Mytho-Mystic Literature
Year:2008 | Volume:4 | Issue:12|Papers Count:8

Metathesis as a phonological phenomenon in order to reserve segments has been the focus of many studies. According to the range of applications, metathesis can be sporadic or regular. It links synchronic studies of language to diachronic ones and thereby has some consequences for phonological theory. The central goal of this paper is to elucidate the conditions under which metathesis occurs synchronically and diachronically in Persian.

In literature, synesthesia is a description of one sense in terms of another. It has been used for a long time in Persian literature. The Persian poet, Bidel Dehlavi (1642-1720) has noticed this rhetoric color and synaesthesia. In fact, it has been used by him more than by anyone else.The present article, by recognizing the nine types of synaesthesia in Bidel's lyric poems, tries to categorize them as well.

Urban life, in contrast with rural living, is said to be a more advanced form of living, and great civilizations have been formed in and around the cities. Mawlana Jalāl al-Din Rūmi (1207-1273), Persian poet and mystic, was born in Balkh, once one of the major cities of the ancient world. He visited the most famous cities of his time, like Bagdad, Aleppo and Damascus and was educated in these cities. In his Works, Divan-e Shams-e Tabrizi, Masnavi Manavi and Fihi Ma Fihi, Mawlana refers to urbanity and rurality and presents a portrayal of the city and the village dwellers. This article tries to study the concepts of urbanity and rurality in Mawlānā Jalāl al-Din Rūmi's thinking and the characteristic traits of the city-dwellers and the villagers.

Farīd ud-Dīn Attār (1145-1221) in verses 616 to 680 of his book, Conference of the Birds (Manteq at-Tair) talks with 13 birds. In these dialogues there are three characters: a bird, a prophet and an antagonist. The bird symbolizes the holy traveler, the soul and the spiritual ascend; the prophet or the messenger is the friend of God (Vali), and the antagonist is the symbol of body and corporal frame.The present article is to show the role of these symbols in Manteq at-Tair as well as using numbers in metaphoric way.

In Persian literature, the fables about birds and their journey to find the truth have a long history. Farīd ud-Dīn Attār's Manteq at-Tair is among the famous ones.In the Western literature, likewise, we find the same fables. "The Phoenix" ascribed to Cynewulf and "An Australian Conference of the Birds" composed by Anne Fairbairn, can be considered one as an old and the other as a modern sample.The present article is to examine and compare them.

Nāsir Khusraw Qubādiyānī (1004-1088), the sage and Iranian poet, has used most of the metrical patterns in his Divan. Applying 11 prosodies, including Hazj, Ramal, Rajaz and Khafif, indicates a wide variety of rhyming in his poems. Using the catalectic meter, also, has strengthened his poetry from musical point of view.There fore, due to his knowledge about Hekmat, Kalām and Islamic philosophy on the one hand, and his ability of using metrical patterns on the other, a coordination of content and meter has been achieved.

According to Muslim mystics, abstinence from worldly affairs (zuhd) and piousness (vara') are two stages of one's spiritual journey (sulūk) towards God. Basing their beliefs on Qur'an (Hūd, 86), Muslim mystics believe that zuhd is of three kinds: abstinence from world, from people and from one's self. In doing so, the ascetic detches himself from everything other than Allah to begin his spiritual journey.The present article, by taking into account the various ideas on abstinence and piousness in Islamic mysticism, tries to illuminate the role of these concepts in the poetical works of Bidel Dehlavi.