JOURNAL OF PERSIAN LANGUAGE AND LITERATURE
Year:2012 | Volume:3 | Issue:1 (5)|Papers Count:8

Shahriyar’s poetry has been well-accepted and enjoyed by most people. In addition to his fluency and use of simple language, his command of the musical facet in poetry is among the secrets of his success. Accuracy of niceties in his poems and the appropriate use of meter, rhyme, and perfect rhyme have bestowed special pulchritude upon his poetry; and his rhythmic poetry is, to a large extent, a result of the appropriate use of this poetic elements. The present paper is an attempt to uncover the secrets of Shahriyar’s success and acceptability by describing the exterior and peripheral music in his sonnets. To this end, 536 of his sonnets were examined regarding both their rhyming properties and their use of prosodic meters. The obtained results were presented, using tables and figures. The general results indicated that: 1. In more than 61% of the sonnets, the main letters of the rhyming words are in the pattern of a long vowel followed by a consonant v: c.2. More than 73% of the sonnets have perfect rhymes; 3. Nearly 93% of the sonnets follow the “Jouibari” meter, from among which 41% are composed in the “Raml” meter.

Shahnameh is meant to be the climax of the Persian poetry whose brilliance has been reflected in the work of latter poets as well. Of all great Iranian poets, Attar-e-Neyshabouri is one of the true followers of Ferdowsi who has experienced a great deal of impact by Shahnameh. Neyshabouri has used the terms and fables of Shahnameh in his Ellahi Nameh following the procedure of Ferdowsi in aspecific manner. There are two imporant issues to be pointed out here: Firstly, he has shown an innovative and creative taste in using new concepts and terms from Shahnameh due to his adroit and skillful art which has surprised readers and made them admire him. Attar’s art is to use mythological terms of Shahnameh in his Ellahi Nameh in that this meaning has been forgotten and a new concept has been given to the term. In Ellahi Nameh Attar has granted a mystical perception to the words through his taste of innovation. The art of Attar is on the one hand to rely on mythological terms of Shahnameh in order to give them a mystical meaning; and secondly, it should be mentioned that Attar has been able to develop the conceptual understandings of Shahnameh through using them differently in his Ellahi Nameh.

Vaqaye-e-Golkonde (The Heydar Abad Surrounding Days newspaper) was written by Mirzaa Mohammad Khan Alli Shirazi in Owrang-e-Zeeb Royalty in India. The book is a mixture of both prose and poetry, describing the adventures taken place between Ourang-e-Zeeb army and a person called Abulhassan, continuing with how Heydar Anad and Golkonde Castle were occupied. The book consists of a mixture of Persian, Arabic and Mongolian words. The main feature of the book is the use of several Quranic verses relating to the plot of the story. Although the main aim of the author was to explain the war and its adventures, as said repeatedly, but in some cases the army’s thoughts, ideas, their equipment’s and people’s way of living have been mentioned, too.The joking taste of Nemat Khan adds to the attraction of the book, accompanied by his knowledge on astronomy, music, medicine, eloquence and even cooking. The prose is Nemat Khan’s work, except for some single verses. Although in some cases the readers are faced with difficulties in understanding the Arabic and Quranic notions, but the traces of Indian style are visible within the whole text. These poetries have pedagogical purposes such as lexical issues rather than mere explanation of the war and the traces of it. That is why the book has been used as a main course-book at different academic contexts.

Sadegh Hedayat is one of the adherents of the modern movement and one of the Iranian proficient writers who became well-known with his famous story Boof-e-Koor in Iran and world’s contemporary literature. This writer created Pedaran-e-Adam story based on anthropology and primatology in a nascent context. The creation of such context was the result of his precise information in Primatology and Anthropology. The story takes place in the ruling-period of Pithecanthropus, which goes back to the first era of the four-staged man-kind living. The era was called “the primer-life-ear” starting from the separation of humans from animals which continued until The Stone Age and shows how Pithecanthropus evolved from physical and social perspectives.

Sadeq Choubak is known as one of the masterful contemporary writers in Iran. Following Sadeq Hedayat’s style after Shahrivar 1320 (10th September 1931) along with other western writers, he added a great deal of novelty into the Persian literature. He is one of the realists of Iran, trying to reveal the realities of his contemporary society, especially corruption and cruelty. In his short stories, especially in his novel “Sang-e-Sabour”, Choubak portraits some dark aspects of one’s individual and social life in Iran in those days. His work acts as a precise mirror showing the real face of Iran during those exciting years. This article attempts to introduce Choubak’s work through analyzing them and also would like to have a glance in his short stories. Further, the study tries to explain his novel “Sang-e-Sabour” and analyze his thoughts in the novel in question.

Due to his complicated word game, Ahmad Shamlou’s poetry has always been the subject of debate and different interpretations. “I’m Still Thinking of that Raven …” is one of these debating poems which these word games have made its ending open for different interpretations. These heterogeneous readings made Shamlou had an interview with Takapoo magazine and refused all. On the other hand, one of the approaches to literary criticism is Formalism which believes in looking at the literary text without regarding the creator of it. It believes in looking at the text as a living being. Therefore, this approach shows the reader how a text can sometimes be in a completely opposite side of its author. Giving a brief history of Formalism in the first part, this article tries to have a formalistic reading of this poem, and by means of which to challenge and to refuse Shamlou’s idea about his own poem.

The researches and the views on the notion of Kharabat and its concept in mystical texts and Persian Literature has not yet directed the readers to a comprehensive and impediment definition, as different and occasionally opposite views confuse the readers more and more. What is clear, however and is the purpose of the present research is that at first Kharabat has had an interdicted and blameworthy meaning in Persian literature occasionally in some mystical texts and it was gradually changed semantically and has gained very high semantic weight in Persian texts and especially mysticism and Islamic Sufism, so that this concept referred to a holy place symbolically that is “Tarighat-e-Kharabat”. The evolution of this word from negative to positive connotation and its concept in mysticism and the prose and poetry evidence of this word during historical eras is the main aim of the present study.

Morphology of folk tales began by Russian formalist “Vladimir Prop” in1928.He founded his work based on the characters’ deeds which has turned into one of the most common methods in the structural analysis of stories. The present article aims to investigate Khajou-e-Kemani’s Saam-Naame, an adventurous folk tale on Saam’s life from birth to the kingdom. To begin with, an introduction on the elements of morphology, a look into literature along with an introduction of Saam-Name is presented. Then, the story is analyzed based on Prop’s model concerning the initial status, absence, hearing, etc. and finally the elements of story such as plot, point of view, settings, etc. are overviewed. The results indicated that the story in question enjoys the characteristics of folk tales adhering to the formal model introduced by Prop.