مجله زبان و ادبیات فارسی
پیاپی 47-49 (پاییز و زمستان 1384)

Azraqi Heravi is one of the great poets of the fifth and sixth centuries who is ranked often as a minor poet. In this paper, the researcher reports a study of the data related to this poet and his life, and, discussing the style of his writing and the innovations he introduces in his poetry, he tries to show that because of these very innovations Heravi is equal to some of his contemporaries if not superior to them. This paper discusses different aspects of his poetry such as his thought, imagination, emotion, language, music and form and gives some evidence to illustrate each of these elements and technical aspects.

One of the most distinctive features of Rumi’s narratives in Mathnavi is blending the stories with each other. The narrator in the midst of the story digresses to another story, links to each other two sequential stories, or sometimes narrates two stories simultaneously. Discussing the technical features of “intersectional narration” and its history and theories the researcher in this paper explains the distinctive features of the form of narration in Mathnavi.

Sayed Mohammad Reza Ishghi is considered one of the constitutional poets in Iran and a forerunner in the case of literary modernism. The concept of literary modernism is closely related with romanticism and its expansion from constitutional literature onward. Ishghi is the most outstanding poet of romanticism in his contemporary time. While his romanticism enjoys lyric elements; it is more concerned with social and revolutionary issues. Referring to ups and downs in Ishghi' life and highlighting romantic aspects of his works, this article analyses some of his works including "Maryam's three painting". Also, the romantic features of his works in terms of form and content will be presented.

Geometry, norm, and exact and contemplated plot/form are considered as distinct features of Hafez's poems. The manipulation of these features will entail the loss of some grace. A part of these poems which can be improved is geometry and bihanbaz norm. That's the continuous attempts and deliberations made by Hafez to revise, manipulate and improve his own poems. The revisions and manipulations resulted in various versions and revised scripts all of which can be found in his Divan. Thus, those editing Hafez's Divan should necessarily recognize and include in the texts the versions derived from the revisions and manipulations on the basis of accepted norms.In this article, first these developments will be presented by showing some revised scripts and versions. Then, an attempt will be made to delineate some of Hafez's manipulations in his poems for the purpose of accomplishing geometry of such exactness and contemplation.

Allegory is a term of long history, wide use and likely vagueness in literary criticism and Persian eloquence. The term is sometimes used as the synonym of symbol, parable, and anecdote. In this article, an attempt has been made to explore the eloquent author's definitions in both old and new literary criticism and Persian eloquence by studying the background of allegory in religious literature and myths. The nature, function and types of allegory will be explored as well. Finally, the differences between metaphor and symbol of allegorical domains will be discussed.

The following issues will be explored in this article: Mohammad Taghi Bahar's attitude toward the important international developments including the first and second world war and the consequences of the 2 wars; the situations of Iran and some Asian and European governments in the 2 wars. Given the enormous effect of political pacts and agreements between Iran and other government on the cultural, social and political affairs of our country, the Bahar's reaction to these pacts and the political and military interference of foreign countries especially Russia, England and US are worth considering within a cultural and historical framework.

Thinking of death is a characteristic of human's soul. Man is afraid of death and is after contrivances to overcome it to the extent that the appearance of Isfandiar, Garshasep, and other heroes in Iranian and non-Iranian myths are claimed to be the product of this phobia. The need to suppress the fear resulted in the appearance of priests, oracles, and fortune tellers. The simplest reaction to death is manifested in the form of resort to Taaviz (seeking refugee in God), Herz, Tamime. This article describes the types of Taaviz in Khaghani's poems especially the poems sung in memory of his 20 year old son. Furthermore, the qualities of the Taaviz will be discussed.

Many interpretations have been written on the Molana's Masnavi since long time ago up to the present time. These comments have offered examples to show the complexities in Masnavi in line with their taste. Presenting an example, this article discusses the differences in the comments of commentators and concludes that in order to remove the complexities in Masnavi, it is necessary to take into account the coherence of words and that the key to the simplification of Masnavi should first be sought in Masnavi itself.