نشریه جستارهای نوین ادبی
سال چهل و نهم شماره 4 (پیاپی 195، زمستان 1395)

IntroductionPoetry Collection is a long, narrative or non-narrative poetry revolving around a topic, which is mostly written in the form of Couplet. Many Persian poems have been created with the purpose of teaching and memorializing various sciences such as grammar, medicine, mathematics, etc. Such poems are called educational literature from which there are many examples in Persian literature in various subjects. As a matter of fact, teaching truth and science is the main purpose of these poems whose poets have used weight and rhyme and some other rules of poetry "(Shafii Kadkani, 1996: 8). In these poems, the scientific and educational aspects are taken priority over literary and poetic aspects. The main contribution of this paper is to discuss the effects of these poems on the history of Persian literature. Besides, the reasons for the trend toward teaching poems in different periods, as well as their components are discussed in this paper.
MethodologyThis study is based on the descriptive analysis method by using library research by referring to books such as the history of literature, bibliographies and other books, scientific poems have been found in Persian literature and have been studied by categorizing them in different aspects.
DiscussionThere are a few poems that are devoid of scientific topics because the poets have not been without the science and technology of the time. Nezami Aruzi (2001) says: "As poetry is used in any science, any science is also used in poetry" (p. 47). Although educational literature discusses various sciences, every poem cannot be regarded as educational literature. This kind of literature has its own specific features. The most important feature of educational poetry is the goal of the poet, because its purpose is to teach a particular knowledge or seek to obtain the truth. Another characteristic of educational poetry is the role of features of poetry in it. Scientific poetry uses some features of poetry, such as meter and rhyme, but features such as image have a very small and secondary place in it.If such features are used, they are utilized for a better understanding of the meaning. Educational literature in transferring emotions is also different from other poems because in the educational literature, the poet does not attempt to convey emotion One of the most important reasons for the prevalence of educational poetry is its musical aspect. Abu Nasr Farahi says: "The nature of man enjoys it instinctively" (Farahi, 1995: 4) and it reduces the stiffness and violence of scientific topics. On the other hand, meter and rhyme plays an important role in remembering issues. meter and rhyme creates a sort of order in vocabulary. From this perspective, remembering of poetry is easier than prose texts.
Another factor in the prevalence of these poems is the variety of educational methods. One of the methods used in teaching science such as grammar and rhetoric science from the seventh century was the creation of educational poetry.
Another important issue about these poems is the motivation to compose them. The reasons for the compilation of these poems are different and in many cases, friends and relatives and rulers of the country have asked the poet to make it and some of them, of course, due to the poet's own desire. Abu Nasr Farahi wrote his book under the command of Nazam al-Mulk Hassan, Minister of Bahramshah. It shows that only the poet's personal desire is not effective, but secondary factors have also been effective. Many of these impresses have been donated to the ruler, but their motivation has been personal. Maysri, although presenting his medical encyclopedia to a ruler named Nasser al-Dawlah. But the reason for its creation is the durability of its name and the acquisition of good prayers.(Misery, 1994: 266 - 269)
Educational poetry have been written in science such as theology, rhetoric and vocabulary. It seems the oldest educational poetry in Persian literature is the odd of Abu Al-Aytham(Ahmad Bin Hassan Jarjani) in the late fourth and early fifth centuries. He has only one poem and in that poem, he has asked questions about various Ismaili issues. Another poet who wrote educational poetry is Nasser Khosrow. He is the Promoter of the Ismaili religion and like a teacher who considers educational goals as their main goals.
Other sciences that have been taught in poetry before the seventh century is meter. The oldest impress in this field is a poem of Rashid Vatwat (dying at 573 AH). This impress is more ancient than the prose works in meter in persian language (al-Mujam and Meyar al-Ashar).
The importance of Arabic language and the need to learn it for Persian students led to the creation of many Arabic bilingual cultures in Persian language. Sometimes, some people translated some of the most important Arabic vocabulary into Persian for ease of learning. Obviously, these dictionaries have not translated all the vocabulary or a large number of words into Persian. The beginning of writing this type of diction is from the seventh century AH. The first person that wrote this type of dictionary in the form of poetry was Abu Nasr Farahi in the seventh century (Monzavi, 1959: 84). His famous book, Nasab al-Sibiyan, was initially two hundred verses. The style of Abu Nasr was imitated by many people. Including in these books: Tajanis al-alfas from Amir Khosraw, Selk al-jawaher from Angoori, Nasib al-Ekhvan from Motahhar, Muhammadiyeh from Bahaddin, Merqhab al-Arab from Ahmadi Kermyani, Tohfaeh Alayi from Ibn Bavvab, Katebieh from Katebi Anqoravi, Nesab from Hassani, Mosallasat from Badiei, Fathieh from Abol Fath e Hejazi, Nesab e Maroof from Maroof, Abvab Al-Oloom from Darvish e Jami, Fetiat Al-Fetyan from Sadr Aldin ibn Badr.
Rhetoric is also taught in the form of poetry. In Persian language, the oldest impress in this science is the Tarjoman al-Balaghe of Radviani. Some people also tried to teach this science in the form of poetry. In this area, the oldest book is Bahr Al-Sanaye from Hassan Motakallem in 731 AH. Another impress in this science is a book by Jaami that has been written on how to make riddle in 67 verses.
