Journal of Poetry Studies (Boostan Adab)
Year:2009 | Volume:1 | Issue:1 (55/1)|Papers Count:12

One of the aspects of Hafiz's poetry is his satiric look towards social issues and the hypocritical people of his time. Through his sonnets, directly and indirectly, he revealed the two faces of some hypocrites of his time. He sometimes dedicated a whole sonnet to introducing such characters and usually starts a sonnet with their names and then represented different aspects of them through it. By using inter-textual signs and their relations with one another, he composed sonnets that have strong structural unity and semantic coherence. This article is going to analyze the following sonnet and tries to uncover the hidden face of the "sufi" behind it:O, sufi! Pick a flower and give garment to thorn, leave the austerity away for tasty wine!

Abou al-Aala Ma'arri, the Arab poet, and Khayyam Neyshabouri, the Iranian poet and philosopher, were great scientists and literary people and with mysterious personalities. The fame of their knowledge has gone far beyond the frontiers of Iran and Arabic countries. It can be said that many scholars of the east and the west have been influenced by the idiocy of these two poets and have written books and articles about their opinions. In this paper the lives of these two poet are compared and their social and political views are discussed and analyzed.

Persian blank verse through its long journey has faced many important schools and processes. One of these processes is social symbolism. Social Symbolism is a process in which blank verse carries a state of duty toward the society and humanistic ideals, and it considers a political and social responsibility for poetry. On the other hand, poets in this process believe that art and poetry should be at the service of all people. Feeling responsibility toward their society, poets of this process, by using symbolic language, try to portray the existing condition of their society. The purpose of this research is to analyze ‘Nader or Eskandar’ from this point of view. This poem which is the first poem of the 33 published ones in the collection of ‘Akhare Shahnameh’ [The End of Shahname], was composed on ordibehasht 1335 by Akhavan.

Hasan Khan, known as Tayer-e Shirazi, is one of the poets of the Persian Return Movement. He is the nephew of Haji Ebrahim Khan Kalanter who was an influential personality at the end of the Zand dynasty and the beginning of the Qajar period. Though Tayer-e Shirazi has had a divan of poems, he has only been mentioned in different tazkarehs. Seyed Amir Hasan Abedi has also written a short passage about him in volume 14 of Qand-e Parsi Magazine in 1378.This paper is a study of manuscripts of Tayer. Six manuscripts of his Diwan have been found: 1) Majlis manuscript number 1017; 2) Hekmat’s manuscript given as a gift to Tehran University number 136; 3) Manuscript of Shahid Dastgheib Library of Shiraz number 770; 4) Manuscript of the library of Faculty of Humanities, Tehran University number 177 J; 5) Manuscript of National Museum of New Delhi number 74/256; 6) Manuscript of British Museum number or 8009.

Panchatantra and shahnameh are two important works of literature of the East. The stories of “The lion and the Ox” from Kalila va Dimna and “Siavash and Afrasiab” from Shahnameh are among prominent stories in these works. Seven common components from the two stories were compared: (1) For some reason, the protagonist leaves his own land. (2) An incident or event agitates the tranquility of the foreign land's king. (3) The antagonist brings about the acquaintance between the protagonist and the foreign land's king. (4) Because of his abilities, and his personality and moral qualities, the protagonist is rank is raised by the king. (5) The protagonist's ever enhancing rank causes jealousy in the antagonist. (6) The protagonist is killed. (7) The protagonist's blood is not trampled upon and the antagonist is duly punished for what he did.

Kelidar is the second novel of Mahmud Dolatabadie. It is one of the masterpieces of modern fiction. The story of the novel is based on some historical events which occurred in 1323. Kelidar has one major plot about the major character, Golmohammad plus two sub-plots. The sub-plots are about the life of the people of Ghale Chaman village as well as another character, Nadali’s life. The story moves forward by actions of the opposing characters with the themes of love and war.

Salamaan and Absal is the second verse story of the Seven Thrones (Haft Orang) by Jaami. It is a mystical and allegorical story. This story has been well-known from ancient times and has also been narrated by Honain Ibn Ishaq, Ibn Sina, Ibn Tofail, Khajeh Nassir-e Toosi, and others. There have been different interpretations of the story that are by and large philosophical. The aim of this paper is to provide an interpretation of the mystical concepts of Jami's Salaman and Absal by making a comparison with the Mowlavi's tale of "The King and His Slave Girl". It is important to note that Jami, who was well-acquainted with the Persian literary and Islamic theosophical works before him, was also profoundly influenced by Mowlavi's works and views. His exploitation of "The King and his Slave Girl" in composing of Salaman and Absal" is a proof of this influence.

Khosro and Shirin, Nezami's versified story and one of the master pieces of Persian literature, has a mysterious and symbolic structure. Shabdiz, the magnificent horse, has a key role to play in uniting the two lovers Khosro and Shirin. Shabdiz has a mythical birth. It’s origin is a black sacred stone located in a cave within a sacred monastry. Its mother is a virigin mare so that Shabdiz as the carrier of love and messenger of fate gains symbolic importance.

Differences in manuscripts of almost all of the divans of Persian poets are due to conscious as conscious effect of manuscript writers. On the other hand, differences in different versions of the divan of Hafez were due to the poet’s editing rather than the writer’s tastes. In editing any divan of Hafez three principles must be considered. The first is attention to the ancient and reliable versions. The seconds is the authenticity of music in the poems. And the third is the relationship of meaning and imagination. In this paper only principles one and three are used to interpret a line of poetry of Hafez; the second principle is not effective in this poem.    

Kaveh, the blacksmith rebel in Shahname, has a symbolic personality. In this paper it is argued that Kaveh is originally one of the most ancient divinities while in Shahnameh he is first presented as an ordinary blacksmith. However, his characteristics and actions denote that he is divine. He can also read which is a sign of his importance. It is argued that like Vulcan, he is a god of fire and metal.  

Khaqani has used the rules of Persian language in coining words to make compound words of Persian and Turkish origin. Many of these words had not been used before Khaqani or after him. This paper analyzed the bilingual aspect of Khaqani’s poetry.