PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2010 | Volume:6 | Issue:15|Papers Count:10

Sohrab Sepehry is one of the limited modernist poets who had profound and influential presenceon the Persian Literature. It has been tried, in this essay, by comparison of the Nimaic Poetry of this poet in the scale of ancient prosodic poetry, to show his relation and classical poetry in the mold of harmony and rhythm. So, we’ve attempted, by investigating and studying his poetry and by introducing the titles of his forty eight poems which are composed in Nimaic mold, and by enumerating the names of the source, poetical meter, frequency used to present by the tables through percentage, and after surveying the seven poems from Nima, show its specifications and reformations done in comparison with the classical rhythm.

Since all or some of the aesthetic researches in Persian texts have been concentrated on the poetic texts, it should not be ignored that prose texts also have the required characteristics, therefore, surveying, classification, and analyzing of the rhetoric prose works like “The Rahatossodur and Ayatossorur” from Rawandi in a scientific method which have been able to approach in a special period to verse and adorn themselves with poetic-prose characteristics seem to be inevitable.In this essay, “The Rahatossodur”, only from the view of science and rhetorics, that’s, the state of the subject and the ways of its function have been extracted, studied, criticized, and justified; and also some brief and general discussions in relation with the presenting of the Rahatossodur and its literary value, description of language, sentence, parts of the sentence, subject, the relation of grammar and rhetorics have been discussed. Later on examples of the extracted samples from the Rahatossodur will be forwarded and explained and their classification, based on the rhetoric books in general and three books: The Moalemolbalagha, The Rhetorics from Ostad Homaee, and The rhetorics from Dr. Shamissa in a specific way will be dealt with.

One of the most important, at the same time oppressed branches of Persian literature which has continually been under the transformation, is the Persian grammar. This branch, which in fact is a mixture of science and art, during the long life of Persian Literature, based on the tastes and positions of literati, has passed through lots of ups and downs. At times the grammar has been set on the peaks of the pyramids and other times it has been sent into oblivion under the curtains of tastelessness and discrepancy. Sometimes, far from the eyes of the linguists has been the core of the literary discussions and other times it was sitting on the outskirts of linguistic discussions. The elite in Persian literature have found it necessary to bridge the gap between them. The best example in this unification can be seen in “The Persian Grammar” by Dr. Wahidian Kamkar. Since this book has been the main source of grammar books in guidance, high school, and university for teaching, we found it necessary to have an optimistic criticism on it, and after some suggestions, let the experts in the domain judge on it.

Nations have created legends and myths in their lives which were acceptable for them and they had deep belief in them. These myths are more colorful among some nations. Arab poets, also, have used Arabic and even other nations' myths in their poetry, and regarding the environment and conditions have used their thoughts by implementing these ideas. We have tried, in this essay, by describing the vocabulary and mythical expressions and brief familiarity with some of the most well-known Greek, Mesopotamia, Ancient Rome and Egypt myths, deal with the contemporary Arabic poetry and investigate some of their poetry in their distinguished ones to know the reasons of the application of myths in the modern poetry.

The pictures which literature has shown of the women, are contradictory in such ideals as a woman being: witch, immature and raw, fascinating and seducer, and a devotee mother and a fatal woman. The feminism, in these thoughts, has been categorized as an idealistic and satanic, which from this perspective, too, these pictures are based on the hypothetical relationship between man and woman and in this domain, woman has been shown to be in a higher or lower rank than the reality of life. In this essay, it has been tried, with the comparative survey of “The Blind Owl” from Sadegh Hedayat and “The Shazdeh Ehtejab” from Hooshang Gholshiri by pointing at the similarities and dissimilarities of these two works about the woman, put the under careful consideration.

This research is to deal with nostalgia in the Ferdowsi’s Shahnameh and Shahriar’s works to investigate the important characteristics of nostalgia in one hand and compare the roots of the works of the two poets from psycho-social aspects on the other hand and point out their reasons which are somehow different in two works; because in the Shahnameh they have national cause but in Shahriar’s works they originate from personal feelings.

Regarding to its didactic structure, Mathnawi of Maulana is a suitable ground to investigate the social behaviors and show the environment of community. In this essay, a number of articles and books about the reflection of social ethics in Mathnawi Ma’navi have been briefly investigated. In the continuation, by studying the stories and texts of the second chapter of Mathnawi Ma’navi , some of the social behaviors and communities’ specifications relating to Maulana’s ideas have been expounded, and Maulana’s view on the man’s role in society and social behaviors have been presented.

Since the earlier times, the relation between culture and literature, was not only rivalry but also interactive and fundamental. It was this culture that sometimes caused the literature to go under transformation and sometimes literature has affected the changing of culture. A good poem which has prolific structure and content, alters the innate culture of human being and anytime this internal development gets ground, it also changes easily the external behavior. It has been tried here to investigate the thoughts, speculations, and view points of Forough Farrokhzad in poetry.

What is posed in this essay, is to criticize the Gnostic outlook of “Ainol Ghozat”. If we survey the mystic books meticulously, we’ll realize that some ascetics have discrepant ideas in some mystical problems and have offered different ideas in the subject. Ainol Ghozat is one of those ascetics who have set aside the imitative style and followed the Gnosticism which is ideal for him to be dedicated to his readers. Perhaps, attractiveness of his works is in his unique view on the subject. Ainol Ghozat’s approach on some mystical problems such as Satan, love, soul, prejudice, and blasphemy is noticeable. The aim of the writer by providing this essay is not to reiterate what has been repeated, but it has been tried to explicate the mystic expressions which Ainol Ghozat has expressed in new terms, and which nobody or few have used them.