مجله متن شناسی ادب فارسی
سال هفتم شماره 2 (پیاپی 26، تابستان 1394)

The most secret and most wonderful story of Mehr is the fight with the primitive cow. Mithra makes the earth to flourish and fertilize by killing the eternal cow and pouring its blood. This basic idea in Mehr religion influenced many cultures and cults. Belief in different forms of sacrifice to be immune from the evil forces and to find blessing has been pinned to the lives of residents of Iranian Plateau thorough the history. For this reason، some people or animal became the scapegoats for a tribe so that this sacrifice would diminish the sins، pains، and suffering of people. By these actions and other dramatic rituals، people aimed at reconstruction of time and place of cosmic creation so they could find the happiness and blessing once again by killing the primitive cow. So in a large feast، they all ate a piece of the beef to transfer her power، fertility، and blessing to themselves; where they found a sort of unity. This happy sacrificing became one of the themes in Persian literature and was recreated in the works of many poets and writers. Among these، Nezami Ganjavi has paid especial attention to the ritual of sacrifice in his story «Haft Peykar». By the language of tales، he points at a number of sacrifice-related rituals including regeneration، creation، rain prayer، eclipse، and war. He uses literary arrays such as allegory، allusion، and ambiguity to depict a new and interesting account of these beliefs and ritual traditions.

Rudaki is one of the greatest figures Persian poetry in the third and fourth century AH. From Rudaki’s poems remaind about thousand Verses for us، these verses were obtained among other works. Lack of original manuscript، the duration، changes Persian language، various recordings in secondary sources… were caused that the reading and concept of Rudaki's poetry be difficult. In this essay، Has been investigated various readings from a famous couplet of Rudaki. This study is based on historical grammar and Persian stylistics، the textual evidence، and extra-textual evidence show that reading of the poetry of Rudaki is incorrect. Finally، this research has proposed a edition of the poem، and describes its meaning and its interpretation.

Attar’s Manteq-o-Teyr (Conference of the Birds) is one of the few works which has found favor with the West in recent decades and، with their special definition of mysticism، has frequently been performed in drama scenes all over the world. In this article، while reviewing the origins of Manteq-o-Teyr، I will compare the adaptations of this mystical poem by authors from outside Iran، Especially Jean-Claude Carrière، with authors from inside of Iran، using descriptive-analytic method. In comparing such adaptations، I will evaluate their strong and weak points based on presentation capabilities and aspects of this poem. The results indicate that by structure، innovation and deconstructing the structural rules of theater and its use of Brecht structure، very close to the narration of Manteq-o-Teyr، in collation with Aristotelian structure، this adaptation has been able to distinguish Carrière theater from the domestic adaptations; there are، though، many differences between Manteq-o-Teyr and its adaptations، especially Carrière adaptation، in terms of theme and content. This same gap shows that this work deserves more attention and more serious and effective adaptations. Adaptations، which are indicative of Attar’s thoughts and the Islamic mystical soul of the poem، while applying new theatrical structures as well.

In old Persian literature، there are works which due to the oldness and existence of several versions، it is necessary for the original version to be specified. Since these works are a means of transferring knowledge and culture، designation of their original version will attain special significance. In usual methods، decisions about original version are made through the comparison of several versions (codicology) and also the study of the style of the works (stylistics). These methods take into account linguistic factors including structural، stylistic، semantic، and handwriting as well as historical factors. In recent decades، new quantitative methods which concentrate just on linguistic factors were created. Furthermore، the use of these methods will make decisions making free from personal views and interpretations. This study employs a quantitative method for author identification of appendices of Tadhkirat al-Awliya، for which there are doubts concerning their attribution to Attar. In this study، syntactic structures of two parts، the original one and the doubtful one (Molhaghat)، were extracted; then their frequencies were compared and analyzed through chi-square statistics. Based on the results، these parts ie. Molhaghat cannot be attributed to Attar.

The literature seems to mirror the attitudes، thoughts، ideas، beliefs and briefly ideology on the minds of many generations that intentionally or unintentionally reflected in the works of each period. Bayhaq’si report of Hasanak hanging story is not empty of these reflections. The purpose of this paper is to outstand and evaluate the reflection of ideas of mental and cardio about Bayhaqī features in this story and in this regard the fundamental problem is that if the text is influenced by the ideology of the author? What is the quantity and quality of this effect and how it is reflected in Bayhaqī’s work. In this respect the ideological basis of author is analyzed based on the stylistics maxims of the three layers of lexical، syntactic and rhetoric. The end result is that although Bayhaqi، personally insisted on his neutrality، and in some cases even more unconscious and sometimes fully conscious and explicit extends his comments in the text. The frequency of this reflection is observed in vocabulary، syntax and rhetoric in the story respectively.

Geting help from mythology and folk tales is useful way to correct classical texts problems. This method was used especially in the correction of shahnameh poems. Following distich is one of the challenging poems of Shahnameh that in manuscripts and printed books in several different forms was recorded: Sole daughter of the king of Samangan And the physician of lions and leopards is I am. Khaleghi motlagh in an article written about it said this distich is one of the darkest distiches of the shahnameh that in the second Hemistich the true words and meaning of words is vague. Ambiguity on this distich reasons any of the researchers accepted any form of this distich and comment about it. Khaleghi motlagh accepts the terms of the one of the researchers and stresses that this is an older form of distich recordings that we have and possibly there is a ritual behind it but we do not know that. In this study، we want by help of comparative mythology prove that tahmineh character was survived from mother goddess character or one of the ancient goddesses of Iran and also she emphasized she is actually physician of lions and leopards then an older form of distich recordings is correct form.