The Journal of Epic Literature
Year:2008 | Volume:3 | Issue:5|Papers Count:15

The Egyptian Neoclassic poets were the first poets who could save poetry from the calamities befallen them during the age of decadence and put it back on the right course once more. In this article attempt is made to analyze the poetry of three well known Neoclassic poets, namely, Baroudi, Shawqi, and Hafez Ibrahim. Traces of modernism is more evident in their works than their contemporaries. While using the classical Arabic system of meter and rhyme, and also forms, the poets wrote to express new ideas and feelings unknown to the classicists.

Mirza Abdul-Qader Bidel Dehlavi is a prominent poet of mystical poetry in the subcontinent of India. He has transformed the Indian school of poetry from mere superficiality to the utmost wisdom. Bidel's poetry in realm of mystical lyrics is the continuation of Mawlana Jalalud-din Mohammad Balkhi's line of thought in his Diwan Shams. The purpose of this article is to introduce Bidel in the realm of mystical lyrics. According to Bidel all multiplicities in man's journey towards God leads to unity. In his descent however all multiplicities are regarded as the attributes of Deity which have descended from the zenith of the universal and Absolute to the nadir of the particular and relative. Bidel's mystical lyrics is a spiritual epic which expresses love and yearnings for the Divine beloved. These often merge with a sort of surrealist thinking, thus mystical terms in his Indian style of poetry mostly are complex and implicit, and it is difficult of find an equivalent for them. Nevertheless, his mastery in using prosodic forms and verbal rhymes gives such dynamism and fervor to his lyrics that only reveals the hidden charm and passion within the Ghazals.

Aristotle made exact generalizations regarding the art of poetry, its different kinds, and the expected objects of each. Despite the variety of views in this discipline, this subject is of permanent value as a mere intellectual achievement. One of the issues he has expouned on with great care and concentration is that of tragedy. In his view, tragedy occurs in an atmosphere filled with emotions of pity and fear leading to purgation of emotion or Catharsis. In this article, other features of tragedy with reference to the tragedy of Siavash in Shahnameh are discussed. Then the tripartite pattern repeated in many well known tragedies in the world is introduced, and finally the conclusion drawn from the common structure in the geometry of the tragedies is further discussed.

The purpose of this article is to set forth one of the most important teachings of Moulana and that is his understanding of “Eid”. Perhaps it can be said that the concept of “Eid” in Molana’s view differs substantially from that of other mystics and schools, and indeed such difference inspired the author of this article to write on this subject as a token of his appreciation towards Moulana and his disciples.What he means by this term when he calls himself “Eid” and this event, that is “becoming Eid” which flows as naturally in him is explained in this article.I returned as the new “Eid”, as to break freeTo break the claws and tooth of this treacherous fortune.

This article is an attempt to withdraw from the literary canon throughout the world the most prominent pioneers who told about their spiritual journeys (Mi’raj). The nature of the miraculous journey of prophet Mohammad being the most influential of all other ascents according to moslems is emphasized. Also the account of their spiritual, mental, and internal journeys by stages from the start of their pilgrimage to their final attainment is given in their own words. 

The realm of poets and poetry in the Emirates is quite vast. Not only in the Emirates but also in other Arabic countries Poetry is divided into two groups: folk and eloquent poetry.  At present not only intellectuals and the cultivated but also ordinary people in the Emirates turn to literature especially to poetry hence, numerous newspapers and magazines examine and criticize the two kinds of poetry.  This article purports to investigate the traces of such genre of poetry from the very beginning till the present in this country. Also the reader is introduced to three generations of poets namely: the pioneers, mukhadram, and the young ones.

This article strives to explain the factors leading to the prominence of the Goddess Anahita in that particular epoque based on the evidence found in the inscriptions in the Achaemanid era, and Aban Yasht in Avesta. Also reference is made to the writings of Greek historians to justify the significance of the Goddess Anahita, at the time of the drought, happening probably during the reign of Artaxerxes II. The climate of Iran’s plateau is also taken into consideration.

Nima Yushij has experimented with different literary genres, but his free verse has won him the title of “the father of persian free verse”. Ever since his time, numerous books and articles on his poetry were written and even posthumously this process continued with even greater speed.  These works contain articles on his poetry and its characteristics, books exclusively written on his poetry, or books written on free verse in general, the evolution of free verse eversince, its different genres, with special reference to chapter or chapters devoted to Nima, literary books discussing his poetry, and anthologies of poetry including collection of articles and memorials dedicated to his name. In this article the historical movement of compilation of such works has also been investigated.

In shahnameh numerous folktales can be found with profound mythical bases. Zahhak’s story is then an outstanding example of a mythical fiction. Zahhak with his dark and vicious soul is a monster in Persian mythology.  In this article an effort has been made to examine the story and its characters from the psychological perspective based on the theories of Freud and Jung.  Emphasis has been put on such terms as Totem, and Taboo, Key words in Freud’s theory. Since both the psychological and the mythological criticisms are closely related, in applying the Oedipus complex, rooted in the collective unconscious, and one of the main theories of Jung, the author aims to penetrate into the dark recesses of Zahhak’s character in order to explain his actions, reactions, tensions, and his psychological conflicts to reveal his true identity and dark soul.

This article is an attempt to introduce the national epic “ Memoirs of Zarir”, hence the following points are discussed:  the nomenclature of this work, synopsis of the story, its origin, the role of Goossunan in its preservation, the process of its writing, rhythm in pahlavi Poetry, discovery of Emile Benveniste regarding this work, dramatic techniques, the appearance of the work in other references, paying special attention to their similarities and differences, Daghighi and Memoirs of Zarir, and finally the translations made so far of this work is pointed out.

This article strives to analyze and interpret the story and the content of the play "the miser's legacy" written by Mirza Fath'Ali Akhundzadeh ,Azerbaijani playwright who was in fact the pioneer of modern playwriting in the Middle East. Different elements in the play such as plot, conflict, suspense, climax, and denouement were closely examined at first. Then the method of characterization, how it is accomplished by speech, action, physical appearance and significance of the names of the characters is investigated and evaluated. Finally, the tone, speech, analysis of the theme in the play is pointed out to draw a conclusion.

Saadi’s poetic language, described as simple but impossible is formed by juxtaposing numerous elements the most significant of which is musical rhythm. This musical quality has many known devices such as rhythm, internal and external rhyme, harmonious cadence (synonymy, homophony, oxymoron), and some rhetorical figures such as pun, cadence, and contrast are effective in its formation.  Recognizing these devices, will assist researchers to unravel the mysteries hidden in his poetic language and diction, and to appreciate the relationship between sound and sense in his poetry. In this article an attempt is made to illustrate how the musical quality is achieved through the various devices used in 200 selected lyrics of Saadi.

Abulala Maarri (363-449 A.H) Poet, Philosopher, Literary man, and linguist, is an outstanding figure in the Arab world. His multi dimentional character in the last ten centuries has constantly been the subject of much controversy and dispute among the authorities in the above fields, but about his philosophical nature there is disagreement. Some regard him as a sage, and some as a philosopher.Taha Hossein in this article has attempted to introduce him as a philosopher. To support his point, he combines philosophy with art, hence he calls philosophers artists, and artists, philosophers, and finally he has given Maarri the title of “philosophers’ poet” and  “poets’ philosopher”.