فهرست مطالب

متن شناسی ادب فارسی - سال چهاردهم شماره 1 (پیاپی 53، بهار 1401)

مجله متن شناسی ادب فارسی
سال چهاردهم شماره 1 (پیاپی 53، بهار 1401)

  • تاریخ انتشار: 1401/02/24
  • تعداد عناوین: 7
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  • امیرعباس عزیزی فر*، زهرا قاسمی، وحید سبزیان پور صفحات 1-20

    هدف این پژوهش بررسی میزان نقش زنان در اسطوره ها ازنظر ارتباط با عناصر درون خانوادگی است. میان آثار بررسی شده ازنظر مضامین و گره خوردگی حوادث و شخصیت ها، همسانی ها و گاه ناهمسانی هایی وجود دارد. در این پژوهش کوشش می شود با تطبیق و مقایسه، به تحلیل تطبیقی و مقایسه ای محتوای این آثار و نیز مشخص کردن میزان همانندی ها یا ناهمسانی های دو جامعه شرقی و غربی در مقوله نقش زنان در نزاع های درون خانوادگی پرداخته شود. نگارندگان با توجه به پژوهش های ادبیات تطبیقی و بر مبنای مکتب امریکایی با روش تطبیقی توصیفی تحلیلی درپی آن اند تا تاثیرگذاری زنان را در نزاع های درون خانوادگی اسطوره ها و حماسه ها تحلیل کنند. دستاورد پژوهش بیانگر آن است که در اساطیر ایرانی، به ویژه در نزاع میان گشتاسب و اسفندیار، زنان نقش منفعلی دارند؛ چندان توجه برانگیز نیستند و حتی در سایه مردان قرار می گیرند. این امر می تواند با حاکمیت مردسالاری در فرهنگ ایرانیان پیوند داشته باشد؛ اما در اساطیر یونانی و رومی، زنان نقش توجه برانگیزی دارند و به نوعی یا نقش تحریک کننده دارند و یا اینکه عامل بازدارندگی هستند؛ حتی در این میان قربانی هم می شوند. حسادت، گریختن و فرار با جانان، عصیان و تمرد و خیانت از وجوه مشابه و همسان روایت ها و کاهش زمینه و بافت اساطیری، شرط گذاشتن برای خواستگاران دختر، گروگان گیری، قابلیت جادوگری، ایجاد دیوانگی و جنون، شهوت پرستی و کامجویی، جان بازی و جان نثاری برای وطن، عشق به همسر، خردمندی و حق طلبی و دعوت به سکوت و آرامش از وجوه تفاوت و ناهمسانی روایت ها بود. شاهدهای متن فارسی از کتاب شاهنامه فردوسی است و شاهدهای مربوط به یونان و روم از کتاب های مدیا و هکاپ، ایفی ژنی در اولیس، اسطوره های یونان و فرهنگ اساطیر یونان و روم بیان شده است.

    کلیدواژگان: زن، نزاع خانوادگی، اساطیر ایران، اساطیر روم، اساطیر یونان
  • آزاده فاضلی، مظاهر نیکخواه*، محمد حکیم آذر صفحات 21-36

    در عصر قاجار چند تذکره منظوم با زمینه های ادبی و داستانی نوشته شد. یکی از این تذکره ها نوشته میرزا محمدباقر رشحه اصفهانی از سخنوران بنام اصفهان و یزد است. این تذکره از دو نظر برخلاف روش های تذکره نویسی فارسی است؛ نخست آنکه منظوم است و دوم اینکه در خلال یک داستان نوشته شده است و به همین سبب می توان آن را تذکره ای ضمنی دانست. در این پژوهش به دلایل توجه رشحه به داستان پردازی و پیچیدن تذکره در لفافه داستان پرداخته شده و ضمن نقد این داستان تذکره، برخی خطاهای شناختی آن بیان شده است. نتیجه این پژوهش نشان می دهد رشحه اصفهانی ضمن اطلاع از اوضاع ادبی منطقه مرکزی ایران در عصر خود، کوشیده است هنجارهای متداول تذکره نویسی عصر قاجار را نادیده بگیرد و داستان را مانند چاشنی در آن دخالت دهد. از آنجا که به خاطر سپردن متن منظوم از منثور بسیار ساده تر است، رشحه اصفهانی داستان منظوم را دست مایه ای برای نوشتن تذکره کرد تا زمینه بهتری برای جذب مخاطب و ماندگارکردن اثر خود فراهم کند. او با اختصار در ترجمه حال شاعران سبب شد بسیاری از سخنوران گمنام و کم نام معاصر او از یادها نروند؛ نیز گاهی تنها منبع شناخت برخی شاعران یزد، اصفهان، فارس و برخی دیگر از مناطق ایران همین تذکره است.

    کلیدواژگان: تذکره ضمنی، داستان تذکره، مثنوی نوروز و جمشید، رشحه اصفهانی
  • احمد رضایی جمکرانی*، تهمینه بازدار صفحات 37-53

