نشریه ادب فارسی
سال یازدهم شماره 1 (پیاپی 27، بهار و تابستان 1400)

Mood sentences can have secondary functions and implied indication in addition to first functions. Application of secondary intentions in literature text improve aesthetics mood of text and increases its literariness and effectiveness. Hidden meaning layers can be found in Lyric literary texts more than any of literary genres; duo to abstract nature and having multi layers of sense and imaginations texture Nevertheless, studying in masterpieces epic works shows that epic poets are interested to this and found it helpful for better transferring of massages and deeper effects on readers. This article, at first studies secondary functions and implied indications in the two epic-lyric texts “Zal -O- Roudabeh” of Shahnameh, and “Sam-O-Paridokht” of Samnameh attributed to Khajoo-ye-Kermani. Then through the comparative perspective, studied the implied indications of the question and vocative mood that have the most frequency in two text, and considered them as a criterion of epic or lyric mentality of poets.

Many of the Qur'anic themes that have found their way into Persian poetry do not only include the translation of Qur'anic words and appearances. Mystical poets have usually included interpretive and sometimes interpretive interpretations of poetry.The divine address of "Fakhle Nalik" to Prophet Moses (AS) in Surah Taha is one of the interpretations that has attracted the attention of many poets of the Tariqah. Like mystical commentators, they have completely mystical interpretations of this verse and with different interpretations, have reflected the same ideas in a more profound and effective way.In this article, after briefly outlining the story of the meeting and conversation of Moses (pbuh) with God in the safe valley and mentioning the background of this story, the validity of interpreting such phrases has been examined from the point of view of Imam Mohammad Al-Ghazali. And Rumi, his poetic findings are compared with the interpretive thoughts of Abu Abdul Rahman Salmi. In the other part of this article, the reader can observe some of the thematic findings of Parsigo poets from this Qur'anic interpretation and at the end, study the special interpretation that Mulla Sadra Shirazi has presented in one of his Masnavi from "Khala Nalin".

Ethic authors who are known as mystics, according to the conventional traditions in Islamic monastery (Khanghah) and complying with those endowed with Hadis, devoted a particular value for quotation from Imams of religious way. The efforts were made to recount Sheikh’s words in a way that it can present the exact sayings and contents he declared. Fidelity to these bases, ended in writing a wide range of related Sheikhs’ talks and parables along with their wise narrations in ethics. One of these ethic books is Asrar-ol-Tohid. It is quoted in this book, while Abu Saeed was traveling to Kharghan, Sheikh Abul Hasan and Abu Said Abul-khayr had a conversation in which the word were written: “ once Sheikh Abul Hasan asked Abu Said Abul-khayr: was there a wedding in your home village?” Sheikh Abu-Said said: yes, there was, and in that wedding there were visitors who looked more righteous than bride, but among them just one had all beauty, crown, and throne. Sheikh Abul Hasan yielded saying: hey Sovereign you were beholding your own ambience in a chalice. There are a lot of ambiguities in this talk, and these ambiguities bring up questions; the precise meaning conveyed by these words along with the most important factor which is the purpose of writing them are unknown. The answers of these questions can be found neither in texts of Asrar-al-Tohid nor in other related books. The present study investigate the aforementioned questions in finding the conveyed meaning of the talk and the purpose of writing it. The results of the study revealed that the conversation has a direct relationship with his contradiction in meeting or with the Abul Said’s silence in Khanghah-e-Kharghani.

Adham ‘Uzlati Khalkhali, nicknamed "Wāiz", is one of the mystics of the 11th century AH. He has compiled many treatises on Islamic beliefs, ethics and mysticism, including Şahāif Al-Wadād wa Makātib Al-Ittihād. Since by studying the works of this bright mind mystic, one can understand the nature and place of Sufism, Shiite mysticism and mystical literature in the eleventh century AH, it is important to us to study on this work while it is simple, smooth and able to transmit the ideological, moral, and mystical issues; Therefore, it seems necessary to have a revised version of this treatise without of wrongs. This work has already been published in a collection entitled Adham ‘Uzlati Khalkhali’s Persian treatises, edited by Abdullah Nourani; However, the lack of critical method in this correction, its avoidance of research and annotation and comments, the lack of methodological introduction or  any explanation about  the method which used by editor of the work and lack of introduction on the treatise and also lack of explanation about  the  author's position among his contemporary mystics and thinkers, as well as the editor’s defects and slipping during the procedures of correction of the manuscript, Leads him to incorrect theories, misreading, bad selections, and incorrect reports about the text of the treatise. So the presented article suggests a new correction of the treatise in a critical way according two steps of a standard method of edition of manuscripts: correction of the text and study on the texts.

Ancient manuscripts play an important role in the textual criticism due to their proximity to the time and language of the author. The oldest version can be trusted more than other versions, especially when the scribe's fiduciary inspires the corrector's trust. A rare example of these manuscripts is the ancient version of Sharh al-Ta'arruf Li- Madhab al-Tasawwuf, which is kept in the National library of Karachi. This manuscript was written in 473 AH, and it is the second available Persian manuscript in the world. The comparing of this manuscript with the printed text of the description of Sharh al-Ta'arruf shows that this text has deviated from its original text in various ways. We have compared the Karachi version with the printed text and we found that some dialect words, special Persian and Arabic words, ancient lingual and grammatical features and original expressions have been changed, in a way that the printed text has lost many lingual features  and  its literally style. In addition to showing the value of this manuscript, we have also corrected some of the ambiguities and errors in the printed text.

