دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 The Comparative Analysis Between Two Persian Translation of Kalila and Dimna (Case Study: The story of the monkeys) تحلیل مقایسه‌ای دو ترجمۀ فارسی کلیله و دمنه (مطالعۀ موردی: حکایت بوزنگان / حمدونگان) 1 22 24184 10.22108/rpll.2019.116203.1478 FA فهیمه مارانی دانشجوی دکتری زبان و ادبیات عربی، دانشکدۀ زبان‌های خارجی، دانشگاه اصفهان، اصفهان، ایران سیدمحمدرضا ابن الرسول استاد زبان و ادبیات عربی، دانشکدۀ زبان‌های خارجی، دانشگاه اصفهان، اصفهان، ایران محسن محمدی فشارکی دانشیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران. Journal Article 2019 04 10 Abstract This study seeks to adapt the narrative of The Apes in Kalila and Dimna with two Persian translations of Nasrallah Monshi and Muhammad Bukhari written in the 6th century AH. The authors have attempted to analyze these two translations in a descriptive-comparative way and to pay particular attention to their method of lexical equivalence. Also, in particular, the translation of the term ‘Yara’ah’ has been taken into account in this narrative, as if one of the translators has failed to translate it. One of the most important results of this research is that Nasrallah Monshi tries to create new templates in the target language for the transfer of concepts expressed in the source language, so that no part of the form and meaning disappears. He has therefore begun to invent new texts. ‏But, Muhammad Bukhari has translated the original Arabic text into Persian as far as possible, and his translation is closer to the Arabic text of Ibn al-Muqaffa’. Also, Muhammad Bukhari also tends to be more in line with Persian equivalents in terms of vocabulary, but Arabicism in Nasrallah Monshi’s translation (the use of Arabic vocabulary, an affirmation of verses, proverbs and greedy poems), is more common. Introduction This study is about the correspondence of Bozanagan (Hamdungan) anecdote of Kalila and Dimna with Persian translations by Nasrollah Monshi and Mohammad Ibn Abdullah Bokhari and attempts to provide an analytical view of the lexical equivalents in this anecdote. Among the anecdotes, there must be a brief anecdotal selection that the Arabic vocabulary of two Persian translations was compared in the form of an article. In addition, we preferred to choose an anecdote with a highlight. This anecdote is a complete in terms of structure and narrative, and there is a notable interpretation (the word ‘idiom’) in which one of the two translators of the Kalila and Dimna has failed in its translation. In translating this anecdote, translators sometimes translate the Arabic word of the source text into a more notional Arabic word for Persian speakers and sometimes use the same word or a Persian word for translation. Material & Methods The recognition and extrapolation of the Arabic words in the above translations, the categorization and then the comparison with the Arabic vocabulary of the source text were done to specifically answer the following two questions: How much is the use of Arabic vocabulary in the Persian translation of Kalila and Dimna? Secondly, are the Arabic words of the target text exactly same as Arabic words of the source text? Or, has the translator chosen more Arabic familiar words for them the Persian equivalence of the Arabic words? The difference of this study with other researches is sentence by sentence analysis about the style difference of two translations. After that, the application of Arabic words in two translations and their differences with Arabic vocabulary of the source text is checked with statistical analysis. Also at the same time, the superiority of each translator against the other one, illustrated over the lexical equality by giving an example. Discussion of Results & Conclusions One-third of Arabic words of translations were exactly the same as the Arabic words in the source text, indicating that those words were still used in their original meaning in Persian at that time. Monshi's contribution to the use of these words is more than Bokhari. تحلیل مقایسه‌ای دو ترجمۀ فارسی کلیله و دمنه (مطالعۀ موردی: حکایت بوزنگان / حمدونگان) این نوشتار در صدد تطبیق حکایت بوزنگان کلیله و دمنه با دو ترجمۀ فارسی قرن ششم هجری، یعنی ترجمه‌های نصرالله منشی و محمد بن عبدالله بخاری است. نگارندگان تلاش کرده‌اند تا با روش توصیفی ـ تطبیقی به تحلیل ساختاری این دو ترجمه بپردازند و در ضمنِ آن به طور خاص به شیوۀ آنها در برابریابی واژگانی نیز توجّه دهند. همچنین به ویژه به ترجمۀ واژۀ «یراعه» در این حکایت توجه شده، چه گویی یکی از مترجمان در ترجمۀ آن به خطا افتاده است. از بارزترین نتایج این پژوهش آن است که نصرالله منشی می‌کوشد تا برای انتقال مفاهیمی که در زبان مبدأ بیان شده، قالب‌های تازه‌ای در زبان مقصد بیافریند، به طوری که هیچ بخشی از صورت و معنی از میان نرود؛ و به همین روی دست به ابداع متنی تازه زده است ولی محمد بخاری، تا حد امکان اصل متن عربی را به فارسی برگردانیده و ترجمۀ او از نظر سبک نوشتار و ساده‌نویسی به متن عربیِ ابن مقفّع نزدیک‌تر است. همچنین بخاری در برابریابی واژگان، بیشتر به معادل‌های فارسی گرایش دارد ولی در ترجمۀ منشی، عربی‌گرایی (کاربرد واژگان عربی، استشهاد به آیات، امثال و اشعار تازی) بیشتر به چشم می‌خورد.

