Persian Literature

Some Points ontrend-setting for the field of Persian Language and Literature

Dr. Shahram Azadiyan

Volume 1, 3-5 , January 2011, , Pages 309-317

Abstract

  Trend- setting for the field of Persian Language and Literature is the subject of the present paper. The author believes in setting of such a trend, and criticizes the reasons of opposing ...  Read More Trend- setting for the field of Persian Language and Literature is the subject of the present paper. The author believes in setting of such a trend, and criticizes the reasons of opposing ones, citing his own proofs. He also enumerates his considerations about trend-setting circumstances at the end. Trend- setting for the field of Persian Language and Literature is the subject of the present paper.

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comparative study between Zal-o-Roudabeh and Sam-o-Paridokht (secondary function: question mood and vocative mood,

Reyhaneh Hojatoleslami; Mostafa Moosavi

Volume 11, Issue 1 , October 2021, , Pages 1-20

Abstract

  Mood sentences can have secondary functions and implied indication in addition to first functions. Application of secondary intentions in literature text improve aesthetics mood of ...  Read More Mood sentences can have secondary functions and implied indication in addition to first functions. Application of secondary intentions in literature text improve aesthetics mood of text and increases its literariness and effectiveness. Hidden meaning layers can be found in Lyric literary texts more than any of literary genres; duo to abstract nature and having multi layers of sense and imaginations texture Nevertheless, studying in masterpieces epic works shows that epic poets are interested to this and found it helpful for better transferring of massages and deeper effects on readers. This article, at first studies secondary functions and implied indications in the two epic-lyric texts “Zal -O- Roudabeh” of Shahnameh, and “Sam-O-Paridokht” of Samnameh attributed to Khajoo-ye-Kermani. Then through the comparative perspective, studied the implied indications of the question and vocative mood that have the most frequency in two text, and considered them as a criterion of epic or lyric mentality of poets.

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Formalist Analysis of the Short Story “Mesl e Hamishe” by Houshang Golshiri

Bahador Bagheri

Volume 11, Issue 2 , May 2022, , Pages 1-15

Abstract

  The short story ”Mesl e hamishe” by Houshang Golshiri, is in fact three stories that run parallel to each other and in an alternating and confusing way. Since the main theme ...  Read More The short story ”Mesl e hamishe” by Houshang Golshiri, is in fact three stories that run parallel to each other and in an alternating and confusing way. Since the main theme of the story is the emphasis on vicious circle, everyday life, boredom and repetition of the phenomena of existence and human life, the form and content of the story have found an artistic interaction in each other; In a way, the form of the story confirms this theme. The author uses the art of repeating the names of the characters and their functions and jobs and other sub-themes. In fact, he used the trick of mirroring and Parallel imagery to embody this repetition and in a way the vicious circle in the form of a story. In the Parallel imagery technique, the author forms one or more sub-stories next to the main story to emphasize the theme of the story, or the characters and themes are repeated in various forms until finally, convey a single function and message to the reader; Or, in order to emphasize specific themes, the author, one or more times, inserts objective and tangible images in the text of the story without mentioning their direct connection with the main concepts and these objective images confirm and embody those abstract claims or concepts. Parallelism technique seems to be the most appropriate artistic trick to consolidate the theme of this story, which can be deciphered with a formalistic reading.

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Analyzing the Discourse of Ideology in the Stylistic Layers of Hafez's Laudatory Lyrics

Narges Oskouie

Volume 12, Issue 1 , September 2022, , Pages 1-22

Abstract

  Although praise, as an awkward patch in the Diwan of the Unseen Language, is expensive for the eyes and character of Hafez Dostan, and it is also true that the nature of praise is in ...  Read More Although praise, as an awkward patch in the Diwan of the Unseen Language, is expensive for the eyes and character of Hafez Dostan, and it is also true that the nature of praise is in conflict with Hafez's idealism and liberalism, but whether you like it or not, it must be accepted that Madh's foot is open to Hafez Rand's Diwan as well. and exposed it to all kinds of critics' judgments. The main issue of this research has been a re-reading of Madhi Hafez's sonnets without prejudice with a critical stylistic approach with the aim of discovering the hidden discourse mechanism in the quadruple stylistic layers of language, syntax, rhetoric and discourse of these sonnets. In order to carry out this research, a combined method (descriptive, analytical, statistical) was used to examine 54 selected ghazals of Divan Hafez, and these results were obtained: in the linguistic layer, the predominance of two-faced Randy codes and the less use of personal indicators, emotional words and special words. which is necessary for praise poetry, the color and flavor of praise in Hafez's praise poems has been reduced to a great extent; In the syntactic layer, the emotional aspect and desire, which is more suitable for praise, has very little frequency; In the rhetorical layer, there is not much initiative and effort to invent rhetorical tools in order to confirm and emphasize the discourse of praise; In the discursive layer, priority is given to explicit and persuasive actions, which also serve to promote Hafez's (and not praised’s) discursive values; Therefore, it can be said that there is no significant difference in any of the stylistic and discursive layers of Hafez's lyrical lyrics and his other lyrical lyrics, and all of these factors have caused the praise and praise characteristics in Hafez's poetry to fade.

