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Jalaloddin Davani who has written many books, treatises, and letters, is one of the great scholars of the Shiraz school of thought during the Timurid period. Considering his influential attitude in the dynamics and excellence of Persian mystical literature, it is important to know about his Persian works which often include mysticism, philosophy, and theology. Obviously, before judging his opinions and beliefs, one should investigate the authenticity of his works. Therefore, the present research aims at the critical codicology of Persian works attributed to Davani to determine their authenticity. Reviewing the catalogue of manuscripts in the libraries shows that, in most catalogues, there are many mistakes in the title of Davani's Persian works. These bibliographic mistakes have been repeated in the works of many subsequent authors. To write the paper First, based on the Union Catalogue of Iran Manuscripts (Fankha), the titles of all Persian works attributed to Davani were identified. Then, using his Persian manuscripts and other sources, the authenticity of his Persian works in the catalogue of manuscripts was examined. In this study, through the comparative investigation of Davani's Persian manuscripts in Iran, some of our codicological and bibliographic information about Davani's Persian works have been corrected, especially the title and number of his authentic and non-authentic works. The result of the current critical codicology showed that Davani has written at least twenty original Persian works. In addition, according to the entries of Davani's Persian works in Fankha, at least nine nonoriginal Persian works have been attributed to him. Thus, at least nine entries of Davani's Persian works in Iran seem incorrect. [ABSTRACT FROM AUTHOR]

Atabat-ol-kataba is a book written by Montajab-o-ddin Badi'e Joveini which includes samples of administrative and court-related correspondence as well as friendly letters of the Sultan Sanjar Saljuqi era. The book was edited and published in 1950 by Allameh Ghazvini and Eghbal Ashtiani based on a photo version of the book as the only existing version of the work in question. It was also reprinted in 2005. A re-edited version of the book including an index and commentaries has recently been published in 2017 by Maryam Sadeghi. She has resorted to a comparative method based onthe version published by Ghazvini and Eghbal. The present paper aims to explore Sadeghi's method of editing and correcting and to criticize some shortcomings with her work as opposed to Ghazvini and Eghbal’s edition. The findings indicate that in spite of correcting several errors resulting from typesetting in Ghazvini and Eghbal’s work, when it comes to refining the text itself, Sadeghi has frequently deviated from the comparative methodology and has rather made subjective corrections. As a result, in many cases, she has changed Ghazvini and Eghbal’s correct choices on the basis of her own taste and subjective perception and has entered huge mistakes into the text. The paper examines some cases of such arbitrary changes. [ABSTRACT FROM AUTHOR]

Sa'id Nafisi's critical edition of Rashid-al-din Vatvat's Divan is up-to-date and the only available edition of the poet's Divan. It is also the only edition presented to academic assemblies. This book was published by Barani library in Tehran in 1960. This edition despite many advantages especially in terms of gathering almost all the poems attributed to Rashid-al-din Vatvat, contains plenty of errors and flaws and some inserted poems from other contemporary or subsequent poets to Rashid-al-din Vatvat. Some scholars have already pointed out some of these errors and deficiencies in their published research papers. These scholars have also stressed the need for a new critical edition of this precious heritage from 12th century AH based on newly-found sources and the poet's style of poetry. This paper also highlights fourteen important errors in Sa'id Nafisi's edition of Rashid-al-din Vatvat's Divan based on eleven old manuscripts and handwritten anthologies from previous centuries. This study not only can collaborate and contribute to enriching studies related to Rashid-al-din Vatvat and Persian literary manuscript analysis, critical edition studies, and textual analysis but also can help scholars and researchers of Persian language and literature to solve other complexities in other Persian literary texts. [ABSTRACT FROM AUTHOR]

Structuralism is an attempt to apply linguistic theory to non-linguistic subjects and activities. In this paper, the narrative of Zahak Mardush is examined based on the theory of Claude Bremond, the French structuralist narrator. Bremond considers sequence to be an essential element of narrative. His model is based on the dual approach of winning or not winning the champion. In this paper, the narrative has been analyzed by a descriptive-analytical method. After examining it, it was concluded that the narrative has a systematic design and has used the method of narration linearly. [ABSTRACT FROM AUTHOR]

There are anecdotes and stories about the spiritual transformation and repentance in Tazkirat al-Awliya which indicate that a gnostic person leaves sin and crime and starts obedience and worship. This is seen in different aspects of Gnosticism. A gnostic repents in different aspects of Gnosticism such as obedience, hierarchy, position, situation, and even in its existence. This has caused to construct a broad range or awakening areas in this prominent mystical work. Besides, as mentioned by writers of gnostic texts, the awakening areas in each position depends on an earlier position. So, the question of awakening, how it is realized, and how it is linked in mystical research is of great importance. This paper examines the nature of awakening, its extent, and its continuity in Tazkirat al-Awliya through the library and documentary methods. The results show that awakening in Tazkirat al-Awliya anecdotes is not limited to the initiation of a mystical journey, but rather in all stages and aspects of the journey, and it has different areas each having different aspects, features, and effects in the journey. Without understanding these areas, it is not possible to analyze and explain the position of stages of the journey. [ABSTRACT FROM AUTHOR]

