فصلنامه نقد ادبی
پیاپی 30 (تابستان 1394)

Karnameh, Shahrashub, jargon poems and Shahrangiz are the names which are mentioned interchangeably or beside each other in the sources due to some similarities and having the same roots. However, these works have so many delicate and variegated differences that can be considered as four separate genres. Of course, Karnameh can be less expected as a genre regarding the few and sometimes incomplete examples of it so that, practically, Karnameh is transformed into Shahrashub at last. The same is true about jargon poems in which the professions are described poetically and the craftsman is portrayed as the beloved but, later, they were entered into Shahrangiz genre and sometimes became extended and coherent works instead of scattered poems. Identifying the delicate features of these genres requires a lot of precision and, indeed, the inaccuracies have caused even the experts and scholars to confuse these genres until now. However, it should be mentioned that, even at the time of their currency, poets and literary figures considered these genres as not following any norm and convention; especially they were involved in some mistakes and individual innovations which produced several word plays and coinages such as Alamashub, Jahanashub, Dahrashub, Alamkub and the like. Using some taxonomic criteria and original sources, this research aims to identify and represent these equal and approximate genres for the first time.

With emphasizing on exegesis as a fundamental specificity in the mystical language, in this paper we tried to introduce one of the narrative structures in the mystical anecdotes. As in most of the didactic stories, this structure is the result of a mistake and a punishment. But in this case, a new mistake and its punishment introduce in the new layer. Then the first and overt mistake doesn’t followed by expected punishment. This structure, the second mistake is result of an esoteric process. Therefore, this structure dedicates a narrative describe from the function of exegesis in the mystical texts. From this view, highlighting some mistakes and overlooking the others can show the function of mystical conventions in the mystical narration. Even though it’s narrative and structural basis, this method is relationship with linguistic and doctrinal elements of the mystical tradition. This paper is an effort to the narrative stylistic in the ancient anecdotes.

In recent years, more than twenty scientific articles in Persian journals published on the stream of consciousness narrative mode. But some of these articles have little knowledge about the theoretical aspects of this mode of narrative, and the author has written article without an adequate command of the subject. This paper has been reviewed 18 scientific articles and studied their Errors. Some of these errors are: Misperception of the unconscious concept and its place in the internal monologue narrative, considering dramatic monologue as a stream of consciousness narrative style, confusing internal monologue with other first person narrative, and misunderstanding of the concept of Soliloquy. One of the causes of these problems is that the author does not refer to reliable sources. Referee process of some journals is such that these articles are evaluated and released without debugging and the referral of others to the papers, will publish the next false.