JOURNAL OF FACULTY OF LETTERS AND HUMANITIES (TABRIZ)
Year:2005 | Volume:47 | Issue:193|Papers Count:7

Persian poets used different techniques to create worthy themes and to shape their works. Critics and men of letters have tried to analyze and label such efforts and make rules and regulations based on these. A technique which has not been analyzed much and used by poets from Roodaki’s time onward is the use of a kind of alliteration and assonance. Among the many different variations of such technique, only one kind has been labeled as word play. In this paper most of the verses of Khaqani which contain such artistic innovation are analyzed and discussed and then necessary poems of other writers have been brought to shed light on the subject.

Stylistics mostly discuss the apparent physical aspects as well as superficial linguistic structure of poetry, and hence, it unjustly ignores the thoughts, meanings and essence of poems altogether.However, according to the ancient poetry Erudite as well as some important groups of Critics of the last two centuries, semantics of poetry has been considered as one of the two foundation - even sometimes as the only foundation - of poetic styles. Thus, framework (style) and content together make up a unitary essence (the poem).Therefore, the typological classification of Persian poetry style entails that thought, world view, etc, be considered as an essential element in creation of poems in addition to their eternal physical appearance.

Although researches done on Kaghani’s poems and thought especially by the last two decades has increased, Khaghani and his poems require further researches. From among the essential researches which should be done on Khaghani, providing a better practical criticism than those worthy ones done by Ostad Ali ‘abdolrasouli and Dr. Zia’aldin Sajadi is of grave importance. This paper tries to analyse two terms of and in the following two verses taken from his famous ode titled Herz-ol- Hejaz. Furthermore, the researcher has also presented his reasons for preferring and to the aforesaid terms. عقل و جان چون یی و سین بر در یاسین خفتند                                                             تن چو نون کز قلمش دور کنی تا بینند خاک مشکین که ز بالین رسول آورده است                                                             حرز بازوش چو الکهف و چو کاها بینند

It seems as though the 6th century was the age of unstable and fickle poets without any reliable social, economic and intellectual standpoints. The poets of the age were neither like some of their predecessors - such as Rudaki and Onsori - profited from their patron’s endless endowments and generosities nor like some of their successors - such as Attar and Mowlana - looking for experiencing new horizons and territories in poetry far from the dominance of the court. Djamal al-Din Abd al-Razzagh Isfahani was one of the outstanding poets of the age. On the one hand, he was concerned with religious and moral values and on the other, he actually ignored them either for covetousness or for helplessness. He both composed panegyrics and sonnets and rebuked himself for this very act. He partook of philosophy and knowledge; however, there are overtones of instability and fickleness in the outward appearance of his poetry. Nevertheless, his poetry is not of the kind to be attributed to a desire for variation or the defamiliarizing nature of art and poetry in order to clear the poet of polluting the essence of art with lust and petty ambitions. However, it should be taken into consideration that the poetry of this group of poets is more a clear reflection of the age of the incompetent rulers who controlled the course of art and poetry according to their own wish and desires than the poets’ personalities.

Maarif is the only book left from Baha Walad, Mohammad Ibn Hussein Khatibi Balkhi, Molana’s father. Baha Walad and his work, Maari, have been overlooked in the course of history by literati as well as people fond of mysticism and literature. But nowadays his true, plain, pure, and rhetoric-free mysticism has attracted many Iranians, scholars, and Westerners fond of mysticism. Contrary to what is conceived of its title, the book is not an ordered collection of opinions and beliefs; in fact, it contains a diverse and miscellaneous collection of thoughts, dreams, imaginations, reflection on the meaning and exegesis of Koran verses as well as their mystic gloss, thinking about topics of Islamic Logic like determinism and free will, and occasionally an anthology of his sermons and orations. Regardless of any topic arrangement, all these have been brought together by him or the others and later have been entitled Maarif-e-Baha Walad. His mysticism is a positive and social (companionship) one and is based on the feelings of rapture, joy, and zest (contrary to the mysticism based on asceticism and fear), for it emphasizes divine fondness, beauty, and kind attentiveness. Veil (Hejab) is one of the mystical categories presented in this book. In this paper, first, we define mystical Veil considering what early Sufis have said; then we investigate Baha Walad’s thoughts in detail with regard to this mystical position, and then we will show the reflection of Baha Walad’s thoughts in the Mathnawi of Molawi.

Poems in local and tribal dialects have not been popular in classic poems of Persian language and most poets have written their poems in formal Persian which has been the original language for Persian poets. With the exception of Fahlaviat-e-Baba Taher, there is not remarkable volume of local Shirazi dialect in Golestan or Mosallasat-e-Saadi as well as Divan-e-Hafez. Within the recent poetry of Persian, utilizing dialectal languages are most popular among the traditional poets; of course, it was assumed as a recreation only. But in 1306 A.H. for the first time Malek_o_ Shoara Bahar mixed and connected local and informal language in folkloric poets, then Ahmad Shamloo made the Paryaa and that was the peak of this start. "The Story of Nane Daryaa Daughters" was published some years later. Under the influence of Shamloo Forough Farrokhzad published "Be Ali Goft Madarash Roozi" [Some day mother told Ali] in 1338-42 A.H. All three books contained social massages for adults. But for the special colloquial language used in them, they were all put in the category of children’s literature.In this article, after discussing the dialectal poetry, the above mentioned collections will be investigated.

Sanaei Ghaznavi, a poet of sixth century (hejiria) is the first great mystic poet of Iraqi style. He has written "Masnavie Hadighat -ol- Haghigha va shariat -o- tarigha" Which is the manifestation of symbolic Mystic poetry. The allegory of "city of the blind", first, was composed by Sanaei in his "Hadigha"; and later it was dealt with in Romi’s Masnavie. This allegory, prior to Sanaei, has been narrated in Arabic prose, in the fourth century hejiria, by Abuhayan tohidy in his book "Moghabesat" in order to interpret a word of Plato. "Blindness" is the title of a novel written by Jose Saramago, a Portuguese author who won the noble prize in 1998.The writer of this article, emphasizing the two terms, adaptation, and cryptomnesia has aimed at a critically comparative study of the works.