فهرست مطالب میرجلیل اکرمی

The unpredictability of various forms of lyric literature, which is rooted in the limitless manifestations of human emotions, reinforces this thought that in the corner of various works, there is a possibility of emergence of a new and even unknown example of this type of literature in one of its many sub-branches. One of these possible examples is an original boasting written by Najmeddin Razi from the words of the Holy Prophet Mohammad. All aspects of the content and language of the mentioned piece have naturally been affected by the unique position of the boaster. The writing ability and the deep devotion of the author of Mersad ol-Ebad undoubtedly added to the impact of this hypothetical boasting. In this article, while extracting and introducing this special piece, the content and linguistic components that make this boasting stand out compared to other common boastings in Persian literature will be presented and analyzed considering the unprecedented centrality of its high-ranking speaker, the Holy Prophet Mohammad (pbuh).

Revelation and holy Quran’s verses are of high importance in the thought of IBN ARABI and much of his important and mystic beliefs are derivatives of his interpretations of holy Quran’s verses and its influence is obvious in his outstanding works including Futūḥāt al-Makkiyya, Fusus al-hikam and holy Quran’s interpretations.
While examining IBN ARABI’s overview of revelation, we explain his theory of “continuous revelation” and - technically and based on some textual examples - compare it to the theory of “Quran’s artistic images” which belongs to SEYYED QOTB.
The outcome of this study shows that the emergence of the IBN ARABI’s mystic theory of “continuous revelation” is of artistic and literary nature and while containing some differences, it has major similarities and compatibilities with the SEYYED QOTB’s theory of “Quran’s artistic images”.
In other words, in the mindset of readers, from the perspective of induction of interpretive meanings, this study implies that there is considerable correspondence between the IBN ARABI’s mystic theory of “continuous revelation” and the SEYYED QOTB’s theory on the Quranic artistic images and shows that these intra-religious theories on the miracle of holy Quran, are as the expressions of the same truth from two different perspectives.

Iranians were the people who lived in the land of Great Iran in ancient times, in their social relations with each other and with the neighboring countries and with the people of the world of those days, they had wars, peaces and reconciliations, friendships and relationships. This behavior and their relationships and belief, which is history as the preserver and guardian of the documents of the past, has been preserved for the future generation. The ancient Iranians, for whom Ardeshir Sasanian used the word Iranshahri for the first time, had thoughts and ideas to express their opinions, beliefs in establishing relations with others, in the manner and ritual of governance and statecraft. Historians, poets and writers have been influenced by these ideas. Especially the poets of the 4th and 5th century were more influenced by it in their epic works, one of them is the famous Iranian poet Asadi Toosi. Asadi Tusi's Gershasp Nameh is the most important heroic and epic text after the Shahnameh. Although its subject is wars and heroic performances, it contains important and effective elements in the formation process of Iranshahri's ideas. Various topics and elements that have happened throughout history in the thoughts of ancient Iranians and the long-standing beliefs of Iranian citizens in their daily lives have a prominent appearance. The purpose of this research is to identify and analyze the intellectual foundations of Iranshahri as one of the coordinates in the intellectual level of this valuable work. Now this question is raised, what were Iranshahri's beliefs and thoughts in this book? And what has been reflected? In order to answer the questions in this research, which is analytical-descriptive and based on library studies, topics and elements such as "minorism, theology and religious orientation, Shah Armani, reconciliation and friendship, pact, oath, prophecy, catacombs, magic , fate and destiny" which was one of the main intellectual bases of Iranians and ancient Iranians, based on "Gershasp Name" and reference to "Shahnameh", "Bahman Nameh", "Barzonameh", "Faramarznameh", "Bano Ghassab Nameh" and "Detailed Court" has been examined and analyzed. By studying and examining Gershasep's epistles and epic poems in the Khorasani style, we can conclude that there are few parts of his poems that are not influenced by Iranshahri's ideas. Garshasp, the book of Esdi Toosi, travels, stories, wars, and performances, which are the result of the presence of Gershasp, the mythical warrior of Iran. Events have taken place in it, and there have been effective elements and phenomena, and beliefs that the people of Iran have fully believed in. In this work, the literary master has shown himself in the best way and these themes and elements in Asadi's book have been manifested as the second and best literary work of Khorasani style. And compared to the works of other epic poets of this style, it has been reflected in the best way.

