JOURNAL OF FACULTY OF LETTERS AND HUMANITIES (TABRIZ)
Year:2003 | Volume:45 | Issue:185|Papers Count:10

If we accept that poetry is the resurrection of words and the art of the poet is a kind of language defamiliarization, then the poems of Khaghani Shervani are considered one of the world's rarities. Without doubt, khaghani is one of the wonders of Iranian literature and any information on his life could help know him better. In this article some important points on his life and his temperaments have been put forward for the first time according to the oldest documents.                                                                                                                                                                  

Khaghani's poems had not been investigated for a long time because of their special style. Fortunately, the poems of this great poet have been studied from different points of view. However, the contents of his poems have not been examined accordingly. One of the points that should be considered is the investigation of Khaghan' s position in the field of mysticism and knowledge. The goal of this article is to shed some light on these issues.

The complete works of Hakim Sanai Ghamavi (467-529 H.) consists of elegies, lyric, and quatrain. It is one of the works that no more than one  correction has been done. In this article various prints of his work has been introduced. Also, the corrections of late Modarres Razavi on this work has been investigated. Furthermore, some points have been made on the correctors evaluation of the manuscript, the quality of the base version, the contrast of the versions, description of the false version, and readings of the versions. Then some of the mistakes which have penetrated this work because of the objectionable correction have been explained to the reader.

Disappointed to find their ideal man in the real world, ancient Iranians created a mythical hero, named as Rostam, who had all the ideal aspects of a perfect man. But after coming of Islam, their respect for Rostam was associated with their love for Ali who, unlike Rostam, was not an imaginary hero in the world of myths, but a man who had lived on this earth among the other men. in Persian poetry, before the establishment of Safavid dynasty in eleventh century A.D., Ali appears frequently with Rostam as a symbol of courage and bravery. Sometimes he is even superior than Rostarn. This trend also can be seen in Persian folklore. On the whole, Iranians has sought to join these two supermen of mythology and history together, and thus they has combined their religious believes with their old ideals.

Composing poetry requires special capacity which not all people possess it. The great influence of the poetry have paved the way for certain myths and beliefs emerging about them, so much so people in different nations assume that what the poets say may be originated from some other world; And maybe some supernatural creature inculcate these words to them. As a result the poet is the speaker of the supernatural. This particular way of thinking in Greek mythology and in some other nations as well as in the thoughts of ignorant Arabs and the poets emerging after the time of ignorance can be observed.In Greek and Roman mythology Apollo, the son of Zeus, considers Muse as the representative of art and poetry. The Muses are nine grades each representing a particular art and they all work on the guidance of Apollo. These Muses inspire poetry to the poets and guide them to compose epics and sonnets. Also in the ancient Iran, Mani believed that there had been an angel called Toma or Hamzad who inspired him some words. The Arabs of the ignorance period believed that every poet had a gen of his own which inculcated the words of poetry to him. In fact, the poet is its spokesman and this is accomplished on the basis of the poet's qualifications and through specific stages. This way of thought has also left its influence in Persian poetry; So that some of the poets have referred to an angel, gen or super ordinate who inspire and inculcate the poetry to them. And eventually all these have led to a new thinking that the inspirer of the poetry to the poet is the lover.

It has long been an unquestioned belief among Persian grammarians that Absolutivum (or maf'ul-i- mutlaq) has been used in new Persian language under the influence of Arabic syntax. I have attempted to show that this conventional explanation is incorrect. There are serveral evidence in old Iranian texts which show that Absolutivum has a historical background in Iranian languages and its trace goes back to Indo-Iranian time.

Image is one of the basic and variously-used expression in literary criticism. This article has focused on the essence of image in literature. The lexical concept of this term in English language and its Farsi equivalence has been stated. Then, some famous definitions of image has been investigated. Also, image has been divided into lexical image and imaginary image. After defining and explaining each of them, we have distinguished between imagination in surface and image of depth. We have investigated the issue of image change in history of literature. Along with the change in horizon of recognition of beauty and mental-social approach in each period, image has also gone through several changes. The traditional eloquence has not been able to get along with image change and provide the means of analysis for the images of formalism and modernism.

What is the difference between style and literary school? They are closely related from one point of view. However, they are also different. The oldest and newest description of literary school have been made according to the most reliable English sources and some comparisons have been made between them. All the branches of stylistics have been accounted for too. For instance, I have tried to elaborate on the description of Mohammad Taghi Bagher's definition of stylistics. The major difference is in the analysis of meaning and we want to explain whether it is a component of literary school or not. Is the main difference between them in this component or not? If the task of literary style is the analysis of language and meaning, then there won't be any difference between them. Because school covers both the area of language and the area of meaning. But, if the meaning analysis of texts isn't considered as the literary style, then there will be a wide gap between them. It seems that other notions show personal style and impersonal school. However, some believe that school has a wider meaning than style. But neither of them have any fixed foundation.

Modernism in the Post-revolution novel-writing turned into a dominant movement with its own fanatic proponents. Indeed, the Post-revolution modernist novel is the genuine offspring of the pre-revolution modem novel which was initiated by Sadegh Hedait's The Blind Owl. The Western modem novel feeds upon the Renaissance humanistic views. Its most Significant differentials are as follows: The Crisis of Verisimilitude decentralization, defamiliarization, alienation and semantic ambiguity and isolation. With regard to the form, modem novel parts company with the traditional hero, plot and narrator.With the victory of the Islamic revolution, the writers turned away  from modernism for a while. Nonetheless, as the revolutionary ferment faded away, at the close of 60s and the start of 70s, again writers' interest in the modernist novel rose up. The modem Persian novels, adoption of the Western novel form and the employment of the Stream of consciousness lack the nihilistic humanistic standpoints. Therefore, the main approach of this movement like traditional Realism is mainly critical. It is a critique of the socio-ethical moral values and principles rooted in the revolutionary-religious system.