PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2013 | Volume:9 | Issue:23|Papers Count:10

Allegory is one of extensive and prolific discussions in different periods of Persian poetry. Regarding the importance of this subject in rhetorical and expositional books, numerous definitions have been offered for it. Khagani who is considered one of the representatives of Saljuk era, has special view on the stylistic allegory. The writer, in this essay, has briefly dealt with the definitions of allegory and has surveyed Khagani’s poetry in two main categories; that’s, the aims and instruments by which the poet used the allegory, and concluded that in the first step the main part of his thoughts which are common with the poets of his time, have been expressed as allusion in the teachings and tenets of The Holy Qur’an, secondly, the aims and instruments used in Khagani’s allegory testify that they are unique and specific for him.

Since the main and common characteristics of the migrant poets of the north (North America) and the south ( Brazil ), in one hand is the migration and leaving behind their country, Lebanon and on the other hand is their romantic approach, it is natural that their ideal stance would be one of the main themes in their poetry. But the subject of homeland like other implications and phenomena has special image and impact which is related to the character, spirits, type of approach, way of life and the origin of one’s social life; and also the rate of different influences of socio-cultural environment must be taken into account. Therefore we decided, by studying and comparing the ideal stance of homeland in these migrant poets and as a sample to discuss and choose about the migrants of North: Ilia Abumazi and Amin Rayhani and two poets from South migrants: Rashid Salim Khoori (Geravi poet) and Fowzi Ma’loof and try by expressing their similar and dissimilar aspects to analyze those four poets’ ideas about the ideal homeland and the conditions of their viewpoints. The outcome of this research is that despite some critics’ belief, belonging to the migrants of North or South does not determine the kind of view of the migrant poets toward the ideal stance of the homeland.

The resistance literature as one of the literary genres has been based on the different nation’s social and political conditions since the early times and has reflected afflictions and hopes of the people who have seen their freedom and identity trampled under the cruelty. Therefore this type of literature has been the truest and most explicit kind of literature which can reflect the other dimensions of nation’s total spirit. In this domain, surveying and comparing of the themes of the resistance literature of Palestine and Iran as two nations who have had religious and sometimes common social experiences such as (colonialism, occupying the others’ homeland, war, defense, deprivation and …. ) along with the history of the two nations and uninterrupted bonds that the Palestinian and Lebanese resistance has with Islamic ideals, necessitates to survey and analyze comparatively their resistance in the sphere of these two languages.

Established traditions which have allocated a noticeable part of the written traditions to themselves, sometimes have left such an impact that has manifested itself in tangible form so that one can say that their compositions about the denouncement of women’s esteem and character, in a way, is derived from these established traditions. The poets, inspired by these groups of traditions have formed their views on the dimensions of woman’s character and rights and have entered them in their compositions. These traditions have been investigated by some great thinkers and tried to refine their origins. We have tried, in this essay, by reflecting the view points of some of the Persian poets in their woman hostility poems to allude to some points which experts in the matter consider them forged ones.

Fragment is one of the poetic molds which was of the highest interest in the 6th century and lots of poetry were composed in this mold; so as one can say that the sixth century was the climax in composing of the fragments in Persian poetry. Fragments in the 6th century were composed in different subjects. According to our survey there are 29 subjects in these fragments; but because of the limitation, we have studied only 8 subjects which are of the poets’ interest, and we have surveyed 16 poets in the 6th century which are: panegyric, inquiry, description, satire, complaint, criticism, maxims, wisdom, morality, love and lyricism. From the psychological point of view, the most important point in composing fragments of the 6th century was the need of the poets for gratuity from those who were praised and was done in different subjects such as praise, inquiry, satire, criticism, maxims (recommendation to generosity) and etc.

Dream is of divine signs, day and night, and the exposition and interpretation of its mysterious manifestations is in the responsibility of dream interpreters to push aside the ambiguous curtains and render the message of invisible world by his donated or acquired knowledge to the dreamers. The writer, in this discussion, has decided by relying upon the literary texts and by grading the dream interpreters and expressing the distinguished characters of the groups of people to draw a sketch of the main line and total specification of them in descriptive and analytic method and survey their common and individual relations with court and ordinary people and offer a research which reveals the dream interpreters’ stance and validity in ancient people’s minds.

One of the unique stylistic features of well-known poets of Indian style ( Esfahani ), like Kalim Kashani, Sa’eb Tabrizi and others whose poetry appear to be more distinguished and artistic than the others is norm-deviation from the standard language. The purpose of deviation from standard language in the works of Indian style is that the poet of this style, to attain “ the strange language meaning “and” colorful thoughts” and making alienated words and nurturing meanings and pure themes of poetry which is distinguished from what exists in tradition and literary norms, about the stereotyped meanings and themes current in Persian Literature, characters and famous narrative Qur’anic and mythological elements like “ abe hayat” - water for eternal life, Khezr, Yousef, spiritual guide, and so on, looks at them from a non-traditional view point and judges on it in the same way; that’s, having negative and scolding view on some thing that in tradition and standard language has been considered and praised positively or vice versa. This paper has researched and made inquiries in this field about Kalim Kashani’s poetry together with bringing samples from other Indian style (Esfahani) poets.

The Ghaznawids’ court had an orderly and extensive organization to govern and dominance on this wide territory, of which one can allude to “diwane Resalat” - the office of letter writing. “Diwane Resalat in the Ghaznawids’ court had responsibility to write the government’s letters and its undertaker was called” Saheb Diwane Resalat “- responsible for correspondence. The most famous of them was” Abu Nasre Moshkan “. He was skillful in Persian and Arabic literature and was in charge of Saheb Diwan up to the end of his life in Mahmud and Mas’ud Ghaznawis’s kingdom. Abolfazle Bayhaghi was trained under his school and after nineteen years of apprenticeship got the permission to faircopy of the master’s letters. He learned the corresponding technique thoroughly from his master and throughout his book, intentionally or unintentionally, tried to render these techniques to his audiences and talk about the different letters: concealed, published, mutual conversation, and different kinds of letter regarding to the theme, content, like: open letters, rebuke letters, chronology and their writing methods as commencing in the name of God, having addressee and the way of keeping them safe.

We have dealt with the criticism of “The Negarestan History” from Ahmad Ghaffari corrected by the efforts of Morteza Modarres Gilani. To do this, we have compared the context and structure of that book with its 1275L lithography which was Modarres Gilani’s basis for correction and the excellent edition of 585, and later we have studied those items in other historic-literary works such as Tarikhe Tabari, Morawejozzahab, Jameottavarikhe Rashidi, and Tarikhe Gozideh. The result of this surveying shows that Modarres Gilani’s correction has a lot of mistakes which partly originates from lithographic problems of 1275 and other segments are the results of the changes which the editor had exerted on his own ideas. We have tried, in this essay, with alluding to those documents, to talk about some of those mistakes in the correction.

Throughout the history, man has always had different speculations about this world and its destiny; in the course of time, some of these thoughts were set as criteria to evaluate the other works so far that they did not give importance to the nationality of the thinker. Of those gratified men of the field of thought and speech are Abul’alaye Mo’arry and Omar Khayyam Nishaburi whose ideas have had serious impact on the generation after them. Its obvious sample is the effects of Hakim Nishaburi on thoughts and poetry of Ilia Abu Mazi, the contemporary migrant Lebanese poet who is known as the poet of inquisition and prediction and has composed poetry in different subjects and affected from Persian well-known poet Omar Khayyam.The present essay tries to investigate this affectability from different aspects and analyze it thematically.