Journal of Poetry Studies (boostan Adab)

Critical discourse analysis of Shiite in Persian poetry from Rudaki to Ghazāeri

hasan akbari beiragh; Reza Nikoo

Volume 13, Issue 4 , February 2022, Pages 1-26

https://doi.org/10.22099/jba.2021.39049.3923

Abstract

Hasan Akbari Bairagh Associate Professor of Persian Language and Literature and Faculty Member of Semnan University, ... Read More Hasan Akbari Bairagh Associate Professor of Persian Language and Literature and Faculty Member of Semnan University, Iran (hakbari@semnan.ac.ir/Responsible author) Reza NikooPh.D student in Persian language and literature, Semnan University, Iran (rnsemnan72@yahoo.com) Extended abstractIntroductionLanguage is a social act, and many may consider it a decisive social act. Meaning is resultant of our social experience of language, not something that exists only in the word itself; Discourse is the language that accompanies texture.Today, the concept of "discourse" has become one of the most widely used concepts in philosophical, social and political thought and is tied to potency, gender, racism, etc. Discourse is an intertwined set of social action, discourse action and text. Discourse analysis means examining all the components that are part of the act of communication. The concept of discourse and critical analysis is now associated with name Fouoco (Foucault). In her view, discourses benefit from signs, but their function is beyond signs.From the first centuries of its formation, Persian poetry has been a place to reflect the Shia discourse, and fateful and thought-provoking events such as Ghadir, Saqife, Ashura and etc have been reflected in the poetry of poets. Kisai may be the first poet to have poems in praise of the Prophet (peace and blessings of Allaah be upon her) and the Imams (Peace be upon them). This research continues with the following questions: Did the Persian poets of this period play a role in spreading the Shia discourse? Does Fairclough method have the ability to represent Shia discourse in the poetry of the first period? And is the Shiite discourse in the poetry of this period based on the teachings of the Imamiyeh Shie? Materials & Methods Among the books, dissertations and articles that provided a good platform for writing this article:- Khorasani school and the discourse of Al-Bayt. In this book, based on Norman Fairclough's method of discourse analysis, it is shown that Khorasani style poets have promoted the discourse of Al-Bayt (Peace be upon them) in their poems. Although the method of analysis used in this book is the same as this article, but there are differences in the choice of poets, conclusions and etc.- Shia poetry in Persian until the end of the seventh century AH. This dissertation, which in its place is one of the best in terms of the history of literature and reference, along with mentioning the sources, introduces poets who have stepped forward, especially in the field of Shia Imamiyeh poetry.- Analytical study of the image of prophets and imams in the lyrical poetry of the Samani period. This article With reference to the history of literature, contains the first manifestations of Persian religious poetry in the Samani period and in this regard, it is almost consistent with this article.The purpose of this article is to represent the impact of Shia discourse on Persian poetry from Rudaki to Ghazāerī and to study how poets (Rudaki, Daqiqi, Bondar, Kisai, Ferdowsi and Ghazāerī) deal with Shia views and ideas and apply them in Persian poetry. In this research, after collecting resources and taking notes, data analysis was performed based on descriptive-analytical method.Results & DiscussionFairclough approach among the critical discourse analysis approaches, it has the most modern theories and methods for research in the field of communication, culture and society. His discourse analysis method consists of three levels: Description (text review): At this level, the text is described based on specific linguistic features in the discourse (word, Text grammar and constructions). The analyst here seeks out the empirical, relational, and expressive values of the text.The selection and use of Index words in Shia culture Indicatives the empirical values of the poets and reveals their value to the first Shia Imam and Ahl-e-Bayt. Apart from the fact that these formal features have empirical value, they also have relational value. Poets have communicated with their audience by using these words. Interpretation (review of discourse practice): With the formal features of the text, it is not possible to directly understand how they affect society, because the relationship between the text and social structures is indirect. Interpretation, the result of the text and context knowledge is the interpreter. This level does not in itself express the relationship between power and ideology and cannot turn discourse action into a social struggle.The poems of the poets of this period in connection with Shia culture rely more on guidance, encouragement and persuasion. Rudaki and Bondar love to Al Haidar and talking about Imamate and guardianship of Ali, sincere allusion daqiqi to Ahl al-Bayt, murder reading, friendship of Ahl al-Bayt, quoting verses from Quran and Hadith, pointing to the superiority of Ali and his good morals, etc by Kisai, the citation of the hadith by Ferdowsi and friendship and the adherence of Ghazāerī to Panjtan show this issue. Each of these poets, in their position and from a high position, have tried to prove and strengthen the Shia ideology with a determined and decisive tone. The dominant discourse of these poets is the loving of Ahl al-Bayt (Peace be upon them) and the superiority of Ali (Peace be upon him).Explanation (review of social action (: At this level, why the elements of discourse and society are related; the question of how production and interpretation processes affect society. The purpose of explanation is to describe discourse as part of the social process.As it turned out, the main discourse in the poetry of the mentioned poets was the love of Ahl al-Bayt (Peace be upon them) and the superiority of Ali (Peace be upon him). This issue is rooted in the events that took place during the succession of the Prophet (peace and blessings of Allaah be upon her). The poets of this period, considering the social practice of their time in relation to Shia views and the existing conflict, have more or less fought against other discourses and sought to create a Shia discourse order in Persian poetry by reflecting the Shia discourse in their poetry, Highlight it.ConclusionBy studying the poems of six famous Persian speakers of this period, especially Bondar, Ferdowsi, Kisai and Ghazāerī based on Fairclough critical method, it became clear that there is a connection between the formal and semantic features of these poems and discourse of pre-existing and social action. The selection and use of Index words in Shia culture reflects the empirical values of the poets and their evaluation of the first Shia Imam and Ahl-e-Bayt. Apart from the fact that these formal features have empirical value, they have relational value. The poems of these poets in relation to Shia culture rely more on guidance, encouragement and persuasion. Each of these poets sought to prove and strengthen the Shia ideology. The dominant discourse in their poetry is the love of Ahl al-Bayt (Peace be upon them) and the superiority of Ali (Peace be upon them). With their poems as a communication event, these poets have not only reflected a corner of the social practice of their time, but they have also established and highlighted the Shia discourse order in Persian poetry.It became clear that Fairclough critical method has the ability to represent the Shia discourse in the poetry of the first period, and the poets of this period played a significant role in creating and strengthening the Shiite discourse in Iran. In addition, it was observed that the Shia discourse in the poetry of this period was not absolutely based on the teachings of the Imamiyeh Shia.KeywordsDiscourse, Critical Discourse Analysis, Shia Discourse, Persian Poetry from Rudaki to Ghazāeri.ReferencesAghagolzadeh, Ferdows & Maryam Ghiasian. (2007). "Dominant Approaches in Critical Discourse Analysis". Language and linguistics. 3(5). pp 39-54.Ash'ari, Ali (1411). Articles of ‌al-Islamyyn, by the efforts of Muhammad Mohi al-Din AbdulHamid. 1(1). Syda - Beirut: Al-Muktab al-Asriyyah.Ashouri, Dariush. (1989). "Theory of Westernization and the Crisis of Thought in Iran". Irannameh. 7(27). pp 454-460.Basworth, Clifford Edmund. (1992). Islamic Dynasties. Translated by Fereydoun Badrah. Tehran: Institute of Humanities and Cultural Studies.Crohn, Patricia. (2010). History of political thought in Islam. Translated by Massoud Jafari. Tehran: Sokhan.Dad, Sima. (2006). Dictionary of Literary Terms. There Efition. Tehran: Morvarid.Daqiqi, Mohammad. (1994). Divan. Corrected by Mohammad Javad Shariat. Second Edition. Tehran: Asatir.Dinawari, Abdullah (Ibn Qutaybah). (1983). Al-imamuh and al-sayaseh. Edited by Mohammad Mahmoud Al-Rafi'i. Egypt: Nile.Fairclough, Norman. (2006). Discourse and Social change. Cambridge: Polity Press.Fairclough, Norman. (2010). Critical Discourse Analysis. Translation by a group of translators. Second edition. Tehran: Office of Media Studies and Development.Feirahi, Davood. (1999). Power, knowledge and legitimacy in Islam. Tehran: Ney.Ferdowsi, Abolghasem (2013). Shahnameh. By the efforts of Saeed Hamidian. Nineteenth edition. Tehran: Qatre.Hakim, Seyyed MohammadHossein (2008). "Qasideh Newly recited by Kasaei". Nameh farhangistan. 10(4). pp 56-66.Halabi, Ali Asghar. (2009). History of political ideas in Iran and Islam. Second edition. Tehran: Asatir.Helali, Salim. (1420). the book of Salim Ibn Qays Al-Helali. Research of MohammadBaqer Ansari Zanjani. Qom: Al-Hadi.Jafarian, Rasoul & Ali Golriz. (2014). "Analysis of Shia discourse in the system of Ali-Nameh". Cultural History Studies (Research Journal of the Iranian History Association). 6(21). pp 71-95.Jorgensen, Marianne & Louise Phillips. (2012). Discourse analysis. Translated by Hadi Jalili. Second edition. Tehran: Ney.Kadivar, Jamileh. (2000). the evolution of Shiite political discourse in Iran. Second edition. Tehran: Tarhe No.Kadivar, Mohsen (1997). Theories of government in Shia jurisprudence. Tehran: Ney.Khaleqi Motlagh, Jalal. (2006). "A new look at Ferdowsi's biography". Nameh Iran Bastan. 6(1-2). pp 3-25.Madelung, Wilferd. (1998). Islamic sects. Translated by Abolghasem Seri. Tehran: Asatir.McDonnell, Diane. (2001). an Introduction to Discourse Theories. Translated by HosseinAli Tehran: Farhang Goftman.Mills, Sara. (2009). Discourse. Translated by Fattah Mohammadi. Second edition. Zanjan: Hezareh Sevom.Modaresi Tabatabai, Seyyed Hossein. (2010). Ideology in the process of evolution. Translated by Hashem Izadpanah. Eighth edition. Tehran: Kavir.Modbberi, Mahmoud (1991). Poets without Divan. Tehran: Panos.Mohit Tabatabai, Seyed Mohammad. (1977). "daqiqi religious belief". Gohar Murad. No: 53. pp 344-349.Nafisi, Saeed (1962). Rudaki's living environment and circumstances and poems. Two edition. Tehran: Ibn Sina.Nafisi, Saeid (1965). History of Nazm and prose in Iran. Vol (1). First edition. Tehran: Foroughi.Nezami Aroozi, Ahmad (2006). Four articles. Edited by Mohammad Qazvini. By the efforts of Mohammad Moin. Sixth edition. Tehran: Jami.Payne, Michael. (2010). Culture of critical thinking. Translation of PayamYazdanjoo. Fourth edition. Tehran: Makaz.Qajari, HosseinAli & Javad Nazari. (2013). Application of discourse analysis in social research. Tehran: Sociologists.Qazvini Razi, AbdulJalil (1979). Al-naqhz. Edited by Mir Jalaluddin Mohaddes Armavi. Tehran: National Works Association.Riahi, MohammadAmin (2000). Kisai Marvazi. Eighth edition. Tehran: Elmi.Safa, Zabihollah. (2008). History of Literature in Iran. Vol (1). Eighteenth edition. Tehran: Ferdows.Selden, Raman & Peter Widowson. (2009). Handbook of Contemporary Literary Theory. Translated by Abbas Mokhber. Fourth edition. 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Notes on the Literary Unity of the Shāhnāmeh

