JOURNAL OF FACULTY OF LETTERS AND HUMANITIES (TABRIZ)
Year:2004 | Volume:46 | Issue:189|Papers Count:10

Ancient Iranian texts show that "whenever it person committed an unethical or a religiously unlawful mistake, inorder to compensate for the sin, that person had to do something in the interest of the society so that he could both polish his soul and avoid the penalties of the doomsday. Sicne repentance was solely a personalact,confession had to take place within the persons life period. However" as time passed, for different reasons, other people were allowed to confess in the place of the sinner and gradually simple repentance alone took the place of doing good deeds for the society"s interest. Later paying for one"s sins became popular and, finally, although the original intention remained the same, repentance underwent many changes. This article takes a look at all these changes through time.

Manuchehri - Damghani rates among the first -rank poets of Iran in the first half of the 5thcentury(h.g.).He is a poet of nature, love, gaiety, and life . He is tender of sentiment, sweet of words, and he has jocund and charming verses. With the invention of "mossammat" he opens a new gate to the Persian Poetry and he is knowledgeable ofthe sciences of his age, such as medicine, religion, and astrology. He knows most Divans of the Arabic poetry by heart, and thus his knowledge ofthe Arabic culture and literature and his persistence in expressing his scientific learnedness in poetry has made him more influenced than his contemporary poets from the witty imagery and emotions and ideas of the Arab poets; especially the "desert" Arabs; imitating and adapting their works and occasional allusions to the opening lines of their Qasidehs, mentioning the names of those Arab poets. The purpose of this article is to compare some of his "Qasidehs" with the pagan poems and to show the affinities between them in terms of content, themes, the impact of "Moallaghat - e - Sab-e" on Manuchehri, and the grounds of his excessive inclination to the "desert" Arabic culture and literature, in contrast with the other contemporary poets of "Khorasani School".

One of the methods of learning about Persian fiction is viewing the structure of its text through modern studies and analysis.The result of applying these methods is revival of old Persian literature for example "TheBoustan" by Saadi. A great number of research has been done on Saadi works. But from the aspects of story loriting it has not been greatly appreciated.In this article we are regarding The Boustan" for its story writing technique. The most important elements that are considered in our article are: events, characters, settirig,result, dialogue, narrative, etc. By studing these elements we come to the conclusionthat Saadi s stories have five structural patterns.

Esoteric interpretation of the Quran in Mathnawi includes the following: A. The esoteric interpretation (ta wil)of the Qur"an from the viewpoint of Rumi. as contrary to the views of the Sufis. is performed in regard to the capability of words for the interpretive meaning. Ta wil literally means returning to the origin of an object. and the terminological meanings given to it refer to the same literal meaning. There are two touchstones for ta wil:first. the words of the infallible; and the second. noncontradiction of the literal meaning with the interpretive meaning. According to Rumi. the false ta wil has two kinds: one is a ta wil based on partial reason and the other based on sensual desire. Genuine fa wil.according to Rumi. is introduced from three aspects: 1) Teleological. i.e. it must bring about dynamism and action; 2) TopicologicaL i.e. it must not deny the literal meaning of the words and is not to be contradicted by the ,text; and 3) Competency (Who is competent to carry out the ta wil?). i,e.. It must be based on intuition.

Fasihi-yi HiravI is one of the poets of 11thcentury A.H (17th century A.D). He was born in 987 AH (1579 A.D)in Bokhara and died in 1049 AH(1639 A.D)in Hirat. FasThIis one the pioneers of the style in poetry which is known as Hindi. In composing gazals and ghaszdas (sonnets and odes) he follows the poets of sixth century and onwards, especially AnvarI, Khaqani, Sadi and Hafiz. His style is simple and stands between in Iraqi and Hindi schools. He has tried various forms in his poems, but we must place him among the best gazal composers. His gazals are full of tenderness and wondrous images, but not as much as what we see in the Hindz school. Certain gazals of his are as simple and beautiful as the best of the Iraqz school. In such gazals, his style is clear without complexity, like the style of Sadi, which is called sahl-i momtani (easy yet difficult to imitate).

The concept that literature in the guise of irreproducible works results from an artistic manipulation of language by the poet under the influence of an unknown power labeled as the "poetic inspiration" is still a subject of discussion in our academic contexts in Iran. Although, due to the nature of the concept, there are no clear explanations for it, which eventually leads to an indeterminate account of literature, it turns out to be a tool in the hands of the proponents of the concept to distinguish the unknown, indeterminate and hence elevated "poetic language" from the clear, known, vulgar "nonpoetic everyday language." From this perspective, then, literature stands against the whole universe, which is regarded as inferior to it. This concept with its roots in ancient cultures should be challenged from an angle resulting from the present real-world situations because it hardly corresponds with them. This paper is an attempt to issue a challenge to the old concept through suggesting that indeterminacy should be extended to the whole universe so that the world and its relation to literature and art may be viewed in a different light.

Repetition often makes poetry more ornate, bestows an orderly structure to it, and gives poetry its musical quality. In drama one can observe repetition in the structure of the dialogues and words. In prose, journalism and story writing, repetition is used to add to the rhythm of writing. Rewriting of the text is also an intertextual repetition through which myth and legends are revived; and adaptation are made from the structure of ancient poets. As a result innovative literary works are created.

In addition to a great number and of social and geographical stimuli, the stylistics of a story is the product of the writers indiviuaui the intrinsic suppositions and Motivations. Then multiplicity of the Iranian literary styles is the outcome of the multiple environmental. The hard - to - pass mounts, the condense woods and a vast sea in the north on the one hand and as vast a sea in the south, with its hot weather, its lack of rain and the rough environment in there on the other hand, have produced two different life situations. The wide deserts in the center and in the east, the numerous mounts and the closed commercial ways in the west, the availability of the commercial ports in the south and north, and the presence of the Russian and English man powers in the political, social and cultural background of some regions have been influential in the Iranian literary prose stylistics.