    با حمله مغولان به ایران بسیاری از واژه های آنان وارد زبان فارسی شد؛ اما کاربرد نادرست این واژه ها، بی قیدی کاتبان و بی توجهی به زمینه متن موجب کژفهمی و اشتباهات آشکار در این حوزه شده است؛ افزون بر واژگان، چه بسا روایت های مرتبط با برخی از آنها نیز دستخوش تغییرات و دگرگونی های اساسی شده است. یکی از این واژگان یا ترکیبات «تب تنگری» است که در متون مختلف به صورت «بت تنگری» به کار رفته است. با وجود برخی پژوهش ها، به نظر می رسد پژوهش قانع کننده ای مبتنی بر منابع اولیه در این زمینه انجام نشده است. همچنین روایت های در پیوند با این ترکیب در متون تاریخی دستخوش دگردیسی های اساسی شده است.در این پژوهش به روش توصیفی و تحلیلی و با توجه به سبک شناسی پیکره ای (به ویژه در تحلیل روایت یادشده)، ضمن بررسی «تنگری» و «بت/ تب تنگری» به ویژه در زبان مغولی و چینی و تحلیل روایت های مختلف و در پیوند با ترکیب «تب تنگری»، نشان داده شد که بخش نخست این ترکیب باید به شکل «Teb» خوانده شود که در زبان مغولی پیشوندی با معنای مبالغه است و در دیگر واژگان نیز دیده می شود. ترکیب «تب تنگری» لقب خاص یکی از شمنان معروف بوده است که چنگیزخان با همدستی او پایه های قدرت خود را محکم می کند و هنگامی که او به دنبال سهم خود از قدرت است، با مقدمات فراهم شده چنگیز کشته می شود. می توان گفت در میان متون تاریخی فارسی، تاریخ وصاف روایتی با بیشترین عناصر مرتبط با باورهای شمن ها را ارایه کرده است.

    کلیدواژگان: دگردیسی، تنگری، بت تنگری، تب تنگری، متون تاریخی، روایت
  • فریده وجدانی* صفحات 55-72

    نویسنده این مقاله می کوشد تا به این پرسش ها پاسخ گوید که «چرا ایرانیان همواره از بیان احتمال وقوع رویدادی جانگداز در آینده پرهیز کرده اند؟» و «چرا این پرهیز درباره خود و عزیزانشان با هراسی سخت همراه شده است؟»، «آیا در این پرهیز تنها در نظر گرفتن حالات روحی و عاطفی خود یا دیگری و رعایت جنبه اخلاقی مطرح بوده است و یا بروز این واکنش ریشه ای دیرپا در ناخودآگاه قوم ایرانی دارد؟». برای پاسخگویی به پرسش های یادشده، منابع برجای مانده از هزاره های دوری بررسی شد که در شکل گیری و تحول فرهنگ ایرانی تاثیرگذار بوده است؛ سپس برای به دست دادن نمونه هایی مکتوب از پرهیز ایرانیان از یادکرد موقعیت های دلخراش، ادبیات فارسی آیینه تمام نمای فرهنگ ایرانی مطالعه و شاهنامه فردوسی از میان متون نظم و نثر فارسی برگزیده شد. در این اثر، به صورتی مداوم با سخن گفتن از شکست، اسارت، هزیمت، تاراج، مرگ و غیره روبه رو هستیم که همگی شرایطی نامطلوب اند؛ نیز برای نشان دادن استمرار حیات این پرهیز تا روزگار معاصر، به ضرب المثل هایی از ادبیات عامه مراجعه شد. جست وجوی همه این منابع نشان داد انسان ایرانی از گذشته های بسیار دور باور کرده است که سخن آنگاه که بر زبان می آید، نیروی شگرفی دارد که می تواند زمینه ساز تحقق عینی و بیرونی محتوای خود شود؛ به همین سبب همواره از به زبان آوردن کلامی با درون مایه رقت انگیز پرهیز کرده و کوشیده است نگوید تا نشود و آنگاه هم که گریز و گزیری از گفتن نبوده، به تعریض و تلویح روی آورده است.

    کلیدواژگان: فرهنگ ایرانی، نیروی سخن، مرغوا، شاهنامه، فردوسی
  • میلاد جعفرپور* صفحات 73-90

    دوره صفویه تاثیر مهمی در جهت دهی به حوزه های مختلف ادبی، به ویژه روایت های داستانی داشت. در این عهد، روایت های داستانی در انواع ادبی حماسی، غنایی و تعلیمی، تنوع و تعدد بسیاری یافت. در این میان، یتیم نامه، آخرین حماسه دینی منثور و مشهور در ادب فارسی، یک استثنا به شمار می رود که عمدتا، بر کنار از سنت های مرسوم در حوزه داستان سرایی، به خوبی توانسته است خود را با گفتمان مذهبی و تاریخی مسلط در دوره صفویه منطبق کند؛ نیز به قدر نازلی از ویژگی های میراث داستانی بهره مند شود و در قالب روایتی داستانی، بازتاب مطلوبی را از پیوند درون مایه های تاریخی و دینی عصر صفوی عرضه کند. یتیم نامه به علت نبود شناخت علمی حداقلی از دست نویس های معتبر آن، برای مدتی نزدیک به دو سده است که در ایران با عنوان نسبتا نادرست حسین کرد شبستری معرفی می شود؛ حتی همه بخش های آن نیز شناسایی و منتشر نشده است. پژوهش حاضر به روش استقرایی و با تکیه بر معرفی کهن ترین نسخه ناشناخته جامع روایات و دیگر دست نویس های نویافته یتیم نامه، ضمن گزارش لازم از فواید و کاستی های محتوایی اغلب دست نویس ها، کوشیده است تا برخی انگاشته های نادرست موجود در این زمینه را نیز با تبیین بیشتر اصلاح کند.

    کلیدواژگان: یتیم نامه، حسین کرد شبستری، متن شناسی، ارزیابی دست نویس ها
  • سید منصور سادات ابراهیمی* صفحات 91-109

