نامه فرهنگستان
سال بیست و دوم شماره 2 (تابستان 1402)

Human beings live in a community and interact with one another by means of a common language. To consider any language to be pure is a futile exercise. Undoubtedly, very few, if any, languages exist in the most authentic form free from lexical borrowings or loan words. Languages evolve in time, and a number of language advocates have attempted to erase any foreign lexicon from the source language. In the context of authentic Farsi, these attempts can be traced in two separate lines of evolution. Firstly, enthusiastic attempts of literary figures such as poets and authors; and, secondly, social responses of language advocates, through their familiarity with poetry, writings of poets and authors and also the nomenclature of other language enthusiasts.The enthusiastic attempts of poets and authors towards the use of authentic Farsi can be attributed to two significant factors: 1. attempts that are potentially essential and mandatory; 2. attempts that have resulted from the mastery of language. In the former, the requirement of Quranic translators in discovering an exact equivalent for the Quranic text is noted. In the latter, the application of authentic Farsi in texts, such as the Shāhnāmeh, in a way to maintain appropriateness of language with content is observed. While relating to enthusiastic attempts, the use of literary language can also be considered. In other words, poets and authors have attempted at depersonalization in their literary productions. However, social responses during the periods of Persian Constitutional Revolution and Pahlavi I were colored with extreme nationalistic spirit. In this article, both the enthusiastic attempts and social responses have been traced and studied.

Rašid al-Din Abolfazl MeybodiKašf al-Asrār wa Oddat al-Abrār Khāje Abdollāh Ansāri. is icKhāje AbdollāhAnsari ic saiisaii-iz-i verb identifier in the old Heratic

Heretofore studies on the features of the Persian alphabet have only been in the realm of linguistics, especially its branches, phonetics and phonology, therefore we are facing with lack of a classification of the alphabet based on script studies and writing structure. Around one thousand years ago, Ikhvān al-Safā in their Treatise on Music shortly put forward some points about the structure of the Arabic alphabet, but their classification is very simple and general, so it has not provided details and accuracy. Character(s), in Persian language: neviseh(-hā), including letters, numbers, and other writing signs, themselves, are formed by component(s) that we can call them nevisak(-hā). Major components (nevisak-hā-ye asli) are common in the structure of several characters, and therefore provide an exact base for the classification of the alphabet. The major components are: vertical component, horizontal component, circular component (dāyereh), jagged component (dandāneh), counter component (cheshmeh), leg component (pāyeh), dot component (noqteh). Also, the classification is possible in terms of linkability; in some letters, due to the existence of pāyeh, the left side connection is impossible. This phenomenon divides the alphabet into two categories: one side connection or taksūpeyvand (minority) and two side connection or dosūpeyvand (majority). On the other hand, in the form of lower case, many letters in the Persian alphabet depend on “korsi-ye dandāneh” completely or partly that in turn divides the forms of lower case into two categories: taksūpeyvand (in the beginning of a multi-letter connection) and dosūpeyvand (in the middle of a multi-letter connection).

From the series of “Routledge Frequency Dictionaries”, up to the present time, 15 titles have been published in a total number of 14 languages. The series, published by Routledge Publications (Taylor & Francis Group, London & New York), has gained worldwide fame, especially among those who do research in the certain field(s) of ‘word frequencies’ and/or ‘corpus linguistics’. Each of the monographs in the series has been compiled in the form of a frequency dictionary and commonly based on independent linguistic corpus/ corpora. Most dictionaries have 5,000 main entries/ lemmata each, and the bulk of the text of each book is the list of these words – in order of frequency, from the most frequent to the least frequent words. The basis of word arrangement is not basically the raw or absolute frequency, but the index of dispersion of each word was also considered. Immediately after the frequency list, there is an alphabetical list of words – in alphabetical order of the main language of each dictionary. Thematic vocabulary lists (in independent boxes and amongst the pages of the main part of the book, i.e. the Frequency index), and then “Alphabetical index” and “Part of speech index” come respectively at the end of the book. Here is a review of A Frequency Dictionary of Persian (2017, 2nd impression: 2018), one of the monographs of the series.In this article we have shown that this dictionary, despite its relatively positive points, has many serious methodological problems and, in this respect, it does not meet the expectations of researchers and experts of the field.

