PERSIAN LITERATURE QUARTERLY
Year:2009 | Volume:5 | Issue:23|Papers Count:9

Speech is what distinguishes humans from other living things. It is the general privilege that God has granted human beings. It is so vast and extensive that there can be no end to it. Undoubtedly this rise and fall of expression can be considered to be the result of the way units and components of the artistic context of speech are selected, arranged, adapted and covered, since in organizing speech, pieces can take indefinite and various positions to convey this message.The present article tries to study some specific thought-provoking features of the less noticed sentence elements, prepositions such as علی فی لِ in the Koran, in respect with their selection and arrangement. They are going to be analyzed in relation to their relevant structures in order to show their inspiring, dynamic, effective and impressive nature.

The compound verb is a very controversial issue in Persian grammar. Grammarians have extensively discussed this topic and have presented different, and sometimes contradictory, opinions. Most of them have been confused in recognizing a compound verb. Many examples considered to be compound verbs are not in fact compound verbs. For example, سوگند (oath) in سوگند خوردن (to take an oath) is an object, as in باز هم همان سوگند را خورد. ترش (sour) in ترش شدن (to become sour) is a subjective complement.

One of the beautiful aspects of Orfi's sonnets is their images. Thus, this paper tries to reveal the imagery elements of Orfi’s sonnets. Therefore, such elements like simile, irony, figure, metaphor, paradox, and synesthesia have been analyzed. In the realm of similes, Orfi has more often used concise simile and eloquence. Such images are abstract, intellectual and tangible. Orfi’s similes are various in structure. The subject of the likened is often the poet, the beloved and abstract concepts, and the subject of that to which a thing is likened is often non-abstract elements, like nature and objects. Of different kinds of metaphor, irony and personification arrays are more frequent and also creative. The componential elements of his imagination from the viewpoint of the thing metaphored mostly include nature and objects and from the viewpoint of that to which a thing is metaphored the beloved and the poet.In his sonnets, he himself is the predominant element in making abstract concepts distinct.Verbal metaphor is another feature of his imagery that is manifest in lines or verses. Paradox appears in the form of explanation or predication which is used less in comparison with previous elements; synesthesia limitedly appears in connecting two apparent senses with each other or an apparent sense with a mental task.

Hafez's mind is often integrative in the innovation of imagination forms. That is, he sets together the imagination forms of nature with their own properties in an appropriate context and creates such imaginary pictures that you should contemplate on the whole scenery simultaneously.Otherwise, in an abstract view, Hafez' s delicate imagination in creating proportions among those imaginary pictures may be neglected.Since, as far as we know, Hafezologists have examined each of the imagination forms in an abstract way and overlooked its details and delicacies, this study attempts to investigate the layers of imagination forms in some images of Hafez's poems from an integrative point of view.

The exegesis of the Koran is based on the Prophet's words. The Prophet is in fact the first exegesist of the Koran, whose speech has been referred to by all exegesists.Abu al-Fath Razil, the great six-century Shiite exegesist, has written his invaluable and elevated exegesis for all human life. Apart from being an exegesis of the Koran, this collection is replete with original Persian words and expressions with a philosophical and literary taste.This article aims to present this multi-faceted exegesis and to introduce a valuable dictionary based on it. The reader is made familiar with the value of this work and the author's literary interpretation skills, linguistics, etymology of some words through this three-volume dictionary.

Like adult poetry, the main characteristic of child poetry is in its special language and structure. What distinguishes child poetry from adult poetry is the abundant rhythm and music along with a fast linguistic rhythm, the use of happy language, high pictorial function, the use of external environment in personification, integration, lack of space and omission in the narrative line of the poem, the monophthong nature of the poetic language at a paradigmatic level, the shortness of language at a syntagmatic level, and the priority of language over message.The musical richness of child poetry is much more complex and difficult than the correct use of other linguistic elements, because the correct and informed employment of musical elements in child poetry requires attention, patience, and more importantly a good command and right comprehension of childish language. This article tries to analyze and clarify the most important linguistic features of child poetry.

Religious tendencies in Mathnavi are not so vast as to consider Mowlavi a religious scholar who has interpreted and explicated traditions and verses in his Mathnavi, but the expanse of Mowlavi' s knowledge covers religious jurisprudential affairs as well.One of the subjects he has noticed is the necessity of worshipping and praying, the preparations and conditions of acceptance and perfection, religious precepts and pillars, some secrets of praying, Friday prayers and collective prayers, and some other jurisprudential commandments related to prayer. The above mentioned factors are studied in this paper, based on Mowlana’s ideas, and traditional and Koranic documents are taken into account.

Ibn Farez is perfectly talented and powerful; furthermore, religious and mystical feeling and understanding is at its highest elevation and excellence in him. The existence of these two prominent privileges has caused him to carry the banner of the poetry of his time in the period of literary regression after the crusades and stand at the peak of Arab mysticism. His two odes -- Taeeyeh Kobra and Khamriyeh -- have caused the rose garden of the Divine Love to blossom. Although his love is an example of mundane affection, it also includes many witty mystical points embellished with the colour of philosophy.Ibn Farez, like Ibn Arabi, Jalal al-Din Rum, Attar and others, is the composer of the unique heavenly music and reveals the divine secrets. He chose Islamic mysticism, having dynamic and positive aspects, to join the origin of Absolute Being and went through different stages of mystical path. He was fascinated to God on account of his public and private prayers and spiritual, physical and heartfelt obedience to God. He reached the Truth through intuition, epiphany, and illumination; therefore, unity and knowledge, principle of creation, substance of religions and sects constitute his religion. This article compares and contrasts his worldview, tradition and treatment of enlightened mystics and Sufis, who have created literary and mystic masterpieces under the influence of Islamic sciences, the Koran and traditions.