مجله متن شناسی ادب فارسی
سال یازدهم شماره 1 (پیاپی 41، بهار 1398)

"Dor-Sokhan"is a newly-found work of the ancient Persian texts. This work belongs to a period between 1350 -1371 written Aboalfatouh Habbatolh Al- Hamouei. This article is written in one abstract and nine sections including: an introduction about this work and similar ones written by Saadi; the history of Dor-Sokhan; presenting the name of the author and his background; introducing the name of the book; presenting information about the content of the book; listing the 21 chapters presented in the book; describing its written and orthographical features; and concluding remarks with respect to this book. The book is among the most valuable Persian texts and has proverbs written in verse and in prose by its writer. Introducing this book, considering literary, scientific and ethical aspects, is necessary. Moreover, the book belongs to the eight century AH and has not been well-known yet.

‘Binary opposition’ is the fundamental basis of Jamshid’s story and characterizes the two periods of gratitude and ingratitude in Jamshid’s life. In the deep structure, there are two binary opposition principles called “overvaluation of kinship" (OOK) and “undervaluation of kinship" (UOK). The first principle has given a positive light to all events Jamshid’s gratitude and the second portrays all events of Jamshid’s ingratitude negatively. In the binary opposition view of Levi-Strauss, each event is called “mythyme” and, in this article, all the story of Jamshid from the ‘synchronic’ point of view is divided into forty mythymes in two periods on the basis of OOK and UOK and is presented in a table. This categorization reveals that two sorts of overtly ‘binary opposition of cause and effect’ and ‘binary opposition of contradiction’ exist in Jamshid’s story that help to express the final meaning of each mythyme and general meaning of the story’s opposition periods. Ultimately, the final results, on the analysis of the story's binary opposition, show that the story ends with the destruction of Jamshid and humiliation of Iranians. This is because there are more mythymes in Jamshid's ingratitude period than in his gratitude period. What has been said is an abstract that the present article that presents in detail with Levi Strauss's binary opposition theory to answer some basic questions about the structure of this story in Shahnameh.

In present article, first, Maktubat-e-Sadi as the most important Persian work of Sharafuddin Maneri (1263-1381 AD), the most famous leader of ‘Kubrawiyya Ferdowsiyeh’ tribe in India, is introduced. This work was developed by his fellow named Zeyn Badr Arabi. Then, samples of important and controversial differences between stone print and the ancient version of Maktubat-e-Sadi are proposed in order to determine the need for the critical correction of this work. The results indicated that, based on the “antiquity” and “significance” of Maktubat-e-Sadi and due to the "plurality" of the manuscripts of this work, there are some mistakes made by writers which are referred to in this study. Due to the fact that each of the stone prints has important differences with the old versions of the book in the recording of words and phrases, it is necessary to correct this work in order to achieve a close text similar to what Sharafuddin Maneri has written.

The present study is a historic-semantic research that seeks to overview the meaning of two verbs of ‘standing’ and ‘sitting’ in Tarikh-i Bal'ami (A book by Bal'ami about the History of the Prophets and Kings). To achieve a comprehensive conclusion, the results of this study were compared with various meanings of these two verbs in the texts of middle Persian from one hand and the contemporary Persian on the other hand. The results showed that from two main components of ‘standing’ (be upright and immovable) that are derived from the Iranian Ancient root of this verb, the second one (immovability) is common in most of its semantic aspect whether in concrete or abstract forms. Also, the verb ‘standing’ in Tarikh-i Bal'ami has undergone semantic extension compared to the middle period while this verb faced semantic reduction in contemporary period compared to Tarikh-i Bal'ami. From semantic component approach, the verb ‘sitting’ showed that two of its components (stay downward and immovable) that are derived from the Iranian Ancient root of this verb can be seen in most of its meaning whether in concrete or abstract forms. The comparison of the verb ‘sitting’ in different periods showed that this verb undergone extension in each period than the previous ones. Due to the common semantic components that exist in various meaning of each of these two verbs, sitting and standing can be called Polysemy.

