نشریه زبان و ادب فارسی
پیاپی 242 (پاییز و زمستان 1399)

One of the types of writings in Sufi literature is collections collected in recording and quoting the sayings of Sufi elders and elders؛ Works that in a general sense are called Sufi memoirs. This group of works is generally derived from a common tradition in most of the almost all religions and sects that the lives of saints and saints, especially after their death, are not limited to the objectivity and historical reality of their lives, but more intertwined and covered with multiple layers of myth. A tradition of all kinds in its broadest sense can be interpreted as Hagiography. This heritage of Sufism as a type / genre has been mentioned in old and new sources with expressions such as circumstances or situations / Tazkereh / Sira or Sirat or Sirtnameh or Sir / Maqamat and Manaqbeh or Manaqbehnameh / Walinameh / Ulyanameh. The present study is a critique of the genre and examines the historical perspective of the developments of this type of Sufi writings, which shows how the genre originated from the legacy of the early ascetics and at the peak of its development leads to the specific scriptures of the elders.

Until today, Most scholars consider these scrolls as rooted in oral tradition and belonging to oral literature. The present thesis will argue against this position and will present evidence to support this opposition. It appears that these prose Shāhnāmehs (Tūmārs) relied on ancient sources. In addition, there is no document to prove the continuity of the chain of oral narration of these narrations. This paper, by searching in ancient written epic sources, and compare them to Zariri’s narrations, indicate that Zariri, had six major and written sources in narrating the stories of his scroll: (1) Ferdowsi’s Shāhnāmeh. (2) Pre-Ferdowsi Shāhnāmehs-- directly or indirectly. (3) Early historical sources. (4) Epic poems. (5) Interesting narratives of adjacent countries and regions. (6) a collection of written sources that Zariri had collected to write his scroll. Accordingly, it is necessary to doubt the absolute knowledge of the sources and intermediaries of the narrations of this scroll in the stories which is shared with Ferdowsi’s Shahnameh.

The story of "The Animals Lawsuit against Humanity", the oldest version of which is found in the Arabic Epistles oF Ikhwana al-Safa, has received more attention from Persian (and Turkish) writers in the two periods of the eighth and thirteenth centuries. In these two periods, twelve translations and adaptations of this story have been identified, which this study seeks to introduce and discover genealogy and the relationship between them in general. Based on the findings of this study, there are three main streams and one sub-stream (eclectic) in these translations and adaptations: the main stream maintains the structure of the Arabic narrative (plot, time and place, characters and trajectory of the story) and fundamental changes has not given. The intrusions and occupations of this steam have been mainly the change of its writing style from the sent prose to the artificial prose. The second stream summarizes the story; and the third stream, which begins with the initiative of Mir Hosseini Heravi, makes fundamental changes in the narrative and presents a story with a different structure, trajectory, and plot. In this process, although the main themes of the conversations and some characters are preserved, the plot and trajectory of the story are reproduced in the light of mystical discourse. The manifestation of the influence of mystical discourse is in adding the theme of "travel" and "Pir" and setting up seven courts in seven days, as well as the topics of conversation.

In the distribution of power, the Italian sociologist Wilfredo Pareto (1848-1923) believed in the existence of governing political elites who influence political decisions. His theory about this subject which is almost a psychological theory has been known as the circulation of elites. According to this theory, society is composed of two general classes: 1. The masses and 2. The elites. The latter are divided into two groups, the governing elites and the non-governing elites. The governing elites influence political decisions, and the non-governing elites only play a leading role. He attributes two psychological traits to the governing elites: intelligence and aptitude. Residues prone to violence and coercion. Speculators make the ultimate decision with conspiracy and cunning; Transformation in societies, from Pareto's point of view, is the result of the circulation of these same elites. In Ferdowsi’s Shahnameh, the authors discovered evidence of this kind of circulation, specifically between two classes of Warriors (heroes) and clerics (priests). Consequently, in the epic part of the Shahnameh, most of the warrior elites are consulted with the Shah in important political decisions, and in its historical part, the governing elite association is often made up of priests

This study aims to introduce an ancient literary work known as Zad Al-Moghvin, a book written in the Persian language in the Transoxiana region. The author of this work, on the subject of ethics and sermons and most likely written in the twelfth or thirtieth century, is Mohammad ibn Mohammad Al-Nasr, known as the Ghazi, who lived in Vobkent. Only three manuscripts of this work are available, one of which is kept at the National Archive of Afghanistan and was written in 1485, and the other at the Library, Museum, and Document Center of I.R.Iran's Parliament and written in 1618 and third manuscripts is kept at the the Salar Jung – Museum and Library and was written in 1646. In addition to introducing the manuscripts, the author, his religion, the sources used in the writing of this book, the text structure, and the reasons for its significance are explained in this study. Some of the sources that the author has used in writing this book are Tanbih Al-Ghafilin Samarqandi, Maqazi Mohammad ibn Eshagh, Zad Al-Abedin, Tafseer Anwar, Kitab Al-Anwar, and most likely, Tafsir Miraj.

