جستجوی مقالات مرتبط با کلیدواژه « شعر فارسی » در نشریات گروه « کتابداری و مدیریت اطلاعات »

Of the surviving works by Hasan b. Abd al-Mo’men Khoei, nicknamed Hosām al-Din Khoei, a celebrated man of letters and scribe (munshi) from the 7th century H./13th CE, several treatises have thus far been published. A good number of these works are in prose dealing with the teaching techniques of epistolary compositions and art of non-ornate writing (tarassol). In his time and amongst his contemporaries, Hosām al-Din was commonly referred to as “Hosām the poet”, but nothing of his compositions has reached us excepting a few short poems and scattered verses in his prose works.
In this article, a poem of 145 verses by Hosām al-Din is introduced for the first time, which constitutes part of his qasamiyat (oath verses). By qasamiya here is meant short verses in the qeta’form that generally begin with the phrase: be khodāei ke (by the God that) or bedān khodāy (by that God who).
First, several examples of this kind of poetry from the older poets are offered; then Hosām al-Din’s qasamiyāt and his innovations in this genre are addressed. In the end, based on the two newly found collections in Turkey’s libraries, an amended version of these qasamiyāt is presented.

Khwaja Majd al-Din Hamgar (607-686 H./1210-1287 CE), one of the prominent poets in the 7th century Iran, lived in one of the most important periods of this country’s social and literary history, a period coinciding socio-politically with the Mongol incursion into Iran, and with Sa‘di’s appearance on literary scene. The study of his Divan is thus useful for understanding the 7th century literary currents, and a necessity for a fresh recognition of the poet’s life and time. In this biographical examination, we have attempted to present a depiction of Majd Hamgar’s personality, life and the conditions he lived in. His name, genealogy, children, birthplace, birth and death dates, journeys, career, personality and artistic talents are amongst the important topics discussed here. In order to obtain such information, in addition to Majd Hamgar’s Divan, biographical dictionaries, literary histories and other sources have been consulted.

Any discussion about signification or denotative aspect of poetry is generally at variance. Contrast between two viewpoints, one regarding signification or meaning as the pivotal element of poetry and the other, negating this standpoint completely, have led to the formation of two contrasting perspectives. The first perspective, associated with the proponents of pure or genuine poetry (art for art), views thought or the semantic content as a kind of experience that is outside the realm of art and, thus, is not an artistic entity. The other perspective deems that poetry cannot be void of ideas and messages. Using a descriptive-analytical method, the present inquiry seeks to study the ideas or semantic property of Taleb of Amol in his Rubaiyyat (Quatrains). To this end, the poetic form of Rubai and its potentiality as a vehicle for carrying meanings is first addressed; then the various dimensions of these meanings or "thoughts", if we may say so, are explored in Taleb's Rubaiyat. It will be shown that his Rubaiyat enjoy a special variety in term of significance or semantic content. Taleb's Quatrains should therefore be counted among the most colorful and varied in Persian Poetry. Our conclusion demonstrates that Taleb cannot be considered a pensive poet of Khayyamian type, nor can he be judged as a noble-minded enlightened man of Attar's kind; he can even hardly be regarded as a panegyrist like poets of the Khorasani Style. Nonetheless, he has utilized all their various topics merely as semantic contents if his Rubaiyat.

Stylistics experts analyze literary works at three levels: linguistic, literary, and semantic, the third level being of immense importance. The present investigation seeks to ascertain Manuchehri's poetic style at its semantic level, demonstrate what ideas or thematic contents are present in the poetry of this poet that distinguish his poetry from that of others, and discover what the thematic characteristics in Manuchehri's poetry are more important. Amongst Manuchehri's ideas and motifs, those addressing gaiety and pleasure-seeking are of particular significance, which shape his other thoughts. Besides, the description of nature and her various manifestation, eulogy, wine-drinking, love, music, self-praise and boasting, making use of scientific knowledge, and displaying command of Arabic knowledge are of more prominence; this all, in turn, results in the poet's stylistic distinction.

A careful review and examination of collections of poetry and anthologies can lead to a more complete redaction of some of the poetry of known poets and their newly discovered verses, as well as to making access to the poetic productions of certain unknown Persian poets possible. Having introduced a manuscript known as Safine-ye Sadollahi and its compiler, this writer has revised and edited the verses of a number of other old Kermani poets found in that manuscript, which is kept at the Library of the Islamic Consultative Assembly. He has then made a comparison between these verses and those already found and published in another study, trying to present a fuller version of the life stories of several 6th-7th century poets of Kerman.

This article is a study of the life and poetry of Mirza Ali-Reza Tajalli Shirazi (Ardakani), a scholar- poet from the latter half of the 17th century, introducing also the 10 manuscripts of the two mathnavi poems, Mi’raj-al-Khial and Vasf-e Kashmir and his Divan. It includes an introduction, review of literature, Tajalli’s life story and time, presentation of his works, manuscripts of his books, style and characteristics of his poetry, meters, rhymes and radifs (word (s) repeated following the rhyme word at the end of each hemistich), Tajalli’s contemporary poets and conclusion. A follower of the Indian Style, the poet was born at Ardakan, in the province of Fars, lived in Isfahan for some time, went on a journey to India once, and finally settled in his home town. He has left behind a number of works a few of which have been published and some others have remained unpublished. The focus in this article is on the manuscripts of the poet’s two mathnavis and Divan.

The treasure of Persian literature is full of bright pearls of which only a few are accessible to the lovers of literature. Athir al-Din-e Owmani is one of the forgotten shining stars in the sky of Persian literature who is known as one of the able and famous poets of his age. His Divan is significant for his masterly poems and the original old words of the Persian language, on the one hand; and, for the many historical advantages it has, on the other. However, it has not been published so far. The article aims at identifying the poet while introducing the manuscripts of his Divan for the first time. Also, explaining the recently found manuscripts, it emphasizes the publishing of the critical edition of the text of this poet’s Divan.

A number of Persian prose and poetry works have not efficiently undergone precise and critical editing, up to now. In fact, what we have available from these works are the published poetry and prose texts commonly edited incorrectly. One of them is the Divan of Jamal al-Din Abd al-Razzaq Esfahani edited by the Late Vahid Dastgerdi. Jamal al-Din is among the stylistic and influential poets of the sixth and seventh centuries A.H.; therefore it seems reasonable that his Divan would be re-edited, relying on authentic manuscripts and applying scientific approaches. In addition to preparing the correct manuscripts, it is important to take advantage of the results gained by the scholars who have studied Jamal’s poetry from a critical point of view and tried to find the original and authentic forms of his poems. Fortunately, there are some notes by Malek al-Shuara Bahar in the margin of Jamal’s Divan, and since Malek is a highly authoritative expert in the art of style discernment and the Persian language, his correcting suggestions can lead us to find the proper form of some of the verses in Jamal’s Divan. For this reason, the present article tries to correlate those notes with the relevant verses in his Divan.