نشریه ادب فارسی
سال سیزدهم شماره 1 (پیاپی 31، بهار و تابستان 1402)

Anecdote is one of the most widely used types of stories in the language of mysticism. However, until the 4th century, which is the century when mystical stories were established, we do not encounter many stories among the early works of Muslim mystics, and this point prompted us to search for the roots of this type of literature in the language of mysticism. During the study of the works of Shaqiq Balkhi (d. 194 A.H.), Kitab al-Raa'yah for the rights of Allah, Harith al-Mashabisi (165-243 A.H.), Kitab al-Maqamat al-Qulob Abul Hossein Nouri (d. 295 A.H.), the letters of Abu Saeed Kharaz (d. 297/277 A.H.?) and Junaid al-Baghdadi's letters (d. 298 A.H.) we found simple forms that can be attributed to the origin of the story in the language of mysticism. This fact is not far from the general flow of the emergence of literary genres; Because these genres were not created at once and simple forms can be considered for them.This fact is not far from the general flow of the emergence of literary genres; Because these genres were not created all at once and simple forms can be considered for them. This article, which was done with a descriptive-analytical method, helps to know the roots of story types such as allegory in mystical literature, because all these types, in the first place, arose from anecdotes. By analyzing mystical texts until the end of the 4th century, we came to the conclusion that Quranic verses, prophetic hadiths, religious traditions, mystical experiences, parables and Socratic polemics form the six roots of stories in the language of mysticism.

How to read a poem affects its grammatical, rhetorical and semantic structure; This reading casts a shadow on all parts of the poem whether it is under the influence of ambiguity and confusion or under the influence of changing the tone of the words. Some poems have two types of readings and two types of interpretation for different reasons, and this leads to different perceptions of that poem. The purpose of the present research is to investigate this important matter. Another goal of this research is to show the necessity of paying attention to the difference in the reading of poems, that is, we should not read all the texts of Persian verse and poetry in the same way. Especially in poetry, more attention should be paid to grammatical, rhetorical and semantic structure.The present research is descriptive and analytical, based on library sources, after studying the divan of poems of several Persian poets, verses that have double readings were extracted and analyzed in three grammatical, rhetorical and semantic levels. It has been classified and analyzed.According to the topics proposed in this research, the role and effect of double reading in creating different grammatical, rhetorical and semantic structures in poems was discussed and it was determined that the verses that have two types of reading at the lexical and syntactic-sentential level are under the influence of each of readings, they can induce double impressions to the reader. This causes changes in three grammatical, rhetorical and semantic levels and gives at least dual analyses. At the grammatical level, each of the readings may change the grammatical role and type; At the rhetorical level, it causes double rhetorical interpretations, and at the semantic level, it causes two relatively different meanings from verses. Therefore, paying attention to the correct form of reading leads to a more correct understanding of grammar, rhetoric and meaning, and neglecting this can cause wrong and incorrect perceptions.

The significance of research in old translations of Quran is evident to scholars in various facets, ranging from the linguistic benefits in the history of Persian language to various Quranic sciences. Among numerous Quran translations that are not studied and explored yet, we identified an incredible opportunity to introduce and examine the manuscript of Hudai Afendi’s translation of the Mushaf No. 20 for the first time, which dates back to the early 7th century. In addition to the linguistic and lexical benefits within the context of Persian language, which can be found in majority of old translations, the Hudai Efendi’s version includes some additional insightful points pertaining to Quranic sciences such as counting verses, Tajweed, and especially, the variant readings of Quran. The main focus of this article is to explore and investigate how the variant readings of Quran is captured in this mushaf, and how the variant readings of Quran has impacted this translation. By studying Al-Fatiha Al-Kitab up to the end of Surah An’am as well as the beginning of Surah Az-Zumar towards the end of Quran, we point out and analyze cases that have influenced the translation, and rare occurrences of the variant readings of Quran in this Mushaf, independent of the translation, while comparing with some main references in the field. We discuss how the writing of this Mushaf has affected the translation due to employing the traditional ways of scribing Quran through choosing from different variants based on the writer’s discretion.

