PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2013 | Volume:9 | Issue:21|Papers Count:10

Literary Sociology is one of the effective and new methods of criticizing the literary texts which evaluate the literary works, social conditions, ranks of the writers and readers to specify the different and similar classes of society and their different behavioral approaches and actions and also talks about their social structures in a limited period of history. The aim of their essay is to study the interrelationships of aesthetical and mental structures which make collective conscious in "The Peasant's Daughter" with emphasis on creative structuralism of Luciene Goldman. The results show that the created literature has unity in soul and existence and has presented the ideas behind the Jungle Movement, Tudeh Party, and presence of Allied Nations and the development of Marxist ideas which had influence on the theme of "The Peasant's Daughter", and also has traces of the relationship between aesthetic and common mental awareness and the same subject has enlightened the close cooperation with the social class attributed to 'Beh Azin".

Romantic literary school is one of the important western literary schools that were formed in the 19th century with releasing themselves from the constraints of classic school. After the constitutional revolution and since 1301, Romanticism developed in Iran. Nima Yushij, Sepehri, Naderpoor, Farrokhzad, and Atashi were the representatives of Romantic school in contemporary poetry. The major development of this school was the preference of sensation to wisdom and approach to nature and having nationalistic feeling to one's hometown and also dealing with emotions like love, grief, nostalgia and naturalism. Manuchehr Atashi was a poet from southern regions of Iran and his tendency to Romantic school had given a special manifestation to his poetry, that's, his homeland (Bushehr), naturalism,his love and emotion and nostalgia which we'll deal with his Romantic works in some details and will describe it by bringing some concrete evidences from Atashi's collection of poetry.

Desperation and hopefulness are the two important themes in contemporary poetry which the poets, following the political and social events, have used them in their poetry. After the fall of Dr. Mosaddegh in the coup of Mordad 28, 1332 Persian poetry, because of strangling, declined and consequently the political poetry became cryptic.Siawash Kasrai is of the poets who set to compose their poetry with political themes. There are some poems in his works which represent his political ideas. The theme of his poetry includes mostly desperation, hopefulness and an approach to death.In every part of his works, one can find despair allusions. In the first glance he seems to be the most hopeful contemporary poet since he looks at the world with optimism and rejects despair, but the fact is the opposite, because most of his poetry despite having hope renders hopelessness which has been stemmed from Iran's political, social and general failure. Anyhow, he is the man who is optimist to Iran's future, the country which is overwhelmed with despair and few people predict good destiny for it. We've tried to deal with hopefulness and hopelessness in Kasrai's poetry.

One of the most important discussions of methodology which has ever been posed among the methodology scientists is the independent literary style that was current in the geographical limits of Azarbaijan from the later fifth century to the earlier half of the seventh century. Although the methodological issues and Azarbaijani poetry and its specifications are discussed in the sphere of Araghi style, some researchers believe that most of the poetical elements related to the Araghi style were first posed by the well-known Azarbaijani poets like Abul Alaye Ganjawi, Mojiroddin Bilagani, Khagani Sherwani, Nezami Ganjawi and other poets of that region and entered the poetic themes. The poets of Khorasan and Iraq, by fostering those themes during the 7th and 8th centuries (A.H.), raised this style to its climax which in the end it became known as Araghi style.This essay is to survey briefly the Azarbaijani style with a meticulous look at the specifications of this style and the literary conditions which dominated Azarbaijan.

Poets have enthusiastically dealt with doctrinal themes in their works in different periods of Persian Poetry, but in constitution and Pahlavi era the society underwent some social, political, economic, cultural and doctrinal transformations which had great impact on the Persian Poetry; So far that the eradication of religious culture, reviving of national and ancient culture and replacing them with religious values and separation of religion from politics in the time of Pahlavi kings lead to the diminishing of the reflection of religious problems in the works of these poets.We want to show whether these social developments had any impact on Parvin E'tesami's ideas or not. Was this poetess who had experienced the constitutional era and the first king of Pahlavi regime, influenced by the sweeping events or not. The trend of our research shows that Parvin E'tesami chose the modernist traditional development for her poetry in which in addition to posing the political and social problems in the guise of ode and dispute, she composed and left behind remarkable poems in religious themes.

