دانشگاه فردوسی مشهدجستارهای نوین ادبی2783-252X53220200621Fahmi: An Unknown Biographer from Transoxiana and his Role in the History of Persian Literatureفهمی: تذکرهنویسی گمنام از ماوراءالنهر و نقش وی در تاریخ ادب فارسی1223570010.22067/jls.v53i2.86357FAابراهیم خدایاردانشیار زبان و ادبیات فارسی، دانشگاه تربیت مدرس0000-0001-5922-7363Journal Article20200411Extended Abstract<br /><br />1. Introduction<br /><br />After Maliha Samarqandi's death (in 1112 AH), the Persian literary biography writing in Transoxiana came to a halt for about two centuries. In this period, no Persian literary biography was written in Transoxiana until 1288 Ah/1871 AD, when Vazeh Bukharayi revived such a literary genre after 179 years. From the publication of <em>Mozakker al-Ashab</em> by Maliha in Samarqand in 1104 AH/1692 AD to <em>Tohfat al-Ahbab</em> by Vazeh in Bukhara, two other works were published in Transoxiana: first, <em>A Collection of Poets</em> which was a bilingual book (Persian-Turkish/Uzbek) by Fazli Namangani (written in 1237 AH/ 1821 AD) in Kokand, and second, <em>Fahmi's Biography</em> (written in 1286 AH/ 1868 or 1869 AD) in Bukhara. This second work was unfinished; however, it is not a summary of poets’ life but actually it concerns poetry samples of thinkers, mystics, princes, and kings living the current geographic areas of Iran, Afghanistan, India, and Transoxiana.<br /><br />Theoretical Framework<br /><br />Fahmi is a biography writer from Transoxiana, who was originally from Samarqand and lived in Bukhara for a short time. This study aimed to investigate <em>Fahmi's Biography</em> and its significance as a historical literary document in Transoxiana within a period of cultural and literary inactivity in this area. The study aimed to answer the following questions: who is Fahmi? What are the features of his biography? What are the critical views of this author? What role does this biography play in the biography writing and the Persian anthology of Transoxiana? After analyzing Fahmi's life events and critically introducing his biography, the study investigated the nine criteria suggested and categorized by the biography writer, which are: 1. the penname, 2. the racial and familial affiliations, 3. the literary and intellectual affiliations, 4. the birthplace, and birth and death dates, 5. the occupation, education, teachers, students, and contemporary figures, 6. the works of poets, 7. the affiliation with the court, 8. the rhetorical interest in biography writing, 9. language. The last section of the study focused on the critical views of the writer grouped in four parts: historical-analytic, moral, socio-political, and rhetorical-aesthetic. Despite the fact that this biography is an unfinished work, it gives rich data on the literary aspects of Farsi as well as the mystic and intellectual mainstreams of the time which can all contribute to writing about the Persian anthology in Transoxiana.<br /><br />Method<br /><br />This study employed a critical-analytic method of data analysis as well as genre-based analysis in order to introduce Fahmi and his biography. It also investigated the biography writing criteria and the author's critical views.<br /><br />Results and Discussion<br /><br />Molla Abdolmotalleb Khajeh, also known as Fahmi, was a biography writer from Transoxiana. There is not much left about his life, education, and teachers. We only know that he lived in the 13<sup>th</sup> AH/ 19<sup>th</sup> AD century in Bukhara, and he was alive when he authored his biography in 1286 AH/1868 or 1869 AD. It could be interpreted from the biography that he was one of the children of Ishan Pir Dahbidi. This sect was a branch of Naqshbandi in Transoxiana. He is also known to have cooperation with the court in Bukhara. His only biography is <em>Fahmi's Biography</em> which was authored when Haji Molla Mirmohammad Toghsabeh ordered it. <em>Fahmi's biography</em> is unfinished general prose which has simple language without any kind of artificiality and complexity. There are 26 samples of poetry from poets (8 persons), thinkers and mystics (14 persons), kings (3 persons), and princes (1 person) who lived in current Iran, Afghanistan, India, and Transoxiana. There is a debate on the beginning and end of its writing. Aini, for the first time, indicates the date of its writing in 1177 AH. This date is certainly wrong considering the explicit indications in <em>Fahmi's Biography</em> and it seems that it is a typing error. The correct date is 1277 AH (1860/1861 AD) which is cited in several sources. Based on the last date mentioned in the biography, it is likely that the biography was finished in 1286 AH/ 1868 or 1869 AD. Despite the author’s rich scientific knowledge and his problems to have access to other references, it seems that the work was unfinished because the authorities neglected this literary and cultural figure and there was not a literary mainstream in those times.<br /><br />Conclusion<br /><br /><em>Fahmi's Biography</em> was mostly left unrecognized until Aini's era because of the chaotic conditions of the time, scattered and condensed writings, and the lack of much biography writing among authorities and literary communities. However, after Aini, Fahmi was gradually known among literary references and found its place in the Persian anthology of the region, though not much highlighted. <em>Fahmi's Biography</em> brought along a context for following the impact of great classic Persian poets in Transoxiana, analyzed the influence of significant mystic sects in the region, mentioned political and social information about biographies, and cited much information about poets and thinkers of the 12<sup>th</sup> and 13<sup>th</sup> centuries in Transoxiana; however, this is less significant compared to other biographies in this region. Nonetheless, besides the above-mentioned aspects, its significant could be noted for its genealogy in the region.