PERSIAN LITERATURE (FACULTY OF LETTERS AND HUMANITIES)
Year:2016 | Volume:6 | Issue:1 (17)|Papers Count:12

Mood is, In general, a meaning concept that indicates the speaker's point of view about a proposition. There are different modal elements in each language to embody a mood; in other words, different languages have variety of methods to express modal concepts. Using verbal moods is one of these methods. Verbal mood represents the morphology of a verb and can hence be considered as a grammatical issue. Examining the history of Persian grammar makes it clear that Persian grammarians have finally reached a consensus that there are three different types of moods in Persian language named Indicative, Subjunctive, and Imperative. This study is to show that the distinction between subjunctive and imperative moods, that is just its morphological outbreak, is not a modal distinction and it is not possible to distinguish these two verbal groups in terms of verbal mood. In other words it can be said that there are only two verbal moods in Persian language: indicative and non-indicative. It has also been tried, in present study, to provide an explanation about being zero of the second person singular feature.

Myths are powerful and stable. They can survive 10 the toughest conditions by changing their shape and remain alive and active keeping their dynamicity. Much of the issues in mysticism, such as customs, tales, stories and gnostic literature, have either emanated from myth or affected by it in other ways. The existence of ancient myths in some Sufis' traditions is a sign of wholesomeness and integrity of these ideas with the teachings of Sufism. To explain the coherence of myth and mysticism, we have reviewed the functions of myth and the ways it has continued in Persian mystical texts up to the end of the eighth century. The results of this study show that mythical thoughts such as salvation, Asha, and the holiness of water and fire as sacred elements has continued to exist according to context of mystical ideas and in the form of mystics'“Keramas” (Miracles).The structure of the mystics' “Magamas” books is also based on the myth of salvation. Initiation rites have been replaced in form of testing pass of mystics through the water or over the fire and in framework of Keramas. The importance of the characters such as Sage, Ghotb and the Abdal lS also a form of displacement of myth in the form of Keramas.

The “conterminous opposition” (the companion of two opposite pillars) is a term connects with rhetoric of syntax. This term is a kind of hidden structural art of Masnavi and several structures and different models of this art are going to be analyzed and explained on the basis of construction theory and rhetoric of syntax in present essay. Conterminous opposition in a sentence with similar grammatical identity (focus oppositions; the possessive conterminous oppositions and adjectival conterminous oppositions), conterminous opposition in a sentence with dissimilar grammatical identity, and conterminous opposition in two sentences including conjunctive and non- conjunctive oppositions are some of the oppositional models. Association of these models with other aesthetic elements such as different types of rhetorical techniques and the music of speech increases the meaning potential and their rhetorical elegance. This diversity has made Mowlavi's poetry being more dynamic linguistically, rhetorically and syntactically. The high frequency of this structural art has created a stylistic feature in the poetry of Mowlavi and impacts the semantic induction of his speech, especially the fundamental ideas of his mind, in addition to its rhetoric and aesthetic aspects. The conterminous oppositions have been introduced in present essay and the syntactic structure of the lines include this structural art has been analyzed aesthetically.

Abhar-al 'Asheghin is full of imageries. The active mind of Roozbahan has rendered the work with a chain of connected similes which are going to be analyzed in present paper in a framework called “Domain Simile”, inspired by the conceptual metaphor theory. The elements of one domain - or a category - match with elements of another domain in “domain Simile”; in other words, a simile stands on top as the main simile, and the others which consist of components and features of both domains would undergo contrastive analysis as subsidiary similes. After extracting simile sentences on Love from 'Abhar-al' Asheghin and analyzing them, many of them seem being connected with each other in the whole work. So the domain simile structure can provide a suitable possibility to analyze the similes of this mystical work. Forty four domain similes about love were derived from 'Abhar-al 'Asheghin and went through analysis. Moreover, the forming factors of domain similes were categorized in four following groups: 1) analogies and adjuncts, 2) parts and elements of the object of simile, 3) the obtained results of the object of simile, and 4) the features and attributes of the object of simile.

The title of any written work is a name the author, or the critic, chooses for it. A book title is not important because it makes an identity for it or makes it different from other works, but it can indicate the quality and the importance in terms of structure as well. The title is the first sign thet the reader confronts with, and the reader can recognize the works' content and its other media facilities due to the meaningful relation between the title and the text (or between the structure and the concept). Studying the title of Akhavan-Sales' works, their overall title or the title of each poem, is one of the effective methods for reading and understanding of his poetry. So, considering the title of a literary work, it is possible to realize its content and the authors or poet's thinking and emotional moods. To achieve a suitable result, the content analysis method, as one of the proposed research methods in the field of humanities, was used. In addition, a survey methodology has been used to classify the obtained documents.

Language is a system of overlapping relations, in a way that the concept of a component would not be transferred except in relation with other components and elements. There are two types of relationship between the linguistic structures: verbal and semantic relationships which are intimately linked to each other, because the word holds the meaning and is a means to express it. Considering the importance of semantic relations in compound sentences and conditional sentences in special, it has been tried in present essay through a descriptive - analytic method, to study the semantic structure of these sentences, the factors affect the meaning expression, and the relation between the main and the consequence clauses (protasis and apodosis clauses) of conditional sentences - as a matter has been neglected by Persian grammarians, scrutinizing the linguistic structures of the Persian conditional sentences have been selected from Persian literary works. The main achievements of this paper indicate that there is a semantic con-elation between the main and the consequence clauses in conditional sentences, and this semantic relation divides in to two types of causative and non- causative correlation.

