Journal of Persian Language and Literature (University of Tabriz)
Year:2010 | Volume:53 | Issue:215|Papers Count:7

The aim of this article is the study of the etymology of two middle Iranian words, one from Middle Persian and the other from Sogdian. There is no suggestion as a derivation for the MP. madrm, and the previously suggested one for the Sog. mazn is questionable to the author of this essay. By investigating the texts including these words and considering phonological processes in MP. and Sogdian, an etymology have been suggested for each of these words. The response to the question why among too many words of these languages just these two specific words are selected is in their first component which, from the view point of  the author, is the Avestan preposition ma. These two cases are the only examples for the existence of the OIr. word in the middle Iranian languages.

In this article, the writer is going to investigates and analyses the poetical art of Abdorrazzagh Beyg-e-Donboli, entitled to Maftu, in his two amorous versified (Salim-o-Salma and Naz-o-Niaz)from various viewpoints such as emotion, imagination, music, language and form. And presents his poetical force, imitation or initiative and reveals degree of credit and originality of his poem at last in leaning on various instances. And acquaints the readers of literary works with these two Mathnavi that have been recently adorned to the editing ornament.

Proverbs are one of the integral elements in literature and culture of all nations around the world. There are a number of proverbs in literature of nations that clearly show their thoughts, disposition, and styles of life in different historical periods. Proverb and Persian poetry have a reciprocal relationship and poets have propagated many proverbs in different phases of Persian poetry. The periods of Hendi (Esfahani) style and new poetry are good examples. Due to revolution in Persian poetry partly because of changes in the thought and way of life of Iranian after the Constitution (Mashroute) and due to the replacement of classic poetry with new poetry some stanzas (band), lines (mesrae) and verses (beytha) of contemporary poets have been used as Proverb. In the present article the works of eleven contemporary poets are studied to extract their proverbs. Than, the usage areas of those proverbs are analysed.

A retrieval of a myth in verses by Sanaei and Khayhani and contrasting it with the myth by Gorgon Medusa from old Greek mythology and with that by Dahhak from ancient Iranian mythology.The combination of Fairy snake in Persian Prose literature was first seen in Hadigh Alhaghighat by sanaei Ghaznavi and it has been used by khaghani shervani leters on. in other poetic texts there is no sign of this combination. in prose litreature,too,this in Darab Nameh by Tarsousi.By investigating this combinational, the similarities between the myth by Gorgon Medusa from ancient Greek mythology and Dahhak, Iranian mythology, can be obtained.This peper has made an attempt to elaborate on this issua.

Among the numerous works of Farsi Literature, Manavi Manavi by Molana Jalal-e- Dine Mohammad Molavi Rumi has been considered to be one of the rarest, and whose credible versions and attempts to its amendments had stood the test of time, being well favored with good oucome. When Reynold A. Nicholson accomplished the task of publishing and emending the first complete translation of the Masnavi into English between 1925 and 1940, there had still been many of significant literary works that were unknown or covered with dust on the corner of the libraries. Although Nicholson had attempted to collect all known credible manuscripts of the Masnavi pritor to embarking on the corrections, he found out some manuscripts, which belonged to the seventh century much near to the time the orginal text was created, and one of which was the 677 manuscript that was kept in the museum of the Maulana's shrine in Ghonieh (Konya). Nicholson understood its outstanding significance after reseiving and evaluating the manuscript, and relied on it in the publishing of the third book onward. He also added appendices to present the differences between its recording and the two Books of One and Two.This manuscript was published in facsimile in 1371 by the high effort of Nassrollah Pour Javadi and the technical specialists in the University Publishing Center and by the cooperation of Toufigh Sobhani. Since then it has been available for the researchers and Molavi's enthusiasts. Due to the unique status of this manuscript in maintaining the correct form and perusal of Masnavi, some of the Masnavi researchers have published it simultaneously.This article compares and contrasts the first one thousand lines of the Book On in six publishing, based on the Konya manuscript, some of which have incorporated Nicholson's publishing records as the redundant manuscript in the margins, with the facsimile publishing and demystifies their differences line by line. These differences are related to different perusal of the single edition, the proofreaders' guite differing preferences in maintaining or altering the style of letters, the pronunciation of the words, and carelessness during the typesetting stage and the typographical errors, etc.This contrast shows that, in reading the text in the recent prints there has been referred to the previous letter publishing of the Nicholson's editions and the Konya manuscript more than the references made to the facsimile publishing.

Proletarian Literature or proletarian poetry echoes the voices of liberty, reforms and improvement in the life of the poor masses. Its topic is the recession, destitute and trouble of laborers and toilers. It is the poetry in which nothing, obscene or exquisite, is left unnoticed, and many issues, which others may have viewed as commonplace, germinates poetry. The trouble and backbreaking life of laborers is also reflected in the poetry of pre-constitution era, but it has not been out of objection and consciousness. The tyranny expressed in these poems are consequential and caused by heavy laboring, not through social tyranny, not originated from the employer and employee relationship, not of the kind seen in the transgression of village governor and master's representative. Here the poem ultimately comes to a soothing end inviting to silence in the face of doomed destiny. The political and social aspects in proletarian literature override aesthetic side. The ideological cause of the poets and the short span of freedom of expression have not allowed them much opportunity for lasting artistic experiences. This is a study in content of proletarian literature and its aesthetic foundations with reference to twelve works in this realm.

The cow written by Saaedy and the Metamorphosis written by Kafka are two from the contemporary short stories that they have deep structure like together. These two works are an expressionistically statement of the society in Saaedy's and kafka's periods. These two writers have shown fear and despotic that there were in Iran after the coupdetat in Mordad twenty eighth and in Perage in 1900. Their look is Magic Realism.These two works have deep structure like together but their safe structure is completely different. Saaedy was a psychiatrist and he had the continuous talk with sick and this factor made the talk the method most outstanding for characterization in the Cow short story. But Kafka had special conditions. This conditions made recluse him therefore he had continuous communication with his drams. This seclusion and resort to dram have been reflected in his works and that has caused writer use from the description for his characterization in the Metamorphosis short story.