PERSIAN LITERATURE QUARTERLY
Year:2010 | Volume:6 | Issue:25|Papers Count:23

Poets and authors have long benefited from dreams among other topics in their works of art. In this article, some researchers' and psychologists' views on dreams will be given first. Then, a sample of dreams in books other than Shahnameh will be examined. Finally, an attempt is made to examine Zahhak's dream from a psychological and symbolic point of view. In the psychoanalytic criticism to which the author pays more attention, the psychological theories of Freud, Jung, Alfred Adler, etc. are emphasized.The lines in the article are taken from the first volume of Shahnameh, compiled by Saeed Hamidian. Numbers to the left of the lines indicate the page number and those to the night show the number of the couplet in the book.

Folklore, particularly oral literature, is in fact the real, yet unwritten, life history of our ancestors that has been passed down to us from generation to generation to the present time. Today, faced with the prodigious manifestations of modern civilization, this priceless, yet non-renewable, treasure trove seems so vulnerable that it is incumbent on us to help it survive by getting acquainted with, collecting, and publicizing this part of the spiritual heritage of our nation.In this article, the researcher tries to re-appreciate and point out just a small part of the folklore, namely dobeiti (couplets) and taraneh (songs), in the hope that this may be a step, though small as it may seem, in retaining this part of the unique and valuable heritage of Persian oral literature

Khaqani is one of the greatest Iranian poets of the 6th century (A.H.). It is generally acknowledged that in order to understand Khaqani' s complex language and difficult meanings, his reader should have a good command over his mystical language, his syntactic and semantic elements as well as his style of expression.In Persian poetry, Khaqani is considered to be an iconoclastic figure who has his own unique style. His odes, due to their incomparable niceties, wonderful combination of words, and use of difficult rhyme schemes, can be studied from modem literary perspectives, including formalism. That is because the skills that he consciously uses transform his automatic poetic language into a language that has foregrounding properties which can in turn help us to get a new view of things around us and lead to defamiliarization in a literary work.This paper attempts to touch upon the special characteristics of Khaqani's poetry, based on a formalistic approach.In addition, it tries to demonstrate that the poet presents new concepts and meanings and that the existence of certain old and stereotypical ideas adroitly transformed into new forms and clothed in language decorations highlighted with deviation do not reduce the worth of his poetry.

This article tries to investigate and analyze the pectic art of Abdorrazaq Beyg Donboli, pen-named Maftoon, in his two love poetry collations (Salim-o-Salma and Naz-o-Niaz) from various perspectives: emotion, imagination, music, language, and form. It also presents his poetic potentials and reveals the rate of imitation and initiation in his works and the degree of credit and originality of his poetry, based on plenty of evidence. In addition, it acquaints the readers of literary works with these two Mathnavis, that have recently been published.

Farrokhi is a constitutional poet who contributed to the awakening of the people and the development of the society with his poems. His poems contain new concepts and novel themes that have destroyed the obsolete and obliterated system of values. Freedom is a concept that Farrokhi has focused on and has called "Shahed-e-Ziba" whom he is ready to give his life to get to.In fact, Farrokhi is a complete liberal and believes that the improvement and prosperity of the society depends on it. Because of his strong love for his country, he encourages all the people to be ready to sacrifice their lives to achieve it. He wants to be free from all those who oppose the establishment of freedom. In his poems, he speaks of the social and political instances of freedom, such as freedom of speech, freedom of the press, etc. and regards them essential and necessary for democracy in the society: To achieve it, he frights despotism, reactionary policies and capitalist colonialism. This research tries to explicate the dimensions of the poet's liberalism ad his ideas about freedom.

Sheikh Ahmad Jaam's works are among the eminent works of Khorasan's Khanqah-based system and considered to be permanent and brilliant examples of Ghaznavid and Seljuk eras. In addition to content-based, guidance-related, and mystical aspects, the style, format, and general structure of these works can also be considered. Of course, the author himself was also aware of such innovations.This article focuses on Sheikh Ahmad Jaam' s most innovative and expansive work: Seraj al-Sa' erin. Through time, part of this work has disappeared, but an invaluable part has survived.

