Hasil untuk "Indo-Iranian languages and literature"

خلیل کهریزی

یکی از مفاهیمِ بنیادین در اساطیرِ جهان رویش است که در کانونِ پاره‌ای از مهم‌ترین اسطوره‌های ایرانی نیز دیده می‌شود. در پرتوِ این مفهوم می‌توان داستان‌های مهمی از اسطوره‌های ایرانی مانندِ مرگِ کیومرث و رویشِ مشی و مشیانه، کشته شدنِ سیاوش و بندی شدنِ ضحّاک را تحلیل کرد. ظاهراً در کنارِ بن‌مایه‌های معروفی که از مفهومِ رویش برآمده‌اند و در کانون شماری از اسطوره‌های ایرانی نیز دیده می‌شوند، بن‌مایه‌ای پدید آمده است که در آن بوده‌های اهریمنی نیز می‌توانند برویند و تکثیر شوند. ما این بن‌مایه را که نمودی جهانی دارد، تکثیرِ شرّ نامیده‌ایم و در این مقاله، نخست، معروف‌ترین نمودهای آن را در اسطوره‌های مللِ غیرایرانی به دست داده‌ایم. سپس در اسطوره‌های ایرانی در ماجرایِ مرگِ سریت، کُشندۀ گاوِ مرزنما، به دستِ پریِ تکثیرشونده و در پاره‌ای از اسطوره‌های مربوط به ضحّاک نیز آن را پی‌گیری کرده‌ایم. در حماسه‌های ایرانی این بن‌مایه را در شمارِ شگفتی‌هایی که پهلوان برای گذر از آنها باید از نیروهای معنوی و شیوه‌های آیینی کمک بگیرد، در گرشاسب‌نامه و بعضی حماسه‌‌های عامیانه و شفاهی جست‌وجو و تحلیل کرده‌ایم. تکثیرِ شرّ با رواجِ ادبِ عرفانی در ایران در پیوند با مفهومِ نفس روی می‌نماید و دو نمونه از حضورِ آن را در این‌گونه متون به دست داده‌ایم. این مقاله حاصلِ تلاشی است برای معرفیِ بن‌مایۀ تکثیرِ شرّ و نمودهای آن به همراه تحلیل و پی‌گیریِ نگاهِ ایرانیان به آن در سه دورۀ مختلف.

Razia Majeed

<span style="font-size: 12.0pt; line-height: 115%; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;; mso-ascii-theme-font: major-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">Mirza Khan dagh Dehlvi is considered the last poet of Dehlvi school of classic Urdu poetry. He was a lover of beautiful faces. His entire life was spent composing poems of love and affection. In general perception, there is no despair in his poetry. But theTragedy of the war of Independence was very difficult time for Dagh Dehlvi, which he had expressed in his poem &ldquo;Musaddas Shahr Aashob&rdquo;. This poem is an elegy of destroyed and late Delhi of his times. Moreover, this poem is a unique piece of art that incorporates references to the contemporary history of that time. &ldquo;Musaddas Shahr Aashob&rdquo; is revealing significant information about the contemporary individual and collective attitudes of the people in Delhi during the War of Independence of 1857 and soon after that. In this poem Nawab Mirza Dagh Dehlvihimself is a representative of the mental state of the Delhi&rsquo;s elite immediately after the war of Independence. Like many other people in Delhi, Dagh blamed the rebels for the destruction of Delhi. It was very difficult for the people of Delhi to admit their mistakes committed in the past. This poem is dominated by feelings of patriotism and love for Delhi. Dagh is a person associated with the culture and glorious past of Delhi. He said that those who attacked Delhi have done what is not permissible in any religion. Then he called those rebels &ldquo;Mata Din&rdquo; and &ldquo;Ganga Din&rdquo;.These words refer to Hinduism. Thus, this poem also strengthens the Two-Nations Theory in Indian Subcontinent. The theory that grew stronger and stronger in the coming times as the greatest truth in the history of Indo-Pak.</span>

Muhammad Liaqat, Dr. Altaf Yousafzai

Munshi Prem Chand is a prominent name in Urdu novel. He successfully put various subjects in his novels. He is a native of a country where different cultures were born. Common Indian culture is a golden chapter in history. Prem Chand deeply observed Islamic culture and Islamic teachings and concluded that Islam and Islamic teachings cannot be compared to any culture or religion in the world. He thinks that no religion is bad, but the bad behavior of its followers makes it worse. The same qualities of his personality are also in his writings. He studied islam deeply and called its teachings extremely useful to humanity. In this article the author has elaborated that Islamic society and its values are unprecedented and cannot be compared to any religion in the world. <div><br /></div>

