مجله متن شناسی ادب فارسی
سال هشتم شماره 1 (پیاپی 29، بهار 1395)

The class system dominating the society in Khaghani’s era caused each person to be treated with regard to the social status of his family. The family of Khaghani belonged to the inferior class of society and tradesmen. Thus, he was not of high social status in the society and was blamed by his adversaries and rivals due to the very reason. His weapon against such attacks and blames was his art. Instead of refuting his family and past like the cowardice, he behaved exactly the opposite and honored the career of his family and predecessors with an outstanding self-respect. In fact, this creative poet considers his poetry as the continuation of his family’s career and justifies this by the aid of imagery. This matter not only is observable in his entire divan but also and especially is manifested in Khatm al-Gharayeb mathnavi.
The aim of this study is to analyze how Khaghani employs artistically the career of his family in his divan and Khatm al-Gharayeb mathnavi. While reflecting and defending the careers of his family, this poet uses them very well in creating novel compounds and phrases. Khaghani, the uncontested master of compounding, has created the most beautiful and novel poetic compounds such as Sokhantarash, Hikmatbaf, Sokhanbaf and Abapozma’ani on the basis of his family careers. This study can provide a better psychological understanding of this poet.

In all Pahlavi texts and remained narratives of Seir al-Moluks, Kiumars has been introduced as the first human being. According to these texts, the generation of mankind continues after the death of Kiumars in confrontation with Ahriman and the coitus of Mashy and Mashyaneh. However, Ferdowsi’s Shahnameh is the only text in which Kiumars is the first king. In this text, the battle between Kiumars and Ahriman has been narrated in a different manner, too. Comparing the tale of Kiumars in Shahnameh with the texts influenced by Seir al-Moluks can lead to new results about the changes and transference of Kiumars from myth to a literary text like Shahnameh. Gerard Genette’s hypertextuality is an approach which deals with the relationship between pre-text and hyper-text. In the transference of a text to other text various changes occur which are called transformation. Based on the comparison of Kiumars tale in Shahnameh with the texts influenced by Seir al-Moluks according to Genette’s hypertextuality, the transformations of expansion, cutting and evaluation are the most important factors of changing of this tale in Ferdowsi’s narration which have been done to dramatize, demythologize and make believable this story as well as strengthen its linear relations with next stories and harmonize the events with the belief system and worldviews of Shahnameh’s addressees.

The particular language is a term used for identifying the language of different texts’ style and is of special significance in stylistic distinctions. In identifying particular language, the three elements of word, syntactic structure and the context of discourse play a role and, amongst various kinds of particular language, ideology has mostly a close relationship with the particular language of power and employs the same code in the semiotic system. For strengthening the pillars of their power, the Seljuks converted to Islam and had recourse to the caliphates of Baghdad for fortifying it. Nizam al-Molk and Ghazali who were Shafei wrote Siasat Nameh and Nasihat al-Molook for guiding and helping the Seljuk kings in their governance. The particular language of power in these two books is divided into linguistic and non-linguistic acts, and its ideological foundations are in accordance with Shafei religion but the difference lies in that Nizam al-Molk believed in eliminating and even killing the non-Shafeis whereas Ghazali believed in keeping the justice. Accordingly, the use of subjunctive and imperative verbs in the sense of absoluteness is one of the most prominent signs of ideological foundations of political language in both books.

Sa’di Shirazi is one of the pillars of Persian literature. From long ago, the critiques have called his artistic manner the simple prose; a paradoxical title that not only reveals the reader no point but also confuses him more. Since there is no way to understand the mystery of his wonderful language other than scientific and detailed analysis of his works, this paper aims to investigate the structure of Bustan’s sentences via a scientific and statistical method. Doing so, 1100 verses of Bustan which is one of the most important works of him were selected as the statistical sample. Then, they were studied regarding sentence structure and, finally, divided into direct and indirect ones. The theoretical foundations and the definition of terms in this study were borrowed from “The Sentence and its Evolution in Persian Language” by Farshidvard who has investigated this issue more deeply than other grammarians.

The pivotal role of ethics in structural analyses of the book Faraj ba’d az Shedat has led to neglecting its lyrical tales. This paper aims to analyze such tales based on Propp’s model. In accordance to Propp’s theory, the beginning phase of tales starts with stability situation. Then, the first function in the story is the appearance of the hero or villain or defection. The villain in the form of poorness is common in one fourth of the tales and it is the second factor of movement in them. In almost half of the tales the anti-hero is the minister or caliphate of the court who easily becomes the helper or donor via his moral virtues and this in turn decreases the excitement and dynamicity in lyrical tales of this work. The lack of animal, supernatural characters as well as fairies and marvelous elements has contributed to the verisimilitude of tales. The moralistic orientation of this work has confused the function of various elements such as anti-hero, helper and donor. The dilemma of some tales is solved without much effort which is the result of the simple mind of the author and his contemporaries.

Doreye Nadereh is amongst the most important works of Mirza Mehdi Khan Monshi written about the events of Nader Shah’s period in elaborate prose. In writing this book, he has paid more attention to literary show off and flamboyance than narrating the political and military conflicts of that era. He has used difficult Persian and Arabic words and idioms, Quranic verses, hadiths, Arabic proverbs and poems as well as other figurative devices. This paper studies and rereads several proverbs of Doreye Nadereh and their relation as well as what Ja’far Shahidi has said about the explanation and correction of such proverbs. The results of this study show that he has some mistakes regarding the explanation and correction of several proverbs. This study also explicates some proverbs that Shahidi has ignored.

Mohammadtaqi Hamedani with the penname of Hasrat is one of the Qajar sonneteers (Fathali Shah period) who is unknown like many poets of Regression style. The only publication of his divan has been done by Reza Abdullahi which was published by Negah Press in 1389. Due to many reasons such as the use of one single manuscript which is defective and full of errors as well as lack of access to correct and older manuscripts, this correction is full of mistakes and distortions, and many verses have been recorded with misreading, ambiguity, omission and rhythmic problems.
Referring to the oldest and most correct manuscript as well as some other manuscripts of his divan, this paper has corrected many mistakes and distortions of the published divan and, while providing a brief introduction of the poet, these corrections are also offered.