University of Isfahan Literary Arts 20088027 17 1 2025 03 21 Analysis of Imagery in the Selected Poems of Bakhtiari and Boyerahmadi Analysis of Imagery in the Selected Poems of Bakhtiari and Boyerahmadi 1 26 28816 10.22108/liar.2024.142069.2391 FA Mohamad Sadegh Saberi Ph. D. Student of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Sayed Morteza Hashemi Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran 0000-0001-7292-6695 Mohammad Hossein Nikdar Asl Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Yasouj University, Yasouj, Iran Journal Article 2024 07 13 Simile, metaphor, irony, and exaggeration are rhetorical elements that are widely used in the epic poems of Bakhtiari and Boyerahmadi. The current study aims to investigate these rhetorical elements in the epic poems of Bakhtiari and Boyerahmadi. After examining and analyzing the rhetorical features in a selection of Bakhtiari and Boyer Ahmadi's epic poems, it can be argued that the element of simile (sensory to sensory) has the highest frequency use, comparing the warriors to lions, tigers, wolves, and Rostam in terms of physical strength and fighting ability. Similarities are taken from the mountain environment, livestock life, animals, and birds where they live. Metaphor is another figure of speech that is used in the studied poems to show the fighting art of warriors and to summarize and simplify martial concepts. In the epic poems of Bakhtiari and Boyer Ahmadi, lions, leopards, and naked snakes are metaphors for warriors or clan warriors. The use of irony in these poems is indicative of the quality of warriors and their readiness to fight more wars. There have been instances of exaggeration in terms of the description of ethnic heroes in order to show the glory and awe of their fighting. Keywords: Folk Culture, Bakhtiari People, Boyer Ahmadi People, Epic Poems, Imaginary Images. Introduction The existence of chaotic, warlike, rebellious regions, surrounded by impassable mountains and the battle with harsh nature and predatory animals has caused the epic expressions in the poems of Bakhtiari and Boyer Ahmadi to have a significant effect. Simile, metaphor, irony, and exaggeration are rhetorical elements that are very crucial in terms of image creation in rhetorical issues. The hypothesis of this research is that these elements are the main image-creation elements in the epic poems of Bakhtiari and Boyer Ahmadi. With this in mind, this research tries to analyze the use of the most important forms of fantasy in a selection of the epic poems of Bakhtiari and Boyerahmadi. Additionally, it seeks to investigate which rhetorical elements are widely used in the epic poetry of Bakhtiari and Boyerahmadi. Accordingly, these rhetorical elements are first categorized and then analyzed by extracting examples of similes such as similes to hunting animals, similes to domestic and non-hunting animals, similes to mythological and heroic heroes, similes to natural elements, and so on. Library studies in journals and authentic scientific sites show that some of the studies conducted on the popular culture and literature of Bakhtiari and Boyerahmadi people are related to the subject of the present research in terms of content including Bait or Boyer Ahmadi's epic laments by Shahbazi (2018a), Descriptive and structural criticism of Bakhtiari's epic laments (Shokhins), a type of popular poem by Shahbazi (2018b), along with Hajianpour and Siahpour’s (2013) Reflection of nomadic politics Reza Shah in Boyer Ahmad's native poems and songs. However, so far, to the best of our knowledge, no independent scientific investigation has been done on the subject of this research. Materials and Methods In terms of purpose, the current study is fundamental, and in terms of data collection, it is based on field-library studies and qualitative content analysis and categorization of structured interviews. After the interviews were recorded, coded, and translated from the Lori dialect into Farsi, the materials related to the research subject were noted and analyzed. The research data (poems) have been quoted from folk poems in addition to printed sources. To select folk poems and also to recognize the correct form of some words, assistance was received from Bakhtiari and Boyer Ahmadi speakers (in the form of 5-10 minute field interviews). The interviewees were selected from Shahnameh singers and narrators of folk and epic poems who were interested in participating in the interview and were mostly over sixty years old. Research Findings This research, based on library and field studies and employing qualitative content analysis and structured interviews, aims to analyze the rhetorical features in Bakhtiari and Boyer-Ahmadi epic poetry. It specifically focuses on examining and analyzing the application of the most important figures of speech in a selected corpus of Bakhtiari and Boyer-Ahmadi epic poetry. The existence of turbulent, war-prone, rebellious regions, enclosed within rugged mountains, and the struggle against a harsh nature and ferocious animals have resulted in epic manifestations being strikingly prominent in the poetry of the Bakhtiari and Boyer-Ahmadi people. Simile, metaphor, irony, and hyperbole are among the rhetorical elements that hold significant importance in rhetorical studies and are considered the central elements in Bakhtiari and Boyer-Ahmad epic poetry. The findings of the research indicate that the most frequent manifestation of simile in Bakhtiari and Boyer-Ahmadi epic poetry is the comparison of heroes' bravery, courage, and strength to predatory animals, domestic and non-predatory animals, mythological and epic heroes, and natural elements. This indicates a deep connection between Bakhtiari and Boyer-Ahmadi people and nature, and the mysteriousness of its elements in their ancient myths and beliefs. Lions, leopards, wolves, and snakes are among the animals used