|
|
|
 |
Search published articles |
 |
|
- Yousof Asghari Bayghout,
year 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,
year 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 Neghabi, Dr Niloofar Sadat Abdollahi,
year 32, Issue 97 (1-2025)
Abstract
Mohammad Ali Foroughi is considered one of the famous contemporary men in politics, culture and law. His two political and cultural aspects have caused him to correspond with many educated friends about these issues. Due to Foroughi's familiarity with ancient literature and attachment to Iranian culture, his letters have been influenced by the structures of his predecessors in addition to ancient literary works. Looking at these correspondences, one can see the influence of Farahani's letters in them. It is worth mentioning that while imitating the style of Ghaem Magham, he had innovations in his letters. This issue, article aims to reveal the extent of Foroughi's innovation and influence on Ghaem Magham`s letters by considering Ghaem Magham`s letters as an example of the return style. For this purpose, in this research, 11 letters from Foroughi's letters, collected in the Zoka-ul-Mulk's policy book, and 11 letters from Ghaem Magham institutions, which were written in three fields of friendship, politics and social; Have been analysed. By examining these letters, it was found that although Foroughi was influenced by the letter structure, literary techniques, and linguistic features of Farahani's letters, he made innovations in the field of content and concepts. Zakaul-Molk's innovations can be seen in combining the retro style with modern socio-political concepts. In writing letters, Foroughi paid special attention to the needs of the times and people's understanding. Therefore, besides being influenced by the return style, he has overcome its weaknesses with some expressive tricks and subtleties. By using this way of writing, Foroughi has achieved the two goals of attracting the audience's attention in the direction of promoting Persian culture and literature and conveying modern concepts along with reports on current issues of the society. In his political and social letters, we see imitation of difficult literary-historical texts; However, his friendly correspondences are very tender and heartwarming due to the imitation of lyrical texts. So reading these letters gives the reader more literary pleasure than social letters.
|
|