mahmoud omidsalar

Volume 13, Issue 4 , February 2022, Pages 27-52

https://doi.org/10.22099/jba.2021.39733.3970

Abstract

Notes on the Literary Unity of the ShāhnāmehMahmoud OmidsalarJordan Center for Persian StudiesUniversity of California, Irvine IntroductionOne of the most important abilities ... Read More Notes on the Literary Unity of the ShāhnāmehMahmoud OmidsalarJordan Center for Persian StudiesUniversity of California, Irvine IntroductionOne of the most important abilities of great poets, especially those who deal with narrative poetry, is their ability to create compelling images. When this ability is paired with coherence and unity throughout their narrative, that is, when parts of the tale connect well together, the story has greater impact on its readers. Ferdowsi’s Shāhnāmeh is the best example of that artistic and coherent narrative in Persian literature, which entails the creation of a perfect balance between image and word at every turn. Ferdowsi’s images are so vivid that his poem may be viewed as cinema as well as text.The present study considers the cinematic features and coherence of Ferdowsi’s storytelling in the episode of Rustam’s first fight during the reign of Kayqubād. Creation of images, use of movement, sound, and point of view are discussed in this episode along with Ferdowsi’s artistic use of repetition and emphasis to achieve a tight ordered, logical coherence in his narration of scene and episode. The story of Zāl and Rūdābeh is the second example. This story is a tale of transformation that fits seamlessly into the overall narrative of the Shāhnāmeh. It propels the poem through its transition from the age of ancient kings in whom heroism, royal authority, and magical potency are united, to the era of a different line of rulers whose reign is governed by their political authority alone. This process moves along two parallel lines: the transfer of the magical wisdom of the king to the person of a sage, who functions as the crown’s chief advisor; and the transfer of his heroic aspects to a great warrior who serves as Iran’s chief hero or jahān-pahlavān. The story of Zāl and Rūdābeh is the narrative expression of this transformation. During his reign, Manūchehr’s heroic and magical functionalities are transferred away from him. The former is transferred to Zāl and the latter to Sām and finally to Rustam. Just as Manūchehr’s reign is a transitional reign, Zāl’s character is also a transitional character. After Sām’s death, Zāl is appointed to his father’s office of jahān-pahlavān. However, because of his great wisdom that prevents him from committing the kind of violence that heroes are called to practice, he is not a suitable for the office. He serves as a caretaker hero until Rustam comes of age and can assume the duties of the country’s chief heroResearch Method This article is a qualitative research and we have analyzed the content of the text and used the inductive approach in it.DiscussionIn this article, we first examined the coherence of the narrative of Ferdowsi’s Shāhnāmeh at the level of scenes. One of the best examples of cinematic expression in the Shāhnāmeh, in which both image and sound are used to present the story in a completely cinematic way, is the scene of the first war of the young Rustam in the kingdom of Kayqubād. In the verses of this section, we analyzed the invention of images, the use of movement, sound and point of view; we also perused Ferdowsi's method in choosing words, repetitions and emphases to find out what role these factors play in creating the coherence of the narrative. Then, in order to find a more general coherence, we examined the relationship between the story of Zāl and Rūdābeh and the narrative logic of the Shāhnāmeh. In this story, a fundamental change in the nature of the kingdom is expressed. This change can be seen in the reign of Manūchehr as a period of transition in which the two special functions of Pahlavāni and wisdom or enchantment (heroic and magical functionalities) that were previously concentrated in the person of the king, are taken from him. Sām becomes the Jahān-Pahlavān while wisdom is transferred to Zāl. It seems that the story of Zāl and Rūdabeh is a symbolic expression of this second transition and the concentration of wisdom / enchantment in the person of Zāl. Just as Manūchehr's governance is a transitional one, so is Zāl an intermediary figure. This feature is quite evident in what happens after Sam's death which led Zāl to become Jahān-Pahlavān. In other words, Zāl, who inherited the office of Jahān-Pahlavān from Sam, is not a suitable person for this job because he is the embodiment of wisdom, not audacity and courage. One of the important aspects of Zal's life is his love for Rūdabeh, which can be considered as Zal's transition from nature to civilization, because Zāl and Rūdabeh's love is implicitly a test for Zāl to become civilized. In this story, Zāl, who had grown up with Sīmorgh in the nature and far from human culture, moves towards civilization and no trace of the savage life that had made him naked and raw-eating, remains in his being; on the other hand, he possesses characteristics such as knowledge and abstinence. The story of his transition from nature to civilization and his absorption of the enchantment / wisdom aspect of the kings before Manūchehr, and his rise to the position of chief adviser to the monarch for the rest of his life are exactly located where it should be in the text of the Shāhnāmeh.ConclusionOne of the aspects of narrative coherence in Ferdowsi's Shāhnāmeh is the coherence of narrative at the level of scenes. Examining the verses related to the first battle of Rustam in the reign of Kayqubād, we saw how Ferdowsi carefully maintains the unity of the images and components of the story in a single narrative. The words of the Shāhnāmeh have been chosen in such a way as to intensify the inductive power of the images. In these verses, Ferdowsi is like a director who sends movement and energy into the story by changing the direction of the camera and controlling the sequence of scenes. The strategic poetic choosing of words is another aspect which shows that Ferdowsi knows in advance what he wants to say in the next scenes and chooses the words of his verses very carefully. In Ferdowsi's narrative, the visual unity between the two scenes of a single story is carefully preserved, and Ferdowsi pays attention not only to the subject, but also to the logic of the narrative. The coherence of the Shāhnāmeh is not limited to each of its narrations, but if we examine the whole Shāhnāmeh from this point of view, we will notice that there is a general coherence in it. The relation of Zāl and Rūdabeh's story with the narrative system of the Shāhnāmeh reveals how well this general coherence works. This story has a very deep connection with the narrative logic of the Shāhnāmeh symbolically. In this story, “love” is used in perfect harmony with other elements of the narrative as a constructive element of civilization, culture and self-knowledge.Key Words: Shāhnāmeh, Narration Coherence, Narration Logic, Cinema, Zāl and Rūdabeh BibliographyAlizade, H. (2015) “Reflection of the Myth of Siavash in the Shahname and Cinema”. Pazh, No. 18, pp. 97-112.Asadi, Ali ibn Ahmad. (1975) Garshaspname. Ed. H. Yaghmaei, Tehran: Tahoori.Dabashi, Hamid. )2019 (The Shahnameh: The Persian Epic as World Literature, New York: Columbia University Press.Dehghanpour, H., J. Kazzazi and M. Pourrezaeian. (2010). “The Shahname and its Cinematic Aspects: The Tragedy of Siavash”. Honar-ha-ye Namayesh-I va Mousighi, No. 40, pp. 85-97.Ferdowsi, Abu’l-Qasem. (1987). Shahname. Ed. J. Khaleghi-Motlagh, New York: Mazda Publishers and Bibliotheca Persica.Hanif, Muhammad. (2005) Scenic capabilities of the Shahname, Tehran: Soroosh.Hansen, Kurt Heinrich. (1954) Das iranische Königsbuch: Aufbau und Gestalt des Schahname von Firdosi. Hamburg: Verlag der Akademie der Wissenschaften und der Literature in Mainz.Hashemi, M. (2008) “The Cinematic Functions of Sound Effects in the Shahname”. Faslname-ye Honar, No. 75, pp. 342-356.Hoviatdoust, H. (2012) “The Cinematic Aspects in the Images of the Shahname”. M.A. Thesis: The University of Tehran.Ibn al-Athir, Ali. (1962) al-masal al-sāer fi adab al-kātib va al-šāer. Ed. A. al-Haufi and B. Tabbaneh, Cairo: Al Fagalah.Khaqani,Afzal al-dīn Badīl. (2003) Divan. Ed. Z. Sajjadi. Tehran: Zavvar.Naderpour, N. (1992) “A love as ambition of Simorgh”. Iranshenasi, No. 15, pp. 458-468.Rastegar Fasaie, M. (1974) Illustration in the Shahname. Shiraz: University of Pahlavi.Shafiei Kadkani, M. (1996) Figure of Speech In the Persian Poetry. Tehran: Agah.Tha’ālebi, Abu Mansur. (1900). Ghorar Akhbār Molūk al-Fors wa Sīyarihim. Ed. H. Zotenberg. Paris.Tusi, Muhammad ibn Mahmoud. (2003) Ajāyib al-Makhlūghāt va Gharāib al-Mowjūdāt. Ed. M. Sotoude, Tehran: Elmi Farhangi.Zabeti Jahromi, A. (1999) Cinema and the Structure of Poetic Images in the Shahname. Tehran: Ketab Fara.

Introduction of Masnavi Qaza and Qadar(Predestination) of Mirza Ahmad Sand Kashani (12th century)

