محمود مدبری

The Persian poetry has ever been experiencing innovations as an actual element for distinguishing some poets from others, or a period’s poetry from the previous ones. This, in its turn, eventually leads to the emergence of different styles in poetry.Using innovations such as compound neologisms, the stylist poets of all ages have given some uniqueness to their language.Shafi’i-Kadkani is a rare eloquent poet in our time because of his close acquaintance with Persian’s classic language and literature, as well as his wide knowledge of contemporary poetry and literature. His simultaneous knowledge of classic andcontemporary literature is of a salient representation in his poetry. One among the linguistic characteristics of Shafi’i-Kadkani’s poetry is his intelligent use of compound words. Some of those words are coined by the poet himself, while the usage of some others could more or less be traced back to the classic or contemporary periods of Persian poetry. This paper lays stress on the derivational and compound neologisms that, according to his language of poetry, the poet has coined and used. Regarding the significance of word-formation in poetry, it seems an essential requirement to investigate this feature in the poems of prominent Persian poets.Shafi’i-Kadkani is a select poet of contemporary poetry whose verses fairly fit such an investigation. Compounding-processes in the nominal and adjectival categories, as well as their positive effects on the improvement of this poet’s verses, come within the scope of the present study. The poetic achievement of the poet throughout half a century, includes 17 poem-books compiled by the poet in three collections as follows:The first collection, entitled “A Mirror for Voices”, consists of seven poem-books, composed between 1337-1355, including ‘The murmur of voices’, ‘Night singing’, ‘Out of the leaf’s mouth’, ‘In Nishapur’s allées’, ‘Like a tree in the night rain’, ‘about being and singing’, and ‘The fragrance of the river Mulian’;The second collection, entitled “The mountain deer’s second millennium”, covers five poem-books named ‘The cypress of Kashmar’s elegies’, ‘A letter of desolation’, ‘The sonnet for sunflower’, ‘for the pigeons’ admiration’, and ‘The comet’;The third collection, entitled “An infant called happiness”, includes five poem-books named ‘below this welkin, and above this earth’, ‘The acme of thriving and composing’, ‘From everlasting to eternal’, ‘The petunias’ trumpet’, and ‘in a cold night with no song’.

This research follows a descriptive-analytic method, and uses a library-based and note-taking research method to collect the data and elicit the necessary content. In this regard, besides the 17 poem-books of Shafi’i-Kadkani, more than 20 valid resources in Persian grammar and linguistics have been surveyed.