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A Study and Comparison of Common Anecdotes in Attar's Asrarnameh and Tazkirat al-Awliya

Abdolreza Seif; Hamidreza Fahandezhsaadi

Volume 12, Issue 2 , March 2023, , Pages 1-20

Abstract

  One of the most common techniques in the works of Persian language poets is to turn prose stories into poetry, especially mystical stories and sayings. In this regard, Attar Neishaburi ...  Read More One of the most common techniques in the works of Persian language poets is to turn prose stories into poetry, especially mystical stories and sayings. In this regard, Attar Neishaburi has a prominent position among poets. In order to create his valuable masnavis, Attar took a lot of inspiration from Tazkirat al-Awliya, which is apparently the result of his studies in the sources of Sufism during his youth. One of these masnavis is called Asrarnameh. Asrarnameh is the shortest masnavi of Attar Neishaburi. This Masnavi in the latest critical edition has eighteen sections and a total of 3307 verses. Tazkirat al-Awliya contains stories and sayings of ninety-seven of the most prominent Islamic ascetics and mystics. The Tazkira al-Awliyai that we have today consists of two parts, the first part of which has been attributed to Attar Neishaburi from the past until now, and the second part of which, according to the majority of researchers, cannot be from Attar and is probably added by anonymous authors or scribes. This article is an attempt to explain the commonalities of the content of Tazkirat al-Awliya and masnavis of Attar Neishabouri, which has specially reread and adapted the common anecdotes of Asrarnameh and Tazkirat al-Awliya. The authors studied and compared the two recent works with the motivation to better understand how the masterpieces of the Persian language were created; With the aim of providing quantitative and qualitative statistics of the details of the comparative examples and after giving an introduction about these two books, they have shown that Attâr took at least fifteen anecdotes from Tazkirat Al-Awliyâ to create Asrârnâmeh and regardless of minor additions and deletions, he has been faithful to the core of the narrative in most cases. Most of the anecdotes are related to Bayazid Bastami. The anecdotes under study are used to simplify and express mystical concepts such as demand (Talab), poverty (Faghr) bad ending (Sou al-’Aghebat), consent (Reza), sacrifice (’Isar), unworldliness (Tark-e Ta’alloghat-e maddi), self-purification (Tahzib-e Nafs) and unity of being (Vahdat-e Vojoud). Among them, "unity of being" is the most repeated. Studying the biographies of the characters in these stories, such as Bayazid, Shibli, and Abulhasan Bornouzi, shows that in the cases that Attar took from Tazkirat al-Awliya, he was more interested in the stories of mystics who were inclined to Sokr. We also found that in the majority of these fifteen anecdotes that Attar arranged, he was faithful to the text of Tazkirat al-Awliya and preserved the core of the anecdotes with full skill and elegance. The minor additions and deletions that he included in the verse forms were only to maintain brevity, prosodic limitations and literary attractiveness enhancement or explanation and interpretation of the text.  

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Hermeneutic Analysis of Sohrab Sepehri's Poem "The Voice of Meeting"

Homayun Jamshidian

Volume 11, Issue 2 , May 2022, , Pages 17-39

Abstract

  According Roland Barthes, “Writerly Text” are symbolic and it is not possible to understand hidden layers except by passing through the formal and superficial level. One ...  Read More According Roland Barthes, “Writerly Text” are symbolic and it is not possible to understand hidden layers except by passing through the formal and superficial level. One of Sohrab Sepehri's poems "The Voice of Meeting" is such kind of text that narrates the intuitive experience of poet. In this poem, first the narrator reports his intuitive experience, encountering with the singer fruits and their circumstances and actions with ambiguity. At the end of intuition, the narrator indirectly, as well as during the conversation, deals with issues that obstacle intuitive reports. The main question of the article is what this poem has the unmentioned or hidden meaning and what concepts are clarified or created through the works that has the same horizon. In this article, this poem is interpreted with the method of hermeneutics and intertextual analysis and using other works of Sepehri, the Qur'an, and mystical concepts as a pre-texts. Through these works, the meaning of the codes in the experiences of the narrator become clearer. The results show that in the narrator's intuition, the happiness of fruits is on account of confronted with the hidden surface of the universe or the "expanded world". Attitudes toward the surface and utilitarianism prevent confrontation with the upper level of universe. Sepehri's poems as a whole and this poem show that revelation does not stop at a specific time or specific place. Evidences from Sepehri's biography also confirm this

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Interpretations of shoemaking in mystical poetry

Mohammad Reza Movahhedi

Volume 11, Issue 1 , October 2021, , Pages 21-36

Abstract

  Many of the Qur'anic themes that have found their way into Persian poetry do not only include the translation of Qur'anic words and appearances. Mystical poets have usually included ...  Read More Many of the Qur'anic themes that have found their way into Persian poetry do not only include the translation of Qur'anic words and appearances. Mystical poets have usually included interpretive and sometimes interpretive interpretations of poetry.The divine address of "Fakhle Nalik" to Prophet Moses (AS) in Surah Taha is one of the interpretations that has attracted the attention of many poets of the Tariqah. Like mystical commentators, they have completely mystical interpretations of this verse and with different interpretations, have reflected the same ideas in a more profound and effective way.In this article, after briefly outlining the story of the meeting and conversation of Moses (pbuh) with God in the safe valley and mentioning the background of this story, the validity of interpreting such phrases has been examined from the point of view of Imam Mohammad Al-Ghazali. And Rumi, his poetic findings are compared with the interpretive thoughts of Abu Abdul Rahman Salmi. In the other part of this article, the reader can observe some of the thematic findings of Parsigo poets from this Qur'anic interpretation and at the end, study the special interpretation that Mulla Sadra Shirazi has presented in one of his Masnavi from "Khala Nalin".

