مجله متن شناسی ادب فارسی
سال دهم شماره 3 (پیاپی 39، پاییز 1397)

Sheikh Abdul Qadir Gilani, is a mystic of fifth and sixth centuries AD, and is considered as one of the elders that had written many Persian and Arabic Hagiographies. According to the importance of Hagiographies with the main theme of dignity and miracles and the attitudes of writing them, in this article, in order to identify the situation of the old and mystic of Sheikh, first of all, we have tried to introduce the works and Hagiographies that had been written about Abdul Qadir, then we study the degree of the author's rhetoric method in order to assert the dignity and to investigate all types of miracles in the three Hagiographies which has been written about him such as the summary translation of Almafakher, Qalaed-Jawahiri and Gusieh merits. Comparing these Hagiographies yielded the following all of them are similar to each other a lot, especially in the use of material and physical miracles to show the greatness of him, to share the greatness of positive attitudes such as a guidance and greatness in the summery translation of Almafakher and Qalaed-Jawahiri. After reviewing the direction of in these texts, differences were found between the two of the other sources. Therefore, the credibility of miracles (greatness) was determined according to the direction and method of writing.

The importance of Masnavi on the one hand, and the increasing tendency for writing academic articles on the other hand has led to the creation of numerous and varied articles on this work. Each of these articles, from a particular point of view, seeks to analyze and explain some of Masnavi's aspects. Many of these articles seek to elaborate on the verses of Masnavi, their understanding of the text, and the comparative study of Masnavi with other works. It is clear that the understanding of Masnavi, the explanation of the verses and expressing the poetry of Mowlavi without a well-defined and profound knowledge of Mowlana’s mystical tradition and practice can be either impossible or incomplete. Unfortunately, despite the compilation of numerous and useful articles written on Masnavi, most of these articles ignored Mowlana's mystical disposition. This article checked academic articles about Masnavi published in 36 journals from 2011 to 2016 and it has been argued that out of the total of 486 articles in 36 journals, it was necessary to pay attention to Mowlavi’s mystical style. Out of these 36 articles, only 11 articles have been taken into account in this regard, and out of 11 articles, in seven articles, it has been explained in a non-humanistic and incoherent manner that Mowlavi’s disposition is different from that of Ibn Arabi. In all of the articles on Masnavi field of study, Mowlavi’s mystical disposition has not been constructed and his mystical principles have been ignored in order to fulfill the research goals.

In Carl Jung's theory, ‘persona archetype’ or mask is a guise that any person uses in connection with Expectations and social, cultural and traditional standards and replying within archetypal needs. In fact, persona is a role that society expects an individual to play and its aim originally is to influence others and to cover individual's real inner nature. Persona is individual's social character against his private character that he presents to the world unconsciously. In this descriptive-analytic article, we have studied persona archetype in dialogues and encounters of characters of the Siavash story in Shahnameh of Ferdowsi. It has been shown in this article that Siavash and Kavoos do not face the harmful mask in their talks or behaviors due to having godfather qualities. In the article we have presented that main character of the story, Siavash, hasnt any dialogue and encounter combined with persona, conversely, most dialogues and encounters by using persona archetype are from two malevolent characters of the story, Sudaveh and Karsiuse and all their persona are devilish and negative.

Nezami is one of the greatest poets and writers who tried his best to employ different functions of the dialogue to characterize and express the emotions of the characters of his stories. The story of Khosrow and Shirin is a good example in this regard, but the cultural geography and sovereignty of the pure Love, has prevented transparent and direct dialogue between the lovers of the story in Leili and Majnoon story. To solve this problem, Nezami uses techniques such as monologues, dialogues between the main characters and minor characters, and letter writing. Amir Khosrow Dehlavi has imitated Nezami in this regard. The questions raised in this research are then regarding detecting the outstanding differentiating features of the characters of the two works and the differences of their ways of characterization. To answer the afore-mentioned questions, a descriptive-analytical method of research was employed to compare and contrast the indirect dialogues between the characters of the two works. The comparison and analysis of dialogues between the lovers of the two stories showed that the attitudes of the two authors towards this issue are different, which led to two different characterizations. The lovers of Nezami’s story are loyal to the social norms and pure love. Leili talks less and eloquently and her talks show the face of a nomadic Lady. Majnoon, with all his insanity and love, enjoys most of the characteristics of a patriarchal society, with all the madness, but it seems that a century-long distance between the two poets and the influence of the Indian court has made the lover's personality distant from the main story and more to the ordinary people of the contemporary era. The change of some of the events of the story is at the service of Dehlav’s special views in this story.

Shaikh ul-Islam Seyyed Na’im Son of Afifa, under the pseudonym of Sahab is one of the poets of the Return Literary Period in Iran whose only manuscript is kept in the Center for the Great Islamic Encyclopedia. In Diwan of Sahab, there is a diverse range of literary types and genres such as lyrical poetry and its subcomponents such as elegy and eulogy. Sahab used Khorasani Style in his eulogies and Araghi Style in his Ghazals. He praised his contemporary Qajar Kings, i.e. Mohammad Shah and Nasser al-Din Shah as well as some princes. Local governors lived in the city of the poet were also included his eulogies. Sahab illustrated Karbala Event in his elegies. Since the frequency of those elegies is high in Sahab’s poetry, he can be called an ideological poet. In his Diwan, Saghi Nameh and Akhawaniyeh which are under the lyrical genre are observed as well. Apparently he died in 1307 AH in Neiriz City.