https://rpll.ui.ac.ir/article_24184_93527178569000f5893819539f0458f2.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 An Analysis of the Constraints of Function in Precise Poems and Ferdowsi Tusi تحلیل کارکردهای قید در اشعار دقیقی و فردوسی توسی 23 40 24002 10.22108/rpll.2019.117398.1516 FA محمد علی اکبرزاده دانشجوی دکتری زبان و ادبیات فارسی، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایران علی اکبر باقری خلیلی استاد زبان و ادبیات فارسی، دانشکده علوم انسانی و اجتماعی، دانشگاه مازندران، بابلسر، ایران Journal Article 2019 06 01 Abstract One of the major characteristics in examining the literary level of texts is the lexicon/vocabulary in the paradagmatic axis and combination of words in the syntagmatic axis. What turns such a selection and word combination into a work of art is the artistic usage of it in a suitable context. Although the extraction and analysis of all the elements and literary distinction of texts could be difficult, we can list and discuss many of them. In this way, adverbs of time, manner, and metaphor and their use in the elements of epic texts in Daghighi’s Gashtasp Nameh and in the Gashtasp’s Kingdom chapter in Shah Nameh were examined through a descriptive-analytical approach. Findings of the study showed that Ferdowsi has a wider knowledge and is more skillful than Daghighi in the epical use of adverbs. Adverbs of time used in Shahnameh deals more with depiction and the creation of settings than Gashtasp Nameh; due to its style values we can call it the ‘pictorial adverb’ which can be thought of as having both intellectual value and literary value. Lexicons used in Gashtasp Nameh can never reach those of Shah Nameh as far as the epical tone is concerned. Adverb of manner in Shahnameh is one of the techniques used to describe the behavior, spiritual status, and abilities of the warriors and helps to create brevity and music. One of the distinctions of simile adverbs in the Shahnameh is the selection of the adverbs, especially simile tools. The quasi-simile and simile tools in Shahnameh have more epic tone than in Gashtasp Nameh and their variety in the Shahnameh indicates the power of Ferdowsi's imagination and transcendence. Introduction Bitter events in the history of literature are the unfinished works of writers and poets for any possible reason. Some have, however, been fortunate enough since others came to finish what they had started, as Ferdowsi and Vesal Shirazi did with Goshtasb Nameh and Farhad-o- Shirin, respectively. But, each of the two has reached some success which requires separate research to be done on various linguistic and literary features. Before Ferdowsi, it was Daghighi who initiated the composition of Shahnameh, but after writing about one thousand verses, he was killed. Ferdowsi who set to compose the story of Goshtasb's access to the throne included those verses as they were, though he referred to Daghighi’s versification deficiencies. Zabihollah Safa, while approving Ferdowsi's claim, believes that Daghighi “fell short in reaching his perfection when composing Goshtasb Nameh” (2000, p. 167). By emphasizing this hypothesis that adverb can affect the coherence of the horizontal axis elements of verses, description of events, etc, this article deals with the analysis of the functions of the adverb in Daghighi and Ferdowsi's poetry. Material & Methods The method used in this research was descriptive-analytical and the unit of analysis was those verses in which adverbs are used. The verses shared by Daghighi and Ferdowsi that have employed adverbs have been selected and analyzed. In most of the verses, there were more than one adverb and in their variety of forms. In these cases, the number of adverbs were considered under their category and according to their frequency, but it is possible that the verse be analyzed under one category by focusing on its function. The page numbers are given in parentheses. Discussion of Results & Conclusions The adverb is not among the major sentence components in Persian but it is used in most sentences and plays a fundamental role in transmitting the concepts. Daghighi has used adverbs 975 times in 1008 verses and Ferdowsi has used them 519 times in 501 verses. In sum, Ferdowsi has used them on the average 1.03 times in every verse and Daghighi has done it 0.95 times. But, this statistical difference alone should not be considered as Ferdowsi’s superiority; this feature only exists in regard to the artistic functions of adverbs and their functions in situational appropriate contexts in order to gain an inspiring epic language. Next, Ferdowsi and Daghighi’s language differences in terms of their application of some types of adverbs are analyzed. 4.1. Adverbs of Time The frequency and structure of adverbs of time are almost the same in both poets. Ferdowsi’s rate is 48% and Daghighi is 44%. But, when examining their artistic functions, for example those adverbs of time pointing out sunrise and sunset, the real difference between the two shows itself. 1) In Ferdowsi, there is a combination of adverbs of time and figures of speech, whereas Daghighi has employed the latter only once in four verses referring to sunrise and sunset. 2) In Shahnameh, there is more focus on creating ambience with time adverbs, but in Goshtasb Nameh, this does not exist. Here, adverbs of time don’t show any part in preparing the audience for starting the story. In Shahnameh, however, this link is more sustained. 3) Diction in Goshtasb Nameh is lacking in as much epic tone as in Shahnameh, and at times they verge on lyricism, but in the latter each word is employed to render the language some epic character. 4) Time adverb density is different in the two works. Though in some sections of Ferdowsi there is higher frequency of adverbs of time, he has endeavored to employ different adverbs of time in the form of various terms to create some equilibrium, but this feature is absent in Daghighi. 4.2. Adverbs of Manner The frequency of adverb of manner in Goshtasb Nameh is 8% but in Shahnameh it is 5%, but Ferdowsi has adopted various devices to give it a more sublime position. The characteristics and distinctions of this are as follows: 1) Ferdowsi is among the rarest poets who in Khorasani style era have extensively dealt with the internal side of the characters. The most important tool for him here is using adverbs of manner. In this regard, 28% of these adverbs in Goshtasb Story and 11% of them in Goshtasb Nameh describe the moods of the heroes. 2) Ferdowsi is well aware of the impact of long adverbial combinations on the magnificence of language. Thus, he tries to go further than simple, derived, and compound expressions to obtain derived-compound combinations and subordinate adverbial clauses. Thus, 90% of the adverbs of manner are organized after this pattern. The frequency of such adverbs in Daghighi is 74%. 3) Another merit of Ferdowsi’ style is variety. His adverb usage is hardly repetitive and boring. He has adopted different methods in this regard. Daghighi’s use of adverbs also have variety but he has not been as meticulous as Ferdowsi to avoid repetitions. 4) Shahnameh also benefits from the existence of musicality in the poems. This represents the poet’s idiosyncratic style. The poet has created alliterations and assonances in 75% of his adverbs of manner, whereas in Daghighi, this rate is 11%. 5) There is still another characteristic in Ferdowsi’s usage of adverbs of manner (i.e. their contribution to visualization with the help of similes). In Daqiqi’s style, this does not happen at all. 4.3. Simile Adverbs Ferdowsi has used 31 different similes that comprise 6% of the whole adverbs, but Daghighi has used 67 that constitute 7% of the whole. The functions and variety of these similes in Ferdowsi’s work are, however, more elevated than in Daqiqi’s: 1) One characteristic of an inspiring language is the best selection of words, the fact that could be seen at its best in Ferdowsi’s choice of ‘comparators’. 2) The variety of tools as components of similes is remarkable in Ferdowsi. He has used 31 similes in his story of Goshtasb, having 26 types of tools. This variety proves the poet’s power of imagination that can discover similarities between the elements of the two objects of comparison in its epic form. Repeated tools in Shahnameh make 17% of the whole, and in Goshtasb Namneh are 39%. Thee repetitions could be considered as the poet’s failure or inexactness in creating visualization and innovations. 3) The third distinction in Ferdowsi is the selection of special words as tools. The majority of Ferdowsi’s tools have epic color and are suitable for a war. This way, 61% of Ferdowsi’s and 41% of Goshtasb Nameh’s tools are of this kind. Ferdowsi has actually benefitted from the potentials of adverbs for consolidating his language, but Daghighi, probably due to his inability to do this, has shown inadequate qualities in this regard. Adverbs of time in Shahnameh are linked to figures of speech and the creation of ambience more than in Goshtasb Nameh, and have become his stylistic feature. This is less apparent in Goshtasb Nameh. Daghighi’s reference to different resources and his abstaining from artistic interference has led to a reduction in description in his poetry, but Ferdowsi’s active and artistic presence in developing stories has brought him a unique status in language. Daghighi has used adverbs of manner more than Ferdowsi for 2%, but has not managed to benefit from their functions as much as Ferdowsi. The functions of similes in Goshtasb Nameh lack the artistic distinctions of Shahnameh. One of these distinctions is the optimal selection of adverbs, especially ‘comparators’ in Shahnameh. ‘Tools’ and ‘comparators’ in Shahnameh have more epic color than in Goshtasb Nameh. یکی از شاخصههای مهم در بررسی میزان ادبیّت متون، واژهگزینی در محور جانشینی و ترکیب واژه‌ها در محور هم‌نشینی است. آن‌چه این گزینش و ترکیب را به ارزش هنری تبدیل میکند، کاربرد هنرمندانة آنها متناسب با بافت متن است. اگرچه شاید استخراج و تحلیل همة عناصر و تمایزات ادبی متون دشوار باشد، اما می‌توان بسیاری از آنها را برشمرد و تبیین نمود. از این رهگذر، قیدهای زمان، حالت و تشبیه و کارکردهای آنها بهعنوان یکی از عناصر متون حماسی در گشتاسپنامة دقیقی و بخش پادشاهی گشتاسپ در شاه‌نامه مقایسه و با روش توصیفی-تحلیلی بررسی شد. یافتههای تحقیق نشان می‌دهد که فردوسی بیش از دقیقی در برجستهسازی ارزشهای ادبی قید به خصوص آمیزش قیدها با صور خیال اهتمام ورزیده و از این رو، اهتمام فردوسی و کمتوجهی دقیقی به آمیزش قیدها با صور خیال، تفاوت عمدة دو شاعر در کاربرد قید است. از همین رهگذر، قید زمان در شاه‌نامه بیش از گشتاسپ‌نامه با صور خیال و فضاسازی مرتبط است و به سبب ارزش سبکیاش، میتوان آن را «قید تصویری» نامید که علاوه بر ارزش ادبی، ارزش فکری نیز دارد. واژهها در ساختمان قید زمان در گشتاسپ‌نامه به اندازة شاه‌نامه، رنگ و لحن حماسی ندارند. قید حالت در شاه‌نامه یکی از شگردهای توصیف رفتار، حالات روحی و حرکات رزمی قهرمانان، خلق ایجاز و موسیقی است. یکی از تمایزات قید تشبیه در شاه‌نامه، «بِه‌گزین» کردنِ قیدها، به خصوص ادات تشبیه است. مشبه‌بهها و ادات تشبیه در شاه‌نامه نسبت به گشتاسپ‌نامه، لحن و رنگ حماسی بیشتری دارند و تنوّع آنها در شاه‌نامه دال بر قدرت تخیّل و تعالی فکر فردوسی است.

