University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 3 2023 09 23 A Discourse Analysis of Fereydoun and Zahak Story Based on Modern Historicism A Discourse Analysis of Fereydoun and Zahak Story Based on Modern Historicism 1 16 27741 10.22108/rpll.2023.137109.2215 FA Abolfazl Mohebbi Persian Language and Literature, Faculty of Literature and Humanities, Razi, University Kermanshah, Iran MirJalalodin Kazazi Persian language and literature, literature and foreign languages, Allameh Tabatabai University, Iran 0009-0009-6182-8825 Khalil Baygzade Persian Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran 0009-0009-6182-8825 Journal Article 2023 03 12 Literary criticism is the analysis of a text's semantic layers based on theories that are mostly drawn from other fields of the humanities. The new historicism, which was established by Stephen Greenblatt in the late 1970s and early 1980s, is one of the most current theories in this field. According to modern historicism literature and history both have an impact on each other, in contrast to conventional historicism, which speaks of the one-sided influence of history on literature. Modern historians contend that literature does more than just reflect history; rather, the link between history and literature is dialectical rather than reflective. Based on current historicism, library, and document studies, and adopting a descriptive-analytical method, the story of Fereydoun and Zahak is assessed and analyzed here by offering a new interpretation. According to the findings, the conflict between the Iranian and non-Iranian discourse (Fereydoun and Kaveh) in this story is driven by power, which ultimately leads to the dominance of the Iranian discourse. The characters of this story each represent discourse in the story community. Iranian discourse is on the margins and out of power at first, while non-Iranian discourse is dominant and in power. By the end of the story, the situation changed. The plot is driven by the conflict between Iranian and non-Iranian discourse on power. Introduction The subject story was composed as a poem in one of the most sensitive historical prevails when the Arabs felt superiority vs. Iranians. The ideological pressures from the Arabic discourse have become more sophisticated throughout time, and they have sought to marginalize the Iranian discourse, which takes the shape of the Shu'ubiyya movement. Shu'ubiyya's Iranian discourse has been constrained by the restrictions from the Baghdad-based authority and its close allies in Iran, notably the Ghaznavid empire, Ferdowsi uses the story of Fereydoun and Zahak, which is rich in battle and resistance elements, to renovate Iranians' spirit in this context vs. the notion of Arab superiority. This story reflects the struggle between Iranian discourse (Feryedoun and Kaveh) and non-Iranian discourse (Zahhak); the struggle that existed during Ferdowsi's period and the Shu’ubiyya movement has been in conflict with what was Iranians. Freyedoun, an Iranian aristocrat, is related to Jamshid. Zahak dethroned Jamshid from the kingdom and killed him. Since then, Fereydoun and all other Jamshidis have lost their position and privileges in society. Fereydon's fight against Zahak is motivated by the fact that Zahak murdered his father Abtin and the Bermaye cow that Fereydon fed on as a child. The reasons for this phenomenon were 1) national motivation (saving Iran from the oppressive non-Iranian element), 2) class motivation (restoring the social position and privileges of the Jamshidian class), and 3) personal motivation (taking revenge on Zahhak for murdering Abtin and Barmayeh cow). As a patriot Iranian, Fereydoun finds Zahak's existence intolerable and feels it is his national responsibility to rebel against the foreign, alien, and oppressive forces that have imposed themselves on Iran. Methods and Materials An attempt is made to analyze the Fereydoun and Zahhak battle story in Shahnameh through modern historicism and to provide a new interpretation. The research is based on new theories and schools, text analysis, and criticism. By applying library and documentary studies, and adopting descriptive and analytical methods, a new interpretation of the subject text is presented by answering the following research questions: 1) What are the dominant (in power) and marginal (out-power) discourses, and their power connection? 2) Why did Ferdowsi favor a particular discourse? 3) What was the reason for and how did this favoritism occur? 4) What is the relationship and similarity between the story of Fereydoun and Zahak concerning time? 5) Which groups are the target audiences of the story? And 6) what is the intertextual relationship of this story with other Persian literary texts? Research Findings The findings indicate that the struggle between the Iranian discourse (represented by Fereydoun and Kaveh) and the non-Iranian discourse in this story is motivated by a desire for power which ultimately leads to the dominance of the Iranian discourse. The characters of this story are each representative of discourse. Other discourses are on the margins and outside of power, but Zahak's discourse is dominant and in power. The effort and struggle between these marginal discourses to gain power and become recognized gave rise to the story. The conflicts between the marginal discourses and the dominant discourse (Zahak) serve as the driving force. The element of conflict in the story is represented through disobedience, rebellion, and war. As a poet, Ferdowsi has taken the side of the marginal discourses centered on Fereydoun. Ferdowsi is inclined toward the usage of positive adjectives and phrases, which sets his supported discourses apart from other discourses in this way. Discussion and Conclusions Instead of focusing on the characters' specific historical actions, this story seeks to explore the universal nature of man by narrating the behavior of the characters in a way that makes the reader think about the historical patterns of the members of their society or even the general nature of mankind. As a result, any autocratic, murderous, and cruel dictator may associate himself with Zahhak, and any person fighting for liberation from tyranny is compared to Kaveh. There exist similarities between the characters in the story and historical figures from Ferdowsi's era that are worthy of consideration and come about as a result of how we interpret the story. For instance, Zahhak and the Abbasid caliphs are comparable in terms of race, autocracy, and animosity toward the Iranian race. The murder, repression, and brutality of the Abbasid caliphs have been demonstrated in the form of the myth of Zahhak. There are similarities between Abu Mansour Abd al-Razzaq and Abtin in the Zahhak stories; both of them are of Iranian ancestry and royal descent and were murdered by Iranians. That is, Abtin was murdered by Zahhak Tazi and Abu Mansour by Abul Hasan Simjur of Arabic descent. Both of their children seek revenge; Fereydon rises against Zhahak, and Mansour, the son of Abu Mansour Abd al-Razzaq, rises against Simjurians and Samanians and is murdered. Literary criticism is the analysis of a text's semantic layers based on theories that are mostly drawn from other fields of the humanities. The new historicism, which was established by Stephen Greenblatt in the late 1970s and early 1980s, is one of the most current theories in this field. According to modern historicism literature and history both have an impact on each other, in contrast to conventional historicism, which speaks of the one-sided influence of history on literature. Modern historians contend that literature does more than just reflect history; rather, the link between history and literature is dialectical rather than reflective. Based on current historicism, library, and document studies, and adopting a descriptive-analytical method, the story of Fereydoun and Zahak is assessed and analyzed here by offering a new interpretation. According to the findings, the conflict between the Iranian and non-Iranian discourse (Fereydoun and Kaveh) in this story