saeid shafieioun

Thematic analysis, as a significant and compelling approach in comparative literature, focuses on the examination and development of patterns or themes across multiple narrative-literary texts. One such enduring theme across various cultures is the concept of sin, rooted in the cultural beliefs and convictions of different societies. As a cognitive and emotional experience tied to social or religious crises, sin is an ancient theme whose presence can be traced throughout human civilization. This study investigates and analyzes the sins of three Iranian kings—Jamshid, Fereydoun, and Kavus—from a thematic perspective, aiming to provide a justification for the loss of their immortality. By exploring the concept of sin in Zoroastrian and Pahlavi texts, the article examines its relationship with social norms and contrasts it with sacred and divine concepts, revealing hidden and unconscious layers within these texts. The findings suggest that Pahlavi texts represent the most prominent manifestation of the theme of sin, which has evolved or been reinterpreted according to societal conditions and needs over time. In this study, sin is defined in contrast to both societal norms and sacred concepts, and the sins of the mythical princes are analyzed through these dual lenses. The results indicate that accepted societal traditions and sacred, divine laws in Iranian culture are closely intertwined, often falling within the same conceptual framework.

In addition to his role as a teacher, performer, and composer in the field of music, Arshad Tahmasbi has also established himself as a distinguished and familiar name in the realm of scholarly writings on Iranian music. Recently, he has authored a book about his own life—one that, given his delicate and sensitive artistic spirit, his research-oriented approach, and his ethical perspective, as well as his bold and candid expression, stands as the most significant source of insight into the innermost currents and key figures of Iranian music over the past half-century. Furthermore, this compelling book, in terms of its creative literary structure, serves as an example of the hybrid genre of autobiographical writing. This work, structured as an imagined interview, blends elements of a diary, autobiography, confession, travelogue, and critical essay. Since the author of this article claims that this book marks a new development in literary genre classification, the introduction first explores the generic nature of the work—clarifying its boundaries with adjacent genres—before proceeding to an analysis of its genre-related aspects and its artistic and thematic merits. Centering on the author’s interactions with influential Iranian musicians such as Lotfi and Alizadeh, as well as other figures in this domain, the book, enriched by the author’s meticulous and insightful commentary from various perspectives—particularly ethnic and professional—proves to be both profoundly engaging and highly enlightening.

As is generally known, Saraapaa is a Persian literary genre in which the poet or the author strives mainly and primarily to describe the beauties of the beloved from head to toe, generally according to the literary traditions and in a creative and imaginary manner. The main subject of Saraapaa is only the description of the beloved in all her existential dimensions; it is the sole purpose of its creator to write such a description; and it is written completely in a literary language, in the framework of traditional rhetoric, adorned with imagery and poetic exaggerations. These three are necessary and intertwined characteristics of original Saraapaas. This classification is emphasized upon in order to differentiate between Saraapaa and those collections of poems and scattered writings which contain such a subject, but their authors have not had prior intentions and have not envisioned independent forms for them.One of the most significant subgenres of Persian Saraapaa is compiled Saraapaanameh, commonly known as Merat-ol-Jamal (literary, mirror to beauty), which is itself divided into several types. Compiled Saraapaanamehs are extracted from among verse or prose works which are not originally Saraapaa but contain subjects of Saraapaa; therefore, as the name implies, they are not written but collected and the collector is usually someone other than the poet or the author. However, Merat-ol-Jamal by Saeb Tabrizi is one of the most famous examples of compiled Saraapaas, the author and the collector of which is Tabrizi himself, a remarkable poet who has a distinguished place in Persian literature for creating novel subject matters and anthologies.

Some literary works are mixture of different genres to the extent that it is not possible to identify which genre they belong to. Manāzir al-Anvār is one of such works written in the early thirteenth century by Abdulrazāq ibn Mohammad, known as Yamini Shāhābādi. Though this work is not a famous one, it is a prominent sample to study mixed genres and to understand their evolution in the theoretical discussions of genre analysis in Persian literature. This work continues the tradition of literary terminologies on the description of the beloved and can be considered as a critical commentary on Anis al-'oshāq. Regarding the compilation, chapters, and technical language of the prefaces in each section as well as the content of appendix section, it is similar to Koliāt-Joziāt and Lezat al-Nesā' by Zia Nakhshabi. In a similar vein, Sarāpā or, more appropriately, Mirāt al-Jamāl is very close to this work. On the other hand, in addition to explicating and interpreting some Indian words and terms and aesthetic trends of the Subcontinent, the writer has used some biographical notes on poets and also some evidence from their poems in describing the states of the beloved in the appendix section in order to enrich his work. After providing a codicological introduction of this work, this paper aims to offer a genre analysis of it and examine its writing and stylistic tradition. Of course, the only manuscript to which we have access is a selection of Radhakshen by Firooze Hesari which is held in the library of Punjab Lahore University as ms.5786

