KOHAN-NAME-YE ADAB-E FARSI (CLASSICAL PERSIAN LITERATURE)
Year:2023 | Volume:14 | Issue:1|Papers Count:15

Sanandaj city, which was recently registered by UNESCO as a City of Creative music, is also at a high level in terms of literature and culture. Ever since this city became the residence of the Ardalans in 1046 AH and Suleiman Khan Ardalan built a strong fortress in its center and officially became a city, it has always been one of the cultural and literary centers and has attracted and raised various poets and writers. The research question and the study aims to answer the following: Although the city of Sanandaj was inhabited by Kurds, what were the reasons why poets wrote poems in Persian from the beginning of the city's foundation? This study was conducted using the descriptive-analytical method and using library sources. Findings point to the region's political geography, the Ardalans who were protégés of the Safavid kings, heavy dependence on the Safavid rulers and their successors, weak national sentiment and Kurdish nationalism, and finally the religion of some rulers of Ardalan they are the most important reasons for the inclination of poets to the Persian language and poetry from the beginning of the eleventh century until the fall of the monarchy.

The analysis of Rumi's family relations through his letters is important because they are worthy of research as a document left over from the life of Rumi and the people of his time, and acquaint literary lovers with unknown aspects of his personal life. This is possible by using stylistics with a linguistic approach; Because stylistics with a linguistic approach can discover the hidden features of a work by examining the linguistic layers and reach the mind and world of its author. Therefore, in the present study, we use a layer stylistics that emphasizes the discovery of hidden layers of text and by applying descriptive-analytical and statistical methods to answer this question. What kind of relationship does each of Rumi's letters to family members reveal? The findings of this study show Rumi's special respect for the bride, but Rumi's not-so-sincere relationship with his second son.

The idea of celebrating poetry has been considered among poets for ages. Among Kurdish poets, poetry has been of such a high position. Some have admired their poems from the bottom of their hearts and adopted them as their children. This research sought to reinterpret and account for the suggestion of the above idea in Kurdish poets’ poetry with a descriptive-analytical method. For that purpose, poetry by well-known nineteenth-century poets was selected as the target research population. In the background of the discussion, the topic of investigation was first examined and analyzed in the Islamic-Iranian literary tradition, so that its position in Kurdish Literature could be explained and detailed more properly. It was found that poetry, as a whole, has sometimes been evaluated and embodied by Kurdish poets as a child or a son; in other cases, each verse has been regarded as two children. This thought has often been accompanied by aspects of expression including simile, allegory and metaphor. Furthermore, poetry has been assumed in Kurdish Literature as a source of immortality and freeness from the defect of childlessness, which can be ensured by a son. Along the same lines, poetry has been considered in Kurdish poets’ thought as pure and free from improper notions, where a type of ultimate, absolute poetry has been suggested.

This paper which has been written in a discriptive-analytic manner analyzed and compared the narrative structure of 13 allegorical and symbolic poetic romances. Beyond their romantic and narrative appearance, due to their allegorical, symbolic and mystical themes, these poetic romances have a distinct structure among Persian poetic romances. After analyzing the poetic romances according to Propp's narrative model and discovering a common intertextual link between them all, research results revealed that these romantic poems are similar and close to each other in terms of their structure, function and personality, and that they follow almost the same conventions. These romances are based on 19 main functions and four personality types (hero, princess, helper and villain). The outline of the narrative in these romances indictates the similar structure in them which is a change from equilibrium and a return to a state of equilibrium again. Accordingly, considering the way in which equilibrium and movement are disturbed in the opening scene of the tale, there are two general patterns for the narrative structure of the tales: 1. movement-creation based on the need 2. movement-creation based on the need and wickedness of the villain.

