JOURNAL OF HUMAN SCIENCES
Year:2002 | Volume:- | Issue:33|Papers Count:23

Classicism is lexically taken from the Latin word "c1assis"which means class, group and sub-system. This word is almost\equivalent to "Canones", which had been used by the scientists working at Alexandria libraries in the senses of literary varieties or group of authors including orators, playwrights, lyric composers and the like.Terminologically Classicism is the opposite of Romanism, and by talking about it we mean the very schools, principles, styles, contexts, contracts and senses which were created by the classical authors, and influenced their successors; as we see the influence of Greece in the Roman Classics; and neoclassicism is restitution to criteria and customs of writing, and despite some differences in the content of the works, as it is compared with ancient Greece and ancient Rome, it often pursues the same general principles of classicism. Classicism is a school with the longest dominance over the literary arena of the world and this dominance lasted about 23 centuries (from the fifth to the eighteenth centuries). In view of this importance, the article has tried to offer a lexical and terminological definition of the word "Classicism", an explanation of its history, and a description of the eras of the dominance of this school separately, and a study of the principles of this school and the developments it has undergone in the process of this domination as welم as the reasons why the West inclined toward this school again during the Renaissance.

Onssori, the lord of poets at the court of Mohmoud Ghaznavi, is one of the greatest eulogist and elegist of the Persian poetry. Some 70 odes and 77 couplets and a number of scattered distiches have remained from him. His successors took different positions on Onssori: Some criticized his eulogy, some mentioned the luxuries he had gained as a result of panegyric, and some admitted his mastery and were influenced by him. The language of Onssori is very similar to that of the poets of the Samanid Dynasty in terms of lingual obsolescence, however, he used more Arabic elements in his speech.He preferred to compose Moghtazeb (improvised) odes, or odes with short lyricd. His odes had been composed totally on the basis of 9 common and much used Persian rhythm, with the most frequent ones being Bahr-e Mojtas Mosamman Majnoon Mahzouf"(%37). Most of his odes (%87) have no rhyme, however, half of his couplets end in rhymes. He attached special attention to alliteration, phonetical assimilation at the end of distiches, present tense and extra puns, rhymed, derivations, addition and division, use of similar words, synonym and antonym, question and answer and good reasoning. Having been a poet of eulogy, he also paid attention to the common and general meanings, to the extent examples of his poetry have been mentioned 76 times in Dehkhodas Amsal-o-Hekam. The most important expressive element in Onssori's poetry is simile. Among the similes, eloquent, sentimental, rational and imaginative similes and Mozmar (covert) similes are appreciated by him. Onssori is the first poet to have used rational and illusive similes to a great extent, and other poets followed him in this respect. Onssori is a generous and realistic poet, moderate in eulogy, a man of rational knowledge and a man of reason with an artistocratic insight, and these characteristics were reflected in his poetry.

The present arttic1e studies the styles of narration and the point of view according to the advanced scientific methods in literature (method of jep Lintvelt) and their application in the works of the Iranian and French authors (Bahram Sadeghi, Mohammad Hadi Mohammadi, Samad Behrangi, Houshang Moradi Kermani, and Albert Camus). The last part of the article is a free translation of the book Esaie de Typologie Narrative, Le “point de vue” which is not of course a line to line translation; and in order to help the better understanding of the method of Lintvelt some episodes from the book "Stranger" by Albert Camus have been added.

Classification of literary works into the types such as epic or tragedy, is called a typological approach to literature since the time of Aristotle, the typological approach has been among the major concepts of the literary theory. A great part of the world literature and its criticism has been founded on typological classification of each literary work and determination of its compatibility with the typological characteristics. Over the recent decades, however, the typological classification has cast doubt over the traditional classification with its Aristotelian origin, in view of the modern means of expression and emergence of mass media such as television and movie and so on which in addition to employing the traditional types of literature, have innovated other means of expression. This has resulted in the appearance of new interpretations and understandings of each type of literature, and created a new Classification. The development has not only challenged the traditional outlook, but also intrigued hot debates on the key concepts of this method, particularly, the phenomenon of interference and composition of different types in a single work. Today, the literary types are no longer considered as absolute and fixed, but they are discussed under the influence of historical development and evolution of typological systems in literature, sociology of types and the relationship between literary types and gender. Consequently, at the present age, the typological characteristics of literary works are considered as historical and relative phenomena.