Abutaleb Kalim Kashani (Hamedani), Creative Al-Ma'ani Thani, is considered one of the first poets of the 11th century. The use of elements such as theme, artistic, allegory, and elements of folklore has made Kalim the pioneer of Indian-Isfahani style, whose accuracy in speech and poem opens the door to the so-called Hindi poets. This research has been done using a descriptive-analytical method and we have attempted to reflect on some of the controversial words, phrases and verses of Kalim Kashani (Hamedani)’ Divan (collection), and tried to simultaneously investigate some of his controversial verses to clarify his nature of the image and poem. Therefore, we present some of the misreading related to the corrected forms of Kashani's illusions, and give some suggestions on the correct form of the phrase ‘the houses in the eyes of the compass’ and ‘hot eyes’. Then, we combed the combination of hot eyes in a sonnet from Kalim, and through this combination with the concept of green eye, we examined the history of the use of the eye and the face of it. Then, through the inter-textual relationships in the poetry of this era, by examining the neglected and obscure motifs of Kalim's poetry, such as nail art, paper and Totoya paper, it was concluded that the key words for the effect of the universal language on Indian poetry came from the status of specific and personal motifs that has become one of the most popular Indian style characteristics. [ABSTRACT FROM AUTHOR]

Nameye Bastan is a book written by Mir-Jalal-al-Din-Kazzazi, in the editing and interpretation of Ferdowsi's Shahnameh. In editing, marking helps readers read and understand texts, but the great beauty of this work is in the aspect of its interpretation This book contains useful and educational points in linguistic and literary discussions, the etymology of words in Iranian languages and mythological discussions. However, this book could be better than this, and because of that, the author published new editions of the work. Obviously, criticism should help to improve this, but criticism must have the characteristics of accuracy, honesty, and trust. This paper seeks to discuss the mistakes in Nameye Bastan, especially in the interpretation of poetry, as well as in the correct writing of poems. But it can be seen that the discussions in a significant number are inadequate, short, and simple, sometimes based on self-citation, physical and far-fetched expert knowledge, lack accuracy in terms of interpretations, sufficient evidence, precision in referral, honesty, and trustworthy. As some of the author's commentary has been cut off, they have narrated one of the few points that the author has discussed for immersive curiosity, in order to be able to violate it, they have hidden the other aspects of the debate. In this paper, we also quoted and criticized five of the criticisms of this article to illustrate the deficiencies of the article. Meanwhile, the other purpose of this review, as will be seen, is a detailed report, full of evidence, of the same poems that had been criticized before. [ABSTRACT FROM AUTHOR]

Applying discourse analysis as the research method, this paper analyzes Shirin's characterization and its change in two different stories (Shahnameh, and Khosrow and Shirin) in order to show how the lingual and meta-lingual (social, political, cultural and historical status) factors besides the ideology of the authors (Ferdowsi and Nezami) have influenced the representation of her character. Furthermore, this paper focuses on the change of political and cultural discourse from the period of Samanids to the Seljuks and the alternation of the views towards women -Ferdowsi's misogynist views in contrast to Nezami's philogynist views- as the other possible factor which have influenced Shirin's characterization. According to this paper, Shirin's image in Shahnameh is simultaneously negative and positive which is the result of class ideology plus power relations which have dominated Ferdowsi's text, while in Khosrow and Shirin, the character of Shirin changes because of the change of genre and Nezami's ideological involvement with this especial character of his story. Accordingly, in Nezami's version, Shirin is not a Roman slave but an Armenian princess. [ABSTRACT FROM AUTHOR]

Editing manuscripts is the most fundamental type of research in academic research. Taleb-e Amoli is among the most well-known poets in the eleventh century AH. His sonnets, which include more than half of his songs, contain nearly 13000 verses. Although Taheri Shahab (in 1968) has corrected and published Taleb-e-Amoli's Divan (collection), in order to correct, it is necessary to use all the authentic sources and copies available. Issues such as not using numerous available manuscripts, not reporting inaccurate versions and alternatives in the printed version, and wrong selections lead the authors of this paper while introducing a valid manuscript not used in the previous correction of this work, to criticize and investigate the previous correction of the book. This re-examination attempts to address some of these shortcomings and misreading by researching the text and using the new manuscript. As a result of the present study, a number of new sonnets and verses were added to Taleb’s collection. This completes the shortcomings of the printed version as far as possible. Recording the duplicate version and some new vocabulary is another result of this study. In addition, research into the work makes a new introduction to the stylistic features of Taleb's sonnets and other related topics to be made easier for scholars of Persian poetry and literature to ensure proper judgment and interpretation about Taleb's collection. [ABSTRACT FROM AUTHOR]

