JOURNAL OF THE FACULTY OF LITERATURE AND HUMANITIES (KHARAZMI UNIVERSITY)
Year:2004 | Volume:11 | Issue:42-43|Papers Count:11

Mirza mohammad Sadeq, known as Adib-ol-Mamalek Farahani, is one of the most popular poets of the Constitution period in Iran. In this article attempts are made to discuss the quality of satire and its variations i.e. facetiae and lampoon, in the poets works. Furthermore, the historical development of satire in the Adibs works in pre revolution, awakening and revolution ages, and hopelessness from revolution are examined. finally, the articleexploresthe forms, language, techniques, innovations, targets and pathology of Adibs satire.

Jalal-o-din Homaei is a distinguished contemporary researcher and writer who is well-known for numerous works in various fields. A great number of critics and revewers have addressed his life and conditions in their books and articles. The present paper attempts to shed light on the great scholars works from a new perspective.

Ein-ol-Ghozat-e-hamadani in his sixty fifth letter on the religious issues (i.e. indispensable, recommended, and prohibited) maintains: "...and some -acts- are not indispensable, yet, we are recommended to do them. Take learning Arabic poems as an example; if you do not manage to learn them, youll fail to write letters in Arabic. Thus, it is advised to learn them so that you may use bilingual verses in your writing. This is exactly a token of what is known as "recommended" or "obligatory" in religious discourse. Hamadani, himself, has observed this "recommended act". His letters are full of Arabic verses; skillfully mathcing the context and mood of his discourse. The author makes attempts to provide documents form those Arabic letters. Probable fallacies are already acknowledged and the feedback is appreciated.

The introduction of persian mystic poetry heralded a great event in the history of Persian literature as well as the Islamic mysticism for two main reasons. First, it paved the way for the entrance of Gnostic trainings into the Persian language and created some of the most outstanding works in persian poetry. Second, it exposed the persian poets to new horizons so that Gnostic concepts and conceptualizations resulted in shaping deep and varied concepts in Persian poetry. However, this trend did not influence Persian poets consistently. That is, some poets exclusively applied poetry as a means to express mystic perceptions and concepts and created pure Gnostic works. another group, however, discussed Gnostic terminologies and concepts along with other concepts and contents. This latter group did not imply the same objectives in applying these terminologies. Some of these poets did it simply to comply with the dominant fashion of the age among Persian literary figures. Another group were stimulated by their interest and beliefs in mysticism. The category of poems known as the mystical is highly important and must be analyzed side by side with those of pure Gnostic works. One of the poets associated with Gnostic concepts and interpretations is Khaghani, the composer of so many mystical poets. This article examines Khaghanis poetry in an attempt to provide answers to the following two fundamental questions: 1) To what extent are Khaghanis discussions and interpretations of Gnostic issues authentic? 2) is there any particular direction in Khaghanis mystical poems and what are his specific gnostic areas of interest?

It was a futile remark of him claiming "Shahnameh is nothing save for a narration of Rostam". He composed beautifully saying "If there were no love, there would be no existence." Love is not only the greatest achievement of the mystic and the Poets, but also a solid foundation for existence; A truly enthusiastic lover of subtle allusions to love and a Powerful Stimulator of all lovers is Proved to be Molans. And this story was intended to offer new directions to Mathnavi and an attractive quality to the complete poetical works (DEEVAN-E SHAMS). There, its love pushing Molana; "Moving him to his favorite destiantion". Where should one locate the causes of this mystic ecstasy in Mathnavi, which, on the face of it, is under the full control of the hero? This article is an attempt to Picture Molanas enthusiastic love, vividly crystalized into DEEVAN-E SHAMS, in Mathnavi, emphasizing the axiomatic saying; when love enters, wisdom is by no means like "a horse rider keeping the rein in the hands".

Naghshe Bar Ab zadan has proved as one of the puzzling interpretations in Hafizs poetry. Considering the history of this interpretation and the fresh sense attached to it by Hafizs magic skill, it is worth reading and exploring, specially due to the fact that the existing published literature has overlooked some aspects of this concept. The author intends to reconsider it in order to facilitate the perception of some aesthetic aspects of Hafizs poetry. To this end, quite inevitably, the present researcher presents some evidence in order to emphasize his approach and intention and to clarify some prevailing misinterpretations.

Khajavi Kermani, a prominent figure in the field of Persian literature, lived in the eighth century. His poetry attests to his talent and art in poetry, including his capacity to create Mathnavis which adopt and imitate earlier great poets-specially Nezami Ghanjavi. Among these works, Homai & Homayoon Mathnavi, a lyric masterpiece, stands out. comprising 4435 verses, this lyric poetic work vividly depicts how Khajoo is influenced, both in content and form, by the Storyteller of Ganje. Having defined Homai & Homayoon Mathnavi, this article proceeds to examining the relationship between that work and Khosrow Sheerin in order to provide evidence on how Khajoo is influenced by Nezami.