نشریه جستارهای نوین ادبی
سال پنجاه و ششم شماره 3 (پیاپی 222، پاییز 1402)

Anis al-Talebin and Oddah al-Salekin is a precious book written in Persian, but has not been corrected so far. Its value lies in the fact that its writer was a direct student of Khajeh Baha’ al-Din, the establisher of Naqshbandiyeh dynasty. This study examined this book in detail and the concise book of Khajeh Mohammad Parsa. It compared the linguistic and literary features of the two books. This study examined the differenced under four titles: 1. Deletion; 2. Addition; 3. Transposition; 4. Changes and differences in recording words. It showed that the significance of the concise text and examining on is plural: 1) The text is the first one that deals with the life of Khajeh Baha al-Din, the founder of the Naqshbandiyeh, and the author himself closely and directly saw the life of Khajeh Baha al-Din; 2) This work is important in terms of linguistic, literary, historical and social values; 3) The concise version is an independent of the detailed version, so it deserves to be examined as an independent work and be corrected.

Sa’d al-Din Varavini's version of Tabari’s Marzbannameh by Espahbod Marzban bn Rostam is one of the major texts in Persian prose heritage. Three revisions of the work have been published over the last century, but there is not a very authentic correctd versoin. Being accessable the old precious manuscript dated back to Thursday, 10 Ramaza, 698 (AH), no. 216 in Istanbul Archeology Museum, it becomes clear that three other corrected manuscripts bear many mistakes, omitted parts, added materials, vague contents, mis-reasings, and changes. This issue makes it necessary to correct the manuscript again. This manuscript is so far the oldest known version of Marzbannameh in the world. So, this the first time that this valuable version is introduced in detail. This study introduces the most ancient manuscript of Marzbannameh and tried to examine and discuss its unique features under headings the scribe and the scribing date, the writing stle of letters, the illustrations of the manuscript. Examining his manuscript shows the vast changes, omitions, additions, vague points, and mis-understandings of other three manuscripts of Marzbannameh. Some examples are provided at the end of the paper.

Animal is viewed in traditional literature as a tool and symbol that shows the human attitude. In the new perspective, however, especially in Deleuze's view, the animal is no longer a tool in hands of humans but humans must submit themselves to the animal and get close to animality. Considering the new concept, this study used the ideas of such thinkers as Deleuze and other related postmodernist thinkers to examine the characters and features of Suvashoun novel from the perspective of animality. The main themes that this study discussed are animality, childhood, madness, humanity. Regarding animality, we see Suvashoun a dialectic, where antithesis appears in Yusuf's humanity. Madness and prison are means used for liberating man from his subjectivity in prison. That is why Zari takes her vow to the madhouse and distributes it among the prisoners. Desire and body, childhood and femininity, Kelo’s personality and MakMahon's poetry, and Dr. Abdollah Khan's mysticism leaves no room for human humanity of Yusuf. He should be the contemporary Siavash, whose head is innocently cut off in the bowl of his mythical innocence. Such a Suvashoun not only ensures the liberty of his soul but accomplishes the animality of Zari.

This study explored “audacity to God” in prominent mystic works up to the 7th century AD, based on the content on the mystic issues of serving and love. Exploring the concept of audacity and its appearance in mystical texts, this study tried to use the related evidence in authentic mystical texts to analyze the existing contradiction of audacity to God, and to present a correct and comprehensive interpretation of the issue about viewpoint of prominent great mystics. The results on mystical sources showed that there are two types of evidence pertaining to audacity. Some evidence emphasize the condemnation of audacity to God. The second group of evidence appraise audacity to God, though this category of evidence does not follow a unique discourse. Exploring audacity in the mystical works showed that some evidences imply the appropriateness of audacity to God and some evidences emphasize its inappropriateness. Overall, audacity to God in mystical thoughts appears in two spheres: In servitude, which is inappropriate and condemned, and in love, which is considered appropriate. Many mystics mention good audacity in the spheres of love and union (وصال), but a few mystics such as Rozbehan Baghli, Attar Neyshaburi, Ibn Arabi, and Maulvi took a deeper attitude towards describing good audacity to God in love and servitude spheres. This type of audacity is the result of mystic madness and intoxication.

The present research is a comparative study of Jacques Lacan's concepts of Desire, Love, and Lost Object in the selected poems of Nosrat Rahmani and Henry Charles Bukowski. It aims to locate and debate the psychological causes of this desire and endless search for 'objet a' in the narrators' psyches. Analyzing "The Story" by Rahmani and "Another Bed" by Bukowski, the researchers found that Love has always been accompanied by loss and separation in their poems. The narrators endeavor to discover their lost paradise in multiple lovers, unaware they are involved in a phallic Jouissance with repetitive compulsion. This study concludes that to discover the ideal object and be united with the ultimate mother, the narrators are involved with an imaginary love that never binds them to the perfect love of the Real Order. Like all signifiers, the object of their love constantly slips from its signified. The narrators have a narcissistic relationship with the object of their desires. They fall in love with themselves or with someone else who is supportive and reminds them of maternal love. In this continuous cycle of Desire, women are small objects that the narrators love for a while to satisfy their initial lack. When their desire is not satisfied, they leave them and look for another object of desire.

The lexical difficulties in the Shahnameh extend beyond obsolete words. There are also words that, despite their apparent clarity, have unidentified semantic changes leading to misunderstandings among the editors and commentators, as well as Persian lexicographers. In this article, the authors focus on one of these words in the story of Rostam and Sohrab. They begin by reviewing different readings and interpretations of a verse containing the word in question in the most distinguished editions and commentaries of the text. By examining the various meanings of the verb gaštan (with prepositions ba, bā and sō̆y-i), and the word āward in the Shahnameh, as a key to understanding the verse, they recognize a neglected meaning of the word āγāz, that is “intention, purpose,” and support their argument by identifying two other instances in the same text. The authors argue that this āγāz is nothing more than a semantic transformation of the well-known āγāz, and is unrelated to the word āwāz, which seemingly was a rare variety of āγāz, and also appears several times in the Shahnameh in the compound preposition bar āwāz-i, meaning “in pursuit of, after”. The semantic change of āγāz took place through the following way: “to begin (to do)” → “to embark upon (to do)” → “to intend to”. This unknown meaning of āγāz has not been recorded in any of the modern Persian dictionaries.