PERSIAN LANGUAGE STUDIES QUARTERLY (SHAFA –E- DEL)
Year:2020 | Volume:3 | Issue:5 |Papers Count:12

In this study, we will discuss narratives and discussions regarding Garshasb in Pahlavi texts. In Pahlavi texts, Zahhak’ s demise is caused by Garshasb. This study will consider Garshasp, the epic champion of Garshasbnameh in Pahlavi Narrative and other Pahlavi texts. In Pahlavi Narrative chapter eight, Zoroastrian Saviors are talked about in which each would appear every one thousand years and according to Mazdistan, every one thousand and five hundred years. One of these saviors is Houshidar, Zarathustra’ s child. After Houshidar settled justice, honesty and good deeds, Satan would dominate the world by creating Demon (Moloksan) that brings rain. In Pahlavi Narrative that is a remnant of middle Persain language, Garshasb’ s deeds are narrated by himself and it is almost similar to a tale and its title is “ Garsahb’ s Soul Story” . In Pahlavi texts, Garshasb’ s soul is questioned to have annoyed fire and he is later forgiven by Zarathustra’ s mediation.

This study intends to answer a question that how can drama-as a literal framework-be a representation of surrounding discourse of historical and social issues. It seems that a necessity beyond history which is a thoughtful attention of the history and its comprehension is the primary path to connect the author’ s mindset and his audience towards past and present events. This study is done with a purpose and identification of patterns on dramatic discourse in terms of history and social issues from the Hayden White’ s Metahistory perspective. Since storification and language capacity are considered as discourse paradigms in Metahistorical theory, the hypothesis claims that drama enables historic discourse to be felt at the present time by means of narration and language amenities. The preset study has been executed through library research and data collection and analysis. The findings show that drama is able to disrupt the syntax of formal narration due to establishing a discourse discipline and to expand discourse borders between past and present via narrative amenities and language capacities.

Quran is considered as the most important miracle of the prophet Mohammad and it signifies the true essence of Islam. Since its advent, no one has been able to bring anything similar to verses of Quran. The more we study into Quran, the more we find ourselves to new horizons opening to us. Being influenced from both appearance and content of Quran is one of the most vital discussions poets and writers encounter with. Among them, Hafez Shirazi is one poet who has been tremendously influenced by Quran; this influence not only has been in content but also in terms of words, rhythm and even prosody. In this study using comparative approach of rhythms, we will try to represent Quranic influences on Hafez’ s poems. Our findings show that Hafez has been also influenced from Quran regarding geomancy, present, anthem, prosody and praise. Quranic features are very similar to the rhythms of Persian poems and many prosodies that are used as sextet and quartet in Arabic are similar to Farsi rhythms as octave poetry of Quran. This proves that not only Quran content belongs to the whole world and it does not exclusively belong to the Arabs but also its appearance and rhythm could go beyond languages.

One of the educational texts that has attracted scholars and researchers’ attention since its translation to Persian is Kalileh va Dmeneh. Over time, the translations and interpretations in different languages on these books have been influenced by the translators’ personal perspectives. Thus, there are differences in terms of both content and structure. One of these differences is proper nouns used in the stories of this book. In the present study, I have discussed proper nouns regarding “ Booman-o-Zaghan” in Panchatantra, Kalileh va Dmneh, Bidpai Tales, Anvar Soheili and Ayyar Danesh. Among all, Panchatantra is considered as the main Indian source and proper nouns used in the other books are compared with it. The findings showed seventeen proper nouns used in these books among which the most are used in Panchatantra and the most differences are related to Anvar Soheili and Ayyar Danesh.

Mystic etiquettes are a set of principles and guidance that Sufi elites have established to train novice disciples in their articles and books. Shahab al-Din Sohrevardi – renowned, seventh century mystic-and Kamal al-Din Hossein Kharazmi-renowned, tenth century mystic-were amongst those who have guided novice disciples and explained mysticism etiquettes in Awarif al-Ma’ arif and Ershad al-Moridin, respectively. This study investigates the aforementioned etiquettes through a descriptive-analytical approach. For convenience, mystic etiquettes are divided to two main categories of outer and inner aspects. Outer refers to aspects such as fasting, prayer, pernoctation and inner refers to aspects to which disciples ought to attain in order to approach the mere truth. The findings represent that Sohrevardi has explained the outer aspects in Awarif al-Ma’ arif in detail, whereas, Kharazmi has mainly looked upon outer aspects.

This study investigates the narrative role and performance of heroes and villains in common tales of One Thousand and One Nights according to Propp Theory. In addition, it categorizes and symbolizes heroes and villains and analyzes and defines the narrative role and performance of heroes and villains in the aforementioned stories. One Thousand and One Nights is an entertaining book that is rooted in Indian and Iranian literature. The book was entirely written approximately in tenth century AH in Egypt and Abod al-latif Tasouji Tabrizi translated it to Persian in Qajar period. The common tales in the book represent a sort of opposition between heroes and villains. In fact, the role of the heroes is to oppress the villains and wizards. Conversely, the role of the villains in the tales is to disturb a happy family and to establish vandalism. Narrative role and performance of the heroes and villains in One Thousand and One Nights are described and analyzed according to this end.