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Nomination and Categorization in the Social-Political Poems of Farrokhi Yazdi Based on the Model of Van Leeuwen's Social Agents

Mohammad Kishanifarahani; Manoochehr Akbari

Volume 12, Issue 2 , March 2023, , Pages 21-44

Abstract

  The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events ...  Read More The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events of the day, either as critic, advocate or opponent. The literature study of this era is of paramount importance aligned with social and political changes to get basic texture reading, and is an excellent source for analysis and investigation in the field of sociological-semantic studies. Farrokhi Yazdi is one of the poets of turbulent times of constitutional era who dedicated his poetic talent to the service of social goals and concerns and his poems are full of social and folky themes. Diversity of social and national concepts in Farrokhi Yazdi’s poems require an analysis of its discourse with a society-oriented perspective. Discourse criticism according to Van Leeuwen’s model is helpful in better understanding the ideology and value system governing the poems’ text, as well as understanding Farrokhi Yazdi’s intellectual and social views in the constitutional era. The result of this research is not only the linguistic interpretation of Farrokhi Yazdi’s poems, but also the interpretation of the society in which this freedom-loving poet lived and struggled with its crises and difficulties. In this research, it is assumed that social-political poems of Farrokhi Yazdi contain discourse-oriented components that can be analyzed and examined by Van Leeuwen’s model. This study is done in order to discover the position of social agents and how they are depicted in the poems of Farrokhi Yazdi.In Van Leeuwen’s model, the text is not examined from the perspective of formalism, but rather the impact of social issues on the text. In this model, each text expresses the social intellectual views or the specific class of the writer or poet. The degree of utilization of power sources has a direct effect on the openness and concealment of the text in such a way that the greater access to power sources, the franker and more transparent the text and the social agents are displayed in an active manner, and the lower access to power sources, the image of social agents is more covered Although, in Van Leeuwen’s approach, sociological components are preferred over linguistic, but the analyst is still bound to use linguistic components. This is because the foundations of social functions are in language and words are linked with meaning. The current research has taken advantages of the application of nomination and categorization in the discourse approach of Van Leeuwen’s social agents. This research seeks to show the result of using these two components in Farrokhi Yazdi’s poems and rereading them in his social-political thought system. Based on this, in the first step, verses that have social-political contexts were selected. In the following, discussed components were marked in every verse and the application rate and statistic of the components were determined. The result of the study show that Farrokhi has paid much attention to deliver social matters indirectly and in a hidden way due to the asphyxiation and mutes of the era. Highest frequency based on the numbers of occurrences respectively, is assigned to the components of negative appraisement, classification, nomination and functionalization.

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Application of Literary Theory: A Critical View on Kourosh Safavi’s Opinions

Alireza Mohammadi Kalesar

Volume 12, Issue 1 , September 2022, , Pages 23-40

Abstract

  Some parts of Kourosh Safavi’s views in his works, especially in the book Âshnâyi bâ Nazariye Adabi, are related to the application of literary theories in literary ...  Read More Some parts of Kourosh Safavi’s views in his works, especially in the book Âshnâyi bâ Nazariye Adabi, are related to the application of literary theories in literary criticism. Reviewing various theories and categorizing them based upon the six elements of Jacobson’s communication theory, he has emphasized their inefficiencies in literary criticism and accordingly, he has proposed an efficiency theory for criticism. Some of his most important criteria for the efficiency of a critical theory are: scientificity, comprehensivity (covering all components of Jacobson’s communication theory), applicability in criticism of various texts, etc. In this article, I have examined these issues to criticize the methodology of Kourosh Safavi’s views about the efficiency of literary theory in criticism. It can be said that the most important defect of his view is the reductionism in the perception of the application of theory. This reductionism has different aspects and consequences: selective perception and introduction of literary theories, ignoring the role of the critic in literary criticism, focusing on interpreting texts and ignoring other types of literary criticism, ignoring text selection, emphasis on patterns abstracted from literary theories and ignoring their other various aspects of them, assuming the homogeneity of theories and having close view about the combination of theories.

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Interpretation of Abul Hasan Kharghani and Abu Said Abul-khayr’s Talk in Asrar-ol-Tohid

amir hossein hemati

Volume 11, Issue 1 , October 2021, , Pages 37-52

Abstract

  Ethic authors who are known as mystics, according to the conventional traditions in Islamic monastery (Khanghah) and complying with those endowed with Hadis, devoted a particular value ...  Read More Ethic authors who are known as mystics, according to the conventional traditions in Islamic monastery (Khanghah) and complying with those endowed with Hadis, devoted a particular value for quotation from Imams of religious way. The efforts were made to recount Sheikh’s words in a way that it can present the exact sayings and contents he declared. Fidelity to these bases, ended in writing a wide range of related Sheikhs’ talks and parables along with their wise narrations in ethics. One of these ethic books is Asrar-ol-Tohid. It is quoted in this book, while Abu Saeed was traveling to Kharghan, Sheikh Abul Hasan and Abu Said Abul-khayr had a conversation in which the word were written: “ once Sheikh Abul Hasan asked Abu Said Abul-khayr: was there a wedding in your home village?” Sheikh Abu-Said said: yes, there was, and in that wedding there were visitors who looked more righteous than bride, but among them just one had all beauty, crown, and throne. Sheikh Abul Hasan yielded saying: hey Sovereign you were beholding your own ambience in a chalice. There are a lot of ambiguities in this talk, and these ambiguities bring up questions; the precise meaning conveyed by these words along with the most important factor which is the purpose of writing them are unknown. The answers of these questions can be found neither in texts of Asrar-al-Tohid nor in other related books. The present study investigate the aforementioned questions in finding the conveyed meaning of the talk and the purpose of writing it. The results of the study revealed that the conversation has a direct relationship with his contradiction in meeting or with the Abul Said’s silence in Khanghah-e-Kharghani.

