KOHAN-NAME-YE ADAB-E FARSI (CLASSICAL PERSIAN LITERATURE)
Year:2022 | Volume:13 | Issue:1|Papers Count:13

Translating proverbs is sometimes a challenging task. The present study aims at investigating the most productive strategies of translating Persian proverbs into English. Therefore, as the first step, a compilation of classical Persian proverbs were randomly selected from Anvari’, s (2004) Sokhan Dictionary of Proverbs and their literal-semantic translations were provided. The counterparts of the selected Persian proverbs in English were also extracted from monolingual dictionaries including The Concise Oxford Dictionary of Proverbs and A Dictionary of American Proverbs. In doing so, Beekman and Callow’, s (1974) model was employed. According to the findings, a mixed procedure was recognized to be more fruitful than the isolated use of each procedure proposed by Beekman and Callow (1974). Accordingly, replacing the source-text proverb with its equivalent target-language proverb and referring to its literal translation and meaning in a footnote can be highly productive procedures. These procedures would provide the target-language readership with cultural information and would clarify the meaning of proverbs. The present study also introduces the new procedure called ‘, substitution’,for translating proverbs.

From the beginning of the fourth century to the early seventh century, the Dari Persian language has encompassed an extensive treasure of noble and archaic words, many of which have been formed based on various geographical dialects or loan terms that have found their way into the Dari Persian from the languages of the surrounding areas, particularly the East region of Iran. Finding these archaic, rare, and obsolete words, particularly infinitives and verbs in the Quranic encyclopedia and The Dictionary of Equivalent Persian of Quranic Words developed based on one hundred and forty-two versions of Quran manuscripts, can help researchers understand the historical development of the Persian language system with respect to linguistic, semantic, and grammar. It also can help scholars in the correction of manuscripts, enrichment of dictionaries and translation of the Holy Qur’, an. The aim of this study is to show the role of translations of the Holy Quran in enriching the lexical system of the Persian language. To fulfill this aim, first the archaic infinitives and verbs were extracted from The Quranic Dictionary and the rarest and the least frequent of which were selected and categorized into Old and Middle Persian dialects, unknown verbs, and loan words. Second, the roots, meaning, and use of these verbs were analyzed referring to valid dictionaries and archaic texts. The findings show that Persian translators of the Holy Quran have extensively used all the word-formation capabilities of the Persian language.

The study of the prominent poetic debates in Persian literature can make significant contributions to genre and stylistic studies. Given the importance of debates in classical texts and their relation with public discourse, the present research studied eight prominent poetic debates from the fourth to the seventh centuries. Considering the situational context of the texts and the contexts in which they had been formed, Halliday's systemic functional approach was used to explain the debates. A descriptive-analytical method was adopted to study the debates in terms of the ideational metafunction: the process of actions. The findings of the research indicate that the analyzed poetic debates had undergone transformations with regard to the ideational metafunction. The material processes were the most frequent in the prominent debates of the fourth and seventh centuries though with a different function in each century. Moreover, the relational processes had the highest frequency in the prominent debates of the fifth and sixth centuries. Such transformations show that, from the fourth to the seventh centuries, the debates have shifted away from objectivity and extroversion towards subjectivity and introversion. In other words, how to use debate processes has considerably evolved over these four centuries.

In narrative texts, different kinds of evidence are used for more acceptability. This topic is defined as ‘, evidentiality’,in linguistics. F. R. Palmer is one of the semanticists who divides this category into two types: sensory and reported, and also states several types for each one of them. In this research, all types of evidential markers have been studied based on the following features: visual (direct and indirect), auditory, sense of smell, the sixth sense, similarity, types of report, experience and cognition, rational signification, prediction (astronomy and dream interpretation), Yezidis Xvarenah, swearing an oath, and witnessing. The findings indicated that the markers of guess, though including uncertainty and skepticism, occur in the entirely factual status of preposition. In the discourse of characters (princes, heroes, mowbeds, astronomers, etc. ), because of the high rationality of sender, the guesses come true, and the contrary conditions never do happen. Among the evidential features, inference from signs, regarding its participation in all the other types of evidentiality, is considerable. Verbs such as "didan", "š, enidan", "buyidan", "dā, nestan", "ā, gā, h š, odan", and the metaphors like "be del ā, madan", and the other words including "gomā, nam", "guyi", and "bar ā, nam" are instances of evidential markers used in Shahnameh.

