Yazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522Analysis of Arabic Verses of Bakhtiarnameh (Lamat' Al-Seraj Le- Hazrat Al-Taj)Analysis of Arabic Verses of Bakhtiarnameh (Lamat' Al-Seraj Le- Hazrat Al-Taj)940363910.29252/kavosh.2025.20813.3510FAMohammad RezaNajjarianProfessor of Yazd University0000-0001-9193-3882Journal Article20231121Lamat' Al-Seraj Le-Hazrat Al-Taj" is a redrafting of the Sassanid era story "Bakhtiar Nameh" in the late 6th or early 7th century A. H., the author of which has remained unknown. The story recounts the plights of a prince, who has been kidnapped by ten of his father's ministers, and also planned to be executed by the king. For ten nights, he kept entertaining the king by telling ten fascinating stories and so delaying his murder. The purpose of the stories in this work is to elucidate moral views, which is composed with complex prose and is full of Arabic verses. Some of the verses are related to a historical event that the author often brings to confirm a claim, and some of them are mentioned serving as an allegory aimed for advice. In this article, an attempt is made to determine the authenticity of the Arabic verses and their translations by identifying their original poet and his era as well as the semantic and rhetorical relationship between those verses and the fictional prose.Lamat' Al-Seraj Le-Hazrat Al-Taj" is a redrafting of the Sassanid era story "Bakhtiar Nameh" in the late 6th or early 7th century A. H., the author of which has remained unknown. The story recounts the plights of a prince, who has been kidnapped by ten of his father's ministers, and also planned to be executed by the king. For ten nights, he kept entertaining the king by telling ten fascinating stories and so delaying his murder. The purpose of the stories in this work is to elucidate moral views, which is composed with complex prose and is full of Arabic verses. Some of the verses are related to a historical event that the author often brings to confirm a claim, and some of them are mentioned serving as an allegory aimed for advice. In this article, an attempt is made to determine the authenticity of the Arabic verses and their translations by identifying their original poet and his era as well as the semantic and rhetorical relationship between those verses and the fictional prose.https://kavoshnameh.yazd.ac.ir/article_3639_3678bc9c82b20584d0a23aec01884b35.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522Recognizing the concept of "alchemy" in practical mysticismRecognizing the concept of "alchemy" in practical mysticism4174358910.29252/kavosh.2024.21375.3556FAMohammadRoodgarAssistant Professor, Department of Islamic mysticism, Research Institute of Imam Khomeini and Islamic RevolutionJournal Article20240317In mystical texts, one comes across the word "alchemy" many times. Muslim mystics consider their work to be a kind of alchemy and sometimes superior to it, and they think their highest dignity is to change the nature of man by turning the copper of his existence into the pure gold of knowledge. The application of the concept of alchemy in practical mysticism is a subject that has not yet been properly recognized and studied. The present article is based on the idea that "alchemy" in mystical texts is not just a literary metaphor, but it seeks to express a specific practical and mystical tradition. This concept relates to the doctrine of optional death in practical mysticism, which was a central doctrine in the Kabaruyeh tradition. Material alchemy has a few stages that are similar to those in esoteric alchemy. All these steps take place around the idea of transformation and lead man to mystical death and rebirth. A discussion of these steps and the related teachings can open a new window to the concept of alchemy, on the one hand, and practical mysticism on the other hand.
In mystical texts, one comes across the word "alchemy" many times. Muslim mystics consider their work to be a kind of alchemy and sometimes superior to it, and they think their highest dignity is to change the nature of man by turning the copper of his existence into the pure gold of knowledge. The application of the concept of alchemy in practical mysticism is a subject that has not yet been properly recognized and studied. The present article is based on the idea that "alchemy" in mystical texts is not just a literary metaphor, but it seeks to express a specific practical and mystical tradition. This concept relates to the doctrine of optional death in practical mysticism, which was a central doctrine in the Kabaruyeh tradition. Material alchemy has a few stages that are similar to those in esoteric alchemy. All these steps take place around the idea of transformation and lead man to mystical death and rebirth. A discussion of these steps and the related teachings can open a new window to the concept of alchemy, on the one hand, and practical mysticism on the other hand.