    بدون شک تصحیح دقیق و علمی متون کهن فارسی نخستین و مهم ترین پایه و زیربنای تحقیقات ادبی این مرز و بوم است. در این میان توجه به آثار برجسته و شاهکار ادب فارسی اهمیت بسزایی دارد. حدیقهالحقیقه سنایی غزنوی یکی از تاثیرگذارترین متون منظوم فارسی از جنبه های گوناگون ادبی، حکمی و عرفانی است. این اثر تاکنون بارها به اهتمام استادان برجسته تصحیح و چاپ شده است. نسخه چاپی مصحح محمدجعفر یاحقی و سید مهدی زرقانی آخرین نمونه و شاید از جنبه هایی کامل ترین این کوشش هاست. با وجود این، حاصل و برونداد این کوشش علمی نیز مانند تصحیح های پیشین خالی از نقص و اشکال نیست. در این مقاله با رویکردی مبتنی بر نقد روش و با هدف اصلاح هرچه بیشتر و زدودن کاستی های متن، ضبط ابیات و مفرداتی از متن حدیقه بررسی و نقد شده است؛ همچنین با استفاده از منابع جنبی و شواهد و ادله درون متنی و برون متنی نشان داده شد که به سبب غفلت مصححان از ضبط اکثر نسخ کهن، بی توجهی نسبت به کوشش های صورت گرفته پیشین و نادیده گرفتن برخی اصول مهم در تصحیح، در بخش های متعددی صورت درست عبارات، به اشتباه از متن به حاشیه رانده شده؛ به طوری که گاه به ارایه شرح نادرستی از بیت نیز انجامیده است.

    کلیدواژگان: تصحیح، سنایی، حدیقهالحقیقه، یاحقی و زرقانی
  • نیلوفرسادات عبداللهی* صفحات 111-125

    سرنویس های شاهنامه عبارت های قرارگرفته در میان ابیات اند که بیانگر رخدادهای مهم در داستان هستند. سرنویس ها کارکردهای مختلفی دارند که مهم ترین آنها مشخص کردن بخش های داستان است. با خواندن داستان های طولانی، خواننده بیشتر پی می برد که به عنوان هایی نیاز دارد تا خط داستانی برای او مشخص شود. با حذف این عبارات از داستان های شاهنامه بخشی از هنر فردوسی در ساماندهی به توصیفات نیز مغفول می ماند. سرنویس ها مانند ابیات، ظرفیت داشتن ویژگی های سبکی و هنری را ندارند؛ بنابراین مصححان در گزینش صورت صحیح آنها، عمدتا به مطالب ثبت شده در نسخه ها بسنده می کنند. این شیوه از گزینش به سبب تک بعدی بودن، مشکلاتی را به وجود می آورد. حال آنکه ساختار داستان و سرنویس با یکدیگر مرتبط است و می توان با شناخت ساخت داستان و عناصر اثرگذارش بر سرنویس ها، ضبط های دقیق تری ارایه داد. این رویکرد به متن و سرنویس، عناصری کمکی در اختیار مصحح قرار می دهد که برای گزینش درست تر می توان از آن استفاده کرد. در این مقاله با در نظر داشتن ساختار داستان و پیوندی که با سرنویس ها دارد، راهکارهایی برای گزینش بسامان تر ارایه می شود؛ نیز در تصحیح متن، محل قرارگرفتن هر سرنویس مانند ضبط آن اهمیت دارد. با توجه به ساختار و محتوای ابیات شاهنامه، به انتخاب محل دقیق این عبارت ها اشاره، و برای ساماندهی به تصحیح سرنویس با رویکرد توجه به ساخت داستان، پیشنهادهایی ارایه خواهد شد.

    کلیدواژگان: شاهنامه، فردوسی، سرنویس، ساختار داستان، نسخه خطی، تصحیح متن
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  • Amirabbas Azizifar *, Zahra Ghasemi, Vahidwahid Sabzianpoor Pages 1-20