Some Persian scholars and poets have written poetry in the field of medicine. Medicine has had important dignity among Muslims. The importance of this science has led some people to teach it in poetry. In this field, The oldest book in Persian Language is medicine encyclopedia from Hakim Maysari. Some researchers, of course, know it from the fourth and some seventh century.The most important book of poetry in the medical sciences is Yousefi's medicine and its descriptions, Hame Al-Favayed, which was written in the 10th century AH.
ConclusionScientific and educational poetry is a part of didactic literature and its main features include: being scientific, having an educational goal, avoiding ambiguity, and emphasizing simplicity. A significant part of Persian literature, include scientific poem that have been written with educational aims. Scientific and educational poetry is a part of didactic literature and its main features include: being scientific, having an educational goal, avoiding ambiguity, and emphasizing simplicity. Though, uses of Poetic elements such as meter and rhyme. But elements such as image, have little and second position in it. The main trend of this poetry is from 7th century .And before that, has been written little casts in this context. The first cast that has been written in this field, is an ode from Abolheysam (4th century). And next, has been reached in some of Naser khosro’s poetry. The division of the past, the educational poems have been written both in rational and Traditional Sciences .Although the number of poems in Traditional sciences such as vocabulary, grammar and rhetorical sciences is much more than rational sciences such as medical.

IntroductionConcurrent with the emergence of modernist and constitutionalist ideas in Asian communities in the late 19th century, a new literary style was formed that criticized the literary methods of the past. In this period, Iranian intellectuals sought to define a national identity and revitalize mythological narratives. In order to crystallize these thoughts, many intellectuals focused their attention on Ferdowsi and mostly drew on his Shāhnāmeh for their adaptations and imitations rather than other literary works. Because of his nationalist tendencies, Mirzā Āqā Khan Kermānī, one of the original thinkers of the intellectual movement of the constitutional era, focused on Ferdowsi and his Shāhnāmeh and adapted and criticized it in different ways in his work. Thanks to his acquaintance with Dasātīr texts and Western modernist political ideas, his various adaptations of the styles of Persian classical poets such as Sa’di and Ferdowsi and the reflection of these influences on his works, he has become an influential figure during the intellectual movement of the constitutional era, a crucial period of political and literary modernism of the late Qajar Iran. With the aim of reviving the national culture, Kermānī had a fresh approach to the Shāhnāmeh and adapted it with a great deal of skill.
DiscussionThis study explored the relationship between Ferdowsi’s Shāhnāmeh and Mirzā Āqā Khan Kermānī’s works. Drawing on Gerard Genette’s theory of transtextuality which refers to the set of relationships between texts namely, intertextuality, paratextuality, metatextuality, architextuality and hypertextuality, the researchers demonstrated that Mirzā Āqā Khan Kermānī’s adaptations of Ferdowsi’s Shāhnāmeh have been primarily based on imitative intertextuality, hypertextuality and transformation. In his writings such as Sad Khatābeh (One Hundred Essays), Ayīney-e Sekandari (The Alexandrian Mirror), and Nāmey-e Bāstān (Book of The Ancient Times), in addition to adapting Ferdowsi’s Shāhnāmeh, Mirzā Āqā Khan Kermānī adapted such Dasātīr texts as Shārestan-e Chahār Chaman (Four Gardens City) and recreated the mythological and ancient history of Iran. In his appropriations, he has reviewed, transformed and recast Iran’s historical-mythological events, and in imitating Dasātīr texts, he has discussed the ahistorical and unreal “Ābādyīān” dynasty. In transforming the Dasātīr texts, while imitating the patterns of these texts and appropriating and reusing Dasātīr terminology, he has even introduced new discussions as well as political and social criticisms using those techniques that are known today as Genette’s transformation, hypertextuality, and pragmatic transvaluation.
This approach was also observed in some of Kermānī’s adaptations and imitations of the Shāhnāmeh. In his adaptations of the Shāhnāmeh, he altered the order of the mythological dynasties of the epic and sometimes merged some of them (e.g. Kayāniān) with historical dynasties such as the Achaemenids and refurbished them with novel characterizations i.e. he revalued the hypotext repeatedly (transvaluation) and by modifying the value position of the hypotext regarding motivations and behaviors, presents the text more than before.
In his Nāmey-e Bāstān, Kermānī reviewed the events, status of the kings, and changing of the positions of ministers, heroes, military commanders and princes. In this rendition, he has criticized Ferdowsi’s account of the positions of characters such as Esfandīār, Zarīr, Tūs, Faribŏrz and Ārash. In this transvaluative transformation, the hypertext undergoes devaluation and the creator of the hypertext ridicules the hypotext.
In another instance of transvaluative pragmatic transformation, Kermānī engaged in devaluation of the hypotext and under the influence of Dasātīr texts, he mentioned a fabricated dynasty referred to as the “Ābādyīān” and argued that the reason for the omission of this dynasty in the Shāhnāmeh is Ferdowsi’s error in determining a five-hundred-year history for Fereydūn’s rule.
In his Nāmey-e Bāstān, Kermānī revalued what he considered not valuated or correct in the hypotext. To this end, he adopted different strategies; for example, using another variant of transformation (transvaluative pragmatic transformation with the technique of substitution and transvaluation), substituting historical and mythological figures with each other (e.g. matching Bahman with Artaxerxes, Keykāvūs with Cambyses, and Keykhosrŏ with Cyrus among others) and using the transformative adaptation of the text.
