فصلنامه کهن نامه ادب پارسی
سال چهاردهم شماره 1 (پیاپی 36، بهار و تابستان 1402)

Sanandaj city, which was recently registered by UNESCO as a City of Creative music, is also at a high level in terms of literature and culture. Ever since this city became the residence of the Ardalans in 1046 AH and Suleiman Khan Ardalan built a strong fortress in its center and officially became a city, it has always been one of the cultural and literary centers and has attracted and raised various poets and writers. The research question and the study aims to answer the following: Although the city of Sanandaj was inhabited by Kurds, what were the reasons why poets wrote poems in Persian from the beginning of the city's foundation? This study was conducted using the descriptive-analytical method and using library sources. Findings point to the region's political geography, the Ardalans who were protégés of the Safavid kings, heavy dependence on the Safavid rulers and their successors, weak national sentiment and Kurdish nationalism, and finally the religion of some rulers of Ardalan they are the most important reasons for the inclination of poets to the Persian language and poetry from the  beginning of the eleventh century until the fall of the monarchy.

The analysis of Rumi's family relations through his  letters is important because they are worthy of research as a document left over from the life of Rumi and the people of his time, and acquaint literary lovers with unknown aspects of his personal life. This is possible by using stylistics with a linguistic approach; Because stylistics with a linguistic approach can discover the hidden features  of a work by examining the linguistic layers and reach the mind and world of its author. Therefore, in the present study, we use a layer stylistics that emphasizes the discovery of hidden layers of text  and by applying descriptive-analytical and statistical methods to answer this question. What kind of relationship does each of Rumi's letters to family members reveal? The findings of this study show Rumi's special respect for the bride, but Rumi's not-so-sincere relationship with his second son.

The idea of celebrating poetry has been considered among poets for ages. Among Kurdish poets, poetry has been of such a high position. Some have admired their poems from the bottom of their hearts and adopted them as their children. This research sought to reinterpret and account for the suggestion of the above idea in Kurdish poets’ poetry with a descriptive-analytical method. For that purpose, poetry by well-known nineteenth-century poets was selected as the target research population. In the background of the discussion, the topic of investigation was first examined and analyzed in the Islamic-Iranian literary tradition, so that its position in Kurdish Literature could be explained and detailed more properly. It was found that poetry, as a whole, has sometimes been evaluated and embodied by Kurdish poets as a child or a son; in other cases, each verse has been regarded as two children. This thought has often been accompanied by aspects of expression including simile, allegory and metaphor. Furthermore, poetry has been assumed in Kurdish Literature as a source of immortality and freeness from the defect of childlessness, which can be ensured by a son. Along the same lines, poetry has been considered in Kurdish poets’ thought as pure and free from improper notions, where a type of ultimate, absolute poetry has been suggested.

This paper which has been written in a discriptive-analytic manner analyzed and compared the narrative structure of 13 allegorical and symbolic poetic romances. Beyond their romantic and narrative appearance, due to their allegorical, symbolic and mystical themes, these poetic romances have a distinct structure among Persian poetic romances. After analyzing the poetic romances according to Propp's narrative model and discovering a common intertextual link between them all, research results revealed that these romantic poems are similar and close to each other in terms of their structure, function and personality, and that they follow almost the same conventions. These romances are based on 19 main functions and four personality types (hero, princess, helper and villain). The outline of the narrative in these romances indictates the similar structure in them which is a change from equilibrium and a return to a state of equilibrium again. Accordingly, considering the way in which equilibrium and movement are disturbed in the opening scene of the tale, there are two general patterns for the narrative structure of the tales: 1. movement-creation based on the need 2. movement-creation based on the need and wickedness of the villain.

Following the primary epics, another type of epic was formed, which is called secondary or artificial epics; A type of epic that is formed by imitating the original epics is religious. They describe the heroism of one of the most prominent figures in the history of Islam, who held a high position among most Muslims. The composition of such poems began in the fifth century, shortly after the time of Ferdowsi, but in the Safavid era due to political and social conditions has been narrated and continued and the attention of poets in later periods to this literary form has been much. In the period between the 11th and 14th centuries, more than twenty religious epic poems have been counted in the Isfahan region alone, which have not yet entered the realms of research.The present study, while explaining the various aspects of religious epics with a descriptive-analytical method, has analyzed and criticized the various areas of the three collections (manuscripts) Ordibeheshtnameh, Shahanshahnameh, Maghamat-e-Hosseini as examples of religious epics. The result of the research shows that the poets of the works did not pay much attention to the linguistic and rhetorical system in such a way that sometimes the epic and lyrical elements are mixed; The semantic and content system has been highly regarded by poets and they have tried to use the text as a means of expressing their religious and doctrinal perceptions, which is a mixture of history and the Poetic preparations. In the meantime, Ordibeheshtnameh and Shahnshahnameh have been very much influenced by Ferdowsi's Shahnameh, but Maghamat-e-Hosseini, apart from rhythm, seems to lack many epic components.

