نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 44 (تابستان 1399)

Shahrokh-Nameh is an epic-historical poems of the poet of the 10th</sup> century AH Mirza Muhammad Qasemi Gonabadi. The topic of this Masnavi is about of conquests, Justice, journeys, honesty, goodness and braveries of Shahrokh, the the ruler of the Timurid Empire from coronation to death. In this manuscript, beside a brief introduction of the poet, the stylistic features of his poems are explained at three levels of linguistic, literary and intellectual in a layered manner. By reviewing the poems, in addition to the epic themes, it appears that many of the verses are different from the epic atmosphere of the poems. Therefore, this is a martial and festive work which the existence of beautiful idols in battle scenes and even bringing SĀQI-NĀMA at the end of each topic has made this feature even more prominent. Qassemi has created a new style of saga. By carefully examining the issues and events of the stories, the authors reached the point that Shahrokh-Nameh is a combination of epic, history and lyric. Qasemi's lexical games indicate his dominance of vocabulary, metre and rhythm in poetry. Qasemi's imagery depicts his skill in imagination and meaning and to the fullest extent; it is the use of words, expressions and lyrical images to express epic adventures.

Thoughts originated from ancient Iran and Zoroastrian especially has Khosrowani philosophy affected pre-Islamic works of literature and mysticism. The present paper aimed to study the spread of illuminationism philosophy in ancient Iran and theism in fire (light), Ferah (splendor), and Amesha Spenta in point of view of Zoroastrian scripts and its reflection in Rumi’s thoughts represented in Rumi’s Masnavi. Thus, it is a descriptive, analytical, documentary, and quantitative study which reviewed and introduced the most out- standing promotional effects of Ahura Mazda in Yasna (Yesna) and their tracks in Rumi’s Masnavi. Fire (light) and Ferah (splendor), and Amesha Spenta are three characteristics of Ahura Mazda own holy positions in believes of Zoroastrians and ancients Iranians. These effects especially Fire (light) trace back to divine lights in Zoroastrian believes and scriptures, as well as point of view of Rumi’s Masnavi. Light or light of fire symbolizes God’s manifestation; Amesha Spenta is also related to divine characteristics of God and its social and ritual functions shows the human status in the material world and the divine world and real peace. Rumi used Zoroastrian ritual and mystical thoughts and components in Masnavi to present allegories and express and illustrate his mystical thoughts.

The character as the most important element of the story from the past has had significant changes in terms of features and how to introduce it in the story. In the post-Constitutional literature, the short story was created with the presence of real characters and not the legendary heroes, and the novices chose their story from ordinary people and created a significant transformation in storytelling. In this study, three stories of Mirza, Vilean al-Dawlah and Aftabe labe bam were reviewed for characterization, and we concluded that Alavi and Jamalzadeh introduced the characters through the description, but glory of other techniques such as action and dialogue use he does. Also, the characters of Jalal Al-Ahmad are more familiar to the reader than the characters of Alavi and Jamalzadeh. Alawi has created a political personality that has a behavioral complexity and is typical of the type. Vilean al-Dawla Jamalzadeh can also be considered a symbol of displaced people, but the characters are simple glories. The other result is that the character of Mirza and the characters of Al-Ahmad is apart from the mother of the family,are static , but Vilanah Al-Dula Jamalzadeh and mother of the story of Jalal are dynamic.

Jesus has a wonderful life, the mystical and mystical role of Christ in ascending and returning to its origin is one of the ancient patterns of the Holy Mandala. In this essay, ascension and return are explained by the descriptive-analytic method of modeling man's ascetic life in Christ. Also with a mythical look (circle myth, myth of the perfect man, myth of renaissance, water myth, etc.) and with a mystical insight, it is known that the passing of the darkness of the body in the ascendant, the soul trying to connect itself to the light world, He travels through the fence of darkness and escapes himself step by step with the guidance of a perfect human being and a model of Christ, single, to the Divine Enlightenment and to the certainty that he is the first and last home of the seeker, out of the water of life. Love to drink. This study introduces the mystery of ascension to the attainment of eternity and identifies the place of immortality (love) by following the (old-fashioned) reason that this spiritual journey begins and ends only in the shadow of pain from the same origin. Returns to Return and Return (Source / Destination).

Khaghani is one of the high level poets of Persian poetry and prose in the sixth century AH. He has been a man who has aristocracy on various topics, and he refers in his poems to various sciences. From the sociological point of view of literature, in which, nowadays considered by literary critics, Khaghani's poetry is full of social and political issues. One component of the sociology of literature is popular culture, or in other words, folklore. Khaghani's poetical work is full of folk beliefs of his era. Popular beliefs about animals can be found in the subset of popular culture. Surprisingly, some of these beliefs are applicable even now among the populace and properties.In this essay, the authors have attempted to examine, through a descriptive-analytical method, a section of Folklore in Khaghani's poetical work and to elucidate Khaghani's view of some superstitious material of his era.

