DIHKHUDA (ANALYSIS AND INTERPRETATION OF TEXTS IN PERSIAN LANGUAGE AND LITERATURE)
Year:2018 | Volume:10 | Issue:37 |Papers Count:8

Human beings have always sought to answer their numerous questions about surrounded mysterious world. And finding the answer to these ambiguities has been identified as a way to escape from the amazement, wonder and, most importantly, their fears about the vast world in which they lived. The most vague and unbearable of this mysterious and, at the same time, the most terrifying of them, was the phenomenon of death and the transition to the dead world that man knew nothing about this phenomenon. Human did not find a way to work efficiently against this incident. A man who encountered with unresolved and inevitable problem of death, sought to escape from his distasteful consolation, not in the outside world, but in his mind. His escapement appeared in an idealistic, ideal, empower and invincible personality that was found in various myths and epics of various nations and despite the dimensional distance of these lands, the similarities between these characters are indicative of the root cause of the common concern of mankind and the creation of these myths is a manifestation of human thought and concern. No matter what the geopolitical framework of the world and the flight of his mind, he searches his wish in a mysterious world. In this research we try to show the four common characters which are considered to be the most famous heroes of the nation's. We show the common origins of these works and the efforts about death escaping of mankind.

Tooba Va Ma’ nay – e shab rereads several decades of the history of Iran, which is wrapped in a mysterious and mythical aura, with a heroine called Tooba. She, whose name is also symbolic, is nurtured under the influence of her father, who is a scientist. The novel is Shahrnush Parsipur’ s most characteristic work of fiction at the height of the Constitutional Revolution and its aftermath until the Pahlavi period. The author of the novel, depicts the life of a woman who, despite all the limitations of the time for women, has managed, in light of the teachings of intellectual men, to devote her whole life to get to the truth. What makes the study of this novel significant, is the fact that the story lives around Tooba who is a fine example of her cotemporary women. But other women in the novel, are often either ignorant or backward who lack any power of attraction or are modern in behavior on whom, Tuba turns her back due to her traditional values. This work, through creating an eerie atmosphere and by using themes such as myths, symbols and archetypes, shows that the creative talent of women, if accompanied by male power can save mankind from the dark. This article aims to investigate the function of archetypes and to pay attention to symbolic and mythical beliefs and, through this, to give an answer to the question “ how is it possible, by studying intellectual and cultural roots, to end the gender conflicts? ”

The myth is the result of thought and belief of mankind and one of the main elements of the construct of the culture and identity of nations. American mythologist, Joseph Campbell presents a similar pattern and structure for all myths of the world. The current paper, using a descriptive, analytical and overview based on Campbell's model, concludes that the the Great Persian novel. Kelidar has a structural epic infrastructure similar to that of the other novels heroic all around the world. A pattern based on which Gol Mohammad, the champion of Kelidar is a human hero who was born again, and departure, initiation and return the level of intuition, perception of sanctity following his own way, approaching the myth heroic status. Dowlatā bā di has used myth heroic capacity in narration and structural cohesion as well as creation of new meanings in behavior such as refusal of invitation. Given the type of myth heroic function in Kelidar, it can be said that the work has gone through a superficial approach to the past myths, and has regained and rebuilt them, and has been able to present a time-consistent pattern.

Irony is one of the most important and beautiful aspects of eloquence, which is made by people. It is a part of their daily lives. Irony is a valuable character of conveying the meaning and thoughts indirectly. This valuable character is as old as the life if us as human beings. So a large number of it could be found in literal texts. it has been of importance to the poets during the time and they have used it. It can be said that there is no poets who has not used irony in their works. Since, in Persian, irony is a flexible and, also, a cultural point; it has a crucial role in conveying the poets’ message and idea in an indirect way. The present study analyzed the irony in Amir Khusro Dehlavi’ s Shirin and Khusro to show how much he could avoid trivial and repetitive and show his thoughts. The present study deals with knowing which type of irony was Amir Khusro’ s favorite. According to the analysis, Amir Khusro had used the ironies that are known and used by people more than those that were innovative and made by him. His purpose was to not only make the work more beautiful and influential, but also avoid making the readers tired of explicit and logical words.