The Divan of Jamal al-din abd al-razzaq-e Isfahani, an influential poet of the sixth century AH, has been emendated three times so far, and two earlier amendments have been published. Editions that, despite the great efforts of editors, have defects. The most important shortcoming of these amendments is the absence of certain poems of Jamal. One of the most important poems omitted from the divan of this able poet is a masnavi with 138 verses, which was composed to a person named Ouhad al-din. In this article, in addition to searching for manuscripts and editions work related to Jamal, especially his divan, and providing the full text of the masnavi, we have introduced the only leading manuscript of it and enumerated the reasons for the correctness of this attribution. The results of the present study show that reasons such as the similarity of meter and content of Tashbsib of one of odes with masnavi, the similarity of some hemistichs and compositions as well as the similar syntactic structure in Divan and masnavi can be presented in the correctness of the attribution.

Part of the new critique is devoted to examining the language features of literary works. In Persian, most researches have been done in the field of mysticism and epic language and so far no model has been presented for studying lyrical-narrative language. In order to find a model for the study of lyrical-narrative language, five levels: phonetic, grammatical, content, lexical and rhetorical in fourteen important Persian Vers were studied in a complete induction manner. Simia software and Noor 3 receiver software were used in data analysis and classification. The type of research is analytical-descriptive and these results can be considered as the result of this study: In terms of prosodic Meter, the Hazaj is mostly Category n amount of six omitted . The current row is of interest. The predominant denominator is abrasion. The words of the spiritual realm and consciences, natural elements and festive elements are among the important aspects of this language. The presence of the verb in the middle of the verses or shutters, the omission of the verbs and, consequently, the Calm tone of the verses are noticeable. Increasing the discrete pronouns” me” and “us” can increase the introversion of the Verse. In terms of the most widely used rhetorical industries, there is the metaphor of Morashahe, Implicit metaphor, simile with both sides bound, Additional simile and Baligh simile. Increased  Emotional sentences, increased descriptions and Circumlocution, increased exaggeration, high frequency of active presence of women and feminine and delicate language are other features of this language.

In the stories of Haft Peykar, one can see the most significant components of the grotesque style, such as the feeling of fear, latent ridicule, strange and surprising shapes, ugly adornments adorned with ornaments, and so on. The adaptation of the Haft Peykar narrative section to the grotesque components, especially the grotesque, which the new view of the two critics in this field, namely Kaiser and Bakhtin, reduces its negative aspects and, while changing the conventional standards of beauty, considers this style as a kind of ugly aesthetics, with a significant clarity. In this stories, some physical and mental issues that have been pushed back from human life, along with its ugliness and filth, are portrayed in complex, astonishing, contradictory and unexpected ways.  In this research, while using library and documentary studies and using qualitative analysis method and taking into account Kaiser's view, we have categorized, and analyzed the grotesque category and its index components in Haft-Peykar stories. The findings of the research show that Nezami in these stories has been able, with amazing skill, in the content and form of the work, to show the ugliness and filth in ways close to the characteristics of a grotesque work.

Jamal Al-Din Mohammad Ibn Abdul Razzaq Isfahani ‘s collection (Divan) have been corrected for three times. Each of this correction have weaknesses in addition to its strengths. This issue cause asking this question that what is the necessity of correcting Jamal Al-Din Mohammad Ibn Abdul Razzaq Isfahani ‘s collection? Prior studies have been done based on the limited in number, nameless, or undated copies. As a matter of fact, the lyrics of other poets are recorded by Jamaluddin’s name. Therefore, it is necessary to identify real collection among manuscripts attributed to him. in order to explain the necessity of re - correction of Abdul Razzaq Isfahani ‘s collection by descriptive - analytical method, first copies were identified and introduced, then based on 27 handed manuscripts the content list of his poems was prepared and finally based on content list the corrections of Adib Neyshabouri, Vahid Dastgerdi and Hamid Reza Qanuni were criticized. Then it mentioned what are deficiencies of other three corrections of Abdul Razzaq Isfahan’s divan. Finally, by presenting scientific reasons such as; not available or defecting of the copy, not mentioning the reference in used copies, separating a poem from a context and presenting it in two separate formats, repeating a poem in Divan, misrepresenting the copy, quoting poems of other poets; the need to re-correct Jamal al-Din Abdul Razzaq Isfahani ‘s Divan was stated.

Mowaffaq al-Din Yahya ibn Hassan Tartari is one of the anonymous poets and Persian speakers of the fifth and sixth centuries AH. In the researches related to the history of Persian literature that have been written in the last one hundred and fifty years, there is no name or address of him. It seems that Taqiyya al-Din Uhudi Blyani (973-1040 AH) first mentioned him, about five hundred years after Tartari's death. A manuscript has now been found that is the oldest and most important document on Tartari and contains part of his poems. This manuscript, which is kept in the Sulaimaniyah Library in Istanbul, was written between 687 and 688 AH and has considerable information about Tartari, his poems and praises. In this article, we try to provide new points about the name and logo, the praises and the style and context of Tartari poems by quoting this newly written manuscript and reviewing historical and literary sources. Also, the few remaining poems by him have been read and corrected to be used by researchers for leading researches on the history of Persian literature and Khorasani style.

