جستجوی مقالات مرتبط با کلیدواژه "درویش" در نشریات گروه "ادبیات و زبان ها"

The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, a driyōš refers to a person who, willingly or unwillingly, has nothing and is poor. Of course, "true driyōš" is needy, eager and in need of God. The attribute of such a driyōš is contentment and satisfaction. This study seeks to investigate the character of Driyōš in the story of Noosh Afarin GoharTaj, based on Jung's archetypal theory, and to present a new reading of this story, which leads to the understanding of the instinctive, cultural and idealistic substrata of Iranian society at a particular time. Analyzing the character of Driyōš as a key character in this story and his psychological truth can strengthen this goal; at the same time, it is also a confirmation of the importance of popular stories from Jung's point of view. The research method is a qualitative and quantitative analysis that was formed based on library sources. There are seven characters in this story that can be matched with the character of "Driyōš". These characters can be generally divided into three categories: the hero (self-willed poor), the hero's helper (the true Driyōš), and the anti-hero (Non-Driyōš). The archetypal roles of Driyōš in order of frequency in this story are "self, mask, hero, wise old man, animus and shadow". The character of "Driyōš" has been a positive and respectable character in general. The roles played by this character in the story present him with a likable and ideal face: a savior hero and a pious person with dignity who solves all problems and has a function like the saints of God. The prince (the one who is going to be the king in the future) and pious generous (the religious leader of the community) as the two main pillars of the country, both are driyōš-character and Shiite-religion. The enemy of the hero/prince can be compared to the ostentatious and hypocritical here Driyōšoid. In the end, the prince forms a new and ideal government with the guidance of pious. According to the results of the research, it shows how concepts derived from popular belief, people's unconscious needs and desires, and the political-cultural structure of society affect the characterization of the story (here Driyōš type). Also, the story has emphasized on a certain type of lifestyle, i.e. laziness and abandoning dependencies, trust, relationship and reconciliation of man with the surrounding world (nature and animals) and patience in reaching the goal; And the way and custom of Driyōš is the main way to reach the purpose and knowledge. But it should be noted that these stories are popular, and mysticism and driyōš religion in them are very superficial.

One of the characters seen in Iranian enchanted legends is Darvish. Darvish has certain abilities in the magical myth. He knows the treatment of some diseases and problems, and is aware of some hidden knowledge. In legends, in addition to Darvish Yarigar, who is particularly involved in the hero's birth and guidance, a kind of vicious dervish can also be seen. The vicious Darvish in the legends is a kind of witch who struggles to destroy the hero. At times, Darvish may not actually be a filthy creature, but in part, by creating a kind of ambiguity about his intentions, he seems to be a negative character who is in fact a hero's benevolent. The purpose of this study is to show that the dual face of the legendary Dervish appears to have a mythical infrastructure, and that Darvish's personality is linked to some ancient Iranian gods such as The Wyo, Anahita, and Mehr.

According to critics and experts in the field of myth, "Achilles" or "Achilles" is the most immense Greek mythological hero in the Trojan War. Humorous, the oldest and most famous Greek epic, in his book The Iliad, the most comprehensive epic version of the West and the Greeks, is the story of this myth and his adventures in the Trojan War. This book has had tremendous effects on the cultural and literary communities of the West and the East. In the same vein, some contemporary Arab poets, like Suleiman Al-Bustani (1856), Mahmoud Darwish (1941), and Abdul Aziz Al-Maqalah (1937), have often been influenced by Iliad Homer, calling this myth. The purpose of this article is to critique and evaluate the effects of the presence of the myth of "Achilles" in the poetry of the poets, based on Pierre Brunel's theory and how to apply it in their poetry. The research achievement, which has been written with a descriptive-analytical method, shows that the Achilles myth in the poetry of some named, such as Darwish, and the articles that are poets of the generation of screaming and catastrophic events and defeat in Arab lands, The mission of a war hero on the battlefield of Troj, as a sinner and political ambassador among Arab nations, is that the emancipation of contemporary human beings from pain and suffering is political-social.

