نشریه کاوش نامه زبان و ادبیات فارسی
پیاپی 28 (بهار و تابستان 1393)

Mehdi Azaryazdi is amongst the precedents in rewriting the classic stories for youths and children. He recreated the book “Nice Stories for Nice Children” in eight volumes since 1957 until 1990. His main aims were to transfer the ethical messages to the young readers as well as familiarizing them with the valuable treasure of Persian literature. Hence he has apparently recreated the main theme of the stories into an ethical theme. Therefore, the mystical stories of Molavi and Attar have so much changed that there does not exist any common aspect between them and the final work of Azaryazdi. This paper investigates the themes of “Molavi’s Stories” and “Attar Stories” and compares them with the rewritings of Azar yazdi. It is declared how much Azaryazdi has changed the themes of the stories. As Azaryazdi has definitely changed the themes of these stories to social, ethical and sometimes to historical and royal themes. As a comparative analysis, while just only %19.6 of the original resources of Azaryazdi’s rewritings come with the ethical theme, this theme, in Azaryazdi’s works, appears over %60.2; where the original resources are mainly (%62.5) covered by mystical theme. By such a rewriting, there is no doubt thatAzaryazdi has clearly recreated completely new stories from the sense of the classic stories.

Said NaqhshbandiYazdi, pseudonymed as Saida, was an 11PthP century (A.H) sonneteer whose poems, like those of his contempories, were in Indian or Isfahan style. He considered himself as a devoted follower of Jami, Nezami, Sanai, and Attar. He also adored Hafiz of Shiraz and was in close terms with Saeb Tabrizi. Saida’s anthology consists of 4815 lines versified in five genres: sonnet, ode, mathnavi, stanza, and quatrain. However, the major bulk of his poems (590 poems) comprises sonnets. Stylistically, saida is categorized primarily as a poet of Ramal foot, while Mozare’, Mojtass and Hazaj feet come next to that. His sonnets often employ the most frequent Persian rhythms such as elliptical octave Ramal and elliptical Makfuf octave present, but there also exist a few sonnets with a hectic, fast-tempo rhythm that rises ecstatic spirits like Moulana’s unscrupulous verses do. Expressing complex, far-fetched, and lampoon-free concepts, Saida’s sonnets project love and mysticism in a pleasant manner.His sonnet rhyths, except for Rajaz and Moqtazab, are tried in some of his odes too. While his mathnavis are in a fast tempo, his stanzas are written in Mojtass, slow, and present rhythms. As for quatrains, he has mostly used AzalMaqhbuzAkhrabactave, Hazj. Apart from the rhythms ever mentioned, his anthology contains just a few poems written in Recurrentmeter but a lot in ‘streamlike’ and lenient rhythms. Owing to their soft nature, Afaeel prosodic structure, as well as their musicality, these dominant rhythms are well suited for such circumstances as mourning, grief, nostalgia, pain, regret, and complaint.By means of accurate statistical tables, the present article aims at introducing and analyzing the frequent and non-frequent rhythms as used in Saida’s poems. Also, an attempt is made to shed light on the status of Saida in the Indian style of poetry.

In this paper the story of “Rostam and Shaqad’ fromShahnameh, the masterpiece of Persian epic poetry, is analyzed on the basis of Van Dijk’s method of Critical discourse analysis (CDA). After the statement of the problem and the review of literature, CDA is introduced briefly and then Van Dijk’s method is represented in details. This part presents the theoretical structure of our analysis. Then along with a short review of the story, we have shown that the producer of this story has tried to understate the ingroup faults and negative points and the outgroup positive points and overstate outgroup faults and ingroup positive points by means of different discursive structures in the text. These strategies are called the ideological square by Teun Van Dijk. This ideological square shows that some part of reality in the texts can be ignored or falsified. Many of the classic Literature stories can be analyzed and reread by CDA approaches and this allows the addressees to look at and read back the stories from different viewpoints. This is also the goal fallowed in this paper.

The question addressed in the present paper is how similes are treated in Rawzatol Anwar. They are studied in terms of structural, thematic elements of simile, aspect of simile, quality, being single and in combined form, etc. An attempt has been made to review the statistical and frequency of Khajou similes. As it is shown RawzatolAnvar contains 1827 verses and 839 similes, which is determined by comparing the number of verses and similes. Almost two verses contain one simile.Khajou’s similes include 7.5 of human quality type, 8.24 of abstract concept type, 5.32% of objective type and 5.18% of natural type. Similes are repetitive and stereotyped. Fresh similes are few.Kjajou is also more willing to use singular similes and has made little use of complex similes.

Bless being caliph of human on the earth, bless” is the latest story from the last collection (Entekhab) of SiminDaneshvar.In this story the main character in facing death, reaches a belief of her own eternity and continuity through the next millennium in another skeleton with creating a content syndrome by the author in a intuition and illumination attitude. The objective of this study is Daneshvar’s tip analysis of the illustration of the character’s eternity in relation to the selection of the content that has been presented by the author. In this narrative, Daneshvar creates a deep-structural bed related to the theme, fighting to illustrate the eternity of the main character via illuminated discussions. In this way, she has reached the same essence with the typiocal “self” in mysticism and illumination.The result of the work demonstrates that the creation of this link has brought success to the author in illustrating the character’s eternity after her death.

