دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 A Structural and Thematic Analysis of Sheikh Abdul-Razzaq Naqshbandi’s Divan Dar al-Salaam معرفی دیوان «دارالسلام» شیخ عبدالرزاق نقشبندی به همراه تحلیل ساختاری و محتوایی آن 9 36 17154 10.22054/ltr.2023.72643.3698 FA مظفر حسین گنایی دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه اصفهان، اصفهان، ایران اسحاق طغیانی استاد، گروه زبان و ادبیات فارسی، دانشگاه اصفهان، اصفهان ، ایران Journal Article 2023 02 15 Abstract Shaykh Abdul-Razzāq Naqshbandi is one of the Kashmir’s greatest Sufi saints and a follower of “Naqshbandi (Khwajagān)” order. He composed his poetic work Dar al-Salaam in the same metre as Sanai’s Hadiqat al-Haqiqat. In addition to explaining Islamic ethics, the poet recounts his personal life, his entry into the spiritual path (tarīqat), and the teachings of Sufism. While historical records provide limited information about this Kashmiri poet, the surviving text of Dar al-Salaam offers valuable insight into his life and his era. This paper presents an introduction to the Sufi’s life and a structural and thematic analysis of his poetry, employing a descriptive-analytical method. To date, only two manuscripts of Dar al-Salaam have been preserved, both transcribed by Shaykh Abdul Qadeer Badri in the thirteenth century Hijri. The Shaykh’s poetry is largely straightforward and accessible. Elision and addition of phonemes are among the most notable phonological features of the Divan. Although composed in the Persian contemporary to his time, the poet employs numerous archaic Persian and Arabic terms. Rather than relying heavily on literary or rhetorical devices, he makes frequent use of allusions and epigraphs, reflecting a deep influence from Islamic and Sufi texts. Key words: Abdul-Razzaq Naqshbandi, Dar al-Salaam, Badri dynasty, Khwajagān order, Sufis of Kashmir Introduction The importance of manuscript editing extends beyond enriching Persian literature; it also aids in understanding lesser-known aspects of language and culture. Outside Iran’s borders, particularly in India, many Persian manuscripts remain neither edited nor published, and thus have not been subject to scholarly evaluation and critique. Sheikh Abdul-Razzaq Naqshbandi, a little-known Kashmiri poet, is the author of a work titled Dar al-Salaam—an example of such an overlooked text. Two manuscripts of this work are held in the Diwan Khana of Maharaja Shri Pratap Singh in Srinagar, Kashmir: one copy, registered under number 2737, is written on Kashmiri paper, while the other, numbered 2744, is on ordinary paper. Sheikh Abdul-Razzaq Naqshbandi was a twelfth-century AH poet from the Indian region of Kashmir, a Sunni Hanafi, and a follower of the Naqshbandi Sufi order. Of Iranian descent, his ancestors migrated from Khorasan to Kashmir during the Mughal era and settled in Sopore. Due to the lack of research and recognition surrounding this poet, there remains insufficient information to properly identify and introduce this important literary and Sufi figure. Although numerous works have been written about the poets, Sufis, and saints of Kashmir, none contain detailed information about the life of Sheikh Abdul-Razzaq. Only the memoir of Haji Muhiuddin Meskin briefly mentions him, stating: “Sheikh Abdul-Razzaq Naqshbandi went to Pakhali in his youth to acquire Sufi teachings, and six months later he benefited from the company of Abdul Salam Wakil and learned the principles of spiritual conduct. His life was devoted to worship and striving, and he died in the year 1209 AH” (Meskin, 1322: 159). During his lifetime, Sheikh Abdul-Razzaq Naqshbandi composed a valuable work titled Dar al-Salam, dedicating it to the pure soul of his mentor, Akhund Sayyid Abdul Salam. The divan of Dar al-Salam is structured in two chapters. In the first chapter, the poet shares certain personal details that provide some insight into his life. According to this account, Sheikh Abdul-Razzaq Naqshbandi—a twelfth-century AH Sufi—lost his father in childhood and subsequently journeyed to the Pakhal region of Peshawar in search of a spiritual guide. There, he served religious elders for six years. Approximately three hundred years ago, during the reign of the renowned Gurkani (Mughal) Emperor Jahangir, one of the dynasties that entered the Kashmir region from Iran with the aim of spreading Islamic teachings was the Badri family. Sheikh Enayatollah Badri, along with his son Moradollah Badri, migrated from Khorasan to Kashmir and devoted their lives to preaching Islam in Sopore, one of Kashmir's cities, until their deaths (cf. Aziz, 1367: 28). Sheikh Abdul-Razzaq Naqshbandi is considered a member of this lineage. In terms of Sufi affiliation, Sheikh Abdul-Razzaq was a follower of the Naqshbandi order, also known as the Khwajagan (“Masters”) order. This lineage is called Khwajagan because many of its early elders did not receive teachings directly from a living master but rather followed the spiritual path of figures such as Khwaja Yusuf Hamadani and Khwaja Abdul Khaliq Ghajdawani (see: Sari-Oghli, 1379: 18). Although the Naqshbandi order is traditionally attributed to Khwaja Baha'uddin Muhammad Naqshband, he is not its founder. Rather, he received his spiritual training from the successors of Abdul Khaliq Ghajdawani and is credited with reviving and expanding the Khwajagan order, which then spread rapidly throughout Transoxiana and Khorasan. Following Khwaja Baha'uddin, his successors included Khwaja Ala'uddin Attar (d. 802 AH), Khwaja Muhammad Parsa (d. 851 AH), and Khwaja Ya'qub Charkhi (d. 851 AH) (Modarresi, 1360: 86–91). The only surviving work of Sheikh Abdul-Razzaq Naqshbandi is the divan Dar al-Salaam. This divan is a Sufi poetic text composed in the same meter as Hakim Sanai’s Hadiqat al-Haqiqa in the 12th century AH. The work is written in Nastaliq script and consists of two chapters. In the first chapter, after offering praise and gratitude to God, extolling the Holy Prophet, and describing the day of the Prophet's Ascension (Miraj), the author praises Sheikh Baha'uddin Naqshbandi. Additionally, this chapter includes autobiographical details about the poet’s own life and that of his mentor, Akhund Seyyed Abd al-Salaam Vakil. The central theme of Dar al-Salaam is mysticism and ethics, expounding Sufi teachings in line with the principles of the Naqshbandi order. In the second chapter, philosophical concepts, prophetic traditions, the nature of the microcosm and macrocosm, the significance of human anatomy, and various topics in Sufism and mysticism are examined. Additionally, at the end of the manuscript, its scribe, Sheikh Abdul Qadir Badri, has recorded accounts of the extraordinary spiritual states and miracles attributed to Sheikh Abdul-Razzaq Naqshbandi and the Badri family. Research Background A review of reliable academic sources—including manuscript and publication catalogs, as well as relevant websites and databases—indicates that no prior research has been conducted on Sheikh Abdul-Razzaq Naqshbandi or his works. Therefore, this article represents the first academic introduction to this Kashmiri poet, his writings, and his historical context. Research Method This study employs a library-based descriptive-analytical method, drawing on the poetic and documentary content of the manuscript, to address the following research questions: Who was Sheikh Abdul-Razzaq Naqshbandi, and in which period did he live? What religious and social concepts are reflected in his poetry? Who were his contemporaries, and what thoughts or figures influenced his work? Conclusion The Divan Dar al-Salaam—essentially a repository of the ethics, discourses, and teachings of the Naqshbandiyya order—reflects the distinct beliefs and thoughts of Sheikh Abdul-Razzaq and his mentor, Mulla Akhund Sayyid Abdul Salam Vakil. This characteristic has led him to introduce the Naqshbandiyya order in detail, elaborating on its doctrines and highlighting which of its prominent figures propagated and expanded the order in India and Kashmir. Therefore, this Divan can be a valuable subject for literary scholars, historians, and researchers. By examining the less ornate poems within the Divan Dar al-Salaam, it becomes apparent that the poet did not confine himself predominantly to the deliberate use of literary devices, rhetorical embellishments, or the stylistic ornamentation characteristic of professional poets. Nevertheless, certain verses and passages do exhibit literary techniques that were likely introduced unconsciously and without deliberate artifice. In this regard, allusions and references to scriptural and narrative sources appear more frequently than other rhetorical arrangements, reflecting the poet’s deep devotion to Islamic teachings and influential religious and mystical figures—particularly his mentor, Sheikh Abd al-Salaam. Having been exposed to diverse cultural and linguistic environments, the poet’s language incorporates not only classical Persian and Arabic vocabulary but also lexical influences from English, Kashmiri, Urdu, and Turkish. Overall, the Divan Dar al-Salaam offers a reflection of the religious, Sufi, literary, historical, and political landscape of 12th-century AH Kashmir, providing significant insight into the social and customary realities of that period. شیخ عبدالرزاق نقشبندی از صوفیان برجسته وادی جنت کشمیر است. وی دیوان «دارالسلام» را بر وزن «حدیقه‌الحقیقه» سنایی در موضاعات اخلاقی و عرفانی سروده است؛ و علاوه بر این، در مورد زندگی خود، چگونگی مشرف شدن به درگاه طریقت، ارادت نسبت به مراد و مرشدش و برخی مسائل اجتماعی و سیاسی عصر خویش نیز در آن سخن رانده است. همچنین او در این اثرگرانقدر 28 تن از بزرگان و خواجگان سلسله نقشبندیه را به صورت گسترده معرفی و مدح کرده است. از میان تذکره‌های موجود و مربوط به این موضوع، تنها در تذکره حاجی محی‌الدین مسکین در پنج سطر ازاین صوفی پرکار سخن به میان آمده است و بقیه تذکره‌ها در باره او ساکت هستند؛ اما متن اشعار باقی‌مانده از دیوان دارالسلام، آگاهی‌های مفصلی را درباره زندگی پر فراز و نشیب این شاعر صوفی مسلک فرا روی ما قرار می‌دهد. بر این اساس اشعار شیخ نشان می‌دهد او در قرن دوازدهم هجری می‌زیسته و مذهب حنفی داشته و در عرفان، پیرو مسلک و مرام مشایخ سلسله نقشبندیه بوده است. از دیوان دارالسلام تنها دو نسخه باقی‌مانده که در اوایل قرن سیزدهم هجری به‌ وسیله شیخ عبدالقدیر بدری نگاشته شده است. اشعار شیخ عبد الرزاق که جنبه تعلیمی دارد معمولاً روان و قابل‌ فهم است؛ اما به دلیل طولانی بودن برخی از موضوعات و حاشیه رفتن های بی مورد، گاهی مطالب غیر ضروری باعث سردرگمی خوانندگان می‌شود. از جهت زبانی حذف و افزایش واج ها از مهم‌ترین ویژگی‌های آوایی اشعاراین دیوان است. اگرچه دیوان شیخ به زبان رایج دوره شاعر سروده شده ؛ اما این شاعر آشنا به زبان فارسی واژگان فارسی و عربی قدیم را نیز به مقدار زیاد در دیوانش به‌کاربرده است. همچنین او در این اثر صوفیانه در به‌ کارگیری فنون ادبی و زیبایی‌های بلاغی مانند شاعران حرفه‌ای عمل ‌نکرده و بیشتراز آرایه تضمین و تلمیح بهره برده است که نشان دهنده تاثیر پذیری او از متون اسلامی به خصوص قرآن و حدیث است.