Following the primary epics, another type of epic was formed, which is called secondary or artificial epics; A type of epic that is formed by imitating the original epics is a religious epic whose poets are based on the wars that took place in the history of Islam, especially in the days of the first emergence of Islam, according to epic texts. They describe the heroism of one of the most prominent figures in the history of Islam, who held a high position among most Muslims. The composition of such poems began in the fifth century, shortly after the time of Ferdowsi, but in the Safavid era due to political and social conditions has been narrated and continued and the attention of poets in later periods to this literary form has been much. In the period between the 11th and 14th centuries, more than twenty religious epic poems have been counted in the Isfahan region alone, which have not yet entered the realms of research.The present study, while explaining the various aspects of religious epics with a descriptive-analytical method, has analyzed and criticized the various areas of the three collections (manuscripts) Ordibeheshtnameh,Shahanshahnameh, Maghamat-e-Hosseini as examples of religious epics. The result of the research shows that the poets of the works did not pay much attention to the linguistic and rhetorical system in such a way that sometimes the epic and lyrical elements are mixed; The semantic and content system has been highly regarded by poets and they have tried to use the text as a means of expressing their religious and doctrinal perceptions, which is a mixture of history and the Poetic preparations. In the meantime, Ordibeheshtnameh and Shahnshahnameh have been very much influenced by Ferdowsi's Shahnameh, but Maghamat-e-Hosseini, apart from rhythm, seem to lack many epic components.

The 6th Hijri century is one of the important periods of Persian literature due to the transition of the Khorasani style to the Iraqi style. In this period, great and influential poets such as Anvari, Sanai, and Jamal al-din Abd-al Razzaq emerged. Jamal al-Din Abd-al Razzaq Isfahani is considered the greatest poet of Iraq-e Ajam and especially of Isfahan in this period. Like most of his contemporarie poets, he experimented with different forms and it can be said that he came out of this experiment successfully. To examine the style of this period and also the role of its prominent poets, it is necessary to have a revised text from Divan of these poets. Despite the efforts made, there is no emendated and revised version of Divan of Jamal-e Esfahani. His Divan was emendated and published twice, in 1931 (by Adib-e Sani) and 1941 (by Vahid Dastgerdi), and it was also defended in the form of a doctoral thesis (by Hamidreza Ghanouni) at the University of Isfahan in 2003. Newly found poems in the form of sonnets, fragments, and masnavis, the availability of authentic manuscripts of Divan that the correctors did not have access to, the lack of a scientific and comprehensive introduction in all three amendments, the presence of other poets’ poems in Divan of Jamal, and finally, many mistakes made in emending the manuscripts are among the factors that make it difficult to use previous amendments