This idea that the poetry and poetic style of preceding poets was disregarded in the Safavid period and only the poets of Regression School started this movement in order to promote the Iranian literature seems to be void of truth and precision when we explore literary tazkirehs and manuscripts of this era, particularly the divans of the tenth and eleventh centuries’ poets and also some treatises in literary criticism by Iranians and Indians. Omidi’s divan is the most important document refuting this idea to the extent that most of his poems have been mixed with sixth-to-eighth-centuries poets like Sanaei and Salman Savoji in many manuscripts and even in the memory of literary men. While keeping the classic style of ode-composing, he has created some novel nuances in this genre to the extent that he backgrounded old patterns and made future poets follow his style in ode-composing. Unfortunately, his poems were scattered and uncompiled some years after his death and only one of the Shah Safi’s jesters attempted to prepare a manuscript of his divan following the order of Shah. However, most of his poems have been recorded here and there within literary anthologies and sometimes under the name of another poet or vice versa causing many difficulties for understanding and reaching his poems. This research which has been done by exploring various original literary and historical texts as well as seeking his poems from within almost forty manuscripts of anthologies aims to elucidate different aspects of Omidi Tehrani’s life as much as possible and a generic analysis of his poetry is provided. Consequently, his stylistic and rhetorical features are revealed to some extent and finally his position in the history of literature is identified.

Despite the differences that recently have arisen in determining the meters of the folk poetry, it can be said with confidence that the meters of the folk poems follow the rules of syllabic accentual meters. Work songs (work poetry) is a branch of folk poetry which is read in harmony with the rhythm of the work and it has work-related content. Workers recited these poems in groups or individually to refresh themselves, making work easy and faster. In this article, at first, we have defined the work songs and its types and characteristics, and then analyzed the meters of these poems from two perspectives: the quantitative meters, and the syllabic accentual meters. We have found that the work songs follow the syllabic accentual meters and there is a significant relationship between the meters of work songs in a specific branch. The work songs also match the rhythm of the work. Also, by changing the work rhythm, it takes on different rhythms as well.

The ode (Qesīda), one of the oldest forms of Persian poetry. To rhetoricians, odes have four sections: tasbib, main body, pseudonym ( takhalos)and sharita. This study seeks to examine the evolution of tasbib in both Khorasanian and Iraqi styles. To accomplish that, the researchers have examined this issue from various perspectives. The prose and poetic works of Khorasani and Iraqi styles have been studied to answer the following questions: what changes did tasbib undergo during the designated period of time? What was the basis for such changes and what factors led to such evolution? What was the poet's viewpoint about the introduction of the odes? Was tasbib viewed differently by writers and poets?

Cultural Semiotics, concerned with revealing the processes of meaning formation and identifying inherent values and norms in texts, was established by Yuri Lotman (1922-1993). This approach to text analysis, by focusing on the interrelation of different semiospheres, provides a new possibility to analyze cultural events to identify the means of text production in a specific semiosphere. Mythological-theological texts appear to be significant cultural sources for such an analysis and therefore Avesta, as a mythological-theological text, was selected for the current study. This paper has focused on Jamshid and attempted to study the delegitimization process of Mithraism and legitimization process of Zoroastrianism. Jamshid was studied in the binary of Self and Other and he was viewed as a god in Mithraism who, by the depreciation of vedic ideas and the influence of Zoroastrian semiosphere, had obtained a sinful character. Sinfulness of Jamshid was explored here by analyzing his introduction to the new semiosphere, the rejection of Other and the emphasis of Self culture (Zoroastrianism).

In this research, we have boldly attempted to examine in a holistic and purely literary way the metaphorical claim as one of the permissible variants, thereby relying on one of the theoretical foundations of the formalist theory which we consider to be the most reliable and useful method. Literature is the word, we used it a lot. The main purpose of our research is to identify and identify the true types of metaphors so that the target audience of Persian literary texts will be able to come out with the least rhetorical analysis of metaphors as safely as possible. Simply put, in this article, after addressing conceptual and structural concerns about metaphor and its variations in textbooks, we first begin without going into philosophical discussions and deep intellectual and imaginative texts, on the part where language is out of its true form. We have concentrated and virtualized, then analyzed the material from a metaphorical and non-metaphorical point of view, or a visual and perceptual imagination, and also expressed their advantages and disadvantages, and made suggestions in this regard. We have released.</span>