https://ltr.atu.ac.ir/article_17154_166c258624c5fa870f25e96fcb4c957b.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 The Structure of Poetic Propositions in Nizami's Makhzan al-Asrar ساختار گزاره‌هایِ شعری در مخزن‌الاسرار نظامی 37 64 17435 10.22054/ltr.2024.74649.3734 FA علیرضا نبی لو استاد، گروه زبان و ادبیات فارسی، دانشگاه قم، قم، ایران Journal Article 2023 07 04 Abstract This research examines the structure of poetic propositions in Nizami's Makhzan al-Asrar. The formation of poetic propositions differs significantly from standard prose syntax, as the interplay of grammatical and rhetorical elements creates unique and varied sentential structures. Analysis of Makhzan al-Asrar reveals that this fusion of grammatical and rhetorical components yields propositions distinct from those of ordinary language. These poetic propositions are first classified into two primary categories: relational and non-relational. Each category is further subdivided based on the dominant rhetorical figure, resulting in sub-types such as simile-oriented, metaphor-oriented, metonymy-oriented, irony-oriented, and allusion-oriented propositions. The study also identifies other distinct structures, including propositions with a deep construction rooted in literary tradition, those based on a paradoxical viewpoint, and those structured as proverbs. The findings demonstrate that the poetic propositions in Makhzan al-Asrar exhibit remarkable diversity. The profound influence of rhetorical elements has generated specialized syntactic architectures. This analytical framework can be applied to the works of other poets, paving the way for a more comprehensive understanding of the characteristics and innovations within the grammar of Persian poetry. Keywords: poetic proposition, sentence structure, grammatical elements, rhetorical elements, Makhzan al-Asrar, Nizami. Introduction The linguistic structure of poetry is distinct and more varied than that of other language types, resisting analysis through standard grammatical patterns alone. Furthermore, the poetic language of a stylistically individual poet possesses unique distinctions and specialties that differentiate it from the work of others. To accurately discern a poet's precise linguistic structure, it is necessary to analyze their language beyond the confines of conventional grammar. Fundamentally, in poetic language, meaning is not the sole priority; the mode of expression and the manner of presenting that meaning become paramount. In this regard, some poets are more imaginative, creative, and innovative, while the language of others may hew more closely to the standard language of their period. In any case, poetic language opens a space for aesthetic taste and linguistic innovation, which serves to distinguish the poet's individual voice. It is for this purpose that this study investigates poetic propositions and their typology in Nizami's Makhzan al-Asrar. The results demonstrate that the structure of these sentences differs significantly from standard prose syntax. The integration of rhetorical figures and literary devices profoundly alters the underlying grammatical framework. This variety in rhetorical structures modifies relatively fixed grammatical patterns, rendering the poem's sentences highly distinct and diverse. Consequently, although grammatical structures are typically stable and predictable, in poetic texts we encounter a remarkable array of syntactic forms. Literature Review There are several articles concerning Nizami's language and his compositions, some of which are mentioned here. The article "Ganjavi's Nizami Speech: A Brief Comment on Words and Interpretations in Khosrow Shirin and Makhzan al-Asrar" (Shafi'i, 1356) examines specific words and expressions used by Nizami, providing their semantic equivalents by citing verses from the poet. "Compounding in Makhzan al-Asrar" (Yousefi, 2010) deals with compound words in Makhzan al-Asrar and briefly examines the emergence of new words and their grammatical structure. In the article "Musical-Linguistic Creativity in Nizami's Makhzan al-Asrar" (Firouziyan, 2008), the focus is on linguistic innovations at the level of vocabulary and new compositions, analyzing the impact of these innovations on the musical-linguistic structure. The article "Lexical Combinations in the Khamsa of Nizami" (Ghasmipour, 2010) concentrates on Nizami's lexical combinations across his quintet. "Language Functions in Nizami's Makhzan al-Asrar" (Toghyani and Najafi, 2013) examines the linguistic functions in the text, analyzing Nizami's language through three parts: praises and supplications, nocturnal solitudes, and allegorical-moral stories. The article "Nizami Ganjavi's Language" (Poornamdaryan and Mousavi) attempts to prove that Nizami's poetic language was Dari Persian by comparing it with his contemporaries in Ganja, casting doubt on the attribution of Turkish poems to him and suggesting they belong to a later poet, Nizami Qaramanli (9th century AH). As is evident, the subjects of the articles above are different and diverge greatly from the subject of the present article. Therefore, this article adopts a new and different approach, aiming to reveal some of the lesser-known aspects of the poetic language in Makhzan al-Asrar. Methodology The current research is descriptive and analytical, based on library sources. After a study of Nizami's Makhzan al-Asrar, the structure of its poetic propositions has been analyzed and categorized in terms of grammar and rhetoric. Conclusion The poetic propositions in Nizami's Makhzan al-Asrar are remarkably diverse and intricate. A detailed analysis of their structure necessitates a combined grammatical and rhetorical approach. Standard grammar alone is insufficient for this task, as it lacks the necessary tools to provide a full description of their composition. Conversely, the integration of rhetorical elements into the text significantly impacts its grammatical framework, generating a wide variety of propositions. Relational and non-relational propositions based on metaphor, simile, irony, allusion, paradox, proverb, and similar devices represent only one facet of the poetic propositions found in Nizami's Makhzan al-Asrar. Undoubtedly, the introduction and combination of these core elements further multiplies the number and variety of such structures. This research represents an initial foray into this fascinating field, as the distinctive language of any stylistically unique poet offers similar potential for novelty and diversity. By examining the intertwined grammatical and rhetorical structures, a more precise and comprehensive description of a poet's language can be achieved. در این پژوهش به بررسی ساختار گزاره‌های شعری در مخزن‌الاسرار پرداخته شده است، ساختار جمله‌بندی و شکل‌گیریِ گزاره‌های شعری با جمله‌بندی گزاره‌های عادی زبان تا حدودی متفاوت‌تر است و آمیختگی عناصر دستوری و بلاغی، ساختارهای متنوعی در این گزاره‌ها ایجاد می‌کنند. با مطالعه مخزن‌الاسرار مشخص می‌شود که تلفیق عناصر دستوری و بلاغی، گزاره‌هایی متفاوت‌تر از گزاره‌های زبان معیار و عادی ایجاد کرده است. این گزاره‌های شعری ابتدا در دو بخش گزاره‌های غیراسنادی و اسنادی دسته‌بندی شده‌اند و ذیل هر دسته، متناسب با نوع آمیختگیِ عناصر دستوری و بلاغی، گزاره تشبیه‌محور، گزاره استعاره‌محور، گزاره مجازمحور، گزاره کنایه‌محور و گزاره‌تلمیح محور قرار می‌گیرند. سپس به گزاره‌های دیگری مانند گزاره با ژرف‌ساخت سنت ادبی، گزاره با ژرف‌ساخت متناقض نما و گزاره با ژرف‌ساخت ضربالمثلی اشاره می‌شود. این پژوهش نشان می‌دهد که گزاره‌های شعریِ مخزن‌الاسرار بسیار متنوع است و تأثیرپذیری آن از عناصر بلاغی به ایجاد ساختارهای ویژه‌ای در گزاره‌ها انجامیده و این موضوع را می‌توان در اشعار سایر شاعران نیز واکاوی کرد و به ویژگی‌ها و نوآوری‌های دستور زبانِ شعر فارسی بیشتر دست پیدا کرد.

https://ltr.atu.ac.ir/article_17435_5fca4493163ebfd2501cfa1ab2939957.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 Parvin E’tesami and the Recreation of Jean de La Fontaine’s Fables پروین اعتصامی و بازآفرینی فابل‌های لافونتن 65 96 18024 10.22054/ltr.2024.73548.3713 FA بهادر باقری دانشیار، گروه زبان و ادبیات فارسی، دانشگاه خوارزمی، تهران، ایران محمد شادروی منش استادیار، گروه زبان و ادبیات فارسی، دانشگاه خوارزمی، تهران، ایران فاطمه کاظمی زهرانی کارشناسی ارشد زبان و ادبیات فارسی، دانشگاه خوارزمی، تهران، ایران. رایانامه: 0000-0001-8573-2646 Journal Article 2023 05 01 Abstract Since the Constitutional Era, with the flourishing translation of world literature into Persian, contemporary Persian literature has been significantly influenced by Western works. One notable dimension of this influence is the creative reworking of fables by the preeminent French poet Jean de La Fontaine (1621–1695 AD) in the poetry of this period, including the works of Bahar, Parvin E’tesami, Iraj Mirza, and Seyyed Ashraf (Nasim-e Shomal). This article, through a close comparative reading of Parvin and La Fontaine's fables, demonstrates that Parvin’s work was directly influenced by La Fontaine. Her approach, however, transcends mere translation or retelling. She engages in an artistic and creative intervention—modifying characters, expanding dialogues and plots, and enriching the narratives with eloquent moral advice, rhetorical beauty, and poetic elegance. In doing so, she elevates the anecdotal form, significantly strengthening its educational impact. Among Parvin’s key innovations in this process of recreation are: identifying and developing thematic material; rendering fictional events with a sense of naturalism; crafting lively and instructive dialogues between characters; selecting rhythm, diction, and rhyme that suit the poem’s content, such that many lines achieve proverbial status; and seamlessly weaving subtle moral points through beautiful interpretations, similes, and metaphors. Furthermore, by altering characters, themes, and discourse, Parvin often imbues stories similar to La Fontaine’s with a more pronounced moral and instructive message. Keywords: Jean de La Fontaine; Parvin E’tesami; fable; animal stories; Constitutional-era poetry; comparative literature. Introduction One of the most prominent literary figures of seventeenth-century France is Jean de La Fontaine (1621–1695), whose name, alongside Aesop's, is synonymous with the fable genre worldwide. During the reign of Naser al-Din Shah Qajar in Iran, literary translation gained significant prominence. The scattered translation of La Fontaine's fables throughout the Constitutional Era prompted several Iranian poets—including Iraj Mirza, Bahar, Parvin, and Seyyed Ashraf (Nasim-e Shomal)—to adapt and creatively rework his narratives into Persian poetic form. In doing so, however, they were not mere imitators. Drawing upon their own literary taste and knowledge, they imbued La Fontaine's simple, concise, and anecdotal stories with a new and distinct character, enriching their narration, dialogue, and moral, social, and political implications. Literature Review Regarding the literary genre of the fable—its history, La Fontaine's works in particular, and their influence on and from world literature—several foundational studies exist. Mohammad Ali Jamalzadeh addressed these themes, including the influence of Eastern literature such as Kalila and Dimna on La Fontaine, in a series of articles titled "Fable in Persian Literature," published in Gowhar magazine (beginning in February 1972). His work offers valuable insights, such as a comparative analysis of the tale "Two Pigeons" from Anwar-e Sohaili and its impact on La Fontaine's fables. Akbar Asghari Tabrizi (1980), in his article "La Fontaine and Kalila and Dimna," outlined La Fontaine's debt to the Persian classic by analyzing three specific anecdotes. Javad Hadidi, in his book From Sa'di to Aragon (2013), has demonstrated Sa'di's influence on French literature. Ahmad Karimi-Hakkak, in The Forefront of Modernity in Persian Poetry (translated by Masoud Jafari, 2005), references the broader impact of translation on Constitutional-era poetry. Finally, Ziar Mohammad (2009), in his article "La Fontaine and Persian Tales," examined La Fontaine's specific use of Persian narrative sources. Akbar Shamian Sarukolayi (2009), in his article "La Fontaine's Tales in Contemporary Iranian Poetry," analyzes the influence of La Fontaine's fables on poets such as Bahar, Iraj Mirza, Parvin, and Seyyed Ashraf (Nasim-e Shomal). It should be noted, however, that only three of Parvin's anecdotes are examined in this study. Mohammad-Reza Shafi'i Kadkani (2011), in his book With Lantern and Mirror, includes a section titled "The Contribution of European Countries." Here, he notes that many contemporary poets were influenced by European literature, including translations