فصلنامه کهن نامه ادب پارسی
سال سیزدهم شماره 2 (پیاپی 35، پاییز و زمستان 1401)

Kingship had had a role of great importance in ancient Iranian beliefs and thought to be a position which is appointed by God. Upon such a belief, the world is a worldly picture of the heaven, and as God dominates the whole creation, the king rules the sublunary world, as well. Ruling in accordance with Asha (i.e. truth or right or righteous deed), as well as establishing universal order, is of most influential, pivotal aspects of philosophical thoughts in ancient Iran whose explicit manifestation is in the concept of “justice”. One obvious implication of justice in this system of thoughts is to maintain the social classes as well as aligning duties to individuals based on their classes which is a way of avoiding anarchy. Employing descriptive-analytical method, in this research it is showed that how social classes, that a kind of it expresses in human spiritual faculties, relates to the notion of justice. Having in mind this point, ascribing the title “the Just” (or “dispenser of justice”) to Anushirvan (Khosrow I) who had committed firmly to preserve social classes is a subject to think on. Case study is based on text of Shahnama.

Poetic forms in classical Persian literature can be classified into three categories. 1. The formal forms, which own a lofty language, exuberant images and illustrated prosody which composed mainly for the courtiers. 2. The semi-formal forms in which, although the great poets made attempts and created masterpieces, the court favored them less than expected. 3. The informal forms which own a plain language, quick-to-understand literary devices and syllabic weight whose composers are usually unknown and have been written for the masses. The formal poetic forms were often well-regarded and rewarded by the court. Such regards and rewards would reach the semi-formal poetic forms sometimes, but not extended to the informal poetic forms since these forms were a part of popular literature and they were not through the written literature. By delving into the works of the past, we see that the predecessors accepted and adhered to this classification as an unwritten law. The present study, in an analytical-descriptive way, suggests that the classical poetic forms of Persian literature can be classified into the three classes of formal, semi-formal and informal according to the established attitude of the predecessors which was itself formed based on the regard and reception of the court.

The book of Sirat-e Jalal al-Din Minkoberni is among the most important and reliable historical documents of the Khwarazmshahian and Mongol period, written by Shahab al-Din Nasawi with the aim of writing real history. In this study, citing the approach of Rhetorical narratology and the indicators of the 'Invalid narrator' theory in the opinions of rhetorical narratologists including Rimmon Kenan, James Phelan and Martin, the validity of the effect's narrator and the accuracy of some of his historical reports based on "textual and intertextual studies" have been evaluated. In textual studies, the signs of the narrator's invalidity and lack of credibility are identified as "moral evaluation of events and their judgment, the contradiction between the narrator's words and behavior, Linguistic and emotional cues, narrator acceptability, and the narrator's limited knowledge" and in the intertextual field, the narrations of the historian are examined with the historical texts of the same period and the "narrations deleted, abbreviated or erroneous" of the narrator are explained. Based on the results of the research, it can be said that despite the unique importance of the book in recording the life story of Jalal al-Din Khwarazmshah and the epic depiction of his life in the face of the Mongol demons, some contradictory orientations of the narrator in depicting the character of Jalal al-Din Khwarazmshah during the narration are distorted and invalid. For this reason, the audience is skeptical in the face of Jalal al-Din Khwarazmshah and some cases finds him a shaky personality.

Study of Special subjects in various styles of poems can be show evolution them as for different conditions such as political, social and cultural conditions، One of this subjects, is Baharaneh main issue In this article, is study and division of motifs of Baharaneh in various period of Persian poem so we can analysis one of the live genre in Persian poems، For this purpose, this article, studied motifs in more than 174 Baharaneh poems of various period of Persian poem, Baharaneh in first period is external description of nature in spring and via to show ceremonies of new year and spring, praises kings and other grandees, The next period, Baharaneh changed to internal description and poet tries to show their emotions and affections in Baharaneh. The propagation of Mysticicm and subjectivism are the reason of this situation in this period, In contemporary period Baharaneh, as for political and social conditions, became completely different, In this period, because nationalism and to revive pure Iranian ceremonies, Baharaneh continues as before, But on other hand, due to the concutive defeat and the disappointment of some poets, the Baharaneh shows a regret for the shining past and nostalgia, The results of this study show Baharaneh in Persian literature can divided by their motifs and they can be divided into three categories: external, internal and nostalgic.

Simorgh in Iranian mythology is a bird related to the sky and the sun, which shows the special importance of the sky and the sun in the thought and life of Iranians, and therefore sometimes takes on a divine image. Due to the importance of the role of the sun and sky in human life and their beliefs, in other civilizations, other birds such as phoenix, eagle and heron, play a special role of Simorgh in myths. In this article, a comparative study of the role of some birds in the mythology of civilizations such as Iran, Greece, China, Egypt, USA and some famous civilizations, in order to identify their commonalities, has been done. The most important common feature of Simorgh and similar birds is the revitalization and connection of earth and sky or material world with the Alawite world, and people of different lands take refuge in them to overcome problems when faced with problems.

