فصلنامه کهن نامه ادب پارسی
سال چهارم شماره 1 (پیاپی 7، بهار 1392)

The letters of Ayn al-Quzat Hamadani، which were written in a clear and elegant prose، are among the major Persian literary prose works. The edition of these letters was published by Ali Naghi Monzavi and Asiran in 1969. It seems that some points have been inadvertently neglected by the venerable editors in this edition. The present paper aims to eradicate some problems of this precious text through studying doubtful points and explaining different aspects of terms such as ‘panbe bar nahādan’، ‘nishak’، etc. with reference to Persian prose and poetry works as well as fake copies.

Edition of texts has always been of a special significance and the focus of many scholars and editors. It is crystal clear that editing، like other sciences، requires a knowledge without which it is impossible to do a scientific work of edition. The present paper aims to review Akbar Behdarvand’s edition of the Divan of Bidel using a scientific method. The scientific principles of editing are neglected in this edition. The preface is filled with mistakes like wrong structures، ambiguous statements and contradictory sentences. The edited text is full of rhythmic errors، incoherent writing style، wrong spellings، and joint compound words. This book was published in 2007 by Negah Publication in two volumes.

Due to its narrative structure، Mathnavi has always been at the center of attention. Probably the characterizations based on fictional elements have turned this unique mystical work to a literary masterpiece، since the role-playing of non-human phenomena، especially animal characters، as well as decoding them and identifying their positive or negative functions greatly help us in understanding the complicated concepts of Mathnavi. Therefore، the stories of Mathnavi not only serve as a means for explaining the abstract، mystical، or ethical concepts، but also، due to their particular structure based on fictional elements، contain the ‘epistemological’، ‘anthropological’، and ‘anthological’ domains. The present paper aims to study the Mathnavi stories which are based on animal characters in terms of the standards used by the contemporary literary critics. The results showed that Molavi، in spite of his long temporal distance with us، was committed to using many fictional elements such as characterization، plot، type of story، dialogue، theme and type of narration.

Identity، on the one hand، represents the difference between self and other، and on the other hand، is indicative of similarity among members of a group-the similarity that reinforces the sense of unity and integrity inside the group and guarantees their stability through history. Iranian identity، during the falling and rising history of Iran، has been one of the most important factors of stability and survival of this country. Using descriptive-analytical method، the present research aims to study the elements of Iranian culture and identity in Tarikh-i Jahangushay-i Juvaini، a text distinguished with elements representing Iranian identity. The results showed that being influenced by Shahnameh، religiousness، trying to reach cultural dominance، and gaining independence and freedom have been the most important components of Iranian identity، which has been reflected in both content and structure of this literary work.

Style of a text is the way a writer or a poet uses the language and the result of what he chooses from the language treasury of his culture. The mind of an artist affects this choice and it is the artist who chooses how to express a theme. Therefore، the style used by a writer or a poet is a reflection of his special view to the inside and outside world. In fact، this view is manifested in his words. If an artist has a new view of the world، then he uses a new language to convey his mental concepts and inevitably has specific language choices. In his choices، the artist applies his personal preferences to language، and sometimes gets out of the conventional norms of the language. So، style is a product of the artist''s specific word choices. The present paper aims to study the effect of language choices on the style of the artist from the viewpoint of Paul Simpson.

The topic of ‘bound and omission’ in the field of semantics is among the complex subjects in Persian rhetoric. The abstruseness of the subject on the one side، and imitating and being influenced by the rules of bound and omission in Arabic on the other side، as well as adjusting them with Persian patterns-despite structural and syntactical differences in the two languages-are the reasons behind the incoherence in the writings of rhetoric scholars. Is it always considered as bound and omission in Arabic what begins bounded structures in Persian sentences? Is bound and omission used only in attributive sentences? Does repetition cause bound? While teaching، such questions may preoccupy the teacher’s mind. The present paper aims to review the viewpoints of rhetorical scholars in this regard and also to define boundaries of this issue in Persian rhetoric.

Raziuddin Abdullah ibn-Muhammad، known as Emami Heravi، was a literary scholar and famous poet of the seventh century A. H. He was contemporary with Saadi and Majd Hamgar، and was the poet laureate in the court of Kara-Khitan Khanate in Kerman. In addition to poetry and rhetorical sciences، he was a great master of his time in Arabic literature and rational sciences. He wrote a treatise in Arabic on description of Zol-Rameh''s ode (the well-known Arab poet deceased in 117 A. H.). His Divan was published only once in 1343 A. H. by Homayoun Shahidi in Elmi Publication. The editor of this Divan had three recent and erroneous copies available and، thus، many of couplets were recorded in a distorted، ambiguous and incomplete way. The present paper aims to edit and complete many distorted and incomplete verses of the Divan of Heravi by introducing the oldest copy of the Divan، which was written only thirteen years after his demise، and comparing and contrasting this precious copy with other copies، such as the copy written in the years 741 and 1003 A. H.