نشریه ادب فارسی
سال هفتم شماره 1 (پیاپی 19، بهار و تابستان 1396)

Because the soul of Jalāl ad-Dīn Muhammad Mowlavi was mixed with music and the music had penetrated in all aspects of his existence, his poetic works are full of phones, intonations and musical elements. According to his poems, especially his sonnets, it can be concluded that he was scientifically and even practically expert in music of his time. When his speech becomes full of rhythm and music, one can understand the meaning of his words, and that the music of the poem is rooted in the cosmos and "sounds" of any kind are the best tools for creating music in his opinion. These sounds and intonations represent Mowlavi's enthusiastic and roaring soul that always moves and struggles restlessly. Music helps him significantly to get "meaning" from the "word". Among the various kinds of music, in Mowlavi's verses, one can find a type of music that sounds and their repetitions play an important role to create it. In this music of sounds, which is created through a harmony between consonants and vowels and relates to the internal music of the poetry, Mowlavi has abundantly used sound (quasi-sentence), onomatopoeia, subsidiaries (apparently obscure but music producer words), and prosodic elements.

There is an impressive variation in the subjects and the themes of Bahram Beyzai's works. To create his literary works he uses different literal techniques that are going to be explained in present study besides reviewing, analyzing and categorizing his fictional topics. 24 Beyzai's literary works including 13 screenplays, 8 plays and 3 barkhanies (loud verbal narrating) have been reviewed in present study through an analytic-descriptive method, in a way that the topics have been used by Beyzai are determined, initially, and then each of them are analyzed presenting some specific instances. Beyzai's favorite topics generally include national, social, historic and religious subjects and protesting cinema. He has displayed different spaces in his works, although he has paid more attention to social and national issues and has created numerous works in these fields. To bring these social themes up he benefits several artistic techniques such as “adaptation from ancient texts”, “allegory” and “utilization of public literary abilities”.

The two words 'Attābi and 'Atābi have been recited in the works of some Persian poets such as a verse in one of Saadi’s odes. The authors of the Persian dictionaries have generally considered 'Attābi as a cloth that a person called 'Attab had produced it, or a cloth had woven in one of Baghdad's neighborhoods known as 'Attābiyya (al-'Atābiyya). It seems a misunderstanding has occurred here and there is basically a relation between the name of this striped cloth - 'Attābi- and the original meaning of the word 'Attāb as it applies in the word al-Hemār al-'Attabi (Zebra) in Arabic texts. Reminding the viewpoint of 'Allameh Qazvini about this matter, in present study, and providing some evidences from pre-12th century Arabic and Persian texts we have shown that Saadi had paid attention to the Arabic and Persian works before him using 'Atābi Garment and 'Attabi Donkey and had used both words 'Attābi and 'Atābi according to their background.

Praising the Prophet Muhammad (PBUH) has been a common religious-literary ritual in different Islamic sects and the introduction of many Divans by the Persian and Arab poets since the rise of Islam. Praising (Naet) is introduced as the subspecies of eulogy (Madh) in Persian and Arabic rhetoric. Khāghāni Shirvani is one of the prominent Persian panegyrists who has composed many praising (Natiyya) in eulogy format in his works, especially in his odes. It has been tried to clarify, through a descriptive-analytic method, the structure and the content of his praising poems and to show what kind of possibilities and intentions are in this rhetoric-literary subspecies. Deliberating and scrutinizing in several praising works of Khāghāni we found that this literary subspecies has profound religious themes and contents that are composed honestly, respectful to ethical standards, historically documented, far from extreme exaggeration, with the aim of seeking the help of the holy prophet (PBUH) in difficulties and to understand religious teachings.

In addition to their imaginative aspects, metaphors, allusions, allegories and proverbs have also cultural aspect. Since these interpretations reflect a full image of any society's history, culture and thought, they have attracted the attention of experts in the field of contemporary translation. Some theorists believe that the translation of the cultural elements and aspects included in the text is not possible, while others consider it translatable within certain frameworks. Through a descriptive – analytic method and based on the Ivir’ model, it has been tried in present study to review, criticize and compare the method of translating cultural and imaginative concepts of 108th sermon of Nahj al-balagha by Feyz ul-Islam, Shahidi and Dashti. We have also tried to answer the question that to what extent the translation of cultural elements was possible from Arabic as the source language in to Persian as the target language. The results of this research indicate that among the proposed methods for the translation of cultural elements, the combined method of the equivalent translation in the target culture is one of the most successful methods, while the free translation of such interpretations just reflects their functional role and ignores their cultural value.

Living in a period between Sanāie and Mowlavi, Attar of Nishapur is a poet and writer who becomes the connection loop of the beginning and the peak of mystical path of Persian poetry. With regard to his acquaintance with storytelling and the use of various narratives, there are thematic similarities in his works. The intertextuality discussions, especially what has been posed in the theory of Gérard Genette, have been used in present research to analyze the common narrations of Tazkirat al-awlia and Mantiq al-Tayr and o find their relations in a way that their relation can be analyzed according to the categories of this theory. The important point is that, due to the unique features of Persian literary texts, it is possible to go beyond the classifications and to expand them. Such studies make the relationship between the works of Attar and the method he uses to narrate in these two books clear.

