نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 35 (بهار 1397)

The subject of this article is the comparison of semantic use of “Simorgh” in “Mantegholteir” of Attar and “Masnavi” of “Mowlana”. Attar and Mowlana, two Persian poets, use  “Simorgh” ( an imaginary bird, literally meaning ‘thirty chickens’) in order to infuse their mystic thoughts into their readers minds well. Here, “Simorgh” is introduced as a mythical bird which possesses a special position in mystic literature. “Simorgh” and the mountain of “GHaaf” in “Mantegholteir” of  Attar and “Masnavi”  of “Mowlana” are among well-known  mystic allusions. Relying on their mystic mysteries in their books,  both Attar and Mowlana use “Simorgh” to mention their transcendental  intellectual and mystic  ideas  in mind.

The formalist critics believe in archaism, i.e. the use of old and obsolete terms, as a method of defamiliarization and focalization in literary works. The right and proper use and application of archaism, however, can lead to the elevation of the poetry as well as the increase of fascination and pleasure for the addressees. Nosrat Rahmani and Ali Mousavi Garmaroudi, Iranian contemporary poets, have embellished their poetry applying this trope and so have they given a certain character to the type of their poetry. It is noteworthy to mention that Garmaroudi enjoys more often this defamiliarization in his poems, thanks to his erudition and affinity to Persian classic poetry. The present research aims at studying the usage of archaism in the works of Rahmani and Garmaroudi as the main tool to recognize the characteristics of their language and style.

Inserting tale-like verses in his ghazals is among Rumi’s command of composing this literary genre. This is an altered way he employs to convey the notion of mysticism. The fusion of tales and ghazals results in some certain narrative ghazals through which Rumi presents us with his ideas. These narrative ghazals reflect some pure experiences of mysticism that help the readers digest them much better. They have been studied and explored by many researchers throughout recent years; however, they have hardly been studied via a morphological approach. Introduced by Vladimir Propp, morphology is a relatively new approach in analyzing stories in order to recognize the functions and principles of a story. The present article aims at studying through a morphological approach a ghazal by Rumi in order to give a comprehensive understanding of “descension and ascension” as realized by Rumi.

The position and the role of women in society, and the altered positive and negative attitudes towards them had frequently been reflected in all types of literature -- classic and modern, Eastern and Western. Nowadays by the expansion of female-oriented propensities like Feminism and its crossing the borders of literature, studies and researches on unilateral and even misogynist attitudes of some authors towards women have also been found urgent and necessary. The present paper focuses on these attitudes in two famous works of the world literature: One Thousand and One Nights</em>, which is the most famous collection of old folk tales from East, and The Canterbury Tales</em>, by English fictionist and poet Geoffrey Chaucer. These two works are almost similar in some respects, such as historical period, social background, and literary style. The researcher has tried to comparatively study the "woman" in them to reveal some paradoxical scope of misogyny and philogyny in both.

The verse romance of Vis O Rāmin</em> composed by Fakr Al-Din As,</sup> ad Gorgāni during the reign of the Saljuq Sultan togrel I (died 455 A.H.) is based on a Pahlavi written text. As Iranian-born Abū Nuwās (the Arab-speaking poet, died 198 A.H.) had mentioned the names Rāmin and Vis in one of his Fārsiāt</em> (i.e. the Arabic poems in which he used to use Persian words), it is obvious that the story had existed before Gorgāni recomposed it into a verse romance. The now existing story includes some hints to the ancient Iranian rituals and beliefs like most of the remained stories from ancient times, but hasn't yet been under the attention of scholars as it deserves. Under the influence of highlighted Zoroastrian concepts in the romance, some scholars have studied these rituals. In addition, other Zurvanite beliefs in it have been explored by Helmer Ringgren about 50 years ago for the first time. In this research the authors have tried through a descriptive-analytical approach to trace the Zoroastrian rituals in this verse romance by referring to Zoroastrian sources, Islamic historiographies and recent researches. The results of the study revealed that the Zoroastrian rituals are recorded according to ancient sources and Zoroastrian narratives.

Tārīkh-e Bayhaqī is among the masterpieces of Persian prose, and every Persian-speaking scholar knows about it since it carries both literary and historical merits. The prose language of Tārīkh-e Bayhaqī is so rich and arresting that makes it unique in the literary history of Iran. texts ever existed in Iran’s literature history. Bayhaqī is among those writers who have shown their artistry in using Persian words. Since the main focus of this article has been investigating the originally Persian words and terms in Tārīkh-e Bayhaqī, the linguistic features of pure Persian language in his prose have been analyzed and studied via a descriptive-analytical approach. To do so, the derivation and word formation of the prose has been explored first, and then the etymology and history of different parts of speech have been traced back, and as the last step, the frequency of the words in the book has been presented quantitatively. In addition to Arabic, Turkish and Mongolic words,Bayhaqī has used Pahlavi, Avestan and Persian words abundantly in his work. The most frequently-used Persian words in the book are nouns, verbs, adjectives and adverbs respectively, and they are either simple words, derived nominal or compounds structurally; though derived nominal and compound words are more frequented than simple words.

Since time immemorial the elements of nature and their metaphysical traverse have been reflected in the literary works and the poets have referred to them in order to describe, eulogize, reproach, elegize and lyricize others. The manifestation of Nature could be found abundantly in Rumi’s Mathnavi </em>and Divan-e Shams</em>, and it is due to his metaphysical acknowledgement of the world. This claim is proved by the great variety of those element in the immense bulk of his verses. The mystic poets have experienced extraterrestrial conceptions that are intricate and mysterious and have reflected them in the imagery of their poems, wherein the Nature and natural phenomena are significantly present. Thinking of the Nature is in fact thinking of oneself, and a poem dealing with the Nature and the beyond has always been the concern of the poets in all times; though the poet who pioneered this applying of metaphysical imagery in his poetry is Sanāʾi. Rumi, on the other hand, refined it to its highest level, making a bridge between physical and metaphysical worlds through providing the classic poetry with mystical companionship. The researchers in this paper have applied a library-based descriptive-analytical approach to study how Rumi has used the Nature and its elements in his mystical poetry as well as the ways he has modified the metaphysical notions through physical purports.

The 16th and 17th centuries witness the emergence of Classicism or Traditionalism in western literature, when great poets and authors like Molière and Jean Racine imitate the Greek and Latin works. Similarly, there rose in early twentieth century in Arabic literature such a movement under the name of “Harekatol Ehya” (Recreation Movement). In Persian Literature, “Bazgasht-e Adabi” or “Literary Return Period” is also a move ment for a return to writing poetry in the classic styles which began in mid-18th century. It seems that the literature in those three periods needed to once again return to and review its heritage. This study aims at tracing back the origins of these three movements to comparatively find out the commonalities with respect to their principles, introspective bases, aestheticism, and techniques of eloquence. Moreover, it is explored the reasons why the poets of these three periods craved for the grace and glory of their precedents.