TEXTUAL CRITICISM OF PERSIAN LITERATURE (RESEARCHES ON PERSIAN LANGUAGE AND LITERATURE)
Year:2010 | Volume:46 | Issue:7|Papers Count:7

This study presents a brief description of Khayyam’s biography, life, works, and literary/ scholarly position. In addition, it talks about Khayyam’s place in the Occident and the role Europeans, especially Fitzgerald, played in bringing him to fame. The article also discusses the impression Khayyam collected from Arabic and the effect of his quatrains on contemporary Arabic literature and poetry. The extent of the spread of Khayyam’s quatrains in the Arab world, Khayyam’s status in contemporary Arabic literature, Arabic translations and commentaries of his quatrains, along with a brief conclusion of the findings, are other issues discussed in the present article.

Where is the beloved of Persian poem from? From which climates is this beauty taken? Does this region which is famous for having beautiful people in Persian poem, have the same feature in geographical books? Is the beauty of this beloved a Persian beauty or a mixture of different beauties of various regions? According to ancient people, each race and region is well known for a characteristic. Deilam people are famous for corpulence, Turks are brave and Zangis are famous for dance & music. How do races and regions manifest in Persian poem? In this article, after studying regions in Persian poem and comparing them in geographical books and Persian poems, the mentioned questions are answered.

This paper which is a review of Dehkhoda’s book in proverbs and mottos "Amsal va Hekam" tries to investigate and correct some shortcomings of that book. Although Dehkhoda’s "Amsal va Hekam" is one of the most important books in Persian proverbs and is one of the most referred books in Persian language and literature and comparative paremiology researches, it is not free of shortcomings, like all of the handwritten works, and needs investigation and rewriting in some cases.Some of  the shortcomings of  the  book are: lack of introduction and comprehensive definition of proverb, not separating the proverb, assimilation, implication of the proverb, current channel of the proverb and the wisdom, not having thematic table of contents, disharmony of some subentries with respective entries, not separating informal proverbs from fluent literary ones, plenty of print and non – print mistakes, not having an identical method in citing verses and wisdom quotes and not including the reference or author’s name in most cases, disorder and lack of integrity in the book regarding system and structure, and quoting rhymed and prose phrases regardless of whether they are winged.In this regand, after studying the book and considering the texts and papers written on critique of this collection, authors attempt to gather and investigate these shortcomings by mentioning evidences and instances of Persian and Arabic.

Anahit (Nahid), Iranian goddess, is the manifestation of chastity. Although but she has been compared with sensual Greek goddesses we cannot compare them with each other. In other dimension, we can see "Anahita" in face of "Nahid" or "Zohreh", the professional musician of the heaven who is the manifestation of a tricky woman that tricks even angels. In fact, Nahid has a dual personality. In one way, she is the manifestation of holiness and in another way the manifestation of fancy. But this duality can be explained.

Although there are lots of valuable researches on Hafez some of ideas and the utmost purpose of this “ringleader of Suffis” are still shrouded in mystery. Among those is a verse in which Khajeh Hafez Shirazi has dealt with “Alexander's Mirror”. Since researchers on Hafez have controversial views on this verse, this article intends to quote and criticize the commentators’ opinions on this verse and, after providing some information about Alexander’s Mirror, tries to unravel the mystery of its meaning.

In this essay, Iranshahri’s thoughts such as ideal king, divine charisma, togetherness of religion and kingdom, justice, truth etc in kalileh va Demneh are investigated. In Kalileh and Demneh, kingdom is a divine gift and the king is at the center of the state affairs. Therefore, affection and kindness must be imprinted on his forehead; otherwise he would be a devilish creature who disturbs governing orders of the universe. He must metaphysically be supported in the circus of governmental affairs, and this is possible only by divine charisma. Such a king must be decorated with justice ornament, so that everybody does his best in his own special class and approaches the salvation of soul. The king must also be decorated with accomplishments such as battle assistance and with virtues such as religion assistance. He must strengthen the social connection by “truth”. Basically, without truth life has no harmony because falsehood diverts life form its regular direction. But finally, with the dominance of divine forces over devilish ones, utopia, which is a secure place for releasing from disorder and injustice, is proven to be true. Therefore, we conclude that Kalileh and Demneh have a contribution to the continuation of Iranshahri’s thoughts and also to the historical and cultural continuation of Iran in transition to the Islamic period.

This article reviews and analyzes fictional elements of Fraed o Soluk.We research these titles: tale and story, genre, size, language, dialogue, character, narrator and speakers, view angle, action and structure of stories, moral results,time and place in Fraed o Soluk.This study explains the structure of stories from different dimensions. Fraed o Soluk includes the moral stories and its prose was written according to the method of Kalile va Demneh and Sandbadname.In stories and tales of Fraed of Soluk, there are features such as emphasis on the events, the absence of a strong cause and effect relationships between events, absolutism, moral results, immutability of characters, quality of narrative, common themes, and hypothetical time and place.There are 58 stories in Fraed o Soluk. The main stories are longer than secondary stories. Dialogue occurs mostly between main characters of stories. Linguistic features of technical prose (sixth and seventh century) in this book can be seen. There are 289 characters in the stories of this book. 85 percent are public and 15 percent are special. Most characters are animals (29 percent), men and boys (19/5 percent) and job holders (14 percent). Main narrators include: book’s author, Behrooz, businessman son and Ghasir.The main narrators of the stories are often unknown.From a total of 58 stories, 45 percent have action and 55 percent have no specific action.95 percent of stories have moral results and recommendations.38 percent of the stories have time.70 percent of the stories have place.