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Examining an Account of a Qaṣīdah by Athir al-Din Akhsikati in the Corrected Texts and Unraveling the Meaning of its Difficult Verses

Sayyed Mahdi Tabatabaei

Volume 11, Issue 2 , May 2022, , Pages 41-59

Abstract

  Writing according to his extensive knowledge in poetry and insisting on the difficulty, complexity, and ambiguity, Athir al-Din culminated the meaning of verses. Athir al-Din, whose ...  Read More Writing according to his extensive knowledge in poetry and insisting on the difficulty, complexity, and ambiguity, Athir al-Din culminated the meaning of verses. Athir al-Din, whose qaṣīdah (ode) verses have been introduced in some poetic memoirs as an instance of difficult verses of poetry, is considered one of the most prominent qaṣīdah (ode) poets of the sixth century. Owing to this poet’s position in the canon of Persian literature, contemporary scholars have paid special attention to textual criticism of his diwan; therefore, his poetry collection has textually been criticized triple in the present century. The first correction was made by Rokn al-Din Homayoun Farrokh between 1957 and 1958 in the form of 6537 verses; The second correction was made by Mahmoud Barati Khansari in 2019 in 12,000 verses. The third correction was the Ph.D. dissertation of Professor Abbas Mahyar, published in 2020 and a few years after his demise. Examination of the corrected texts and manuscripts of this poet's diwan shows that there are shortcomings in the writing of the manuscripts and the account of the criticisms so that it can be claimed there is a long way to go before reaching a revised text from the diwan. To prove this claim, in this research, by descriptive-analytical method, difficult verses of a poem by Athir al-Din will be examined based on the account of corrected texts, and their comparison with the writing of ancient manuscripts. Many of the versions cited in this study are the same as those that were available to the textual critics, but they did not use the necessary care in selecting or reading words, combinations, and interpretations. The research findings display that among the three corrections made, the correction of the late Mahyar is better than the other two since he has chosen an eclectic method of correction and the other two correctors have worked according to the base version. From a textual criticism perspective, according to the existing versions of Athir al-Din's Diwan, it seems that using the "base version" method in criticizing cannot have the necessary efficiency. Further, to criticize this poet's diwan textually, while grasping his mentality, language, and scope of knowledge, one should use other knowledge in the field of literature such as lexicography, stylistics, and criticism.

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Analysis of symbology and Marxist elements In the novel modir-e madreseh by Jalāl Āl-e-Ahmad

Asad Abshirini

Volume 12, Issue 1 , September 2022, , Pages 41-61

Abstract

  Modir-e madreseh by Jalal Al Ahmad is one of the famous contemporary novels In which the author of the story is not only dead, but more alive than any other real work, he continuously ...  Read More Modir-e madreseh by Jalal Al Ahmad is one of the famous contemporary novels In which the author of the story is not only dead, but more alive than any other real work, he continuously pays attention to explaining and promoting his ideology, contrary to what Barthes said. The Marxist review of this novel, in which the author goes through definitions such as "class society", "substructure/superstructure", "class consciousness" and finally "revolution", convinces the reader that he is facing a manifesto of Marxist intellectuals, which forces him to line up his position more precisely with regard to this ideological text. In this article with using the perspective of related theorists, we have tried to present an analysis of this story by showing the general thought of Al-e Ahmed. Also, the Lasting literary beauty of this work, its party and discursive aspects are becoming more and more clear to the audience of contemporary fiction literature. The findings of our research show that the narrator of the modir-e madreseh initially experiences a failure at the level of his ideological view. Then at the level of "revolutionary act" he suffers from it. In fact, the modir-e madreseh is a realist narrative of an emotional and passionate intellectual between two revolutions, who signs the failure of his Marxist position with his resignation letter at the end of the story.

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Origin and Development of Authors’ook to His Child in the Literary History of Persian (from 4th Century A.H. to Contemporary Period)

Asieh Zabihnia Emran

Volume 12, Issue 2 , March 2023, , Pages 45-61

Abstract

  Introduction: In the history of Persian literature, poets and writers used to dedicate part of their works to educate their child which attested to the importance of children’s ...  Read More Introduction: In the history of Persian literature, poets and writers used to dedicate part of their works to educate their child which attested to the importance of children’s education by means of literary text. Authors’ book to his child forms the text in literary corpus though embedded in text, yet conveys an independent meaning. Though these books of authors’ to his child find no special mention in texts but are visible in a text at the beginning or the end of the book. Books of authors’ to his child are often found in the lyrical poems of Sabk-i Iraqi. Men of letters have inculcated moral values in their son and help them to overcome human vices. The purpose of the research is to trace the works of authors’ book to his son in the annals of Persian literarture since 4th Century A.H. to the present day. It seeks to have the practical dimension of training and up bringing in the comtemporary period. Methodology:The research method in this article is descriptive and contains analysis. This research is applied with a purpose to generalize and use for education and child-upbringing indicators in the present era. Since the purpose of this study is to identify the components of optimal education embedded in text, the basis of this work is to develop concepts and contents of advising child by using qualitative data. These ideas have been developed from the works of the poets of lyrical poems. They  have seen, heard, and experienced what they have imbeded in their writings. The poets of the lyrical poems portray to their children the truths of all classes of society in attractive and pleasing manners and convey it to the audience in the form of maxim and advice. The present study encompasess nine lyrical poems including  Leily and Majnun of Nizami, Leily and Majnun, Hasht Behesht (Eighth Heaven) and Duval Rani-Khizr Khan of Amīr Khusrau , Leily and Majnun, Yousef-Zuleikha and Salaman-Absal of Jami, Salman Savoji Divan, and Yousef-Zuleikha of Masoud Ghomi. Indices of individual and social moral development have been selectively extracted and compiled from the core of child-advising poetry of romantic poets. Results and Discussion: Books of authors’ to his child are often found in the form of lyrical poems of Sabk-i Iraqi. Nezami Ganjawi dedicated 36 couplets in Laili wa Majnoon to his son Muhammad, Amir Khusro Dehlvi in Daval Rani and Khezr Khan dedicated 224 couplets to his son Mubarak and in Majnoon wa Laili dedicated 157 couplets to his son Khezr. Salman Savji in Firaq Nama dedicated 93 couplets to his adopted son Sultan Owais and Jami in Yusuf wa Zuleikha dedicated 99 couplets and in Laili wa Majnoon 32 couplets and in Salaman o Absal dedicated 11 couplets to his son Ziyauddin. Khwaja Masood Qummi who was a poet in the second half of the 9th century A.H. in his poem Yusuf and Zuleikha dedicated 143 couplets to his Ghiyasuddin Muhammad in which poets’ children are addressed in poetry. Poets and writers have encouraged their son to imbibe ethical virtues and shun human vices. Only Amir Khusro in his lyrical composition Hasht Behesht has advised his daughter Afeefeh in 76 couplets. Conclusion: In all the nine given romantic poems of this article, the individual moral refinement, as well as the teachings related to science and friendship, secrecy, social relations, etc., have been highlighted and this theme is a knack of the poets of romantic poems for expressing their thoughts.

