نشریه نثر پژوهی ادب فارسی
سال بیست و چهارم شماره 50 (پاییز و زمستان 1400)

Dorreh Nadereh is a historical-literary text which is difficult to communicate with due to the stilted industrialization in language and the distance from the natural state. However, due to the alienation and the use of formative techniques, it takes on a special literature. Mirza Mehdi Khan Astarabadi in Dorreh narration has given a literary aspect to his expression so that linguistic prominence can be seen in it. Since the language in the text of the Dorreh is affected by defamiliarization, it is possible to retrieve and explain the alienation aspects of the discourse in it. The present study is the examination of prominent highlighting in the Dorreh Nadereh with a formalistic perspective (addition rule) and analyzes the arrangements that have realized the literature of the text by creating balance and acting on the outside of the language. Including these linguistic techniques, we can mention phonetic (Alliteration, magic of approximation, semantic sound), lexical (incomplete and complete similarity) and syntactics (Accompanying and substituting elements which have same rule) balance. The authors of this research have tried in a descriptive-analytical research, based on library sources to examine the aspects of balance in the text of the Dorreh Nadereh by mentioning and analyzing examples.Keywords: "Dorreh Nadereh"."Foregrounding"."Parallelism"."Phono-semantic"

In Arabic literature, al-Hariri, fixed the limits of Maqama genre. The most obvious feature of its literary style is saj' and interweaving verses within prose and it has a certain kind of narrative structure that is made up: isnad, introduction, link, episode, recognition scene, envoi and finale. Gradually Munazara (debate) became one of the main subgenres in Arabic Maqama, writing Maqama-Munazara flourished specially after Al-Suyuti "al-Vardia" Maqama, usually with personified non-human characters (Zaban-e Hal). Maqama-Munazara was one of the usual subgenres in Hebrew Maqamas. Munazara was the main subgenre in Persian Maqama too, rebuttal to the famous statement demonstrated that the Maqama genre continued through Golestan and his followers. Abu Sa'd Tirmidhi wrote Maqama-Munazara with personified non-human characters and he showed the capability of this kind of literary Genre by adding praise to it. After him Maqama-Munazara became one of common genres in Persian prose, and even Ubayd Zakani wrote parody of this genre. As the genre evolved, stories with personified characters emerged in which the debate had faded.

Marzbannameh is one of the brilliant examples of technical prose in the seventh century AH, which, despite its high status, some of the aesthetic aspects and artistic accuracy of this great literary work have remained unknown. This research uses a descriptive-analytical method to explain and analyze the “Equivoque” in Marzbannameh as one of the hidden stylistic features. This innovative figure of speech has provided a good context for creating forms of imagination, metonymy, textual coherence, and development of intensions and meanings in texts. A review on the definitions of this type of ambiguity and also the study of the types and functions of this figure of speech in Marzbannameh are the topics investigated in this research. The results of the research indicate that Equivoque in Marzbannameh does not fall within the definitions of this figure only, and it has effects in different levels of word, composition, sentence and beyond with usages such as creating various literary techniques such as implicit similes, allusions, irony, and expanding and reinforcing meaning, developing and completing meaning in the formation of various contextual layers and multidimensionality. Many of the ambiguities of Marzbannameh are created vertically in connection with the preceding and subsequent clauses and are not limited to one or two sentences.

There are some proses in all literal genres which have theatrical capacity. Studying these capacities leads to reveal important aspects and delicate angles of proses. Sufi and mystical works are the ones which can be studied in this perspective. The current study aims to figure out theatrical capacities of the spirit adventure in Mersad-ol-Ebad. This work is considered as one of the superior sufi prosesin terms of form and content. In this adventure, theatrical elements play an important role in transferring the author’s mental contents. These elements, with a focus on processing the spirit character in a background of complicated metaphysic situations, have helped the relationship between the audience and the prose. The findings from this study reveal that the most obvious elements and theatrical techniques of this adventure which were more efficient in inducing various contents leading to the consistency of spirit character are characterization, action, conversation, and conflict respectively. The most important contents which are induced through these elements and techniques are the nature of spirit and body and their conflicts and agreement, willingness to return to the spirit birthplace, love, knowledge and its difficulties, adored and faulty world, and perdition and survival. Willingness to show theatrically is obvious in this adventure when these elements and techniques are used to narrate the story. However, this is much more clear when both effective techniques of illustration and allegory and two action elements, reaction and conversation, are applied.

The Sa’di researchers have often assumed the tales of the Golestan to be “real or semi-real incidents” and, then, interpreted the tales in line with this assumption. For instance, they have considered the internal genre of the tale of “Faqih’s Extremely Ugly Daughter’s Marriage to the Blind Man” to be based on a true daily story about the “importance of woman’s beauty in marriage”. The consequence of this certain type of reading is lack of convergence in the existing interpretations and accusing Sa’di of contradictory and even futile words. The writers of this research paper, however, believe the tale to be a “symbolic-metaphorical allegory” and its subject to be “a criticism of political behaviors of those faqihs (jurisprudents) serving the men of power”. The body of this tale is composed of tangible and experimental structured concepts with a long metaphorical history in the Persian literature which are used to form a secondary concept. The correspondence between the parallel lines of “semantic field of each word” and its “metaphorical field” reveal the network of partial implications and finally the writer’s intent. Therefore, “the faqih’s extremely ugly daughter” is a metaphor for the “daughter of imposition” or “the faqih’s extremely meaningless words”, “reluctance to marriage” is a metaphor for people’s reluctance to read the faqih’s works, and “the blind son-in-law” is a metaphor for a reader who has no common sense.

