مجله متن شناسی ادب فارسی
سال ششم شماره 2 (پیاپی 22، تابستان 1393)

Poetry is a mixture of thought and imagery. Thoughts of the poet are his language expressed in the form of verse and cross to the mind of the reader. Poet’s worldview and the quality of explaining phenomena affect the structure of his sentences. Consequently، styles and literary genres select certain syntactic patterns. These patterns، indeed، express the perspective and subjectivity governing that style or literary theme. There are numerous syntactic factors which show the differences of author’s perspective and attitude with regard to a subject or component in the text but this article considers two elements of modality and temporal variables in the Mathnavi of Veis va Ramin. This research aims to elucidate the view and attitude of the poet in using verbs، adverbs، adjectives and the organization of the words and reflection of the poet’s voice in the syntax of sentences. The results of this study show that the attitude of the poet is controlled by the dominance of events and his usage of present tense adverbs implies his realism and his confidence in the subject of the tale. The characteristics of Fakhr al-Din have an absolutist and equal attitude، and by referring the discourse to the moment of speaking and using present tense and distinguishing and affirmative adverbs the absolute and definite belief of the poet in love and its consequences are shown.

Madness is word which is of relative validity and its present discourse still needs reformation. Thus، with a qualitative approach، while studying the notion of madness and its evolution throughout time، this research aims to investigate the temporal events influencing such notion. Looking at genealogical approach of Foucault and using qualitative content analysis method، this study reads the evolution of this concept in the works of Persian lasting poets like Ferdowsi، Nizami، Sa’di، Molavi and Hafiz، and tries to reform this discourse as much as possible. The results show that from Ferdowsi to Molavi the usage of such concept has been noteworthy but after him such attention decreased. Semantically، investigation of madness and its evolution as well as the study of changes in the features of Majnoon character show that، in all times، the poets have two positive and negative interpretations of madness (secular and divine madness) and it was the element of war which directed the vast attention of society to this notion and after the subsiding of war the ground for rationalization was provided. The exploration of Majnoon character shows that Hafiz’s Majnoon is the most egoist، Sa’di’s the smartest، Molavi’s the most happy and Nizami’s the most lover. Approving Foucault’s principle of exclusion، this study shows that the influence of temporal events on the changes of words cannot be ignored.

Sa’di is one of the most realist poets and writers of Persian language. Particularly in Gulistan which is the best scene of his realism he never dissociates from reality and tries to offer the most practical solutions for solving the problems and essential needs of human being. He is considered as one of the most down-to-earth teachers of pragmatic ethics in Gulistan. On the other hand، Mazlo is considered as the father of humanist approach in psychology. As a teacher of humanist ethics، Sa’di has many common grounds with Mazlo regarding the basic needs of human being. In addition to showing the points of agreement and disparity in their theories about the basic needs of human being، this article aims to explain the importance of these needs based on Gulistan and Mazlo’s prism of basic needs. Sa’di is of the same opinion with Mazlo in most of the generalities and even the details and the amount of importance ascribed to basic needs. But there is one fundamental difference in Sa’di’s thought regarding the four basic needs; this need adds the determined as capacity to the prism of basic needs of Sa’di.

Epistolary or letter-writing is one of the important genres of prose literature which reached new glory in Safavid time and numerous works have been written about this. Amongst these، Nameh Nami by Khandmir is of much significance، though it has been discussed less than other epistolary texts. This work is a collection of letters and correspondences gathered from previous official and court letters and correspondences by Khandmir as an instruction of letter-writing for secretaries. He has written these letters during the years 925-926 (A. H) while he was 46 or 47 and resided in Hirat. This book consists of a preface and nine chapters each of which consists of some sections named as “Satr” or “Lafz”. This work is one of the historical texts of Timurid and early Safavid times and، in addition to literary aspect، is significant historically. The prose of this work is not uniform; it has a plain and simple prose in describing historical evens whereas in the preface of the work، the opening section of letters and eulogy of princes and senior figures all poetic and literary delicacies have been used and a beautiful example of rhythmic epistolary prose of Persian language has been created.

Literary orientation and stylistic novelty used by Beihaghi in writing his history has made this work a distinguishable work among all historical works of Persian language. This work bears many advantages with regard to both Persian prose and historiography. It is also an ethical and educational work. Since one of the important features of this era’s prose is the using of verses and hadiths، the authors of this article aim to investigate descriptively-analytically the stylistic and rhetorical art of Beihaghi with regard to using verses and hadiths in this work. Thus، two main questions are raised: 1) regarding the kind of using verses and hadiths in the prose of that era، which methods have been used more by him? 2) have such verses and hadiths had other functions and usages and how much have they added to the stylistic significance and art of him? The results of this study show that، more than being a decorative element prevalent in that era، these verses and hadiths have been used for political، moral and instructive functions as well as analyzing the personality of people، suspension etc. In this study، some instances of using verses which join to the sequence of prose without any distance and have moral instructive function are pointed out as the most prominent methods of using verses and hadiths.

The necessity of recorrecting some Persian prose and poetic texts is an undeniable fact، especially the texts before the raid of Mughals. Unfortunately، the main problem of corrected texts is not just the lack or not using of authentic manuscripts but the reason should be sought in the method used by correctors and their lack of attention to several literary and linguistic principles. The negligence of such principles has occurred in the correction of ‘Onsori’s divan and caused his verses to be far from authenticity yet. This article aims to study and correct some verses of his divan which have been recorded incorrectly in Yahya Gharib (second impression، Tehran، 1344) and Mohammad Dabir Siaghi (second impression، Tehran، 1363) publications. Most corrections have been done on the basis of grammatical and semantic criteria and with regard to the conventions of old Persian poetry، especially methods of rhyming and imagery. Doing so، in addition to manuscripts used by the mentioned correctors in their correction، another manuscript which is older than those ones is also used in this study. Undoubtedly، in selecting the correct record، the author has not judged on the basis of subjective criteria and has not considered the stylistic characteristics of the poet as proven and absolute data. The author has always been loyal to the principle that any guess and hypothesis should have a background of textual criticism; otherwise analogical and subjective corrections are created to which most of the prose and poetic texts have been subjected until now and various kinds of distortion are found in them.

The difficulties and ambiguities of Khaghani divan are the result of his cultural background and vast knowledge rather than literary techniques and linguistic arts of the poet. Such cultural background works as raw material and helps the poet in creating novel themes، images and expressions. His vast knowledge helps him to not be trapped by repetition in his artistic creations and his poetry gains prominent variety of themes and imageries. In spite of the power of literature and literary texts for explaining various aspects of the life and civilization of the predecessors، the using of coins in Persian literature has not been considered so much. This article is an attempt for describing a corner of difficulties and disambiguating some ambiguities of Khaghani divan. Contemplating on verses and searching in authentic and original sources، this study aims to provide a notable analysis of Khaghani’s cultural background regarding the mentioned coins in his divan.