https://kavoshnameh.yazd.ac.ir/article_3589_d4629e5d58c18e77fbdb4162e9203a08.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522An analysis of the rich vocabulary in mystical love poetryAn analysis of the rich vocabulary in mystical love poetry75108367710.29252/kavosh.2025.21119.3534FAHoseinAghahoseiniPersian literature group، Faculty of Literature and Humanities، University of Isfahan، Isfahan، Iran.AsiyehMohammad Ebrahimi.Journal Article20240115Words in a text are the first bridge to connect with the audience. Through the sounds, structural features, and the meanings they convey, Words create the formal characteristics of a text. In symbolic love poetry, symbols represent themes of romance and sentimentality. The role of words in the creation of poetry is a concern that literary critics have always raised before diving into the principles governing poetry. Sometimes, words are not used in their conventional meanings; they derive a different meaning based on other words. Occasionally, words are used symbolically in literary texts and do not necessarily direct the audience's mind toward a specific meaning. In literary texts, reaching the heart of the matter involves taking into account the various elements and characteristics of the text. In this research, three stories including "Sheikh San'an" from the <em>Conference of the Birds</em>, "The King and the Maiden" from the <em>Masnavi</em>, and "Salaman and Absal" by Jami were selected. The key words used in these lyrical poems were examined through studying library sources. The most important finding of this research is that not are the refinement of the language of a text and its beauty important, but the better transmission of intuitive and spiritual concepts owes the romantic and literary features of the text.Words in a text are the first bridge to connect with the audience. Through the sounds, structural features, and the meanings they convey, Words create the formal characteristics of a text. In symbolic love poetry, symbols represent themes of romance and sentimentality. The role of words in the creation of poetry is a concern that literary critics have always raised before diving into the principles governing poetry. Sometimes, words are not used in their conventional meanings; they derive a different meaning based on other words. Occasionally, words are used symbolically in literary texts and do not necessarily direct the audience's mind toward a specific meaning. In literary texts, reaching the heart of the matter involves taking into account the various elements and characteristics of the text. In this research, three stories including "Sheikh San'an" from the <em>Conference of the Birds</em>, "The King and the Maiden" from the <em>Masnavi</em>, and "Salaman and Absal" by Jami were selected. The key words used in these lyrical poems were examined through studying library sources. The most important finding of this research is that not are the refinement of the language of a text and its beauty important, but the better transmission of intuitive and spiritual concepts owes the romantic and literary features of the text.https://kavoshnameh.yazd.ac.ir/article_3677_eb28941d10f91e4ed097bddfbfebafc6.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522Critique and analysis of Vahid Dastgerdi's notes on Khosrow and Shirin composed by NezamiCritique and analysis of Vahid Dastgerdi's notes on Khosrow and Shirin composed by Nezami109150363010.29252/kavosh.2024.21197.3544FAAsgharShahbaziAssociate Professor, Department of Persian Language and Literature, Farhangian University, Tehran, Iran0000-0001-9581-2367Journal Article20240206Khosrow and Shirin Nizami is one of the famous and popular poems of Persian literature, which has been corrected and explained many times due to its fame and popularity. Hassan Vahid Dastgerdi is one of the first proofreaders who edited and printed this poem along with other military works. In addition to correcting the text, Vahid Dastgerdi has also provided notes under the difficult verses of these works. Since Vahid's corrections and his notes are still considered as one of the main sources of Khosrow and Shirin, in this article, the results of the review of those notes are presented and it is briefly stated that Vahid Dastgerdi made mistakes and mistakes in some cases. errors, some of which were the result of misreading or incorrect selection of the version of the replacements. Of these cases, 73 cases are shown in this article and everywhere, explanations and points for correction are provided, with the aim that this article and several articles written under the title of criticism of Vahid's notes can compensate for the shortcomings of Vahid's description. and in the future, from all of them, a revised description of this system will be made available to the public.