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The Necessity of Critical Correction of Adham ‘Uzlati’s Şahāif Al-Wadād wa Makātib Al-Ittihād

Hasan Davoodi; Sayyed Aliasghar Mirbagherifard

Volume 11, Issue 1 , October 2021, , Pages 53-71

Abstract

  Adham ‘Uzlati Khalkhali, nicknamed "Wāiz", is one of the mystics of the 11th century AH. He has compiled many treatises on Islamic beliefs, ethics and mysticism, including Şahāif ...  Read More Adham ‘Uzlati Khalkhali, nicknamed "Wāiz", is one of the mystics of the 11th century AH. He has compiled many treatises on Islamic beliefs, ethics and mysticism, including Şahāif Al-Wadād wa Makātib Al-Ittihād. Since by studying the works of this bright mind mystic, one can understand the nature and place of Sufism, Shiite mysticism and mystical literature in the eleventh century AH, it is important to us to study on this work while it is simple, smooth and able to transmit the ideological, moral, and mystical issues; Therefore, it seems necessary to have a revised version of this treatise without of wrongs. This work has already been published in a collection entitled Adham ‘Uzlati Khalkhali’s Persian treatises, edited by Abdullah Nourani; However, the lack of critical method in this correction, its avoidance of research and annotation and comments, the lack of methodological introduction or  any explanation about  the method which used by editor of the work and lack of introduction on the treatise and also lack of explanation about  the  author's position among his contemporary mystics and thinkers, as well as the editor’s defects and slipping during the procedures of correction of the manuscript, Leads him to incorrect theories, misreading, bad selections, and incorrect reports about the text of the treatise. So the presented article suggests a new correction of the treatise in a critical way according two steps of a standard method of edition of manuscripts: correction of the text and study on the texts.

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Exact Date of Death of Khaqani Shervani

Seyed Mohsen Hosseini Vardanjani

Volume 11, Issue 2 , May 2022, , Pages 61-72

Abstract

  One of the happiness of any ancient poet can be the existence of strong manuscripts of his poems and the existence of correct knowledge of the events of his life. Unfortunately, the ...  Read More One of the happiness of any ancient poet can be the existence of strong manuscripts of his poems and the existence of correct knowledge of the events of his life. Unfortunately, the ancient and valuable manuscripts of pre-Mongol poets are scarce, and we do not have accurate information about the life tragedies of many of these poets. Fortunately, Khaqani  is one of the few ancient narrators whose works have good and solid manuscripts and many of his life's accidents are known to us, and there are two main reasons for this; The first is Khaqani  himself, who informs the audience about many events in his life, and the second is the existence of sources that provide us with valuable information about Khaqani 's life.One of these details is his exact anniversary and death, which are now available to us through ancient manuscripts. In this research, we have tried to report the different dates mentioned for Khaqani 's death, relying on the method of the first library, and then critique them, and at the end, the exact date of his death, which is between the two Let us present the ancient and solid manuscript of his divan; According to this, Khaqani  died on the 21st of Shawwal in the year 581 AH, which is equal to the seventh of Bahman in the year one hundred and seven.

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Introduction and Criticism and Analysis of the Characters of Nafsat al-Masdur Relying on Reliable Historical Sources

Seyedeh Parnian Daryabari

Volume 12, Issue 1 , September 2022, , Pages 63-80

Abstract

  Sometimes ordinary words are unable to describe great sorrows, and some people do not find the usual sentences and phrases enough to express their heart-wrenching pain and sorrow…! ...  Read More Sometimes ordinary words are unable to describe great sorrows, and some people do not find the usual sentences and phrases enough to express their heart-wrenching pain and sorrow…! Perhaps it is for this reason that "Zaydri Nesavi", the secretary of Sultan Jalaluddin Khwarazmshah, also did not find the commonly used expressions in the common language to express his excruciating pains, and the preferred to use this horrible and terrifying prose that trembles the reader’s body and soul sometimes to describe his condition! The resulting prose is a relatively small book called Nafsat al-Masdur, which is very famous and well-known among people of culture and literature, especially professors and students of Persian language and literature, and of course it is equally difficult to read. The author believes that regardless of the verbal complexity and ambiguity in the sentences and combinations of this book, which have made it difficult to learn and read, there are other important reasons that prevent this valuable work from reaching to scientific and literary societies which are non-academic. One of the most important reasons is the author’s ambiguity in introducing the characters of Nafsat al-Masdur. In this article, we intend to help identify the influential personalities in this literary-historical work by using reliable historical sources.

