Yazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022A Study of Daghoghi’s Mystic StoryA Study of Daghoghi’s Mystic Story928242910.29252/kavosh.2008.2429FALeylaNouroozpourAssistant Professor of Golestan UniversityHomayoonJamshidianAssistant Professor of Golestan UniversityJournal Article20080310The story of “Daghoghi” as one of the mystical stories on “Masnavi” is a story of a mystic venture. His purpose is to see the sun and to witness the light. He starts his journey with abandoning a corporal traveling. Surprising events happen during his spiritual journey. The amazement of witnessing of the objects being transformed which causes continuous unconsciousness makes the journey a spiritual journey. It is a secret and divine journey.
After reviewing the story with explaining the symbolic aspects of the elements with respect to the inter-textual style of the text, the researchers try to approach its meaning.
The ineffability experience that belongs to Molavi or another mystic is a statement of theory of plurality which leads finally to pantheism and unity. There are many similarities between “Daghoghi” and “Moses” in this regard.The story of “Daghoghi” as one of the mystical stories on “Masnavi” is a story of a mystic venture. His purpose is to see the sun and to witness the light. He starts his journey with abandoning a corporal traveling. Surprising events happen during his spiritual journey. The amazement of witnessing of the objects being transformed which causes continuous unconsciousness makes the journey a spiritual journey. It is a secret and divine journey.
After reviewing the story with explaining the symbolic aspects of the elements with respect to the inter-textual style of the text, the researchers try to approach its meaning.
The ineffability experience that belongs to Molavi or another mystic is a statement of theory of plurality which leads finally to pantheism and unity. There are many similarities between “Daghoghi” and “Moses” in this regard.https://kavoshnameh.yazd.ac.ir/article_2429_9b046702663775876ef9b4dd13d75eac.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022Metaphor in the Mystical Language of MeybodiMetaphor in the Mystical Language of Meybodi2958243010.29252/kavosh.2008.2430FASoosanJabriAssistant Professor Razi University of KermanshahJournal Article20071229So far metaphors have been talked about just in poetry. This study tries to find out how the mystic, Abdolfazl Rashid-al-din Meybodi has used metaphors in his mystical prose, the third section of the interpretation of kashf-al-asrar, to convey his determined connotations. To clarify the argument, its functions have been defined in two different levels, namely recognition and aestheticism. The functions of the recognition metaphors in Mibidi’s mystical prose are as: giving an intuitive and imaginative soul to the vague and segregated meanings, making the unknown meanings and phenomena recognizable, creating meanings or semi-meanings, clarifying the segregated meanings, giving life to meanings and phenomena, convincing the addressees, expressing the feeling, expressing intuitions. The aesthetic functions of metaphors are as: creating images, succinctness of meanings in words (conciseness), vividness of the images, ambiguities, pregnancy to interpretations, multi connotations.So far metaphors have been talked about just in poetry. This study tries to find out how the mystic, Abdolfazl Rashid-al-din Meybodi has used metaphors in his mystical prose, the third section of the interpretation of kashf-al-asrar, to convey his determined connotations. To clarify the argument, its functions have been defined in two different levels, namely recognition and aestheticism. The functions of the recognition metaphors in Mibidi’s mystical prose are as: giving an intuitive and imaginative soul to the vague and segregated meanings, making the unknown meanings and phenomena recognizable, creating meanings or semi-meanings, clarifying the segregated meanings, giving life to meanings and phenomena, convincing the addressees, expressing the feeling, expressing intuitions. The aesthetic functions of metaphors are as: creating images, succinctness of meanings in words (conciseness), vividness of the images, ambiguities, pregnancy to interpretations, multi connotations.https://kavoshnameh.yazd.ac.ir/article_2430_a3d24e4664fae8f96ffb821510f53dca.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022A Study of the of the Narrative Structure of Shams-e-Tabrizi’s SonnetsA Study of the of the Narrative Structure of Shams-e-Tabrizi’s Sonnets5994243110.29252/kavosh.2008.2431FAShahinHaghighiMaster student of Persian literature, Shiraz UniversityKavoosHasanliAssociate Professor of Persian Language and Literature, Shiraz UniversityJournal Article20080220Molavi has always been considered as an innovative Poet. The base of his innovation is more obvious in Shams' sonnets (ghazal) rather than his other types of works. Thus, a large number of his sonnets in terms of their structures and contents are different from the other Persian sonnets. One of the Molavi's special styles in comparison to that of other great poets is the inclusion of the contents in the form of stories in his sonnets. Some of the sonnets tell a whole independent story. In many cases, the poem is more a couplet-poem type rather than a sonnet. The poem that has been studied in this article is taken from Shams' sonnets, which in terms of number of verses (45 verses) is like to an ode and in terms of content is similar to a couplet-poem.