In this paper, the comments of Professor Amir Hassan Yazdgerdi on the Nafsat Al Masdoor has critiqued and analyzed: Despite the scholarly careful consideration of Professor Yazdgerdi, some points ,although limited, remained unclear in this book, which checked in this paper. Some times, Persian and Arabic vocabularies of text has criticized and analyzed; In some cases, Arabic poems translation and some times quranic verses translation have analyzed; Correction ofsome vocabularise or phrasses has also discussed in this paper. After notice any above points from book Nafsat Al Masdoor, comments of the deceased proffesor is mentioned; then is addressed to enlightenment about ambiguities as the main purpose of this article by description and analysis method and by citing the valid sources and necessary arguments. The necessity of conducting this research is the imortanceof Nafsat Al-Masdoor as a important literary work for the friends literature and researchers. This book especially is one of lesson sourses for PhD students inthe field of Persian literature.

Aadab al-Harb wal-Shaja’a is one of the Persian prose texts written in the first half of the seventh century by Muhammad ibn Mansour ibn Saeid, known as Fakhr-e- Mudabber on the subject of politics and governance, cavalry and war. wrote this book in forty chapters and dedicated it to Sultan Iltutmish, King of India (d. 607-633) Aadab al-Harb wal-Shaja’a was published in 1346 by Ahmad Soheili Aadab al-Harb wal-Shaja’a Khansari based on six copies. In 1354, Mohammad Sarvar Molaei published six new chapters of the text that were not published by Soheili Khansari in a treatise entitled The Rite of Statehood. He has compiled these six chapters from a copy belonging to the Court of India, which has a different name,"Adab al Muluk, Kufay al-Muluk," and Soheili ignored it. In this article, using the five manuscripts we have tried, first, to explain the position of the version belonging to the Court of India and why its title differs; And after that, correct the mistakes of the state ritual. Our research has shown that, the etiquette of kings and the sufficiency of the kings is the revised version of the author and the most comprehensive version of the subject and title. Another is that the rite of state has errors and mistakes that need to be corrected. By correcting these errors and giving the necessary explanations, we have emphasized the need to correct this text and publish it along with other sections of the etiquette of war, in a single volume

Wonder letters are the works, which describes the wonders of the world and apparently illusory topics. A range of different sciences such as, geography, astronomy, philosophy has come together along with relatively folk beliefs. The authors of the present study seek to investigate the subject of creation and its quality in Toosi's Ajayeb al Makhlooghat and Gharayeb al Mojoodat, to get the most popular perceptions of the Toosi's time about the examples such as, existence and creation through this issue and consider this possibility that whether Toosi in the design of these ideas in this work,proceeds based on certain structure or not!The authors of these study have been used the descriptive analytical method, in the initial stage due to the diversity of the opinions in the aforesaid work, first they have categorized intellectual tendencies and then with the focus on the subject of creation, reflect saparatly the opinions of the wise men, philosophers, legislators, theologians, Dahrion(naturalists) and according to the investigations obtained, Toosi tries to set a kind of equation in the presenting of opinions, but at the same time has more emphasis on the opinions of legislators. He benefits from the argumetative framework of the theologians and the knowledge resources of the wise men but does not try, in order to validate these groups. The structural diagram of Toosi ideas adjusted in the subject of creation based on the matter,rank,modes and the conclusion of that is the world of possibility which duality of man and soul is its manifestation.

Samak-e Ayyar by Faramarz ibn Khodadad Arrajani is a Persian folk tale that Parviz Natel-Khanlari corrected and published based on its only manuscript kept in Bodleian Library, Oxford University. In the manuscript of Samak-e Ayyar, some words, phrases, and verses are mistakenly used, and the names of some of the fictional characters are inadvertently mentioned instead of the names of other characters. Natel-Khanlari corrected many of these slips and errors in his revised text, but others remain. This article seeks to correct these slips. The method employed for correcting erroneous verses is to refer to the poem collections of the narrators of these verses and present the correct forms via a deductive method. In a separate volume entitled The City of Samak, the editor of Samak-e Ayyar has recorded the meanings of many words and expressions that have not been included in dictionaries. The meaning of these words is given in this article concerning dialect dictionaries and the meanings of the phrases. The research results show that the correction of Samak-e Ayyar was done with great care, and its slips and errors are minimized. Retrieving these errors correctly and capturing the meanings of the neglected words helps the reader read this exhilarating story more eloquently and understand the precise and narrow meaning of some of the sentences

One of the notable books of the Qajar period is Tabashir al-Hikma, the secret of Shiraz, which was created with the approach of literary return and simplification. Although this work is considered a mystical text, but in the narration of Noor Mohammadi, it has a common theme with the history of Sistan and it seems that it was written under its influence. Therefore, a comparative study of the history of Sistan is a good way to understand this work. In the history of Sistan, the story of the birth of Mustafa (PBUH) is full of amazing events that have been believed with narrative techniques. Has the author of Tabashir al-Hikma been able to use narrative techniques to make amazing events believable? In order to find a suitable answer to the descriptive-analytical method and with emphasis on narrative theories, this article has compared Noor Mohammadi in these two works. The results show that the author of the history of Sistan, by diversifying the narrative language, benefiting from the narrative and dramatic narrative, constantly changing the narrative center, using authentic historical and religious characters, benefiting from the narrative language of the main characters From the first person point of view, using the narrative perspective of the anti-hero, sacred voices, variety in the narrative aspect to create emotional language, dialogue, etc., has been able to make the story of Mustafa (PBUH) born artistic and believable. Although the author of Tabashir al-Hikma, while being influenced by the history of