فصلنامه کهن نامه ادب پارسی
سال سیزدهم شماره 1 (پیاپی 34، بهار و تابستان 1401)

Translating proverbs is sometimes a challenging task. The present paper aims at investigating the most productive strategies of rendering Persian proverbs into English. Therefore, as the first step, a compilation of classical Persian proverbs were selected from Anvari’s (2004) Sokhan Dictionary of Proverbs and their literal-semantic translations were provided. The proverbs’ counterparts in English were also extracted from monolingual dictionaries including The concise Oxford dictionary of proverbs and A dictionary of American proverbs. A mixed procedure was recognized to be more fruitful than the isolated use of each procedure proposed by Beekman and Callow (1974). Replacing the source-text proverb with its equivalent target-language proverb and referring to its literal translation and meaning in a footnote can be a highly productive procedure. This procedure would provide the target-language readership with enough information and never hinders the fluency of reading the source-text. The results also confirmed the undeniable importance of context while rendering proverbs and, finally, the new procedure called “substitution” was proposed by the researcher.

From the beginning of the fourth century to the early seventh century the Dari Persian language which was the literary, official and spoken language in Iran, has gathered in itself an extensive treasure of the noble and archaic words, many of which have been formed based on various geographical dialects or loan terms that have found their in to the Dari Persian from the languages of the surrounding areas, particularly the East region of Iran.  In the Quranic Encyclopedia, which is provided on the basis of one hundred and forty-two versions of Quran manuscripts for the equivalent Persian of Quranic words, we encounter an abundance of infinitives and verbs which are archaic ,rare, and obsolete, and often related to the specific dialects of types of  Persian dialects  which are called language species. The exploration of these pure and rare words contribute to the study of the historical process of lexical system of Persian language and it is conducive to the enrichment of lexical dictionaries and atlases and also some of these words deserve to return to the Persian language cycle . This study tries, by means of descriptive-analytical approach and library study while introducing the infinitives and ancient, rare and obsolete Persian verbs in Quranic encyclopedia and rendering their frequency, with the selection of a number of these original language species, to explore and analyze their functions.

The study of the prominent poetic debates in Persian literature can make significant contributions to genre and stylistic studies. Given the importance of debates in classical texts and their relation with public discourse, the present research studied eight prominent poetic debates from the fourth to the seventh centuries. Considering the situational context of the texts and the contexts in which they had been formed, Halliday's systemic functional approach was used to explain the debates. A descriptive-analytical method was adopted to study the debates in terms of the ideational metafunction: the process of actions. The findings of the research indicate that the analyzed poetic debates had undergone transformations with regard to the ideational metafunction. The material processes were the most frequent in the prominent debates of the fourth and seventh centuries but with a different function in each century.  Moreover, the relational processes had the highest frequency in the prominent debates of the fifth and sixth centuries. Such transformations show that from the fourth to the seventh centuries, the debates shifted away from objectivity and extroversion towards subjectivity and introversion. In other words, how to use debate processes considerably evolved over the four centuries.

In narrative texts, different kinds of evidence are used for more acceptability. This topic is defined as "evidentiality" in Linguistics. F. R. Palmer is one of the semanticists who divides this category into two types: sensory and reported, and also states several types for each one of them. In this research, all types of evidential markers have been studied based on these features: visual evidence (direct and indirect), auditory evidence, sense of smell, the sixth sense, similarity, types of report, experience and cognition, rational signification, prediction (Astronomy and dream interpretation), Yezidis Xvarenah, swear, and witnessing. It is concluded that the markers of guess, even though including uncertainty and skepticism, occur in the entirely factual status of preposition. In the discourse of characters (princes, heroes, mowbeds, astronomers, etc.), because of the high rationality of sender, the guesses come true, and the contrary conditions never do happen. Among the evidential features, inference from signs, regarding its participation in all the other types of evidentiality, is considerable. The following perceptual and cognitive verbs such as "didan", "šenidan", "buyidan", "dānestan", "āgāh šodan", and the metaphor like "be del āmadan", and the other words including "gomānam", "guyi", and "bar ānam" are instances of evidential markers used in Shahnameh.

