مجله زبان و ادبیات فارسی
سال یازدهم شماره 3 (پاییز 1394)

RudakiSamarghandi was a renowned and well-read Khorasani poet in the first three decades of the fourth Hegira century. He died in 329 or 330 H.G. He composed many poems. Some scholars have estimated the number to range from 130,000 to 1,300,000 poems, but a few poems have remained. Most biographers unanimously acknowledge his skill in composing different kinds of poems. There are mixed views about his being blind or being blinded and about his religious affiliation. His command of the Arabic language and literature was so high that he translated Kelileh and Demneh back into eloquent Persian poems.
AbolhassanTahami was born in Taham (Mecca). Then, he migrated to Ramleh, a city in Palestine. He became theoratoer of the city. He was a very virtuous and pious man. He was famous in Khorasan and his poems were memorized by people there. He was believed to be a twelve-imam shiite.

Hafez is one of those few poets whosefame and popularity have been on the increase with the passage of time. In recent years, various works have been written by national and international writers on different aspects of his art. The most outstanding feature of his poetry is the mystic aspect, which, based on the common definition of mysticism, is naturally different from eulogy, praise, and flattery. However, the existence of some undeniable eulogies in his book of poems has caused some to have some doubts about his poems. The present article tries to respond to such doubts about Hafez’s eulogies in a realistic way. It does not aim to justify them.

In Avestan, Simorgh meant an eagle. This legendary-mythical bird is a totem of Iranian literature. The virtues of wiseness and awareness of inner secrets have given this bird a supernatural face. Even mystic and epic poets have tried to make this metaphysical creature seem natural. The presence of Simorgh in Iranian epics begins with the birth of Zal and ends with his death. Persian literature has used the concept of Simorgh in mystic and Sufi writings to express divine mysteries and fine words in the form of stories, parables, and allegories. With the features mentioned in mystic and lyric literature about Simorgh, it is no doubt a divine creature. If this bird is viewed negatively, it may be by non-Iranians who are not deeply familiar with Iranian cultural concepts or they are biased towards the behaviour of the Simorgh’s rival. They have overlooked the point thatSimorgh’s behaviour is a reflection of his rival’s behaviour.

The history of story writing in Iran is also the history of a revolution in the language, which, after the Constitutionalism, approximated lay peoples’ speech and moved away from the bombastic and vain language of the court people. This feature can be seen in Ali Mohammad Afghan’s works. Based on style and structure, his stories are classified under the category of regional stories. In regional stories, describing local rituals and customs and speaking colloquially constitute the basic aspect of the story. Presenting a general conceptualisation of language and language varieties, the present article focuses on the use of colloquial language in Afghan’s novels.

Persian literature in its long and vast history, has introduced great people who have created invaluable meanings and rituals and contributed greatly to the enhancement of a humane and humanitarian culture in the human society.
Among the estimable and valuable rituals in Persian literature, the ritual of oath has a special status. BeyhaghiHistoryis one of the works in which the ritual of oath has been very frequently used. In this work, the author focuses on such topics as taking an oath, swearing somebody, swearing caliphs and emirs in, making an affidavit, and the presence of witnesses. The present article briefly covers these issues.

Sanai style launched a great development in Persian literature. It has influenced Persian works directly or indirectly. Rumi (Mowlana) praises s for his perfection. Abd al-LatifAbbasi, the greatest exegete of Hadiqa, considers Mathnavi to be an exegesis of Hadiqa.
The present article follows a structural approach to analyse the structure of the parables and their function in the overall structure of Hadiqa. The study of 119 parables suggested that these parables are dialogic and have a simple, minimalist structure. They have afew,yet various, characters. The point of view and the narrator are also various. Each parable has a tripartite structure: introduction, body, and conclusion. The themes in these parables focus on spirituality, mysticism, wisdom, ethics, and justice in order to get closer to God.

The rich Iranian literature is our eternal pride-worthy capital. Iran has been home to many world-famous men of letters. Every Iranian is duty bound to introduce them to the world community. In the present article, the author aims to study practical wisdom (practical ethics) in the poetry of these two poets: SaadiShirazi, who lived in the era of Khorazmia kings and the Mongols’ invasion of Iran (7th century H. G.) and AbolfathBasti, the Arabic speaking poet who lived in the Chaznavid era (4th century H. G.) their poems are replete with wisdom and advice. The present article tries to provide the readers with some wise meanings coming out of the two poets’ pure hearts.

On the basis of the implications and references that can be found in the works of poets and mystics, it can besaid that there has never been a separation between the Koran, the religion, and the mystics, who have always been influenced by religions concepts and Koranic figures.
One chapter of the Koran which has greatly influenced Persian literature especially in the area of mystic literature is the chapter of Yusuf and Zoleikha. Zoleikha, Egyptian governor’s wife, is a rare and wonderful woman who is renowned for her bold and persistent love. Her love of Yusuf and the predicaments she underwent because of it have been reflected in many poems. Although Zoleikha does not have a religious face and is not praised in the Koran, her actions and emotions have always attracted Sufis and mystics, who have exploited her actions and emotions to express and prove their mystic views. The present article tries to find out howZoleikha’s actions and emotions influenced 5th - 7th century mystics.