To compose a poem, all poets employ some specific techniques and modes, one of which is the process of coining or inventing words and combinations, called lexical deviation by the formalists. This process is clearly and widely applied in Shafi’i-Kadkani’s poetic language. To survive and maintain its freshness and attraction, language needs neologisms. Word-formation process is divided into compounding and derivation. In compounding process, two different lexical items are combined to generate a new lexical item. This study investigates the process of compounding (combining lexical items) as well as the process of affixation (adding prefixes and/or suffixes to lexical items) under the general term of compounding since those processes are jointly utilized to convey new meanings and to invent new words with new meanings, too.More precisely, this paper focuses on studying compound/derived nouns and adjectives either narrowly used by other poets or coined by the intended poet with no record in previous works. It looks as if, while composing his poems, the poet has had in his mind an image of the complex word with no previous use, and having the knowledge of language capacity and potential, he has invented those words.Compound and derivative neologisms in Shafi’i-Kadkani’s poems could be divided into different types from a grammatical, linguistic or rhetorical point of view. This paper firstly divides those words into two major categories of Noun and Adjective, and then, based on the word-formation processes involved, investigates them in three different types of compounds, derivatives and compound-derivatives.Some processes to form compound nouns and adjectives used in Shafi’i-Kadkani’s poems are as follows:Inverted genitive compounds, combining two nouns: vine-leaf (تاک برگ), mourning-dress (سوک جامه), walnut-tree (گردوبن).Genitive compounds, combining two nouns without the genitive/ezāfe marker -e: pomegranate garden (باغ انار), sand-wind (ریگ باد).Compound nouns, combining two nouns (with a relation of simile) making a new nominal concept: fire-bush (آتش بوته), blood-leaf (خون برگ).Inverted adjectival compounds, combining an adjective and a noun with a total nominal concept: leaf-clothes (برگینه جامه), thirsty-year (تشنه سال), ominus weep (شوم شیون).Derivative nouns, derived from adding the suffix “-ā” to an adjective: quiet+ā (خامشا), wide+ā (فراخا), soft+ā (نرما) (softness).Derivative nouns, derived from adding the diminutive suffix “-ak” tonoun: rain+ak (بارانک), stream+ak (جویک).Derivative nouns, derived from adding the suffix “-vār/-vāre” (-like) to a simple noun: body-like (تنوار), wave-like (موجواره).Compound-derivative nouns, derived from adding a suffix to a noun-present stem combination: curtain-pulling (پرده پردازی).Compound adjectives, combining a noun and an adjective (in the form of inverted adjectival compounds): fettered-feet (بسته پا), a remote past year (دیرسال).Compound adjectives, combining an adjective (in adverbial function) and a noun: heavy-raining (تندبار), gentle-shining (نرمتاب).Compound adjectives, combining two nouns: mirror-ritual (آیینه آیین), winter-sleep (زمستان خواب).Compound adjectives, combining two nouns (having a relation of simile): brick paving (آجرفرش), silk-voice (ابریشم آوا).Compound adjectives, combining a noun and a present stem giving a present participle: sky-link (آسمان پیوند), resistance-burn (backbreaking) تابسوز, intellect-split (mind-illuminator) (خرد شکاف).Compound adjectives, combining a noun and a past stem giving a past participle: mirage-born (سراب زاد), shadow-grown (سایه رست).Compound adjectives, combining an adjective and a present stem: sharp-shine (تیزتاب), bright-adorn (روشن آرا).Derivative adjectives, derived from adding the suffix “-nāk” to a noun: odor+nāk (fragrant) (بویناک), smoky+nāk (smoky) (دودناک).Derivative adjectives, derived from adding the suffix “-ān” to a verb: germinate+ān (germinant, sprouting) (رویان), wash+ān (detergent) (شویان).Compound-derivative adjectives, derived from adding the suffix “-ān” to a noun-present stem combination: wing-open+ān (flying) (بال گشایان), shadow-drag+ān (shadow making) (سایه کشان).Compound-derivative adjectives, derived from adding the suffix “-gūn” (-like) to a compound noun: moon-shine+gūn (moonshine-like) (ماهتابگون).Compound-derivative adjectives, derived from adding the intensifying infix “-ā” between a reduplicated djective: green-ā-green (absolutely green) (سبزاسبز), soft-ā-soft (extremely soft) (نرمانرم).It should be noted that this paper disregards studying the common Persian compound/derivative nouns or adjectives used in Shafi’i-Kadkani’s poems, such as harm-doer (maleficent) (زیانکار),background (پیشینه), skillful (چیره دست), capillary (مویرگ), ration-eater (hireling) (جیره خوار), shamefaced (شرمگین), ill-fated (شوربخت), and many more similar examples.

Inventing word combinations is a distinguishing element in language, and a factor in bringing it out of its quotidian use. Compound and derivative nouns and adjectives in Shafi’i-Kadkani’s poems, have an idiosyncratic structure and an outstanding frequency. Besides making use of common combinations in old Persian poetry, he, if necessary, invents combinations, forms the compound and derivative words as he intends, and employs them in his poems. His skillfulness in inventing combinations brings an eye-catching sitting of combinational neologisms to his linguistic context eventually leading to a revival in his language. Moreover, Shafi’i-Kadkani paves the way for making and using such combinations in future, and in his turn, expands the lexical amount and enrichment of Persian language.The total number of compound and derivative nouns and adjectives invented and used by Shafi’i-Kadkani in his three poetic collections, counting the narrowly used compound nouns and adjectives in previous Persian poetry, is 85 (nouns) and 93 (adjectives).Investigating the nouns and adjectives used in Shafi’i-Kadkani’s three poetic collection gives the implicit result that his innovation in making and using compound and derivative nouns and adjectives in his first poetic collection, “A mirror for voices” (including 17 poem-books composed in 1337-1355), reaches to a total of 24 nouns and 32 adjectives (the sum total of 56). In his second collection, “The mountain deer’s second millennium” (including his next five poem-books), the number rises to 44 nouns and 44 adjectives (the sum total of 88), and in his third collection, “An infant called happiness” (including his five most recent poem-books), the number falls to 15 nouns and 18 adjectives (the sum total of 33).Considering the equal volume and temporal order of composing those three collections, it’s revealed that making and using such compound and derivative words in his second collection, enjoys a rise in relation to his first one, but meets a small fall in his last collection.