An important part of folklore dedicated to folktales. More than literary benefits, a scientific look at folktales discovers us to find a way to the cultural delicacies of human societies were in the length of history. The story of Kamrup and kamlata which is introduced in present article, is a folk tale Manuscript has wroted in Safavid era by Fayez Nazar in the land of India. This story describes adventure of a borned- Raja, who leave the kingdom to join his beloved. He walks with his friends on a long and terrible journey. After enduring much suffering and passing of bitter and sweet events, finally he visit his darling and  at the end, returns to his own homeland. Based on descriptive-analytical method and relying on in-text cues and the use of library resources, present research tries to examine the activity of characters during the journey of hero, as well as the evolution of some characters and explain and analyze its mythological and cultural signs. The overall goal is to show the literary value, richness of the story and the connection of its content with the social structure of India. By analyzing the story, it was found that the passage through the water It has been used as one of the test patterns in the story. It can also be found that the relationship between the elements of Kamrup story is a reflection of Indian society which is expressed in the form of a folktale.

Majd Hamgar is one of the poets of the seventh century AH who was a contemporary of Saadi. He held a high position in the court of the Salghuri kings. A collection of quatrains of this poet - over 610 quatrains - has been written by his grandson among the manuscripts of the Divan of four other poets in four sections. This exquisite edition, available in the British Library, has unique features; and has been considered by researchers. In order to know the important features of these quatrains in terms of subject matter and verse music, this version has been studied. The result is that Majd Hamgar's quatrains have been written on various subjects such as love themes, advice, herds of the world and destiny, satire and description of the beloved; and the poet has given a lot of importance to inner and side music. About half of his quatrains are in rows and a significant part of these quatrains has rhyme in four shutters, or rows and rhymes and in many cases, the end of the third stanza is related to the rhymes of the other stanzas united, as well as the letters, the allied, or in some way. It is a sign of the poet's attention to side music. Regarding the poet's view of external music, it should be said that the poet paid more attention to the shajar akhrab. The weights used in his quatrains are associated with various zehaf.

In Islamic mysticism, Ibn Arabi's view on the knowledge of man and his levels of existence has a special place. According to his opinion, the universe as a whole and all its manifestations are the manifestation of the one essence of God; Accordingly, the world and the human soul are the result of the Illumination of the Aghle faal, and the soul has levels that are longitudinally related to each other; That is, each of these levels has a higher position than the lower level. According to this view, the soul includes the following levels: Rohe mojjarad, Nafse nateqa (aghle nazari & aghle amali), Nafse heyvani (rohe bokhari) and the Physical body, and among this, the soul, moves this path every time in order to communicate with the body. By looking  at the fourth story of Amir Khosrow Dehlavi's book Hashtabhesht, its secret and symbolic deep construction is revealed, which in this article, we have studied it with a descriptive-analytical method. According to the obtained results, this story was written under the influence of Ibn Arabi's thoughts and in it, "Shah" is a symbol of the Nafse nateqa which, by illuminating the Rohe mojarrad , reveals the secret of existence and told it to one of his wifes (the secret of Aghle mostafad) and The himself minister (the secret of Ghoveye shahvat). The minister abuses his trust and replaces the king; But finally, the king, with the help of his wife, defeats his.

The manuscript of Kalam al-Muluk (1403 AH) is a Persian mysticism work in Persian written by Kamaluddin Haji Baba bin Mirza Jan Qazvini, one of the most prominent students of Sheikh Baha'i. The only version of this manuscript is kept in the library of the Majlis in 10294 entry. Kalam al-Muluk of Baba Jan Qazvini is about the circumstances and words of mystics and saints. Therefore, considering that it shows the author's mystical thoughts and ideas, and like most mystical texts, its prose is simple and far from ambiguity and complexity using simple and short sentences, its content is also a symbol of the rich mystical culture of Islamic Iran and the record of Persian-speaking mystics reflecting a manifestation of our Iranian identity and culture.The present article tries to answer the main question that why more than ninety percent of the mystical text of Babajan's theology is similar to Attar in terms of form and content via a descriptive-analytical method. The results of the research show that the mystical memoir of Kalam al-Muluk cannot be considered as an independent book, because the work is a writing and refinement of the memoirs of Attar. Since Babajan was a scriber and transcribed the works of mystics, it seems that he wanted to create an anthology of mystics’ lives.

This article studies the function of the personal style of Manuchehri Dāmghānī (d. 433 AH) in panegyric poems and boasting poems. Manuchehri has written various eulogies and panegyric poems that have been distinct in their own ways among all his contemporaries due to their poetic features and his mastery of the Arabic language and literature. Deploying a descriptive and analytical method, the writers try to answer the following questions: what is the relationship between boasting poem and panegyric poem in Manuchehri’s poetry? What are Manuchehri’s techniques in his panegyric and boasting poems? What are his differences from his contemporaries in this regard? And which factors have led to his use of this new style? After elaborating on Manuchehri’s personal style in eulogy and boasting, it is argued that Manuchehri’s new method has rooted in his knowledge of Arabic literature as well as his awareness of famous Arab poets and literary charaters. It is concluded that Manuchehri has deployed not only Arabic language -- as a means to express grace and antagonism-- but also known literary characters of Arabic literature along with some quotations, poetic images, themes, and implication. It is understood Manuchehri’s personal style is the result of his delicate mixture of panegyric poems with that of boasting poems, and it has been done consciously since he has eulogized himself for that.