فصلنامه کهن نامه ادب پارسی
سال پنجم شماره 1 (پیاپی 11، بهار 1393)

Reza Qoli Khan Hedayat is a contemporary literary figure. He has many works and writings، among which one can refer to his Anjoman Ara-yi Nasseri dictionary. The dictionary is made up of three parts; introduction، words section، and ironies section. The dictionary، in fact، follows Jahangiri dictionary and Burhan-e Qate'' and other dictionaries compiled prior to that of his. Unfortunately، some instruction words from this dictionary and Burhan-e Qate'' have entered the Persian Language and poems by masters of poetry including Sheibani and Adib ul-Mamalek Farahani، which has caused confusion in Persian language vocabulary. However، Anjoman Ara dictionary includes many valuable poems and examples as well as wise criticisms by the author in various parts of it، giving the dictionary a critical mood.

The story of Samak-e Ayyar is an Iranian long folklore in the late 10th century AD، written by Faramarz ibn Khodadad ibn Abdollah Kateb Arjani، who wrote the story of Samak-e Ayyar by quoting a person named Sadaqeh bin Abi al-Qasem Shirazi in the third person form. The language of this work is simple and fluent; the sentences are simple، short، and sometimes intermittent. The storyteller has adopted brevity method، which is one of the features of spoken or colloquial prose. This book is a fiction epic، and its hero is a man named Samak. Samak is a symbol of courage and bravery and is unique in wisdom، insight، and designing clever plots. Due to its fictional nature، the characters in the story have natural and supernatural behavior، which is a feature of old folklores. Discourse (written and oral) in this story is in the form of monologue or dialogue، which is done in the form of oral messages and letters. The monologue is seen in the form of praise، insult، oath، etc; and the dialogues comprise issues such a confession، marriage proposal، consultation، etc. In this work، time and place is imaginative and due to its showing more excitement، it has been attributed to the mythical far lands. The events of the story are apparently in China، Machin، East Mountain، and India; perhaps because the rulers at the time were not offended، and from the names of places such as Dasht-e Maran، Shahak Castle، Saffron Meadow، etc it is obvious that it is an Iranian story. Intellectual، ethical and social themes of this work become clear from the inside of discourse، acts and thoughts in the event of the stories.

Of the weapons that have remained in Persian literary texts since a long time ago، mirror is a tool neglected by researchers. There is also no thorough information on it in dictionaries and encyclopedias. In this study، attempt has been made to discuss the definitions، functions، and history of using mirror in various sources. It is shown at the end of the article that neglecting this function of the mirror has led interpreters of texts to the wrong direction. After studying the texts، it was found that mirror was a tool in the battlefield between the 10th and 19th centuries، and was fastened on the forehead of the elephant and horse to reflect the light on the eyes of the enemies. In addition، it was a type of drums and war bells that were put on the back of an elephant or hung from its neck. It was sometimes a type of armor on the body of fighters for further protection and reflection of light in the eyes of the enemies.

Critical discourse analysis includes theories and methods for experimental study of relations among social and cultural discourse and developments of various social territories. Critical discourse analysts maintain that literary texts، as in other texts، serve relations; thus، they can be analyzed using critical approach and method. In this study، a well-known ode by Sanai Ghaznavi is investigated on the basis of Fairclough''s critical discourse analysis method at three levels of description، interpretation، and explanation. The results of this study show that، by mixing dimensions of discourses that were dominant at his time، Sanai reproduced، in a pre-existing framework، the structure and order of the discourse dominant at his time; thus، Sanai''s ode، as a natural phenomenon، is not only a reflection of his time''s social behavior، but also a contribution to the maintenance of the existing social behavior and order by producing discourse order.

In the present article، an exquisite edition of Negarestan History، written by Qazi Ahmad bin Mohammad Ghaffari، a well-known writer in the 16th century، is explored. This edition، under the number 583، is kept at the library of Golestan Palace. In this research، to describe the characteristics of the aforementioned edition، we compared it with five manuscripts and one lithograph of the work piece. These editions include: the editions dated 1614، 1624، and 1636 at National Library of Iran، the edition dated 1631 at Ayatollah Mar''ashi Library، the edition dated 1629 at the Library of US Princeton University، and the lithograph edition dated 1896 in India. The investigations show that there are numerous editions of this work، and the edition numbered 583 at Golestan Palace has more in common with the editions dated 1614، 1624، and 1636 at National Library of Iran and the edition dated 1631 at Ayatollah Mar''ashi Library than with the edition dated 1629 at the Library of Princeton University and the lithograph edition dated 1896 in India. In this research، the stylistic and literary characteristics of this work were investigated.

In this paper, I have explored the social and historical events in Farrukhi Sistani's divan. Therefore, the paper relies on historical and social issues during Ghaznavid period, which are mentioned by Farrukhi in his poems. Then, I compared these subjects and points mentioned in eulogies with the following six works: Mujmal al-Tavarikh and al-Qisas, Zayn al-Akhbar of Gardizi, the Selected History, Tarikh-e Beyhaqi (‘Beyhaqi’s History’), the Translation of Tarikh-e Yamini (‘Yamini’s History’), and Tabaqat-e Nasseri. It can be seen that Farrukhi was not only a eulogy poet, and his odes are not only eulogies, but his eulogies also talk about the political conditions such as wars, ceasefires, and ministers, as well as social issues like behavior towards prisoners of war, hunting, and witnesses during the Ghaznavid period. It can be said that his divan was in fact complementary to the above-said history books. In some cases, due to recording details, it shows that it is superior to it. I suppose that not only did he not hail and praise Ghaznavids, but he might have criticized them.

When it comes to rhetoric in the 14th century AD، concurring with the period in which the Araqi style became highly common in Persian poetry، one cannot but mention Sharafeddin Rami and his rhetoric writings. There remain three works by Rami: Tohfat al-Faqir، or Badaye'' al-Sanaye''، Haqayeq al-Hadayeq، and Anis al-Oshaq. Like other rhetoric works between the 13th and the 15th centuries، these works are generally characterized by their predominant imitations and writings from previous rhetoric books، such as those written by Radviani، Watwat، and Shams Qeis Razi. While taking into account the historical trend of rhetoric developments، an analysis of innovations by rhetoricians at each stage deems necessary in relation with the aesthetic developments of poetry at that stage. It also represents the capability level of newly-emerged rhetoric theories in criticizing Persian poetry aestheticism. Do the comments mentioned in the rhetoric works of Sharafeddin Rami match the developments in Araqi style poetry? To answer this question، the rhetoric works of Rami were analyzed، and in the meantime، the level of rhetoric theories within them in relation with Araqi style poetry was highlighted.