"The hero's journey", Joseph Campbell's famous theory, is influenced by Jung's ideas and based on Arnold van Gennep's ideas. Campbell has considered the three-phase pattern (separation, transition, and return) along with their subsets as his model. This pattern, along with other patterns that have emerged from it, is the basis of the archetypal criticism. In the present article, by using analytical-descriptive method, the story of "Zāl and Rudāba" of Shāhnāmeh is analyzed based on this pattern. The findings of the research show that the story is generally consistent with Campbell's hero's journey pattern, but its details and subcategories have differences with the pattern. In the story, the stage of the "belly of the whale" is not seen; There is no "temptation" in the stage of transition to prevent Zāl from continuing the journey; and in the stage of return, refusal of the return, magic flight, and crossing of the return threshold are not seen.

Motif is one the most important elements in consolidating narratives. It can affect the narrative both structurally and syntactically and due to repetition creates beauty, attraction and semantic salience in narrative situations. In epics, too, they are the links between the written epics, most of which are recreating the motifs of earlier works. They can be divided into main titles such as people, events, places, objects, concepts, and several subheadings can be considered for each title. The aims of this research are these: finding high frequency motifs in the selected epics, declaring their similarities and differences and specifying their effects in the processes and results of epics.

Analytical-descriptive in which poetic books such as Ghazan Nameh, GaoonNameh, ZafarNameh, HomayounNameh, SharafNameh and TimurNmeh were studied as the first step. Then their motifs were extracted and the most frequent motifs and their different subclasses were specified and named.

Motifs like causes of war, tact, tactics, treaty and message are the most frequent motifs of epic-historical works of this research. The motif of war with causes such as malice, Islamophobia, power-seeking and display of power is present in the works with the most frequency. Defensive, deceptive and destructive measures and tactics are applied in various ways such as ambush, corps formation, obstruction, deterrence, intimidation and influence in the enemy corps. Covenants are loyal, protective, coercive, utilitarian, reverse, murderous. Messages fall into the categories of written and oral, prophecy, and sleep.

In historical and religious dimensions. The subject of the work, the poet, his worldview and attitude, and his linguistic and expressive creativity have influenced the role of motifs.and changed them semantically. It has affected the quantity and manner of their presence and the manner of their use. The motifs, despite the variety of themes, advance the epic narrative and increase the reader's awareness of the causes of war, the reasons for defeat, victory, and the motives of war.

The similarity between myth and story has brought about theories based on which recurring elements between myths and stories can be explored and analyzed. This research, borrowing a descriptive-analytical method and following the theoretical framework of Carol S. Pearson and Hugh K. Marr Psychological -archetypal analysis in "Awakening of the hero within", and Joseph Campbell's The “Hero's Journey” theory, tries to examine the process of the "hero within" journey in the story of Bahram and Golandam. The study tries to analyze the manifestation quality of archetypes throughout the journey to show that the hero of the folk stories, like the sages, can step into the process of individualism and starts the heroic journey via the manifestation of these archetypes. Analyzing the mythical structure of this story, it turned out that the story consists of three stages of “departure”, “initiation” and “returning” which pave the way for the advent of the archetypes. The hero starts the journey by leaving home, and then the explorer archetype begins. Throughout the journey, according to fictional situations, the inner hero archetype faces metamorphosis and other archetypes arise consequently. The most vivid archetypes of Bahram are “lover”, “explorer” and “warrior” when the end comes by forming a family which shows the "returning" stage to the home environment where the “ruler” archetype occurs. The results of this study show that the story of Bahram and Golandam has a mythical structure, and can be analyzed on the basis of the archetypes theories, due to its psychological approach.