is driven by power, which ultimately leads to the dominance of the Iranian discourse. The characters of this story each represent discourse in the story community. Iranian discourse is on the margins and out of power at first, while non-Iranian discourse is dominant and in power. By the end of the story, the situation changed. The plot is driven by the conflict between Iranian and non-Iranian discourse on power. Introduction The subject story was composed as a poem in one of the most sensitive historical prevails when the Arabs felt superiority vs. Iranians. The ideological pressures from the Arabic discourse have become more sophisticated throughout time, and they have sought to marginalize the Iranian discourse, which takes the shape of the Shu'ubiyya movement. Shu'ubiyya's Iranian discourse has been constrained by the restrictions from the Baghdad-based authority and its close allies in Iran, notably the Ghaznavid empire, Ferdowsi uses the story of Fereydoun and Zahak, which is rich in battle and resistance elements, to renovate Iranians' spirit in this context vs. the notion of Arab superiority. This story reflects the struggle between Iranian discourse (Feryedoun and Kaveh) and non-Iranian discourse (Zahhak); the struggle that existed during Ferdowsi's period and the Shu’ubiyya movement has been in conflict with what was Iranians. Freyedoun, an Iranian aristocrat, is related to Jamshid. Zahak dethroned Jamshid from the kingdom and killed him. Since then, Fereydoun and all other Jamshidis have lost their position and privileges in society. Fereydon's fight against Zahak is motivated by the fact that Zahak murdered his father Abtin and the Bermaye cow that Fereydon fed on as a child. The reasons for this phenomenon were 1) national motivation (saving Iran from the oppressive non-Iranian element), 2) class motivation (restoring the social position and privileges of the Jamshidian class), and 3) personal motivation (taking revenge on Zahhak for murdering Abtin and Barmayeh cow). As a patriot Iranian, Fereydoun finds Zahak's existence intolerable and feels it is his national responsibility to rebel against the foreign, alien, and oppressive forces that have imposed themselves on Iran. Methods and Materials An attempt is made to analyze the Fereydoun and Zahhak battle story in Shahnameh through modern historicism and to provide a new interpretation. The research is based on new theories and schools, text analysis, and criticism. By applying library and documentary studies, and adopting descriptive and analytical methods, a new interpretation of the subject text is presented by answering the following research questions: 1) What are the dominant (in power) and marginal (out-power) discourses, and their power connection? 2) Why did Ferdowsi favor a particular discourse? 3) What was the reason for and how did this favoritism occur? 4) What is the relationship and similarity between the story of Fereydoun and Zahak concerning time? 5) Which groups are the target audiences of the story? And 6) what is the intertextual relationship of this story with other Persian literary texts? Research Findings The findings indicate that the struggle between the Iranian discourse (represented by Fereydoun and Kaveh) and the non-Iranian discourse in this story is motivated by a desire for power which ultimately leads to the dominance of the Iranian discourse. The characters of this story are each representative of discourse. Other discourses are on the margins and outside of power, but Zahak's discourse is dominant and in power. The effort and struggle between these marginal discourses to gain power and become recognized gave rise to the story. The conflicts between the marginal discourses and the dominant discourse (Zahak) serve as the driving force. The element of conflict in the story is represented through disobedience, rebellion, and war. As a poet, Ferdowsi has taken the side of the marginal discourses centered on Fereydoun. Ferdowsi is inclined toward the usage of positive adjectives and phrases, which sets his supported discourses apart from other discourses in this way. Discussion and Conclusions Instead of focusing on the characters' specific historical actions, this story seeks to explore the universal nature of man by narrating the behavior of the characters in a way that makes the reader think about the historical patterns of the members of their society or even the general nature of mankind. As a result, any autocratic, murderous, and cruel dictator may associate himself with Zahhak, and any person fighting for liberation from tyranny is compared to Kaveh. There exist similarities between the characters in the story and historical figures from Ferdowsi's era that are worthy of consideration and come about as a result of how we interpret the story. For instance, Zahhak and the Abbasid caliphs are comparable in terms of race, autocracy, and animosity toward the Iranian race. The murder, repression, and brutality of the Abbasid caliphs have been demonstrated in the form of the myth of Zahhak. There are similarities between Abu Mansour Abd al-Razzaq and Abtin in the Zahhak stories; both of them are of Iranian ancestry and royal descent and were murdered by Iranians. That is, Abtin was murdered by Zahhak Tazi and Abu Mansour by Abul Hasan Simjur of Arabic descent. Both of their children seek revenge; Fereydon rises against Zhahak, and Mansour, the son of Abu Mansour Abd al-Razzaq, rises against Simjurians and Samanians and is murdered.

https://rpll.ui.ac.ir/article_27741_6bbaac34faa7d4b59f867032bbf7e0db.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 3 2023 09 23 Comparison and Analysis of the Common Sayings Between Tazkirat al-Awliya, Translation of the Qushayriyah Treatise, and Kashf al-Mahjoob based on Genette’s Intertextuality Comparison and Analysis of the Common Sayings Between Tazkirat al-Awliya, Translation of the Qushayriyah Treatise, and Kashf al-Mahjoob based on Genette’s Intertextuality 17 32 27256 10.22108/rpll.2023.135442.2153 FA Mahdi Mohammad Ghasemi PhD Student in Persian Language and Literature, Department of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Sayyedeh Maryam Rozatian Associate Professor of Department of Persian literature, Faculty of Literature and Human Sciences ,University of Isfahan, Isfahan, Iran Sayyed Aliasghar Mirbagherifard Professor of Department of Persian literature, Faculty of Literature and Human Sciences ,University of Isfahan, Isfahan, Iran Journal Article 2022 10 23 Attar Neyshabouri's Tazkirat al-Awliya is of a special stance among Persian mystical works. Attar has used the mystical works before himself to compile Tazkirat al-Awliya but did not act in the same way in using all the sources. The intertextual comparison of Tazkirat al-Awliya with pre-Attar texts is one of the methods through which the main sources of Attar can be accessed. This method can be adopted to analyze Attar's position as the author of a mystical literary text. In this study, the sayings related to "Reza" from Tazkirat al-Awliya have been intertextually compared with Kashf al-Mahjoob and the translation of the Qushayriyah treatise. The main question here is: What is the intertextual relationship of Tazkirat al-Awliya with the two previous mystical works? The results indicate that the intertextual relationships of Reza's sayings in these three works are placed in five categories: 1) direct intertextuality, 2) reductive intertextuality, 3) additive intertextuality, 4) multiple intertextualities, and 5) mixed intertextuality. Most of the intertextual relationships between Tazkirat al-Awliya and the translation of the Qushayriyah treatise are of direct intertextuality, and between Tazkirat al-Awliya and Kashf al-Mahjoob are of reductive intertextuality. This comparison shows that Attar has quoted the sayings subject to the motives he had in writing Tazkirat al-Awliya and the features of the previous texts. Removal of Arabic phrases, description, and interpretation constitute the changes that Attar has made in the sayings taken from Kashf al-Mahjoob. Introduction With the emergence of