دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 Analyzing the Tale of "The Old Woman and the Sultan Sanjar" Based on Michel Foucault's Views on Discourse Analysis بررسی حکایت «پیرزن و سلطان سنجر» براساس آرای میشل فوکو در باب تحلیل گفتمان 1 18 30226 10.22108/rpll.2025.145731.2464 FA علی اصغر امینایی دانشجوی دکتری گروه زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران شکراله پورالخاص استاد گروه زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران 0000-0002-0899-3620 ابراهیم دانش دانشیار گروه زبان و ادبیات فارسی، دانشگاه محقق اردبیلی، اردبیل، ایران فرزاد بالو دانشیار گروه زبان و ادبیات فارسی، دانشگاه مازندران ، بابلسر، ایران Journal Article 2025 07 29 Abstract Michel Foucault, employing a genealogical and paleontological approach to knowledge, developed a new style in the historiography of social phenomena in which the concept of power plays a prominent role. He considers power not to be exclusive to formal structures, but rather to be dispersed in all social spheres, and its relations to be a vast network that has advanced to the depths of society and involves all individuals from every social base, more or less. The tale "The Old Woman and Sultan Sanjar" in Nizami’s "Makhzan ol-Asrar" is a prominent example of the representation of discourse based on power and a capable context for analyzing the discourse from Foucault's point of view. This study has studied the discourse of power in the mentioned tale using a descriptive-analytical method, and identifying the characteristics of the discourse, has analyzed the connection between floating signifiers and the central signifier, relying on them. The findings indicate that the discourse of “idealism” dominates this tale, and the fight against injustice and tyranny is one of its important characteristics. In this political-critical discourse, floating signifiers such as the old woman, the sigh of the oppressed, divine justice, and the Day of Judgment, in contrast to other floating signifiers such as Sultan Sanjar, indifference, the soldiers, oppression, etc., around the central signifier and the main theme of the discourse (seeking justice), create meaning and represent power relations. The connection of the floating signifiers in this story and their relationship with the central signifier in a precise articulation indicates a coherent discourse. Keywords: Discourse Analysis, Power Relations, Foucault, Nizami, Makhzan ol-Asrar. Introduction Foucault has offered a new form of modern “knowledge” and “power” utilizing “archaeology of knowledge” and the “genealogy of power”. According to him, individuals become subjects and objects of knowledge and power within a network of interactions, and today the system of power is more rooted and invisible than traditional systems. Such power is not necessarily political, negative, and oppressive; rather, it is the producer of reality, and the individual and his or her cognition are the products of this production. Power is fluid and widespread at all levels of society, and it imposes itself on us every day and everywhere. From Foucault’s perspective, human societies are based on a system of power, and it may be transferred or changed from one system to another. Foucault sees power in various forms: familial, local, regional, and global. From his perspective, society is the product of the connection, coordination, and hierarchy of different powers, while maintaining their specificity. Discourse, in Foucault's framework, is born from knowledge and power. Its identity depends on a network of coherent and serious propositions, which may change depending on the conditions of time. Archaeology is a method for reading the history of discourses by analyzing the structures and rules that have made their emergence possible at a specific time. Genealogy, on the other hand, analyzes the historical factors and conditions under which human knowledge emerged. Genealogy seeks to understand under what conditions and by which factors a discourse appeared at a specific moment in time. Discourse consists of a set of organized and related propositions that embody a general concept and are formulated about a particular subject during a specific period. The key elements of Foucauldian discourse analysis include connection, articulation, agency, subject, unrest, the central signifier, floating signifiers or signs, hegemony, otherness, and counter-discourse. Articulation refers to the collection of diverse elements and their combination into a new identity or the linking of signs to create a meaningful system. The central signifier is a distinct symbol around which the entire meaning system of a discourse is organized. Floating signifiers do not have a fixed meaning on their own but gain identity through interaction with the central signifier within a specific semantic field. The hegemony of a discourse is based on the coherence of the signs surrounding the central signifier. A discourse becomes hegemonic when it can align its intended meanings with the signifiers of its discourse, relying on its central signifier. However, if a competing discourse can destabilize this system of meaning using various mechanisms and disrupt the structures of meaning embedded in the collective consciousness, it loses its hegemonic status. In fact, the identity of a discourse is contingent on its "other", and, therefore, discourses constantly construct otherness in opposition to themselves. The subject or agency is a central concept in discourse, representing the capacity to think and act independently of metaphysical forces. The subject observes the object (the surrounding world, abstract concepts, etc.). Foucault argues that subjects are always obedient and are created within discourses and power practices. The identity of a discourse is formed not only through the internal consistency of its elements but also through differentiation from the "other". For example, factors such as oppression, injustice, and the sheer power of some kings are the objects that compel a subject to engage in a critical discourse and, by utilizing the archeology of science, to produce power and confront that raw power using both linguistic and non-linguistic elements. Persian literature, for centuries, has gone through periods of highs and lows under the power of the ideology and discourses of kings and their officials. "Makhzan al-Asrar" by Nezami is a manifestation of various types, relations, and centers of power and discourse related to them. Materials and Methods This research uses a descriptive-analytic method, drawing from library studies and based on the ideas of Michel Foucault, to examine the linguistic and rhetorical strategies of the tale "The Old Woman and Sultan Sanjar" and analyze the discourse of power within it. In this research, the main components of Foucauldian discourse analysis, such as archeology, genealogy, articulation, agency, subjectivity, anxiety, central signifier, and floating signifiers, hegemony, otherness, or counter-discourse, etc., are examined in a purposeful reading of this tale, and based on these components, the dominant discourse and its characteristics are identified and analyzed. Research Findings In the discourse represented in the story "The Old Woman and Sultan Sanjar", values are shaped based on the opposition between "justice" and "oppression", "good" and "evil", "world" and "afterlife", "virtue" and "vice", "right" and "wrong", and "ugly" and "beautiful". In this discourse, power centers are widespread at all social levels, imposing themselves on individuals of society every day and everywhere, and no individual or group can be unaffected or destroy them. The subject (Nizami) in the form of a feeble old woman presents ideological thoughts and concepts as floating signifiers and serious, coherent propositions related to the central signifier and main theme of the discourse (seeking justice and pleading for fairness) under the domain of "wisdom and counsel", in contrast to the object, such as Sultan Sanjar and his tyrannical agents. The floating signifiers of this story include: the old woman, oppression, Sanjar, shame, the sheriff, commotion, wine, income, crime, tyranny, justice, etc., all of which