The poets and writers of Persian literature have decorated the beginning of their poems and prose works with the name and memory of God since long ago. This tradition, which is basically rooted in the religious and theological emotions of the authors, seems to have faced some limitations. One of these limitations is the observance of the style of the beginning of the speech which has always been associated with the praise of God since the previous covenants and the authors of prefaces have followed the footsteps of their predecessors over the years. But the main limitation lies in the unique characteristics of the main subject of the word, that is, the divine essence. A lot can be said in describing God, but not every tool can be used for this description. Praise of God writing has a wide content, but it has the possibility of limited options and language arrangements. This article will try to introduce some of the linguistic features of praise of God writing while briefly mentioning the belief bases of it. With this aim, the praise of God of eight works from the period known as technical prose have been examined at two levels of rhetoric and grammar, and the commonalities between the texts, while analyzing and etymology, will be presented as the results of the research. Based on the obtained results, the language of praises of God has a solid quality that does not allow to any rhetorical element the possibility of role-playing, and permitted rhetorical elements such as Saj'e, Jenas, Movazene, and Taghabol don't have enough ability to break the difficulty of this language. This strong feature can also be seen in the grammatical replacement of words, as if in prose introductions, the structure of sentences is fixed and the authors only put variable words in predetermined positions.

This article aims to identify, classify, and analyze the roots of ambiguities in the works of Nizami. The high frequency of ambiguous dictions in Nizami Ganjavi’s works converts the ambiguity as a kind of stylistic component. This factor has led to differences in the interpretations of his works; So that few pages of his poems can be pointed that there is no difference between the commentators in determining the meaning of a verse, term or word in it.

According to usual methods in literary research, the present paper is based on the analytical-library method. By examining various interpretation books of Nizami’s Works and related researches, examples of interpretive differences have been collected and then ambiguous factors in military works have been classified and analyzed based on the mentioned data.

According to the authors" studies, some frequently cause ambiguity in military works: Differences in manuscripts, infrequent vocabulary, scientific and specialized terms, slang terms and allegories, rare metaphors and Metonymies, types of weakness of composing, semantic connection and longitudinal linkage of verses, etc. are among the most important of these factors.

The bold and uniform presence of ambiguous components in the major parts of Nizami’s works has caused the plurality and difference of readings and conflicting explanations of his works. These differences are mostly related to the linguistic and literary level. Some of the differences are due to inaccuracies or lack of access to comprehensive information. Differences of manuscripts are also an extra-textual factor that adds to the ambiguities in synergic ally with in-text factors.

In the tax system, ransom and tribute were an important source of income for Iranshahr. These resources were provided through the payment of ransom and tribute from the people inside the country, or through the extortion and tribute of the princes of Iranshahri from the kings of other countries. In this regard, most of the rulers and kings of the lands and kingdoms played a significant role. In the mythology of Iran, lands such as Hamavaran, China, India, etc. were among the ransom paying countries of Iranshahris; Of course, some countries were either at war or at peace with Iranians. In any case, the powerful princes of Iran used to collect ransom and tribute from these countries and other kingdoms. In this study and research, while examining and extracting "ransoms", "tributes" and how to collect and pay tribute and the quality of its use in the construction and settlement and security of Iranshahr, it has been tried. The political relations and the behavior of the princes of Iranshahr in taking taxes (extortion and tribute) in peacetime or during war in dealing with the rulers and kings of different countries and kingdoms of the world and the people of Iranshahr should be evaluated. In the meantime, the attention and opinions of the Shahriars of Iranshahr have been more in collecting ransom and tribute from the people of Iranshahr.

Monsha’at of khaghani is a glorious example of the qualities of Persian prose that, despite its great importance, has received little attention from scholars. On the other hand, the prose lyric literature has been neglected in comparison with its poetic type, and some have not considered this type of language to be effective for lyric literature. This research intends to study both cases by relying on the content analysis method and examining the lyrical aspects of Monsha’at text. With this aim, first, according to the known types of lyrical literature such as autobiography, praise, epigram, complaint, etc. the book was studied carefully and parts containing lyrical content were extracted and then introduced based on frequency. According to the results of the study, as prose is closer to the nature of language, Monsha’at more clearly reflects Khaghani's emotional images, autobiography, loneliness and bewilderment, praises, his high character, epigrams, incompatibility with his surroundings, and his delicate and quick-witted grievances. The obtained samples indicate that, contrary to the popular belief, Persian prose has no shortcomings in the expression of lyrical content, and in some cases, due to the author's lack of adherence to the poetry meter limit, lyrical prose has more literary impact and prominence.