https://rpll.ui.ac.ir/article_24002_834d287e156552578bbf4d34738a478f.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 Necessity of re-correction of majalis al ushshaq ضرورت تصحیح مجدّد مجالس‌العشاق 41 58 24429 10.22108/rpll.2019.118007.1537 FA مهدی ییلاقی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی، مشهد، ایران سید مهدی زرقانی استاد زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی، مشهد، ایران محمّدجعفر یاحقی استاد زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی، مشهد، ایران Journal Article 2019 07 07 1. Abstract Majalis al -ushshaq attributed to sultan Hussein Bayqara, is a Tadzkera with focused on carnal love. Its compilation ended in 909 Ah. This work was edited, and published in 1996 (1375 Ah) by Gholamreza Tabatabaei Majd. TabatabaeiMajd’s Printing is the first edition of Majalis al – ushshaq, so he always has accomplishments. But the lack of access to authentic manuscripts and the lack of attention to the scientific principles of critical correction led to slippage in it, and consequently, it does not have sufficient scientific credence. Regarding the Newly discovered manuscripts of Majalis al – ushshaq and the defects of the previous correction, it seems necessary to re-correct it. The present article tries to prove this necessity by introducing the work and the olden manuscripts of it and the review of TabatabaeiMajd’s printing. For this purpose, after the introduction of the work, its position and value in Persian language, the author of the book, and the critique of the comments on the assignment of the work to the author, the previous publications of the work were introduced. The research has shown that Majalis al ushshaq has been published five times, printed four times in lithography and one time in printed form. The review of the only print of the book showed that there were three kinds of errors: correction’s structural defects, errors due to Precision and negligence in writing, errors in the text of the Majalis al ushshaq. 2. Introduction Majlis al_ushshaq have always been a topic of discussion in many ways; From its strange content that elicited a variety of reactions; Until its author, who was hiding behind a veil of ambiguity; And to the many paintings that have been drawn in different historical periods; And numerous and disparate manuscripts of it in major libraries around the world. And what is the main purpose of the author to compilation of such a book in the literary center of Herat is one of the main issues of the work. If We don't count the numerous stone prints of the Majles, the correction of Gholamreza TabatabaiMajd is the first and only critical print of the work. But, considering the finding of older manuscripts as well as the errors found in its single print edition, it is necessary to re-correct the book. In this article, we disuse about the book’s author and the faults which was found in printed book. In introduction and termination of work the author’s name is given: Sultan Husseyn ibn Sultan Mansur ibn Bayqara ibn UmarShaykh ibn Teymur Kurkan, but Babur attributed it to Kamallodin Husseyn Gazurgahi without any Documentary. Also, other scholars have different ideas about author of the work. Also, Majalis al-ushshaq have many manuscripts in library and museum around the world. Until now We find 45 manuscript of it, which some of them have miniature painting and well-decoration. This manuscript never seen and used before in previous correction of work, accordingly using non-authentic and recent manuscripts has led to several mistakes.it is Therefore necessary to review. 3. Material & Methods This research is based on library materials and comparative method. In this article we first address the author's issues. Who the author is and what comments there are about it? Then we showed how not having a purged and authentic text of the work can increase the ambiguity around the author. Finally, while enumerating the errors and deficiencies found in Majalis al-ushshaq’s earlier correction and printing, we suggested the necessity of re-correction of it. We have used these manuscripts in the present text to compare with printed version: Manuscript No: 5-6083 Iran National library. Dated 961 Ah. Manuscript No: 2715 Malek Library and museum. Dated 972 Ah by DUST MOHAMMAD KATEB. Unlisted Manuscript Dated 972 Ah. in Afqanistan National Archive by Mahmud ibn Mirak Dargazini. Manuscript No: 667 Hakim Ughlo library in Turkey. Dated 982 Ah. by Kamal ibn shams u-din qahir. Manuscript No: 4211 Nuruosmaniye library in Turkey. Dated 987 Ah. 4. Discussion of Results & Conclusions In this article, we examined TabatabeiMajd's correction of the Majalis al-ushshaq in order to prove the necessity of re-correction of it by revealing its errors and deficiencies. For this purpose, after briefly introducing the work, the author’s, earlier editions of the work, and the basiss manuscripts of the TabatabaiMajd’s correction, we introduced our newfound Manuscripts And used them as a tool for measuring and identifying previous printing errors. thus, we have classified the previous published errors into two general sections: errors resulting from not having the original and valid manuscripts; errors resulting from Print and related issues, and a few subdivisions such as: deficiencies, indexing errors, Incorrect headings, slips in recording numbers and dates. As a result, due to the many errors found in the book and the aesthetic and semantic transformation of the work, Revising and re-correction of it, is necessary and inevitable. مجالس‌العشّاق، منتسب به سلطان حسین بایقرا، تذکره‌ای با محوریّتِ عشقِ مجازی است. تألیف آن در سال 909 هجری قمری به پایان رسیده است. این اثر در سال 1375 به اهتمام غلامرضا طباطبائی‌مجد تصحیح و چاپ و منتشر شد. چاپ طباطبائی‌مجد نخستین چاپ حروفی مجالس‌العشّاق است؛ بنابراین همواره از فضل تقدّم برخوردار است؛ اما نبودِ دسترسی مصحّح به دست‌نویس‌های معتبر و اَقدَمِ اثر و کم‌توجهی به اصولِ علمیِ تصحیحِ انتقادی موجب شده است لغزش‌هایی در آن راه یابد و درنتیجه اعتبار علمی کافی نداشته نباشد. با توجه به نسخه‌های نویافته از مجالس‌العشّاق و نقص‌های تصحیح پیشین، تصحیح دوبارة آن ضروری به نظر می‌رسد. نویسندگان این مقاله می‌کوشند این ضرورت را با معرفی اثر و نسخه‌های اقدم آن و نقد چاپ طباطبائی‌مجد به اثبات برسانند. بدین منظور پس از معرفی اثر، جایگاه و ارزش و اهمیت آن در زبان فارسی، معرفی مؤلف کتاب و نقل و نقد اظهارنظرهای بیان‌شده دربارۀ انتساب اثر به مؤلف، به معرفی چاپ‌های پیشین اثر پرداخته شد. مجالس‌العشّاق تاکنون چهار مرتبه به‌صورت چاپ سنگی و یک مرتبه به‌صورت حروفی به چاپ رسیده است. بررسیِ تنها چاپ حروفی اثر نشان داد سه ‌نوع خطا در آنها راه یافته است: کاستی‌های ساختاری تصحیح، خطاهای ناشی از کم‌دقتی و سهل‌انگاری در نگارش، خطاهای واردشده در متن مجالس‌العشّاق.