azam babayi

Volume 13, Issue 4 , February 2022, Pages 53-74

https://doi.org/10.22099/jba.2021.39110.3926

Abstract

Azam Babaei, Doctor of Persian Language and LiteratureIntroductionThe subject of " Qaza and Qadar" (Predestination) is one of the most challenging theological topics that is sporadically ... Read More Azam Babaei, Doctor of Persian Language and LiteratureIntroductionThe subject of " Qaza and Qadar" (Predestination) is one of the most challenging theological topics that is sporadically reflected in all periods of Persian poetry. But in the Safavid period, this theological issue became the center of several diversified stories (poems) creation In a way that from the beginning of Safavid to Qajar, a stream of Composing Qaza and Qadar" (Predestination) was formed in Persian poetry. Most of these Masnavi are scattered in the form of manuscripts in between the corpus and manuscripts. According to a research project, about 45 cases of Masnavi Qaza and Qadr have been identified so far, of which only 4 have been published. One of these poems is "The Poem of Qada and Qadr or Atash khane e ghayb" by Mirza Ahmad Sand, which has been mistakenly recorded in the manuscript lists as "Bukharai Sarhandi". In this research, it will be proved that this poem originally belongs to Mirza Ahmad Sind, one of the talented poets of the twelfth century. Then this poet and his poem will be introduced. literature review, objectives and research methodZolfaghari (1374) in an article, has introduced and studied the Masnavi "Chah Vesal Lily and Majnoon" by Mirza Ahmad Sand. Also, he has collected 5 cases of Masnavi of this poet and has published them along with an introduction about the poet and specifically his "Masnavi Chah Vesal "in a book entitled Chah Vesal (1375) . Apart from these two works, no book or article has been published about this poet.Ahmad Sand is one of the beaux esprits but lesser-known poets of the Safavid period, who is also composed Qada and Qadr poem and his Masnavi of Qada and Qadr, entitled " Atash khane e ghayb ", is one of the different Masnavi in this field, in terms of intellectual content, narration and rhetorical aspects. On the other hand, in the list of manuscripts, Masnavi Qaza and Qadr have been mistakenly attributed to "Ahmad Bukharai Sarhandi". Therefore, the purpose of this research is: revival and introduction of one of the manuscripts of the Safavid period which is placed in the general form of Qada and Qadar poems; Content analysis of the work, introduction of Ahmad Sind, the lesser known poet of this poem.This research is a fundamental research that has been done by library method.DiscussionOne of the diversified stories (poems) whose poet's name is incorrectly registered in the lists of manuscripts is the poem " Atash khane e ghayb " which is in the list of Dena and Fankha called "Ahmad Bukharai Sarhandi". There are two copies of this poem, one of which is kept in the center of the Islamic Encyclopedia (No. 3/519, 13th century) and the other in the Center of "Ehyay e Torac e Eslami" (No. 1287/7, 14th century).According to this research, the attribution of this work to Ahmad Bukharai Sarhandi is rejected. Some of the reasons for this claim are:Like other Masnavi of Ahmad Sind, the poet's pseudonym - Sind - is mentioned in the last verse of Masnavi. All the Ahmad Sind' Masnavi have a title, on the other hand, among the Masnavis of Qada and Qadr, only this Masnavi has name: " Atash khane e ghayb " . This is the only poem that has been written based on a moral principle (chastity and purity in love) among Masnavis of Qadha and Qadr, and this is the Ahmad Sind' style in all his poems. Numerous inscriptions about "Ahmad Bukharaee Sarhandi" of the Safavid era were carefully examined and his biography was not found in any of them.The Masnavi : " Atash khane e ghayb " (version of ehyay e torac) consisting of 460 verses, has been composed in the bahre hazaj . This poem is the story of a pious young man who is subjected to the test of God , and the reward of his greatness is answering his' prayers (halal wealth and a beautiful girl) in this difficult test. The main theme of this Masnavi is based on the principle “The heart wish must be forgotten , Because in the end it's good”This diversified storie (poem) is generally similar to other poems of Qada and Qadar in terms of form and observing some characteristics. But it also has many differences with other poems of ‘Qada and Qadar’, For example, one of the main elements of rhetoric in the poems of Qada and Qadr is simile, but in this text the frequency of simile is low. The defining rhetorical elements in this text are expansion, irony and contradiction. Expansion is based on the battle between the two forces of soul and intellect.From the view of narration, this Masnavi has a different plot from other poems of Qada and Qadr, and its characterization is much more complex than other Masnavi in this field. The main theme of poems of Qada and Qadr (the dominance of destiny over tact) is not repeated in this text; The main theme of this text is the victory of purity and wisdom over impurity and carnal desires, while, it shows the audience the victory of human will and tact. poems of Qada and Qadr are generally event-oriented and Generally, the Qada and Qadr,s poems are event-oriented and have a improbable and tragic ending, but the verisimilitude of this text has no general weakness and the end of the story is not surprising and improbable.ConclusionOne of the Masnavi of Qada and Qadr of the Safavid period is the Masnavi " Atash khane e ghayb " by Mirza Ahmad Sind, which is Unintentionally registered in the lists of manuscripts as Bukharai Sarhandi. In this research, the attribution of this Masnavi to Bukharai Sarhandi is rejected. Mirza Ahmad Sind is one of the unknown poets from Kashan in the twelfth century. Among the biographies of the Safavid era, only Nasrabadi's and sobh e Golshan's biography contain brief information about this poet. Based on this research, 9 Masnavi were identified from him: Chah Vesal, Negarestan Chin, Nakhl Sib (or Nakhl and Sib), Pand Darvish be Majnoon, govahi e do kabk , " Atash khane e ghayb " (Qada and Qadr), mokafat nameh e sind , An anecdote in satire and a work entitled "Ode of Sayyid Muhammad Sind alias Kashani" which is in fact in the form of Masnavi and belongs to Ahmad Sind but is recorded in the name of Mohammad Sind based on the scribes’ mistake.This poet has also tested his poetic talent in composing the poem of Qada and Qadr and has created a different work in this field. His Masnavi is one of the poems of Qadha and Qadr in terms of observing some formal and linguistic features, but it is different from other Qadha and Qadr in terms of intellectual content, narration and rhetorical aspects.Keywords: The diversified stories of " Qaza and Qadar", “ Atash khane e ghayb"’ poem , Mirza Ahmad Sind, Bukharai Sarhandi.ResourcesAgha Bozorg e Tehrani. Al-Dari'ah ela Tasanif al-Shi'a. 2th edition Beirut: Dar Al-Azwa;1983.Ashraf e Mazandarani, Mohammad Saeed . Divan of Ashraf e Mazandarani, Corrected by Dr. Mohammad Hassan Seyedan, Tehran: Dr. Mohammad Afshar Endowment Foundation; 1373.Bidel e Dehlavi, Abdul Qader. Shoele e Avaz, Masnavi of Bidel Dehlavi. Corrected by: Akbar Behdarvand. Tehran: Negah;1388.Hosseini Eshkevari, Seyed Ahmad. List of Manuscripts of the Islamic Heritage Revival Center. Qom: Islamic Heritage Revival Center;1381.Khan Arezoo, Sirajuddin. Majmah Al-Nafais . Correction and introduction: Dr. Mohammad Sarafraz Zafar. In collaboration with Dr. Zib Al-Nisa Ali Khan. Islamabad: Iran-Pakistan Persian Research Center; 1385.Khayampur, Abdolrasoul. (Tahbazzadeh) Farhang Sakhnouran . Tehran: Talaieh; 1368.Drayati, Mostafa. (2010) List of Iranian Manuscripts (Dena). Tehran: Library of the Museum and Documentation Center of the Islamic Consultative Assembly. (12-volume );1389.Zolfaghari, Hassan. "Chah Vesal Lily and Majnoon". Journal of Fiction.1374; 3( 33): pp. 68-72Saeb, Abdul Rahman Shakir bin Muhammad Roshan Khan bin Mohammad Nawaz Khan alias Saeb . Golestan Masrat: Hadayeqa Al-Ma'ani. Ganpour: Mohammad Mustafa Khan Press;1267 AHQasmay e Semnani, Masnavi Qaza and Qadr; Manuscript, National Library and Museum of Malik, No. 45/1232.Abdul Majid Khan, Mohammad. Golshan morning. 1295. Faiz.Ghousi Shatari Mandavi, Mohammad Hassan Ibn Musa. Golzar Abrar Fi Sir Al-Akhyar ( the biography of mystics of India). (Author died in 1022 AH). Editor: Yousef Big Babapour. Tehran: Library, Museum and Documentation Center of the Islamic Consultative Assembly;1391.Marquez, Gabriel Garcia. One Hundred Years Alone. Translator: Bahman Farzaneh.5th Edition. Sweden: Arash ;1988.Mirza Ahmad Sind. Chah Vesal. By: Hassan Zolfaghari. Tehran: Ahl-e Qalam;1375.Mirza Ahmad Sind, Ahmad. Masnavi Qaza and Qadr. Manuscript. Qom: Islamic Heritage Revival Center. Issue: 7/1287. scribe: Mohammad Ibn Sayyid Karim, tajer e Shushtari . 1301-1308.Mirsadeghi, Jamal. (2015) Fiction.7th edition. Tehran: Sokhan; 1394.Monzavi, Ahmad. Index of Persian books. Volume 12 (Poems-Part III). By: Sadegh Sajjadi. Tehran: Center of the Great Islamic Encyclopedia (Center for Iranian and Islamic Studies). 1394.Nasrabadi Isfahani, Mirza Mohammad Taher. Tazkereh Nasrabadi. Tehran: Armaghan ;1317.

Naderpoor’s “Bot Tarash:” Depriving the Subject of Its Agency (Analysis of “Bot Tarash” from the point of view of existential philosophy)

jafar fasaei; najme dorri

Volume 13, Issue 4 , February 2022, Pages 221-238

https://doi.org/10.22099/jba.2021.40124.4005

Abstract

Naderpoor’s “Bot Tarash:” Depriving the Subject of Its Agency(Analysis of “Bot Tarash” from the point of view of existential philosophy) Jafar Fasaei[1]*Graduate ... Read More Naderpoor’s “Bot Tarash:” Depriving the Subject of Its Agency(Analysis of “Bot Tarash” from the point of view of existential philosophy) Jafar Fasaei[1]*Graduate PH.D Persian Language and Literature, University of Hormozgan, Hormozgan, IranNajmeh DorriAssociate Professor of Persian Language and Literature Tarbiat Modares University, Tehran, Iran Extended abstractIntroductionIn studies in the field of literary criticism, it is possible to dislodge an understanding of art and literature as the logic of representation and superstructure and instead view poetry as a social force and consequently its activism. Althusser and Gramsci are among the thinkers who promoted the latter approach to art and literature. In this reading, literary texts play a role in power relations by coming out of a state of passivity and isolation. Therefore, the present article seeks to show how and according to what rubrics a poem can be considered as an effective tool in the context of power relations. The selected poem is called "Bot Tarash". The poet, Nader Naderpour, based his poem almost entirely on the Greek myth of Pygmalion, with some minor changes. Regardless of Naderpour’s intention or motivation in composing this poem, what is of prime importance is the reproduction of this poem in contemporary Iranian society. To reach this semantic layer, the article first tries to clarify the logic of Nader Naderpour's main source, namely the myth of Pygmalion, and from this perspective to explain the relationship between “Bot Tarash” and the concept of freedom and agency of the subject.Methodology and historical researchThe research method in this article is in the framework of qualitative content analysis and using library resources. This article is related to the philosophy of existentialism; Isa Amankhani in two articles entitled "Reflection of existential views on the poems and opinions of Ahmad Shamloo" (Amankhani: 1391) and "Existentialism and Shafi'i Kadkani" (Amankhani: 1392a), has shown the impact of existentialism on the poems and opinions of Shamloo and Shafi'i. In addition, in the field of contemporary poetry, articles such as "Existential Thoughts in the Poems of Shafi'i Kadkani and Adonis" (Shamian Saroklai and Samin Vahdani: 1394) and "Study and Analysis of the Foundations of the Philosophy of Existentialism in the Poetry of Sohrab Sepehri" (Azizifar et al.: 1397) have shown the tendency of contemporary Persian poetry towards existentialist ideas. Regarding the myth of Pygmalion, Shafi'i-Kadkani has given useful and important explanations about the reflection of this myth in Persian literature; To my knowledge, however, no dedicated study has focused on the analysis of “Bot Tarash,” its relation to freedom in existentialist thought, and its depiction of human agency. The main purpose of this article therefore is twofold: to show how Naderpour's poetry is related to modern man and his fundamental questions; and to investigate what issues have been represented in the poem and with what motives. 3- Results and DiscussionThe intimate and mutual relation between philosophy and literature is not a new phenomenon. Many existentialist philosophers, for instance, have chosen to convey their concepts and philosophies in literary forms. Concepts such as “committed literature,” first introduced in Sartre’s literary manifesto in What Is Literature?, techniques such as absurdist expression, and psychological states such as anxiety and abandonment are instances of this mutual relation (see Amnokhani, 2013). These literary works convey concepts that have a decisive presence in the field of existentialism. As briefly mentioned in the literature review above, many studies have traced the presence and interconnection of philosophical concepts in literary works. In addition to these very important points, existentialist philosophy provides us with a criterion by which we can clarify some of the less explored aspects of literary texts. Among these, the concept of "agency" and "freedom" are two of the key concepts of existential philosophy that from this perspective can be effective tools in literary criticism and theorizing. As one of the most well-known existentialist philosophers, Jean-Paul Sartre believed that human beings are free beings, citing the the primacy of existence over essence. In existentialist philosophy, freedom is the motivating element of human life and is in fact the enabling factor in the emergence and realization of human potential. According to Jaspers, "existence can replace freedom" (Jaspers, 1390: 233). For this reason, Jean-Paul Sartre considers man "condemned to freedom" (Sartre, 1391: 40). If we look at Naderpour’s “Bot Tarash” from this perspective, we will reach less explored semantic layers. In this poem, like the myth of Pygmalion, there is a kind of supernatural power that creates another being. This created being is at a lower level than its creator in terms of rank, status and existential hierarchy. In the poem, after the process of creating a sculpture, the mason falls in love with the sculpted figure and expects her to become the other willing side of this romantic relationship. However, faced with her rebellion in protest, the mason tries to suppress and break the sculpture. Here, with a glance at the question of freedom in the philosophy of existentialism, it becomes clear that the freedom and agency of the subject has been taken away. In effect, the subject’s will to recreate herself and her essence is interpreted as rebellion and mutiny and is thus faced with the wrath and rage of the superior creator. Thus, the myth of Pygmalion and subsequently Naderpour's poem have found an ideological function which has been reproduced in the form of a kind of conservative thought.4- Conclusion According to what has been said, Nader Naderpour's poem was evaluated from the perspective of some of the concepts contained in existential philosophies. In light of existential thought, he is a free being who can shape his nature and determine his own destiny. The myth of Pygmalion, which is the main source of “Bot Tarash,” has found another function from this perspective. Pygmalion expects obedience from Galata after making Galata in the best, most beautiful and perfect form possible. But Galata refuses to comply and in response to this disobedience, he is turned into the original lifeless piece of rock. In analyzing this motif, the keywords freedom and choice as defined in the philosophy of existentialism have been used. Any individual, group, or thought that has shaped such a structure has not paid attention to human freedom and agency. If we consider Galata as a metaphor for humankind, mythological thought has not recognized his agency at all and has considered his move towards self-recreation as a threat. Now, if we re-appropriate the above concept within the context of the modern world, we will reach the modern reproductions of this myth in Naderpour's poetry. From this perspective, “Bot Tarash,” in line with the same classical deterministic discourses, has led to the reproduction of a kind of determinism in the modern era. 5- Keywords: Bot tarash, Pygmalion, Essentialism, Agent, Nader Naderpour, Existentialism [1]. Email of the corresponding author: jfasaei@yahoo.com

