مجله متن شناسی ادب فارسی
سال دهم شماره 4 (پیاپی 40، زمستان 1397)

In the vast field of Persian literature, prominent figures such as Mirzayev, Braginsky and Saeed Nafisi, before the other scholars, outshone others in research on the poems of Rudaki, the father of Persian poetry. It was the invaluable efforts made by these magnanimous researchers in collecting Rudaki’s poetries that paved the way for further investigations. Considering some of Rudaki’s verses that are exemplified in dictionaries and the fact that some of these dictionaries have remained unnoticed by researchers and also taking into account the existence of new verses, various written forms, and attribution of some of his verses to other poets and vice versa, in this research we study one such dictionary under the title of Sharh Bahr al-Gharraib or Loqat Halimi. The writers have found a more complete text than the one applied by Nafisi through two manuscripts of this dictionary. In this research, the attribution of some verses to this poet has been studied with presentation of several findings.

With the acceptance of the Islamic faith by the Iranians, a huge wave of Islamic and Semitic beliefs and myths followed by mystical elements, affects the epic literature of our homeland. These factors cover a wide range of changes, from structural changes to content changes, to the extent that the change in the ideology of the author of the work affects the storytelling process, the actions and behavior of the heroes of the story, the interaction between the characters of the story and even in determining the hero's destiny and many other issues. By analyzing the effects of the element of religion in Samnameh, that Islamic and Quranic thoughts and themes in the system are highly frequent, to the extent that the mastership of the epic hero, and consequently of his companions, are in promoting monotheistic and, sometimes, explicitly Islamic beliefs and national goals will be prioritized. Also, the themes and mystical and mystical thinking, in the shadow of the religion of Islam, are also reflected in this work, which has become evident in the sections of Khaju Kermani. In this study, we have decided to examine the main effects of religion in the epic of Samnameh and from this perspective, in addition to achieving the above-mentioned goals, which are the basis of our research, we endorse the epic of samnameh written in different periods of history.

‘Az’ (greed) is one of the concepts of practical philosophy that is manifested in the thoughts, speeches, and actions of human beings. This concept is represented in Iranian classical literature represented in various narrative and non-narrative literary forms. The Iranian epic poetry, due to the narrative structure and importance of the actions in the typical human beings (heroes and anti-heroes), has more features to illustrate this concept more precisely. Regarding the reflection of the concept of "Az" in the epic literature, researchers have mainly focused on Shahnamehand did not paid attention to the epics after Shahnameh. Therefore, this study aims at specifying the origin of the concept of "Az" and its representation in the narrative structure of the two athletic poems after Shahnameh, Koush Nameh and Faramarz Nameh, in three parts of the conception, the mode of expression and action of the heroes and the anti-hero by a descriptive-analytical method. The theme of "Az" is manifested in both poems, but in Koush Nameh the content is obvious in all parts of the story, and there is not much narration in the main world of Faramarz Nameh. In both poems, the strong connection between Khosrovani and Islamic philosophy is fully perceptible in specifying the meaning of "Az". Speakers speaking about the "Az" in both poems are divided into narrators and heroes.

The essential part and core of the predicate in Persian grammar is the verb, i.e. one of the pivots of stylistic analysis in the syntactic layer of language. This research analyses the role and stylistic function of verbs in Rubaiyat of Omar Khayyam. The questions that are going to be answered in this essay are, firstly, what are the pivotal characteristics of the verb in Rubaiyat of Omar Khayyam?, secondly, how is the frequency of the features of the verbs in Rubaiyat of Omar Khayyam?, thirdly, how the important characteristics of the verb is united with the style and content of Rubaiyat of Omar Khayyam? In the first place, in order to answer the research questions, the verbs in Rubaiyat of Omar Khayyam were extracted inductively. Then, the pivotal characteristics of the verbs were described in terms of grammar. Finally, the link between verbs and speculative style of Rubaiyat of Omar Khayyam was analyzed. The result of this study indicates that, in terms of time, the verbs in Rubaiyat of Omar Khayyam are attached to the present time, and they are in line with Khayyam who gains ground. In terms of the verb moods, in the first place, indicative mood is mainly to express the certainty of the message of the Rubaiyat and secondly, the imperative mood is to invite the addressee to live blissfully. In terms of the subject, mostly third person is used to attract the addressee to see the reality of essence and the surrounding world and referral to the external world. Most of the verbs are transitive and the collocation of the sentence structural components aims at a clear-cut and direct representation of the sentence message.

The myth of Keyumarth is one of the most important myths of Iranian culture enjoying a high research capacity in various aspects and qualities. Therefore, it requires systematic and consistent theory-based research and literal criticism. In the present research, an attempt has been made to analyze Keyumarth myth based on the theory of structuralist mythology from Levi Strauss. Since enough and even more traditional literary criticism-related studies have been conducted on books such as Shahmnameh, and systematic and modern critiques have not received enough attention, a theory-based research considering literary criticisms approaches richly needs to be carried out in this area. The present study followed a qualitative design making use of a plenty of literary and documentary studies; i.e., first, the narratives related to Keyumarth myth were extracted from various books and then they were classified. Then, mythological units were extracted from among the narratives, arranged in a dichotomous manner and finally analyzed. The results of the present study revealed that the structure of Keyumarth myth is based on three dichotomies: holy/ unholy dichotomy, power/ power decline dichotomy, and nature/ culture dichotomy.

