فصلنامه پژوهش زبان و ادبیات فارسی
سال یازدهم شماره 1 (پیاپی 28، بهار 1392)

There were lots of great author along the history of Persian Language who inherited different kinds of works. From 4th Hegira up to nowadays that lots of prose texts has been composed there are few, if any, subjects in philosophical, theological, mystical, literary and scientific that we cannot find some book(s) about. There are some information in the introduction section of these books about author and its contemporaries, general information about the work itself and so on; moreover, there would be some information about the necessity of the work composition that would explain and justify its goals and composition reason in a brief and comprehensive manner. The main question in the current study is that what is the real reason of composition of these works in their author's view? Authors have gained some piece of data after reviewing 150 works from the most famous Persian prose works in different subjects and genres and divided them into different categories. The general result is that most of these works were written due to the order or request of someone and few, if any, works have been written due to the author's own decision and motive. This issue has often been rooted in personal, social, economic and even political reasons that this article tries to deal with and shed light on its causes.

Our purpose in this article is to criticize and analyze the fictional components (story elements) in three imaginative itineraries called "Book of Arda Viraf", "Seir-al-Ebad", and "Divine Comedy of Dante" and then we would tell the reason of excellence of every one of them over other two works. In so doing, we tried to analyze the fictional components of every one of these three and explain their brilliant differences. Mrs. "Kasreef-far" previously reviewed symbolism in abovementioned works but there is no research regarding the fictional value of these works. Therefore along with the current library method and the aim of comparison of abovementioned components we found that Seir-al-Ebad of Sanaee is superior than two other in story narrating due to the dynamism of its characters, strong theme and reasonable quarrels, fictional and surreal style of narration.

Certainly one the of most famous character in Iranian-Islamic Mysticism is Bayazid Bastami who have had a distinctive sublime and respectable status and position due to his type of viewpoint, moods, and excellent dignities and had always special respect and kindness from Sufis and brilliant mystical characters which is proven by the existence of mass volume of quotations, anecdotes, and words in Sufi texts. However, among all of these respects and dignities, we sometimes see other types of approach toward Bayazid and his personality which are all reflectible and considerable; one of them is the varied and unique viewpoint of Shams Tabrizi. Shams saw himself involved with the existential dilemma of Bayazid from the very beginning of his appearance in cultural-mystical history of Persian Language (i.e. Meeting with Molavi) and had not forgotten it until the very end of his absence and never accepted the dominant discourse toward Bayazid; he reviewed and criticized his words, actions, and character in a brief period with precision and strong intensity and finally challenged his status heavily and disrespected it.This article is to illuminate and categorize and analyze Shams Tabrizi's views about Bayazid Bastami emphasizing on this point that Molana- despite his amorously regards to Shams Tabrizi- is not a disciple of Shams Tabrizi.

The purpose of the current research is to study rewritten stories of Masnavi for kids and juveniles, from Masnavi during 1990 to 2010 and identifying their problems based on rewriting principles. The applied method in this research is content analysis. Statistical sample contains 63 stories from Masnavi which are all selected by systematic accidental sampling from 160 stories of Masnavi. To collect research data, I used a list that I myself have created it. The most significant problems of the rewritten stories, according to content's quality, structure and delivery, language, picture and method of presentation viewpoint, can categorized as follow: Not encouraging reader to know Masnavi, not improving curiosity to follow its stories, not determining the situation of revised rewritten story in Masnavi, not attending to main themes of stories in Masnavi context, not using Masnavi poems and verses in these stories, not observing grammatical, written, orthographic principles and laws, and important principles of artless writing, also applying difficult words and terms of old texts without any explanation and description, using uninteresting pictures, weakness in designing and using artless pictures, not having a special page for introducing Masnavi, not having a glossary for necessary and hard words and finally weak book wrapper and typography. In some books are among the most significant problems of revision from content's quality, structure and delivery, language, picture and method of presentation viewpoint.

"Muhammad Ali Khorasani" with a nickname and pseudonym called "muezzin" is one of the 11th Hegira mystic and is one the Aqtab-e Zahabiye who has legated a Divan of nearly 3700 verses. The sage Khorasani was born in Säbzĕvär and joined to Zahabiye sect in his youth and after Sheikh Hatam Zaravandi, leader of the sect on that time, was assigned to this position. Khorasani muezzin like many mystic-poets applied his mystical thoughts in poetry arena. Though he lived in 11th Hegira, his poems can be regarded as the continuation of Iraqi Mystical style poem. His poems are simple, fluent and adsorbent. There are lots of words about true love in his poems, and Sufi thoughts have deep reflection in its core and surface. His divan was not corrected and published, but the author has corrected it based on its 4 versions as his MA thesis and has used many of wise guidance of thoughtful master, Dr. Alireza Fuladi. It is tried in this essay to introduce this poet and provide an outline of his thoughts which are clearly and brilliantly obvious in his poems for readers, so that they can have at least a brief familiarity with this poet of Ahl-e Beit of Prophet and his thoughts.

In this essay, "Where is Khezr?" composed by Dr. Taqi Pournamdarian, is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem, showing the relation of components of mystical, epic, lyric genres and the type of their combination in the creation of contemporary romantic poem. The word "Khezr" has mystical and epic implications. According to the feature of Khezr who is the helper of the lost, it is expected that the narrator of "Where is Khezr?" be confused and wandering in spiritual journey abstinence domains. Such implications can be observed in words and terms like "darkness", "alkahest" (i.e. water of life), "the desert of night". On the other hand, based on the content of poem, there would rise this question that how are elements of poem and its different semantic implications interrelated to each other? The results of the current research shows that this poem is lyric and it describes an earthly beloved, but there are symbols of other genres. The narrator of the poet passes difficult stages like an epic hero to reach their target, for example s/he passes darkness land. Fourfold sections of the poem associates four seasons. These seasons are periodical like epic time and do not have linear circuit. Separation and tinker would occur simultaneously with passing of different seasons. This poem is the product of conflux and different genre association which is emerged from the unconscious of the poet who had lived in the ecology of cultural worlds. In this article the intertextual analysis of poem was applied and components of different genres were compared and analyzed and their ratio in producing a coherent and structured text was also reviewed.

This article reviews narrator and its features in "New stories Stories from Old Books" by Mehdi Azar Yazdi among different fictional components. First, narrative variants are defined based on the ideas of Jaap Lint Volt; then, narrative variants of heterogeneous story world and its types (text-writer, agent, and neutral) and narrative variants of homogeneous story world and its types (text-writer and agent), and also narratee and it types (extra-story narratee and intra-story narratee) are reviewed in the stories of this book. Azar Yazdi has used heterogeneous narrative variant of text-writer, heterogeneous narrative variant of neutral, heterogeneous narrative variant of agent and homogeneous narrative variant of text-writer. According to this fact that heterogeneous narrative variant of text-writer is the most frequently used narrative variant and the author has used the omniscience and capability of interpretation of the narrator in this narrative variant to familiarize and introduce the characters and transfer pedagogical and moral content simply, it can be said that Azar Yazdi had special attention to his kid audience while creating his stories.