of poets such as La Fontaine. Finally, Akbar Shayan-Seresht et al. (2018), in their article "Indigenization in the Translations of La Fontaine's 'The Crow and the Fox': A Movement from Extra-System to System Based on Lotman's Theory," analyze and compare the adaptations by Seyyed Ashraf (Nasim-e Shomal), Iraj Mirza, Nayer Saidi, and Habib Yaghmai. Applying Lotman's theory, they demonstrate that the artistic refinement of Habib Yaghmai's poetry results from a more detailed interaction with the source (extra-system) and a purposeful movement toward a new literary system. Methodology Employing an analytical and descriptive methodology grounded in comparative literature, this article conducts a detailed study of La Fontaine’s fables and Parvin E’tesami’s poetry. It investigates the nature of La Fontaine’s influence on Parvin’s work, analyzing the commonalities and differences between their texts. Furthermore, it examines Parvin’s specific innovations in crafting morally instructive and aesthetically refined narratives, highlighting her transformative contribution to the genre. Discussion Parvin E’tesami continued the tradition of crafting instructive narratives centered on animal characters, while introducing numerous innovations to the genre. This article examines and analyzes ten of her poems that were most likely composed under the influence of translated La Fontaine fables. The following section presents two illustrative cases for examination. Parvin's poem "Passion for Equality" shares its theme with La Fontaine's fable "The Crow Adorned with Peacock Feathers." In Parvin's version, the story begins with a raven who, growing weary of his own life, wanders from his nest in search of change and diversity. He encounters a group of beautiful, proud peacocks in a garden. Collecting some of their shed feathers, the raven adorns himself with them. As he prepares to fly away, the peacocks discover him. They strip away his borrowed plumage, declaring that their beautiful feathers can never conceal his inherent blackness, for his true character is evident in his behavior. La Fontaine's original fable narrates a similar sequence: "A peacock was shedding feathers; a bruised raven took its feathers... Then it bedecked its body with those feathers... and strutted among the other peacocks with pride, thinking itself beautiful... It was met with taunts and sneers for its misconduct, became an object of mockery, and had its wings and feathers violently torn off by the peacocks." Parvin's poem entitled "Dishonoured" corresponds to La Fontaine's fable "The Crab and Her Daughter." While Parvin stages the debate between a pan and a pot, La Fontaine's version features a crab criticizing her child's manner of walking. La Fontaine’s fable begins with a subtle observation on the crab's backward motion, likening it to a strategic maneuver: "Sometimes wise men, like crabs, / go back, take a path back to the harbor— / this is the method of the shipment." Later, the mother crab admonishes her daughter: "God, what is this way of walking? / Can't you walk straight?" The daughter retorts: "And how do you walk? / How can I walk except the way my family walks? / When everyone in my family walks crookedly, / do you want me to walk straight?" Conclusion This study demonstrates that at least ten of Parvin E’tesami’s poems are likely poetic and artistic adaptations of La Fontaine's fables. In most cases, she has expanded La Fontaine's concise narratives through significant additions to the plot, dialogue, and conclusion, imbuing them with a richer didactic dimension and, at times, moral and mystical insights that surpass those of the original stories. Furthermore, Parvin fully transposes the setting and character of the fables into an Iranian context, integrating them with indigenous intellectual, religious, and ethical teachings. In doing so, she presents wisdom and counsel that firmly situate her work within the tradition of instructive anecdotes in Persian literary history. A final point to consider is that, in keeping with the classic tradition of fable-writing, the dialogues between animal characters are not meant to reflect natural animal speech. Instead, they serve as a vehicle for the poet's own wisdom, with the animals symbolizing various human virtues, vices, and habits. In this vein, Parvin enriched La Fontaine’s relatively simple narratives with diverse, colorful, and instructive dialogues, thereby adding significant artistic depth. While La Fontaine’s style is characterized by conciseness, Parvin’s is distinguished by its artistry. The dialogues in La Fontaine’s fables are notably simple, brief, and devoid of similes, metaphors, or crafted aphorisms. In Parvin’s poetry, however, dialogue becomes the primary arena for her literary craft. Through eloquent and impactful exchanges that highlight contrasting viewpoints on the story's central theme, she artfully guides the reader to recognize the validity of one perspective and the fallacy of the other. از دوران مشروطه، با رونق گرفتن ترجمۀ آثار ادبی جهان به زبان فارسی، بخشی از ادبیات معاصر، تحت تأثیر ادبیات غرب و ترجمه‌های آن قرار گرفت؛ ازجمله بازآفرینی فابل‌ها یا افسانه‌های حیوانات سرودۀ ژان دولافونتن (۱۶۲۱ - ۱۶۹۵م.) شاعر و نویسندۀ نام‌دار سدۀ هفدهم میلادی فرانسه در بخش‌هایی از شعر این دوران، یعنی آثار بهار، پروین اعتصامی، ایرج میرزا و نسیم شمال. این مقاله، با روش تحلیلی، توصیفی و مطالعات تطبیقی و خوانش دقیق دیوان پروین و داستان‌های لافونتن، به این نتیجه رسیده است که به احتمال زیاد، پروین دست کم در ده حکایت خویش، تحت‌تأثیر برخی از داستان‌های لافونتن بوده است. دیگر اینکه به ترجمه و نقل سادۀ داستان‌ها بسنده نکرده و با دخل و تصرف هنرمندانه و خلاقانه در شخصیت‌ها، گفت‌وگوها و ماجراهای داستان و همچنین بسط و گسترش آن‌ها و افزودن اندرزهای زیبای اخلاقی، هم از نظر بلاغت و زیبایی‌شناسی، سطح حکایت‌ها را برکشیده و هم بعد تعلیمی و تأثیرگذاری آن‌ها را با هدف اقناع مخاطب تقویت کرده است. از نوآوری‌های پروین در بازآفرینی حکایات، می‌توان به این موارد اشاره کرد: ذوق مضمون‌یابی و پرورش درون‌مایه‌های داستانی؛ طبیعی جلوه دادن حوادث داستانی؛ خلق گفت‌وگوهای زنده و آموزندۀ شخصیت‌های داستان‌ها، گزینش وزن، واژگان و قافیه‌های مناسب با محتوا و مضمون شعر، طوری که بسیاری از آن‌ها ظرفیت ضرب المثل شدن را دارند؛ درآمیختن آن‌ها با نکته‌های ظریف اخلاقی با زیباترین تعابیر، تشبیهات و استعارات؛ بهره‌گیری از آرایه‌های ادبی ازدواج و موازنه؛ تغییر دادن شخصیت‌های داستان، تغییر دادن درون‌مایه و گفتمان داستان و این‌که در برخی از حکایات مشابه، پیام شعر پروین، اخلاقی‌تر و آموزنده‌تر از حکایات لافونتن است.

https://ltr.atu.ac.ir/article_18024_be85c683696102ff7beaa0746fe39c7d.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 Envy from the Perspectives of Rumi and Adler حسد از دیدگاه مولانا و آدلر 97 124 18329 10.22054/ltr.2025.73858.3719 FA سمیرا اوقانی دکتری زبان و ادبیات فارسی، دانشگاه تهران، تهران، ایران علی محمد موذنی استاد، گروه زبان و ادبیات فارسی، دانشگاه تهران، تهران، ایران Journal Article 2023 05 15 ABSTRACT Jealousy is one of the negative and unpleasant emotions that an individual may experience, and it inflicts the greatest harm upon the envious person themselves. An envious individual is one who wishes for the blessings of others to diminish. As a morally reprehensible trait, envy has long been reflected in Persian language and literature. Iranian poets and writers, as moral guides and teachers of humanity, have utilized this theme to enumerate its detrimental effects. Rumi (Mawlana), in his role as a profound teacher of the 7th century AH, addressed this characteristic extensively. Conversely, the science of psychology, which concerns itself with the virtues, vices, excesses, and deficiencies of human behavior, has also shown considerable interest in this subject. Alfred Adler, the renowned psychiatrist, is among the scholars who have produced valuable work in this area. Employing a descriptive-analytical method and an interdisciplinary approach, this article evaluates the perspectives of Rumi and Adler—two thinkers who examined this phenomenon in different eras and contexts. Among the findings of this research is the common belief shared by both in the root of jealousy: the feeling of inferiority. Introduction Envy is one of the negative and unpleasant emotions humans have faced throughout history, suffering its disagreeable consequences. In essence, envy is a troublesome force that creates difficulties for both the envious individual and the object of their envy. The primary focus of this article is to investigate the causes and psychological roots of envy within the jealous individual. According to standard dictionary definitions, an envious person not only experiences distress at witnessing another's good fortune but also actively desires the diminishment or destruction of that blessing and may devote effort toward that end. Considering the universality of envy as a fundamental human concern, research on the subject spans multiple disciplines. The topic has received significant attention within literary texts, psychology, religious studies, and mysticism. This article investigates the theme of envy across two domains: Persian literature and psychology. Within Persian literature, the motif of envy is extensively reflected. This study specifically examines the perspective of Rumi among classical Persian poets and writers. From the field of psychological theory, it analyzes the views of Alfred Adler. Both Rumi and Adler share common ground regarding the underlying causes and roots of jealousy, as well as potential approaches for its remedy. This article examines the concept of envy—its causes, psychological roots, and potential remedies—from the distinct perspectives of the poet and mystic Jalāl al-Dīn Rūmī (7th century AH) within Persian literature, and the psychologist Alfred Adler (1870–1937) within the field of individual psychology. Jalāl al-Dīn Muḥammad Balkhī, known as Rūmī, was a 7th-century AH poet and mystic. His Masnavi-ye Ma'navi stands as his magnum opus, a work that engages with the full spectrum of contemporary sciences and spiritual thought. Alfred Adler (1870–1937) was an Austrian-Hungarian ophthalmologist, psychiatrist, and neurologist, best known as the founder of the school of individual psychology. Some of his works are as follows: The Practice and Theory of Personal Psychology (1924) Understanding Human Nature (1927) Pattern of Life (1930) The Science of Living (1930) Social Interest: A Challenge to Mankind (1933) This article first presents a general overview of the concept of envy. It then separately outlines the theories of Rumi and Adler regarding its nature and etiology in humans. The analysis reveals a significant point of convergence between the two thinkers in identifying the root cause of envy. Subsequently, remedies and treatments for envy from Rumi’s perspective are examined. The article concludes by synthesizing and comparing Rumi’s insights with Adler’s psychological theory on the subject. Literature Review So far, there has been no independent research based on the opinions of these two characters, Rumi and Adler regarding jealousy. But below are some works that are similar to this topic: Arab, A., and Haghpanah, Y. (2011): Relying on Adler's school of psychology, the authors try to analyze Saalik's poems with an Adlerian approach, based on the proliferation of humiliation in the sick structure of power, which indicates the creation of an inferiority complex and, as a result, a feeling of inferiority. Al-Ghazali, M. (2009): In the second volume of this book, the author has devoted a section to jealousy and its harms and its treatment. Golestani Bakht, T. Zamani (Allah daad), M., & Rahmani Farshbaf, S. (2018: In this article, the author has examined the issue of inferiority complex and compensating for inferiority, which is one of the topics of Adlerian psychology, in Kleider's novel. Golizadeh, P., and Kianchi, N. (2012): This research, by using the concepts of psychology and mythology, is focused on revealing some mysterious aspects of Masnavi Manavi. The psychological analysis of the story of the Romans and the Chinese based on Freud's theories of the individual unconscious, Jung's collective unconscious and archetype of the self, and Jung's and Adler's psychological complexes has been considered in this research. Hemmati, M., and Shirvani Shiri, A. (2021): In this article, the conceptualization of envy in the Holy Qur'an and the origin and consequences of this vice in the individual and social dimensions have been discussed. Ibn Moskawieh, A. (2002): In this book, Ibn Moskawieh has discussed issues related to self-improvement and ways to achieve good morals. Kaluzna Wielobob, A. Wlodzimierz, S., and Jan, C. (2020). Community