نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 40 (بهار 1398)

Sadi established a style of prose and poetry by writing GolestÁn in 656 AH which has so far had many followers. JowainÐ’s NegÁrestÁn, was written in 735 AH 79 years after Sadi's GolestÁn. This book, after the Majd KhafÐ’s Rowzeh khold, may be considered as the second and nearest to the era of writing GolestÁn. NegÁrestÁn is a book of moral teachings and mysticism, written in imitation of Sadi's GolestÁn. The book consists of seven chapters: on Guardianship and Virtue; on Noble Characters; on Good Communication; on Love and Affection; on Preaching and Conscience; on Grace and Mercy; and Miscellaneous Benefits. Although its prose is not as great as GolestÁn, it is filled with historical points and information. This study deals firstly with the investigation of the manuscript of Moein al-DÐn JowainÐ’s NegÁrestÁn and secondly with Moein al-DÐn JowainÐ and his book, based on biographies and early and modern literature books. The authors of the present paper first give an account of the author Moein al-DÐn JowainÐ, then come up with existing information about his name and nickname, pseudonym, birth and death, professors and endorsers of works; and his religious character and beliefs. They then classify, analyze and verify the available data. Based on the textual evidences, they review topics such as: NegÁrestÁn’s attribution to the author, the writing of NegÁrestÁn, why book named "NegÁrestÁn", pseudonym of books, articles and book themes, genre of books, scientific status of NegÁrestÁn.

Complete poetical work of Vahshi Bafghi (939-991) was emended once in (1338) by Dr Hossein Azaran (Nakha’s) & has been published by Amirkabir publication in Farvardin )1339) that maybe has been the best emendation of Vahshi’s works in that time. But for some reason that are mentioned it is needed to emend again.This emendation hasn’t been done with a scientific & exact method. In this emendation four versions has been used that all of those don’t have enough validity considering oldness, accuracy & universality also don’t include all of poet’s works. In addition to vagueness & mistakes such as: miss readings, inappropriate choices, false reports, many printing, writing & editing errors it also has shortcomings & problems in margins. Frequent elimination of single & several couplet & new finding poems in older versions that haven’t been used by proof-reader increase the poet’s work about (10%). This article tries to criticize emendation & composition method of printed poetical work & validate using versions & represent examples of existing problems & also to explain necessity of explain necessity of further emendation of Vahshi’s poetical work.

researchers have sometimes criticized the absence of Shater Abbas-e Sabouhi, from the history of Qajar period literature, and even considered this absent as a kind of censorship. however, the lack of credible documents in Sabouhi's life and the inclusion of many false poems in his collection of poems has led to this absenteeism. Tazkere-ye sho'ara-ye mo'aserin-e darol'iman-e Qom, which has been written during the youth period of Shater Abbas, solves these problems by quoting a summary of life and a few samples of poem of Sabouhi. in the present article, based on this Tazkere, we have studied the life and character of Sabouhi. this article has been conducted with analytical and historical methods and the result shows that Sabouhi, have been a popular and good looking poet with internal contradictions such as "illiteracy and awareness", "celibacy and love" and at a time, even "distress and parapsychology" and all of these contradictions returning to his original internal contradiction, namely "being in the lower social class and having personal characteristics related to the noblesse class". the same contradiction has made him popular and famous among common and gentlefolk people and these two classes have presented contradictory narratives in accordance with their morals from his life, to the point where, according to similar cases, sometimes we encounter with making storys myths about this.

One of the ancient texts of Eastern narrative is a thousand and one nights. The big story series, challenges to women before class world-class Kingdom and depicts the general public; in other words, the thousand and one night with three hundred and sixty-five stories in the Thousand and One Nights, attitude contention man women and vice versa, with subtle approach in women and wily know is their rejection. In the present study, by analytical method, the role and function of metamorphosis in two areas of structure and message of story based on the first narrative of the first night ("Merciful and Soren") has been investigated. The result of the work indicates that in the structure of the disconnect of a thousand and twenty nights, "devotion to the covenant" to the subordinate, the axis of the work has been shaped and in the opposite structure, "betrayal" transformation for the person of the story. Almost all actors become voluntary or compulsorily transformed or transformed to realize the original reward (preservation of life). Also, due to the change in the sacred position of the "king" and "woman" in the narrative of the work, individuals are not "absolute" contrary to the norm of the stories and, for various reasons, have good and bad qualities.

As a methodological field, the comparative literature uses a various mechanisms for literary works analysis, one of them is discovering the connections among literature and arts. According to this issue, our research tries to studying the short story "The Miniatures" by Iranian writer Abutorab Khosrawi. According to this research, there are some items like Paratext, using the Artistic concepts and terms in literary work and artistic descriptions, which have entered the literary work and so that have shaped the work. Also, the combination the miniature figure and fictional character and creation a new type of character which we can name it “figure-character”, is the other instance for connection between literature and Miniature. This study shows that the discovering the quality of the role of Painting and miniature in literature can guide us to discovering the artistic potential in literary work and this is the goal that American school of comparative literature follows it in its studies.

The Raji Kermani’s Hamleye heidari [Hiedari attack] is one of the famous religious epics of Persian literature in which, Contrary to epic literary principles and indicators, 28 Saghinamehs have been used. Some contents have been represented sporadically and generally about the cause of this type of application and its difference with the ancients and ultimately its effect on language. To clarify the dimensions of this subject, the author aimed to examine the effects of these Saghinamehs on blending the epic and lyric language of the Raji Kermani’s Hamleye heidari considering the Patterns of reading the poetry language detecting that excessive using of Raji from Saghinameh with lyric vocabularies, combinations and images in different places of an epic poem causes that the language of this work has no unity and integrity of the epic language criterion (Ferdousi’s Shahnameh); so that it can be claimed that the language has been changed into a blending of epic and lyric language affected by the issues about the era style (prevalence of Saghinameh template and religious poetry), individual style (the poet’s lack of epic mind) and the historical and religious content of the work.

Cultural policy on the Persian language has changed since the nineteenth century in Afghanistan; it is usually attempted to remove the Persian language from the official and national spheres, and other languages, including the Pashtu language, in the official and national spheres of the Persian language, while other languages ​​in Afghanistan The background and breadth of the Persian language is socially, culturally and literally. Therefore, this article attempts to reveal the origin and place of the Persian language in Afghanistan and now it is shown in Afghanistan. These reasons also indicate why the official and cultural policies of contemporary Afghan governments have changed in relation to Persian language, but with the description of this change of official cultural policy, The Persian language, according to the cultural and historical background and social status, is still in the national and international languages ​​of the people of Afghanistan, which all the people of Afghanistan, apart from their local dialects and languages, speak and write in Persian.