JOURNAL OF HUMANITIES
Year:2006 | Volume:15-16 | Issue:56-57|Papers Count:13

The term "poetry trend" is very vague comparing to the very well-known and near-meaning terms like style and school of thought almost clear in meaning, concept, and realizations and in European literary criticism, there is no equivalence for such a terminology. This term is an innovative construction of the contemporary Iranian critics used for clarifying the characteristics, differences, and similarities, in the classic and modem contemporary poetry. Although it would seem clear for the founders of such term in meaning and realizations, since then the ones who have explained and classified its branches, have not provided any clear definition for it. They have not also make any differentiations or distinctions between the terms "style" and "school of thought". This paper is an attempt not only to analyze the trend of contemporary poetry but also to explain and clarify this terminology and its relation to stylistics and literary schools.

Interpreting and discovering mysteries and secrets of mystical poetry require a full attention to their structural forms and meanings. This article will review one of Rumi's lyrical (ghazal) stories. He will attempt to study and discover the meaning of this poem within the framework of Rum's poetry and also with comparison with other mystical works. This ghazal is a report of destruction and annihilation in an esoteric language, in fact, the meaning of words are beyond the limit of their conventional meanings. Not only the sounded and unsounded of this poem highlight its content, but symbols like flood, sea and whale create a surrealistic vision, as an outcome of meeting the unconscious world. Explanation and interpretation of these accounts would actualize mystical experiences and facilitate bringing about common experiences and interpretations in mystical works.

This article is about the symbol of wind and its extensive and ancient use in the global culture. It tries to pinpoint the importance of this symbol in the world, in the Iranian culture and also in Persian poetry. Among the Farsi speaking poets, Sanai has used the symbol of wind more than others, and has especially praised it.Choosing the wind and addressing it, is due to Sanai's special perspective and ideology in relation to nature and universe.This paper is intended to discuss the application of the word "wind" in Sanai's works and how he has used "wind" instead of the words: "breath, spirit, and breeze".

Most Iranian and world poets and literary figures have been men; thus, patriarchal thinking has been dominated in their works. They often have humiliated and degraded women in their works. This article would study misogynistic view of Nasrollah Munshi, the translator of Kelile Demneh. Although, he tried to be committed to Arabic version, at times he added some statements and anecdote, to rebuke and reproach women, expressing his mentality. Comparing Arabic and Farsi versions, this article will mention all statements and anecdotes that are not found in the Arabic version. Moreover, in this comparison the whole content of Bid-paay stories, which is another version of Ibn-Muqafah's Kelileh Demneh and Panjahkianeh and is a direct Farsi translation from Sanskrit are considered.

There have been different interpretations of Hafez's Divan, partly because of its deep mysterious meanings, partly as a result of various readings, and partly because of Hafez's complicated dimensions of thoughts. In this article, hermeneutical assumptions in mind, various readings of a lyrical poem (ghazal) are reviewed, and various factors of influences (inside and outside text) and its multi-meaning aspects will be studied. The reading of analysts as an outside-text factor and Hafez's mysterious discourse as an inside-text factor are studied in the following areas:1. Mystical, example: Bard-u Shorouh2. Literary, example: Sudi's Interpretation of Hafez3. Realistic, example: the Interpretation of Hafe's Ghazals4. Mystical-Realistic, example: Hafez's ThechingsThe writer of this article, using one of lung's archetype-naming, Anima presents a different interpretation of this ghazal.The outcome of this study shows that various reading of Hafez's mental world and inner style of his mysterious pen and the substance of his mysterious discourse leave the way open for more explanations, analyses and interpretation of this ghazal.

The valuable narratives of the glorified prophet and Imams are lower than the great God but are much higher than creators. Therefore the speech of these pure people has been used in poems and prose by Iranian poets and authors. However, it would not be exaggeration if we claim that there is no divan in which prophet or Imams traditions are not mentioned. Mulla Muhammad Ben Soleiman Baghdadi, as called Fozouli, is a shia and Turk poet, resident of Baghdad who has used many of the Imams and prophet speeches in his Farsi divan. In fact, he decorated his poems with the depth of their speeches and wordings.In this article, the author has tried to pinpoint to these references of imams speeches and some of the mystics mentioned in the poems of the aforementioned poet. Also how he was influenced by these speeches is discussed.