ملا عبدالمطلب خواجه متخلص به فهمی (فوت پس از 1286ق) تذکرهنویس ماوراءالنهری است. دربارۀ این شخصیت اطلاعات بسیار اندک و بعضاً نادرست در منابع کشورهای تاجیکستان و ایران دیده میشود. مسئلۀ اصلی این پژوهش معرفی تذکره و تذکرهنویس، طبقهبندی معیارهای تذکرهنویسی و تحلیل دیدگاههای انتقادی وی در تذکره است. نگارنده برای تبیین این مسئله با استفاده از روش تحلیل محتوا و استناد به دستاوردهای رویکرد ژانری به متن به دنبال یافتن پاسخ برای پرسشهای زیر است: فهمی کیست، تذکرۀ وی دارای چه ویژگیهایی است و مؤلف چه دیدگاههای انتقادی دارد؟ این تذکره چه نقشی در جریان تذکرهنویسی و تاریخ ادب فارسی در ماوراءالنهر ایفا کرده است؟ نتایج تحقیق نشان داد تذکرۀ فهمی تذکرۀ مستقلِ منثور عمومی ناتمام به فارسی است که در سدۀ سیزدهم قمری به فرمان حاجی ملا محمد توقسابه، از سپاهیان وقت بخارا، تألیف شده است. دیدگاههای انتقادی مؤلف را میتوان در ذیل چهار عنوان «تاریخی ـ تحلیلی، اخلاقی، سیاسی ـ اجتماعی، و بلاغی ـ جمال شناسانه» تحلیل کرد. این تذکره بهرغم ناتمام بودن، اطلاعات ذی قیمتی از ادب فارسی و جریانهای فکری و عرفانی دورۀ خود را ثبت کرده است که در روند نگارش تاریخ ادییات فارسی در ماوراءالنهر شایان اهمیت است.https://jls.um.ac.ir/article_35700_cd3cc1445383785a161887578ccbeeb4.pdfدانشگاه فردوسی مشهدجستارهای نوین ادبی2783-252X53220200621Signs of Forethought and Conscious Composition in Masnaviنشانهای پیشاندیشی و آگاهانه سُرودن در مثنوی معنوی23473572810.22067/jls.v53i2.82557FAسوسن جبریدانشیار گروه زبان و ادبیات فارسی دانشگاه رازیORCID: https://orcidJournal Article20190820Extended Abstract<br /><br />Introduction<br /><br />Is art created consciously or unconsciously? This question always sparks controversies amongst artists, researchers, philosophers, and psychologists. Nonetheless, as an intricate phenomenon, art demands both consciousness and unconsciousness to come into existence, and manifest attributes of both realms.<br />Poetry is the most prominent artistic form of the ancient world, and to our predecessors, thinkers, Sufis, and poets were educators. Therefore, the vast portion of the ancient literature is didactic, and poetry has been used as a rhetorical devise to effectively convey the poets’ beliefs and instructions to the audience or the readers. Needless to say, didactics requires forethought and conscious thoughts of the educators on what they aim to teach.<br /><em>Masnavi</em> is amongst the greatest Sufist didactic texts. Surprisingly, some believe that <em>Masnavi</em> comes from a free stream of consciousness and, as a result, they describe <em>Masnavi</em> as a chaotic, disorganized and opaque work.<br />Chaotically, he delivers an ordinary tale by means of a chain of semantic and sentimental blocks (Abdul-Hakim, 1977). And sometimes researchers have doubts and offer contradictory observations; … Rumi has surrendered himself to inspiration to see where it gets him. However, this does not imply that Rumi does not engage his conscious thoughts. As he has mastered several levels of knowledge simultaneously, ‘no task stops Him from doing other tasks’. The proof is that he returns to speech whenever he wants (Zekavati Gharehguzlu, 2007).<br /><br />Theoretical Framework<br /><br />This research adopts a stance opposing the contradictory views of those who argue that Rumi’s poetry comes from the unconscious and, therefore, find it chaotic and disorganized. Hence, this research seeks the signs that can manifest the author’s total consciousness in the process of composing his complicated and tatted <em>Masnavi</em>. First, the roots of such hasty evaluations such as awareness of Rumi’s frenzy, semantic confusion of some terms, blurring the boundary between reality and illusion, and <em>Masnavi</em>’s inaccessibility will be reviewed. Then, the signs that signify Rumi’s conscious and forethought toted process of composing <em>Masnavi</em> will be discussed.<br /><br />Method<br /><br />The methodology adopted is content analysis. Firstly, the contents of researches are analyzed that – implicitly or explicitly –find <em>Masnavi</em> chaotic and the reason is that, they said <em>Masnavi</em> was composed in a state of unconsciousnesss. Then, the content is analyzed to find the three types of signs of meditation and conscious composition: 1) poetics of <em>Masnavi</em>, 2) narrative elements in the tales of <em>Masnavi</em>, and 3) the internal coherence of the structure and content of <em>Masnavi</em>.<br /><br />Results and Discussion<br /><br />In the research conducted on <em>Masnavi</em>, there are some arguments which appear to be irrelevant such as the claim that the text is disorganized and chaotic for it was composed in a state of frenzy and unconsciousness<strong>.</strong> By analyzing these arguments, we realized the researchers’ prejudice: prior awareness of researchers of Rumi’s frenzy<strong>,</strong> semantic confusion between association of meanings and free association, ignoring the relation between free association and the stream of consciousness, ignoring the internal monologue and its relation with the stream of consciousness, ignoring the breaking of frontier between reality and illusion in <em>Masnavi</em>, attributing unconscious composing to <em>Masnavi</em> and supposing that <em>Masnavi</em> is surrealist text, ignoring the inability of language in conveying Rumi’s deep Sufist ideas, difficult perception of <em>Masnavi</em>'s language for today’s readers, difficulty of understanding <em>Masnavi</em> and the need to be fond of Masnavi, and the necessity of contemplation to the era that <em>Masnavi</em> was created.<br /><br />Conclusion<br /><br />After putting aside such hasty evaluations and scrutinizing the text, findings signify Rumi’s conscious and forethoughtated composition of <em>Masnavi</em>. The signs found can be divided into three groups:<br />First; poetics of <em>Masnavi</em>: didactics, reciting in public tradition, spending some time alone before preaching, the subjects central to Sufist thought, <em>Masnavi</em>’s narrative-article nature, allegorical discursive method, processing extradiegetic dialogues, dividing a massive thought into smaller parts, repetition, intratextual references, break from and return to the topic, conducting the flow the talks consciously and selection of the tales.