LITERARY ARTS
Year:2011 | Volume:2 | Issue:2 (3)|Papers Count:11

Rhythm is one of the main elements constructing poetry.It is still regarded as the poetical hallmark throughout Persian-speaking world despite so many years of attempts on the part of those producing blank and prose verse. Among all different varieties of classical Persian poetry formats, Ghazal has kept the strongest possible relation with meter and strict prosody, as it is proven to be the most deep-rooted, popular form during a millenium of Persian literature. It gains even more significance if we consider Ghazal as possessing, on the one side, fixed, stringent prosodic limitations, and, on the other, the fact that each and every poet has established his/her own idiosyncratic domain in this realm as proportionate to his/her own necessities arising form constructive, thematic, and tactical obligation of the type of Ghazal he/she produces. This study has concentrated on figuring out main meters from 14000 Ghazals by an eminent group of Ghazal-composers throughout 10th, 11th, and 12th centuries (A.H.) by an analysis of the position of various prosodic tools inside their works. These poets have been picked for the sake of their divertsity in the range of rhythms they had chosen for their works. Effort has also been made to bring out some significant relationships between the rhythms, on the hand, and the concepts and different stylistics adopted to be flourished by the mentioned poets, on the other.

Hunting image and its correlates are among the dynamic and ambiguous images in Shams' sonnets. By considering abundant usage of this image in other mystic texts, a better understanding of it can be achieved. By applying intertextuality theory, which is based on the idea that text is not a closed independent system and no text is created and received in vacuum but is written and read with other texts, the relationships between texts, with regard to this image, are investigated and interpreted.Hunting image is considered as a focal image and, on the basis of this, its main image clusters, which consist of prey, hunter, trap, arrow and bow and sword, are studied. It can be concluded that, in most texts, hunter represents God who draws escaping Man to the trap of divine love and his mercy. Arrow and bow of God's mighty, sword of calamity and divine trials are all tools for hunting virtual existence of Man and transforming it into real existence.

In this study, we classify and search for Makhzan al-Asrar and Matla al-Anwar's similes from different point of view: topics, sides of the comparison, point of resemblance, words of comparison, etc. We show the theoretical and statistical reso; utions of those two, after comparing the two poet's similes. One of the purposes of this research is statistical studing the similes of these poets and showing the amount of Amirkhosrow's initiative and imitation. Another purpose of this study is to Contain a complete view about the kind and classifications of their similes. These poets have a tendency for human personalities and spiritual natures.

Traditional and non-scientific classification shade to educational and research Persian literature and literary education and research haven't grown up. The aim of explanation of text is to rub off difficulties and to lead reader to deep understanding. In semantics studies of understanding and interpretation of text, to familiar with the place of meaning in literary tradition and new approaches of criticism, the acceptance of multi meaning in interpretation texts are necessary. The role of interpreter is very important, because he can relate between the world of text and the world of reader and so between semantic horizon of writer and poet and mental horizon. We can step in analysing interpretation of Hafez' poem and pathology of this area, because of expanding of research about Hafez and his explanations. There are four difficulties in these explanations: structural, semantic, lexical and figural. In this article, we will pay attention to just structural difficulties. These structural difficulties are unversatility system, incomprehensiveness, nonalaystic of explanations, mistake methods in educating and to ignore relation between Hafez's Verses in semantic texture of Ghazal. Certainly, it is necessary to pay scientific, analytic criticism in Hafez's explanations as one of the areas in understanding of his poems.

Metaphor is the most important transmission device language than true application to figurative application, It plays a role more than other poetic elements in new creation and forming Personal Style. Khaqani is a creator of new metaphor in number and the most creative power speaking persian. He used artistic creation and hard to obtain in making poem. He profits of new and rare metaphors. Comprehension the metaphors of Kaqani’s Poem results to Underestanding his creation in Imaginary and his Poem. This article with this aim is studding background metaphor creation in Kaqani ´ s poem and his modernity new relation and similarity between objects and phenomenons that cause making new metaphor. Sometime his discovery relation between two objects formed in several relation layer that could call them Multi layered metaphor.

Philosopher Najmedin Mohammad Falaki, Well- Known poet in the sixth A.H., was born Shamakhi a small in Shervan province. He was a sweet- spoken person who express his thoughts in a very simple and fluently way. An incomplete and imperfect Divan has remained of him. This Divan was published by Mohammad Hadi Hasan Khan in London in 1929. In Iran also Mohammad Taheri Shahab edited this Divan and it is published by Ebne sina library press. Since there is not clear which base or manuscripts were available to the editor, therefore. The text of Divan was edited based on unknown, invalid. And earlier one the writer of this study has tried to edit this Divan according to four manuscripts. Therefore this paper is the first edition of some verses from Falaki Shervani's Divan.

The goal of this study is aimed to review, criticism and to show the place of “bound and omission” as an one of the important principle of rhetorical technic. It is also one of the applicable eloquence method for analyzing texts. This subject refers to deep structures of words and covert layers of the speaker's minds and it is one of the first’s books of rhetorical works which is object of attention by eloquence followers. This technical has also been used by various poets, writers and theosophist for several times since now and it dedicated separate and detailed field to itself. Therefore “omission and bound” are the joint application between speaker and his addressee. The speaker for showing his personal ideas and addressee, including researcher or ordinary reader, for analyzing components of the work.

The Prophet , written by Jibran Khalil Jibran, is a thin book but full of mystical, religious, ethical, and philosophical concepts. Although this book seems at the first sight a simple and easy-to-handle one, it has very rich and archetypal motifs. The Prophet tells the story of one of the archetypes of our unconscious. The recluse Prophet , as a kind sage of our inner world, is waiting for the conscious “I” so that by help of “Anima” it can assist the “I” in going through the path of perfection and show it the green path to individuation and psychical (psychological) integrity. This work represents the stages which the people of Urphaliz pass through by help of the prophet and Anima’s intermediacy called “Mitra” and hence are united with themselves. What constitutes the motif of this work is an inner travel; a mystical inquiry which has set the ground for the presence and function of many archetypes and symbols concerning this inner procedure. “I”, “ego”, “shadow”, “The sage”, “Anima”, and the symbolical image of “Mandela” are of the most outstanding symbols and archetypes existing in this seminal work by Jibran Khalil Jibran .