فصلنامه کهن نامه ادب پارسی
سال سوم شماره 1 (پیاپی 5، تابستان 1391)

Javaher-al asmar is one of the Persian narrative prose that remember a pleasing and attractive story, traditionally interested by Persian speaking readers. The efforts of Shams al-din Al-e-ahmad dedicated to the publication of this book, many years ago has made it available to the enthusiasts of Persian literature. Despite the book's corrector efforts, margins, descriptions and emendations of the text contain a few shortcomings and recall the necessity of correction. This article attempts to remove some shortcomings and provides a better sense for some Arabic phrases and words.

“Hosn-o-Del” is one of the mystical romantic stories of the Persian literature that inspite of including a large number of literary beauties and the unique method of its composer in using a romantic story to indicate the different steps of the internal journey and the journey to God; it has not been paid enough attention by the researchers and literary men so far. This article is an attempt to introduce some of its notable mystical and literary points to the fans of Persain literature and Islamic Mysicism & Sufism.Sibak-e-Neishaburi’ s use of romantic expressions to indicate the steps of the internal journey, his opinion about “love”, the relationship between “love”and “logic”in his story and finally the effect of Nizami, Ferdowsi, Hafiz, Sohrevardi and Kershen Mesher’ s works on his story; are the most important points that have been reviewed in this article.

With considering and comparative study of Dvn-e Šhams and Masnavi-ye Manavi common thoughts and contents can be seen at both of these magnum opuses. Some of these common thoughts have been come in summary and obscurity at Dvn-e Šhams and very detailed and clear at Masnavi-ye Manavi. Therefore comparing and collating these two opus magnums and applying their common points is effective at removing the poetical obscurities of Dvn-e Šhams.This article is searching the common ideas of these two masterpieces and is trying to present explanations for some of the verses of Dvn-e Šhams by calling Masnavi in evidence, at the same time.

One of the different kinds of literary criticism is mythological criticism which is a method born out of Yung’s theories on collective unconscious. A mythological critic’s task is to analyze the archetypes of a literary work as representations of the collective unconscious of the writer or the poet’s mind; archetypes which are prevalent in that society or people’s mind or above that, in all humanity. Human’s mind often turns such archetypal beliefs and behaviors into symbolic ways, and one manifestation of the appearance of such archetypes as symbols alongside dreams and sleep, etc. is literary creations.Nizami’s Haft Peykar is a work full of mythical symbols and archetypal applications. In this essay, it is tried to offer an analysis of a verse narrative of this work using the tools that Yung’s psychological model in relation to collective unconscious and also Northrop Frye’s theories on mythos give us in order to shed light on the symbolic applications of this narrative.

In this article Vyu, a dual-natured Zoroastrian divinity of the wind, is briefly explained. This divinity is simultaneously angelic and demonic and has both dark and light substance. Then it is shown that according to shah name heroes have the same substance as Vyu and are mixed of both dark and light aspects. At the follow Rostam’s character, as the symbolic hero, is studied to show the similarities to the Vyu. We will see that Sohrb is the symbol of dark tendency of Vyu.

The diwan of Khaqani Shirvani is an artistic and literary masterpiece filled with many rare words and stylistic innovations. The poet’s cultural background is mixed with an inclination for originality and rich imageries. Khaqani creates images and figures of style which have no historical precedents. Hence, it would have been difficult for people not familiar with his style, to transcribe his poems properly. Scribes, willingly or unwillingly, have inserted numerous mistakes in his poetry. Some of those recorded mistakes or errata were even reinforced over many generations of manual copying. These errata are now part of Khaqani’s poems and can even found in the oldest extant manuscripts. Today, by relying on our knowledge of Khaqani’s cultural background as well as his artistic and literary style, it is possible to reedit parts of his poetry. In this article, we have corrected some of the errata found in his lyrical poetry.

Books of advices (andarznamih) occupy are an important part of Pahlavi’s middle- Persian written texts corpus. Words of advices reflect ethical and social issues and introduce modes of thinking, ways of speaking and behaviors pertaining to a different era. In Sassanid times, writings and speeches with ethical and social contents enjoyed a unique status. Books of advices are not only found in the pre-Islamic Sassanid environment, but are extensively present In Persian literature as well as in Arabic writings compiled by Persian authors. It can be argued that such literary works are characteristics of eastern literature. In order to assess the extent of the influence of books of advices on various areas of Persian literature, we will rely upon epic literature particularly the Shanamih of Firdowsi and the work of Ibn Miskawayh entitled eternal wisdom (javidan khirad); we will also turn our attention to Persian proverbs and words of wisdom from eminent poets and writers like Sa’adi Shirazi.