TEXTUAL CRITICISM OF PERSIAN LITERATURE (RESEARCHES ON PERSIAN LANGUAGE AND LITERATURE)
Year:2011 | Volume:3 | Issue:9|Papers Count:9

In his collection of sonnets, Molana, the well – known Persian poet, has used innovation and deviation of norms more than other poets, especially with regard to quatrains. This tendency is quite tangible in all aspects of his poetry, particularly in Radif.He was well aware of the rhythm of Radif and its significance in Persian poetry. Thus he used it the most and he can be considered as a distinguished poet with regard to variety and deviation of norms in Radif construction. Ecstasy, rapture, and singing are all observable elements in his sonnets and they are also the main causes of his innovations in Radif. An attempt has been made in this research to deal with such issues as the unusual prolonged Radif, not observing the rhyme before it, the conversion of rhyme to Radif, the combination of Radif and rhyme, and lack of synonymy between various Radifs.

In analytical psychology of Jung, anima is an unconscious set which has a far origin and it is the prototype of all ancestral human experiences. It not only represents all emotions and affections derived from woman but also the system of psychological balance which has been inherited. This article tries to investigate poems of Akhavan Sales more precisely by focusing on manifestations and functions of anima archetype and also the inherent characteristics of this part of psyche. Since polarity is the intrinsic characteristic of archetypes, many positive and negative functions and projections of anima can be studied in Akhavan Sales’ poems and his view about society can be described well due to this dichotomous function.

According to many researchers, there are no poets like Khaghani and Nezami whose poetry has been distorted and changed. The reasons for this matter are extensive attention of people to their poetry -especially Nezami’s- and the difficulty of their poetry. In some cases, facing with exotic and complex compounds, the script-writers replaced such compounds with more familiar ones that they themselves knew their meaning. For this reason, there are a number of compounds in the poems of past writers whose meanings cannot be explained by commentators and lexicographers, This article tries to propose a correction of a similar distortion in three lines of Nezami’s Khamse which is prevalent in Nezami’s poetry and even Khghani’s Divan. It also comments on some lines of Nezami’s Khamse which are, somehow, related to Toranj and Naranj.

Hadiqa is the first significant collection of verse in Persian. In this great work, Sanai addresses mystical subjects and elaborates on Islamic moral principles. To furnish his subject matter with more examples and details and make it comprehensible to common people he has made use of the narrative form.This article draws upon the communicative model of the Russian linguist and literary theorist, Roman Jakobson, to elucidate the role of Hadiqa’s tales in the fulfillment of its didactic goals. The six constitutive factors that make up any speech event in Jakobson’s model are the addresser (sender), addressee (receiver), message, context, code and contact.According to Jakobson, these six elements have distinct functions and in each speech event one of these functions is dominant.The analysis of the addresser, addressee and context elements and their functions in Hadiqa’s tales indicates that the referential function is the most significant and dominant function in this work and so communication orients towards context.Then the conative and emotive functions are dominant and reinforce the effect of narrator’s speech.

Worship is intrinsic and natural for human. One form of worship is prayer that each person may have a different idea about it. Thus, prayers are of three kinds: devoutly, austerely and mystically.Devoutly prayers are accompanied with material concerns and austerely prayers are accompanied with fear and worry. But, mystically prayers are love-oriented and, because of this, they are intrinsically acceptable. In such prayer, the person who prays does not expect his needs are satisfied but, instead, he enjoys the permission of dialogue which has been given to him by the Beloved.In this article, first of all, the necessity of prayers, invocation of God and degree of prayers are discussed. Then, Gnostic thoughts of Sanâie like the relationship between prayer and satisfaction, rejection of material requests and the conditions for granting of prayer and the secrets of its not granting are discussed.Finally, it can be concluded that the climax of San â ie pleasure and ecstasy can be observed in various stages of his Gnostic prayers.

In the history of India, Iran and Islamic countries Kalile va Demne is important in many aspects. In this work, the attitude toward human being and society in the pre-enlightenment era has been greatly reflected. In spite of superficial coherence, this work contains different layers and the role of three great oriental civilizations, that is, India, Iran and Arab can be observed in it.Most of Kalile va Demne 's characters are beast and the style of the work is allegorical. The author uses this method to avoid political consequences. A great number of tales are about politics and political culture in oriental society (Iran, India and Islamic world). By analyzing this text the structure of political culture and its influence on individual and social behaviors can be discovered.Postmodernist thinkers, especially Michel Foucault, make it clear that power and political culture are so complicated and affect private and social life. It is possible to claim that there is a meaningful relationship between people’s deed and power in each society. In this article, we take a look at political culture and power in Kalile va Demne and will analyze its effects on people’s thoughts and deeds.

Nowadays there are many criticisms based on structural functions. Structuralists are always in search of specific narrative patterns to analyze stories and tales by using those patterns. Among available works, Propp’s work is so important. By analyzing Russian fairy tales he proposed a diagram of thirty one own-workings and he believed that this pattern can be applied to other fairy tales and even to novels. Later on Propp’s method was used by other researchers and sometimes it was criticized.Ferdowsi’s Shahnameh is such a work in which many stories and quasi-stories are seen. Among them are stories in which Divans play major roles. This article tries to apply Propp’s method for analyzing Divan’s stories and find the relevance of this method for analyzing such stories. Such analysis leads us to this conclusion that such stories can be analyzed on the basis of Propp’s functions and such functions are seen in these stories. With regard to topic and content, the movements present in these stories are of the first kind of Propp’s movements, that is, expansion through own-working H-I (war and struggle). Own-working of “talisman” and “magic” is present in most stories. In some Divan’s stories certain functions are repeated and this matter not only foregrounds the abilities of the hero but also creates a sense of suspension in the story.

The story of our national and ethnic history, Shahnameh, is a valuable book, including myth, epic and history. Some theorists have tried to divide this book into three sections: mythological, historical and epical. But separating these sections from each other is impossible because these parts are basically tied. For example, what they call the historical part of Shahnameh includes some mythological elements, symbolic parts and Persian archetypes. It also includes some epical elements.The process of individuation in one of these historical–legendary stories, Bahrame Choobineh, is very clear. In this narrative, Bahram comes into a symbolic castle with the guide of a Gore and meets the beautiful fairy that could be a symbol of the anima of his unconscious. After this meeting, his character changes and he decides to catch Persian kingdom. He riots against the King Hormozd and rules Iran for a while. But his kingdom lasts very short and Bahram is sentenced to death because, on the one hand, he rioted against king who is a holy motif in Iranian ancient beliefs and, on the other, he forgot the rule of knights that the hero has simply heroic charisma but the kingdom belongs to someone who has king charisma.