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An Analysis of the Similarities and Commonalities of Boof-e Koor̍s (The Blind Owl) Structure with the Student of Prague

Ebrahim Ranjbar

Volume 12, Issue 2 , March 2023, , Pages 63-80

Abstract

  The Blind Owl is an artistic text with a psychological background. The novel has been written using the technique of Transposition. This technique has a long history in Europe, especially ...  Read More The Blind Owl is an artistic text with a psychological background. The novel has been written using the technique of Transposition. This technique has a long history in Europe, especially in the works of Hoffmann and Maupassant. Sadegh Hedayat, the author of the novel, has been influenced by the literary and artistic works, as well as the theories of the western psychoanalysts, such as Ewers, Freud, Jung, etc. One of the goals of psychoanalysis is to reveal important psychological aspects buried in the unconscious. One of the theories proposed in psychoanalysis is that “double” is one of the buried belongings of the human psyche, and some people can see the double of their psyche. In Freud’s psychology, human natural passions become important as the unconscious becomes important. As a result, the artists and writers influenced by Freud choose the psyche’s freedom and its tendency to deviate from the norm as the subject of their work. The world of The Blind Owl’s characters is overfilled with romantic perspectives and emotional feelings. In this novel, the influence of psychological perspective of “shading” and the tradition of focusing on the “double” in the world of narrative literature is observed more than any other perspectives. All the characters in the novel are in fact shadings or doubles of the protagonist. The representation of the characters in different personas has caused the development of the novel, the structuring of its world, and the complexity of its language. One of the works with which The Blind Owl has the most commonalities and similarities is the screenplay of The Student of Prague written by Hannes Heinz Ewers, whom Otto Rank has called the modern Hoffmann. Ewers wrote the screenplay of The Student of Prague in the genre of horror, adapting the works of his predecessors, including Goethe's play Faust, some of Hoffmann’s stories, etc. The screenplay was premiered in Germany in 1913, reformed in 1926, and voiced in 1935. The purpose of this article is to find the commonalities and similarities between these two works. To this end, a methodology of comparison has been applied: comparing the structures, the procedural development, the use of instruments and symbols, the role of the characters, the relationship of the characters with the protagonist, and the messages of the works. The results of the study indicate that the commonalities and similarities between The Blind Owl and The Student of Prague are more highlighted than the other works compared with The Blind Owl so far. These commonalities and similarities are conveniently seen in the elements mentioned in the methodology. Among the similarities in the area of content, the following can be mentioned: man’s destiny is subject to his emotions and his emotions are subject to chance; the ultimate value of life is unique to the supreme lover to whom everything must be sacrificed; a double could be more original than the real one.

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The Importance and Role of Ancient Manuscripts in the Textual Criticism (Sharh al-Ta'arruf and Manuscript of Karachi)

Tahmine Ataee Kachouee; Mahmood Nadimi Harandi

Volume 11, Issue 1 , October 2021, , Pages 73-92

Abstract

  Ancient manuscripts play an important role in the textual criticism due to their proximity to the time and language of the author. The oldest version can be trusted more than other ...  Read More Ancient manuscripts play an important role in the textual criticism due to their proximity to the time and language of the author. The oldest version can be trusted more than other versions, especially when the scribe's fiduciary inspires the corrector's trust. A rare example of these manuscripts is the ancient version of Sharh al-Ta'arruf Li- Madhab al-Tasawwuf, which is kept in the National library of Karachi. This manuscript was written in 473 AH, and it is the second available Persian manuscript in the world. The comparing of this manuscript with the printed text of the description of Sharh al-Ta'arruf shows that this text has deviated from its original text in various ways. We have compared the Karachi version with the printed text and we found that some dialect words, special Persian and Arabic words, ancient lingual and grammatical features and original expressions have been changed, in a way that the printed text has lost many lingual features  and  its literally style. In addition to showing the value of this manuscript, we have also corrected some of the ambiguities and errors in the printed text.

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Semiotic Comparison of Rumi's Neynameh and Qaisar Aminpour's Fasl - e- Vasl based on Riffaterre’s View

Ahmad Rezaei; Marziyeh Parsamanesh

Volume 11, Issue 2 , May 2022, , Pages 73-92

Abstract

  Today, different theoretical and research domains of literature each try to analyze literary works from a different and, of course, systematic perspective. It can be said that the development ...  Read More Today, different theoretical and research domains of literature each try to analyze literary works from a different and, of course, systematic perspective. It can be said that the development of the theoretical framework, methodical analysis, presentation of codified results, and avoidance of taste-based opinions are the basis of many literary types of research of the present day; one of these domains is semiotics. Semiotics is related to many aspects of life, especially literature in the broad sense and poetry in the specific sense, because of its essential function of "examining something that represents something else." The system of semantic connection in literature, or the connection between signifier and signified, or what should be discovered in literary texts on the basis of existing signs, has been a significant vehicle for semioticians to enter literary texts from different angles. In this paper, Moalavi’s Neynameh and Aminpoor's Fasl-e- Vasl, which pay attention to the subject of “union”, according to Riffaterre’s view, were analyzed and compared. The present study, by drawing descriptive systems, hypo gram, and matrix, shows that these two texts, despite their similar content, have expressed two opposite views.The narrator of Neynameh, complaining of parting and getting along, does not seem, Joiner, while the narrator of Fasl-e- Vasl, by motivating others and … has reached its optimum. Although descriptive systems in Fasl-e- Vasl are less, have greater diversity; Hypo grams of this poem is also widespread. In addition, ungrammaticality and neologism in Aminpoor's poem compared with Neynameh are much more impressive.

