نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 55 (زمستان 1401)

Few world literatures can be proud of a masterpiece like Firdausi's Shahnameh. This masterpiece of epic poetry has been translated into more than thirty-five languages in the worldtill date. MoniruddinYusuf, the most prominent author and translator of modern Bengali literature, translated the entire Shahnameh into six volumes in Bengali. He translated the complete epic in Bengali prose literature, but was very careful to retain the poetical weight of the original Shahnameh.Which means it is not an ordinary prose translation;the rhythm of ‘free verse’ were maintained in every line translation of this great epic. Yusuf has translated the descriptions of the characters accurately as the original.Renowned personalities like Rostam and Sohrabhave been described same as the Persian epic. So it seems like we are reading an epic by a Bengali poet. Although Firdausi's Shahnameh has been translated into many languages of the world, the Bengali translation of it by Muniruddin Yusuf can be considered as one of the best version of it. The purpose of this research is to introduce Moniruddin Yusuf and his literary skills to the Persian speaking scholars.

Musical Terms Ambiguity Techniques in Assar-e-Tabrizi in Comparison with Nezami andHafizAbstractBeing correlatives, poetry and music have always had an ancient affinity standing the question of time, even though over the course of centuries each has evolved into an independent field. In some poets, ambiguity stands out as a literary device and due to the use of ambiguous words and sentences attracts the special attention of many others to the point of dictating itself as a signature feature of style, and still more so when it blends with music to take the reader by wonder and surprise. Assar-e-Tabrizi is a poet, beside a few others, to have achieved perfection in using the technique. In this study, all the lines in Assar's couplet, The Sun and Jupiter(Mehr Va Moshtari) and the poems of Khosrow and Shirin composed by Nezami, were carefully examined in search of instances of musical ambiguity to be compared and contrasted with the sonnets by Hafiz, that is the three poets were contrasted. Findings show that Assar and Hafiz have a lot in common when it comes to musical ambiguity, with Assar making a few innovative moves absent in Hafiz, the term "Shahnaz" being one such move. In fact, the claim can be legitimately made that concerning ambiguity and in particular, musical ambiguity, Assar is as great and distinguished a poet as Hafiz and he has used these literary items more than Nezami.Keywords: ambiguity, Assar, Hafez, musical terms, Nezami

Homayounameh, belonging to Abdul Razzaq Beg Donboli, the poet of the court of Fath Ali Shah Qajar, is a six-thousand-line poem in the form of a religious epic, a sub-type of Mukhtarnameh that narrates Mukhtar's uprising in the form of an epic poem. The poet of the work, while being influenced by Ferdowsi's Shahnameh, has been particularly influenced by the epic of his contemporary flagship, Fath Ali Khan Saba. In the first Qajar period, the school of return was the dominant current in the style of Persian poetry. In this paper, considering the belonging of Donboli to the circle of poets of the Qajri court, the ideological manifestations of the ruling discourse in Homayounameh have been analyzed by identifying high-frequency indicators. Marking is a conceptual lexical relationship that examines the semantic burden of marked words compared to other words, and is one of the most important semantic tools for understanding the ideological space governing speech. This study, by identifying the words marked in Homayounnameh and classifying them into two groups Words with national and religious symbols, representing the opposition of national and mythological foundations with religious foundations, have propagated the dominant political ideology in the Qajar period, and the assimilation of words with national or religious components in different positions has led to the legitimation of political power in the text.

No definition is possible for all aspects of irony. From the perspective of this research, irony requires the presence of three people: the ironist, the victim, and the ironic observer. The ironist refers to a concept with his words or actions, knowingly (with the intention of deception) or unknowingly, but the victim takes the opposite. An ironic observer is someone (often a reader) who is aware of and laughs at the victim's misconception. In fact, irony is based on multiple meanings (sentences are multifaceted, words have multiple meanings, actions and situations have multiple inferences), some of its meanings are in conflict with each other.This study categorizes the types of irony, with a formalist approach, in terms of the type of code, the position of the victim, intertextuality, the degree of irony transparency, and density (the scattering of irony in the text). The research method is descriptive analysis, and its field of study is children's stories. In this regard, this article seeks to answer how irony is formed in children's stories with a formative approach. The present article is useful for humorists in the field of children, and the author has not seen a similar research regarding the classification of ironies, either in domestic or foreign articles.

Ghazal is one of the poetic forms that has a brilliant record in the history of Persian poetry and is still considered by those interested in poetry. One of the contemporary lyricists whose poetry has been considered in recent years is Fazel Nazari. He is known as the "current" poet of the last decade. The theory of the coherence of the Halliday text, which was developed with the collaboration of Roghayeh Hassan, examines the literary text in three axes of grammatical, lexical and logical coherence (semantic or conjunctive).In the present study, one of the well-known sonnets of Fazel Nazari based on the criteria of Halliday and Hassan theory, in both vertical and horizontal axes, has been studied. The results have been obtained: Ghazal Fazel Nazari has a high capacity in terms of attention to the elements of grammatical and lexical coherence and all the words of its verses are chained together. All its verses, in terms of logical coherence, have also paid attention to the techniques of coherence, according to Holliday and Hassan theory, and most of its verses have more than one of the criteria of this type of coherence. According to Halliday and Hassan's theory, in the sonnet in question, one of the reasons for paying attention to Fazel Nazari's poetry in the last decade can be considered as the prominence of the elements of this theory in his poetry.

The Ottoman court during the reign of Sultan Mohammad the Conqueror and his son Sultan Bayazid II was one of the centers supporting Persian language and literature; Some Iranians, hearing the security news and the support of the kings of that land, decided to emigrate to that land. One of these people was a Sufi named Mahmud ibn Hussein Mousavi Mashhadi, who was forced to emigrate to the Ottoman Empire due to the conflicts and oppression in Khorasan, in the late ninth century AH. In the city of Kayseri, he met with Sheikh Seyyed Obaidullah Tostari Shirazi and spent two and a half years in his monastery. After that, with the intention of entering the court of Sultan Bayazid II, and on the advice of Seyyed Obaidullah, he wrote a treatise on Sufism called "Tohfat-ol Qeib". This treatise has an introduction and four chapters and in it are mentioned significant Persian and Arabic verses from famous and unknown poets.In this article, we identify Mahmoud ibn Hussein Mashhadi and Sheikh Seyyed Obaidullah. After that, while determining the time limits for the compilation of the Tohfat-ol Qeib, we introduce the only known manuscript of this treatise (from the Hagia Sophia / Ayasofya Library, Istanbul). In the calligraphy section of this book, we get acquainted with one of its interesting features, which is the signs of writing (Punctuation). In the meantime, we will consider the subject of this treatise and the intellectual of its author, and finally,