فصلنامه متن پژوهی ادبی
پیاپی 91 (بهار 1401)

Khajeh Kasani is known to have been one of the influential figures in Naqshbandi school, who was influenced by the sages of this school in theoretical and practical mysticism. Explaining the principles of Khawjegan school, he enriched the nature of the school with his works and influenced the school with critical and enlightening views. This research aims to compare the formative principles of Naqshbandi Ahrari school with those of Khajeh Ahmad in a descriptive-analytical method relying on library resources and manuscripts. It is shown that the main doctrine of this school is based on attaining awareness and consciousness considered to be available in all eleven principles of this school. The principles of belief are consciousness at the moment, glance at paving, paving in the innateness, isolation in community, reminiscence, returning, maintenance, storing, numerical mastery, temporal mastery, and heartfelt mastery. Kasani explained seven principles of consciousness at the moment, glance at paving, paving in the innateness, isolation in community, reminiscence, returning, and maintenance, and regarded the four other principles dependent on those seven. Although Kasani described the teaching of Naghshbandi to express these seven principles, adhering to his predecessors, he made subtle differences in explaining these principles, the theme of which originates from his view on innate transference.

The present study deals with the investigation of the time theme in the images existing in the Arash Kamangir (Arash Bowman) epic epopee written by Siavash Kasraei. The research is based on Gilbert Durand’s theory. Durand divides the images into daily and night epopees by the images classification. Some parts of the images and symbols show the fear of time passage and death and another part associates the attempt to overcome this fear. This research, written in descriptive-analytical method, is trying to answer the question of which of the artistic images with its symbolic features in this work show the fear of the time passage and the death occurrence as well as the attempt to overcome this fear with regard to the imaginative biography of Kasrai in Arash Kamangir’s work. The result of this research indicates that although fear of time passage and death exists in Arash Kamangir, this fear and anxiety do not lead to hopelessness and despair dominance, but the Kasrai thought is more oriented towards the daily epopee of imaginations along with positive valuation and it indicates that the poet softens the death image in his imagination and tries unconsciously to overcome the fear of time passage by the tendency toward the positive symbols.

In analyzing epic texts, one encounters the special presence of some animals in the development of the epic genre, this presence is at times positive and totemic, and at others negative and evil. Like the wolf which in a number of world myths and epics has positive functions, but not so in others. In Shahname as well, the appearance of the wolf is mostly negative. Through the method of text analysis, this article aims to investigate the reasons for Ferdowsi’s negative view of the wolf. The results show that one important reason for presenting a negative and evil picture of the wolf in Shahname is the devilish presence of this animal in religious texts of ancient Iran, in which it was deemed a positive and rewarding action to kill this wolf. The other reason for this issue is that in Shahname, Ferdowsi equates Turanians with Turks. When he mentions Turanians, he likens them to wolves and uses the negative characteristics of these animals to describe them.

From a long time ago until now, with referencing to the common narrations and the three verses attributed to Ferdowsi, Shahnameh has been famous for having sixty thousand or nearly sixty thousand verses; while the number of verses in the oldest manuscripts, as well as valid printed texts, does not exceed fifty thousand verses. The present research seeks to answer the questions such as where, when, and by whom these numbers became popular and how many verses the manuscripts and the famous printed texts have, by separating the fictional sections. This research consists of four parts: 1. Reviewing and criticizing verses related to Ferdowsi about Shahnameh’s verse number. 2. Reviewing various reports on the Shahname’s verse number (Including the quintet introductions of Shahnameh, biographies, historical, literary, geographic, and Rijali (narrator evaluation) resources, and various views of contemporary researchers). 3. Recounting and presenting the exact number of Shahnameh’s verses by fictional parts, based on printed copies of Turner Macan, Julius von Mohl, Berookhim, Dabirsiaghi, Moscow, Kazzazi, Jeyhooni, and Khaleghi. 4. A discussion about semantic significations of the number "Sixty" and "Sixty thousand". The authors assert that the number "Sixty thousand" was not versified by Ferdowsi. But this number was used by the Shahnameh enthusiasts in the late of his life, or a brief time after his passing, with the meaning of "plurality", "perfection", and "approximation" in describing the number of Shahnameh’s verses. Based on the famous narrations, at least starting from the sixth century, verses have been versified about the sixty thousand verses of Shahnameh and are annexed to Shahnameh.