Abdollah Sajedi, Hooshang Khosrobigi

The issue of legitimacy in the history of Iran is one of the issues that has attracted the attention of historians in recent decades. One of the most recent of these works is The evolution of the foundations of the legitimacy of the monarchy from the Mongol invasion to the rise of the Safavids. This work examines the evolution of the foundations of the legitimacy of this period in the context of a pervasive crisis of legitimacy in the form of multiple models, emphasizing that with the fall of the caliphate and the arrival of the Mongol element, the complexity of the foundations of legitimacy doubled and new inspiring foundations. It was raised for legitimacy. In addition, after the fall of the Ilkhanate, almost all special orders and organizations were damaged. Governments, with numerous features and characteristics, used various legitimizing models to justify their sovereignty. Thus, governments faced a crisis of legitimacy on the issue of the foundations of legitimacy. This article aims to critically review the above work. This study shows that the crisis of legitimacy was a major issue in the period under review, but the patterns of legitimacy were by no means based on a single pattern, but on a multifaceted, composite, and simultaneous pattern, but important indicators such as the Iranian idea of monarchy; Farah Izadi and Farah Kiani were ignored. The work is weak in terms of methodological foundations and definition of concepts and has not been able to conceptually design a comprehensive multidimensional model for the period.

Maryam Kasaee, Rahman Zabihi, Mohammadtaqi Jahani

AbstractThe main issue of this study, which was conducted with a descriptive-analytical method, was the critique and analysis of Naser Khosrow's cosmological ideas and the search for its origins. In Naser Khosrow’s view, the world, which consists of top-down levels, is divided into two main parts: the spiritual world and the physical world. The levels of innovation, general intellect, and general soul are located in the spiritual world, while the physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The creation is purposeful and occurs through innovation. From the matter of truth arises the general intellect and from the general intellect arises the general soul, which is the mastermind of the universe and mediator of the transmission of the benefits of the general intellect to the lower levels. The hyle is the shadow of the general soul and from the view point of the general soul, in its shadow, the general nature emerges. The body is a substance, which has length, width, and depth. The planets and the celestial bodies are also the instruments of the general soul in the creation of the lower level universe and its governance. The fourfold elements of soil, water, wind, and fire establish the pillars and from their composition with the fourfold natures emerges the ternate of births. Human being is the last stage of existence and the aid of the general soul in reaching to the world of intellect and his (man’s) contentment is dependent on the teachings of Nātiq and Imam with the efforts of other levels of the Ismaili religion, which has a high position in the world system.  The roots of some of Naser Khosrow's cosmological beliefs can be traced to the Greek scholars’ views and the works of Ismaili thinkers, such as Abu Ya'qub Sajestani and Hamid al-Din Kermani.IntroductionCosmological studies discuss the world and its levels. This branch of philosophical studies proves to be productive in examining, criticizing, and analyzing cosmological ideas in ancient Persian literary texts, especially philosophical texts. Therefore, through cosmological studies, the poets’ and authors’ systems of thought and viewpoints towards the world are explicable. The main subject of this study was examination and analysis of Naser Khosrow’s cosmological thoughts and their origins and backgrounds. Naser Khosrow, the greatest Ismaili author and poet in Persian literature, sustains a homogeneous philosophical thought system, which is the outcome of his special experience and personal interest in the reflection on nations and people’s beliefs, his Ismaili ideology, his contemplation on the great Ismaili intellectual works, and investigation of the breeding grounds of their thoughts. Expounding the relationship between the existence and the creator, clarifying the levels of creation, and verifying the purposeful creation are the pivotal subjects in his works.MethodologyTo understand the theoretical grounds and the confines and scope of this investigation, which was conducted with a descriptive-analytical method, the authoritative works on the history of philosophy were first studied. Then, Naser Khosrow’s Divan and other prose works were scrutinized from the viewpoint of cosmological thoughts and subjects and the results were compiled under the general headings of spiritual world and physical world, each of which was comprised of several levels. In addition, referring to multiple Greek, neo-platonic, and Gnostic sources, as well as Ismaili thinkers’ works, the origins and backgrounds of a number of Naser Khosrow’s cosmological thoughts were uncovered. Discussion and ResultsFrom Naser Khosrow’s viewpoint, the existence is divided into physical and spiritual worlds. The spiritual world incorporates the levels of innovation, general intellect, and general soul. The creation starts with innovation. God orders the existence with His word and this order results in the emergence of the general intellect, which is immanent, luminous, immaterial in essence and action, stationery, and recognizing. The general intellect in turn generates the general soul, which is simple, spiritual, live, wise, and able. The general soul is the active cause of the physical world, which is created by means of the stars and celestial bodies. The physical world is comprised of the six levels of hyle, general nature, body, planets, the fourfold natures, and the birth. The hyle is rational and form-taker that stands after the soul. The general nature is also a soft essence, which protects all the types and forms. The body as the sixth level of the creation is a compound essence that is perceptible though the external senses. The stars and celestial bodies, which emerge through combination of the hyle and form, are the soft part of the world and essence of the fire. The four-fold elements arise from the dirty part of the hyle, which in combination with the four sanguine, choleric, melancholic, and phlegmatic temperaments, generate the compounds and levels of inanimate objects, plants, and animals. Human is at the ultimate level of the creation and possesses a speaking soul. The cycle of the creation starts with innovation and ends with the creation of human, who, by learning knowledge and applying the teachings of Sharia, returns to the rational world. In Naser Khosrow's worldview, Natiq, Imam, and other positions of the Ismaili religion play an important role in human’s ultimate felicity. Naser Khosrow's cosmological ideology is the result of his personal awareness, reflection on the Ismaili thinkers’ works, and probing into ancient sources, such as the Greek philosophers’ works or Gnostic and Neoplatonic sources.