Islamic Sufism in the second century of Hijri, the creation of mystical works began gradually. At first, these works did not have a specialized approach and were mostly written based on Sharia-based topics. But from the 4th century on mystical opinions and thoughts were organized and codified so that they could be transferred to others in the form of educational texts. A significant part of the topics of these texts was explained by quoting sayings and anecdotes related to mystics. These sayings by being passed from one text to another created an intertextual chain among mystical works. Attar Neyshabouri's Tazkirat al-Awliya is one of the main links in this chain that has transferred the sayings and anecdotes of the previous works, mainly Arabic and a few Persian, with simple and didactic language to a literary and imaginative expression. Because the intertextual studies are considered a proper platform for analyzing common sayings and anecdotes in mystical texts, this study, it is applied to compare the sayings related to Reza in Tazkirat al-Awliya with two Persian pretexts of this work, to explain what method Attar had in quoting the sayings from previous texts and why he chose this method. Methods and Materials In this study, the position of the translation of the Qushayriyah treatise and Hojviri's Kashf al-Mahjoob among Attar's sources (focusing on Reza's sayings) are assessed through a descriptive-analytical method based on the intertextual approach and Genette’s theory of intertextuality. Findings The findings here indicate that Tazkirat al-Awliya has the most direct intertextual correlation with the Qushayriyah treatise translation. The most intertextual correlation between Tazkirat al-Awliya and Kashf al-Mahjoob is of a reductive type including the removal of description and interpretation and Arabic phrases. The additive intertextuality can be observed only between Tazkirat al-Awliya and the Qushayriyah treatise translation where a part has been added to the narration of the pretext to complete the meaning. Quotation of multiple intertextuality types is common among all three works. In this type of intertextuality, the narration of Tazkirat al-Awliya has a direct intertextuality with the translation of Qushayriyah treatise, and a reductive intertextuality with Kashf al-Mahjoob in the example found in Reza's sayings. Discussion and Conclusions The results indicate that examples of common sayings with one of the pre-texts can be found in Tazkirat al-Awliya which has been reduced in one part of the narration and increased or changed in another part. This type of intertextuality can be named ‘mixed’ examples and according to different examples, sub-categories can be obtained for it. In Reza's common sayings, there are two ‘mixed’ examples between Tazkirat al-Awliya and the translation of the Qushayriyah treatise and one ‘mixed’ example with Kashf al-Mahjoob. It is revealed that Attar made changes in Reza's sayings according to his taste. Removal of Arabic phrases and descriptions and interpretation of the pretext, lexical, morphological, and syntactic changes appropriate to the Persian language, and the increase of imaginative and emphatic elements are among the changes that Attar has made in quotation. Attar Neyshabouri's Tazkirat al-Awliya is of a special stance among Persian mystical works. Attar has used the mystical works before himself to compile Tazkirat al-Awliya but did not act in the same way in using all the sources. The intertextual comparison of Tazkirat al-Awliya with pre-Attar texts is one of the methods through which the main sources of Attar can be accessed. This method can be adopted to analyze Attar's position as the author of a mystical literary text. In this study, the sayings related to "Reza" from Tazkirat al-Awliya have been intertextually compared with Kashf al-Mahjoob and the translation of the Qushayriyah treatise. The main question here is: What is the intertextual relationship of Tazkirat al-Awliya with the two previous mystical works? The results indicate that the intertextual relationships of Reza's sayings in these three works are placed in five categories: 1) direct intertextuality, 2) reductive intertextuality, 3) additive intertextuality, 4) multiple intertextualities, and 5) mixed intertextuality. Most of the intertextual relationships between Tazkirat al-Awliya and the translation of the Qushayriyah treatise are of direct intertextuality, and between Tazkirat al-Awliya and Kashf al-Mahjoob are of reductive intertextuality. This comparison shows that Attar has quoted the sayings subject to the motives he had in writing Tazkirat al-Awliya and the features of the previous texts. Removal of Arabic phrases, description, and interpretation constitute the changes that Attar has made in the sayings taken from Kashf al-Mahjoob. Introduction With the emergence of Islamic Sufism in the second century of Hijri, the creation of mystical works began gradually. At first, these works did not have a specialized approach and were mostly written based on Sharia-based topics. But from the 4th century on mystical opinions and thoughts were organized and codified so that they could be transferred to others in the form of educational texts. A significant part of the topics of these texts was explained by quoting sayings and anecdotes related to mystics. These sayings by being passed from one text to another created an intertextual chain among mystical works. Attar Neyshabouri's Tazkirat al-Awliya is one of the main links in this chain that has transferred the sayings and anecdotes of the previous works, mainly Arabic and a few Persian, with simple and didactic language to a literary and imaginative expression. Because the intertextual studies are considered a proper platform for analyzing common sayings and anecdotes in mystical texts, this study, it is applied to compare the sayings related to Reza in Tazkirat al-Awliya with two Persian pretexts of this work, to explain what method Attar had in quoting the sayings from previous texts and why he chose this method. Methods and Materials In this study, the position of the translation of the Qushayriyah treatise and Hojviri's Kashf al-Mahjoob among Attar's sources (focusing on Reza's sayings) are assessed through a descriptive-analytical method based on the intertextual approach and Genette’s theory of intertextuality. Findings The findings here indicate that Tazkirat al-Awliya has the most direct intertextual correlation with the Qushayriyah treatise translation. The most intertextual correlation between Tazkirat al-Awliya and Kashf al-Mahjoob is of a reductive type including the removal of description and interpretation and Arabic phrases. The additive intertextuality can be observed only between Tazkirat al-Awliya and the Qushayriyah treatise translation where a part has been added to the narration of the pretext to complete the meaning. Quotation of multiple intertextuality types is common among all three works. In this type of intertextuality, the narration of Tazkirat al-Awliya has a direct intertextuality with the translation of Qushayriyah treatise, and a reductive intertextuality with Kashf al-Mahjoob in the example found in Reza's sayings. Discussion and Conclusions The results indicate that examples of common sayings with one of the pre-texts can be found in Tazkirat al-Awliya which has been reduced in one part of the narration and increased or changed in another part. This type of intertextuality can be named ‘mixed’ examples and according to different examples, sub-categories can be obtained for it. In Reza's common sayings, there are two ‘mixed’ examples between Tazkirat al-Awliya and the translation of the Qushayriyah treatise and one ‘mixed’ example with Kashf al-Mahjoob. It is revealed that Attar made changes in Reza's sayings according to his taste. Removal of Arabic phrases and descriptions and interpretation of the pretext, lexical, morphological, and syntactic changes appropriate to the Persian language, and the increase of imaginative and emphatic elements are among the changes that Attar has made in quotation.

