TEXTUAL CRITICISM OF PERSIAN LITERATURE (RESEARCHES ON PERSIAN LANGUAGE AND LITERATURE)
Year:2009 | Volume:45 | Issue:3|Papers Count:7

Satire which consists in critical innuendos to social viles and evils without direct derision aims at righting the wrongs and improving human frailties., Some have regarded satire as paradoxical, artistic, portrayal (narrative), with both social and literary values complementing each other. The literary worth of satire has to do with its specific rhetorical elements and the effective use of these elements. This paper examines Khoms Lari's Divan from the above perspective.Irony is the distinctive feature of the socio-political satires of the Divan which has given them a popular tone. Simile, however, with its dual part is the second characteristic of social satire. Symbolism, on the other hand, is the second characteristic of political satires. The reason for this is that the satirist is relatively at liberty to employ a range of images in his social satire but he is restricted in his political satires. Metaphor and Metonymy are the elements which are used i.nfrequently. in socio-political satires, but hyperbole is the element from which different forms of Imagery anse.

Manouchehri Damghani, a poet of the 5th century, had a special notice to the Arabic language and literature. The application of Arabic words and idioms even obsolete ones, pointing out the names of nearly thirty Arab poets, his recommending memorizing and studying their poems, and utilizing the style and theme of Arabic poetry are considered as parts of this notice. This research is carried out at the domain of comparative literature which is aimed to study the rate of Manouchehri's impressionability from Imru'lQays's pending ode. This research shows Manouchehri's impressionability in his own two odes from Imru'IQays's ode both structurally aswell as in terms of motifs, however one can obviously observe his innovation and independence especially in his descriptions. This research can help students understand Manouchehri's poetry better and it will develop our understanding of comparative literature.

'Nizami"s 'Haft Paykar' has been anslysed based on reception theory in this paper. The background of such a reception is the combination of myth and gnosis in a symbolic language. Its characteristic is the transcendent understanding of the context through interaction between the reader and the context and its content is the perciptable and clear awareness of the reader and it is interpreted as Nizami's sacred observation of creation.Nizami's Haft Paykar as a lingual phenomenon has been assumed the external that reflects its interior (content) similar to a mirror. In other words, the appearance is the manifestation of its interior, which in turn represents a heavenly prototype; the content cannot be manifested without its appearance. The appearance is smaller than its interior; thus, it cannot reflect the whole interior but it can be the mirror and manifest it symbolically. From such a viewpoint dome is assumed as the mirror of heaven (seven planets). In order to explain such a reflection correlated elements such as location (heaven, dome, Haft Paykar and centre), number (seven), light, color, the material of planet and personality (Bahram, Shideh and Semenar) have been analyzed.

Ma'āni (semantics), an important and potent branch of the traditional literary and linguistic studies, has gradually lost its original importance due to lack of a clear theoretical framework. This is caused by the confusion and misunderstanding of its definitions and essential concepts. In this article, profiting new linguistic methodology, it is tried to arrive at a new and clear understanding of Ma'āni by examining its original definition and concepts, and criticizing the secondary texts and explanations which are considered as the main sources of the misinterpretation. Literary examples cited all through the article demonstrate the potential of this new understanding of Ma'ani to a more vivid study and analysis of the Persian literary works.

Short story has recently become the focus of attention in the late decades in Iran. The expanding value of writing short story is actually a reasonable outcome of the dominance of minimalism- a movement which is based upon simplicity and shortness. Minimalist writers, leaving out redundant features of narration, mainly focus on essentialities through applying a variety of techniques such as cuttings from the interesting moments of real life, evading introduction, applying inter-referents, and choice of words, short stanzas and sentences and so on. Looking upon critic's opinion about such a tendency over the past and present, this article will come up with a brief explanation of the properties of such stories. Finally a sample story "candles will never go dead" will be analyzed and discussed in the lights of such techniques.

Sendbad-nameh, from Zahiri Samarghandi, is one of the old texts in Persian literature, which has been compiled in the 6th century (A.H). The importance of this book is in its literary narrative style. Sendbad-nameh has been critically corrected twice. Ahmad Atash has corrected it for the first time and Mohammad Bagher Kamal-addini for the second time. Although some of the errors from the first one have been corrected the second time, it has its own problems, too. The purpose of this short survey is to correct the errors visible in these two books. Some errors have been documented to the phrases of Zahiri's other book. To correct the errors of the poems cited in this book, we have referred to the original books in which these poems were cited such as Divan-e-Emadi Shahriari, and Divan-e-Abolfaraj-e- rouni. Some Persian and Arabic poets who are not specified in margins of the previous books have also been determined in here.

One of the philosophic aspects of Hafez's poetry is his approach in making use of the time and bringing about changes in it. Poetry is one of the arts performed in the time and its performance is a kind in which present time is considered as an axle. Since in poetry two horizons, that is, present and past, become confluent, this confluence produces a time that can be named the time of the universe of text or dramatic time. This time exists in poetry, but Hafiz by his own skill, raises it by means of mixing past and present times. Hafiz raises the relativity of the time and limitation of the language by indicating true time through several techniques and as far as the capacity of his poem permits, he makes use of all kinds of time in his poetry. On the whole, it can be said that Hafez's approach to the time is one that comprises one of the stylistic characteristics of his poetry.