نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 47 (زمستان 1399)

One of the most challenging parts of Shahnameh, is historical part,whether it can be considered in historical studies or completely outdated legends that cannot be trusted in historical studies. In this essay, with a case study of Balash and the degree of convergence of the narrative of Shahnameh with the Islamic sources, it became clear that the historical part of Shahnameh can also be regarded as a reliable source along with other historical sources; As succession Balash in the absence of Firouz, the transfer of monarchy from Balash to Ghobad, the supreme position of Sukhra during the reign of Balash, the reconciliation request of Khoshnavaz in Balash period, the four years of the kingdom of Balash and his justice and tolerance,has narrated in both Shahnameh and historical sources, and an interesting Similarity between Shahnameh and the historical Islamic texts is seen. but as historical sources themselves disagree in many cases, the confrontation of Ghobad with the reign of his younger brother, the way of transferring the power from Balash to Ghobad, the confrontation Sufra with Khoshnavaz and the built Several cities by Balash, in Shahnameh and historical texts, there are seen some heterogeneity. But the most fundamental difference is that, contrary to Shahnameh, which, without any tension, monarchy transfer from Balash to Ghbad, in most of the historical texts, Ghobad resorts to Khoshnavaz to overthrow Balash, while this adventure in Shahnameh follows after the reign of Ghobad to removal his brother Gamasp, not Balash.

 Baha Soltan Al-Valad is one of the reflective mystics and one of the pioneers of Molavi,s school of thought who could preserve and develop his father’s school of thinking by describing and explaining his father’s words and organizing Moulaviye chain. He not only was the commentator of Moulavi,s thought, but also he has achieved so many novel experiences in the mysticism which had particular reflection in his works. Comprehensive contemplation in his works shows that he was deeply influenced by Qoran. Soltan Al-Valad considers himself as a commentator of Qoran and believes that he is able to unravel the Qoranic verses and unveil the mystic meanings of Qoran because of his practical succession and understanding the dignity of emanation in God and entering the threshold of divine subsistence.Even in his sonnets, he has Qoranic speech and explains and describes many of the mystic and religious facts using on the verses of Qoran. In this study, the authors investigate the Soltan Al-Valad,s Qoranic allusions and echoes. The results of the study show that the verses of Qoran have been widely used in Solta Av-Valad,s sonnets and he has applied them in line with his thoughts and sometimes he has glossed them. He makes use of the prophet’s anecdotes to explain the principals of mystic deeds and in many cases, he compares himself with the grand prophets and adapts the events of his time with those of the prophets, time.

The play is one of the most important literary genres that has been underestimated in Iranian literature. Vikramōrvaśhi is an eastern play from the labyrinthine land of civilization, mysticism, and illumination philosophy of India, written by Kālidāsa, one of the most prominent writers in the Sanskrit literature of India. The authors of the present paper intend to study the plot structure of this play based on Aristotle’s Poetics by an analytical-descriptive method and using library instruments in order to answer the main question of this research: Are the structures of the old Indian plays comparable to the poetics of classical Greek plays despite their similarities such as the beginning and the performances of the plays, the presence of characters, conversations, etc.? The results of the present research indicate that, despite the inevitable similarities, Vikramōrvaśhi’s play has the story-in-story structure of the Eastern stories. The story plot includes side events with a climatic structure each of which has an executive independence, and accordingly, the Indian play has an episodic structure. The intervention of deities and the extraterrestrial forces have moved the play away from the Aristotelian cause and effect structure, and removed the wisdom of the classicalism from this play, and due to the Hindus’ belief in karma, there is no definite end to the play, and in some way the end of the events equals another beginning which gives the play a circular state.

Fatalism is one of the major discourses in the field of literature. In many of his actions, man accepts the ‎‎free will consciously and unconsciously, but when he fails to resort to fate and believes in and speaks of ‎‎the supreme will that has finally subjugated him. Whereas, based on the theories of theorists such as ‎‎Yule, Brown and Fairclough, discourse analysis is applied to language, it cannot be limited to describing ‎‎linguistic statements that are independent of the purposes and functions that these statements are ‎‎designed to address in human affairs. , Given the high frequency of words like "fortune" in the books of ‎‎many poets and writers, these words should be regarded as "signified" words that carry the meta-‎‎semantic and transnational concept, rooted in the subconscious and ideology of their speakers. In this ‎‎article I will attempt to examine the relationship of these words in "Haft peykar” ‘s Nezami poem with ‎Zurvanian fatalism thinking and to analyze the discourse based on Norman ‎Fairclough 's theory of ‎analysis. In this article, while discussing these vocabulary, the persistence and ‎effect of Zoroastrian-‎Mehri fatefulness on the thoughts and works of writers and poets, as well as the ‎transmission of this ‎thinking to later periods are discussed‎