<br />Second; processing narrative elements such as recreating the tales, titling, revealing the story plots, creating suspense, processing diegetic dialogues, autonomy of the tales, internal coherence of the plots, narrative delay, harmony between the subject and the themes, concluding and closing the tales.<br />Third; structure and content’s internal links, keywords, key sentences, key lines, structuring the text, links between the tale and the text.<br />The conclusion derived from these findings imply the conscious forethoughtated, and logical composition of <em>Masnavi</em>. The style of composing the speech elements in <em>Masnavi</em> show that this style is influenced by, on the one hand, Rumi’s worldview and his intellectual priorities and, on the other hand, the mood of his audience. He has composed <em>Masnavi</em> based on a conscious and forethoughtated plan by paying close attention to the diverse aspects of the text and his audience. Therefore, we may say that Rumi, during the fourteen years he spent on composing <em>Masnavi</em>, had been conscious and fully aware of both the process of composition and the details of his work and had been keeping a vigilant eye on his audience and the plan of his work.برخی از سرودن مثنوی در حالت جذبه و ناخودآگاهی سخنگفته و آن را متنی آشفته توصیف کردهاند. زمینه های برخی پیشداوری ها عبارتند از؛ پیش آگاهی از شوریدگی مولانا، آمیختن تداعی معانی و تداعی آزاد، آمیختن تداعی آزاد و شیوۀ جریان سیال ذهن، آمیختن تک گویی درونی و شیوۀ جریان سیال ذهن، نادیدن شکستن مرز واقعیت و خیال در مثنوی، ناخودآگاه و ویژگیهای سوررئالیسم در مثنوی، نارسایی، و دیریابی زبان و همچنین دیرآشنایی مثنوی. نشانه ای پیشاندیشی نیز در سه دسته جای میگیرند: دستۀ نخست؛ ماهیت و شیوۀ سخن در مثنوی؛ از جمله: تعلیمی بودن، سنت مجلس گویی، خلوت پیش از مجلس وعظ، کلیت موضوعات محوری در اندیشۀ صوفیانه، داستان- مقاله بودن مثنوی، شیوۀ استدلال تمثیلی، پردازش گفتگوهای برون داستانی، تقسیم یک اندیشه کلی به اجزای کوچکتر، تکرار، ارجاعات درون متنی، گسست و بازگشت به رشتۀ سخن، هدایت هشیارانۀ جریان سخن، گزینش داستانها. دستۀ دوم؛ پردازش عناصر روایی: بازآفرینی داستانها، عنوانبندی، افشای پیرنگ، تعلیق آفرینی، پردازش گفتگوهای داستانی، استقلال داستانها، پیوستگی درونی پیرنگها، تأخیر روایی، تناسب موضوع و درونمایه، بیان نتیجه گیری، پایانبندی داستانها. دستۀ سوم؛ پیوندهای درونی چون: واژگان کلیدی، جملات کلیدی، ابیات کلیدی، چهارچوب بندی متن، و پیوندهای داستان و متن. همگی این نشانه ها نیازمند پیشاندیشی هستند و بر آگاهانه، اندیشیده، هشیارانه و هدفمند سرودن مثنوی گواهی میدهند. https://jls.um.ac.ir/article_35728_c4d1949da9a97c8915c85faa2f85e57f.pdfدانشگاه فردوسی مشهدجستارهای نوین ادبی2783-252X53220200621Visual Representative of Verbal Creatiion as a Figure of Speech in Nasta'liq Calligraphy with an Emphasis on Artworks of Calligrapher Gholamhossein Amirkhaniمعادل بصری بدیع لفظی در خط نستعلیق با تاکید بر آثار استاد غلامحسین امیرخانی49673573710.22067/jls.v53i2.86781FAسمیه بازیدانشجوی کارشناسی ارشد رشته پژوهش هنر دانشگاه نیشابورفرزانه فرخ فراستادیار پژوهش هنر دانشگاه نیشابورJournal Article20200509Extended Abstract<br /><br />Introduction<br /><br />Being melodic is one of the commonalities of many literary works, particularly in Persian poetry and Nasta'liq calligraphy. Apart from the structure of the Persian language and the Nasta'liq calligraphy form, which is elegant and delicate, poets and calligraphers use methods to make their works more melodic. In literature, these methods are the subject of “verbal innovative”. The aim of this study, which is conducted in a descriptive-analytical manner and with a comparative approach, is to show the similarities of these methods in Persian literature and Nasta'liq calligraphy, despite their different explanatory methods. The question is how the visual equivalents of verbal figures of speech are manifested in the Nasta'liq calligraphy. To this purpose, the calligraphic works of Gholamhossein Amirkhani have been studied and analyzed from this perspective. The reason for choosing him is easy accessibility to his works and also his ability to present quality works in different formats.<br />There is a lot of research on the synchronicity of literature and calligraphy; one of them is Annemarie Schimmel's research in the book, Islamic Calligraphy and Culture (1992), in which she deals with the issue of the relationship between calligraphy and poetry, of course, from the perspective of the impact and use of calligraphic terms in poetry. Qilichkhani in his book, <em>An Introduction to Iranian Calligraphy</em> (2013), has dealt with the issue of synchronicity and harmony between literature and calligraphy. The existence of rhythm or music in calligraphy that is discussed in this study is also a favorite topic of some researchers. For example, we can refer to the master's thesis entitled <em>Study of the common aspects of Iranian calligraphy and music</em> (Farhangi, 2012). Also in discussing the existence of tricks similar to literary arrays in the visual arts, we can refer to the article Literary array puns, visual array of comparative comparison of verbal and visual puns by Yahaqi (2009) in which the author takes a new, and an interesting look at the use of puns array in Animation is addressed. In general, what can be deduced from the study of available sources is that less research has been done directly in relation to the discussion of this article, the visual equivalent of Persian word arrays in Nasta'liq script, and it can be said that this article is one of the few interdisciplinary studies. It explores the beautiful commonalities in the two novel fields of literature and calligraphy.<br /><br />Theoretical Framework<br /><br />Nasta'liq script is the best and most beautiful form of calligraphy in Islamic word, which is placed after the Ta'liq script in terms of origin and is in the eighth row of Islamic calligraphy, but in terms of accessibility and ease of reading, it is in the second place after Naskh script.<br />Word/speech in Persian literature is adorned with verbal/spiritual figures and metaphors. The figures of speech is that the ornament and beauty of the word depends on the words, so that if we change the words while preserving the meaning that goodness will disappear. Rhetorical novelty is the study of tools and techniques that create music in speech (in prose) or enhance music (in poetry). In other words, rhetorical novelty is the study and recognition of tools and methods by which certain proportions and relations are created between the components of speech.