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The Impact of the Story of Div-e Gavpai and the Religious Sage in Marzbannameh from the Storeis of Prophet Moses (pbuh) and Prophet Mohammad (pbuh)

Zeinab Rezapour

Volume 12, Issue 1 , September 2022, , Pages 81-98

Abstract

  One of the most important and challenging stories of Marzbannameh is Div-e Gavpai and the religious sage, which covers the fourth chapter of this book and is viewed from different angles. ...  Read More One of the most important and challenging stories of Marzbannameh is Div-e Gavpai and the religious sage, which covers the fourth chapter of this book and is viewed from different angles. One of the reasons for various speculations about this story is the association of meanings and its connection with a range of religious, historical, mythological narratives and narrative themes in the Iranian mythology and Saami stories that each one has some thematic similarities with the story of Div-e Gavpai and the religious sage. It is likely that Varavini intended to intentionally include some signs and evidence in the text to guide the wise reader to those narrations. Accordingly, while expanding the intentions and dimensions of the story and connecting the audience's mind with similar narrations, he establishes coherence and coordination between the phrases of the fourth chapter of Marzbannameh. Research on this subject has explored this story more from the perspective of mythological critique and related narrative patterns and religions of ancient Iran while its relationship with Saami stories such as the story of Prophet Moses (pbuh) and Prophet Muhammad (pbuh) in religious and historical texts has been neglected. In this paper, with a descriptive-analytical method and based on intra- and extra-textual evidences and presenting structural, verbal and content documents, the similarities and relations of this story with the mentioned narrations are explained. It is also shown that how Varavini, with the help of his own art and the use of storytelling techniques, has created a multi-layered narrative discourse from which different voices can be heard.

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Tahmoureth's Blade

Behzad Atooni

Volume 12, Issue 2 , March 2023, , Pages 81-102

Abstract

  One of the common themes in the legends and epics of the world is the allocation of amazing weapons for the heroes ,that the common feature of them is the difference and distinction ...  Read More One of the common themes in the legends and epics of the world is the allocation of amazing weapons for the heroes ,that the common feature of them is the difference and distinction they have with ordinary weapons. Although in the original heroic poems such as Shah-nameh, Garshasb-nameh, Bahman-nameh and Kush-nameh, we are faced with a handful of these amazing weapons of heroes, but instead, in the scrolls of the Shah-nameh, later Pahlavani poems and Persian folk epic-adventure stories, there are a lot of such weapons that we are faced with them, arising from the structure of such stories; A structure that one of its characteristics is modeling the stories of the Shahnameh, heroic  poems and religious-historical sources, and building new narratives and references; In other words, the requirement of the structure of such texts is to model from several examples of martial weapons mentioned in the Shah-nameh or other authentic heroic  texts and to create a large number of new weapons and war tools. Although some of these weapons expressed in Naqali scrolls and long folk tales have their roots in ancient sources such as Avesta and Ferdowsi's Shahnameh, but many of them are created by the minds of storytellers and narrators. One of the most famous and prominent weapons in the Naqali scrolls and long folk tales is "Tahmoureth's blade". This blade, which is made and prepared by the creative mind of the narrators and storytellers, is a magical blade that only the Rostam family uses, and if we see very few examples of it in the hands of other fighters, they are the fighters who their actions were influenced by Rostam's stories. The importance of the present research is that the author deals with the mythological roots of Temmorth's blade, and examines its formation in scrolls and folk tales based on the common discourse in mythological and heroic literature. This research, which was carried out in a descriptive-analytical method and by using first-rate mythological, historical and epic sources, comes to the conclusion that the reason for the attribution of the anti sorcerer's blade to Tahmoureth is three mythological events: first, his being among the first kings; Second, Having a weapon, which is called "Zinavand" in mythological and Pahlavi texts.; And third, the anti-demonic function of Thammorth in Avesta, Pahlavi, epic and historical texts, which has caused him to be nicknamed "Divband". In addition, this blade, due to the "phenomenon of transmission", (which is one of the most important common topics in mythology and history, and by means of it, the features and characteristics of a mythological or historical character, for reasons such as similarity, proximity, kinship, companionship, substitution and synchrony, is transferred to another person), has also been attributed to kings or prophets such as Kiyoumarth, Jamshid and Suleiman, and has three important functions in narrative and folk texts, which are: killing Invulnerable demonic creatures; Killing Divan and dragons, invalidating the magic of witches.

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Decoding and Analyzing the Character in the Folk Tale of “Kamrup and Kamlata”

Ziba Ghalavandi; tahere mousavi

Volume 11, Issue 1 , October 2021, , Pages 93-112

Abstract

  An important part of folklore dedicated to folktales. More than literary benefits, a scientific look at folktales discovers us to find a way to the cultural delicacies of human societies ...  Read More An important part of folklore dedicated to folktales. More than literary benefits, a scientific look at folktales discovers us to find a way to the cultural delicacies of human societies were in the length of history. The story of Kamrup and kamlata which is introduced in present article, is a folk tale Manuscript has wroted in Safavid era by Fayez Nazar in the land of India. This story describes adventure of a borned- Raja, who leave the kingdom to join his beloved. He walks with his friends on a long and terrible journey. After enduring much suffering and passing of bitter and sweet events, finally he visit his darling and  at the end, returns to his own homeland. Based on descriptive-analytical method and relying on in-text cues and the use of library resources, present research tries to examine the activity of characters during the journey of hero, as well as the evolution of some characters and explain and analyze its mythological and cultural signs. The overall goal is to show the literary value, richness of the story and the connection of its content with the social structure of India. By analyzing the story, it was found that the passage through the water It has been used as one of the test patterns in the story. It can also be found that the relationship between the elements of Kamrup story is a reflection of Indian society which is expressed in the form of a folktale.

