JOURNAL OF THE FACULTY OF LETTERS AND HUMANITIES (UNIVERSITY OF ISFAHAN)
Year:2007 | Volume:- | Issue:47|Papers Count:11

In this essay, we first try to describe the background of imitation and research for truth in gnostic texts and then investigate Molavi's point of view by focusing on various stories of Masnvi. By concentrating on such topics as imitating states of the mind, imitating peoples' behavior, imitating the past heritage, anti-imitation, knowledge based on investigation and imitation, the present researcher discusses Molana's particular views regarding imitation and attempts to discover the truth.Molana is a supporter of jurisprudence and criticizes the blind imitation of the past authorities. Submission to a Morshed, in his .opinion, is a right thing to do, though he believes that the imitator has also a right and so heproposes the idea of relativity of imitation. In his view, the imitative knowledge is not enough to understand the facts and also reasoning tends to fail in achieving certainty. He, therefore, believes that the knowledge based on investigation and intuition is both absolutely necessary.

The structure of Quran is in some way which has deep effects on different people or on a person in different situation. These effect are not only because of it's verbal miracle, but also points out a characteristic of this devine message, which has been called "Spirit" by Quran. And what we send to you is the spirit of our commands (showra/52). A characteristic which there isn't in any book except Quran. The relation between words and meaning interpreted as "interior". In Sanaee's point of view all believed ones who read. Quran should be able to interprate it and find out its secrets through refining of course if there isn't any pure heart. Wrong meanings are thought as secrets but they are hints. In such circum tances the strong meaning will be compared and this doesn't lead to discover its trath. To avoid misunderstanding we should always refine our heart and compare the things we have found with those who are experts that Sanaee called Imam Ali the best. This study wants to analyze Sanaee's point of views in completely about above topics and other details which will follow main things.

History is said to be dark. However, it could be so bright that many of the customs and- traditions of ancient people can be known again. This brightness can not be produced without the persistence of the pen of those who tried to reveal secrets. Wherever there was a point, they hung on it and built a great building, thus the memory survived. Abolfazl Mohammad Hassan Beihaghi is one of the greatest historians through what he has written many customs, traditions and ceremonies of the court of Turk family of Ghazneh can be found.The present paper tries to introduce and investigate some of the customs and traditions of Ghazne court based on Beihaghi's History and other historical and literal texts.

The present paper deals with the origin of Ezafe construction in Persian. It shows how in sentences with omitted copula a relative pronoun has been interpreted as Ezafe marker. Based on this, the relative pronoun "hya-" in Old Persian is changed to/i/ in Middle Persian and used both. as a relative conjunction and an Ezafe marker. This form has changed to/-e/ (Kasre-y-e Ezafe) in New Persian.

One of the matters of difficulty and concern within humanities is the fact that form and sense have always been confused with one another. It is due to the very externalism that one may go astray in the distinction between the elements of comparison in a simile, the tenor and the vehicle, within the realm of rhetorics. This chaos seems crystal clear in the concept of "Taghyeed" especially when we find out to have been in the wrong in defining and consequently in determining the manifestation of "Tagh-yeed". In addition to what has already been said, this article aims at paying more attention to the fact that on contrary to the viewpoint of authoritative figures, when a manifold simile is of concern, the point of similarity in not necessarily manifold.

The repetition of the word "Khamoosh" (meaning silent) and its different variants at the end of many of Mowlana's lyrics has led some scholars to think that this word is his penname. This cannot be the case. for many reasons. First, the word does not appear in many of his lyric works. For example, only twenty pieces out of hundred lyric pieces at the beginning of volume one of his work include the word "Khamoosh". Second, many of his lyric pieces end with a line including the word "Shams" rather than the word "Khamoosh". Moreover, the word "Khamoosh" is used in its different forms and even in the form of phrases meaning the same thing. Examples include "I will not talk any longer", "Do not speak", "That is enough", and so on. Mowlana expresses many reasons for his high view of silence. His reasons include not annoying the audience, not being ready to talk, finding the right audience, and not being intolerable to the audience. In sum, "Khamoosh" is not Mowlana's penname, but his mental and innate pre-occupation.