Olfati Savoji is a Shiite poet at the court of Abdullah Qutb Shah, the seventh king of Qutb Shahi Dynasty. The dynasty ruled over Deccan, Golkonda, and Heydarabad areas between 924 and 1098 AH. Little is known about Olfati Savoji’s life. Little information about Olfati's life and the existence of many poets who adopted Olfat pen name in Indian courts have led some biographers to mistakenly refer to him as "Olfati Yazdi", a contemporary poet of Vahshi Bafghi period and an entourage at Jalaluddin Akbar Shah Gurkani’s court. Biographers have also falsely attributed the works of Qlfati Savoji to Qlfati Yazdi. Olfati Savoji has two books that have not yet been edited and published: "Reyaz-al-Sanaye Qutb shahi", a book about prosody and rhyme, and ‘Ravayeh-e-Golshan Qutb Shahi’, a book about the praise of Abdullah Qutb Shah and a description of the royal monuments and some of his court customs. The authors of this paper seek to provide accurate information about Savoji's life and works through the study of the manuscript of his works, and analysis and historical comparison of what has been written about him in biographies. The findings of this study will be useful in studies of Persian literature history and stylistics of the 10th and 11th centuries. [ABSTRACT FROM AUTHOR]

A work’s intended audience and the context from which it springs and in which it develops can determine and generate a new and altered content for certain concepts which are unitary at the origin. This influence becomes evident when a target text ends up being clearly attuned to the readers’ needs and concerns. Taking such influences into account, the present paper examines Suhriwardī’s ʿAwārif al-Maʿārif and two of its translations by Abū Manṡūr Ismāʿīl Iṡfahānī and ʿAbd al-Raḥman Buzğuš Šīrāzī. The author has chosen four criteria – the translators’ world view, the nature of their imagery, the influence of their personal convictions on their work, and the impact of their lifeworld – as yardsticks for assessing the two works. The comparison reveals that in Abū Manṡūr’s translation of the ʿAwārif his paying attention to the readers’ likes and dislikes makes him inclined to succinctness and leads him to exhibit his eloquence, whereas ʿAbd al-Raḥman, in his Maʿārif al-ʿAwārif forbears to meddle with the text in favour of a more literal rendition. It appears that Abū Manṡūr’s interference results in an alteration of Suhriwardī’s thought in a number of ways and that the translator in some places seizes control of the meaning replacing Suhriwardī’s statements and thoughts with his own theories. ʿAbd al-Raḥman, on the other hand, is striving, as far as possible, not to distort Suhriwardī’s thinking. It appears that the gloomy atmosphere of Isfahan during the reign of the Mongols prevented Abū Manṡūr from providing an exact and specialist translation, whereas the relatively safe and calm environment of the Fars province, where ʿAbd al-Raḥman lived and worked, proved conducive to a deeper understanding of Suhriwardī’s concepts and enabled him to give an accurate and scientific rendition of every single expression of the ʿAwārif. [ABSTRACT FROM AUTHOR]

Moshaf -e- Arzanda is one of the Quran with translation (no. 39795) which has recently been added to the collection of manuscripts of the National Library. In this paper, Moshaf -e- Arzanda has been analyzed in terms of cognitive, orthographic, and linguistic features. Due to the artistic significance of the work, in particular, because of the beautiful script ‘Naskh’, its Old Persian language and the and the way in which old Persian script was used in the text of the translation, in particular the widespread letters and words with e'rab, this manuscript can be considered as a valuable work. The definitive date and place of writing the manuscript, as well as the exact name of the translator, scribe, and the ordering party are not known. Analysis of the linguistic and orthographic features of this text in comparison with some of the works from the first period of Persian language (before the seventh century), especially the translation and commentary of the Qur'an, shows its similarity to the works mentioned. However, the codicological features of the work, especially the perfection and beauty of the scribe's hand, along with a limited number of linguistic applications and later recordings, regardless of geographic and taste differences, the individual characteristics of the interpreter and/or the scribe, have removed this translation from some of the works in the fifth and sixth centuries and show that Moshaf -e- Arzanda was created about the seventh century. These surveys reinforce the likelihood of writing this manuscript in the year 654. It is unlikely that this manuscript would be related to Heravi, Sistani, and Central languages. It is more likely that the origin of the text is in Khorasan and one of the northern or or north-eastern regions. [ABSTRACT FROM AUTHOR]

