فصلنامه کهن نامه ادب پارسی
سال چهاردهم شماره 2 (پیاپی 37، پاییز و زمستان 1402)

The two-part world of light and darkness has a long history. In the imagination of ancient Iranians, there are two principles in eternity; One was called Ahura Mazda and the other Ahriman. The research question is, what is the foundation of light and darkness in Khosravani's wisdom? And how are these two concepts explained in Bayezid's sayings and Hanry Corben's metaphysics? The purpose of this research is to explain the nature of light and darkness in Bayezid's mysticism and its connection with Khosravani's wisdom and to reflect this category with Hanry Corben's worlds in the ancient Iran. The findings of the research are that the dualities of light and darkness are two separate essences with different natures, which were correct in the wisdom of Khosravani and the mysticism of Bayazid Bastami. HanryCorben connects the metaphysics of Suhrawardi's thought with German romanticism, Mazdaism, Manichaeism, Hermesis, and the Sufism of Rozbehan Baghli, NajmuddinKobra, and NajmuddinRazi. Mazdasna's worldview is based on light and darkness. Light is the appearance of the self and the appearance of others. Darkness is also the essence of dark and has a dark aspect. The hero of mystical thought is a light man trapped in darkness who is thinking of liberation. His idea and experience are also connected in the connection of light man and his guide. Bayezid also meant God's light and the achievement of it in his mystical thinking.

Among the numerous corrections of the spiritual Mathnavi, the edition of Mohammad Ali Movahhed is the last and without a doubt the best. More than four years have passed since the first edition of this work, which has now reached its third edition. The professor has put corrections on eight complete and monograph versions, all belonging to a maximum of fifteen years after Rumi's death, and three other auxiliary versions. Of these, seven copies were probably written under the supervision of Hossam al-Din Chalabi, the last caliph, and Sultanwaleed, the son of Maulana. Of the other three versions, two versions were written during the lifetime of Sultan Vold. In this article, we have evaluated this magnificent work, while enumerating its advantages, in the following four areas:1) Correction and recording of verses: In this section, due to the avoidance of word length, we have only discussed the correction of a number of verses in the first book. In order to understand the meaning of some verses according to their recording, because the professor did not say anything in the correction of the book (and we hope that they will clarify the point in the annotations or commentary of the Masnavi later), we have no choice but to speculate. The priority of recording some verses or some words in Masnavi verses, considering the possibility of different readings in the recording of words and combinations such as Bad/Yad, Karkan/Karn, Kardi/Gardi, forms the main topics of this part of the article. In this section, we have reviewed 14 examples, which are mainly related to the meaning and sometimes the validity of the verses included in the margins of the versions.   2) Spacing between the verses of the Masnavi: One of the interesting features of this correction is the spacing between the verses throughout the Masnavi. What obligates this work is the most obvious characteristic of Masnavi in ​​telling stories and parables, which, apparently, is the horizontal line of travel And they are not straightforward. The professor listed three goals for these intervals: 1- to guide the reader in the content; 2- Preventing the possible boredom of the singer due to the repetition of monotony and continuity on a single song; 3- Paying attention to the turn of Rumi's words according to the situations of the narration and reflecting on his narrow thoughts. (Rek: Molana, 1396, vol. 1, introduction one hundred and fifty-five). The author considers spacing between the verses of the Masnavi useful and worthy of appreciation due to the possibility of easier communication of the modern reader with this text. According to the author, out of the three goals that Professor Mowahed has set the foundation of spacing on, the second goal, especially with the clause "probable boredom of the reader", is not very evaluable, because in fact it is not known which reader gets bored where. Therefore, in this part of the article, we have examined and analyzed the first and third reasons, which are responsible for the plot of Rumi's continuous twists and turns from the straight line of the speech, and we have shown that in some cases, the application of scholarly correct spacing may not be justified. 3) Script: Although the Persian Language Academy has made efforts to organize the Persian script for many years, among the high-quality corrections and numerous editions of ancient texts, one can find less evidence that the correctors have a single policy in writing all kinds of Persian words throughout the text. Applying a single policy to distinguish word types, especially in rhymed texts, can guide readers to "correct reading". Even though Professor Mowahed did not use a single procedure in writing in this correction, his precision in calligraphy is noticeable. According to the author, adopting a well-thought-out and uniform script in the correction of texts, based on what has been determined by the Persian Language Academy, both arrests the reader in correct reading and frees the printing of old texts from confusion. In this part of the article, we first pay attention to examples of the teacher's correction, which correct handwriting prevents reading and, as a result, misunderstanding of the verses. Then, in this edition, we will review some mistakes made in typesetting and failure to adopt unity of procedure, especially in writing compound words. About the typesetting of the book, it seems that the beauty of the letters and the arrangement of the words of each stanza was much more important than determining and limiting the privacy of the words. 4) The use of punctuation marks: it is clear that the use of these marks (dot, colon, comma, semicolon, etc.), in its right place, guides the reader in reading and understanding sentences and verses correctly. In the master's printing, the use of signs, without the usual extremes, is interesting. In this part of the article, while showing some examples of the master's accuracy which is the way to the correct meaning of the verses, we have briefly examined the use of the comma and mentioned the cases where the comma has limited the meaning of the verse, or caused a defect to it. In this article, to avoid the length of words, we have examined only the first book of the Masnavi, although sometimes we have given examples of verses from other books to confirm or strengthen the content. In reciting the verses of the Masnavi, we have used the exact writing and recording of the master's edition as a criterion everywhere.

