نشریه پژوهش های ادبی
پیاپی 45 (پاییز 1393)

In adventures of gods of vegetation in mythical narrations (Tamuz, Attis, Adonis, Diyonizus, Ozires, Baal, Persefon, Bālder) and their epic appearances (Rām, Jesus, Siyāvaš) is eighteen motifs and common attributes that we can call them gods of vegetation pattern. These motifs are consist of: 1. womanś role 2. motherhood- fellowship and sisterhood- fellowship relation pf women with gods. 3. kingship. 4. training by others. 5. seditiousness of their tree. 6. relation with tree and vegetable. 7.holiness of their tree. 8. relation with water. 9. relation with wine. 10. serpentś role. 11. to have special weapon or thing. 12. forewarning from death. 13. role of relatives in injury of gods. 14. punishment of murderers. 15. vengeance for bloodshed of gods. 16.customs of mourning. 17. mourning of nature. 18. resurrection of them. These cases is found in life and stories of Esfandiyā. On the basis of these and with due attention to four another indications, I guess that probably Esfandiyā was one of gods of vegetation in ancient narrations and his mythical/ ancient personality has changed in Iranian epic stories especially in Zoroastrian religion.

The subject of this study is to present a number of unspoken and unanswered fundamental doubts on the interpretation of the works of Abul-Fazl Rashid Ed-Din Maybodi, namely Kashf Ul-Asrar and Ede al-Abrar. These doubts have led to major challenges in understanding these texts. The challenges can be classified into two groups. The first group is the contradictions between the text and the allegations of the compiler in the prelude of the first volume, who presents his goal as an elaboration on the brief interpretation rendered by Khaje Abdullah Ansari. The text shows that the interpretation of Abdullah Ansari has not been detailed, and the attesting role of his remarks has faded away compared to the remarks of other Sufi figures. In order to explain this challenge, a number of assumptions can be presented. Initially, the prelude has been authored at the very beginning, and prior to the formation of the final text, and the long process of formation of the text and passage of time has changed the nature of the text. Secondly, mastery of sources of interpretation and Sufi texts by Maybodi has expanded the interpretations and has distanced the compiler from the initial goal and plan of the book. The other group of challenges is in regard to lack of harmony in the text. Why is the language and viewpoint of the compiler throughout the mystical interpretations in the first six volumes different to the four last volumes? In order to explain this challenge, a number of assumptions can be presented: Firstly, there might have been an interval between the compilation of the first six volumes and the four last volumes. Hence, the passage of time and gradual change in cultural, political, and social conditions have impacted the mindset and language of the compiler, leading to lack of harmony in the text. Secondly, the lack of harmony has been the result of falling fervor and dynamism of the author in the last four volumes which manifests the isolation of the compiler in this phase. Thirdly, this ten-volume book has had two compilers, with one compiler preparing the first six volumes and the second compiler preparing the last four volumes.

Mosibat Nameh is the longest and apparently last elegy of the three elegies of the renowned Iranian poet, Attar. The narration of the journey of a wayfarer who has embarked on the path of Sufism raises the opportunity for study of narrations; given the particular narrative features of this elegy and its mystical origins. In this article, the narration on the wayfarer’s journey is studied based on the view point of Tzvetan Todorov; the Bulgarian-French historian, philosopher, literary critic, sociologist, and essayist. Among the three manifestations that Todorov proposes for study of narrations, the verbal manifestation is taken into consideration for study of this narration. The study of the four elements of aspect, time, view, and tone in this manifestation shows the concurrency of time and narration in a large segment of this adventure and the high frequency of the uniaxial narration in the time zone; the superiority of the reporting aspect of the narration; the outside viewpoint; and the focus of the narrator on the wayfarer in the first place, and the addressee in the second place.

The current article studies the role and status of rows in Ibrahim Araqi’s odes. It has been assumed in this article that one of the root causes of Araqi’s success in presentation of odes has been the attention paid by this poet on usage of rows in poetry. The question that is left open is the status of rows in creation of Araqi’s odes. To respond to this question, initially the inductive approach should be used for extraction and classification of all odes of this poet. Thereafter, the data on different types of rows (by word, or by a sentence) were analytically studied with due regard to values of rows in the realms of music, art, and connotation. The outcome of the research shows row is one of the fundamental components of the structure in the majority of Araqi’s odes. He uses rows for reinforcement of the innate and marginal musical aspect of poetry, creation of lingual figures of speech, repetition and attachment of importance to a particular theme; establishment of audio and visual balance, indoctrination and instillation, and further influence on the addressees.

One of the texts which has remained unknown despite its beauties, is Kherad Nameh (a philosophical book) authored by an unknown compiler of the 6th Century AH. This article relies upon library sources and studies the continuation of the political thoughts of Iranshahri (The Land of Aryans) in Kherad Nameh (this philosophical book), while also briefly introducing this book and its style of writing. The main theory of this book is based on royal idealism and founded on the teachings of Amshasepand. The compiler manifests appropriate lifestyles, in an effort to depict the theory of royal idealism in a utopia, based on the thoughts of Iranshahri (The Land of Aryans).

This article has studied and assessed the structural poetics of poetry via adoption of a trans-critical approach. This article initially enumerates the structural narrative scope and its enriched and multiple outcomes, which have occurred due to the success of structural poetics in analysis and study of the grammar of narration. In the second part, the article analyzes the poem and concludes that these analyses are based on a formalist approach or have modified the achievements of present day critics. Hence, the structural poetics has not outpaced structural narrative studies.