Literally, association means two-sided or multi-sided call which is accompanied by action and reaction, while psychologically it infers to a psychological relation among concepts, events or mental states mostly originating from special experiences. In other words, association is “the mental correlation among two or further imagines or memories in a manner that the presence of either leads to the induction of another” (Staly and Bras, 257: 1369). The artistic language as the most prominent literary tool, owes its own elevation to association and its four rules i.e. “similarity, proximity, conflict, as well as cause and effect” (Safavi, 27: 1383). Indian poet fashion is among literary districts where a wider field is there for this artistic technique in as much as “the words applied in the Indian-fashioned poetry easily fly out from their nests of cliché images, where they freely, mysteriously and fully ambiguously fly in the free and dreamlike association of poets’ minds land in the nest of their neighbors to represent novel and unusual images” (Vafaie and Kamali Baniani, 365: 1394). During this era, unlimited struggles have been made to create new clusters of novel elements in addition to the extension of association district and the network of images attempted taking advantage of the elements prevalent among the poets from previous era (Shafii Kadkani, 71: 1366). Saeb, due to his unbound fiction in the usage of elements, can be regarded as the most leading pioneer in this area, and “razor” is of the elements that has notably been applied as a most frequent and canonical element in his lyrics association networks in both approaches of the extension of old networks as well as in the creation of novel networks. In other words, instead of the element itself, two dependent combinations i.e. “razor” and “” as margins and its new affiliates have been his focus in the creation of images in the expression of the concepts. Additionally, the poet has added intact clusters to the bushes of poetry fiction via the application of the element itself as the axis of novel association networks formed based on the new elements that have found their way to Indian-fashioned lyric district. Here in this article, the authors have studied the creation and development of fiction networks considering razor and its affiliates as the major theme, and have paid to the role of this element in converting paired words and the expression of its relation to other elements within this networks.

A descriptive-analysis and content-analysis method was applied in the investigation of the subject of this research and its edition. The theoretical reason of the research are based on the valid resources in the field of poetry techniques, stylistics, poetic schools, as well as the first class works in the district of concepts and expression. Relied on these sources, the theoretical bases and the outlines of the subject have been illustrated. Then, the evidence according to these bases of provable consistence with the subject of the research were extracted out as target source from Saeb’s Court and investigated. In this way, the elements either of most frequent association with the razor element, or applied as counterparts for it in paired words have been identified. Based on the concepts of the goal, these elements have been studied following 5 titles of association networks and 4 titles of paired words.

“The analogy between the allegories and the style of Saeb’s equations is rooted in the association of meanings, which Elliott also refers to the association of meanings, and believes that the only way to express emotions in an artistic manner is to find the association of meanings (Maleki, 2006: 97). Similar to all the elements in this context, the razor element and its elements have been associated with Saeb’s mind and have played a role as the dominant element of the core or prominent side in various networks of his imagination. In such a way that even the thinnest thread of the razor connection and its dependencies with other elementsis not hidden from his far-sighted and narrow-minded vision. In the five networks analyzedin the present article, water and hydration of the razor have allowed him to establish a broad range of connections between this element and the aquatic elements of nature such as wave, sea, flood, etc., and on the other hand attributing the razor to the beloved. And the desire of lovers for eternal life, by being killed by this razor and benefiting from its water and water supply, is an excuse to connect it with elements such as Khezr, the water of life, Jesus, etc. as symbols of life and life conferring. The trait of razor that brings confusion and absolute destruction to lovers by killing them, in another network based on the concept of confusion, has become the link between the elements such as sacrifice, sacrifice’s eye, Besmel (the sacrifice decapitated reciting the name of God), Martyr, etc. Also, obtaining ink and originality for the razor by enduring twisting, heat and other severe construction steps, sparks linking this element with ingredients such as chain, hair, chains, etc. and creating a network based on twisting concepts, austerity, the silence and originality of the essence of the razor is clear in the poet's mind. Another network in which the connection of elements is out of the realm of concept and is formed on the basis of proximity is a network in which the razor is associated with elements such as sutures, wounds, needles, strings, and ointments, and another opportunity for the poet to imagine. He has created allegories and rhetoric and other rhetorical industries. Another use of the razor is to create allegories and themes by relating it to certain elements, in pairs and in the form of a pair of words, which is the most common quadruple, that is, the words "razor and needle", "razor and whetstone", "razor and displaced chicken" and " razor and Hunting the shrine " have been investigated.

