PERSIAN LITERATURE QUARTERLY
Year:2011 | Volume:7 | Issue:28|Papers Count:24

Vayeh, defined as wish, want, and desire in dictionaries, is in fact the changed mythical belief of وایو, وای, وات, اندروای, وای وه. Through history, this myth has survived in the minds and language of Iranians. Vayeh was in distant past imagined to be a tall young man who satisfied unmarried girls' desire of having a husband.

The origin of the Philosophical Theory of Ideas Universe -- the belief that the Idealistic world existed before the Material world -- existed in Zoroaster's thoughts about the Fravashi world before Plato and his theory about Ideas. This theory influenced the thoughts of Islamic philosophers and mystics like Mowlana. In the theory of Jung, the existence of archetypes in Collective Unconscious can be the new interpretation and anthropological form of this ancient theory. These theories in literature are forming the allegorical or symbolic literary structure which gives a dual theme to works like these.The present article focuses on the basis of this ideology and its instances in Mowlana’s works, its theoretical basis in Mathnavi and Fih-e-Mafih, and its literary forms in Mathnavi. It also tries to study The Evolution of the Philosophical Theory of Ideas Universe and its Relation with Allegorical Literature, which is manifest in the relation between western symbolism and Plato’s idealism. The intellectual and literary representations in Mowlana's world view and his allegorical literature in Mathnavi and Fih-e-Mafih are also studied.

In comparative literature, Dante’s Divine Comedy and Sanayee’s Seir al-Ebad el al-Ma’ad are models for a spiritual journey to the innermost layers of the self and the worlds after death. Philosophical and religious knowledge, imagination, mystic revelation, existing reality and what ensues from it are all so interrelated in these two works that the reader cannot wisely judge whether the authors are aware or awake, conscious or subconscious, …. Dante was not the first person to speak of a journey into the world of spirits; he was undoubtedly influenced by his predecessors. He had also been externally influenced by factors like social injustice and political fluctuations and internally influenced by factors, such as imagination, revelation, dreams, spiritual and psychological deficiencies.Although Dante had been inspired by many works, why are Divine Comedy and Seir al-Ebad el al-Ma’ad more similar than others? The present article analyzes Divine Comedy as a work that mixes reality and imagination and by comparing it with similar books, it tries to focus on internal factors conducive to its creation.

An aesthetic aspect of Mohammad Taqi Bahar’s poetry is its images. In creating images, Bahar’s creative mind has combined imagination and inspiration with verbal skills in such a way that his carnal and affective states are made manifest in the form of simile and metaphor. He creates various innovative, sense-to-sense, and eloquent images.The tenor of the simile is often the poet himself, the beloved, and sometimes abstract concepts; objects and natural elements are often used for the vehicle of the simile. His metaphors are mostly of the figurative type. The vehicle of the constructive elements of his metaphors is often nature and objects; the tenor of his metaphor is mostly the poet himself.This article tries to formally analyze the origins of eloquence for these artistic and sometimes creative images and to provide a content analysis of these image creating elements.

Tirgan Festival is an ancient and ritualistic festival in Iran.A diachronic study of this ritual reveals early written forms of this ritual in books, while a synchronic study is only possible by knowing Iranian folklore and its modern manifestations.According to ethnographic studies, this ritual has existed in some Iranian cultural districts and subcultures, such as Gilan, Mazandaran, Khorasan, kerman, and Yazd among Zoroastrians, Ashuris, and Armenians. But unfortunately Iranians have ceased to hold this ritual as well as other twelve festivals of the solar year and it is no longer a national festival.The present article tries to study the history, customs, and rituals of this ancient festival.

The purpose of this article is to study, analyze, and compare the external and lateral music in Sanayee’s and Attar’s Odes. In other words, it wants to study the aspect of their poetry that has been ignored. To do so, after an introduction about poetic music, the rhythms of the two poets’ odes are compared from different perspectives. The article then focuses on the lateral music, comparing the rhyming of the odes in terms of sounds and rhetorics. It concludes that the external and lateral music of Sanayee’s odes are richer than Attar’s.