https://rpll.ui.ac.ir/article_24429_aa9ecf558bad291d4f4b45c5139bb0bc.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 An analysis of the structure and plot of the Haft Keshwar Introduction, the book by Fakhri Haravi تحلیل ساختار و پیرنگ مقدّمة سفر «هفت کشور» فخری هروی 59 74 24085 10.22108/rpll.2019.115086.1435 FA سهیلا کدیوری دانشجوی دکتری زبان و ادبیات فارسی، دانشکده زبان و ادبیات فارسی، دانشگاه رازی، کرمانشاه، ایران محمّد ایرانی دانشیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران وحید مبارک استادیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران 0000-0002-8696-6564 ابراهیم رحیمی زنگنه استادیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران Journal Article 2019 01 14 Abstract The Haft Keshvar (the seven Countries) is the work Fakhri Herawi, the famous writer poet of the court of Iran and India in the 10th century AH. This research, with a structural approach, has examined the introduction of this work, which is the special and artistic part of it. The questions emphasized in this research are about identifying the structure of the Haft Keshvar's introduction, showing the pattern of the plot of structure of the introduction, and expressing the connection between the introduction and the main content. In addition to the recognition of the totality of the literary work, the purpose of such studies is to make possible the comparison of the structural approach of the work with pre- and post-texts. This adds to the systematic collection of studies on Persian literature. This study uses the structuralism method, which emphasizes the structure of the work, and attempts to find a link between the form and the meaning using the ideas of scholars such as Propp in classifying the personality of the story, and Saussure and Strauss in the discourse and Tzvetan Todorov in episodic anecdotes, to explain the distinct levels of the narration of the introduction of the Haft Keshvar (Seven Countries). Introduction Structuralism is one of the new methods for the analysis and explanation of the text. By looking at the literary works and examining the verses and sentences, we find that the scholars had a meticulous view in their analysis. The systematic, structuralist view at literary works was emerged in the nineteenth century when Ferdinand de Saussure, after expressing the basics of linguistics, said that “Science is the study of systems of semantic signification and language is one of them” (Ahmadi, 2013, p. 12). In the examination of the structure of the article, we have outlined the structural approach in detail. This paper analyzes the introduction of the ‘Haft Keshvar’ of Fakhri Heravi, a prolific writer and poet of the Safavid court, with a structuralist point of view. The purpose of this research is first to show his creativity in applying three different structures (symbol, contrasting dialogue, and ‘story-within-story narration’) in the 100-page introduction of the book which is unique in his earlier works. Secondly, structural analysis can be effective in conveying the message more quickly to the reader, understanding the meaning of the literary work, especially in works with numerous characters and story- within-story narration technique. Thirdly, identifying the structure of a literary work can be a gateway to understand the style of the work. As Shafiei Kadkani expresses “by relying on its consonants, vowels, and the arrangement of the phonemes, each word is a structure at the service of the whole verse, which is a broader structure. The whole verse is a structure serving a larger structure that forms the ‘sonnet’, or ‘Qasida’, or ‘Manzoomeh’, so, the style is discovered. (See: Shafiei Kodkani, 2009, p. 8). Material & Methods The present study employs Structuralism as a theory that makes scientific study possible by revealing the intrinsic rules of the texts. Using the theories of thinkers such as Propp in classifying the characters of the story, and utilizing contrasting discourse and story-within-story anecdotes which are structuralist themes, the whole introduction of the ‘Haft Keshvar’ are categorized at three levels of symbolic, confrontational dialogue, and episodic stories. After defining the plot, using the main and secondary library resources, separating the sections, and drawing up the table of story-within-story anecdotes by listing the name and arrangement of the stories, the pattern of their plot has been identified. In the final section, by analyzing the main themes of the story, and Ibn Torab's journey to the Seven Stars, his goal of the journey to the Seven Places is described. Discussion of Results & Conclusions Haft Keshvar- written by Mohammed bin Amiri Heravi- is a work of the 10th century AH. This book has a creative introduction, which has paved the way for a function of fifty-five percent of various characters and angle-of-view metamorphoses. This study has attempted to reveal the distinct structure of this introduction with a structuralist approach. The introduction is presented in three parts; the first part has a symbolic text in which the author presents the story of creation in different names. The story is very similar to the Quranic story, except that Ibn Torab and his father, Khwaja Ragham, are not sinners. In the second part, Ibn Torab and Khwaja Ragham use a contracting discourse to convince one another, and this is one of the methods of the structuralism to reach the concept of theme. This section reveals Ibn Torab's main reason for traveling to the Seven Stars and Khwaja Ragham’s intention to prevent this journey. The third section contains story-within-story anecdotes; such stories have a long history in Persian literature. In this section we come across numerous characters and personalities. In terms of narrative, each narrative is followed by a new narrator who is a new character. In terms of the transformation of the angle of view, it is an artistic part worth studying. In terms of the structure of the plot, by trying to show the pattern of the plot in each section, we have tried to prove that the use of linear narration and narration of events based on cause-and-effect relation to represent a logical, coherent, and solid plot. Finally, it should be said that the introductory part of the story is Ibn Torab’s journey to perfection, who ultimately attains self-cultivation and spiritual virtue as he ascends the Seven Stars. Comparing this work with the lyric and educational works of art before and after can produce a valuable content. For example, comparing the different tribes in the Haft Keshvar with Mersad el-Ebad would be useful in identifying crafts and industries. Moreover, although this work is in prose, it has about five hundred and seventy verses of poem which is itself a valuable treasure of a capable writer. This section is definitely worth a separate review, adaptation, and further study. هفت کشور فخری هروی اثر نویسنده و شاعر توانای دربار ایران و هند در سدة دهم هجری قمری است. این پژوهش با رویکردی ساختارگرایانه مقدمة سفر این کتاب را بررسی کرده است. مقدمة این کتاب بخش ویژه و هنرمندانة آن است. پرسش‌های این پژوهش بر شناسایی ساختار مقدمة هفت کشور، نشان‌دادن الگوی پیرنگ ساختار مقدمه و بیان ارتباط مقدمه با درون‌مایة اصلی تأکید دارد. هدف از اینگونه بررسی‌ها نخست شناسایی کلیّت اثر ادبی است که امکان مقایسة رویکرد ساختاری اثر را با متون پیش و پس از آن فراهم می‌کند؛ همچنین این پژوهش‌ها بر ذخایر تحقیقات نظام‌مند ادب فارسی می‌افزاید. ساختارگرایی با تأکید بر ساختار اثر می‌کوشد پیوند میان صورت و معنا را بیابد. نویسندگان این پژوهش با استفاده از روش ساختارگرایی کوشیده‌اند تا با استفاده از نظر اندیشمندانی مانند پراپ (در طبقه‌بندی شخصیّت‌های داستان) و نظر سوسور و لوی استروس (در گفتمان تقابلی) و تزوتان تودوروف (در حکایت‌های ایپزودیک) سطح‌های مجزای روایتِ مقدمة هفت کشور را تبیین کنند؛ سپس با روش تحلیلی و توصیفی، ارتباط میان ساختار و مقدمة هفت کشور را روشن کنند. نتیجه بیانگر این است که مؤلف با تمایز سه بخش جداگانة نماد و گفت‌و‌گوهای تقابلی، روایت قصه‌در‌قصه و همراه‌کردن آن با تنوع شخصیّت‌ها و دگردیسی زاویة دید، ساختاری خلاقانه پدید آورده است. در ادامه، الگوی پیرنگ هر بخش ترسیم شده است که بیانگر پیرنگی منطقی و منسجم است. نتیجه آنکه اختران هفت‌گانه درون‌مایة اصلی هفت کشور در سفر ابن‌تراب به کشورهاست. این سفر که شامل هفت مسافت و دیدار از هفت کشور است، افزون‌بر نمایش سیر آفاقی ابن‌تراب، سیر انفسی او را نیز تداعی می‌کند.

