فصلنامه متن پژوهی ادبی
پیاپی 92 (تابستان 1401)

Although we have access to a number of critical editions of Attār's works, there still remain some problematic and ambiguous points in his works that cannot be clarified merely based on the codicological details. To elucidate such matters, it is indispensable to analyze closely the different aspects of Attār's style based on the authentic documents to discover the general patterns. In this study, we deal with some of the symmetrical patterns recurring throughout all the layers (from the verses to the whole work) of Attār's original poems. These patterns are classified into four main groups including repetition, parallelism, congruency, and a particular recurrent structure. The study of these symmetrical patterns, combined with the other stylistic and codicological details, can help us with evaluating the authenticity of some of the confusing parts in Attār's works.

The most dominant theme of the richest works on mysticism is perceptive imagery which has its origin in mythology and philosophy. Given their intrinsic link to the meanings and concepts, images are considered as the intellectual life of the writer and the poet. They attempt to create images depending on their own mental and intellectual capacity as the very same images distinguish the poets and writers from one another. One of these images is the "Sun or Sunlight" which is abundant in Masnavi as a macro metaphor and in Sohervardi's works as a pattern of thought. The present study aims to first decode the dominant thoughts which led to the creation of the image of "Sun or Sunlight" for the concept of the "Perfect Man" and second, to analyze how a single image is created for different meanings or how the same concept is depicted in different images. One possible answer is that man's understanding of various phenomena is influenced by the different "states and situations" he experiences to attain different perceptions leading these understandings to be pictured by various images.

Rudaki is one of the poets whose poetry collection has not been found and the existing poems attributed to him have been collected from various sources such as biographies, dictionaries, rhetorical and historical books. Nafisi studied the cited resources and collected the attributed poems to Rudaki and published them which were taken as the basis for the next research on Rudaki’s poems.  Although Nafisi tried to make a distinction between the attributed poems to Rudaki and poems of other poets in the book, there are still some verses in Rudaki’s book of collected poems that are stylistically more similar to the poems of other poets and later periods of Persian poetry. This research studies the rejection of the attribution of a fragment by the following opening-verse regarding Rudaki in a historical and stylistic manner: "I use the spirit of the prophets / What water can I get from the dry river of the Greeks?", which is addressed in the Rudaki Divan Nafisi (1963), Daneshpajooh (1996), Ahmadnejad (1997), Ghader Rostam (2013), and Dehghani (2016), and in Emami's collection (2009) and Shoar (2011) as the poems attributed to Rudaki. Nakhjavani (1955) brought it in Qatran's Divan and Ravaghi (2021) also wrote its poet of Qatran. The oldest resources which attributed this fragment to Rudaki and Qatran belong to the beginning years of the 12th century. From a stylistic point of view, excessive use of Arabic terms, the abundance of abstract words and imaginaries, the existence of religious terms, the tendency toward shariah, anti-philosophy approach, complaint, and snobbery, which are the properties and style of the poems in the sixth century, weaken the possibility of attributing this fragment to Rudaki and Qatran.

This article is organized with a linguistic approach to the prominent texts of past and contemporary Persian literature and with the aim of recognizing the compound word (morakkab-e atfi) from the coordinating phrase, and representing its lexical structure. First, the words of both sides of the conjunction “و” (and) were examined, and those that were components of a compound word, and syntactically independent, as components of a lexical unit were extracted and collected with some examples. Then, by examining the data structure, the lexical structure of the compound words, was grouped together under the heading of the term (vâže-atf)  and examples of the most difficult evidence were presented to show that 1) "Syntactic independence" is the most effective way in identifying the compound word of the coordinating phrase, especially in identical forms, 2) vâže-atf in the text does not completely follow the compound irreversibility rule, and 3) it benefits from greater structural diversity than standard language.