Kalamā, t al-Sho‘, arā,is a biography of the Persian-speaking poets of India from the time of Nur-ud-din Jahangir to Aurangzeb Baburi, and is written by Mohammad Afzal, nicknamed as Sarkhosh, a poet and writer of the 11th-12th centuries. This book was first published in 1942 in Lahore, then in 1951 in Madras, and finally in 2010 by Alireza Qazveh in Tehran. To correct Kalamā, t al-Sho‘, arā, , Qazveh utilized the previous editions of this book and its three manuscripts. In this article, the authors have compared the previous editions of this book with Qazveh’, s correction and have come to the conclusion that Qazveh’, s printing is superior to them in some respects. However, there are also relatively significant shortcomings and drawbacks in Qazveh’, s correction, some of which have been explored from the following perspectives: incorrect forms (wrong words or phrases), variant copies (incomplete reporting, superiority over text, similarity to text, inconsistency with the text), and general and methodological defections (differences in recordings in the preface of the corrector, movement and merging of sections, repetition, lack of comments and incomplete indexes).

The art of animation, in recent decades, has turened out to be a profitable indusy and has attracted many audiences across the globe through its enchantment. Adapting literary texts is one of the strategies applied by cinema and animation industry to produce an attractive movie. One Thousand and One Night is regarded as one of the most important samples of these foresaid texts to the extent that its vast distribution has made this work significant for many audiences in Iran, India, the Arab world, and the West. This study intends to compare the Ebony Horse aectode with the structure of the animated screenplay and to explain the elements that are influential in making its animation. In doing so, the researcher highlighted the imaginative and fantasy aspects-as two of the most important prerequisites for animation-of the Ebony Horse, using a descriptive-analytical approach. . Furthermore, this study aims to indicate the capacities of this anecdote to the audience particularly to the film producers and animators by highlighting the capabilities of this anecdote such as subject and story, Aristotelian structure of triad theatrical scenes including dilemma, crisis, climax, and solution, practical and suspenseful conflicts, charactrization based on dialogue and action as well as interesting fantasy scenes and situations suitable for animation.

The story of Hossein Kord Shabestari is one of the fictional sources of the Safavid era and has a folk-epic theme. This story narrates the story of the heroes (Ayaran) of the era of Shah Abbas Safavid. The story is narrated in the historical context of Iran's conflict with the Ottomans, Uzbeks, and Gurkhas of India. The two main axes of this story consist of the understanding and perception of national heroes of the need to defend the homeland against foreign assault and to preserve the Safavid kingdom. A common feature of the two conceptual axes in the story is the connection to the Shiite religion and the land of Iran. This article seeks to represent the political, religious and cultural claims of the Safavids based on the pattern of classifying the elements of Propp's folk tales. The result of the present research shows that the story of Hossein Kord reflects the public mind of Iranians with respect to religion, nationality, and identity in the Safavid era.

In Saussure's and Structural linguistics, the binary oppositions stem from the bipolarity of the logic of human mind and language and then are used in other sign systems. Thus, in sign systems, such as literary texts, oppositions are one of the most fundamental signs and patterns of analysis that provide the basis for understanding the subjective concepts. In this essay, the micro-textual oppositions in the Masnavi and the sonnets of Shams were extracted using binary oppositions with macro symbols and then were analyzed and compared. The findings showed that the binary oppositions in Masnavi, which were made by the macro symbols, are often within a logical and natural relationship with each other and share common themes. In most cases, macro symbols symbolize the divine and spiritual spirit, and in these meanings Rumi puts the spiritual world in contrast with the physical world. But in the sonnets, the animals in opposition with hawk are different. Also, norm-breaking and the abnormal relationship in opposing relations are both more frequent and more prominent in terms of frequency and diversity, and consequently natural and abnormal interactive images are more frequent and more diverse. The abnormalities mostly refer to the elimination of opposites and the unification of opposing poles or the displacement of positive and negative poles in different ways. There are examples of conflict and abnormalities in both texts with similar and common themes and in some cases the oppositions have been processed only in one of the two texts studied.

Shahnameh reflects the culture and thoughts of ancient Iranians in the form of various elements including myths, epics, and stories of kings and heroes. These ideas describe the ideological thoughts, social structures, rituals, and moral and behavioral examples of ancient Iranians, which is known as Hikmat (philosophy) Khosravani. The basis of the philosophy of Khosravani in ancient Iran is light (nur) and darkness. The manifestations of light in this philosophy include divine elements such as wisdom, fire, Splendour (Farr), Angels (Amshaspandan), and Gods (Izadan). Also the devil (dark) encompasses Ahriman and Div (Satan and demon). In this research, content analysis method was used to examine the components of the philosophy of Khosravani in Shahnameh. The findings revealed that the significant reflection of these themes, connected with their deeply rooted foundations in Shahnameh, provides the ground for the foundation of transcendental thoughts, creation of an intellectual open space and its continuation in the society and literary works, as well as providing a platform for the discussion of texts throughout history.