Due to inappropriate historical, political and social conditions, many authentic literary manuscripts, such as several poets' collections, have vanished throughout history. Therefore, poem anthologies comprising various poets' poem selections are considered important references for the correction and re-correction of several literary texts. Majmue-ye-Lataef -va- Safine-ye-Zaraef from Seif-e-Jam-e-Heravi is one of the oldest anthologies remained from the eighth and ninth centuries AH in Indian subcontinent. Majmue-ye-Lataef -va-Safine-ye-Zaraef can be employed to re-correct parts of Arafatul- Asheghin–va-arasa-ul-arefin. Majmue-ye-Lataef-va-Safine-ye-Zaraef was written two hundred years before Arafat-ul-Asheghin in the Indian subcontinent, and hence the original and correct version of several poems from the latter can be found only in the former, making the former a significant resource for the re-correction of the latter. This work re-corrects several mistakes of two printed copies of Arafat-ul-Asheghin based on Majmue-ye-Lataef -va- Safine-ye-Zaraef as follows: incorrect assignment of poems, incorrect biographies of poets, mistakes in the record of poets' names, and wrongreadings of poems. Additionally, this paper points to the several other flaws increasing the mistakes existing in the two printed copies of Arafat-ul-Asheghin copies: weaknesses of the correction methodology, failing to refer to other reliable resources (e.g., printed poets' collections, Majmue-ye-Lataef -va- Safine-ye-Zaraef), and misreading of the manuscripts. [ABSTRACT FROM AUTHOR]

Hakim Hajj Mullah Hadi Sabzavari known as ‘Asrar’ was born in the13th century AH (1312 AH) in Sabzevar. He is one of the philosophers who honed his skills in theoretical and practical wisdom of his time. He achieved a great degree of intuition and mysticism and flourished his talents in the world of mysticism and knowledge. He has written and classified many works in philosophy and wisdom, and has also left a collection of poems that contains elegant and beautiful mystical (gnostic), philosophical, wisdom, desire and passion. His genealogy has been published several times, however it has not been done based on scientific criteria of correcting texts. One instance is that none of these editions have a well-defined methodology and it is not clear to the reader or the researcher that based on which edition or manuscript the task of editing is carried out and some of these editions (e.g. the Hassan Amin edition) are completely based on taste. The authors of this article, which have done the correction based on the original version, consider, on the basis of three manuscripts one of which is a new edition of the text, the shortcomings and disadvantages of what has been published so far as the correction of the Hajj Mullah Hadi Sabzevari's divan are not reliable because of numerous problems referred to in this paper and the necessity of writing a critical review on his Divan (collection of poem) is inevitable. Obviously, if his work is corrected and republished, a meaningful text representing the closest intention of the poet will be available to both readers and researchers. [ABSTRACT FROM AUTHOR]

The story of Joseph, as one of the most well known story of Quran, has always attracted interpreters. In these interpretations, in addition to what has been written as a main text in Quran, some items have been repeated which don't follow the common narrative pattern and seem to be different from the general structure of Iranian stories specifically those categorized in Iran's mystical narrations. These differences have not been scrutinized. To analyze these differences, the structuralism approach is still a firm approach for one can analyze the narrative from a general point of view. It is then possible to examine these structures from different perspectives. The aim of this study is to analyze the structure of the story of Joseph in these interpretive texts: Translated tabari's interpretation (A group of translators), the story of Joseph (Ahmad ibn Mohammad Zeyd Tousi), Kashf-ul-Asrar va Eddat-ul-Abrar (Ahmad ibn Mohammad Al-Meybodi) and Rawd al-djinan wa- rawh al -djanan (Abul-futuh Razi). The method of this paper is analysis of the plot and sequence in the narratives, and after that, the similar functions are going to be evaluated and a general pattern will be extracted. The data analysis showed that although the functions of this story in each context are different, one can distinguish 19 similar functions like Vladimir Prop's work. It is also possible to reduce these 19 functions in 4 fundamental narrative units like Toudorf'’s work. This general pattern probably is compatible with Quran and other interpretations. [ABSTRACT FROM AUTHOR]