The present research aims at reviewing, analyzing and criticizing the stylistic specifications of the Shekar poem. The article uses recognized criteria in methodology, expression, rhetoric, literary critique, and story writing as a method of research for the analysis of methodology and critique of the above-mentioned work. The results of the research are: 1) Stylistic particulars of this poem: symbolic language, numerous demonstrations and implied denotations, description, laconism, simple language, application of syntactic and semantic aspects and up-to-date vocabulary along with a minimum archaism in vocabulary, abundant use of simile and tangibility of Moshabahon Beh [to which something is likened] in similes, abundant use of partial personality and rhetoric figures of speech particularly alliteration and puns, and conversely, negligence of allusion and semantic figures of speech. 2) This poem is somehow considered as a continuation of the method of poem composing of Nima Youshij in view of symbolism and philosophical theme, however, due to the use of eloquent symbols and characteristics taken from the tradition,of the Persian Poetry, the tendency is clearly more towards meaning (comparing to Nima), and the semi-traditional form of the poem, Akhavan Saless has adopted a different style with that of Nima Youshij, and that is combining tradition and modernism.

One of the indications which distinguishes Nima’s poetry from the classical poetry is the change and developments he created in the form of composing poetry. There have been extensive discussions concerning these changes which were introduced to the Persian Poetry by Nima, and the question as what domains influenced him towards these changes including from the west. The discussions are dealt with at the beginning of the present article and by classifying Nima's poetry into traditional, semi-traditional and blank verses, particulars and changes of each classification is studied separately through offering samples of poems.

The present article begins with discussion about similarities and resemblances of some of the common human intellect, and possible exchange of some of these thoughts between nations and also the natural commonality of some other thoughts in the absence of any exchanges. The article then expresses some views on the similarities and resemblances of themes and vocabulary among the Persian poets and the mutual effects and influences of poets and authors, and then a discussion is put forth on the common themes and vocabulary used in Khamseh of Hakim Nezami and complete works of Sheikh Sa'adi. The main text of the article contains common themes and vocabulary used by the two poets along with abundant evidences and examples together with explanation and classification of the materials, some of which are the result of the personal experiences of each poet, some having a common source and some others in which Sheikh Saadi had definitely been influenced by the words of Hakim Nezami.It is noteworthy that the samples used in this research are not all the similarities of the works of these two great Persian poets, and further search would be necessary.

The present article introduces a unique epic poem whose protagonist is a heroine called Lady Goshasb, daughter of Rostam. The critical edition of "Banoo Goshasb Nameh" with five manuscripts and 1034 lines of verse has been completed recently and is being printed. The composer of the tale is not known and the time of composing is not clear either, however, it is supposed to be composed in the sixth century of Lunar Hegira, and it has definitely been composed after the year of 520 Lunar Hegira. "Banoo Goshasb Nameh"is an epic poem which is a narration of the life of Rostam’s daughter and her heroic battles. The unique image of a woman in the Persian Literature which goes along with changing of the gender role and is different from cliché-ridden images and molded behaviors of women. One may recognize the idea of gender inequality from the concept of love and also the method of marriage in this epic tale. The tale has a feminist structure and the main objective of the tales composer is to show the woman's effort to prove her identity, which has been depicted in the battle scene.

Bayhaghi History is one of the pillars of the Persian Prose and one of the great trends of the history. Terse and useful sentences, discovery of capacity and potential of the verb in the Persian Language, perceiving this point that the power of transition is placed more in the verb, and also artistic selection and choice of vocabulary in the pivot of speech association, new structural creation of vocabulary according to the process of rule expansion and contraction, all and all make Bayhaghi more successful in communicating with the reader than other authors, and has drawn his work towards eternity. The present article aims at reviewing some of the artistic and eloquent aspects of Bayhaghi History from aesthetic point of view.