About some geographical places in Shahnameh (Yazdansaray, Bahleh, Karestan, Manuy, Varigh, Duke)

hamide parvan; zahra riahizamin

Volume 13, Issue 4 , February 2022, Pages 75-98

https://doi.org/10.22099/jba.2021.39721.3969

Abstract

Hamideh Parvan. PhD student in Persian language and literature. Epic literature. Shiraz UniversityDr. Zahra Riahi Zamin, Associate Professor, Department of Persian Language and Literature, ... Read More Hamideh Parvan. PhD student in Persian language and literature. Epic literature. Shiraz UniversityDr. Zahra Riahi Zamin, Associate Professor, Department of Persian Language and Literature, Shiraz University.IntroductionThe Sassanid Empire is an important part of the Shahnameh. In this section, Ferdowsi, explains in detail the events of the reign of Khosrow Parviz, the revolt of Bahram Choobineh, Khosrow's escape to Rome and receiving an army from the Roman emperor, and his return to Azerbaijan to fight Bahram. According to the Shahnameh, in this route, Khosrow passes through places called Yazdansaray, Bahleh, Karestan, and Manuy, and enters the city called Varigh. In this city, he receives an army from the Roman emperor and returns to Azerbaijan, where he fights Bahram in the Duke Plain and defeats him. Because Muslim geographers did not have complete information about the territories occupied by the Roman Empire, the names of these places are either not mentioned in the geographical sources of the Islamic period or are mentioned in other names. In Shahnameh manuscripts, the names of these places are written in various forms, which shows the ignorance of the scribers of these places.Key words: Bahleh, Duke, Geography of Shahnameh, Karestan, Manuy, Varigh.Purpose of the study and Research MethodsIn this research, an attempt has been made to determine the geographical location of Bahleh, Karestan, Manuy, Varigh and Duke and in some cases their other names based on reliable sources. The research method is descriptive analytical using library resources.Literature reviewFor the first time, Monshizadeh (1975) researched the state of geography in the Shahnameh. In his research, he has studied the geographical location of Mazandaran and some other places in Shahnameh. The guide of the geographical map of Shahnameh is the result of the researches of Shahidi Mazandarani (1377) in the geographical names and also the names of the people in Shahnameh. Ghorbani and Zomorrodi (1396), in a research in thirteen chapters, have analyzed the geographical names of Shahnameh; despite the efforts of the authors, in some cases, there is no comprehensive information in their research. Aslani and Purtaghi (1398) have also studied the geographical names of Shahnameh. They provide more complete information than Ghorbani and Zomorrodi. Farhange joghrafiyaye tarikhiye Shahnameh, compiled by Seyedi (1399), is the latest research on the geographical names of Shahnameh in which all the geographical names of Shahnameh have been extracted and the changes of names and geographical places from the past to the present have also been expressed.DiscussionIn Shahnameh, the escape route of Khosrow to Rome is described in detail. Ferdowsi called the first place that Khosrow enters "Yazdansaray". Yazdansaray was one of the monasteries close to Madain. Historical sources refer to several monasteries located in the south of Madain, and it is obvious that they were not located on the way of Khosrow to Rome. Normally, that monastery (YazdanSaray) should have been located in the west of Madain on the way of Rome. Then he reaches the Bahleh tribe near the Euphrates. According to Dinwari, Khosrow went to the monastery after entering the city of Hit, and then reached the Arab tribes that accompanied him to the banks of the Euphrates(Dinwari1371:115-121).After crossing the Euphrates, Khosrow entered the city of Karestan, the first border city of Iran and Rome. Ferdowsi explicitly states that the Roman emperor called this city Karestan (Ferdowsi, 1393, vol8. P.81-82). So Karestan must be a Roman name. To determine the location of this city, the inscription of Shapur I is very helpful; because Khosrow, in order to go to Rome, must have passed through the same route that Shapur I had passed before him. After crossing Karestan, Khosrow reached the city of Manuy and then Varigh. Isidore of charax , in the description of the distance between the cities along the Euphrates River, mentions a fortress that was called Mannuorrha Auyreth (Isidore of charax , 1387: 35). Mannuorrha Auyreth brings to mind the names Manuy and Varigh, which are also mentioned in the Shahnameh. Shapur I also captured the city of Edessa at the end of his campaign. So varigh must also be near Harran, and Manuy must be a city between Harran and Edessa. After receiving an army from the Roman emperor, Khosrow went to Azerbaijan and encamped in the Duke Plain.According to Theophylact the battle of Khosrow and Bahram was in a mountainous area, near Ganzak and the Belarat River. He also writes that Khosrow's troops in this area were forced to divide into three groups and enter the battlefield in three ways (Theophylact,1986: 180). Minorsky suggests that Duke is the Dule, an area East of Orumiyeh Lake near Maragheh (Minorsky,1379: 12-14). Ferdowsi describes the battlefield as a mountainous area and also refers to the "Three Dukes Road"(Ferdowsi ,1393, vol8, p121).ConclusionBy examining the inscription of Shapur I, the sources of Byzantine historians and its correspondence with the reports of Muslim historians, the position of the mentioned areas in Shahnameh was determined. The Location of Bahleh tribe was between Hit and Raqqah and Khosrow reached this tribe between these two cities.Karestan is the Roman name of the border city of Harran (Carrehae), which was changed to (Kar + Stan) in the Shahnameh. The name Manuy is derived from the combination Mannuorrha Auyreth and it is the name of the fortress in Edessa / Urhāy. Varigh / Urigh is another pronunciation of Auyreth =Irrite, the name of an ancient city located northwest of Mesopotamia, between Harran and Carchamishe, and today called Irridu / ordi. In Mazandarani language, Duke means difficult path, precipice and valley. Considering the division of the troops into three groups and the mountainous positions of Duke and Ganzak, Ferdowsi meant of Duke and Three Dukes Road, should be that Khosrow crossed the three massive divisions through three difficult roads / Valleys and precipices. Also in Shahnameh, Duke Mountain, Duke Plain and Three Dukes Road refer to the hard road, Valleys and precipices of the battlefield. ResourcesAl- Shāhnāmeh, (1932). translated by Fath b. 'Ali Bondāri Esfahâni. edited by Abdul Wahab Azzam.Aslani, Farhad and Masoumeh Purtaghi. (13982019/). Haft Iqlim, Farhange joghrafiya i Shahnameh. Tehran: Negahe moaserAuthors Group. (/13822003). Farhange vajegane Tabari. under the supervision of Jahangir Ashrafi, Tehran: ehyae ketab Aydenlo, sajjad. (13892010/). Mafarrokhan, name makani dar Shahnameh. Nameyeh Farhangistan, No. 42, pp. 82-86Bosworth. C.E. (2003). HARRAN. Encyclopaedia Iranica, Vol. XII, Fasc. 1, pp. 13-14Bryce,Trevor .(2009). The Routledge Handbook Of The Peoples And Places Of Ancient Western Asia, London And New York: Routledge.Dinawari, Ahmad Ibn Davud, (13711992/). al-akhbār al-ṭiwāl , translated by Mahmoud Mahdavi Damghani, Tehran: NeyDolatabadi, Houshang, (13681989/). "sowdaye ghoshodane Mazandaran ", Ayandeh, 3-5, pp. 238-249Ferdowsi, Abolghasem. )1393/2014). Shahnameh, edited by Jalal Khaleghi Motlagh, vols. 8 and 11, Tehran: The Center of the Great Islamic EncyclopediaGhorbani, Khavar and Homeira Zomorrodi. (1396/2017). Joghrafiyayi jamea Shahnameh Ferdowsi, Tehran: Allameh Tabatabai University PressHening, W.B. (1939). The Great Inscription of Sapur I. Bulletin of the School of Oriental Studies, University Of London. Vol.9, No.4. Isidore of Charax. (1387/2008) .manzel gahhaye ashkani. translated and edited by Ali Asghar Mirzai, Tehran: MahiKahaleh, Omar Ibn Reza. (1994.( mojam alqabayel al-arab alqadimat wal-haditha. Beirut: Al-Risalah Institute. Kaskel. (1373/1994). Bahleh, Encyclopedia of the world of Islam. Vol. 1, Tehran.Katarzyna Maksymiuk. (1397/2018). joghrafiyaye janghaye Iran va Rom. translated by Parviz Hossein Talaei, Tehran: Amir KabirKhatibi, Abolfazl. (1389/2010). "Andyushahr, Surestan, Gondishapur, Surab", Chon man dar in diyar, jashnnameh Reza Anzabi Nejad, by Mohammad Reza Rashed Mohassel et al., Tehran: Sokhan, pp. 169-180Kia, Sadegh. (1353/1974). Shahnameh va Mazandaran. Tehran: Tamadon printeryMadi, Arjang. (1369/ 1990). "sokhani piramone joghrafiyaye asatiri va hamasi", Farhang, No. 7, pp. 295-302Minorsky, Vladimir Feudorovich .(1379/2000). Nāmhā-yi jughrāfiyāʼī va rīshahʹhā-yi tārīkhī-i ānʹhā dar Atrūpātin (Mād). Translated by Roghayeh Behzadi, Tehran: pazhohandehMonshizadeh, Davud. (1975). Topographisch-historische studien zum iranischen nationalepos,Wiesbaden: Abhandlungen fur die kunde des morgenlandes.Nafisi, Saeed .(1388/2009). Tarikhe tamaddone irane sasani, Tehran: ParsehNoldeke, Theodore. (N.D). “Tarikhe Iranian va Arabha dar zamane Sasanian. Translated by Abbas Zaryab Khoei. Tehran: Elmi farhangiPezeshk, Manouchehr. (1367/1988). Bahleh, The Great Islamic Encyclopedia, Vol. 11, 299-301. Tehran.Procopius. (1365/1986). Janghaye Iran va Rome. translated by Mohammad Saeedi, Tehran: Elmi fahangiPygulovskaya, Nina Viktorna. (1372/1993). Shahryahe Iranian dar rozegar Parthian va Sasanian. Translated by Enayatullah Reza, Tehran: Elmi farhangiRuydadnameh .(1398/2019). edited and translated from Syriac and interpreted by Nasir al-Kaabi, translated by Samad Maleki, Tehran: ShafieeSeydi Farkhad, Mehdi .(1399/2020). Farhange joghrafiyaye tarikhiye Shahnameh. Tehran: NeyShahidi Mazandarani, Hossein. (1377/1988). Farhange shahnameh, name kasan va jayha. Tehran: NeishabourTabari, Mohammad Ibn Jarir. (1378/1989). tarikh alrosol w almuluk. translated by Mohammad Ibn Mohammad Balami, edited by Mohammad Roshan, Tehran: Soroush Tabari, Muhammad ibn Jarir Tabari. (N.D). tariykh al-omam va al-muluk. by Mohammad Abul-Fazl Ibrahim, Beirut-Lebanon.Tabrizi, Mohammad Hossein Ibn Khalaf .(1361/1982). burhane ghate . edited by Mohammad Moen, Tehran: Amir KabirThe World of the Aramaens I .(2001) . Biblical studies in Honour of Paul-Eugéne Dion, Edited by P.M Michéle Daviau, John W. Wevers and Michael Weigl. Journal for the study of the old Testament .England.Vadad, Farhad. (1389/2010). "May margh, maydane jang miyane khaqane chin va heptaliyan ", Daricheh; Special issue of Shahnameh composition, autumn and winter, pp. 129-134Whitby, micheal and Whitby, marry.(1986). The History Of Theophylact Simocatta: An English Translation Whit Introduction And Notes. Oxford: Oxford university press.Wiedengren, Geo. (1397/2018(. Ruya reye farhangiye Iranian va samiyan dar rozegar Parthian. translated by Bahar Mokhtarian, Tehran: AgahYahaqi, Mohammad Jafar. (1391/2012). "du namjaye nashenakhte dar shahnameh", jostarhayeh adabi, No. 179, pp. 2-17Yaqut Hamwi. (1995). Mojam al-boldan, Beirut: Dar Sader Ziapur, Jalil. (1356/1977). "Mazandarane Shahnameh kojast?", Shahnameh Shenasi, Tehran, pp. 356-366

approaches to the concept and origin of “resonance” in Tahereh Saffarzadeh`s poems and thoughts

manouchehr Jowkar; Ghodrat Ghasemipour; Bahman Saki

Volume 13, Issue 4 , February 2022, Pages 99-126

https://doi.org/10.22099/jba.2020.37723.3825

Abstract

Tahereh Saffarzadeh (1836-2008), poet, theorist, translator, and university professor, is one of the famous and leading poets of modern Farsi poetry in 1960s and 1970s. as a graduate ... Read More