Khosrow and Shirin Nizami is one of the famous and popular poems of Persian literature, which has been corrected and explained many times due to its fame and popularity. Hassan Vahid Dastgerdi is one of the first proofreaders who edited and printed this poem along with other military works. In addition to correcting the text, Vahid Dastgerdi has also provided notes under the difficult verses of these works. Since Vahid's corrections and his notes are still considered as one of the main sources of Khosrow and Shirin, in this article, the results of the review of those notes are presented and it is briefly stated that Vahid Dastgerdi made mistakes and mistakes in some cases. errors, some of which were the result of misreading or incorrect selection of the version of the replacements. Of these cases, 73 cases are shown in this article and everywhere, explanations and points for correction are provided, with the aim that this article and several articles written under the title of criticism of Vahid's notes can compensate for the shortcomings of Vahid's description. and in the future, from all of them, a revised description of this system will be made available to the public.
https://kavoshnameh.yazd.ac.ir/article_3630_09cb5992362838aba38eaeaf1acb7b27.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522Examining the motif of ‘Putting out the eyes and sending them to the lover’Examining the motif of ‘Putting out the eyes and sending them to the lover’151194358310.29252/kavosh.2024.21086.3529FAAbbasParsatalabPhD in Persian Language and Literature, University of Tehran0009-0004-7130-6135HamidrezaFahandej SaadiPhD in Persian Language and Literature, University of TehranJournal Article20240108Motif is a widely used terms in the field of literature and art, the most important characteristic of which is repetition. This repetition is sometimes conscious and sometimes unconscious in artistic and literary works. There are many motifs in Persian poetry and prose that have played a key role in the compilation and processing of stories with various themes. Unfortunately, they have not been read and compared as they should be. The motif of ‘Putting out the eyes and sending them to the lover’ is the one repeated in several stories in the Persian literature. In this article, an attempt is made to first define this motif and then analyze it with some examples in the Persian literature. In the analysis, attention has been paid to the characters, time and place of the motif, and the imaginary used in it. An attempt is also made to give the history of this motif and its usage up to the present.Motif is a widely used terms in the field of literature and art, the most important characteristic of which is repetition. This repetition is sometimes conscious and sometimes unconscious in artistic and literary works. There are many motifs in Persian poetry and prose that have played a key role in the compilation and processing of stories with various themes. Unfortunately, they have not been read and compared as they should be. The motif of ‘Putting out the eyes and sending them to the lover’ is the one repeated in several stories in the Persian literature. In this article, an attempt is made to first define this motif and then analyze it with some examples in the Persian literature. In the analysis, attention has been paid to the characters, time and place of the motif, and the imaginary used in it. An attempt is also made to give the history of this motif and its usage up to the present.https://kavoshnameh.yazd.ac.ir/article_3583_a30228a1fb5a8c15f357f5ab834eb9ca.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522Innovative Practices in Zolali Khansari's Poetic imageryInnovative Practices in Zolali Khansari's Poetic imagery195222367110.29252/kavosh.2025.21734.3581FASomayehMazhari SefatPhD student of Persian language and literature, Shahid Bahonar University of Kerman0009-0005-1697-5616MahindokhtFarrukhniaAssociate professor of Persian language and literature, Shahid Bahonar University of Kerman0000-0003-4462-3149Behjat AlSadatHejaziProfessor of Persian language and literature, Shahid Bahonar University of Kerman0000-0002-6026-760XJournal Article20240604Zolali is was Indian style prominent poet living in the 11<sup>th</sup> century AH. With an innovative approach, he has written his poem with creative images. The analysis of these innovative images leads to a better understanding of the poet's intended theme and his ability to process images. Therefore, this study was conducted with the aim of identifying Zolali's methods in creating innovative images. For this purpose, his verses with innovative images were examined through the qualitative analysis of his text content. The results showed that his innovations in imagery were mainly the result of combining images, lexical seizure, and using innovative ironies. In the case of combining images, imagery has been done more with similes, and the created images have a more detailed aspect than those in the other two methods. Regarding lexical seizure, new images are more varied and elliptical. As for the third way of imagery, the poet has presented new images in a context of creative ironies, thus forcing the audience's mind to strive to understand the meaning on the one hand and to perceive the new