نشریه نقد، تحلیل و زیبایی شناسی متون
پیاپی 15 (تابستان 1401)

Eliade believes the ritual travels of heroes is one of the main themes of epics. On the other hand, Iran is one of the most influential societies in shamanic rituals and shamanic manifestations are seen in many Iranian epics. Esfandiar's Haftankhan is one of the examples of the connection between Iranian epics and shamanic rituals which includes the basics of ritual travel. In this story, Gogsar is a symbol of the novice guide shaman and the stories of Haftkhan are symbols of initiation, the arrival of the learned hero in the associations and his journey to the dead's world to bring back the souls of the sisters. In this article, an attempt is made to compare the manifestations of the initiation ritual in this story by comparatively checking the stories of Esfandiar's Haftkhan with the shamanic passage rites and show why this story is his initiation. The article will also show that Esfandiar in the third stage passed the rites of initiation successfully. And the stories that follow are a description of his journey to the underworld to restore the soul. This task was performed by shamans in ancient societis.

Among the ancient Persian literature ,evidences of penetration of the myths of Nations can be found, that indicates the writer’s or poet’s influences are most of these myths. when the writer’s words are exanimated from a mythological point of view; gradually these impacts give them theirs, because from the mythology’s perspective some one who is studing_classical and contemporary texts, if there is an effect of the author from archetype or mythical element, will be realize this factor at writing. In the dyvgavpay(a demon that has a cattle-shaped leg) and religious knowledge story,wich is registered in the fourth chapter of the Marzban nameh , also the same ingredient are visible. Being a negative person called demon, from the time of Zarathustra’s changes among of Iranians, he losts his grand position and , according to the Zoroastrian teachings, has a low and hateful position, on the one hand, in addition has a cattle-shaped leg on the other hand, likewise declaring the text of the mastery the demons initially had on the environment and also, gather all of them by the command of the dyvgavpay, all are elements that can be traced from the point of view of mythology and reading the old texts and the beliefs of the Islamic and Zoroastrians. So in this research we have done it till prove this point that myths ancient Iranian beliefs in the Zoroastrian and Islamic periods and after that, in this text have been impressive.

Masnavi Manavi, as the most prominent mystical poetry work of Persian literature and among the most significant works of the Iraqi Style Period, has many Arabic words. The high frequency of Arabic words in this work suggests that the use of Arabic words is a stylistic component of Rumi's poetic language in Masnavi. Rumi, being aware of the semantic capacities of Arabic words, has used them to create and express various mystical and moral meanings, compensating for the lack of Persian equivalents for conveying his various and lofty ideas. "Wind" is one of the words of Masnavi, which has gained a high frequency through Rumi's special view of the elements of nature and their maximum use in creating mystical and moral meanings, and several specific names have been used for it. This study, by applying a descriptive-analytical method and using library sources, has explored the specific names of "Wind" in the six books of Masnavi Manavi. The results reveal that Rumi used 7 specific names for "Wind" in Masnavi, all of which being derived from Arabic. In terms of frequency, these names include Saba (18 times), "Sarsar" (12 times), "Nasim" (8 times), "Samum" (7 times), "Reeh" (6 times), "Dabour" (5 times) and Shamal (3 times). Each of these specific names of "Wind" in Masnavi has several secondary meanings, among which Saba with 13 and Shamal with 2 secondary meanings, have the most and the least semantic maps and functions in Masnavi.

Many Persian literary narratives have their origin in the past of Persian literature, the sources of which have been identified in contemporary area. In the present study, the common anecdotes of Sanai's Hadiqat and Rumi's Mathnawi have been investigated through library method by study of books, articles and related researches, text analysis and through comparative approach so that the anecdotes with a common theme and different structure can be compared and the differences highlighted. According to studies, the use of storytelling techniques in Rumi's anecdotes is more visible, because his use of superstructure elements of the story, especially perspective, character and dialogue is much more, and in contrast, the element of time and place has been rarely used; while in Hadiqat, these two elements are highly used. One of the main manipulation of Rumi in references is making dynamic the static characters as well as adding various types of dialogue and different characters.

From the point of view of Muslims, after the Holy Quran, the hadiths of the Infallibles (AS) are the most important heritage of Islam. This precious treasure is considered by various Islamic sects, including Muslim mystics. Mystics have their own principles in dealing with hadith. In some cases, differences in their basis with the scholars of hadith have caused differences. So that sometimes mystics have been attributed to forging and distorting hadiths. It seems that the analysis of hadiths by mystics with accurate scientific methods paves the way for understanding their principles and rules in the face of hadiths. This study examines seven hadiths considered by Muslim mystics in 110 mystical sources. Attempts have been made to analyze these hadiths quantitatively and qualitatively using modern research methods. The findings of the research show that some mystical hadiths are more considered by mystics and citation of these hadiths is abundant in mystical sources.

Mohammad-Reza Shafiei Kadkani is one of the Iranian contemporary poets have a vaste intertextuality relation with the Iranian classic poets and some time with Iranian modern and contemprary poets. His itertexuality with classic poet has been studied by some researcher but Synchronic intertexuality has not been investigated and because of this, in this article we tried that survey the dimentions of Shafiei kadkanies intertexuality relation with contemporary poem. In this regard, we survey the interteexualty relation of shafiei kadkani with two famous contemporary poets Mehdi Akhavan-Sales and Ahmad Shamlou in context of words, Vocabulary and compounds and poetic images. the result of this research makes it clear that the intertextuality relations with contemporary poetry also forms a significant part of the Shafies intertextual relationship and can be seen , more words and compounds and images that shafiei loan from These poet.