The grapheme “و” in the Persian written system signifies several graphs and linguistic signs. This grapheme signifies both “o” and “va” (=and) in the field of conjunction, and there is no noticeable difference between their grammatical categories, function and meaning in the Persian language system. Pointing to the lexical and conceptual changes of these two words from a diachronic study, this article has tried to prove from the perspective of the reduction process in perceptional semantics that the word “و” has only one linguistic meaning and does not belong to more than one grammatical category. Research corpus is the lyric poems of Saadi and Hafez. Studying this conjunction from the perspective of the process of reducing the signs in perceptional semantics showed that the types of meanings attributed to “و” in the tradition of Persian language and literature studies are related to the meanings of collocating units, or are related to the reduction of companion units in the intra-linguistic context. In this approach, the conjunction “و” does not have any other category, meaning, and function in Persian language; and it is necessary to observe this point in the pragmatic studies related to this conjunction in Persian language and literary texts.

Various editions of Ferdowsi's Shahnameh have been attempted over the past two hundred years to bring the epic closer to what Ferdowsi originally penned. Despite these efforts, the valuable verses, numerous appended couplets, and various other flaws persist in this epic masterpiece. The absence of ancient manuscripts emphasizes the need to consider alternative methods in correcting Shahnameh. One such approach is self-correction, considering elements such as similes, metaphors, interpretations, and their equivalents. This method can rectify many discrepancies. In this article, the second hemistich of the couplet “kherad chon shaved kehtar-e kam o rashk /Chonan dan ke divane khanad pezeshk (When wisdom becomes less than desire and envy, know it like a physician who considers someone insane)” is corrected and analyzed based on the proverb “Hasad [rashk] dardist bi-darman (Envy is an incurable pain)” and the recurrence of this proverb in other verses of Shahnameh and Persian literary texts, presented as “Chonan dan ke daroo na-danad pezeshk (Know that, like a physician who does not know the remedy)”.

Mosarrahat ul-asmā’ is a bi-lingual dictionary‚ Arabic to Persian‚ written by Lotfullah ebn abi Yousef Halimi‚ ottoman lexicographer and philologist of the ninth and beginning of the tenth century AH (15 century AD). This book written in 872 AH (1466 AD) ‚ has nearly 17112 headwords, considering some of their Turkish equivalents (nearly 1180 headwords), we can somehow call it a tri-lingual Arabic to Persian and Turkish dictionary. Considering to emersion of this kind of dictionaries in the ninth-century‚ we can enumerate Mosarrahat ul-asmā’ as a pioneer in this field.In addition to carrying a variety of definition language, we can mention other features of this book including: presenting a comprehensive and complete definition of some headwords which is distincting from similar dictionaries, recording Arabization (to indicate pronunciation) of some of the Persian and sometimes Turkish equivalents that display outdated pronunciation of words, their local dialect or Turkish dialect, Using some rare and alternative pronunciation of words that represent their phonetic changes, Using rare and compound words, recording specialized medical words.