Episodic Stories in Persian Epic Narratives and Their Connection with Fairy Tales (Case Study: Shahnameh and Bahmannameh)

Fardin Hosseinpanahi

Volume 13, Issue 4 , February 2022, Pages 128-154

https://doi.org/10.22099/jba.2021.39582.3960

Abstract

Fardin Hosseinpanahi[1]Assistant Professor of Persian Language and Literature, University of Kurdistan, Kurdistan, Iran. [1] . fardin.hp@gmail.comExtended abstract introductionStructural ... Read More Fardin Hosseinpanahi[1]Assistant Professor of Persian Language and Literature, University of Kurdistan, Kurdistan, Iran. [1] . fardin.hp@gmail.comExtended abstract introductionStructural unity is an essential element in epic narration, as the epic work has a beginning, middle, and end to reach its ultimate goal. This essence has been considered since the time of Aristotle. In Persian epics, despite the dominance of cohesive plot over the narration of each story, in the macro-structure fashioning the collection of stories within a work, in some cases we come across episodic stories lacking a clear causal relation with the stories before and after them. In such cases, we encounter narratives in multiple levels. This particular form of narration is the ground for the core discussion in Ferdowsi's Shahname. While some scholars assert that Shahnameh is episodic and structurally incoherent, others admit to a coherent structure, disregarding the idea that its episodic nature has spawn the structure to break. The episodic nature of such stories as “Rostam and Sohrab” and “Bijan and Manijeh” has long been considered by scholars, but apart from these two, there are other episodic stories in Shahnameh. In addition, in other Persian epics, despite being more integrated in structure (and, of course, more abridged) than Shahnameh, episodic stories could still be unmasked. Unveiling these episodes is possible through carefully distinguishing between the “pattern fashioning the episodes” and the “macro and recurrent pattern fashioning the structure of the work.” These pieces also lose the coherent connection with what comes before and after them in the narrative line of the work; consequently, they are deemed sub-episodic narratives. This can indicate the structural difference between the stories of this ilk and other epic stories. The recurrence of such a characteristic in Persian epic narratives leads us to explore what this feature is and discover why. The questions that arise in this regard could be answered adopting a critical approach: What is the essence of the structure of episodic narratives? What mythological archetypes shape the structure of these pieces? How is the process of embedding them within the macro and integrated structure of epic narratives? And, how do they relate to the macro-structure fashioning epic narratives? In order to achieve reliable results, and of course to keep the paper at a reasonable length, the two important epics of Shahnameh and Bahmannameh have been selected as the excerpt in this study.materials and methodsEleven episodic stories have been gleaned through a thorough examination of the two works of Shahnameh and Bahmannameh. The titles are as follows: Rostam and Tahmineh, Akvan Div, Bijan and Manijeh, Shapoor and Mehrak's daughter, Bahram Gur and four sisters, Bahram Gur and Barzin's daughters, Bahram Gur and the daughter of an old jeweler, Bahram Choobin in the palace of the woman of magic, Bahman meets a fairy, Barzin Azar and daughter of Borasp, Rostam of Tur and daughter of khan of China.With an all-inclusive perspective toward the totality of the narrative of these stories, as well as the functions and elements that make up their structure, the recurrent narrative minima in the structure of the stories are extracted as follows: (1) disappearance of a creature, (2) giving reports, (3) receiving reports, (4) prohibition, (5) violation of prohibition, (6) mediation, (7) absence (departure of the hero), (8) deformation, (9) Deception (Evil), (10) Conflict (Battle), (11) Elimination of Evil, (12) Marriage (Wedding), (13) Return.These minima are the recurrent and reduced elements in the structure of such stories that cannot be further broken down with respect to the structure, act as materials and codes in the structure of the mythological narrative, and play a fundamental role in the formation, permutation, and conveyance of the mythological narrative. Such a characteristic, on the one hand, is the tool to convey and articulate myth in various forms, and on the other hand, due to the stability of these codes (despite the variety of superstructures and forms), it is possible to investigate the mythological deep-structures, as well as evolution of structures. In the structure of the episodic stories under study, the chain of narrative minima corresponds to the same sequence of thirteen extracted minima; in other words, certain minima with the same sequence are repeated in the structure of episodic stories. Although the number of these minima is not the same in all stories or all the supposed minima are not included in one story, their sequence has been preserved and each minimum is in its supposed place within the story structure, elucidating the distinct structure of episodic stories in epic narratives. This structure owns its distinctive characteristics that make it significantly different from the macro-structure fashioning epic narratives in terms of the type and structural position of narrative minima. For instance, the initial change in episodic stories that leads to movement in the story world occurs with the “disappearance of a creature (usually a horse and sometimes a bird of prey).” The function of “evil” in these stories is almost identical to that of “deception” and, unlike the function of “evil” in epic stories, it is not grounded on conflict. Moreover, unlike epic narratives, the element of “conflict or battle” in these stories is not based on war and fierce rivalry, and instead issues such as love, affection and female attraction play a significant role. These elements mark the existence of patterns and deep-structures that are not analogous to the macro-structure of epic in episodic stories, therefore leading to a break with the structure of epic narrative. The recurrence of a similar structure in these pieces also signposts the existence of a unique deep-structure in them that could lead our way to narrative origins that are not the same as the narrative origin of “epic”.discussion and results The scrutiny of mythological deep-structure of the eleven episodic stories in this paper (based on the extractive structure) shows that all of these episodic pieces hinge on the structure of fairy tales. The remarkable recurrence of episodes based on fairy tales within epic narratives, and their structural and deep-structure incongruity with the macro-structure of epic narratives, reveals the existence of a particular narrative style or tradition for fairy tales dating back to a farther past than Ferdowsi’s and other epic poets of the Islamic era. On the other hand, the remarkable differences between the deep-structure and superstructure of these episodes denote the great antiquity of mythological deep-structures, as in terms of the roles, characteristics, and actions of fairies, they maintain considerable connections with the traditions related to the goddesses of fertility and viridity. Despite the replacement of rituals like Zoroastrianism with these ancient rituals (and even ritual enmity with fairies in Zoroastrianism), the narrative form of fairy tales continued to evolve along with the evolution of epic narratives until the later periods of Iranian epic narration. However, due to the demonic reading of fairies in Zoroastrianism, the visible manifestation of fairy tales turned out to be more latent in the formal literature of the Sassanid era, and this has been effective in disguising the pattern of fairy tales from superstructure to deep-structure of episodic stories. The mythological root, antiquity, global spread, and the attractiveness of fairy tales among the masses, are the reasons these stories have stood the test of time among Persian narrative traditions. Since the main source of fairy tales in epic narratives has been folk tales, they have usually entered epic works through oral and popular narratives generation to generation, far from the direct intrusion of the ruling ideologies and power structures. The reason explaining the episodic nature of fairy tales within the macro-structure of epics is on the one hand the informal current of narration of these stories, and on the other hand the essential difference between the structure and deep-structure of fairy tales and the deep-structure based on heroic familiarization in epic stories. Despite the noticeable dissimilarities between the structure of episodic stories and the macro-structure of epic narratives, but given the importance of structural unity and cohesion in the of epic narratives, epic narrators within oral and generation-to-generation narration, in order to link these stories with the archetypal and conventional structure in epic stories, they have used the connecting elements that act as a link between “episodic stories” and the “macro-structure of the work.” These connecting elements embody some elements of heroic familiarization or elements of the dragon-slaying myth; nonetheless, the inclusion of such elements and the episodic nature of these stories, together with their lack of structural connection with the macro-structure of the epic are evident, all remarking the essential difference between fairy tales and epic stories.Keywords: Epic, Unity, Episodic Stories, Myth, Fairy Tales. ReferencesAidenloo, Sadjad. (2005) "Hypothesis about Siavash's mother", Farhangistan Letter, No. 27, pp. 27-46. [in Persian]Alimorädi, Masoumeh and Ashrafzädeh, Rezä. (2019) "" The Beloved of the Hero ": Recognizing the double face of the archetypal fairy in contrast to six epic characters", Journal of Lyrical Literature, No. 33, pp. 209-232. [in Persian](1974) Poetics. Translated by Abdolhossein Zarrїnkoob, Tehran: Translation and Publishing Company. [in Persian]Arrajänї, Farämarz bin khodädäd. (1968) Samak-e ayyär. Edited by Parviz Nätalkhänlari, Tehran: Iranian Culture Foundation. [in Persian]Barfar, Mohammad (2010) The Magic Mirror of Imagination: A Study in the Fairy Tales of the World (including thirteen magical legends). Tehran: Amirkabir. [in Persian]Bondahish (2011) Faranbagh Dädegi, Reported by Mehrdäd Bahär, Tehran: Toos. [in Persian]Christensen, Arthur. (1976) Essai Sur la Démonologie Iranienne. Translated by Ahmad Tabätabäyi, Tabriz: Institute of Iranian History and Culture. [in Persian]Doostkhäh, Jalїl (2005) Recognition of Ferdowsi and Shahnameh. Tehran: Cultural Research Office. [in Persian]Eliade, Mircea. (1989) Rites and symbols of initiation: The mysteries of birth and rebirth. Translated by Nasrullah Zangouei, Tehran: Agah. [in Persian]Ferdowsi, Abolghäsem (2006) Shähnämeh. Edited by Jules Moll, Tehran: Elham. [in Persian]Ferdowsi, Abolghäsem (2007) Shähnämeh. Edited by Jaläl Khäleqi Motlaq, Tehran: The Great Islamic Encyclopedia Center. [in Persian]Ferdowsi, Abolghäsem (2009) Shähnämeh. Based on the Moscow edition, by Saeed Hamidiän, Tehran: Qatreh. [in Persian]Franz, Marie-Luise von. (2017) The Interpretation of Fairy Tales and Anima and Animus in Fairy Tales. Translated by Mehdї Sarreshtedärї, Tehran: Mehrandish. [in Persian]Hamidian, Saeed (2008) An Introduction to Ferdowsi Thought and Art. Tehran: Nähid. [in Persian]Hansen, Kurt Heinrich. (1995) Ferdowsi's Shahnameh: Structure and format. translated by Kaykavous Jahändäri, Tehran: Farzän Rooz. [in Persian]Iranshah bin Abil-Khair. (1991) Bahman Nämeh. Edited by Rahim Afifi, Tehran: Scientific-Cultural. [in Persian]Jung, Carl Gustav. (2008) Man and his symbols. In collaboration with Marie-Louise Von Franz et al., translated by Mahmoud Soltänieh, Tehran: Jami. [in Persian]Khäjuy-e Kermänї, Abu al-Attä Kamäl al-Dїn Mahmood. (1991) Homäy and Homäyoon. By Kamäl Aynї, Tehran: Institute of Researchs and Cultural Studies. [in Persian]Khäleqi Motlaq, Jaläl (1993) The flower of old sufferings (selected articles about Ferdowsi's Shahnameh). By Ali Dehbäshi, Tehran: Center. [in Persian]Khäleqi Motlaq, Jaläl (2011) "Shahnameh of Ferdowsi", Ferdowsi and Shahnameh Sarayi, superviser: Ismail Saadat, Tehran: Academy of Persian Language and Literature, pp. 157-280. [in Persian]Luffler-Delashou, Margaret. (2007) Le Symbolisme des Contes de Fees. Translated by Jaläl Sattäri, Tehran: Toos. [in Persian]Mälmir, Teimoor and Hosseinpanähi, Fardin. (2012) "The Myth of Dragon Slaying and its Design in Ferdowsi Shahnameh". Poetry Research (Boostan-e Adab), No. 14, pp. 147-171. [in Persian]Mälmir, Teimoor and Hosseinpanähi, Fardin. (2016) "The Importance of "Reading" in The Genesis of Epic Narratives". New Literary Essays, No. 195, pp. 111-136. [in Persian]Mälmir, Teimoor. (2008) "Technical Structure of Shahnameh". Kavoshnämeh, No. 16, pp. 199-224. [in Persian]Mälmir, Teimoor. (2009) "Introduction in Shahnameh and Ferdowsi's Mission". Iranian Studies, No. 16, pp. 233-247. [in Persian]Mazdäpoor, Katäyoun. (1992) "The Legend of the Fairy in One Thousand and One Nights". The Quest for Identity the Image of Iranian Women in Prehistory and History, by Shahlä Lähїjї and Mehrangїz Kär, Tehran: Roshangarän. [in Persian]Mazhar, Solomon. (1999) Legends from the East. Cairo: Dar Al-Shorouq. [in Persian]Mihandoost, Mohsen. (2002) Pahlavani-Lyrical Osneh. Tehran: Center. [in Persian]Nizämi, Elias bin Yusuf. (2003) Haft Paykar. Khamseh of Nizämi. Edited by Vahid Dastgerdi, Tehran: Alam. [in Persian]Nöldeke, Theodore. (2005) Das Iranische Nationalepos. Translated by Bozorg Alavi, Tehran: Negah. [in Persian]Safä, Zabihulläh. (1984) Epic poetry in Iran: from the oldest historical era to the fourteenth century AH, Tehran: Amirkabir. [in Persian]Sarkäräti, Bahman. (1999) Hunted Shadows: Selection of Persian Articles. Tehran: Qatre. [in Persian]Sattärї, Rezä and Khosravї, Sougol. (2017) "Study of the similarities between fairy and Witch Woman in epic poems after Shahnameh", Literary text Research, No. 74, pp. 7-30. [in Persian]Sharifyän, Mehdi and Atoni, Behzäd. (2013) "The Phenomenology of the Witch Woman (based on Shähnämeh and Shahryärnämeh)", Journal of Mystical Literature and Mythology, No. 32, pp. 129-167. [in Persian]Vandїdäd (1997) translated by Häshem Razi, Tehran: Fekr Rooz. [in Persian]varäwїnї, Saad al-Din (1976) Marzbän nämeh. Edited by Mohammad Roshan, Tehran: Iranian Culture Foundation. [in Persian]Weinrich, Harald. (1995) "Narrative Structures of Myth", Myth and Mystery: Collection of Articles, translated by Jaläl Sattäri, Tehran: Soroush, pp. 81-99. [in Persian]Yashtha (1998) translated and interpreted by Ebrahim Pourdavod, Tehran: Myths. [in Persian]