The history of medicine in Iran dates back to ancient times. Signs of this medicine existed in different forms and levels even before the establishment of Jundi Shapoor University and Hospital.Achaemenians organized the science of medicine and Parthians combined Iranian medicine with Greek and Zoroastrian medicine. Islamic medicine started in the second Hegira century with Firdows al-Hikma by Ali bin Rabban al-Tabari and it was climaxed by Avicenna in the fourth century.Persian poets also were more or less familiar with the rudiments and principles of this science. This familiarity can be seen in the poems by Ferdowsi, Anvari, Khaqani, Nezami, Sa’di, and Mowlavi. The present article studies Anvari’s poetry from this perspective.

Sultan’s Falling in Love with a Bondmai is the first story that Mowlana has considered to be suitable to our status and has composed it after Mathnavi’s love story (the first thirty-five distiches).The plot of the story is such that, on different occasions, Mowlana includes some of his mystic principles and ideas in it. In the conclusion, in the defence of the Sultan and Hakim’s action in killing an innocent goldsmith, he faces a knotty situation, forcing him to use allegories and to resort to verses and traditions to defend it vehemently. However, amazement and perplexity with the work of the divine hakim does not leave the reader’s mind.The present article surveys Mowlana’s supporting documents from different points of view, hoping to provide future researchers of Mathnavi with a motivation to delve more in the matter

In mythical thoughts, a person’s name has an indispensible relation with his personality and conduct. In other words, his name represents his personality. This name-personality relation is manifest in Rostam’s name and personality. On the one hand, Rostam is at the sublime height of epic; on the other hand, he has a sublime mythical place next to Saam and Garshasp. Therefore, his personality is a combination of symbolic mythical and heroic functions. The personality of this superman of Shahnameh parallels Sorena, the famous Parthian commander.The present article focuses on different dimensions of Rostam’s personality.

Satire deals with life and society and covers whatever can be included in these two categories. It can therefore be seen in different educational, ethical, political, … formats. Justice and hypocrisy have always been its basic topics, especially when the propagators of justice and goodness are not committed to ethical standards. As intellectuals in their times, many satirists have criticized the deeds of such authorities.Sa’di is one of these great men. Long before the Iranian constitutional movement and the era of social criticism, as an informed sociologist, he paid special attention to political satire and criticized the conduct of the men of justice, politics, and religion in his poems. The present article studies Golestan and Boostan from this perspective.

Being familiar with the political ideas and thoughts of ancient Iran and the teachings of Islam and being aware of the effects of scholars’ and social reformers’ advice on the control of the limitless powers of the kings and their agents, Sanayee intervened in the theoretical realm of politics by reflecting political ideas in his poems. He used his good relations with Ghaznavid kings and viziers to propagate his thoughts in the form of elegant and exquisite poems. Sanayee praised kings, viziers, and men of justice for their just conduct. He lauded many contemporary judges in his poems.The present article tries to first mention the literal and idiomatic meanings of justice and then to study and analyze Sanayee’s references to the justice-propagation done by the kings and judges on the basis of religious teachings and Iranian idealistic thoughts.

Iran and Georgia have long had mutual social, political, literary, and cultural ties. Hence, Georgian words can be seen in the works of Iranian poets and writers. One such poet is Khaqani Shervani (sixth century A.H.). His wife was Georgian and he commuted to Abkhazia and Tbilisi.He got familiar with Georgian language in this way. He used مویی مویی (pronounced mooyi mooyi, meaning come, come) in his quatrains. Hakim Nezami Ganjavi used the phrase مویی مویی in his mathnavi of Leili and Majnoon. However, some Persian words have also entered Georgian.A group of Georgian Iranians were forced to immigrate to Iran.They were influenced by the language and culture of the area and gradually lost their mother tongue. An instance can be the Georgians living in Gorjimahalleh, Behshahr, who came to this place in the era of the Safavid king, Shah Abbass.Some family names in these areas reflect Georgian language. There are some common words in these two languages.