Hadith words and meanings have influenced lives, manners, speech and behaviors of the Muslims. One of the most noticeable of these effects is poets’ works. Nezami is considered as one of the most celebrated poets who has benefitted from the various sciences of his era and whose works have been influenced by the grand Quranic notions as well as Hadith in various ways. His poems are at the apex of poetic art in terms of both structure and meaningfulness. Nezami has made use of Quranic verses and hadith to convey his religious and moral perspectives. This study represents various effectiveness from hadith in Nezami’ s poems with a descriptive-analytical approach. Amongst different types of effectiveness, structural-stylistic and methodical effectiveness are not seen in Nezami’ s works. Nevertheless, lexical and inspirational-fundamental effectiveness are widely common in his poems.

Analyzing and criticizing remarkable Iranian fiction and recognizing this realm of literature gives way to new horizons for researchers and writers. In addition, it plays a significant role to betterments and improvements of Persian literature. One of the most important ways to acknowledge this realm of literature is to investigate Persian literature stories in terms of utilizing noticeable world literary masterpieces in writing them. Amongst fiction writers, Mohamad Hejazi is considered a well-known figure. His innovations in creating literary works has resulted him to have a grand status in creating a literary school. This study using a descriptive-analytical approach is done to analyze literary schools in story collection of Sereshk by Hejazi. Although one cannot consider literary criticism as a branch of human sciences, it is possible in various ways to represent that generally in literary criticisms and specifically in story and novel analysis, scientific method could be applied to a great extent.

Poems and music are the languages of heart and emotions. Poems have been as comforts of failures and music has been the companion of loneliness and humans’ hardships. Ballad is a skillful combination of both; in a way to have significant influences on the audience’ s heart. This study investigates this issue in Persian literature from dawn to Constitutional Revolution and explains and clarifies its various meanings and notions during historical eras. In addition, it represents some renowned figures in this respect. The methodology in this study is descriptive-analytical and it is based on library research. The findings show that ballad has always existed within Iranian lives since it is connected with ambitions and emotions of Iranian tribes. Moreover, it has made the main essence of our national language. From tenth century onward, ballad became more pervasive and during constitutional era, it received its apex with the advent of poets such as Aref and Malek osh-Shoa’ ra.

Culture is considered as a relatively new notion in human sciences. Its noticeable feature is the relation amongst different cultures which is formed as a result of human interactions. The most important element to establish these interactions is geography; since various geographical conditions has a significant role in different cultural areas. Needless to mention that this new human and social science realm to study the cultural effects, interactions and relations amongst various culture and geography is characterized as cultural geography. It is worth mentioning that culture as a vital fundamental principle in literature in a mutual interaction, contributes to improvement, establishment and strength of a nation’ s cultural identity. One of the constituents of literary-cultural formation in ancient civilizations is allegory, as a remarkable index of symbolism or a specific intercultural action that is able to reread the minds of different tribes of a unique notion. Lotus, as a cultural allegory and entity possesses a special signification. The present study via descriptive-analytical approach investigates and analyses this ancient Persian allegory in Achemenians and Sassanids dynasties. The findings represent that lotus allegory has appeared as a symbolistic essence from Achemenians to Sassanids dynasties. It entails an accumulation of abstract and intellectual concepts such as universal peace, worship, splendor, love, etc.

One of the most obvious and varied characteristics of mysticism, mystical works and lyric prosaic works is changing personality. Changing personality development is also an important issue in mysticism and lyric prosaic works so that it approaches personality evolution through an intricate process. In mystical works and lyric prosaic works, more specifically in Shams Tabriz’ s discourse, the evolution of personality is revealed in various forms. The mystical changing personality in Shams Tabrizi’ s discourse, like the hero of the epic genre has a variety of tools at his disposal however, simultaneously, he is distinguished from an epic hero. In Shams Tabrizi’ s discourse, changing personality through a mystical journey complements his personality traits. He has to begin this journey to reach the evolution or get to the ultimate goal but in Shams Tabrizi’ s discourse, starting the journey is contingent to passing other stages. These stages call the changing personality through the inner voice in a way that he lapses into unconsciousness. After passing these stages, the changing personality takes steps in a difficult journey full of barriers; these barriers are varied in the mystical journey of changing personality and are appeared in various forms for the mystical changing personality. Sometimes the changing personality’ s steps are barriers for him; this volatile makes personality separate in the changing personality. This study employs descriptive-analytical methods based on structuralism, uses Shams Tabrizi’ s discourse, and intends to study the changing personality in the evolutional process and to formulate theories of repeating the changing personality starting point at the end of the journey and moving out the stagnation of the changing personality variable character in the evolutionary development.

The present article has investigated political and social content in contemporary poet, Nader Naderpour’ s poems. Nevertheless, his political and social views in terms of contemporary research have been neglected. We will not exaggerate if we consider Naderpour as the poet of images. The main essence of his poems are individual or human-philosophical and it is not much related to political and social perspectives. However, in Sormeh-ye Khorsheed and the other poems, his symbolic affiliations are at times towards political and social concepts. Romantic instances of his poems start from blue romance through to social examples and end in sad romance which is due to homesickness and they resemble Khayyam’ s poems. Naderpour’ s individualistic romanticism shifts to social revolutionary romanticism in the 30s and 50s. He combines romantic poems with political ones in this era. There are frequent fear, arrogance, revenge as well as neural, social and political breakdowns in the background of his poems. In some of his poems, we detect a new perspective towards human and society and also love, freedom, justice as well as political, social and cultural issues in the contemporary world.