Transformative and revisionary adaptation of the text occurs more often than not in Nāmey-e Bāstān and Ayīney-e Sekandari. In this type of adaptation, Kermānī has copied the Shāhnāmeh’s mythological characters and integrated many of the heroes and kings of the Kayāniān into the historical period of the Achaemenids.
Another type of literary imitative adaptation based on Genette’s theory is imitative transstylization, (sameness) in which the adapting author grafts the hypotext’s style and techniques and imitates the original text with no variations.
In his Nāmey-e Bāstān, Kermānī is adapting the meter of Ferdowsi’s Shāhnāmeh more than anything else. In The History of Iranians’ Awakening, Nāzem-ul Eslām Kermānī quoted some distiches written in Motaqāreb Mothamman Mahzūf meter which he attributed to Mirzā Āqā Khan Kermānī. Frequent use of the Shāhnāmeh’s meter in Mirzā Āqā Khan Kermānī’s works indicates his literary imitation of Ferdowsi’s Shāhnāmeh and imitative intertextuality (sameness). This type of imitation may also be referred to as implied intertextuality in which the author of the second text does not intend to hide his/her intertext and for this reason uses signs with which the intertext can be identified and even its source may be located. However, this is not done explicitly and due to literary reasons, only an implied identification is deemed sufficient. Furthermore, in the section “Iran’s depressing conditions” and addressing Naser al-Din Shah, Mirzā Āqā Khan Kermānī used the same type of imitation.
Kermānī employed closed imitation, –in which a literary source is taken as benchmark and the adapted text is very close to the original and due to this closeness, no new question or motivation is formed in the mind of the reader- which is considered a type of explicit intertextuality, in his Se Maktūb (Three Compositions. Some of the distiches in this book are adapted with no or minor alterations from the Shāhnāmeh, which appear to be errors on the part of the scribes or his own different or erroneous reading of the original text. For instance, lines spoken by Rustam Farrokhzād and Sa’d Abi Waqās have no difference with those distiches in the Shāhnāmeh quoting these two characters.
In addition, in his Ketāb-e Rezvān, Kermānī employed another type of imitation which is using the original text’s material. In this type of imitation, some of the primary and key materials of the original text are adapted and recast in a different manner. According to Genette’ theory, transtextuality is defined as all relationships between one text and other texts. Although Kermānī does not quote any lines from the Shāhnāmeh in his book Rezvān which would fit different adaptation forms, he gives advice to those in power by adapting such key themes as “ra’yati-parvari” (benevolence to the common people) and “kheradvarzi” (wisdom) which Ferdowsi has employed for characters such as Anūshirvān and Bozorgmehr. Another example of this type of adaptation is using the adjective “dīvband” (hunter of demons) for Tahmoreth in both the Shāhnāmeh and in Kermānī’s work.
Instances of selective adaptation can be found in both Nāmey-e Bāstān and Se Maktūb. In this type of adaptation, the original text’s content and concept are not altered. A good example of this type of adaptation is Rustam Farrokhzad’s letter to his brother. In this case, Kermānī quotes 19 distiches from the text of the Shāhnāmeh in his work and except for the first few lines which are fake ones and apparently Kermānī was unaware of it, the rest of the lines are quoted in this work without alteration. In other words, an explicit intertextual relationship can be clearly observed. Kermānī in Se Maktūb has used the quantitative transformation of text reduction and has excised 53 lines from the Shāhnāmeh in the adapted section of his book.
ConclusionThe Constitutional era is known as one of the most influential periods in Iranian modernism; a period which is characterized by the surfacing of new literary and critical styles, imitation and adaptation of classical literature in the field of identity discourses. In this period, due to their profound perception of national identity and mythological narratives, the intellectuals began to analyze, explore and recreate Iranian national and narrative history in an attempt to build a new identity. In this modern discourse, Ferdowsi and his Shāhnāmeh are considered as the most important sources of identity. Among these writers, Mirzā Āqā Khan Kermānī wrote about Ferdowsi and the Shāhnāmeh and/or adapted him and his epic more than others in the context of national identity. He can be regarded as the most prominent appropriator and processor of the text of the Shāhnāmeh in the intellectual movement of the constitutional era. His numerous and various imitations and adaptations of Ferdowsi’s Shāhnāmeh reflected in his works are proofs to this claim.
This study has explored and analyzed the relationship between the text of Ferdowsi’s Shāhnāmeh and Mirzā Āqā Khan Kermānī’s works. Using Gerard Genette’s theory of transtextuality, it was shown that Mirzā Āqā Khan Kermānī’s adaptions of Ferdowsi’s Shāhnāmeh have been primarily based on imitative intertextuality (using the text’s materials), imitative hypertextuality and transformation (revisionary, transformative and literary imitation) which are observed in his books Se Maktūb (Three Composition), Ayīney-e Sekandari (Alexandrian Mirror), and Nāmey-e Bāstān (Book of The Old). Kermānī’s knowledge of Dasātīr has also been influential in his adaptations of this text.
In most of his writings, Kermānī has either talked about Ferdowsi or the role of the Shāhnāmeh in his nationalist writings or has adapted it in various forms. In his works, he has employed different adaptation techniques such as intertextuality, hypertextuality and transformation (revising and transforming the text, literary imitation, selective adaptation, closed adaptation and hypotext materials). Most of these adaptations have been used in his books Se Maktūb, Ayīney-e Sekandari, and Nāmey-e Bāstān. In Se Maktūb, he has mainly used literary imitation, transstylization of the Shāhnāmeh’s meter and literary style, closed imitation and selectiveness. In Ayīney-e Sekandari and Nāmey-e Bāstān, he has used textual transformation technique which is a type of historiographical rendition and appropriation.