Molavi in this recalled sonnet has used characterization as it is used in a story. His innovative style in making the content of the sonnet similar to content of the story with modern figures of speech is amazing. In this article, an attempt is made to study the structure of the sonnet as well as its narrative structure as it is formed by Molavi.Molavi has always been considered as an innovative Poet. The base of his innovation is more obvious in Shams' sonnets (ghazal) rather than his other types of works. Thus, a large number of his sonnets in terms of their structures and contents are different from the other Persian sonnets. One of the Molavi's special styles in comparison to that of other great poets is the inclusion of the contents in the form of stories in his sonnets. Some of the sonnets tell a whole independent story. In many cases, the poem is more a couplet-poem type rather than a sonnet. The poem that has been studied in this article is taken from Shams' sonnets, which in terms of number of verses (45 verses) is like to an ode and in terms of content is similar to a couplet-poem.
Molavi in this recalled sonnet has used characterization as it is used in a story. His innovative style in making the content of the sonnet similar to content of the story with modern figures of speech is amazing. In this article, an attempt is made to study the structure of the sonnet as well as its narrative structure as it is formed by Molavi.https://kavoshnameh.yazd.ac.ir/article_2431_550d02b087f32bd1e41a6134a57aea2c.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022A Comparison between “Kenayeh” and IronyA Comparison between “Kenayeh” and Irony95127243410.29252/kavosh.2008.2434FAZahraAgazeynaliGraduated from the University of Isfahan with a master's degree in Persian language and literatureHosseinAgha HosseiniAssociate Professor, University of IsfahanJournal Article20080114 "Kenayeh" is one of the most important devices for transferring meaning and concepts in Persian language which has a crucial role in rhetoric. Also irony in English language and in western rhetoric enjoys a special position to convey the message.
In dictionaries of literary terms, “Kenayeh” has been referred to as a synonym for irony; however, evidence shows that what westerners call irony is much different from Persian kenayeh, though similarities can be seen between these two words. In Persian the word “kenayeh” is usually categorized as referring to the quality of someone or something which is being described, or to an action (verb) or a place. Also it has been divided to “eama, talvih, ramz and tariz” and this categorization is often used in short phrases of statements. While irony is mostly categorized with respect to the structure/content and concerns generalities such as verbal irony, structural irony, dramatic irony, Socratic irony, cosmic irony etc. In this paper the similarities and differences between the two concepts will be briefly discussed. "Kenayeh" is one of the most important devices for transferring meaning and concepts in Persian language which has a crucial role in rhetoric. Also irony in English language and in western rhetoric enjoys a special position to convey the message.
In dictionaries of literary terms, “Kenayeh” has been referred to as a synonym for irony; however, evidence shows that what westerners call irony is much different from Persian kenayeh, though similarities can be seen between these two words. In Persian the word “kenayeh” is usually categorized as referring to the quality of someone or something which is being described, or to an action (verb) or a place. Also it has been divided to “eama, talvih, ramz and tariz” and this categorization is often used in short phrases of statements. While irony is mostly categorized with respect to the structure/content and concerns generalities such as verbal irony, structural irony, dramatic irony, Socratic irony, cosmic irony etc. In this paper the similarities and differences between the two concepts will be briefly discussed. https://kavoshnameh.yazd.ac.ir/article_2434_00170f14822bd4d550fc05a730005a0e.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022A Comparison between Nezami’s “Khosro and Sheerin” and Almas-Khan-e- Kandolei’s “Shreen and Farhad”A Comparison between Nezami’s “Khosro and Sheerin” and Almas-Khan-e- Kandolei’s “Shreen and Farhad”129152243510.29252/kavosh.2008.2435FAJilaSalehiMA student Kurdistan UniversitySayed AhmadParsaAssociate Professor of Persian Language and Literature, University of Kurdistan0000-0002-4711-4713Journal Article20080216Khosro and Sheerin’s romantic has been drawn to attention from the past till now and also has been reported in different ways by different people including Dainoori, Jahez, Salabi, Tabari and Ebn Nabate.