“Cloudy Years” novel by Ali-Ashraf Darvishian written in 4 volumes and 1622 pages and its events contain about 33 years of hero-narrator’s life. In the article, the speed of passing the story events through the author’s narrative is measured on the basis of Gerard Genette’s opinions. Genette utilizes order, duration, and frequency categories to measure the tempo of a novel. The study and survey of the existent specimens in all the novel demonstrate that the order of the events of the novel is more lineal, even though analepses and prolepses would be seen in the narrative, and evaluating the duration of the story and narrative makes clear that the average of 7/42 days of story exhibited in every page of the novel. The comparison between the average duration of every volume of the novel with the average duration of the novel proves negative, positive, positive and negative fluctuations in every volume of the novel, in turn. The acquired statistics of how being repeated the events of story approve also the more number of singulative frequencies which has a significant relationship with more lineal passing the narrative. The findings and conclusion of this research present new points in its theoretical framework.

Aghraz Al-Seyasah Fi A'araz Al-Reyasah, authored by Zahiry Samarghandy has become one of the excellent and outstanding old prose texts, because of containing technical, political, social, philosophical, didactic, and ethical teachings and addressing governance practices. These practical and miscellaneous teachings have led to frequent transcriptions and insertion of significant distortions and falsifications into the text of the mentioned book. Jaafar Sheảr by having in hand four manuscripts of Aghraz Al-Seyasah but without benefitting all of them (specially Meshkảt᾿s transcript) has corrected and printed it in many cases mentioned the manuscript᾿s differences. Furthermore, negligence in trusteeship towards manuscripts, especially the base manuscript, hastiness in correction, and the weakness and indifference in typesetting have inserted some other distortions, falsifications, and errors in the aforesaid book. This study has tried to countercheck the printed copy of Aghraz Al-Seyasah with the base and Meshkảt᾿s manuscript, and then by comparing some phrases of it with the other works of Zahiry Samarghandy (Sandbadnameh and Ghorrat–al-Alfaz wa Nozhat-al-Alhaz) and writer᾿s stylistic norms analyze and correct some distortions falsifications and errors in the printed text of Aghraz Al-Seyasah.

In the historical culture of Iran, narration means lecturing and giving an account of any story in its broad sense. Story research pays attention to the presence of the narrator, as a human factor, in the transfer of the story, but does not examine the signs of his presence, extent of his possession, or adherence to resources in a methodical and accurate manner. The confusion of the narrator with the writers shows that, despite acknowledging that the story does not have an official writer, lecturers have taken the narrator of the fictional world the same as either the writer or with the narrator. On the other hand, the interventions of the editor of the story, in the form of the use of punctuation marks, and highlighting or hyphenation of some sentences in order to distinguish the narrator from the storyteller without having a precise and measured basis has added to the existing confusion. Narratology examines narrative instances and levels based on the interaction of the narrator, the actor, and the audience in the work. The narratological approach is very important in knowing long folk tales that have been reconstructed and recorded through the tradition of narration and storytelling because by distinguishing at the narrative levels, the narrator's position and discourse are determined. Is it possible to consider a concrete and abstract role of narration for the narrator apart from the lecturer? The results of this study are compared with the views of storytellers about narrators, lecturers, and writers.

In each of his works, Abbas Maroufi has considered the social, political, and historical conditions of the society by considering one of the social classes, and through this, he has challenged the situation of the society with a critical point of view combined with humor and elaboration. The "intellectual" class, women "victims and surrender" and "exiles" are among the groups that play the main characters in the three novels "Symphony of the Dead", "Year of the Riot" and "Totally Special". "Man" and "His Concerns" are the main focus of famous novels, and his main way of processing his fictional characters is to "look back" and "childhood" of the characters in order to examine the problems, internal conflicts, and pay attention to their disorders. The novel "Symphony of the Dead" can be considered a new interpretation of the story of Abel and Cain with a surrealist atmosphere that examines the social, political, and historical conditions of Iranian intellectuals at that historical period. The novel "Year of Rebellion" is a narrative of violence and coercion that has been noticed by women throughout history, and Nosha, as a character who represents women in society, is a "victim and surrender" character who does not give up to save herself and surrenders to forced marriage. The novel "Totally Special" is also a story about the life of Abbas Irani, an exiled journalist who is forced to emigrate from Iran to Germany. In this work, the author has included various aspects of his biological experiences. This research tries in a descriptive-analytical way to answer the question that what are the most important components of modernism in Abbas Maroufi's "human-centered" novels? The findings indicate that "tendency to the world within the characters", "fluid flow of the mind", "internal conflict", "rejection of the narrative method in the novel" and "different way of characterization" are the most important components. The manifestations of modernism are in the novels in question.

