PERSIAN LITERATURE (BAHARESTAN SOKHAN)
Year:2009 | Volume:- | Issue:12|Papers Count:9

Lyric, the most distinguished kind of poetry, has always been appealing to a great number of audience in the roaring and limpid river of Persian Poetry and adapted itself with every wave and has survived through the history; and by having melody and a number of suitable lines and the power of flexibility, reflected all moods of poetic themes.The formation of lyric poetry and its establishment, and survival on the foundation of lyric poem and the oldness of the song, and its application in different meanings including: lyric as a melodious poetry, poetry as lyricism, and finally lyric as the mold of poetry have been investigated in this research.

Meanings and applications of the letters and their usage have significant role in the interpretation and eloquence of the Old Persian texts. Bayhaghi's History is one of the most exquisite texts in Persian prose in which the letter “ra” has been extensively used. Some of the applications of “ra” in that book and afterwards is current in its contemporary texts. However, in some cases the usage of “ra” is specific to its own context. In any case, "ra" appears in the form of preposition, demonstrative, emphatic, and so on. The verb accompanying “ra” has effective role in recognizing the meaning and its application.

Symbol is one of the artistic expressions which has extensive manifestation in human culture and civilization and since early times has been appealing to great orators and poets of Persian Language.Symbol makes one's imagery colorful because it is one of the most distinguished kinds of figures of speech. Persian Literature is full of symbols which have deeply rooted in all genres of literary works including: lyric, epic, and mystical poetry.We've tried, in this essay, to describe and survey the kinds of symbols, primarily, the relation between symbol and imagery; and afterwards, we'll discuss the symbolic function of "water" and its combinations in mystical lyrics of Maulana and Attar together with some poetic examples.

It is more than seven centuries that Jalaloddin Mohammad Maulavi has appealed people's attention to his charming wise words. He is a sea where the astray men on the shore can find whatever they have lost in it.Having studied the Mathnawi and other works of Maulana, including the Feeh Mafeeh, I found out that most of the materials in the Mathnawi, have been restated with other words in the Feeh mafeeh. However, except the late Foruzanfar's edition and his explanation, nothing serious has been done on this matter. Of course, his endeavor is appreciable in its place, but he has mostly dealt with the comparison of the contexts of the book with Mathnawi and the expression of historic problems of the book which is sometimes chronologically doubtful and sometimes has explained some of the words in the book itself.An abstract of that research, if possible, will be offered to the readers.

This research deals with the hereafter life from the point of view of the poets like: Farrokhi Yazdi, Mirzadeh Eshghy, Parvin E'tesami, Nima Yushij, Tahereh Saffarzadeh, and Ne'mat Mirzazadeh.In the importance of resurrection, it suffices to say that it is the basis of the monotheistic religions. In Islam, it is also considered one of the principles of world viewing. Belief in doom's day is the prerequisite of being a moslem. If anybody loses or denies it, he'll be out of the Islamic circle. Therefore, dealing with the Doom's day is of special significance. Poets in the periods of Persian poetry have vehemently discussed this matter in their works, but in the constitution and Pahlavi era, the society was transformed in social, political, economical, cultural, and ideological problems that could put effect on the Persian Poetry. We are to show, in this article, the kind of impact that the society had on the transformation of the poets' beliefs. We want to clarify whether the above, mentioned poets who had experienced constitution and Pahlavi era, changed their visions towards the Doom's Day or not.

The wisdom with which Saeb Tabrizi, imitating the schools of great mystics like: Sanaee, Attar, Maulana, Hafez, Shah Ne'matollah Vali, and others talks about, is Helenistic wisdom which follows the soul, and like a veil makes knowledge and the truth unattainable; and as Maulana said, "Minor wisdom denies the love", but in Islamic and mystic view and also in religious verses and traditions the major wisdom has been venerated greatly. To despise the Helenistic Minor wisdom (Aristotle's argumentative and philosophical thought), Saeb describes it with numerous qualities and titles. This paper enumerates the qualities of such wisdom in Saeb's Diwan, with examples from other mystical poetry and prose.

Satire appears in the poet or writer's work only when he has a source of commitment and responsibility in his thoughts. Of course, true satire, remote from its critical approach towards the related affairs, doesn't materialize and as we know criticism is itself a manifestation of commitment. In responsible and meaning-biased contemporary literature, it becomes more ethical, so it little approaches to lewd, ridicule and comic poetry and rarely integrates with them. Here, the sphere of a satirist covers the ideological, religious, political, social, moral, literary and even economical problems.The writer has tried, in this essay, to investigate the kinds of satire briefly in the contemporary literature.

Since I, the writer of the essay, have recently done a research on Motanabbi's Diwan entitled "investigation on metaphor and allegory in Motanabbi's Diwan" and have checked it line by line, and extracted the distiches which, in his idea ,were considered metaphor and allegory and explained them first in Persian then surveyed its eloquent aspects and necessarily scrutinized most of the explanations of the diwan, therefore I have come to this conclusion that his poetry needs to be dealt with in two aspects: historically and thematically.Although Motanabbi's poetry has been expounded several times and numerous articles have been allocated to it, to be more familiar with the reflection of historical and eloquent problems in Motanabbi's poetry, it is necessary to write some articles in this respect to introduce this great poet further to the literary men.Motanabbi's poetry will be explored in two aspects; and since there is no opportunity to bring more items on the matter, it will suffice to mention one or two examples, otherwise numerous evidences will be needed for each article.

Ferdowsi has composed the introduction of some of the stories in such a way that the reader anticipates the general atmosphere of the story beforehand. Such a beginning which in the Shahnameh is called "the sermon of the story" or "prelude", is seen not only in Rostam and Sohrab, but also in Rostam and Esfandiar, Siawash, and Forood. In each of the above-mentioned stories, the composer embodies the general approach and context of the story in the reader's mind.The epic poet, in the prologue of the story, recounts his insight about the main characters of the story and puts them in the scale of criticism, by which to make the reader follow what happens next. In this case, the reader, who is obviously void-minded by the information, commences studying the story enthusiastically.In this essay, we've dealt with the dominance of fate and the manner of creating ambiguity which are of the arts of fiction writing.