https://rpll.ui.ac.ir/article_24085_c45b77eccc10729d4b9c2d08dfe9b1d1.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 Structural analysis of two stories from Hamadani's exclamation based on Todorov's narrative model تحلیل ساختاری دو حکایت از عجایبنامۀ همدانی بر اساس الگوی روایی تودوروف 75 90 24090 10.22108/rpll.2019.114745.1424 FA ابوالفضل شکیبا دانشجوی دکتری گروه زبان و ادبیّات فارسی، دانشکده ادبیّات و علوم انسانی، دانشگاه حکیم سبزواری، سبزوار، ایران ابراهیم استاجی استادیار آموزشی زبان و ادبیّات فارسی، دانشکده ادبیّات و علوم انسانی، دانشگاه حکیم سبزواری، سبزوار، ایران مهیار علوی مقدم دانشیار آموزشی زبان و ادبیّات فارسی، دانشکده ادبیّات و علوم انسانی، دانشگاه حکیم سبزواری، سبزوار، ایران Journal Article 2018 12 29 Abstract Storytelling has been one of the most important methods among the Sufis. In addition to the Sufis, ancient writers have always used the narrative to spread their thoughts. Mohammad bin Mahmoud Hamedani, one of the writers of the sixth century AH, the author of the book ‘Wonderfulness of Almighty and Greeb al-Muwadjut’ or ‘Wonderland’, has used narration to express his intentions. In order to find a way of writing and analyzing two stories about the anecdotes of this work, this article uses the methodology of Todorov's constructivism. One of the main components of the critique of a story in the Todorov’s narrative model is its purification and one of the most effective functioning factors is the systematic cohesion of this network. The fundamental issue of the present article, which the authors seek to achieve, is to examine and analyze the extent and the way in which the element ‘Pīrfet’ is used in the structure of Hamedani's stories. In this regard, the main body of the article is a brief recognition of Todorov's narrative model, based on the knowledge of the narrative and the analysis of this effective element in the design of two tales of Hamadani's exclamation. The methodology used in this study is to read two stories and to analyze the structure of their designs based on the model. The overall results showed that, based on the actions, propositions, and logical trajectory of the events of the anecdotes, the plot and the network of the anecdotes, and the event of this simple work are tailored to the personality of the anecdotes and corresponds to the structure of Todorov in the syntax of the story. It can be said that in the narrative of both stories, there is a coherent structure that begins with a balanced and stable situation and, in the middle, with the interactions of the characters, it causes an imbalance, and then the anecdote reaches its climax. In the end, after the passing of events, a new stable condition is formed and the fate of the characters of the anecdotes is determined. Introduction The Book of Wonders or Wonders of Existence is by Mohammad bin Mahmoud Hamedani. Hamadani wrote this book in the second half of the sixth century AH and donated it to Abu Talib Ibn Arsalan, the last Seljuk king of Iraq. Numerous stories have been cited in this book, but in most cases the story has been re-narrated on the occasion of the chapter in a different tone and perspective. This book is full of wonders so that even Hamadani sometimes quotes his story of disbelief, such as: "It is strange and wondrous" and "It is rare and does not accept reason". He says, "If it's true, and if we lied," and says that while some of the anecdotes do not make sense, they should not be considered false. This article seeks to examine contemporary narrative discourse and how it works in the two anecdotes of the Hamedani epic. Constructivism has formed a coalition between the traditional discourses of literature and the new findings of linguistics, one of its major achievements for literature being the "narrative" discourses. Method Structural examination of literary works by analyzing the intra-textual elements and finding the pattern of their linkages provides the grounds for receiving a more appropriate understanding of the nature of those works and can expand the patterns by presenting literary works. Effect processing help. One of the main topics of research in modern literature is the analysis and adaptation of ancient works to modern literary theories. Since "the hallmark of structuralism is that it attempts to present interpretive patterns that help them categorize and interpret a wealth of literary data," the overlap of these patterns with the stories, abilities, and narrative skills of the authors becomes even more apparent. . The purpose of this paper, which uses library resources in a descriptive-analytical manner, is to examine the network of findings in two anecdotes of the Hamadan marvelous anecdotes based on the storytelling model in the Todorov narrative model. Since each of the structuralist theorists defines a different structural form and thus has a different purpose than the others, “narrative theories based on the narrative as a succession of actions. Or a discourse made by the narrator or verbal product that gives the reader order and meaning, can be divided into three different parts. “In the meantime, the Todorov narrative theory belongs to the forefront and is, in fact, the continuation of Props morphology. Conclusion This study analyzes two anecdotes of the "wonder of sympathy" based on Todorov's structuralist narrative that illustrates how meaning is presented in the text. This study shows that the meaning of the text is presented in the form of two narrative grammars and in the form of conclusions which can be summarized as follows: In the first story and the first story in the second story, The main characters of both anecdotes live in a situation they do not like. Therefore, they seek another situation and eventually succeed, but this situation is the opposite of the personality of the second story of Revelation 2, because he cannot find his desired one (the destruction of demons). In other words, in this part of the narrative, the inability of the personality to overcome the "mandatory" or dominant discourse that is unwritten in the text leads to the fulfillment of the personality's (wishful thinking) desire, resulting in the "not finding" text. Ends. Overall, in the narrative of both anecdotes, there is a coherent structure that begins with a state of stability and culminates in the continuation of the story. The complex structure of the two stories, as their events are based on causal relationships and linear timing, is designed to fit the personality of the anecdotes. In these anecdotes, the situation is initially balanced, and the actions of the characters disturb the balance. After the events have passed, a new stable state is formed and the fate of the characters of the anecdotes becomes known. Thus, both anecdotes have a sequence of sequences, and are also timed and have a closed core. Structural analysis of the design of these two anecdotes for achieving a structured network of achievements yielded the following results: 1. Both anecdotes consist of two basic (dynastic) or mainstream anchors that incorporate the first 9 ancillary ancestors and the second anecdote 16 ancillary ones.. Most of the findings follow five of the famous theorems of Todorov's narrative pattern of storytelling..2 3. Constructive Statement Consequences in many cases, action statements are derived from the actions of fictional characters.. The ratio of attributive statements to (current) statements is lower..4 5. The causal order of events is both anecdotal and the sequence