KOHAN-NAME-YE ADAB-E FARSI (CLASSICAL PERSIAN LITERATURE)
Year:2011 | Volume:1 | Issue:2|Papers Count:7

After a thousand year, Ferdowsi's Shahnameh is still present in different dimensions of Iranians' lives and other people from different nations. The influence of Shahnameh is not just limited to literature and the creation of literary works or the translation of them. It has always inspired Iranian artists for the creation of the most beautiful literary works. In fact, from the beginning years, the characters, stories and poems have affected the culture and art of Iranians in different ways.In the present article the presence of Shahnameh in some of the most important Iranian arts, including painting, calligraphy, performing arts, and art of tiling has been considered.

In this article, after an expression about a supplementary definition of rhetoric in Persian language, the famous verse "no chagrin the ant who caries seed for it's feed / who it is living and it's life is dulcet" has been compared with another form of it in Shahnameh edited by Jalal Khaleghi Motlagh: "Don't kill the ant who is feed caring / who has breath and loves it's life." Regarding the situation of addressee, narrative and epic literary style the rhetorical reasons behind the preference of this recent form in the context of Shahnameh has been explained.At the end, in order to discover the proper doctrine and criteria for the Persian language, there is an emphasis on the necessity of using inductive style for the study of literary masterpieces such as Shahnameh.

The present article deals with two works from two different languages and two different historical eras that has the same theme of "facing evil". A structural analysis of the linguistic and literary similarities and differences shows a common structural narrative. From the point of view of semiology there are so many common features. Following that a hermeneutic point of view is used for the interpretation of the two texts. The main point in this article is having a different view toward comparative literature through force of time in which the repetition in time is more important than the differences between the two cultures. This repetition in time is one of the ceaseless concerns of human beings which produce different interpretations by human beings.In the present article the two works of art and their worlds are compared with each other. The last part deals with an eternal view toward the time period in which these two works of art were created.

Like most nations, ancient Iranians pondered on the sun and stars. Beliefs and thoughts which were part of culture and myths were introduced to literature, too, and Persian literary men became almost familiar with astronomy, and brought terminology and concepts of the science in poetry and prose, so that name of stars, planets and constellations as well as public attitudes about them engulfed all of the Persian literature, and created the most glamorous concepts of fiction and fictional images. In this article astrology and beliefs about them (Khwaju Kermani's Khamseh) are studied in a library research method through descriptive-analysis.

In general, poetry is divided into two domains of form and meaning. The form of the poetry is built up of language, images, music and the external and internal structure. The meaning of the poetry is a reflection of the view of the world, attitude and the experiences of the poet. Each of the different literary eras paid attention to just one of the two domains. For the Khorasani, Iraqi and the contemporary poets following Nima's style the profound philosophical, spiritual and social meaning of their poems was important, on the other hand for the poets following Indian and some of the contemporary styles such as Moje Now and post modern the form became important. The Indian style of poetry is the only one which has maintained its place in countries other than Iran. The critical analysis of this period can show the reasons behind the rise and fall of its golden era. The present article discusses four hypotheses on the lack of meaning considerations, especially in the second generation of the followers of the Indian style that became famous after Saeb Tabrizi.

Seyed Hemyari is one of the famous Shiite poets that dedicated his poems for the spread of religious concepts and making clear the virtue and superiority of Ahl al-Bayt (Holy Family) (peace be upon them). He does not use exaggerations in his poems especially with the use of similes. Instead he versifies novel and original Shiite beliefs through using a small number of similes, creating lucid meanings and religious concepts. Paying attention to the content and meaning of his poems makes his poems less artistic in the form. But it also shows his devotion to Shiite beliefs and ideas. The language and atmosphere of his poems are simple and smooth to the addressees. They are taken from the every day life of people and the natural elements in order to provide the meaning for his poems.

The Ode of Eyniyyeh is full of poetic elements and delicate and elegant artistic taste in the definition of soul which shows Ibn Sina' philosophy. With an intuitive and illuminist cognition and taste of wisdom, he created this ode in order to free selfness from this earthly world and return it to its place in heaven with the prerequisite of science and practice.Through an analytical attitude, the writer tries to discuss the principles behind the composition of this ode and make a clear judgment out of the different ideas surrounding its composition.