The works remained of Najm al-Din Rāvandi in the history of Seljuk Dynasty, apart from the different and sometimes contradictory views expressed about them, which would be discussed in the present essay, are worth paying attention beside other resources such as biographies and rhetorical works as a long-standing text in history.Also, the points that are occasionally presented in these works, like those expressed in Rāhat al-Sudūr wa Āyat al-Surūr, highlight some parts of Iran’s literary past, that, especially, it would really help in better seeing and studying the less studied and reviewed parts. Besides, expressing these points in Rāhat al-Sudūr is considered as a respectable favor.Due to the above points expressed in Rāhat al-Sudūr, we can achieve valuable knowledge in the following fields: literary criticism, history of literature, the quality of literary taste in Rāvandi’s era and to gain the capability of correcting poems belonging to other poets that were quoted in Rāhat al-Sudūr.The analysis of Seyyed Ashraf Qaznavi’s opinion on the necessity of avoiding novice poets from studying the poems of Rūdaki, Onsori, Mo’ezzi, and Sanā’i, how Rāvandi face with the mutual relation between the kings and poets, misreadings about poets like Shams al-Din Shastkaleh and the importance of the mentioned points expressed in Rāhat al-Sudūr about little-known poets, rereading Rāvandi's viewpoints in literary criticism – especially siding Mojir al-Din Bilaqāni against Athir al-Din Akhsikati etc., are the subjects considered in relation with mentioned parts.

Ibn al-Jawzi, a Hanbali historian and orator who died about ten years before Rumi's birth, is one of the most prolific writers of Arabic literature. His most famous mystical work, Sifat ol-Safwa, which is a biography of mystics, is considered to be a selection of Helyat al-Awliyā’ by Abu Na’im Isfahani. In this book, Ibn al-Jawzi has collected the biographies of Sufis whose deeds and words had been found in accordance with the Prophet and Companions tradition, and has narrated anecdotes that express this character and method. Although Rumi and Ibn al-Jawzi are different and sometimes contradictory in religion, thought and way of life, there are several anecdotes in Rumi's Masnawi that are quite similar to Ibn al-Jawzi's narration in Sifat ol-Safwa. This resemblance is sometimes so great that even the words of Rumi are the same as those of Ibn al-Jawzi and sometimes a word-for-word translation of Arabic words and phrases of Sifat ol-Safwa narration.In present article, the author intends to present and analyze some very similar anecdotes of Masnawi and Sifat ol-Safwa in the hope that a further step would be taken towards a comprehensive bibliography of Masnawi’s anecdotes and another aspect of Rumi's life would be clarified. Also, the findings of this article can be the subject of research by other professors and researchers of literature and literary criticism in such fields as comparative literature, intertextuality, narrative science, etc.

The ninth century is the culmination of Shiite poetry in the form of religious composition, ode, and epic. In between, there is a form of ode which the poets of that time call "Velāyat-nāmeh." More than 60 cases of this form of ode have been seen so far in the divans of poets such as Salimi Tuni, Ibn Hosam Khusfi, Azari Esfarayeni, etc. This form has been unprecedented in the history of Persian ode for two reasons: the first is that it belongs to a specific religious and ideological group; and the second is that it has a specific name and a specific content.This article seeks to introduce “Velāyat-nāmeh” as a special Shiite literary genre in the ninth century and to discuss the role of this literary genre in shaping the Shiite discourse of poets in that century. In this study, the linguistic tools used by poets such as titling, exaggeration, imagining ideas as well as quoting verses and hadiths, Imamate, infallibility, knowledge and the key concept of “velāyat” in Shiism, the oratorical nature of “Velāyat-nāmeh”s, etc., with a historical and analytical discourse. It is intended to examine the efforts of poets to spread the Shiite discourse and promote the Shiite belief system in the ninth century. Also, in this article, a structure of this literary genre is mentioned.

Commentary on Khaqani's poems has been common since the past and continues to this day, as many commentaries have been written on the divan of this Sharvani poet. One of the contemporary interpretations of the book Report on the Difficulties of Divan Khaghani, written by Mirjalaluddin Kazzazi, is not without some errors. In this article, the author has criticized the meaning and description of eleven verses from Khaghani's Diwan Khaqani's poems, which are mentioned in the book "Reporting the Difficulties of Diwan Khaqani" and then suggested their correct meaning from his point of view