The term “تضخیم الانا” in Arabic is closely related to the concept of narcissism and a sense of self-importance; because putting too much importance in one’s self will lead to narcissism in its highest stages. This article attempts to investigate and analyze this issue as well as decentralism and cultural antagonism on the one hand and centralism and nationalism on the other, which is discussed by writers and critics in Arabic literature as a contradictory action. This article will therefore investigate the challenge this issue is causing. This article will show that the actions of some Arab critics and writers have led to the loss of the spirit of moderation and cultural connection, resulting in othering and the emergence of hegemonic discourse. In such works, the discourse is based on a central signifier, which is narcissism. Therefore, an attempt has been made to show the methods of othering and sense of self-importance by Arab writers and critics. In this study, an attempt has been made to prove, according to the critical discourse analysis approach of Ernesto Laclau and Chantal Mouffe, that othering and marginalizing the other will eventually become a chronic disease, which will result in a crisis-afflicted and perplexed generation which is stuck between their past and present.

In stylistics books (and some articles and margins of texts) usually, the linguistic coordinates of ancient Persian texts are discussed in a separate section. In this section, researchers have tried to explain the salient morphological, syntactic, and phonetic features of the texts. But in some cases, because the Pahlavi texts (Persian texts are their logical sequence) were careless, there have been errors in describing some of the coordinates, naming them, and mentioning the evidence, and most importantly, the background to many of these functions is not mentioned. In the present article, we have set the criteria and benchmark as stylistic functions that have been shown in Middle Persian (Pahlavi) texts. In this way, we have reviewed some of the coordinates of ancient Persian texts under two headings: 1. "properties that are incorrectly described" 2. "properties not addressed".

The Burzō-nāma is one of the most famous epics after the Shāh-nāma, which, despite the recent studies of the last two centuries, there are still many uncertainties about it. The small or old Burzō-nāma, the first part of this two-part epic, has remained largely an annexed story to the Shāh-nāma. This research, for the first time, has tried to clarify the textual relations of this work with Shāh-nāma by analyzing more than 50 manuscripts of Burzō-nāma, based on textual criticism. According to these results, the author of the work wrote the text in the continuation of the story of “Bijan and Manije”. Although at the beginning of the story, with flashback technique, he briefly reminded her mother's pregnancy and her birth to continue Sohrāb's fate. Due to contradictions in the text, in most manuscripts, the scribes deleted this primitive reminder. But in a small number of manuscripts, they transferred it to the continuation of “Rostam and Sohrāb”, and changed the king of Iran from Kei-khosrow to Kāvus. They also deleted the “Soosan” episode and added an episode about the death of Borzō at the end of the story. Of the four episodes of the poem, the only annexation to the poetry is the episode of the death of Borzō, which was not in the original manuscript, and no mention was made of his death. For this reason, the ending of the poem was an open-end and another poet has been able to continue it.

Symbolism was initiated by Nima Yushij, a contemporary poet. Symbolism sought to express the social and political problems of its age. Many poets were affected by his movement and Safarzadeh was not an exception. Her poems are a reflection of her age, and as the socio-political circumstances were not right to express one’s ideas openly, she resorted to symbolism. Accordingly, the present research aims at analyzing the function of symbolism in Safarzadeh’s poetic style. The findings indicate that symbols are closely interwoven with her own religious, social, and political experiences. Colors, nature, and national and religious myths connote many other ideas and themes and thereby the audience faces a multilayer of meanings.

