فصلنامه کهن نامه ادب پارسی
سال پانزدهم شماره 1 (پیاپی 38، بهار و تابستان 1403)

Besides the religious and spiritual aspects, the fire temples mentioned in the Shahnameh have also other functions including legal and judicial aspects. The references in this regard indicate the role and the position of the fire temples as a part of important law enforcement centers and judicial affairs, fulfilling juridical-legal obligations, and also the very deep bond between the laws of kings and the punishments issued by them with religious approaches and attitudes. Using descriptive analysis methods, current article will demonstrate the role of the fire temples from the Shahnameh in the fields of "judicial rules," "social contracts," and "religious contracts." The results indicate that there is a very deep connection between economic-political and juridical-legal as well as judicial functions of the fire temples in Shahnameh, and also the fact that the fire temples were counted as suitable platforms for the fulfillment of religious and social obligations (endowments and fulfilmenting vows and oaths), prevention of crimes and its reduction, which was clearly evident in the politics of Sassanid kings of Shahnameh. On the other hand, fire temples were places to remove social and jurisprudence aspects of sin and crime (the sinner or the criminal). They were also a place for forgiveness of the souls of the deceased, which has been carried out in the form of various punishments, or atonements and endowment in Shahnameh, both in the pecuniary and non-pecuniary forms. The non-pecuniary atonement in Shahnameh is demonstrated as punishing the criminal or sinner, and the pecuniary atonement was paid in cash and non-cash (illiquid) forms

RonagheAnjoman is an epic-religious epopee in motaghareb rhythm, that is composed of 2044 verses. This epopee is the work of a poet with the pseudonym SohbateLari During the Qajar period. Lari In this epopee, followed Ferdowsi and tradition of to compose Mukhtarnameh Lari has been influenced from the Shahnameh. In addition to the introduce of the Epic masnavi, this study tries to show the Influence from the Shahnameh by Analytical and exploratory method. This study also is intended to study the effect of Shahnameh on these epic , in several parts, including the influence of the style and the book of Shahnameh, Allusions, use of Ferdowsi’s verses in the epopee’s verses, Hemistiches of the Shahnameh and influence  vocabulary and imagery This epopee also will be analyzed from linguistic and literary viewpoints stylistically. The results of this study show that Larry is Mukhtarnameh poet and he composed his Epic masnavi under the influence of Shahnameh and in this way, he has done something superior to Ferdowsi In composing the Shahnameh in his own opinion.

Editing Soozani Samarghandi’s, a 6th century poet, complete poetical works book which was accomplished by Dr. Naser-o Din Shahhosseini in 1959. Due to the fact that earlier manuscripts dating back to the poet’s life time were not available, the editor used later ones. This ignorance of using the more reliable manuscripts in some cases and also disregarding the literary tradition and its indications for editing has led to the deliverance of a disorganized, unsystematic work to the readers which is marred with frequent errors. Misreading complex and special Turkish and Arabic words is another problem with this edition. Since its publication, several criticisms have been made to this editing of this book of poems which led to publishing a number of articles in reediting the couplets. Considering the lack of access to earlier manuscripts, this article tries to reexamine and edit some of the couplets in the complete book of poems of this poet by using some notable dictionaries including Jahangiri Dictionary and Dehkhoda comprehensive encyclopedic dictionary.

 Mehsti-Ganjoy's entry into this arena and the invention of trade union riots in the form of a quartet brought with it different critical reactions, which share one point of view, that is, the masculinity of the language of Mehsti's riots. The main issue of the present research was to prove the existence of women's language in the city of Mehsti Ganjavi riots. To prove this issue, Morris Grammon's induction theory was used in comparing the types of repeated consonants and its induction type in the cities of Amir Khosro Dehlavi and Mehsti Ganjavi. In this research, the variable of gender, based on the traditional view and cultural stereotypes regarding male and female roles, has been measured and these results were obtained: the type of induction of consonants in all groups (obstructive, shrill, rwan, abrasive, demshi and half-voiced) In the riots of Mehsti and Amir Khosro Dehlavi, they are significantly different from each other and are completely opposite to each other. The introduction of all kinds of consonances in Dehlavi's poetry tends towards the speed of speech, the superficiality of emotions, violence and sharpness, and the triumph of sounds and words. From a position of power, Dehlavi addresses the audience/lover of his riotous city with full frankness, overbearing and contemptuous. The characteristics of these inductions are fully adapted to the gender of the poet and his cultural and social freedom and customary extroversion. On the contrary, the introduction of consonants in Mehsti's chaotic city shows the poet's introversion, conservatism and caution, and in every way he has a tendency towards softness, gentleness and caressing, which are also compatible with Mehsti's gender. Therefore, it can be claimed that the poetic language of Mehsti riots, contrary to popular opinion, has a high percentage of femininity.

