جستجوی مقالات مرتبط با کلیدواژه "نثر قرن 4" در نشریات گروه "ادبیات و زبان ها"

Al-Faraj Ba`Da al-Shiddah (Deliverance Follows Adversity) is a book written in Arabic by Al-Qazi Al-Muhassin ibn Ali Al-Tanuhkhi in the 4th century Hijri. He was known for his strong memory. His son has narrated: “Besides memorizing Jahiliyyah (pre-Islamic) and post-Islamic poems, he memorized jurisprudential issues, hadith, theology, logic, geometry, traditional astronomy, and seven hundred odes by Abu Tamam and Bahtri”. This book was translated into Persian for the first time by Mohammad Awfi, but there is no copy of that translation, except for the anecdotes that he narrated from this book in Jawami ul-Hikayat. Afterward, the book was translated into Persian by Hossein Ibn Ahmad Dehestani in the 7th century to which he added some Persian poems and the conclusion to the anecdotes. Al-Faraj Ba`da al-Shiddah contains anecdotes of miserable people who were released and escaped from difficulties. The purpose of the author in this book, which is full of historical and instructive anecdotes, is to portray the society of his time and its evil traits and also narrate the stories of humane and moral behavior of the characters in his stories and the effect of those behaviors in freeing people from problems. Before al-Qadi al-Tanuhkhi, Madaini compiled a book in five or six pages and narrated the stories of people who were caught by grief and sorrow but then were released from hardship and difficulties and named it “al-Faraj Ba`Da al-Shiddah and al-Zaiq”. Later, al-Tanuhkhi added some parts to this book and compiled it into 14 chapters, each with a different title but with the themes highlighted in al-Faraj Ba`Da al-Shiddah. 

To understand the themes in the book al-Faraj Ba`Da al-Shiddah, it is necessary to analyze the Arabic poems in the book, excluding the Arabic poems added by the translator. To do so, it is necessary to determine the era of the poet after correcting the poems while checking the reliability of the translation, their syntactical, rhetorical, and Islamic-Arabic cultural connections with the Persian text, and the entry of various information into the Persian prose to specify the literary genres used in the text of the book. 

Abu Ali Muhassin ibn Abul Qasim Ali Tanuhkhi (327-384 AH) was a literary judge and writer of the 4th century AH and the author of al-Nashwaar al-Mahadera, Akhbar al-Mahakara, and -Faraj Ba`Da al-Shiddah. He was born in Basra in 327 AH and grew up there in his literary and hadithologist family and then in Ahvaz. All his instructors during his childhood or adolescence were celebrated scholars, and Abu Bakr Soli is undoubtedly the most eminent one. It is obvious that in the family of a great judge like Abul Qasim Tanuhkhi, religious education was ahead of literary education.
Al-Faraj Ba`Da al-Shiddah (Deliverance Follows Adversity) is a book written in Arabic by Al-Qadi Al-Muhassin ibn Ali Al-Tanuhkhi in the 4th century Hijri. To make his prose better understood and beautified, Tanuhkhi has narrated poems from himself or others that contain some religious, literary, historical, and scientific information. These poems are sometimes expressed by the author himself and sometimes by the characters of the stories. This book was translated into Persian for the first time by Mohammad Awfi, but there is no copy of that translation, except for the anecdotes that he narrated from this book in Jawami ul-Hikayat. Afterward, the book was translated into Persian by Hossein Ibn Ahmad Dehestani in the 7th century under the name of Wazir Ezzeddin Taher bin Zangi Faryoumdi. He also added Persian poems to it and at the end of each story, he narrated the main themes and conclusions. The book contains 13 chapters and narrates anecdotes of miserable people who were released and escaped from difficulties. The purpose of the author in this book, which is full of historical and instructive anecdotes, is to portray the society of his time and its evil traits and also narrate the stories of humane and moral behavior of the characters in his stories and the effect of those behaviors in freeing people from problems. Before al-Qadi al-Tanuhkhi, Madaini compiled a book in five or six pages and narrated the stories of people who were caught by grief and sorrow but then were released from hardship and difficulties and named it “al-Faraj Ba`Da al-Shiddah and al-Zaiq”.
One of the famous anecdotes is related to Abdullah bin Tahir bin Al-Hussein bin Musab bin Zuriq al-Khaza’i, the emir of Khorasan during the Abbasid era. He wrote an ode in praise of his family, Tahir, Hussain, and Musab. He exaggerates that no one is higher in honor than them. Moreover, they had no rival in fighting and conquering the enemies and dominating Baghdad with a violent army:I am the one who you know me and my ancestors
Who are the virtuous of the world and the lords of the land
My grandfather is Musab, a lord from the Prophet’s household
A great man is known for his nobleness and virtues
Hussain was also a lord at that time;
When there was no peace and stability in the land
Abdullah went to Egypt on behalf of Ma’mun in 210 AH. On the way, he restored peace to Damascus and its neighboring areas and defeated his enemy, Muhammad bin Yazid Umayyad. Before that, this person insulted Abdullah by writing an ode praising Tahir, and now he apologized, by referring to one of the verses of Abdullah’s ode, which admired his father’s magnanimity. He stated his Arab bias towards Tahir Ajam as the reason for his action and asked for forgiveness. Abdullah also renounced his sins.

