JOURNAL OF THE FACULTY OF LETTERS AND HUMANITIES (KERMAN)
Year:2011 | Volume:NEW | Issue:29 (26)|Papers Count:17

Mystics have been always in search of a way for conveying and suggesting their transcendental thoughts and spiritual experiences, and the receivers of mystical texts have always tried to understand such thoughts. It is obvious that, due to the ambiguity and elusiveness of this kind of knowledge, all details and capacities of language and rhetoric should necessarily be used. Respectively, some rhetorical devices of Ma’ani (rhetorical figures), which are in accordance with intrinsic taste and talent of the addresser and addressee, like Qasr and Hasr and the allocation/emphasis implicit in them, are of special importance.The preoccupation of the mystic for suggesting his thoughts, on the one hand, and too many applications of Qasr and Hasr in mystical prose texts, on the other hand, explain the necessity of conducting such a research.

Iranian literature is in a close integral relationship to Islamic Gnosis and this close relationship causes us to assume a similar concurrence for both and have the same judgment on both literature and gnosis of that period too. Likewise, the superficial content of the return (recurrent) literature and excessive inattention to this literary period disparaged the mysticism accordingly. As the noble professor, Dr. Shafiee Kadkani writes: “The mysticism of this period (before constitutionalism) is repeated again. In fact none of Sofia of this period obtained a new mystical moment, while mysticism means new experiences in both language and thought”. The truth is that gnosis is a separate topic and collection which joins in literature in many cases, but the comedown of the literature of a period is never meant as any defect or failure in gnosis of that period.To confirm the above words, first a Gnostic and obscure encyclopedia written by a literate-wise historian of Ghajar period -Reza Gholi Khan Hedayat was introduced in this paper. Then according to that valuable book, Gnosis and Ghajar mystics would be reviewed. Next the specifications of the gnosis of this period were enumerated and a brief introduction of Ghajar preeminent mystics would be presented too. It was surprising that among those mystics there were some illiterate commoners but super-ordinate and some literates as erstwhile mystics that joined tradition (Shariaat) and path (Tarighaat) together as if “they created a new design”. Sometimes they were severely under pressure and in another period they spent their lives in peace and quietude. The gnosis that was ignored and outcast in the late Safavi Period in Iran, however, was restored to home (Iran) by the high ambition and perseverance of those men who are unknown and obscure today and we aimed to recognize them and introduce their actions in the paper.

Emraolgheis, known as the king of the lost is one of the poets of Yemen and is considered as the pioneer of the first poets of the Pre-Islamic time. His book of poems includes 25 odes and some literary pieces. His most famous ode is“Mo’allaqa” and some individuals like Zoozani and Khatib-Tabrizi have explained it together with other Mo’allaqas, it has been published several times. Emraolgheis is the first person who has begun his odes with crying over the relics of the beloved’s tent. He is also the first to speak of love delicately, the first to use beautiful images in his poems imitated by others later, the first to skillfully use short and meaningful descriptions (image of woman, hunting scene and descriptions of horse, camel and night). His numerous travels and continuous companionship have flourished his literary talent and filled his poems with new meanings. Of all literary devices, Emraolgheis admires simile most of which are sensory. He takes his similes from nature, wine drinking and pleasure making.In general, simile and its different types are of great role in pre-Islamic poetry. Imagery is the main literary device of such poetry and no poem of this time is devoid of imagery.Emraolgheis surpasses every poet of his time in creating simileand his Mo’allaqa overflows with nice and new similes. In fact, he is the father of simile in the pre-Islamic era. That is why his similes have been imitated by Arab and Non-Arab poets.

The eternal and permanent art works mostly have been created in unconsciousness and involuntary moments. Whereas the basis of the creation of existence as evidenced by this Quranic verse “His command, when he intends anything, is only to say to it: be, so it is (Ya-Seen, 82)” has been destined out of the compass of tense, place, means, and media, undoubtedly, art works are the result of a kind of inner revelation and illumination of the talented.The first question that made author’s mind busy was the meaning of “grace” in Mowlana’s view. What is Mowlana, Kant and Socrate’ definition of grace? What is the difference in the viewpoint of Plato, Mowlana and Kant about the creation and source of beauty? According to two different theories of aesthetics, i.e. subjectivism, objectivism, are beauty and art related to morality? The kind of relation among these three subjects confirmed subjectivism and objectivism depending on the fact that whether its nobility belonged to the literary and art work or to its creator and audience.Seeking aesthetical reasons in Mowlana’s poems was another part of the paper. Orators considered unity along with repetition and variety as the most important criteria of aesthetics. How the phenomena of multiplicity within unity and unity within repetition appear in Mowlana’s poems. Which one of the two theories of subjectivism and objectivism matches with Mowlana’s two masterpieces.

