PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2016 | Volume:13 | Issue:31|Papers Count:11

Regarding the profound impact of mystic speculation on the different periods of Persian ode, the present essay, with its special approach, deals with the influence of mysticism on the works of Hatef Isfahani who is the great representative of literal renaissance in Iran. Investigation in Hatef’s odes reveals some affiliation to the previous mystical thoughts; therefore, we’ll first allude to the reflection of love as the basic axis of mystical poetry, especially in Iraqi style which was of Hatef’s interest; and since Sufic language is considered as the main basic element in reflection of true love and other mystic themes, finding the common aspect between the mystic language and lyrical language , seen in the previous times which later appeared in Hatef Esfahani’s odes, are of the matters of special interest in this essay. At the end, we’ll find the other mystical themes beside the conception of love, with the special language of mysticism in Hatef’s poetry with its mystical essence and approach. Consequently, in this way, we’ll determine the rate of the impact of mystic trends on those odes.

The post modernism can be considered the magic of present century in the geography of science. Flexibility, challenging, defining-deviation, relative approach, large-scale negation of narration, anti-structure, and undefinability are of its fundamental characteristics. In contrast, one of the current types of post modernist novels is ultra-story which attracts the readers’ attention to the artificiality of the story. Disclosing the artifact, ridiculing the story implementation are of the important specifications of ultra-story. These characteristics raise questions about the identity between the text world and the outside world and also the world of the author and the reader. Ultra-story tries to suggest the reader that what he reads is nothing more than the language and its figures of speech and should not be mistaken with the reality. Ravanipoor in “The Gypsy Beside the Fire” uses manifestations of ultra-story in narration; however, in writing it, he implements reporting and story telling. Calvino in “If you are a traveler in a winter night” illustrates post-modernism in a completely classical way. What we’ve discussed in this research is: the comparative study of the ultra story elements in the two novels of: The Gypsy beside the Fire from Moniro Ravanipoor and If You Are a Traveler in a Winter Night from Italo Calvino.

Studying of prolific Persian poetry and literature shows that scholars of literary thought have always tried to answer the question: How far must an individual follow the rational teachings? Can one thoughtfully accept whatever the wisdom takes it as valid? Or wisdom is nothing but deception? If most great thinkers of literature and mysticism have considered the rationalism the only way of salvation, some of them think that expedient and trivialistic mind is nothing but a trap and a factor for aberration. It has been tried, in this article, to investigate the ideas of some of the great thinkers of Persian Literature in rationality based on the word of God (The Holy Qur’an).

Tahereh Saffarzadeh is an established name in the domain of value and revolutionary poetry. During a few decades of her poetic career, before and after Islamic revolution, she got numerous experiences and could create a special kind of religious poetry which had connections with social and humanistic themes. Saffarzadeh’s poetry thematically has relatively similar characteristic in her poetic years but its structural aspect was in its transformation. The major structural diversities in Saffarzadeh’s poetry were the cause of her creative and sometimes non-poetic behavior in poetical language. Different lingual approaches, in every period, made her poetry be of special expressive system and have different structure. Therefore one can see some fluctuations in her poetry which is not seen in other poets.The present article concentrates on these aspects of her poetry; and by dealing with the evolution of her poetic language, has criticized and analyzed her expressional aspects and characteristics.

The early man thought that the earth was the mother angel which could be fertilized by splashing blood on it to continue life cycle. The followers of ancient Iranian religions including Mehri, Zarvani, and Zoroastrians immolated for Nahid, Vai, and Mitra. This article investigates the sacrificing of the first cow which was the foundation of Mitraism and Mehrgan festival (creation day of Mashy and Mashyaneh and Feridun’s conquer on Zahhak) and the mourning ceremony for Syavash which are narrated in The Bukhara History and The Mojmalol Tavarikh Val Guessas. And also in this essay, the dedication of sacrificial animal by the forces of Good and Evil and rejection of Evil’s sacrifice by God have been reflected in The Bal’ami’s history. The conclusion of this article indicates that some of the traditions of historic-literary books in Islamic era correspond with the mythical patterns, so that there is a profound relation among history, truth, and myths; in other words some of the items which are reflected in history writings are the natural continuation of old religions and myths which have become closer to the truth and exactness.