The deeper we go into the history of architecture, the less physical evidences are found; ceilings are collapsed, walls are fallen and the foundations are faded out over the time. However, there is no trace of some of these buildings, but they are not completely destroyed and they have been surviving in written documentations. The period of Ghaznavid Empire (997-11860) encompasses one of the most prominent parts of the history of Iranian architecture from which few traces have remained; of course, there are many written documentation, such as the poets' divans, travelogues and historiographies, which can compensate the lack of physical documents. Among these, the history book of Abolfazl Beyhaqi (995- 1077) known as the History of Beyhaqi holds a great importance due to its unique manner of historiography, and also, to its valuable literary features. Considering the architectural monuments have remained from the periods before and after Ghaznavids, the key question would be why the architectural monuments of this outstanding historical period are totally disappeared? It has been tried, in present essay, to answer whether it is possible to find documents in the History of Beyhaqi to justify the factors made the monuments faded out, studying the linguistic and literary points of the book and comparing them with similar applications in modem Persian.

The myth of the descent of Adam, with all its complexities, has being preoccupied the mind of human kind from the very beginning stages of creation. The Holy Books of Torah, Bible and Quran have each paid to different angles of this legend. Studying the modem poetry, it can be found that the contemporary poets have been under the influence of Quran and have used the teachings of Old and New Testaments to express their opinions. The story of Adam's Descent has emerged in detail in Persian modem poetry and have attracted careful and subtlety attentions: creation, original sin, the forbidden fruit, seducing, the nudity of Adam and Eve after their violation in eating the forbidden fruit, repentance, and finally, the story of their sons Cain and Abel to express the special social issues. The main question of the present research that has been accomplished through a descriptive - analytic method is how the contemporary poets have used this myth. The results show that the modem Persian poets have almost accepted the details of the descent story that are the place of disputes by different religions and religious interpreters and have pointed them severally.

Attar is one of the first poets who had seriously narrated a story in their lyric poems. Bringing up a narrative in such kind of lyrics is merely a means of a literary form, but can be considered as an epistemological structure. In these narratives and in the progress of their meaning making, Attar has effectively used the ruling broking atmosphere of his poems. In these narratives, the atmosphere is not considered as a simple background element, but it pervades the narrative entirely. Attar's narrative-lyrics' checking out indicates that their ruling atmosphere has a direct relation to the characters exist in them, therefore atmosphere forms in different stages. Focusing on transformation is the most striking feature of this type of lyric atmosphere which leads to its expansion. In addition, atmosphere has different dimensions in such lyrics that have classified, in present research, into three categories providing a plan: 1) Social, 2) Individual, an 3) Symbolic. Each of these atmospheres interacts with the others and thus they unify in a single and coherent atmosphere. Regarding the diversity of atmosphere in Attar's lyrical poems and due to the lack of an efficient pattern to review the similar narratives, this paper is to explore, through the analysis of poems atmosphere, their epistemological basis and tries to provide a significant pattern to analyze the atmosphere in such lyrics.

Russo-Iranian war made the poetry enjoy a new experience entering socio-political issues and react the important events of the time. These long and bloody wars that fought between the 17th and 19th centuries promoted some poets who were active within the framework of the school of “literary return” to react. By studying these reactions the great poets of this period can be classified in to two main groups: 1) the ones who were community-oriented, such as Mirza Abolqasem Qaem-Maqam and Neshat lsfahani who were among Iranian great politicians and had an analytical approach toward war; and 2) the ones who weren't community-oriented, such as Sahab Isfahani and Vesal Shirazi who composed poems putting words together in praise of others. It has been tried, in present essay, to review the reaction of the poets who worked in the school of “literary return” to the Russo- Iranian war and the reflection of this great event in their works, studying their works and divans.

Literary works intended for children and adolescents is one of the most extensive parts of any nation's literature that holds an important role in preparing them enter the society, In this regard, religious and cultural institutions - particularly in Islamic societies - are among the most fundamental ones which have attracted especial attentions in children and adolescents fiction. This study has been accomplished to provide a better understanding of the methods have been used to introduce the ideological system and its reflection in child and adolescent fiction, thus, it has been tried to study this reflection, through a descriptive-analytic method and on the basis of Talcott Parsons' theory of “structural Functionalism”, in selected works of Hushang Moradi Kermani who is one of the most prominent Iranian authors of fiction for children and adolescents. The ideological system of selected fiction works have been studied, in present study, in two general formats: 1) Religious institutions, and 2) Folk beliefs. The results show that religious-cultural institutions, as one of the important fundamental institutions of the society, have been reflected in the works and religious issues stand at the center of author's attention due to the Islamic culture of Iranian society.

There is a sentence by a butcher to Abusaeed in one of the stories of “Asrar-al-towhid (Maqamat of Sheikh Abusaeed Abollkheir) that contains a “regretful” combination. Professor Shafie Kadkani believes, based on what he has written in the appendix to the book, that the “regretful” combination denotes “ridicule” and has described it; but according to the other sources, and based on the semantic structure of above-mentioned sentence it can be said that the combination means “oppression”, and the butcher intended to express the Sufis' parasitic manner of life. Besides citing evidences that confirm the mentioned meaning from other texts, it has been shown, in present paper and through a discussion on Sufis' provisions by their illuminations, that the more we get away from the earliest periods of Sufism, the illuminations get more important places in monastery system and engaging in manual jabs decreases among the Sufis. Meanwhile the approach of common people to Sufis and the situation made them to give illuminations are the other discussed issues.