Kalamāt al-Sho‘arā is a biography of the Persian-speaking poets of India in the time of Nur-ud-din Jahangir to Aurangzeb baburi, written by Mohammad Afzal Nicknamed Sarkhosh, a poet and writer of the 11th-12th centuries. This book was first published in 1942 in Lahore, then in 1951 in Madras, and last published in 2010 by Alireza Qazveh in Tehran. In this article, the authors have compared the previous editions of this book with Qazveh correction and have come to the conclusion that Qazveh printing is superior to them in some respects, but there are also relatively significant shortcomings and drawbacks in it, some of which have been explored in the following sections: incorrect forms (Wrong words or phrases), variant copies (incomplete reporting, Superiority over text, similarity to text, inconsistency with the text), and general and methodological defections (differences in recordings in the preface of the corrector, movement and merging of sections, repetition, lack of comments and incompleteness of indexes).

The art of animation, in recent decades, has turened out to a lucrative indusy; hence attractig many audiences across the globe through its enchantment. Adapting from literary texts is one of the strategies applied by  cinema and animation industry to produce an attractive movie. One Thousand and One Night is regarded as one of the most important samples of these foresaid texts that its vast distribution has made this work significant for many audiences in Iran, India, the Arab world and the West.  This study, by highlighting the imaginative and fantasy aspect- as one of the most important prerequisites for animation- of the anecdote of "Ebony Horse" , intends to adapt the aectode with the structure of the animated screenplay in a descriptive-analytical approach to explain the elements that are influential in making its animation. Furthermore, it aims to indicate the capacities of this anecdote to the audience particularly to the directores by highlighting aspects such as: subject and story; utilizing the structure of Aristotelian triad theatrical scenes including dilemma, crisis, climax, and solution; practical and suspenseful conflicts; charactrization based on dialogue and action as well as interesting fantasy scenes and situations suitable for animation, the characters show the audience the capabilities of this anecdote.

Hossein Kord Shabestari's story is one of the fictional sources of the Safavid era and has a folk-epic theme. This story narrates the story of the heroes (Ayaran) of the era of Shah Abbas Safavid. The story is told in the historical context of Iran's conflict with the Ottomans, Uzbeks and Gurkhas of India. The two main axes of this story consist of the understanding and perception of national heroes of the need to defend the homeland against foreign aggression and to preserve the Safavid kingdom. A common feature of the two conceptual axes in the story is the connection to the Shiite religion and the land of Iran. This article seeks to represent and present the political, religious and cultural claims of the Safavids based on the pattern of classifying the elements of Propp's folk tales. The result of the research shows that the story of Hossein Kord reflects the public mind of Iranian religion, nationality and identity in the Safavid era.

In Saussure's and Structural linguistics, the binary oppositions stem from the bipolarity of the logic of human mind and language and then are used in other sign systems. Thus, in sign systems, such as literary texts, oppositions are one of the most fundamental signs and patterns of analysis that provide the basis for understanding the subjective concepts. In this essay, the micro-textual oppositions in the Masnavi and the sonnets of Shams were extracted using binary oppositions with macro symbols and then were analyzed and compared. The findings showed that the binary oppositions in Masnavi, which were made by the macro symbols, are often within a logical and natural relationship with each other and share common themes. In most cases, macro symbols symbolize the divine and spiritual spirit, and in these meanings Rumi puts the spiritual world in contrast with the physical world. But in the sonnets, the animals in opposition with hawk are different. Also, norm-breaking and the abnormal relationship in opposing relations are both more frequent and more prominent in terms of frequency and diversity, and consequently natural and abnormal interactive images are more frequent and more diverse. The abnormalities mostly refer to the elimination of opposites and the unification of opposing poles or the displacement of positive and negative poles in different ways. There are examples of conflict and abnormalities in both texts with similar and common themes and in some cases the oppositions have been processed only in one of the two texts studied.

The Shahnameh embodies the culture and ideas of the ancient Iranians through numerous elements, including myths, epics, and stories of kings and heroes. These ideas narrate the cosmological perceptions, social structures, traditions and moral and behavioral examples of the ancient Iranians which is known as Khosravaniphilosophy. These profound thoughts have been formed in a philosophical way from various religions such as Manichaeism, Mithraismand most of all Zoroastrianism; The basis of Khosravi's wisdom is light And the manifestations of this issue in Shahnameh  with high-frequency components such as wisdom, Light, Fire, Splendor (Farr), Angles (Emshaspandan), Goddess (Izadan) and dark forces like the Devil (Ahriman) and Demons (Divan) which are in contrast to the light and Ahuraian Lighting, along with its romantic and lyrical aspects, express the philosophy of life from the perspective of Khosravi wisdom.In this study, using the method of content analysis, components of Khosravani'sphilosophyhave examined in Shahnameh and shown that the brilliant reflection of these themes interrelated to its roots in Shahnamehhas provideda ground for establishing transcendental ideas, creating free thinking space with flowing it to the the heart of society and literary works, as well as a situation for the dialogue of texts throughout history.Therefore, by recognizing this trend, a systematicperception of Iranian literary, historical and religious works can be achieved.