generate meaning and discourse-making around the central signifier (seeking justice and pleading for fairness). In this discourse, both the poet and the old woman are subjects, and the object is both Sultan Sanjar and could also be any other tyrannical king. Floating signifiers such as the call to Sanjar, along with successive declarative sentences about the atrocities of his mercenaries, serve to highlight the tyranny and oppression of his reign, enumerating the wrongdoings of his agents, warning Sanjar, and admonishing him about the punishment of God, the just ruler. The opposition between the frail, powerless "old woman" and the young, powerful "Sanjar" not only reflects the effectiveness and power derived from the experience of age but also shows her awareness of the outcome in an attempt to stir emotions and sentiments of the audience and exert verbal influence in the form of short, independent, and exciting phrases, highlighting the subject’s intelligence and wit in front of Sultan Sanjar. The motif of the "old woman" can be analyzed based on Foucault's archeological logic, an analysis that focuses on the internal mechanisms of discourse production. Signifiers such as "king", "oppressed," "Judgment Day", "prayer", "oppression", and "death" acquire meaning within a specific semantic network, according to specific rules of expression, and in this way, discursive actions take shape, and propositions in which these signifiers are active become part of the semantic archive of Nizami's discourse of justice-seeking. This archive not only refers to previous texts like those of Sana'i, the Quran, and Islamic wisdom, but also distances itself from them, leading to the reproduction of knowledge in a newly formulated resistance. Archaeological description here is revealed by recognizing the break between the language of power (the heavy silence of the Sultan) and the language of justice-seeking (the cries of the old woman). Discussion of Results and Conclusions The story of the Old Woman and Sultan Sanjar depicts a dominant discourse based on raw power, which is challenged by a rival discourse and hidden power, seeking to reduce its hegemony and change the power relations. Power in this story also has various types and centers, is widespread across all levels of society, and with its fluidity, imposes itself on individuals every day and everywhere. The subject (the poet), through the recreation of the political and social context of his time in the city of Ganja in the form of an allegorical narrative, displays the social inequalities and the oppression and injustice of the ruling powers and their agents over the peasants, as well as the political, economic, and social pressures of the time; a stifling and terrifying atmosphere that denies the rival or alternative discourse (the lower and oppressed classes of society) the opportunity and means to protest and express dissatisfaction. The presence of floating signifiers such as the old woman and the sheriff, and their intrusion into the old woman's personal space in the middle of the night, pulling her hair in front of the people, the smoke of the sighs of the poor, the silence of the Sultan in the face of these inequalities and injustices, etc., all reflect the chaos caused by tyranny and the king's negligence towards the foolish actions of his agents. The connection between these floating signifiers in this tale and their relation to the central signifier, in a precise articulation, indicates a coherent discourse. میشل فوکو با بهره‌گیری از رویکرد تبارشناسی و دیرینه‌شناسی دانش، سبک جدیدی را در تاریخ‌نویسی پدیده‌های اجتماعی‌ به وجود آورد که مفهوم قدرت در آن نقش برجسته‌ای دارد. وی قدرت را نه در انحصار ساختارهای رسمی، بلکه در تمام حوزه‌های اجتماعی پراکنده و مناسبات آن را شبکه‌ای گسترده می‌داند که تا اعماق جامعه پیش‌رفته است و تمام افراد از هر پایگاه‌ اجتماعی کمابیش در آن درگیرند. حکایت «پیرزن و سلطان سنجر» در مخزن‌الاسرار نظامی از نمونه‌های بارز نمایش گفتمان مبتنی بر قدرت و بستری مناسب برای تحلیل گفتمان فوکویی است. این مقاله با روش توصیفی‌تحلیلی، گفتمان قدرت را در حکایت مذکور بررسی‌ و ضمن شناسایی شاخصه‌های گفتمان‌ مذکور، با تکیه بر آنها پیوند دال‌های شناور با دال مرکزی گفتمان را تحلیل ‌کرده‌ است. یافته‌های پژوهش، نشان می‌دهد که گفتمان «ایده‌آلیسم» بر این حکایت غالب است و مبارزه با بی‌عدالتی و استبداد از شاخصه‌های مهم آن به شمار می‌رود. در این گفتمان سیاسی - انتقادی، دال‌های شناوری چون پیرزن، آه ستم‌دیدگان، عدالت الهی و روز قیامت، در تقابل با دال‌های شناور دیگری نظیر سلطان سنجر، بی‌تفاوتی، شحنگان، ظلم و ... دربارۀ دال مرکزی و تم اصلی گفتمان (عدالت‌جویی و دادخواهی) به معناسازی و بازنمایی مناسبات قدرت می‌پردازند. پیوند دال‌های شناور در این حکایت و ارتباط آنها با دال مرکزی در یک مفصل‌بندی دقیق، نشان از یک گفتمان منسجم دارد.

https://rpll.ui.ac.ir/article_30226_5dc549e4ab3508c1944bd2c0d0735a2c.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 Ideological Stylistics of the Component of Divine Justice in Saadi’s Poem with a Theological Approach سبک‌شناسی اندیشگانی مؤلفة عدل الهی در شعر سعدی با رویکرد کلامی 19 36 30201 10.22108/rpll.2026.146110.2482 FA عباس شاه‌علی رامشه دانش‌آموختة دکتری گروه زبان و ادبیات فارسی، دانشکدة ادبیات و زبان‌های خارجی، دانشگاه کاشان، کاشان، ایران رضا شجری دانشیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات و زبان‌های خارجی، دانشگاه کاشان، کاشان، ایران رضا روحانی دانشیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات و زبان‌های خارجی، دانشگاه کاشان، کاشان، ایران حسین قربانپور آرانی دانشیار گروه زبان و ادبیات فارسی، دانشکدة ادبیات و زبان‌های خارجی، دانشگاه کاشان، کاشان، ایران Journal Article 2025 09 22 Abstract Ideological stylistics with a theological approach is a layered stylistic method that serves to analyze and understand the ideological positions of the text, and specifically the ideological and theological components of speech, and clarifies the relationship of the ideological layer of the text with other phonetic, lexical, syntactic, and rhetorical layers. In this study, the authors, using this comprehensive and detailed method, have examined the component of divine justice in Saadi’s works. First, they have shown the types of ideological norms in the field of intellectual or religious goodness and ugliness, the nature of divine justice, the types of theories on the permissibility or obligation of goodness and rightness on God, or the non-obligation of goodness and rightness on God, along with its examples. Then, based on that, they have studied the theological stylistics of the component of divine justice in Saadi's works. In the final analysis, it is concluded that Saadi's thought in the component of divine justice is aligned with Ash'arite ideology, and the traces of this influence at the lexical level are clearly evident in the network of words "justice/oppression", "owner/property/property", "ruler/ruling", and "eternal judgment/writing". As this influence is shown in the syntactic layer of speech by the poet's use of conditional sentences and God being in the position of "actor" and servants and creatures being in the position of "object", in explaining the absolute divine will, this influence is finally manifested in the rhetorical layer of speech by the poet's use of "subordinate metaphor" and "pluralism". Keywords: Ideological Stylistics, Islamic Theology, Divine Justice, Saadi's Poem. Introduction Divine justice is one of the most significant and problematic theological components among the adherents of Islamic sects (Ashʿarites, Muʿtazilites, Shiʿa, Kharijites, Karramiyya, Murjiʾa, and their sub-sects). It has overshadowed other doctrinal elements such as the problem of evil, belief in the Resurrection and divine promises and threats, the permissibility or impermissibility of imposing obligations beyond human capacity, the permissibility or impermissibility of punishment, eternal or non-eternal damnation in Hell, divine grace, favor, pleasure, pain, and so forth within the Muslim theological system. Considering that many of the studies conducted so far on the manifestation of theological issues in Persian poetry have not been free from generalizations and prejudgments, the present research proposes the method of “intellectual stylistics with a theological approach” and analyzes and explains