نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 29 (پاییز و زمستان 1393)

Isfahan University Abstract Categorizing poem by content, results in four literary genres that are epic, lyric, didactic and dramatic. It does not mean that these genres are pure literary genres as they have been integrated with each other. In other words, a lyrical work can have epical parts, and an epical work can mix with didactic or lyrical themes. Epic poems are not devoid of lyrical themes, especially, Sam Nameh that belongs to the Iraqi era, and its romantic aspect is very dominant. In this study, lyrical themes such as love story, oath, hymn, elegy, panegyric, complaint, anacreontic verse, boasting poem, etc have been presented. In these lyrical themes, the epical tone and antiquity of the language are not considered: As Sam Nameh does not have unity of tone, and the frequency of most of lyrical themes is under the social influence of Mongol's dominant era.

The science of onomastics is a part of lexicology and a subsidiary section of general linguistics and helps us to analyze fiction characters through their names. This paper tries to analyze the characters of folk tales based on onomastics. The original text in this research is Firoozshah Nameh because it consists of more than 300 characters (human, demons and fairy) with positive and negative roles and various names. Noticing on the importance of this folk romance and few researches about it, this paper tries to introduce some literary values of it. Moreover it refers to other important Iranian folk romances like Abumoslim Nameh, Iskandar Nameh, Amir Arsalan e Namdar,… and analyses the names of their characters. Based on onomastics it tries to show the relations between the names and themes of the story. This paper is amongst the first researches in onomastics of fiction characters in Iran, so with dividing the names of characters and offering the statistical analysis it can be a pattern for other similar debates in other literary fields.

Fantasy literature has been raised in the field of literary criticism. In this kind of literary we face events that the reader at first glance cannot decide which of these events is true or false. Throughout the novel the reader finds out the events that occur are real and consider the events as natural by the rational justification and considering some conditions. Fantasy literature is placed in structural and content areas and people like Todrov in structure and Freud such in psychological and content discussion as those discussed defined and explained it. Both of theorists knew doubt and fear as the main features of fantasy literature. Fear and doubt exist in the reader, the narrator and the characters. Doubt is a notion that Todorov emphasizes on it, while Freud considers fears more. The authors of this paper analyze the structure and content of the novel "Derakht-e Anjir-e Maabed" written by Ahmad Mahmoud with regard to fantasy literature. For analyzing the novel, first the totality of the work described incompliance with the fantasy literature, as well as the conditions and justifications for the fantasy literature that Todorov distinguishes are studied in this paper, then the elements and techniques of fiction novel comply with fantasy literature reviewed and analyzed. Among these elements and techniques, the kind of describing characters, point of view, and focal disruption represent the doubt of character, and stream of consciousness, contents, association of meanings, and contrast gives the reader the chance to realize the doubt in characters and the text in his impressions. The results show that there is a variety of hesitance in this novel, hesitance of reader and hesitance of narrator and character. So the novel "Derakht-e Anjir-e Maabed" proves well to belong to the fantasy literature because of prominent the feature of doubt, occurrence of strange events, and specific narrative in connection with elements of story.

One of the themes most commonly viewed in Persian epic poems after Shahnameh is the presence of heroes from the past eras and their effective role in the story. A survey on heroic poems after shahnameh demonstrates that the ancestors and the death –the majority of which are heroes and champs from past eras- have taken part and made fundamental effects in the story in three ways: 1- first of all, in most of the heroic poems there are crypts, castles and minarets in which the past hero has left a didactic letter and a treasure. The past hero/king relates to the protagonist through that letter and makes some influence on his thoughts. 2. sometimes the passed away hero calls the living one for doing something or prevents him from doing something through a dream. 3- the third way consists of the weapons of passed away heroes being used by the protagonist. This essay also considers the past hero’s relationship with beasts and sorcerers. In most cases, these heroes have asked beasts and witches for help in order to preserve the buried treasure. This essay seeks to study the presence of past heroes and their influence on the story through considering the epic poems after Shahnameh.