Hafez is a lyrist whose name and fame have traversed the borders of languages, ethnic tribes and cultures and have become universally known. His poetry is recited from India to Balkan and Anatolia; from Samarkand to Baghdad enthusiastically, and poets from numerous cultures and languages have been affected by his poetic and lyric style. The Ottoman poets have delved into his lyric poems and have brought Persian literature especially Hafez's works as patterns in their Diwans (collection of poems); therefore we've tried in this essay, to study lesanol ghayb (Hafez's title) influence on the Turkish collection of poems. Furthermore, distinguish the dimensions of its affectability in relation with the themes which they've taken from Hafez's poetry; and present some samples which have found their ways in Turkish poetry and prove that they have been intimate with Hafez lyrics for a long time. By surveying the Ottoman poets' works, we have come to this conclusion that Hafez's poetry had extensive impact on the formation and maturity of Turkish poetry.

Although there have been investigations on the comparative study of "The Aurelia" and "The Blind Owl", there still seems to remain further deliberative points in these two works. We have tried, in this essay, to illuminate some of the mental relationships of the two writers of "The Blind Owl" from Hedayat and "The Aurelia" from Gerard de Nerval, a French writer of the 19th century with referring to their aims and common points.We have also discussed about the similarities, characters, themes, common points and innovations of the two works in the thoughts of the people of their own era. The themes encountered in both books have major similarities with each other; to grasp well one can refer to the time, love and its implications. We concluded that although Hedayat and Nerval had different understandings from life, and they lived in two completely different historical period of time, in some definite subjects, more or less had similar speculations. Therefore, they had taken advantage of similar structure to present their ideas.

This fact has been proved today that one of the greatest factors of the progress of a nation is its relationship with ethnic groups and other nations. More than anything else, this matter can have the utmost influence on the progress and backwardness of that nation. The 9th and 10th centuries A.H. (15th and 16th A.D.) are of the brightest Islamic culture and civilization in the Ottoman era. Edris Badlisi, the distinguished prose writer of this period of time, was a contemporary of Sultan Ya'gube Agh goyunloo and Shah Esmail Safawi in Iran, and Sultan Bayazid II and beginning of the kingdom of Sultan Salim I in Ottoman era. Edris Badlisi's most important work in the Ottoman history is "The Hasht Behesht". The title and the content of the book are in Persian. The prose of the book is artifact and technical, and follows the style of Jahangoshaieh Joweyni and Tarikhe Wassaf from Wassafol Hazra. It should be mentioned that the manuscript of this book – Hasht Behesht – has neither been corrected in Iran nor in Turkey. The book is about the biographies of eight Ottoman Sultans which begins from Othman Beyke Ghazi and ends to Sultan Bayazid II and Yawuz Sultan Salim's ascending on the throne. By having some sources and manuscripts of this book at hand (correcting of the manuscript copy was the title of my Ph D thesis) I have tried to briefly introduce the book and its author, cultural elements in the introductions of the first and second heavens from "The Hasht Behesht" together with the analysis of those two parts in my essay.

The function and the effect of "seclusion and the intimate talk" have been surveyed in Gnostic behavior from the viewpoints of pious Gnostics, especially Maulavi in this script; and it has been tried to answer this major question "Which one has had much priority in the way of human transcendence?" The library research method and related resources for us are Gnostic texts especially Mathnavi Maulavi's. The attained results show that seclusion and private conversation are of essential Gnostic behavior, since seclusion causes the augmentation of knowledge and wisdom to flow from the heart which in turn leads the removal of the wayfarer's veil, having the peace of mind, avoidance from bad people and despised quality. Talking with good people, strengthening admirable ethics, sanctification of soul, discovering secrets and existing moments, utilizing from the perfect men's holy rays and saints of wayfarers lead the man to the levels of transcendence. Regarding all the discussions, in Maulana's idea, communication with the pious has priority to seclusion.

Our presupposition is that Bizhan, a young hero from Gudarz, prior to his travel to his utopia, decides to acquire the theoretical stages of Mithraism under the guidance of the spiritual leader to pass a practical test and prove himself to be the eligible wayfarer and enter the circle of Mithraists. Regarding the sovereignty of sun-worshipping in Ashkanian era lots of similarities are seen between the seven stages of Mithraism and seven stages of Bizhan's travelling; at the same time, there also appears many similarities between these ceremonial stances and usual seven epical adventures.We have tried, in this research, by adding documents and evidences, to endorse our theory scientifically.