Part of the new critique is devoted to examining the language features of literary works. In Persian, most researches have been done in the field of mysticism and epic language and so far no model has been presented for studying lyrical-narrative language. In order to find a model for the study of lyrical-narrative language, five levels: phonetic, grammatical, content, lexical and rhetorical in fourteen important Persian Vers were studied in a complete induction manner. Simia software and Noor 3 receiver software were used in data analysis and classification. The type of research is analytical-descriptive and these results can be considered as the result of this study: In terms of prosodic Meter, the Hazaj is mostly Category n amount of six omitted . The current row is of interest. The predominant denominator is abrasion. The words of the spiritual realm and consciences, natural elements and festive elements are among the important aspects of this language. The presence of the verb in the middle of the verses or shutters, the omission of the verbs and, consequently, the Calm tone of the verses are noticeable. Increasing the discrete pronouns” me” and “us” can increase the introversion of the Verse. In terms of the most widely used rhetorical industries, there is the metaphor of Morashahe, Implicit metaphor, simile with both sides bound, Additional simile and Baligh simile. Increased  Emotional sentences, increased descriptions and Circumlocution, increased exaggeration, high frequency of active presence of women and feminine and delicate language are other features of this language. Keywords: Linguistic pattern, Lyrical language, Verse. Introduction The method of this research is to provide a model for examining the lyric-narrative language in romantic poems by using the views of several Western theorists as well as the theorists’ opinions. This criterion has the ability to check different linguistic indicators and can determine the distinctive features of the Ghanaian language. To achieve this goal, fourteen important Persian romantic poems from the beginning of Tapayan of the 8th century AH (about 65000 verses) were analyzed. Because usually, the bold combination of epic, mystical and lyrical literary types is evident in romantic poems. This research is evaluated in the method of total induction in the extracted indicators of the lyrical language in order to be suitable for the proposed benchmark model. The proposed pattern of studying the lyrical language by this research is predicted in five levels: first level: phonetic and musical level. second level: vocabulary level. third level: rhetorical and literary level. Fourth level: grammar indicators. The fifth level of resource indicators. Discussion Examining the characteristics of lyrical-narrative language 3-1- Examining phonetic and musical characteristics A: Prosodic weight   Hazaj weight is the best option for inducing a lyrical tone in romantic songs. B: Radif: It is very important to be melodious in lyrical language and it is one of the important elements of creating a song in Radif poetry. According to this research, the frequency of the current row in the most important romance systems is higher than other rows. C: Phonology (combination of sounds): In the lyrical language, abrasive sounds usually take precedence over other sounds, and this is taken from the soothing effect of these sounds. Khishumi and Rwan are also influenced by abrasive sounds, and they often facilitate expression in all types of literature. 2-3- Examining the lexical features of the lyrical-narrative language A: Type of vocabulary: By examining more than 200 lyrical words in the discussed systems, this research was able to achieve these details in the field of lyrical-narrative vocabulary: 1- Elements and natural words: in the lyrical language of this group, including all kinds of flowers, plants, Animals and heavenly bodies are 2-Elements of God 3-Elements of luxury and aristocracy 4-Words related to the beloved 5-Spiritual and conscientious elements 6-Parts of the body 2-3- Examining the lexical features of the lyrical-narrative language A: Type of vocabulary: By examining more than 200 lyrical words in the discussed systems, this research was able to achieve these details in the field of lyrical-narrative vocabulary: 1- Elements and natural words: in the lyrical language of this group, including all kinds of flowers, plants, Animals and heavenly bodies are 2-Elements of God 3-Elements of luxury and aristocracy 4-Words related to the beloved 5-Spiritual and conscientious elements 6-Parts of the body 3-3- Examining the grammatical characteristics of lyrical-narrative language 3-3-1- Verbs: Verbs are mostly omitted in lyrical language. Also, the frequency of using simple and descriptive verbs is the highest. B: The position of the verb: the original in the lyrical language is the softness and melody of the beat. For this reason, if the verb is not deleted in the sentence, the location of the verb is either in the middle of the stanza, or based on the composition of the Persian language, the verb is located at the end of the stanza, which can be rowed or rhymed. 3-3-2- Noun: Pronouns: Introversion is one of the most important features of lyrical literature. Among the methods that determine the degree of introversion of the work is the frequency of pronouns. There are many pronouns “me” and “ma” in lyrical literature. 3-4- Examining the most used rhetorical features of the lyrical-narrative language Ghanaian language is one of the complex languages due to its beauty. The high frequency of literary arts such as: metaphor, simile, irony, allusion, etc. causes the lyrical language to have a difficult linguistic level. 3-5- Examining the content characteristics of lyrical-narrative language 3-5-1- description 3-5-2- Being non-fictional 3-5-3- High frequency of presence of women and girls 3-5-4- Feminine and gentle language Conclusion Based on this research, the following model can be effective for examining lyrical-narrative language: Lyrical-narrative language is mostly omitted in romantic poems due to the weight of hazj mesads with zahafat, and the musical richness of this language is increased by choosing this Bahr Aroozudi. Also, in order to increase the rhythm of the verses, the current row and mainly simple and descriptive verbs are of interest. The presence of documentary verbs can play an important role in the dynamics of verses and images. The proper phoneme of this language is in the denominator of abrasive sounds. In terms of the type of words, the high frequency of the words of the spiritual and emotional domain, natural elements (plants, animals, heavenly bodies) and other elements are among the important aspects of this language. The presence of verbs in the middle of verses or stanzas, the absence of verbs, and consequently the rhythm of the verses are very important in lyrical-narrative language. Increasing the discrete pronouns me and us can increase the introversion of the systems and bring them closer to the lyrical pole. In terms of the most widely used rhetorical techniques, this language is inclined to the metaphor of the expository metaphor, metaphorical metaphor, simile with bound parties, simile addition, and eloquent simile, and with these techniques, it adds to the complexity of this language. Increasing the compositional sentences helps to increase the rhythm of the verses and brings peace to the verses. Also, the increase of adjectives and adverbs in this language moves the poem from news to narration and emphasizes the narrative element. Increasing exaggeration strengthens the dimension of realism instead of imaginative exaggerations. The high frequency of the active presence of women and feminine and gentle language makes the lyrical-narrative language different from other languages.