In Al-Faraj Ba`Da al-Shiddah, al-Qazi Tanuhkhi has written some poems in Arabic, which are sometimes narrated by the author and sometimes by the characters in the stories. Except for the poems of Hossein bin Asad Dehestani, most of the poems belong to the Abbasid period, such as al-Qazi Tanuhkhi, Bahtri, Da’abl Khaza’i, Abu al-Atahiya, Imam al-Shafa’i, Rateji, Attabi, Fazl bin Rabi’, Ibrahim bin Al-Mahdi, al-Husain bin al-Dahhak Abdullah bin Tahir, Abu al-Abbas bin Nawaleh, and Muhammad bin Yazid. A few poems belong to the Umayyad period, praising Hammad al-Rawieh, Ashi Hamdan, Abu al-Aswad al-Dauli, Ali bin Abi Talib, and Yazid bin Dabba al-Thaqafi. Some errors can be seen in the translation of poems and Arabic translations, and sometimes the poet’s name, such as Rathi, has been reported by mistake. Poetic translations are also not free from errors. Arabic poems are often used as substitutes for the phrase “these verses” and the like, and sometimes as direct quotations. Some verses are the emphasis and repetition of the meaning of the prose phrases repeated before. Moreover, sometimes the answer or rejection of the poem is related to previous verses. The themes expressed in the poems in al-Faraj Ba`da al-Shiddah include the conspiracies of the courtiers, the hardships of captivity, the divine decree and the instability of the times, the effect of music, the migration of the beloved, the good fortune, the duties of a friend, the recommendation of patience like the patience of Job, avoiding desperation and despondency, expediency, praise of the Prophet’s household and Arabism, and the innumerable cruelty of Bani Umayyad and Ibn Ziyad to the offspring of the Holy Prophet (PBUH). The poems in the book illustrate many Arabic customs and traditions reflecting religious, romantic issues, etc., including themes from the verses and traditions such as the themes of verse 26 of Ale Imran and the prayer of Joshan Kabir, Rami al-Jamarat [Stoning of the Devil], Ihram from the Shajra Mosque, the hereditary nature of the caliphate, and reference to romantic relationships and courtesies in the palaces of the Abbasid caliphs.

The subject and background of the upcoming research is the introduction of the manuscript of Shamayel al-Ataqiya and Razayel al-Ashqiya by Roknoddin Dabir Kashani in the way of Cheshtiye. In Sufism attributed to elders and learned man Chesht, Chesht is a district in old Khorasan that has been an influential method not only in Iran but also in the Indian subcontinent. The mystical foundations of this Sufi tradition have been codified by popular elders and scholars including Moein al-Din Cheshti, Nezamuddin Olya, Burhan al-Din Gharib, and other great figures of this dynasty. A large part of Cheshtieh's ideas and beliefs are in the form of "requirements" in the words of the elders and the masters of the aforementioned way, compiled by their disciples. In this essay, the main purpose is to investigate and deceit the views and thoughts of Sufism in this essay.

The following essay, which has been conducted by descriptive-analytical method based on document analysis and library studies, and by reviewing the existing version of the Shamayel al-Ataqiya and Razayel al-Ashqiya, we will examine the thoughts of taste mysticism in these works.

In the essay of "Shamayel al-Ataqiya and Razayel al-Ashqiya ", work of Rokn al-Din Kashan named "Spiritual Teacher" which is one of the Sufis of the aforementioned Sufis in the 8th century, the teachings and oral instructions of Sufi Cheshtieh have been written. The author has tried to convey the teachings of this way correctly. From the essay "Shamayel al-Ataqiya and Razayel al-Ashqiya", there is a stone print in 1968 AH. Hyderabad Deccan and several non-printed copies.

