PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2015 | Volume:12 | Issue:29|Papers Count:11

The constructive units of the myth are as different from constructive units of language as they are from each other. Myths are the man’s dynamism to give meaning to an implication from disorganized information which are derived from nature and other symbols of a myth. They are pictures of cosmic powers and experimental phenomena in the sacred world which in the cosmic creation, athletic affaires, ceremonies and totemism.Shahriar is of the Persian literary contemporary poets who is a mythological poet rather than a myth-maker. His poetry, by getting help from mythology, has traversed a way of endurance towards bisemanticism or multi semanticism; consequently, the poetic language has replaced the objective elements with subjective elements of mythology.It has been tried, in this essay, to investigate the myth and its dimensions in Shahriar’s poetry.

One of the basic characteristics of the poetry is that it can express whatever passes through the human mind with a harmonic and terse words and strong imaginative and emotional terms. The problem of death is one of the main concerns of human mind which the poets have expressed their experiences and thoughts through it since the ancient times. The highest attention to death in our literature is in the contemporary era which indicates a kind of social and philosophical despair and has negative implications, but after the Islamic Revolution, in the literature of holy defense, it appears in resistance domain and takes on the sacred and life-giving sense. The appearance of death has been investigated in the distinguished contemporary Hossein Monzavi and Ghaysar Aminpoor’s poetry, especially after the Islamic Revolution which is seen in relation with the implication of love, life, community and resistance in which the emphasis of the research is on resistance. The results show that the appearance of death is of much frequency, but in Monzavi’s poetry the frequency of death in relation with love is of higher rank. Anyhow the two poets’ speculations towards the problem of death is the same.

Proverbs are valuable treasures of different people’s culture in the world. Studying these maxims can make us be familiar with the morale, ideas, traditions and in one statement, with the culture of ancient people and lets us know their dark corners of life in their turbulent passage of the history. By studying Khagani’s illuminating words we have tried to investigate their content and themes to find out what approach Khagani had by the maxims posed in his book of poetry and what subjects he considered important. The subjects he dealt with can be summarized as: ethical problems like avoidance of mundane greed, patience and tolerance, avoidance of cupidity, being deceived from the evil people, surrender against destiny, dealing with the subjects of history, religion and alluding to the ordinary people’s beliefs and the mythological and national beliefs in most examples of which we have talked about in detail. By surveying each of the above-mentioned examples, the writer has brought samples existing in "the divan" to cast light on a part of hidden corners of the past people’s history.

Color is one of the distinguished elements in the sensory domain which denotes the people’s beliefs and thoughts and reflects their internal characteristics. Application of color is of special importance in our life span. The poets pay attention to the sensory aspect of color and some other times they regard their symbolic character. It is by the help of the color power which a craftsman expresses his anger, fear, and love. We are to deal with the implications of the colors and their symbolic applications in Sa’di’s works and understand the way of using colors in the cycle of imagination phases in Sa’di’s works. The method of this research is descriptive-analytic and the results show that the colors of black, red and white are frequently used in Sa’di’s poetry. Blackness is the most frequently used color which indicates the throbbing and painful atmosphere in which the poet was living. Sometimes Sa’di uses blackness to describe the beauty of his beloved. In most cases whiteness is combined with blackness which adds to the beauty in his works and in this way, whiteness which is the indicator of lack of color is shown more distinguished and the application is used to describe the redness of the beloved’s lips.

The present essay deals with the frequency and percentage of types of time with the computerized stylistic approach in Hafez’s Diwan which is based on the theory that by using the time variability one can attain some of the stylistic characters as the function of some of the grammatical tenses, the role of time in tradition and some aspects of grammatical sound. The theoretical and functional fundamentals of this paper is a combination of Haliday’s Systematic Grammar. Its lingual body includes 5561 verbs which are chosen based on systematic sampling and 17 time variables in that analysis. The findings of this study shows that more than %73 of verbs are allocated to tense which indicates Hafez’s tendency to tense. The manifestation element is trivial and the future tense has very little frequency which shows the lack of continuity and looking at future. One fifth of the verbs is imperative that can be a sign of grammatical commandment in Hafez’s poetry.

