فصلنامه کهن نامه ادب پارسی
سال یازدهم شماره 1 (پیاپی 30، بهار و تابستان 1399)

There are many translations of Ruba’iyyat-i Khayyam in the Kurdish language in which translators have tried to convey the precise meanings and beautiful concepts of Khayyam’s poetry to the target language. Using the descriptive-analytical method, and collecting data through desk research, the present study seeks to compare three Kurdish translations of Ruba’iyyat-i Khayyam, namely the translations conducted by Kamran Ali Badrkhan, Guran, and Hazhar. The study found out that Kamran Ali’s work is a word-for-word and prosed translation and that due to lack of familiarity with figurative meanings of Khayyam’s words and the poetic subtleties, he has failed to convey Khayyam’s particular tone and language to Kurdish. Guran too does not succeed in presenting a picture of Khayyam’s poetry proportionate to Kurdish literature and culture, and his translation has not found a high status among the Kurdish speaking audience. In Hazhar’s translation which is of a free or communicative nature, however, the translator conveys well not only Khayyam’s view of inner and outer worlds, but also the spirit and main message as well as the semantic and formal features of his poetry, including form, metre, tone and the robustness of the words of the well-known wise man, which is what makes the translation more eloquent and acceptable.

During the five hounded year rule of the Ottoman Empire in Bosnia and Herzegovina, there were poets and writers appeared who wrote their works in Persian, imitating Saadi, Jami, Rumi, and other famous Iranian poets and who have left behind valuable and beautiful works. Without a doubt, Fewzi Mostari (18 century) is one of the foremost writers who wrote his valuable work Bulbulistan imitating classical Persian works. The main objective of this paper is to put Bulbulistan into intertextual connection with other works of classical Persian literature.Regarding the use of themes and motifs from other works, it can be said that Fewzi mostly used Jami's Baharistan, although his work also has some thematic similarities with Saadi's Gulistan. In addition to Baharistan, Fewzi for his stories took ideas, thoughts and themes from Jami's Nafahat al-Uns (Breaths of Fellowship). Also, he took motives and topics from other sources like Tadhkarat al-Awliya(Memoirs of Saints) by Fariduddin Attar, and the famous Sufi work Kashf al-Mahjub, whose author is Ali Bin Uthman al-Hojwiri. All the stories and thematic units that were taken over Fewzi incorporated in his work with certain thematic and stylistic expansions.

The kind of speeches and letters used in the manner of evocation case in each language represent some of the beauties of that language, each of which is used to express the feelings of the speaker. For this reason, rhetoricians and scholars who study various beauties in different rhetorical texts and books treat evocation case as one of these aesthetics. The present article aims to explain evocation case exegesis and meanings in the poetry of Hafez and Ibn Farez using the content analysis method and by applying the method of content analysis based on the comparative literature of the American school. Findings indicate that they first attract the attention of the audience with the use of evocation case and then with the help of motivational statements (affirmative, informational, questioning, obligatory, conditional, and deterrent) that follow the evocation case. , Conveying the message and motivation of the audience; since the postevocational sentences usually carry an important message from the speaker, the two poets exhort the role of language in such sentences that are more in mystical themes, They express their purpose.

The most part of the motif of Sufi anecdotes is the Kirāmāt of elders. A huge volume of mystical biographies and the books of virtues and some other Sufi texts can be included as " the anecdotes of Kirāmāt". The anecdotes of Kirāmāt have always been the scene of rejection and acceptance by various groups. The deniers of Kirāmāt cannot ignore the rational and traditional reasons and massive reports of the occurrence of the Kirāmāt in these anecdotes. As well as those who prove the Kirāmāt should not rely on rational and persuasive arguments, rather, they must seek the acceptance and credibility of these phenomena by audiences who have not experienced the mystical paths and Kirāmāt. One of the most important issues in the anecdotes of Kirāmāt is the reality in them which will have important consequences for the presentation of a particular and indigenous realism in the field of art and literature. In this research, after the causation of the Kirāmāt, it is proved that these phenomena are capable of realization and the way for realization such phenomena is smooth. The Sufi's views on the causation of the Kirāmāt have been clarified, the mean of realization is specified, and the external and internal arguments for the realization of these anecdotes have been examined. The proof of the possibility of realization of the Kirāmāt means accepting the existence of a kind of reality in the anecdotes of Kirāmāt, although this mystical fact has not yet been well explained, it seems to contradict material realities.