of sequences is chained, leading to the logical course of the fictional events, the structure of the sequences network, and ultimately the persuasion of the audience. حکایت‌پردازی یکی از روش‌های بسیار مهم در بین صوفیان بوده است. افزون‌بر صوفیان، نویسندگان کهن نیز همواره از حکایت برای گسترش اندیشه‌های خود استفاده می‌کردند. محمد بن محمود همدانی یکی از نویسندگان قرن ششم هجری، مؤلف کتاب عجایب‌المخلوقات و غرائب‌الموجودات یا عجایب‌نامه، برای بیان مقاصد خود از حکایت‌پردازی بهره گرفته است. در این مقاله، برای دریافت شیوۀ نویسندگی همدانی در عجایب‌نامه و تحلیل دو حکایت از حکایات این اثر، از روش ساختارگرایی تودوروف بهره برده می‌شود. یکی از عمده‌ترین اجزای نقد یک داستان در الگوی روایتی تودوروف پی‌رفت‌های آن و یکی از کارکردی‌ترین عوامل مؤثّرْ انسجام نظام‌مندی این شبکه است. مسئلة بنیادی این پژوهش بررسی و تحلیل میزان و چگونگی کاربست عنصر پی‌رفت در ساختار دو حکایت نامبرده است. در این راستا بازشناسی اجمالی الگوی روایتی تودوروف با تکیه بر شناخت پی‌رفت و همچنین تحلیل و بررسی این عنصر مؤثّر در طرح دو حکایت از عجایب‌نامۀ همدانی بدنة اصلی مقاله را تشکیل می‌دهد. روش کار در این پژوهش خوانش دو حکایت و تحلیل ساختاری طرح آنها بر مبنای الگوی یادشده است. نتایج کلی به‌دست‌آمده نشان می‌دهند بر مبنای کنش‌ها، گزاره‌ها و خطّ سیر منطقی حوادث، پیرنگ و شبکة پی‌رفت‌ها در هر دو حکایتِ منظور به‌طور ساده و متناسب با شخصیت حکایات طراحی شده است. در روایتِ هر دو حکایت، ساختار منسجمی وجود دارد که با وضعیت متعادل و پایدار شروع می‌شود؛ در میانه این تعادل با کنش شخصیت‌ها برهم می‌خورد و در ادامه، حکایت به اوج خود می‌رسد. در پایان نیز پس از پشت سر گذاشتن حوادث، وضعیت پایدار تازه‌ای شکل می‌گیرد و سرنوشت شخصیت‌های حکایات مشخص می‌شود.

https://rpll.ui.ac.ir/article_24090_0422dee0af6f04aab1ead6ca669c2505.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 Shu'ayyah Biography and the Need for its Correction تذکرة شعاعیه و ضرورت تصحیح دوبارة آن 91 112 24000 10.22108/rpll.2019.115214.1459 FA مختار کمیلی دانشیار زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه ولی عصر (عج)، رفسنجان، ایران Journal Article 2019 03 03 Abstract One of the most important Persian biographical works is Shu'ayyah Biography of Mohammad Hossein Sha'a Shirazi (Shua'a al-Mulk) which is written in Qajar dynasty in Shiraz in 1942. Shuayyah Biography includes biography and sample poems of 150 poets that the author has seen or heard them from 1941 to 1951. This biographical work was edited and revised by Mahmoud Tavousi, and was published by the Persian Foundation in 2001. The question of the present article is to what extent the correction of this biographical work is scientific, critical, and valid? Investigations show that the edited and revised text of Shu'ayyah Biography is full of errors. Three major reasons can be made to correct the mistakes in the revised text: choosing a wrong method, ethical correction, and bad reading. Contrary to the general correction principle, the editor is confined to a handwritten version of the Faculty of Literature of University of Tehran, which is late, and ignored the handwritten version of the Malek National Library, which is a more appropriate measure. Due to the fact that Shu'ayyah Biography is the most important work of Shua'a al-Mulk and has significant historical, social, and linguistic advantages, criticism needs to be made and its edited text should be available to the scholars and enthusiasts of the ancient Persian language. Introduction There are several notes written in the Qajar era in Shiraz, the most important of which are Mir’at al-Fasahah, Dar al-Alam of Shiraz Ontology, and the multiple ontology of Muhammad Hossein Shua’ (Shua'a al-Mulk). Mohammad Hossein Shua'i (1250-1322 AH) is one of the most famous poets of this era who authored biographies including Shakaristan Parsi, Ash’a al-Shua’ie, and Shua’ia Ontology which are historically and socially important. From a literary point of view, the significance of this ontology is to include biographies and examples of poets not mentioned elsewhere. Its linguistic significance is that some of the local words of Shirazi dialect or other dialects in Fars province have been recorded, such as the word ‘Khin’, meaning "blood" in the present Luri dialect in Fars. It also reflects the social situation of Shiraz in the Qajar era more or less. To date, the Shu'ayyah Ontology has been edited and published only once. Mahmoud Tavousi edited this work and published it in 2001 by the Persian Studies Foundation. There are slips in Tavousi’s edition, so that in some cases it is not possible to understand the meaning of many of the verses. In this study, we examined the reasons for the errors and misunderstandings of this text and some of its verses. Material & Methods In recovering the correct face of some incorrect words in the text of Shu'ayyah Ontology edited by Tavousi, another manuscript of this work, kept at the National Library of Tehran with No. 3839, has been overlooked. Therefore, our research method in this paper was to compare the printed texts of Shu'ayyah Ontology edited by Tavousi with the same manuscripts in the existing manuscripts of this work, preserved in the Library of the Faculty of Literature of Tehran University with No. 305 and National Library of Tehran with No. 3839. Discussion of Result & Conclusion From the comparison of the printed text of Shu'ayyah Ontology to Tavousi’s edition with the manuscript, we conclude that the three factors caused much lucidity in the printed text. The first factor is related to the methodology of the text correction technique. In contrast to the general rule of thumb, only one manuscript, the manuscript of the Faculty of Literature of the University of Tehran, was available. He has recorded them correctly. Another contributor to the misalignment of the printed text was the misinterpretation of the listener, many words in the manuscript used by the editor were properly recorded but the editor misread them. The third unintelligible factor in some of the texts of the printed text was the editor’s moral editions. The editor deliberately has altered some of the vulgar words without any reference, for example, in the personal parody of Christ, but the correction has changed the word to ‘Soul’ without a hint. Data and bits make sense. The result of the argument is that, due to the inaccuracy of many of the passages, it is necessary this biography to be re-edited and published using the manuscript of the Malek National Library. تذکرة شعاعیه اثر محمدحسین شعاع شیرازی (شعاع‌الملک) یکی از تذکره‌های مهم فارسی است که در دورة قاجار و در سال 1321 هجری در شیراز تألیف شده است. تذکرة شعاعیه دربردارندة شرح حال و نمونة اشعار صد و پنج شاعر است که مؤلف در فاصلة زمانی 1300‑1320 آنها را دیده و یا از زبانشان شعری شنیده است. محمود طاووسی این تذکره را تصحیح و بنیاد فارس‌شناسی در سال 1380 آن را منتشر کرد. پرسش این پژوهش این است که تصحیح نامبرده تا چه اندازه علمی و انتقادی و معتبر است. بررسی نگارنده نشان می‌دهد متن تصحیح‌شده سرشار از غلط است. از سه علت اصلی برای راه‌یافتن لغزش‌ها به متن مصحَّح می‌توان نام برد: انتخاب روش نادرست، تصحیح اخلاقی، بدخوانی. مصحِّح برخلاف قاعدة کلیِ تصحیح، تنها به یک دست‌نویس، نسخة دانشکده ادبیات دانشگاه تهران، بسنده کرده که نسخه‌ای مؤخّر است و از دست‌نویس کتابخانه ملّی ملک چشم پوشیده است که اقدم و اصح است. ‌افزون‌بر این، در مواردی واژه‌ها بد خوانده شده یا کلمات به‌سبب رعایت نکات اخلاقی به‌طور عمدی دگرگون شده است. تذکرة شعاعیه مهم‌ترین تألیف شعاع‌الملک است و فواید تاریخی، اجتماعی، ادبی و زبانی درخور توجهی دارد؛ به همین سبب بایسته است به‌طور انتقادی تصحیح شود و متن پیراستة آن در دسترس پژوهشگران و علاقه‌مندان ادب دیرینه‌سال فارسی قرار گیرد.