    The purpose of this study is to investigate the role of women in myths in terms of relationships with family members. In this study, the authors examine the influence of women in family conflicts in myths and epics based on the American school using a comparative-descriptive-analytical method. The results indicate that in Iranian mythology, especially in the conflict between Goshtasb and Isfandiar, women have a passive role, are not very noticeable, and are even overshadowed by men. This can be related to the rule of patriarchy in the Iranian culture, but in Greek and Roman myths, women have a significant role and in some ways either have a provocative role or are a deterrent and even become victims in the meantime. Jealousy, running away with the beloved, rebellion, and betrayal are the similarities of the narratives and the reduction of the mythological context, putting conditions for girl's suitors, hostage-taking, witchcraft, madness, lust and greed, self-sacrificing for the homeland, love for one's spouse, wisdom and right-seeking, and calling for calm are some of the differences between the narrations.IntroductionOne of the events in the myths of different nations is the differences and confrontations within their families with each other which in some cases lead to the elimination of the other. The confrontation of Salm, Tur and Iraj, Rostam and Sohrab, Siavash and Kavous, Rostam and Sheghad, and even Isfandiar and Goshtasb in the Iranian culture and  counterparts such as Cronus and Zeus, Amolusu versus Remus and Remulus, Paris and Priam, Polynices and Eteocles, are some examples. Hence, the present study intends to examine the role of women in these conflicts by applying the family conflicts in Greek, Roman, and Iranian myths and to show the role women play in such conflicts. The Iranian examples of Ferdowsi's Shahnameh are based on the correction of Jalal Khaleghi Motlagh, and examples related to Greece and Rome are found in the books of Medea and Hecuba, Iphigenia in Ulysses, Greek Myths, and the Culture of Greek and Roman Mythology.Materials and MethodsThis qualitative research studies the similarities or differences of the role of women in family conflicts between the two Iranian and Greek-Roman societies through a comparative-descriptive-analytical method.Discussion of Results and ConclusionsIn the story of Medea, some reason could be postulated regarding the killing of children, the most obvious being Medea's revenge on Jason. Medea as a woman has a prominent and influential role in this mythical story. Medea’s excessive love for Jason had led her to do things that few were willing to do. Fleeing her homeland and betraying her homeland, killing her brother, killing Pelias, and being rejected by the people of her homeland were some examples of what media did to join Jason.There seems to be no specific reason for the family quarrel between Hera and Hercules and the massacre of his family. Hercules commits this act while he is not in a normal state of mind. He commits this insane act because of his stepmother's conspiracy. In the Iphigenia, in addition to women falling victim to the monopoly and power-seeking of men, there is a talk of sacrificing virgins to the gods, and a kind of religious sacrificing takes place, and even choosing a virgin to sacrifice in the Iphigenia story may refer to their belief about the purity and goodness of the sacrifice to the gods.In the story of Procne and Thereus, the child becomes the victim of a conflict between the parents. The mother decides to take revenge on the father by killing the child because of his betrayal. In fact, he sacrificed Procne for his power-seeking, and in order to consolidate his power, he married her to Thereus.In Soodabeh's story and her role in the conflict between Kikavous and Siavash, Soodabeh's ambition has not been ineffective in creating this conflict. It seems that this intention is seen in his request to get closer to Siavash. Because Soodabeh knows very well that Siavash will become the undisputed king of Iran in the future, he seeks to maintain his position as queen; however, she not only does she decide her own death but also causes Siavash to die.In the story of Farangis, when Siavash is imprisoned, she advises her father not to kill an innocent person. Her other role is shown in the image of a kind mother and a faithful wife who wholeheartedly protects the child she has in her womb. In this mythical story, Farangis has a valuable role and unlike Greek myths, love for her husband and children is her main priority.In the story of Katayoun, we are faced with a father who has forgotten his paternal affection and has kept his power more greedily to replace this emotional void. Katayoun's concern is with the dominance of patriarchal culture in Eastern societies. In the ancient society of Iran, the tyranny of the fathers was greater.The results also show that, in the Iranian mythology, we do not see any evil woman except Soodabeh. In the family disputes, the women of the Iranian myths are shown to be valuable, wise, and prudent. They seek to prevent this confrontation. When we look at the role of Farangis and Katayoun in the tragedy of Siavash, Afrasiab, Goshtasb, and Isfandiar, we see them as women trying to prevent their husbands and children from confrontations. In this regard, it can be said that the issue of Eastern tyranny of the fathers is somewhat highlighted. It seems that patriarchy is much stronger in the Persian mythology than than Greek and Roman mythology.In Iranian myths, women play the role of perseverance and compromise; in the meantime, according to their knowledge of the ancient dominant force, they try to prevent family tensions as much as possible. In addition,  they mostly call on the young and emerging force, the child, to calm down. It is as if the dominant and patriarchal system does not listen to advice; this could show the difference between the views of East and West. Whereas in the Greek and Roman mythology, women are first "self-centered" and husbands and children are the next priorities, these women seem to have forgotten or killed motherly affection and compassion within themselves. These narrations are similar in categories such as jealousy, rebellion, flight, escape, and betrayal. In categories such as mythological themes, putting conditions for suitors, hostage-taking, the ability to cast spells, insanity, lust and greed, sacrificing for the homeland, love for one's spouse, wisdom and right-seeking, and an invitation to silence and tranquility are different.

    Keywords: Woman, Family Conflict, Iranian Mythology, Greek Mythology
  • Azadeh Fazeli, Mazaher Nikkhah *, Mohammad Hakimazar Pages 21-36

     In the Qajar Era, some poetic anthologies were written in literary and fictional genres. One of these anthologies belongs to Mirza Mohammad Bagher Rashha Isfahani who was one of the famous authors of Isfahan and Yazd. This anthology is considered the methodology of Persian anthology writing because firstly,it is poetic and secondly, it is written as a story. Therefore, the authors of this study consider it as an implicit anthology. In this study, we examine storytelling and anthology writing as a story and investigate the related cognitive errors. The results show that Isfahani, being aware of the literary conditions of the Iranian central region, tried to ignore the common norms of anthology writing in the Qajar Era and added stories as flavor. Since memorizing a poem is much easier than prose, Isfahani used poetic stories to write anthologies to attract the audience and make his work notable. His efforts in describing the life and works of poets were valuable as means of remembering and recognizing anonymous poets. Besides, in many cases, his work was the main source of knowing some of the poets from Yazd, Isfahan, Fars, and other regions of Iran.Introduction One of the anthologies written in the Qajar Era is the one written by Mirza Mohammad Bagher Rashha Isfahani which is unique. This anthology can be classified as an implicit anthology because it is written with the storytelling method. In this anthology, the story is a platform by which the biography of contemporary poets is described. Isfahani tried to forget about the traditional and common methods of anthology writing and employed a creative method to write it. Isfahani's anthology which Mohammad Ali Vamegh, the author of Meykadeh Anthology (Tazkareh of Meykadeh) called "Atashzaneh" is a poetic one with samples of poems written by the poets of that era. In this research, we aim to introduce Isfahani and his enlightening method of anthology writing. Also, we will examine the criticisms regarding his work and the reasons for its popularity.Materials and Methods The authors did not find any research done on this subject. Isfahani and his anthology are briefly introduced in Ahmad Golchin Maani's book and no other book has ever mentioned them. A Monumental History of Persian Anthologies (Tarikh-e Tazkareha-ye Farsi) is the main source for studying the history of anthology writing in Iran. This book introduces and criticizes 529 anthologies and compares their writing styles. It is an authentic and reliable source for studies related to anthology writing. In Golchin Maani's report of Isfahani's work, errors can be seen that will be discussed in this study. Except for the two mentioned works, no other papers have studied his work. In 2016, a study entitled ‘A Grammatical Reflection upon Isfahani's Anthology’ by Maryam Mahmoudi and Mojtaba Saadat was presented in the International Conference on Language and Literature which has nothing in common with the present paper. Some sources have provided information about Isfahani and his life which will be discussed while introducing him.  Discussion of Results and ConclusionsIsfahani's story-anthology is an implicit anthology and a great effort in the tradition of writing Persian literary history. Isfahani was a wise man and wrote this story to be a part of the anthology writing movement of the Qajar Era. The uniqueness of his work has two reasons: being poetic, and being written as a story. About the poetic feature, the writer was limited to the rhythm and rhyme, so the information given about the poets might be restricted to observing the poetic figures of speech. On the other hand, the combination of poems from different poets and using the Hazaj meter are the reasons that readers face difficulty and frequent pauses while reading them. Also, using rhetoric in anthologies written in the Safavid Era became so common that the facts and information got lost under the shadow of metaphors, puns, and rhythms. This problem is seen in his anthology and the reader gets no clear information about the poets. However, many contemporary poets’ names were mentioned and it is enough reason for it to be important and popular. Some poets got known only through this anthology and their names are not mentioned anywhere else. Isfahani made an effort to mention the name and title of poets of Isfahan, Yazd, and Fars.Regarding his ability of storytelling, it should be mentioned that due to repetitive plots and clichés, the reader experiences no special excitement. The linear story of lovers and beloveds is told without any characterization, suspension, or even an open ending. Isfahani tried to imitate Nizami Ganjavi, but like many others, failed in doing so. Nevertheless, Nowruz and Jamshid is considered as a great effort in anthology writing history, and the creativity and courage of the author to ignore the traditional methods is admirable.