https://rpll.ui.ac.ir/article_27256_ca4f2bd00508ad4dec9d68ac154fa839.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 3 2023 09 23 Analysis of Hafez's Thousand Poems: Pragmatics and Semantics of the Word "it" in Hafez's Poetry Analysis of Hafez's Thousand Poems: Pragmatics and Semantics of the Word "it" in Hafez's Poetry 33 52 27743 10.22108/rpll.2023.134094.2197 FA Reza Ruhani Associate Professor, Department of Persian Language and Literature, Kashan University, Kashan, Iran Journal Article 2023 02 01 Hafez Shirazi is one of the most famous poets of the Persian language. Despite the many available worthy studies, still, some secrets, causes, and factors of this famous and popular poet have not been discovered and explained. In this study, one of the creative linguistic and semantic subtleties of Hafez's poetry is assessed through a descriptive-analytical method, and its dimensions and unsaid aspects are discovered and represented. It seeks to interpret the word "an" in Hafez's poetry and assess the intentions of the poet for the use of "it" with the two approaches of formalism and interpretation. While referring to the uses of "it" in grammar (pronoun and adjective), the focus is on the idiomatic and mystical concepts of "it" in the mystic language, especially Hafez's sonnets. The marked word "it" in Hafez's poetry can have different artistic and aesthetic meanings and functions that have not been studied before. One of the main results of this study is that the word "it" is used for different purposes in Hafez's poetry, and its meaning has been developed with the art of ambiguity and equivocation. In this way, the brevity and coherence of the poem increased, next to making the meanings honored and magnified. Introduction One of Hafez's rare and small artistic creations in the field of individual style is the highlighting of the pronoun "it". In this context, he has introduced significant artistic and meaning-creation aspects. This issue has gained momentum in literary discussions, and whenever scholars talk about an indescribable and ambiguous phenomenon or subject, they talk about Hafez’s "it". In this study, some of the unspoken artistic-rhetorical dimensions of the word "it" as a pronoun, an adjective, or a noun in all sonnets of Hafez are categorized and analyzed. Methods and Materials Despite the good efforts of some authors, few, if any, have run independent and complete studies regarding diverse artistic uses of the pronoun "an" in Hafez's poetry, without considering some semantic and aesthetic aspects of this word. In this study "it" is assessed in all of Hafez's sonnets and all the meanings and purposes of its use by Hafez are determined. The research method in this study is descriptive-analytical. In this study, the subjects are the Ghani-Qazvini version and in some cases the corrected version of Khanlari. Findings The findings indicate that "it" is one of the common and old words with high frequency in mystical poetry, and in Hafez's poetry in particular, more implicit meanings have been given to it with a kind of defamiliarization. As a "sign", this word has implicit meanings, (i.e., figurative, ironic, and ambiguous). In some of his poems, Hafez has beautiful references to the artistic-rhetorical uses and functions of "it". Hafez used "it" as a tool and means of expressing unspeakable and often romantic situations and states. He gave "it" a special character in different verses. Hafez, by consciously choosing the word "it" (considering the brevity and ambiguity of the word), made the audience hesitate in trying to discover its possible and multifaceted references by reflecting on the meaning of "it". This, in addition to defamiliarization and highlighting, has made the message personalized. Discussion and Conclusions The conclusions of this study are briefed as: Assessing ancient poetry and especially the elements of Hafez's special art and style, with new methods and approaches of literary criticism (like discourse analysis and semiotics) next to ancient rhetorical issues requires more extensive discussion Some unimportant and underused elements and words in the aesthetics of Hafez's poetry are of great importance and accuracy which can pave the way for new readings and the creation of multiple and new meanings in his poetry It is necessary to make a distinction between the usage and types of roles of the word "it" in Persian grammar and its roles in mysticism grammar, especially mystical poetry Compared to the poets before him, Hafez used the word "it" for more rhetorical, semantic, and mystical purposes and stances, by applying all kinds of literary tricks (especially ambiguity, brevity, and coherence). He has distinguished and highlighted this word in his poetry style and expanded and multiplied its explicit and implicit meanings Hafez Shirazi is one of the most famous poets of the Persian language. Despite the many available worthy studies, still, some secrets, causes, and factors of this famous and popular poet have not been discovered and explained. In this study, one of the creative linguistic and semantic subtleties of Hafez's poetry is assessed through a descriptive-analytical method, and its dimensions and unsaid aspects are discovered and represented. It seeks to interpret the word "an" in Hafez's poetry and assess the intentions of the poet for the use of "it" with the two approaches of formalism and interpretation. While referring to the uses of "it" in grammar (pronoun and adjective), the focus is on the idiomatic and mystical concepts of "it" in the mystic language, especially Hafez's sonnets. The marked word "it" in Hafez's poetry can have different artistic and aesthetic meanings and functions that have not been studied before. One of the main results of this study is that the word "it" is used for different purposes in Hafez's poetry, and its meaning has been developed with the art of ambiguity and equivocation. In this way, the brevity and coherence of the poem increased, next to making the meanings honored and magnified. Introduction One of Hafez's rare and small artistic creations in the field of individual style is the highlighting of the pronoun "it". In this context, he has introduced significant artistic and meaning-creation aspects. This issue has gained momentum in literary discussions, and whenever scholars talk about an indescribable and ambiguous phenomenon or subject, they talk about Hafez’s "it". In this study, some of the unspoken artistic-rhetorical dimensions of the word "it" as a pronoun, an adjective, or a noun in all sonnets of Hafez are categorized and analyzed. Methods and Materials Despite the good efforts of some authors, few, if any, have run independent and complete studies regarding diverse artistic uses of the pronoun "an" in Hafez's poetry, without considering some semantic and aesthetic aspects of this word. In this study "it" is assessed in all of Hafez's sonnets and all the meanings and purposes of its use by Hafez are determined. The research method in this study is descriptive-analytical. In this study, the subjects are the Ghani-Qazvini version and in some cases the corrected version of Khanlari. Findings The findings indicate that "it" is one of the common and old words with high frequency in mystical poetry, and in Hafez's poetry in particular, more implicit meanings have been given to it with a kind of defamiliarization. As a "sign", this word has implicit meanings, (i.e., figurative, ironic, and ambiguous). In some of his poems, Hafez has beautiful references to the artistic-rhetorical uses and functions of "it". Hafez used "it" as a tool and means of expressing unspeakable and often romantic situations and states. He gave "it" a special character in different verses. Hafez, by consciously choosing the word "it" (considering the brevity and ambiguity of the word), made the audience hesitate in trying to discover its possible and multifaceted references by reflecting on the meaning of "it". This, in addition to defamiliarization and highlighting, has made the message personalized. Discussion and Conclusions The conclusions of this study are briefed as: Assessing ancient poetry and especially the elements of Hafez's special art and style, with new methods and approaches of literary criticism (like discourse analysis and semiotics) next to ancient rhetorical issues requires more extensive discussion Some unimportant and underused elements and words in the aesthetics of Hafez's poetry are of great importance and accuracy which can pave the way for new readings and the creation of multiple and new meanings in his poetry It is necessary to make a distinction between the usage and types of roles of the word "it" in Persian grammar and its roles in mysticism grammar, especially mystical poetry Compared to the poets before him, Hafez used the word "it" for more rhetorical, semantic, and mystical purposes and stances, by applying all kinds of literary tricks (especially ambiguity, brevity, and coherence). He has distinguished and highlighted this word in his poetry style and expanded and multiplied its explicit and implicit meanings