The interactions between languages are very common. The languages that are connected with political power, social dynamics and cultural ability have wider effects on their neighboring languages. Iranian languages have enjoyed such a position for many centuries, both before and after the arrival of Islam in Iran. The existence of numerous elements of Sogdian, Pahlavi and Persian languages in different languages shows this. The Persian language, as one of the most important and influential languages of the Islamic world, has had a wide impact on other languages of this vast geography throughout its long history. Indeed, after Iranians accepted Islam, the Persian language found a privileged position among the languages of Islamic culture and civilization and became a medium for transferring religious topics and words to other non-Arab Muslim societies. In such a way that even many Arabic words found their way to other languages, not directly but through the Persian language. The role of Iranians in the bureaucracy system of Islamic societies and the formation of a rich literature were other factors that made other Muslims pay attention to this language. The Ottoman Turkish is one of the languages that has received the most linguistic, intellectual and literary influences from Iranian culture and Persian language. Turkic languages are a group of languages that have been influenced by the Persian language to different degrees and have also had some effects on it. When Divan literature, which was based on Islamic culture and Persian language and literature, was formed, the frequency of Arabic and Persian words in the Ottoman Turkish language increased highly. For example, the frequencies of such words in the poetries of Nef’i and Baki have been estimated at 60% and 65% respectively. This increase in Divan poetry reached such a point that sometimes only verbs were expressed in Turkish. With the beginning of the era of reforms and the increase of western and archaistic ideas in Anatolia, especially after the establishment of the Republic of Turkey, the rejection of eastern values intensified and extensive measures were taken to purify Turkish language in this country. In this way, many Arabic and Persian words were discarded and Turkish equivalents were found or created for them. Despite this, nowadays, many Arabic and Persian words, combinations, grammatical elements and expressions can still be observed in Turkish language; although their frequency has undoubtedly decreased compared to Ottoman Turkish. In this research, in addition to translating the first ten stanzas of the famous Terki̇b-bend of Bağdatlı Ruhî into Persian, we use the statistical analysis and frequency measurement method to calculate the influence of the Persian language on this sample of Ottoman Turkish lyrical poetry at the morpheme level. The findings of this research show that more than one fifth of the morphemes in this text are borrowed from Persian. There are also important intellectual common aspects between Persian literature and the aforementioned poetry.

The word "driyōš" means poor, needy, beggar, destitute. Also, driyōš refers to ascetics and mystics who are devout from the world and worldly belongings. Therefore, a driyōš refers to a person who, willingly or unwillingly, has nothing and is poor. Of course, "true driyōš" is needy, eager and in need of God. The attribute of such a driyōš is contentment and satisfaction. This study seeks to investigate the character of Driyōš in the story of Noosh Afarin GoharTaj, based on Jung's archetypal theory, and to present a new reading of this story, which leads to the understanding of the instinctive, cultural and idealistic substrata of Iranian society at a particular time. Analyzing the character of Driyōš as a key character in this story and his psychological truth can strengthen this goal; at the same time, it is also a confirmation of the importance of popular stories from Jung's point of view. The research method is a qualitative and quantitative analysis that was formed based on library sources. There are seven characters in this story that can be matched with the character of "Driyōš". These characters can be generally divided into three categories: the hero (self-willed poor), the hero's helper (the true Driyōš), and the anti-hero (Non-Driyōš). The archetypal roles of Driyōš in order of frequency in this story are "self, mask, hero, wise old man, animus and shadow". The character of "Driyōš" has been a positive and respectable character in general. The roles played by this character in the story present him with a likable and ideal face: a savior hero and a pious person with dignity who solves all problems and has a function like the saints of God. The prince (the one who is going to be the king in the future) and pious generous (the religious leader of the community) as the two main pillars of the country, both are driyōš-character and Shiite-religion. The enemy of the hero/prince can be compared to the ostentatious and hypocritical here Driyōšoid. In the end, the prince forms a new and ideal government with the guidance of pious. According to the results of the research, it shows how concepts derived from popular belief, people's unconscious needs and desires, and the political-cultural structure of society affect the characterization of the story (here Driyōš type). Also, the story has emphasized on a certain type of lifestyle, i.e. laziness and abandoning dependencies, trust, relationship and reconciliation of man with the surrounding world (nature and animals) and patience in reaching the goal; And the way and custom of Driyōš is the main way to reach the purpose and knowledge. But it should be noted that these stories are popular, and mysticism and driyōš religion in them are very superficial.