AbolFarajRooni is one of the pioneers for changing the style of Persian poetry from Khorasanito Iraqi style.He has done so many innovations with an innovative moralwhich has caused his poetic style to be separated from his other contemporary poets. AbolMaaliNasrollahMonshi is also the creator of the technical and well–arrangedPersian and "Kelileh and Demneh" of Bahramshahi, as he said: until the time Persian language is common among people,it does not ever become obsolete. In this paper, it has been tried to point out some aspects of Kelileh and Demneh effectiveness from AbolFarajRooniP,Ps poetical works.NasrollahMonshi has received so many impression from AbolFarajP,Ps lexicons, combinations, interpretations and literal figures in different aspects, and he has brought so many hemistiches and couplets from AbolFarajP,Ps works through warranty or insertion in his prose. From one hand, this effectiveness can show the remarkable position of AbolFaraj in the extension of Persian literature, and on the other hand, it expresses the dominance of NasrollahMonshi on his own contemporary poetsAbolFarajRooni.

As industrygrowth has made many effects on urbanization of industrial societies and modernization it can bring changes in culture and art of these societies. One of the most important industries in our country is oil industry since it was the inception of economic and political focus. This industry growth in the south has made a great impact on life style of the people living in the south of the country.The purpose of this paper based on the works of three writers from the south of the country will examine the sociological style approach used by them. This study has shown that, SadeghChubak and EbrahimGolestan who worked for oil ministry have been less affected by their job in oil industry than Ahmad Mahmood. It may be due to the fact that Ahmad Mahmood has been living in south, while the other two writers have not been living there. Another reason for the attention of Golestan and Chubak was the kind of technique and style that they used to tell their stories; however, Ahmad Mahmud as a realistic writer has more reflected the real life of people in the south.

Ahmad Azizi (1737-) is one of the revivers of Shath in contemporary period. He could revive the meaning ofShath with relying on the old findings in the field and by increasing the verbal, pictorial styles and various thematic fields to it. In this way he could; for example, to express a kind of social mysticism which in verbal and pictorial ways got close tocaricalmatur (word play).However, in spite of these various verbal methods, thematic aspect of the work isn’t sacrificed for Azizi’s language and he is more optimistic to the world in comparison to other caricalmatur writers. His Shath compared with oldShathis more obvious and applied ones.The current study makes an attempt in a descriptive-comparative way to introduce Azizi and his shaths in collection of “One Hot Glass of Shath” andoffer verbal, imaginary and thematic Shathsin Aziz’s prose compared with ParvizShapour and other caricalmaturers.

Structuralism is one of the most common and oldest doctrines of narrative science. This school of thought following Linguistics is based on the idea to draw the structure of the stories or to explain the basic structure of the narratives. Greimas as one of the story archaeologists has used Propp to show the structure of the stories. He points out that each story has a number of sequences and each sequence composed of a number of action patterns.In this paper, an effort has been made to show how this approach is capable of analyzing the Persian stories. Accordingly it become clear that actors are the most important elements of the stories; additionally abstract concepts, characters and appearance of the characters play significant roles to maintain the remarkable effects of the stories.

The mixing of Iranian myths with Semitic ones goes to the preIslamic period. But after the coming of Islam to Iran and increasing tendency of people to it, the Islamic believes and mystical thoughts influenced gradually even the Persian epic literature. It’s under this Islamic cultural influence that Jahagirname is written. Thus it’s possible to consider this effect as one of the stylistic features of the Persian effect. Looking at Islamic effects on national epics is one of the ways that we can guess the approximate period of composing of some national epics that is ambiguous to us.In the present article with a glance at the effect of Semitic elements in national epic, we have analyzed the main effect of Islamic thought onJahangirname epic. By a stylistic analysis we have shown that Jahanhirname is composed at a time later than the period which some researchers have guessed.

There are two lines in Shahnaame’s preface “Better then name, race, and thought the writer of superior essence”. Critics have had various interpretations like: heaven, human God, and spirit of “superior essence” of the second line. Regarding the fact that Ferdowsi’s mind and beliefs should be evaluated both from Islamic and Iranian perspectives, the article in hand believes that by considering Ismailia belief and the beliefs in the culture of ancient Iran, "superior essence” can be another statement for “reason and spirit”. In the words of NaserKhosroIsmaili, reason and spirit are superior to time/heaven and they are told as “the essence of reason and soul”. And since soul is created by reason, they seem to be the same. Accordingly, by “superior”, Ferdowsi intends “reason and soul” which stand above all creatures. One can also estimate essence as against form and paraphrase these lines like this: God is the creator of the essence of reason and soul and these two are self-reliant and “are the children of the mother of divinity”. In another reading, one can take essence (=pearl) as a stone from which, according to Iranians, the heaven has been. Therefore, essence (pearl) which is figuratively taken as heaven and “superior”, according to Ismailia idea, is spirit and reason. Also, based on an ancient assumption, “superior essence” can be “reason and spirit”. In Pahlavi texts fire has been taken from the intellect ofOrmoz and spirit is the child of fire too. In another two lines of preface, Ferdowsi calls fire as the shinning superior. Regarding these lines, “superior essence” can be considered as fire which is, itself, the child of reason and the father of spirit and is another interpretation of reason and spirit. A combination of a Shiite and an ancient Iranian idea can be seen in the lines, because Ismailia believes that reason and spirit are the creators of heaven. Therefore, the meaning of these lines can be: the heaven has been made of fire/reason and spirt.