What" is meant by "Sufism" is not confined to the mere "practice of love", In this school, the life is understood to connote an air of "love" and the universe is seen as the representation of "God", The mystic should have a cultivating mind and a pure soul in order to absorb the waves of "Godly love", Here, the soul is considered to be "the home. of God" whose tenant is like a mirror reflecting the "truth", and an image of "God". But the legacy of "Sufism" is "love" and nothing else. This school is replete with various political, social, sociological issues and psychological considerations. As the "Sufi" is living within the society, dealing with different walks of people from different professions, groups, religions and is sensiti ve to lots of issues, he well knows how disasterous the "holy power" can be and what kind of crimes have been committed all through history in the name of God. Although he has not succeeded to eradicate or reduce injustice, at least he could introduce some rivals for the tyrants of the world called "PIR" and "REND", the tyrants ruling over bodies while the latter ruling over souls, In this school, no room is left for greed, avarice, and mercenary, and everyone is warned against yielding to materialistic world. He has opened a window to a new horizen, that of giving service to and having compassion for the people, Though "Sufi" has appreciation for science and knowledge, he reproaches the instrumental use of it; and prevents people. He assumes to be a hazard for society, like a very dangerous gun in a child's hand. He expects science to direct us towards humanity and modesty, and nothing else. Otherwise the science is a lamp in a thiefs hand. The Sufi's book is full of the experiences of the religion and the world. Sufi, however, does not want anything except "a white heart like the snow".

Hooshang Golshiri, unlike many other story writers, shows little interest in the Iranian post-coup d'etat figurative literature. He spends more of his talent for weaving complicated episodic narratives, for coining explicit statements buried in the talks, and for inventing seemingly ordinary incidents. Golshiri takes use of the symbol and irony to expand and deepen the meaning of his stories.

Saeb's poems are full of miscellaneous and various poetic images. The fantastic image is in fact the collection of the artistic diction which is - mentioned is his poems and its major domain consists of different kinds of similes, metaphors, ambiguities, figurative forms and subjective images. He has mostly employed these poetic images to infuse emotion or meaning. Simile is one of the various poetic images. It appears in different and various styles in speech and can be studied from different points of views. Moreover, we can classity a poet's similes based on their subjects. In this paper, an attempt is made to study how and for what purpose similes are used in Saeb's poems.

Hadaegh-al-Sahar is the oldest Persian book available in rhetorics after Tarjema-al-Balaghe. This book was written by Rashid-al-din Vatvat following Tarjema-al-Balaghe. It has been an influential source for any writer who has written on rhetorics among whom we could name Shams Fakhri Isfahani who has based his book titled Me'yar Jamali and Meftahe Abo-eshaghi on Vatvat's Hadaegh-al-Sahar. It is a book on four techniques of prosody, rhyme, rhetorics and lexicon. The word section of this anthology under the title of "Persian lexicon of the fourth section of Meayar Jamali" was edited by the late Dr. Sadegh Kiya and was published by Tehran University Press in 1958 (1337). The amendment of its three other sections is the doctoral dissertation of the present researcher. The main source of Shams Fakhri in the rhetoric section of this book is the famous pamphlet Hadaegh-al-Sahar. In this paper, the researcher has investigated the effects of hadaeg-al-Sahar on Me'yar Jamali. 

Paradox is not only a literary device and a poetic image, but also a logical, -philosophical, and ideological concept. This literary device has been in great use in the Sufi' s language and their "Shat'hyat". It has also been used in the Persian poetry from the very beginning. In our literary and rhetorical works, it has often erroneously been taken as contradiction, or simply ignored altogether. In western works, especially in some literary dictionaries, it has been extensively discussed, while it has been ignored even in our recent rhetorical works, and definitions offered for it are often contested. Any attempt to classify different types of paradox should attend to scientific and exact functions of this device in the language of the Sufia, in the old and modem poetry and prose, and in the colloquial language of the man on the street. This paper is an attempt to unpack these issues.