An Analysis of the Simorgh's Tale in "Mantegh- al- Tayr" Based on Postmodern Readings

mohammad khosravishakib

Volume 13, Issue 4 , February 2022, Pages 155-172

https://doi.org/10.22099/jba.2021.35695.3604

Abstract

Mohammad KhosravishakibAssociate Professor of Persian Language and Literature, Lorestan University, Iran(Corresponding Author)M.khosravishakib@gmail.com IntroductionClassical ... Read More Mohammad KhosravishakibAssociate Professor of Persian Language and Literature, Lorestan University, Iran(Corresponding Author)M.khosravishakib@gmail.com IntroductionClassical Persian literature, like other types of art, needs new facilities and talents to convince the reader; Capacities that can hold today's sensitive and diverse reader and give a convincing answer to his political, social and psychological concerns. It seems that contemporary and non-native literary theories, which have been ironically designed to respond to the extravagance and diversity of the good reader, have the ability to revive the neglected and hidden capacities of classical works. Postmodernism and its key and special component, "Uncertainty" from the middle of the twentieth century until now, in various fields of art - architecture, film, painting, literature, theater, calligraphy, etc. - more than other approaches, debate has created contradictory academic and non-academic backgrounds. This theory seeks, above all, skepticism in macro-cultural, religious, literary, historical, political, and social narratives, as well as attempts at descriptions and new and capacity-building. Mantehq al-Tair Attar is one of the good, strong and capable works of Persian literature. This valuable book, with all the academic and non-academic critiques and controversies surrounding it, still has the energy to make sense of convince today's readers.2. Methodology Postmodernism is one of the theories that escapes the service of hegemonic ideologies and claims to hate imitation and limiting expectations. Postmodernism is the end of macro-narratives and, in general, the end of mono-narrative and absolute thinking. Postmodernism favors giving way to multiple sub-narratives. In this article, we have tried to reach less familiar readings of the story of Simorgh in the Mantehq al-Tair by applying this theory. Obviously, if we talk about the story of Simorgh, we mean that these postmodernist readings may not fit the details of the stories in Mantehq al-Tair and the pragmatic view of Mantehq al-Tair rejects such readings, but in a big way and based on the story of Simorgh and the birds, it can support and acknowledge new semantic horizons. The story of Simorgh in Mantehq al-Tair, as much as it has energy to establish and confirm metaphysical and mystical beliefs and interpretations, also has the necessary interpretive power and ability to be able to create doubts and hesitations in these beliefs without being accused of inaction and inaction. DiscussionMantehq al-Tair Attar is one of the good, strong and capable works of Persian literature. This valuable book, with all the academic and non-academic critiques and controversies surrounding it, still has the energy to make sense of and convince today's readers. Attar, with the story of Simorgh in Mantehq al-Tair, seeks to teach how and describe a cultural, civic, public, and political action. At the end of the story of Mantehq al-Tair, when the birds realize that there is no news about Simorgh and that his presence was just a kind of imagination, a kind of dynamic realism and pragmatism arises in them and they realize that they are "thirty chickens" and They have to decide their own destiny, and their expectation is shaken by external godly forces and metaphysical controls. At the end of the story, the birds in Simorgh's story seek to get out of passivity and make an impact. Their collective identity in the form of "Thirty Chickens" has moved away from passivity and subjectivity, and they have become influential actors and actors, and the quantitative concern of the beginning of the story has finally been sublimated to the qualitative, epistemological, and cognitive concerns. The end of this story, in a dramatic and innovative way, shows the vain expectation of a group of birds who, disappointed with the existence of a cosmic and saving creature, realize that such a creature has no external existence and that their search was purely for search and futility. Birds that have grown up over the years believing that a cosmic and extraterrestrial being is thinking of managing their affairs and that its place is at the top of Mount Qaf, now realize that this creature - Simorgh - has no external existence at all and only it was an idea that completed their narrative of worldly life. In fact, the story of Simorgh and the birds in Mantehq al-Tair promotes a kind of collective authority that can be a source of real and lasting power that is productive and constructive, and integrates all capacities and civil institutions in the network of power so that it can somehow Reach a single identity and mentality; As the birds reached this unique identity at the end of the story. "Thirty chickens" reach Qaf Mountain and find that by removing the source of the unit of power and dictatorship - Simorgh - as well as the spread of power in civil institutions - Thirty chickens - a kind of identity and authority is produced that is more efficient, capable and durable. And can be considered a more up-to-date reading of the category of power. ConclusionMantagh-al-Tair and its strong plot are specific texts that it is powerful and effective that it can receive different and sometimes contradictory semantic horizons and talk to countless receivers and audiences. Postmodern readings of the story of Simorgh and other birds in the Mantagh-al-Tair show that there are active and up-to-date semantic allusions and implications in this story that can turn it into a transcendental "hypertext". Considering the dynamism and nature of dialogue and flexibility of Mantagh-al-Tair, can be said that "pluralism", "collective action", "self-knowledge and collective perfectionism", "death of God", "the absence of words and vain human expectation", The "disintegration of social classes," the "decentralization of power and its dissemination," the "transformation of the values of survival into the values of assertiveness," are new semantic fields and horizons that are the product of a postmodernist and, of course, nonprofit and non-fanatical view of this. It is a unique text.Keywords: Postmodernism, Mantagh-al-Tair, Uncertainty of Meaning, Tale of Simorgh.References Ahmadi, Babak (1380). Text structure and interpretation. Tehran: Markaz Publications.Stern, J.P. (1373). Nitche. Translated by Ezatullah Fooladvand. Tehran: New Plan Publications.Athari, Seyed Hossein Hosseini, Seyed Abbas (1394). "The approach to cultural change and the constructed model of the 'closed cycle of collective action' in societies benefiting from survival values: A case study of Egypt." Political Sociology of the Islamic World. Volume (2), Number (2) Pages (135-155).Eagleton, Terry. (1386). An Introduction to Literary Theory. Translated by Abbas Mokhber. Tehran: Markaz Publications.Bashirieh, Hussein (1384). Revolution and political mobilization. Sixth edition. Tehran: University of Tehran Press.Beckett, Samuel. (1382). waiting for Godo. Translated by Mustafa Abedini. Tehran: Klider Publications.Taslimi, Ali (1395). Literary criticism; Literary theories and their application in Persian literature. Tehran: Akhtaran Publications.Tilly, Charles. (1385). From Basij to revolution. Translated by Ali Morshedizad. Tehran: Islamic Revolution Research Institute.Dreyfus, Hubert and Rabino, Paul. (1379). Michel Foucault; Ultrastructuralism and hermeneutics. Translated by Hossein Bashirieh. Tehran: Ney Publishing.Roberts, Jim. (1382). Beckett and the Theater of Meaninglessness. Translated by Hussein Payende. Tehran: Namayesh Publications.Nietzsche, Friedrich Wilhelm. (1384). Thus said Zoroaster. Translated by Dariush Ashouri. Tehran: Ad Publications.Harland, Richard. (1385). A historical introduction to literary theories; Translated by Shapur Jorkesh, second edition, Cheshmeh Publications.Yazdanjoo, message. (1381). Postmodern literature. Tehran: Markaz Publications.Lyoutard. J. (1984). The postmodernist Condition. Manchester: university press.Selden, Roman. (1989). A reader's guide to contemporary literary theory. 5 ed. Kentucky: The University of Kentucky press.

the necessity of re-correcting Divan e Baba Faghani Shirazi

fatemeh toobaie; mohammad hoseyn habib agahi

Volume 13, Issue 4 , February 2022, Pages 173-194

https://doi.org/10.22099/jba.2021.38847.3905

Abstract

Famous as “Little Hafiz,” Faghani Shirazi is a well-known poet of the ninth century considered one of the leading lyricists of this era. His poetry has been edited and published ... Read More

