فصلنامه کهن نامه ادب پارسی
سال دوازدهم شماره 2 (پیاپی 33، پاییز و زمستان 1400)

Historical texts including texts that claim to report reality, when seen from this perspective, are close to scientific texts. Among these texts is Beyhaghi’s history. It seems that grammatical metaphors can be effective in assessing the validity of this work. In this study, to investigate Beyhagi's claim, we examined the story of Hassanak-e- Vazir in terms of grammatical metaphor. The results of the research show that material processes are the most important components of this text. Also, the declarative mood that represents the actual report is dominant in this work, but besides that, the subjunctive mood, which is the opposite of the declarative mood, is seen in many processes, such as nominal grammatical metaphors, alternative meanings, the use of sentences in unusual roles, the application of processes to each other in interpersonal meta-function, the elimination of the agent or the process actor, and some additional results of this research. The use of the active verb in the sense of the passive in order to remove the process actor can be considered a new type of grammatical metaphor most frequently used in this section. Based on the findings, we can say that Beyhaghi, while emphasizing the facts, does not report the reality completely. He tells a part of the fact that is safe or low risk, but he also eliminates some parts or does not explicitly state them, especially in the constructions concerning how Massoud Ghaznavi is a true actor in the process, using various forms of grammatical metaphor to keep his name.

The Indian style is one of the most distinctive poetry styles in classical Persian poetry. It has distinctive differences with its preceding and following styles. As such, it enjoys its own principles and traits. As a case, the high frequency of allegory application is one of its most distinctive elements. There is a consensus that the poets following this particular style drew their special attention to allegory and the function that this literary device might play in the structure and meaning of their poems. In this paper, the researcher argues that the underlying reason of the high frequency of allegory in the Indian-style poetry can be clarified using the ideas of Thomas Kuhn, who is a prominent philosopher of science. This approach can raise our awareness that any paradigm is framed in one or more frameworks that shape the possibly accepted propositions and norms in any specific period. Findings of this study represent three different patterns, namely synthesis, secularism, and symmetry, which are the main observed patterns shaping the meaningful propositions in Safavid era.  Since allegory is embedded with all patterns related to this period in their own structure, the poets following this specific style perceived allegory as an appealing and attractive one and, hence, they applied it extensively.

From the beginning of literary studies, rhetorical techniques have been considered a literature grading tools. Although the functions of these aesthetic techniques are defined according to the audience, many techniques were considered as equal to literary techniques without having a true literary value to prove the beauty of the literary work due to the lack of purposeful and accurate explanation of the basics of aesthetics. In the present study, the definitions and different names of the congeries, as one of the main embellishment techniques in literature, were investigated via analyzing them, and other related literary techniques. In identifying the functions of this literary term, its role in traditional embellishment as well as in modern literature, such as criticism and stylistics, has been addressed. This is achieved through formulating the following questions “What literary techniques were mixed with congeries in terms of definition and literary role?”, “What is the relationship between redefining this literary technique and new fields of study, such as linguistics?” and “How can new tasks be assigned to improve the function of congeries through redefining it?” Accordingly, the definitions of congeries were examined from the beginning. Then the techniques that have commonalities with congeries in function and definition were recognized. In addition, the term collocation is also evaluated as a suggestion for completing the meaning, subdivisions, and tasks of congeries.

The present study examines Sa’adi’s political views on the relationship between King and people and also approval or denial of political power based on all of his works, i.e., the Bustān, the Golestān, Qaṣāyed (Odes), Moqaṭṭaʿāt (“Fragments”), Rasāel (“Treatises”) and Ḡazaliyyāt (“sonnets”) from a New Historical approach.  This investigation was conducted considering two periods: the third era of Sa’adi’s life (the era of Atābakān-e-Fārs, from 1257 to 1264), and the fourth era of his life (from the decline of Atābakān to the domination of the Mongol rulers). His political treatise, i.e., Naṣiḥat Al-Molūk, meaning “advice for rulers”, the first two books of the Būstān that are begun with “justice” and “benevolence” in line with theoretical texts in modern politics, and the first chapter of Golestān entitled “Of the Customs of Kings” all indicate the significance of the relationship between king and people (i.e., governing a country) in Sa’di’s views. Establishing “social welfare”, “security”, and “peace” in society, is the most significant duty of a government towards its people. Denial of the idea of God’s shadow, transcending the “ship-shepherd” allegory and moving towards “head-body” and “tree-root” allegories, and different, often reverse, reading of king –people relationship express Sa’di’s different political views in comparison with the common and well-known readings of this relationship in Sa’di’s era. Europeans’ reading of Sa’di’s works confirms the political capability of his works.

