نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 41 (تابستان 1398)

In these two bits of Hafez's Divan: “Khiale abekhezerbast’o jam Iskandar/Keyxosro Be jor’enooshi’e sultan Abolfavares shod” and “Esmea'zambekonadkarekhodey del khosh bash ke be talbisohiyal div mosalman/Soleymannashavad” Between the scholars about the recordings of "JameKeyxosroor Iskandar?" and "DivSoleymannashavad or Mosalman?" there have been various discussions.In the first instance, the "JameIskandar" is documentary on a manuscript (Khalkhali 827 AH) and all the other manuscripts have the "JameKeyxosro". But because Iskandar (Alexander), according to the evidence of fiction and poetry, had a special cup with surprising features that did not diminish its water and worldviews and opening the secret, recording the "JameIskandar" is based on the rule of "the most difficult recording is superior," in the scientific-critical correctionof the Divan Hafiz is more original than the "JameKeyxosro".In the second case also with the neglecting the record of the "Mosalmannashavad”, in more and prior of Hafez’s Divan manuscripts - in examining recordings of this kind, it should not be the sole criterion of choice and selection -according to another clause in the corrigendum of the texts, that is, "which one can be modified by another?" that recording is true and probably almost certainly some scribes do not record "Mosalmannashavad" to eliminate the rhyme in sonnets, observe the fit of the bit and coordination with components and its allusionelements it has turned into “Soleymannashavad”.

The Mena incident in 2015, which resulted in the death of a large number of pilgrims of Kaaba, is considered by the Iranian poets as a historical context and led to the formation of a new flow in contemporary monody. A collection of these works has been published under the name of “Mena minus many” by Literature County publishing. The high frequency of sonnet among the poems provided a ground for conducting a research on the correlation of its textual levels with the historical context. Accordingly, Mena's monodies in the format of sonnet were studied at three levels of music, rhetoric (traditional rhetoric) and theme. The results of textual investigations show that these sonnets are conceptual and contextual, and their three levels, having a reciprocal relationship, concentrate on transiting an explicit message to the reader; In a way that its two levels of music and rhetoric have been formed, using instruments such as the allegory to Ashura, avoiding of verbal figures, the frequency of sentences with a secondary motives of regret and grief, as well as limited metaphorical imagination, along with the main idea that is informing and describing Mena and its consequences. Other sub-motives also have been used by the poets such as “sanctification of the dead”, “content approximation with the event of Karbala” and “rebuking and threatening the dealers of Mena” in order for thematization and making links between the text and the context.

Abolfazl zarooi Nasrabad is one of the most famuse satirist ofter the Islamic revolution of iran. his wrightings in satire involve  both  prose  and  verse.  Zarooi start  his  work  in  satire  press  for  the  first  time  especially  in Golagha. One of the most important characteristics of his  style  is  the  apt and  adept  use of  parudi technique.this study answers this question that if parodi is the stylistic characteristic of zarooi? Zaroodi parudies are important from the view of form  cotent and word. Zarooi apply  this  technique to criticize political and  social  matters  and  also  to convey his thoughts to the readers. Because of his sufficient mastery in classic and contemporary  Persian  literature he was able to make the most use of parodi in both verse and prose. However  in same of his first writings especially in "tazkeratol maghamat" he used parudi to deal with politic and social famous people of  particular period of time for this reason we can notice that these writhings gradually became  ambiguous  for readers  and  they  are  now  old-fashioned. Other  parodies that  he  tried to  explain  and  convey  the  content  and  atmosphere of  satire was  more  successful  and  permanent. Another  point  is  that  zarooi has considered  specific  writings  of  classic  texts  as well as  forms  in his parudi and his parudi is more neare to "Sadi" and "Hafez" than other poets.

Oh is one of the most important elements of thematization in Persian poetry, and poets and mystics in this poem have created a variety of mystical themes using this term. Prayer and Prayer When they come from the linguistic stage to the existential and heart stage, they are more effective and more belligerent, the cause of the extraordinary influence that is that of exaggerating and exaggerating the existential and the heart, each What arose, in fact, from the bottom of the heart of God, the need for excellence and prayer was needed. The more a person becomes more vulnerable, the more heavier and heavier the human being is, the more powerful and effective the components of the "force of disability" and "power of inactivity" used in many mystical texts refer to the fact that the power of individuals Incapacitated and helpless in their influence. In this essay, the ay and their role in the spiritual peace and spiritual development of humans and the themes created from this term have been criticized. The research has been conducted based on the method of using this termographed word in important mystical works and the consideration of the viewpoints of the owners and their immediate receipt by analyzing the content of these works. The overall result of the paper is that the implantation plays an important role in enhancing the body's immune system and in maintaining the physical and mental health of the human body, and the emotional points in it.