AbstractWhat is today known as the school of psychoanalysis criticism in literature is rooted in the studies and researches of Sigmund Freud on the human unconscious. His findings regarding cognition and brain functions introduced new models for literary analysis. His structural model is one of the most significant theories in explaining the whatness of the mind and its workings. According to this tripartite model, the mind is divided into three parts each of which has a unique function. The present study is an attempt to analyze the interactions between the three characters of the short story Wolf by Hooshang Golshiri based on the Freudian model in order to reveal new aspects of the story.
Several researches has applied psychoanalytic criticism to study the works of Golshiri. However, they were too general and did not include this very story in specific. This is the first attempt to read Wolf within the framework of structural model of Frued.
Methodology and Critical ApproachIn his oeuvre, Freud has divided the human mind into three parts "id", "ego" and "superego". Id is the unknown and unconscious part of the mind which includes destructive thoughts. Id is after fulfilling the pleasure principle. What attracted Freud's attention was the unknown and hidden part of the human psyche, ego. The autonomy of the ego is indicative of the real structured goal in individual's life. In other words, Freud considers the ego as a rebellious drive in the human life. Furthermore, Freud mentions "instinct" as related to the ego. Instinct in a way is the main factor in the emergence of the ego. If ego is the life drive, instinct is the drive for the ego. He believed there are two kinds of instinct in human: Eros or the sexual instinct and libido, and the destructive instinct. These propel individuals towards success and are insatiable. Taking this model as the theoretical basis for this study, the present researcher considers Akhtar, Doctor and the Wolf respectively as ego, superego and the id.
Findings and DiscussionAkhtar's spouse is anonymous in the novel and he is called Doctor. He has a very insignificant presence as the superego beside Akhtar as the id. Thus, the void for a reliable spouse is filled with an aggressive, insatiable and destructive instinct like a wolf which stands for the ego in the story. Akhtar is a woman who is always standing by the window in front of a huge wolf with two jade black unrelenting eyes which stands for hours staring at Akhtar's window. The most significant challenge of the story is Akhtar's inner challenge. This includes a contradiction between the wolf as force against the love of Doctor and Doctor's interest in his social life.
The wolf is seeking after Akhtar's solitude, submission and destruction and its posture and gaze has caused some kind of dominion and possession over Akhtar. This is very obviously visible in the final parts of the story. In the beginning of the story, the wolf's presence gives her anxiety yet in the middle of the story, this fear changes into some kind of curiosity and serenity. The wolf's domineering feature mesmerized her and this is the realization of wolf's libido which could gain her trust through some spiritual connection. This duality can be seen in Akhtar's drawings which represent something between a dog and a wolf. Dog and wolf are different not only in looks but also in personality. If wolf represents aggression, dog represents security. What is more, a herding dog, as mentioned in the story, is more loyal and responsible than an ordinary dog. Golshiri has wisely pointed to this feature to show that the wolf is turning into a dog in Akhtar's mind. The ending of the story is the confrontation of Akhtar, the Wolf and Doctor, id, ego and superego, in a snowy scene. In this confrontation, Doctor does not leave the car out of fear while no fear is seen in Akhtar.. She has accepted the wolf and has given up id to ego and thus superego's attempts to oppress ego are in vain.
Therefore, superego is defeated and ego overcomes id. Akhtar gets out of the car and walks towards the wolf and disappears in the snow. The findings of this research based on Freudian model provide a new reading of this story and reveal new aspects in analyzing its elements. A deep understanding of the characters of the story is accessible once their interactions with each other as well as their surrounding is studied. This approach is another one of the findings of this study which examines these elements in a psychoanalytic discourse.
ResultsIn the present paper, based on Freudian concepts, a psychoanalytic reading of the story, The Wolf,was carried out in which three main characters, Wolf, Akhtar and Doctor, were compared to ego, id and superego respectively and their functions were studied according to Freud's structural model. Wolf in this story represents both Eros and Thanatos. Representing ego, Akhtar is the central character in the story who is the target of the Wolf’s desire. The doctor plays the role of the superego as the controlling agent for ego. The main struggle of this story is the confrontation among these three characters. The contrast between the love for Doctor and the instinctual tendency towards the Wolf has made Akhtar's life chaotic and ends in her destruction.

IntroductionClaude Levi Strauss believes that the logic of myths has a bipolar-opposite structure. In his structuralized theory, the basic assumption is identifying logic behind anything that appears illogical and locating propositional meanings (Ahmadi, 1389, Vol 1/188). He always places two opposite poles on the structure of the human mind and, like other structuralists, he believes the foundation of mythical thinking and, on a larger scale, the culture of all communities is double contrasts (Schools, 2004, 147). In Levi Strauss’ view, myths are fantastic stories that try to solve the dual oppositions between culture and nature in a rational way. In fact, mythical logic compromises conflicting terms and concepts; and substitution and compromise continue until the fundamental contradictions are eliminated (Zamiriyan, 2010, 13).
Due to the final compilation of the collection of Iranian mythos during the era of Mazda's religion (especially the Sassanian era), the structure of Iranian mythology is based on a deep duality that is strongly religious. The story of Zahak Mardush, as the central object in mythology of Iran, is no exception to this rule which, as Satari argues, “All myths and legends, as well as Iran's history and culture, are remarkably shown off by it.” (Satari, 2009, 59).