Mirza Baba Bayk, with the pen-name of Jooya is one of the well-known poets in Indian Style and was a talented student of Kalim Kashani and Saeb Tabrizi. His book of poetry, by imitation of Kalim and Saeb is repleted with opposite meanings and themes; that’s, like kalim and Saeb, he was the influence of such causes and factors as: the reason of being in different situations, lack of spiritual and mental equilibrium, creating themes, attaining the colorful meanings as used to imply " the unfamiliar meaning "; he had different attitudes toward the mythological, historical, religious, poetical elements and surrounding phenomena and created new and opposite themes which in Indian style means that the poets of this style, by creating novel themes and avoidance of stereotyped and undimentional subjects which are current in Persian literary norms (Iragy Style), together with norm deviation the familiarity, has broken the past poetical tradition and given new meanings ( positive and negative or praise and denunciation ). The writer, in this research, has extracted the opposite themes and meanings from Jooyayeh Tabrizi’s odes and has arranged them alphabetically, and where it needed has brought examples from other poets in the footnotes. The outcome is that dealing with the opposite themes and meanings, by norm-deviation and following the Indian style are of higher frequency.

The writers of this research are to introduce ‘The Shahanshah nameh‘ from Fat’hali Khan Saba which has been composed about Fat’hali shah and Abbas MIrza’s wars and its impressionability from Ferdowsi’s Shahnameh and compare their joint aspects. To accomplish this end we have explored and analyzed the ethical, mystical, political and social themes and the related terms and names of characters, war instruments, similar grammatical and rhetorical points. It showed that there were lots of similarities between the two books which confirm that Saba’s work is an imitative one and cannot be equalized with Ferdowsi’s Shahnameh.

One of the topics on which the scientists and interpreters have discussed and the poets have described, is Prophet Mohammad’s spiritual ascendance. Nezami Ganjavi is the first poet who has seriously dealt with it. Other poets including Kashani reflected that great and strange event in their works. Kalim has not mentioned anything about this event in his book of poetry but has described it in his Mathnavi of ‘ the Padeshahnameh ‘ which was originally a description of the victories of Shah Jahan together with the praise of Allah and qualities of Prophet. Through the narratives of the event, Kalim has special attention on the astronomical view, religious beliefs, the ancient people’s tenets which were accompanied with exquisite poetry and beautiful pictures. The plot of the story is ponderable from artificial the thematical view which are in accordance with The Holy Qur’an and traditions; and from the scientific point of view and with physical documents and also with the view of Einestein’s theory of relativity are also adaptable. Me’raj is not a story but it is a metaphysical event which is possible only in lack of time and place, It is the opening of the internal eye to the invisibles whose understanding and belief are the guide and complementary. Regarding the above-mentioned items, it has been tried to assess Kalim’s Me’rajnameh by all circumstances in this essay.

The melody of poetry is the result of different factors which are put together to create a special tune. This essay deals with the role of one of these melody-making factors which can be impressive when heard. The intended factors are the length of the sentences and the point which the poetry ends, and in a specific way the accompanying of pause at the end of the rhythm which can help in making music in some prosodic rhythms. Therefore, we’ve studied the poetical meters that have allied foundations, and later those which have different bases. Afterwards, by presenting the samples of poetry, we deal with the impact of these factors in the music of classical poetry and at the end we’ll refer to the effect of this factor in Nima Yushij’s poetry.

Naar or fire is one of the key discussions in Maulana’s works which has frequently been used in the Mathnawi and Shams’s complete works in various meanings. Naar has been investigated in different aspects in Maulana’s poetry and dealt with under the influence of the Qur’anic verses and traditions and narratives. Regarding the distinction between naar and noor (light), it has been discussed in two aspects: the first one is that naar of sensation which is of the four elements and has burning and destroying character and it also alludes to the fire of self which is the symbol of hell in human being; the other is spiritual naar which is attained by asceticism of self and has purging quality and scorches the unfavorable qualities in man. Therefore "naar" in Maulana’s poetry is sometimes the sign of God’s rage or the favor which is hidden behind His curtain of rage.In this essay, we have used the "naar" with citing documentary evidence to the verses and traditions about it.

Maulavi is one of famous poets in the domain of mysticism. He has composed verses about the way of liberation of soul from physical mold, mortal body, traverse in angelical divine, the way of attaining the degrees of love and knowledge, the necessity of following the spiritual leader and also attaining the higher ranks of mysticism like poverty, annihilation, and survival with the aid and guidance of spiritual leader in the mold of beautiful, exquisite, and novel verse. Maulavi’s poetry, because of external implications, are of more interpretive capability; that’s, why we have dealt with the interpretation of the stories in the fourth book and tried to extract the ultimate and main aim of the poet to compose the poetry. Numerous works have been done about the mysterious stories including those in Persian Literature, dictionary of symbols and signs in Maulana’s thoughts and …. But nothing has been done to investigate the interpretations of stories in the fourth book of Mathnawi.