Woman has invisible presence in classical Persian Literature. Perhaps, the best way to see her feature is unveiling the mystic sense of love. In the works of our previous poets, in any stage in which the name of woman is mentioned, it is in general sense and doesn’t have individual characteristic. That’s why woman’s feature has been encountered with opposite and different symbols in Persian literary and cultural domain. In the arena of literature action and reaction of the past, except in a few romantic stories in which woman is the symbol of loyalty, the others have cast curtains of veil on their faces. The trivial symbolic conclusion of a woman caused the interpretations (allegory) in the literary world in the present works. In this article, by considering these two approaches and contradictions in Maulana’s poetry, we have alluded to his methods in modifying the women’s position (empowerment).

Irony is a method of expressing the current literary idioms like ironical pretending ignorance of a scholar, authorized in using conflict, pseudo-praising, disparagement like praising, ironical allusion, sarcasm, mockery, and ambiguity. But its best Farsi equivalent is “rogue of meaning”. Irony is an instrument to express extensive meanings which, language with its limitations cannot satisfy them. Mysticism, in Persian Literature is the source of many meanings which challenge the restriction of the language for kinds of irony. The types of irony can be found in “The Maaref”, the only work left from Baha Valad, the mystic of the 6th and 7th century, and in “the Seven Assemblies” from Maulana. Baha Valad and Maulana have utilized this style in a natural way to stabilize their aims in the minds of their readers. The existence of irony in these two great mystics’ speech and stories has led to better understanding of moral and mystical meanings of their aims.

The nostalgic view point that has recently entered from psychology to the world of literature, is one of the psychopathology divisions through which, by analyzing the works of the poets, one can understand their conditions in the past and their grief and vacuum in the present situation. These yearnings and deficiencies which are the outcomes of modern world development has showed itself in Sohrab Sepehri’s poetry. In this research, the long poem of “The Tiptoe of Water” which is his fantastic biology and his view to the different periods of life – apparently has neither been critically investigated yet. In this long poetry, Sepehri talks about the sudden ideological changes which are the results of modern technology that creates fear, yearnings, and personal and social anxiety. By analyzing the two view points one can be familiar with the poet’s circumstances of life and his social conditions in the past.

Colors have fundamental role in man’s emotional and spiritual characteristics. Through choosing the colors by the subjects, the psychologist can understand their spiritual-mental conditions. Max Luscher’s test is a test which can reflect the individual’s mental situation by eight functional colors. This essay, by studying the colors used in Hooshang Ebtehaj’s poetry and by the function of color in Luscher’s experiment, deals with internal spirit and conscious mind of the poet in different decades of his life. The question which, by studying the colors, comes to mind is that can the choice of the pen-name of the poet have any relationship with his unconscious mind? By studying his poetry, we can conclude that his pen-name Sayeh (shade) reminds us of the gray hue which represents his gloomy life.

In this article we have tried to investigate Shervan from Khagani’s viewpoint, and ponder on his positive and negative outlook to this city. The word Shervan has high frequency in his poetry, so as it has been used in his book of poetry (Diwan) 109 times, the Monshaat (writings) 60 times and in the Tohfatol Araqein 17 times.In the first period of his poetic life he used to praise the kings but later his spirit was transformed and he avoided the court panegyrism. The sense of solitude and disloyalty of people affected him to have negative view on Shervan.Khagani, in his poetry has talked about his native city bitterly and scornfully; and has complained of its narrowness and called it the place of cruelty and darkness. The conclusion is that his negative approach toward it is much more negative than positive one.

Having gathered the valid and endorsed resources, Bayhaghi re-narrates them in a factual way. Relying on the techniques of story-writing, he explains and scrutinizes the history. He accomplishes it in both terseness and sometimes in details; and in this way he reveals valuable information about social history. His techniques are much like the scientific approach which is dependable in modern history-writing. These modern and raw skills are stemmed from specific religious, politic, and social tenets and somewhat hereditary. As the last generation of writers and historians, Bayhaghi is of the expertise who has accomplished a balance between literature and history in his period of life. Characteristics which can be considered as the advantages of writing method in the history are abundantly seen in his works. To the above specifications one can add frankness, telling the truth, truthfulness in expressing the matter based on the reliable documents, lack of prejudice and lack of impartiality, love and hate, rationalism and terseness in history-telling are of these techniques and skills.