<br />Components of speech are intertwined by a series of verbal or semantic proportions, and cohesive networks emerge from phonetic or semantic connections called literary words. The instrument that creates or enhances the music of the word and creates artistic relations between the components of the word is called figure of speech. These instruments sometimes have a verbal aspect and increase the music of the word in terms of phonetic relations, and sometimes they have a semantic aspect and make the speech more coherent through proportions and semantic relations. Discussion in the figures of speech that enhance or create verbal music is the subject of the rhetorical novel, and study in the instrument that produces the spiritual music of the word is the subject of the innovative spiritual. Figures of speech are poetic tools that the quality of using them shows that the poet, according to the subject and content, as well as what he has learned and his literary capital, has been able to use existing tools or invent tools or even other functions according to his work. In addition to creating music, these figures of speech can create coherence as well as various implication.<br /><br />Method<br /><br />The research method of this article is analytical, comparative and data collection is based on library sources and documents. Considering the objective of the study, the visual representation of figures of speech in Nasta'liq calligraphy pieces is done with emphasis on the works of Gholamhossein Amirkhani.<br /><br />Results and Discussion<br /><br />From the perspective of interdisciplinary studies of literature and art, this research points to the common aesthetic techniques in literary innovation and calligraphy. The purpose of this study is to prove the similarity between the tricks that Persian language poets and calligraphers of Nasta'liq use to create more music in their work, which in literature are called figures of speech.<br />In this regard, after a brief acquaintance with Nasta'liq script, a novel explanation of the word and the segmentation of figures of speech based on the methods of recitation, transliteration and repetition were performed, and then the selected works of calligraphy were analyzed and applied.<br />By studying speech figures and analyzing and describing calligraphy works from the perspective of using these figures and combining the two, it can be concluded that calligraphers use the same methods to create rhythm and harmony in their works that poets use to create more music in their words and this can be attributed to the common nature of the two, which is art. The main factor in creating beauty in these tricks is repetition because repeating something, reminding it and receiving it, is joyful.<br /><br />Conclusion<br /><br />Calligraphers use methods to create rhythm, or in other words, visual music, in their works that are very similar to the methods that poets use to enhance their verbal music, and we know them as methods of rhyme, simile, and repetition. A closer look at the calligraphy works reveals that this similarity is even to the extent that a visual equivalent can be found for other speech figures that have been proposed under these methods. The similarity between the aesthetic techniques in speech figures and Nasta'liq calligraphy can be due to the commonalities of ideation and creation of literary-artistic works, common culture, and the harmony and interdependence of Iranian literature and calligraphy with each other.<br />The aim of this research is to show a small part of similarity between literature and calligraphy (speech figures in Persian poetry and Nasta'liq script). However, these similarities can be traced in the spiritual figures section, Persian poetry formats and Nasta'liq calligraphy, and in other Islamic calligraphy such as Naskh and Sols calligraphy, which are mostly used to write the words of the Holy Quran. From this perspective, this research has the potential to expand and more profound studies can be done.<br /><strong> </strong>یکی از وجوه اشتراک آثار ادبی هنری، به ویژه شعر فارسی و خط نستعلیق، آهنگین بودن آنهاست. گذشته از ساختار زبان فارسی و فرم خط نستعلیق که موزون و لطیف است، شاعران و خوشنویسان از روشهایی برای آهنگینتر کردن آثارشان استفاده میکنند که در ادبیات، موضوع بدیع لفظی است. هدف این پژوهش که به شیوه توصیفی–تحلیلی و با رویکرد تطبیقی انجام شده، نشان دادن شباهتهای این روشها در ادبیات فارسی و خوشنویسیِ خط نستعلیق با وجود شیوه بیانی متفاوت است. مساله این است که معادلهای بصری آرایههای لفظی به چه صورت در خط نستعلیق تجلی مییابند؟ بدین منظور آثار خوشنویسی استاد غلامحسین امیرخانی به دلیل سهولت دسترسی به آثار و همچنین توانایی ایشان در ارائه آثار با کیفیت در قالبهای مختلف، مورد بررسی و تحلیل قرار گرفته است. نتایج تحقیق مبین آن است که خالقان آثار در دو حوزه متفاوت ادبیات فارسی و خط نستعلیق از روشهای مشابهی برای آهنگینتر کردن اثرشان استفاده میکنند و این شباهت در حدی است که میتوان برای بسیاری از ترفندهای لفظی در ادبیات، معادلی بصری در خط نستعلیق پیدا کرد.