Nezami Ganjee capabilities in versifying the work have been admired by other versifiers like AmirKhosro Dehlavi, Saleemi Jarooni, Shahab Torsheezi, Hutefi Kharjardi, Vahshi Babeghi, Orfi Shirazi, Vesal Shirazi and Nami Esfahani. As Nezami's mother was a Kurdish, Bistoon was in Kurdish area, Ghasr-e-Shreein was located there as well as the dominance of the folklore among the people in the area, one may ask to what extent Nezami's mother's culture had influence upon him to versify Khosro and Sheerin. For Sheerin and Farhad's of Almas-Khan-e-Kandoolie had been made with respect to an oral narration that exists in this area, the study tries to answer the question based on the comparison of this work with Nezami's Khosro and Sheerin. Also the article tries to make the readers to become familiar with the work of Almas-Khan-e-Kandoolie, to understand Nezami's Khosro and Sheerin better, to become familiar with other narration of this tale through the study of common distinct points between them.Khosro and Sheerin’s romantic has been drawn to attention from the past till now and also has been reported in different ways by different people including Dainoori, Jahez, Salabi, Tabari and Ebn Nabate.
Nezami Ganjee capabilities in versifying the work have been admired by other versifiers like AmirKhosro Dehlavi, Saleemi Jarooni, Shahab Torsheezi, Hutefi Kharjardi, Vahshi Babeghi, Orfi Shirazi, Vesal Shirazi and Nami Esfahani. As Nezami's mother was a Kurdish, Bistoon was in Kurdish area, Ghasr-e-Shreein was located there as well as the dominance of the folklore among the people in the area, one may ask to what extent Nezami's mother's culture had influence upon him to versify Khosro and Sheerin. For Sheerin and Farhad's of Almas-Khan-e-Kandoolie had been made with respect to an oral narration that exists in this area, the study tries to answer the question based on the comparison of this work with Nezami's Khosro and Sheerin. Also the article tries to make the readers to become familiar with the work of Almas-Khan-e-Kandoolie, to understand Nezami's Khosro and Sheerin better, to become familiar with other narration of this tale through the study of common distinct points between them.https://kavoshnameh.yazd.ac.ir/article_2435_e5d17f05b8c9ff1a1273769cfa2d04eb.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022The Impact of Arabic Poetry on Iraj Mirza’s DivanThe Impact of Arabic Poetry on Iraj Mirza’s Divan153208243610.29252/kavosh.2008.2436FAVahidSabzianpourAssociate Professor, Department of Arabic Language and Literature, Razi UniversityJournal Article20080111Iraj Mirza is a descendent of the Ghajari Fath-Ali Shah whose poetry is, on one hand, a mixture of tenderness and beauty, and on the other, replete with vulgarity and obscene words. However, his poetry has always been tied to Islamic and Arabic themes which run like blood in the entire body of his Divan. In addition, his poems are often composed in relation to religious themes associated with the Holy Koran concepts.
In addition to verses from Arab poets like Abul-Fath Basti, Mohlebi, Ibn Qalaqes, Sharif Razi, one might also explore traces of poetic themes related to Ibn Rumi, Motenabi, Abul-Atahiyeh, Ibn Hajjaj in the depth of his poetry. A huge number of Arabic proverbs are also implied by him using their lexicon or alluding to them in the form of short comments. The present article attempts to explore some of the relevant themes and to identify the Arabic sources and their Iranian counterparts which existed in pre-Islamic period. Since Iraj Mirza might have been influenced by previous Iranian poets, the study also refers to some of the relevant references in the footnotes.
Iraj Mirza is a descendent of the Ghajari Fath-Ali Shah whose poetry is, on one hand, a mixture of tenderness and beauty, and on the other, replete with vulgarity and obscene words. However, his poetry has always been tied to Islamic and Arabic themes which run like blood in the entire body of his Divan. In addition, his poems are often composed in relation to religious themes associated with the Holy Koran concepts.
In addition to verses from Arab poets like Abul-Fath Basti, Mohlebi, Ibn Qalaqes, Sharif Razi, one might also explore traces of poetic themes related to Ibn Rumi, Motenabi, Abul-Atahiyeh, Ibn Hajjaj in the depth of his poetry. A huge number of Arabic proverbs are also implied by him using their lexicon or alluding to them in the form of short comments. The present article attempts to explore some of the relevant themes and to identify the Arabic sources and their Iranian counterparts which existed in pre-Islamic period. Since Iraj Mirza might have been influenced by previous Iranian poets, the study also refers to some of the relevant references in the footnotes.
