PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2011 | Volume:7 | Issue:17|Papers Count:11

Hakim Abulghasem Mansoor ebne Hassan Ferdowsi, the great Iranian epic poet, has told the truth in composing the Shahnameh; that's, what he found in prose Shahnamehs or heard from those who told the truth, reflected in his own book – "Neither did I decrease nor increase anything to the skeleton of the events". He also says "I asked lots of inquiries from everybody, because I was afraid of the judgement of the vicissitude".While he tried to be trustworthy, he didn't overlook the readers' illumination. He's used the unity of action throughout the events and has left a very valuable monument behind him.I've talked about his truth writing in this essay.

Abu Hamed Mohammad Ghazzali was one of the greatest characters of 5th c (A. H). Though he had attained the mundane fame and ranks, these elements couldn't fill his internal vacancy; therefore he turned to mysticism and was satisfied with certainty which he had been looking for throughout his life.One of the eminent characters in Gnosticism and Mysticism, who appeared in the 7th century, was Maulana Jalaloddin Mohammad Roomy.In the way of truth, one may find slight similarity between these two scholars, but in many other ways they have obvious differences. The main distinction is that Ghazzali is severely bound to Shari'a and his mysticism is based on the Qur'an and Hadith (tradition) and is accompanied by asceticism. He is of the first men who founded the combination of religion and Gnosticism. Although Maulana, in the beginning had the same approach, later by deep developments turned out to be a lover Gnostic, the lover who doesn't see and know anything except the beloved. Ghazzali is mystic and Maulawi Gnostic, therefore their mysticism differs with each other; Maulawi is love-bound and Ghazzali affection bound.The noticeable point is that Maulana set forth in Gnosticism by the guidance of a pir (saint), but Ghazzali's mysticism is what he has learned from books, sayings, and traditions. It is obvious that such a manner is very dangerous and in most cases misleads the wayfarer. That's why some people don't consider Ghazzali a mystic, or at least have some doubt in this respect.

Manifestation is sometimes beauty and the other times grandeurThe face and the lock of hair are its examplesThe Almighty's qualities are favor and angerThe face and the lock of hair of the beloved have taken advantage of these two.The manifestation of absolute essence of being and the radiation of that unique concrete sun, in the garb of proved names, and qualities and views or appearance of unity in plurality is a matter which like pantheism, following the Gnostic school of Ibne Arabi, has been dealt with in the works of the Gnostic writers and poets. The manifestation of the essence and its types in the coverage of beauty and grandeur appear in every golden and colorful page of Gnostic literature and is reflected in the mirror of the diwan of free-spirited sufi–Hafez of Shiraz who is intoxicated by the manifestation of these qualities. It has also showed itself in the mold of graceful and hostile beloved as a literary incarnation in the form of mythical, historical, narrative and religious character, each of which are the symbols and manifestations of the names and qualities of beauty and grandeur of the eternal beloved–Allah.We have done the required research by bringing evidences from other Gnostics in this domain.

'Lesanol Arab' is one of the greatest dictionaries in the Arabic language. Its importance is due to the extension of its items which has scrutinized over eighty thousand entries. But the researchers have not paid meritorious attention to it yet. It has been eluded to non-Arabic words in this work. These terms have always occupied the minds of those who refer to It., but they have not been analyzed from the point of view of morphology, syntax, and phonology. This research is to work and survey on the loan words by presenting lexical analysis.

Omran Salahi is a celebrity who has forty years of activity in poetry and prose (writing story and comics in the press), translation, research and even caricature in his track record. He is well-known as a satirist and the Iranian society knows him by this name. While he considers himself first as a poet then a satirist, the attention of literary society to Sahahi's satire writing has caused the society to ignore his talent as a poet. He has so brilliant works in the domain of poetry that has ranked him among the distinguished poets. One can allude to the characteristics of Salahi's poetry as the simplicity, terseness, dealing with the details, using new interpretations and explicit illustrations in his poetry. Analyzing the collection of Omran Salahi's poetry and observing his specifications in it, in the different molds and times, evolution of his thought and language presents us four decades of continuous activity in this respect.