the issue of divine justice in Saʿdi’s poetry. Materials and Methods This study has been carried out using descriptive-comparative and analytical methods, and its data have been collected through documentary-library research (major theological works of the main sects and specific books of the sub-sects). Furthermore, the theological analysis of Saʿdi’s poetry has been conducted using the author’s proposed method (theological stylistics). Research Findings Examining the manifestation of Islamic theology in Persian poetry, and specifically the component of divine justice in Saʿdi’s poetry, leads us to the following findings: Previous studies on the manifestation of theology in Persian poetry, and particularly on divine justice in Saʿdi’s poetry, have not been free from generalizations and prejudgments. Consequently, researchers have failed to assess the relationship between the “intellectual layer” and other layers—lexical, syntactic, and rhetorical. Therefore, the authors propose the method of “intellectual stylistics with a theological approach” for analyzing Persian poetry from a doctrinal perspective. The doctrinal disagreements among sectarian scholars regarding divine justice are not limited to inter-sectarian differences among the major sects; rather, internal disagreements also exist within the sects themselves. In their method of intellectual stylistics with a theological approach, the authors demonstrate these differences in detail concerning issues such as: the nature of good and evil, whether good and evil are rational or scriptural, the nature of divine justice, various theories regarding the permissibility, obligation, or non-obligation of ṣalāḥ and aṣlaḥ (the best and most beneficial) upon God, and the different instances of the obligation or non-obligation of ṣalāḥ and aṣlaḥ upon God. Saʿdi’s thought on divine justice, across the three layers—lexical, syntactic, and rhetorical—shows compatibility and alignment with the Ashʿarite intellectual system, particularly that of Abū al-Ḥasan al-Ashʿarī. Discussion of Results and Conclusions Based on stylistic analyses and inferences, the Ashʿarite intellectual system, especially that of Abū al-Ḥasan al-Ashʿarī, can be traced in Saʿdi’s poetry across the three layers—lexical, syntactic, and rhetorical: Lexical Layer: Words such as ʿadl (justice) and jawr (injustice) reflect the Ashʿarite view that if an evil act proceeds from God, it is deemed good and is itself justice. Terms like mālik (owner), mulk (kingdom), amlāk (properties), and mamlūk (possessed) in Saʿdi’s poetry indicate the firm Ashʿarite arguments, especially those of Abū al-Ḥasan al-Ashʿarī, regarding God’s ownership, His free will in His actions, and the non-obligation of ṣalāḥ and aṣlaḥ upon Him. Words such as ḥākim (judge/ruler) and ḥukm kardan (to judge) express the concept of scriptural good and evil in the Ashʿarite system, wherein God is the absolute ruler, and whatever He wills of good or evil for His servants is truth. Likewise, expressions such as qalam raftan (the pen has moved) and God’s eternal decree signify the Ashʿarite belief that divine will and predestination are inevitable. Syntactic Layer: Conditional sentences in Saʿdi’s poetry are employed to explain God’s free and unconditional will, which is the foundation of Ashʿarite thought. In such propositions, God is always in the position of “agent”, while servants and creatures occupy the position of “object”. Rhetorical Layer: Saʿdi’s poetry uses the metaphor of “subordination” to express the concept of God’s absolute control and dominion in Ashʿarite thought, as well as the rhetorical device of “collective expression” to illustrate the acceptance of God’s unconditional will and dominion by His servants within the Ashʿarite intellectual framework. سبک‌شناسی اندیشگانی با رویکرد کلامی، از شیوه‌های سبک‌شناسی لایه‌ای است که در خدمت تحلیل و فهم مواضع اعتقادی متن و به‌طور خاص مؤلفه‌های اعتقادی و کلامی سخن قرار می‌گیرد و ارتباط لایة ایدئوژیک متن را با دیگر لایه‌های آوایی، واژگانی، نحوی و بلاغی روشن می‌کند؛ کیفیت و سهم هر لایه را در تقویت لایة اندیشگانی سخن می‌سنجد و مانع کلّی‌گویی‌ها و پیش‌داوری‌ها در تعیین مواضع اعتقادی متن می‌شود. نویسندگان در این نوشتار با بهره‌گیری از این شیوة جامع و جزئی‌نگر، به بررسی مؤلفة عدل الهی در آثار سعدی پرداخته‌اند؛ نخست انواع هنجارهای عقیدتی را در حوزة حُسن و قبح عقلی یا شرعی، ماهیّت عدل الهی، انواع نظریه‌ها در باب جواز یا وجوب صلاح و اصلح بر پروردگار یا عدم وجوب صلاح و اصلح بر پروردگار به‌همراه مصادیق آن نشان ‌داده‌اند و سپس بر اساس آن، به سبک‌شناسی کلامی مؤلفة عدل الهی در آثار سعدی پرداخته‌اند. در تحلیل نهایی چنین استنباط می‌شود که اندیشة سعدی در مؤلفة عدل الهی با اعتقاد اشاعره همسویی دارد و ردّپای این اثرپذیری در سطح واژگانی، به‌روشنی در شبکة واژگان (عدل/ جور)، (مالک/ مُلک/ املاک)، (حاکم/ حکم‌کردن) و (قضای ازلی/ قلم‌رفتن) آشکار می‌شود. همچنان که این اثرپذیری در لایة نحوی سخن با بهره‌گیری شاعر از (جملات شرطی) و (در جایگاه «فاعل» بودن خداوند و در جایگاه «مفعول» بودن بندگان و مخلوقات) در تبیین مشیّت مطلق و بی‌چون و چرای الهی خود را نشان می‌دهد و درنهایت این اثرپذیری در لایة بلاغی سخن با بهره‌گیری شاعر از (استعارة تبعیه) و (صنعت جمع) نمود می‌یابد.

https://rpll.ui.ac.ir/article_30201_705c4089c97272abef5af8b4ab6ee4d2.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 An Examination of the Concepts of Hamartia and Hubris in Iranian and Greek Mythological-Tragic Literature (Case Study: Ferdowsi’s Shahnameh and the Plays of Aeschylus) بررسی مفهوم هامارتیا و هوبریس در ادبیات اساطیری- تراژیک ایران و یونان (مطالعۀ موردی: شاهنامۀ فردوسی و نمایش‌نامه‌های آیسخولوس) 41 60 30200 10.22108/rpll.2026.146232.2485 FA فاطمه امیری کله جوبی دانشجوی دکتری زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران امیرعباس عزیزی فر دانشیار زبان و ادبیات فارسی، دانشکدۀ ادبیات و علوم انسانی، دانشگاه رازی، کرمانشاه، ایران Journal Article 2025 08 05 Abstract This study adopts a comparative approach to examine the two major cultures of Iran and Greece through their mythological–tragic literature, focusing on the key concepts of hamartia and hubris. For this purpose, Ferdowsi’s Shahnameh is selected from Iranian literature, while the plays of Aeschylus represent Greek literature. In the Shahnameh, actions that can be classified as tragic or fatal error (hamartia) and excessive pride (hubris) are extremely rare. This rarity is rooted in a worldview in which the relationship between God and human beings is based on justice: God provides humanity with all necessary means and requires gratitude in return. Consequently, the human figures of the Shahnameh find little motivation for the repetition or continuation of hamartia and hubris. Even in exceptional cases such as Jamshid and Kay Kavus, these actions stem from arrogance and ingratitude rather than dissatisfaction with divine justice. In contrast, within Greek culture, actions falling under hamartia and hubris are frequent, reflecting the perceived injustice of the gods toward humans and the limitations imposed upon them. Keywords: Hamartia; Hubris; Shahnameh; Aeschylus; Iranian Literature; Greek Literature. Introduction The literature of any nation—particularly its mythological, epic, and tragic traditions—reflects its intellectual structures, ethical values, and overall worldview. Among such traditions, the ancient cultures of Iran and Greece have long attracted the attention of scholars in the humanities. Ferdowsi’s Shahnameh and the plays of Aeschylus, alongside Homer’s Iliad and Odyssey, are regarded as among the earliest literary works of these civilizations. These texts provide profound insights into the cultural, philosophical, and ideological foundations of their respective societies. The present study examines key narratives from the Shahnameh, including the stories of Jamshid, Kay Kavus, and Kay Khosrow, and analyzes selected plays by Aeschylus, with particular emphasis on Prometheus Bound and the Oresteia. Through this analysis, the research seeks to demonstrate how the concepts of hamartia and hubris are articulated in each culture, how these concepts shape literary representation, and how they reflect broader intellectual developments. In the course of this investigation, significant differences between Iranian and Greek worldviews