Human beings today, due to the growth of industry and technology, have departed from ethical standards and values, so they need to do everything in their power to promote this vitality. Erich Fromm does not consider psychology to be separate from ethics, so he views human nature and personality in life as a combination of non-fertile orientations, including recipient, exploitative, market-oriented, and fertile and spontaneous. He extensively values human dignity because he believes in the principle of humanity in the life of humanism. Man has a high place in Behbahani's poetry because he believes in the existence of the Necessary Being and believes in it as a source of power beyond man. The purpose of this essay is to analyze the orientations of personality (fertile and non-fertile) in the psycho-sociological approach of Erich Fromm in Simin Behbahani's poems in order to understand his personality and thoughts more and more. The research method in this study is analytical-descriptive. Behbahani and Fromm consider man's place in existence, his evolution, prosperity, and achievement of goodness and transcendence, but the obvious difference between them is the man-centered forum and religion-centered behavior.

This idea that the poetry and poetic style of preceding poets was disregarded in the Safavid period and only the poets of Regression School started this movement in order to promote the Iranian literature seems to be void of truth and precision when we explore literary tazkirehs and manuscripts of this era, particularly the divans of the tenth and eleventh centuries’ poets and also some treatises in literary criticism by Iranians and Indians. Omidi’s divan is the most important document refuting this idea to the extent that most of his poems have been mixed with sixth-to-eighth-centuries poets like Sanaei and Salman Savoji in many manuscripts and even in the memory of literary men. While keeping the classic style of ode-composing, he has created some novel nuances in this genre to the extent that he backgrounded old patterns and made future poets follow his style in ode-composing. Unfortunately, his poems were scattered and uncompiled some years after his death and only one of the Shah Safi’s jesters attempted to prepare a manuscript of his divan following the order of Shah. However, most of his poems have been recorded here and there within literary anthologies and sometimes under the name of another poet or vice versa causing many difficulties for understanding and reaching his poems. This research which has been done by exploring various original literary and historical texts as well as seeking his poems from within almost forty manuscripts of anthologies aims to elucidate different aspects of Omidi Tehrani’s life as much as possible and a generic analysis of his poetry is provided. Consequently, his stylistic and rhetorical features are revealed to some extent and finally his position in the history of literature is identified.

In stylistics, surface structures are very important. The surface structure that the author chooses from possible surface structures to express his view of deep structure causes to produce sub-meanings, resonances, stylistic, and rhetorical devices. Thus, the syntactic structure of a text plays an important role in its style. The story of Samak-e Ayyar is one of the most prominent championship chivalry written in the sixth century. Using the descriptive-analytic method, this study examines the syntactic layer of the tale and its proportion to the theme. The most important features are artistic conciseness; high frequency of verbs in sentences; abundance of short sentences, independent and dependent sentences; the beginning of verbs, displacement part of sentences because of rhetorical motive, the abundance of active and state verbs, and creating active voice, use of prefixed verbs, the emergence of grammatical mood in verbs of sentences, dominant of the indicative mood, rising and falling intonation in speech. Also, linking sentences are a mixture of discrete and coherent styles that give the story some kind of movement and fluency. It can be said that the syntactic structure of this story is proportional to its theme and plays a key role in its conveyance of meaning, clarity, enjoyment, and acceptance.

It could be said that Nezami’s Haft Peikar is a book about the unity of Hero and his holy joining to his Anima which leads to a sort of self-awareness according to a variety of symbols or meaningful metaphors. The appearance of collective unconscious archetypes of this book put it in an aura of ambiguity that cannot be understood unless by psychological approaches to myth. The archetype of “archetypal woman” or “archetypal mother” in symbolic travel of Bahram and his different steps of self-awareness examinations is a movement from the deepest layer of darkness to the heart of lightning. In the stories of this book, some kind of deficiency and lockage in Hero’s psych cause him to move and travel to open the unknown windows. According to Nezami’s report, the mysterious life of Bahram changed him into a mythical hero that at the end of his life was an aware man who reached a kind of metaphysical individuation. The main concern of this article is the Bahram’s travel which happened in order to reach a kind of regeneracy and the consequence of events and their internal connections empower the self-awareness process of the Hero. The aim, by revealing the psychological side of myth and analyzing the symbolic elements in HaftGonbad’s stories, is to investigate the internal connections between stories and make all fictional actions and reactions meaningful in line with improving the Hero’s metaphysical side. It should be said that the approach of this article is analytical-descriptive.