https://rpll.ui.ac.ir/article_27743_931a3fba03d907afcbdc575fb29f2de7.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 3 2023 09 23 Assessing the Connotations (Implicit Meanings) in Masnavi concerning the Appropriateness of the Words Assessing the Connotations (Implicit Meanings) in Masnavi concerning the Appropriateness of the Words 53 72 27702 10.22108/rpll.2023.136535.2193 FA Zeinab Rezapour Assistant Professor of Persian Language and Literature‚ Faculty of Literature and Humanities‚ Shahid Chamran University of Ahvaz‚ Ahvaz‚ Iran Raheleh Kalantari Darunkola Assistant Professor of English Language and Literature‚ Faculty of Literature and Humanities‚ Shahid Chamran University of Ahvaz‚ Ahvaz‚ Iran Journal Article 2023 01 21 The connotation is one of the approaches of semiotics that is concerned with the hidden and deep meanings of texts as systematic wholes and seeks to overcome the appearance of sign systems and reach the underlying layers of the text by relying on the context of the word and the characteristics of the audience. Due to its interpretable and nested structure, Masnavi is apt to be analyzed from this point of view. Through analyzing its implicit meanings, one can understand its cohesiveness and unity, and the many hidden concepts. The objective of this study is to explain how the implied meanings arise from the appropriateness of words in Masnavi. In this study, some of the implicit meanings of Masnavi are assessed and analyzed from two perspectives. The findings indicate that the connotations arising from the appropriateness of the words in Masnavi can deduced as: 1) the combination and appropriateness of prominent words of a famous religious and historical event or story in the axis of the verse is reminiscent of that event for the audience and induces another implicit meaning that is also in harmony with the appearance of the verse and the main topic of discussion in the vertical axis of the poem, and 2) in a famous and related story with his own words, these linguistic signs do not give a secondary meaning to the verse, rather, their presence in many consecutive verses guides the audience to the implicit meaning in all the verses. Introduction Implicit meaning is the second-order meaning that results from the applied context of the word and often has an emotional, situational, social, and cultural load. In some verses of Masnavi, although each word separately enriches the meaning of each verse, and with a connotative meaning association, it connects the different parts of each story and gives a body-like coherence to the text. The two research questions of the study are: In what ways do the implied meanings arise from the appropriateness of the words in Masnavi? and What are their functions? The objective here is to assess the connotative meanings of Masnavi’s verses and to introduce and explain one of his artistic tricks in dealing with this great literary work, which proves the power of his mind and language for indirect references and presenting multiple meanings more than ever. This approach will make the readers understand the depth and layers of his words. Methods and Materials Due to the study length, only a few of Masnavi’s verses are selected, where, the use of appropriate words in the horizontal and vertical axis, based on some evidence and documentation, instilled a connotative meaning into the writers’ mind. By applying other internal/external textual and contextual pieces of evidence and running content analysis based on discourse semiotics, the implicit meanings of such words are explained. FindingsThe multi-layeredness and interpretability of Masnavi and its nested structure, clusters, external discreteness, and internal continuity, influenced by the language, style, and context of the Qur'an, have kept this wonderful book alive and dynamic, and receiving the indirect meanings and hidden layers of the text, always has opened up new windows in this field. The evolution of semiotics has progressed from Saussure's two-dimensional perspective to a multifaceted and multidimensional perspective and a process that would make the hidden meanings and deep structures of literary or artistic works understandable beyond the apparent dimensions of symbolic systems. This topic is introduced subject to the connotative meaning. Due to his extensive knowledge deep understanding and comprehensive coverage of the events, stories, and biographies of prominent religious and historical figures, Molavi associates another similar character or story in the audience's mind and implicitly establishes a similar correlation between those two characters. This method can be considered one of the hidden artistic techniques of Molavi in writing poetry, which has been effective in deepening and expanding the meaning, and the concept connection. This has made Molavi’s poems scrutinized from the discourse semiotic point of view, and their implicit meanings can be deduced at different levels. In this context, evaluating and justifying the difference between Masnavi versions regarding some words is also possible. Discussion and Conclusions The connotative meanings of words are one of Molavi’s hidden artistic tricks in creating brevity, internal order, and coherence in the text, expanding the meaning and connecting concepts. The dynamics of the text lead to the intellectual participation of the audience and a better understanding of Molavi’s thoughts. In all these cases, the words chosen by the poet are in harmony with the atmosphere of his poetry and confirm and complete the views expressed by Molavi. Sometimes, the coincidence and appropriateness of some words in the axis of companionship, together with clues like the semantic context of the discussion, and other views and opinions of Molavi in Masnavi, guide the reader to the implied meanings. According to the apparent meaning of the verses and the topic of the speech, the words "ascetic", "six hundred thousand" and "calf" refer to the story of the Samaritan calf. The words "cow", "calf", and "God" refer to Moses' people's calf worship. "Yar" and "cave" refer to the story of Laila Al-Ambit and the divine protection and concealment of the Prophet (PBUH) and Abu Bakr. The words, "cow", "color", "red", and "yellow" refer to the story of the yellow cow of the Israelites that perfuse an implicit meaning into the verse. Molavi sometimes uses important passages from famous stories that somehow have something in common with the subject of his speech in the service of harmonizing verses choosing words and processing his images. Although these signs often have the same vocabulary and are different in terms of function or example in consecutive verses, into each other, they evoke another similar story for the audience proportionally. An example of the connotation can be seen in the story of Jafar bin Abi Talib, who in Masnavi, is an example of the saint of truth and a perfect human beings, who enjoys divine approval and special strength and steadfastness due to his death in the truth. Based on the idea of repeating the true nature of the people, in Maulavi's opinion, like Iskandar Zulqarnain, another manifestation of the perfect man is shown in Masnavi, which, after reaching the knowledge of the sun of truth, shines everywhere like the sun. Inspired by the words and interpretations related to the story of Iskandar, Molavi created various themes and beautiful images in the story of Jafar bin Abi Talib and sometimes made mystical use of those interpretations. The connotation is one of the approaches of semiotics that is concerned with the hidden and deep meanings of texts as systematic wholes and seeks to overcome the appearance of sign systems and reach the underlying layers of the text by relying on the context of the word and the characteristics of the audience. Due to its interpretable and nested structure, Masnavi is apt to be analyzed from this point of view. Through analyzing its implicit meanings, one can understand its cohesiveness