Sultan Ahmad-e-Oweis is one of the sultans of Al-Jalayer, who were an artist and a poet that wrote poetry in Arabic, Persian, and Turkish. Unfortunately, there is no copy of Sultan Ahmad Jalayri's poetry collection in Iran. However, according to historical, literary, and artistic writings, there are two versions of his collection outside Iran. The first copy is in the Ayasufiya Library of Turkey and the second version, which is the basis of the present study, is archived and numbered f1932 in the Farir Gallery. Most of the poems in the latter version include the sonnets of Ahmad ibn Oweis.  Though Sultan Ahmad was refined in different forms of poetry, he was mainly a sonneteer and his sonnets outnumbered his other poetry genres. He wrote 622 sonnets with 4385 verses. He wrote the sonnets following the style of the eighth-century poets and his sonnets enjoyed various weight formats and content and also the themes of love, mysticism, criticism, etc. Ahmad-e Jalaieri, in his mystic sonnets, like most mystic poets, believes in the ideas and principles part of which can be seen as reflected in mystic vocabulary choice,

Comparative literature as a field of study and theory, was introduced in France, but manifestations and practical examples of the branch of study, can be traced in old nations literature, including Iran, Greece, Rome. comparative literature as a theory and term coined in the early nineteenth century to be used in Abel-François Villemain (1790-1870) classes in France, and today, as a form of established disciplines, it has seats in many universities around the world and important research institutes are active on it. This is while the historical history, manifestations and examples of comparative literature in Iran reach more than a thousand years ago. Unfortunately, due to the lack of teaching chairs and research institutes for comparative literature, unfortunately, the history of this new knowledge is unknown or neglected, and today in many drawers of the world, educational chairs and research institutes of comparative literature They are active, but unfortunately, there is no news about Iranian literature among them. The purpose of this article is to explain the function and dividend role of Iranian literature in world civilization and culture, today, what is called the French school, it has more than two thousand years, background in Iranian ancient literature.

Wiss and ramin's poem is a romantic love story by fakhroddin asad gorgani, a fifth-century poet in which the issue of love and marriage is based on pre-Islamic social structures. Apart from the forbidden love and the roots of its formation in this story, it can be seen as a manifestation of the superiority of power and how the formation of resistance to the dominant discourse of power. In this research, by descriptive-analytical method, we have examined the relationship between the exercise of power by government and capital on the one hand and human love and emotions on the other. Research results shows that the reaction of the characters in this story to power is different. "Shahro" surrenders to the power of capital. Viro's reaction is to resist the power of the government, but eventually surrender. Wiss uses the power of love to wage a fateful war that has been unintentionally imposed on him, and he is on an evolutionary path.

The political system of traditional Iranian society prior to constitutional era often had an authoritarian structure. In such a society, the king and his agents relied on the throne of power and monarchy without any law or rule, and abuse people to satisfy their desires.  All of these governments, therefore, at the beginning of their formation have sought to consolidate their credibility and legitimacy. In this study, the authors utilized content analysis method to examine the roots of authoritarian growth and its effective backgrounds and factors in Persian panegyrics of five Persian-speaking poets,i.e., Rudaki, Onsori, Farrokhi, Moezzi, Anvari, in the three periods of Samanids, Ghaznavids and Seljuks . The findings showed how the center of power and government has been connected with all social, religious, jurisprudential, theological, interpretive, hadith, and literary mechanisms and institutions. In addition, the finding revealed that the center of power has also used all the ancient and Islamic elements and some social and superstitious beliefs of the society for political acceptance and legitimacy, and finally for covering governments’ despotism and authoritarianism. In this analysis, the role of ideological elements, such as believing in the selection of the Sultan by God and his position as the God’s shadow on earth, the Sultan's role as the actor of fate, his divine approval and victory, luck and his goodness are among other influential factors.