Due to the synthetic quality of Persian, the function of suffixes in this language is a significant and purposeful one. Some of these endings, created at certain times according to certain rules and necessitated by certain needs, gradually become outmoded and eventually they have been either forgotten or used to a limited extent.Based on a number of literary and historical texts, the present article attempts to investigate about one of the meanings of the suffix “alef” - when added to proper nouns - and the manner and period of its use. Our effort in the study of this seemingly insignificant issue is that, by delving in numerous and various sources while examining the application of this “alef”, its mechanism and secondary meanings, especially, in comparison with some similar suffixes, we would provide researchers and text-investigators with some criteria for refining texts and obtaining an exact understanding of historical names.

The semiotics of double contradictions is the study of the network of present or absent symbolic elements in the text, directly and indirectly in opposition to each other, understood through the confrontation. In the structuralist method, influenced by the Roman-Jacobson pattern and more seriously found in Claudio-Strauss, any semiotic analysis leads to understanding and discovering the system dominating the story, roles, and value of the signs in it, through the relation of elements and based on specific codes.
The love story of "Ka’b’s Daughter" in Attar's Divine Masnavi contains implicit meanings and valuable concepts in the context of confrontation with the core of “secrecy” and “secret disclosure”, conveying the view and perception of the speaker to us. It also suggests a better induction of the concept of personality transformation in mysticism through secrets denial, showing the indescribability of mystical experiences.
The study of structuralism in this narrative is a concept by which a single entity may appear in numerous ways. With this approach, regardless of the gestures that make such changes, one focuses on the implicit implications of a single idea. This article, in a descriptive-analytical and a constructivist approach, examines the semiotics of "double contradictions" with a focus on "denial" and "secret disclosure" in the poem "Ka’b’s Daughter". The subject includes the attempt to explore the implicit reciprocal relationship in the text, the proof of the aesthetics of Attar's mysticism and the pleasure of understanding it for the reader. The story of "Ka’b’s Daughter" is a fluid combination of romantic and mystical themes to fit in the second implication with the meanings of the mystical intention of Attar. In this parable, Attar relied on an unconventional expression of love in the virtual and apparent form, along with believing in denying the secrets of love.
The narrative of Ka’b’s Daughter is a complex plot, dealing with transformation, recognition, and painful facts with a linear narration and a specific beginning that after going through obstructions in the middle, ends in disaster.
The main hero is Ka'b's daughter (Zain al-Arab), whose opponent characters are named Harith (her brother) and Baktash (Harith’s servant). Although Ka'b's daughter has the subject of love in common with Baktash, the blame and humiliation of Baktash when revealing love and her attempt to conceal love is a step toward maintaining a "paradox of similarity and difference". This contrast from the viewpoint of secrecy semiotics in mysticism points to the principle of wonder, because pilgrimage and astonishment are two correlated truths.
Harith initially cherishes his sister, but confronts her with the disclosure of the mystery of her love. Harith is the stranger who becomes the greatest obstacle to this love mid-story, with traits of violence and frustration. She is confident in love, in contrast to a brother unfamiliar to the secrets of love. Baktash is a hero whose relationship (master and servant) with Harith is the first sign of the opposition between them. By reluctantly avoiding the beloved and leaving the mortal world behind, he enters the inexistence stage where love has secretly shown him. He is a confidant whose secrecy has evolved into secret-knowing and brought him closer to perfection. In this narrative, the inevitability of speaking alongside belief in silence and analyzing the subject in the context of human beings’ deeds leads to the superiority of the aspect of disclosure.
The study of mutual animal symbols proves natural manifestations and confronting concepts, equality of confidentiality and disclosure. In confrontation of the "fox and the lion", Ka'b's daughter is the lion in the meadow of truth: a confidant lover knowing the truth of salvation and difficulties, but Baktash, in her opinion, is a fox captive to the ego, ignorantly thrusted to the meadow of love. In the contrast to “twilight (wolf and lamb)”, the wolf hiding the lamb, and black and white hiding each other, allude to the heart hiding secrets and not revealing them to the stranger.
In aesthetics confrontations, such as the contrast between “the king and the pawn”, secret denial and courage of Ka'b’s daughter, which is the product of love, empowers her as a king on the chessboard of life, against whom the moon and the sun are but powerless pawns. In the confrontation of "distraught hair and property of population", the position of division is that of the mystic and one who does not come to obey. The heart of such a mystic is not allowed to the truth and the position of selves is from his truth and mercy, the highest position of which is the selves of selves. This is the state of a confident person to the secrets of divine, the mortal mystic in the position of inexistence. In confrontation of sun and moon, sun is the greatest star of heaven and earth, illuminating the earth every morning, dropping on the night. It possesses a distinctive feature of revealing, but moon’s light is borne by the sun. The moon shines its weaker light at night, so it has features of concealment and secrecy. In the contrast between "present and absent", presence is the consciousness on all creatures and ignorance of mysteries, and absence is the heart’s absence from all creatures and knowledge of secrets. In contrast between "candle and night", night in mysticism brings moments of pure love, and is the hoard of heavenly secrets of mystics. Candle in romantic literature shows the disclosure of secrets of love. In the confrontation between “pearl and shell”, shell is a sign of secrecy and hiding secrets in the heart of the mystic, and pearl is the mystery that is desirable if it is discovered by the diver (mystery confidants), keeping its value. In "flower and bud", complexity, roundness, privacy and latency are characteristics of the bud, as signs of secrecy and denial of mysteries, and flower is the symbol of opening and revealing of inner secrets.
Semantic contradictions include “injury and ointment”, where injury is the sign of disclosure of love and ointment is a sign of concealment. In "friends and strangers" contrast, friend is a mystic knowing the mysteries and stranger is distant to the secrets of love. In the contrast between "wisdom and insanity", wisdom is the power underlying knowledge and insists on the concealment of mysteries, and insanity is the language of sane of the insane throughout history for expressing some secrets. In opposition of “speech and silence” keeping the silence seems to be an opening to preserving the values and conditions of salvation and denial of mysteries in mysticism, but in truth, to say that there is secrecy that must be preserved, is an inevitable base to this principle. The semiotic analysis of the Ka'ab Daughter's narrative from Attar's Elahinameh and the semiotic understanding of its meanings depend on the inclusion of its various linguistic and linguistic layers. In this story, the contrast between terrestrial and heavenly love provides a context for wide use of various confrontations with the focus of secrecy and disclosure of secrets, such as personality, semantic, and aesthetic conflicts, while understanding the theme in the context of earthly love is easier. Attar's narrative is in creating a story whose purpose is the escape and development of the characters of the story, mystical secrecy along expressing the theory of humanity and the indivisibility of human beings from the impact of cultural and social environment.