    Keywords: implicit anthology, story-anthology, Masnavi of Nowruz, Jamshid, Rashha Isfahani
  • Ahmad Rezaei Jamkarani *, Tahmineh Bazdar Pages 37-53

    With the Mongol invasion of Iran, many of their words entered the Persian language. One of these words or compounds is "Teb tengri" which has been used in various texts as Bot Tengri. In this study, we use the descriptive-analytical method and  corpus stylistics (especially in the analysis of mentioned narration) to analyze “tengri” and “teb/bot tengri” especially in Mongolian and Chinese languages and the narrations related to these words. Then, we show that the first part of this word combination should be read as "teb", which in the Mongolian language is a prefix that means exaggeration and it can be seen in other words. The combination of "teb Tangri" is known as the special title of one of the Shamans with whom Genghis Khan strengthened the foundations of his power. When he seeks his share of power, he was killed by Genghis Khan. It can be said that among the Persian historical texts, the Vassaf’s history has presented a narration with the most elements related to the beliefs of the Shamans.Introduction The Mongol invasion, along with its very destructive effects, led to various exchanges, including cultural exchanges between East and West. From a stylistic point of view, the cultural effects of this incident are manifested in the first place in linguistic structures that are not normally separated from intellectual structures, especially in words and lexical structures. One of the salient effects of the Mongol invasion was the spread of the Turkish language, especially Mongol Turk, more than was common in the sixth century. Thus, some words found in Persian became so common that they are still used today.Among such words, the word "Tengri" can be mentioned This word, which has been used in some texts before this period, is not very problematic in terms of meaning. With the same structure, there is no special semantic ambiguity, but this word is combined with another part, which is the first part. It has been recorded in Persian texts in various forms, such as "Teb/Bot tengri", "TebetTengri" and "Teb". In addition, the exact pronunciation the word is not found in dictionaries. In addition to pronounce this structure, the narratives themselves have used "Teb Tengri or Bot Tengri" which are disturbed or repetitive.In this study, while paying attention to the readings of this word and its correct pronounciation, we have studied the first part of the composition and criticized its various forms according to some sources in Mongolian and Chinese. We have also examined the narrations that deal with the story of "Teb Tengri/Bot" in the form of historical figures, and have shown their metamorphoses.Materials and Methods   Using a descriptive-analytical method, the present study first examines the composition of "Teb Tengri or Bot Tengri" in Chinese and Mongolian texts from the perspective of phonetic and lexical structure. It then analyzes its application in various texts of Persian prose and poetry. Finally, it reviews and criticizes the narration related to this structure in six texts of Persian prose.Discussion of Results and Conclusions    In the famous book of Mongolian grammar, there are grammatical rules for some Mongolian words, which by exaggerating the teb (teb) as a prefix, the meaning of the word is exaggerated. In other words, the function of the prefix "teb" is to exaggerate the meaning. The "Teb" section in the word "Teb Tengri" is also subject to the same rule, which can be translated as "divine" or "drowning in God". Of course, the literal translation of Teb Tengri, according to the structural rules of the Mongolian language, can be considered a very wide and deep sky. In other words, the combination of "Teb Tengri", which is one of the two components of "Teb" for exaggeration in the Mongolian language, and "Tengri" meaning God and collectively meaning "immersed in God", in Persian texts is often referred to as "Tengri Bot". Based on linguistic and historical evidence, this usage is completely incorrect. Combining various texts, it can be said that the combination of "Tengri Teb" was the title for one of the famous Mongol shamans who was very deceitful and Genghis used his position and of course his deception in his participation in the government structure, with complicity. He draws a heavenly position for himself among the simple-hearted people, and Tengari Teb justifies his actions. But when he sees that Genghis does not involve him in the government and does not give him a share, he opposes him. Eventually, Teb Tengri is killed by Genghis Khan (son, brother, or one of his relatives). Among Persian texts, the narration of the Vassaf's History is considered to be the closest to the main narration due to having most of the features related to shamans.