Examining the types and meanings of "ra" in Garshasbnameh

Zolfaghar Allami; Entesar Parastegari

Volume 13, Issue 4 , February 2022, Pages 195-220

https://doi.org/10.22099/jba.2021.38445.3876

Abstract

Examining the types and meanings of "ra" in Garshasbnameh Extended abstract Any literary work is composed of more detailed structures.The syntactic and morphological ... Read More Examining the types and meanings of "ra" in Garshasbnameh Extended abstract Any literary work is composed of more detailed structures.The syntactic and morphological construction of any work forms the foundation of its rhetorical and content construction."Ra", which is now more commonly known as an objective function word, has had a more sensitive and diverse place in the texts of past Persian literature, and its various application has to lead to understand the meaning and the rhetoric of the text.One of the epic poems that has gained more fame and reputation among the national epics after the Shahnameh, is the Asadi Tusi Garshasbnameh, written in the fifth century AH.This system, apart from being epic, is debatable in terms of language, especially syntactic and morphological constructions, and so on.The language and expression of this system, for two reasons, are different from other systems, in this period and in later periods.The first reason is the style and expression of the author, second the structure of the system that expresses ancient myths and It also shows an older structure of the Persian language.As we know, the support of the literary structure of any text is the same as its rhetorical structures, and the rhetorical structures also depend on grammatical structures.The preposition "Ra" is one of these grammatical structures which, due to the difference in syntactic usage and semantic breadth, has a very important role in the correct reading of classical Persian texts.Therefore, this article seeks to identify and introduce the various applications and meanings of "Ra" in Garshasbnameh and present an accurate statistic of the types and roles of "ra" in various applications in this industry, grammatically and semantically. Research method The research method is based on the analysis of the data obtained from the text of this essay, and its conclusion is based on the analysis of the structural and semantic content of this data. DiscussionThe breadth of the meanings of the prepositions and adverbs is one of the important secrets of the eloquence of the Persian language that our capable speakers and writers have mastered in their use. Among them is the preposition "Ra", which some commentators call "signs" and some "role models-naghshnama". This sign or role model, since it is related to all the main grammatical patterns and some related patterns, has had a special place in the grammatical structures of the Persian language, especially in the previous texts. Because unlike other grammatical signs which affect the structure of a word, this one affects the structure of a sentence. For this reason, grammar writers and linguists have followed it closely and enumerated its various applications and meanings. Nominal groups in the sentence, according to the division of contemporary linguists and grammar writers, have or one of the main roles (nahad, object, complement, predicate and adjective) in the sentence, or subordinate roles (apposition, focus, repetition) or dependent role. And the "Ra" sign is often used in the noun group of the object and as the role of the passive view; however, in ancient texts, "Ra" played a role in all nominal groups, without being the mere signifier of the passive object.In Garshasbnameh, "Ra" has a special place and has been used in various applications and meanings. This makes the role of "Ra", with the exception of other patterns of language, doubling the importance of examining and analyzing it. Another point is that the language of Garshasbnameh's book, especially in the applications of this role, is so prominent that we rarely see anything like it in other texts. Ra, now widely known as a passive role model, plays a more sensitive and diverse role in ancient texts, especially books such as Garshasbnameh, which has a structure that fits older linguistic patterns, and its uses and meanings are prominentfeatures of giving the style of the author and recognizing its work, and understanding its various meanings and uses helps to understand the meaning and recognition of the rhetoric of the text.Therefore, this article seeks to identify and introduce the various applications and meanings of "Ra" in this epopee and present an accurate statistic of the types and roles of "Ra" in various applications, grammatically and semantically. FindingsAccording to the research conducted in this study,The "Ra" used in this system, in addition to special applications, are divided into four groups, which are:1- Objective Symbol: One of the main functions of "Ra" in old texts, and its only role in new official texts is this.2- Complement sign or preposition: The letter "Ra" is an additional letter whenever it is used in the sentence to mean one of the prepositions and gives a complementary word to the word before it.3. The sign of the "nahad": Sometimes "ra" is used after the "nahad" (subject and sujet) and has been a symbol for the nahad group.4- "Ra" instead of the "kasre" or sign of the " fake azafe":Persian language combinations can be divided into two major categories.Compounds that consist of two nouns and compounds, one of which is an adjective of another name, are called adjective compounds.These compounds have a striking feature that, in other languages, is almost unparalleled: continuity through a pattern that is called an additional model" naghshnamaye ezafe".In descriptive groups, the adjective and the description are sometimes replaced by "ra".In additional combinations, the "fake ezafe" is formed by the presence of "ra".The first three groups are from the main maps, and the fourth group, or " fake ezafe" is from the dependent roles.The "ra" is also used in the nominative noun group; But because its structure is an additional compound, it is considered from " fake ezafe" group. ConclusionOf the about 1,314 "Ra" cases, 503 are objective signs that correspond to the current use of "Ra". About 343 cases, "fake azafe" sign; 294 items are complementary to the meaning of the preposition and the motamem. (Of these, 150 are used to mean for, 118 are used to mean "to", 19 are used to mean "with", 6 are used to mean "on" and 3 are used to mean "in"); And 174 are the roles of the "nahad", which are less likely to play a role in these positions today.Knowing and recognizing the role of "Ra" in the verses of Garshasbnameh helps a lot to understand the meaning of the verses, especially for today's readers.In some cases, the semantic difficulty of the verses is easily solved. Keywords: Asadi Tousi, Garshasbnameh, Ra, Ra role, Ra meaning. 1- asadi toosi, aliebne ahmad. (1389). Garshasbnameh, ( by habib yaghmaei, tehran, donyaye ketab publication) second eddition 2- babasalar, asghar. (1392). " the special uses of "ra" in some of the persian texts." , adabe farsi journal, 3rd period, num1 page181 to 196. 3- jam, bashir. ( 1396) . " about pronounciation of ra in persian" Linguistics and dialects of khorasan journal , num16 , page1-14. 4- khatib rahbar, khalil. (1367). Persian grammer ( preposition and adverbs book),tehran, saadi publication, first eddition. 5- dabirmoghaddam, mohammad. ( 1369) . " about ra in persian" , linguistic journal, 7th period, num1, page1 to 60. 6- dehkhoda, aliakbar. ( 1337). Introduction to Dictionary by a group of authors, tehran, siroos publication 7 - razzaghi shani, ali. ( 1391 winter). " ra meaning in kelile va demne", roshd journal, Teaching Persian language and literature, num2, page51 8-saadi, mosleoldin.(1375).boostan, by gholamhosseyn yousefu, tehran, kharzami publicatin, fifth edition 9- shadiat, mohammadjavad.( 1364). Persian grammer , tehran, asatir publication 10- omrani, gholamreza, sebti, hamun.( 1386). Persian language ( Learning and learning strategies), tehran, mobtakeran publication, second cover, fifth edition 11- farshidvard, khosrow.(1384). Todays extended grammer, tehran, sokhan publication, second eddition. 12- modarresi, fatemeh. (1387). From Phoneme to sentence, tehran, chapar publication, second eddition. 13-moshaveri, zohre.( 1389)."one type ra in compound sentences" , fonoone adabi journal, second year, num1, page111 to 118 14- meshkatoldini , mehdi.(1366). Persion grammer related to Surveillance theory, first cover, mashhad, ferdowsi universiti publication 15- moein, mohammad.(1363).ezafeh, tehran, amirkabir publicagion, 4th eddition 16- natele khanlari,parviz.(1372). historical grammer of persian language by effat mostasharnia, toos publicagion, first eddition. 17- vahidian kamyar, taghi, omrani, gholamreza.(1381). Persian grammer( 1), tehran, samt publication, 3rd eddition 18- yasami, bahar, foruzanfar, gharib, homasi, rashid, malekoshoara, badialzaman, abdalazim , jalaleldin.(1369) , persian grammer 5 proffesors, first eddition, tehran, eshraghi publication.

Recognition of Persian poetic Sitinameh and Sitivareh

mohsen mahjoubi; mohammad hadi khaleghzadeh

Volume 13, Issue 4 , February 2022, Pages 239-266

https://doi.org/10.22099/jba.2021.37517.3798

Abstract

Recognition of Persian poetic Sitinameh and SitivarehAbstractThe cultural bond between Iran and India is a deep and rooted one. Both lands, although inhabited by natives, found a new ... Read More Recognition of Persian poetic Sitinameh and SitivarehAbstractThe cultural bond between Iran and India is a deep and rooted one. Both lands, although inhabited by natives, found a new identity with the migration of the Aryans. From the beginning, the Indo-Iranians had more similarities than differences and became more friends than enemies. Siti (= siti) is one of the ancient and additional traditions of Hinduism that has been practiced as a religious duty in India for many years and, today it seems to be abandoned. It is a cruel and inhumane custom - albeit by the standards of siti of the ancient and appended customs of Hinduism, which for years now - that led the newly widowed woman to voluntary self-immolation with her husband's body. In return, she was given the good news of living again with her husband (according to the theory of reincarnation) or living again with the masculine body. It was based on three axes of believing in fire, loving one's spouse, and believing in another life. According to this research, the real siti has conditions, that the first condition for calling an action a siti is the presence of the element of fire in that action, i.e. any other type of suicide (self-harm with a dagger, eating poison, drowning in water, etc.) It is not considered a siti. The second condition for being an act siti is that it should be romantic. In the real world, it may have happened sometimes that women have been forced to become siti, but what is said in the stories of siti and according to Hindu beliefs , this act is romantic and voluntary. Another condition for a ceremony to be called a sati is that it be Hinduism, and the last condition for calling a ritual a siti is that the Hindu who goes to the heart of fire for her own beliefs and love in India is a "woman".In India, widowed woman - though young, healthy and beautiful - is placed on the husband's body and the harvest of wood, incense and sandals is set on fire. They adorn the widow, wears a fine garment, and she stands firm and determined, throwing herself into the fire, or covering the woman's hands and feet with henna, and a ring on her nose. They put a veil on their noses as a sign of chastity and purity, then they put the best clothes on her, put the most fragrant perfume on her, put make-up on her, and dressed her like a bride with perfect ornaments. The woman was given a kind of narcotic drink to get rid of the fear of death. The prepared firewood was hidden behind a curtain so that the widow would not look at it so the fear of the flames would not change her decision . After leaving the woman next to her husband's body. All friends and relatives brought some gifts and asked her to take them to their loved ones in the other world. Sometimes they put a woman on a horse and people accompanied her to the place of the ceremony. When they arrive at the place of the ceremony, they cover her with uncut cotton clothes. At first, relatives, neighbors, and even the judge and the ruler of the city try to dissuade the determined widow with a promise and advice, if she did not accept and continued to insist on being siti They asked her for good prays and after accompanying her to the place of the ceremony, they watched her, She hugged her dead husband. People stood around her with long bamboo sticks so that she would not regret it and would not run away from the fire.One of the most important discoveries of this research is finding a reference to Masoudi (280-345 AH) in siti custom in Iran, which is not mentioned anywhere. He deals with a tribe of Caspian people who lived near Amol: "The peyrovane jahl in the Caspian Sea are different tribes, including the Sqlab and the Russians, who are on one side of Amol and They should burn their dead with all his tools and ornaments, and if a man dies and his wife is alive, they should burn the woman with him, but if a woman dies, they should not burn the man, and if a single man dies, they should marry him after death, Women are interested in burning because they think they are going to heaven ...", There are several important points in this oldest Iranian document about the siti custom. firstly, this custom was common in Iran and secondly, this custom, unlike in India, where a woman willingly goes on fire, has been mandatory for women in Iran . Many Persian poets have attributed being siti ,husbandworshipery and loyalty of Hindu women. Anwari at the beginning of a poem composed in praise of Omar bin Mukhlis, likens burning in fire due to love .In this article, this researcher has tried to examine the history and manner of performing this custom, determine its reflection in the romantic poems of Persian literature that have not been studied so far, and to show that some of the poems that have already been titled Sitinameh, they are not, and a number of poems that have been neglected are Sitinameh according to the characteristics and coordinates of this ancient Hindu tradition. These researchers by using the reasons in the definitions, introduced and separated the Sitinameh and Sitivareا. According to this research, the poems of Abdolshakur Bazmi Dehlavi, Azar and Samandar (Hosn and Eshgh) Hesami, Azar and Samandar Zalali Khansari, Ahli Shirazi candle and butterfly, Aqel Khan Razi candle and butterfly, Seyed Mohammad Eshrati's padomat, Zaker padomat, Bostan Sokhan Emami, Padmani's story by an unknown author, Ratan and Padm's story by an unknown author, Padmavat Hassan Ghazaneh, Padmavat and Ratansin Feyz Dakani, Hosn and Eshgh of an unknown author, Padmavat Abdul Shakur Mansour Sitinameh, and the burning and melting are a kind of warmth, boiling and roaring of Sirajuddin Ali Khan Arzoo, burning and melting of Sadegh Tafreshi, And burning and melting of Molasabegh Baranasi, Hassan Dehlavi's love letter, Varasteh Kashmiri siti, Ahmad Bakhsh's love miracle nicknamed Neshat, the image of love of Faghir Dehlavi ,chansirnameh edraki Biglari, Abdullah and Radhan Farahat Lahori are Sitinameh or Sitivareh.Keywords: Siti, ستی نامه, Love Poems, Hindu women, India, Hinduism

what is Glass Bazich?

