مجله پژوهش های نثر و نظم فارسی
سال چهارم شماره 1 (پیاپی 10، بهار و تابستان 1399)

Ferdowsi's Shahnameh has been written in the margins of two manuscripts of Hamadollah Mostowfi's Zafarnameh. The first edition, dated back to 807 AH can be found in the British Library in London, and the second, dated 808 AH, was in the Museum of Islamic and Turkish Art in Istanbul. The version dated 807 was published in Tehran in 1998 and it was found relatively  important in the context of Shahnameh; in particular, the intellectuals considered the margin of Zafarnameh dated 807 to be the same version that Hamadollah Mostowfi corrected between 714 and 720. However, this manuscript has not been seriously studied and evaluated so far. Therefore, in this article, we examined the preface of Shahnameh in this manuscript and measured it with the correction of Dr. Khaleghi Motlagh in order to determine its relative validity based on this scope of study. This manuscript is in almost good condition in terms of recording verses, and the number of added verses is not very large; in such a way that the preface is 209 verses in the corrected Shahnameh of editor, Dr. Khaleghi Motlagh and 222 verses in the margin of Zafarnameh. In terms of vocabulary recording, the situation of this manuscript in this section is appropriate and desirable, and its difference with the corrected Shahnameh of the editor, Khalegh Motlagh is not great. The manuscripts are not in good condition and they are very clumsy; in such a way that in addition to the back and forth verses  in front of and behind the headlines, the headline of praise of Mahmoud includes the praise of Amirak Mansour and the headline of the kingdom of Kiomars contains the praise of Mahmoud. Ignoring a few such mistakes and the occasional inaccuracies of the scribe in punctuation, the margin of Zafarnameh can be considered as a clean and reliable version of Shahnameh that should be paid more attention in the textual research of Shahnameh.

A story can be expressed both through text and images. If the story is expressed with images, then it is called a comic strip. By comic strip is meant a sequence of drawings that mostly include text or captions. Although, in western art, the comic strip is not very old, yet its origin can be found in cave paintings and ancient Egypt paintings. This article studies   Persian paintings to show that the comic strip can be found in this kind of painting as well.  To this aim it investigates the similarities and differences between comic strips and Persian paintings. The hypothesis is that Persian paintings and comic strips are similar in their type of storytelling but different in their methods of illustration. The methodology is a study on some Persian miniatures, looking at changes through historical periods.

The trace of Pahlavi words can be found in different dialects of Iran. According to some researchers’ studies, Shushtari, as one of the south-western dialects, has some Pahlavi words. This study aims to investigate the morphological structure of Akār, as a Pahlavi word that shifts to cogor, in Shushtari dialect. This article attempts to study the sound shift of “hamzeh” as a glottal consonant to "ع" as a pharyngal consonant is considered. The result of study showed that the initial “Hamzeh” in some Shushtari words is changed to pharyngeal consonant of "ع" based on dissimilation process. In this descriptive-analytical study, required data is collected by referring to library on one hand, and interview with old people and some uneducated persons, Speaking Shushtari as aboriginal speakers. Aiming to reliable findings, recording the sample sentences of Shushtari dialect and evaluating them with reliable sources is done, too. The oldness of usage of Akār is also investigated in a text related to the first days of Islam, establishing in, Iran with referring to an old translation of Holy Quran, named Ghoran- e- Ghods.

Rashid-Al-Din Watwat is among those poets whose poetic pedagogy especially in composing qaṣīdah is strongly influenced by Awhad Al-Din Anvari. Although we can trace the impact of other poets such as Farokhi, Suzani, Moezzi, Sanā'ī and above all Zahir Al-Din Faryabi in his poetry, but the influence of Anvari’s qaṣīdahs on his poetry is like the impact of Ḵᵛāju’s ghazals on Hafez with only one difference and that is Watwat’s insufficiency in creativity and innovation. This paper not only highlights Watwat’s tendency to loan form and content from his predecessors and contemporary poets particularly from Anvari, but also will provide valuable information about the Anvari’s impact on Watwat’s poetry which have been studied under two board categories: 1. similar verses with the same meter and rhythm and 2. similar verses with the different meter and rhythm and minor divisions of it. The result of this paper will demonstrate which poets have influenced Watwat most in his poetry and which of them are particularly important in forming his poetic framework.

Abstract One of the important elements in narration is character, which can be described in two ways: one of them is indirect, which appears in different ways in a text. One of the indirect ways is action that is divided into two types: normal and abnormal. The later is an action in which the character acts against his nature and it happens suddenly.The climax of a story takes place here. THis action is usually accompanied by a practical action. It means that the character does not need any tool to do the action. We called this action material one-time. In studying Sadegh Hedayat works, we understood that this action needs no tool and sometimes there is even no practical action done by the character. This action is a spiritual and emotional moment beyond this world. We called this action non-material one-time. This essay studies this action in two works of Sadegh Hedayat: "Sage Velgard" and "Se Ghatre khoon".

One of the approach that paves the way for critics to scrutinize deeper layers in literature is jungian archetypal critique. Jung analyzes the literary creations by explaining the words used in the work as human collective unconscious symbols. In this respect, some poets and writers unknowingly apply the archetypes that exist in their unconscious. Such schools of thought manifest the bulk of their unconscious ego though myths. Ahmad reza ahmadi, communicates with the unconscious through imagination and illustration. In his work, the surreal school (surrealism) has a special place and makes his childish and imaginative word gets a fantasy and mythical color. Ahmad reza ahmadi, the author of the child and adolescent has used many of the symbols in his work and has examined the use of symbolic vocabulary. Accordingly, in this study, we strive to examine the symbol and myth of the collective and archetypal unconscious from jung’s point of view and then explain and interpret archetypal words taking in to account jungain analytic psychology.