Farhang Ershad

This paper is a critical review of the book, The Sociology of Knowledge of Karl Mannheim, written by M. Ashtiani. The main aim of this attempt is to acquire a more acute understanding of the subject matter of sociology of knowledge and to emphasize the importance of this branch of general sociology in Iran. The specific goal of the paper is trying to have a critical review of Ashtiani’s work to get help to achieve the main aim of this study. The present book includes five chapters: the first two chapters are specified to the scientific biography of Karl Mannheim and his life condition in Hungary, Germany and Britain. In the third chapter, the sphere of sociology of knowledge in view of Mannheim is described; and the two last chapters are about the main concepts and categories of Mannheim’s sociology of knowledge, and finally, the critiques of Ashtiani to the main element of sociology of knowledge of Karl Mannheim.

Mohammad Javad Javid

In presenting a lawful image of society, the sociology of law faces the difficultly of constructing a legal definition. Identity analysis is the main issue for the legal and sociological disciplines. Identity as an individual right versus identity as a collective culture creates an unending conflict between legal sociologists inside each discipline. The present paper takes this challenge as an assumption and goes on to focus on the Iranian identity to provide an analysis based on natural rights. The hypothesis is that identity, as a fundamental right, develops outside the society, while identity as culture, though looked upon from a legal perspective, is a right under the statutory rights, which is closer to the sociologist analysis. The value of this perspective in research lies in its presentation of a solution to the deviated analyses of the Iranian identity forged over the past few centuries.

بهداد بیرانوند, جمیله اخیانی, امیر مؤمنی هزاوه

««دیگری» مفهومی وابسته به هویت فردی است و هویت فردی فقط وقتی معنا پیدا می‌کند که با دیگران سنجیده شود. مفهوم «دیگری» حاصل معرفت‌شناسی و هستی‌شناسی انسان مدرن است که زندگی و تجاربی متفاوت از انسان کهن دارد. این مفهوم که با ماهیت مباحث ادبی نیز سازگار است، می‌تواند مبتای تازه‌ای برای تحلیل آثار ادبی باشد و پنجرة تازه‌ای به آثار ادبی بگشاید .یکی از انواع ادبی که می‌توان مفهوم دیگری را در آن کاوید و تابه‌حال از این جهت مورد توجه قرار نگرفته، «مَثَل» یا «ضرب‌المثل» است که به دلیل فقدان گفتگومندی منجر به حذف «دیگری» می‌شود. سعدی از شاعران و نویسندگانی است که هم از ضرب‌المثل‌ استفاده فراوان کرده و هم در شیوه سخنوری کوشیده است کلام خود را به ساختار ضرب‌المثل نزدیک کند. وی با شناخت دقیق قابلیت‌های زبان فارسی و نیز ظرفیت‌های خاص مَثَل، بسیاری از سخنان خود را مثل‌واره ارائه و البته از این راه نظرات خود را به دیگران القا کرده است. او با استفاده از ویژگی‌های خاصی از ضرب‌المثل ازجمله: «مخاطب قرار دادن»، «هشداردادن»، «استفاده از نام اشخاص مشهور»، «استفاده از طنز»، «استفاده از جادوی مجاورت»، «تحقیر کردن» و «تشبیه به حیوانات»، نظر خود را القا و خودآگاه یا ناخودآگاه «دیگری» را حذف می‌کند. در پژوهش حاضر ضمن تحلیل ساختار ضرب‌المثل، شیوة استفادة سعدی از این صورت ادبی به قصد حذف «دیگری» و القای هنرمندانة سخن به دیگران در گلستان و بوستان بررسی می‌شود.