Undoubtedly, Gisu-drāz (1322/1323-1424 AH), the mystic scientist of Chashtieh dynasty in the subcontinent, has used some sources in his Maktubāt. The recognition of these sources, on the one hand, reveals Gisu-drāz's intellectual treasures to us; on the other hand, introduces the works attracting the attention of the elders of Cheshtiyyeh at that time. In the only stoneprint of Gisu-drāz's Maktubāt, there is a letter adopted from the Seven Letters, existing in Sadi of Sharaf al-Din-e Manyari's Maktubāt (1263?-1381 AH). In this paper, the full text of this letter (i.e. the third letter of Gisu-drāz's Maktubāt) has been analyzed and, in the end, it has been shown that this letter is a combination of the twelfth, fourth, second, fifteenth, nineteenth, tenth, and sixteenth letters of Sadi's Maktubāt. It is also possible that Gisu-drāz has combined Sheikh-e Manyari's Seven Letters with direct quotations and his own additions due to their common area of life, simultaneity with Sharaf al-din-e Manyari, and the study of Sadi's Maktubāt. Then, he has sent it to one of his disciples in his own name. Through this research, one may regard Maktubāt-e Sadi as one of the sources of Gisu-drāz's Maktubāt, where this human has made the most of it without mentioning this name. In addition, this influence can be considered as a proof of the popularity of Maktubāt-e Sadi a short while after its writing.

Folk tales are replete with mythical beliefs, which is why understanding the plot and the causes of events in them is a bit complicated, and requires knowledge of ancient beliefs and mythical rituals. Many oral stories of Mazandaran are composed of mythical thoughts and beliefs. In this article, the authors tried to study the mythical elements related to water in these stories using a descriptive-analytical method and focusing on how the mythical elements related to the goddess of water have emerged in the oral stories of Mazandaran. After examining five volumes of oral stories, it became clear that components such as crossing rivers, dragons' blocking rivers' waters, and heroes' battles with dragons, the sacrifice of girls and the subsequent release of water, heroes' marrying the daughters of kings, jealousy of the protagonist of the story and conspiracy to kill him, the presence of hippopotamuses or seahorses, the growth of plants from blood, the protagonist leaving to find a wife outside his homeland, the connection between the god of protecting water and the fertility goddess, the connection between fairies and springs are some of the major motifs of oral stories of Mazandaran, which are all rooted in mythical beliefs and rituals.

The application of fables over time to social and historical places, discourse systems or the creativity of their narrators have been associated with changes and developments in structural components. This article seeks to answer the question of what changes the character of the fox has had in the tales of the 3rd to 9th centuries and what effect this change has had on the story's narrative.33 anecdotes from 19 books have been selected from the 3rd to the 9th century and analyzed based on the general view of structuralist narratologists Especially Bermon's ideas. Most of the stories start from a state of imbalance. The fox not only plays an active and pivotal role in the stories, against other characters (rooster, duck, crow, wolf, lion, and snake); but also undergoes a transformation from a negative to a positive personality. In some books of the 6th century, we are faced with differences in the character of the fox, and the cunning and self-interested fox sometimes turns into a resourceful, wise and deceived figure, and sometimes becomes a cunning savior. This animal, influenced by the flow of mysticism and Sufism, realizes more inner values; Also, he distanced himself from the animal form and took on human roles such as ministry and guarding.

Unconventional behavioral actions in a conventional situation create a type of humor called situational humor. Hafez is a master of situational satire, because along with trying to reach the peak of literary performances, sensitivity to political and social issues is also one of the main concerns in her life and poems. There are more types of situational humor in his poems than literary humor. This shows that during Hafez's era, the behavior of political and cultural figures was so mocking, surprising and contradictory that poets like Hafez and Obaid Zakani did not feel much need to create humor in an artificial way in their poems and works. By portraying current realities in society, they have created different types of humor, which is called situational or behavioral humor. By creating idealistic characters such as Pire Moghan and Rende Bazari, Hafez tries to model acceptable common values ​​as the most suitable substitutes against the dominant and hateful political, religious and mystical discourses ruling the society.