Critical discourse analysts believe that Literary texts reflect history; social relations and structures; ideology and power function; Hence they can provide a good basis for discourse analysis and linguistic critique studies. The present research proves the critical analysis of the discourse of mystical poetry of the Safavid era. These poems, according to their socio-cultural and political context, can be seen as the mirrors for ideology and power relations. The current study shows that the mystic of the Safavid era, due to his high social class and his alignment with the dominant ideological system, is outspoken and powerful. This is determined by the selection of vocabulary, syntax, chosen figures of speech, using the active or passive voice, topicalization of the subject, the context of the situation, intertextuality, and social context survey.

Wasefi is a writer and poet of the 10th century AH. The only remaining work of his is the Badaye' Al-Vaqaye', which contains anecdotes and memoirs written in historical order. Wasefi has also put some of his poetry and Letters in Badaye' Al-Vaqaye', which is of particular value. The book comprises a total of 42 letters, including types such as the Sultaniyat and Ekhvaniat, and some other types such as the Vaqf nameh and Ketabe-ye- emarat, Book sermon, Grave Text, Family Tree and deed. He wrote eighteen of these letters in one session, and wrote the rest on other occasions and occasions. In his letters, Vasafi considers the present of the addressee and the sender and the subject, so the volume of each section of the letter varies according to the importance and position of the sender, recipient, and subject. An important feature of his writings is the shortness of which are written with the utmost use of simile and metaphor. The number of Arabic words in his writings reaches eighty percent, but most are of the words used. Farsi letters, Qur'anic verses and Arabic phrases are also included, but very little.

Due to the extensive usage of metonymy from the past to the present, several definitions of the term have been propounded. Old definitions were not very clear and precise, there being no lucid distinction between definitions and examples. On the other hand, metonymy and examples there of only were looked for in and selected from among literary works. Inattention to the origins of metonymy i.e. common language led to the confusion of different types and definitions of metonymy. This article first examines the vagueness and arbitrariness of old definitions of metonymy and then proposes the necessity of attention to metonymies in common language and of their entry into literary language. Next, providing examples in common and literary languages, three types of metonymy namely “metonymy for the substantive”, metonymy for the attribute” and “metonymy for the relation” are subdivided into twelve types in view of their limited and unlimited usage in literary and common languages. At the end, metonymy for the relation is described as the most valuable because of its high descriptive power.

Although the challenging topic of predestination (qażā va qadar) has always been discussed in Persian literature, some poets in the Safavid era paid a particular attention to the topic, composing eponymous masnavis, and this trend continued until Qajar. Most of these poems are manuscripts. The present study introduces a number of predestination poem and their poets and from the point of view of analyzing the aspects of fiction, these poems are criticized. The results of this study Indicates that the Predestination poems (qażā va qadar), despite minor differences, have common features that provide the structural unity of these works in terms of story processing. Common narrative components of these texts are: simplicity of language, the existence of a dominant pattern in the plots well as in characterization and the repetition of stereotyped, conventional, and static characters; being based all poems  on a key and important theme; Create Heterogeneous and accidentally Events and Weakness of verisimilitude; Unexpected ending and the tragic end and The dominance of incidentalization over characterization. According to this research, these poems may be introduced as a new type of literature. The result of this study can clarify part of the evolution of Persian literature and of the knowledge of literary trends

Attar Nishapori's Tazkerat al-Olya, is one of the most important works of Sufism in Persian language and culture. Attar has used various sources to write this book, which is a story about one hundred grandfathers and prominent figures of Islamic Sufism. Some of these resources were in Arabic and others were in Farsi and some of these sources yet remain unknown for researchers. Knowing the source of Attar in the compilation of Tazkerat al-Olya remarks will introduce us to the sources of his thoughts and his ideas and will pave the way for a more scientific and precise examination of his personality and effects. One of the unknown sources that Attar has used for the compilation of Tazkerat al-Olya is Tabib al-Gholob. This book was written in Persian by Abo al-Fath Mohammad ibn Mohamad ibn ali Khozaymi Foravi in the 1107 AD- about 130 years before died of Attar. Attar has narrated some of the Sufi anecdotes in his book .Some of these stories are quoted exactly and with the same words and phrases. This article tries to introduce and review the book of Tabib al-Gholob and show that part of the use of Attar from this book.

Quran-e Qodsis one of the remarkable texts of the period of growth and development of the Persian language (4th and 5th centuries). Its language is considered to be a mixture of Persian, Arabic and dialectal-variety elements and has unique features in terms of phonetics and morphology. Due to the connection between this text and the Middle Persian language and the fact that many experts consider its place of writing to be somewhere near Sistan, the purpose of this study was to compare some phonetic and morphological features of this Quran with Middle Persian, Pazand texts, Persian-Jewish texts and some common Iranian dialects in southeastern Iran. The results of  analyzing the available data, which are generally obtained through library-based method, show that this text in some phonetic features such as change of beginning and middle /w/, lack of transformation of intermediate / d / and change of  beginning / h / with Pazand texts and in some cases with Baluchi, Rudbari, Sistani and Kermani dialects are similar, some of its morphological features, such as the unwritten monosyllabic  morpheme of “e” the infinitive suffix of "-ešt", and the semantic distinction of the two propositions of "b / bad" and "bi" can also be seen in Persian-Jewish texts; also some words from Middle Persian have been retained.

