مجله متن شناسی ادب فارسی
سال دوازدهم شماره 1 (پیاپی 45، بهار 1399)

This study seeks to adapt the narrative of The Apes in Kalila and Dimna with two Persian translations of Nasrallah Monshi and Muhammad Bukhari written in the 6th century AH. The authors have attempted to analyze these two translations in a descriptive-comparative way and to pay particular attention to their method of lexical equivalence. Also, in particular, the translation of the term ‘Yara’ah’ has been taken into account in this narrative, as if one of the translators has failed to translate it. One of the most important results of this research is that Nasrallah Monshi tries to create new templates in the target language for the transfer of concepts expressed in the source language, so that no part of the form and meaning disappears. He has therefore begun to invent new texts. ‏But, Muhammad Bukhari has translated the original Arabic text into Persian as far as possible, and his translation is closer to the Arabic text of Ibn al-Muqaffa’. Also, Muhammad Bukhari also tends to be more in line with Persian equivalents in terms of vocabulary, but Arabicism in Nasrallah Monshi’s translation (the use of Arabic vocabulary, an affirmation of verses, proverbs and greedy poems), is more common.

One of the major characteristics in examining the literary level of texts is the lexicon/vocabulary in the paradagmatic axis and combination of words in the syntagmatic axis. What turns such a selection and word combination into a work of art is the artistic usage of it in a suitable context. Although the extraction and analysis of all the elements and literary distinction of texts could be difficult, we can list and discuss many of them. In this way, adverbs of time, manner, and metaphor and their use in the elements of epic texts in Daghighi’s Gashtasp Nameh and in the Gashtasp’s Kingdom chapter in Shah Nameh were examined through a descriptive-analytical approach. Findings of the study showed that Ferdowsi has a wider knowledge and is more skillful than Daghighi in the epical use of adverbs. Adverbs of time used in Shahnameh deals more with depiction and the creation of settings than Gashtasp Nameh; due to its style values we can call it the ‘pictorial adverb’ which can be thought of as having both intellectual value and literary value. Lexicons used in Gashtasp Nameh can never reach those of Shah Nameh as far as the epical tone is concerned. Adverb of manner in Shahnameh is one of the techniques used to describe the behavior, spiritual status, and abilities of the warriors and helps to create brevity and music. One of the distinctions of simile adverbs in the Shahnameh is the selection of the adverbs, especially simile tools. The quasi-simile and simile tools in Shahnameh have more epic tone than in Gashtasp Nameh and their variety in the Shahnameh indicates the power of Ferdowsi's imagination and transcendence.

Majalis al -ushshaq attributed to sultan Hussein Bayqara, is a Tadzkera with focused on carnal love. Its compilation ended in 909 Ah. This work was edited, and published in 1996 (1375 Ah) by Gholamreza Tabatabaei Majd. TabatabaeiMajd’s Printing is the first edition of Majalis al – ushshaq, so he always has accomplishments. But the lack of access to authentic manuscripts and the lack of attention to the scientific principles of critical correction led to slippage in it, and consequently, it does not have sufficient scientific credence. Regarding the Newly discovered manuscripts of Majalis al – ushshaq and the defects of the previous correction, it seems necessary to re-correct it. The present article tries to prove this necessity by introducing the work and the olden manuscripts of it and the review of TabatabaeiMajd’s printing. For this purpose, after the introduction of the work, its position and value in Persian language, the author of the book, and the critique of the comments on the assignment of the work to the author, the previous publications of the work were introduced. The research has shown that Majalis al ushshaq has been published five times, printed four times in lithography and one time in printed form. The review of the only print of the book showed that there were three kinds of errors: correction’s structural defects, errors due to Precision and negligence in writing, errors in the text of the Majalis al ushshaq.

The Haft Keshvar (the seven Countries) is the work Fakhri Herawi, the famous writer poet of the court of Iran and India in the 10th century AH. This research, with a structural approach, has examined the introduction of this work, which is the special and artistic part of it. The questions emphasized in this research are about identifying the structure of the Haft Keshvar's introduction, showing the pattern of the plot of structure of the introduction, and expressing the connection between the introduction and the main content. In addition to the recognition of the totality of the literary work, the purpose of such studies is to make possible the comparison of the structural approach of the work with pre- and post-texts. This adds to the systematic collection of studies on Persian literature. This study uses the structuralism method, which emphasizes the structure of the work, and attempts to find a link between the form and the meaning using the ideas of scholars such as Propp in classifying the personality of the story, and Saussure and Strauss in the discourse and Tzvetan Todorov in episodic anecdotes, to explain the distinct levels of the narration of the introduction of the Haft Keshvar (Seven Countries).