The Latayef-nameh of Fakhri-e Heravi is one of the oldest and most noted translations of one of the ancient poets’memorials on Persian poetry, namely the Majales al-Nafayes. Of this translation two editions were made about eighty years ago, which, due to the kind of editing methodology and depending on one single manuscript as well as the editors’ insufficient efforts in the research process, neither of the two editions is void of any mistakes and lapses.
In this article, first a passing glance is taken at the important aspects of the Majales al-Nafayes and its extant translations. Then, by comparing its two translations, the Latayef-nameh and the Hasht Behesht, with their Chaghatai original and with the Arafat al-Asheqin, text and contents of the original and its translations are examined and a good number of their errors and defects are corrected. In this study, several newly- found old manuscripts of the two translations and both the printed and manuscript texts of the Turkish original are drawn on.

Not all values of literary texts should be sought for in their artistic aspects. There have been many lower-ranked literary texts that have shed light on numerous scientific, historical, social, and cultural issues. Although poetic views are involved while raising such issues, it needs to be taken into account that not all poets have perceived the scientific principles of the topics tackled in their poems. However, at times their verses can be considered as the only and most authentic sources of such kind of perception. The credible evidence supporting such a claim is the expression of medical benefits of Barsh and diamond appeared in literary and non-medical texts. Both medical and medicinal (pharmaceutical) sources have been either unclear or even faulty in regard to appreciating these benefits whereas poets have conveyed all these in their poetries. In order to completely understand them, one must deconstruct the multi-layered works of art to discover their hidden meanings. Hence, in the present paper, the writer has attempted to study prose works of literature, history, and original scientific sources to bring to light (uncover) their approaches toBarsh and diamond and their benefits in traditional medicine.

arzi-e Afshar can be considered as the greatest anti-conventionalist poet in Persian language, whose poetry, in addition to linguistic conspicuousness, is to an acceptable degree endowed with other emotional and artistic qualities. However, in general, even the very characteristic that distinguishes his poetry and has been achieved in a variety of ways, has not up to now been carefully and scientifically identified and classified. Also, in the opinion of the experts, the poet’s remarkable efforts merely boil down to the construction of a number of coined or unauthentic infinitives (ãÕÇÏÑ ÌÚáی).
Of Tarzi’s Divan two editions have hitherto been published, the first dating back to a hundred years ago, and the second, which has recently been put out, is nearly nothing but an incorrect repetition of the first edition and a hotchpotch of nonsense.
In this article, attempts have been made to examine the newly printed Tarzi’s Divan in a scientific and impartial fashion.

