ʿAlī Hamza b. ʿAlī Melik al-Ṭūsī al-Bayhaqī al-Isfarāyīnī, shortly known as Shaykh Āẕarī (d. 1461-1462) is a Timurid-era Persian Sufi poet from Khorasan region of Iran who also stayed in India for a while. The fact that he received the appreciation of both Timurid king Shāhrukh and Bahmanī king Aḥmad Shāh Walī and was admitted for service in their palaces is testimony to his prowess as a poet. That said, academics have paid little attention to Shaykh Āẕarī until recently and the content of his poetry almost completely remained outside the scope of research. Hence, this paper attempts to tackle a key element in his poems, which is the praise of ʿAlī b. Abī Ṭālib (R.A). Shaykh Āẕarī's diwan contains no beyts praising kings and other patrons. Instead, his qasidas are marked with the praise of Prophet Muhammad (S.A.W), his Ahl al-Bayt and especially ʿAlī. A scrutiny of Shaykh Āẕarī's qasidas reveals that he sees ʿAlī as the paragon of the perfect human being, who is free of sins and outstanding in his valour and knowledge. Moreover, the poet maintains that ʿAlī is the rightful Imam i.e. the ruler of Muslims after the Prophet. Indeed, Āẕarī describes ʿAlī as above all created beings with the exception of Prophet Muhammad, whose pre-eminence he clearly states in a number of beyts. It is concluded that Shaykh Āẕarī's portrayal of ʿAlī is in line with ithnāʿasharī Shiism.

Bu çalışmada tüfek kavramının klasik Fars şiirindeki seyri üzerinde durulmuştur. Daha önce herhangi bir araştırmada ele alınmamış bu konu, maddi kültürün ve edebi normların etkileşimini anlamak adına faydalı bir örnektir. Çalışma kapsamında öncelikle barutun yaygınlaşmasından evvel tüfek sözcüğünün manası ve Fars şiirinde kullanımı ele alınmıştır. Ardından barutlu tüfeğin İslam coğrafyasına gelişi ve Fars şairlerinin tüfeği ateşli silah manasıyla şiirlerinde zikretmeye başlamaları üzerinde durulmuş; tüfek sözcüğü etrafında şairlerin vücuda getirdiği farklı düşünce ve ifadeler örnekleriyle açıklanarak bu düşünce ve ifadelerin zaman içindeki tekamülü ortaya konmuştur. Yapılan araştırma neticesinde barutlu tüfeğin 16. yüzyılda İran ve Hindistan’da ateşli silahların yaygınlaşmasının ardından Fars şiirinde bir kavram olarak yer almaya başladığı görülmüştür. Tüfekle alakalı teşbih ve istiareler; yeni mazmunlar bulmaya büyük önem verilen sebk-i hindî akımının revaçta olduğu 17. yüzyılda çeşitlenerek artmıştır. Bilhassa Abdülkâdir-i Bîdil’in şiirlerinde tüfek tam manasıyla bir metafora dönüşmüştür. 18. yüzyılda Fars şiirinde sebk-i hindî etkisi sona erdikten sonra tüfek uzun bir süre şiirde neredeyse hiç anılmamıştır. Bu açıdan tüfeğin yeni bir kavram olarak şiire girişi sebk-i hindî çerçevesinde gerçekleşmiş bir olgudur. Maddi kültürdeki değişimlerin şiirin muhtevasını edebiyat çevrelerinde hâkim olan anlayışların süzgecinden geçerek etkilediği anlaşılmaktadır.

Being one of the renowned names of modern Iranian poetry, Mehdi Akhavan Sales (1928-1990) is a poet who successfully wrote poems in both classic and Nimaic styles. Getting acquainted with poetry in the traditionalist literary circles of Khorasan, Sales was seen as a beacon of hope for the revival of classical verse and thus he received the nom de plume "Omid" meaning "hope". In his first poetry collection named Arghanoon (1951), he remained loyal to the classical forms, only to gradually embrace the "New Poetry" in his later works and eventually become one of the leading proponents of the poetry school founded by Nima Yooshij. In his collection named Zemestan (1956) Omid presented the best samples of symbolism in modern Iranian poetry. In his following poetry books, Akhar-e Shahnameh (1959) and Az In Avesta (1965) he further concentrated on issues such as the futility of hopes for social change, the despair of intellectuals and the nostalgia for the ancient Iranian civilization. Later poems of Mehdi Akhavan Sales were not appreciated as much as his earlier works. However, in his last poetry collection, Ay Kohan Boom O Bar Tora Doost Daram (1989) he once more became the center stage of poetry by returning to classical forms. The poetry of Sales was always full of social and political themes but his poems are valuable beyond being vessels of political messages. His juxtaposition of hope with despair, flawless use of the language of Sakh-e Khorasani together with modern Persian and masterful inclusing of Iranian mythology in his verses have made the poetry of Mehdi Akhavan Sales multifaceted and unique.

Abstract:The purpose of this study is to explore the noun-derived adpositions in Persian language and other living Iranian Languages in the light of the relevant literature. To accomplish that, first the existing works that deal this type of grammaticalization will be discussed. Next, seven languages from the Iranian language family will be examined to reveal how adpositions develop out of nouns.