Mirza Abdullah Gorgi Esfahani is one of the prominent food-poets in the 13th century Hijri, having composed noteworthy poems using one of the branches of satire; parody, and hence having displayed both his own satirical art and the problems and shortages of his time. This research first tries to give a certain definition of parody and then analyze Gorgi Esfahani's parodies. The objective is to investigate these parodies in detail using content analysis and obtain less noted valuable points. The analysis of these parodies reveals four 'individual', 'cultural and social', historical and economic', and 'religious' fields in the poems of this poet. These views are partly entertaining and satirical, especially regarding the superficial processes of the poems, but delving into the hidden layers of these parodies reveals a kind of dark satire and critical aspects that are very important for being acquainted with the life and time of this poet.

The present research, using a descriptive-analytical method, tries to understand the narrative structure of Tarsousi Darabnama as one of the oldest mythological texts of Iran, according to the actionist theory of Georges Dumzil, and in this way, the similarity of its characters' actions with the texts Indo-European mythology Basnajd. The findings of the research show that the narrative structure of this work can be adapted to Indo-European epic texts and the three actions proposed in Domzil's actionist approach (commanding, fighting and fertility) are the main actions of mythological characters in These narrations are considered. Iskander, Darab, Homay, Tamrosieh and Burandekht each have distinctive features that are classified in the subgroup of triple actions. In this work, "absolute kingdom" belongs to God, and God has helped them by using various tools such as "dreaming", "using natural factors" and "sending legendary creatures to help". The act of warfare has a special place in this narrative with various goals such as expanding the territory, defending the control of the government, establishing security, revenge and spreading religion and justice and the mythological characters are always tested in the battlefields. Abundance of blessings, abundant treasures, prosperity, peace and prosperity, beauty and youth, attachment and observation of such things in the description of the mythological characters of this narrative also show the third action, fertility.

One of the methods of examining the text is Fairclough's critical discourse analysis approach, in which special attention is paid to its situational and discursive context in the examination of the text, and it is examined at three levels: description, interpretation and explanation. In this article, an attempt was made to analyze the system of Khosrow and Shirin Nizami with the approach of critical discourse analysis, focusing on the debate between Khosrow and Farhad. In examining the text and at the level of description, we are faced with two types of stances in the form of Farhad and Khosrow's debate, which shows the conflict between the lower and upper classes. At the level of interpretation, the social context of the text indicates the praise of the institution of the court, as a result of which the ruling ideology appears on the text. At the level of explanation, the text does not seek to confront the prevailing ideology, but to legitimize it. Finally, the text has reproduced power relations and tried to stabilize and continue them.

Saif al-Din Asfarangi is one of the Iranian poets in the late sixth and mid-seventh centuries AH. His divan is only surviving work of this poet. Esfarangi Divan firstly corrected and lithographed in Pakistan in 1978. This divan was corrected in 2017 by Farzad Jafari; Several manuscription of this work are available, such as the manuscripts of the Russian State Public Library, the manuscript of the Pakistan Treasure Library, the manuscript of the Turkey Topkapusaray Library, the manuscript of the Sepahsalar Library, and so on. Among the manuscripts, Jafari has chosen the manuscript of the Russian State Library (A) as the basic manuscript and has used other manuscripts in the correction. Although the correction presented is scientific and critical, there are errors and mistakes in it, and in some cases, carelessness in the correction is obvious. The present article tries to reveal and correct some of these errors and mistakes in this correction with a scientific and critical way.

Gazi dialect is one of the most important dialects which lefts from the Parthian or Pahlavanic  in the central regions of Iran and has always been the aim of research by many domestic and foreign scholars. Divan Darwish Abbas Gazi is the oldest and most important literal work in this language that can be an effective source for deeper knowledge in the linguistic studies of this dialect. In this research, the poems of Darvish Abbas Gazi and Fahlaviat of Sheikh Safi al-Din Ardabili have been studied in three levels: phonological, lexical and syntactic. Old Gazi and Azari languages are the remnants of modern Iranian languages in a linguistic subdivision that can be compared linguistically. The findings of this study show many similarities between the phonetic and lexical quality of the two poets; Like the evolution of the phoneme "ž" to "y" in both of them. However, there are differences in the phonetic and syntactic composition of the poems of Darvish Abbas and Sheikh Safi. The words left by the two thinkers are often in the form of poetry and have poetic logic (rhythm and rhyme). In addition, both poets in these poems are influenced by the structure of the Persian language. So that many words, combinations and grammatical patterns are derived from Persian