PERSIAN LANGUAGE STUDIES QUARTERLY (SHAFA –E- DEL)
Year:2021 | Volume:3 | Issue:6|Papers Count:13

Investigating works of intellectuals and philosophers, one could understand their realization of “ time” has been of two categories. Firstly, time that is ordinary, external, finite and historical, continuous and irreversible which is understandable regardless of human experience or existence. Secondly, human and internal time which is mystical and holy, stable and irreversible that human can experience from within themselves. In this study, we intended to briefly clarify Western intellectuals and philosophers’ perspectives regarding both concepts of time. We have also investigated Hafez poems and the results indicate that Hafez has benefitted from both concepts of time in his Divan with a poetic and mystic taste as well as philosophical precision. Since time has a specific position in mysticism and Hafez has undoubtedly been adroit in theoretical and practical mysticism, we have mentioned usage of time in Hafez’ s poems from a mystic view point as well.

One of the most significant political and influential events in the last century of Iranian contemporary history was 1953 Iranian Coup. The other two in this century were Persian Constitutional Revolution and Iranian Islamic Revolution. The core of the issue in this study is Iranian cultural elites and intellectuals’ perspective towards this glorious event and its reflection in their works. The approach in this study is descriptive-analytical and the selected poets are Mehdi Akhavan-Sales and Forough Farrokhzad. The results show that the reflection of this event in aforementioned poets’ work mostly concern contents such as: lack of unity or sympathy among people, foreigners’ interference in political and cultural affairs, opposition to the suffocated and insecure atmosphere of the society, hopelessness, failure and doubt, futility in character and description of the bleak situation of the society. These issues indicates the reflection of the coup in their poems.

Sohrevardi’ s “ Simurgh-become hoopoe” passes by meandrous physical lingual paths and creates new concepts under their influence. In the discussion of “ Simurgh-become hoopoe” by Sohrevardi, we are encountered with a type of indication that not only appears in the status of a bird, but also emerges in other status as well. Investigating this, we enter the realm of structural lingual substitution. In this study, the researcher has tried to investigate conversational and cultural functions with an analytical-descriptive approach in order to pass from a physical-action status to a symbolic tranxendental one and to delineate indication-semantics characteristics in the story of “ The Calling of the Simurgh” by Sohrevardi. “ Hoopoe” as a substitutional order in Sohrevardi’ s discussion, is gradually forgotten as a bird and is altered to a meaningful indication through the impact of conceptual transformation: in fact, “ hoopoe” is everything besides being “ hoopoe” . Such transformation that leads to an alteration from appearance to multi-conceptual and tranxendental type in language is called evolutionary path of indication.

Body movements, manners, type of walking, face expressions, eye contact, type of standing, hand movements and physiological alterations as well as type of clothing are all considered as communication ways with others. These actions and nonverbal behavior of language convey the most complex human concepts to others. In this study, the researcher has investigated nonverbal communications of Layla and Majnun Poems regarding interdisciplinary and communication science to exhibit the poet’ s attempts in conveying his message through nonverbal communications. Nizami has established a dramatic background via nonverbal functions of sign language as well as object and action language that are discussed in the present study. The results show that among these communication processes, “ organ movement” and “ eye contact” have had a significant role in conveying messages and concepts successfully.

Our different perspectives towards the world increases the necessity to investigating literary works in order to know humanity and recognize cultural– literary bonds among all nations. One of the ways to affect these issues is through comparative literature. Ferdowsi and Shakespeare are considered as literature heroes among their own nations as well as other nations in the world. They have created unique masterpieces to the West and East’ s views. Although Siyavash’ s story does not seem a tragedy like Othello in the beginning, investigating it shows tragedy characteristics that need to be studied upon. The present study aims to investigate the theme Siyavash from Shahnameh-e-Ferdowsi and Shakespeare’ s Othello via an analytical-comparative approach. In addition to analyzing the stories and the themes, their similarities and differences were revealed. The results show that both of these poets have established a foundation of their stories based on moral values. Similarities between the two are more than the differences and the common factor causing the events was “ envy” . Moreover, the results reveal that the hero’ s battle reflects humane characteristics such as honesty and affection more than anything else. Nevertheless, the main difference is that the characters do not precisely resemble their double ganger in other tragedies; in a sense Siyavash is similar to Desdemona’ s in terms of moral state and occasionally resembles Othello’ s characters.

