole poem 4) use of different samples and forms of one theme 5) use of words at the service of cohesion and

The concept of journey has always been a very popular theme in prose and verse. With the spread of Sufism, the Sufi disciples were asked to take long journeys to purify their souls, but gradually there developed the idea that advocated the spiritual journey as highly influential in the refinement and completion of the soul. However, sometimes the geographical journey was undertaken as a substitution for spiritual journey. Sufism and many of its ideas and instructions found the way into the realm of poetry. Sa'eb Tabrizi is one of the poets who has used many Sufi teachings in his poetry due to the influence of Mawlavi. He has incorporated the theme of spiritual journey through similes and beautiful imagery and also through various figures of speech.

Tarikh-e Jahangosha-ye Joveini is one of the most valuable source in Persian history and literature. It contains a vast amount of worthwhile information on historical, social, and literary issues and an embellished prose style. Allame Ghazvini has meticulously exercised much care and attention in comparing the oldest and newest copies of the book. In spite of this, there still remain some vague and obscure words or phrases which are identified by the writer of this article and several suggestions regarding their corrections are put forward.

Myths of nations which represent traditions and unconscious reflections of people change and transform with time. One such myth is Qi1imarth. According to Iranian mytheology Qiumarth is the first man, and according to Zarathustrian texts, he is both the first man and the first king. In Shahameh, the Persian epic, the mythological Qiumarth has turned into a historical figure, the first king. In Mazdyasni tradition Qiumarth means clay king (Gel shah), a pun which also means mountain king. After Islam the idea of Qiumarth as the first man was mingled with the idea of Adam; Qiumarth was also believed to be originated from clay (earth) so he was called the clay king.

Hafez and Ibn Farez are two great poets of Persian and Arabic literature. Much has been written on .each poet; however, no comparison has been done on the two poets. One of the most remarkable subjects which plays a main function in the poems of these two poets is "love". In this paper six characteristics of love are comparatively discussed: eternality of love, love as the foundation of creation, problems in the process of love, nobleness of love, love as purifier .of soul, love as real knowledge and insight.

In this article Naser-e Khosrow's idealogy is analyzed. The foundations of his views consist of a belief in monotheism, Mohammad's prophethood (pBUH), the resurrection and the Imamate. Each is studied and examples are brought from his works. Other aspects of his worldview such as ontology, the place of man in the world, wisdom, religion, science and philosophy are also discussed.

This paper is about the life and works of Mirza Abdolkarim Rayez al-Din O'jubeh. He is one of the outstanding members of Zahabiyeh mystical s.ect, who consider themselves related to Imam Reza through Ma'ruf Karkhi, Imam's porter and. disciple. The name, birth place, family, children and religious inclinations of this remarkable mystic living in the last quarter of the thirteenth century are discussed. His acquaintance with Mirza Abolgasem Raz Shirazi and his admittance into Zahabiyeh sect are discussed. Having attained higher degrees of initiation, Raz Shirazi, the spiritual pole, sent him to Azarbayejan on a mission. Rayez al-Din's books are also examined; forty-three books are attributed to him in manuscripts and printed sources which are analyzed in this paper.

One of the most commons subjects in the literatures of all nations is voyage which may be an inner voyage or a real one. In this study the inner or symbolic voyage of Manteq a/-Tayr of Attar and the voyage of Odysseus in The Odyssey are compared. The similarities used in this study are classified as follows:1.There is a strong desire to return to the roots and the birthplace. In Matneq al- Tayr this desire is in the shape of the search of the birds for Simorgh and in the Odyssey in his struggles to return home.2. In both of these voyages the travelers face many difficulties.3. In each voyage there are many obstacles and the hero struggles to overcome these barriers and he usually succeeds.4. In both voyages there are many places which the hero crosses.5. In both voyages many of the companions die and only a few reach destination.