JOURNAL OF PERSIAN LANGUAGE AND LITERATURE
Year:2011 | Volume:1 | Issue:2|Papers Count:8

Numerous Turkish words have been used in Tarikh-e Beyhaghi (Beyhaghi's History), Abolfazl Beyhaghi's valuable work. One of these Turkish words is Tegin which has been employed in the names and titles and which has frequently been used in combination with Turkish and Persian words. The present paper investigated the word Takin used in Azerbayjani dialect, in an attempt to demonstrate that the Azerbayjani word is different from the Turkish word Tegin. This paper also tried to clearly present the meaning of Tegin when combined with other words, regarding the fact that this Turkish word is a paradox; and to etymologize the two components of each title under investigation.

In Persian, Esteghbal (imitation) originally means to welcome, to turn to, and to follow. In Persian literature, however; it refers to following a great poet’s words and to compose a poem with the same meter and rhyme used in his works. It is common in Persian sonnets and odes. In imitation, a poet limits himself to and closely follows the specific meter and rhyme used by another poet. As such, imitation often leads to the repetition of the contents and themes developed by the first or original poet, hence; resulting in the composition of poems which are not of great value. However, the poet imitating the meter and rhyme employed by another one; will undoubtedly be successful if he can create new contents and themes and can present his own poetic imagery.A famous ode by Roodaki, was analyzed in the present study. Indeed, the imitations of this ode were investigated. The English translation of the first couplet of his ode; is as follows: All my teeth were decayed and taken out Not teeth, but shining light they were The fame of Roodaki’s ode in Persian literature has made other poets imitate and follow his works. The time range of the sample poems studied in the current paper; is from the fourth up to the present century.

The present paper attempts to study the similarities between Jami's Leili and Majnoon, Nezami' s Leili and Majnoon, and Amir Khosro Dehlavi's Majnoon and Leili. Having studied these similarities, the researches came to the conclusion that Jami's work was considerably influenced by Nezami's and Dehlavi' s. In addition to the similarities, the differences between these three works were also investigated in order to reveal the novel qualities of Jami's Leili and Majnoon in comparison to Nezami's and Dehlavi's works. In general, there are many similarities and differences between Jami's Leili and Majnoon, Nezami's Leili and Majnoon, and Dehlavi's Majnoon and Leili. Their basic similarity is that in all the three mathnavis, the first four chapters are classically designated for giving praise unto God, thanksgiving, the Ascension, and the reason for the specific organization of the work, respectively. Furthermore, in all of these works, Majnoon's name is Gheis who is from Bani Amer tribe, and is born in the Arabian territory; Leili is also from an Arabian tribe, however; the name of her tribe is not mentioned by the three poets.

In Arabic literature, Maghamat refers to the works or writings composed of melodious and florid prose, in which the author typically narrates a story about mendicancy, while trying to demonstrate his own artistic and literary proficiency. Such stories involving an imaginative protagonist and narrator; were originated by Badi'ozzaman Hamedani (937-977 A.D.). After Hamedani, Abulghassem Hariri followed and nurtured this trend to the point that he overtook his predecessor. Maghamat-e Hariri (Hariri's Maghamat) is a comprehensive work enjoying some background to every branch of Arabic literature, moreover; everyone can read it from his own perspective depending on his own personal preference.The Holy Qur' an is of special dignity and stature to the Muslims, particularly to their scientists and men of letters; it is also the best source and fount from which every poet or man of letters can receive his magnificent and elevated themes. As such, in his Maghamt, Hariri appealed to the divine verses of the Holy Qur' an, as irrefutable arguments and reliable evidence for his words.In the present paper, the researchers tried to investigate the Qur'anic adaptations in Maghamat-e Hariri (Hariri's Maghamat) as the most singular work of Arabic literature.

The present paper tries to investigate the trend of writing the eloquent books in Persian-speaking countries. To do so, after a short discussion about Aristotelian eloquence, the researcher focuses on the eloquent books in the realm of Islamic culture.A comparison of the content of these books reveals that Islamic eloquence is the result of the Islamic belief that Qur'an is the most eloquent and articulate Arabic book. The more important achievement of this paper is the finding that Persian literary figures have contented themselves to a blind imitation of the Arabic eloquent books, instead of expressing the characteristics of Persian eloquence in their works; and that they have even borrowed their examples from Arabic books.Specifically, after Taftazani, all Persian eloquent authors have repeated his words in Motavval.

Most people who read historical books or even historical stories, along with the great enjoy they get, always face this question that whether these matters have happened really so or they come from the historians and storytellers' minds.The research in this area is probably a popular desire, but there are such a vast number of problems that a few people are able to accomplish such a research. The great author of The History of Saboktakin Dynasty, Abulfazl Beyhaghi, who has a great emphasis on mentioning the written resources and introducing his narrators, stimulates our minds much more.In this essay, the researcher has focused on the story of Afshin and Bodelf from this point of view and in order to inquire this, the researcher has checked lots of resources, although we have found fewer materials.As Ghazi Tanoukhi, the author of the book, passed away in 963 A.D., it must be considered that Beyhaghi may have taken the story from this book or a similar one.

Boasting or egoism is a common theme in Persian poetry. Roodaki Samarghandi has also benefited from this theme. Sometimes, he boasts his own poem and sometimes other matters which, in this paper, are investigated as the non-poetic boasts. Praising his own poem, he emphasizes its attributes such as moderation in the expression, the content of the poems, its effect and acceptance, and its fame and popularity. In this type of boasts, he mainly tries to attract the praised one's attention and to compete with other poets.In his non-poetic boasts, Roodaki points to and boasts of the attributes, traits and conditions which he particularly possessed in his youth. Generally, all his boasts being far from common exaggeration and mendacity, indicate the poet’s great awareness of his genuine work and his commitment to the ethical principles and standards.

Throughout the last millennium, Tarikh-e Beyhaghi as one of the most significant and popular works of Persian prose had been appreciated by those fond of Persian literature. However, the lost portions that were missed from this work are about several times as much as the one at our disposal. Despite the fact that Tarikh-e Beyhaghi was written based on the time of Mas' oud Ghaznavi, it is not merely a historical and political work, indeed; its social, cultural, and more specifically; its moral values are considerable.The present paper presents a review of the values attributed to Beyhaghi's work, as well as a report of the research project conducted on this book through collecting various papers written on the relevant subjects.