مجله متن شناسی ادب فارسی
سال هشتم شماره 3 (پیاپی 31، پاییز 1395)

Abstract The correction of the documented heritage, is a necessity in research which must be fulfilled, based on a scientific methodology, understanding of the standards of correction and critical view to the text. It is only through this procedure to do the initial correction of a text or recognize the text correction flaws and attempt to proofread and re-correct the text for a second time. In this article, it is attempted to conduct a critical study over"Emadi Shahryari" epistle(Divan)and to express briefly its flaws in five categories, alongside the flaws which has misguided the reviser. The Introduction and categorization of these flaws can lead to preventing them from being repeated and assist the other revisers not to have similar flaws. The authors have categorized the flaws under fifteen general titles, for each evidences have been delivered from "Emadis" Divan refined by "Zabi-al-la Habibi

An important part of parsian literature is composed under the name of lyric genre.The subject of lyric gener is generally love or human feeling.we are about to study structure orformology of Shahname s stories on the basis of Prop method to understand are they following same structure or not? and what is the influence of epic genre on lyric themes on composing thos stories. to study the influence of epic on the forms of stories we will investigate the fictional elements. to do that we choose these storie: Zal and Rodabe,Rostam and Tahmine,Bijan and Manije,Sodabe and Siyavash. Key words:lyric stories, Shahname, epic, morfology

Abstract: Qaboosnameh is one of the oldest and most important pre-Mogul invasion prose work that is rich with Iranian culture and traditions. The Iranian cultural identity is greatly and appropriately reflected in this work. The current paper tries to investigate seven important features of this work of literature. By using text analysis method and also document study approach, the authors of the current research paper did their best to conduct extensive research on pre-Islamic texts hoping to present a clearer picture of the country at the time of invasion and cultural exchange.

&Scaronahryârnâmeh is one of comparatively voluminous epics composes after the &Scaronâhnâmeh, but its commencement and ending is lost. This is the only heroic epic that begins suddenly with no introduction and also ends abruptly without any conclusion. Amongst the verses composed after the &Scaronâhnâmehhas met little welcome in the public. It seems that the difficulty of verses, meaning detachment, between different segments of the story andnarrative lacuna, especially at the beginning and the end of the story could be one of effective factors of this work’s being abandoned among people. In Kohmarreh-Sorkhi Region there are four oral narratives of heroic verses composed laterthan the &Scaronâhnâmeh among which, Borzūnâmeh and Bânūgo&scaronasbnâmeh are rampant among some storytellersand narrators, but Farâmarznâmeh and &Scaronahryârnâmeh have been abandoned by the public’s mentality. These recent two are narrated only by the oldest storyteller of the region, Alihossein Âlinežâd. In his narration, the verses have meaningful and lucid beginning and ending and the composer of this work is known- although he is unknown according to all studies done. This essays tries to accomplish these three with an analytical approach: 1- to mention a summary of the commencement and the end of the story in the extant storytelling narrative and responding to the question of whether the narrators have had access to a complete version of the work or they have independently created a beginning and an end for it 2- to point out the differences and the resemblances between the storytellers’ narrative and the versified one 3- to mention the story of how the versified work was created and to answer the question of how much one can trust the integrity of this story.

Anvari’s Divan, a sixth century poet, is one of the precious texts in Persian literature. It was edited more than fifty years ago by Saeed Nafisi and then, once again, it was edited and published by Mohammad Taqi Modarres Razavi. Despite the attempts and great strides taken by editors, there are many shortcomings in the recording of the poems, mostly due to a lack of access to old and authentic manuscripts and defects in reading the versions. In this study, 12 verses of old odes and excerpts have been edited based on the twelve old manuscript of which five manuscript were accessed by the editors, two manuscript were accessed by the expositors, and five manuscript have been used edite the selected verses. In correcting the mentioned verses, in addition to the background of manuscripts, the reasons and evidence for precise recording of the verses have been discussed. The results, in addition to clarifying the correct form of selected verses from Anvari’s Divan and recognizing some rare cases of vocabulary and expressions as well as pointing to poet’s some images and interpretations, on the one hand reflects the unique role of the old ignored manuscripts in poem correction, and on the other hand, indicates the mistakes and errors in reading the old manuscripts used by the editors.

The monumental and eminent characters are the most important narrative elements in Nezami`s narratives-in-verse that have caused acceptability of them and have created tend to imitation and Repeat of them among the many narrators. We are going to analyze Khosrow`s characteristics features in this study. This study is based on the theory of semantic axes and a combination of the theories of Barthes, Hrushovski, Mieke Bal, etc has been applied as well. The results of this paper manifest that Khosrow is a multidimensional character and his attributes include multiple and sometimes conflicting that his most prominent feature is lechery. Also the results of this paper prove that Khosrow is a round and dynamic character and this is a factor for influence and persistence of this character in literature.