STUDIES OF LITERARY CRITICISM (LITERARY RESEARCH)
Year:2012 | Volume:- | Issue:27|Papers Count:8

The IRANIAN AND TURANIAN eulogized the rostam always for his good functions but in the conflict between Rostamand sohrab his bad doings appeared.The biggest invent in SHAHNAME has many obscurity. Rostam is responsible with Iranians (the King and courtiers) unreal and untrue hopes and wishes. In this study, it has been tried to prove two theories: The first implies that Rostam has experienced some characters traits in four dimensions in this conflict: Irresponsibility, Fear, Bodily and spiritual weakness and Lying which never has been found in him in none of the Shahname heroes. The second underlines this fact that in spite of Ferdowsi and the researchers ago, and over that the fate makes this happening some of feeds causes Sohrab to be killed by Rostam.the most important matter is that SOHRAB is the enemy of iranshahr and for this reason he must killed.

Naturally all poets impressed by former poets. Between all fundamental elements of poetry, imaginary figures have a special place. Hatefi of Kharjerd (d. 1520) is a prominent poet who practiced imaginative of Nizami’sKhamse (quintuple). Between these imitative poets, Mathnavi of Haft Manzar Manzar (seven domes) is considerable because of to be new of the seven tales. Hatefi was impressed by his uncle, Jami rather than the other poets, because jami further than his relationship with the poet, he was the most important poet of 15th century. In this article, impressions of Jami in four contexts (simile, metaphor, allusion, metonymy and epithet) have presented. Certainly, we must take attention that Hatefi in the above-mentioned poetry used a lot of new imaginary figurative, but in this article we tried to present the impression of Jami on formation and use of Hafefi’s imaginary figures on Haft Manzar of Hatefi.

The artistic religious helped from some tricks making the speech stylish for good of the utterance of themselves and sometimes thy are not adjusted with some natural norms of the speech, on of this tricks that makes speech beautiful and interesting for listener and reader is "repetition industry", on the 0ther hand we try to arrange comparative consideration in this field in Farsi, Arabic and English literature and somehow it was different with the arrangement of eloquence scientists, but in some nominations followed the ancients, in this new arrangement we can divide them as follow, the repetition based from continual word to: echo, alliteration, assonance, homeoptoton, and epizeuxis, and based on repletion place: anaphora, epanastrophe, epanalepsis, epistrophe, refrain line / burden, rhyme, alliteration, internal rhyme, and according to meaning of repetition words: paronomasia/pun, inversion, antimetathesis.

The main subject-matter of this article deals with faculty of imagination and its feature in the human levels of being and its abstraction in the Sadra’s view. There is an essential feature concerning the self-cognition and its moments, especially faculty of imagination in the Sadra’s thoughts. Faculty of imagination indeed links the relation between the physical world and the metaphysical world, on the one hand, and the relation between sensitive consciousness and human rational consciousness, on the other hand. In other words, there is the imaginative consciousness between two kinds of consciousness, which is the sensitive and rational in order to fill up the gap which is between them. Above more, one could say to prove the imaginative consciousness has very important role in order to describe the Bodily resurrection in Sadra’s thoughts. The article tries to describe the issue of abstraction of the imaginative consciousness as one of the innovations in Sadra’s thoughts.

Nima’s free meter is as the same as traditional arooz meter and dividable with the retention of quality of traditional arooz and the probability of change in it’s quantity. It can be considered as new form and more complete than the traditional Persian form of poems which is accompanied by innovation in its rhyme and meter.The difference between free poems from traditional ones is the variety of half – verse, written form and the structuring which is formed from combination and inspirathon of Mostazad, Mosammat, Bahre tavil, Tarkib band and Tarjie band.Ahmad Shamlou is the first Nima’s follower and learners. He didn’t agree with Nima on arooz and after a sheer imitating from Nima’s free poems and also after being petrified Nima, he made himself free from traditional arooz meter and free from Afaeil.Shamlou considered the meter as an external fact, forsed and adjunct factor. He believed in type of music as a nature and inseperable factor from the poem, s structure and he replaced aroozi meter by a type of rhythms and also by using different internal and side rhythms and also by spontaneous application of words.

The current article signals nostalgic song and disturbs elites and celebrities within centuries and epochs it is neither departed form father and mother nor homeland, it is accompanied neither in journey nor abode, it is neither healing in silence nor outcry, nostalgia is a sprite which is plain, intelligent and aware.The present article reviews six books of Mathnavi, outlooks of Moulavi over sprite and its confinement by mundane sphere which seeks to rejoin exalted kingdom.The profiles of sprite, presentation and similes expressed by Moulavi represent those aspects and consequently it challenges the human for rejoining the intellectual sphere and resolving the confinements including ontology of poems composites by Moulana.

Fathollah Khan Shaybani, the heedless critic of the court of Ghajarian dynasty, is one the great poets and writers of 13th and 14th lunar century (1241-1380A. H.). Sheybani during his fifty years of artistic activities have left numerous Farsi literary works including prose and verse manuscripts, the most important of which being “Ganje-Gohar”, “Tange-Shekar”, “Dorje-Dorar”, Laalie Maknoon”, “Zobdat-ol-Asar”, Kamraniyyeh”, “Youseffiyeh”, “Bayanate Sheybani Le-emtesale Farmane Soltani”, etc.Almost all of the said manuscripts are kept in great libraries like the National Library and Islamic Consultative Assembly Library. A collection of Sheybanis’ poetic works was published at his will during his lifetime which is now known as “Divan-e AbuNasr Fathollah Khan Shaybani” and is kept in some libraries like the National Library, Islamic Consultative Assembly Library and Mojtaba Minavi library.This paper deals with one of his valuable manuscript works titled “Bayanate Sheybani” which has been corrected and re-written by the author as a smooth and monotonous text.As the said work has been written adopting “Maghameh genre, this paper deals with the “Maghameh”, and the Sheybani’ s work; “Bayanate-Sheybani”, meanwhile surveying its features from the literary genre point of view.