feeling and Narcissism as two opposite phenomena, Zurich open repository and archive, university of Zurich. This research is a test to measure the link between narcissism and Adler's speciesism theory. Mohammadi, F. (2021): In this article, the author has examined the story of the Jewish king and minister in the Masnavi of Rumi from the psychological point of view of cognitive error and the problems that the bipolar fundamentalist mentality creates in the analysis of problems, which is one of the psychological issues. Mohebi, A (2011): In this thesis, the researcher has investigated the issue of envy from the perspective of Rumi. Anderson, R. E. (2002): The author proves with practical reasons and arguments that clinical studies on jealousy and narrow-mindedness represent biophysical patterns, including the mental, perceptual, cognitive, emotional and intentional functions of these two mental states. Shahabi, A. Sotodian, M. Mohseni, A. Rajabi, M. (2013): In this article, the authors have compared the issue of envy from Saadi's point of view with Adler's view on the issue of envy. Tusi, N. (1985): In this book, Khajah Nasir-al-din Tusi, one of the Iranian scientists, has discussed the causes of envy and its treatment method in a part of the book titled "In the treatment of mental diseases and...". Methodology This article constitutes a fundamental-theoretical study conducted using a comparative analytical method. Each topic was examined and analyzed separately from the perspectives of Rūmī and Adler. The research is based on library studies, utilizing note-taking techniques and the index card method for data collection; the findings were subsequently classified and analyzed. Given that the foundational knowledge of both Persian literature and psychology has been integral to the development of this article, its findings are relevant for students and researchers in both disciplines. Discussion Maulana Jalaluddin Balkhi and Alfred Adler each investigated the concept of envy and the causes of its creation in their own period and field and found its roots. Rumi mentioned several factors as effective factors in the formation of envy, and avoiding these characteristics can be a cure for this reprehensible trait. Among the factors that Rumi considered to be effective in causing envy, one can mention the feeling of lack and inferiority, comparison, forbidden morsel and lack of love. Rumi has also mentioned the consequences for a jealous person, which include avoiding God's mercy and losing the ability to distinguish between good and evil and right and wrong, and preventing them from reaching perfection. Rumi has also mentioned remedies to remove the feeling of jealousy in a jealous person. Among them: humility, avoiding comparison, feeling contentment, and feeling grateful. Alfred Adler, like Rumi, has considered the root of envy in feeling of inferiority, lack and comparison. Conclusion In any detailed investigation of an issue, reaching its root cause is a prerequisite for understanding its depth and formulating a treatment plan. Through their respective examinations of the concept, results, and consequences of envy, both Rūmī and Adler identified its psychological origin in humans. Despite the significant temporal, geographical, and cultural distance between them, they arrived at a strikingly convergent conclusion regarding the source of envy. Both thinkers located its source in a sense of lack and self-deprecation. According to their theories, feelings of inferiority and deficiency in an individual can engender envy. Envy may also arise from the act of comparing oneself with others while overlooking one’s own inherent capacities and blessings. حسادت یکی از احساس‌های منفی و ناخوشایندی است که انسان فاقد کمال و والایی ممکن است در طول زندگی آن را تجربه کند و بیشترین آسیب آن، به شخص حاسد یا رشک‌برنده می‌رسد. حسود یا رشک‌برنده کسی است که خواستار زوال نعمت از صاحب نعمت است. حسد، از انواع صفات نکوهیدۀ اخلاقی است که از دیرباز تاکنون در زبان و ادبیات فارسی انعکاس یافته‌است و شاعران و نویسندگان ایرانی، به عنوان افرادی اخلاق‌مدار و در جایگاه معلم بشریت، با بهره‌جویی از این کلیدواژه، اهتمام بر برشماری آثار سوء آن داشته‌اند. مولانا از جملۀ انسان‌هایی است که در جایگاه معلمی صاحب اندیشه، در قرن هفتم، به این ویژگی پرداخته‌است. از سویی دیگر علم روان‌شناسی نیز که با فضایل، رذایل، فزونی‌ها و کاستی‌های رفتاری انسان‌ها در ارتباط است، به این مقوله توجهی وافی نشان داده‌است. آلفرد آدلر، روان‌پزشک نامی نیز از صاحب‌نظرانی است که در این خصوص آثاری ارزشمند از خود باقی گذارده‌است. این مقاله با شیوۀ توصیفی ـ تحلیلی و با رویکردی بینارشته‌ای، به سنجش آرای مولانا و آدلر، به عنوان دو صاحب‌نظر که در مکان‌ها و زمان‌های مختلف به این مقوله توجه مبذول داشته‌اند، می‌پردازد. از یافته‌های این پژوهش می‌توان به اعتقاد مشترک این دو به ریشۀ حسادت که همانا احساس حقارت است، اشاره کرد. کلید‌واژه: حسد، ادبیات فارسی، روان‌شناسی، مولانا، آدلر.

https://ltr.atu.ac.ir/article_18329_2820ff05c7b7a81b83ed9c861a495341.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 The Reception and Transformation of Mulla Hossein Kashfi’s Mavāheb-e ʿAliyya in Early Safavid Persian Shiʿi Qurʾanic Commentaries: A Comparative Intertextual Analysis بهرۀ برخی مفسّران شیعی از مواهب کاشفی 125 155 15576 10.22054/ltr.2023.68988.3585 FA محمدرضا موحدی دانشیار، گروه زبان و ادبیات فارسی، دانشگاه قم، قم، ایران Journal Article 2022 07 10 Abstract This article examines the reception, adaptation, and transformation of Mulla Hossein Kashfi’s Persian Qurʾanic commentary, the Mavāheb-e ʿAliyya, within early Safavid Shiʿi exegetical literature. Focusing on three major Persian commentaries—Tarjomat al-Khavāṣ by Ali b. Hasan Zavāri (947 AH), Manhaj al-Ṣādeqīn by Mulla Fathallah Kashani (d. 988 AH), and the Tafsir of Sharif Lahiji (d. 1090/1095 AH)—the study demonstrates that Kashfi’s work served as a foundational exegetical matrix for later Shiʿi Persian Tafsir, despite the confessional tensions surrounding his Sunni affiliation. Through a systematic textual comparison, the article argues that Kashfi’s influence extended beyond mere stylistic imitation to fundamentally shape translation practices, interpretive frameworks, and the ethical–mystical vocabulary of Safavid Shiʿi Qurʾanic discourse. Keywords: Mavāheb-e ʿAliyya; Hossein Kashfi; Persian Shiʿi Tafsir; Safavid Qurʾanic Exegesis; Intertextuality; Qurʾanic Translation. Introduction Mulla Hossein Vaʿez Kashfi (d. 910 AH) occupies a pivotal yet ambivalent position in the intellectual history of Persian Islamic literature. A prolific author of the late Timurid period, Kashfi produced works spanning Qurʾanic exegesis, ethics, mysticism, and literary prose, many of which enjoyed sustained circulation well into the Safavid era. Among these, his Mavāheb-e ʿAliyya—a concise Persian commentary on the Qurʾan completed between 897 and 899 AH—achieved exceptional popularity across the Persian-speaking Islamic world. The Safavid adoption of Twelver Shiʿism as the state religion, however, introduced new doctrinal boundaries that complicated Kashfi’s reception. His perceived Sunni orientation rendered his works theologically suspect in certain Shiʿi scholarly circles, prompting both criticism and selective appropriation. Nevertheless, manuscript evidence and later Persian commentaries reveal that the Mavāheb-e ʿAliyya remained an indispensable exegetical reference throughout the Safavid period. This article addresses a critical gap in scholarship by examining how Shiʿi commentators of the Safavid era engaged with Kashfi’s Tafsir in practice, moving beyond mere assessments of his confessional identity. It investigates how Kashfi’s language, exegetical strategies, and mystical sources were transmitted, modified, or reframed within Shiʿi Qurʾanic discourse, and what this process reveals about the dynamics of continuity and transformation in the Persian Tafsir tradition. Literature Review Existing scholarship on Kashfi has primarily focused on biographical reconstruction, bibliographical surveys, or debates concerning his sectarian affiliation. While these studies have clarified the scope of his oeuvre and its diffusion, they have rarely examined the concrete mechanisms through which his exegetical writings informed later Shiʿi tafsirs. Studies of Persian Qurʾanic translation and exegesis—most notably those by Āzarnoush and Iyāzi—have noted verbal and stylistic parallels between Mavāheb al-ʿAliyya and Safavid commentaries such as Tarjomat al-Khavāṣ and Manhaj al-Ṣādeqīn. However, these observations are generally presented as peripheral remarks within broader surveys and have not been systematically theorized as evidence of deep intertextual dependence. Moreover, encyclopedic treatments of Shiʿi tafsir tend to emphasize doctrinal distinctiveness, often overlooking the extent to which Shiʿi exegetes inherited and reworked earlier Persian Sunni or ecumenical traditions. As a result, the role of Mavāheb al-ʿAliyya has remained under-theorized, frequently reduced to a stylistic influence rather than recognized as a structural and conceptual foundation. This study contributes to the field by foregrounding Kashfi’s tafsir as a central intertext in early Safavid Shiʿi exegesis and by analyzing the diverse strategies through which later commentators negotiated its authority. Methodology The research adopts a comparative intertextual approach, combining close textual analysis with source criticism. Three representative Safavid-era Persian commentaries were selected based on chronological proximity to Kashfi, exegetical significance, and demonstrable engagement with Mavāheb al-ʿAliyya: Tarjomat al-Khavāṣ by Ali b. Hasan Zavāri Manhaj al-Ṣādeqīn and its abridgment by Mulla Fathallah Kashani The Persian tafsir of Sharif Lahiji Selected Qurʾanic passages were compared across these works with attention to: Lexical and syntactic features of Qurʾanic translation Structural organization of exegetical units Incorporation of mystical authorities and ethical narratives Citation practices and degrees of attribution Patterns of omission, adaptation, and ideological reframing This method allows for distinguishing between explicit citation, implicit borrowing, and editorial transformation, thereby illuminating varying modes of reception and reinterpretation. Conclusion The analysis demonstrates that Mavāheb al-ʿAliyya exerted a profound and sustained influence on early Safavid Shiʿi Persian tafsir. Zavāri’s Tarjomat al-Khavāṣ emerges as the closest textual heir to Kashfi, reproducing large portions of his translations and exegetical formulations while supplementing them with Shiʿi traditions. Kashani’s Manhaj al-Ṣādeqīn, though more expansive and explicitly Shiʿi in orientation, likewise relies heavily—often without attribution—on Kashfi’s language, mystical sources, and interpretive frameworks. Lahiji, by contrast, represents a more selective and critically mediated engagement, acknowledging Kashfi while integrating his material within a stricter Shiʿi hermeneutical framework. These findings challenge rigid sectarian models of intellectual history and highlight the permeability of exegetical traditions in early modern Iran. Kashfi’s tafsir was not merely tolerated but actively appropriated, reshaped, and redeployed within Shiʿi scholarship. Recognizing this layered reception allows for a more nuanced understanding of Persian Qurʾanic exegesis as a cumulative and dialogical tradition that transcended confessional boundaries while negotiating them from within. فهرست بلندی از تفاسیر شیعیِ فارسی که از ایران عهد صفوی تاکنون به نگارش درآمده، گواه بر تأثیری است که ملاحسین کاشفی از طریق تفسیر مواهب علیّه بر آنها داشته است. در این مقاله، با تکیه بر سه تفسیر دورۀ صفوی که به زمان تألیف مواهب و مؤلّف آن نزدیکتر بودهاند، این بهرهگیری‌ها پیگیری شده است. تفاسیری چون: تفسیرترجمة الخواص یا تفسیر زوارهای از علی بن حسن زوارهای (نگارش در 947 هجری). تفسیرمنهج‌الصادقین تألیف ملافتح‌الله کاشانی (م. 988 ق.) و خلاصۀ آن. تفسیر شریف لاهیجی اثر شیخ محمد بن شیخ علی لاهیجانی (م. 1090 یا 1095 ق.) آنچه در این پژوهش به شیوۀ مطالعۀ تطبیقی بر چند متن ادبی – دینی، رخ می‌نمایاند این است که با توجه به حضور پیدا و پنهان مواهب در ترجمۀ الخواص، می‌توان سهم تفسیر کاشفی را در اثر تفسیریِ زوارهای، بیش از سایر مآخذ دانست، با این امتیاز که در عین اعتدال مذهبی، در مواردی که از کاشفی نقلِ با مأخذ می‌کند، جانب انصاف و ادب را نیز پاس می‌دارد؛ اما فتحالله کاشانی در منهج، با اینکه در بخش ترجمۀ آیات و ذکر اقوال اخلاقی یا عرفانی در تفسیر، بسی بیش از زوارهای، به مواهب علیه اتّکا داشته و منقولات مواهب را در منهج درج کرده است؛ اما نسبت به کاشفی کملطفیها داشته است. همچنین غیر از تفسیر لاهیجی، در بسیاری دیگر از تفسیرهای نگارش یافته در این دوره، نقش پای مواهب کاملاً مشهود است.