become evident. Materials and Methods This research employs a descriptive-analytical and documentary method, drawing on library-based sources and critical textual analysis. Research Findings The findings indicate that within the Iranian worldview, hamartia is a rare phenomenon. In the limited instances where it occurs—such as in the cases of Jamshid and Kay Kavus—it results from the individual’s forgetfulness of the human position due to pride and arrogance, rather than from a sense of injustice or deprivation of rights. Such actions lead to a decline in status and the loss of farr-e izadi (divine glory), which signifies divine approval. By contrast, in the Greek worldview, hamartia frequently emerges from feelings of injustice and from the restrictions imposed by the gods upon human beings. As a result, Iranian literature exhibits few instances of hamartia and hubris, whereas Greek literature frequently portrays conflict between humans and gods, creating conditions for the emergence of these concepts. In ancient Greek mythological thought, humans and gods exist within a continuous and interactive system rather than as entirely separate entities. The Greek human is defined in direct relation to divine powers, and the boundary between mortals and gods is highly fluid. From this perspective, hamartia and hubris reflect an ontological understanding of existence: the tragic error of the hero not only violates ethical norms but also constitutes an intrusion into the divine realm. This disruption of cosmic order provokes divine reaction and punishment. Accordingly, the interpretation of human–divine conflict in ancient Greece through hamartia and hubris represents not merely a moral discourse but an ontological one, most clearly expressed in tragedy. Discussion of Results and Conclusions Based on the examinations and comparative analyses conducted in this study—which focuses on the two concepts of hamartia and hubris in Iranian and Greek literature and investigates their reflection in the worldview of the Iranian human as represented in the Shahnameh and the ancient Greek human—several conclusions may be drawn as follows: Justice and its realization constitute a central concept in both cultures. In the intellectual and ideological framework of the Shahnameh, since a just and righteous God governs the universe and an optimal order exists among the world, humanity, and divine justice, there is no conceptual ground for objecting to or challenging divine justice. Consequently, the actions of Jamshid and Kay Kāvus most closely correspond to the characteristics of hamartia, not because they oppose divine justice, but rather due to arrogance, ingratitude, and a sense of self-exaltation. These traits reveal an inner rupture and existential deficiency in these figures, as they fail to perceive and comprehend divine harmony and justice. In the case of Jamshid, the consequence of such arrogance is the loss of his divine legitimacy (farr-e īzadi), which ultimately leads to the collapse of both his psychological coherence and the social order of his realm. Regarding the subsequent king, Kay Kāvus, although he too commits actions driven by pride and audacity, he soon becomes aware of his error, repents, and reforms his behavior. Following him, Kay Khosrow, with a consciously admonitory and reflective approach toward the actions of these two kings, brings the cycle of rebellious behavior to an end. Accordingly, hamartia and hubris in the Shahnameh serve a didactic and moralizing function, leading to repentance and awakening in later rulers. In this context, hamartia functions primarily as a warning that culminates in repentance and moral restoration. By contrast, the Greek human consistently perceives themselves as exposed to the injustices of the gods. These gods monopolize many resources, including fire, which symbolizes craftsmanship, civilization, and progress. The Greek human grows weary of this condition and, at the initial stage and without sufficient awareness, commits acts against the gods that can be classified as hamartia, as illustrated in myths such as those of Niobe and Arachne. With the emergence of drama, traces of hamartia continue to appear, for instance in the play The Persians. Gradually, however, with the rise of philosophical reflection and rational inquiry, the Greek human begins to engage consciously and deliberately in actions that correspond to hubris, as exemplified in Prometheus Bound and Aeschylus’s Oresteia. Through these actions, the Greek human seeks to establish justice and advance their interests not through violent confrontation, but through dialogue, reconciliation, and negotiation with the gods. This effort ultimately proves successful, as demonstrated by Orestes’ acquittal in the Oresteia, which signifies a transformation in the relationship between humans and the divine. Another important point concerns the comparison of the two worldviews in Iranian and Greek cultures. The Greek human must traverse a long, perilous path in order to reach reconciliation with the gods who are persistently in conflict with humanity, thereby establishing justice and gaining access to fire and its benefits. In contrast, the human of the Shahnameh receives divine gifts from the outset, without warfare and in an atmosphere of peace and harmony, while God enacts justice on behalf of humanity. Consequently, Jamshid and Kay Kāvus are granted no legitimate grounds for committing hamartia or hubris. Kay Khosrow, fully aware of divine justice, consciously halts such actions by learning from and taking admonition from the deeds of his predecessors. Ultimately, it can be concluded that the Greek human perceives the world as a continual arena of struggle between humanity and the gods and strives to reclaim fundamental rights, including justice. In contrast, the Shahnameh consistently portrays the world as a realm of harmony and interconnectedness between humanity and a just God who bestows all necessary resources upon humankind. This fundamental difference in worldview and ontology between the two cultures is evident not only at the narrative level but also within the epistemological and ethical layers of their texts and intellectual traditions. As a result, prior to Aeschylus, conflicts between gods and humans in Greek myths and tragedies frequently lead to destruction or severe punishment for humans—as seen in the cases of Arachne, Niobe, and Icarus, who lose their lives, and Oedipus in Sophocles, who blinds himself as punishment. In Aeschylus’s plays, however, such death, punishment, and direct conflict between humans and gods gradually diminish. جستار حاضر با نگاهی مقایسه‌ای و به روش توصیفی‌تحلیلی و اسنادی به بررسی دو کلان‌فرهنگ ایران و یونان با استناد به ادبیات اساطیری - تراژیکِ این دو فرهنگ براساس دو مفهوم کلیدی «هامارتیا» و «هوبریس» می‌پردازد. برای این منظور از ادبیات ایران شاهنامه و از ادبیات یونان نمایش‌نامه‌های آیسخولوس برگزیده شده‌اند. در شاهنامه اعمالی که در دستۀ خطای مهلک/ تراژیک (هامارتیا) و برمنشی (هوبریس) قرار می‌گیرند بسیار نادر و با کمترین بسامد رخ داده‌اند؛ زیرا رابطۀ بین خدا و انسان مبتنی‌بر عدالت بوده است و خداوند هرآنچه لازم بوده است در خدمت انسان قرار داده و از او خواسته است که سپاس‌گزار باشد؛ بنابراین، انسانِ شاهنامه دلیلی برای تکرار و تداوم هامارتیا و هوبریس نمی‌دیده است و اگر جمشید و کیکاووس دست به چنین اعمالی زده‌اند، از بطر و ناسپاسی بوده نه از نارضایتی از عدالت خداوند؛ اما در فرهنگ یونانی اعمالی که در دستۀ هامارتیا و سپس هوبریس قرار می‌گیرند، پربسامد بوده است که نشان از بی‌عدالتی خدایان نسبت به انسان‌ها و محدودیت‌های بوده که به دست آنها بر انسان اِعمال می‌شده است؛ بنابراین انسانِ یونانی ابتدا با هامارتیا و سپس با رشد آگاهی خود در جهت پیشبرد منافعش دست به هوبریس می‌زند و زمانی که طی این روند آگاه‌تر می‌شود با گفت‌وگوهایی که با خدایانش انجام می‌دهد از اعمال هامارتیایی گذر می‌کند و به اعمال هوبریسی نیز مشروعیت می‌دهد و مجوز و پشتیبانی آن را از خدایان خود دریافت می‌کند و با طی این مسیر انسان از جایگاه موجودی مطیعِ بی‌چون و چرای خدایانش که اغلب خیرخواه او نیز نیستند، به انسانی با توان مذاکره و گفت‌وگو می‌رسد که بیانگر این امر است که این دو مفهوم در فرهنگِ‌ ایرانیِ شاهنامه جنبۀ هشدار و حذر و توبه داشته‌ و در فرهنگ یونانی مسیری برای احیا و برقراری مفاهیمی مانند عدالت بوده است.