In the revelation of this narrative, various opposing layers can be observed: Layers such as the confrontation between Ahriman and Ahura Mazda, civilization and nature, and more specific interactions such as the confrontation between blood and milk, snake and cow, Iranian and non-Iranian, etc.
Discussion1-2- The opposition of Ahriman and Ahura Mazda: The Main Structure
Due to its religious background, Zahak's narrative has maintained its deeply religious structure in the Shahnameh. The confrontation between Ahriman and Ahura Mazda is the biggest structure in which the other contrasts of Zahak's myth should be placed. Zahak is the most prominent representative and the most famous creation of the devil among Zoroastrian texts. In Shahnameh, he is the only person who was directly contacted by the devil and in his reign, the devil is an active and objective creature. Kaveh refers to Zahak's devilishness explicitly. However, Fereydoun, who is the most triumphant person after Zoroaster in Avesta, is another strain of this opposition and an element that is created only to confront Azhidahak (Zahak). Like Jamshid, Gershasp and Zoraster, he is rewarding of extracting the Houm (Avesta, 2012, 137) and his name has never been mentioned in the Avesta without a reference to his confrontation with Azhidahak.
2_2. Iranian and non-Iranian:One of the most fundamental elements of the epic, which is always mixed with cosmological and philosophical issues in the myth, is the issue of ethnicity / nationality. In Leo Strauss's essay on race and history, it also implies the question of the identity of the myth as a partial contrast between the great opposition of civilization (culture) and nature. Zahak is an Arab from the Tazian plain, and after the Turanians, the most hideous dark clans in Shahnameh are Tazics. It is written in Bondahesh that even Iranians are afraid of the damage of the Tazics quarter to Afrasiab (Dadegi, 2011, 140), and this narrative is implicit in Shahnameh (Ferdowsi, 2007, 2/80). What Islamic historians have also said about the story of Zahak and Fereydoun shows that the the ancient Iranians had a nationalistic look at this narrative (Sedighiyan, 2007, 141-142). About Fereydoun also said that "the purpose of Fereydoun [in Shahnameh] is the Aryan race" (Vahed doost, 2008, 165)
2-3-Cows and snakes, the confrontation between death and life
Another important contradiction that has many mythological elements lies in the contradiction between the snake and the cow. The devilish role of the snake in the mythology of Iran and the connection between Snake and Zahak does not need to explain; On the other hand, the characterization of Fereydun, both in the epic and in the myth, is meaningfully merged with the myth of the cow, and is not limited to the mace’s cow head and Barmayeh cow. In addition to Fereydon, the other personality of this myth, blacksmith Kaveh, is also intercommunicate with cow by some scholars. (Taslimi, 2005, 172)
Another dipole in the confrontation between the snake and the cow is the confrontation between milk and blood. Fereydoun is feeded by the cow's milk, which is killed by the devil Zahak, and Zahak feeds his shoulder’s snakes from the brains of the Iranian youth and, by immersing himself in the blood, tries to avoid the prediction of astronomers and reduce the suffering of his shoulder’ snakes. Therefore, it is possible to believe that the milk is feeder of the Ahuraians and the blood is the food of devils.
2-3- Fereydoun and Zahak; Love and Death Motivation
The first fundamental principle in Levi Strauss's structuralism is that, after "objective" relations, we must look for the underlying structures and the subconscious; Structures that can only be discovered through the inductive formation of abstract patterns (Piaget, 2005, 130). Accordingly, the psychoanalytic interpretation of myth can be one of the basic ways of describing and discovering its implicit interpolations. In this reading, Zahak is the motivation of death, and the Fereydonians are a motivation of life. Zahak is a bloody and aggressive person that is a symbol of death and nonsense in Zoroastrian literature and mythological symbology. When he becomes the king, all the positive manifestations of culture and civilization are marginalized, and knowledge, wisdom and art, which are considered to be instruments of civilization and culture, have destroyed. But his most important confrontation with the greatest symbol of ancient civilization should be in contrast to him and Kaveh. Kaveh, who is a blacksmith in this reading, is a symbol of metals (civilization). Jamshid is the king of Zoroastrian literature who establishes the first civilization, but Zahak disrupts Jamshidi's order and destroys all his civilization achievements. Freud states that neither of these two motivations will be lost, but will be defeated by the opposing one and will lose their domination for some time. He believes that this battle continues for ever. (Freud, 2010, 94). So the origin of this matter that Fereydun doas not kill Zahak, can be analyzed in relation to this Freud's opinion, as Omidsalar also believe in. )Aydenlu, 2008. 20(
2-4- Kaveh and Zahak
Generally, metal is symbol of the enemy of evil in mythology, and this property is in the direction of a good binocular, good / Ahura and bad / evil. In the teachings of zorasrerians, there are also commands to respect of metals. This opposite nature of metal and evil can be seen in the two elements of Kaveh and Zahak.
2-5-Continuation of Zahak's mythological contradictions in Kush Nameh
One of the important points of Kush Nameh is the strife of Kaveh’s descendants to Kush, and there are signs of Kaveh and Zahak's dual reciprocity in this work. Kush with his elephant teeth, which, looks like to his uncle, Zahak, has an ugly and devilish appearance, is an uncontrollable man. Among all the Iranian gladiators, the descendants of Kaveh, Qaran and Qobad are specially placed against Kush, and the battle of Qaran with the Devil's Kush is more prominent than other Iranian gladiators. Kush, despite the all his strength, defeats of Kaveh's children several times or escapes. (Iranshan ibn Abi Al-Khair, 1998, 6117-6305-6999-7112).
