فصلنامه شعر پژوهی (بوستان ادب)
سال شانزدهم شماره 3 (پیاپی 61، پاییز 1403)

AbstractIf we consider the fame and popularity of Ferdowsi's Shahnameh as the first and most important reason for the anonymity of Toussi’s Grashasbnamah, the second reason for this oblivion must have something to do with the only existing edition of this literary work. Garshasbnameh was first completely edited and published by Habib Yaghmai in 1938. This edition has some problems. By comparing manuscripts that Yaghmai used in the process of editing as well as the newly-found ones, we seek to analyze and criticize the methodology and result of Yaghmai's edition and provide some suggestions. The findings of this research shows that the editor deviated many times from his declared method. Sometimes he did not mention textual variants, and in some cases textual variants were given partly. Also, shifting of the copy-text and other textual variants from text to margin is sometimes unjustified. In addition, the edition lacks comprehensive, useful, enlightening and guiding commentaries.

The emergence of cognitive poetics in recent decades has resulted in a new attention to the relation between language and mind as well as a focus on what happens in the mind when one reads a poetic text. In a part of this theory that shows the importance of the "figure" and "ground" in human perception, it is suggested that in the analysis of human perception of poetry, these two concepts should be carefully considered because they can show how mental attention of the audience could be attracted and influenced by it. The present article firstly tries to provide a correct understanding of the general view of this type of poetic analysis especially in considering the specific definition of "interpretation" and "reading" in cognitive poetics. Then, by focusing more on the definitions and functions of figure and ground, it presents some examples of them in Hafez's poetry. After that, in order to evaluate more objectively the theoretical efficiency and practical utility of this type of cognitive analysis, the main pattern of figure and ground in a random Hafez sonnet is extracted. Then, following a method based on two concepts of "interpretation" used for micro-study and "reading" for macro-study in this theory, we have studied other examples in Hafez's Divan. This study has achieved significant results for the evaluation of Hafez' poetry. Furthermore, it can be concluded that this method can be useful for studying the works of other Persian poets too.

This study aims at analyzing the functions of the literary device of satire and its various motivations and intentions in the works of Kamal-ol-Din Esmaeil Esfahani. The researchers use source research methodology and after collecting the data, try to analyze the findings. Some of the most important motivations of Kamal-ol-Din for writing satiric poems are social factors, poverty, greed and avarice, cupidity, the delay of the praised patron in granting money, thriftiness of the patrons, request, the frustration of the poet for earning a living.He is obliged to make much use of poetic and rhetorical techniques because of his ample use of profane words in many of his poems and also political and social factors of his time. By the use of literary devices such as side music, irony, sarcasm, lampoon, “eftenan” and satire in the guise of praise, Kamal-ol-Din succeeds in reducing the ugliness and the profanity which are characteristics of satirical poetry and adding to the literary values of his poems. In this way, he creates innovative and unique images and structures which show his power in making delicate imagery and complex meanings. Kamal-ol-Din’s satires are intellectual reflections of the cultural, social and moral conditions of the society of the time.

 Poets who composed Qalandari sonnet sequences (or ghazal-stories) have used the form of ghazal in different ways to express their personal experiences. One of the types of Qalandari ghazal has a fictional form and structure, and the poet uses all the main elements of the story to express one of the adventures that happened to him or to the master (Pīr-e Khanqah), who moods and views on existence are changed after meeting and talking with the beloved. This type of ghazal, often based on the story of Hallaj or Pir San’an, expresses how ascetic Sufism has changed to mysticism. Qalandari sonnet sequences sometimes have an independent form and a ghazal narrates a story from the beginning to the end and draws conclusions from that; and sometimes it starts from the middle of a ghazal in an episodic way to embody one of the main mystical ideas. This type of ghazal has a symbolic language, ends with a conclusion, and often expresses the mystic's personal experience in a first-person point of view. It gives a dramatic aspect to its expression in the middle of the story by using narrative methods.

Sufi Mohammad Haravi is a little-known poet of the 9th century AH (15th century CE). Although he has composed appreciable poems in the field of food satire, he and his poetic style are seldom mentioned in well-known biographies and sources. His anonymity, combined with his capabilities in satire, provides a basis for conducting research to introduce him and his methods in writing satirical works. The hypothesis of this research is that Sufi Haravi, while adopting the style of Boshaq (satire), demonstrates innovation and creativity. The research methodology employed is analytical-comparative-descriptive, using the criterion of "at'ameh" (food) poetry from Boshaq’s Divan and comparing it with Sufi Haravi's style, genre, and context. This study demonstrates that Sufi Haravi has been influenced by the topics and themes of "at'ameh" poetry in various verses and writings, but certain characteristics distinguish his work and make it noteworthy. In the realm of "Ghazal", what sets his poetry apart is the frequency of utilizing the realms of love and mysticism. He places food as the beloved and employs Hafez's ironic poetic space, which has received the most acclaim, to incorporate certain mystical concepts and create an ironic atmosphere. Accordingly, the narrator in his poetry is a food seeker, and his desired beloved is bread, which rises from the eastern oven, and in his view, a piece of bread surpasses the two worlds. In addition to this ironic atmosphere, he utilizes techniques such as metaphor, simile, exception, etc., to enhance the richness of his contrasting imagery.

Asrar al-Velayeh is one of the works of Mirza Abulqasem Raz Shirazi, the Shia mystic of the 13th century AH. The present research, which is conducted with a descriptive-analytical method using library sources, refers to four manuscripts and one lithographic version of this book in order to introduce the poet, his intellectual foundation, and the stylistic features of the poem. Using difficult Arabic words and verbal and philosophical terms, using Arabic poems, using poems of other poets, being influenced by the style of Ferdowsi's Shahnameh in the narration of battles, the abundance of literary allusions to verses and hadiths, frequent Quranic elements and terms are the most important stylistic features of this mystical text. From a structural point of view, Asrar al-Velayah consists of three parts: the middle part of the text is about the battles of Imam Ali and his honors and is considered a religious epic; but the beginning and the end of the text are clearly focused on deep mystical topics. The concept of “velayat” is what makes the structure of this work coherent and connects its three parts. At the beginning and the end of the work, Raz Shirazi deals with the internal concept of “vali” and in the middle with its external concept. In this way, by replacing the concept of superhuman or hero with the concept of vali, he gives two important features to Asrar al-Velayah; first, he places this poem in the form of couplet (mansavi) with a coherent structure on the border between a religious epic and a mystical epic; second, by almost separating the mystical and epic topics from each other, he intelligently includes both the external and internal aspects of the concept of vali in the structure of the work and presents it to the audience.

Although a lot of research has been done in the realm of Hafez's poetry, it can still be addressed from different angles. In this article, a verse from Hafez's sonnet, is analyzed with the aim of showing its connection with the ritual of Mithraism. ز دوستان تو آموخت در طریقت مهر سپیده دم که هوا چاک زد شعار سیاه The dawn learned from your friends in the rite of affection When it ripped the air and the black design For this purpose, firstly, the more accurate recordings and the more correct readings were noticed and analyzed by referring to statistical comparison of eleven printed and prominent copies of Hafez's Divan and paying attention to the poetic connections of the verse's words. To reach the mentioned goal, the accurate recording of the words of the verse and its more correct reading was specified, the opinions of several scholars were discussed and criticizes, and the link between the key words of the verse with the symbols mentioned in the ritual of Mithraism was provided with the help of intra-textual and extra-textual signs. The main achievement of this research is strengthening the theory of Hafez’s attention to Mithraism.