Serpent is one of the most controversial and symbolic creatures. In referring to the dictionary of symbols, we encounter lots of pages for this entry and find out that it has mingled with man's culture and civilization. Its root is the same as death. In Pahlavi it is (mar), in Sanskrit (mara). Mara means killer or one which makes the others die (Borhan Ghate'). In Gilaki and Mazandarani dialects mar means mother. Therefore in Persian Language it has two meanings:1-killer or causing to die2-Bearer (mother or foundation of something)It is interesting that both definitions are opposite to each other. Serpent is the factor of existence. Their roots are apparently separate from each other, that's, in the first meaning serpent points at death and sick man, but in the second meaning it denotes mother and a female.We, in this occasion, discuss about the stance of serpent in different customs and ceremonies and in folkloric literature of Iran.

There is much to be said about affecting and affectability of the poet in the sphere of literary criticism, and few poets can be accounted for who have benefited only from their own hearts' proclamation and have not been affected by their previous literary traditions. Looking at the poets' diwans with this horizon of view can reveal the limits of innovation, literary style, methods and traditions of poetry and the way to attain the perfection of theme and provide the process of understanding the poets' works.This essay deals with the affectability of Safi Alishah from the previous poets to illuminate the horizons of his thought more explicitly.

Description has a very important role in literary works. In pre-Islamic era, the important skill from which the poets benefited more was description. Emra'ulgheys, the father of Arabic poetry, together with his poetic talent, appears as a genius in the ignorant times the Arabs. The qualities of his aim covered non-living nature like plains, deserts, rain, thunderstorm, night and also included living nature like woman, horse, and camel. Innovations which he offered in his descriptions caused that Arab and non-Arab poets to colineate their speculations with his or imitate him in some way. He is considered as an avant garde in most of poetic characteristics: figures of speech like simile, metaphor, and kinds of descriptive themes and other verbal and spiritual specifications in Arabic poetry. Manuchehri Damghani is one of the well-known and much discussed poets in Persian language who, no doubt has been affected by Emra'ulgheys.We have analyzed ' HORSE ' in the poetry of both Emra'ulgheys and Manuchehri Damghani.

One of the most distinguished aspects of the Zorostrians' history is their exodus to India which later was known as 'The Parsians of India'. There is no record of their movement to that country, except a brief thesis from fairly old times, known as 'The Sanjan Story' which recounts the emigration of some of the Zorostrians after the Arab conquest.It has been tried, in this essay, by relying on the poetry of Sanjan story, to discuss the quality of Parsians' emigration and the important events which followed it.

The word doxology, with its derivatives, has been used approximately 85 times in The Holy Qur'an and also in traditions and prayers repeatedly. The necessity of familiarity with it, as a Qur'anic truth, is obvious for all. Doxology means purifying the divine's sanctity of any shortcomings and indecencies. The Holy Qur'an considers all creatures "the praised". From this perspective, the whole existences is completely in the servitude lasso of Allah and the whole universe unanimously and unquestionably praise Him and confess the Almighty's grandeur, and deprive Him of all deficiencies. There is a discrepancy among the interpreters on the quality of this doxology. Some of them think of it as the momentous and figurative doxology and the others consider it the praise of all the creatures as an objective one.Therefore, in this research, I've first surveyed the word 'doxology' through meaning and its typical specimens, and then the verses in which doxology is used with its implications, importance, and its applications in the Holy Qur'an, and the extensive discussions on the quality of doxology and its reflection in the literary texts have been offered to those who are interested in the subject.

Folkloric literature is a branch of literature which is mostly ignored by the experts. Although this section of literature is of great importance, and has been used as pillars of literature, some people look at it in a despising way. These groups believe that some of it belongs to the laymen, who don't grasp the literature well, or the children who are in play which doesn't have any value from literary point of view and may cause the culture and literature of a nation to be despised. In Shamloo's ideas, the language of mass people is dynamic, constructive, and profile. Those who look at the language from the altitude of their lectern, and the background of their satisfaction is "The Kalileh and Demneh", it is not possible for them to have a profound understanding of it (Shamloo, lecturing in 1990). It is true that this kind of literature belongs to the people, but it cannot be attributed to those who whose understanding is in a low level; because this branch of literature expresses the literary soul of a nation. Therefore, Shamloo, in addition to collecting people's folkloric literature, sets to compose verses in this style and creates noticeable works in this domain about which we'll deal with as far as our ability permits.