https://rpll.ui.ac.ir/article_30200_7a99780791e14e037e1431c79f801481.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 A Bibliographical Attribution Study of Shater Abbas Sabouhi's Poems انتساب‌شناسی مأخذ‌شناختی اشعار شاطر عباس صبوحی 61 82 29988 10.22108/rpll.2025.143947.2418 FA علیرضا فولادی دانشیار گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات و زبان‌های خارجی، دانشگاه کاشان، کاشان، ایران Journal Article 2025 01 09 Abstract Shater Abbas Sabouhi was a prominent poet of the Naserian period, yet the authenticity of many poems attributed to him remains in serious doubt. This skepticism arises from the discovery that several poems ascribed to Sabouhi also appear within the works of other poets, leading some scholars to question not only his authorship but even his very existence. Any scholarly assessment of Sabouhi requires a precise historical examination, and one essential step in this process is a comprehensive bibliographical attribution study. The present study adopts a descriptive-analytical approach to identify the origins of poems attributed to Sabouhi and to determine which belong to other poets. The study reveals that among the poems credited to Sabouhi, forty-seven—including thirty-two ghazals, one couplet, six quatrains, and eight incomplete poems—are definitively not his, a number almost twice that reported by earlier researchers. Furthermore, ten poems, consisting of eight ghazals and two incomplete works, can be confidently attributed to him, while sixty-one others, including thirty-five ghazals, one mokhammas (pentastich), one couplet, ten quatrains, thirteen unfinished pieces, and one ballad, remain uncertain. In these cases, the likelihood of correct or incorrect attribution appears roughly equal. This research thus contributes to clarifying the poetic legacy of Shater Abbas Sabouhi by distinguishing authentic works from those spuriously attached to his name. Keywords: Naserian Poetry, Shater Abbas Sabouhi, Attribution Studies, Bibliography. Introduction In the late 1920s, a lithograph edition of the Divan attributed to Shater Abbas Sabouhi was published in three fascicles by two Tehran booksellers. These editions were later combined and reprinted several times, eventually followed by a lead-type edition in the 1930s. Since then, the Divan has been published repeatedly by different editors and publishers, often with additions or omissions derived from those early prints or unreliable manuscripts. Shortly after its first publication, literary scholars discovered that many poems within the Divan had already appeared under the names of other poets. This revelation led to extensive debate: some attributed the confusion to publishers’ carelessness, while others speculated that both Sabouhi and his publishers were responsible. The controversy escalated to such an extent that a few researchers even denied the poet’s existence altogether. However, historical evidence suggests that Sabouhi was indeed a real and well-known poet. Contemporary biographical works compiled during his lifetime confirm his poetic reputation and popularity among both scholars and the general public. These accounts also record several of his authentic ghazals. Furthermore, the earliest published collections of his poetry appeared decades after his death, based on oral recollections of admirers, indicating that any textual inconsistencies likely stemmed from transmission errors rather than deliberate falsification. Given these circumstances, the only reliable way to uncover the truth about Sabouhi’s poetic corpus is to examine the attribution of every poem systematically. The present study, therefore, aims to verify the authenticity of the poems attributed to Shater Abbas Sabouhi by identifying their textual sources and classifying them into three groups: spurious, authentic, and probable. Through this process, the study seeks to establish a firmer foundation for understanding Sabouhi’s poetic identity and legacy. Materials and Methods This research employs a descriptive-analytical method with an emphasis on bibliographical and source-identification analysis. The available printed Divans attributed to Sabouhi, along with accessible manuscripts, served as the primary sources for data collection. Each poem attributed to Sabouhi was examined in comparison with the works of other poets from both earlier and contemporary periods. When textual overlaps or identical verses were discovered, the corresponding poems were classified as spurious. In contrast, poems whose authorship was supported by credible historical references or contemporary anthologies were regarded as authentic. For the remaining poems, where neither clear evidence of authorship nor sufficient stylistic distinctiveness could be established, the classification of “probable” was assigned. Research Findings The study identified a total of 118 poems attributed to Shater Abbas Sabouhi. Among them, 47 poems—including 32 ghazals, one couplet, six quatrains, and eight incomplete works—were determined to be spurious, as they appear in the collections of other poets, sometimes with only minor variations. Conversely, 10 poems—comprising eight ghazals and two incomplete works—were confirmed as authentic. These poems are supported by historical documents and literary anthologies compiled during or shortly after the poet’s lifetime, which verify both his authorship and poetic style. The remaining 61 poems, consisting of 35 ghazals, one mokhammas (pentastich), one couplet, ten quatrains, thirteen incomplete pieces, and one ballad, fall into the probable category. These works display stylistic and linguistic features similar to Sabouhi’s authentic poems but lack direct historical or bibliographical confirmation. Notably, the number of poems found to be spurious is nearly twice the figure reported in earlier research, suggesting that the extent of misattribution within Sabouhi’s corpus has been substantially underestimated. Discussion of Results and Conclusion The findings of this study shed new light on the long-debated question of Shater Abbas Sabouhi’s poetic authenticity. The research demonstrates that 47 poems attributed to him are definitively spurious, 10 are authentic, and 61 remain indeterminate. This classification underscores the complexity of authorship attribution in Persian literary history, where oral transmission, manuscript copying, and posthumous publication often blur the boundaries of authorship. Moreover, the analysis reveals that Sabouhi’s genuine works exhibit a distinctive linguistic simplicity, emotional tone, and thematic orientation consistent with the Naserian poetic tradition. In contrast, the spurious poems often display stylistic inconsistencies, archaic vocabulary, and imagery characteristic of earlier poets, further confirming their doubtful attribution. While this study has made significant progress in separating authentic from inauthentic works, a complete resolution of Sabouhi’s poetic canon requires continued bibliographical and stylistic research. The remaining probable poems must be examined through stylistic analysis, comparative metrics, and linguistic profiling to reach greater certainty. Ultimately, by clarifying the boundaries of Shater Abbas Sabouhi’s poetic identity, this study contributes not only to the accurate documentation of one poet’s legacy but also to the broader field of Persian literary attribution studies, offering a methodological model for re-examining other disputed poetic corpora. شاطر عباس صبوحی از شاعران صاحب‌نام عصر ناصری است؛ با این ‌حال، دربارة صحت انتساب اشعار دیوان این شاعر به او تردید جدی وجود دارد. دلیل این تردید، ورود اشعار شاعران ماقبل یا معاصر شاطر عباس به دیوان وی است. بی‌گمان هرگونه اظهارنظر علمی دربارة شعر صبوحی به تعیین تکلیف این دست اشعار نیاز دارد که براساس انتساب‌شناسی یکایک اشعار این شاعر عملی خواهد شد. مقالة حاضر با روش توصیفی‌تحلیلی و رویکرد مأخذشناختی در این مسیر پیش رفته و کوشیده است بیش از پیش نشان دهد که کدام اشعار منتسب به شاعر مدنظر، در دیوان کدامین شاعران وجود دارد. این مقاله سرانجام نتیجه‌گیری می‌کند که از میان بیشترین آمار شعرهای منتسب به شاطر عباس، 47 شعر، شامل 32 غزل، 1 قطعه، 6 رباعی و 8 شعر ناتمام، قطعاً برای این شاعر نیست و این تعداد، تقریبا دو برابر آماری است که پژوهشندگان پیشین نشان داده‌‌اند. همچنین 10 شعر، شامل 8 غزل و 2 شعر ناتمام، قطعاً برای اوست و 61 شعر، شامل 35 غزل، 1 مخمس، 1 قطعه، 10 رباعی، 13 شعر ناتمام و 1 ترانة عامیانه، جز در چند مورد که اطلاعات تشکیکی دربارۀ آنها وجود دارد، احتمال صحت و سقم انتسابشان به وی مساوی است.