According to the theory of the Carol S. Pearson and Hugh K. Marr‎ ‎there are twelve archetypes as solution of awakening the hero ‎within ‎that including the innocent, orphans, protectors, warrior, explorer, ‎devastating, ‎lover, creator, ruling, sorcerer, wise, clown. In this study ‎to analyze the representative ‎of the characteristics of these archetypes ‎that there are in the characters in the ‎fiction of contemporary hero that ‎in the path of achieving human identity.‎ We ‎conclude that ‎Ravanypoor narrates and proceeds the novel in the postmodern style, ‎the character of "Ayene" in this novel ‎is the manifestation of the ‎innocent and orphans archetype‎ that with an aid of protectors,‎ ‎explorer‎‎, ‎lover and creator‎ passed the variant stages of his life and ‎evolution. These archetypes manifest as the stage of the travel, and ‎also the leader in the life and back her to the creator and painter wise ‎with the independent identity‎ to her family.

Lunar symbols refer to features that are related to functions and holy manifestations of the moon (as a goddess). These features generally include transformation, adjustment of time, making fate, fertility and rain bearing, revitalization, death and resurrection. Anything or phenomenon that has one or more of these attributes presents a lunar symbol and the moon dominates it. The lunar symbols have also been reflected in Iranian national legends. The legend of "Cheshme Pari", selected from Iranian Legends and Fairy Tales Encyclopedia, covers a collection of lunar symbols. By using descriptive-analytical method, the authors of the present article try to examine the legend of "Cheshme Pari" and to show the trace of worship of moon and water in the mythological beliefs of the Iranian people. Water is the most important symbol and element of the legend; it is pillar of the narrative and is present at all events. Almost all of the functions related to lunar have been used in the legend.

Focalization is a way of communicating or acquiring knowledge (information) in narratives. Studying ways of focalization in narrative means understanding and analyzing how the narrator distributes information. In different scenes of the story, the narrator, depending on the reaction he expects from the reader, gives the reader more information, equal to or less than the characters in the story. If the reader's knowledge is more than personalities, the result is suspense and if the reader's knowledge is equal to the characters, his reaction to the events and actions of the story’s characters is curiosity. And if the reader knows less about the story's characters than about the events, he is surprised. The purpose of this study is to investigate the ways of information distribution in the Shahnameh narrative of Khosrow and Shirin's story. It tries to explain methods and techniques of information distribution in the story and its impact on the reader.

Gérard Genette was among the first narratology specialist that draw attention to the distinction between seeing and telling in the narrative and set the two factors of focalization and narrative against each other. By proposing this contrast, he attempted to avoid the common misconception of the two concepts of narrative mood and narrative voice where the former refers to focalization in narrative and the latter to narrative.Focalization is, in Genette's view, the view that things are inexplicably seen, understood, and evaluated and it is one way of expressing or acquiring knowledge through narration where two components are necessary: The Actor or Focalizator who, with his perception, directs the story, and Focalized (object), something or someone that the Focalizator sees. In other words, both the narrator and the characters give us information about the story world in different ways. Despite the narrator who speaks about his perception, emotion and ideology, the character does not say or give anything precisely, but actually feels it when he sees something or hears something about it. The narrator is the communicative voice we hear through him, the voice, the emotion, and the ideology of the character.Narration is the act of narrating and telling the story by the narrator and it is done when knowledge is unevenly distributed. There is no possibility for narration in a world where all viewers are complete and omniscient. Thus, examining the focalization practices in the narrative, means understanding and analyzing how the narrator distributes information. In Genette's opinion, narration can lack focus, depending on the narrator's presence in the narrative and the extent to which the narrator transfers information to the reader. Either it has an internal focus, that is, a person narrating a fixed or variable position or having an external focus.

The methodology of this study is based on text description and analysis based on the structuralist narrative views of Genett and Rimmon Kenan. The method of analysis is based on dividing the story into three sequences and explaining the focalization techniques in each sequence. In each sequence, the most influential and contributing factors in distributing consciousness to the story are described as it is not possible to mention all the changes in the narrator's perspective or other focalizer of the story, nor does it lead to significant differences in research findings.

