Journal of Poetry Studies (Boostan Adab)
Year:2013 | Volume:5 | Issue:2 (16)|Papers Count:8

Mythological narratives are always mysteriously connoting wonderful symbols which are very telling of the desires and wishes of the ancient men who try to find answers for the mysteries and ambiguities of the world. One of these astonishing phenomena is the metamorphosis of different creatures to other creatures. This metamorphosis is the fruit of creativity and is the indication of different mental, social, lingual, temporal, and spatial manifestations of men in ancient times. These metamorphoses, in mythological texts, sometimes become very outstanding and special. In Tusi's Garshasbnama and in the narrative of "Sistan's Construction", the metamorphosis of man's blood to the snake is one example of these metamorphoses. Referring to different examples and analyzing them, this paper tries to show the mysteriousness of them. This paper-referring to some allegorical and paradoxical concepts such as survival, authority, existence, stability and strength-tries to justify the creation of a snake from man's blood. The existence of this phenomenon in Tusi's Garshasbnama proves the antiquity of this great mythological poem and is a sign of the mysterious narratives in ancient, Iranian myths.

The definition of epic has been changed during the course of time, especially in the modern world and in its poetic forms because of the profound changes happening in all dimensions of people's life and the gradual changes the traditional society has experienced. Thus, these social changes lead to a new and different interpretation and understanding of epic in literature and poetry. Therefore, this article tries to show the changes which have happened in the concept of epic in Nima's poems during the course of time. To do this, Nima's poems are divided into two groups. The first category includes the poems in which Nima refers to the epics of the other nations from the past to the present. The second category includes the poems divided into three subcategories: regional epics (like Peydar and the Shepherd), religious epics (like Daniel) and subjective epics (like Serveili's House). A study in his poems shows that though the old elements of epic are present in his poems, he proposes a new definition of epic in his poems which is truly the result of both the influence of the modernist literature, and Nima's own personal and social life on his poems.

Jacques Derrida, the founder of deconstructive approach, rejects every determinate meaning in a text. He believes that we should deconstruct the foundation of every text and put away all definite meanings. This way, we can reach new meanings of the text. By analyzing the story of Forood, based on deconstructive approach, it is concluded that contrary to the appearance of this story, Kay Khosrow has thought of Forood as a rival. So he plans to kill Forood, the greatest enemy of his state, therefore, he sends Tus along with a big army to kill him, with the pretext of revenge of Afrasiab. This way without arousing any suspicion, he kills his greatest rival of monarchy.

Among the creators of literary texts, Khwaja Shams al-Din Muhammad Hafez-e Shirazi has a prominent and supreme position. This superiority and great eminence is because of several factors that Hafez and his greatness. In creating his literary works, Hafez has employed various artistic techniques which are related to firstly, his approach towards language, secondly, to his method of collecting the words as well as ordering and arranging them in the chain of speech. Many researchers have done their best to enter the mental and linguistic realms of Hafez' poems. Though most of these efforts have achieved valuable outcomes, "the endless and eternal story of Hafez" is at the beginning of its way. Every day his works are observed from different viewpoints and new efforts are being done to describe and interpret his goals and meanings, especially to demystify the enigma of "the delicacy and elegance of Hafez's Speech". The power of Hafez in calling upon the words and combining them in the chain of speech as well as his intellectual associations are crystal clear for the researchers. To demonstrate one of his capabilities, the application and artistic relation between these two words, heart (del) and ringlet (zolf) are examined in Divan of Hafez. In Divan of Hafez, these two words have been used almost seventy eight times (per two hemistichs) together and also in association with each other, though each time with different interpretation and meaning. In this study these artistic applications will be classified into twenty two categories whose analysis and investigation is the main goal of this paper.

Intuition is the crux of all mysticisms. In Mathnavi, intuition is a crucial matter. Rumi has depicted intuition in different forms such as inspiration, acumen, dream and occurrence. Generally speaking, revelation in Mathnavi is divided into two groups: physical and spiritual revelations, though each has its variations. These intuitions are sometimes in accordance with V. T. Astis' theory of intuition. Astis divides the mystics' intuitions into two categories: Exterior (heavenly) and Interior (soul) (Spiritual) states. This paper investigates the revelations in Mathnavi in the light of these two states proposed by Astis and also discusses the common features such as objectivity, the feelings of trust and faith, and happiness. However Astis errs in some aspects as some Islamic revelations are not in accordance with his theory. Moreover, the special characteristics of Exterior and Interior (Spiritual) states are studied here. In the end, it is concluded that not only are the intuitions mentioned in Mathnavi corresponding to some western mystical patterns, but they are also unique and in some ways are superior to western mysticism.

Boasting is a subcategory of the genre of epic and is one of the themes of not only Persian poetry but also world literature. Indeed, some poets, such as Taleb Amoli employ it in their works. Taleb Amoli has exaggerated in self-glorification, egoism, and boasting about his poems. In this article, different types of Taleb's boastings are examined in more than ten divisions and the reasons of his boasting are also investigated. Utterances which are "against boasting" are also explored in Amoli's poem. Boasting about his poems and different virtues are the very things Amoli boasts about.

Though Mathnavi is one of the greatest and the most comprehensive mystical texts in Persian Literature, Rumi explicitly states that he has not mentioned some mystical sayings. The goal of this paper is to study these untold parts of Mathnavi. Employing the approach of Jacobson's communication theory, this paper investigates how these messages have been transferred to the receivers and also studies the relation between the sender and the receiver. Finally, it is concluded that the occurrence of any disorder in any of these six factors proposed by Jacobson will lead to disorder in transferring the message and the receivers' misunderstanding.

Psychoanalytic criticism is an important criticism which is usually employed to analyze the literary texts. This article studies the characters of Sohrab, Rostam and Kavous in "Rostam and Sohrab" story. Firstly, the character of Sohrab is examined as the "passionate character" because of the existence of some especial traits in him, such as: ambition, courage, seriousness, zeal for attaining his goals, love relationships, and interest in fighting for the sake of power. Secondly, Freud's idea about Id, Ego and Super-ego and their relations to these three characters, Sohrab, Rostam, and Kavous, are studied. Actually, these three characters are reflecting these three concepts proposed by Freud. Thus, the conflict among these characters is interpreted as the conflict between Id, Ego, and Super-ego.