Darvish Mohammad Dehaki, one of the settlers of Dehak village in the suburbs of Qazvin, was a Sufi poet contemporary of Jāmi and Amir Ali Shir Navāii in the ninth century. Dehaki or Darvish was his pen-Name. There is no certain information of his life. His tomb is said to be in Qazvin near the Shāhzādeh Hosseinˈs. His Diwān includes 15 Mokhammases, one Mostazād and nearly 1236 Ghazals. There are two manuscripts of his Diwān, One in Istanbu l university and the other one in the national library of Russia. The present article consists of the points we gained editing this Diwān. We used the Istanbul manuscript as the basis of this edition and then compared it with the manuscript in Moscow. Dehakiˈs poem is full of pure poetical moments. He has managed to recite admirable poems paying attention to other great poets like Saadi, Salmān, Hāfez , Jāmi and the others. Imitating these poets, using the folkloric language and expressions ,considering the details and also using the rhetorical methods of speech, made him a pioneer to the Indian style of Persian poem.

Intertextuality is a theory that connects old and new texts, and adds to the richness of literary works. Therefore, through a descriptive-analytical method, and with emphasis on Julia Christova’s theory, this study aims to conceptually review the effect of religious intertextuality in resistance poetry of Mahmoud Darvish, the Palestinian poet, and Qisar Aminpour, the Iranian poet. Intertextuality involves many areas; however, since these poets have conceived that Quran and other divine books and religious men are the main sources for man’s freedom, with the help of religious intertextuality, they have invited people to fight against enemy. Darvish has benefited from Jewish and Christian sources mostly through parallel and general negation, and Aminpour has used the parallel and minute negation. Intertextuality in Darvish poems has more specificity than in those of Aminpour. Using religious intertextuality in three areas of Islam, Christianity, and Jewism represents the two poet’s interaction with other religions, and this is something that the world needs. The religious integration mentioned by Darvish and Aminpour is an issue in the light of which governments could leave religious conflicts and reach a kind of peaceful coexistence.