‏Khajeh Zein ol-Abedin, Ali ebn- e- Abdul Momen- e- Shirazi ‏He is one of the 10th century AH historians and poets.The poem has been used in his poetry. The editing is capable. 3 Khamseh have been imitating the Haft Orang-e- Jami following the Nezami and Bostan-e- Khial، Bostan-e- Saadi and haft Khazaen-al-malakoot.It has a great influence on prose and poems(arrengment) ‏Some of them are still unknown or not have been corrected ‏And since he has been accountant in king Tahmasb’s court for forty years, his poetry contains important information at this point in our country's history. ‏The poetry of him has become a new type of poetry. ‏And the obligatory scientific caution can be said that the title of the poem (educational, propaganda) is appropriate. ‏His Khazaen-al-malakoot has seven sections of treasury.Three have been identified so far, but none of their systems have been corrected. ‏And because he fears that every moment of a manuscript will be destroyed by a disaster,it shoud be in rush and this is essential to correcting of this manuscript.

Translation is the understanding and interpretation of words, the meanings and concepts of the source language and their translation into the target language. It is possible to critique these models. In this study, we aim to critique and analyze the translation of Mathnawi by Ali Abbas Zalikh (Fourth Book) based on the evaluation criteria of translation in Catford's Theory as a Theoretical Research Framework. Proposes criteria (degree of translation, grammatical order, linguistic levels required in translation), and devotes most of its analysis to categories (structural, class, unit, civil). The findings of the study show that in most of the cases Zlıkeh's translation has been based on the criteria of Catford's theory. In this study, we try to investigate some of the shortcomings of this translation and its influencing factors. Inadequate fluency in English translator, inaccuracies in reading words and phrases, words that are identical in writing and reading, and in meaning, not recognizing the subject of the verb, not paying attention to the punctuation in the original text.

Some sciences have been spoken about in Persian literature. One of those sciences is medicine, which has been talked about in various ways in these texts. Librarians and physicians have had a deep relationship with each other for a long time. Studying the poems of such famous poets of the past as Rumi, Saadi, Nezami, Ferdowsi, etc. as well as the poems of modern writers such as Shahriar and Parvin Etesami, we find out that the literary man have recounted many of the issues and relations between patients and physicians implicitly or explicitly in their tales, stories and poems. Patients will enjoy reading such literature as they will understand how to behave towards their physician. Physicians will also take benefit from these texts as they will read about truthful service to the people. The results of this descriptive-analytical research, which used library method to collect data, suggest that many of the issues raised by poets are approved and recommended by scholars in terms of medical ethics.

Ahmad Azizi is one of famous poets of recent decades and his poetry is remarkable in many aspects. What has been discussed in this research is his mystical thoughts. The collection of mystical terms and Qur'anic verses in general, Ahmad Azizi's mystical look to the world, is the basis of our research. The traces of mystical poets such as Sanai, Attar, Maulana and Hafez are clearly seen in his poems, and as if all the mysterious experiences of classical poets from the fifth century up to now occur in Azizi's poetry. He sometimes expresses deep mystical concepts using elements of nature to make them meaningful and understandable to the audience. The study of Azizi's poems showed that he, with his deep knowledge of religion, referred to all the mystical components and, as if he was an old wise man, he tried to teach beginners. The tendency of Aziz's style to spirituality and Islamic mysticism with a new form of Masnavi is unique in contemporary poetry. It can be said that in the poetry of Azizi, the traces of most of the mystical schools from Islamic mysticism to Hinduism and Buddhism and the Eastern schools are seen. In this way, he appears to be Sepehri's emulator, with the difference that he has used Masnavi's template to express his own mystical thoughts.

The poetic use of the Jesus terms and the holy name of Jesus Christ (PBUH) and Mary (PBUH) is seen somehow more than other prophet in Khaghani's poems, which can be considered as the most important and the most fundamental motif and theme of the allusion in the works of Khaghani (= Divan, Mensha-at, and Khatm-Al-Gharaeb). Khghani, using the story and life of Jesus (PBUH), has explained and interpreted his poetry aims and concepts in various fields. In this research, the purpose is to examine khaghani’s device as a repetitive theme and element. Therefore, first we will repeat the concept of motif and theme, and then we will continue the theme in the use of Jesus references in Khaghani's poetry to make a conclusion that Khaghani has used different angles of the story of Jesus (PBUH) as a tool for the interpretation of themes.

Abstract Most contemporary poets are looking for new space, new forms He has used architectural art, calligraphy, painting, cinema, fiction, and so on she has used architectural art, calligraphy, painting, cinema, fiction, and so on. The poet creates lyrics with a truth-telling statement, sometimes symbolism or romanticism. To extend the semantic fields, illustrations, symbolism, realism He has devoted to writing poetry, writing, cinematic, surprise, scene, dream, dream statement, news reporting, suspension, and more. It deals with writing and writing, writing, cinematic, surprise, scene, dream, dream, dream statement, news reports, suspensions, and more. Which has succeeded in using new designs in much of its structure, the arts, the expression of intentions, and the revealing of the emotional and emotional nodes of contemporary human beings. The purpose of this article is to identify the poems of Simin Behbahani. To make the reader more aware of the art and power of inducing his meanings and illustrations.