In the stories of Haft Peykar, one can see the most significant components of the grotesque style, such as the feeling of fear, latent ridicule, strange and surprising shapes, ugly adornments adorned with ornaments, and so on. The adaptation of the Haft Peykar narrative section to the grotesque components, especially the grotesque, which the new view of the two critics in this field, namely Kaiser and Bakhtin, reduces its negative aspects and, while changing the conventional standards of beauty, considers this style as a kind of ugly aesthetics, with a significant clarity. In this stories, some physical and mental issues that have been pushed back from human life, along with its ugliness and filth, are portrayed in complex, astonishing, contradictory and unexpected ways. In this research, while using library and documentary studies and using qualitative analysis method and taking into account Kaiser's view, we have categorized, and analyzed the grotesque category and its index components in Haft-Peykar stories. The findings of the research show that Nezami in these stories has been able, with amazing skill, in the content and form of the work, to show the ugliness and filth in ways close to the characteristics of a grotesque work.

Jamal Al-Din Mohammad Ibn Abdul Razzaq Isfahani ‘s collection (Divan) have been corrected for three times. Each of this correction have weaknesses in addition to its strengths. This issue cause asking this question that what is the necessity of correcting Jamal Al-Din Mohammad Ibn Abdul Razzaq Isfahani ‘s collection? Prior studies have been done based on the limited in number, nameless, or undated copies. As a matter of fact, the lyrics of other poets are recorded by Jamaluddin’s name. Therefore, it is necessary to identify real collection among manuscripts attributed to him. in order to explain the necessity of re - correction of Abdul Razzaq Isfahani ‘s collection by descriptive - analytical method, first copies were identified and introduced, then based on 27 handed manuscripts the content list of his poems was prepared and finally based on content list the corrections of Adib Neyshabouri, Vahid Dastgerdi and Hamid Reza Qanuni were criticized. Then it mentioned what are deficiencies of other three corrections of Abdul Razzaq Isfahan’s divan. Finally, by presenting scientific reasons such as; not available or defecting of the copy, not mentioning the reference in used copies, separating a poem from a context and presenting it in two separate formats, repeating a poem in Divan, misrepresenting the copy, quoting poems of other poets; the need to re-correct Jamal al-Din Abdul Razzaq Isfahani ‘s Divan was stated.

Mirza Abdullah Gorji Esfahani was one of the famous poets of the thirteenth century who, according to one of the branches related to humor, namely parody, wrote important poems and with its help, he showed his art of humor and showed the shortcomings and shortcomings of his time. . The authors of this article first intended to provide a single definition of parody and then tried to examine the poet's parodies. The purpose of this article is to examine parodies in detail through content analysis and to obtain valuable information that has received less attention. Through these parodies, one can get acquainted with the psychological, social, economic, religious, etc. views of the poet. Some of these perspectives are entertaining and humorous, especially in the superficial layers of the poems; But by delving deeper into the hidden layers of these parodies, bitter humor and critical aspects emerge that are very important in understanding the life and time of the poet. Another important point is the useful information that the poet provides about the popular beliefs related to foods.

Mowaffaq al-Din Yahya ibn Hassan Tartari is one of the anonymous poets and Persian speakers of the fifth and sixth centuries AH. In the researches related to the history of Persian literature that have been written in the last one hundred and fifty years, there is no name or address of him. It seems that Taqiyya al-Din Uhudi Blyani (973-1040 AH) first mentioned him, about five hundred years after Tartari's life. A manuscript has now been found that is the oldest and most important document on Tartari and contains part of his poems. This manuscript, which is kept in the Sulaimaniyah Library in Istanbul, was written between 687 and 688 AH and has considerable information about Tartari, his poems and praises. In this article, we try to provide new points about the name and logo, the praises and the style and context of Tartari poems by quoting this newly written manuscript and reviewing historical and literary sources. Also, the few remaining poems by him have been read and corrected to be used by researchers for leading researches on the history of Persian literature and Khorasani style.