The story of Rostam and Esfandiar is one of the most technical stories in terms of plot, characterization, and dialogue, which, after centuries, corresponds to the style of modern fiction. In this research, an attempt has been made to explain and analyze the moral characteristics of Rostam and Esfandiar based on their conversations and conflicts. The multiplicity of dialogues in the story gives the storyteller more opportunity to address the concerns, conflicts, and moods, and helps him uncover the hidden layers of the characters. Reading this story makes it clear that a limited part of the story is devoted to physical conflict, and internal conflicts play a broader role in the form of dialogue and monologue. Analysis of the two main characters also shows that although both characters have many internal and external conflicts, both adhere to their intellectual and doctrinal principles and do not retreat from them. Finally, the characteristics of dramatic conflict are introduced as the most creative type of conflict in this article. More specifically, the present paper shows that the poet combines linguistic and physical conflicts (dialogue and action) to highlight and objectify the confrontation and conflict between the characters. This accompaniment between dialogue and action makes the audience more attractive and influential.

Syntactic expression has a special place in Todorov's theory because not only does it analyze the structure of the smallest unit of narrative, which is proposition, but also it analyzes sequence (a level above the proposition) and text (combinations of sequences). Examining the different levels of narrative syntax in the structure of narratives like Khosrow and Shirin, Majnoon and Leily, Nell and Daman shows that there is a direct relationship between narrative syntax and how it is presented. The predominance of descriptive propositions reflects the staticity and frequency of current propositions, and the dynamics of events and characters. The results of the study showed that there is a macro-progress consisting of three static propositions and two dynamic propositions, the fourth proposition of which incorporates all subsequent developments in an internal form. In fact, all the events and propositions of these developments act as a force that seeks to restore balance to the story. Also, the advances are combined in the form of chains and have less periodic and intermittent states. Considering the direct effect of the number of developments on the structure of the narrative, the narrative presented by Nezami is much stronger and more attractive than the other ones analyzed in this study with regard to the plot and attractiveness to the audience. This is due to the number of developments and the number of actions that took place in this narrative.

Khā, qā, ni Sharvā, ni is one of the Persian poets who, compared to other poets, has made the most use of the capacities of language. One of his artistic techniques, in poetic illustration and theme making, is the use of gambling elements and terms related to the two games of ‘, backgammon’,and ‘, chess’, . He used these terms so professionally that he can be considered as the most prominent Persian poet in this regard, both quantitatively and qualitatively. Despite many efforts by scholars and commentators of Khā, ghā, ni's Divā, n, most of these terms have not been properly understood and explained. In this study, based on the use of in-text and out-of-text evidence, some of these phrases and words have been reviewed and analyzed. Also the current study revealed new insights into the rules and quality of the old backgammon and chess games and at times an accurate and correct interpretation of the analyzed verses is provided. In the explanation of one case, a method of old writing style in scribing the manuscripts of Khā, ghā, ni's Divā, n, along with providing numerous evidences, have been identified and introduced.

Jaame'as-Sanaye val-Awzan is one of the most important and ancient rhetorical works written in the eighth century A. H. in the Indian subcontinent. The author of this text is Seif-e-Jam-e-Heravi, who lived in the court of the Tughluqs and Firuz Shah and his son Fath Khan. Jaame'as-Sanaye was published in 1399 in the publication series of Dr. Mahmoud Afshar in collaboration with Sokhan Publications. The text of the book, despite having valid manuscripts, has many errors and incorrect records. These errors were investigated in the current study under the two general headings of "Review of the text correction section" and "Review of the research section of the text". This study revealed that this text, in addition to having many formal and editorial errors, has many other errors due to incorrect research method of text correction, incorrect and insufficient use of available resources and lack of unity of procedure and inappropriate method in correcting the text. It is also shown in this paper that some of the incorrect records in the basic manuscript of Jaame'as-Sanaye val-Awzan can be corrected using additional sources, especially the Majmue-ye-Lataef-va-Safine-ye-Zaraef, which was neglected by the corrector.