There are many different examples of characters and positions in Shahnameh. Among active characters in Shahnameh, one can mention detectives that were involved in detective missions, including spying, acquiring news, and informing. In the current study, personal traits, responsibilities, motivations, and detective techniques of these characters were investigated. The findings indicated that detectives played an important role in technical features and narrative components included in Shahnameh. Furthermore, they were praised by Firdausi due to their personal traits when they were commemorated with qualities such as wise, competent, and insightful. Their most important responsibilities were awareness of enemies’ army and their number and watching people wanted by the king. They reported these issues to lieutenant generals in the absence of kings. In order to be successful in their missions, the detectives made use of different tricks such as changing the face, hiding their name and identity, wearing the enemy's formal uniform, etc. Attaining popularity and honor, receiving rewards, and showing power and efficiency are among the most important motivations of the detectives in Shahnameh.

Amir Khosrow Dehlavi’s Majnoon and Leily is one of the poems written after Nezami’s Leily and Majnoon. The core themes of this work are different from the narration of Nezami’s Leily and Majnoon, which shows that Dehlavi was not completely faithful to Nezami’s narrative. This study investigated the speed of narration in this poem using descriptive-analytic method. This research utilized the model that criticizes Gennet's views based on classical texts of fiction poems presented in one of the research articles. The results showed that the core themes of the Dehlavi’s narrative were less than the ones in Nezami’s narrative. Most kernel features of the poem under analysis are reported at high narrative speeds, while only three kernel features are reported at slow narrative speeds. In these three themes, characterization and the appropriateness of the environment, time, etc. are processed in light of  Majnoon’s character. The richness of the text is placed in the same three themes that are interrelated in such a way that the first leads to the second and the second leads to the third. It seems that Dehlavi's main goal was to process these three themes in his work and the other themes have been mentioned upon necessity and in order to observe the causal plot of the story.

Public culture and language have conventional and intersecting boundaries with formal literature, and the interaction between these two fields has always existed in our literary history. However, such interaction has been more salient in some intellectual trends and genres. One genre of prose that is deeply linked to the public language and culture is theosophists’ verbal speech, part of which is known as “Ma’arif”. The influence that the public language and culture has on these texts is not just limited to the aesthetic use of a few elements or the speakers’ lived culture.  Rather, it has a strong association with the substructure and superstructure of these works. The present research is an analytic-description study aimed at a better perception and identification of the interaction between formal and public literature in the area of mystical literature through analyzing three works of Baha valad Ma’arif, Burhan al-Din Muhaqqiq Tirmidhi Ma’arif, and Sultan Walad Ma’arif. Scrutiny into the text lines interwoven into the areas of public culture and language and analysis of the ground and elements of created pictures revealed precious and perhaps forgotten details about public language and culture and its development through time.  Furthermore, such analysis has been useful to understand these texts and to recognize the structure of their speakers’ thought and culture, besides disclosing their anthropological tendencies.

Vahid Dastgerdi’s commentary on Nezami’s Panj Ganj is still one of the best editions and commentaries on Nezami’s works that is required by every reader or researcher. Of course, Dastgerdi’s recension of Nezami’s Panj Ganj and other scholars’ editions and explanations of this work, such as Behrouz Sarvatian’s and Barat Zanjani’s, still need new corrections and more explanations. Furthermore, those commentaries written on Panj Ganj need to be critiqued and evaluated. In this study, some of Vahid Dastgerdi’s commentaries on Khosrow and Shirin edition were evaluated and criticized and also some of the mistakes of this recension were corrected. Accordingly, in this study, the inadequate interpretations of Khosrow and Shirin by Vahid Dastgerdi's commentary have been divided and analyzed into the following categories: a) misinterpretations of a complete verse; b) literal explanations of verses; c) misinterpretations of linguistic compounds; d) incorrect interpretations of the words; and e) inadequate interpretations due to misunderstandings of rhetorical devices.