Muhammad Qasim

This Research article is an analytical study of english translation of the poetry of Mirza Asdullah Khan Ghalib by Sarfraz. K. Niazi. This translation was published under the title of Love Sonnets of Ghalib by Rupa &amp; Co New Dehli in 2002. This is the first complete english translation, explication, lexicon and translitration of Mirza Ghalib's Urdu Poetry in English. While translating Ghalib, Sarfraz Niazi has adopted much and more from Yousaf Hussain Khan's Urdu Ghazals of Ghalib but didnot mention in preface or elsewhere. There are so many places On the pages of Love Sonnets of Ghalib Where these translations seem to be plagerised.

Ebrahim Raiygan

The Achaemenid Army is considered an integral part in recognizing the culture and civilization of this period, and the research potential of this part of Achaemenid civilization has led to the writing and publication of such works in this regard. The book of the Achaemenid Persian Army was compiled as such exigency. This effect has influenced the factors affecting the formation, growth, and development as well as the decline of Achaemenid army. The purpose of the present study is to clarify the value of the text of this book in the form of content analysis. In addition to the strengths and research fields, this book has shortcomings that have been addressed in the research. In the overall conclusion, the strengths of the syntactic book and the combination of two categories of sources, including classical historical texts as well as archaeological data along with illustrative illustrations. The book’s weaknesses include inappropriate use of resources, inadequacies of content, some unpredictable claims, and lack of material content. In sum, the present book can be considered as a source of tuition for the Achaemenid history courses, as well as the Achaemenid archeology of the undergraduate and master classes in ancient Iranian history and Historical archaeological period.

Mortaza Kokabi

The book entitled “Natural Language Processing and Information Retrieval” is a compiled and translated book, without any specific author, that has been translated by Jaafar Mehrad and Maryam Naseri. If we assume that information retrieval is the heart of the field of knowledge and information science, then we can claim that if it is done in user’s natural language, the language by which she/he lives and seeks information, the result will be much more useful for her/him. Therefore, a book on Natural Language Processing and Information Retrieval will be of great value for the information field and profession. Furthermore, the introduction of a course entitled “Natural Language Processing” in PhD curriculum with a minor of “Information Retrieval” necessitates the existence of such a book due to the shortage (and perhaps lack of) such a source for this course. However, there are some problems with the book that will be discussed in some detail in the section on the critique and evaluation of book’s content. Some other discussions will also be presented on the citation and referencing problems in the same section. Using some tables, the relationship among the terms translated in the book, vocabulary, and index will also be discussed.

Mahdi Sadeghi, Mahmoud Sadeghzadeh, Azizolah Tavakoli Kafiabad

Abstract The Ashura event influenced the composition of some of the melodies and types of music. In this article, the beauty of Yazd's lamentation, vocal music of Ashura poems, and their effects on the musical system are the subject of study. The composer establishes the theme and then makes similar themes to expand the poem. While reciting the poems on Hosseini Ashura, the singer progresses with the change of tone and modulation. As a result, in Yazd's Ashura poetry and lamentation, the combination of poetry with the style of song melodies, the presentation of a specific type of music called "Bayat Yazd", the use of musical jumps, and also new melodic styles are some of the characteristics of this kind of poetry. Poetry is the music of words and phrases; this is even more important in the lamentation poem because, in addition to the proportion of meter and content, it also requires the function of a music type. The music of Ashura's poems affects the word and the meter in the same way. Yazd's Ashura poems have developed in terms of the appropriate meter, theme, style, language, and music. Sometimes, according to the music and melody, the meter, form, and rhymes could be modified. All of these modifications depend on the poet's sense and experience. When he opens his mouth, he reveals his hidden meaning with his melody. If the beats create a melodic style, it is called the rhythm of the music, and if the beats represent how the words flow, it is called poetry. Singing is a sub-device. The vocal lines add a specific beauty in performing the lament. In expressing and reciting Yazd's lamentations, knowing the beat and method of breaststroke from one, three, five, or seven, and sometimes a mixture of beats is necessary. Combining different types of external music with semantic and internal music creates a new atmosphere in lamentation. The main variation of lamenting is the addition of frequent or non-repetitive sections. Poets who want to take the path of Ashura should first comprehend the song's spirit and the secrets behind it because not every poem is suitable for every kind of singing. The secret of Yazd's Ashura lamentation and poetry is the novelty of the theme, the combination, and connection of the poem with the melodies, which includes the events of Karbala and recounting the emotional, moral, and cultural needs of the people of their time. But before composing a poem, the composer should consider the extent of the singer's voice, performance, and the way he expresses himself because each singer's voice has characteristics that if the composer does not consider such features, his song could not be so heartwarming and impressive. The Ashura poet can connect the geometric composition of the word with the music. He familiarizes the strings of each song with the texture of each word in creating an Ashura-Hosseini poem. In Ashura poems, melodies or selected musical sentences and meters, in addition to beauty, reveal the content of speech and express the tragic event of Ashura and the desert of Karbala. The role of music and sound in the poems of lamentation is theological. The music of the lyrics complete and promote the art of lamentation rituals and keep alive the Ashura culture.