    Keywords: Transformation, Tengri, Bot tengri, Teb tengri, historical texts, Narration
  • Farideh Vejdani * Pages 55-72

    This article aimed to answer why Iranians have been always avoiding stating the possibility of occurrence of a catastrophic event in the future and why this avoidance has been accompanied by a severe fear about themselves and their loved ones.To answer these questions, we reviewed the sources from the millennia that had been influential in the formation and evolution of Iranian culture. Then, to find the written examples of Iranians refraining from expressing unpleasant situations, we checked the Persian literature and selected Ferdowsi’s Shahnameh from among the Persian poetry and prose texts. We found this book speaking about defeat, captivity, plunder, death, etc., all of which were unfavorable situations. Then, to show the survival of this abstinence to the present day, we referred to proverbs from the folklore literature.Studying such sources showed that since the ancient times, Iranians have believed that speech has a tremendous power when uttered, which can pave the way towards external realization of its content. For this reason, they have tried to refrain from uttering words with an unpleasant theme. Even when there has been no escape from speaking, they have expressed it indirectly.IntroductionThere is much advice in didactic books not to say words that annoy the listener. However, the existence of many instructions for avoiding mentioning annoying and sad words during speaking gave the author the idea that such reminders could not have been aimed at maintaining friendship and avoiding hostility and unpleasant consequences of speech. The study of influential sources on Iranian culture also revealed that the origin of these recommendations was a religious-cultural belief put in the Iranians’ collective unconscious minds. This belief had been expressed in various texts with the spread of Persian poetry and prose and had even found its way into proverbs.Materials and MethodsThis study was conducted via a descriptive-analytical method based on library sources. First, the evidence for the belief presented in this article was gathered from among the views of Hinduism, Zoroastrianism, Manichaeism, Judaism, Christianism, and Islamism, which had kept interacting with Iranian culture for thousands of years. Then, the presence of the mentioned belief in Ferdowsi's Shahnameh was evaluated and finally, the evidence of its existence was studied among the proverbs in the Persian language.Discussion of the Results & ConclusionsThe magical effect of speech and realizing the contents of words by uttering them is a deep belief among Hindus. According to Indian legends, speech has a magical power called Mantra. The realization of the magic of speech depends on its eloquence.The Hindu mantra in Zoroastrianism is written in the form of Manθara that means 'the holy word',  especially used as Yaθa Ahu Vairyo in the main prayer of Zoroastrian religion. The evidence to show the spiritual status of the Yaθa Ahu Vairyo prayer is based on the belief that it has been created before any other creation. There are many other prayers in Zoroastrianism that are considered miraculous to recite.The evidence on the origin of the effects of oral speech and external realization of what is spoken exist in Mani's works. Manichaean evidence demonstrates that God’s creation of the spiritual world of Manichaeism has been achieved by words and speech.In the Old Testament, the creation of "enlightenment" is related to speaking with words and their utterance. To remove the darkness, God has bid the light to occur and it has appeared instantly.In John’s Gospel, the term "Word" is mentioned to have been uttered to trigger the beginning of creation. "Word" has been with God and it has been God Himself. It has been with God since the beginning and all things have been created through it.In Islam, the instant utterance and creation made through the content of "Word" belongs to God. God says, “if we want something to exist, we will bid "Exist!" and that thing will exist instantly. Shiite commentators do not believe that the word "exist" is stated by God, while Sunni scholars believe that God uses it imperatively for creation.Studying the related considerable evidence in Ferdowsi's Shahnameh revealed that characters in its stories considered talking about an ominous event as the main step for its external realization. Therefore, they refrained from expressing anything catastrophic in various ways and spoke indirectly about the ominous possibilities of their thoughts.Among the Persian proverbs that are currently common in the Iranian society, we repeatedly observed that saying and uttering a word was considered the basis for its realization in the outside world. For this reason, it was always recommended to mention the blessed events, but not the unfortunate ones that were likely to occur.This belief was found to have been passed down to us from a generation to generation, shaping our curses and blessings over the millennia until today and recommending us to pass it on to future generations as well, whether we like it or not.

    Keywords: Iranian culture, the power of speech, Ferdowsi’s Shahnameh, Proverbs
  • Milad Jafarpoor * Pages 73-90