Poem, in Yuri Lotman’s view, is the result of conflict of the various structures which simultaneously work in a text. He has not mentioned the structure of the poetic images but we can add this structure to the other his structures. The function of the structure of the poetic images is the outcome of the connection between various images. Therefore, the net of these images can have meaning and aesthetic implications. Investigating the connection between images of wine and face in the poems of Hafiz, in this paper, we have indicated the complexity of this connection in these three levels: individual relevant images, composed images and the connection of the images in the level of couplets. According to these connections, we can find the new meaning and aesthetic implications in the poems of Hafiz. In addition to the rhetoric techniques and lexical meaning, in this view, we can find the secondary meaning and techniques in Divan of Hafiz. Analyze of this net of poetic images is based on idea of identity of poetic images in the Paradigmatic axis.

Due to the special relationship depicted between them and the supernal world, birds are of great significance in the Islamic mysticism. Among them, parrot as a prominent bird in mystical texts is often represented as having two different faces: its manifest face which because of parrot’s indiscriminate imitation of human speech symbolizes an appearance of gaining knowledge without understanding the meaning, and the latent face which stands for a sacred and wise bird from the heavens, whose words partake of supreme truths. As the bird is associated in Persianate texts with one of its main origins India, we examined parrot and related manifestations thereof in India so as to understand the second face, and showed the connection between the bird and major ceremonies in the Indian subcontinent in some religious and fictional texts directly linked to the ceremonies. Parrot in the texts is a bird enjoying true wisdom, a gods’ aide, the memorizer of sacred texts, and a mould for embodiment of the spiritual on earth. Against this background, we tried to show some similarities and correspondences between the image of parrot in Indian as well as mystical Persianate texts and discuss the possibility of some influences

Forming a type of pop culture, tales have a high capacity for implicit criticism of power and sharing political themes; hence an investigation of folk tales can reveal important parts of subordinates’ political action which in the pre-modern age was conducted with a great deal of secrecy and camouflage. Of special significance is finding an answer to the questions how common political behavior was reflected in the tales and how it was camouflaged for the eyes of the master of power. Our assumption is that the masses responded to authority on a number of levels. On the first level, they recognized the power, legitimacy, and status of the authority, yet on the second and in their hidden narrative they negated various dimensions of ruling elites’ official narrative. They also tried to talk to the authority and implicitly threaten, reproach, or appeal for justice against the master of power. This study is based on James Scott’s theory of  hidden  transcripts  whose main theme is analysis of the masses’ silent and hidden resistance to authority without resort to violent actions.

Abstract In the semiotic-semantic approach, the process of creating meaning is linked to the perceptual sensory conditions. Therefore, this paper presents a semantic-semiotic analysis of the loneliness discourse in the Sonnets of Hafez and the poems of the Russian poet Afanasy Fet. The perceptual sensory approach of this paper involves all features of discourse including Perception, Intuition, integrity of meaning, discourse stress, sensory-perceptual contemplation center, indicative operations, tension space, tensions, effective values, rhythm, emotional representation, perspective and prophylaxis, stimulation and emotional readiness, affective emotionality, excitement and evaluation (value dimension). Since no discourse can be independent and separate from the other collective discourses before it, and the Russian poet has also translated Hafez’s poems into Russian and has had a deep knowledge of the Eastern culture, the present research intends to analyze the creation process of the fluid flow of the meaning of loneliness in Hafez’s and Fet’s poems. The research results show that both Russian and Persian poet have induced the belief and created the process of narrative-tension of loneliness in their poems by using all the elements of perceptual discourse which include effective verbs, lexical and emotional scenes, outwards and inward, pre-tension and post-tension, hence two emotional and cognitive types are placed into interaction with each other. This leads to complaining about loneliness and the formation of a value system (bliss in privacy).

The mystic term "Black Light", which has a special place in the works of some great scholars of mysticism, is rooted in mythological beliefs and ancient religions. Mixed with mystical beliefs, this term has undergone some changes. The present paper aims at finding an association between mythical beliefs and Sufi interpretation of "Black Light. Investigations show that the mythological beliefs about Angra Mainyu, with an artistic and deconstruction look at mysticism, have led to the Black Light paradox, and this kind of artistic look has brought about structural changes in Iblīs, which is rooted in mythological beliefs.