Sharaf al-Din Shafrava was a well-known scholar and writer of the 6th century AH/12th century CE. One of his works is entitled Atbāgh al-Dhahab fi mavāʿiz va al-Khoṭab, in which Shafrava imitated Zamakhshari's style in Aṭvāgh al-Dhahab. There exists an ancient Persian translation of this book edited critically by Rabiʿ-Niyā and Valimanish and published by Library, Museum and Document Center of Iran Parliament in 1391SH/2012CE. The present article aimed at analysing this translation critically. To achieve this aim, the printed text (1389SH/2010 & 1391SH/2012) was compared with the base manuscript of the edition and also with the Arabic original (1309AH/1891CE & 1329AH/1911CE). The comparisons showed that the edited text suffered from several errors, omissions and additions (by the editors), and attempt was made to correct such errors and detect all the instances of omission and addition. The second aim was introducing an ancient and newly-discovered manuscript of this translation and comparing the text of which with the edited text. The findings showed that this manuscript has more equivalents of Persian origin, and is, in some passages, different from the previous ones. Due to the mentioned deficiencies and shortcomings and discovery of the said manuscript, re-editing the text seems necessary.

Some of the military terms are related to archery. Many of these terms have disappeared from dictionaries but in the treatises related to archery, you can get information about them. In some Persian texts, these terms (such as عقده، زنده، مرده چلیپا، زیردست، دستکش) are placed next to other famous terms (such as تیر، کمان، ناوک پیکان) that form equivocal appropriateness and they increase the rhetorical value of the texts. In this essay has been attempted to introduce some of these terms and investigated their rhetorical function in the poetry of Persian literature poets. For this purpose, various equivocal appropriateness have been introduced and military terms in Persian texts have been divided into regular categories. In the main part of the essay, examples of equivocal appropriateness based on archery terms are presented.

One of the most fundamental tenets of ancient Iranian philosophy and mysticism, especially in the Yazd-e-Masna religion, is happiness, bliss and attention to joyful and exciting emotions. In these texts, words within the 'semantic field' of ‘happiness’ have the highest frequency. Ahuramazda is a God of happiness, Zarathustra himself is a happy prophet and a messenger of happiness. Believers speak happily in their prayers. The gods Mehr, Ashi, Tishter, and Anahita bring happiness to the people and the ultimate wish is the wish of happiness. In this study, by providing an analysis of words that are semantically similar to ‘happiness’ and emphasizing the meanings and roots of the two Middle Persian words (šādīh) and (rāmišn) in Avesta, ancient Persian inscriptions, Manichaean and Middle Persian Zoroastrian texts, we will try to follow the concept of happiness in these texts and paint a vivid image of what these texts have to offer when it comes to ‘happiness’. In addition, by proving the importance and place of these concepts in ancient Iranian thought, we will present new findings regarding this topic. In short, happiness in ancient Iranian texts begins with the material world and ascends to heaven. It is a feeling that is associated with worldly pleasures, satisfaction and wisdom, working and self-actualization, good thoughts, plenty, peace, truth, benevolence, prayers and religious practices, and ultimately happiness after death and immortality.

Arabic-Persian Al-sorâh men al-sehâh dictionary is one of Jamâl al-Din Abulfazl Mohammad Qarshi’s works and an abstract translation of Tâj al-Loghat and Sehâh al-Arabiyyat written by by Abu Nasr Ismail ben Hammâd Jowhari. Qarshi completed the book in 700 AH in Kâshghar located in Transoxiana. Mohammad Hoseyn Heydaryân edited and translated The Arabic parts in 1397 SH. In this article, first, the edition approach of Sorâh is reviewed. Then, the mistakes and misreads of the editor are mentioned on the basis of two manuscripts used by Heydaryân, one lithograph and Sehâh, and correct forms are proposed. Next, the main differences and mismatches between recording of the text and the recording of the manuscripts, specially the basic manuscript, are studied and finally, some of the flaws and deficiencies of the printed version in comparison to the manuscripts are mentioned.