<br /> https://jls.um.ac.ir/article_35737_c3244a7107d092446779c0cc4c907739.pdfدانشگاه فردوسی مشهدجستارهای نوین ادبی2783-252X53220200621The Story of "Gāvpāy Demon and the Religious Wise" in Marzbannamehمسئلة دیوِ گاوپای و دانای دینیِ مرزباننامه69843574410.22067/jls.v53i3.87343FAیعقوب فولادیدانشجوی دکتری زبان و ادبیات فارسی دانشگاه سیستان و بلوچستانمحمّد بارانیدانشیار زبان و ادبیات فارسی دانشگاه سیستان و بلوچستانJournal Article20200615Extended Abstract<br /><br />1. Introduction<br /><br /><em>Marzbannameh</em> is one of the masterpieces of Persian literature both in terms of form and content and one of the precious jewels of the crown of Persian literature. This book contains the wise anecdotes, allegories, and myths, which have been prepared in the manner of <em>Kelileh and Demneh</em> from the language of human beings, beasts, birds, demons, and fairies. <em>Marzbannameh</em> is one of the valuable works of Persian literature that was written in the fourth century by Espahbod Marzban Ibn Rostam Ibn Shervin in Tabaristani language. He converted it into the technical language in 622-617 (Safa, 1990). In addition, this book is a successful example that has a high and significant literary value in Persian literature. It also has great content and stories with precious missions. Being familiar with Iranian culture, stories and myths, Marzban Ibn Rostam has used them artistically in thematic, characterization and symbolism, he has used them for the good effect of his words. With a general look at the text of this work, we will realize that the depth of many of his stories and the theme of this book originate from the worldview of ancient Iran, especially the culture of Mazdisna. In this regard, Mohammad Moein links many post-Islamic Iranian poems and the books of prose, including <em>Marzbannameh</em>, with pre-Islamic narratives and legends, and he believes that many of the contents of <em>Marzbannameh</em> can be traced to culture and literature. Found before Islam (Moein, 1945), some consider it a relic of Sassanid Iran (Ripka, 2002; Rezaei,2010). From this point of view of the mythological approach, the most controversial and famous story of this book is the story of "Gāvpāy Demon and the Religious Wise" (دیوِ گاوپای و دانای دینیِ) about which different opinions have been expressed.<br />The story of the "Gāvpāy Demon and the Religious Wise" is one of the most famous and controversial long story in <em>Marzbannameh</em> that covers the entire of fourth chapter. The theme of this story has a mythical color and smell and its narration can be considered in connection with Iranian narrative-mythological patterns. These cases have attracted the attention of researchers and they have risen different opinions to be expressed and presented about this story. In this article, we seek to answer the question of whether the previously suggested sources could be the source of this story, or whether this story has another source? and can we see a specific text in the structure of this story? The result of the research shows that the theme of the story of "Gāvpāy Demon and the Religious Wise" of <em>Marzbannameh </em>is the debate of Zarathustra and the devil, which is taken from Avesta and Pahlavi sources and the structure of this story is based on the book of <em>Minoan Wisdom</em>.<br /><br />Review of Literature and Theoretical Framework<br /><br />One of the first people who has paid attention to "Gāvpāy Demon and the Religious Wise" as well as the deep structure of the story is Mohammad Moein in <em>Yosht Farian and Marzbannameh</em> (1945). After that, Sirus Shamisa in the article entitled "Marzbannameh and the Memory of the Defeat of the Demons" (1982) and Mohsen Farzaneh in th<em>e Book of Sufi</em>: <em>The Transformed Manichaeism</em> (1988) should be mentioned. The recent works that deal with this story are Ahmad Tafazli’s (2014) <em>the History of Pre-Islamic Iranian Literature,</em> the article of "Mythological Criticism of "Gāvpāy Demon and the Religious Wise" of <em>Marzbannameh</em>" (2011) by Shirin Razmjoo Bakhtiari and Elham Khalili Jahromi and the article of "Analysis of the Manichaean Aspects of the Story of the "Gāvpāy Demon and the Religious Wise in <em>Marzbannameh</em>" by Masoumeh Hosseini (2017).<br />The difference between this research and the introduced works is that we have briefly reviewed all of the previous studies and criticism, then some possible hypotheses will be presented; we have expressed our opinion about the deep structure of this story.<br />Regarding the origin of the story of the "Gāvpāy Demon and the Religious Wise", we have found some evidence in Pahlavi books according to which the authors take the "religious sage" as "Zarathustra". The defeat of the demons by Zarathustra and their hiding in the underground is one of the topics that has been mentioned in the myths of ancient Iran, Avesta and Pahlavi texts. The evidence which was found in <em>Avesta </em>and Pahlavi texts about the confrontation between Zoroastrianism and the demons and their defeat is exactly the same theme that we see in <em>Marzbannameh</em> in the form of the discussion of "Gāvpāy Demon and the Religious Wise". According to these concordances, it can be clearly seen that the fourth chapter of <em>Marzbannameh </em>is the same story of Zoroaster and Demons, which has been frequently mentioned in Mazdisna religion and Pahlavi texts, and it is one of the important Zoroastrian stories. This issue has appeared here in a symbolic way; but there are signs in the story that lead us to Zarathustra: 1) In both stories, there is a confrontation between a wise person and a fool, which ultimately leads to the victory of the wise; 2) In Avesta, the adjective "religious" is assigned to Zoroaster, <em>in Marzbannameh</em>, religion is the adjective of wise; 3) In both narrations, both Avesta and Pahlavi texts and <em>Marzbannameh</em>, the person opposite to Zoroaster and religious scholar are "demons" and "devils"; 4) The actions and deeds of the demons, such as harassing people, marrying women, etc. are the same; 5) In both narrations, the demons hide in the underground after they are defeated (they go to hell in Minoo wisdom, besides, it was believed that Zoroastrians believe that hell is underground), and 6) in the frontier of this, opposition to the face of the debate is seen; The menu of wisdom (one of the sources of the story of Zoroaster and the devil) is also in the form of questions and answers between wisdom and the wise. The point to be added is that <em>Marzbannameh</em> is called Babylonian, the religious man. Explaining this fusion of personalities, SPIEGEL says: "the more influence of Islam in Iran increased, the less the Iranians were able to use the ancient sources, so they were able to complete their national narrations from Sami narrations that Islam had brought it with him. As a result of this fusion of narrations, personalities such as Kiomars and Adam, Zarathustra and Ibrahim and others matched each other” (Gheibi, 2017). For this reason, he considers the religious scholar (Zoroastrian) from Babylon in <em>Marzbannameh</em>.