https://rpll.ui.ac.ir/article_24000_f3f1c8f3e538473fe7fce3802d341ddd.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 eliminating myth in Koush Nameh اسطوره‌زدایی در کوش‌نامه 113 128 24083 10.22108/rpll.2019.116103.1475 FA بهزاد اتونی استادیار زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه آیت الله بروجردی، بروجرد، ایران بهروز اتونی استادیار زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه آزاد اسلامی، واحد قم، ایران Journal Article 2019 04 10 Abstract One of the best and most important foundations of myth is the epic that is based on the clash and confrontation of two adversaries. Myth in its essence is related to paradise and but the epic, as a myth child, has a terrestrial and physical approach. In fact, the terrestrial process of mythological symbols creates the mechanism of epic stories, so that confrontation between gods and anti-gods, which is in nature epical, leads to the confrontation of relatives and great and ritual heroes with harmful and anti-heroic forces. Most of the Persian epic poems have a mythological infrastructure and traces of mythological characters and foundations can clearly be found in them. In these poems, Iran Shah ebne Abelkheir's Koush Nameh, written at the beginning of the 6th century AH is an exception, because unlike other Persian epics, it attempts to ‘demythologize’ the myth of the epic. In this article, three ways of the demythologizing in the poem of Koush Nameh has been introduced which include: 1) rationalizing the mythological events and narratives, 2) mentioning religious and historical figures along with mythological characters; and 3) the absence of some mythical and heroic myths common in mythical epics. In this study, the authors intend to show the mythological stories and motives that has been demythologize in Koush Nameh, in comparison with other epical poems. Introduction: A comparative study of myths in different cultures and ethnic groups reveals a common aspect among them, and that is the sacred characteristic of myths. Sometimes the myth is mistakenly referred to as an imagination and fantasy of ancient humans, while the myth is the belief of ancient people to the events of the metaphysical world. Among the literary genres, epic, and especially the natural epic, has a very close relation to the myth. In fact, the epics were originally based on myths, but in later centuries they abandoned the myth and replaced it while many of the mythical characters instantly entered the epic. So, myths and epics in the stories have similarities, the continuous connection of which is most evident throughout history. In the history of Persian literature, epic texts, especially natural epics, carry an ancient Iranian mythology in the form of fictional structures, characters, and mythological events. But, among these texts, Koush Nameh takes a different approach, and it is demythologizing in epic stories. Material & Methods: One of the most important ancient epics of Persian literature is Koush Nameh, written at the beginning of the sixth century. This epic poem is the story of the Koush, the nephew of Zahak who has ruled for years in China and Africa with oppression and atrocity. Although Koush Nameh is a natural and mythical epic, but it can be said that it is less mythical than other epic texts such as Shahnameh, Garshasbnameh, Bahman Nameh, Faramarz Nameh, etc. The reason of this is an attempt by the narrators of Koush Nameh to demythologize it and make it believable. In this descriptive-analytical study, the authors have investigated the subject of mythology in Koush Nameh poem. In this study, in addition to reading and analyzing Koush Nameh, the comparative epic method was used. Discussion of Results: The most important feature of Koush Nameh, which distinguishes it from other Persian epic texts, is its attention to demythologization and rationalism. This feature is so distinct from other Persian epic texts that the reader imagines that it is a historical, not an epic-mythical text. In Kosh Nameh poem, we often find that mythical events based on unrealistic and supernatural elements have taken on a rational color, so that in order to make the mythical and epic elements believable, they have been rationalized to make them look real. For example, the ‘Barmayeh cow’ and its milk, the serpents on the shoulders of Zahak, Mazandaran demons, and the story of the blindness of Keikavus and the Iranian army in Mazandaran have all followed this rule. Another feature of Koush Nameh is that historical events and personalities are brought together by mythical events and personalities, in order to give it a real aspect; for example, there is a family relation between mythical characters and religious or historical characters, or religious and historical figures coincide with mythical figures. In this poem, there are also some mythical and heroic themes common in the epics of Persian myths, such as the Haft Khan trips and battle with demonic creatures such as dragons and the Devil, which are in line with demythologizing. Conclusions: Koush Nameh of Iranshan ebne Abelkheir is a unique Persian epic poem that has a distinctive style compared to other epic poems, and that is the demythologization of heroic stories and narratives. In this poem, there are three ways of demythologization: A. To rationalize mythical narratives and events, such as the mythology of the Barmayeh cow, the myth of the serpent on the Zahhak shoulders, the story of Mazandaran demons, the story of the blindness of Keikavus and the Iranian army. B. To mention to religious-historical characters such as Adam, Noah, and Moses along with mythical characters, due to the kinship relationship between them or their contemporaneity. C. The absence and elimination of some of the mythical and heroic themes that are prevalent in Persian mythical epics such as the battle against demonic creatures like dragons and demons, and the Haft khan trips. یکی از برترین و مهم‌ترین بنیادهای اسطوره حماسه است که بر ستیز و تقابل ناسازها استوار شده است. اسطوره در ذاتِ خود، مینوی و آن‌جهانی است؛ اما حماسه مانند زادة اسطوره رویکردی زمینی و این‌جهانی دارد. درحقیقت فرایند این‌جهانی‌شدنِ نمادهای اسطوره‌ایْ ساز و کارِ داستان‌های حماسی را پدید می‌آورد؛ به‌گونه‌ای که رویارویی خدایان و ضدّخدایان که در سرشت حماسی است، اندک‌اندک به رویارویی تبارها یا پهلوانان بزرگ و آیینی با نیروهای زیانبار و ضدّقهرمانان می‌انجامد. بیشترِ منظومه‌های حماسی پارسی زیرساختی اساطیری دارد و در آنها ردّپای آشکار شخصیت‌ها و بن‌مایه‌های اساطیری را می‌توان یافت. در این منظومه‌ها، کوش‌نامة ایرانشان بن ابی‌الخیر که در ابتدای قرن ششم هجری سروده شده است، یک استثناست؛ زیرا برخلافِ دیگر حماسه‌های پارسی می‌کوشد از پیکرة حماسه اسطوره‌زدایی کند. در این مقاله سه روشِ اسطوره‌زدایی از حماسه در منظومة کوش‌نامه معرفی شده است که عبارت است از: 1) خردپذیرکردنِ روایت‌ها و رخدادهای اساطیری؛ 2) ذکر شخصیت‌های دینی و تاریخی در کنارِ شخصیت‌های اساطیری؛ 3) نبودِ برخی بن‌مایه‌های اساطیری و پهلوانیِ رایج در حماسه‌های اسطوره‌ای. نگارندگان در این جستار برآن‌اند تا با بهره‌گیری از حماسه‌پژوهیِ تطبیقی، داستان‌ها و بن‌مایه‌های اساطیری‌ای را که در کوش‌نامه اسطوره‌زدایی شده‌ است، در قیاس با دیگر منظومه‌های حماسی نشان دهند.