2-6- The opposition of a shared society and a centralized government
The other contradiction of this myth is evident in the revelation of the socio-political context. In this perspective, Zahak representing a non-class society and a socialist government, and Jamshid and Fereydoun represent the class society. Ali Hassouri, for the first time, recited this story from this perspective. In post-Islamic writings, Zahak also with private expropriation of the lands divides them to farmers’s cast. He also considers the women belong to all of the people. Mehrdad Bahar has suggested it may be this face of Zahak as an expression of the insurgency of indigenous people of Iran over Aryan aristocracy that has become alienated of the insurrection of a strange king in the myth.(Bahar. 2012, 481).
Hassuori also believes that in fact Zahak is Geomatia-y Mogh, which sought to create a communal society and after apprehension, based on the narrative of official government of his story, has become Shahnameh’s Zahak (Hassouri, 2009, 38).
The opposite of Zahak; Jamshid, which is the manifestation of desirable king in Zoroastrian literature, first divided society into four categories: clergy, warriors, farmers and artisans (Ferdowsi, 2007: 1 / 42-43). The reflection of this class society can be clearly seen in the story of Anoushirvan and shoemaker (Ferdowsi, 2007, 7 / 435-438).
2-7- Reflecting the structure of Zahak's mythological contradictions in the story of Rostam and Esfandiyar
The story of Rostam and Esfandiyar is also a narrative of another confrontation, which, according to some signs, is linked to the great contradiction of Zahak's story, the contrast between Ahura Mazda and Ahriman. Esfandiyar is a zoroastrian holy prince who supported the zoroastrian religion and is considered as Zoroaster's political representative in Zoroastrian and Shahnameh’s narratives and believes in religious rule. On the other hand, Rostam is a gladiator, who not only did not respect the religious rule of Goshtasp, but also feel pity when saw the court of Esfandiyar in the days of the kings who legitimized by Farrah in the regime for their government . (Ferdowsi, 2007, 5/366).
From the religious perspective, Rostam stands in contrast to the religious and Ahuraian prince and ultimately does not prosperous. But since the mere attachment of the main elements of this narrative in good and bad poles cannot be linked to the story of Zahak, it is necessary to look for a structural link in this aspect. The key of understanding the link between this story and Zahak's narrative is to look closely at the components of Rostam’s myth. Some of his devilish qualities suggest suspicion that he should be one of the disfavor of the divine religion (Mazdyasna), as Spiegel believes, cause of not call the name of Rostam in pre-Islamic sources is because of his nonreligious actions. (Sarkarati, 1999, 47). On the charge of nonreligious actions of Rostam, in some Islamic sources, such as the History of Sistan and Zain al-Akhbar, can be discounted by Rostam's opposition to Zoroastrianism with any degree of accuracy (Mir Abedini, 2009, 100).
Rostam is a gladiator from Zohak's descent, who is born like devil, from the left side. Moreover, in no way Rostam proud of his descend into Zahak, except against Esfandiyar and this is an important issue. Therefore, it is not far from this if we interpret the conflict between Rostam and Esfandiyar in the structure of the story of Zahak and as one of it’s following religious sects. The convergence of this interpretation with the great structure of narrative Zahak gives us the permission of such a inferring.
2-8- Shahrnaz, Arnavaz and future contrasts of Shahnameh
Although the fundamental contradiction in Shahnameh (the confrontation between Iran and Turan) begins in its epic era, its origins are in the two main characters of the story of Zahak: Shahrnaz and arnavaz. Salm, Tur and Iraj were born from separate mothers. Iraj is son of a wise mother and Salm and Tur are born of a passive and silent mother. On the returning from Yemen, Fereydoun is closing the path to them on the shape of the Dragon magically. Salm escape, Tur attacked, and Iraj tries to escape the dragon by language. “Hesitation and hurry, fear and attack, caution and rush are devilish features that each one of them alone does not work. Iraj, who is born of thought, is choosing the middle ground “ (Parvaresh, 2007, 64). On this basis, the rational extension can be seen as the most fundamental contradiction of existence, that is, the opposition of good and evil in Salm, Tur, and Iraj.

IntroductionMannheim believes that democracy is not only political, but also cultural and has its own specific characteristics. According to Mannheim, a democratic culture indicates fundamental features of reduction of distance which means to remove the qualitative distance and or in other words recognizing of the differences.
This feature results in the literature, such as emergence of individuality, Decline of Author role, Narration of his/her life, Remove the Gender stereotypes.
We can analyses New Era works for Children and Adolescents by this Approach for different reasons. ”Emperor of Words” by Ahmad Akbarpour-which work chosen-is one of the works who can be analyzed by this perspective, Therefore, in this paper, we can analyses the Characteristics that make Reduction of distance in the Novel.
MethodologyThis research is based upon descriptive method and qualitative content analysis. In the beginning, concepts and components of Mannheim theories have been explained and categorized, and then the story named The Emperor of Words, written by Ahmad Akbarpour, has been criticized based on these components. In this way, the core question that which components of democratic culture and ways of Reduction of distance have been used by the writer, is answered.
