مجله متن شناسی ادب فارسی
سال پانزدهم شماره 1 (پیاپی 57، بهار 1402)

Literary worksarewritten in a time and place that aredirectly related to previous works; therefore, thewritings of the texts before themarenot ineffective. In this study, with the aim of investigating the influence of Ferdows al-Murshediyeh from Tabari’s history and KhajehAbdollah Ansari’sinterpretation, a descriptive-comparative methodwasused. The results of this study showedthe extent to which Sheikh Abu IshaqKazerouni borrowed from ancient sources and mystical interpretations and added to the previous texts and thoughts in relation to the new materials and themes.Ferdows al-Murshediyeh's study showed that Tabari’s history and exegesis of KhajehAbdollah Ansari were among the study sources of Sheikh Abu IshaqKazerouni and his disciples. Ferdows al-Murshediyeh's comparative study of Tabari’s history is evidence of a direct influence without referring to this mystical work in the field of creation and caliphate of Adam (AS) adopted from Tabari’s discussions. Also, the Sheikh’s mystical exegesis on the verses indicated the existence of an indirect influence of KhajehAbdollah Ansari’sinterpretation on its themes. In addition, the other mystics’views werein continuation of the exegetical method of this book based on KhajehAbdollah Ansari, which hada direct influence on the levels of phrases and vocabulary in most cases as quotations without a reference in the text.

In addition to the importance of examining manuscripts to find the original form of a text, another important issue is the study of manuscripts as multiple texts and the result of literary recreating. Alterations in the manuscripts are rooted in various factors, many of which have been undoubtedly beyond the scribers’ control; but in the end, they are created by passing through the filter of the scriber's mind. These alterations are the hotbed of changes that open up a scribal narrative, which is the result of playing with discourses and weakening or strengthening them. The scriber is the ultimate selector of the text from two or more multiple manuscripts. Part of it is related to manuscripts and writing methods and another part is its social and cultural contexts. Virtual love in Hafez's poetry is one of the realms, in which literary discourse changes can be found. One of the manifestations of virtual love is Eshtiagh-Nameh (Letter of Eagerness), the semantic background of which is the theme of separation. It is close to writing a letter in terms of form. Some manuscripts of Hafez's Divan have changed the discourse of the text in the presence and absence of the mentioned letters. In this article, by introducing these versions, we tried to show that the performance of the manuscripts in this regard depended on the discourse community, in which they were located.

In this study, regarding the Third Divan of Hakim Rokna (known as Masih Kashani), the meaning of the phrase(به طرح دادن) ‘be tarh dadan’ is investigated. It is one of the controversial combinations, although it has been studied and discussed for centuries, not only has it not reached a conclusion, but everyone has gone wrong in its interpretation. The phrase is dealt with firstly based on a comprehensive study, especially by witnessing the verse of Hakim in one of the sonnets of the Third Divan. The results of this study can be an end to all verbal disputes, meaningless phrases, and incorrect arguments of the authors on the meaning of this combination, since the poet completely clarified the issue by bringing the simile of(به خرمن دادن) ‘be kharman dadan’, which is a sign of abundance, along with the combination of ‘be tarh dadan’. In the examples from other books mentioned in the study, considering the issues before and after it, this point is very clear. However, the verse of Hakim is: ما بلبلیم لیک به گلشن نمی رویم تا گل به ما به طرح و به خرمن نمی دهند /Maa bolbolim lik be golshan nemiravim/ /Taa gol be maa be tarh o be kharman nemidehand/ Translation: We are nightingales, so we don't go to garden; Until they don't give flowers to us, to.…{be tarh o be kharman} And it is clear that the meaning of this combination in Persian poetry and prose does not match the meaning of Golestan commentators and commentators of other books, and by presenting these incorrect interpretations, they only cause readers and researchers to wander. Then, the Turkish word ‘song’ and ‘Kharabeh-Dehe Song’ and other derivatives and their origins are investigated and different aspects of their meanings are depicted. Then, the importance of the combination of ‘sineh kardan’ is mentioned.

Tarikh Beyhaqi contains accurate information about the Ghaznavid period. ‘Khishkhaneh Herat’ is one of the anecdotes in this book, which deals with how Sultan Mahmud relates to his son Masood. The application of the theory of symbolic interaction to the verbal and non-verbal connections between the characters provides a more accurate understanding of the situation of the Ghaznavid court and their daily lives. The premise is that variables such as false representation, idealization, mystery, team collusion, hypocrisy, multi-kinship, maintaining dramatic control, and action and reaction in this anecdote make the application of the theory of symbolic interaction convincing. The analysis of these partial variables in Khishkhaneh Herat indicates an all-encompassing and macro-sociological reality and shows the unstable cultural atmosphere as well as secrecy, inspection, pretense, incoherence, and extreme distrust in the period.

"Fairy Snake" is a peculiar expression that has been used by Sanayi Ghaznavi and Khaghani-e Shervani among other Persian poets. They have likened beautiful and disloyal lovers to it. The exegetes and commentators of the poems of Sanayi Ghaznavi and Khaghani-e Shervani have not yet given the correct meaning to and a true concept about this expression and composition, thus being confused about its analysis. According to the author, the combination of fairy with snake showed a mythical and legendary fate because by examining and studying the myths and legends, it could be said that the fate of the fairy as Goddess of debauch and fertility and that of the snake as a mysterious animal were caused by their very natures attributed to the moon, their correlation with debauch and fertility, and their connection with water, as well as magic and witches from the earliest times. This relationship, which continued after the Zoroastrian Religion and Zoroaster's religious reform caused the creation of a mythological-legendary expression called the "Fairy Snake" in the form of one of the mixed myths of transformation, which is a symbol of both debauch and devil. Sanayi Ghaznavi likened the beautiful and disloyal lovers to that strange and hybrid creature.

The present article introduces a manuscript called Kashf al-Zor fi Nazm al-Dor. The author of this version is Rukn al-Din Shirazi, one of the mystics in the 8th century AD. However, it is Ali bin Muhammad Hassan Toni in 835 AD, who has written the mentioned manuscript. The major part of this edition consists of an exquisite mystical treatise and description of Ibn Farez's ode, which is kept in the library of the Islamic Council under the number of 13679. The main goal of this descriptive-analytical research was to examine the literary and expressive methods of the work, while introducing and reflecting on the features of the manuscript and at the end, presenting an appropriate answer to the main question of the research: What are the literary styles and special methods of this manuscript? The current version was full of emotion and imagination and imaginative elements were used in the best way. In general, the predominance of words over meaning, superiority of description over news, poetic imaginations and imagery, and use of poetic purposes, such as praise and simile, were some of the special features of this work. The final results of this research were the identification of the unique manuscript of Kashf al-Zor in Nazm al-Dor and analysis of the modes of expression and stylistic, literary, and linguistic characteristics of this mystical treatise, which had been neglected in the history of Persian language and literature of the 9th century.