The story of Rostam and Esfandiar is one of the most technical stories in terms of plot, characterization, and dialogue, which, after centuries, corresponds to the style of modern fiction. In this research, an attempt has been made to explain and analyze the moral characteristics of Rostam and Esfandiar based on their conversations and conflicts. The multiplicity of dialogues in the story gives the storyteller more opportunity to address the concerns, conflicts, and moods, and helps him uncover the hidden layers of the characters. Reading this story makes it clear that a limited part of the story is devoted to physical conflict, and internal conflicts play a broader role in the form of dialogue and monologue. Analysis of the two main characters also shows that although both characters have many internal and external conflicts, both adhere to their intellectual and doctrinal principles and do not retreat from them. Finally, the characteristics of dramatic conflict are introduced as the most creative type of conflict in this article. More specifically, the present paper shows that the poet combines linguistic and physical conflicts (dialogue and action) to highlight and objectify the confrontation and conflict between the characters. This accompaniment between dialogue and action makes the audience more attractive and influential.

Syntactic expression has a special place in Todorov's theory because not only does it analyze the structure of the smallest unit of narrative, which is proposition, but also it analyzes sequence (a level above the proposition) and text (combinations of sequences). Examining the different levels of narrative syntax in the structure of narratives like Khosrow and Shirin, Majnoon and Leily, Nell and Daman shows that there is a direct relationship between narrative syntax and how it is presented. The predominance of descriptive propositions reflects the staticity and frequency of current propositions, and the dynamics of events and characters. The results of the study showed that there is a macro-progress consisting of three static propositions and two dynamic propositions, the fourth proposition of which incorporates all subsequent developments in an internal form. In fact, all the events and propositions of these developments act as a force that seeks to restore balance to the story. Also, the advances are combined in the form of chains and have less periodic and intermittent states. Considering the direct effect of the number of developments on the structure of the narrative, the narrative presented by Nezami is much stronger and more attractive than the other ones analyzed in this study with regard to the plot and attractiveness to the audience. This is due to the number of developments and the number of actions that took place in this narrative.

Khāqāni Sharvāni is one of the Persian poets who, compared to other poets, has made the most use of the capacities of language. One of his artistic techniques, in poetic illustration and theme making, is the use of gambling elements and terms related to the two games of ‘backgammon’ and ‘chess’. He used these terms so professionally that he can be considered as the most prominent Persian poet in this regard, both quantitatively and qualitatively. Despite many efforts by scholars and commentators of Khāghāni's Divān, most of these terms have not been properly understood and explained. In this study, based on the use of in-text and out-of-text evidence, some of these phrases and words have been reviewed and analyzed. Also the current study revealed new insights into the rules and quality of the old backgammon and chess games and at times an accurate and correct interpretation of the analyzed verses is provided. In the explanation of one case, a method of old writing style in scribing the manuscripts of Khāghāni's Divān, along with providing numerous evidences, have been identified and introduced.

Jame 'as-Sanaye val-Awzan is one of the most important and ancient rhetorical works written in the eighth century AH in the Indian subcontinent. The author of this text is Seif-e-Jam-e-Heravi, who lived in the court of the Tughluqs and the person of Firuz Shah and his son Fath Khan. Jame 'as-Sanaye was published in 1399 in the series of publications of Dr. Mahmoud Afshar in collaboration with Sokhan Publications. The text of the book, despite having valid manuscripts, has many errors and incorrect records that in this work, under the two general headings of "Review of the text correction section" and "Review of the research section of the text" has been examined. Through this study, it becomes clear that this text, in addition to having many formal and editorial errors, due to incorrect research method, incorrect and insufficient use of available resources and lack of unity of procedure and incorrect method in correcting the text, has many errors which requires a general and thorough review. It is also shown in this work that some of the incorrect records in the basic manuscript can be corrected by using additional sources, especially the Majmue-ye-Lataef -va- Safine-ye-Zaraef, which the corrector has neglected.