he reason for recording the same poem or poems in the divan of two poets is usually either the mistake of the scribes or the transcription of one poet from the other. There are examples of these two in the court of Khatun.There are 21 quatrains shared with Saadi in the World Court that have nothing to do with the issue of consequences or theft, and the intervention of the owner of the manuscript of his 763 Paris and the negligence of the editors of the World Print Court have been the cause of this confusion.On the other hand, Jahanmalek Khatoon is an imitating poet, and just as Anwari, Saadi, Khajoo, Salman Savoji, Hafez, Jalal Azd, and others used verses and verses in their poetry - they generally mentioned his name, which is the main condition of guarantee. - He mentioned that he was also very interested in Khosrow Dehlavi's poems. As can be seen from his followings of Khosrow, imitation of this poet is evident in the poems of the world. But in addition to following, imitating and accepting Khosrow's poetry, which can be seen in many of the world's poems, 15 lyric poems by Khosrow can also be seen in the collection of Jahan-ol-Molk poems, which are suspected of plagiarism and transcription of these poems.

One of the themes poets and writers have created themes in their works is related to chess. As this game has had various forms in different eras, so some people and consequently commentators, ignoring this and just based on its current form, have described and explained related texts. One of these is to equate "castle" with "rook". This research using descriptive-analytical method based on induction, and following old Persian texts follows to prove the differences between these two elements in chess. The results show that "castle" was a place in Roman chessboards, and has had significant differences with "Rook". Some commentators ignoring this issue have slipped in the description of texts related to this game and have referred rook as "castle", which itself has caused misunderstanding in describing terms, interpretations, and finally deviating from poets and writers' intentions.which itself has caused misunderstanding in describing terms, interpretations, and finally deviating from poets and writers' intentions.

In the 16th century (11the AH), the ideas of Shiite philosopher, Mullā Sadrā (1572-1640 AD / 979-1050 AH) brought about fundamental changes in Islamic ontology, especially some of his innovative ideas on the originality of existence, and Substantial Motion. Simultaneously with these changes, the imaginative style of Persian poetry (indo-Persian poetry) underwent changes, with a dynamic view to existence and substance of nature. The article is actually a comparative study on philosophy and poetry, which deals with the "Substantial Motion of nature" as a common theme in poetry of Saeb Tabrizi (1006-1087 AH), the Persian poet of the 16th century, and Mulla Sadra's transcendental wisdom, and tries to show the similarity between Sadra's philosophical thought and Saeb's poetic attitude to movement in essence of nature.

Babashmal is one of the leading satirical magazines of the Twentieth Century which was published by Reza Ganjei during the years 1322 to 1326 in Tehran. Babashmal magazine, which was active in the most prominent periods of Iranian contemporary history, with almost all political, social and economic events and collaborations with a group of writers and poets, each of whom later became widely known in the country's literary arena. And the culture of Iranian society has been humorously presented and delivered to the authorities by the menus and wishes of their audiences, who were generally among the masses. Much of the journal's critical and humorous content revolves around political issues. It can be said that even the most important political issues and events in the country have not escaped the sharp criticism of the writers and poets of this magazine. The most important political content of the magazine included issues such as threats to foreign countries and fear of the government, criticizing the performance of ministers and statesmen, criticizing the inefficiency of the National Assembly and MPs, buying and selling parliamentary votes, criticizing the damaging role of foreign advisers, the situation Shattered and unstable state offices and so on. This article attempts to reconfigure the discourse of this journal by emphasizing the content of Babashmal's journal, by means of a consolidated content analysis.

In correcting a text such as Shahnameh, not only is it necessary to distinguish the correct scripts from the incorrect ones but it is also especially important to recognize the original verses from the added ones, finding the correct position of the verse in the vertical axis of the word. The writers, who mainly tried to write the text very quickly, sometimes slipped in their works and they changed the position of one or more verses. This was so common in some manuscripts that the writers were forced to eliminate such errors by meddling with the text of Shahnameh and changing it. Of course, sometimes these shifts are intentional. In other words, a writer who is familiar with Shahnameh and remembers the verses from it has added them to another place in addition to the original place. Of course, all of these cases should not be blamed on the writers, but sometimes they were just the perpetrators of these robberies. One of the important examples of this phenomenon in the Shahnameh manuscripts is the five-verse story of Bahram Choobin's war with Saveh king, which has been repeated in Rostam's battle with Ashkboos.

An image that reflects the emotions and thoughts of the poet and a way to sensitize his inner life, while a rhetorical value is found, that it will be in the direction of cultivating the thoughts and emotions of the creator. In the work of each artist, there is a dominant idea that is present in the abundance of images, the structure and theme of his works. A poet who has an individual and creative thought shines a coherent theme on his work, and this theme, along with the poet's individual emotion, makes a great contribution to the creation of enormous images. In this essay, we will show the two-way relationship of emotion and thought in Ghazal Shahriar and Simin Behbahani on the axis of linguistic and imaginary images.By studying the sonnets of Simin Behbahani and Shahriar, we find that beyond all the images and faces, the constant theme that leads all Shahryar's mental structures and images, Love is the person who is expecting and parting, and the dominant thought is on the thoughts of Simin, the social issues and the love and grief resulting from it, that the poet leaves the love and affection of a person and brings about social love, and his concern is the image of people's problems and sadness.