The results of this study indicate that paying attention to practical Sufism, cite, dignity, repentance, allegiance, communication, discipleship and awakening, purification and awakening, and Sama’ are among the things that Roknoddin Dabir Kashani has considered as the most important customs of The Way of Cheshtiya in his treatise.

Ādāb al-ḥarb wa’l-Šajāʿa by Muhammad ibn Mansour ibn Sa'īd, nicknamed Mobārakšāh and known as Faḵr-e Modbber, is one of the early 7th century A.H. literary works. In this book, the author mainly describes the subjects of politics and governance, hippology, and militarism. Ādāb al-ḥarb wa’l-Šajāʿa has a notable lexicographic significance due to considering various types of terminologies, specific phrases and interpretations. However, unfortunately, the book has not received due attention, and the lexicographic values have not been thoroughly known so far. In this contribution, we have tried to present several newly described lexical values of Ādāb al-ḥarb.  This can help the documented lexicons and most probably a base for the correction of the prevalent mistakes in the lexicons.  It may also assist lexicographers to write future lexicons. For this purpose, and in order to achieve the most accurate recordings of this book, we have used several available manuscripts in addition to the printed text and have presented the results of our findings according to The Deḵhodā Dictionary, which is the most comprehensive Persian lexicon reference.

Mystic prose is poetic artistic prose and what makes it stand out is the use of literary structures and poetic elements. Mystics offer religious and spiritual concepts in a beautifully shaped format, which is rich in language and prose. The aforementioned features have kept this type of prose from obsolescence and difficulty. For this reason, mystic prose has been in the center of attention for centuries and has many readers, just like rich poetry. Thanks to mystics like Eynolghozat Hamedani, Suhrawardi, and Rouzbehan Baghli, the sixth-century prose has always been at the highest level of lingual and literary aesthetics. This type of prose illustrates healthiness, rigor, delicateness, freshness, and whatever is expected from distinguished mystic prose. In this study, an attempt was made to analyze the metaphoric language of Rouzbehan Baghli in praising Prophet Muhammad (PBUH). We tried to scrutinize his innovation, which is the use of different stylistic devices and structures in the context of metaphors. Also, we hope to illustrate his other innovations in enchanting the audience with mystic prose.

Rafi’ al-Din Mohammad ibn Fath Allah Vaez-e Qazvini is one of Imamieh clergymen and also a literary man, poet and scholar in the 11th century A.H. during the kingdom of Shah Abbas Safavid (1052-1077 A.H.) up to the early kingdom of Shah Soleiman (1077 A.H.). He was very professional in poetry and prose and was also widely aware of rhetorical figures, speech, prosody, and rhetoric. Moreover, He had a grasp of knowledge in various sciences such as mathematics, astronomy, philosophy, and medicine and he has applied the terminology of those sciences in his works. The purpose of writing Abvab al-Janan in 8 volumes was based on the idea of 8 entrance gates of Paradise so that everyone who refers to that book would have entrance to 8 gates of Paradise. Generally, Abd al-Qaher Jorjani classifies rhetoric into 2 branches: The branch which is related to parts of speech and another which concerns their composition and compilation. The fields related to parts of speech include pun, adnominatio, anadiplosis, palindrome, rhyme, couplet, metonymy, figure, and metaphor. Semantic figures (Mohasanat-e Ma'navieh) consist of comparison, contrast, objection, allusion, epanandos, amphiboly, symmetry, hyperbole, and stichomythia. This article attempts to investigate the frequency of figures of speech in both lexical and semantic figures (Mohasanat-e Lafzieh and Mohasanat-e Ma'navieh) in the 8th and 9th chapters of Abvab al-Janan.

Assessment of the stylistic and grammatical relationships in the study of components of a context on the relationship between languages, slogans and their effect on creating meanings can help in explaining linguistic and non-linguistic mechanisms. In certain periods of time, choices affected by different levels of linguistic, literary,… is one of the fundamental factors in the formation of structural distinctions and semantic patterns of a context. In addition to the structural diversity, passive verb indicates other aspects of meaning and also various functions in the six-century prose style and structure of related texts that is very significant in the context of various genres. In this study we have examined the structure and function of the passive verbs in six literal text of the sixth century AH. The data Acquisition of passive verbs of these texts were separately done and then were analyzed and investigated in the statements in terms of semantic. Since the studied texts are of different type of genres as historical, educational-mystic-,…, differences in genres and different semantic context has sometimes revealed contradictory functions and various aspects of the passive verb. According to the studied texts, some of the functions of the passive verb is statement of the general verdict, conveying the meaning of power and social status, conveying the implied message and meaning.