Zahak in the Shahnameh is an evil character who has produced one of the worst historical-mythical periods. In the Shahnameh, with the guidance of Iblis, he kills his father, carnivores, slaughters and destroys the world. The character of Iblis, with an extroverted interpretation of the myth, with the signs that it is, must be the mother of Zahak. In Shahnameh's account of human actions, he reflects a family plot with his son Zahak against his wife Mardas. In the mythical depiction of the mother of Zahak in the religious epistle Oudg, whose actions in Zoroastrian texts correspond to those of Iblis in the Shahnameh narrative. In the depiction of social history, the Zakah government system is a matriarchal system. In the ancient tribal mother-mother (the devil), the cultivation of the land was flourished by killing the old king (Mardas) and spilling his blood on agricultural fields (killing Mardas in the garden) and marrying a young hero (Zahak). On the historical front, Zahak is also reminiscent of the Western invasion of Iran. One example of a widespread Western invasion of Iran in the Western chronicles is the invasion of the kingdom of Nineus and Nineas with the mighty Queen Samiramis. There are many similarities between the actions of Samiramis and Ninias or Ninius with Iblis (Zahak's mother) and Zahak, which indicates the presence of the powerful female element in Zahak's court.

The Meysari encyclopedia has been published several times after being corrected by Dr. Barat Zanjani in 1987. However, it has been distorted and misrepresented though it is a single version text, and the corrector considered the text marginal notes as a duplicate version. The present study highlighted the corrected Meysari encyclopedia’s shortcomings in terms of “distortion and correction” and “misreading” by employing ancillary authentic medical references. As a result, the present study provided some recommendations for reviewing some parts of the Meysari encyclopedia, and it is hoped that the present study results, which is a stepping stone for enriching the old medical references, support scholars in dealing with difficulties and complications of the Meysari encyclopedia.

The national epic of Iran includes the religious and social beliefs and traditions of older times, which are the context of the occurrence of its narrative events and have been extensively presented while telling stories. Including the belief in the influence of stars and constellations on the emergence of events that somehow connect the material world to the supernatural world. Also, resorting to supernatural forces such as magic was a way for a person to overcome his helplessness against destinies. Some of Mazdayasna's rituals and rituals are reflected in this work, which is part of the popular culture and beliefs of that time. Criminal sentences and common methods of punishment at that time is another category that is linked to this literary and epic work as social behavior. In this article, which is provided in a library style, the issues raised are discussed as much as possible.

One of the main ambiguities in Khayyam's research record is the attribution or non-attribution of quatrains to this Neyshabour philosopher. According to the opponents of attributing the quatrains to Khayyam, to equate their poet with Khayyam, a religious philosopher, is a community of contradictions and impossibilities. The result of such a belief is the claim of the existence of two Khayyams and the creation of a confrontation (rational philosopher and twentieth-century poet) between them; On one side is a wise philosopher who is immersed in philosophical concepts for the rest of his life, and on the other side is a poet who has no desire except luxury.But this confrontation does not resist dealing with Khayyam's works and the surviving reports about Khayyam Tab, because not only in Khayyam's works and the reports of his contemporaries, points such as being in the House of Ishrat and referring to the disinterestedness of creation have been seen. It may contaminate the ideal image of the rationalist religious philosopher, but there is also a rationality in the content and structure of the quatrains that makes it impossible to attribute them to a twentieth-century poet. The existence of these contradictions on both sides of the above-mentioned confrontation destroys the constructed confrontation from within and increases the possibility of attributing the quatrains to Khayyam by denying the fictitious poets.

Attar's language, as researchers have noted, is full of distinctive features. These features became more apparent with the publication of Shafi'i Kadkani's edition of Mantigh al- Tair and other Attar’s Masnavis, but in the meantime, due attention was not paid to the Mokhtarnameh. Mukhtarnameh is a collection of Attar quatrains, which is provided in thematic order in fifty chapters. Due to the antiquity of the work, the study of its language is of special importance. In the present article, the phonetic features of this work have been studied and some questions about Attar's language have been answered and as well some of the typographical errors and examples of misreading have been corrected. The data obtained from the present article can be compared with the data obtained from the study of Attar’s other poems and the existing image of the stylistic and linguistic features of this poet can be made more accurate. One of the achievements of this research is the distinction between the word "negahi" pronounced whth /ī/, as well as the phonetic distinction between "tō" (layer) and "tū" (you), Both written the same, which has been made possible by examining the work’s rhyming. Considering the metre of Attar's quatrains, it was also found that, unlike some words that have been used in short forms, some words have been used only fully, such as "gusha" (to open) that needs to be corrected as "gushay"