https://ltr.atu.ac.ir/article_15576_0065ed31391a70bd5ded0246875a679d.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 Analyzing the Myth of Fairies in Bakhtiari Folk Literature and Literary Texts: Shahnameh and Samak-e Ayyar تحلیل اسطورۀ پریان در ادبیات عامه بختیاری و متون ادبی (شاهنامه و قصّۀ سمک عیار) 156 181 17924 10.22054/ltr.2024.76386.3771 FA محمود آقاخانی بیژنی استادیار، گروه زبان و ادبیات فارسی، دانشگاه یاسوج، یاسوج، ایران نجمه درّی استاد، گروه زبان و ادبیات فارسی، دانشگاه تربیت مدرس، تهران، ایران Journal Article 2023 10 23 Abstract Bakhtiari people consider fairies to be beautiful and charming creatures that appear to young people, often in the woods at night, and cause them harm. This belief leads mothers to prevent young people from going to forests or gardens near springs at night. To protect them, they sometimes tie a green charm to their children's arms as a talisman. Fairies are assumed to belong to the family of jinn, and a young person captured by them is said to have been "taken by a fairy." In traditional Bakhtiari narratives, fairies have a dual nature: on the one hand, they are described as very beautiful and enchanting, while on the other, any contact with them is associated with harm and danger. The present paper aims to study the depiction of fairies in Bakhtiari folk culture and in classical Persian literature such as the Shahnameh and Samak-e ʿAyyār. It also examines the representation of fairies' appearance, their autonomy, and the reasons behind their manifestation to and enticement of young people. This research was conducted using a descriptive-analytical method, with data gathered from both library and field sources. The analysis suggests that the beauty of fairies and their association with gardens and groves reflect ancient Iranian beliefs, which have been preserved in Bakhtiari thought. Furthermore, their cunning nature and harmful influence on youth are rooted in Zoroastrian ethics, which often portray fairies with negative traits. Many aspects of this belief—such as fairies expressing love for youths and warriors, causing harm, and their connection to the night—are traceable to the Avesta. Additionally, in the context of a hunter-gatherer society, certain parallels can be drawn between the beauty and transformative nature of fairies and their portrayal in Ferdowsi’s Shahnameh and the Tale of Samak-e ʿAyyār. . Keywords: Popular culture, Bakhtiari people, ancient goddesses, fairies, fantasy elements. Introduction The belief in fairies is a cultural manifestation of mythical thought within the folk culture and literature of the Bakhtiari people. These creatures possess a dual nature, endowed with both positive attributes (captivating beauty, abundant treasure) and negative ones (deception, harm toward the young). This reflects a contrasting, binary perception that renders fairies simultaneously alluring and alarming. Etymologically, the word "fairy" (pari) is derived from the Avestan term "pairikā." Elements such as the fairies' beauty, their ability for self-conception, their connection to verdant environments, their mobility, and their mortality can all be traced to deep-seated Iranian myths and the worship of goddesses. The veneration of fairies as fertility goddesses is associated with ancient eras and specific regions in eastern Iran. This practice was condemned and suppressed with the rise and dominance of the Zoroastrian religion and its accompanying cultural reforms. However, the underlying beliefs have persisted and continue to survive within folk culture. It is significant that this duality in the character and nature of fairies is consistently represented in Persian literary texts such as the Shahnameh and Samak-e ʿAyyār, even following the region's conversion to Islam. Literature Review Despite extensive research on the folk culture and literature of the Bakhtiari people and their representation in the tale of Samak-e ʿAyyār, a significant gap remains: the study of the appearance of fairies and the concept of self-pregnancy in both Bakhtiari culture and the Samak-e ʿAyyār narrative. This paper aims to address this specific inquiry. While the theme of self-pregnancy in fairies has been explored in relation to Ferdowsi’s Shahnameh—notably in studies such as “Who is Tahmine?” (Mokhtarian, 1392), “A Hypothesis on Siyavash’s Mother” (Aydinlo, 1388), “An Analysis of the Self-Pregnancy of Fairies in the Lyrical Tales of the Shahnameh” (Agakhani Bizhani et al., 1397), and “Fairy: A Study in Comparative Mythology” (Sarkarati, 1393)—these works, though valuable, have not bridged the aforementioned gap. Therefore, this paper will also draw upon relevant verses from the Shahnameh to substantiate its findings. This approach is necessary because certain key topics remain unexamined: the tale of Zal and Rudabeh and the role of Rudabeh’s maids in the manifestation of fairies, the epic dimensions of the Shahnameh passages concerning fairies, and the specific narratives linking fairies to hunting and warfare within Bakhtiari culture. It is these interconnected areas that the present study seeks to investigate. Methodology This is a descriptive-analytical study based on a field-library approach. We conducted field interviews and collected eight narratives about fairies from the Bakhtiari people. The majority of narrators were women over the age of sixty, primarily because they view fairies as adversaries who may deprive them of their children or husbands. Each interview averaged between twenty and twenty-five minutes. It should be noted that, due to the belief that fairies are a type of jinn, approximately thirty potential narrators—including mullahs—declined to be interviewed out of fear of being harmed. The interviews were collected in cities such as Falard, Lordegan, and Ardal, located in the Chaharmahal va Bakhtiari province. Discussion The role of fairies is deeply rooted in ancient beliefs. Initially regarded as deities, they were later demoted from their divine status due to religious shifts and came to be perceived as thieves, witches, devils, or jinn. In Iranian lore, a fairy is typically portrayed as an enchantingly beautiful yet demonic and foreign woman who seduces the hero—often a religious one. Nevertheless, the mythical essence of fairies remains pervasive within Bakhtiari culture. This persistence can be attributed to the dynamic nature of myths in this community, their nomadic lifestyle, the continuation of traditional rituals, and the cultural prominence of hunting. The representation of fairies in the folk literature and culture of the Bakhtiari people depicts them as beautiful and charming women who appear to young people in the evening or at night. Even during daylight, young people out hunting may become ensnared by fairies. They are said to reside near rivers, in woods, and in gardens close to springs. Described as exceedingly beautiful, they also possess wealth and treasure, which they use to deceive and enchant the young. Fairies are considered a type of jinn and may sometimes appear in the form of a gazelle or a pigeon. If a young person becomes enamored by fairies, they are referred to as jenni (jen-zadeh or pari-zadeh). In such cases, both the affected youth and their family may be harmed by the fairies. This is why young people are warned against going to woods and rivers in the evening or late at night. To protect them from fairy harm, families sometimes wrap wolf’s fur, salt, pecan, alum (zāj), and grain in a green cloth and tie it to the young person’s arm. This charm is also believed by some to bring wealth. The predominant view of fairies in Bakhtiari culture involves a dualistic perspective, attributing to them both good and evil traits. Consequently, they are regarded as neither purely Muslim nor entirely unbelievers (kuffār), but rather beings that occupy an ambiguous, in-between status. Conclusion The analysis of fairies in the folk culture and literature of the Bakhtiari people suggests that these narratives serve as an influential medium for educating and guiding generations through fundamental educational, moral, and ritualistic teachings. One reason for this is that the stories, like the epic narratives of the Shahnameh, carry warnings and threats for adults—such as the destruction of a tribe—while for the young, they convey more immediate dangers like becoming lost, straying from home, or being ensnared by fairies. This dual representation of fairies is also reflected in literary works such as the Shahnameh and Samak-e ʿAyyār. In Bakhtiari culture, hunting holds significant importance as a symbol of power and warrior identity, which contributes to the persistence of fairy lore. To the Bakhtiari, fairies are depicted as exceptionally beautiful and charming women who appear to young people in the evening or at midnight near woods, gardens, and rivers, attempting to enchant them. Their captivating appearance is the primary reason youths become entranced, and even in lyrical poetry, beloved figures are often compared to fairies. Fairies possess the ability to metamorphose, appearing in forms such as an antelope or a pigeon to lure the young. Any contact with fairies is believed to bring harm, and an enchanted youth is said to become jenni (fairy-struck). In this culture, if a young person fathers a child with a fairy, the child, the parent, or even the entire family may face severe misfortune. Some sources classify fairies as jinn, reflecting Zoroastrian religious views toward these beings. The perceived danger of interacting with fairies has led the Bakhtiari to strictly forbid their youth from any such contact. Similar beliefs regarding fairies can be observed among the Boyer-Ahmadi people, owing to their shared habitation with the Bakhtiari around Mount Dena. مردم بختیاری، پریان را موجوداتی زیبارو میدانند که در شب و اغلب در بیشهزارها بر جوانان ظاهر میشوند و به آنان آسیب میرسانند. موضوعی که سبب شدهاست تا مادران از رفتن جوانان در شب به بیشهزارها و باغهای اطراف چشمهها جلوگیری کنند یا برای جلوگیری و رهایی از چنین آسیبهایی، بستهای سبزرنگ را به نشانه بلاگردانی به بازوی آنان ببندند. آنان پریان را از جنها میدانند و جوانی که اسیرشان شود را «پریزده» یا «جنزده» میگویند. در روایات مردم بختیاری، پریان سیمایی دوگانه دارند؛ از یک‌سو بسیار زیبارو هستند و از سوی دیگر، پیوند با آنان مساوی با آسیب است. هدف این پژوهش، تحلیل سیمای پریان در فرهنگ و ادب عامه بختیاری و متون ادبی ازجمله شاهنامه و سمک عیار است. بیان ویژگیهای صوری، خویشکاری و چرایی حضور و دلربایی از جوانان از دیگر اهداف پژوهش است. این پژوهش به شیوه کتابخانهای ـ میدانی و به روش توصیفی ـ تحلیلی انجام شدهاست. تحلیل موضوع پژوهش با یاری‌گرفتن از منابع گوناگون نشان میدهد که زیبارویی و حضور در باغها و بیشهزارها، یادگاری از سیمای پریان در دوران ایران باستان است که در اندیشه و باور مردم بختیاری نمود یافتهاست. مکار بودن و آسیبزدن به جوانان مربوط به اخلاق دین زرتشتی است که پریان را منفی قلمداد کردهاست. بسیاری از نمودهای این باور ازجمله ابراز عشق به جوانان و جنگجویان، آسیبزدن به آنان، پیوند با شب و غیره ریشه در اوستا و ازلحاظ جامعه شکارگری، زیبارویی پری، پیکرگردانی آن‌ها و غیره مشترکاتی با شاهنامه فردوسی و قصه سمک عیار دارند.