The subject of this study is to present a number of unspoken and unanswered fundamental doubts on the interpretation of the works of Abul-Fazl Rashid Ed-Din Maybodi, namely Kashf Ul-Asrar and Ede al-Abrar. These doubts have led to major challenges in understanding these texts. The challenges can be classified into two groups. The first group is the contradictions between the text and the allegations of the compiler in the prelude of the first volume, who presents his goal as an elaboration on the brief interpretation rendered by Khaje Abdullah Ansari. The text shows that the interpretation of Abdullah Ansari has not been detailed, and the attesting role of his remarks has faded away compared to the remarks of other Sufi figures. In order to explain this challenge, a number of assumptions can be presented. Initially, the prelude has been authored at the very beginning, and prior to the formation of the final text, and the long process of formation of the text and passage of time has changed the nature of the text. Secondly, mastery of sources of interpretation and Sufi texts by Maybodi has expanded the interpretations and has distanced the compiler from the initial goal and plan of the book. The other group of challenges is in regard to lack of harmony in the text. Why is the language and viewpoint of the compiler throughout the mystical interpretations in the first six volumes different to the four last volumes? In order to explain this challenge, a number of assumptions can be presented: Firstly, there might have been an interval between the compilation of the first six volumes and the four last volumes. Hence, the passage of time and gradual change in cultural, political, and social conditions have impacted the mindset and language of the compiler, leading to lack of harmony in the text. Secondly, the lack of harmony has been the result of falling fervor and dynamism of the author in the last four volumes which manifests the isolation of the compiler in this phase. Thirdly, this ten-volume book has had two compilers, with one compiler preparing the first six volumes and the second compiler preparing the last four volumes.

The usage of modal verbs are reviewed in corpus of six texts from 6th Hegira (Atbat-al Katba, Asrar al-Tawhid, Tazkerat-al Ulia, Maqamat-e Hamidi, Kelileh and Demneh and Rahat-al Sudur). The results show that the usage amount of these verbs is considerable among other kinds of verbs. In modal constructs, modal adjectives and adverbs help enrich the meaning of necessity, possibility, capability and wanting in addition to modal verbs. Regarding the contextual and functional meaning, the concepts of commitment, necessity and … are more considerable in a work like Atbat-al Katba. Political, narrative and mystical insights, character, social power and status are among the factors the affect their amount of application and degree of modal elements. The study shows that the difference of genres brings about even little differences. The depiction of general features of a period style and personal experiences of every author are related to a subject which is dealt with in this study.

Qaside of Tarsaieh", meaning ode to Christianity, is one of the most difficult Qasides (odes) of Khaghani. Its intricacy rises mainly from the use of the jargons particularly found in Christianity. This, in itself, has forced many men-of-letters to put interpretations on this poem, the first of which is an interpretation belonging to Sheikh Azar-e- Toosi (866 A.H), which is firstly reported completely in his Meftah-ol-Asrar, and later on, briefly in his Javaher-ol-Asrar. Thereafter, many of the succeeding researchers take benefits of this old interpretation among whom are Zarinkob (in his translation of Minoreski's interpretation) and Sajjadi (in his elucidatory work on Khaghani's Divan) Sheikh Azar-e- Toosi has merely explained 35 out of 91 couplets of this poem ranging from brief word explanations to full verse interpretation. However, this interpretation, due to its priority as well as its somehow eccentric interpretations which are ignored in the succeeding interpretations could be of high value for researchers.

The works regarded as Tazkareh Alshuara in the Persian literature, abbreviated to Tazkareh, are among the most paramount resources of learning about the poets and their works in the Persian literature as well as their social and cultural status. To prove this, poems from such writers have been selected and studied; the authors of the present paper have alos probed into the life these writers, shouldering a great responsibility in protecting the works of the different times. Tazkare Khayrolbayan of Malek Shah Hossein ibn Ghisoddin Mohammad Bahari Sistani is one of such works. It has not yet been published although it bears a great importance in the Persian literature. Khayrolbayan is a general Tazkare containing preface, introduction, two chapters, an ending chapter and a final one. The present paper is an attempt to present different dimensions of such books.