    The Safavid period had a significant impact on the direction of various literary fields, especially narratives. In this era, narratives in the literary genres of epic, lyric, and didactic found a relatively large variety and abundance. Yatim Nameh, as the last famous prose epic in Persian literature is considered an exception which, in addition to the common traditions in the field of storytelling, could adapt well to the dominant religious and historical discourse in the Safavid period. It has a little bit of the characteristics of fictional heritage and provides a reflection of the connection between the historical and religious themes of the Safavid era in the form of a fictional narrative. Due to the lack of scientific knowledge of authentic manuscripts, Yatim Nameh has been introduced for almost two centuries not only as a relatively incorrect title of Hossein Kurd Shabestari but also all its parts have not been identified and published. For the first time, the present study tries to inductively introduce the oldest unknown manuscript of the comprehensive narrations of Yatim Nameh and other unknown manuscripts and to correct some misconceptions in this field with further explanations.IntroductionYatim Nameh is a narrative mistakenly known as the story of Hossein Kurd Shabestari in Iran for many years. Yatim Nameh tells the story of heroes who all have a historical existence. This group served the Safavid dynasty and confronted the threat of Sunni enemies in the Ottoman Empire, the subcontinent, and the Afghan  Transoxiana Khanates. Each of the four parts of Yatim Nameh, after a period of chaos, night robberies, and solitary battles, ends with the victory of the Iranian heroes and the taking of ransom from the enemies.Materials and MethodsThe present study introduces the oldest manuscript of Yatim Nameh along with other unknown manuscripts of this epic. Among these, in addition to the date of antiquity, the newly found manuscript is also considered as the most comprehensive manuscript of Yatim Nameh, and based on its codicology details, it has provided a new definition of the real identity of Yatim Nameh’s text.Discussion of Results Manuscript of the St. Petersburg Library of Russia [Abbreviation: Y]The oldest unknown comprehensive manuscript of Yatim Nameh entitled “Yatim-Nameye Shah Abbas” by No. (44 MS. XAN) is kept in the Library of St. Petersburg, Russia, and as its title and attribution indicate, it was prepared by the order of the court of Shah Abbas, each written in the following order:The first part: [→ P 1b - 112b] 112 leaves (223 pp) contains the report of the story of Masih Dokmeband Tabrizi.The second part: [→ P 113b - 260b] 148 leaves (293 pp) contains the report of the story of Mir Baghire Ajorpaze Isfahani.The third part: [→ P 261b - 518a] 257 leaves (512 pp) contains the report of the story of Hossein Kurd Shabestari.Manuscript of the St. Petersburg Library of Russia [Abbreviation: H]The manuscript features the second part of Yatim Nameh entitled "Hossein-Nameh/Dastane Hosseine Kurd" is registered as No. (MS. D - 421) in the manuscript catalog of the Library of St. Petersburg, Russia. This copy has one volume, but includes a report of two independent and separate parts, as follows:The first part: [→ P 1b - 170b] 112 leaves (339 pp), date of writing: 1255 AH, includes a report on the story of Mir Baghir.The second part: [→ P 171A - 190A] 19 leaves (39 pp), date of writing: 1260 AH, includes the story of Mir Esmaeil son of Mir Baghir.Manuscript of the Astan Quds Razavi Library of Iran [Abbreviation: A]In the manuscript collection of the Library and Documentation Center of Astan Quds Razavi of Mashhad, the manuscript is registered as one volume. It has 262 leaves (524 pp), by the No. (38813) and the title of "Dastane Hossein Kurd Shabestari".Manuscript of the Islamic Parliamentary Library of Iran [Abbreviation: MJ]Forty-one years ago, Daneshpajooh introduced shortly the manuscript of Yatim Nameh entitled "Dastane Hossein Kurd" in the second volume of the catalog of manuscripts of the library of the Islamic Parliamentary Library, by No. (1257). The manuscript has one volume and has 222 leaves (444 pp).Manuscript of the Central Library of University of Tehran [Abbreviation: DA]The 16th volume of the manuscript of the Central Library of the University of Tehran introduced another version of Yatim Nameh under the title "Dastane Abdu Almo’minkhan", by No. (5651). The manuscript has one volume and has 131 leaves (262 pp).Manuscript of the National Library of Iran [Abbreviation: M1]In the collection of manuscripts of the National Library of Iran, the characteristics of one Persian manuscript are indexed with the dual titles "Dastane Hossein Kurd Shabestari" and "Dastane Shirzad" by No. (32945-5). The manuscript is made in one volume and has 230 leaves (460 pp).Manuscript of the National Library of Iran [Abbreviation: M2]In the online collection of manuscripts of the National Library of Iran, the characteristics of a manuscript in Persian are indexed under the title "Hikayate Shah Abbas" by No. (12660-5). The manuscript is made in one volume and has 120 leaves (240 pp).Manuscript of the National Library of Iran [Abbreviation: M3]Recently, a manuscript in the National Library of Iran is evaluated as an almost incorrect title “Tarikhe Safavid” by No. (24603-5). The content of this manuscript includes the report of two stories of: Eskandar-Nameh (later writing) [→ P 1b - 32A; G48A - 51B; G 64 A - 85 B] and Yatim Nameh [→ P 32 B - 47 B; G52A - 63b].Manuscript of the Matenadaran Library of Armenia [Abbreviation: MT]In the catalog of Persian manuscripts of the Matenadaran Library of Armenia, the characteristics of one manuscript are recorded in one volume, under the title of the “Hikayate Hossein Kurd”, by No. (MS 534) has 94 leaves (188 pp).ConclusionsThe codicology results of the present study indicate that Hossein Kurd Shabestari has no implication on the main textual identity of Yatim Nameh. According to the oldest comprehensive manuscript of this epic and its diffused parts, the correct title of this story is Yatim Nameh. It consists of four main parts that, for unknown reasons, only the final part has been published in Iran for many years by the title of “Hossein Kurd Shabestari”. The introduction of the oldest new manuscripts and other unknown manuscripts also indicates the possibility of another older and more complete version of Yatim Nameh.

    Keywords: Yatim Nameh, Hossein Kurd Shabestari, Textual Criticism, Manuscript Evaluation
  • Mansoor Sadat Ebrahimi * Pages 91-109

    Accurate and scientific editing of ancient Persian texts is undoubtedly the first and foremost basis for literary research in this native land. Paying attention to outstanding works and masterpieces is of great importance. Sanāʹi Ghaznavi's Hadiqat al-Haqiqa is undoubtedly one of the most influential Persian versified poems in various literary, philosophical, and mystical aspects. This work has so far been repeatedly edited and published.. The edited and printed version of Mohammad Jafar Yāhaghi and Mehdi Zarqāni is the latest and perhaps the most complete representation of such efforts. However, the results of this endeavor are not, as in the preceding cases, free from drawbacks. In this research, with an approach based on  critique and with the aim of correcting and eliminating the text shortcomings as much as possible, we assessed and critiqued the recording of some verses from Hadiqat al-Haqiqa. By using side sources and in-text and out-of-text evidence, we showed that the correct forms of phrases have been erroneously marginalized from the text in many cases due to the correctors' inattention to what has been recorded in most of the older manuscripts and disregard for previous research and corrections. This has sometimes led to an incorrect description of each distich.IntroductionIn the field of research on ancient texts, the most important principle is to obtain a refined and citationable form from such works. One of these texts that deserve attention in terms of both the importance of the soul of the work and scientific reputation of its correctors is Hadiqat al-Haqiqa. That is why the correction and description of this valuable book has always been of interest to literary scholars. The latest scientific correction of this book is the result of Mohammad Jafar Yāhaghi and Mehdi Zarqāni’s efforts, which led to its first publication in two volumes by Sokhan Publications in the fall of 1397. The author of its lines has analyzed the recording and description of some verses with a critical approach to the text and has shown that its original and correct aspect has been marginalized in many cases for various reasons and incorrect forms have contrarily entered the text in a way that it has sometimes led to misinterpretations of the verses.Materials & MethodsIn this research, some verses from Hadiqat al-Haqiqa edited by Yāhaghi and Zarqāni were evaluated using library sources. By using authentic sources, as well as the evidence and reasons inside and outside the text, detailed points about the recording and explanation of the verses were provided.Discussion, Results, and ConclusionsThe book entitled Hadiqah al-Haqiqah by Sanāʹi Ghaznavi is one of the most valuable and important works in the history of Persian literature. It has been considered by many scholars in recent years and numerous commentaries and articles have been written about its verses. Nevertheless, the knot of problems in many of its verses has remained unsolved. Undoubtedly, the major factor involving this issue, along with the elements related to the passage of time and antiquity of the language, is the lack of correct edition of many of its verses.The latest critical correction of this book is the result of Yāhaghi and Zarqāni’s efforts. According to the editors’ report in the preface of the book, 6 manuscripts have been used by them to correct Hadiqah al-Haqiqah. Meanwhile, the manuscript in the John Rylands Library of Manchester dated Shawwal 681 AH with an abbreviation of M, which is apparently the oldest complete manuscript and historiography of Hadiqah, is the  manuscript utilized by editors. Editors of the text have tried to get the most correct and less erroneous text from Hadiqah by using old and authentic manuscripts. Nonetheless, a careful study of the verses shows that incorrect recordings have entered their corrected text for various reasons in many cases. According to the evidence, the main factors for the editors' mistakes can be summarized as follows: not paying attention to recording the most complete or oldest manuscripts, neglecting the results of previous researches, not considering the recorded phrases in the previous valid editions, making some inappropriate deductive edits, misreading verses, and ignoring some important text-editing rules. The results of a recent study have also clearly shown the extent to which ignoring the vertical connection of verses in the context, especially in the rhetorical and mystical poetic systems based on narration and anecdote, can deviate a text editor from the right path and cause errors in selecting the correct recording.

