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Moulavi's Mathnavi opens with  no praise to God and there is no resolution for the  third brother as the protagonist of  the story of Deje Housh Roba ( Enchanting Castle )  either. It seems that Moulavi considers the continuity of time as one of the most important components of the cosmos in which every single person plays his vital role and helps move this circle of  life.
This issue, which looks as one of the basic issues of  mysticism, has a remarkable  manifestation in Moulavi's Mathnavi. The story of Pir Changi is an excellent example of this approach. It consists of two major characters who assume totally different social positions on the literal Level. However, at the deeper level, Omar and Pir Changi have strong affinities with each other. That's why they both reach to unification at the end of the story; a unification that depicts the ever going interaction between human beings and all creatures in the universe.
 

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Stories and narration have been among the rewarding achievements of poets and writers throughout the history of Persian literature. Accordingly, the popular stories with special attraction have frequently been narrated in poems and prose to express and convey the Gnostic and lovely contents. The story of the biography of  Excellency Yousef ( Joseph) which is known as the best stories in the Holy Koran , is one of the most beautiful and attractive stories of the Persian literature which has been repeatedly discussed by poets and writers from different perspectives. Two important narrators of this story are Jamalodin Mohammad Ardestani and Jami in the ninth century who has narrated this story in their poems and prose under the titles of Yousef Nameh and   Yousef and Zuleykha, respectively. Since the similarities and difference in the overall structure and the manner of narrating as well as inferences and results made are so considerable in these two works of arts, this article attempts to compare these two valuable works along with their introductions and highlight the differences and similarities from different perspectives.


 

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The magnificent story of Rostam & Sohrab, which has been truly considered as one of greatest stories of the Shahnameh Epic, has attracted a wide audience of diverse status and background including serious researchers and instructors of this masterpiece. Among the one thousand verses or so, a number of verses have specially provided challenges for the interpreters of the great work of Iranian literature. Naturally, providing a full critical account of the viewpoints concerning all the challenging verses goes much beyond the scope of this paper. Hence, this paper addresses the existing critical comments on the very first two verses of the story. To this end, first, after stating the problem and briefing the background, we proceed to an evaluation of these views based on a clear typology of them prepared for the purpose of this study. Finally, we argue that there is a long way to go in order to publish a neat version of Shahnameh which is the true representation of Ferdowsi's poems. Furthermore, the existing interpretations are still far from being able to demystify the secrets of Shahnameh.
 

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One of the basic approaches to the existing critiques of Sohrab Sepehri enumerates the linguistic, semantic, and artistic values and features originally derived from the Islamic mysticism. Two trends are quite discernible in these comments:  proving the mystic nature of his thoughts and poems and, in contrast, rejection, refutation and even teasing the idea altogether. This paper, initially, states the problem and explains the affinity between Sepehri's poetry and Islamic mysticism. Then, a critical evaluative account of the views for and against Sepehri's alleged orientation towards Islamic mysticism is presented.
 

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Religious poems form one of the rich domains of Persian literature heritage. Though these poems abound, researchers have paid less attention to them and many of them are unknown, confined to manuscripts. These poems deal with different themes most of which are    concerned with one of the religious characters. These poems can be studied form historical and linguistic perspectives. The former studies named these poems "religious Epics". Classifying   these works based on content, we have shown that only one group of them is put under such titles. Then we deal with bibliography of the works composed about Imam Ali (PBH). We have also provided brief information about each of them.
 

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Crying is an indication of man's emotions known by Molana as the cause of eternal life. That is why he maintains that such crying should be the source of the devotee's happiness. He also believes that God is to be found in people's broken hearts. Moreover, Molana states that human spiritual equilibrium resides in man's love for God and self-denial   and that is why he considers crying as a means for seeking God and His love. According to him, truthful and honest crying can wash away the devotee's sins because crying is a way of expressing one's needs so it reminds man of God. As a result of man's lamenting and crying, God might bestow upon him the Kosar Fountain. Such a crying may even cause the heavens to shed tears. It is this crying that enables the devotee to put a leash on his concupiscence.
 

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Among the important issues in literary criticism are the determination of limits of imitation and the expression of their difference with adoption. This paper aims to determine the limits of imitation, to specify related factors and consequences, less noticed in Persian literature, and to recognize creative arts from non-creatives ones. Therefore, in this paper, an introduction about imitation in ancient Greek criticism and its equivalent meanings in Islamic translation including mimic and representation is offered. Then a survey of the relationship between imitation and originality is presented and its limits in modern criticism and formalist criticism is discussed, more over two parts are devoted to the relationship between imitation and imagery and the mutual relationship between imitation and language, as well as, the relationship between intellectual degeneration with lingual degeneration and development of imitation works are dealt with, the last part is devoted to surveying backgrounds and factors in imitative works in Persian literature.