Narcissism (Mofakhere) is one of the minutiae of epic literature and one of the contents which has comprised a major part in the Persian literature. Poets and writers have dealt with the issue based on their personality and the social condition and issues of their time. In addition to the literary works, narcissism (Mofakhere) is also present in the religious-mystic works and the religious and mystic leaders have unraveled their real characters by referring to their admirable and good characteristics and traits. This paper is a descriptive-analytic study based on the library resources which investigates narcissism (Mofakhere) in the sonnets of Soltan Valad and the reasons for doing so. The results of the study indicate that, in addition to honoring his poetry and the theme of speech, Soltan Valad recounts his spiritual qualities. He praises friendship with the elders of the Mowlavi Order along with his spiritual advancement. The achievement of the high mystical levels has made Soltan Valad one of the greatest leaders of the Best Way and, in many cases, he regards himself as a prophet. Another point is that most of his mystical honors are sometimes exaggerated are rooted in his mystical viewpoint. Moreover, the social and cultural condition of the Anatolia (Minor Asia) at that time as well as the condition in which the works were created have also affected his works. [ABSTRACT FROM AUTHOR]

The book of Tareb Al-Mujales by Mir Hosseini Heravi is a moral and educational work related to the seventh century. This book was first corrected in 1352 AH by Seyed Alireza Mojtahedzadeh, a professor at Ferdowsi University of Mashhad, using a written version in the library of Ferdowsi University of Mashhad. This attempt and correction is worthy of mentioning. The corrections are defective and incomplete for various reasons, such as shortcomings of the basic and duplicate versions of the book, footnotes and the existence of many spelling mistakes that are found in the book, the defects of the content and the end of the book, such as insertion of incomplete footnotes and inscriptions and inadequate indexes, and generally non-observance of the methods of scientific and critical correction. Due to the importance of this work and its author, this book has to be corrected once again and its defects should be resolved. The present paper reviews the correction of Mojtahedzadeh using the written version of number 20667 in the library of Ferdowsi University. [ABSTRACT FROM AUTHOR]

Shahrasp is a name that is proved in the most of printed, corrected versions of Shahnameh for the minister of Tahmureth. According to Ferdowsi's narration, he is a pious who practiced praying and fasting. Tahmureth was guided by Shahrasp to gain such refinement so that he could impress the Ahriman and make him his horse. There is no mention of a minister with such a base in the Avesta and the middle ages. In the modern Iranian era, the prevailing form of the name of this person, regardless of whether being the minister of Tahmureth or not, is in keeping with the piousness of the piety, in a proper way and in a form with it. Therefore, it can be said that Shahrasp’s name in Shahnameh is adventitious for him while piously descriptions are essential for him. In this paper, we aimed at describing the originality of piously descriptions for him according to mythical critiques and archetype so that Shahrasp and Tahmureth personalities in Shahnameh are components of a single and older mythological personalities that, in stages of dissociation, have appeared in two incarnations of the king and priest. Then, according to piously descriptions of Shahrasp form of his name in the new Iranian texts and the form of this name in the Sanskrit language, his name should be Budasb that is a level of piousness and Shahrasp is created from reading Budasb dictation without point. [ABSTRACT FROM AUTHOR]

Poverty is one of the most important stages in the mystical conduct. At this stage, the seeker reaches the absolute God that is the purpose of the mystics, through the rejection of material attachment and the declaration of pure necessity. Along with the truth of poverty, the pattern of poverty is also influenced by the Holy Qur'an and narratives, and because of the importance of guiding man and avoiding deviations, it has repeatedly been discussed the words of Mashayekh and the mystical texts, which indicates the importance of this issue in conduct and the achievement of God's door. The author, in a descriptive-analytical method based on mystical prose texts until the seventh century, in this paper, answers the question that what do they think according to mystical prose texts until the seventh century and the words of Mashayekh and writers of mystical texts about worldly poverty? And what is their opinion about the superiority of poverty on the wealth or preference of wealth on poverty during the journey to reach Allah? These questions are proposed to prove that, according to the sources of revelation and the words of the Mashayekh and the mystical texts, along with the emphasis on the importance of mystical poverty and attention to the worldly poverty and the benefits of it and its conditions is necessary for conduct. The words of the Mashayekh and mystical texts and the diversity of views confirms this worldly poverty. Also, attention to the duality of the concept of worldly poverty of the mystical texts and the importance of both of concepts in the mystical conduct, leads to a more correct understanding of the term poverty in these texts and views of the Mashayekh. [ABSTRACT FROM AUTHOR]