For the first time, Wikander, with his research on Mahabharat and the Shahname, suggested that the warrior class among the Aryan people was an independent class of social structure, and that the clergy and the peasants constituted two other classes. By placing the group of rulers next to the clergy in the first class and examining the social structure of other Indo-European peoples, Dumézil extended the theory of the threple systhem social structure to other societies of this nation. He believed that in addition to the social structure, gods, families, and even more detailed concepts such as medicine, fire, and Farrah in Iran followed this structure. But by examining these issues in more detail in Shahname and Mahabharat, we can say that many of Dumézil's analyzes can be criticized. In this article, an attempt has been made to critically examine the foundations of Dumézil's theory based on the myths and epics of India and Iran, and to critique and analyze this theory. According to studies, it seems that social classes and other concepts that Dumézil emphasizes are not very separable and demarcating. On the other hand, the peasantry in Indo-Iranian beliefs was not as important as other classes and Contrary to Dumézil's view, craftsmanship has a long history in these societies.

In this study, with the aim of general study of the Place and developments of proverbs in Persian prose styles, fifteen prominent prose books It has been analyzed in various subjects from the fifth to the ninth century AH. About The historical evolution of the use of proverbs, how they are used in the text, the relationship between Persian proverbs and Arabic proverbs and the authors' approach to them. In these centuries, all kinds of verses and hadiths, Common proverbs, sayings of elders, sages, mystics and poems of poet have entered prose in the form of proverbs. The results of the study of developments show: Historically, this is the evolution of proverbs, Morsal style (fifth century): beginning, Beynabeyn style (late fifth century): consolidation, technical style (sixth and seventh centuries): the golden age and the eighth and ninth century: the Age of decline. Repetition without change, repetition with partial change, simile, the abandonment of some proverbs by changing styles are among the evolutions of proverbs in these centurie. The position of proverbs in the text is with a letter and a connecting sentence or without a connecting sentence. A large part of the structure of proverbs has remained unchanged with the change of styles, but some proverbs have been transformed with the change of styles.. Arabic proverbs along with Persian proverbs come in several ways: without translation, verbal translation, conceptual translation and equivalence. The personal style of the writers has been involved in the evolution of proverbs, and some of them have changed or rejected the proverbs in line with their ideas.

Ancient anecdotes and stories (Kelileh and Demneh) are considered to be very suitable resources for training, nurturing and flourishing the talents of children and teenagers due to their educational capacities and excellent and pure educational themes. The purpose of the current research is to analyze the rewritten stories of Kelileh and Demneh based on the types of adaptation. The research method is content analysis. While examining the definition of adaptation and its types, the authors have presented various strategies and criteria to carry out a creative and suitable adaptation. Choosing a suitable and creative title, using white writing techniques and telling gaps, creativity in the beginning and ending of stories, expanding the story and old stories through increasing the number of events in the story, increasing conflicts, etc. are important. It is the most important component of a creative and free adaptation of ancient texts, including Kelileh and Demneh. The results of the research showed that among the reviewed works of four rewriting groups, despite the fact that all four groups did not use creative rewriting criteria much; But Davoud Lotfollah and Mozhgan Sheikhi, according to the average that was obtained, compared to the other two rewriters, namely Mehdi Azar Yazdi and Reza Shirazi, have used more features of creative adaptation in their stories.

Among the problems about the relation between emotions and art, the question of whether emotions can be mentioned as a tool for a better understanding of artwork or not has received special attention from scholars. Some have spoken of the destructive role of emotional engagement with the artwork, and some have pointed to its positive role. This paper investigates the mystical views of Rumi in Masnavi Ma'navi to explore the role of emotions in a better understanding of artworks. The findings of the research, which was accomplished using the descriptive-analytical method, show the following: From Rumi's point of view, an emotional engagement with an artwork can pave the way for a better understanding of the work as well as its messages by creating empathy with the work and changing the way we pay attention to it. In Masnavi, Rumi deliberately and consciously chooses the method of artistic expression through the language of poetry and allegorical stories, and one of the basic elements that increase the influence of artistic expression is the influential role of emotions in all the stories of Masnavi.