https://kavoshnameh.yazd.ac.ir/article_2436_c5ccda37560d2fea1928dbb46810997f.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022On the Mystic Concept of “Pain” in Attar Neishaboori’s SpeculationOn the Mystic Concept of “Pain” in Attar Neishaboori’s Speculation209274243710.29252/kavosh.2008.2437FAYoosofNikroozAssistant Professor of Persian Language and Literature, Yasouj UniversityJournal Article20071124Sheikh Farid-Odin Attar, a prominent scholar in mysticism and Persian Literature enjoys a very high position in Iranian culture. Among the great Islamic mystics, it is hardly possible to find a poet who has as many his mystic works as After does, both in prose and in poetry. The collection of his works in poetry contains the highest mystic meaning and allusions,each of whichis of paramount importance in maturir), of thinking power and variety. A theme which recurrently occurs in Attar's thoughts and is equally reflected in his works is having "the deeling cf.pain". This is such that he calls himself 'a poelt of pain'. This is the kind of pain which is not personal or physical; rather, it is a pain which is observable in all the parts and and constituents of the world, but man comprehends this more than the other creatures. For it is the pursuit of perfection which is really the driving force in man. Of course, Attar himself has comprehended this fully as the result of his flight of though in the world of meaning. Through an eloquent and clear language, he has conveyed this to those who are enthusiastic about the pursuit of the way of righteousness. The present paper is a study into 'pain' and its types, as observed in attar's poetry. Sheikh Farid-Odin Attar, a prominent scholar in mysticism and Persian Literature enjoys a very high position in Iranian culture. Among the great Islamic mystics, it is hardly possible to find a poet who has as many his mystic works as After does, both in prose and in poetry. The collection of his works in poetry contains the highest mystic meaning and allusions,each of whichis of paramount importance in maturir), of thinking power and variety. A theme which recurrently occurs in Attar's thoughts and is equally reflected in his works is having "the deeling cf.pain". This is such that he calls himself 'a poelt of pain'. This is the kind of pain which is not personal or physical; rather, it is a pain which is observable in all the parts and and constituents of the world, but man comprehends this more than the other creatures. For it is the pursuit of perfection which is really the driving force in man. Of course, Attar himself has comprehended this fully as the result of his flight of though in the world of meaning. Through an eloquent and clear language, he has conveyed this to those who are enthusiastic about the pursuit of the way of righteousness. The present paper is a study into 'pain' and its types, as observed in attar's poetry. https://kavoshnameh.yazd.ac.ir/article_2437_505ae94e1df0ef1191844757371489d0.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022Rhetorical Images in the Poems of Am’aq BokharaeeRhetorical Images in the Poems of Am’aq Bokharaee249291243810.29252/kavosh.2008.2438FAAli RezaSha'banluPh.D. student of Yazd UniversityMandiMalek SabetAssociate Professor, Yazd UniversityYadollahJalaliAssociate Professor, Yazd UniversityJournal Article20080121Shahab Al-din Am'aq Bokharaee (542-440 Hegira, A.H.) is one of the poets of 5th and 6th Hegira century who was the chief of the poets in the Court of Khezr Khan, one of the kings of Ilk Khan. Not many poems has been left by him, but one can figure out his poetic capability and skill in utilizing simile and metaphor and inventions of live and dynamic images from among those a few poems left. The most drastic changes were in language eloquence, and the least in language syntax through the evolution of eloquence of Persian poems and emergence of modern poetic styles. Among elements of eloquence, simile, which has been known as the essence of literature from the view point of ancient Greek and Iranian scientists and is also the substructure of the instruments of eloquence such as metaphor and allegory, has undergone drastic changes more than others. Changes such as emergence of new ideas and ideologies, development in science and political, social and religious changes occurring in the real world and living environment of a poet affect his way of thinking hence cause a change in literary level of a poem. Examination of figures of speech in the poems of Am'aq reveals that he is interested in simile more than other figures of speech and sensory similes more than other kinds of similes. However, the increasing and upward use of rational similes is considerable in his poems. Am'aq's second best interest is in metaphor, specially metaphor of "mosarraheye mojarrade", metaphorical documents have been among the most important poetic instruments used by Ama'q that made his poems dynamic and energetic. Among different kinds of irony, the frequency of verb irony is more tangible than others. He has also used "majaze morsal" but now in a prominent and distinctive way. Am'aq chooses his own imagination figures from among religious and aristocratic elements; therefore, we can see some kinds of sanctity, luxury, and scintillation in his images. There is a complete consistency and agreement between poetic images of Am'aq and elements and components of his poems. Shahab Al-din Am'aq Bokharaee (542-440 Hegira, A.H.) is one of the poets of 5th and 6th Hegira century who was the chief of the poets in the Court of Khezr Khan, one of the kings of Ilk Khan. Not many poems has