image on the other.Zolali is was Indian style prominent poet living in the 11<sup>th</sup> century AH. With an innovative approach, he has written his poem with creative images. The analysis of these innovative images leads to a better understanding of the poet's intended theme and his ability to process images. Therefore, this study was conducted with the aim of identifying Zolali's methods in creating innovative images. For this purpose, his verses with innovative images were examined through the qualitative analysis of his text content. The results showed that his innovations in imagery were mainly the result of combining images, lexical seizure, and using innovative ironies. In the case of combining images, imagery has been done more with similes, and the created images have a more detailed aspect than those in the other two methods. Regarding lexical seizure, new images are more varied and elliptical. As for the third way of imagery, the poet has presented new images in a context of creative ironies, thus forcing the audience's mind to strive to understand the meaning on the one hand and to perceive the new image on the other.https://kavoshnameh.yazd.ac.ir/article_3671_7931c704c49c00ef3f54001cd603ff3d.pdfYazd UniversityJournal of Kavoshnameh in Persian Language and Literature2645-453X266420250522"Examination of the verbal implication of "Badanshan" in Ferdowsi's Shahnameh based on the principles of Greiss""Examination of the verbal implication of "Badanshan" in Ferdowsi's Shahnameh based on the principles of Greiss"223254363710.29252/kavosh.2024.21788.3591FAParvanehMehrsereshtanPhD student of Persian language and literature, Faculty of Literature and Humanities, University of Sistan and Baluchestan, Zahedan, Iran0009-0002-8320-3032AbdullahVacegh AbbasiFaculty of Persian Language and Literature, University of Sistan and Baluchestan, Zahedan, IranAbbasNikbakhtFaculty of Persian Language and Literature, University of Sistan and Baluchestan, Zahedan, IranJournal Article20240628. In Ferdowsi's Shahnameh, the implication of "badneshan" is used in different contexts the important factor of creating implication to be a violation of the four principles in dialogue. The research has investigated and analyzed the implication with the approach of Grice's principles. The aim of the research is to investigate the creation of this implication, simulation logic and its repetition in different contexts and to infer appropriate meanings in the Shahnameh stories. In this essay, the concept of implicit speech, its types and Grice's four principles have been explained first, and then the findings have been analyzed and described with library sources. One of the benefits of this research is the application of this implication, which has led to the analysis of linguistic and non-linguistic contexts; cited.Understanding and receiving the symbols of their "badneshan" and the causes of its creation is one of the other benefits of this research.From the results of the research, the following points are mentioned:This implication has been reproduced in two types, contractual and special.The specific type, the context of time, place and discourse have had a lot of influence in its creation and it has many implicit meanings.The contracted type is out of conversation;Discourse, context and implicit meanings do not affect its creation.The is created in the bed of philosophical, religious, class, political, social and psychological beliefs. whenever sufficient and correct , information is not expressed, and a word that is not related to the topic of the conversation, is not clearly raised.. In Ferdowsi's Shahnameh, the implication of "badneshan" is used in different contexts the important factor of creating implication to be a violation of the four principles in dialogue. The research has investigated and analyzed the implication with the approach of Grice's principles. The aim of the research is to investigate the creation of this implication, simulation logic and its repetition in different contexts and to infer appropriate meanings in the Shahnameh stories. In this essay, the concept of implicit speech, its types and Grice's four principles have been explained first, and then the findings have been analyzed and described with library sources. One of the benefits of this research is the application of this implication, which has led to the analysis of linguistic and non-linguistic contexts; cited.Understanding and receiving the symbols of their "badneshan" and the causes of its creation is one of the other benefits of this research.From the results of the research, the following points are mentioned:This implication has been reproduced in two types, contractual and special.The specific type, the context of time, place and discourse have had a lot of influence in its creation and it has many implicit meanings.The contracted type is out of conversation;Discourse, context and implicit meanings do not affect its creation.The is created in the bed of philosophical, religious, class, political, social and psychological beliefs. whenever sufficient and correct , information is not expressed, and a word that is not related to the topic of the conversation, is not clearly raised.https://kavoshnameh.yazd.ac.ir/article_3637_019734e9efb415db9a9cc6e839c58a5b.pdf