Fish is an ancient myth that has had a significant presence among the myths of ancient nations for a long time and has enjoyed a special place in paintings, drawings, stories, various texts, poems, etc., due to Attribution to the mineral element of water has always been praised for its purity and sanctity, which, due to these inherent capacities, has never been depleted of mythological concepts and meanings, and in any period, according to the dominant thought system of that time, It has been used to express good and Ahurai themes. In this research, using the content analysis method, we investigated the presence of the fish myth from love worship to mysticism, which the results of the research showed The myth of the fish has been present in the ancient narratives of this mysterious ritual since the birth of Mehr, which is also linked to Anahita due to its connection to water. Fish has a mythological-ritual presence in Avesta in the form of "Kermahi", which is the white guardian of Home in the Pahlavi texts, thus it is the life-giver of Zoroastrians in the end times. In epic and heroic texts, the presence of this myth fades until finally, in mysticism, along with the mysterious themes of the sea of ​​monotheism, it becomes a symbol of the existence of the seekers who are immersed in this sea of ​​true existence. The pure and ritualistic nature of this myth has not changed much in the beliefs and texts of different periods, and it has preserved its mythological characteristics in every field.

Present study aims at analyzing the concept of insolence towards Almighty in the story of Amid Khorasan, narrated by Attar and Rumi. The theory of negation and affirmation is the research’s theoretical basis. This study, which is conducted in a descriptive-analytical method, aims to analyze the contradiction of insolence towards God in the story of Amid Khorasan narrated by the Conference of the birds and Masnavi. Finally, it provides a correct interpretation of Attar’s and Rumi’s viewpoints using the evidence in their works, and the theory of negation and affirmation.The concept of insolence in the narration of the Conference of the birds and Masnavi does not follow the same discourse, since Attar's narration praises the insolence towards God and Rumi's blames it. In total, both poets have common approaches towards insolence in their works. It means insolence towards God is reflected in Attar’s and Rumi’s view in two states. While insolence is reprehensible in the servantship state, it is praiseworthy in the love state. Therefore, the difference between Attar's and Rumi's narration of the same story does not mean their attitudes are different, but rather it shows that they try to address a facet of different aspects of insolence.

The review and analysis of confrontation/ interaction of thinkers thought and the artistic experience owners is subject that in set of literary researches can be considered –in spite of cultural differs - underlie of better understanding of discourse thinking of authors. Mewlana and Kazantzakis in this ground are two important thinkers of Islam and Christianity world that can be analyzed their texts in various aspects by attitude of comparative. One of the most important attitude, was thought variety in the selfish field especially beliefs, feelings and emotions, desires  ground that present article analyze and scrutinize this problem. Writer in this article analyzed the most significant common elements of texts mewlana and Kazantzakis emphasis on character natures on one hand and the most obvious thoughts, emotions, desires elements on the other hand by analytical- critical method.  The results of this research shows in spite of uncommon attitude, both of them figure on principle of endless prosperity  and happiness and pay attention to selfish ground by life prescriptions by regard to different dimensions.

In the first section of the present paper, the tale of Sheikh Sanan is explored according to some concepts of the Freudian psychoanalytic criticism. The results of this section reveal that the skeleton of the tale is the poetic presentation of the conflict among three areas of psych: Sheikh Sanan, “ego,” is under the pressure of two opposite and demanding forces, “id” and “superego,” which are artistically materialized as two personas, the pagan girl and the magnanimous disciple. In the beginning of the tale, the ignited spontaneity of “id” is about to dominate from all sides. Then, however, “superego,” through normative and religious enforcement, reappears and triumphs. In the second section of the paper, a more significant and fundamental issue regarding this intra-textual analysis is revealed. In the end and with respect to the social context of awareness, what purpose does the rereading and rethinking of a mystical text from the psychoanalytic perspective serve? In response to this question, we considered Attar as mystical discoursal subject and The Tale of Sheikh Sanan as the figurative representation of the awareness of a social group and arrived at the following conclusion in this tale, “the totality of the symbolic system” has played the role of “subject and the text is presented as an artistic representation of social forces.