Storytelling has been one of the most important methods among the Sufis. In addition to the Sufis, ancient writers have always used the narrative to spread their thoughts. Mohammad bin Mahmoud Hamedani, one of the writers of the sixth century AH, the author of the book ‘Wonderfulness of Almighty and Greeb al-Muwadjut’ or ‘Wonderland’, has used narration to express his intentions. In order to find a way of writing and analyzing two stories about the anecdotes of this work, this article uses the methodology of Todorov's constructivism. One of the main components of the critique of a story in the Todorov’s narrative model is its purification and one of the most effective functioning factors is the systematic cohesion of this network. The fundamental issue of the present article, which the authors seek to achieve, is to examine and analyze the extent and the way in which the element ‘Pīrfet’ is used in the structure of Hamedani's stories. In this regard, the main body of the article is a brief recognition of Todorov's narrative model, based on the knowledge of the narrative and the analysis of this effective element in the design of two tales of Hamadani's exclamation. The methodology used in this study is to read two stories and to analyze the structure of their designs based on the model. The overall results showed that, based on the actions, propositions, and logical trajectory of the events of the anecdotes, the plot and the network of the anecdotes, and the event of this simple work are tailored to the personality of the anecdotes and corresponds to the structure of Todorov in the syntax of the story. It can be said that in the narrative of both stories, there is a coherent structure that begins with a balanced and stable situation and, in the middle, with the interactions of the characters, it causes an imbalance, and then the anecdote reaches its climax. In the end, after the passing of events, a new stable condition is formed and the fate of the characters of the anecdotes is determined.

One of the most important Persian biographical works is Shu'ayyah Biography of Mohammad Hossein Sha'a Shirazi (Shua'a al-Mulk) which is written in Qajar dynasty in Shiraz in 1942. Shuayyah Biography includes biography and sample poems of 150 poets that the author has seen or heard them from 1941 to 1951. This biographical work was edited and revised by Mahmoud Tavousi, and was published by the Persian Foundation in 2001. The question of the present article is to what extent the correction of this biographical work is scientific, critical, and valid? Investigations show that the edited and revised text of Shu'ayyah Biography is full of errors. Three major reasons can be made to correct the mistakes in the revised text: choosing a wrong method, ethical correction, and bad reading. Contrary to the general correction principle, the editor is confined to a handwritten version of the Faculty of Literature of University of Tehran, which is late, and ignored the handwritten version of the Malek National Library, which is a more appropriate measure. Due to the fact that Shu'ayyah Biography is the most important work of Shua'a al-Mulk and has significant historical, social, and linguistic advantages, criticism needs to be made and its edited text should be available to the scholars and enthusiasts of the ancient Persian language.

One of the best and most important foundations of myth is the epic that is based on the clash and confrontation of two adversaries. Myth in its essence is related to paradise and but the epic, as a myth child, has a terrestrial and physical approach. In fact, the terrestrial process of mythological symbols creates the mechanism of epic stories, so that confrontation between gods and anti-gods, which is in nature epical, leads to the confrontation of relatives and great and ritual heroes with harmful and anti-heroic forces. Most of the Persian epic poems have a mythological infrastructure and traces of mythological characters and foundations can clearly be found in them. In these poems, Iran Shah ebne Abelkheir's Koush Nameh, written at the beginning of the 6th century AH is an exception, because unlike other Persian epics, it attempts to ‘demythologize’ the myth of the epic. In this article, three ways of the demythologizing in the poem of Koush Nameh has been introduced which include: 1) rationalizing the mythological events and narratives, 2) mentioning religious and historical figures along with mythological characters; and 3) the absence of some mythical and heroic myths common in mythical epics. In this study, the authors intend to show the mythological stories and motives that has been demythologize in Koush Nameh, in comparison with other epical poems.

Khāqāni Shirwāni, is one of the best poets who created a new form and style in Persian literature by his unique features. Some of the features are utilizing the maximum of linguistic and literary capacities, having complete knowledge of all kinds of sciences of his age and using them artistically in a poem, exact descriptions, new kinds of imagination, and making delicate links and relations. These special features have, of course, added to the complexity and difficulty of his poems. For this reason, the appearance of all the hidden points and the literary and technical beauty of his poetry requires the reader's diligence and endeavor. Due to this fact, various interpretations have been written on his Divan (collection). Nevertheless, problems in his poems have not been solved yet. One of his odes, which has difficult couplets, is the one in the praise of Khāqān-e Akbar Manoochehr Shirvānshāh, and the closure of Bāqlāni dam by use of ‘Sobh’ in each couplet. In this study, while investigating and criticizing all the previous interpretations, we have decided to take another step towards eliminating the poetry complexities and clarifying Khāqāni's words by studying and analyzing nine difficult couplets of this ode.