and unity, and the many hidden concepts. The objective of this study is to explain how the implied meanings arise from the appropriateness of words in Masnavi. In this study, some of the implicit meanings of Masnavi are assessed and analyzed from two perspectives. The findings indicate that the connotations arising from the appropriateness of the words in Masnavi can deduced as: 1) the combination and appropriateness of prominent words of a famous religious and historical event or story in the axis of the verse is reminiscent of that event for the audience and induces another implicit meaning that is also in harmony with the appearance of the verse and the main topic of discussion in the vertical axis of the poem, and 2) in a famous and related story with his own words, these linguistic signs do not give a secondary meaning to the verse, rather, their presence in many consecutive verses guides the audience to the implicit meaning in all the verses. Introduction Implicit meaning is the second-order meaning that results from the applied context of the word and often has an emotional, situational, social, and cultural load. In some verses of Masnavi, although each word separately enriches the meaning of each verse, and with a connotative meaning association, it connects the different parts of each story and gives a body-like coherence to the text. The two research questions of the study are: In what ways do the implied meanings arise from the appropriateness of the words in Masnavi? and What are their functions? The objective here is to assess the connotative meanings of Masnavi’s verses and to introduce and explain one of his artistic tricks in dealing with this great literary work, which proves the power of his mind and language for indirect references and presenting multiple meanings more than ever. This approach will make the readers understand the depth and layers of his words. Methods and Materials Due to the study length, only a few of Masnavi’s verses are selected, where, the use of appropriate words in the horizontal and vertical axis, based on some evidence and documentation, instilled a connotative meaning into the writers’ mind. By applying other internal/external textual and contextual pieces of evidence and running content analysis based on discourse semiotics, the implicit meanings of such words are explained. FindingsThe multi-layeredness and interpretability of Masnavi and its nested structure, clusters, external discreteness, and internal continuity, influenced by the language, style, and context of the Qur'an, have kept this wonderful book alive and dynamic, and receiving the indirect meanings and hidden layers of the text, always has opened up new windows in this field. The evolution of semiotics has progressed from Saussure's two-dimensional perspective to a multifaceted and multidimensional perspective and a process that would make the hidden meanings and deep structures of literary or artistic works understandable beyond the apparent dimensions of symbolic systems. This topic is introduced subject to the connotative meaning. Due to his extensive knowledge deep understanding and comprehensive coverage of the events, stories, and biographies of prominent religious and historical figures, Molavi associates another similar character or story in the audience's mind and implicitly establishes a similar correlation between those two characters. This method can be considered one of the hidden artistic techniques of Molavi in writing poetry, which has been effective in deepening and expanding the meaning, and the concept connection. This has made Molavi’s poems scrutinized from the discourse semiotic point of view, and their implicit meanings can be deduced at different levels. In this context, evaluating and justifying the difference between Masnavi versions regarding some words is also possible. Discussion and Conclusions The connotative meanings of words are one of Molavi’s hidden artistic tricks in creating brevity, internal order, and coherence in the text, expanding the meaning and connecting concepts. The dynamics of the text lead to the intellectual participation of the audience and a better understanding of Molavi’s thoughts. In all these cases, the words chosen by the poet are in harmony with the atmosphere of his poetry and confirm and complete the views expressed by Molavi. Sometimes, the coincidence and appropriateness of some words in the axis of companionship, together with clues like the semantic context of the discussion, and other views and opinions of Molavi in Masnavi, guide the reader to the implied meanings. According to the apparent meaning of the verses and the topic of the speech, the words "ascetic", "six hundred thousand" and "calf" refer to the story of the Samaritan calf. The words "cow", "calf", and "God" refer to Moses' people's calf worship. "Yar" and "cave" refer to the story of Laila Al-Ambit and the divine protection and concealment of the Prophet (PBUH) and Abu Bakr. The words, "cow", "color", "red", and "yellow" refer to the story of the yellow cow of the Israelites that perfuse an implicit meaning into the verse. Molavi sometimes uses important passages from famous stories that somehow have something in common with the subject of his speech in the service of harmonizing verses choosing words and processing his images. Although these signs often have the same vocabulary and are different in terms of function or example in consecutive verses, into each other, they evoke another similar story for the audience proportionally. An example of the connotation can be seen in the story of Jafar bin Abi Talib, who in Masnavi, is an example of the saint of truth and a perfect human beings, who enjoys divine approval and special strength and steadfastness due to his death in the truth. Based on the idea of repeating the true nature of the people, in Maulavi's opinion, like Iskandar Zulqarnain, another manifestation of the perfect man is shown in Masnavi, which, after reaching the knowledge of the sun of truth, shines everywhere like the sun. Inspired by the words and interpretations related to the story of Iskandar, Molavi created various themes and beautiful images in the story of Jafar bin Abi Talib and sometimes made mystical use of those interpretations.

https://rpll.ui.ac.ir/article_27702_fdca3c5afb7f2a88e026d4b88225a936.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 3 2023 09 23 A Reflection on the Correction of Amir Hasan Yazdgerdi from Zahir Faryabi's Divan Based on Hakim Oglu's Copy A Reflection on the Correction of Amir Hasan Yazdgerdi from Zahir Faryabi's Divan Based on Hakim Oglu's Copy 73 88 27742 10.22108/rpll.2023.136915.2210 FA Alireza Shanazari Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Yasouj University, Yasouj, Iran 0000-0001-7874-4796 Ghasem Salari Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Yasouj University, Yasouj, Iran Journal Article 2023 02 27 Zahir Faryabi is one of the prominent figures and Iranian poets’ odes of the 13th century. His Divan has been published many times in Iran and India. Yazdgerdi's correction of Zahir Faryabi's Divan, originally published in 2013 by his student Asghar Dadbeh, can be considered the best and most revised correction of Zahir's Divan, but in this version, the corrector did not resort to the older versions, including the version of in Noor Usmaniyeh Library, the manuscript of Hakim Oglu, and the manuscript of Safineh Tabriz. Some problems in this Divan are evident. To date, many researchers have focused on the late Yazdgerdi's edition and its errors. They have addressed these problems based on the Safineh Tabriz and the manuscript of the Noor Osmaniye library. In this study, an attempt is made to address some of these shortcomings by applying the descriptive-analytical method and by comparing the late Yazdgerdi's correction with Hakim Oglu's copy. Hakim Oglu's copy is one of the looted copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of writing and its contents, was probably written in the 7th century AH from the original copies. Here it is revealed that by collecting better editions and other related collections like essays and tazkiras, a comprehensive and revised edition of this divan can be produced, next to being a reference for researchers. Introduction Zahir Faryabi is one of the distinguished Iranian poets’ odes in the 13th century AD. He went to Neishabur to complete his studies for six years. Apparently, during this period, he was introduced to the Taghanshah court in Neishabur but did not receive favors. After