One of the most important aspects of artistic beauty of Shahnameh is Ferdowsi's art of storytelling and narration techniques. Narrationon techniques are all techniques that lead to the creation of different narratives of a story, the sequence in which events actually occur and is understandable from the text, and this requires narration, meaning the action or process of creating a manuscript. Narration is a way to alternate knowledge or awareness and is a set of possibilities to provide and monitor our access to a changing field of information. Therefore, attention to narrative techniques, can explain how information is distributed and presented and the effect of the text on the reader.Studying Ferdowsi's narrative techniques and the way information and focalization are provided in Khosrow and Shirin's story shows that the most important method of creating diversity in the narrative is changing the narrator-focalizer’s point of view and the dominant aspect of focalization in the story is objective focalization by the narrator-focalizer. Except from the opening scene, the wise narrator-focalizer's perspective is limited to one or a few characters or a closed scenes from a specific location, and except from the end of "About the greatness of Khosrow", it provides the reader with information, equal to the characters.In the story, the number of internal focalization (narrative from the perspective of characters) is much less than external focalization and in most cases, the internal focalizer places one person in the focalized position, thus revealing the focalizing emotions relative to the focalizing. In this way, the reader’s information is equal to the personality-focalizer and the reaction of the reader is curiosity.The dominant aspect of the story's coherence in the deep structure of the work is the ideological aspect of the story's focalization. As the narrator arranges all the events of the text from the beginning to the end in line with his ideology, he encompasses all the sounds in the text as a function of his voice.The main worldview of the narrative is the world’s unreliability, which is emphasized by the ill-favored image of prosperous people and the contradictions in the story. The author's voice, where clearly heard and distinct from the narrator's voice, is another emphasis on the ideological aspects of the text, which on one hand emphasizes the inescapability of death to the narrator's worldview and, on the other, expresses the author's ideology whosees himself immortal through speech.

In this paper, the Shahnameh narrative of "Khosrow and Shirin" has been studies in terms of focalization methods in order to understand how knowledge is distributed in. The results of this study show that the wise narrator-focalizer narrows the scope of his information through the change of perspective and objective focalization and equates the reader with the character in term of information seeking. Therefore, in the entirety of the work, suspense is the most important factor in motivating the reader towards the text, which is created by the reader's pre-conscious awareness of the main character’s destiny and because of the equal awareness of the reader and the story's characters, and in the part of the narrative of the story, stimulating curiosity is the most important reason for reading the text.The dominant aspect of the story's coherence in the deep structure of the work is the ideological aspect of the story's focalizations, which is perfectly consistent with the direct narration and clear voice of the narrator in cases where he speaks directly to the reader. The main worldview of the narrative, besides the world’s unreliability, is the ideology of the national epic of Iran; An ideology that considers art and wisdom indispensable to the king and considers killing the king a disgrace. The author's voice, while clearly heard and distinct from the narrator's voice, emphasizes the ultimate ideology of the text and the unconditional excellence of art and speech over royal glory.

Bishr and Hind is the name of an old story of Arab lovers, which was set in Medina at the time of Prophet of Islam. Ibn al-Nadim has narrated the names of both of them along with the names of other famous Arab lovers. The story is about Hind, a married woman, falling in love with Beshr, a religious person or a poet who always went to the Prophet’s Mosque. But in the end, they could not be together, and they both died and were buried next to each other. This story has close narratives in Arab literature, and for the first time, Ibn al-Sarraj al-Qari, a famous spokesman and litterateur of the 5th century A.H., has narrated it in the Masare' el-'Oshshaq in verse and prose. In Persian literature, given few references made by poets, such as Fakhr ad-Din Iraqi, Awhadi Maraghai and Khwajou Kermani, it is revealed that this story was known at least until the Ilkhani period. Hamd-Allah Mostowfi has attributed the Masnavi Bishr and Hind to Najib ad-Din Jorbazaqani and Amin Ahmad Razi in his tadhkirah Haft Iqlim, has narrated eleven verses of it in the name of this poet of the 7th century A.H. Currently, there is no manuscript of this book in hand.