A general look at the language of five great contemporary Iranian poets show that, from a stylistic perspective and at intellectual and literary levels, modern poets are markedly different from classical poets, but despite the passage of a long time they have been influenced and dominated by the language of their ancient predecessors. Of course, the rate of this influence on the language of these poets is different, an issue which deserves an independent article.Akhavan overtook his contemporary poets. He can be considered to be a better Khorasani style poet than others. Even his new-style works are closer to the language of the Khorasani style. It can be said that all the linguistic features of the Khorasani style can be found in his works to a lesser or greater degree.He uses Khorasani language in a rough and unpleasant way, which decreases the strength of his poems. If he had not insisted so much on using ancient language, his poems would attract men of letters and meticulous critics. However, it must be acknowledged that he built a bridge to connect Khorasani language and spoken language. This combination created cohesive and appropriate form and structure in Persian new verse. On the whole, Akhavan’s language, with all its ups and downs, is so eloquent that it has enchanted great scholars like Dr Khanlari.

This article analyzes Masih Kashani's poetry in terms of rhythm and rhyme. First, the rhythms and rhymes of his poetry are extracted and the frequency of each one is estimated. Then, to answer the question "Is the music of his poems influenced by the environment? " the article mentions the views of some sociologists of literature and art. Based on these views, the rhythms and meters of Masih Kashani's poetry have been analyzed. It has become clear that his poetry was under the influence of the environment. Hence, he has mostly used sad rhythms.

Khaqani and Ebn al-Rumi are two renowned Iranian elegy composers, both of whom are sad and grief-stricken for the sake of their deceased loved ones and famous for their gift of description. They are aware of this blessing and are proud of their poetic skills. They have created many beautiful poetic images.This article reviews the imaginative images in one of their elegies: K Khaqani's elegy in memory of his son, Rashid al-Din and Ebn al-Rumi's elegy in memory of Mohammad.

Centering on personal, political, and religious issues, satirizing has existed since the Ignorance Era up to Samanid and Ghaznavid eras. Many Arab poets, such as Hati’eh, Farazdaq, A’sha, Jarir, Ebn Rumi, etc. have had satires on these topics. Persian poetry has also had satires on these topics. Some odes that describe and elegize cities have remained from the 0mavid and Abbassid eras. Satirizing cities was first seen in an in dependent way in special poems by Samanid and Ghaznavid poets. Iranian poets have satirized many cities in Persian and Arabic. Some Persian satires caused their composers some problems, known as “Shahr Ashoob” (mischief –maker).

In Persian literature terminology, eulogy is defined as the expression of a person's good traits in verse or attributing good virtues to somebody. The Persian letters for eulogy (م د ح) in reverse order gives us three letters (ح م د), meaning praise. Praise belongs to God, but eulogy is for men. There can be some differences: Eulogy is used for wise and animate creatures as well as inanimate things, but praise is only used for animate creatures.Eulogy can occur either before or after receiving a gift, but priase is always done after receiving a gift.Eulogy is some times considered wrong and is to be avoided, but praise is encouraged in any way.There have been various eulogies in Persian and Arabic literature: Some of them are pure eulogies; others have been composed to flatter somebody in order to be granted gifts.This article tries to explain what a eulogy is and to study poems by some religious figures, four early Islamic Arab poets and two famous poets of the Azarbaijani style.

Iran and Georgia have long had political, social, and particularly literary and cultural ties.Georgians are completely familiar with the rich culture and literature of Iran. A Georgian poet, Shoota Roostaveli, and his work, Palangieh Poosh, can be proof for this familiarity. In his work, he has been inspired by poets like Ferdowsi, Fakhr al-Din As’ad Gorgani, and Nezami. Hence, this work is similar to Ferdowsi’s Shahnameh, Veis and Ramin Poetry Collection, and Nezami’s works in terms of language and content.Many Georgians, who were migrated to Georgia in Safavid and Qajarid eras, have always been inspired by Persian language and culture and have revealed their poetic talents in their published works.Soroosh Gorji, Kowkabi Gorji, and Keikhosrow Gorjestani are some Georgian poets of the Safavid era, and Akhtar Gorji, Taleb Gorji, Mirza Abdollah Gorji, and Yoosef Gorji are a few Georgian poets of the Qajarid era.