Literary Research
Year:2007 | Volume:4 | Issue:15|Papers Count:8

This research provides a discussion of the text organization of Chubak's famous narrative "Tangesir". Its organization contains a problem-solution pattern, introduced and described in Hoey (2001). The main problem of the hero, "800- Mohammad", is that four people have eaten up all his money. To solve this problem success fully, many responses have been suggested, Both by the hero and other characters, which are either positively evaluated, but have negative results, or negatively evaluated and consequently have negative results. A kind of repeated process of testing different responses and negative results prompt recycling of the pattern until the main plan (killing) is successfully turned to the solution. This positive result is Overridden by immediately following problems at the end of story, the first one is resolved by the plan of "escaping", but the next one, that is leaving the homeland and living in a foreign country, remained.

Allameh Dehkhoda believes that proverbs are one of 24 kinds of the literature. In addition to, proverbs are always the tools for manifestation of people's experiences and also are considered as their experimental wisdoms. When we study the history of different literary styles, kinds and also Persian speaking poets' Divan, it is clear that they have used proverbs as one of the important source.Not only the poets have benefited from the great treasure of verbal literature, but also they have added its wealth. This interaction has not been considered quantitatively and qualitatively up to now. In this article, a definition of the proverb and also its importance and background are been presented. Then the usage way of proverb in poets' poetry and Persian poetical proverbs and its position through paroemia are been indicated. In addition to, the difference of paroemia with comprehensive word, allusion, methods of equation and allegory have been presented. This article indicates the reflection of proverbs with a view to quantitative and qualitative in poets' poetry of different centuries and analyzes the proverbs in poetry of the thirteen famous poets. In this way, we understood practically and identically ways that the poets have used the proverb and also its reflection in their poetry.

This paper briefly approaches the views, looked into the origins of A Thousand and One Night, based on narrative, historical, ecological and regional proofs and specifically focusing on the protagonist, Scheherazade, through her motifs and mythological origins. The archetypes, on which Scheherazade is created, have been studied as the motifs forming her thoughtful and practical character. Through such an exploration, we have found out that Scheherazade manifests two Iranian archetypical motifs: "Existence for Combat" and "Resurrection Oriented Conclusion.

In some contemporary poems, the poets break the lines of their poems into two parts or more and write them down vertically 6r like stairs after each other. This technique, called line breaking, was invented by Mayakovski, the Russian contemporary poet. Afterward, some Persian poets imitated him, though not seriously, in their poems but it was applied extensively by Shamloo, about 1950 as a suggestive device in Persian poetry There is no plan for breaking the lines but, through searching in the poetry by poets who have applied it. This paper is going to examine and describe where the line breaks occur in the poetry. The result of the study shows that there are three main types of line breaks: Some of the line breaks fall among the units of images to give poems a particular appearance and to create visual images. The second kind of them, occur prior to semantic or syntactic elements to create a series of emphases. The third group, are those which cause to foreground the musical aspects and to. create rhyme and rhythmical innovations.

There are, still, many unmentioned subjects in the Persian rich literature, deserving careful consideration and discussion. Line-story is a fictional form that has been exercised in Persian poetry from the ancient periods up to now. As far as the writer knows, this form has not been examined up to now, while it is worthy of paying attention as a kind of fictional form, having special features. Line-story, as its name indicates, is a complete story which is narrated in one line and has the essential elements of a story. Considering the fact that it is not possible to elaborate a story within a line, the fundamental narrative features should be recognized. As the sources reveal, plot, character, action, time and place are the basic components of a story, and each line, having these elements, can be considered as a line-story as well. To give some examples to support his argument, the writer has found 22 line-stories in both old and contemporary Persian poetry. The techniques for developing plot, character, action, time, place and atmosphere are studied in this tiny form as well. Line-story, on the one hand, is like Japanese Haiku because of its brevity, and on the other hand, it is close to the American Minimalism due to succinctness and avoiding description.

Usually, during history, the name for some cities and the geographical places varies and forgotten gradually, so that it create some difficulties for the researchers to determine their main place, and causes the ancient texts' correctors, including the historical and literal texts, sometimes do mistakes and errors. These default and worries also follow other research and analyze related errors which cause incorrect interpretations and results. This paper points to some parts of these errors that the historical names of Balkh region has been enforced in Tarikh-e Beihaghi, and by virtue of the historical and literal important books and observances, the correctness has been pointed out for them. These corrections have been related to the Pirooz (and) Nakhchir, Manjooran (Meikhoran), Dastgerd (Dasht-e-katar - Dasht-e-Kord) Ravan (Parvan) and Robat Korzovan (Kervan).

Concurrence with extensive developments in all social, political areas of Iran in the constitution era, Persian literature has not been immune from these developments and based on the new era requisites, developments have occurred both in appearance and meaning. In the aspect of meaning and contemplation, poem in constitution era, is the scene of different attitudes and tendencies with past periods including reported conception of endoplasm home which in indication of development in the home conception and evolution in its justifications. The tendency toward ancient Iran with different attitudes and inclinations is in these period, including mental metamorphose of poet in this era, who so many .patriotic poets have inclination toward it. Ancient inclination has different foundations and meanings. Inclination toward ancient periods or past language and escape from its customs, and is among most important meaning. Those who have inclination toward ancient period with common: principal in their inclination for ancient Iran, are different in motives.It seems the most prominent motives for considering Iran Ancient are: revival of national identity, exaggerated optimism to ward ancient Iran, healing inferiority complex against foreigner and fight against Islam, criticism from present circumstances, motivation of national proud and invincibility.