Moniro Ravani Pour has surprised the reader via interacting between the outer (real) world with the inner world (story) in «The Gypsy by the fire »Novel. This essay has been attempted to survey Moniro Ravani Pour's «The Gypsy by the fire »Novel via anti-infrastructure critical point of view. Anti-infrastructure critique has been formed basis of Derrida's theory. Firstly it has been applied in philosophy then in literary criticism. Anti-infrastructure critique is based on bilateral confrontation and it has been discussed abut them to discover contradictions, eventually to reject accepted pre-assumptions.These searches lead to uncertainty of accepted believes that they already were certain. The confrontation in this novel is basis on the outer world (real world) with the inner world (story). Sometimes in the novel, the world outside and the inner world will appears eventually. According to antiinfrastructure Derrida's theory, bipolar inner/outer world mean together eventually.I seems that inner and outer world of novel become permeable To the extent that Distinction between them will be impossible. In this paper, the research methodology is a descriptive-analytic type , It is based on a study of the novel, its analysis and description that has been presented basis of a dramatic critique of Derrida.

Saadi's artistic techniques combine simplicity with industry and showcase her to the reader. He sometimes uses efficient tools such as Irony, Shout, Metaphor, Pahlavi, and ... to escape from the Transparency. A new look at the subject of Irony's artistic techniques is finding a way to determine his poetry's power and style. The purpose of this research is to study the analytical frequency of the arranger's artistic instruments, which include: verbal, rhetorical, radical, situational, structural, Socratic and acclaimed, in the poems of Saa'di Shirazi and its comparisons with eulogy, although there are some differences between the Irony, Along with the quill, the use of the cynical structure along with Irony adds to the complexity and ambiguity of the word. The method of this study is descriptive-statistical. The findings of the research show that Irony, as one of the components of language in Saadi's lyrics, is very clear and clear in expressing religious, political and social ideas. The Irony word is the most frequent with 29% and Irony has the lowest rate of 3%. In the meantime, Saa'di's contribution to the use of the eagle and the Irony is noticeably less than that of his contemporaries.

Due to his destructive role Alexander is remembered as an evil and ominous figure in older Persian sources. But, due to the influence of the Greek mythology and culture, recent sources have provided his figure with an aura of greatness and virtue. Scholars well know that Alexander is not given a positive picture in Shahnameh, although they mention two evidences from the text which do not go with this total picture, namely his description as a brother to Darius III, and his being the subject of a long episode in Shahnameh, the latter being regarded as the sign of the high value put on him by Ferdowsi. In this article, we will use the structuralism approach to prove that the claimed brotherhood of Alexander and Darius III is not to compensate the defeat and restore national pride, but to serve as a satire against the rulers whose ineptitude and treason pave the ground for the coming of the invaders. The lengthy treatment of Alexander's character is also due to the fact that he is the founder of the long-lasting Seleucia Dynasty, regardless of how destructive his invasion was. Denunciations of his action and devaluation of his ancestry prove this argument. Here, research data have collected by analytical By library approach and have processed by analytical and descriptive methods. 

We achieve pure contents and elements by a deep attitude and survey among contemporary Persian literature novels which they contain a wide spectrum of various relationships and occasions due to having unique fiction components. Among them, the novel "Heart of Steel" by Moniro Ravanipour includes unique features in order to be analyzed based on the theorists' viewpoint due to having faminism and social occasions and to undermine the women's hidden layers of mind psychologically. Hence, we decided to survey and analyze the proud myth personality in the novel "Heart of Steel" as the main personality of the novel based on Yung's psychoanalytic criticism in the present research, in order to comprehend what arrangements Ravanipour has utilized in her word structure and in processing the fiction personality and how much her word has been able to achieve the absolute individuality by utilizing conscious and unconscious elements and also unique symbols such as: dictator, horseman, Orange tree, the doll old woman and old daughters, and etc., to create unity among multiple dimensions of personality so that it can be surveyed and criticized based on Freud's psychoanalytic viewpoint.

The epic is the description of athletic behaviors valiance and individual or ethnic honors of nations. From so long ago till now, there were cultural relations between different nations. By studying various epics of nations, we can observe many common backgrounds among these epics. At first glance, many of these national epics are the same and even more closer. And the differences emerge in minor cases in cultural and religious fields. Actually, the differences among epics are the reflection of people’s beliefs in every race. The present article does comparison, analysis of “Shahnameh Ferdosi” the greatest epic effect of Persian language with a few famous epics of other nations like Iliad and  capital letter odyssey, Ramayana, Indreh and Krishna. The writer tried to analyze the similarities and differences of other epics with Shahnameh by confronting and comparison of the overall structure of stories. And by drawing the comparative tables display epics infrastructure and their epic heroical character.