One of the aspects of literary activities of Saadi, the great poet of 7th century, is related to ghaside. Many years ago, when Saadi steps into poetry arena, odd has been reached perfection, and other poets with his same language were progressing. Saadi's poetry life is associated with the cadence of elegy and his tendency is more to lyrics. In this research we are going to show Saadi's art in this little arena. We look up his adds according to linguistic Persian concern. He speaks as a brevity language. At the same time his words are clear and without ambiguity. Subtle language is as a result of Iraqi style. In which the oldness of inflexions and syntax has been seen less in old coordinates complicated of odds language. Saadi enlists soft words in his odds and he doesn't have any tendency in abbreviation language. Mystical themes with its words and terms has been seen same as singular or merged in his odds. Sometimes we find colloquial language and words in his literatures. Syntactic techniques which cause eloquericy in his lyric poems has been seen in his odd and meter of his poems has become soft and consistent. Consonants and vowels in his odds can pronounced easily and nothing will be diminished in his poems. In this opportunity we look up Saadi's odds in 3 levels of phonetics, lexical and syntactic based on descriptive and analytic method and with the use of statistical table that we try to clear the subject

The discussion of literary genres has always been one of the most important topics for researchers in the field of literary theories. Since appearance of the literary genres- Aristotle era- until today, there has been a serious and wide-ranging debate on this issue. One of the most important questions in this field is how and why new literary genres emerged. Questions like these indicate that literary genres have changed and expanded throughout their lives. On this basis, the issue of methods and motives for the evolution of literary genres is formed. This article, which proceeds with a descriptive-analytical method, tries to answer the question of how and why literary types evolve while defining literary types. The result shows that new literary types, generally emerges through changing or reviving old literary types and with methods such as changing the subject, changing the size, changing the nature, combining two or more literary types, changing the focus, etc. Also, the motives of these changes are the order or need of the society, the way the work interacts with reality, the necessities arising from the way of expression, the special situation of the audience, the more effective the outdated and introductory literary type, its adjustment with a subculture and etc

Each of the forms of Persian poetry has special stylistic and structural features that knowing these features makes a better understanding of those formats. Ouhad al-Din Anwari Abivardi is one of the great Persian poets in the sixth century AH, whose poetry collection has been composed in various forms of ode, lyric, piece and quatrain. Anwari's style in her poems, especially in her quatrains, is the intermediary between Khorasani and Iraqi styles. Since each form of poetry plays a special contractual role in the literature, the quatrain is one of the original forms of Persian language that has been used in various themes such as: transient life, love themes, philosophical topics, educational teachings. Research on quatrains suggests that most quatrains are enduring that structurally have three constructs: description, recommendation, and analysis, and conceptually, philosophical concepts, seizing opportunities, educational, and love themes. In this research, the structure and theme of 100 quatrains of Anwari quatrains have been studied by descriptive-analytical method and based on library sources. The findings of this study show that in the structure of Anvari quatrains, three models of description, recommendation and analysis have been properly observed. From the thematic point of view, philosophical concepts, tail swings, and valuable educational themes have been used, all of which have strengthened the poet's quatrains.

Empathy is one of the ten life skills in the definition of the world health organisation. In this research, based on the mention skill, the characters of Shahnameh have been psychologically analyzed. In this way, types of empathy have been explored in this valuable work. The concept of empathy in psychology has also been explored. It has also been examined who in which style of behavior and for what reason is more proficient than others, and whether all the empathies of the Shahnameh is genuine and effective, is the central theme of this article. Reflecting on the Shahnameh, we find that ministers and advisers, servants, and members of the kings and heroes' families have the greatest role of empathy in this immortal work and empathy is sometimes supportive and affectionate, and sometimes from supportive to expedient and sometimes used to refuse an inappropriate request. In Shahnameh, those whose communication style is daring usually empathize with others because they have healthy, decisive and appropriate expression and behavior