مجله متن شناسی ادب فارسی
پیاپی 1 (بهار 1388)

The gap between the social classes, especially between the higher classes and the lower social classes is one of the factors that cause satire to emerge. Satire shows its power by placing through social gaps, and as one of its ends it tries to reform the roles of social groups so as to decrease the gaps. Although satire is the apparent protest and hidden anger of the social lower classes toward the higher classes of the society, it never tends to cause violence. However, an unpleasant society might be suitable for satire development. Therefore, satire and its subcategories function as an alarm and warning of potent riots and gaps. To avoid violence and potent crises, we should consider its hidden energy seriously.Mashrote satire expresses a society which faces with a great social gap in on hand, and on the other hand it fell behind the developed world. In Mashrote era the form and structure of Iranian social classes is disturbed and new social classes that do not tolerate the current situation come into existence. This society at the same time, due to different reasons, becomes aware of its distance from European countries.In this circumstance, new social classes use the satire as an efficient tool against despotic rule and also for arousing the people in order to decrease the gap.In addition to its social role, Mashrote satire can be notably studied from other aspects; from view point of literature, satire role in language development, imagination, and creating new expressions and compounds are some subjects that can be independently surveyed.

In this paper a comparative analysis of two poems entitled «phoenix» by Nima and «L’Albatros» by Baudelaire will be done. It, initially, tries to investigate the symbolism used by these two poets. Then a comparative analysis is made from structural and thematic points of view. By comparing and contrasting the potential similarities and differences in these poems, an attempt is made to show the impact and influence of Baudelaire on Nima.

Love is a basic subject of Islamic mysticism. It is apparently the hallmark of Eynolghozat's thought as well. Hence, Mystics pronounce him as "Sheikh-al-Asheghin", "Sultan-al-oshshagh", and so on. Eynalghozat considers love as a common faith between God, human beings, and the whole universe by which enmity changes to friendship. He also considers love as a perfect leader who guides the lovers through the way ending to the eminent God. In his opinion, Love which can never be spoken of except by symbolic language is of three main types; Great Love, e, middle love, and lower love. Like other mystics figurative (platonic) love id of considerable importance for him. However, the first and second types of love -mentioned above- are much more prevalent in his works. In this article, the writer tries to supply a brief definition of love in Eynolghozat's opinion, as well as a comparison of his thoughts with his master; that is, Ahmad Ghazali.

In old researches about music, it has been clarified that music basically belongs to the nature and, consequently, natural elements. It is supposed that this science is derived from the natural sounds, especially from the sounds of sweet-singing birds.Through research in old mythological narrations, and literary texts, one could assume an intrinsic relationship between music and such sweet-singing mythological birds as phoenix, sphinx, Song-song, holy birds like Kership-tah, and other birds including swan and ring dove.

Tarikh-e-Beihaqi is a prose masterpiece of the 5th century A.H. and a model of compiling history for the successors. It is also an example of exquisite prose and a treasury of literary examples along with some indications of social and political conditions of those days. Beihaqi had mastered Arabic diction and literature as the requisite of the secretarial offices then. As the prose of Tarikh-e-Beihaqi is of the mutual nature and different from the prose of the first period, there are not so many Arabic verses. In these verses, Beihaqi mentions the name of each poet before or after the poem. Some verses are related to a historical event which Beihaqi uses to confirm his claims not necessarily related to the history and some of them are merely of advisory and counseling nature. The composers of the poems living in different periods including pre-Islamic and Islamic periods such as the beginning of Islam, Umavids and Abbasids –poets like Motanabbi and Abu-l-Ataheye and so on are chosen by him. However, some composers are not yet known for instance a single verse belonging to Imam Ali is not attributed to him. Also the attribution of some poems seems to be incorrect and some errors could be noted in the text. It seems that Beihaqi has changed some verses of his own; however, these manipulations are not clarified and mentioned in any critical essay. Therefore, in this essay it is tried to criticize these verses according to the external and contextual points. Also some grammatical and rhetorical points as well as common contents of Persian and Arabic literature used in them are shown.

Taziyeh as the most important method in religious and ritual theatre in Iran has many capabilities which can be used in modern visualization. The only element in this theatre which has been studied is distancing in performance styles. But by studying the existent versions of Taziyehs, there are other elements for recognition and use, which has not still been studied. The relationship between religious and ritual theatre with Taziyeh and also their main themes helps to identify these elements and their capabilities. Meanwhile, the presence of music as an expressive and performing element provides a basis which can be used in finding a new manner of expression in visual/dramatic works (such as music videos). Studying on such elements as time-place interlace, character replacement, functions of music, and their effects on audiences, shows that Taziyeh has specific capabilities in visualization (even in Cinema and Media). This article, through capitalizing on this subject and introducing one paradigm (Moses and poor Pilgrim), and comparing two versions of it, tries to represent these capabilities, and illuminates Taziyeh's abilities for modern (and even postmodern) visualization.