In the process of escaping the vulgarity of the use of elements in the art of poetry, in terms of creating new images and expressing unprecedented themes, Saeb, like other poets of the Indian style and more than most of them, has changed the borders and norms of various aspects such as logical relationships, co-ordination rules, image-making capacities, etc. This work of art requires the expansion and modernization of ancient visual and semantic networks and the creation of pristine networks in poetry, which factors such as the prevailing political situation and the change of poetry and poetic base from court to alley and market and boiling with popular culture, has helped the poet in achieving this goal. Thus, in this period, in addition to the penetration of some new elements and terms into the prohibition fence of classical lyric poetry, the root elements have also undergone a fundamental change, and with the expansion and reconstruction of art, they become the canonical point of association network.The razor element, has experienced both aspects of this method in Saeb's sonnet, so that at first, by changing the centrality of the poet's focus from the essence of the razor element to its two dependents, namely "razor ink" and "razor water" and connecting a range of other elements, as reminiscent of each others imaginary clusters, pristine and imaginative networks have shaped in his poetry, and on the other hand, in the dimension of expansion and modernization, the razor because of its mix with the elements introduced to the poetry from the public culture, has used as the most common art tool, and its application is so great.Some aspects of the razor that have manipulated by the imagination of the poet, have been discussed in this study. In most cases, the razor is quite different from those used in previous periods and shows the need for study in this case as well as in other popular and favorite elements of the poet to explain the intellectual system and deep understanding of his poetry

The Genre of lyric in Persian literature both in prose and in poetry is more comprehensive than the other types. Unfortunately, most scholars' research in this area, both pre-Islamic and post-Islamic, focuses on poetry and less on prose. Due to this negligence, this research tries to show what is the reason of being unknown for some of these stories by introducing and analyzing four of these stories tries to show how did these texts survive in the post-Islamic era? Some of these stories, although they were verbally prevalent among the people, but were not written in pre-Islamic Persian languages, and only a few of them came to the next era, but the Greeks have brought them in their works. Some although were recorded in the Greek works, but the oral tradition, retained them and brought them to the next era with some changes. The story of Golnar and Ardeshir which is included in the book of Ardeshir Babakan in Pahlavi language, was later directly a reference for Ferdowsi to make it a poem. But Hezarafsan tales have gone a long way and it was important for the non-Persians rather than Persians. Arabs translated it into One Thousands and One Nights alf-Lailat and Laila with some changes.

Defamiliarization, is one of the important techniques to escape vulgarity in structure and content of art, which is the tool of the poets' imagination to receive a distinctive and exciting language and transmits it to the audience. This subject was first introduced by Russian formalists. According to them, repeating of ancient vocabulary affects the text charm and reduce the audience’s interest and highlights defamiliarization requirement. The effects of poetry art are sometimes seen in all Persian poems but in the era of Indian style it is significant because of sonnet passage from glorious era, the effect of repetition and vulgarity on its elements, changing the base and audience of poetry art. Divan’s elements due to belonging to the court and similarity with the classical literature have been used repeatedly by poets but when Indian style emerged it has been repetitive and outdated. Therefore, Indian style poet has tried to keep them fresh with a different techniques such as fantastic attention to the elements detail, create content and using of paradoxical elements as well as the use of them in the alienation of vulgar landmarks. Here, we analyzed the use of these techniques in the Hindi style Ghazal in six topics.

The extent and depth of the lyric literature concepts along with the examples variety of this literary genre in the area of Persian literature are considered as the most outstanding features of Persian language and literature.While the creation of other literary genres (epic and didactic) has shown weaknesses in some periods of history, lyric literature has been encountered with growing attention and increasing evolution.But what it takes to understand the various aspects of this literary genre as a point of ambiguity has the sufficiency to express and research about is that under what constraints lyric prose works are impressively low in number comparing to forms and types of its poetry.The lack of a determined and proposed theory in the case of Persian prose method makes it difficult to find an answer to this question.Therefore, it was attempted foremost by referring to prose works and books related to writing principles and rules to elicit some of the definitions and criteria of Persian prose, so by the way of setting the necessity of providing the lyric words and the frameworks of Persian prose essays against each others, the theoretical impediments to the growth and development of prose lyric works become more clear.Since the present study focuses on theoretical components, the literary criticism and analysis of lyric prose texts and fragments are neglected and four theoretical factors were introduced as possible contributing factors to lyric prose deficit in Persian literature.