https://rpll.ui.ac.ir/article_24083_5e62b775d09c94f8be8884a21eb9cc12.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 12 1 2020 03 20 The Review and Analysis of Difficult Couplets of One of Khaqani’s Odes with the Commitment on using ‘Sobh’ بازخوانی و تحلیل ابیات دشوار قصیده‌ای با التزام «صبح» از خاقانی شروانی 129 147 23806 10.22108/rpll.2019.115809.1464 FA سید منصور سادات ابراهیمی دانشجوی دکتری زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران. امیر سلطان محمدی دانش آموخته زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه اصفهان، اصفهان، ایران. Journal Article 2019 03 06 Abstract Khāqāni Shirwāni, is one of the best poets who created a new form and style in Persian literature by his unique features. Some of the features are utilizing the maximum of linguistic and literary capacities, having complete knowledge of all kinds of sciences of his age and using them artistically in a poem, exact descriptions, new kinds of imagination, and making delicate links and relations. These special features have, of course, added to the complexity and difficulty of his poems. For this reason, the appearance of all the hidden points and the literary and technical beauty of his poetry requires the reader's diligence and endeavor. Due to this fact, various interpretations have been written on his Divan (collection). Nevertheless, problems in his poems have not been solved yet. One of his odes, which has difficult couplets, is the one in the praise of Khāqān-e Akbar Manoochehr Shirvānshāh, and the closure of Bāqlāni dam by use of ‘Sobh’ in each couplet. In this study, while investigating and criticizing all the previous interpretations, we have decided to take another step towards eliminating the poetry complexities and clarifying Khāqāni's words by studying and analyzing nine difficult couplets of this ode. Introduction Khāqāni Sharvāni is one of the brilliant Persian poets who has his own language and literary taste. He has his own unique and significant style. Using verbal and semantical capacities in its full extent, and also employing scientific concepts and terminologies of his own time in a creative way lead him to become a virtuoso. Khāqāni introduced figure of speech into scientific knowledge, and by doing so, he represented genuine images which lead to aesthetic values and poetic intrications in his works. There are various interpretations on his Divan (collection). Despite all of these attempts, there are still many complications in his works which many critics could not perceive them, and even in some cases interpreters follow the wrong set of assumptions. The purpose of this study was to analyze nine difficult couplets of one of Khaqani’s odes with the emphasis on using the word ‘Sobh’. Material & Methods In this study, library sources was used; through which some of Khāqāniʼs abstruse verses are studied rigorously. By using credible and original sources such as archaic tomes, inter-textual and intra-textual evidence, and by interpreting and analyzing contemporary perspectives, we can reach a veracious interpretation for every verses. In this study, some arguments were introduced to correct some of the peculiarities of the verses. Discussion of Results & Conclusions One of the Khāqāniʼs odes which has abstract and intricate verses put emphasis on the word ‘Sobh’ to extol ‘Khāqān-e Akbar Manoochehr Sharvānshāh’ and the closure of Bāqlāni dam. This paper aimed to go through and interpret nine verses of this ode which, from the authors’ viewpoint, need more probe and investigations. In each case, by referring to various manuscripts and publications of Khāqāniʼs Divan, we attempted to find the best semantical interpretation of these nine verses, and then by using archaic sources, considering inter-textual and intra-textual hints and analyzing previous interpretations, we tried to terminate ambiguities. Hence, by doing so, we can achieve crystal clear meanings. In this way, we paid special attention to delicate semantic and verbal interrelation build up poetic texture of Khāqāniʼs works. We also paid attention to his distinctive style in using the knowledge of the time and in employing poetical and aesthetical images. The findings showed that if we ignore his creative conventions and imaginary forms, and if we overlook his mastery over his knowledge of his epoch, wrong assumptions will be made. By analyzing these verses, it was revealed that, in some cases, interpreters’ misreading and misconceptions created a huge obstacle for understanding the true meaning of his works. Another issue was Khāqāniʼs attention to multilayer meanings and concepts of some words and using these in an ambiguous way. Disregarding this poetic characteristic can lead to misjudgment of his poetic method. Analyzing and re-reading of this odes open up some new ways for perceiving the poetic intention and solving his poetic ambiguities, by which we can represent an analytic approach to understand hidden layers of his poems and to illuminate his main viewpoint as well as other interpreters and researchers’ perspective. خاقانی شروانی به‌سبب داشتن ویژگی‌های منحصر‌به‌فرد، شیوه‌ای نو و غریب در ادب پارسی پدید آورده است. بهره‌گیری بسیار از ظرفیت‌های زبانی و ادبی، آگاهی از انواع علوم زمانة خود و کاربرد هنرمندانة آنها در شعر، توصیفات دقیق و گونه‌های تازه در صور خیال و ایجاد پیوندها و تناسبات لفظی و معنوی ظریف ازجملة این ویژگی‌هاست؛ البته این ویژگی‌های خاص بر پیچیدگی اشعار او نیز افزوده است. به همین سبب برای نمایان‌شدن همة نکته‌های پنهان و زیبایی‌های ادبی و فنی شعر او، خواننده باید دقت و کوشش بسیار داشته باشد. از همین روست که تاکنون شروح متعددی بر دیوان خاقانی نوشته شده است. با وجود این، هنوز گره بسیاری از مشکلات شعر او ناگشوده مانده است. یکی از قصاید دیوان خاقانی که اتفاقاً ابیات دیریاب و دشواری نیز دارد، قصیده‌ای است که خاقانی آن را در مدح خاقان اکبر منوچهر شروانشاه و بستن سد باقلانی و با التزام «صبح» در هر بیت سروده است. در این پژوهش، ضمن مطالعه و نقد همة شروح پیشین، کوشیده‌ایم تا با بررسی و تحلیل نُه بیت دشوار از این قصیده ـ که به عقیدة نگارندگان به تأمل بیشتری نیاز داشته ‌است ـ گام دیگری برای رفع پیچیدگی‌های شعری و ایضاح سخن خاقانی برداریم.

https://rpll.ui.ac.ir/article_23806_96b353516e4f0ff48598f33e80340a0c.pdf