TEXTUAL CRITICISM OF PERSIAN LITERATURE (RESEARCHES ON PERSIAN LANGUAGE AND LITERATURE)
Year:2011 | Volume:46 | Issue:8|Papers Count:7

Persian Dari is a language which has been used not only by the people of Madain and western cities on the coast of Arvand river but also by the people in eastern cities like Balkh and Marv. Nevertheless most of the researchers of Persian language or literature are trying to prove that Dari has been a limited language or a dialect of Persian belonged to some eastern districts of Iran and it has been extended to other parts of Iran by some Samanid governors. This article tries to clarify this subject as far as possible and prove that Dari title has been derived from Sasanid Darbar and has not any relation with eastern governors in third or fourth century.

Naqizeh, as one of the basic techniques in satire, is the equivalent of parody in western literature. But they are different in many aspects. In Persian literature all of the terms such as parody, burlesque and travesty fall under the rubric of Naqizeh, and Naqizeh has the overall connotation of these terms. By considering different expressions in the domain of Naqizeh, the present article argues that "burlesque" is a better equivalent of Naqizeh than "parody", although we have used Naqizeh in its ordinary and usual meaning.

In today literary criticism, the elements that change the automatic language into poetic language have been discussed from the points of view of semiology, deviation of norms and imagery. An interesting thing is that the three mentioned viewpoints have come to one conclusion; that is, automatic language in poetry and literature deviates from its normal everyday function. But, with regard to details and terminologies, there are some differences in these three theories. In this article, it is tried to study the three viewpoints on the basis of their preciseness in explaining this topic and, finally, a comprehensive viewpoint about the conditions of transforming automatic language to poetic language is proposed.

Since 8th century, a number of commentaries have been written on Masnavi and each commentator has explained this valuable book on the basis of his own manner. To know how much the commentators have solved the problems of Masnavi and how much they have been successful in this way, the commentaries of Nicholson, Estelami, Zamani and Shahidi, which are among the most famous ones, have been selected and compared with the beginning of the Third Book of Masnavi. In this essay, the text of Masnavi has been investigated without any kind of interpretations and the attempts of commentators for giving the exact meaning of words and idioms and solving the problems of verses and stanzas have been studied.

Simile is one of the most prominent elements of dream making in Vassâf history. In this work, Vassâf tries to use figurative elements, especially simile, to make a poetic prose. He uses simile as a tool for making language prominent and adorned. Because there is no corrected version of Vassâf’s history and its complicated prose this valuable book has been often neglected. In this study the simile innovations in Vassâf’s history will come under a closer look. From the structural point of view this article is based on introduction and analysis of different kinds of Persian similes in Vassâf’s history in terms of pillar, sides or parties and form. For analyzing the data, the methods of Persian traditional rhetorics have been used. At the end, on the basis of statistical samples, the status of different types of simile in Vassâf’s history has been shown and they have been compared with other figurative devices. The results of this study show that simile is one of the important elements for making the language of Vass  âf’s history prominent and adorned and contributes a lot to make the prose of this work a poetic prose.

This paper tries to investigate the relation between mystical thoughts and aesthetic aspects of mystical texts. In other words, this research tries to introduce the thinking fields that produced artistic works from mystical works. The importance of these fields is in their conscious or unconscious role in the creation of these texts. To achieve this goal, defamiliarization has been used as a criterion for recognizing the artistic aspects of mystical texts. Therefore, by giving a general review of literary theories of 20th century, defamiliarization and foregrounding have been considered in the works of Formalists and Structuralists. In this framework, the function of some of the features of mystical thought such as symbol and interpretation, revelation, relativism, repeated creation and wonder (Hayrat) in artistic creation have been investigated. These features produce a multilayered insight in authors of mystical texts. The results of such insight can be seen in the language of these texts. In this language, defamiliarized features produce an artistic perception in the readers of the texts.

Magic realism is a modern literary style that, it seems, Gholamhussein Sâedi has experienced in Iran before anyone else. In some of his works, including story and drama, the creation of imaginary beings and the transformation of characters have been used more than any other characteristic of magic realism. Some aspects of this style are reflected in his prominent works such as Azadarane Bayal, Moloos Korpus, Ashofteh Halane Bidar Khab and Tars va larz. Among these aspects is the presence of heterogeneous elements, especially exotic creatures combined of man and animal, in his works. In this paper, for the first time, various kinds of these creatures and human transformations are studied in terms of this style. It seems that the writer used this style because of the hard political and social conditions of intellectualism in 30' s, 40's and 50's.