    Keywords: Edition, Sanāʹi, Hadiqat al- Haqiqa, Yāhaghi, Zarqāni
  • Niloofar Sadat Abdollahi * Pages 111-125

    The headlines of the Shahnameh are phrases placed between the verses and mention the important events that occur in the continuation of the story. In addition, headlines have a variety of functions, the most important of which is to identify parts of the story and storylines. When a reader reads a long story text, he or she becomes more aware of the need for titles that define the storyline. By removing such phrases from the stories of the Shahnameh, a part of Ferdowsi's art in organizing descriptions is also neglected. Since titles, like verses, do not have the capacity to contain stylistic and artistic features, correctors are mainly content with what is recorded in the manuscripts in choosing the correct form. This method of selection creates problems because it is one-dimensional. However, the structure of the story and the title are related to each other, and more accurate recordings can be made by knowing the structure and elements of the story affecting the titles. This approach to the text and the headline provides helpful elements to the corrector and can be used to make better choices. In this article, considering the structure of the story and the connection it has with the titles, we have provided solutions for more systematic selection. In addition, during text editing, the location of each headline is as important as the recording. Considering the structure and content of the verses of the Shahnameh, we have also mentioned the exact location of these phrases and have provided suggestions for organizing the correction of the title with the approach of paying attention to the construction of the story.Introduction In the manuscripts of the Shahnameh, among the verses, prose phrases can be found that inform the reader about the parts of the story and the subsequent events. In correcting the text, one should pay attention to these headings as verses and choose the most appropriate form from the forms registered in the manuscripts. This choice, of course, is more difficult than choosing the exact form of the verses. Such difficulty is due to several factors. First, in selecting additional verses of information that the knowledge of text correction and typography provides to the corrector, it is possible to use stylistics and related matters such as grammar, rhetoric, etc. But in choosing the title, one cannot use stylistic criteria. Second, correctors made changes to the titles. These changes were sometimes in imitation of the version they had, and sometimes according to the taste of the correctors. Third, the variety of recordings in the headlines is much greater than the verses and narrations. Fourth, the scaling method in the copies affects the increase in the number and length of the headlines as well as their addition or omission.Materials and Methods The sources used in this research are a number of manuscripts of the Shahnameh and some side sources. First, the position, number, and recording quality of the titles were examined, and then the characteristics of the titles of each version were recorded. In the next step, points about the relationship between the structure and components of the story and the titles were extracted from the manuscripts. Some points were identified related to the structure of the Shahnameh stories, with the help of which the titles can be selected more accurately.Discussion of Results and ConclusionsIt seems more difficult for the correctors to choose the correct form of the Shahnameh titles from the verses of this work. It is not possible to use stylistic criteria in choosing the appropriate form of these expressions. For this reason, correctors have been content with the content recorded in the manuscripts. However, the headlines are directly related to the two pillars of the narrative of the story, namely the event and the character, and by considering the importance of these two elements, it is possible to determine the more orderly form of the headlines. In choosing the appropriate form of headlines from the forms registered in the manuscripts, paying attention to the importance of the event and the character can be a more accurate selection guide. How the titles are recorded in the old and valid versions of the Shahnameh could confirm this claim. In addition, some events have always been influential in the course of the story, and in each story that is mentioned, they have a title in most versions. These events are related to wars and letters.In addition to determining the correct form of the title, it is also important to determine the appropriate location. To determine the appropriate location due to the special way of drawing the title boxes in the manuscripts and writing the verses around this box, an auxiliary method should be used. This helps to pay attention to important events such as letters and wars. According to the versions of the Shahnameh, especially its ancient versions, the headline must be written at the beginning of such important events. In addition to these types of events, if an event is to be a turning point in the story, the headline must be given before the verses begin. Ferdowsi uses this type of introduction at the beginning of important events in the heart of the story, just as he uses the principle of initiation in the beginning and sermon of the stories. Whenever a fateful event in the story is about to take place, Ferdowsi begins it with an allegorical statement. In addition to the rhetorical value, this method can determine the appropriate location of the headlines (i.e. before this introduction).

    Keywords: Shahnameh, Ferdowsi, headline, Structure of the Story, manuscript, Correction of Text