The western political, literary circles acknowledge Niccolo Machiavelli as an influential figure who played a major role in the shift of Renaissance into the intellectualism era in Italy. As a social reformist and political critic, he managed to influence public opinion on government, religion, aristocracy as well as people. Relying on his two works, i. e. “ Kings” and “ Speeches” the scholars in the area of political sociology take the concepts like (1)virtue, (2) chance, (3) separation of ethics and politics, (4) description of types of kingdoms, (5) the balance of classes, as the basics of his theoretical framework. The author of this article claims that the political moves conducted in the story of Molavi entitled “ A King who killed Christians” matches significantly with this theoretical framework. As such, this paper first addresses the basics of that theory followed by the described and analyzed concepts in the story and finally the mapping of the story with the theory of Machiavelli. Finally, it is concluded that in the studied story, the pattern of governance on people is greatly consistent with Machiavellian definitions and expectations in many respects.

One of the most important literary elements explain the intellectual system, a poet, is a myth. Poets are often myth-maker and help this element can identify many of your thoughts and your mental seepage, stability and special Stability forgiven. The presence of myth and poetry in Persian language has a long history, which, given the rich history of Iran are obvious. In the meantime, there's a lot to consider this functional element. So, what is explored in the present research is a descriptive study-functional analysis of historical myths and epic odes's mirror will be. The most important myths are: Alexander, Jamshid, Khosrow and Shirin mainly functional teaching, praise and descriptive, historical, and ultimately, their aesthetic. Operating mysticism, and in only one case was seen of Alexander the Great, which, according to reflect considerable intellectual system's mystical ideas, strange.

In the ancient critique, a model based on what the Swiss psychologist Carl Gusta Yong. For example, the old wisdom, itself, Anima and Animus, a shadow that introduces several examples for its variants. In my mythological culture, Ferdowsi's Shahnameh, the most significant written work for the introduction of mythology, and as a result of inquiring into various aspects of it, is based on the opinions of the scholars in all sciences. This article focuses on the extent and the reasons for the effect of Zal on Rostam, as well as on the influence of Rostam on his father, in view of his mythological origin in the mythological history of Persian literature based on Ferdowsi's Shahnameh, from the viewpoint of the ancient critique of the pattern. The old patterns of wisdom, shadows, and self are more effective than other examples in father and son. There is no particular maximum in this regard, although significant research has been done on mythology, ancient patterns, and shahnameh. Research methodology is library based on content analysis.

'A' or 'Alif' the first letter of Persian alphabet, is a prominent vowel in Farsi language. It is the first letter of Abjad numeral system which represents number one in this system. Alif signifies the Taurus astrological sign. In mystical, philosophical, and rhetorical literature, Alif represents unique God, Holy Spirit, God's mercy; Adam's the father, abstract sphere, solitude, and the single mystery and etc. Due to its special form and position and some other unique features, letter Alif is one of the most used letters in order to create the original themes and poetic areas, mot and elegant expressions and compounds in Persian literature, poetry with Iraqi Style. Alif is a leading in most of poetry by these poets meanings like consistent and firm colossal stature, handsomeness, oblong, tense and stretched. It also signifies greatness, proud and honor, slimness, uprightness, stability, resistance, persistence, staunchness, loyalty, faithfulness and standing on one's promise. Alif has fallen in love with its stature. Since Alif has accent-like sign overhead, it is rebellious. Despite having tongue, it is dumb and silent. It is regarded as one of the poorest in terms of wealth among letters. It symbolizes poverty, abjection, destitution, vacancy, pauperism, beggary, inexistence, absence, loss, and self-denial. It also suggests nakedness, nudity, embarrassment, self-evidence, preparedness, distress and confusion and adornment. It carries meanings like solitude, individualism, loneliness, uniqueness, detachment, freedom, honesty, frankness, and innocence. Alif is motionless and stagnant. Its creation begins with points and dots. All letters and numbers then are founded upon this letter. Alif is the first letter of creation. It also indicates minuteness, brevity and tininess. Alif is the most common simile in Persian literature and the poetry's and prose's images or contents used in Persian literature are described. It was compared to needles, thorn, moon crescent, sticks, pens and plumes, fingers, arrows, bolts, cedars, gallows and scaffolds, newly grown whiskers or beard, half or full moon, and etc. In this article, we try to study the literary, artistic, and video applications of letter Alif in poets' poetry with Iraqi Style.