Today, the significance of literary Tazkerehs, especially those which are original and old and have extraliterary advantages, is obvious and irrefutable. Nafayes al- Ma’aser is the oldest Persian literary Tazkereh written about the era of Timurids of India. Thus, it includes very authentic information about the poets of such era in Iran and India as well as history of India in Akbar Shah period. Also, there is valuable poetic evidence in this book adding to other values of such work. Kami Qazvini, the author of this book, was from the outstanding and knowledgeable family of Sadat Hassani of Qazvin who immigrated to India due to religious pressures and became one of the men of letters in Akbar Shah’s court. His work was neglected by his contemporaries, strangely to the extent that it was unknown to many Tazkereh writers after him. Of course, there were a few people who used this work covertly or overtly but did not value him and his work as much as they deserved. This article aims to introduce this work and its prominent features as well as to analyze its sources and information and the writers who were influenced by him.

Karnameh, Shahrashub, jargon poems and Shahrangiz are the names which are mentioned interchangeably or beside each other in the sources due to some similarities and having the same roots. However, these works have so many delicate and variegated differences that can be considered as four separate genres. Of course, Karnameh can be less expected as a genre regarding the few and sometimes incomplete examples of it so that, practically, Karnameh is transformed into Shahrashub at last. The same is true about jargon poems in which the professions are described poetically and the craftsman is portrayed as the beloved but, later, they were entered into Shahrangiz genre and sometimes became extended and coherent works instead of scattered poems. Identifying the delicate features of these genres requires a lot of precision and, indeed, the inaccuracies have caused even the experts and scholars to confuse these genres until now. However, it should be mentioned that, even at the time of their currency, poets and literary figures considered these genres as not following any norm and convention; especially they were involved in some mistakes and individual innovations which produced several word plays and coinages such as Alamashub, Jahanashub, Dahrashub, Alamkub and the like. Using some taxonomic criteria and original sources, this research aims to identify and represent these equal and approximate genres for the first time.

Due to the deep and sharp view of its author, Majma al-Nafayes claims a special rank among the biographies of Persian poets. Though there are some inefficiencies, such as deliberate neglect of providing historical data particularly on the Iranian poets, it is often considered a book beyond a biography and as important as a collection of literary views expressed by the early scholars, hence a reliable first hand source in studying the developmental processes of literary sciences, particularly, literary criticism and stylistics. While the book is incredibly valuable, has, unfortunately, not been scholarly publicized so far, and what provided in its messed up publication by the men of letters in Pakistan, on which we will have a look, is merely a book of mistakes made up of this outstanding work.

Parody is one of the literary sub-genres which mocks its main genre. On the basis of value and significance of the main genre and also the structure and nature of parody, it can be considered as an independent genre. Since meaning in literature is one of the main elements and it has a central role in both language and imagination, it is of considerable importance in literary works. Therefore, one of the most important kinds of parody which is called tazriq in Persian literature has been formed in this field. In fact, one of the goals of parody is to entertain the audience and make them laugh, and tazriq satisfies this goal very well. Though there are a few differences, this kind of parody can be found in western literature where it is called nonsense verse. This article tries to compare the main aspects of these two kinds of parody.

Sometimes, while investigating familiar and common genres of Persian literature, some unfamiliar genres appear. These genres were used mostly in some earlier periods. One of these genres is Sarâpâ. By investigating historical and geographical backgrounds of this genre the reasons for its popularity, especially in the period of the Indian style, are revealed. This article tries to introduce Sarâpâs and analyse their literary structure and rhetorical aspects. However, wherever it is possible, some of their themes and socio-cultural backgrounds like the aesthetics of the Beloved are also discussed.

Safavid period is one of the most important historical periods of old Iran with regard to foreign relations. Among these, cultural and political relations with India are outstanding due to historical and mostly peaceful backgrounds, especially in the field of Persian language and literature. The influence of Persian literature on India was so much that this country became not only a rich and fruitful place for Iranian poets and literary figures, it also became the origin of another type of Persian literature. Although Iranian poets and literary figures, due to access to innate resources of this language and culture, were considered as the model, the attempts of cultural figures of the Subcontinent had local color and were different from Iranian linguistic and cultural criteria and norms. Because of this, there were a lot of critical controversies over the correctness and eloquence of literary works of Persian speakers of India. Iranians accussed them of doing unfounded innovations and linguistic experiences and these people, instead, claimed that they had the right to do so on the basis of certain reasons.