JOURNAL OF HUMANITIES
Year:2004 | Volume:13-14 | Issue:48-49|Papers Count:14

Organomy the artistic and semiotic description of body is one of the motifs of mystical poems. The goal of this paper is to show how specific words get automatic application and turn into a term in automatic Language. Studying a number of elements of Organomy utilized poetically the present paper specifically deals with "Limbs of the body", as used in the poetry of Hafiz and Sadi. The reader as a result of leading the poetry of these poets is compelled to arrive at this conclusion, that Hafiz has been much more successful in employing elements of Organomy than sadi, In this paper attempts have also been made to deal with organomic instances employed by Attar, SanaI and Aragi

Poetry in Parthian was in fact the musicians of their time too. The Arsacid poet - musician was named gossans who, Ilke the medieval minstrel, traveled around and sang epic and lyrical poems to the accompaniment of his own musical instrument. During the Sassanian period, the tradition of gossans prospered with such great musician as Barbad and Nakissa. Barbad,s poems and songs were simple, fluent, and delightful. According to some sources, Khosrovani was a melody of Barbad,s musical compositions. Khosrovani was a rhymed prose consisting of prayers and praises dedicated to khosrow (The King) and contained no poems. Christensen believes that the Pahlavi non-religious poems of Sassanian period had meters and rhythms similar to those of the prose, except for the fact that the number of syllables were delineated. Barbad, it is contended, had 30 lahns (melodies) for each day of the month, and 300 novas.(airs) for each day of the year to sing and play. Rudaki might be consideredthe artist who continuedthe traditionof poem - musiciansin Samanidperiod. He was in really the last Iranian gossans. In post - Islamic times, as the Persian poetry tended to prosodic meters, the poets found it very difficult to adap the precise prosodic meters to Persian musical systems. That is why the harmony of poems and music decreased and music became an intrinsic element of Poems.

This paper is a survey of the comprehensine influence of Sanai s works, one of the most famous Iranian poets and Sufis (467-529 A. H.), on the works of Roozbahan Boqli Shirazis - the illustrious mystic (522-606 A. H.). This impact is evident in, the Persian books of Roozbahan. "Abharl Ashegin" of Roozbahan contains thirty one verses of sanais poetry and we can understand that Sanai has been Roozbahans director in different parts of this book. "Sharhe-Shathiiat" another book of Roozbahan is similar to "Abharl Ashegin" in which Roozbahan has used Sanai s poems and some of his sentences and phrases represent Sanai s play with words.

Intransitivity is not just a matter of intransitive verbs (Le. inergative and non-accusative); and there are a variety of intransitive structures in Persian which lack these verbs. In fact, intransitivity is not a unitary phenomenon depending on the absence of the direct object in a sentence, but (according to Hopper and Thompson) it is treated as a by-product of other mathers, i. e. kinesis, aspect, punctuality, volitionality, mode and agency. Contrary to the traditional view, which considers sentences as belonging to either transitive /intransitive, nowadaystransitivity appears in a continuum between the two extremes: high transitive to low transitive.

Phenomenology is a philosophy that is ascribed to Edmond Husrel. He believed that we must return to observation instead of philosophical theories experience structure instead of concentration on phenomena. Husrel maintains that the human mind due to prejudice and misunderstandings which have a determining role in perception of different view points and of interfre human nature. Thus for a detailed study we must remove any kind of prejudic of the mind. Husrellabels this investigator action in entrance to the investigation domain, the phenomology suspension. In this way, Soharnb Sepehri says we must wash our eyes and see things in a different way. Sadi shaped his experience about tree leaves in a poem, in which he sees leaves as objects which contain Gods Knowledge. Hafez examines the water flow and finds a meaningful relatiopship between water flow and the flow of life. Hatef perceives the sound of morotheism in the chime of bells. These intuitive and artistical experiences about phenomena which make a wide range of permanent and persian literature reductionist texts, we can criticize them by phenomenology Philosophy. This essay is an attempt in this way.

The publication of the photocopied version of the Kunya codex of Mathnavi by Molana lalal-al Din Mohammad Balkhi, preserved at the museum of Kunya (667 AH) copied by Mohammad Ibn Abdollah-e Kunavi, under the supervision of Hesam al_Dine-e Chalabi and Sultan Valad has provided new opportunities of study for the experts on Mathnavi. This codex became available to Nicholson after he had submitted chapters three and four for publication. However, he made use of this codex as the main criterion in the recension of the verses number 2835 of chapter three up to the end of chapter six. The double standard followed by Nicholson has significant implications for the experts involved in recensions. The present article is the result of an attempt to study: a) Nicholsons view on the value and validity of the Kunya codex, and his errors of editing, which every editor involved in recension is liable to, in chapters one, two and the first half of chapter thfee of Mathnavi, which most probably were due to the lack of access to a reliable codex, and b) his refusal in utilizing the codex of Kunya in editing the secede half of chapter three up to the end of chapter six. Throughout the present study, the criterion for the comparison between the edition by Nicholson and the codex of Kunya, has been the recension prepared by Dr. Mohammad Ali Estalami.

Love, happiness, and family have always been subjects of interest for writers and miists, worldwide during different periods and eras these subjects have been analysed from different points of view and they have been used as tools for the good of man, they are also used to describe the hero/heroines feelings. In this article different meanings for love, happiness, and family according to the works of Anton Chekov have been analysed. Chekov, in comparison to other Russian writers, love and happiness differently. Chekov not only doesnt give a consistent definetion of love and happiness, but also emphasizes that understanding the meaning of the two concepts according to each hero/heroine is different.

This study addresses a line of Moulavis "Mathnavi," dealing with the unity or similarity of human faculties and perceptions while elaborating and explaining a) how and at which level of knowledge these perceptions, i.e. hearing. Speaking, and seeing, merge, b) what the essence of the soul is and C) which abstraction level at all physical organs act similarly. The line is interpreted from three different approaches: literary, philosophical, and mystical. In this regard, this paper emphasizes the prominence of mystical approach. Besides, to offer a more comprehensive explanation, evidence of the unity of faculties as mentioned by Ibn Faredh Messri, Mirdamad, Plotinus, and Arberty one provided. Finally, there is a reference to some of the lines from "Mathnavi" and Shams-e- Tabrizis poetical works that deal, both explicitly and implicitly, with the issue.