Shah Jahangir Hashemi Kermani is a poet and mystic of the 15th and 16th centuries CE who was descended from Ghasem Anvar and Shah Nematollah Vally. After reviewing his works and other related historical documents and sources, it can be claimed that he was a great poet and mystic. His works can be categorized as the direct heritage of the mystic school of Nematollahiyeh. In his lifetime, Hashemi traveled extensively. Towards the end of his life he emmigrated to Sindh. There he was revered by Shah Hassan Arghoon, the ruler of Sindh, and other great personages of the region. His main verse collection was destroyed, and only a few of its poems have remained retrievable from some scattered Tazhkirahs. Mazhar-al-Asrar was his other work in which he was heavily inspired by Nezami’s Makhzan-al-Asrar. Fortunately, numerous copies of Mazhar-al-Asrar have survived. Composed in 1562 CE, Mazhar-al-Asrar was completed by Kermani while he was in Sindh. In 1568 CE, while he was returning from Sindh, he was killed by bandits. After reviewing and comparatively analyzing numerous sources, the present study presents a precise and comprehensive account of the life and the works of Shah Jahangir Hashemi Kermani.

Mirza Kazem Tabib Yazdi, was a significant but anonymous poet and physician of Qajar Period and from the Hakiman Family of Kerman. He was also in the family tree of the Nazem al-Atebba’of Kerman. In 1214AS/1250AH, he was born in Yazd. He passed his elementary level of education in Yazd and then moved to Isfahan to further his education. As the number of physicians were quite few during the Qajar Period, Mirza Kazem was ordered by the ruler of Yazd, Jalal aldole the son of Zal alsoltan, to go to Abarkooh to practice medicine and to stay there for the rest of his life. Eventually in the year 1304 HS/1343 HA he died with 90 years of age in Abarkooh. Only one complete handwritten version and one half-complete handwritten pre-version of Mirza Kazem Habib's Divan is available today. His Divan has more than 4200 verses and has been written in Sonnet, ode, Masnavi, Msmt, Tarji’ band, Tarkib band, quatrains and sub forms like Mostazad and refrain Mosammat and etc. In his poems he has selected the name "BASIR/Sage" for himself as a pseudonym which has remained with his offspring as their family name in the Pahlavi Period. Mirza Kazem is one of the innovative poets of the Qajar period. His innovation is observed in the figurative literature and literary elements that he has used from novel verbal commitment, which is also called Eltezam, Enat or Lozoom ma yalzam. In the book of Badi'(novelty) there has been only limited applicability of this literature, while Eltezam is one of the poetic pleasures of poets and has various applications. This literature has been used in Mirza Kazem's sonnets which seems that it could be assumed that he has been the founder of it, due to his massive use of the literature.
In many of Badi' (novelty) Persian and Arabic books, paying attention to a letter(s) or the sound before, the deletion of one or a few letters, or the repetition of one or more words in a poem are examples of the application of Eltezam. Now, the definition of this literature could be more than these uses. In fact, Eltezam in general terms means the use of any kind of adverb which its use is not necessary and the poet uses it for aesthetic creation and by committing him/herself to using it, makes his/her own task difficult.
The eltezam used in Mirza Kazem Tabib's poetry seems to be a creation of his own, which we have named Eghtezaye Darsadr. Using this literature gives the poem a certain music, yet only in the beginning words. From among the 165 sonnets which exist in Mirza Kazem Tabib Yazdi's Divan, 128 of them have been created with a careful consideration of Eltezam, which have made a total of 1272 verses of the Divan. The first commitment observed in these sonnets is their number of verses. Mirza Kazem Tabib has written most sonnets in ten verses, in such way that in the total of these sonnets only two of them have nine verses. Yet the commitment or Eltezam which we are concerned with here is the commitment that the poet feels in using a certain letter in a certain place of a verse. The poet seems to have attempted to make such a collection but it has remained unfinished. In the first section of this collection he has finished all verses of his sonnets with the first letter of the alphabet and hence he has named this section as "Bab A". Then he has continued orderly, in every sonnet of this section, he has considered a letter from the alphabet and has begun the first and second verses of the poem with that very letter. In the following sections, "Bab B", "Bab T" and "Bab C”, he does the same, and only after a few sonnets from "Bab J" the collection is remained unfinished.
This literature, besides its aesthetic contribution and beauty that it has to the poem, has a few disadvantages too such as the use of rare archaic words and sometimes even changing the spelling of the words. Although these examples are the result of the difficulty of the Elztezam literature, but it is also received as a kind of frailty on the part of Mirza Kazem's poetry language. In general, as this special Eltezam adds a new pleasure to the elements of poetry, it is very crucial to know.