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If we claim that the main subject in Nezami’s life and collection of poems is that of the politics – of course except for Leili and Majnoun- our claim is not off the track. However, in order to prove the dominance of politics in Nezamy’s poems and consequently in his life time , one  needs  to provide  documentation and persuasive  reasoning in all poems  collections. Nezamy offers his positions either ironically and generally or by appealing to historical samples and figurative speech   so as to protect his secluded life from the political turmoil. Makhzanollasrar depicts political and social "shoulds" and "shouldn’ts" in a moral- religious context. Khosro and Shirin is a sample of "should" and "shouldn’ts" in emotional- political behaviors and Haft Peikar (seven figures) and Eskandar Nameh are also considered as ideal values in the field of simple political actions and reactions. Despite all differences, these poetic collections are common in one subject. That is, depicting ideals and human goals in all places and times. Initially, the poet discusses about a moral and ideological society or religious utopia. Then he depicts the emotional and romance modes as well as desirable   and undesirable human's reactions against these modes. Then he deals with political society and its desired characters, narrating about his political utopia of two different forms- in the form of existence relativity in country history or in the form of a desirable reality in the world history.  This helps Nezamy to show his discontent with status quo through taking refuge in aliens.


 

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One of the key themes  in   Ahmad Shamloo's  poetry is the  expression of various aspects of human sufferings  and grief .According to a study done on  Shamloo poetry collection , we can dare to say that he is the greatest  second or third poet  in last 2 or 3 decades who was involved with the concept of  reality during his artistic and social life .By  sufferings  and grief, we mean   an overall  collection of  interpretations  , comments, and themes   which deal with these two words, namely, suffering and grief .For instance if we consider nature of sufferings   and grief from one perspective , its reasons from second perspective , ways in which we can get rid of sufferings from third perspective  , result and conclusion from the  fourth perspective  and finally moral dignity from an additional perspective, we will face an extensive volume of interpretations and  abundant  vocabularies in his poetry whose  discovery and review  indicate his mental obsession with these concepts .what counts as an  important  point in  examination of  sufferings  and grief concept in  Shamloo's  works is investigation of sufferings  and grief nature and how they are  contemplated in  Shamloo mental system .Surveying the reasons and factors contributing to  sufferings  and grief is the second problem which  is an intricate concept  in Shamloo's poetry, considering  the different reasons  given by classic and contemporary man. Another concern of this research is positive and negative effect of sufferings and grief as well as human attitude toward human beings   sufferings and grief.

 

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Mowlavi's  Mathnavi and Saadi's  Bustan and  Golestan are among the instructional works of the Persian Language and  Mystic Instruction is one of the common aspect  of Mowlana's and Saadi's teachings. The principal objective of religious and mystic instructional schools is paving the way  for the spiritual transformation of human beings, getting to know the pollutions and sensual maladies, and eradicating them. Such pollutions having been eradicated, the repercussion of their teachings which is the reflection of the divine light and enlightenment of very human being in the light of the truth sun shall be materialized. However, such instruction are not only simple and superficial; they embody all aspects of human being and require an all embracing movement and transformation. Consequently, in mystic instruction, in addition to the surface and superficial behavior, the interior and its hidden angles are brought under consideration. For this reason, acting like an  experienced educator and skillful  psychologist, mystics ,such as Mowlana attempts to heal the maladies affecting  the lower strata of human interior through  their instructions, and a Muslim such as Saadi, with mystic tendencies, depicts the hidden influence of such teachings in the human ethics and conduct.                                                                                                                  

 

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The reflection of historical events of the 1330s in Iranian calendar, due to their special importance in Iran’s contemporary history, is one of the issues which have always been considered by intellectuals, scholars and committed poets of that decade. Government's dominance and its widespread repression are the most important reasons for the committed poets of 1330s to use symbolic expressions. While Nima is considered as the pioneer of contemporary symbolists, Mehdi Akhavan Salis, who is one of the committed poets, has greatly put this way of expression into focus of attention. The result of this study shows that he has used public and personal symbols to express the events and to inform the following generations about them. The high frequency of personal symbols in Akhavan Salis’s poems reflects his poetic sense and passion to speak of social problems. The study was carried out through a descriptive method and data was gathered and analyzed by library research.

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The study of language has been put into focus of attention by many researchers in literature and philosophy and several outstanding works have been composed in Persian and Arabic languages. The previous studies in this area helped to establish the science of language among Persian speakers and consequently necessary terms for most branches of this science, such as syntax, stylistics, semantic, rhetoric and phonology, were coined. On the other hand, Language in the recent century welcomed the modern way of language studies and many books and articles were translated from western languages, and new words and terms were devised irrespective of local studies. The present study is an attempt to investigate the terms devised in modern branches of linguistics and common terms of local studies and in this way makes a comparison and a link between the old and new achievements.