Folk tales and legends can be considered as one of the oldest, most documented and at the same time, the richest written sources available in any land. Persian folk tales, which in the past had only a recreational and entertaining role, have found a special research and cultural function today and are a reliable source for understanding the ideals, beliefs, rituals and customs of the Iranian nation. Are counted. Darsnameh Tarsousi is one of the oldest texts based on Persian myths. This prose story has been compiled in the life of Darab, King Kiani, son of Ardeshir Kiani and his daughter Homay and his grandchildren Borandokht (Roshanak) and Alexander the Great. The origin of the story dates back to the Sassanid era and its current form was written by Abu Tahir Tarsusi in the sixth century AH. In this story, he has adapted from the national epic of Iran, a kind of historical-religious prose epic. The present study tries to answer the main question in a descriptive-analytical method: what are the similarities between the actions of the mythical characters of Darabnameh Tarsousi in the context of the triple actions of Georges Domzil and to what extent Darabnameh's structure of mythology? Indo-European benefited? The research findings emphasize that the structure of Tarsus's narrative can be studied and adapted to Indo-European epic texts and the three actions proposed in Domzil's activist approach (domination, warfare and fertility) are actions. The main mythological characters in this narrative are considered. Alexander, Darab, Homay, Tamrousieh and Borandakht as the main characters of this narrative, each have distinct characteristics that are classified in the subset of the three actions.

One of the methods of examining the text is the approach of Fairclough critical discourse analysis, which take into consideration it's situational and discourse context and examine the text at three levels of description, interpretation and explanation. In this article, an attempt is made to study the versified poem of Khosrow and Shirin of Nezami with a critical discourse analysis approach, focusing on the debate between Khosrow and Farhad. In examining the text and at the level of description, we are faced with two types of stances in the form of Farhad and Khosrow debates, which indicate a conflict between the lower and upper classes. At the level of interpretation, the social context indicates the praise of the court institution, as a result of which the ruling ideology appears on the text. At the level of explanation, the text does not seek to confront the dominant ideology but to legitimize it. Finally, the text has reproduced power relations and has tried to establish and maintain it.