This paper not only aimed at introducing Rouh al-Amin Shahrestani to literary men and researchers but also compared Rouhal-Amin’s Laili and Majnoon to the poem of Laili and Majnoon by Nezami Ganjavi in order to study the areas of difference and similarity of these two stories in respect of narration, structure, and word. Rouh al-Amin followed the great philosopher, Nezami in his poetry, and undoubtedly, he benefited the experience of his former great masters in his imitation in a way that he mentioned and admired Amir Khosro Dehlavi, Jami and Sanaee who were Nezami’s imitators. The purpose of Rouh al-Amin in composing the poem of Khosro and Shirin was to remove the weaknesses of Khosro and Shirin by Nezami. Also, he had the same idea about Laili and Majnoon and changed the narrative style of the story. However, all over the book, Nezami’s trace in using word, meaning and concepts could be found, and if there had been any differences, they could have been related to the different styles of the poets in narration.

From ancient time of Persian Poetry, the kings of speech have fvourably used Radif* in their worthy wording of Dari language. Considering it as a sign of perfection in poetry, they take pride in their skilled use of Radif in their works.Researches on the background of Radif show that this important eloquent element was specifically created by Iranians and its use has had a growing trend from the beginning of 6th century (AH).Radifs in Naser khosrow’s Divan were simple and plain. Linguistically speaking, they included nouns, pronouns, prepositions and clauses. Contrary to Rowshanai-Naame and Saadat-Naame, his Divan was free from adverbial, adjectival and sentence Radifs which cast doubts on the ascription of these two books to him.In his works, he sometimes used Radifs which did not have the same meanings and in some cases, he did not observe the use of rhyme before synonymous Radifs.Research proved that Naser khosrow was the first who used the personal names as Radif in his odes. In terms of eloquence and rhythm, his Radifs had a very special feature that was mentioned in the article.

Linguistics science, as other sciences, has been divided into branches one of which is macro-linguistics that can be applied to textual and discourse analysis. In macro-linguistics analysis, text is studied based on the relations among different parts of it. The objective of the present study was the macro-analysis of Saadi’s Bustan tales based on Woodbury (1987, cited in fabb, 1997) - Khanzadehamiri (1379) formalistic model.As a whole, the results of the analysis showed that the model with some modifications was recognizable in macro-structure of Saadi’s Bustan tales. One of the obtained conclusions in this analysis was that advice (PAND-OANDARZ) constituent was in the main focus in Saadi’s Bustan tales. In addition, 475 lines (44.81 percent) out of the total 1060 lines analyzed devoted to this constituent. So, advice is the main constituent in Saadi’s Bustan tales, and this matter indicated the instructive essence of this work.

Colour, as a present salient element of nature has been effective in different aspects of human life and it has also influenced some sciences such as philosophy, psychology, Natural science, mythology, culture, literature, and Arts.Literature and specially poetry have benefited a lot from colour. It has been presented in Imagination through different shapes. Poets use colors to clarify the poetic imagination, discover, and explain relations among components of poetic images. Colour presence can be investigated from two points of view: 1- As a “word” - i.e. one of the smallest units of the text that knowing it has the most important role and effect in recognizing and interpreting poems.2- As a psychoanalytical factor which can help us discover a poet’s insight and world-view. Psychologists believe that one’s interests as well as emotional, social, political, and thought trends could be recognized by the frequency and variety of the words which have been used. On the other hand, practical Researches show that different concepts and meanings of colors help us understand the poet’s works a lot more. This paper aimed at finding world views, ideas, thoughts, social and political trends of Mohammad Reza Shafi’i Kadkani byconsidering and categorizing color elements in his poems to clarify his purpose on the use of some special colours.

Sa’eb Tabrizi is the greatest poet of the 11th century A.H and is superior to poets of Indian style. Being Moslem, having Islamic beliefs, and being influenced by Quran in his poems reveal the significance of this study. By investigating his descriptions of the Hereafter and the Resurrection in his Divan, the impact of some of Quranic verse related to the Resurrection on his poems will be revealed. His attention to the description of the Hereafter and the Resurrection is very extensive to the extent that he has referred to the signs, names, and different stations on the Resurrection.This paper aimed at better understanding of Sa’eb’s poems and also some of this great poet’s beliefs and thoughts such as his belief in physical resurrection.

Motivation means the existence of a clue in the form for understanding the meaning, the device which guides us directly towards meaning. So the relation between form and meaning isn’t always arbitrary and sometimes this relation may be an iconic one. One sort of motivation is semantic motivation. Those words have semantic motivation that there is a semantic relation between their components and the meaning of the whole word. Some people believe that primary words were more iconic and by passage of time as well as phonetic changes, this motivation has been reduced.In this research, a more powerful and a more exact attention paid into it. To consider this hypothesis, four travel accounts from the present time were selected and 2800 content words from them were extracted. Then the semantic motivation in those words was analyzed. Afterwards, the results of these texts were compared with the results from considering 2800 words of texts from 200 years ago in order to answer the question that since 200 years ago, motivation in Persian language had been increased or decreased. The Comparison of the results of two courses of time showed a meaningful increase in the number of words with semantic motivation in the present time in comparison with 200 years ago. Therefore, it might be claimed that since 200 years ago, words with semantic motivation have increased.