Katebi Nieshaburi is one of the famous poets of ninth century AH and is a pioneer of the Indian style. His divan (collection) of Ghazals (sonnets) has been corrected and published only once using a limited number of manuscripts. The published divan of sonnets of Katebi does not include all of his sonnets; so that there are 124 sonnets more than published version in other manuscripts that the correctors have not used them. In addition to the corrected divan, there are shortcomings that necessitate re-correction of this divan. There are defects such as lack of complete introduction and tables of content, lack of a section called glosses, incorrectness of the alphabetic order of sonnets for easy reference, existence of mistypes, missing words and incorrect refrains and so on, which necessitate exact correction of this eminent poet for eliminating these shortcomings. The purpose of this paper is to elaborate on the dimensions the defects of the Katebi’ published divan and to provide a context for improvement. To correct the problems in divan, seven new manuscripts were not used by the correctors. Because none of the manuscripts is significant in terms of accuracy, dating, and completeness over the other, problems in the published version of divan have been corrected by the eclectic method.

The outstanding importance of Soozani Samarghandi’s Divan (collection of works), the poet of sixth century, is due to the use of numerous words related to overseas as well as less frequently used words in two Arabic and Persian languages. The lexical aspect of Divan originates from the assiduity of lexicographer to Soozani’s poetry to elaborate the meaning of words. Due to the unfamiliarity of some related words, distortion and falsified correction made and the related results got into the typographic text of Soozani’Divan published by Nasseraldin shah-e-Hosseyni. This research aims to correct 12 couplets out of Soozani’s Divan volume. It is conducted based on the newly published manuscript. To this end, the picture of manuscript provided. The required data collected by referring to presented manuscript and some other Persian dictionaries .Since manuscript of Soozani’s Divan are mostly succedanous and related to Safavi dynasty and the next era, it has undergone distortion and correction. In the present study, 12 couplets corrected by referring to library references. To do this, the collected couplets compared and various dictionaries were used to describe and analyze the couplets.

From the modern approaches to reading and criticizing literary texts, the theory of the ‘Gerard Genette’, which, in its interrelated axis, suggests three types of "explicitly deliberate", "hidden-deliberate," and "implicit" links between the two texts. In the field of literary studies, in the subject of the impact of texts from each other, important points in literary techniques such as adaptation, assurance, resolution, insertion, interpretation, and sometimes plagiarism are raised, which have always been the subject of attention from the rhetoric. The book, "Mesbah al-Hadaee and Moftah al-Faha", by Ezeddin Mahmoud Kashani (d. 735 AH), according to his firm position in the studies of Islamic mysticism in mystical topics that are the idiosyncratic terms of mystical expressions. All three types of effects based on the theory of Genette were from the Nahj al-Balaghah. In this paper, we try to revisit the four chapters of this book from this perspective. According to what follows, it can be said that Nahj al-Balaghah is a hypertext that Kashani has approached by authoring Mesbah al-Hdayah and the presence of the words of Imam Ali (as) in most of the lines of Kashani's book is bold and undeniable. The research method in this analytical-descriptive study is done by comparative analysis and providing evidence.

The correction of Divan-e-Nizamoddin Astarabadi have been published by the Library, Museum and Document center of Iran Parliament. Nezam is a powerful poet of the 9 and 10th century. He has a particular interest in the Iraqi style of poetry, in particular, Salman Savighi, Khaghani and Anwari. Because he had already told the brainchild, his poems are ambiguous and mysterious that remind Hindi style. He is one of the poets who changed the style from Iraqi to Isfahani. He praised Imam Ali (AS) and other Shia Imams. He was particularly interested in Shi’a literature. These poems have established his position in ritual literature. Especially since he lived in the days before Safavid Dynasti. Regarding the co-authors of this work and thanks for the efforts they have made, we have reviewed the correction of this book in this article. Due to the religious content of the book, and its affiliation with the Shia literature expected more time was spent to correct this book to be more precise. Tips were found in the analysis of this correction along with comparing it with handwritten notes. That is subject of this research. The major drawbacks of this book are: the book's introduction is incomplete; there is no scientific way to correct the text; they have made a mistake in choosing the correct words from the manuscripts; they have not taken into account the meaning of correction; very spelling and print carelessness and deleting poems. The book does not have odes list. Book poems do not have row numbers. The title of the book does not represent its content. It did not refer to Saadatnameh Masnavi and Dastur-e-Moamma.

Nameye Bastan is a book written by Mir-Jalal-al-Din-Kazzazi, in the editing and interpretation of Ferdowsi's Shahnameh. In editing, marking helps readers read and understand texts, but the great beauty of this work is in the aspect of its interpretation. This book contains useful and educational points in linguistic and literary discussions, the etymology of words in Iranian languages ​​and mythological discussions. However, this book could be better than this, and because of that, the author published new editions of the work. Obviously, criticism should help to improve this, but criticism must have the characteristics of accuracy, honesty, and trust. This paper seeks to discuss the mistakes in Nameye Bastan, especially in the interpretation of poetry, as well as in the correct writing of poems. But it can be seen that the discussions in a significant number are inadequate, short, and simple, sometimes based on self-citation, physical and far-fetched expert knowledge, lack accuracy in terms of interpretations, sufficient evidence, precision in referral, honesty, and trustworthy. As some of the author's commentary has been cut off, they have narrated one of the few points that the author has discussed for immersive curiosity, in order to be able to violate it, they have hidden the other aspects of the debate. In this paper, we also quoted and criticized five of the criticisms of this article to illustrate the deficiencies of the article. Meanwhile, the other purpose of this review, as will be seen, is a detailed report, full of evidence, of the same poems that had been criticized before.