TEXTUAL CRITICISM OF PERSIAN LITERATURE (RESEARCHES ON PERSIAN LANGUAGE AND LITERATURE)
Year:2010 | Volume:46 | Issue:5|Papers Count:7

The celebrated poem of Ahmad Hatif of Isfahan, known in Persian as the Hatef’s Tarjiband is studied in the present paper from a historical point of view to reveal the status of this poet in Persian poetry, as well as its mystical content.First a short history of Tarjiband as a poetic form is revised, then the sixteen poets who have written a mystical Tarjiband are presented. All of these Tarjibands have the same rhythm and the refrain “He is one and there is naught but He” after each strophe. The total number of these Tarjibands is twenty one because some of these sixteen poets have written two Tarjibands.Searching the Persian poetical texts it is found that this kind of Tarjiband was begun from seventh century by Fakhr al-Din ‘Araghi and other poets before Hatif. Forsat al-Dowleh, a poet from Shiraz has continued this tradition. But among all these similar poems it is the work of Hatif that is rested popular and the others are approximately forgotten.

Abu Moslem Mohammad Ibn-Ali Ibn-Hussein Ibn-Mehr Izad is literary grammarian of fourth and fifth centuries whose name has been mentioned in some of the sources of sixth and later centuries. He was born in Darb Kushk quarter of Isfahan in 366 (L.H) and became one of the scholars of Isfahan school after passing scientific levels. Ibn-Moghri of Isfahan is one of his teachers and Khaje Nizam Al-Molk and Isfahani Hamami are among his most famous students.Although Abu-Moslem was one of the great literary figures of Isfahan, it seems that he was not considered as an interpreter and probably he had some ideas about the interpretation of some verses of Holy Quran. There is no written commentary which belongs to him and there is no commentary ascribed to him in the works of past scholars but in some texts he was mistakenly considered as an interpreter and a commentary was ascribed to him because of the name resemblance.

Being in the context of ideological government, the dominant trend of literature in Safavid period has powerful strains of formalism in its heart. Formalism and non- ideological attitudes, fighting against tradition, nonpolitical methods, laxity and negligence and meta-religious and supranational attitudes which is the characteristic of this literature has been posed in this literature in reaction to completely inverse manners of these indices. It is on the basis of this mentality and in reaction to this period and its cultural backgrounds that complexity, dissidence, theme finding, allegorical logic, independence, lack of unity and innovations in all subjects became fundamentally important.All of these characteristics have been forgotten in dominant simple, traditional, honest and imitating culture of society. Of course, the influence of circular criticisms in coffee houses, the dialect of Persian speakers of India, and the creativity of a number of poets of Isfahan and its surroundings on the formation of this style should not be forgotten.

Iran is considered to be the country of culture, art, poetry, and literature and numerous poets and scholars have appeared in this ancient and science encouraging country. Therefore, all cities and regions of this vast country have different shares in this arena. Some of the Iran’s centers have been salient and are famous for a technique among other techniques and an art among other arts. In addition, they have gained a special place and name in the history of this country. The role of Isfahan in the realm of culture, literature, and art has been outstanding. One of the linguistic knowledge that the scholars of this region have focused and overtaken the other regions is the knowledge of grammar writing and focusing on linguistic issues. A science that due to its technicality and subtlety has not come into focus. The comparison of the works done in Persian literature has been bound to books and articles and in proportion to other linguistic research, there has been more research in these areas and less attention is paid to linguistic issues. The present study is an attempt to exhibit the influential role of some of these scholars of Isfahan in this field and to review and describe the works of traditional and modern famous figures of this region regarding this technical knowledge. This knowledge has a profound influence on discovering the hidden dimensions and analyzing texts if focused. However, this is a neglected area of research.

Safavid period is one of the most important historical periods of old Iran with regard to foreign relations. Among these, cultural and political relations with India are outstanding due to historical and mostly peaceful backgrounds, especially in the field of Persian language and literature. The influence of Persian literature on India was so much that this country became not only a rich and fruitful place for Iranian poets and literary figures; it also became the origin of another type of Persian literature. Although Iranian poets and literary figures, due to access to innate resources of this language and culture, were considered as the model, the attempts of cultural figures of the Subcontinent had local color and were different from Iranian linguistic and cultural criteria and norms. Because of this, there were a lot of critical controversies over the correctness and eloquence of literary works of Persian speakers of India. Iranians accused them of doing unfounded innovations and linguistic experiences and these people, instead, claimed that they had the right to do so on the basis of certain reasons.

This article is about adaptation of Iranian cinema of contemporary narrative literature and tries to analyze the relation between these two media statistically during the past years. By focusing on these adapted movies, it also introduces the influential writers and directors. Finally, one of the acceptable cases of this trend , The Boots directed by Mohammad Ali Talebi based on a short story with the same title written by Houshang Moradi Kermani, is criticized individually and the notes used in this adaptation are introduced on the basis of references.

This article is about Siavash as one of the most important characters of Iranian national epic, myths, Avesta, Pahlavi texts and archaeological findings.The etymology of Siavash and discussing his character in Iranian myths and recognizing his Mesopotamian archetype-Domuzi-in five branches: “customs”, “first man”, “Martyrdom”, “khun Siavashan plant” and “mourning of Sivaash”. are also studied in this article.Siavash’s position in Iranian customs and continuation of his social functions in the form of traditions such as “Haji Firooz”, “Norooz Celebration” and “Ceremony of cock killing” are also studied.The central structure in this article is Dr.Bahar’s idea that this myth is based on “Corn God” idea.