Saeed Zohrevand[1]Gazi dialect is one of the most important dialects which lefts from the Parthian or Pahlavanic  in the central regions of Iran and has always been the aim of research by many domestic and foreign scholars. Divan Darwish Abbas Gazi is the oldest and most important literal work in this language that can be an effective source for deeper knowledge in the linguistic studies of this dialect. In this research, the poems of Darvish Abbas Gazi and Fahlaviat of Sheikh Safi al-Din Ardabili have been studied in three levels: phonological, lexical and syntactic. Old Gazi and Azari languages are the remnants of modern Iranian languages in a linguistic subdivision that can be compared linguistically. The findings of this study show many similarities between the phonetic and lexical quality of the two poets; Like the evolution of the phoneme "ž" to "y" in both of them. However, there are differences in the phonetic and syntactic composition of the poems of Darvish Abbas and Sheikh Safi. The words left by the two thinkers are often in the form of poetry and have poetic logic (rhythm and rhyme). In addition, both poets in these poems are influenced by the structure of the Persian language. So that many words, combinations and grammatical patterns are derived from PersianKeywords: Dialectology, Gazi dialect, Fahlaviat, Darwish Abbas Gazi, Sheikh Safi al-Din Ardabili  AbstractGazi dialect is one of the most important dialects which lefts from the Parthian or Pahlavanic in the central regions of Iran and has always been the aim of research by many domestic and foreign scholars. This dialect, which is part of the northwestern branch and among the central dialects of Iran, is a remnant of the modern Iranian languages, whose speakers speak this language in a small town located in the northwest of Isfahan. Barkhar region, which is frequently called "Balkhar", is a vast plain that is limited to the city of Isfahan from the south, Natanz and Mimeh from the north and northwest, Ardestan from the east, and Najaf Abad from the west. . Barkhar Plain, which is mentioned in old sources as a place between Isfahan, Qom, Kashan and Ray, has a semi-desert climate, hot and dry in summer; And it is cold and dry in winter. The population of this city is around 21,911 people and it is located in the north of Isfahan, is considered part of the central part of Shahinshahr and Meymeh according to the country's divisions, and historically it has always been a part of "Barkhar" region, and for this reason it is known as "Gaz Barkhar. The existence of written literature among the dialects and languages, however remote and with few speakers, is considered a precious treasure for linguistic and even anthropological researches, which are fortunately found in the Gazi language. In the past, central dialects were common throughout the Isfahan region and even the city of Isfahan. But apparently, since the Safavid era and with the expansion of the Persian language in the city and surrounding areas, these dialects gradually declined. The residents of this part of Iran, like many villages and small towns in Iran, have preserved their authenticity for centuries and have been spared from the sting of linguistic invasion. In the same way, the preservation of dialects and languages became effective in enriching Iranian literature and culture in such a way that in some of these dialects, precious literary works such as Divan emerged. One of its prominent examples is found in Gazi language. Diwan Darvish Abbas Gazi is the oldest and most important poetic work in this language, a type of Diwan poetry that dates back to the Qajar period. This divan is composed of various poetic forms, it contains more than three hundred ghazals, hundred odes, masnavis, quatrains and other poetic forms. This divan, which is named after its poet, was written by Darvish Abbas about 150 years ago. His poetry book is also called "Arshad Al-Ould". Most of these sonnets have mystical meanings and educational and moral nuances, but most of all romantic and mystical meanings are waved. Humor and jokes are the prominent features of Darvish Abbas Ghazi's poetry, which is the reason why his fellow speakers like his poetry. The importance of this forum is revealed when the researcher can learn many linguistic, historical, cultural, and anthropological points during it. Examining the language used in Divan Darvish Abbas Gazi shows that this dialect has undergone changes over the past hundred years. Among the significant phonetic changes, we can mention the removal of the final consonant of the present participle of the verb "to say", i.e. /vaz -/, and the removal of the abrasive chaknai from the beginning of some words. Another one of these changes is the pronunciation change of relative pronouns.In this research, the poems of Darvish Abbas Gazi and Fahlaviat of Sheikh Safi al-Din Ardabili have been studied in three levels: phonological, lexical and syntactic. Old Gazi and Azari languages are the remnants of modern Iranian languages in a linguistic subdivision that can be compared linguistically. The findings of this study show many similarities between the phonetic and lexical quality of the two poets: Like the evolution of the phoneme "ž" to "y" in both. However, there are differences in the phonetic and syntactic composition of the poems of Darvish Abbas and Sheikh Safi. The words left by the two thinkers are often in the form of poetry and have poetic logic (rhythm and rhyme). In addition, both poets in these poems are influenced by the structure of the Persian language. So that many words, combinations and grammatical patterns are derived from Persian. 

Saif al-Din Asfarangi is one of the Iranian poets in the late sixth and mid-seventh centuries AH. His divan is only surviving work of this poet. Esfarangi Divan firstly corrected and lithographed in Pakistan in 1978. This divan was corrected in 2017 by Farzad Jafari; Several manuscription of this work are available, such as the manuscripts of the Russian State Public Library, the manuscript of the Pakistan Treasure Library, the manuscript of the Turkey Topkapusaray Library, the manuscript of the Sepahsalar Library, and so on. Among the manuscripts, Jafari has chosen the manuscript of the Russian State Library (A) as the basic manuscript and has used other manuscripts in the correction. Although the correction presented is scientific and critical, there are errors and mistakes in it, and in some cases, carelessness in the correction is obvious. The present article tries to reveal and correct some of these errors and mistakes in this correction with a scientific and critical way.