<br />One of the indications is that the story of "Gāvpāy Demon and the Religious Wise" is taken from the story of Zoroaster and the demon / devil in the texts of the Mazdis, especially under the influence of the Minoan wisdom; the structural and content similarity of this story is with the wisdom Minoo. We see this similarity in four ways with this book: The first is that both texts are organized in the form of a debate. Secondly, the concepts of the questions and their method are the same in the frontier and the Wisdom Minoo. Thirdly, this story is like Wisdom Minoo of philosophical fiction and the fourth aspect is the similarity of the questions and answers of both books.<br /><br />3. Method<br /><br />In this article, with a look at the criticism and opinions related to the story of "Gāvpāy Demon and the Religious Wise", we considered these opinions. With a historical-mythological analysis in the method of libraries and documents, we have examined the suggested sources of this story, then we presented our suggested opinion.<br /><br />4. Conclusion<br /><br />Based on what has been said about <em>Avesta </em>and <em>Pahlavi texts</em>, the framework of the story of "Gāvpāy Demon and the Religious Wise" in <em>Marzbannameh</em> is the debate of Zoroaster and the defeat of the demon/devil, which is adapted from Avesta and Pahlavi sources; but in <em>Marzbannameh</em>, this story is mixed with the philosophical concepts in such a way that philosophical language is used in the design of questions and answers. In general, the comparison between the fourth chapter of <em>Marzbannameh</em> and Minoo wisdom shows a great structural, verbal and conceptual similarity which can be seen between them. Probably, the author of the story "Gāvpāy Demon and the Religious Wise" took the original core of the story from Avesta and Pahlavi sources and made it according to the Minoo wisdom.<br /> داستانِ «دیوِ گاوپای و دانای دینی» از مشهورترین و بحثبرانگیزترین داستانهای مرزبان نامه و داستانی بلند است که تمامِ بابِ چهارم را به خود اختصاص دادهاست. بُنمایة این داستان رنگ و بوی اساطیری دارد و روایتِ آن را میتوان در پیوند با الگوهای روایی-اساطیریِ ایرانی دانست. همین موارد نظرِ پژوهشگران را به خود جلب کرده و باعث شده است نظرهای مختلفی در موردِ داستانِ «دیوِ گاوپای و دانای دینی» بیان و ارایه شود. در ادامه پس از خلاصة داستانِ «دیوِ گاوپای و دانای دینی»، نگاهی به نقد و نظراتِ ارایه شده در موردِ این داستان می اندازیم و پس از بررسیِ این نظرات؛ نظرِ خود را با تحلیلی تاریخی-اسطورهای به روشِ کتابخانه ای و اسنادی ارایه میدهیم. نتیجة حاصل از پژوهش نشان میدهد که بُنمایة داستانِ «دیوِ گاوپای و دانای دینیِ» مرزبان نامه مناظرة زرتشت و اهریمن است که از اوستا و منابعِ پهلوی گرفته شده و ساختارِ این داستان بر اساسِ کتابِ مینوی خرد پی ریخته شده است.https://jls.um.ac.ir/article_35744_9433e46f0c35eb051eff2e76cd5d83c1.pdfدانشگاه فردوسی مشهدجستارهای نوین ادبی2783-252X53220200621Hadith of Bat; Exploring and Criticizing a Verse from Sanaei’s Hadighahحدیث بطی بررسی و نقد بیتی از حدیقۀ سنایی86963569010.22067/jls.v53i2.84476FAاحمد رضاییدانشیار گروه زبان و ادبیات فارسی دانشگاه قمJournal Article20191205Extended Abstract
1. Introduction
The explanations of the literary texts are intended to explain and clarify the various aspects of the texts for the readers; in other words, from the exegete's view, a text has complexities that the reader, even an expert reader, may not be able to comprehend. Hence the commentator tries to resolve such difficulties and inform the reader about the process of the text.
Hadith of Sanai is one of the texts that can be considered one of the original works (Canon) in the Persian language due to its influence on the thought of subsequent writers and poets, and consequently, on other texts. This has led to much research on aspects of this text, especially in the field of its description, but despite the efforts of the commentators, it can be said that the explanations of the <em>Hadigheh</em> have not been left without of the shortcomings and errors.
In this research, we have studied one of the <em>Hadigheh’s</em> verses in different explanations and we have shown that these explanations are caught up in the fragmentation and repetition of the opinions of others, and they have not explained how to link their explanations to other parts of the text, and this has caused a profound change in the meaning of the text.
Theoretical Framework
It can be said that the complexities that the commentators of the texts seek to explain are due to two components:
A) Different textual systems: This section includes all textual elements (i.e., linguistic systems), especially words (including the meanings of words and special terms), syntactic system and rhetorical system; the exegete explains the text according to the complexity that may have arisen from one of the above cases.
B) Meta-texts: Sometimes the ambiguity of the text is not the result of textual structures (as mentioned) but of elements or components outside the text, which is referred to here as meta-text; it is clear that the connection between the text and the meta-text is based on a specific sign and meaning, that is, in the text itself, there is a sign of its connection with the hypertext, and the exegete cannot place the meta-text in the text; the result is that understanding the meaning of the text depends on knowing the desired context. Such allusions or historical contexts can be considered as such.
These components cannot be independent and separate, but must be considered as interacting with each other; this is the same attention to the "form of the literary work" that the formalists also emphasized. According to it, every literary point, from word to discourse, should be examined in connection with other points (Ahmadi 1993); in this case, the text forms the whole structure whose various devices are interconnected, and each element must be considered in relation to other elements, whether text or meta-text.