Omar Khayyam, mathematician, philosopher, astronomer and eminent scientist of the Seljuki era (F 526) took most of his fame from a few numbers of couplets which remained from him based on difference of opinions on the number and attribution, and drawn attention of scholars and men of literature, thus opening the path of praise and criticism towards his poetry. The most important characteristic of Khayyam's poetry, is his thoughts and deliberations, which had been placed in his couplets with a simple and pleasant expression. The influence of these thoughts is so high that some people have considered Khayyam the poet, to be a different person from Khayyam the sage, in order to exempt him from these thoughts. Anyhow, in view of the intensity of the influence of these thoughts, the present article tries to review the weak or strong points of the eloquent deliberations underlying these couplets including the things which resulted in his good fame or bad name, on the basis of 178 couplets mentioned in the researches of late Foroughi and Ghani. The subjects shall be dealt with as follows: 1. Pivots and main themes of Khayyam poetry are to be recognized;2.The amount of terminology used in Khayyam couplets are to be determined;3.Which one of this terminology might have eloquent meaning, is to be determined;4.By reviewing the couplet, research is conducted to see whether the related terminology had been used in eloquent meaning or not;5.In the event it is used in eloquent meaning ensures which one of the following cases: 1) Suspicion and doubt 2) question and creation of eloquent doubt 3) Denial.

Abmad Ghazali is among the unique personalities which was born in the fifth century of Hegira. Although he left great influence in the Persian and mystical literature, he is not much known as he deserves to. Many works remained from Ahmad Ghazali, however, his book "Savanehol-Oshaghl is of special value and importance, because the extract of his most important deliberations and thoughts could be found in this book. Savaneh is one of the precious treasures of the Persian literature, which was composed on love and its various moods. The prose of this book in most cases approaches the verse and ties with poetical sentiments and imaginations. Rejoice and passion and elegance and mellow of the author is totally evident from each and every line of the sentences of the book. Most of the truth presented in Savaneh is the result of several years of experiences of Ghazali in the domain of discourse and deliberations. He was not only an expert in the path of love and mysticism, but also enjoyed great skill and mastery in psychology and psychoanalysis of individuals' minds. The book's significant influence on the subsequent well-known works is a sufficient evidence for its importance and value. Although the main theme of the book is about love, most of the truth and mystical terminology have been criticized with a complete clear-sighted and innovative viewpoints.

Ferdowsi is the great foundation of epic poetry of this territory and ranks first in the incarnation of the Persian myths for the revival of the cultural and national identity and elevation of the humane and ideal values on the basis of ceremonials of the religion. Although Shahnameh is classified into three mythical, heroic and historical sections, he also extended his mythical insight, though in a smaller and more faded form, to the heroic and historical sections. Some intellectuals and scholars of mythology believe that myth and religion have many similarities. Ferdowsi's outlook in Shahnameh to myth and religion is a combination of realism and idealism. He drew a difference between devilish and divine myths and tried to explain the metaphysical truth in the symbolic and allegorical language and within the form of myth. Heterogeneity of the mythical patterns in Iran and other nations manifest themselves in the two domains of "religion" and "ethic". In the Greek myths the gods are passive with inferior characteristics. But in Ferdowsi's thought the seal of eternity is put on the forehead of the great and protagonist myths such as Fereidoon, Siavash, Guive, Kaykhosro..., and also his faith in the single God based on the Abrahams religion, is certainly one of the reasons of Shahnameh's continuous presence at the apex of the world myths.

In the common traditions of mystical texts, the Mohammadian light and wisdom are considered as the first creations. The conformity of light, wisdom and pen with the mythical face of the Prophet Islam in mystical texts represents some pre-Islamic beliefs in this area too, and reflect the tracks of Zoroastrian, Manavian and Old Testaments beliefs. The present article studies the commonalities of the Islamic mysticism and pre-Islamic mysticism in the field of the beliefs concerning the light.

Some researchers, relying on the words and anecdotes quoted by mystics, criticize them on being insensitive towards sins and sinful, and also on propagating free thinking point of view about sins. for them, committing sins, although inevitable, can not be taken as the goal of living in the world. Just the same falling, which is inevitable for one who walks, and still is not the goal of walking. The possibility of committing sins has the following consequences:1.Avoiding the self- admiration and self- worship;2.Repentance, and returning to God;3.Rence fitting the God's grace;4.Felling sympathy for the sinfuls and being to lerant to their acts;5.Possibility of attaining the supreme perfection.We have attempted, in this article, to study this interpretation of sin and its consequences, all by referring to the works of the mystics, particularly to Kashf al- Asrar Va Eddat al- Abrar.