Description is a kind of tool for highlighting in the literary text and stimulating the emotions of audience. From the onset of Persian poetry until now, poets have used this important element in all poetic forms and narrative poems. Narration is a way of presenting events or occurrences, and it has been examined in the narrative analysis of factors involved in narration, that is, the time and components of narration. This paper analyzed the functions of description in the narration, in the Yusuf and Zulaikha poem of Jami. For this purpose, descriptions that are used in this poem are determined first, and then during the next stage, the function of these descriptions in Yusuf and Zulaikha poem of Jami are considered and analyzed with the emphasis on the Tomaszewski and Genette’s approach. Jami’s Yusuf and Zulaikha poem is a narrative text in which two main structures of narrative and descriptiveness are recognizable. The narrative consists of two dimensions, the time of story and the time of speech, but the description is only consists of speech dimension. Descriptions that had been used in this poem are placed in the free and static categories and from this point, the function of description with respect to the narrative text dimension is to create a negative momentum in narrative. On the other hand, every narration has its own components. It is a tool for developing and highlighting these components, and from this perspective, it has the function of characterization and spatialization. [ABSTRACT FROM AUTHOR]

Book Review, which is a form of literary criticism that evaluates a book based on the content, methodology, and goodness and badness of it. Usually, book reviews are according to the critic's opinion. In most cases, a review is based on the critical analysis of critics. The critics may consider the effects of different factors such as the reputation and credibility of the author, thematic analysis of writing, text, method of processing, reliability and value of the references, approaches, and methods of writing chapters, validity and invalidity of meanings, universality of the text and so on. The authors of this paper have criticized and analyzed the books that have explained Saeb's poetries. Because of the efforts of poets in the Indian style, that Saeb is the best representative of it, for finding new ideas and different contents and crating relationships between tangible and intangible phenomena, this style is a complex one. Hence, his poetry needs to be analyzed and explained accurately. For this need, several authors have written some books and have tried to analyze and explain his poetries. In this paper, we have analyzed and criticized these books regarding the validity of authors' thematic analysis of writing, text, method of processing, reliability and value of the references, approaches, methods of writing chapters, validity and invalidity of meanings, universality of the text and so on. [ABSTRACT FROM AUTHOR]

From the modern approaches to reading and criticizing literary texts, the theory of the ‘Gerard Genette’, which, in its interrelated axis, suggests three types of "explicitly deliberate", "hidden-deliberate," and "implicit" links between the two texts. In the field of literary studies, in the subject of the impact of texts from each other, important points in literary techniques such as adaptation, assurance, resolution, insertion, interpretation, and sometimes plagiarism are raised, which have always been the subject of attention from the rhetoric. The book, "Mesbah al-Hadaee and Moftah al-Faha", by Ezeddin Mahmoud Kashani (d. 735 AH), according to his firm position in the studies of Islamic mysticism in mystical topics that are the idiosyncratic terms of mystical expressions. All three types of effects based on the theory of Genette were from the Nahj al-Balaghah. In this paper, we try to revisit the four chapters of this book from this perspective. According to what follows, it can be said that Nahj al-Balaghah is a hypertext that Kashani has approached by authoring Mesbah al-Hdayah and the presence of the words of Imam Ali (as) in most of the lines of Kashani's book is bold and undeniable. The research method in this analytical-descriptive study is done by comparative analysis and providing evidence. [ABSTRACT FROM AUTHOR]

Katebi Nieshaburi is one of the famous poets of ninth century AH and is a pioneer of the Indian style. His divan (collection) of Ghazals (sonnets) has been corrected and published only once using a limited number of manuscripts. The published divan of sonnets of Katebi does not include all of his sonnets; so that there are 124 sonnets more than published version in other manuscripts that the correctors have not used them. In addition to the corrected divan, there are shortcomings that necessitate re-correction of this divan. There are defects such as lack of complete introduction and tables of content, lack of a section called glosses, incorrectness of the alphabetic order of sonnets for easy reference, existence of mistypes, missing words and incorrect refrains and so on, which necessitate exact correction of this eminent poet for eliminating these shortcomings. The purpose of this paper is to elaborate on the dimensions the defects of the Katebi’ published divan and to provide a context for improvement. To correct the problems in divan, seven new manuscripts were not used by the correctors. Because none of the manuscripts is significant in terms of accuracy, dating, and completeness over the other, problems in the published version of divan have been corrected by the eclectic method. [ABSTRACT FROM AUTHOR]

One of the main areas in textual criticism is the use of additional sources. Additional resources is a set of resources that is related to the edited text from of historical, content, structural, and consequential aspects. Attar’s Tazkerat al-oliya, as a reference text in the tradition of Iranian Sufism, always attracted the attention of future generation and the elected and various translations of this text confirms this claim. Vali-name is a poem that was written in the first half of the ninth century AD, in Shiraz. This book is a poetic translation of Attar’s Tazkerat al-oliya. Vali-name, in addition to literary and artistic aspects, is important also from the textual point of view, because its author probably has access to original manuscripts of Tazkerat al-oliya. In this paper, apart from explaining the features of this book, we analyzed its important role in the editing of Tazkerat aloliya. [ABSTRACT FROM AUTHOR]