According to what was said, it seems that in many explanations of Persian texts, two features can be seen: A) Ignorance of structure or partiality: that is, regardless of the overall structure of the text, only one of its components is examined or described. B) Quoting without examining the reception of others: in addition to being an issue, another problem in the description of texts is quoting the sayings of others without looking at its aspects. Quoting and repeating the opinions of others in these explanations has three characteristics: mere repetition without analysis or criticism, failure to check the correctness or accuracy of the material, which may be due to the narrator's trust, and ignoring the relevance or non-relevance of quoted content with the intended text. These factors cause the breaking between the description and the text.
Method
Although the verse in question is one of the most remarkable of the verses of Sana'i <em>Hadigheh</em> and is a relatively early one, and many of the works that have described <em>Hadigheh</em> or explained its problems or have provided collection from this work have refused to explain this verse, in five popular and common <em>Hadigheh</em> commentaries, the verse is one of the verses that scholars have discussed in its context.
In this study, we have first quoted what the commentators of Hadith have said in historical order, then, while explaining their influence on each other, we have clarified their shortcomings and tried to provide an acceptable analysis of this verse according to the components of different text and meta-text systems.
Conclusion
As mentioned in textual analysis, in addition to paying attention to the structure of the text and meta-texts, we should avoid detailing and quoting without examining the words of others. In the commentaries of Persian texts, including <em>Hadigheh</em> of Sanai, in various positions, such factors have caused the loss of the texts’ meaning; one example is in the:
<strong>تو در این راه معرفت غلطی </strong><strong> </strong><strong>سا</strong>ل<strong> و مه مانده در حدیث بطی</strong>
Abdul Latif Abbasi considered Hadith of Bat to include a story, and the commentators after him have repeated his words regardless of the structure of the text, especially its syntactic structure, while no connection can be made between the narrated story and the verse; others have changed the meaning of the story and replaced it with another story, but the problem with the text remains. However, if we consider the mentioned phrase according to the structure of the text and meta-text, the reference and meaning will be different.
It seems that this phrase refers to the style of one of the narrators named Ibn Bati or Ibn Batta, who among the Hadith scholars has less famous Hadiths, and it seems that the others did not pay attention to these Hadiths. However, the Hadith of Bat, in the general sense, can include any weak and baseless statement and as we have mentioned, other verses of Sana'i also confirm this meaning.در شروح متون بسیاری از اوقات با توضیحاتی مواجه میشویم که پیوند چندانی با متن ندارد، به نظر میرسد چنین گسستی نتیجۀ بیتوجهی به ساختار کلام است؛ به عبارت دیگر، این گسست ممکن است از تمرکز بر یکی از عناصر متن مانند واژگان، اصطلاحات، صور بلاغی یا اشارات و وانهادن سایر مؤلفهها ناشی شده باشد که نتیجۀ آن غفلت از ساختار متن به عنوان یک کلِ منسجم است.<br />از جمله آثاری که شاید به دلیل اهمیت و تأثیر آن بر متون مختلف، همواره مورد نظر شارحان بوده، حدیقۀ سنایی است. لکن در شروح مختلف حدیقه نیز ابیاتی دیده میشود که یا شرح آنها بدون توجه به ساختار کلیِ متن است یا تقریر و تکرارِ شرح و دریافتِ دیگران بدون تأمل در جوانب آن است.؟<br />پژوهش حاضر به بررسی شرح یکی از ابیات حدیقه پرداخته که در آن شارحان بدون توجه به صدر و ذیل متن یا به تعبیری بدون عنایت به بافت کلام، به تبعیت از شرح و گفتۀ دیگری، گرانیگاه بیت را اشارت به داستانی دانستهاند و بر همین اساس مطالبی را عرضه کردهاند که چندان پذیرفتی نمینماید، درحالیکه به نظر میرسد اشارت بیت به نامِ شخصی خاص است که از جمله راویان حدیث به شمار میرود.https://jls.um.ac.ir/article_35690_bf4bbc0351883db15f813f981cb87dc4.pdfدانشگاه فردوسی مشهدجستارهای نوین ادبی2783-252X53220200621Four New-found Verses of Rudaki in Ajayeb al-Loqha: Original or Forged?چهار بیت نویافته از رودکی در فرهنگ عجایب اللّغة : اصیل یا جعل؟971203571910.22067/jls.v53i2.87800FAزهرا نصیری شیرازاستادیار زبان و ادبیات فارسی دانشگاه شهید چمران اهوازسجاد دهقانکارشناس ارشد زبان و ادبیات فارسی دانشگاه شهید چمران اهوازنصر الله امامیاستاد زبان و ادبیات فارسی دانشگاه شهید چمران اهوازJournal Article20200718Extended Abstract<br /><br />1. Introduction<br /><br />Authentication of the sources of poems from pioneering poets is of utmost importance due to the partial loss of cultural identity over time. Among these sources, dictionaries have always played a vital role in retrieving the scattered poems and verses of these poets, especially Rudaki Samarqandi. One of these dictionaries is the Persian-to-Persian dictionary of <em>Ajayeb al-Loqha</em> (written around the middle of the tenth century) by Adibi. He has attributed some verses to Rudaki, of which, two verses and two stanzas does not seem to be in any other dictionaries such as <em>Farsi dictionary</em>, <em>Sehah al-Fors</em>, <em>Qawas dictionary</em>, etc., which are probably the sources used by the author. Since the editor of this dictionary has not previously studied these verses in detail in his correction or a separate article, and also because this work has not been published in any of the editions of Rudaki's <em>Divan</em>, including Nafisi, Mirzayev, Sheaar, Emami, Hadizadeh, Qader Rostam and was not one of the sources of the correctors, it was necessary to study these verses that are seen with a new appearance in the dictionary. In the present study, these four verses are explored following the principles of text correction and stylistic criteria.