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A Comparative Study of Narrative Structure in The Book of Job from The Old Testament and “The Tale of Job’s Misery” from Stories of the Quran by Atiq Nishaburi (Surabadi) Using Algirdas Greimas’s Model

Mohammad Ghaffary; Melika Ramzi

Volume 11, Issue 2 , May 2022, , Pages 93-114

Abstract

  The story of Job the prophet is one of the narratives included in both The Quran and The Old Testament but narrated differently in each of them. Despite similarities in form and content, ...  Read More The story of Job the prophet is one of the narratives included in both The Quran and The Old Testament but narrated differently in each of them. Despite similarities in form and content, the narrative in The Old Testament and the narratives by interpreters of The Quran differ in terms of plot structure. Adopting Algirdas Greimas’s narratological model as well as his semiotics of discourse and using descriptive-analytical method, the present study conducts a comparative analysis of narrative structure in The Book of Job from The Old Testament and one of the Islamic narratives of the same story, namely “The Tale of Job’s Misery” from the ancient Persian text Stories of the Quran by Aboubakr Atiq Nishaburi (Surabadi). To this aim, first, the actantial model, narrative chains, and plot structure are concisely explained according to Greimas’s theory; then, the events, characters, and narrative structure are analyzed and compared in the two selected narratives of Job’s story. Finally, this study concludes that the plot of The Book of Job is contractual, whereas that of “The Tale of Job’s Misery” is performative. Moreover, in both texts, Yahweh/God is the sender, but the most striking difference is the devil/Satan, who is not an actant in The Book of Job, while he is the opponent and the performing subject in the Islamic narrative. Besides, in these two narratives, the function of the disrupter of the pattern is attributed to different characters. The analysis of the process of semiosis, the evolution of narrative structure, and the role of modal verbs shows that in the Islamic narrative the active-tensive system and in The Book of Job the existential-tensive system form the dominant discourse in the creation of meaning.

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Ancient Survey of the Hero's Travel Pattern in Khavaran-Nameh Based on Joseph Campbell's Theory

Mohamad Mojavezy

Volume 12, Issue 1 , September 2022, , Pages 99-120

Abstract

  Ibn Hassam Khosfi’s Khavaran-Nameh is a verse in the form of religious­ epic, with the theme of fictional tales and wars of Ali (AS) with kings of idolatry such as Tahmasshah, ...  Read More Ibn Hassam Khosfi’s Khavaran-Nameh is a verse in the form of religious­ epic, with the theme of fictional tales and wars of Ali (AS) with kings of idolatry such as Tahmasshah, Salasul Shah, and embraces ancient concepts. Patterns of hero and travel,  due to its nature is one of the most used motifs. This study, through descriptive-analytic method,  seeks to review Joseph Campbell's proposal for the heroic journey and also its amount of appliance  in the Middle East. Campbell considers life as a journey that the hero must take on this journey, while awaring of his strengths and In addition,  by identifying his inner desires and secrets and his strengths and weaknesses, he should conduct individua’s ethical issues. The three main themes of the hero's travel theory are: departure, approach, and return. This theory is in harmony with the epic hero's life. Because the hero of each epic should encounter somke delimas, he should  face the most terrible paths ,the most awesome creatures and the most dangerous enemies; however, with all his courage, he can go through all the difficult passages and achieve his goal. The is a religious one. The results of the study indicated that in Khavaran-Nameh Ali (AS) began a long journey to save human beings from evil forces. In this journey, How fought  with the Dragon and the Wizardand ultimately he  eliminated them. Ali (AS), with his inner voice, addresses the Prophet’s worry, he could obviatethe obstacles and problems that each hero goes through to complete their achievement and excellence. after the unity and godliness, the victorious and glorious man returns to Medina and delievers Solomon’s souvenior to the Prophet. The results of the study also indicated that the internal stages, transcendental help, crossing the threshold, whale abdomen, test path,woman in the role of tempter, blessings and free and free stage in Khavarannameh conforms to the stages of Campbell's journey and heroism, and the omission of some stages is due to the religious nature of this epic effect. .

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Delineation of Didactic Discourse System in Several Persian Narrative Texts

Fazlollah Khodadadi

Volume 12, Issue 2 , March 2023, , Pages 103-119

Abstract

  Since a long time, one of the basic pillars of the narrative literature of Persian verse has been its didactic and moral pillar. So that most of the narrative texts of our poems have ...  Read More Since a long time, one of the basic pillars of the narrative literature of Persian verse has been its didactic and moral pillar. So that most of the narrative texts of our poems have a didactic tone. When we talk about didactic literature in verse, it means that one "I" conveys an idea to another in the form of a narrative text, and in the narrative literature of verse, it is the "story" that is the container of this container. This introduction shows a general structure of narrative literature, which is drawn based on the general mission and moral message hidden in these works, but the deep structure of these narratives, which includes the discourse that governs them and has multiple narrative aspects, is due to the existence of a methodical process. It informs in a context-oriented, artistic and creative manner. The texts of Persian narrative-didactic poems play an important role in our lives with the help of stories.On the surface, it may seem that there is no difference in the narrative structure of Persian narrative texts that have an educational motive, and the claim of the creators of these works was to create a narrative text with the intention of conveying a moral message to the audience. These works show that the process of producing meaning in each of these works is based on discourse patterns and unique structural systems; So that each text has a distinct discourse system. Also, the function of the story as a container in these works has many aspects, which can only be achieved by studying the deep structure of the discourse. Accordingly, in the present research, we intend to explain the structural system of several of these works by going through the structure of poetic narratives, so that at the end of the research, we will witness the drawing of the discourse system in each of these works. The results of the current research, which have been provided in a descriptive-analytical way, show that four types of discourse systems: "a system of stepwise development of a message with a high frequency emphasis on a theme", "narrative Chinese introduction and distributive expression of a message", "message development with a tone" There is an address to the motive of persuading the audience" and "Ethical Discourse System of Davarani - Parateti" in Persian didactic texts.

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