There is a distinction between the commoners and people in Persian literary works. In these works, the word “people” possesses the positive connotation of “human beings” and “commoners” are the ignorant, even annoying crowd. Label is the title chosen in this article to refer to pseudo names made by the mystic poets to address their opponents. The literary works which are the manifestation of the mystic ideas are full of these labels.In the present research, about one hundred and twenty titles of those labels were recognized, collected from the literary works, and compiled in the form of a wordbook. In the article, three labels “geranan, geranbaran, geranjanan” were studied, which referred to the bad-tempered, selfish, idle, hypocrite, mammonistic, tyrant, greedy, and mercenary people. The study of these labels prepares the ground for the better recognition and understanding of either the literary concepts and the characteristics of the societies they were produced in.

Ferdowsinameh is a collection of popular folk tales about Ferdowsi and Shahnameh which was collected by Abolghasem Anjavi Shirazi. This collection is classified according to its characters into 3 parts. The first part is about Ferdowsi with 33 tales. The second part contains 205 tales about Shahnameh’s heroes, and the third part includes 135 tales about Shahnameh’s kings which were analyzed structurally in this research. The structure of the stories totally consists of eleven characters and twelve functions, the feature and frequency of deep and surface structure of which were analyzed one by one. The structure of the tales revealed the importance of the heroes’ role against kings. On one hand, the frequency of the functions showed the significance of victory and, on the other hand, it is the supporter of the effort of the narrators who tried to recount those stories by heart. It also clarified the value of those tales in saving Shahnameh and its functions.

Qaem Maqam Frahani (1193-1254 A.H.) was a learned scholor who completely knew theology and had a high status in Arabic and Persian literatures. Some poems from poets in different periods of Arabic literature can be seen in his Monshaat such as: Nabegheh Zobianim, Imam Ali (p.b.u.h), Majnoone leili, Bashar Ebne Bord, Ebne Khayyat, Ebne Ammar, Mohye Al-din Al-Arabi, Safy Al-Din Al-Helli, etc. However, clear mistakes in representing vowels, misprints, and ambiguous wrong translations should be mentioned such as the following couplet from Abol Asvad Al-dowali:کضر ائر الحسنا قلن لوجهها            حسدا و بغضا انها لذمیمWhich means: “like rival wives of a beautiful woman who with jealousy and spite call her ugly and deformed”. In the book, it starts with کفرا یر الحسنا and has been translated by mistake as follows: “some shows the virtue as vice for their inferiority and enmity”. In the present study, the researcher tried to find poets of Arabic Poems regarding Qaem Maqam’s Monshaat which was edited by Badr-Al-Din Yaghmayi. Afterward Arabic coupletswere analyzed and criticized. Then their syntactic relations with Persian expressions were mentioned.

This article was conducted to a) determine the sequence of the Acquisition of English Synforms by Persian Learners and b) analyze the acquisition of different kinds of these Synforms statistically.To approach this objective, a test reflecting the student's knowledge of English synfroms was administered to thirty students of Shahid Bahonar University of Kerman with the same level of proficiency.The sequence in which Persian learners distinguished between the synfromic contrasts was consonants, prefix, vowels, suffix and root. Also, the difference between the means in all groups was statistically significant except for the mean in the vocalic synforms, including synforms with a different vowel and synforms with an additional vowel.

Ezraghi, the Philosopher was one of the well- known poets of late five century and early six century A.H. His Divan was edited several times by Saeed Nafisi based on Several Copies and published by Zavvar bookstore in August, 1957 (Mordad, 1336 A.H). In the Same year, Ali Abdolrasouli published a Divan of this poet without mentioning the available copy or copies. This Divan contained 131 pages and 9 introduction pages published by Tehran university press. In the indexes of Monzavi manuscripts, for introducing different copies of his Divan, more than 40 copies has been presented which most of them are related to late centuries (After 13 century) and the oldest one available at Cambridge University in 604 (A.H) contained 425 verses from Ezraghi’s Divan and the other one is the Majles copy in 996 A.H. Due to the fact that Ostad Homai Considered the Copy in the year 604 (A.H) forged, According to the index of the manuscripts, the oldest copy is the Majles Copy in 996 (A.H).The researcher tried to introduce the precious and forgotten Copy written in the Year 699 preserved at Dublin Chesterbeaty Library to the readers. It should be mentionedthat this Copy was not included in the index of Monzavi manuscripts.