JOURNAL OF FACULTY OF LETTERS AND HUMANITIES (TABRIZ)
Year:2003 | Volume:46 | Issue:188|Papers Count:9

Ayene-ye sekandari is an expression that is frequently seen in the persian litrary texts, specially in poems and particularly in poems of Hafez and khaghani with wonderfull properties. The texts of pre-islamic priods are silent about the mirror and its tower (manara) and the Islamic historians and geographers have contradictory viewes them in their works. In this article, the author tries to sum up the viewes held by them and offers a new perspective on thesubject.

Revelation is an expanded concept in Quran, which consists of different guidance, such as guidance of objects, plants, animals, and human beings. Molavi, Iranian great poet, has different new views toward revelation and inspiration, and has represented new and swift mystical interpretation about these concepts. In thisessay, Molavis views and ideas about revelation and inspiration and their different kinds, are discussed. At the end, writer talks about the relationship between perfect man and revelation.

Throughout this article I have tried so far as it is possible to show the place of three major themes in B. W. mystical and the logical thought. B.W. has his special sufi language and terminology. He used these terms to show the intiraction between sufis expeirence and Gods manife stations. B.W. starts from Nazar (mystical speculation) and goes to maze (taste) and from taste to the state of sufis unity with God or as he says Maeeyat (being with) also in this article I have shown the function of aestheticism in B. W. s mystical worldview.

Mention of different people and territories in Persian poem is a reflection of Iranian poets knowledge of the mentioned issues. Iranian persian poets have commonly been familiar with people and territory of Europe long before. From about sixth solar Hijri century, Iranian poets have refered to Europe and Europian as new idiomatic names such as Farang and Farangi in their poems. In this writing, effort has been made to examine a variety of positive and negative conceptions of Iranian poets towards Europians frome sixth to twelfth A.H. century.

This essay tends to study the way the Romantic poetry of Europe influences the process of origination and development of Modern persian peorty. Contemplation on Nima Youshidges poems, as the founder of Modem persian poetry, and thoese of other modernists after Nima indicates that the Romantic poetry of Europe imparted a profound effect on different aspects of this era of Persian poetry. The changes considered neccessary by Hugo, de Musset, Gautier and other Romantics of France, Neoclassic poetry so that they could release poetry from torpor of content, form and language, were the same to be utilized by Nima and then to be of Europoean Romantic poetry in the versified works of Nima, Tavallali, Farrokhzad, Naderpour and Akhavan shows the profound effect the European Romantic poetry has exurted on the origination and development of Modern persian poetry.

Narration. simply is a story that occures in time. The narrator is a person who quotes the story. Although a good deal of Nima"s poems are concerned with the pain and suffering of society, men"s exalted love to each other, the moments of childhood and the nature in which the poet lives and form which he gains his experiences, but this poetry has received little attention. Nima"s narration-based poems, structurally are of two kinds: Traditional structure and new structure. In traditional style, the poet sometimes was faithful the old form of poetry, but sometimes he tried to make some changes which were resulted from his special insight toward the new function of rhyme and it suggests the poets mind preparation for inventing a new structure, in poetry. In other words, by dealing with the new function of rhyme, Nima, indeed, has widen the field for the pains and sufferings of the new world. In all narration poems, whether traditional or modern, the poet being omnicient forms the characters and discusses and when needed, he explains the scene and the atmosphere of the story. And then through commenting about the events, he makes his judgment and presents message. Nima"s aim from fictional narration is either, to proven a modern point or to give advice. He sometimes wants to affect the readers emotions and feelings. When he deals with social issues, his language grows extremely symbolic metaphorical and implicit. He neglects the lexical and syntax order specially in his long poems, so that the readers cannot grasp the main points.

In this article Shahriar"s liking for principles and rules of classical Farsi peotry and the impact of rules of romanticism on him have been studied. Also his priorfamiliarity with romanticism and Iranian romantic works and the reflection of romantic form and content in his peotry under the following titles have been investigated: romantic fiction, romantic atmosphere, the critique of civilization glory and returning back to pre-modernism era, returning to nature, pastoral peotry, returning back to childhood and sentimental and inner approach to religion.

During 1960s a new movement evolved in persian poetry that because of its complete departure from the poetical system of the past was known as "new wave". This movement in the course of time led to a new from of poetry called "Espacementalism". These movements in contrast with the "Classical verse" were very non-traditional or even anti-classical; and in contrast with the"new Persian poetry"(free verse or Nimaic verse), were completely modern. Moreover, in comparison with the obligied and dutiful verse, the poets of these movements advocated the theory of "art for art" and opposed to any responsibility and obligation. As a result, tendency toward society and content that was basic in "Nimaic verse", lost its role in these movements, and individualism and formalism replaced it. In these movements we are faced with poets who advocate of "pure poetry that is free of mental, social, moral and literary obligation.