Neishabur, he went to Isfahan and he stayed there for a year and a half to two years. In Isfahan, he was treated like Neishabur, here, as well, Sadruddin Khojandi did not praise him. He traveled to Mazandaran, where, Hossam al-Daulah Ardeshir visited him and the poet received his blessings. Zahir's next destination was Tabriz, but before his trip, he stayed with a person named Safiuddin in Ardabil for two months. In Tabriz, he entered the court of Qezel Arsalan who praised him, and was given a high position. Zahir Faryabi followed Anvari's method and brought it to perfection, to the extent that, some critics have exaggerated his abilities and even preferred him to Anvari. Zahir's poetry is like Anvari's fluent and full of precise meanings. In Zahir's poetry, we rarely face complicated cases, which are not comparable with the poems of his counterparts in Iraq and Azerbaijan in terms of ambiguity. Even when he writes difficult lines, his poetry is easy and the lines are defeated by his power of expression. Zahir's power is great in the eulogy, and in this field, he has created meanings. Methods and Materials In this study, some of the drawbacks and shortcomings of Zahir’s Divan are revealed through the descriptive-analytical method, which is compared with that of the late Yazdgerdi's correction of Hakim Oglu's version. Hakim Oglu's copy is one of the remarkable copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of script and its contents, it was probably written in the 7th century AH from the original copies. Findings The findings indicate that by collecting better editions and other collections like related anthologies and tazkira, a more revised edition of the so-called divan can be published, which can constitute future works in this context. The drawbacks and defects of Yazdgerdi's correction, which could be minimized by referring to the two mentioned versions, are: 1) Writing two stanzas of two consecutive verses in the form of one verse: By comparing the late Yazdgerdi’s book with the Hakimoglu library's manuscript, it is observed that only in one case the poetic stanzas were moved. In this case, due to the mistake of the scribe, a stanza of a verse that was not in the original version was added to another stanza of another verse. 2) Considerable mistakes: In some cases, the drawbacks of Yazdgerdi's correction are the obvious errors that cannot be considered typographical errors. 3) Incorrect preferences in Yazdgerdi's correction: There are some incorrect cases in Yazdgerdi's correction that make Hakimoglu's version preferable. 4) Typographical errors: In Yazdgardi's correction, many cases should be considered typographical errors. 5) Correct recordings in Safine Tabriz and Hakimoglu's copy: In Hakim Oglu's version, the recordings of the Safine Tabriz version are confirmed. Discussion and Conclusions By assessing and comparing the proofread versions of the Yazdgerdi and the copies that he did not have access to, it can be deduced that despite the hard work of the proofreader, the drawbacks and confusion are evident in this Divan. Considering the importance of Zahir Faryabi in the history of Persian literature and the field of odes and praise poems, it is necessary to have access to a revised text of the Divan from all the manuscripts that the editor of the Divan had access to. Therefore, it is necessary to use secondary sources like Nizheh Majles of Sharvani in the upcoming revision. Zahir Faryabi is one of the prominent figures and Iranian poets’ odes of the 13th century. His Divan has been published many times in Iran and India. Yazdgerdi's correction of Zahir Faryabi's Divan, originally published in 2013 by his student Asghar Dadbeh, can be considered the best and most revised correction of Zahir's Divan, but in this version, the corrector did not resort to the older versions, including the version of in Noor Usmaniyeh Library, the manuscript of Hakim Oglu, and the manuscript of Safineh Tabriz. Some problems in this Divan are evident. To date, many researchers have focused on the late Yazdgerdi's edition and its errors. They have addressed these problems based on the Safineh Tabriz and the manuscript of the Noor Osmaniye library. In this study, an attempt is made to address some of these shortcomings by applying the descriptive-analytical method and by comparing the late Yazdgerdi's correction with Hakim Oglu's copy. Hakim Oglu's copy is one of the looted copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of writing and its contents, was probably written in the 7th century AH from the original copies. Here it is revealed that by collecting better editions and other related collections like essays and tazkiras, a comprehensive and revised edition of this divan can be produced, next to being a reference for researchers. Introduction Zahir Faryabi is one of the distinguished Iranian poets’ odes in the 13th century AD. He went to Neishabur to complete his studies for six years. Apparently, during this period, he was introduced to the Taghanshah court in Neishabur but did not receive favors. After Neishabur, he went to Isfahan and he stayed there for a year and a half to two years. In Isfahan, he was treated like Neishabur, here, as well, Sadruddin Khojandi did not praise him. He traveled to Mazandaran, where, Hossam al-Daulah Ardeshir visited him and the poet received his blessings. Zahir's next destination was Tabriz, but before his trip, he stayed with a person named Safiuddin in Ardabil for two months. In Tabriz, he entered the court of Qezel Arsalan who praised him, and was given a high position. Zahir Faryabi followed Anvari's method and brought it to perfection, to the extent that, some critics have exaggerated his abilities and even preferred him to Anvari. Zahir's poetry is like Anvari's fluent and full of precise meanings. In Zahir's poetry, we rarely face complicated cases, which are not comparable with the poems of his counterparts in Iraq and Azerbaijan in terms of ambiguity. Even when he writes difficult lines, his poetry is easy and the lines are defeated by his power of expression. Zahir's power is great in the eulogy, and in this field, he has created meanings. Methods and Materials In this study, some of the drawbacks and shortcomings of Zahir’s Divan are revealed through the descriptive-analytical method, which is compared with that of the late Yazdgerdi's correction of Hakim Oglu's version. Hakim Oglu's copy is one of the remarkable copies of Astana Sheikh Safi in Ardabil, which has no written date, and according to the type of script and its contents, it was probably written in the 7th century AH from the original copies. Findings The findings indicate that by collecting better editions and other collections like related anthologies and tazkira, a more revised edition of the so-called divan can be published, which can constitute future works in this context. The drawbacks and defects of Yazdgerdi's correction, which could be minimized by referring to the two mentioned versions, are: 1) Writing two stanzas of two consecutive verses in the form of one verse: By comparing the late Yazdgerdi’s book with the Hakimoglu library's manuscript, it is observed that only in one case the poetic stanzas were moved. In this case, due to the mistake of the scribe, a stanza of a verse that was not in the original version was added to another stanza of another verse. 2) Considerable mistakes: In some cases, the drawbacks of Yazdgerdi's correction are the obvious errors that cannot be considered typographical errors. 3) Incorrect preferences in Yazdgerdi's correction: There are some incorrect cases in Yazdgerdi's correction that make Hakimoglu's version preferable. 4) Typographical errors: In Yazdgardi's correction, many cases should be considered typographical errors. 5) Correct recordings in Safine Tabriz and Hakimoglu's copy: In Hakim Oglu's version, the recordings of the Safine Tabriz version are confirmed. Discussion and Conclusions By assessing and comparing the proofread versions of the Yazdgerdi and the copies that he did not have access to, it can be deduced that despite the hard work of the proofreader, the drawbacks and confusion are evident in this Divan. Considering the importance of Zahir Faryabi in the history of Persian literature and the field of odes and praise poems, it is necessary to have access to a revised text of the Divan from all the manuscripts that the editor of the Divan had access to. Therefore, it is necessary to use secondary sources like Nizheh Majles of Sharvani in the upcoming revision.