Some literary works are mixture of different genres to the extent that it is not possible to identify which genre they belong to. Manāzir al-Anvār is one of such works written in the early thirteenth century by Abdulrazāq ibn Mohammad, known as Yamini Shāhābādi. Though this work is not a famous one, it is a prominent sample to study mixed genres and to understand their evolution in the theoretical discussions of genre analysis in Persian literature. This work continues the tradition of literary terminologies on the description of the beloved and can be considered as a critical commentary on Anis al-'oshāq. Regarding the compilation, chapters, and technical language of the prefaces in each section as well as the content of appendix section, it is similar to Koliāt-Joziāt and Lezat al-Nesā' by Zia Nakhshabi. In a similar vein, Sarāpā or, more appropriately, Mirāt al-Jamāl is very close to this work. On the other hand, in addition to explicating and interpreting some Indian words and terms and aesthetic trends of the Subcontinent, the writer has used some biographical notes on poets and also some evidence from their poems in describing the states of the beloved in the appendix section in order to enrich his work. After providing a codicological introduction of this work, this paper aims to offer a genre analysis of it and examine its writing and stylistic tradition. Of course, the only manuscript to which we have access is a selection of Radhakshen by Firooze Hesari which is held in the library of Punjab Lahore University as ms.5786

The philosophy of ancient Iran, known as the " Khosravani’s  wisdom ", is an enlightened thought based on light and darkness in which existence has a hierarchical and skeptical structure. Over time, the connection of this system of thought with the post-revolutionary period has not been broken, but has been reproduced in various forms throughout history. This thought, after being mixed with some Islamic components, has found its way into the epic and mystical works of this period. When studying Iranian mysticism, Researchers have to study the “Mantegh-O-TTeyr”, so clarifying its various aspects in terms of content, cultural fusion, roots of thought, and ideological exchanges and the like to understand This work, followed by a more complete understanding of Khorasan mysticism, will help. The compatibility of the issue of the unity of existence in Islamic mysticism and the creation related to the single point of Ahura in Khosravani's wisdom, as well as the hierarchical levels of existence and light In these two currents of thought, has led to the fusion and connection of these concepts as much as possible in “Mantegh-O-TTeyr”. Influenced by the ancient heritage of Iranian culture and philosophy, Attar has described mystical concepts in the form of allegories and stories. In the present study, we have examined the covert reproduction of the components of Khosravani's wisdom in the " Mantegh-O-TTeyr ".

With the rise of Sufism in the early Qajar period, the conflict between mujtahids and Sufis intensified. The Sufis were trying to regain their former social status, and the mujtahids did not want to give in to these traditional rivals. This caused a new wave of conflict between Shiite mujtahids and Sufis in the Qajar period. This two-sided conflict ceased as much as literary controversy and denial, until in the early Qajar period Mohammad Ali Behbahani and his sons became the leaders of the anti-Sufi discourse. From this period on, the conflict between the Sufis and the jurists is no longer an ideological conflict based on denial, but an attempt to eliminate the rival discourse. The Behbahani family played a prominent role in this anti-Sufi discourse and created a new chapter. The importance of the Behbahanis in this anti-Sufi discourse is both due to the multiplicity of anti-Sufi works of the members of this family and their act of Sufism; This action caused four famous Sufis of the time to be killed, directly or by order of Mohammad Ali Behbahani; An action that has never been seen before in history. This article tries to exclusively study the role of Mohammad Ali Behbahani and his family in strengthening and expanding the anti-Sufi discourse of the early Qajar period

Discourse in stories is formed through a combination of meaningful and reciprocal relations between the narrator and listener and in association with socio-political and metatextual factors. This is constructed via the replacement of love-related themes rather than chivalry and heroic, as related to narrative links between the structure and functions of love. Dârâbnâmeh, due to its associations with social events and the listeners’ needs during the period of creating and recreating the stories (i.e., Sasanian, Ghaznavids, or Ghorian), prepares a good ground for this research. The present study was conducted at two levels, namely, the structure and function of love. The findings reveal that in replacing the love-related themes with those of chivalry, the representation of love is primarily shaped. This means that the story’s reliance on one of its reflective settings, such as epic-religious texts or the time of recreation, is revealed. The narrator, later, by focusing on that represented love, illustrates love affairs through the four main constructs, namely, lovers’ dates, problems and troubles, lovers’ reunion, and death. As such, creating the meaning of the story becomes possible. Accordingly, in Dârâbnâmeh, this point has been achieved through the representation of religious love, the illustration of love affairs, and homogenous and suprematic national-royal discourse with a paternal perspective.