Abutaleb Kalim Kashani (Hamedani), Creative Al-Ma'ani Thani, is considered one of the first poets of the 11th century. The use of elements such as theme, artistic, allegory, and elements of folklore has made Kalim the pioneer of Indian-Isfahani style, whose accuracy in speech and poem opens the door to the so-called Hindi poets. This research has been done using a descriptive-analytical method and we have attempted to reflect on some of the controversial words, phrases and verses of Kalim Kashani (Hamedani)’ Divan (collection), and tried to simultaneously investigate some of his controversial verses to clarify his nature of the image and poem. Therefore, we present some of the misreading related to the corrected forms of Kashani's illusions, and give some suggestions on the correct form of the phrase ‘the houses in the eyes of the compass’ and ‘hot eyes’. Then, we combed the combination of hot eyes in a sonnet from Kalim, and through this combination with the concept of green eye, we examined the history of the use of the eye and the face of it. Then, through the inter-textual relationships in the poetry of this era, by examining the neglected and obscure motifs of Kalim's poetry, such as nail art, paper and Totoya paper, it was concluded that the key words for the effect of the universal language on Indian poetry came from the status of specific and personal motifs that has become one of the most popular Indian style characteristics.

This study compares the stories of Sindbad-name and Bakhtiyar-name. The essential grounds for this comparison are the structural similarity between the scripts, as well as the fundamental differences in terms of actions’ modalities, actors’ roles, and the connections between them. The basis for this study is Greimas Theory and the communication model of characters, which assist the study to systematically identify the characters’ contributions in the events, and their motivations, demands and wills in the incidents and actions of the story. The results of this study show that Sindbad-name is the story of active characters and their wills and demands, while Bakhtiyar-name tells the story of fate and its indisputable dominance over the characters’ lives and their connections, in which women are more under the control of fate’s power and men’s role-playing and influence. Accepting the fact that literary scripts, especially folk tales with simple structures and sequence, are the reflections of the social environment of their particular historical era, it needs to be admitted that Bakhtiyar-name belongs to the era of believing in the undisputed power of fate and destiny; the era in which women are marginalized even more than before.

Mystical paradoxes are one of the most meaning-defying representations of mystic experiences and intuitions written in a symbolic, non-normative, and dynamic language. Given the epistemological basis of paradoxes, words have a wide and flexible range of meanings in such texts. Analyzing the words of mystical paradoxes which are often chosen unconsciously by their writers can shed light on the reflective and experiential principles of their writers. A cognitive semantic analysis of the word category and its relation to mind is an effective model for doing word analysis in mystical paradoxes. Among the main category of words, verbs play a pivotal role in expressing the epistemological experiences of the mystics. Considering the variety and frequency of motion verbs, this essay carries out a cognitive analysis of motion verbs. These verbs which generally show the inner intuitions and enthusiasm of the mystics are manifested in different ways. Each verb constitutes a semantic category with its different meanings. This essay analyzes the verb category by using Rosch’s prototype theory, Lakoff’s radial categories, and Taylor’s semantic chains. The results indicate that the verb “travel”/ “journey” represents comprehensively all aspects of mystical travel and therefore is considered as the prototype. There is a chain relationship between the cognitive meanings of this verb in Islamic mysticism. The greatest meaning of the chain is cognition and knowledge.

Some years ago, Bastani Parizi, in two issues of Hafizology (number eighth and ninth) introduced one of the virtuosic Hafiziologists (Majdzade Sahba) and his work on Hafez (a few words on Hafez and his poems) that both are ignored in research circles. Majdzade Sahba, the son of Majd al-Din Kermani (one of the elders of the Constitutional Revolution), has had a copy of Hafez’s collection and used it in his work. This version, based on Majdzade and other great figures like Bastani Parizi, Abbas Eghbal, Ghasem Ghani, and the ex-head of Isfahan archeology, is an exclusive one in having verses and aspects which were not in other versions of Hafez’s collections. Unfortunately, the fate of this current version is unavailable, but there are indications of this version in Majdzade’s work on Hafez, and Ghasem Ghani referred to one of them. But, there are remaining issues, some are unique and are in line with Hafez’s style and thought. The study of some aspects in this work, which to the best of the researcher’s knowledge, is based on the compatibility with other famous manuscripts and Hafez's stylistic reasons, which indicate the value of the remaining verses of this version.