Fereidoon Tavallali is considered as a pioneer in modern Persian poetry and an influential figure in contemporary Persian poetry. In addition to a taste in modern poetry, he has said several magnificent odes in classic poetic forms. His odes are barely twenty five in numbers and they describe nature, praise and worship as well as socio political issues, etc. The population in this study is his odes collection mainly published in “ Bazgasht” . This study aims to investigate and recognize Fereidoon Tavallali’ s most noticeable lingual characteristics in his odes collections regarding lexical meaning, combinations, syntax, prefixed verbs, and semantic archaism, etc. The methodology was library research with an analytical-descriptive approach to illustrate Tavallali’ s lingual elements in his odes. The results show that Tavallali’ s language is generally plain, fluent and sophisticated. He has exploited modern and new combinations (heater and dollar currency) along with archaic ones (howdah and tribute) and has made use of colloquial words as well as linear-structured sentences in his odes collections to enrich Persian language and granted a wider range of semantics to its words.

Peace, friendship and reconciliation have been of the most used words since the dawn of human civilization. They are mentioned in heavenly books such as: Holy Quran, Bible and The Torah as well as in mystical, philosophical, scholarly and literary books on numerous occasions. These concepts are well placed in mystics, scholars, intellectuals, scientists and poet’ s thoughts. In mystical literature, mystics have emphasized definition of peace, friendship and reconciliation and have frequently called people upon peace and friendship in their mystical prose. Maulana Jalaluddin Rumi is considered as one of the most important and most well-known mystics of 13the century A. D who has disseminated the enlightenment of mysticism, reconciliation and friendship through his grandeur writings as well as valuable mystic thoughts all over the world. He simulates human existence to a reed that has been separated from his source and has complained about this separation. Therefore, humans need to free themselves form mundane limits and go back to their source. Such humans would be innocuous and peace-seeking individuals in their entire lives. Regarding this issue, the writer has tried to investigate Mowlana’ s thoughts and perspectives concerning peace and friendship in this study.

Eco-friendly criticism is considered as a new approach in literary criticism and a response to environmental crises in recent decades. It is believed that attributing exclusive importance to humans has damaged their relations with the environment and humans ought not to be supposed as the apex of the universe; in fact, human is a part of nature not separated from nor dominant over it. One of the main methods of eco-friendly criticism in reaching this aim is encouraging human kind to return to mythology eras; where humans were affable and companions of nature. The reflection of those eras – that they are inhabitants of myth-are found in tales as well. We have selected forty tales in this article and studied them based on eco-friendly criticism. This is a theoretical study and has been done through library research. The role of nature in elements such as: place, content and message, topic and theme and especially characters is more significant. Human relation with nature is indeed close and amiable in these tales. Human and nature are beside one another in these tales.

From mystics’ viewpoint, the most sophisticated path to know God is through intuitive cognition. Achieving this type of cognition is not conceivable through theoretical thoughts but through witnessing realities, passing phases and stages, leave mundane life and to nurture yourself. Even though this is an arduous path and belongs to pure individuals, it is the nearest feasible path from a rationalistic perspective. In the present study, we intend to express Molana’ s view regarding this issue with an analytical-descriptive approach. The results show that Molavi similar to other mystics, recognizes phases and stages in cognition. He believes intuitive cognition is the most credible knowledge in which mystics-without any intermediaries-know God through their own heartfelt cognition. He considers heartfelt knowledge and then sensory knowledge in lower stages and recognizes their credibility for people who are not able to reach upper stages. In Molana’ s mind, heart is considered as the instrument for intuitive cognition. He argues that a heart which reflects God Almighty belongs to the purest of mankind that is the prophets and their true disciples. True monotheism exists in intuitive insight and this type of knowledge of God is dependent on reasoning, inwardness and faç ade.