DiscussionIn the Mannheim view, distance have two forms:1) vertical distance that means qualitative differences between individuals, objects and concepts; and 2) horizontal distance that means differences which are not qualitative and dont give rise to existential superiority. He thinks that distance is not appeared lonely in the level of individual and group relationships, but also includes concepts and object that have cultural implications. Reduction of distance means transformation of vertical distances to horizontal distances. It's obvious that Mannheim's version of Reduction of distance realizes in the democratic culture that is based upon individuality. (Mannheim,2006:65-66)
Recognition of children implies a level of Reduction of distance between children/adolescents and adults that provides possibility for emergence of a literature that is equivalent to adult's literature. Then, appearance of such a literature in the world based on the democratic culture isnt accidental.
According to present epoch requirements, Ahamd Akbarpour in most of his works, including The Emperor of Words, has used modern and post-modern techniques. New children's and adolescent novels, usually include pluralism, subjectivism, unreliable narrators, multi-story sketches, and multi-endings. (Refer to :Nicolajeva, 2008: 533)These techniques provide possibility for emergence of the most elements of democratic culture and Reduction of distance .These democratic elements and Reduction of distance components in The Emperor of Words, as a selected sample children's literature, include:1. Transition from writer to story character: in this work, the writer is in the same status of heroes from the beginning and drawn into the story space. This endeavor begins from the introduction of work. In the following, too, he announces his presence in the story. He, contrary to realist writers, has not stand out of story that claims presentation of pure narrative from objective reality; but confined himself to internal logic of the story, by presence in it. So, with Reduction of distance from relationship between the writer and story characters, writer becomes a character that must accept story relations logic and cant act beyond this logic.(Refer to:Akbarpour,2013:90,93)
2. Effort for Reduction of distance from reality and story: one of considerable technique in this story is the Brechtian Reduction of distance technique that continuously reminds that the work is story. In the common sense, there is a distance between story and reality that put the story in the second priority. But, in this story, the distance between story world and reality world has been disappeared. The little girl (Suni) enters into the boy story and break down the borders.In return, the boy enters the girl story and encounters with story heroes. So, distances are broke down in other ways,(Ibid:13,34) and two worlds, i.e. the real world of boy and story world of Suni, put at the same level and merge into each other. But, work doesnt end in this point. This story spiral drags reality of the writers into the story, too.(Ibid:89-90)
3. Heroes individuality: the story has different characters that have their special traits and behave based on them. These distinguishing traits make the characters independent and different individuals. So, a horizontal distance is established between them and other persons.
4. Sexual Reduction of distance :Akbarpour in The Emperor of Words, with the selection of Suni character that is daring and norm-breaker, has dealt with sexual Reduction of distance . She eliminates the border lines in the first presence in the story.(Ibid:11) The writer explicitly calls Suni smart and experienced, in the process of Reduction of distance from sexual roles, and she joins with story boy hero as leader.(Ibid:31)
ConclusionDemocracy isnt lonely political, but it is a kind of culture. Democratic culture is based upon the specification of Reduction of distance .With appearance of this culture, a kind of literature emerges that one can call it the democratic culture.
Because of dealing with audiences that previously were always ignored, Children's and Adolescent Literature has a democratic dimension. Meanwhile, some children's and adolescent works show more democratic characteristics than others. These works present a new picture of today literature to audiences by various techniques. Novel named The Emperor of Words have considerable points in this regard.
This novel according to individuality of the story heroes, tries to represents horizontal distance between humane elements of the story. Also, with inclusion of the writer in story heroes, eliminates distance between the writer and heroes. This endeavor shows the narrative characters of the writer's life that annihilate his superior position in relation to the heroes. Akbarpour extends Reduction of distance to sexuality sphere too, and with representation of a non-stereotypes picture of girl story hero, completes the Reduction of distance cycle.

IntroductionOne of the difficult issues about "Natural Epics" such as Shahname, is understanding their composition. Natural Epics have been produced and developed in the absence of their original authors. The text of epic in these narratives, as the continual author's absence scope, is the fluid field of displacements, interferences and intertextual transfers between plural narratives. The author of this kind of epics is originally identical to the reader and like "Historical Reader" is faced with precomposed narrative texts or oral narratives and based on these narratives has narrated the epic story again. The similarity of roles and functions of the epic composer as well as roles and functions of the historical reader led to considering the narrating of natural epic as a kind of "reading".
MethodologyIn this article, mechanisms and processes affecting the genesis of epic narratives have been analyzed based on "narrative competence". Our analysis was based on two hypotheses: 1) Historical author is absent in the process of composing natural epics. 2) Reading has a fundamental role in the reconfiguration of natural epic narratives.
DiscussionThe narrative ability is based on various processes and mechanisms. One of these processes is the principle of double contradictions. Given the human perceptual structure in recognizing affairs based on the creation of mutual relations, a network of dual contradictions shape the narrative structure of stories, and propel the narrative of the story forward and the movement of meaning in its layers is subject to the creation of duplication in the structure of the text's narrative. A process in the development of the epic narrative is summarization, which is one of the examples of standardizing the text. This process, inferred from the epic narrative recapitulation, provides a framework for its structure and meaning by cohering and generalizing the narrative text, narration, and narrative outline, in particular, when epic narratives are the product of the pattern-based mentality, and in the process of reading and recounting the narrative from the epic composer, the narrative’s comprehension and its redefinition in the modern narrative continues to be based on the same fundamental patterns and phrases. However, besides the main minima of the narrative, other elements and codes also enter the text of the epic narrative as a result of the intellectual and cultural changes of society. Accordingly, the formation and evolution of the epic narrative in Iran has been closely linked to the intellectual and cultural developments in the Iranian society, but in any case, pattern-based plots are still preserved in the mythical structure of most epic narratives.