In the corpus of Persian texts, the word “dervish” generally represents a person who is satisfied with having few belongings and properties. In the Islamic period, this word exactly corresponds to “Sufi”. Most of the lexicographers and researchers have mentioned two distinct equivalents for “dervish” in different Persian texts. On the one hand, dervish means “beggar”. In this regard, “dervish” should be considered together with some other words such as pauper, indigent, underprivileged and poor. On the other hand, it denotes Sufis and ascetics who are known as the seekers of the mystic paths or, i. e. seekers of the “Tariqah”. Therefore, most of the researchers, who use some expressions such as “true dervish” and “ascetic” against “false dervish” and “beggar”, differentiate these two meanings from each other. It should be noted that the latter group just pretends to be “dervish”.
In addition, this very same subject and the two aforementioned meanings of dervish can be noticed in the Middle Persian texts. In these writings, dervish has two distinct meanings: first, a poor person who thinks of himself as a miserable one and looks down on wealthy people, and second, a person who is content with what he has and therefore lives happily.
Regarding “dervish” and its role in ancient Iran, only a few research works has been done, and most of these researches have raised doubts about the existence of such a life in ancient Iran. One of the most important articles about this subject, written by Katayun Mazdapour and entitled “The Beginning of Ethics of Dervishes in Iran”, is about the background of driyōšīh in ancient Iran. Another noteworthy paper is “Dervīš, in the Pre-Islamic Period” by Mansour Shaki, which provides useful information about driyōš, particularly from the 6th book of the Dinkard.
In this paper, the concept of true dervish or “driyoš ī rāst” as appears in the Middle Persian texts, is discussed. It is also tried to answer the following questions: who is “driyoš ī rāst” in the Middle Persian texts? What specific traits separate the “driyoš ī rāst” from a poor beggar? Which customs of true driyošīh can be found in the corpora of Middle Persian texts?
The term “driyōš ī rāst”, in the strictest sense of the word, conveys a humble poor person who is satisfied with what he has, does not look down on wealthy people, and is kind to them. Therefore, the foremost trait of a driyōš in the Middle Persian texts, is satisfaction. The second trait is to respect the affluent persons. A driyōš is self-effacing and right-minded (MP: bowandag-menišn), but the poor and needy ones may abase the rich and behave in an offensive manner (MP: tar-menišnīh).
These two traits, satisfaction (MP: hunsandīh) and self-effacement (MP: bowandag-menišnīh), are the necessary characteristics of a driyōš. In the 6th book of the Dinkard, four traits are enumerated for a driyōš, two of which are apt (MP: cār), namely diligence and moderation (MP: tuxšāgīh ud paymānīgīh), whereas the other two, satisfaction and self-effacement (MP: hunsandīh ud bowandag-menišnīh), are considered necessary (MP: a-cār).
All of these features together help us define a special kind of driyōšīh, i. e. “driyōš ī rāst”, in the Middle Persian texts. It stands against the general meaning of “poor, needy” (MP: škōh) who is unsatisfied with his poverty and indigence and craves more wealth and property. “Driyōš ī rāst” or satisfied and humble dervish is the specific meaning of driyōš in the Middle Persian texts, which, moreover, found its way into the Persian literature.
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The sole beneficiary in this market is the content dervish
O Lord! Make me so rich to be a satisfied dervish
According to the Middle Persian texts, the true driyōšīh is a useful element in the society, and a “driyōš ī rāst” has a dignified and respectable position. The benefit of this kind of life is for both the body and the soul. The driyōšīh brings peace and serenity to the body, and it brings freedom from apprehension of the day of reckoning for the soul.
In the Middle Persian texts, the driyōš is depicted as a mighty person who destroys Devil. A person who has willingly chosen the customs of the driyōšīh only for the sake of “goodness and acclamation” (MP: wehīh ud burzišn), has the power to push Ahriman and all other dēws out of the good creation; such a person will never go to Hell. If we consider the world as the greater cosmos and the man as the minor cosmos, then we can understand that the driyōš’s attempts to get rid of greed (MP: āz) and need (MP: niyāz) is a try to reduce the power of evil in the universe, and it is one of the main reasons why he enjoys such a dignified position in the society. Āz, who is the most powerful and dreadful dēw after Ahriman, is the evil power of greed, avarice, lust and gluttony. The primary aim of Āz is satisfaction (MP: hunsandīh) which is a trait of the driyōš. Pushing Āz dēw out of the world is obligatory for all the human beings who are created to fight against Devil.
In the Middle Persian texts, we can find some tales from the lives of Zoroastrian disciples (MP: hērbed) which are narratives of the ascetic lives of driyōšes in the past. These hermits had very simple lives; they collected firewood themselves and carried them on their back, drew water from the well, worked on the farm and ate only from their own wage. They were sometimes educated hērbeds and priests (MP: kard-hērbedstān hērbed) who knew the Avesta and Zand, and performed religious ceremonies; but we should bear in mind that not all the driyōšes were necessarily hērbeds, and not all the hērbeds lived ascetic lives.
However the driyōšes were skilled men (MP: kardagār ud abzārōmand), but curiously there is barely any traces of their names and reputation in the Middle Persian texts. Some instances of their lives can be found in the Middle Persian texts, which show an old rite of the driyōšīh in this country. These stories belong to the ascetic hērbeds who have chosen this type of life and believe in the Zoroastrian faith. Their doctrines and beliefs have been repeated in the Zoroastrian texts: to fight against greed and try to reduce the power of Ahriman.

This study aims to examine the use of religion heritage and application of the prophet job’s character mask. One of the important masks that have been used by contemporary poets is the prophet’s masks, especially the job of which the story exists in the Quran. This character is a symbol of patience. Darvish and Sayyab are the most important poets who used the mask of this character. Each of them used this character to express a special experience. Darvish Who suffered from occupying his country and getting refugee, used job’s character mask as a symbol for tolerance of that hardship. Also, Sayyab Who suffered from his illness and pain, used job’s character mask as a symbol for tolerance of that hardship. However, their ways differ in how to apply this mask in poems of these two poets. Each of them has some traits of this character that are relevant to their own mental conditions.