Through storytelling, Nizami Ganjavi has a special place in Persian language and literature. Makhzan al-Asrar drew a lot of attention since Nizami Ganjavi era because of both its subject and its special language. Not only did many poets begin to welcome those quinaries but also, because of special figurative language of Nizami, many commentators began to explain it. Commentary on Makhzan al-Asrar and other Nizami's quinaries continued to exist up to the contemporary period. The point which could be considered the commentary damages both in the past and, to a large degree, in the contemporary eras is the inattention of commentators to other Nizami's works during explaining the line. If the commentator investigates and unravels the line with evidence of the poet himself, surely he will be more successful in his work. One of the basic and elegant points that commentators have simply overlooked is the spring equinox in which Nizami raised The Ascension of the Prophet and by applying the craft of poetical aetiology, the reason for the arrival of the Prophet to the Aries was known. In this article, as regards the analysis and investigation of the respected commentators of Makhzan al-Asrar about the first line of the following verse:
Wow, the night turned a wondrous spring day
Wow, the flower turned a wondrous riding cypress
I will explain Nizami's main purpose of this line, presenting the examples of the poets before and after Nizami.

One of the main areas in textual criticism is the use of additional sources. Additional resources is a set of resources that is related to the edited text from of historical, content, structural, and consequential aspects. Attar’s Tazkerat al-oliya, as a reference text in the tradition of Iranian Sufism, always attracted the attention of future generation and the elected and various translations of this text confirms this claim. Vali-name is a poem that was written in the first half of the ninth century AD, in Shiraz. This book is a poetic translation of Attar’s Tazkerat al-oliya. Vali-name, in addition to literary and artistic aspects, is important also from the textual point of view, because its author probably has access to original manuscripts of Tazkerat al-oliya. In this paper, apart from explaining the features of this book, we analyzed its important role in the editing of Tazkerat al-oliya.

The story of Siavash has an old mythological theme, and hence one can consider him a mythic-ritual person whose study of various aspects of his story calls for the recognition of ancient rituals. The present research has examined Siavash in ancient texts and Shahnameh with a descriptive-analytical method. Contrary to the views of previous scholars, this paper concludes that Siavash has had the signs of Mitraism within himself. Such signs contain different features than common ones. Incidentally, these signs are those that are not part of Mehr rituals, but are its distinctive features. These signs revolve around the issues of belief in action and wisdom, and those aspects of religion that emphasize the role of intellectuals showed Siavash as the owner of Farah meaning the follower of religion and country, relating to Mehr rituals. So, a number of Siavash’s traits and mythical events around him should be found in beliefs such as believing in theism (Farah bavari), a pass-by-fire test, a horse and a Teshter in ancient mythologies, the source of the alliance, the righteousness, skillfulness in archery and vendetta are beliefs of the worshipers of Mehr.

The present article analyzes some Pahlavi and Persian sources such as Asouric Tree, Bondehesh, Ayatkari Zamaspik (keep sake), Shahnameh, and also some dictionaries. For this purpose, the two terms of Bargoush and Barchashm which are the names of mythological beings and previous scholars made mistakes regarding introducing them, have been examined and clarified via using the mentioned sources. It becomes clear that Bargoushes are Goushvars or Gelim Goushs. Also,in this article, is shown that the words Bozghoush/Bozgoush in Ferdowsi’s Shahnameh is a rewording of the word ‘Bargoush’. With a comparative review of the materials in the historical and interpretive sources of Persian in the Islamic period and the contents of Pahlavi and Shahnameh narratives, it was shown that these creatures are the same as Gog and Magog from the viewpoint of having big ears. Probably, they are the Gog and Magog in Islamic texts. In this article, the meaning of Bargoush with a literal and exploratory discussion in Persian and Pahlavi texts is clarified and the meaning of Barchashm is suggested using an analogy. Also, the geographical areas of Bargoushes in the narrations of Pahlavi and Shahnameh and Gog and Magog in the traditions and Islamic sources have been mentioned.

‘Minooye Kherad’ is one of the most significant letters of advice in the Middle Persian Period and the Pahlavi literature, including the books of Behdinan. This rather short book is full of the wise and beautiful religious and practical advice in diverse fields. Shahnameh, the master piece of Ferdowsi is the essence and protector of the ancient Persian culture. The research focuses on whether the book ‘Minooye Kherad’ has influenced the contents of Shahnameh or not. It also studies whether Ferdowsi has been inspired by this book or not. The descriptive-analytic methodology is based on studying the books, articles and analyzing different data. The result of this research indicated that Shahnameh has been influenced by this short book in the concepts related to moral advice. The great role of wisdom in Shahnameh emerges from the culture of Ancient Persia. And the book ‘Minooye Kherad’ has had a significant role in transferring this valuable characteristic. Ferdowsi is not the creator of these moral concepts, but he has added to the richness of these moral concepts by the help of his literal and artistic talents and has offered them to his audiences in his Masterpiece‘Shahnameh’.