In another view, reading and reconfiguring an epic narrative is a function of the opposite proportion of story and discourse. In this contradictory logic, the development of meaning in narration can be either the result of past events and actions in the story, or can be influenced by the particular system in the narrative discourse, as meaning can take on a particular form that is contrary to the actual course of events in the story. Some historical narratives gradually found a mythical structure in the course of numerous readings and reconfigurations of various periods, due to the overthrow of mythological and pattern-based mentality. Sometimes, during the epic narrative recapitulation, the epic composer tends to find that, in certain contexts of a story that moves from one state to another, there is a kind of surprise and suspension caused by the transformation of the state as well as the transition from ignorance to consciousness of creation. In such a way, that action or state becomes a necessity or, depending on its probability, an action or a counter-act (= transformation).Therefore, a mere transfer of ignorance takes place (= deflation) that may turn hostility into friendship and vice versa. The type and method of using these techniques is also one of the tools used in the epic narrative recapitulation and rehearsing in particular places of narrative.
ConclusionThe epic composer's ability to narrate and reconfigure is based on his "narrative ability", since in the face of existing narratives, he can recognize their validity and, at a more advanced stage, reconfigure narratives in the form of other narratives. This narrative ability is also based on the various processes and mechanisms. The results of this paper show that the principles of binary oppositions, summarization and reconfiguration, the clash of story and discourse as well as transformation and recognition have all important role in the genesis of epic narratives.

IntroductionAmong the Persian manuscripts in the British Museum, an exquisite copy is kept without the author’s name, time and place of its writing. This unique copy was corrected by Jalal Matini and an introduction was added to the book by him and then, it was published by Bonyᾱd-e Farhang-e Ῑrᾱn (Iranian Culture Foundation) in 1978. The corrector, inspired by the introduction of the text, chose the title "Pand-e Piran" (Old Men’s Advice) for this work. The book was compiled in twenty chapters, focusing on telling short and informative stories of the life of the great mystics, the men of religion and ethics in various subjects. In his comprehensive introduction, the corrector has dealt with the orthographical features and the linguistic characteristics of Pand-e Piran and some of its similarities with texts such as Muntakhab-e RuniqAlmajalis, Bostan al-Arefin and Tohfat al-Moridin and estimated the date of its composition to be about the 5th century AH according to the linguistic and textual stories. At the end of this book, there is a complete list of the words, terms, and compounds used in the text. The corrector, has used a question mark [?] for unknown or difficult words and compounds in this list to show the meaning is not clear to him with humility. This paper aimed to investigate “Pach-e-ye Rikhte” as one of these cases and sought to disambiguate its meaning using the words preserved in living dialects; it is noteworthy that Pach-e-ye Rikhte and its meaning discussed in following anecdote, have not been considered in previous studies so far.
"Malik, was known for his rigid austerity and purification of soul and he had spent many years without eating sweets or sours, warm meals, and juicy or dried fruit. Every night he went to a shop and gave a little money and took two loaves bread. This was his only meal throughout his life. Once, he got sick and when he recovered he wished to eat meat. Many patients may have such a desire. He went to the shop and gave him a penny and said: "Give me a Pache. " The chef gave him a broken Pache-ye Rikhte. The chef sent her busboy to follow him and said: "See what he will do. " After a while, the busboy turned up crying, and said: "When he left here, he brought out that Pache from the dish, and smelled it two or three times and put it in the dish again and said, " Is this enough for you? " (Pand-e Piran, 1978:17).
MethodThis is a descriptive study that was conducted via a library study, investigating a number of ancient Persian texts, referring to dialectal glossaries of Iran and field studies in Khorasan dialects. For this purpose, firstly, the terms related to the term understudy were extracted and classified from other Persian texts and dialects. Then, based on the relying on well-known phonetic changes in the Persian language, they were carefully discussed.
DiscussionThe combination of "Pache-ye Rikhte" has not been recorded in Persian dominant dictionaries or encyclopedias, such as Asadi’s Loghat-e Fars, Borhan Ghate, and Dehkhoda’s Dictionary. "Rikhte / Rikhtan" has not been defined in dictionaries in a sense appropriate to this application. However, in some texts and dialects, there is relatively much evidence based on which a combination of spoken/ dialectal forms of "Rikhtan" with "water" or alone, have been used with the meaning of separating hair from Pache, separating the birds’ feather or sheep’s wool with hot water, naked, hairless cat, smooth and slippery, a tree without leaves, and so on.
ConclusionThe use of Dari words preserved in Iranian dialects is one of the ways to eliminate the problems of the ancient Persian texts. On this basis, this study aimed to disambiguate the meaning and concept of the unknown combination of ”Pache-ye- Rikhte” in Pand-e Piran. Results of the present study showed that the “Pache-ye Rikhte” means a Pache that is cleaned by scrubbing the hair off. ”Pach-ye Rikhte”, can be semantically and verbally related in this application to some of the terms used in ancient Persian texts, or preserved in Iranian dialects, such as ”Ᾱbreit” «ÂÈÑیÊ», ”Ᾱbreit Karde” «ÂÈÑیÊ ˜ÑÏå», ”Ᾱv reit kardan” «ÂÈÑیÊ ˜ÑÏä», ”Ᾱvrei” «ÂæÑی» and ”Rit” «ÑیÊ».