Reza Mirmobin, Ali Moradkhani, Seyed Abdol Majid Sharifzadeh

The Ernest Cassirer Symbolist Philosophy was one of the most important systematic philosophical thoughts of the twentieth century, which did not spread as many times as it deserved and was not introduced in principle. One of these reasons was the lack of author’s conclusive work on his philosophy. But at the end of his life, he wrote a book for English speakers, which is an entry into this thinking. The book, An Essay on Man, was translated from French translation to Persian. This book was important because of an independent chapter on art which the philosopher did not have time to review. The present article intends to correct the mistakes by reviewing the Persian text with the English text of the chapter and provide a small field for understanding this valuable and succinct chapter. So, there is no intention of criticizing the translator and only to facilitate the understanding of the topic for the Persian speaker.

ابوالفضل غنی زاده

بیع و مبایعۀ برده (عبد و امه) بااینکه در عصر مولوی جزو دانشهای مألوف و مأنوس بوده است؛ ولی برای دنیای معاصر درک و فهم آن نیاز به تبیین و توضیح دارد و نادیده گرفتن این مهم، فضا را برای قضاوت‌های غیرمنطقی علیه دین و فرهنگ و سوءنیتهای خاص آماده می‌کند. در داستان "پادشاه و کنیزک" دفتر اول مثنوی معنوی، کنیزی با عقد بیع مورد معامله واقع شده و مبیع و ثمنی ردوبدل شده است. این تحقیق ابتدا بر اساس تعاریف فقهی_ حقوقی، مفاهیم مربوط به عقد بیع از جمله؛ اقسام، اوصاف، شرایط و آثار آن را در دامنه داستان مورد بحث قرار داده و در پایان به این نتیجه می‌رسد که در تعیین نوع بیع از جهات مقتضی، چارچوب معامله با گزاره مساومه، نقدی و تملیک انشایی- خارجی همخوانی دارد، در بخش اوصافِ بیع فقط رکن لزوم متزلزل به نظر می‌رسد، در قسمت شرایطِ بیع در بیان موضوع آن صراحت وجود دارد و در قسمت اوصافِ مبیع رکن طلق و طهارت با مانع مواجه است.

Tehseen Firaqi

Moulvi Abdul Haq (1870-1961) was one of the greatest lovers of Urdu literature who continuously strived for the survival and&nbsp; evaluation of Urdu language, throughout his life. One of his most considerable and endorsable attributes is letter writing. He wrote hundreds of letters to his fellows, prominent scholars and political personalities. Here, twenty three unpublished letters of Moulvi Abdul Haq are being produced. These letters are written to one of his nearest friends Syed Hashami Fareed Abadi. The letters comprise of some important details relating to the life of Moulvi Abdul Haq and "Anjuman-e-Tarraqi-e-Urdu". These letters have not been included in any other book containing his letters or biographical details. These letters also illuminate the ups and downs of the educational and cultural history of Pakistan. Keeeping in view the importance of these letters, their text, including annotation, along with images are being presented in this article.