The present article has been drafted and compiled with an emphasis on the principles of ethical critique, which is a branch of the content critique, and upon presenting conceptual definitions about ethics, its evidences and manifestations, which have been considered as the branches sprouted from the stem of the ethic tree, are discovered and extracted from six chapters of Masnavi, and analyzed according to a conceptual classification. The pivotal concepts which are discussed in this article are listed as follows:1.Affirmative concepts (affirmative ethic) which are themselves divided into two parts:1.1.Individual ethic, including concepts such as self-esteem, generosity, and sincerity in action;1.2.Social ethic, including concepts such as value of friendship and determination and caution;2.Divestive or evasive concepts (evasive ethic), such as avoiding ill-considered acts and refraining from fault finding and slandering3.Philosophy of ethic: In this section samples of the Masnavi literature with a color and dialect of philosophical schools which may be compared with ethic in the cynic school are pointed out.

The Cultural reflection of Manichaeism can be vividly seen through the first centuries of Islamic era, the rejection of earthly life, the deny of materialities and paying only to the affairs of Another World, which are the main themes of Manichaeism, won the continuity through Islamic Mysticism and Gnosticism. The Gholat of the Shiite and Zanadaghe were among the sects impressed by Manichaeism. One can discover the motif of The Eternal Life through the Islamic gnostic exegesis, a motif which is the remainder of Manichaean belief in the Paradise of Light and the fall of Light from the transcendental firmaments to the earthly world. The religious, intellectual and cultural reflection of gnostics in Iran and Islamic world began in the late 3rd century A.D. and continued to the Ismaili intellectual movement. Islamic philosophers have used some of the idioms and themes of Manichaeism in their philosophic works. The Ismaili ascetics had also the main role in this movement.

Of the famous definition of Shams Ghayse about poetry and its characteristics, only its visionary aspect has maintained its credibility. This characteristic may be used in its easiest form, namely simile, to teach poet composing to the apt children and do what American Kenneth Koch and Iranian poet, Nima Youshij, have done. If man drains his mind from the previous knowledge about the events and the nature, and use his creative imagination to liken them to new things, he enters the realm of poetry. Villagers, who had not seen a dome before, encounter with a dome through a poem by Nima, and Kenneth Koch introduces red rose, pond and cloud to his students by likening them to other things, thus creating innovative poetical images. We can do the same. We ask them to stand in front of the nature and things and liken them to whatever they want, and put them on the paper, and therefore, we draw them towards the realm of poetry, because poetry in the first place is founded on imagination and in its easiest form on simile and then on... .

"Letters" is one of the life of the Arab community and its transition from bedouin to civility, repeatedly finding meanings close to each other, so that it has taken today’s meaning which is referred to as an eloquent speech which is composed with the intention of affecting the emotions of readers or listeners in the form of prose or poetry. The present article tries to search in to the tradition of Arabic prose and poetry and find the etymology of the word "letters", follow the development of its meaning in the course of the history of the Arab Literature, and extract its types and equivalent meaning in each era.

Despite the splendor and the bloom attained by Muslims in the fourth century of Hegira, ethnic and tribal disputes and zeals, indeed on the basis of political classes, was widespread, and this massive spread of baseless and unfounded rumors escalated to the extent in many cases they covered the portrait of some historical issues with ambiguity and confusion which we cannot hope to have a reliable knowledge about them. Among the personalities whose life were portrayed under such circumstances is Ibn Hani Al-andalusi, who was totally surrounded by ambiguity, a person who carried the banner of poetry in Andalusia. The present article aims at throwing light on the dates of his birth and death, the cause of his death, his graveyard and also the authenticity of the poetry and books attributed to him, as well as some problems which had been intentionally hidden from historians. The article also intend to mention additional things other than what have been discussed about him.

The present article is a research about the faults of the book "Al-ghias Al-Nahvi". The main faults are listed as follows: First fault: The main title of the book is Al-ghias (analogy), however, neither it has been defined, nor its terminological meaning has been mentioned. Second fault: The respectful author has not explained that how Abdollah Bin Abi Eshagh expanded analogy.Third fault: The respectful author has cited a text from saybavih's book as an example for analogy while there is no analogy in this text.Fourth fault: The respectful author has claimed that Saybavih had used the words "wrong" and "error" instead of the word "shaz"(scarce), while it is not so.Fifth fault: The respectful author has claimed that Saybavih's analogy had two types, while this saying it is not accurate.