https://rpll.ui.ac.ir/article_27742_7f2ab0f5d8dad50e76569d6ce6b0a354.pdf

University of Isfahan Textual Criticism of Persian Literature 2476-3268 15 3 2023 09 23 Anis al-Arefin or Mathnavi of Nakhoda An Unknown Persian Lyrical Poem in the Subcontinent Anis al-Arefin or Mathnavi of Nakhoda An Unknown Persian Lyrical Poem in the Subcontinent 89 104 27701 10.22108/rpll.2023.136752.2200 FA Shohrat Marefat Assistant Professor, Department of Text Editing, Persian Language and Literature Academy, Tehran, Iran Journal Article 2023 02 12 Anis ol-Arefin (Mathnavi of Nakhoda) is a fictional poem. This mathnavi has been written by Agha Mohammad Hosein Sahib Shirazi and is dedicated to Nakhoda. He composed this verse in 1293 A.H. (during the reign of Nasir al-Din Shah) in his old age and when he was the ambassador of Iran in Bengal, India. The objective here is to analyze the linguistic nature of this poem based on the two existing lithographs of this poem. This text, apart from the linguistic advantages, has explanations and novelties in the literary context. This text includes historical information about the Qajar era and the rulers, especially Fath Ali Shah and Naser al-Din Shah and some local border guards of India, and geographical information, especially about India and Shiraz, the latter being his birthplace and residence. Anis al-Arefin is noteworthy, readable, and fresh in terms of folk literature, anecdotes, legends, and parables. He was a political-literary person. This poem is a unique document in knowing the poet knows some of the political-historical figures the names of whom are left in history. Because literary works find meaning in a literary system, we mentioned the connection of this work with other works, especially Khosrow and Shirin of Nizami, based on which the poet Anis al-Arifin wrote this poem. Introduction Anis al-Arefin (Mathnavi of Nakhda) is a combination of romantic mystical and religious topics sometimes containing historical-geographic references. This poem, according to its poet, is a real and romantic narration of an adventure between Farrokh (son of Manouchehr, an Armenian ruler from the Hoshang generation) and Golrokh (daughter of Marzban Circassian from the Hormoz generation). No information about Agha Mohammad Hossein can be obtained from the sources, but from the introduction of the poet, one can understand some of the circumstances and aspects of Agha Mohammad Hossein’s life. Agha Mohammad Hossein was one of the government officials during Nasir al-Din Shah Qajar (1275-1210) who was sent as a political representatives to other countries. He was sent to Bengal, India, and became the ambassador there for thirty years. Agha Mohammad Hossein heard the story of Anis al-Arefin in the year 1250 A.H. in his youth, from an Armenian priest who came to Shiraz from Isfahan to teach and added to it the words he had heard from others. By composing this verse, Agha Mohammad Hossein tried to imitate Khosrow and Shirin of Nizami. Methods and Materials In this analytical-descriptive research, a folk story in poetry from the Qajar era is assessed where different perspectives like linguistic, historical, geographical, intertextual links, imaginary images, and other side benefits of the book are discussed. We had two lithographs of this work with different narratives, based on which we corrected the two editions. Findings Searching in Qajar era sources reveals new linguistic, literary, cultural, historical, and geographical aspects. Many parts of the works of this era, especially those that were in the Indian subcontinent, have not been corrected and there is no good print of them. The novelties of the work are Linguistic novelties: Agha Mohammad Hossein was an Iranian who spoke Turkish as well; therefore, there are many Turkish words in this work. Signs of the influence of dialect, composition, morphological and syntactic novelties, and archaism can be observed in this text. There exist Arabic words and signs in his works. Due to the story axis of this poem, which is taken from folk culture and literature, signs of folk language can also be observed in it. Literary novelties: Agha Mohammad Hossein was familiar with the works of his predecessors: Khosrow and Shirin of Nizami, Golestan and Saadi's sermons, Hafez's Divan, Moluk al-Ajam Hosseini Qazvini’s Al-Mu'jam, and Fayyaz Lahiji’s Sam and Bahram and resorted to them in his poems. Among them are. He applied anecdotes, legends, and parables that were not seen elsewhere. Imagery novelties: In terms of imagery, this text illustrates and describes his views in all kinds of similes. Side benefits: This suggested system is beneficial in terms of anthropology and sociology. Discussion and Conclusions In the subcontinent of India, there exist many works of Persian language and literature that remain unknown and have not been corrected yet. One of these works is a romantic poem titled Anis al-Arefin (Mathnavi of Nakhoda) by Agha Mohammad Hossein Sahib Shirazi (nicknamed Nakhoda, meaning captain). He occupied Iran's ambassador chamber in Bengal, India, for thirty years. His multidimensional knowledge of historical information about the Qajar kings and local rulers of India and referring to some of the historical events of that era which haven absent in the pages of history were referred to in his work. Anis ol-Arefin (Mathnavi of Nakhoda) is a fictional poem. This mathnavi has been written by Agha Mohammad Hosein Sahib Shirazi and is dedicated to Nakhoda. He composed this verse in 1293 A.H. (during the reign of Nasir al-Din Shah) in his old age and when he was the ambassador of Iran in Bengal, India. The objective here is to analyze the linguistic nature of this poem based on the two existing lithographs of this poem. This text, apart from the linguistic advantages, has explanations and novelties in the literary context. This text includes historical information about the Qajar era and the rulers, especially Fath Ali Shah and Naser al-Din Shah and some local border guards of India, and geographical information, especially about India and Shiraz, the latter being his birthplace and residence. Anis al-Arefin is noteworthy, readable, and fresh in terms of folk literature, anecdotes, legends, and parables. He was a political-literary person. This poem is a unique document in knowing the poet knows some of the political-historical figures the names of whom are left in history. Because literary works find meaning in a literary system, we mentioned the connection of this work with other works, especially Khosrow and Shirin of Nizami, based on which the poet Anis al-Arifin wrote this poem. Introduction Anis al-Arefin (Mathnavi of Nakhda) is a combination of romantic mystical and religious topics sometimes containing historical-geographic references. This poem, according to its poet, is a real and romantic narration of an adventure between Farrokh (son of Manouchehr, an Armenian ruler from the Hoshang generation) and Golrokh (daughter of Marzban Circassian from the Hormoz generation). No information about Agha Mohammad Hossein can be obtained from the sources, but from the introduction of the poet, one can understand some of the circumstances and aspects of Agha Mohammad Hossein’s life. Agha Mohammad Hossein was one of the government officials during Nasir al-Din Shah Qajar (1275-1210) who was sent as a political representatives to other countries. He was sent to Bengal, India, and became the ambassador there for thirty years. Agha Mohammad Hossein heard the story of Anis al-Arefin in the year 1250 A.H. in his youth, from an Armenian priest who came to Shiraz from Isfahan to teach and added to it the words he had heard from others. By composing this verse, Agha Mohammad Hossein tried to imitate Khosrow and Shirin of Nizami. Methods and Materials In this analytical-descriptive research, a folk story in poetry from the Qajar era is assessed where different perspectives like linguistic, historical, geographical, intertextual links, imaginary images, and other side benefits of the book are discussed. We had two lithographs of this work with different narratives, based on which we corrected the two editions. Findings Searching in Qajar era sources reveals new linguistic, literary, cultural, historical, and geographical aspects. Many parts of the works of this era, especially those that were in the Indian subcontinent, have not been corrected and there is no good print of them. The novelties of the work are Linguistic novelties: Agha Mohammad Hossein was an Iranian who spoke Turkish as well; therefore, there are many Turkish words in this work. Signs of the influence of dialect, composition, morphological and syntactic novelties, and archaism can be observed in this text. There exist Arabic words and signs in his works. Due to the story axis of this poem, which is taken from folk culture and literature, signs of folk language can also be observed in it. Literary novelties: Agha Mohammad Hossein was familiar with the works of his predecessors: Khosrow and Shirin of Nizami, Golestan and Saadi's sermons, Hafez's Divan, Moluk al-Ajam Hosseini Qazvini’s Al-Mu'jam, and Fayyaz Lahiji’s Sam and Bahram and resorted to them in his poems. Among them are. He applied anecdotes, legends, and parables that were not seen elsewhere. Imagery novelties: In terms of imagery, this text illustrates and describes his views in all kinds of similes. Side benefits: This suggested system is beneficial in terms of anthropology and sociology. Discussion and Conclusions In the subcontinent of India, there exist many works of Persian language and literature that remain unknown and have not been corrected yet. One of these works is a romantic poem titled Anis al-Arefin (Mathnavi of Nakhoda) by Agha Mohammad Hossein Sahib Shirazi (nicknamed Nakhoda, meaning captain). He occupied Iran's ambassador chamber in Bengal, India, for thirty years. His multidimensional knowledge of historical information about the Qajar kings and local rulers of India and referring to some of the historical events of that era which haven absent in the pages of history were referred to in his work.

https://rpll.ui.ac.ir/article_27701_6c15c24c516b8909b486b5dc4c11c073.pdf