نشریه پژوهش های ادبی و بلاغی
سال پنجم شماره 3 (پیاپی 19، پاییز 1396)

Qous Qazah – a word rooted in Arabic language and culture – replaced Persian ones of Āzfandāk and Tirājeh, all of which mean rainbow. Over time, this construction has been linked to the myths, and colloquial and religious beliefs, being used by Arab and Iranian writers and poets in their works, one of whom is Mowlānā Rūmi who used it in Masnavi Mánavi. Masnavi Mánavi is a profound text created by Mowlānā with a broad perspective and comprehensive knowledge. Masnavi contains verses which, although they seem to be perceived simply, need to be investigated thoroughly with knowledge of scientific and empirical ties at the time of its writer in order to understand their intended messages accurately and to avoid going astray as well as to achieve related portrayal practices and artistic technique creation. Present research is intended to induce one verse of Masnavi Mowlavi while studying literal background as well as mythical, historical and religious beliefs attributed to Qous Qazah. Additionally this research analyzes ambiguities surrounding this verse with a critical perspective and review of explanations provided by Masnavi expositors in order to present accurate target messages of the verse along with its aesthetic structures.

Number, is a category that man has always been associated with it during its life and has used it as a means for obviating its needs. Number one is a sacred number in divine religions and is considered the secret of divinity and oneness. Two is placed against one and hence is a symbol of contradiction, conflict or temporary peace of forces and a sign of passing of time. In all secret religions, two is considered unlucky and implies shadow. Number three is also among the most useful numbers in the legends which are under investigation. And for ancient Iranian was the code of religion and magic. number four is one of the most complete numbers. This number has been considered the cosmic order, which gives order to the chaos in the world and converts it into fixed and regular forms. The number 5 in these stories, has a less important role among the first five numbers. many compounds have been made with this number, many of these compounds have ironic and literary value. The goal of conducting this research is to achieve the results through which we can realize the mysteries of life in the past. The results of this research showed that number one with the most frequent repetition in Legends has a high position. Meanwhile, most of the stories and legends begin with the template proposition as "once upon a time" to show the importance of this number for people.

Manouchehr Atashi (1310-1384) is one of the greatest poets in the contemporary poetry who has used a lot of allusion in his poetry. Diversity and abundance of allusions in Atashi’s poetry expressing his rich knowledge and allusion can be considered as one of the characteristics typical of his style. Although in his first collections he has used the local and regional allusions related to southern of Iran (especially Boushehr), but he gradually give up this space and has used more and diferents resources for allusions. One of these resources, especially in the final poems, is Old Testament (Torah) and the New Testament (Gospel). In this paper that is done in the library method and analytical content, is tried to identify and analyze the most important allusions to Old Testament (Torah) and New Testament (Gospel)in the poetry of Manouchehr Atashi.

Radif which is an element of musical elements and completes and confirms the implication, has its special origination in Persian poem. The element which is usually located in noun and verb, has also been located in article in some poems of some Persian literature poets. Analysis of several meanings of “Ra” as grammatical structure in Sa’di’s odes, reveals some untold which can be beneficial in universalizing the structural point. In the current paper, which has been carried out through analytical-library method; nineteen odes of Sa’di’s containing Radif of “Ra” have been investigated in accordance with the explanations mentioned in five different grammars through conceptual and structural views. The most important finding of the paper, in addition to determination of the frequency of different types of “Ra” as Radif in Sa’di’s odes; declares that meanwhile discovering some grammatical problems and rule differences, other samples of “Ra” can be found which have stayed away of the sight of clear-sighted people and Persian grammarians.

Imagery, a manifestation of poet’s elevated thoughts, occurs when he departs from common language and presents his inner perceptions in a poetic manner. In traditional rhetoric, poetic images are based on five principles, harmony, imitation, clarity, verisimilitude, and the opposition between form and meaning. These principles contrive artistic processing in the poetic images of classical poets. The present study seeks to investigate image rhetoric in the poems of Ibrahim-Naji (1898-1953), a contemporary Egyptian poet, using an analytical-descriptive method. The results indicate that he, with the help of simile, metaphor, and trope, creates images harmonizing his inner mood and what he depicts on the outside. Meanwhile, most of these images are presented through imitating the antecedents. To achieve this, the poet, in addition to preferring form to meaning, has applied clear and lucid expressions which are in concordance with the principle of verisimilitude.

The Untranslatability of some part of Mowlana's mystical poetry, and the differences between the viewpoints of the East and the West cultures, has brought about changes in the Rumi's mystical discourse. Rafiq Abdullah, a South African Muslim is, lecture, translator, writer and BBC radio producer. he chose a selection of Rumi's poetry and translate for English-speaking people. This research, while reviewing different perspectives on poetry translation, shown that have been made in translated version by referring to the selected verses of Divan Shams. In other hand, common points of discourse in the chosen vocabulary and their translation has been shown, and finally this paper shows how changing the cultural patterns from the original version to western version due to the discourse changing. Mowlanism in the other countries and attention to his behaviors in the West, is the result of native translator views.