Khodabakhsh Asadollahi, Jafar Eshghi

In Carl Jung's theory, ‘persona archetype’ or mask is a guise that any person uses in connection with Expectations and social, cultural and traditional standards and replying within archetypal needs. In fact, persona is a role that society expects an individual to play and its aim originally is to influence others and to cover individual's real inner nature. Persona is individual's social character against his private character that he presents to the world unconsciously. In this descriptive-analytic article, we have studied persona archetype in dialogues and encounters of characters of the Siavash story in Shahnameh of Ferdowsi. It has been shown in this article that Siavash and Kavoos do not face the harmful mask in their talks or behaviors due to having godfather qualities. In the article we have presented that main character of the story, Siavash, hasn't any dialogue and encounter combined with persona, conversely, most dialogues and encounters by using persona archetype are from two malevolent characters of the story, Sudaveh and Karsiuse and all their persona are devilish and negative.

Taghi Ejieh, Nafise Aghakhani

From the modern approaches to reading and criticizing literary texts, the theory of the ‘Gerard Genette’, which, in its interrelated axis, suggests three types of "explicitly deliberate", "hidden-deliberate," and "implicit" links between the two texts. In the field of literary studies, in the subject of the impact of texts from each other, important points in literary techniques such as adaptation, assurance, resolution, insertion, interpretation, and sometimes plagiarism are raised, which have always been the subject of attention from the rhetoric. The book, "Mesbah al-Hadaee and Moftah al-Faha", by Ezeddin Mahmoud Kashani (d. 735 AH), according to his firm position in the studies of Islamic mysticism in mystical topics that are the idiosyncratic terms of mystical expressions. All three types of effects based on the theory of Genette were from the Nahj al-Balaghah. In this paper, we try to revisit the four chapters of this book from this perspective. According to what follows, it can be said that Nahj al-Balaghah is a hypertext that Kashani has approached by authoring Mesbah al-Hdayah and the presence of the words of Imam Ali (as) in most of the lines of Kashani's book is bold and undeniable. The research method in this analytical-descriptive study is done by comparative analysis and providing evidence.

Kh Assadolahi

Worship is intrinsic and natural for human. One form of worship is prayer that each person may have a different idea about it. Thus, prayers are of three kinds: devoutly, austerely and mystically. Devoutly prayers are accompanied with material concerns and austerely prayers are accompanied with fear and worry. But, mystically prayers are love-oriented and, because of this, they are intrinsically acceptable. In such prayer, the person who prays does not expect his needs are satisfied but, instead, he enjoys the permission of dialogue which has been given to him by the Beloved. In this article, first of all, the necessity of prayers, invocation of God and degree of prayers are discussed. Then, Gnostic thoughts of Sanâie like the relationship between prayer and satisfaction, rejection of material requests and the conditions for granting of prayer and the secrets of its not granting are discussed. Finally, it can be concluded that the climax of Sanâie pleasure and ecstasy can be observed in various stages of his Gnostic prayers.

Maryam KhaliliJahantigh, Mohammad Barani, Mahdi Dehrami

Abstract  Radif is an instrument to create music and complete meaning or focus on it which can be studied both semantically and musically. In terms of the former, since the meaning of the Radif has a hidden connection to the spirit of the poet, it can show his inner spiritual matters and worries. In addition, Radif is a repetitive poetic element whose meaning carries an important role in observing content and literary traditions of sonnet. However, word or words which are Radif have an important musical role. Therefore, studying the role of Radif in creating music and reasons which increase this music is considerable. The present study, in line with this approach, investigated Radif in Saddi’s and Emad Faghih Kermani’s sonnets. These two poets belong to a period when Persian sonnet had greatly developed both semantically and musically.

Mah Nazari

The most exquisite and the greatest manifestations of our culture in our turbulent historical periods are the magnificent works in Persian literature reflecting all historical, cultural, social, psychological, aesthetic, and other aspects. To appreciate the value of these invaluable gems, we must scrutinize over the delicate and witty points and distinguish between the good as well as bad aspects because our contemporary literature is the logical continuation of the past literature. In this regard, knowledge of different genres, history of literature, prosody, stylistics, mysticism, history of language, grammar, rhyme and rhythm, Radif, etc each provides a way for better understanding of literary works. Rhythmical language has a greatly significant role in assigning Prominence to the images present in the mind of the poets, similar to mysticism being an interpretation of attraction. These all, from all litrary perspectives, particularly Radif need to be repeated. It is noteworthy that Radif has been welcomed from ancient times. In the present article, contrary to the ideas proposed with most of the scholors, attempts to present the aduantages of using poetic Radifs in the forms of words, nouns, adjectives, advebs, vebs and sentence – wise in the works of famous poets of Iraqi’s style.