The story of Siavash has an old mythological theme, and hence one can consider him a mythic-ritual person whose study of various aspects of his story calls for the recognition of ancient rituals. The present research has examined Siavash in ancient texts and Shahnameh with a descriptive-analytical method. Contrary to the views of previous scholars, this paper concludes that Siavash has had the signs of Mitraism within himself. Such signs contain different features than common ones. Incidentally, these signs are those that are not part of Mehr rituals, but are its distinctive features. These signs revolve around the issues of belief in action and wisdom, and those aspects of religion that emphasize the role of intellectuals showed Siavash as the owner of Farah meaning the follower of religion and country, relating to Mehr rituals. So, a number of Siavash’s traits and mythical events around him should be found in beliefs such as believing in theism (Farah bavari), a pass-by-fire test, a horse and a Teshter in ancient mythologies, the source of the alliance, the righteousness, skillfulness in archery and vendetta are beliefs of the worshipers of Mehr. [ABSTRACT FROM AUTHOR]

The subject of the present paper is to investigate the Dah Majles written by Asfazari. This work belongs the ninth century AH, and is part of the Persian and educational prose. The book is spelled out orally in ten sections by the mystical followers and is written by disciples and enthusiasts. In this article, the author has tried to introduce this valuable work of Timurid period by using a descriptive-analytical method of the content to examine the structure and textology of this work from speech viewpoint and to reveal its stylistic features. The most important finding of the research is the outstanding mystical aspect of the work. In addition, the speaker in many cases has brought Quranic verses and many hadiths and tried to explain these issues. Bringing religious and mystical stories, beautiful poetry and austere speech have also attracted the attention of the book's prose. Simplicity and observance of the present requirement have always been of great importance to Asfazari. All these have made this book one of the important works of mystical prose. [ABSTRACT FROM AUTHOR]

The writing of mystical texts in Persian literature started from the second half of the fifth century. Although a good deal of this kind of interpretation of Quranic verses and sayings come sporadically, but, in the meantime, the first mystical interpretation of Quranic verses, and prophetic sayings on Persian mystical literature are not well known. According to the documents which had been handed down to us, it seems from the sixth century that traditional Persian interpretations of some philosophers and mystics have grown substantially due to their mystical worldview and with an emphasis on Quranic verses that prophetic traditions have attempted to interpret them. Among the rare samples in this area which are available to us are two treatises on the interpretation of verses and hadiths that have been written separately and independently and are presented in the writings of Salim Agha and Süleymaniye Library. One of these treatises was corrected by Forouzanfar under the title of "Interpretation of Sura Muhammad and al-Fatah" as a single manuscript, but the other treatise regarding the translation and interpretation of hadiths has still remain unknown. This paper analyzes the formation and historical development of Persian mystical interpretations of the Quran and sayings of the Prophet's mystical interpretation and describes one of the oldest examples that we have discussed. [ABSTRACT FROM AUTHOR]

Salarnameh is an epic book based on the style of Ferdowsi's Shahnameh, in which the history of Iran has been depicted from the beginning until the reign of Mozaffar al-Din Shah Qajar. The book consists of two parts: the first part from the beginning of Iranian history to the end of the Yazdgerd Sassanid's kingdom was written by the intellectual and libertarian Kermani poet ‘Mirza Aqa Khan' under the title of the Ancient Letter. Shortly after the creation of this work and the death of Mirza Aqa Khan, Mullah Ahmad Hafez Aghili Kermani continued the work until the time of Mozaffar al-Din Shah and changed the name of the book into Salarnameh. The author of this paper reviewed the textual content of three versions of this book (currently only available in three versions). In view of the poet's new look at past events and expressing it in the epic style, based on Ferdowsi, he introduced a comprehensive framework of Iranian history from the earliest to the Qajar era, with the language of poetry. The Aqa Khan's poetic language is far from literary and explicit but monotonous; however, Mullah Ahmad Hafez has tried to use the elements of rhetoric, especially simile and equivocalness in the text. Compared to the ancient language, poetry is not uniform. From the historical point of view, the Aqa Khan's ideas have been discussed since the earliest times of Iran as a true history, and the ambiguity that was observed at that time due to the lack of historical documents has been influenced by the books of descendants, but in the later periods of history, especially the Medes, the Achaemenids, the Parthians, Seljuks, and Sassanids, with archaeological discoveries and the translation of the old lines, a perfect date for poetry was provided. [ABSTRACT FROM AUTHOR]