https://rpll.ui.ac.ir/article_29988_742ae58c1f05ff672384220857becb3d.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 The Necessity for the Introduction of a New Critical Edition of ʿAwfī’s Lubāb al-Albāb ضرورت و معرفی تصحیح تازۀ تذکرۀ لباب‌الالباب عوفی 83 99 30235 10.22108/rpll.2026.147434.2526 FA هادی بیدکی استادیار گروه زبان و ادبیات فارسی، دانشکدۀ ادبیات و زبان‌های خارجی، دانشگاه مازندران، بابلسر، ایران Journal Article 2025 11 15 Abstract Lubāb al-Albāb, written by Muḥammad ʿAwfī around 618 AH, is the earliest extant Persian tazkira in the history of Persian literature. Despite its fundamental importance, the text has never been edited and published according to modern principles of critical scholarship. The first printed edition, prepared by Edward G. Browne, was not based on a rigorous editorial methodology, and all subsequent editions have relied almost entirely on Browne’s text. As a result, numerous textual errors, omissions, and conjectural interventions have been transmitted from manuscript to print and from one edition to another. In many cases, incorrect manuscript readings entered the printed tradition; in others, earlier editors misread correct manuscript forms or introduced personal conjectures without sufficient justification or reference to auxiliary sources. These practices have led the received text of Lubāb al-Albāb to diverge significantly from what ʿAwfī originally wrote. The present study argues for the necessity of a new critical edition based primarily on the newly identified Lucknow manuscript, in systematic comparison with the Berlin and Manchester manuscripts. In addition, later tazkiras such as Bazm-ārāy and ʿArafāt al-ʿĀshiqīn, which contain extensive transcriptions from Lubāb al-Albāb, are employed as auxiliary witnesses for reconstructing corrupted or missing passages. Keywords: Lubab ul-Albab, ‘Awfi, Correction, Tazkira. Introduction Poetic tazkiras occupy a central position in the history of Persian literary historiography. A significant portion of what is known about classical Persian poets, their works, and their cultural contexts is derived from these biographical anthologies. Moreover, the millennium-long tradition of tazkira-writing reflects the vitality of a literary genre that maintained a continuous dialogue with Persian literary culture and its producers. Among all Persian tazkiras, Lubāb al-Albāb holds a unique status as the earliest surviving example. Written in two volumes by Muḥammad ʿAwfī in 618 AH, it introduces 313 poets: 145 in the first volume and 168 in the second. The first volume focuses on poets for whom poetry was a secondary activity, whereas the second deals with professional poets who often possessed complete dīvāns. Although Lubāb al-Albāb has been printed at least five times and reprinted frequently, none of these editions can be considered a true critical edition. The earliest print was produced by Edward G. Browne in 1903–1906, followed by Saʿīd Nafīsī’s edition in 1335 SH. All later prints are essentially reproductions or hybrid combinations of these two editions, without direct recourse to manuscripts or transparent editorial principles. Materials and Methods The present study is based on a comparative analysis of the existing printed editions and the three known manuscripts of Lubāb al-Albāb, in conjunction with later tazkiras such as Bazm-ārāy and ʿArafāt al-ʿĀshiqīn, which function as partial transcriptions of ʿAwfī’s work. Selected textual samples from the printed editions were systematically compared with the newly discovered Lucknow manuscript and with secondary sources in order to identify inherited errors, omissions, distortions, and conjectural interventions. This method allows for an objective evaluation of the editorial practices of previous editors and demonstrates the necessity of a new critical edition. Research Findings At present, only three manuscripts of Lubāb al-Albāb are known to exist: Manuscript M.70.T (45671), Tagore Library, Lucknow University, India (microfilm no. 1414, Central Library of Tehran University); Manuscript Sprenger 318, National Library of Berlin; Manuscript 308, John Rylands Library, University of Manchester. Browne based his edition solely on the Berlin and Manchester manuscripts and had no access to the Lucknow copy. The newly discovered Lucknow manuscript now serves as the primary base of the present critical project, in systematic comparison with the other two manuscripts and relevant tazkiras. Browne’s editorial method is a mixture of eclectic and conjectural correction. He frequently supplied missing or doubtful readings through analogy and personal judgment, sometimes drawing on Majmaʿ al-Fuṣaḥāʾ by Riḍā-Qulī Khān Hidāyat. Large portions of his first volume rely exclusively on the Berlin manuscript, without collating the Manchester copy. Moreover, he failed to record variant readings, making it impossible to trace his deviations from the base manuscript. Nafīsī did not consult manuscripts at all and merely revised Browne’s edition, introducing additional conjectures based on his own literary taste and auxiliary sources. These interventions were not systematically documented, forcing readers to compare editions manually. The editions of Ṭāhā Ḥijāzī and ʿAlīzādeh represent uncritical compilations of previous prints. Their hybrid nature renders it impossible to distinguish between manuscript evidence and editorial conjecture, thus depriving researchers of a reliable textual basis. Discussion of Results and Conclusion Despite its foundational importance in Persian literary history, Lubāb al-Albāb has never received a scientifically sound critical edition. All previous editions suffer from methodological weaknesses, including uncontrolled eclecticism, analogical reconstruction, undocumented conjectures, and the absence of auxiliary witnesses. The necessity of a new critical edition can be summarized as follows: Numerous textual errors originating in the Manchester manuscript entered Browne’s edition and were subsequently transmitted to all later prints. Many passages in the manuscripts contain omissions and distortions that earlier editors failed to resolve effectively. Correct manuscript readings were frequently misread, particularly in Browne’s edition, and these errors became canonical in later prints. Browne introduced conjectural interventions without sufficient justification, and later editors compounded these interventions with further uncritical additions. None of the previous editors systematically used auxiliary sources such as Bazm-ārāy and ʿArafāt al-ʿĀshiqīn, despite their clear value for textual reconstruction. Browne incorporated marginal notes from the Manchester manuscript—often written by later hands—into the main text, thereby mistaking secondary material for ʿAwfī’s original composition. In light of these issues, a new critical edition based on the Lucknow manuscript and supported by comprehensive manuscript collation and auxiliary sources is not merely desirable but methodologically essential for restoring Lubāb al-Albāb to a form that approximates its original authorial state. لباب‌الالباب نخستین تذکرۀ موجود در تاریخ ادبیات فارسی است که محمد عوفی آن را در پیرامون سال 618ق تألیف کرده و با وجود اینکه چند بار چاپ و بازچاپ شده، متن آن هنوز به‌صورت علمی و انتقادی تصحیح و منتشر نشده است؛ به‌طوری‌که چاپ اول آن یعنی تصحیح ادوارد برون بر روش درستی از تصحیح استوار نیست و اساس چاپ‌های بعدی نیز فقط چاپ برون است؛ بنابراین، اشتباهات و نواقص متعدد هرکدام از چاپ‌ها تصحیح تازه و علمی آن را دوچندان می‌کند؛ زیرا هم برخی از ضبط‌های مغلوط نسخه‌ها به چاپ‌های قبلی نفوذ کرده است و هم نسخه‌ها افتادگی و ضبط‌های مخدوشی دارند که تصحیح قیاسی مصححان در مواجهه با آنها کارساز نبوده است. صاحبان چاپ‌های پیشین نیز گاه برخی از ضبط‌های درست نسخه‌ها را بد خوانده‌اند و گاه به‌جای استفاده از منابع کمکی، دخل و تصرفات ذوقی و حدسی خود یا حواشی ناموجه نسخه‌ها را به متن نفوذ داده‌اند. همۀ این موارد باعث شده متن لباب‌الالباب از آنچه عوفی نوشته است، دور شود؛ درعوض تصحیح ما براساس نسخۀ نویافتۀ لکنو و مقابلۀ آن با دو نسخۀ برلین و منچستر صورت گرفته است و در کنار این سه نسخه از تذکره‌ها- مثل بزم‌آرای و عرفات العاشقین که حکم رونویس لباب‌الالباب را دارند- و منابع فرعی دیگری هم برای ضبط‌های مغلوط و افتادگی‌های نسخه‌ها استفاده شده است.

