DIHKHUDA (ANALYSIS AND INTERPRETATION OF TEXTS IN PERSIAN LANGUAGE AND LITERATURE)
Year:2009 | Volume:- | Issue:1|Papers Count:8

For long, the name Borzooyeh, the Physician has been used inter changeakly or together with Bozorgmehr, the Philosopher. However, from historical point of a large number of Pahlavi manuscripts, the change in handwriting, oral transmission of history in different versions - hence. Incompatible narrations. Therefore, the information by the historians of early centuries of fictional. As a result, there are different versions of the biographies of personages, ministers and even kings. The aforementioned discussion has also been the concern of some orientalists such as Noldeke and Christenson. They have talked about Bozorgmehr, the philosopher, whose name is associated with "Kelileh- va- Demneh" on the one hand, and the minister whose philosophical words shine in different Persian texts. In his four arguments in "Bozorjpmehr, the Philosopher," following Noldeke, who considers Bozorjomehr as a legendary character, Christenson comes to the conclusion that "I think Bozorgmehr, the mysterious philosopher, is the same Borzooyeh and no one else." the historical Bozorgmehr or Borzooyeh, who is neither a minister, nor a politician, nor a philosopher, and whose only achievement is "Kelile- va- Demneh". In this essay, the researcher proves that Bozorgmehr and Borzooyeh are the same figures with references to historical and literary evidences and rejects allusively Christenson's arguments in not considering Bozorgmehr = Borzooyeh as a historical figure. The research is concerned with a Borzooyeh (= Bozorgmehr), who is a philosopher and a minister, who has composed" Kelileh- va- Demneh", and who is the one who introduced chess to Iran.

Humor has a vast realm and it has been the concern of different discussion due to its application and its origin. It is a psychological process which results in mocking the opposite and the grotesque. Since such an opposition have their roots in social issue. As literature is a social genre, it has applied humour as one of its inherently ironic devices. The present essay tries to search for the realm, the limitations, and the significations of humour. As a result, it first introduces humour briefly, and then it tries to define each of its significations, comparing and contrasting them and look for their similarities.

Ibn-e Fazel is a prominent figure in mystical literature in Egypt. Looking through his odes synesthesia is a dominant figure in his poetry. Synesthesia, as one of the most important characteristica of symbolism, is the description of one kind of sensation in rerms of another such as hearing through eyes, seeing through ears, smelling through hands, etc. In this case, the poet has been inspired by "ghorb navafel". Ibn-e Fazel in a deeply traditionalist writer, who describes the world and the relationship between God and humanity through a specific framework. This essay tried to analyze this noticeable feature of Ibn-e Fazel's poetry from a mystical point of view.

This essay deals with comparing the life of Sadegh Hedayat and that of Sohrab Sepehri, a historical survey of their works, the influence of Symbolism on Sepehri and Hedayat, analyzing the personal style of those two writers from linguistic, intellectual and literary point of view and camparing and contrasting their styles, and finally, drawing a conclusion.

Wednesday night, Azarioon, the daughter of the King of Morocco, tells Bahrame Goor: "Egyptian Mahan, after a night of recklessness, leaves the city with a monster in the shape of his partner in order to bring some goods to the city without paying taxes. The other nights, he was deceived by the monsters due to his greed, and the following night, he was misled by a male and a female monster called Hila and Ghila, and the third night, he rode a horse with another companion, encountering monsters' dance during which his magic horse turned into a winged master with seven heads taking him up and down dancing. The last night, he was persuaded by fairies. The next morning, he found himself in the arms of a witch and found the puddles to be his fountains and his wounds as his food. He was so panicked that he became unconscions and was restored to his previous status by Khezr after repenting. "This is the story of Man's fall his, pains, his internal conflicts and his powerlessness and the expression of God's absolute power. Mahan surrendered to his lust and was entrapped by pursuing pleasure, and in the climax of the story, avoiding humanity, heart broken and repenting, turned to God, achieving salvation.

Didacticism is one of the major genres of Persian literature, which has-long been the concern of Iranian writers in verse and prose. Didactic literature is one of the oldest ethical forms and one of the best manifestations of culture, encouraging people to contemplate and ameliorate their social behavior and leading them towards humanity. Pand Nameh has long been attributed to Attar. It has a universal reputation, and it has been translated into Urdu, Arabic, Turkish and Indian, accredited to Attar. Naming his nine verse works, Attar has never mentioned Pand Nameh. Some literary men have asured that Attar has versified it, and some of them are doubtful about it. This essay tries to prove that Pand Nameh, in all probability, has been composed by Attar through scrutinizing this precious ethical work from different points of view.

Researches show that sophism is a sect some of whose principles are based on those of other genousi sects existing in the vicinity of the realm of sophism. Nevertheless, in their works, sophists have emphasized that those principles have been based on those of the Prophet and his deciples, especially ImamAli. One of the sources is Nahjolbalagheh, which has been appreciated and referred to since the time of its publication. Kashfolmahjoub is a sophist work, written nearly at the same time as Nahjolbalagheh, within which we can trace similar discussions. The following essay tries to look for such similarilies, opening the following essay tries to look for such similarilies, opening the avenue for further research to how much sophism has been inspired bu Imam Ali and, in particular, Nahjolbalagheh.

Human and Nature are not separate in Nima's ideology, and he does not regard them as two opposite entities. He believes in the unity of human being and the world. He has a humanistic view of existence. Therefore, he portrays Nature with human characteristics. Such a viewpoint influences the poet's language as well, and it highlights "personification" in his poems. In his works, all phenomena and natural elements possess mind, personality, spirit, and sensations. He regards external nature as a reflection of the internal one. As a result, he interprets the world from the point of view of his own feelings.