https://ltr.atu.ac.ir/article_17924_d322ccc51e5b3639149382503ff655f3.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 The Trajectory from Neurosis to Psychosis: Applying Freudian Psychoanalysis to Surrealist Fiction خوانش فرویدی سیر روان‌رنجوری تا روان‌گسیختگی در داستان‌های سوررئال 182 209 17352 10.22054/ltr.2024.76887.3783 FA ثمین کشاورز دانش‌آموختۀ دکتری زبان و ادبیات فارسی، دانشگاه بیرجند، بیرجند، ایران ابراهیم محمدی دانشیار، گروه زبان و ادبیات فارسی، دانشگاه بیرجند، بیرجند، ایران زینب نوروزی دانشیار، گروه زبان و ادبیات فارسی، دانشگاه بیرجند، بیرجند، ایران Journal Article 2023 11 22 ABSTRACT The remarkable similarities between surrealist fiction and certain mental disorders are notable. In surrealist works, a wide range of psychopathological symptoms are recurrently depicted in a cyclical manner, allowing one to argue that the narrator in such texts is often a subject moving from neurosis into psychosis through their encounter with the surrounding world. Drawing on Freud's theories on the origins of psychopathology and its parallels in surrealist fiction, this research argues that the cause of these similarities lies in the shared origin and manifestation of such disorders and the deep structure of dreams. While the fusion of creativity and madness—in the sense of pathology—can be instrumental in producing surrealist works, the depiction of mental symptoms in these texts does not necessarily have a pathological intent and may instead arise from the textual centrality of dream logic. Whether the madness portrayed is real—the result of illness, as in Aurelia and Nadja—or emerges from structural similarities and shared foundations with dreaming, as in The Blind Owl and Gavkhouni, both forms are mirrored similarly within surrealist narratives and serve to amplify the creative and artistic dimensions of the fiction. Introduction The unstable conception of art—and by extension, literature—in the twentieth century emerged largely in response to rapid scientific advancement and the growing tensions between classical rationalism and empirical reality. Surrealism, positioning itself as a movement committed to transforming humanity’s understanding of the real, sought to establish a new mode of perception by liberating thought from conventional constraints. In doing so, it opened an alternative path toward human self-awareness—one that drew extensively from Sigmund Freud’s emerging theories of the psyche. Freud’s psychoanalytic framework revealed that many contradictions manifesting in the external world originate in intrapsychic conflict. He argued that the excessive regulatory function of consciousness—aimed at enforcing conformity to social and environmental norms—results in the repression of instinctual drives. This repression, in turn, intensifies the accumulation of such drives within the unconscious, generating a mounting tension between consciousness and the unconscious. When this tension culminates in the irruption of unconscious contents into conscious awareness, it may manifest as a range of psychological disturbances—from neurosis to psychosis and, in extreme cases, psychic disintegration or madness. In Surrealist fiction, the narrator’s condition often mirrors the intrusion of unconscious processes into narrative structure. Unconscious motivations are represented in ways that closely parallel the symptoms and dynamics of actual psychological disorders. Given the pervasive presence of such disorders in Surrealist texts, and the insight that analyzing their origins and manifestations offers into the structural and thematic complexity of these works, this study seeks to facilitate a more nuanced interpretation of Surrealist fiction by formulating and addressing key questions in this domain. Literature Review Due to the profound and inherent connection between psychoanalysis and literature, many studies have adopted an interdisciplinary approach to investigate the representation of mental disorders in literary works. Recent research on this subject has often been presented in article form. For instance, in "Neurotic Characters in the Stories of Gholamhossein Saedi" (Maryam Seyedan, 2012), the author demonstrates how Saedi draws on his psychological knowledge to explore the psychological conflicts and mental disorders of his contemporaries through his fiction. Similarly, in "A Lacanian Reading of Psychosis in The Blind Owl" (Fatemeh Heidari and Maysam Fard, 2019), the authors examine the mental disturbances resulting from the narrator's departure from the Symbolic order and entry into the Real, as well as the resulting privations in the narrator's behavior in The Blind Owl. Additionally, Hamed Yazdkhasti and Foad Moludi (2011), in their article "A Freudian Reading of the Novel Gavkhouni," analyze the manifest and latent aspects of dreams from a Freudian perspective and their function in the deep and surface structures of the fiction. These are among the most significant studies conducted in this field. What distinguishes the present research from prior work is that existing studies have typically focused either on the author's role in the fiction's analysis or have separately examined psychological elements within specific literary works. Thus far, no study has contextually investigated the causes and functions of mental disorders in surrealist fiction without resorting to character-based psychoanalysis. Moreover, no research has been conducted on the function of mental disorders in surrealist works grounded specifically in Freudian theory. Methodology In this research, to investigate the representation of psychological disorders in surrealist works, four generally agreed-upon surrealist texts were selected: The Blind Owl by Sadegh Hedayat, Gavkhouni by Modarres Sadeghi, Aurelia by Gérard de Nerval, and Nadja by André Breton. Using an interdisciplinary comparative literature approach and grounded in Freudian theory, the symptoms of psychological disorders are analyzed in these works through descriptive and analytical methods. Finally, by referring to relevant textual examples, the function of such disorders within the surrealist school is demonstrated. Conclusion According to Freudian theory, this research demonstrates that dreams and mental disorders share a common origin. Repressed unconscious impulses manifest either as dreams or as symptoms of psychological disorders. The severity of this manifestation determines whether symptoms appear as neurosis or psychosis, a spectrum observable both within dreams and in lived reality. Due to the central role of dreams in surrealist works and the shared distortion of reality in both dreaming and psychopathology, a behavioral similarity emerges between psychotic madness and the dream-state of narrators in these fictions. Consequently, many actions in surrealist texts that appear psychotic are not necessarily driven by clinical symptoms but are instead shaped by the structural logic of the dream. In these works, as the narrative progresses from neurotic or brief psychotic episodes toward full psychosis, the frequency of disordered symptoms increases. This progression is intentional, as the aim within surrealism is often a deliberate engagement with madness. Since both madness and creative thought share a nature of absolute imaginative freedom and a common psychological origin, surrealism harnesses madness as a creative tool to access all facets of reality, both visible and hidden. It is crucial to note, however, that despite fundamental similarities, there are key differences between clinical insanity and the artistic simulation of madness in surrealism. The process of a patient's psychosis is characterized by pure introversion, severing ties with the external world. In contrast, surrealist art maintains a dual polarity; its extroverted tendencies temper its introverted propensity. Therefore, unlike the clinical patient, the surrealist artist retains a pathway back to shared reality. Furthermore, in mental disorders, the door to the subconscious opens involuntarily for the patient, whereas the surrealist voluntarily accesses subconscious material through the deliberate invocation of dream logic. Ultimately, surrealism welcomes madness in both forms—whether willfully simulated or arising from genuine illness—provided the artist can harness it creatively. Both forms are valued for their capacity to reveal what lies hidden behind conventional reality. Thus, whether the disordered elements in a text stem from the logic of the dream, as in Gavkhouni and The Blind Owl, or from the author's own psychological state, as with Nerval's and Nadja's conditions reflected in Aurelia and Nadja, they perform the same function and are represented in an equivalent manner within the surrealist framework. فروید با تشریح ساختار ذهن و تبیین چارچوب نوینی از کارکرد روان آدمی نشان داد که میان برهمکنش تکانه‌های ناخودآگاه و اختلالات روانی رابطهای دوسویه برقرار است. از آنجاکه ناخودآگاه محوری مهم‌ترین اصل در داستانهای سوررئال به شمار میرود؛ مشابهتهایی میان این آثار با اقسام اختلالات روانی به چشم می‌خورد که قابل توجهاند. به تعبیر دیگر در داستانهای سوررئال طیف وسیعی از نشانههای اختلالات روانی در چرخهای مدور بازتکرار میگردند و میتوان گفت راوی در این قسم آثار، سوژهایست که در مواجهه با جهان پیرامون خود از روانرنجوری به روانگسیختگی می‌رسد. این پژوهش با تکیه بر یافتههای فروید به منظور پرداختن به منشأ پیدایش اختلالات روانی و وجوه تشابه آن در داستانهای سوررئال، نشان میدهد که عامل این مشابهتها اشتراک در منشأ و نحوهی بروز این اختلالات و ژرف ساخت رؤیا است؛ از این رو اگرچه ترکیب خلاقیت و جنون در معنای بیماری میتواند دستمایهی خلق آثار سوررئال گردد؛ لیکن انعکاس نشانههای اختلالات روان در این آثار لزوماً جنبهی بیمارگونه نداشته و میتواند ناشی از رؤیامحوری متن باشد. همچنین تبلور جنون و نشانههای آن در این آثار، چه از نوع حقیقی و عینی آن باشد، همان‌گونه که در داستانهای اورلیا و نادیا مشاهده میشود و چه صرفاً ناشی از مشابهتها و اشتراکات اساسی رؤیا و جنون باشد، همچنانکه در داستان‌های بوف‌کور و گاوخونی به چشم میخورد؛ هر دو قسم آن به یک نحو در داستانهای سوررئال منعکس گشته و موجب تشدید جنبههای خلاقانه و هنری داستان میگردند.