Nature with its awesome powers was so overwhelming to humankind that he, by every look round, saw a shape of magic or mystique. First communities, for safer habitation, used to took their fears for sacred, henceforth initiated totemic beliefs in similar circumstances. In Totemists' mind, the plants and animals grown for food supply and a class of which was imagined to bear the soul of ancestors, this way guarding the tribe and saving the people, and to deserve special values. Therefore, the current paper aimed at exploring Totemism and its picture in the epics composed after Shahnama. Following the totemic beliefs in the epics, we found a variety of sacred animals such as cows, horses, and the Simurgh, along with the manifestation of worship of plants and trees, as well as some totemic plants with mythologies on human genesis from the plant and the healing attributes of herbs and trees; all of which pinpoint totemism featuring in ancient Persian beliefs and myths, thus explaining social taboos against killing and eating totemic things. [ABSTRACT FROM AUTHOR]

The study of word selection in speech of Saadi shows that central words in sentence or verse usually have influence over each other. Proportion, in general meaning, as a traction between words, is his main criterion in selecting a word from available possibilities. Even his stimulant in making use of ‘metaphor', ‘simile’ and ‘compounds that have allusive meaning', is regarding this proportion and harmony between words in the associative axis. In addition to subject of proportion, another important subject in selection of word in Saadi's speech is his skill to avoid repetition a word at one meaning by using of lingual capacities. In this paper, first, the subject of synonym and some other capacities such as ‘metaphor', ‘trope’, ‘changing the grammatical form of a word' and ‘Arabic equivalent of words' which Saadi has used them to avoid repetition of word, will be considered. In the following, we study the proportion and harmony in his words. [ABSTRACT FROM AUTHOR]

Sociology and psychology of war are new research areas, expressing the detrimental effects of war on communities in these two aspects. Few researchers dug into these fields. In this paper, this subject has been studied by using translation of Yamini History book, written in the year of 603 AH by Abushraf Nasehiben Zafar Jarfadeghani which is a translation of Atabi History book, written in 427 AH; the fifth century, by Abu Nasr Mohammdiben Abdoljabar Atabi. Observation of suffering of many people, destruction and devastation of human, spiritual and unspiritual resources and difficulties and suffering caused by the war have stimulated the scholars to engage in researching this field. The results of this study indicated that, from the sociology of war view angle in era of Ghaznavian earning power, enthusiasm and zeal, greed, revenge, anger, looting and religious issues were causes of war which had social impacts such as change in the population, economy and values. From the perspective of the psychology of war mental disorders, stress, anxiety, fear, hatred, suspicion and jealousy, deception and bondage which resulted sometimes in death were results of war. The world has always been and will be a battlefield; we can get to know with the great works of our own scientific and cultural icons in order to learn how to behave encountering unexpectedness and become an obstacle to looters. For the purpose of this study, literature, historical, literary and narrative resources were used and fisheye technique and expression were utilized directly and then the analysis was performed. [ABSTRACT FROM AUTHOR]

Persian travelogues of the Qajar period are amongst the first encounters of Iranians with the-West-as-the-Other and due to this various forms of othering of the Europe can be recognized in them. Since metaphor is one of the principal devices in the process of othering, the main aim of this paper is to provide a critical-cognitive study of metaphorization of the "the West as the Other" in two early instances of Persian travel account in such an era. The under-study travelogues in this research are Masir-e Talebi and Hayrat Nameh. The main approach used in this study is Critical Metaphor Analysis which provides the ground for offering a critical-cognitive analysis of the role metaphor plays in different texts and discourses. Exploring these two travel books, it is found out that a number of conceptual metaphors have been used in them for representing the West which offer a hyperbolic, idealized and heaven-like image of Europe to the readers. The combination of these conceptual metaphors finally leads to the formation of an iconographic frame of reference or megametaphor which suggests a coherent integrated picture of Europe. Such metaphors metaphorize that place as the Heaven or utopia which could be used as a model for Iranian society in that time. [ABSTRACT FROM AUTHOR]

In previous researches, exploration of the theme of Ayyari and teachings of Javanmardi and branches of this socio-political rite has focused mostly on prose and sometimes poetic mystical texts due to elitist view of researchers, and centrality and special status of the Holy Quran and religious texts. Perhaps, elucidating and representing the close relation of Ayyari and Javanmardi to epic texts and showing didactic teachings of this moral society can be a new and impressive effort to reveal its primary and Iranian origin and also correct some existing incorrect considerations. By this background in mind, the present paper aims to introduce in two sections the theoretical foundations of research in four axes including: prose epic narratives, didactic literature, its nature and branches, historical background and ups and downs of Ayyari and Javanmardi. Then, by comparative and typological approach in two prose epics Samak-e Ayyar and Darabnameh, didactic-suggestive teachings of Ayyaran and Javanmardan are analyzed and described. Having an almost comprehensive view on previous studies in this field, the present article reveals some points not considered before. [ABSTRACT FROM AUTHOR]