One of the archetypes that exists in many lyrical fictions is the archetype of the Rescue of man by woman. Signs of this archetypal state can be seen both in the narratives in which the protagonist is a male character (hero) and in the narrations in which the heroine is the main character. In this archetype, the heroine assists the male character and saves him from death or helplessness. In this study, this archetype is investigated in the lyrical poetic narrations of "Zal and Rudabeh", "Bijan and Manijeh", "Kheyr and the Shepherd's Daughter", "Legend of the heavenly green-dress for Bahram-e- Gour", "Joseph and Zulaikha" and "Jam And Gol" And its data have been critiqued with an archetypal critique approach and written in a descriptive-analytical method. The results obtained show that In addition to the archetype of the Rescue of man by woman in ancient stories, it also exists in many contemporary lyrical texts and some of the narrations is formed on this archetype. love at first sight, violation of taboo, daimonic, The hero's (heroine's) journey and attainment of individuality are the main components of the archetype of the Rescue of man by women which exist in the narrations affected by this archetypal situation.

Khawaja Muhammad Parsa (d. 822 AH), is one of the sheikhs of the Naqshbandiyya sect and famous Sufis of the Timurid era. he has authored numerous works in the field of Sufism and interpretation of the Qur'an. Tafsir Samaniyah, One of his works, is the commentary of eight short chapters of the thirtieth part of the Quran. To write this work, like his other writings, he has utilized a lot of Arabic and Persian late works; sometimes he has referred to his sources but in many cases he has not mentioned them. The main issue of this article is whether all the Persian parts of this work are the outcomes of the mind and the style of Khajeh Parsa or may some parts of it are taken from the works of predecessor authors and he has not mentioned his sources? studying the Persian parts of the book, it is clear that a number of these materials are taken from some works such as Sharh-e-Tarrof, Kimia-e-Saadat, Mersad-ul-Ebad, and Mesbah-ul-Hedayah whish he didn’t even mention them. This point can lead readers to make less mistakes about the content and linguistic analysis of this work and also make them aware of using these sections.

Oriental despotism is one of the most important approaches and theories through which some western thinkers have viewed the mythological, political, economic and cultural events in the EAST. According to this theory, the state, or goverment, in Asian societies due to geographical factors, water shortage and rural dispersion, as a rival political institution by eliminating all  social structures and institution, including independent aristocracy, as a more powerful force. Has come from the community; However, the actions of the Rostam dynasty in the Shahnameh, which is probably a reflection of the embodiment of the Parthian aristocrasy, confirm that this dynasty, taking advantage of their strong political and economic base, played an effective role in limiting and balancing power; in fact, the research findinds show that the Rostam dynasty, by appointing a king in critical situations and assisting the kings with an independent and equipped army, gained political independence as well as dealing with independent trade and peasent affairs and gaining abundant wealth in various ways. Like the spoils of war, etc. they also enjoyed economic independence; In a way, this class not only did not have complete dependence on kings, but in many cases also had power equal to that of kings.

Abolhassan Yaqmā Jandaghi, is one of the poets of Qajar era that has criticized verbally the corruption of the times by using the technique of satire in his poems. One of the techniques he has used, is a parody of the antecedent poets of Khorasani and Iraqi styles. The Masnavi of Sokkal-Adal, a poetry that has been composed in 564 verses, satirizes one of his contemporary poets so that in its composition the poet has considered Shahnameh of Ferdowsi. According to the topic, this paper tries to investigate the form, the structure and the theme of Sokkal-Adal based on the components of Mock epic and it compares the Mock epic with other kinds of literary figures including parody and Burlesque. To benefit from the technique of parodying, Yaqma tries to replace the literary imitation with creativity in his poems and He partly achieved its goal, but sometimes changing the tone of poems from heroic tone to doctrinal tone and combining these two tones have kept the poetry away from the textual coherence

Mystical reading of methodological texts and Mythological Analysis of Mythical text are new methods of Criticism that in the dialogue between these two fields explores the commonalities, differences, and usual and multifaceted discourses. On the other hand, in the critique of mythology proposed by Joseph Campbell, a model of archetypal schema is presented in the same way as the mythological narratives of different ethnic groups, which by analyzing Mystical texts and Mythical texts, we can find the kinship of stages of the seeker of the path with the pattern of the hero's journey. Hence, this descriptive-analytical study examines the relationship between the mystical journey and the heroic journey in the myth of Manichaeism creation and the narrative of Hormozdbagh's journey to the land of darkness. The results of this study show that the mythos of Hormozdbagh's journey to the land of darkness follows the same pattern that had been proposed in the three stages of Invitation, Arrival, and Return, under the title of Campbell's hero's journey pattern, and it has a deep relation with the seeker’s journey in mystical texts. So, according to the mentioned model, this trip can be considered as a type of seeker journey.