<br /><br />Review of Literature and Theoretical Framework<br /><br />Forgery of verses or different narrations made from great poets or authors has been introduced through forged verses of some poets such as Ferdowsi, Khayyam, Hafez, etc. by researchers and correctors. Some works have been found to be completely forged and in others, part of a poem or a verse or even a stanza has been recorded in manuscripts to be forged. Identifying and examining this type of verses requires an exploration of past works (textual considerations) and stylistic expertise to determine the authenticity of the verses.<br />Dictionaries are among the sources that have helped us in recovering some of the precious poems after the destruction of the divans of pioneer poets, including the thousand-year-old Divan of Rudaki Samarqandi. The oldest surviving dictionary is over nine hundred years old. This dictionary is called Loqat Fors, which was founded by Asadi. He provides evidences from the poems of pioneering poets such as Shahid Balkhi, Rudaki, Daqiqi, Bushkour, Manjik Termezi, etc. After Asadi, lexicography continued in Iran and India and the work of this Iranian poet and scholar became an example for other lexicographers in later centuries. For example, Fakhr Qawas compiled a Persian dictionary in India, and then Nakhjavani, using manuscripts of the Loqat Fors and referring again to the divans of his contemporary and pioneer poets, compiled a more voluminous dictionary than the Loqat Fors.<br />These three dictionaries, along with the dictionary attributed to Abu Hafs Sogdi (existing until the 11th century AH) and the dictionary of Qataran Tabrizi, directly or indirectly, are the sources of other dictionaries, including the dictionary of Halimi, Tohfat al-Ahbab, the dictionary of Wafa'i, Jahangiri, Rashidi, Majma’a al-Fors. Modabberi (1991), Savarebi Moghaddam (2012), Aidanlou (2013), Emami (2018) and Nasiri Shiraz (2018) have used the aforementioned dictionaries to correct, revise texts or discover the authorship.<br />The dictionary of Ajayeb al-Loqa is also one of the dictionaries that was written in the Ottoman territory (in the 10th century AH) by a person named Adibi. Based on the known evidences, he has taken Asadi's method in compiling his dictionary.<br /><br />Method<br /><br />The study is descriptive-analytical. Data was collected using library resources. To do the research, some old manuscripts of various Divans and dictionaries were explored and their linguistic features and idiosyncrasies were carefully studied and compared.<br /><br />Results and Discussion<br /><br />Identifying the forged verses attributed to great poets such as Ferdowsi, Khayyam, Hafez, and Rudaki Samarqandi is one of the major problems in determining the authentic Persian poems. In the present study, we examined one of the existing dictionaries, that is, <em>Ajayeb al-Loqha</em>, which contains some of the new verses attributed to Rudaki.<br />Results showed that the second stanza of one verse, in spite of its novelty, completely matches Kelileh and Demneh and is allegedly constructed by the scribe of the dictionary or the sources used by him. By referring to that part of the story to which the verse refers, it is clear that the scribe intended to reconstruct the second stanza himself. It is speculated that the author had intended to reconstruct a distorted (or deleted) stanza in the source he was using. In other two verses, we have the same verse in the sources, and by comparing with other dictionaries, we came to the conclusion that the author (or authors of the sources he used) changed the recording of the stanzas and the verse meter and forged a new verse in order to simplify it. In addition, a verse was introduced, the first stanza of which is attributed to Daqhiqhi in other sources; but the second stanza is completely different, so we studied it meticulously.<br /><br />Conclusion<br /><br />Regarding the above findings, there seems to be two possibilities. The first can be attributing the whole verse of Ajayeb al-Loqha to Rudaki and knowing Daqhiqhi as the borrower of the first stanza, and the second is that the second stanza has been forged due to the repetition of the theme of both stanzas. The latter seems more authentic.جستجو در سرچشمه های شعر شاعران پیشگام و بازیابی آنها به دلیل از بین رفتن بخشی از هویت فرهنگی در طول زمان، بسیار حائز اهمیت است. در میان این منابع، فرهنگهای لغت همواره نقش بسزایی در بازیابی اشعار و ابیات پراکندۀ این شاعران به ویژه رودکی سمرقندی داشته اند. یکی از این فرهنگها، فرهنگ لغتی فارسی به فارسی به نام <em>عجایب اللغه</em> (تألیف در حدود نیمۀ قرن دهم) از فردی به نام ادیبی است. از این اثر تا کنون تنها یک دستنویس در کتابخانۀ مجلس به شمارۀ 2192 به دست آمده و مدبری نیز در سال 1389 براساس همین تکنسخه، فرهنگ را تصحیح و منتشر کرده است. مؤلف در 92 مورد ابیاتی را به نام رودکی آورده که دو مصرع و دو بیت از آنها مطابق بررسی نگارندگان در هیچیک از فرهنگهای دیگر نظیر <em>لغت فرس</em>، <em>صحاحالفرس</em>، <em>فرهنگ قواس</em> و ... که بهاحتمالزیاد منابع مورد استفادۀ مؤلف بودهاند، دیده نمیشوند. ازآنجاکه مدبری مصحح این فرهنگ پیش از این به بررسی مفصل این ابیات در تصحیح خود یا مقاله ای مجزّا نپرداخته و نیز به جهت اینکه این اثر تاکنون در هیچیک از چاپهای دیوان رودکی ازجمله نفیسی، میرزایف، شعار، امامی، هادیزاده، قادر رستم و.... جزء منابع مصححان نبوده، ضروری بود این ابیات که با ظاهری تازه در فرهنگ دیده میشوند، بهصورت ویژه بررسی شوند. ما پس از بررسی این چهار بیت و مطابقت آن با موازین سبکشناسی و ضبط سایر منابع به این نتیجه رسیدیم که هیچیک صلاحیت معرفی بهعنوان بیتی تازه از رودکی را ندارند و همگی ابیاتی برساختۀ ادیبی یا مؤلفان منابع مورد استفادۀ وی بوده است.https://jls.um.ac.ir/article_35719_c2f59448cca0fe468f97e4c4025923bf.pdf