been left by him, but one can figure out his poetic capability and skill in utilizing simile and metaphor and inventions of live and dynamic images from among those a few poems left. The most drastic changes were in language eloquence, and the least in language syntax through the evolution of eloquence of Persian poems and emergence of modern poetic styles. Among elements of eloquence, simile, which has been known as the essence of literature from the view point of ancient Greek and Iranian scientists and is also the substructure of the instruments of eloquence such as metaphor and allegory, has undergone drastic changes more than others. Changes such as emergence of new ideas and ideologies, development in science and political, social and religious changes occurring in the real world and living environment of a poet affect his way of thinking hence cause a change in literary level of a poem. Examination of figures of speech in the poems of Am'aq reveals that he is interested in simile more than other figures of speech and sensory similes more than other kinds of similes. However, the increasing and upward use of rational similes is considerable in his poems. Am'aq's second best interest is in metaphor, specially metaphor of "mosarraheye mojarrade", metaphorical documents have been among the most important poetic instruments used by Ama'q that made his poems dynamic and energetic. Among different kinds of irony, the frequency of verb irony is more tangible than others. He has also used "majaze morsal" but now in a prominent and distinctive way. Am'aq chooses his own imagination figures from among religious and aristocratic elements; therefore, we can see some kinds of sanctity, luxury, and scintillation in his images. There is a complete consistency and agreement between poetic images of Am'aq and elements and components of his poems. https://kavoshnameh.yazd.ac.ir/article_2438_c68a3eb87af63062a52f0a892a0101dc.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X91720081022The Poetic Names and Epithets of "the Beloved" in the lyric Poetry of Khaghani, Nezami and Sa'diThe Poetic Names and Epithets of "the Beloved" in the lyric Poetry of Khaghani, Nezami and Sa'di293320243910.29252/kavosh.2008.2439FAMortezaCharmegi OmraniAssistant Professor of Payame Noor University, Neishabour CenterJournal Article20071105In Persian lyric poetry, "the beloved" plays a fundamental and decisive role. In fact, one of the themes which has always been the focus of attention in Persian lyric poetry is "the lover and the beloved". It has been a theme which, for long ages and in each period of Persian literature, has drawn a special attitude to it as well. The present article considers the above-mentioned poets' imaginative descriptions of "the beloved"; the poetic names and epithets they have given them; for instance (the beloved), Mehrab (the alter), Namak (salt), Ghandil (icicle). It also deals with the matters of imitation and innovation in giving names and epithets, the most frequently used figures of speech in their poem, and the frequency of the utilized figures of speech in their poems. A quick glance would indicate that the names and epithets are most often the same; however, the intended meanings of their identical similes are different. As a matter of fact, the delicacy of the poets' creative imagination arises from their unique powers, capabilities and tactfulness in handling being economical of time and space but only one citation has been offered for each of the poetic names and epithets given to "the beloved". Since, Nezami, compared with Khaqani and Sa'di has fewer lyrical poems, it has been attempted to keep the amount of each poet's lyrical poetry in mind and give the citations in proportion to the percentage of their contributions to lyrical poetry. In the conclusion, these names and epithets have been compared and graphically charted, which can be also studied from a stylistic perspective. In Persian lyric poetry, "the beloved" plays a fundamental and decisive role. In fact, one of the themes which has always been the focus of attention in Persian lyric poetry is "the lover and the beloved". It has been a theme which, for long ages and in each period of Persian literature, has drawn a special attitude to it as well. The present article considers the above-mentioned poets' imaginative descriptions of "the beloved"; the poetic names and epithets they have given them; for instance (the beloved), Mehrab (the alter), Namak (salt), Ghandil (icicle). It also deals with the matters of imitation and innovation in giving names and epithets, the most frequently used figures of speech in their poem, and the frequency of the utilized figures of speech in their poems. A quick glance would indicate that the names and epithets are most often the same; however, the intended meanings of their identical similes are different. As a matter of fact, the delicacy of the poets' creative imagination arises from their unique powers, capabilities and tactfulness in handling being economical of time and space but only one citation has been offered for each of the poetic names and epithets given to "the beloved". Since, Nezami, compared with Khaqani and Sa'di has fewer lyrical poems, it has been attempted to keep the amount of each poet's lyrical poetry in mind and give the citations in proportion to the percentage of their contributions to lyrical poetry. In the conclusion, these names and epithets have been compared and graphically charted, which can be also studied from a stylistic perspective. https://kavoshnameh.yazd.ac.ir/article_2439_284029c9fd327ba72d3b2220a149c36f.pdf