A sentence can structurally be used in three forms: declarative, interrogative, and imperative. Semantically, each type may have different meanings in various contexts. The discussion of secondary or multiple meanings of a sentence has long been considered by rhetoricians, especially in the field of semantics. The secondary meanings of the above three sentences have been frequently debated. It has also been considered in today’s pragmatics. In this paper, Parvin E’tesâmi’s poems have been studied from the perspective of secondary meanings in interrogative sentences. The question of this research is to recognize what are the secondary meanings of interrogative sentences in her poems in order to determine the capacity range of these kinds of sentences in the Persian language and the literary context. The study showed that out of 639 interrogative sentences, 34 are real questions and 29 have secondary or implicit meanings. Out of 29 secondary meanings, the most frequency belongs to the denial questions and the least to regret ones. The expression of several secondary meanings in one sentence has simultaneously been found in her works. This study shows that despite the different time periods and her gender (being a woman), her literary text, like other texts of outstanding poets in Persian literature, had more desire to use the interrogative sentences in the secondary sense and the literary context enhances the capacity to utilize interrogative sentences in secondary meanings.

Bidel Dehlavi's poetry is complex, difficult, and mysterious whose deep philosophical and mystical thoughts, as well as his special look at the world, are the factors of the semantic complexity of his poetry. In Biddle's poetry, some words are very frequent; one of these words is the concept of "being," which has a special place in his poetry and universe. In this paper, the concept of "being" is analyzed using structural conceptual metaphors. Biddle's poetry is full of complex and distasteful concepts that can be described and analyzed using the function of conceptual metaphor for objectifying to abstract domains. The analysis of the "being" in this article is based on the structural metaphor. Since in other types of metaphor, the metaphors of orientation and ontology, the main metaphor of metaphorism is based on the similarity between experiences of physical objects and our bodies; in fact, the empirical foundations of sensation and conceptualization are largely clear; while in structural metaphors, we based on cultural and social experiences and perceptions we are conceiving. Therefore, according to Lakoff and Johnson, structural metaphors are the most complex of conceptual metaphors.

The novel is a plot of life that narrates a period of time and the culture of the society in a narrative way, describing the passages and difficulties of life by situating characters and events. This description is accompanied by a presentation of the life plan. Women as part of society, life, and culture have contributed to the development of the narrative, and what has been shown to them is the idealistic, critical, or corrective view of the author. One of the most prominent narrative novels of the last hundred years in Iran, the novel of Keleydar features women such as Balqis, Zivar, Maral, and Shirou trying to put women in front of men and make life meaningful. Dolatabadi has used the theory of community representation in storytelling and has shown less critical, corrective, and idealistic perspectives that have made the educational part of the story difficult. This study criticizes the position of women in the novel of Keyler, expressing deficiencies and disregarding the teachings of critics such as Goldman and Barth, which has seriously challenged the novel's inspiring position.

Metaphor is one of the devices and elements which has been used for conveying and objectifying the great human concepts in Ferdowsi’s Shahnameh as an excellent, mythical, and heroic work. Accordingly, the structural nature of the stories of Ferdowsi’s Shahnameh has been represented as a metaphorical narrative. There are various characters in Shahnameh and each of them illustrates a symbol of different characteristics of human beings. Among the effective characters in Shahnameh, “Siyavash” as a “wise” person faces events that can be a metaphor or symbol of human life concepts. The aim of the present study is to investigate the different types of conceptual metaphors, i.e. 1) Orientational metaphor; 2) Ontological metaphor, including (2-1) Substance metaphor; (2-2) Container metaphor; (2-3) Personification metaphor; and 3) Structural metaphor, following Lakoff and Johnson’s (1980) model in “Siyavash story” of Ferdowsi’s Shahnameh. The results showed that ontological metaphor, particularly substance type has been significantly applied more than other metaphors in “Siyavash story” (p<0.05). On the contrary, the orientational metaphor has been used less than other ones.