https://ltr.atu.ac.ir/article_17352_09e75fd13b023b6144eb3c26583a62c9.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 An Analysis of Religious Shahrāshub in Classical and Contemporary Persian Poetry تحلیل شهرآشوب دینی در شعر سنتی و معاصر فارسی 210 236 17831 10.22054/ltr.2024.78157.3814 FA سجاد فرخ نژاد دانشجوی دکتری رشته زبان و ادبیات فارسی، دانشگاه لرستان، خرّم‌آباد، ایران محمدرضا روزبه دانشیار، گروه زبان و ادبیات فارسی، دانشگاه لرستان، خرّم‌آباد، ایران علی نوری خاتونبانی دانشیار، گروه زبان و ادبیات فارسی، دانشگاه لرستان، خرّم‌آباد، ایران Journal Article 2024 02 12 Abstract The religious shahrāshub represents a nuanced form of critique within both classical and contemporary Persian poetry. Traditionally, shahrāshub has been categorized into three types: urban, vocational, and political. However, given its objective—to challenge established structures and deviate from societal norms, laws, and cultural practices—the genre logically extends to include religious dimensions. This observation necessitates a reconsideration of existing classifications. The religious shahrāshub is defined by a range of poetic objectives, including the critique of the conduct and perspectives of religious figures and adherents across various faiths and denominations. Through this medium, poets raise pointed questions that highlight shortcomings and contradictions in the behavior and proclamations of religious claimants, or they directly challenge religious doctrines. This research employs content analysis and library-based methods to explore and analyze religious shahrāshub in Persian poetry. The findings reveal that this motif has consistently engaged Persian-speaking poets. Both classical and contemporary practitioners have incorporated it into their work, driven by varied motivations. These include intellectual skepticism, unconscious psychological impulses, personal characteristics such as a desire for renown, responses to broader societal challenges, and direct opposition to specific religious doctrines or their proponents—often despite the poets' own underlying religious convictions. Keywords: Shahrāshub, Classical Poetry, Contemporary Poetry, Persian Literature. Introduction Shahrāshub is a literary genre utilized by poets and writers for a variety of political, social, cultural, and occasionally personal purposes. Previously, scholarship has categorized shahrāshub into three primary types: occupational, urban, and political. This study proposes a significant expansion of this taxonomy by introducing a fourth category: Religious Shahrāshub, evidenced in both classical and contemporary Persian literature. Consequently, shahrāshub can be redefined as a literary genre—employed in both poetry and prose, whether seriously or satirically—that presents concepts challenging and conflicting with dominant religious, legal, cultural, and social norms. Its function is to provoke the audience's emotions and elicit overt or subtle reactions. Based on this refined understanding, shahrāshub can be classified into three overarching types: religious, social, and political. In this new framework, Religious Shahrāshub is established as a core category, while Occupational Shahrāshub is examined as a distinct subset of the broader Social Shahrāshub classification. Religious Shahrāshub can be subdivided into three distinct branches: skeptical, critical, and atheistic. In Skeptical Religious Shahrāshub, the poet deliberately sows doubt concerning the fundamental tenets of faith. Critical Religious Shahrāshub involves the poet's censure or disapproval of specific religious issues, practices, or secondary doctrines. Atheistic Religious Shahrāshub represents a fundamental rejection of religion, wherein the poet envisions a world entirely devoid of divine presence. Addressing religious themes in a manner that ostensibly contradicts orthodox teachings is inherently provocative and can stir significant turmoil within an audience. When such expressions are direct and explicit, they are particularly potent, often inciting strong reactions from the faithful. Literature Review Currently, there is a notable gap in the literature specifically dedicated to Religious Shahrāshub, as this distinct category has not yet been extensively studied. The initial scholarly discourse and analysis of the shahrāshub genre as a whole, however, originated in the Indian subcontinent. Pioneers in this field include scholars such as Seyed Abdullah (author of Bahar-e Ajam) and Dr. Ghulam Hussain Jaffari. In Iran, the first dedicated study of shahrāshub was undertaken by Mohammad Jafar Mahjoub, initially published in Ketab-e Hafteh and later presented more systematically in his work The Khorasani Style in Persian Poetry. A particularly significant contribution to the field was made by Ahmad Golchin Ma'ani, who compiled prominent examples from Persian literature and provided analysis and categorization of different types. His work has become a foundational reference for subsequent studies, influencing key texts such as Literary Techniques by Sirus Shamisa and the writings of Mansour Rastgar Fasaei, Hossein Razmjoo, and Manouchehr Daneshpajouh. Beyond these major works, the subject has also been explored in various specialized articles and academic theses. Research Methodology This study examines Religious Shahrāshub in Persian poetry through a content analysis of library sources. The research begins by presenting a detailed categorization of the genre, followed by illustrative examples drawn from both classical and contemporary poetry. The selected poets are notable for their deliberate departures from traditional religious standards and their challenges to social norms. However, this research also demonstrates that poets without a reputation for such rebellion can, at times, produce verses that inadvertently—or at least ostensibly—conflict with established religious concepts. By analyzing these instances, the study reveals how Religious Shahrāshub can emerge even in the absence of conscious intent, broadening our understanding of the genre's scope and expression. Conclusion The research findings indicate that Religious Shahrāshub—a category previously overlooked by critics—has long been present within Persian poetry due to the complex interplay between religion and Iranian society. Poets have engaged with this genre for diverse reasons, reflecting their artistic sensibilities and intellectual perspectives. The quatrains attributed to Omar Khayyam represent some of the most philosophically rich and religiously provocative shahrāshub poetry, characterized by insights that resonate with a modern hedonistic worldview. From the perspective of Religious Shahrāshub, Hafez’s poetry can be interpreted as a lyrical and symbolic continuation of Khayyam’s skeptical stance. In contemporary poetry, the tradition manifests in three distinct forms: skeptical, critical, and atheistic. Some works critically address specific religious mandates, such as the Hijab. Others offer critiques of divine creation, with notable examples by poets like Mirzadeh Eshghi and Mo'ini Kermanshahi. Another category expresses profound doubt regarding the existence of a Creator, seen in the works of poets such as Mehdi Akhavan Sales, Forough Farrokhzad, and Sohrab Sepehri. Finally, an explicitly atheistic strain of shahrāshub declares the absence of a deity, acknowledges multiple gods, or dismisses foundational concepts such as resurrection. This form is powerfully exemplified in the poetry of Ahmad Shamloo and Forough Farrokhzad. شهرآشوب دینی یکی از انواع شهرآشوب است که در شعر شاعران سنتی و معاصر مشاهده می‌گردد. از دیرباز شهرآشوب را در سه دسته‌ی شهری، صنفی و سیاسی تقسیم‌بندی کرده‌اند؛ امّا به نظر می‌رسد شهرآشوب به لحاظ هدف و موضوع خود که در معنی شکستن ساختارها، خارج شدن از عرف، قانون و فرهنگ است، می‌تواند انواع دیگری ازجمله گونۀ دینی نیز داشته باشد. و بر این اساس ارائۀ تقسیم‌بندی جدید از شهرآشوب ضرورت دارد. شهرآشوب دینی گونه‌ای از شهرآشوب است که در آن شاعر، با اهداف مختلف ازجمله نقد رفتار و موضع مبلغان و پیروان ادیان و مذاهب مختلف، پرسش‌هایی را طرح می‌کند که نشان‌دهندۀ ضعف و خطا در رفتار و گفتار پاره‌ای از مدعیان دین‌داری و دین‌مداری است یا اینکه سخنی در تعارض با مفاهیم دینی می‌گوید. در این پژوهش با روش تحلیل محتوا و استفاده از منابع کتابخانه‌ای شهرآشوب دینی در شعر فارسی بررسی و تحلیل شده است. یافته‌های پژوهش نشان می‌دهد که شهرآشوب دینی در شعر فارسی همواره مورد توجه شاعران فارسی‌گو بوده است و شاعران سنتی و معاصر از دیرباز تاکنون گاهی از این نوع شهرآشوب استفاده کرده‌اند. اینکه چرا شاعران باوجود پذیرش دین گاهی از شهرآشوب دینی در شعر خود استفاده می‌کنند نیز دلایل زیادی دارد؛ گاهی کنجکاوی و تردید ذهنی شاعر از بعد فلسفی و گاهی کُنش ناخودآگاه از بعد روانشناختی و گاهی ویژگی‌های شخصیتی مانند: شهرت‌طلبی و ...، گاهی مشکلات اجتماعی. گاه نیز ممکن است ضدیت یا مخالفت با دین و کارگزارانی که دین را معرفی می‌کنند باعث این جهت‌گیری‌ها شود.

https://ltr.atu.ac.ir/article_17831_8ca3402c6de0838f5a89a7b38132d5d7.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 An Evaluation of Textual Variants in the Sarajevo Golestan Manuscript (713 AH / 1313 CE) سنجش پاره‌ای از ضبط‌های گلستان سعدی در نسخۀ مورّخ 713 سارایوو 237 275 18729 10.22054/ltr.2025.80678.3869 FA غلامرضا سالمیان استاد، گروه زبان و ادبیات فارسی، دانشگاه رازی، کرمانشاه، ایران منیر درکیچ استاد، گروه زبان و ادبیات فارسی، دانشگاه سارایوو، سارایوو، بوسنی و هرزگوین Journal Article 2024 07 03 ABSTRACT A manuscript of Saadi's Golestan, dated 713 AH (1313 CE) and held in the Gazi Husrev Beg Library in Sarajevo, is considered the world's third oldest dated copy of this work. However, given the significant doubts surrounding the authenticity of the two older manuscripts—one attributed to Yaqut Musta'semi (668 AH) and another preserved at the Tajik Academy of Sciences (dated between 691 and 726 AH)—the Sarajevo manuscript emerges as the oldest verifiably authentic copy of the Golestan. With the aim of evaluating the textual characteristics of this manuscript, this article examines a selection of its variants and compares them with other manuscripts and modern critical editions. For this purpose, examples from earlier editions that have drawn scholarly criticism are contrasted with the readings found in the Sarajevo manuscript. The analysis demonstrates that, based on the established principles of textual criticism, the majority of textual variants in the Sarajevo Golestan are authentic and reliable. Consequently, as an old and authoritative witness, this manuscript should serve as a foundational source for future critical editions of the Golestan. Introduction Numerous manuscripts of Saadi’s Golestan are preserved in libraries worldwide and have been consulted by scholars in the preparation of critical editions. The value and textual authority of an edition depend significantly on the accuracy of its base manuscripts; generally, the older the manuscript, the more valuable it is for critical work. Consequently, scholars of the Golestan have sought to identify and utilize the oldest available copies. The most notable early manuscripts include: A copy of Saadi’s collected works held in the Golestan Library in Tehran, reportedly transcribed by the calligrapher Yaqut Mustaʿṣami and dated Ramadan 668 AH (1269 CE). However, as the colophon is illegible, its attribution has been met with scholarly skepticism (Lewis, 2012: 79–86). A copy of Saadi’s collected works preserved in the Library of the Tajik Academy of Sciences in Dushanbe, which contains several conflicting dates in different sections, casting doubt on its overall authenticity. Among somewhat later manuscripts are a copy in the Martin Bodmer Foundation in Geneva, transcribed by ʿAbd al-Ṣamad Beyżawi in 720 AH (1320 CE); a copy in the India Office Library in London dated 728 AH (1328 CE); and another in the Bibliothèque Nationale de France in Paris, copied by a scribe named Aḥmad in Shaʿban 730 AH (1330 CE). This article introduces and examines a manuscript dated 713 AH (1313 CE), currently part of the collection of the Gazi Husrev Beg Library in Sarajevo, Bosnia and Herzegovina. Literature Review In reviewing the content of Golestan manuscripts and assessing the textual variations across different editions, several key studies beyond the standard introductory notes in critical editions merit examination: Yahaghi (1368/1989) reviewed the Golestan edition prepared by Gholam Hossein Yousefi; Anzabinejad (1368/1989) highlighted significant issues in Yousefi's critical edition, to which Mahdavi Damghani (1369/1990) later responded; Dehbashi (1369/1990) also published an article evaluating Yousefi's edition; Zanjani (1381/2002) introduced a Golestan manuscript discovered in China; Tabibzadeh (2017) evaluated the textual variations of fifteen Arabic verses in the Golestan from the perspective of prosody and metrics; Dalvand (1401/2022) reviewed several unique textual variants based on printed editions and commentaries of the Golestan. Regarding the 713 AH (1313 CE) Golestan manuscript from the Gazi Husrev Beg Library in Sarajevo, one specific study has been conducted: Drkić and Salemyan (1403/2024) introduced the manuscript, examined its physical and paleographic features, provided information about the scribe, and discussed the manuscript's possible journey to Bosnia. Methodology This research is based on manuscript studies and content analysis, offering a meticulous examination of textual variants in the Sarajevo Golestan manuscript. First, reviews and critiques of existing Golestan editions were identified to establish a comprehensive understanding of the scholarly landscape. Next, textual variants from the Sarajevo manuscript were compared with those discussed in prior studies. Subsequently, variants from the Sarajevo manuscript that diverge from the standard readings of established critical editions—as noted in earlier scholarship—were extracted. All data were then systematically matched against variants from other manuscripts and printed editions, enabling thorough comparative analysis and ensuring the robustness of the findings. Discussion and Conclusion Analysis of twenty-five textual examples in this article, compared with variants from the two most authoritative critical editions of the Golestan—those of Foroughi and Yousefi—as well as the manuscript attributed to Yaqut Mostaʿṣemi, yields the following conclusions: The Sarajevo manuscript shares identical orthographic variants with the Foroughi edition in eighteen instances (72%); it matches the Yousefi edition in seventeen instances (68%); it aligns with the manuscript attributed to Yaqut Mostaʿṣemi in twelve instances (60%); this manuscript lacks five of the twenty-five examined examples. Only two of the twenty-five examples (8%) are unique to the Sarajevo manuscript and have no parallel in the other editions examined. It is widely accepted that the Foroughi and Yousefi editions represent the most reliable critical texts of Saadi’s Golestan. The high degree of correspondence between the Sarajevo manuscript and these two editions indicates that its textual and orthographic variants are, from a codicological perspective, original and reliable. Consequently, as an early and authentic witness, the Sarajevo Golestan manuscript should serve as a foundational source for future critical editions of Saadi’s masterpiece. نسخۀ خطّی گلستان مورّخ 713 هـ. ق. کتابخانۀ غازی خسروبیگ سارایوو، پس از نسخۀ کلیّات کتابخانۀ سلطنتی منسوب به خطّ یاقوت مستعصمی (668 ه. ق.) و نسخۀ کلیّات کتابخانۀ فرهنگستان علوم تاجیکستان (691 تا 726 ه. ق.)، سومین نسخۀ تاریخ‌دار گلستان در دنیاست. به دلیل تردیدهایی که در اصالت دو نسخۀ مقدّم بر این نسخه وجود دارد، تأیید اصالت محتوایی نسخۀ سارایوو می‌تواند آن را در جایگاه نخست نسخه‌های موجود قرار دهد. مقالۀ حاضر با هدف ارزیابی ویژگی‌های محتوایی این نسخه، به بررسی برخی از ضبط‌های ویژۀ آن و مقایسۀ آن با آنچه در تصحیح‌ها و نسخه‌های دیگر گلستان آمده‌ است، پرداخته ‌است. بدین منظور ابتدا مقاله‌هایی که دربارۀ نقد و بررسی تصحیح‌های موجود گلستان نوشته شده‌است، انتخاب و سپس ضبط‌های نسخۀ سارایوو با ضبط‌های مورد بحث در آن نوشته‌ها سنجیده شد. در گام بعدی ضبط‌های ویژۀ نسخۀ سارایوو که از نظر نویسندگان تفاوت‌هایی با ضبط‌های مشهور داشت، استخراج گردید. در ادامه، همۀ داده‌ها با ضبط نسخه‌ها و چاپ‌های گوناگون مطابقه داده شد. یافته‌های پژوهش نشان می‌دهد که بیشتر ضبط‌های این نسخه، در سنجش با اصول تصحیح و نگاه منتقدان، ضبط‌های اصیل و قابل اعتنا به شمار می‌آیند و این نسخه را می‌توان چونان نسخه‌ای کهن و اصیل، اساس تصحیح‌های آتی کتاب گلستان قرار داد.