amir soltan Mohamadi; Mansoor Sadat ebrahimi

Volume 13, Issue 4 , February 2022, Pages 267-288

https://doi.org/10.22099/jba.2021.38370.3868

Abstract

Extended Abstract:What is "Bazich" or "Bazich Glass"?Amir Soltan Mohammadi[1]Mansour Sadat Ebrahimi[2]Introduction:Khaghani is one of the Persian language poets in the sixth century ... Read More Extended Abstract:What is "Bazich" or "Bazich Glass"?Amir Soltan Mohammadi[1]Mansour Sadat Ebrahimi[2]Introduction:Khaghani is one of the Persian language poets in the sixth century AH in Aran region. This Shervani poet does his best to make his poems and poetic images excellent. Although this is the style of all Aryan poets, Khaghani has a high position in this style. He uses a variety of sciences to create images in his poetry. This issue has caused difficulties in his poetry. These difficulties in his poetry have made it difficult for the commentators and correctors of his poetry. The complexities in his poetry are sometimes like riddles that require a lot of science and a lot of effort to solve. These poetic riddles sometimes remain unsolved. One of the tools that Khaghani uses to enrich his poetry is popular culture. Due to Khaghani's historical and geographical connection with popular culture, his poetry has been enriched by the tools of popular culture. One of the difficult aspects that is reflected in some of Khaghani's verses is related to popular culture. The aspect that will be discussed in this article is also related to the popular culture of Khaghani era. This is the "Bazich" or "Bazich Glass".Research method, background and purpose:The present study is a textual study that has been done on one of the difficult aspects ("Bazich" or "Bazich Glass"). This difficult aspect is reflected in a few verses of Khaghani's poems. This word has been examined in all the explanations related to Khaghani's court. Since the poems have been corrected incorrectly, the description of the poems also has its drawbacks. Apart from the explanations related to Khaghani's divan, an article has also been written about these verses. In this article, the face of "orange glass" is considered the correct form in the verses. They then provide reasons to prove the correctness that the authors of this article have criticized. In this article, different forms of the word in the versions are first examined and analyzed. After reviewing the old and correct versions, the authors have examined the publications related to Khaghani's Divan And have reviewed the method of recording them. In the next part of the article, the descriptions of Khaghani's court are criticized. In the next step, the authors have explained the correct aspect of the verses in Khaghani's Divan. Then, the desired aspect has been described according to textual and contextual examples in Khaghani verses.Discussion:In a few verses of his verses, Khaghani has used a word in his divan that is reflected in different ways in the versions of his divan. The word is reflected in the forms of "Bazich", "Naranj" and "Bazicheh" in his poems. Of course, sometimes the word glass also comes before these words. Some researchers have equated this aspect with "orange glass" and accordingly, they have explained the verses in question. While the face of "orange glass" in the verses used is not a copy. Among the funds used, of course, the strange side deserves more attention. Among the mentioned aspects, the face of the player or the glass of the player is naturally more strange and far from the mind. So the scribes have turned the strange face of the player into the familiar face of the orange and the toy. It is noteworthy that in the authoritative versions of London and Parliament, the player's face is reflected. According to research, the "Bazich" or "Bazich Glass" is a tool belonging to magicians and wizards. These wizards who used toy glass were called glass openers and their work was called "Bazich" or "Bazich Glass". The magicians filled the jars with water or rose water and placed them on their heads and danced. Sometimes they performed strange and wonderful movements with them. There are references to their dance and practices even in pre-Islamic sources. Sometimes objects and phenomena are pulled out of these glasses. It is because of the importance of space that Khaghani sometimes likens the sky to a "Bazich" or "Bazich Glass". Just as there are phenomena in "Bazich" or "Bazich Glass", so do the stars, the moon, and the sun appear in the sky. Also, the sky, like a "Bazich" or "Bazich Glass" from which unexpected phenomena came out, has been the place where fate and destiny descend. Sometimes in the poems it is likened to bubbles that move on the head of water, similar to the glass that was on the head of these magicians. This phenomenon is also reflected in military poetry but in military poetry it has also become easy. Meanwhile, the playful glass space is in perfect harmony with the military poems.Result:In Khaghani's poems, a word has become easy because of the difficulty in copying. Following this wrong choice, the descriptions provided are also wrong. The strange face of "Bazich" has become the face of "Naranj" and "Bazicheh". The absence of this aspect in the dictionary has made its correct reception depend on the clarification of the verse space in which this aspect is used. From the verses in which the toy glass is used, it is clear that the toy glass belongs to the magicians. A phenomenon of glass or crystal is therefore likened to a bubble. The magicians held the glass and danced with it. Sometimes they performed amazing deeds with it and surprised the viewers. Since the sky is also cunning and strange deeds are issued from it and according to mythology it is made of glass, this playful glass is compared to it. Sometimes this phenomenon is compared to a thin heart and in one case to camphor glass, which confirms that it is made of glass. [1] . PhD student in Persian language and literature[2] . PhD student in Persian language and literature

Garat zin bad ayad (Thinking on the meaning of the hemistich from Shahnameh)

Khalil Kahrizi

Volume 13, Issue 4 , February 2022, Pages 289-298

https://doi.org/10.22099/jba.2022.42366.4171

Abstract

Garat zin bad ayad(Thinking on the meaning of the hemistich from Shahnameh)Khalil KahriziPhD of Persian Language and literatureIntroductionFerdowsi Shahnameh has a simple and comprehensive ... Read More Garat zin bad ayad(Thinking on the meaning of the hemistich from Shahnameh)Khalil KahriziPhD of Persian Language and literatureIntroductionFerdowsi Shahnameh has a simple and comprehensive language and today many Iranians understand many parts of it without referring to the dictionaries and descriptions of Shahnameh, but in order to understand parts of this book correctly in detail, one should be more careful not be deceived by contemporary Persian syntactic structures ; because in addition to being more than a thousand years have passed of Shahnameh’s age , this text is rooted in texts of several thousand years, and to properly understand parts of it, in addition to Shahnameh itself, one must use the texts of its contemporaries or ancient texts. Otherwise, while reading parts of Shahnameh, we may inadvertently fall into the trap of syntactic structures of the contemporary Persian language and report Shahnameh based on these structures. This method will lead to misinterpretations of this text and will lead to incorrect and misleading analyzes, interpretations and conclusions. In this article, we try to show one of the examples of imposing the syntactic constructions of contemporary Persian language in Shahnameh reports in the introduction of Shahnameh and in connection with the phrase "garat zin bad ayad gonah e man ast" and then the correct meaning of this phrase which according to the linguistic features of Shahnameh are also provable.Methodology, Review of Literature and Goal Description of each text with the help of the same text and paying attention to the syntactic structures of the Persian language in the period in which the work was created, are important way of recognizing ancient texts and ignoring it can lead us astray from the text; because the mind, subconsciously, goes to familiar syntactic structures. Therefore, in order to describe the ancient texts, one must first consider the ancient syntactic structures and with the help of them, he can get the meaning of the text. In this article, we have also tried to find one of the slippery in the description of ancient texts in the same way and talk about the phrase " garat zin bad ayad gonah e man ast ". Previously, the commentators of Shahnameh have paid less attention to this shutter, but Kazem Bargnisi has addressed this hemistich in his description and has given it a meaning that is not compatible with ancient syntactic structures. In his description, Mehri Behfar has given the same incorrect meaning along with another meaning, whose second meaning is close to our proposed meaning. Our aim in this article is to examine this half- hemistich in detail, to criticize the incorrect meaning and to obtain the correct meaning with the help of the linguistic, syntactic and morphological features of Shahnameh.DiscussionFerdowsi, in the preface of Shahnameh, after praising the Prophet (PBUH) and Imam Ali (AS), following the wise man, he considers the world as a wavy sea on which about seventy ships are sailing. Among these ships, there is an ornamented ship in which the Prophet and Imam Ali are there. Ferdowsi says that if you look at another house (the world of the hereafter), take on the same ship and:" garat zin bad ayad gonah e man ast čonin ast o in din o rah e man ast”In the past, they have mostly been silent about this verse, which indicates the clarity of the meaning of the phrase in question. Of course, two commentators have paid attention to this verse. Kazem Bergnisi has described this verse as follows: "This is what I said, and this is my religion and my way of life (and I will not go back from it)." Mehri Behfar has also given two meanings for this hemistich, one of which is the meaning of writing and the second meaning of which is as follows: "If you took this path and suffered a loss, the responsibility is on me; "[In any case] this is my religion." Now we have to see what is the exact meaning of this semi-hemistich that is compatible with the components of the syllable and the morphological-syntactic system of the Persian language in the Ferdowsi period.In the aforementioned semi-hemistich, first, these two stylistic points must be considered in Ferdowsi's language: 1. The adjective "bad" may have been used instead of the infinitive "worse"; 2. The verb "Amadan" may have been used to mean "to arrive" and "to receive." If it is considered that exactly in this stanza, the adjective has been used instead of the infinitive and the verb “Amadan” has been used in our intended meaning. Therefore, the correct meaning of this hemistich should be as follows: If [from] this [issue]; that is, entering my religion and taking on the ship in which Muhammad (pbuh) and Ali (pbuh) are] is a sin for you (blame me).In other words, here, Ferdowsi assures his audience that in order to escape the wavy sea and fear drowning, one must embark on a ship that is as beautiful as a rooster's eye, and that ship is the same as Muhammad (PBUH) and Ali. (AS) they are in it. In the end, he assures the audience that if you feel bad about this issue, blame me. ConclusionShahnameh is an ancient text that should be read and explained in its historical context; otherwise, contemporary linguistic styles make our understanding of this book difficult and misleading. One of the sentences of Shahnameh that has been less noticed by the commentators of this book before and some of them have explained it based on the syntactic structures of contemporary Persian language, is the phrase "garat zin bad ayad gonah e man ast" in the preface of Shahnameh. This sentence had previously been interpreted in the light of the syntactic structures of the contemporary Persian language: If you hate this, it is my fault. However, "hating something" means "disliking something" is a new syntactic style in Persian and was not used in Ferdowsi's time. Accordingly, in this article, by examining this scene in detail and relying on the linguistic features of Shahnameh and considering the repetition of the first part in another part of Shahnameh, we first criticized the meaning that has been given to it before, and finally gave its definite and correct meaning as follows: If something bad happens to you from this [issue], it is my fault. Key words: Shahnameh, Report, Description, garat zin bad ayadReferencesBehfar, Mehri (1399). Critical Edition and Description of Ferdowsi’s Shahnameh’s Lines, first vol. Tehran: Farhang e Nashr e NowKhaleghi Motlagh, Jalal (1388) “Repetition in Shannameh”, Ancient Sayings (thirty sayings about Ferdowsi and Shahnameh), Tehran: Afkar, pp- 423-483.Ferdowsi, Abolghasem (1388) Shahnameh (From Preface to Ghobad’s Kingdom), Correction and explanation of words and Meanings by Kazem Bergnisi, Tehran: Fekr Rooz---------- (1390) Shannameh, by Jalal Khaleghi Motlagh (vol.6 by accompaniment of Mahmood Omid Salar, vol.7 by Abolfazl Khatibi) , Tehran: Tehran: the central, Islamic encyclopedia.---------- (1393) Shahnameh. Ed. Jalal Khaleghi Motlagh, Tehran: SokhanComprehensive encyclopedia of Persian language (1392) vol. 1. By Ali Ashraf Sadeghi, Tehran: Farhangestan of Persian Language and Literature

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Volume & Issue: Volume 13, Issue 4 - Serial Number 50, February 2022

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