مجله پژوهش های نثر و نظم فارسی
پیاپی 3 (زمستان 1396)

Roudaki is known as the father of Persian poem and is one of the first Persian poets that has left beautiful and jovial lyrics in Persian literature. He is the first Persian poet who has anacreontic verses and he is the most important prominent poet of his time. In this essay, the meaning of initial verses of his known anacreontic poem has analyzed.Although various interpretations has presented to his poem and in each one has tried to decline ambiguity of his poems, but yet commentators cannot represent a sufficient meaning of “wine Mother” in these verses. Finally in this essay in addition to the shortage of interpretations, due to the textures of  verses and based on related resources,  it was cleared that contrary to opinion of commentators the “wine Mother” means “grape seeds” not tree or cluster of grapes.

Tohfatoalalam was written by AbdollatifShooshtari .He was among the thinkers in the era of Zandand Afshar’sdynasties. The genre   of his works stands among logbooks and memoirs .In a chapter of the book critically made by the author, his direct observations and experiences of India, Anglo-administration and their mores of ruling expressed with eloquent prose. Due to author’s staying in India for several years as well as his interaction with people, some Indian words necessarily came into the text of his prose.The present research conducted based on the descriptive –analytical method. To this end Indian words in the text of Tohfatolalam picked out. Their etymology as well as their strict meanings gone through related dictionaries. Finding of this study indicates that more than sixty words found in that work, some of which still occur in use in Persian language like”jangle”,”chatr”. Worth saying is that such words as “kahar” and”mandel” used no longer in Persian.

Reading Masnavi was initiated from Rumi’s own era, and some people were famous for reading Masnavi in his life time. After the formation of Mevlevi Order, reading Masnavi turned into a certain system of Sufism with definite principles and customs. Reading Masnavi also separated from its fundamental and initial state when principles and rules were laid out. The fact is that none of these rules and principles did not exist in Rumi's life time. Awarding an individual with the prize of reading Masnavi was done in special ceremonies with certain mores. Assemblies of reading Masnavi, its description as well as its teaching followed a specified set of rules. Reading Masnavi was not limited to Ottoman empire; it wasalso very popular in other countries and in the outermost regions. In the introduction section of the present article, we briefly discussed text reading, a kind of reading which also includes Reading Masnavi. In the following section, we discussed reading Masnavi in Bosnia and Herzegovina and its readers other than Molowyans. Ultimately, we introduced a number of famous Masnavi readers.

One elegant perspective of rhetoricism of Molavi’s poem in Ghazaliyat- e Shams rises from using various types of radif. Contemporary Molavi researchers have regarded more his thought characteristics and somehow, assigned him a kind of epical theosophy and unity of existence. However, considering the its prominent music of poetry, especially kenari music have been neglected. One form of kenari music is radif. He has used every possible structures in Ghazaliyat- e Shams in order to create radif and this is why he is unique in this context. Applying pleasant radifs in Ghazaliyat- e Shams has led to the elaborated eloquence of his poem and the musical tone of his poem. In Ghazaliyat -e Shams,  Molavi induces fervor and excitement to his reader. In this way, finding radifs with novel constructions has led to formation of his personal style. This paper is to analyze various types of radifs including those of noun, group, sentence, verb, pronoun, and letter effective in the musical and rhetoric constructions of Molavi's poems.

Literary criticism has long been considered in Iran's Islamic culture as a mean of entering the world of poetry, understanding and appreciating its value. This technique, which is rooted in Islamic sciences and Iranian culture, seeks to help poets from the beginning of entering the world of poetry, step by step, and bring their poetry to higher levels and immortalize it. Storytelling poets, as the founders of one of literary genres, have their own similar and consistent theory in literary criticism, which can easily be derived from their poems. In this research, we intend to examine the poets' viewpoint to poetry and its essentials. Good poetry criteria, the necessity of truthfulness, the role of romantic experience in storytelling, perfection of form and content, and observance of moderation and brevity, are among the topics discussed in this research. This study concludes that these poets have benefited from literary criticism and the tradition of Persian storytelling through these theories has managed to move in the right direction

According to a considerable number of mystics, happiness for the Almighty God in the path toward Him has a promoting and transcendental effect and makes the mystic to achieve some truths which could not be obtained through years of praying and fasting. Given the importance and effect of this issue in the conduct of the mystics, whatever has been reflected and highlighted from Islamic mysticism includes an emphasis on privative and grief-stricken thoughtfulness bysome mystics who spend their time in fear and sorrow; accordingly, they are far from any happiness and joy. The same reason has brought about an imprecise and incorrect image of the Islamic mysticism so that a beautiful and important part of this thoughtful and practical movement has remained hidden. Therefore, the image of happiness in Islamic mysticism from the beginning to the 5th century A.H. has been analyzed and the changes thereto in different centuries as well as its effective factors are illustrated in this paper. Although the prevalent approach of the primary ascetics and Sufis is mixed with fear and sorrow due to some reasons, the route of happiness in Islamic mysticism shows that entrance of the deep mystical topics and the rise of issues such asdivine knowledge and glory, fear and consent, inebriation and mortality, manifestation of beauty, proximity to and love for God, and, pure and fearful heavenly attitudes have gradually diminished before mystics and they enjoy the kindness and joy of knowledge as well as observance of the God’s manifestations and they believe that their heaven or hell depend on union with or separation from God. Islamic Mysticism, Happiness, Historical Developments, Heaven, Kindnes.