Imagism is one of the literary schools that holds a remarkable role in Persian literature. The researchers has determined some manifestations of Imagism in Indian style of Persian literature in addition to the contemporary literature. In this study, we refer to the similarities between the poetry of Khāghāni and the School of Imagism, a set of components makes Khāghāni to be considered as an Imagist, and study Khāghāni's poetry, considering image as the main color of poem as the most fundamental principal of imaginary poetry and show that like other imagists, the main concern of Khāghāni among all other poetic features, had been the image. He often uses his poetic features to create an image and portrays, with various imaging techniques, the image as the main color of his poem. Moreover, there are not some major defects of imaginary poetry such as the lack of human affection and impossibility to compose long narrative poem in the poems of Khāghāni. Considering these features the Khāghāni poetry can be introduced as the leading and pioneer example of imaginary poetry in Persian classical literature.

Nushdāru (antidote), a novel by Ali Mơazzeni, is one of the contemporary literary fictional texts has extensively communicated whit mythical and epic stories of Shāhnāmeh such as Rostam and Sohrāb, Siyāvash, Fereydun and Zahhāk. Exploring these relationships not only leads to a better understanding of the novel, but also is beneficial to identify the components of contemporary fictions have been influenced by epic works specially Shāhnāmeh. To achieve this, in present essay, the transtextual relations between Nushdāru and Shāhnāmeh have been reviewed and analyzed bases on Gerard Genette`s theory. He divides these types of relations into five categories: Intertextuality, Paratextuality, Metatextuality, Architextuality, and Hypertextuality. Some introductory discussions have been proposed, first about intertextuality and transtextuality, and then different types of transtextual relations have separately discussed in each part of the essay through a brief review of the novel’s content. Finally, their features and instances in Nushdāru have been analyzed in comparison to Shāhnāmeh.

Although less complete research has been accomplished on the rhythm of Naser Khosrow's poems, literary scholars and poetry researchers has always paid attention to the rhythm of his poems and has always known him by the rhythmic features of his poetry. Through a careful analysis on each verses of Naser Khosrow, it has been trying in present essay; to find and categorize the rhythmic variations have happened in his poems and to provide a more accurate image of his personal style reviewing the frequency of these variations. The most important rhythmic variation in Naser Khosrow's poetry is converting two short syllables in to a long syllable, what is called Relief in some prosodic books and is outstanding in his poetry for two reasons: first, for its high frequency; and second, for its position in prosodic chain of the verse. This study is also a step to codify the rules of ancient Persian prosody that naturally seek their criteria in old texts instead of the words of prosodists. Of the most important none-codified rules can point to the use of Relief in the first pillar of hemistich that has not yet pointed to and have not entered in the books of prosody.

Gholam-Hossein Sā'edi is of the novelists who are expert in dealing with psychological problems and the issues relate to the spirit of their work's characters. He was a psychiatrist and used to reflect his objective observations of neurotic and psychotic problems of the people of his own age in his stories. This essay discusses the mental illnesses in his stories in three main areas: a) introduction of neurotic and psychotic characters, b) causes of these problems and diseases, c) certain therapies offered in some stories to treat a group of patients. As the results show depression, anxiety, distraction and states such as illusion and alienation are the most important diseases of neurotic and psychotic people of his stories, and social issues and problems are the main causes of psychological problems in the characters of his stories.

The term barāt, originally derived from Arabic barā't, has been used as a bureaucratic term in ancient Persian texts by two meanings: the earliest usage was a receiving document or a receipt were issued by treasurer in turn for goods, and the other, a bureaucratic manuscript documented by the court seal through which the government agent could transfer the money or the goods had committed to pay to another person or reference. Since what has occurred in general dictionaries as idiomatic and bureaucratic meaning of barāt is often tolerant, referring to the first-hand resources, it has been tried in present essay to analyze the apparent and functional features of the term barāt. It has also endeavored, through this approach to express the differences of barāt with similar terms such as “taliq” and “muthannā”.

Although some corrections have already been made to Khāghāni Shirwani's Divan and many researches have been accomplished to know this famous poet and the other works about him, many verses can be found in his Divan that might be semantically disturbed and their rhetorical and literary values have been completely eliminated due to a mistake in recording or editing. Correcting Khāghāni's works on the basis of his own works seem being one of the criteria and methods can be used today in correcting his poems. The general editing of Parvār in to Parvāz, occurred in some of his divan's verses, Tohfat al-Aerfin and Munshaat have been analyzed and corrected and it has been tried to suggest some new corrections based on other verses and similar themes in the of Khāghāni and other persian poets