Andarz Literature (Andarznāma) has been one of the most important literary genres in ancient Iran, and many of them are accessible today, especially in the Pahlavi (Middle Persian) language. There is no doubt that the precepts common in the Pahlavi language have influenced the Persian and Arabic precepts. However, the extent and direction of this effect can be the subject of numerous studies. In this study, Ḵosrow Anōšīrvān's Persian precepts were selected in order to study their moral themes and compare them with Pahlavi's precepts. The rationale behind selecting this corpus was that Ḵosrow Anōšīrvān was one of the authors who wrote Andarz Literature in the Pahlavi, Persian, and Arabic languages. The results of this study showed that some precise evidence can be found in Pahlavi's precepts identical to the moral themes of Anōšīrvān's Persian precepts. In addition, it seems that the general theme of the Pahlavi precepts of Ḵosrow Qobādān, which is in fact a testament, has influenced the concept of “transience of worldly life” in Persian precepts, as well as the story of the search for Anōšīrvān's tomb.

Boshāq is one of the Parody poets and writers of the 8th and 9th centuries A.H. and the Timurid era. He has made Parody for many verses of Persian poets that are unique in their kind. Boshāq's Dīvān are a collection of verse and prose and its axis is to define and describe different types of food. This book is one of the first hand sources for researchers to know the specific terms in this field. Explaining some difficult terms in this text and finding their correct form is one of the necessities of corrective work and research in this field, without knowing and recognizing them, a corrective correction can not be obtained. It should be noted that these terms are used by lexicographers. Boshāq's Dīvān published for the first time in Istanbul by Mirzā Habib Esfahāni in 1302 A.H., and are the most references by lexicographers to this edition. Recently, the Written Heritage Research Center has published it with introductions and index by Dr. Mansour Rastegār-fasāei, and due to the large number of interested people, it has reached its third edition. In this edition, many words in the field of food have been omitted without explanation or misinterpreted. In this article, we will correct and explain some of these terms, considering the in-text information of Boshāq's generalities and other ancillary sources.

The Persian poems by khorasani-style poets in different literary sources, including manuscripts, are required to be addressed with caution due to the variants associated with some of them. One of these poets is Rudki Samarqandi whose poems are collected by a number of editors. Yet, in some collections of his works (in particular, the 2nd edition by Saeed Nafisi) some verses have been included in variant forms- a practice rooted in inaccurate citation or negligence on the part of the editors. Now, because such poems are included in his collections as indepent and reliable poems, they need to be re-examined in a scholarly way. The present researchers have done their best (upon careful study of valid copies) to find the main cause/causes of existence of such variations; this has been followed by suggesting a number of ways to avoid any future inclusion in the next publications.

The poem of Abu Abdullah Roudaki, after 250 years of silence of historical, literary and geographical sources in the fourth, fifth and sixth centuries AH, became the material for writing the story of Buye Juye Mullian until the most famous story of Samanid era, apparently created by Harun and increase its global fame. It should be noted that the subject, time and place of the narration are completely different. And although other sources do not confirm the story of the four articles, Nezami has artistically compensated for this shortcoming in his book to explain a fascinating story and inadvertently distort history and literature. Over time, this anecdote has become so popular among the people and properties that no one can separate the military anecdote from Rudaki's.In this article, with a descriptive-analytical method, a new explanation of the anecdote in three geographical, historical and literary evaluations; Relying on the main sources, are explained. Thus, the anecdote of the four articles does not correspond to Amir Nasr's four-year absence from Bukhara, and his settlement in Herat or Neishabour, and the depiction of Amir Nasr in the Rudaki era, and is merely an imaginary offspring that can distort the Samanid dynasty.