https://rpll.ui.ac.ir/article_30235_bbb7b83263d5ffbc4ea11c96802d6ef5.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 Discourse Analysis of Advice to Kings as a Tool for the Reproduction of Power (Case Study: Makhzan al-Asrār) تحلیل گفتمان نصیحت به پادشاهان به عنوان ابزار بازتولید قدرت (مطالعه موردی: مخزن‌الاسرار نظامی) 101 120 30172 10.22108/rpll.2025.146690.2501 FA زهرا امینی شلمزاری دانش آموخته دکتری زبان و ادبیات فارسی، دانشگاه اصفهان، اصفهان، ایران Journal Article 2025 09 16 Abstract Makhzan al-Asrār, the first poetic work of Nezami Ganjavi, was composed in his youth and consists of twenty chapters that employ didactic narratives to promote moral refinement and spiritual education. In addition to addressing individual and mystical themes, Nezami articulates critical messages directed at kings and rulers. His language in these addresses is sharp, admonitory, and critical, drawing attention to the deficiencies of power—particularly injustice and administrative inefficiency. By foregrounding justice and generosity, Nezami constructs an idealized image of righteous governance. This study applies Fairclough’s model of critical discourse analysis to examine the linguistic mechanisms through which advice to kings is articulated in Makhzan al-Asrār. The findings indicate that the discourse of advice performs a clear ideological function: language plays a central role in reproducing power relations and social values by maintaining a balance between warning and respect, legitimizing critique, restraining undesirable royal conduct, highlighting the image of the ideal king, and ultimately reinforcing divine justice and social order. Keywords: Critical Discourse Analysis, Fairclough, Advice, King, Power. Introduction Didactic literature, through both direct and indirect strategies, seeks to promote ethical virtues and cultivate human behavior, primarily by means of advice and moral instruction in both poetry and prose. Many literary texts extend beyond aesthetic pleasure or emotional expression to convey specific ideological messages that guide individuals toward ethical and educational ideals. Among such texts, advice and admonition directed at kings occupy a particularly significant position due to the political authority and elevated social status of rulers. The hierarchical nature of monarchic systems restricted direct criticism, compelling intellectuals and writers to employ narrative devices such as anecdotes, parables, and allegories to warn rulers indirectly against tyranny, abuse of power, and injustice. This tradition, rooted in the Sasanian period and strengthened after the advent of Islam through religious discourse, persisted in Persian literature, as reflected in works such as Ibn Muqaffaʿ’s Al-Adab al-Kabīr, Khwaja Nizam al-Mulk’s Siyāsatnāma, and Al-Ghazali’s Naṣīḥat al-Mulūk. In poetry, this tradition also found expression, with Nezami Ganjavi’s Makhzan al-Asrār standing out as a prominent example. Alongside mystical and ethical reflections, Nezami employs a sharp and critical language to guide kings toward justice and generosity. From the perspective of Fairclough’s critical discourse analysis, Makhzan al-Asrār can be interpreted as a discourse that linguistically constructs political legitimacy while simultaneously reproducing power through ethical and religious frameworks. Critical discourse analysis conceptualizes language as a social practice that shapes identities, social relations, and belief systems, with each text actively participating in these processes. Fairclough’s three-dimensional model—text, discursive practice, and social practice—operates through the stages of description, interpretation, and explanation: description focuses on linguistic form, interpretation examines contextual and intertextual relations, and explanation addresses underlying social and ideological structures. Materials and Methods This study adopts a qualitative text-based approach grounded in Fairclough’s three-dimensional model of critical discourse analysis. At the descriptive level, the linguistic and syntactic features of selected verses are examined. At the interpretative level, intertextual relations and the interaction between the poet’s discourse and its audience are analyzed. At the explanatory level, the relationship between discourse and broader social, cultural, and ideological structures is explored. The unit of analysis consists of purposefully selected verses from Makhzan al-Asrār, chosen for their relevance to the discourse of advice and admonition. This methodological framework enables a systematic and comprehensive examination of both the linguistic strategies and the socio-ideological functions of advisory discourse in Nezami’s work. Research Findings The tradition of advising kings in Makhzan al-Asrār functions not merely as moral exhortation but as an ideological and discursive mechanism shaped by interactional norms and power relations. Through re-lexicalization and the use of neutral or negatively charged expressions, the poet maintains a delicate balance between reverence and warning. Simultaneously, the employment of overwording and the repetition of lexical items—such as woman, justice, and willpower—both reflect the prevailing gendered value system of the time and urge the king to adhere to ethical conduct. Semantic contrast, particularly through comparisons with former rulers or apparent manifestations of power, serves to reconstruct royal identity and undermine the illusion of absolute authority. Euphemism, especially in portraying the ideal king, implicitly draws attention to the shortcomings of the actual ruler. Linguistically, shifts in expressive value, along with the strategic use of metaphor and positively connoted expressions, enhance the persuasive force of advice. Attribution to external agents functions as a legitimizing strategy, reducing the risk associated with direct confrontation. The concurrent use of positive and negative clauses follows two parallel trajectories: constraining undesirable behaviors and foregrounding the model of the ideal ruler. Imperative modality reflects the superior position of the advisor, while interrogative modality is employed either to redefine the penitent king’s identity or to legitimize critique articulated from lower social positions. Modality choice is closely linked to social hierarchy: higher-status speakers tend to use expressive modality with weaker obligation, whereas lower-status speakers rely on relational modality, producing stronger forms of obligation. At the situational level of interpretation, variations between formal and informal language, command and prohibition, or allegory and anecdote correspond to degrees of risk and courtly context. At the intertextual level, references to authoritative texts—Qur’anic verses and Hadiths—provide divine legitimation and activate the king’s religious consciousness. At the explanatory level, figures such as elders or dream-guides reflect deeply rooted cultural beliefs, elevating advice beyond the personal sphere. Discussion of Results and Conclusions Considering the results of the present study, at the lexical level, the use of neutral and respectful vocabulary elevates the discourse from interpersonal interaction to an ethical and intertextual plane. Conversely, negatively charged expressions serve a critical function by disrupting the idealized image of kingship. Lexical repetition operates rhetorically to foreground central concepts, reinforce admonition, and emphasize the consequences of neglecting the people and the transience of worldly power. Through semantic opposition between justice and injustice, the poet intensifies the moral contrast and urges unjust rulers toward ethical reform. Euphemistic language enables respectful critique, preserving the dignity of the addressee while fulfilling the advisory function. At the syntactic level, moderated sentence structures and indirect attribution mitigate confrontation and reduce perceived threat. The strategic use of proverbs, Qur’anic verses, and Hadiths further enhances receptivity and legitimizes the advisory discourse. Finally, the incorporation of social mechanisms—such as the authoritative presence of elders and wise counselors—strengthens the persuasive impact of advice and guides it toward its intended outcome. Nezami’s counsel to kings thus transcends individual moral reform, pursuing a broader objective: the establishment of divinely sanctioned justice and the preservation of social order and stability. منظومه مخزن‌الاسرار، نخستین اثر منظوم نظامی گنجوی، در دوره جوانی او به نظم درآمده است. ساختار این اثر متشکل از بیست مقاله است که در قالب حکایت‌های تعلیمی به پرورش اخلاق و تربیت عرفانی انسان می‌پردازد؛ با این حال توجه نظامی تنها به مفاهیم فردی یا عرفانی معطوف نمی‌شود؛ بلکه به سبب شرایط سیاسی و اجتماعی زمان خود خطاب‌های انتقادی مؤثری نیز به پادشاهان و صاحبان قدرت اختصاص می‌دهد. در این خطاب‌ها زبان شاعر به جای مدح و ستایش رایج رویکردی گزنده، هشداردهنده و انتقادی دارد؛ زیرا هدف بازنمایی کاستی‌های قدرت به‌ویژه بی‌عدالتی، ظلم و ناکارآمدی کارگزاران حکومتی است. نظامی در برابر این امور با برجسته‌سازی مفاهیمی چون عدالت و بخشش، الگوی آرمانی از حکومت عادلانه ترسیم می‌کند. در این پژوهش کوشش می‌شود با بهره‌گیری از تحلیل گفتمان انتقادی فرکلاف و مدل سه‌بعدی او سازوکارهای زبانی و گفتمانی نصیحت به پادشاهان در مخزن‌الاسرار ارزیابی شود. نتایج به‌دست‌آمده نشان می‌دهد که سنت نصیحت در مخزن‌الاسرار نظامی کارکردی ایدئولوژیک دارد؛ به این معنا که زبان متن فقط وسیله انتقال معنا نیست؛ بلکه نقش مهمی در بازتولید قدرت و ارزش‌های اجتماعی دارد و توازن میان هشدار، احترام و مشروعیت‌بخشی به نقد را آشکار می‌سازد. نظامی از طریق نصیحت همزمان به محدودساختن رفتارهای نامطلوب پادشاه و برجسته‌سازی الگوی شاه آرمانی پرداخته است. در سطح کلان، هدف اصلی این سنت، تثبیت عدالت الهی و تضمین نظم اجتماعی از طریق بازتعریف هویت و مسئولیت‌های پادشاه است.