Bijan Najdi (1941-1997) is a novelist who has used many dynamics of poetry in his stories. His novels can be regarded as poetic stories. So far attempts to integrate poetry with novel have been gone astray. Najdi's use of poetic elements is deliberate and they are well-established with in the story elements. Critics have classified poetic elements into four categories: 1. sympathy, 2. imagination, 3. language and - expression, 4. music. Among these four elements, music is more representative of a poetic piece and Najdi has not used it much in his stories. Therefore the first three elements are analyzed in Najdi's stories.

Human being and his very different and unknown world is one of the significant problems of thoughts and have been the central point of discussion and inquiries. He has also been identified by many intellectuals in a certain way based on their reflection and thoughts.In this paper, it has been attempted to analyze and compare the thoughts and notions of the mystics.According to the mystic beliefs, the separate and two dimensional existence of human being has been the ultimate goal of creation, the center and integrity of two worlds, and social being, holistic existence. Also his existence is manifestation of divine traits and the mirror of His glory and grandeur. In the other hand, he is the owner of the divine's "trust" and His love and wisdom, and also his predecessor on earth sent from heavens to rule on it.

One of the prophets of Farsi poetry identified with his praising elegies is Anvari Abivardi. He has not only provided sonnets, couplets, and pieces but also 207 elegies which are basically praising type. Although elegy is known with some prominent poets such as Farrokhi, Onsori, and Manouchehri and had come to its climax in their time, Anvari as a sixth century poet has innovated new ways of elegies in youth-praise and love-based sonnets. Ten elegies of all the 207 elegies of Anavari can be structurally categorized into youth-praising which is so much like a narrative that can be called sonnet-narrative or sonnet-like. In these elegies, the poet kicks off with monolog and continues with the images of events and the climax of anarchy of the time and life, also he points to his own pitiable condition that finally leads to leaving homeland and friends. In continuation of this narration a bedouin woman at early dawn or at the heart of the night comes to him and starts a romantic dialog and offers her poem to him. These verses of the elegies and poems are the words of the beloved that praise the praise intended with the poet. These sort of elegies are even traditionally remarkable (except in Farrolhi's poems nearly expressed simply and basically). In this paper the author tries to compare the ten elegies of this sort with those of Farrokhi's. They are analyzed based on their structure, narrating elements such as character, time, space, theme, and dialog in the framework of srtuctrulistic criticism and analysis.

Human concerns for knowing and understanding the mystery of creation has always been reflected in works of many writers in the world. Among them is the Hadiqa tul-Haqiqah by Sanai', the Mathnavi Ma'navi by Rumi, the 'Blindness: a novel, by Jose Saramago and the 'Blinds' by Morris Meterling. These works, through expressing this concern, have brought about this article, by showing some commonalities in these works including imperfect knowledge of human being about existence, symbolic way of expression and common story themes, attempts to substantiate the hypothesis of influencing Rumi and Sanai's thoughts on the works of meterling and Saramago. For this purpose the writer compares the story approach of the proverb named Elephant in Darkness by Rumi, as the archetype of this view, with 'Blinds' by Morris Meterling and 'Blindness' by Jose Saramago.

This study contains an analysis and comparison of the thematic element of the versified story of Ferdowsi's Bijan-Manijeh and Nizami's Khosro- Shirin. After defining theme and analyzing its types such as logical and strong themes, and weak and illogical themes and also historical, religious, and faith-related themes, we will work on these two couplet poems. Due to the intertexture of the story elements and Ferdowsi's success in application of some elements such as personification (owing to the use of holistic, realistic, and touchable characters having hidden and obvious characteristic dimensions with humanistic aspects), dialog (as a result of the use of more natural dialogs, and the harmony between tone and the characters' dialogs with their attitudes and general dispositions), perspective (due to delicate and appropriate application of the theatric scenes and broad perspective) also the integrity of the events in Bijan-Manijeh 's versified story and the strong relationship present within these events comparing to Nezami's Khosro-Shirin who considers story as a space for artistic deliberation and _expression, it can be concluded that Ferdowsi was more successful in application of thematic elements than Nezami.