https://ltr.atu.ac.ir/article_18729_47b57dba0784f429f2b850af3625856e.pdf

دانشگاه علامه طباطبائی متن پژوهی ادبی 2251-7138 29 106 2025 12 22 An Analysis of the Methods Used to Create the Magic of Proximity in Shafiei Kadkani's Collection, A Child Named Happiness بررسی شیوه‌های ایجاد جادوی مجاورت در مجموعۀ طفلی به نام شادی سرودۀ شفیعی‌کدکنی 276 305 16910 10.22054/ltr.2024.74503.3731 FA مینا زادخوت دانشجوی دکترای زبان و ادبیات فارسی، واحد زنجان، دانشگاه آزاد اسلامی، زنجان، ایران حیدر حسنلو استادیار، گروه زبان و ادبیات فارسی، واحد زنجان، دانشگاه آزاد اسلامی، زنجان، ایران نزهت نوحی استادیار، گروه زبان و ادبیات فارسی، واحد زنجان، دانشگاه آزاد اسلامی، زنجان، ایران حسین آریان استادیار، گروه زبان و ادبیات فارسی، واحد زنجان، دانشگاه آزاد اسلامی، زنجان، ایران Journal Article 2023 06 25 Abstract The comprehension of concealed layers within a text can be achieved through the analysis of linguistic signs. According to semiotic theory, signs consist of a phonetic structure (the signifier) and a mental concept (the signified), which combine to produce meaning. In poetry, the synthesis and equilibrium of phonetic elements can engender novel semantic significance. The musicality arising from the interplay of consonants and vowels aligns with and amplifies the poet's intended meaning. Kadkani asserts that the "enchantment of closeness" (sehr-e qorb) is a melodic essence within language, unveiled through techniques such as rhyming prose (sajʿ) and paronomasia (jenās). By embedding such sonic patterns, proximity amplifies the comprehension of the text's deeper messages. This study examines the techniques employed by Mohammad-Reza Shafiei Kadkani to create this sonic intimacy in his poetry collection, A Child Named Happiness. The research employs a descriptive-analytical methodology based on library research. The corpus—comprising stanzas, verses, and individual lines—was analyzed using SPSS software. The findings indicate that Shafiei Kadkani achieves the "magic of proximity" primarily through the skillful use of literary devices including alliteration, rhyming prose (sajʿ), paronomasia (jenās), and functional phonetic combinations. Within this collection, the primary formal manifestation of this concept is alliteration, while its primary semantic function, following alliteration, is the elicitation of emotion. The analysis demonstrates that the deliberate proximity of phonetic elements is crucial in enhancing the musical quality and affective power of Shafiei Kadkani's poetry. Keywords: proximity magic, music of poetry, phonetic harmony, Shafiei Kadkani, A Child Named Happiness. Introduction One of the key techniques examined by formalist critics is the concept of "closeness" or "proximity" (qorb), a framework pioneered by Shafiei Kadkani. This approach analyzes the aesthetic effect achieved through the harmonious blending of consonants and vowels. The deliberate selection and arrangement of words contribute to a text's sonic structure, creating a musical quality that directly impacts the audience. This study investigates the manifestation of this "magic of proximity" (sehr-e qorb) in Shafiei Kadkani's poetry collection A Child Named Happiness, employing a descriptive-analytical methodology. The analysis incorporates three fundamental inductive approaches: picture induction, sound induction, and feeling induction. Within the collection, literary devices such as alliteration, rhyming prose (sajʿ), paronomasia (jenās), and functional phonetic combinations work in concert to generate coherence, unity, and sonic texture. The poet skillfully orchestrates these devices to convey his intended meaning. The primary aim of this analysis is to identify the principal literary function of the "enchantment of proximity" within this specific poetic work. Literature Review Shafiei and Golchin (2002), in their study "Effects of Proximity Magic in the Masnavi," examine the manifestation of this concept in the first and second books of Rumi's Masnavi. Ziyai (2011), in his thesis "Examining the Magic of Proximity in Contemporary Persian Poetry," analyzes the use of proximity in the works of three modern poets. Khaman (2014) investigated the elements contributing to the melodiousness of parables in his thesis, "Examining the Magic of Proximity in the Parables of Bahmaniari's Story." In his thesis "Examination of Proverbs and Sayings from the Perspective of the Magic of Proximity," Nasrullah Pour Silab (2016) categorized proverbs based on shared phonemes, using Dehkhoda's Proverbs and Sayings as a corpus. Sakhavi (2018) employed a formalist approach to analyze this phenomenon in his study "Investigation of the Magic of Proximity in Children's Poems," providing a comprehensive examination of its use in children's poetry. The application of this technique in classical literature is explored by Shaisteh Sadat Hosseini Rabat et al. in their essay "Magic of Proximity in Saadi's Ghazals," which analyzes its role in Saadi's lyric poetry. Most directly relevant to the present study, Yaqub Nowrozi examines the concept in Shafiei Kadkani's poetry in his article "The Magic of Proximity in the Poetry of Shafiei Kadkani," analyzing its impact in specific works such as "The Second Millennium of the Mountain Deer" and "The Mirror of Sound." Methodology We conducted this research using a descriptive-analytical methodology based on library resources. Conclusion The research demonstrates that in the poetry collection A Child Named Happiness, the phonetic arrangement of letters plays a crucial role in intensifying and reinforcing the poetic concepts, thereby conveying the poet's intended meaning with greater impact. Shafiei Kadkani employs this "magic of proximity" to achieve multiple semantic functions, namely picture induction, emotion induction, and sound induction. Among the literary devices that create this effect, alliteration is used more frequently than paronomasia (jenās), rhyming prose (sajʿ), or etbāʿ. His mastery of phonetic melody produces an enchanting quality that profoundly impacts the musicality of his verse. This technique is of paramount importance throughout the collection, where its integration elevates the overall aesthetic, creating a delightful, inspiring, and sonically cohesive experience. The collection features numerous sophisticated instances of paronomasia, which stand as prime illustrations of the captivating effect of phonetic closeness. The poet's meticulous lexical selection ensures that these puns are not merely ornamental but contribute directly to the poem's meaning, enjoyment, and beauty. In terms of semantic function, the induction of emotion and affection is more prevalent than picture or sound induction. Shafiei Kadkani skillfully harnesses the power of sonic proximity and the full range of linguistic resources to express emotion and infuse his poetic prose with a distinct essence. Furthermore, imagery is extensively utilized to achieve his artistic intentions, with the phonetic proximity of words playing a significant role in forging connections within these images. By utilizing this enchanting language, the poet augments the aesthetic appeal of the poems through his creative faculties. The "magic of proximity" is also used to fully exploit metaphoric potential. Finally, the literary device of personification holds a significant position in several poems within this collection. درک لایه‌های پنهان در متن با استفاده از نشانه‌ها مشخص می‌شود. نشانه‌ها متشکل از یک صورت آوایی (دال) و یک تصور مفهومی (مدلول) هستند که به‌تنهایی معنا و مفهومی را بیان میکنند. شیوة هماهنگی و توازن آوایی موجود در میان کلمات، معنی تازه می‌آفریند؛ بدین معنی که موسیقی ایجادشده از رهگذر وحدت یا تضاد صامت ها و مصوت های کلمات با مفهوم موردنظر شاعر هماهنگی و مطابقت دارد. شفیعی کدکنی، جادوی مجاورت را موسیقی پنهان میان واژه‌ها و آواها می‌داند که با جناس و سجع نمایان می‌گردد. جادوی مجاورت به‌واسطه موسیقی پنهان، قدرت جذب پیام نهفته در متن را افزایش می‌دهد. هدف پژوهش حاضر بررسی شیوه‌های ایجاد جادوی مجاورت در مجموعه شعری «طفلی به نام شادی» اثر شفیعیکدکنی است. روش انجام پژوهش به‌صورت توصیفی ـ تحلیلی و با اتکا به روش کتابخانه‌ای انجام‌شده است، در این مطالعه جامعه آماری را گاه مصراع، گاه بیت و گاهی سطرهای شعر تشکیل می‌دهند که با نرم‌افزار spss مورد تحلیل قرارگرفته است. یافته‌های تحقیق نشان می‌دهد شفیعی کدکنی با استفاده از آرایه‌های ادبی مانند واج‌آرایی، جناس، سجع و ترکیب‌های تابعی در سروده‌هایش به ایجاد جادوی مجاورت در اشعار خود پرداخته است و در این راستا بیشترین کاربرد ادبی «جادوی مجاورت» در این مجموعه «واج‌آرایی» و بیشترین کاربرد معنایی بعد از واج‌آرایی، «القای احساس» است. بر این اساس به نظر می‌رسد جادوی مجاورت در نیرومند کردن موسیقی اشعار دکتر شفیعی جایگاه بسیار والایی دارد.

https://ltr.atu.ac.ir/article_16910_ad51e164f680bebe1dbe09e0c3df2678.pdf