https://rpll.ui.ac.ir/article_30172_e405a90fdc3182d0eace6995908d857d.pdf

دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 2 2026 06 22 Critical Codicology of Jalaloddin Davani’s New Persian Works نسخه‌شناسی انتقادی آثار فارسی نویافتۀ جلال‌الدین دوانی 121 142 30236 10.22108/rpll.2026.146330.2488 FA ولی الله شرف دکترای تخصصی گروه زبان و ادب فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه فردوسی، مشهد، ایران Journal Article 2025 08 17 Abstract The scholarly correction of an author’s works relies on the critical codicology of his works. By systematically analyzing manuscripts from libraries around the world, we can carefully clarify the authenticity of books and treatises attributed to various authors. An examination of catalogues from many countries reveals that, in addition to Davani’s well-known Persian works in Iran, there are other works attributed to him globally, and determining their accuracy and originality requires critical manuscript analysis. Accordingly, before a comprehensive arbitration about Davani’s views and ideas, it is essential to investigate the authenticity of his lesser-known works. Therefore, the present study aims to clarify the originality of the text and the accuracy of the attribution of new Persian works attributed to Davani. During the research process, our understanding of Davani’s newly discovered works, particularly in terms of bibliography and codicology, has been enhanced through a comparative study of over 1,100 Persian manuscripts in the catalogues of various libraries. The findings show that, in addition to the recognized Persian works of Davani in Iran, there is at least one detailed book, two short treatises, and an exquisite collection of Persian poetry not listed in the Persian union catalogues, including the Union Catalogue of Iran Manuscripts (Fankha). This article introduces the following authentic works: 1) The book of Translation and Interpretation of Mokhtasar-o al-Vaqāye, 2) The treatise of the Essence of Faith, 3) The treatise of God’s Knowledge and Will, and 4) A Collection of Poems. Keywords: Critical Codicology; Bibliography of New Persian Works; Jalaloddin Davani; Persian Union Catalogue; Union Catalogue of Iran Manuscripts (Fankha); Mystical Literature. Introduction Written heritage is the work history of past elites and the birth certificate of modern society. Every generation is responsible for protecting this cultural heritage to recognize its historical roots and to build a modern society on the foundation of its past. In Iran, many researchers have dedicated their efforts to investigating and studying written sources, uncovering hundreds of thousands of valuable works. However, countless books and treatises remain unidentified in libraries both domestically and abroad. By discovering these historical texts, we not only acknowledge the contributions of past scholars to the continuum of science and literature, but also we can harness their insights to help shape our current world. Jalaloddin Davani is a significant figure in preserving the scientific and literary heritage of his era, having left behind a wealth of manuscripts. Throughout his lifetime, Davani played a crucial role in strengthening the foundations of knowledge during his era, particularly in theology, philosophy, and mysticism. His creative writings and critical commentaries on the works and ideas of earlier thinkers greatly enriched the intellectual and literary discourse of the Timurid period. The prosperity of discussions during that time was mainly credited to his contributions. To fully appreciate and understand the significance of Davani’s thoughts, it is essential to explore the intellectual and literary realms of his works. Therefore, it is appropriate to engage in a scholarly study of all the mental and linguistic aspects of his writings. This exploration will help us reflect on the identity of the Iranian society to revive the identity of the present generation. Several Iranian sages stand out, including Mohammad Farabi (259-339 AH), Hosein ibn Sina (370-428 AH), Shahaboddin Sohravardi (549-587 AH), Nasiroddin Tusi (597-672 AH), Jalaloddin Davani (830- early 10th century AH), and Sadroddin Shirazi (late 10th century-1050 AH). Among these six sages, Davani’s focus on “commentary” separates him from others. Specifically, the impact of his writings on the commentary of theological, philosophical, and mystical texts—including on poems of Hafez—is undeniable. Despite the extensive research on Davani’s ideas, many aspects, particularly within the literary domain of his contributions, remain unexplored. One main reason for the lack of attention to Davani’s works over the past century is that many of his manuscripts have not been accurately emended and published. Ebrahimi Dinani highlights this issue in his introduction to The Words of Jalaloddin Davani, noting that “while many scholars recognize Davani as a philosopher, his works have not been thoroughly read and critically analyzed” (as cited in Esmaili & Karimabadi, 2019, p. 37). Consequently, the Persian works of this Iranian sage must be scientifically revised and researched after the critical codicology. His works are better presented in a comprehensive collection, with a detailed introduction, documented annotations, and various indexes, to facilitate access for researchers. Materials and Methods In this study, we analyzed data from over a thousand manuscript catalogues sourced from libraries in various countries to identify different manuscripts of Davani’s Persian and Arabic works. To assess the authenticity of the Persian works attributed to him, we compared the beginning, the end, and the text of hundreds of manuscripts. This process led to evaluating the accuracy of the data in the manuscript catalogues of libraries based on the evidence within the texts themselves. Through a comparative study of various catalogues and manuscripts, much information in the catalogues and manuscripts was corrected and enhanced. As a result, we have accurately identified the titles and numbers of both new authentic and non-authentic Persian works attributed to Davani. Research Findings The research procedure identified over 6,000 Arabic and 1,100 Persian manuscripts attributed to Jalaloddin Davani from manuscript catalogues in fourteen languages across at least a thousand libraries in forty countries. The study has rigorously examined seven Davani’s Persian works for their originality and accuracy as a result of this extensive research. A comparative analysis of at least 1,100 Persian manuscripts, dating from the ninth to the fourteenth centuries AH, confirms that Davani is indeed the author of four newly discovered Persian works, in addition to well-known Persian works previously introduced in the first article. The lesser-known identified works include: Translation and Interpretation of Mokhtasar-o al-Vaqāye [Tarjome va sharh-e Mokhtasar-o al-Vaqāye]; The Essence of Faith ]Gowhar-e imān[; God’s Knowledge and Will [Elm va erāde-ye elāhi]; A Collection of Poems ]Divān-e ashār]. Discussion of Results and Conclusions In the written heritage of the Persian language, there are works whose copies have not been found in Iranian libraries yet. As a result, these works are not in the most comprehensive union catalogue of manuscripts in Iran, known as the Union Catalogue of Iran Manuscripts (Derayati, 2011-2015). Additionally, some Persian works are not correctly or totally identified in the union catalogues of Persian works, such as the Catalogue of Persian Manuscripts (Monzavi, 1969-1970), the Union Catalogue of Persian Manuscripts of Pakistan (Monzavi, 1983-1996), and the Shortlist of Persian Works (Monzavi, 1995-2015). In this study, we refer to works that are rare and difficult to find and whose names or authors are not correctly or totally in the Persian union catalogues—especially the Union Catalogue of Iran Manuscripts—as “newly discovered”. These works are considered “new” in relation to the Iranian union catalogues, which have provided descriptive lists of manuscripts from hundreds of libraries in Iran and other countries. Probably, additional copies of these works exist in Iran; however, due to inaccuracies in the descriptions of manuscripts in some of the library catalogues, we are currently unable to confirm their identities as works that we believe are not in Iran. This investigation reveals that, in addition to the known works of Davani in Iran, there are at least seven additional works attributed to him worldwide. The newly discovered Persian works and their corresponding number of copies are as follows: A book on translation and interpretation of Mokhtasar-o al-Vaqāye(with sixteen copies); A treatise on the essence of faith (with four copies); A treatise on God’s knowledge and will (with two copies); A collection of poems (with one copy); Quatrains (with one copy); Love (with one copy); A treatise on existence (with eight copies). This critical study confirms the existence and authenticity of at least one detailed book, two short treatises, and a collection of Persian poetry that the Persian union catalogues have not documented. The genuine works featured in this study are as follows: 1) Translation and Interpretation of Mokhtasar-o al-Vaqāye, 2) The Essence of Faith, 3) God’s Knowledge and Will, and 4) A Collection of Poems. تصحیح علمی مجموعۀ آثار هر نویسنده در گرو نسخه‌شناسی انتقادی آثار اوست؛ زیرا با نسخه‌شناسی انتقادی مجموعۀ آثار نویسندگان، به گونه‌ای روشمند صحت و اصالت کتاب‌ها و رساله‌های منسوب به ایشان در فهرست کتابخانه‌های جهان روشن می‌شود. بر این اساس، بررسی فهرست نسخ خطی کتابخانه‌های کشورهای گوناگون نشان می‌دهد علاوه بر آثار فارسی شناخته‌شدۀ جلال‌الدین دوانی در ایران، آثاری دیگر نیز بدو نسبت داده شده که تعیین صحت و اصالت آنها نیازمند نسخه‌شناسی انتقادی است. بی‌گمان پیش از داوری جامع دربارۀ آرا و افکار دوانی، تحقیق دربارۀ نام و نشان آثار ناشناختۀ او ضرورت دارد. ازاین‌رو، هدف جستار حاضر، نسخه‌شناسی انتقادی آثار فارسی نویافتۀ منسوب به دوانی است تا از رهگذر آن، اصالت متن و صحت انتساب آنها روشن شود. در این پژوهش با روش مطالعۀ تطبیقی، بیش از ۱۱۰۰ دست‌نویس فارسی دوانی در فهرست کتابخانه‌های ایران و جهان بررسی شده است تا پاره‌ای از آگاهی‌های کتاب‌شناختی و نسخه‌شناختی ما دربارۀ آثار فارسی وی تکمیل و تصحیح شود. نتایج نسخه‌شناسی انتقادی حاضر نشان می‌دهد علاوه بر آثار فارسی شناخته شدۀ دوانی در ایران، دست‌کم یک کتاب مفصل، دو رسالۀ مختصر و یک دیوان شعر فارسی نیز از آثار اوست که در فهرست‌های مشترک فارسی از جمله فهرستگان نسخه‌های خطی ایران (فنخا) به کلی یا به درستی معرفی نشده‌اند. آثار اصیل معرفی شده در مقالۀ حاضر به‌ترتیب عبارتند از: ۱) کتاب ترجمه و شرح مختصر الوقایة؛ ۲) رسالۀ گوهر ایمان؛ ۳) رسالۀ علم و ارادۀ الهی و ۴) دیوان اشعار.

https://rpll.ui.ac.ir/article_30236_95c993f5eebd22e4dbd0c096fd502953.pdf