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- Yousof Asghari Bayghout,
Volume 30, Issue 93 (1-2023)
Abstract
The Holy Quran, the divine book of the Muslims, has always been reflected in the works of literary figures and mystics in different ways. Abu Sa’id Abu’l-Khayr, the famous mystic of the 10th and 11th centuries, also benefited greatly from the Qur’an. The present study, while explaining the two concepts of “Understanding the Qur’an” and “Living with the Qur’an” of Abu Sa’id Abu’l-Khayr, seeks to answer the questions of how the Qur’an and its concepts were manifested in the sayings and manners of Abu Sa’id, and what effects they had on his intellectual and behavioral habits. From the study of Asrar al-Tawhid, we find that Abu Sa’id’s knowledge of the Qur’an was beyond literacy and education. Instead of the outward appearance of the Qur’an, he tried to understand its inner concepts and meanings, and in this regard, he achieved considerable success. This level of Qur’anic knowledge was manifested in his words in various ways, such as his interpretations and subtle remarks. Living with the Qur’an indicates the deep influence of the Qur’an on Abu Sa’id’s behavior and manners. Abu Sa’id learned the Qur’an not only to read and know, but also to live with it. On the other hand, Abu Sa’id’s particular attention to the blessing verses had a direct effect on his mystical inclination. Abandoning pride and egoism, tolerance, and hope for and trust in God’s forgiveness are among the manifestations of Abu Sa’id’s living with the Qur’an in Asrar al-Tawhid.
Seyed Amirabbas Setayeshgar, Habibullah Abbasi , Seyed Morteza Mirhashemi, Effat Neghabi,
Volume 31, Issue 95 (11-2023)
Abstract
The use of music is one of the most useful techniques in poetry, which poets use to convey their thoughts. Owing to their mastery in music, some poets have employed it to express their reflections and to portray poetic images more than others. The frequency of the discourse of music in the poetry of this group of poets and the imagery created through it shows their mastery over music, both in terms of theory (in topics such as organology and the study of tunes and melodies) and in terms of practice (which is performing and composing music). Using a descriptive-analytical method, the present research aimed at investigating the means of the theoretical and practical music in the divans of two of the foremost representatives of the Indian style (sabk-e Hendī) of Persian poetry, i.e. Saeb Tabrizi, the leader of the mode called delicate imageries (nazok-khiyali), and Bidel Dehlavi, the forerunner of the mode called exotic imageries (dour-khiyali). First, by giving examples, the concepts of music in the poetry of the two poets were examined and then both views were compared in the field of music. The results indicated that mastery of music would highly contribute to the decoding of secrets of the poems. In effect, without finding the musical roots (as a specialty and profession) it would not be possible to gain the correct and precise understanding of some couplets. In fact, this method of applying musical concepts is not a sign of distant knowledge of the field, but it implies a kind of scientific and close knowledge. The result of this study – which is the explanation of the combination of theoretical and practical music in the two modes of delicate imageries and exotic imageries of the Indian style – indicates the three main branches of the association network, the theoretical-practical knowledge and the link between poetry and music.
Dr Effat Neghâbi, Dr Niloofar Sâdât Abdollâhi,
Volume 32, Issue 97 (1-2025)
Abstract
Mohammad Ali Foroughi (also known as Zoka-ol-Molk) is regarded as one of the well-known contemporary Iranian men in politics, culture, and law. His political and cultural careers motivated him to correspond with many educated friends about these issues. Due to Foroughi’s familiarity with ancient literature and his attachment to Iranian culture, his letters have been influenced by the style of his predecessors in addition to the earlier literary works. By perusing these letters, one can visibly see the influence of Ghaem Magham Farahani’s Monsha’at (Letters). While imitating the style of Farahani, Foroughi had innovations in his letters. The present article aims to reveal the extent of Foroughi’s innovation and his being influenced by Ghaem Magham’s letters by considering Farahani’s letters as an example of the return style. In the current study 11 letters from Foroughi, collected in Zoka-ol-Molk’s policy book, and 11 letters from Ghaem Magham’s Monsha’at, fallen into friendship, politics, and social categories, were analyzed. It was found that although Foroughi was influenced by the letter styles, literary techniques, and linguistic features of Farahani’s letters, he made innovations in their contents and concepts. Zoka-ol-Molk’s innovations can be seen in combining the return style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the temporal conditions and people’s understanding. Therefore, besides being influenced by the return style (especially that of Monsha’at), he overcame its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the goals of attracting the attention of the audience to promoting Persian culture and literature and conveying modern concepts along with reporting on current social issues. In his political and social letters, we see him imitating demanding literary-historical texts; while his friendly letters are very tender and heartwarming due to imitating lyrical texts. Hence, reading these letters gives the reader more literary pleasure than social letters.
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