The mystery of creation as a complicated concept is present in all aspects of life, thinking, and imagination of human beings. Art and literature provide appropriate grounds for the reflection and representation of this amazing issue. Abolghasem Ferdowsi, is a poet who was born in the era which was the climax of the flourishment of Islamic civilization and formation of Mu’tazila, Ash’ari , and Shia schools of Kalam, and his poems are based on his wisdom and thoughts about God, man and existence. In this article “remarks about the creation of the world” as a part of Shahnameh is analyzed through studying the important philosophical principles and framework (e.g. creation of the world, pre-eternity or creation in time, the primary essence and the stages of creation) about the creation of the world in Ferdowsi era. This paper tries to show whether common beliefs of Ferdowsi era have been reflected in his remarks about the creation of the world. The results show that in Shahnameh the intellectual and philosophical thoughts of ancient Iranians and Islamic philosophers are accompanied together in a way that it is impossible to delimit Fedowsi to a specific discourse or thought, and he can be considered a representative of the wisdom of “ Islamic Iran” in his era.

This research Studies the Manuscripts Available in terms of their codicological& bibliography. The codicological features: script, date and place of transcription, type of cover and ornamentation, also bibliography Information: language, types of manuscripts,subject and Similar Titles.
Design/Methodology/Approach: The research is descriptive with Content analysis type, research population, the number of 639 manuscripts in the document center of Shahidbahonar University of Kerman
Findings: There are 1012 treatise in 639 volumes of manuscripts that 121 collection (%18.93),The more manuscripts (%60.4) in Arabic. Religious Sciences with 54 percent, the highest share was allocated to the subject. A majority of the manuscripts(26%) are related to the 13thHijri.. The transcription place of most (%87) of these manuscripts is in Iran territory. The most commonly used type of script (%44) is Naskh. The most popular type of cover(%43)used for these manuscripts is Leather binding and the most infrequent type is laqured binding.. The oldest manuscript belongs to the 9thHijri century. The most commonly of script is Naskh&the most of cover used is Leather bindingThereligious jurisprudence is the highest share subject.. The highest Similar Titles is "Favaedolziaeie" alsothere are 22 valuable manuscript in the research population

Considering the motif as one of the effective elements in criticism of stories is an important issue in ýliterary ýýcriticism. Belgheysý ýSoleymani, is one of the successful ýwomen writers ýwho use political, social, cultural and ýemotional motifs in their works. She has a distinctive view of life and takes advantage of motifs to emphasize these views. Belgheisý ýSoleymani is a local author and regards the customs around herý. Her main concern is the ýproblems of women on the way toward development and perfection.ý ý Using content analysis method, this study first identifies recurring motifs in the works of Soleymani and then categorizes them according to their types and functions. It was concluded that the motifs are mostly of ideological type, and that Soleimani takes advantage of different functions of motifs to enrich her works. The relationship between motifs and other elements of the story like character, setting, and theme were examined as well, and it was concluded that there Is a close relationship at work.

Three as a number is used with its symbolic concepts of perfection, accomplishment, and plentitude in most of religions, cultures, and myths. Also this number is used to show the extremity of goodness and evil. The existence of triplets is one of the instances of the functions that the number three plays in Shahnameh and the myth of Zahak. The results of this library study, the aim of which is to investigate symbolic triplets of Zahak story and their opposition, show that triplets are the representative of mythical concepts of the number three and the opposition of goodness and evil. The three-times appearance of demon to Zahak makes him reach the climax of his cruelty and tyranny. Also, Jamshid’s triple undoing by Zahak, and then Zahak’s triple annihilation by Fereydoun show that sometimes triplets are in opposition to each other, and, though these triplets do not perish in this conflict, they are both predominant and conquered; in this myth, for instance, Fereydoun, as a symbol for perfect goodness and a sign of Ahura, is after the overthrow of Zahak (the extreme evil), and with the help of his brothers and Jamshid’s sisters, he fights the triple evil (Zahak); in the end, though Zahak is defeated, he is not destroyed completely.