mohammadreza najarian

"Sandbadnameh" by Ẓahīr al-Din Samarqandī is one of the most famous literary works from the 6th century AH. This book is a prime example of ornate prose, which holds significant importance in stylistic studies of elaborate prose. The work is adorned with literary devices, verses from the Quran, Hadiths, and Arabic and Persian poetry. It comprises 33 narrative sections, with Arabic poetry found in 26 of them. Some of the stories include: "The Village Chief with His Wife and the Parrot," "The Farmer's Wife with the Grocer," "The Merchant's Wife and Her Husband," "The King of Kashmir's Story," "The Story of the Male and Female Partridge," "The Farmer's Wife with the Grocer," "The Prince's Story with the Minister and the Ogres," "The Soldier and the Child with the Cat and the Snake," "The Bear, the Monkey, and the Fig Tree," "The Prince with the Bathhouse Attendant and the Woman," "The Tale of Love, the Old Man, and the Crying Dog," and "The Hunter, the Dog, the Honey, and the Grocer."This article examines the authenticity of the Arabic verses in "Sandbadnameh," their translations, and traces the poets. It also analyzes the emphasis, descriptive and metaphorical purposes of the verses within the narrative's thematic and rhetorical contexts.

This article examines a specific category of individualistic tendencies - called social dilemma - during Golestan Saadi's individual teachings. Social dilemma is a category of individualistic tendencies that refers to a specific type of conflict between individual and collective utility; In a way where individual benefit is very impressive, but if most people ignore the collective benefit and behave selfishly, a social disaster will occur. Especially, if the choice of those people has a significant impact on the fate of the whole society according to their position and role in the society. Saadi has used the category of social dilemma to explain some individual teachings in Golestan stories; So that, clearly, the audience of his teaching is aware of being at a social crossroads and advised them to choose the collective benefit - due to the great impact of their decision on the fate of the society. In this article, after classifying the audience of Saadi in his teachings, extracting the teachings and examining the anecdotes in which a social dilemma can be seen, Saadi's address in each anecdote has been analyzed by mentioning the social dilemma in front of them.

In narratives and fictional poems of Persian literature, warrior and independent women are mentioned, who lived together as a group and away from men, and took control of their own lives. These women are seen in most of the Eskandarnamehs. There is a brief reference to it in the Samnameh. This article attempts to investigate the story of Women's Town (Shahr-e zanan), which is a recurring theme in fictional literature, in various texts along with the Samnameh. For this purpose, it attempts to study the manifestation and appearance of this city among the works in question and analyze the features, foundations and themes presented in them and compare these cases with the features and themes explained in the Samnameh and clarify their similiarities and differences or the similarities or differences in the origin of these narrations. Ultimately, what follows can be summarized as follows: In Women's Town of other texts (Eskandarnamehs), there is no lustful desire on the side of the hero of the story, but in the Women's Town of Samnameh the lustful desires of the women and fairies of this city are exaggerated. The origins and roots of this story can be traced back to more than the Eskandarnamehs and Amazons in the Greek and Roman mythology. And consequently, the foundation of this story was traced in Iranian mythology, or eventually considered as a combination of Iranian and Greek mythology; both of which are debatable.

This article, in order to depict the value and emphasize on the necessity of cognition about the epic of Battālnāmeh in Persian literature, first introduces this epic, its theme and its famous hero and then studies the attendance history of seyyid Battāl in Turkish, Arabic, and Persian literature and deliverers a list of various and multilingual manuscripts of this epic. In the following part, the paper talks about the possible narrator of this epic and in the final part, it introduces the Persian manuscript of Battālnāmeh and explains some special features of this manuscript.

"Maqamate Hariri" and "Maqamate Hamidi" are technical proses in Arabic and Persian literature. The present article studies the Samarkand Story in both works from structural, perspective, infrastructure, voices, time and place, description, dialogues, personification, characters and intertextual point of view as well as expressing the similarities and the differences. The Samarkand story in "Maqamate Hariri" is about an old man who advises people during the day but he ignores them all and does something different during the night. In "Maqamate Hariris" an old man is described who talks about Samarkand's people miserliness pettishly but he changes his mind and praises Samarkand and its people just in time. The similarities show that Ghazi Hamideddin had enjoyed "Maqamate Hariri" in his literary work.

Abu Tāher Tarsusi is one of the literate and eloquent narrators in Persian literature that has been known by two published narratives called, Darabnameh and Abu Moslemnameh. A theory has been given already about his historical identity and assignment to the court of Sultan Mahmud of Ghazni. For the first time, this research has attempted to propose other possibilities during the first theory by newfound documents that obtained from the other Tarsusi’s narrative, called Qeran Habashi. This paper analyzed in three parts of great Shahnameh, Gitinama Minar and twofold sources along stating some reasons and the results of this research indicate the Abu Tāher presence between the ends of the Ghaznavid dynasty to the middle of the Ghurid reign. Based on this article evidences, Qeran Habashi was the last Tarsusi’s work and its hero is another desired and idealized figure of sahib Qeran Sultan deeds, Ghiyāth al-Dīn Mohammad Ghurid, that her mother called him, Habashi.

The main theory of this study is to point out the existing difference between lyric and epic love. On the one hand، this Issue has not been done in Iran and the other hand the Iranian researchers didn’t pay attention to this subject in their studies. Most of papers study epic love by realization that created from lyric love. Because of this existing deficiency research some surveys relying on these attitudes and incorrectly identified genre of some epic texts. This paper tries to describe some unspoken aspects of love and marriage motif deep structure in epic texts and shows Special features of the Love in epic genre and reveal false realization of some literary genre of these texts as well. Therefore in research Method، after considering a new definition of the epic genre، studied nineteen epic narratives in prose and verse Form and conclusions has been released in four part: direct correlation of love and Validity and Stigma (called in Persian Name Va Nang) and The role of this interaction in the creation of the epic; the epic Hero Transformation in the face of love; Marriage with a foreign princess and epic love Narratology.