Hassan Farhangfar, Gilani's contemporary writer, is known in the realm of novels and short stories. Farhang-Far's effort to purify the society from class distance, cultural backwardness and the necessity of enjoying civil rights, caused him to make social realities the subject of his stories by combining realist and imaginary realist perspectives. He based them on dual oppositions. Although Saussure is the inspiration of structuralism, structuralism is known by the names of personalities such as Strauss, Barthes and Foucault, and Strauss plays a significant role in organizing it. Strauss considers dual oppositions to be the main function of the mind and the foundation of the culture of any nation. Because every structure in structuralism is expressed based on double opposition, the structure of literary works can also be analyzed based on double oppositions. In this research, the dual contrasts are divided into: 1) personality and thought, 2) place, 3) time, 4) symbolic-lexical, and the role of the realist and illusionary view of culture in their formation in two sets. The concern of Kahram and colorless buttons has been analyzed in a descriptive-analytical way. Based on the results of the research, place and time and conventional traditions determine the formulation of individual ethics in realistic and fictional fictional stories of culture, personality contrast is more prominent than other contrasts in them. One of the reasons is the author's entry into the details and psychoanalytical description of the world inside and outside of the characters. Because illusory realism wanders between two things, it is more capable of creating double oppositions. In these stories, the nature of personality confrontation is such that it manifests spatial, temporal and symbolic confrontations in order to provide the grounds for the emergence of realistic and imaginary realist events.

In critical discourse analysis, linguistic concerns and connections between discourses are examined in light of social and cultural frameworks and power dynamics in an effort to uncover hidden truths in the complex production of literary works. The poems of Wasef Bakhtari have been examined in this paper using this methodology to examine social propositions, ethnic nationalism, and linguistic hegemony of the discourse of domination, representation, social atrocities, and "cultural crimes" of the dictatorial rulers of Afghanistan in the 1960s and 1970s. In contrast, using a descriptive and qualitative analytical approach, Fairclough's critical discourse analysis has been used to interpret the critical discourse of Bakhtari's poems in the field of contemporary Persian poetry from Afghanistan in three levels of description, interpretation, and explanation. In Bakhtari's poems, the 1960s and 1970s represent the bright lights in the frameworks that reflect many of the social and cultural transformations that took place in ancient Iran and Khorasan. The current study helps readers in comprehending the ideologies of the poet and analyses the prevailing discourse of Afghanistan's contemporary history during the 1960s and 1970s. The findings of this study have demonstrated that Bakhtari frequently exposed the obscure elements of the strict system of the ruling discourse and the challenging class existence of the time. The poet has harshly criticized the social structure and the resentful inaction of the people against social tyranny. He has also vigorously contested the linguistic hegemony of the time.

Yadollah Royaei is one of the poets and theorists of volume poetry or spasmantalism in whose nature nature has a significant presence. A dreamer looks at nature as an independent human being or organism that has the behavior, states, actions, and reactions of a living being. In rhetoric, this type of function is called animism. This animism has two aspects in royaei  poetry, either at the level of composition and in a metaphorical way, or in the axis of companionship and by attributing human adjectives, behaviors, actions and reactions to objects and phenomena. It happens naturally. In royaei poetry, natural phenomena sometimes appear not as a human being but as an independent being. Royaei in animation-related images uses techniques and arrangements that trigger multiple perceptions and interpretations and help the audience to reproduce the work, in other words, it is the audience who recites the poem. Reproduces. In this way, the poet constantly renews his poetry. These tricks include collecting mental images related to animism, using rhetorical interference, and associating eroticism with animism. In this research, we study the techniques and royaei arrangements to achieve multiple interpretations in images related to animism based on the theory and analyze the samples, express multiple interpretations and reasons for interpretability based on We will deal with the measures taken.