With the establishment of Iranian governments through the third and fourth centuriesA.H. and their encouragement, more and more poets inclined to poetry. During thereign of non-Iranian governments ruling after the Samanid era, this trend continuedeven more highly than before. So that a great number of scientists and the learnedones in hope for income and profits, began to compose panegyric poems about thekings and dignitaries. One can find some details about the rewards and applaudsgained by the poets at courts in different historical and anthology books. Meanwhile,joining the court and attendance of the kings has caused some sufferings anddisappointments for them, too.The court environment created dangers and limited the freedom of the poets. Inmany cases, it even made them tolerate insults and pains while sometimes they onlyachieved a little sum of money. As a result of this condition which continued moreintensely through the fifth and sixth centuries, we find many poets who displayedhatred towards poetry or even left the court.In this essay, firstly, the variety of disappointments imposed on the poets duringthe period between the rise of Persian poetry and the Mongol invasion is investigated.We can enumerate them according to the quantity and frequency of each one asfollows: Poverty and lack of welfare, disability to travel through the country orabroad being forgotten and lack of attention towards them, being imprisoned,banishment from the court, unexpected death subject to court conditions, beinglampooned, deposal of ones, tenure, going on exile, being under legal pursuance,requisition of patrimony and tolerating base jobs.After that, the cause of these disappointments is studied which shows that thedictatorship of the rulers in this era, the change in political and social conditions, theincrease in the number of poets and the meanness of the patrons along with somepsychological factors in the poet's characters as well as ill fate in some cases haveaffected the appearance of these disappointments. This part also deals with the poemsincluding apology, complaint and self-glorying of the poets mainly caused by theirdisappointments.

Along roaring river of Persian poetry in the context of the time, poetry criticism like a small brook has been flowing smoothly. This stream at a short section conduces to Majdehamgar, master poet of seventh-century who as “poet laureate”, considered as a literary critic. The comparison made by him between poetry of Anvari and Zahir and Sa’di and Emami, is one of known issues in the old traditional criticism. Through these two judgments, in historical review of poetry criticism in Iran, Majdehamgar is known as one of the seventh century literary critics. Other critical views of Hamgar in his “Divan” is significant too. Critical perspectives of Majdehamgar like “technical” criticism, “moral” criticism, “social” criticism and “without criteria” review is studied and discussed in this article.

Present research dedicated to literary criticism and analysis of story elements in ten selected narrative poems of contemporary poets. Introduction refers to the narrative poems, then the most important story elements: plot, character, points of view, set in ten contemporary narrative poems have been considered. These narrative poems have simple plots each of which based on a linear time and others which are complicated having a non-linear time. Characters in these traces are flat, allegorical and in some cases dynamic and the poets introduce them to the readers through direct and indirect descriptions. These poems narrated according to different viewpoints including: omniscient (third person), first person point of view and dialogue, and in some sorts of traces, conversation serves as the intrinsic (internal) element of narrative passage. Poets create the setting by use of/via characters and their surroundings descriptions and it means that these descriptions draw a thoroughly natural picture of the setting with the general time and place to the reader.

Naser Khosrow more than anything else is a philosopher, a master of ethic and a literary figure with thoughtful ideas. He urges the people to think deeply about the universe and emphasizes on thoughtful ideas about nature. The main aim of Nasser Khosrow in his poems is to aware people to the evolutionary trend of human personality and its transcendental nature. He believes that human is a creature whose identity is not determined and he can gain his own real essence based on “Freedom” and “choice”. His Divan mainly advises the audience to move toward the path of transcendence. He considers human responsible and tries to make him sensitive and worry about this responsibility. More or less, the Existentialist philosophers have the same views to human. A sense of anguish is also important to Existentialists. They believe in such idea as the cause toward enrichment and transcendence. According to existentialism the most fundamental anguishes are: anguish of freedom, anguish of being, anguish of possibility, and anguish of time and place. In the present article an attempt is made to compare the views offered by Naser Khosrow with ones provided by Existentialists.