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Ambiguity and equivocation are among evident features and perhaps the most noticeable rhetorical figures employed in Hafiz’s poetry. When this rhetorical and aesthetic technique is mingled with 'cleverness’ understanding the intention of Hafiz becomes problematic and even sometimes hard-to-grasp. One of these clever ambiguities noticed in his poems is ambiguity in the word “Hafiz". This paper has discussed the final lines of his Ghazals in which the word “Hafiz” has been mentioned. Accordingly, the paper argues that if we regard “Hafiz” in its Persian equivalent as a memorizer of the holy Quran, we might be closer to the poet’s intention. The main reasons to prove this issue are the ‘alterations’ noticed in some of Hafiz’s lines. In other words, some scribes of his Divan have alternatively used some related words such as "Zahid" (pious), "Vaez" (preacher), "Hafiz" (memorizer), and at times, based on the atmosphere of the Ghazal, they have suggested terms like Memorizer of the Quran or Hadith for the word “Hafiz”. Therefore, to the list of hateful characters in Hafiz’s Divan, such as pious, preacher, Sheikh, Faqih, Malik-al-Hajj, Mufti, Judge, and Sufi, ‘Hafiz’ must be added as well.

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The literature scholars of the subcontinent were the vanguard and the pioneers in various fields in Persian language, such as rhetoric, biography and especially lexicography. Unlike the Iranian literati, they are the initiator and founder of the theoretical basis of lexicography, rhetoric, biography and even criticism to the extent that the theoretical principle of each of these arts can be extracted from the content of the works in each subject. In this article, first we briefly review the development of Persian language in the subcontinent during different periods, and then we discuss the lexicography in the subcontinent and show how effective the subcontinent was in the formation and development of this process. Therefore, we will explore the written dictionaries in India and mark their most distinguishing features. In the end, we point out the important functions of these dictionaries.  

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Founded on Shii beliefs, Safavid dynasty adopted an ideological policy for its survival. It went so far as to develop directives and a set of principles for poets and composing poetry. For instance, poets were expected to write odes about the position of His Majesty the King, the true follower of the Imams, and the Imams, peace be upon them. By doing this, they received rewards from the court. With the increasing popularity of jurists, needless to say, the poets’ career dwindled. Indeed poetry’s audiences were not but ordinary people. Nonetheless, poets who had considered the Safavid court as a place to honor poets and a reliable institution for publishing their poems for a long time, left the Safavid court at this time. Instead, they took shelter in the great Mongol Timurid’s court in India, where literature, poetry, and poets were well-liked and gifts were bestowed on the poets. Therefore, the Iranian poets decided to immigrate to India for their art to be glorified and to gain the freedom and the initiative to expand the scope of their subjects, thoughts and poetic images and to increase the repertory of Persian words, expressions and images. This article aims to discuss briefly this matter.  

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Undoubtedly, the Indian subcontinent has had an undeniable role in the enrichment and spread of Persian language and literature. It has led to the creation of some lasting works in various areas of literature, especially in Persian rhetoric, works that have been written with a unique creativity and innovation. In this study an attempt has been made to investigate three top rhetoric works in the Indian subcontinent: Jame al Sanay’ wal Awazan by Seif Jam Heravi, Sobhat al-Marjan wa Ghazlan al-Hind by Azad Belgerami and Hadaegh al-Balaghe by Faghir Dehlavi. It has been revealed that these three works in contrast with other Islamic rhetoric works, which have been in part influenced by Greek thoughts, are mainly written based on Sanskrit rhetoric. It has also been found that these three works not only include aesthetic criteria and literary figures, but also contain a kind of pragmatic criticism. Finally, the most significant commonalities of these works have been pointed out.

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Persian poetry first entered the Indian subcontinent during the second period of Qaznavid dynasty in the north of India and is mainly reflected in the poetry of such poets as Masoud Saad Salman. The second wave started with the Moghul invasion during which many Iranian scientists, scholars, poets and Sufis moved to the north of India. The result of this mass emigration was the emergence of such eminent poets as Amirkhosro Dehlavi and Amirhossein Dehlavi. During the Baberian period, the third wave took place. During this time, which lasted around three hundred years, India became the center of Persian poetry giving rise to a form that came to be labeled as Indian style of Persian poetry. This article attempts to conduct an in-depth study of three major poets of Indian style: Orfi, Zohori and Taleb-e Amoli. Moreover, it endeavours to show how their innovations in Persian poetry encouraged a host of indigenous Indian poets and the style of poetry that came to be called "Tarz-e-Khiyal", with Bidel-e Dehlavi being the most prominent poet of this style. Thus Persian poetry spread across India until the advent of the British colonization.