Nostalgia is referred to sorrow along with regret whenever one is thinking about an era or an event in the past; in other words, nostalgia is regret and ennui regarding good old days and ardor to go back to those times. This term has been borrowed form psychology and has rooted in human subconscious. Nostalgia is one of the most noticeable subjects in contemporary Persian poems. Forough Farrokhzad is one of the poets whose poems have reflected past regrets and reminiscence. This study aims to investigate the motives of regret and sorrow for the past in her poems through a descriptive-analytical approach. The results show that nostalgic contents such as loneliness sorrow, childhood, beloved, death, and utopia have significant presence in Forough’ s poems.

In this study we have tried to recognize the relationship between art and literature through analyzing one of the constituent elements of aesthetics which is figures of speech. Studying figures of speech as embellishment of speech, increases the beauty and clearness of the meaning and affects meaningfulness in John Milton’ s Paradise Lost and Divan-e Rudaki Samarghandi. It also considers aesthetics as a branch of philosophy which is reflective of sensory communication in these works with the audience and the extent of enjoyment that they are entertained with. This study is done with a descriptive-analytical approach and it investigates John Milton’ s Paradise Lost and Divan-e Rudaki Samarghandi. The study indicates samples of figures of speech in these works and represents that both of the poets have not only consciously utilized figurative tools but also the extent and how to utilize these figures in terms of forming the discourse as well as imposition of meaningfulness are vividly shown.

The present study is an attempt to find symbolism in Divan-e Astarabadi and Saghinameh-e Torshizi. Symbolism is in fact the expression of different notions and concepts that we are not aware of. Since symbolism expresses human’ s specific mental states, we could realize the poet’ s mental state and ideologies through analyzing and interpreting it. There has not been sufficient research on Saghinameh-e Zohoori Torshizi and Divan-e Nizam oddin Astarabadi so far; thus many of their valuable concepts are not revealed. Therefore, this research can contribute to interpretations of the verses via symbolism analysis in these two poems. In this study, we have investigated symbolism in Divan-e Astarabadi and Saghinameh Zohoori Torshizi with a comparative approach and intend to reply to several inquiries. After derivation of the symbols in both of these Divans, The results show that Nizamoddin Astarabadi has had a precise and sophisticated knowledge on symbolism and has exploited archaic-patterned ideologies via imagination in his Divane in a specific way. However, Torshizi has not benefitted from archaic settings in his work. This study has been done with a theoretical approach and library research and it is a kind of content analysis investigation.

In this study, we have investigated etymology of verb structure in inscriptions with a descriptive-analytical approach in order to study verb structure and grammar and their position in the sentence referring to the inscription. Regarding data collection, we have used library research and have presented grammar of the verbs through taking notes. In order to optimize studying etymology and correct translation of the words, we have adopted ancient eras so as to describe essential points. Verbs are specified and the tenses are analyzed. Studying the verbs and its etymology is the most important in terms of data collection. We have intended to study similarities and differences between verbs and its evolution since ancient era to middle-era Persian and Askani Pahlavi in the inscription of Shapur 1 Cube of Zoroaster. In this article, verbs in the inscription of Shapur 1 in Cube of Zoroaster as well as its grammar is addressed. The results show that verb in ancient Persian language through to middle Persian has experienced alterations. During these alterations, from ancient Persian to middle Persian and Askani Pahlavi, perfect present systems, past and future and initiative, wish and intensifications are all disappeared. The only system known as present tense has evolved and gained popularity.