The scientific and critical correction of ancient text is one of the most valuable and essential literary research. The divan of Ohadi Maraghei (Esfahani), mystic and poet of 7th and 8th centuries A.H., is one of the ancient text. In 1340 A.H.S., Ohadi Maraghei's Divan was corrected and published by Saeed Nafisi but considering some defects in the context and also the availability of some manuscripts which were not in the access of Saeed Nafisi, the re-correcting of this divan seems necessary. In this research, after the introduction and introducing manuscripts which are used by Saeed Nafisi in the correction of Ohadi’s Divan, we investigate the defects in Saeed Nafisi’s correction consist of 1. The ambiguity of the main manuscript and the correction method; 2. Inaccurate comparison among manuscripts; 3. Uncritical correction or no reference of substitute manuscripts in the footnote; 4. Displacements; 5. Omissions; 6. Affixed verses; 7. Repetition; 8. Misreading and miswritten; 9. Publication error; 10. Defects in rhythm; 11. Duplicated Rhymes; 12. Wrong punctuations; 13. Lack of essential contents and descriptions.

Sa'di's Golestan is one of the most important works of Persian prose that there is no single coherent view of its typology but most scholars have spoken about the impact of Maqameh on its style and this has contributed to the research Golestan. This article is an attempt to know the typology of Sa'di's Golestan common error correction which counts Golestan as an imitation of Arabic Maqameh writing style. For this purpose first comes the exact definition of Maqameh and its features in three levels of narrative structure, subject and theme and checks composition Maqameh Saadi's Golestan narratives of these aspects. The results show that Sa'di's Golestan has at all three levels obvious and fundamental differencesy, with Maqameh and for this reason, it can not be called Maqameh or spoke of the impact of Maqameh style in Sa'di's Golestan following the discussion, while expressing moral anecdotes, features show that Sa'di's Golestan is a collection of moral tales which is different from the traditional prototype of this type of story.

Intertextual studies are one of the most important approaches to contemporary literary research. According to the theory of intertextuality, every literary text is its reproduction and reproduction of past or contemporary literary works. Considering this definition, Talmih can be regarded as one of the most obvious examples of intertextuality. One of the poets who widely used this array in his poetry is Mohammad Kazem Kazemi, the most famous poet of the Resistance of Afghanistan. In this research, the ways in which Talmih was used in his poems has been examined by descriptive-analytical method. As the results of this research show, Kazemi's poems are often linked to religious themes and texts such as the Quran, hadith, the history of Islam, the Prophets of the Prophets, etc., and the intertextual relations based on the threefold rules of Christau between the present text And absent, in the form of partial negation, a negation, and a general negation, in which a partial negation in Kazemi's poems is more frequent.

situational Irony is resultant from phantasmic situations, imaginations and concepts that will be made of action, situation, scene and dialogue. But the situation of characters is the pivotal point and other elements service the situation. this sort of irony have an especial place in Fiction. among this the story of "Modire Madrese" have an especial position in fiction. ,this work have potential power for irony of situation because of it’s critical language and authority of it’s writer in demonstration of specific problems. Personification, scence, plot and actions. Therefore we endevour to indicate all kinds of ironical situations in this research, methods of creating them and it’s social reflections. With deliberation in this story we see that plot is the dominant factor of creation of situational irony. Because marginal problems often are replaced of the main matter. Characterization, descripe actor’s appearance feature. character’s job and network of communication between them have important roles in ironical behavior formations. Remote scene of school is farcical, moreover satirize educational system daintily. The Most important subjects that are writer’s purposes are: cultural and social problems, lack of justice and exist of corruption in diverse class in society.

Dragons in negative symbolism, the evil deity, the duel of droughts and the deterrence of water, disease and chaos, and chaos and agitation, and in Positive symbolism, functions such as the cosmic mother, the first creator to depend on creation, the first martyr, the source of rain, the genesis, the impossibility, the power of the sun and the creator of the seasons, the night and the day, the guardian of secret treasures, godliness, the cure of the disease, the agent of mystery discovery. In mysticism, we also see the symbolic functions of the dragon. In the present article, the authors aim to explore the roots of the dragon's role in mysticism and use the content analysis method to examine the functions of the dragon in mythology and mysticism and conclude that, in the mysticism of the dragon, in its negative image, the symbol of the soul and in Its positive form has been manifested as the manifestation of the obedience and the power of the right, and according to the dragon's history in the mythologies of various nations: the symbolism of the soul in mysticism, rooted in the function of the dragon in mythology, as the symbol of chaos, the enemy of truth and ignorance, and symbolism The power of righteousness originates from the sacrament of God in the myths of various nations.