metaphorically in Bakhtiari and Boyer-Ahmadi poetry to represent warriors. The presence of these animals in the habitat of the Bakhtiari and Boyer-Ahmadi people and their significant role as nature's ultimate warriors has led to their metaphorical use in Bakhtiari and Boyer-Ahmadi epic poetry. One of the primary reasons for the prevalence of such metaphors can be attributed to the living environment of the Bakhtiari and Boyer-Ahmadi people. The animals used as metaphors are considered to be forces of nature and are renowned for their ferocity during hunts and in times of danger. Bakhtiari and Boyer-Ahmadi poets have employed these themes to inspire and motivate their warriors, fostering a spirit of bravery. In Bakhtiari and Boyer-Ahmadi epic poetry, ironies are clearly visible and mostly appear as repetitive and clichéd expressions. The metaphors used in Bakhtiari and Boyer-Ahmadi epic poetry are primarily related to concepts such as readiness for war, courage, fearlessness, the annihilation of the enemy, a thirst for battle, and victory. These metaphors, often drawn from the harsh nature and nomadic lifestyle of these regions, are extensively used in these poems through similes like lions, leopards, swords, and daggers. In addition to conveying meaning, these metaphors contribute to the rhythm and musicality of the poetry and enhance the martial and heroic spirit. The metaphors employed in these poems primarily refer to the qualities of a prepared and brave warrior, numerous battle experiences, and the grief associated with war. Discussion of Results and Conclusions Considering the results of the present study, the following conclusions were drawn: Simile, metaphor, irony, and exaggeration have been among the most used figures of speech in Bakhtiari's and Boyer Ahmadi's epic poems. Simile is one of the most frequent elements and usually is taken from the mountainous environment and people’s livestock and agricultural life. It is mostly sense to sense, which can be attributed to the simple mind of the poets and audience of the poems, orality, recitation, and illiteracy of the singers. Bakhtiari ethnic heroes have been likened to lions and Rostam, and Boyer Ahmadi to wolves, snakes, dragons, and Rostam, and their warrior women to lions and tigers. Rostam and Bahram are among the heroic models that the warriors have been compared to. The high frequency of the words Rostam and Gerz shows that this epic character was a model for Bakhtiari and Boyer Ahmadi warriors. Lions, tigers, wolves, and snakes are among the animals that are used as metaphors in their poems. The presence of these animals in the living places of the Bakhtiari and Boyer Ahmadi people and their special role as superior warriors of nature have made them metaphorical in the epic poems of Bakhtiari and Boyer Ahmadi. Ironic expressions used mostly refer to the quality of warriors and their readiness to fight more wars and to be mourners. There has been a great deal of exaggeration regarding the description of ethnic heroes to show the glory and awe of their fighting. Simile, metaphor, irony, and exaggeration are rhetorical elements that are widely used in the epic poems of Bakhtiari and Boyerahmadi. The current study aims to investigate these rhetorical elements in the epic poems of Bakhtiari and Boyerahmadi. After examining and analyzing the rhetorical features in a selection of Bakhtiari and Boyer Ahmadi's epic poems, it can be argued that the element of simile (sensory to sensory) has the highest frequency use, comparing the warriors to lions, tigers, wolves, and Rostam in terms of physical strength and fighting ability. Similarities are taken from the mountain environment, livestock life, animals, and birds where they live. Metaphor is another figure of speech that is used in the studied poems to show the fighting art of warriors and to summarize and simplify martial concepts. In the epic poems of Bakhtiari and Boyer Ahmadi, lions, leopards, and naked snakes are metaphors for warriors or clan warriors. The use of irony in these poems is indicative of the quality of warriors and their readiness to fight more wars. There have been instances of exaggeration in terms of the description of ethnic heroes in order to show the glory and awe of their fighting. Keywords: Folk Culture, Bakhtiari People, Boyer Ahmadi People, Epic Poems, Imaginary Images. Introduction The existence of chaotic, warlike, rebellious regions, surrounded by impassable mountains and the battle with harsh nature and predatory animals has caused the epic expressions in the poems of Bakhtiari and Boyer Ahmadi to have a significant effect. Simile, metaphor, irony, and exaggeration are rhetorical elements that are very crucial in terms of image creation in rhetorical issues. The hypothesis of this research is that these elements are the main image-creation elements in the epic poems of Bakhtiari and Boyer Ahmadi. With this in mind, this research tries to analyze the use of the most important forms of fantasy in a selection of the epic poems of Bakhtiari and Boyerahmadi. Additionally, it seeks to investigate which rhetorical elements are widely used in the epic poetry of Bakhtiari and Boyerahmadi. Accordingly, these rhetorical elements are first categorized and then analyzed by extracting examples of similes such as similes to hunting animals, similes to domestic and non-hunting animals, similes to mythological and heroic heroes, similes to natural elements, and so on. Library studies in journals and authentic scientific sites show that some of the studies conducted on the popular culture and literature of Bakhtiari and Boyerahmadi people are related to the subject of the present research in terms of content including Bait or Boyer Ahmadi's epic laments by Shahbazi (2018a), Descriptive and structural criticism of Bakhtiari's epic laments (Shokhins), a type of popular poem by Shahbazi (2018b), along with Hajianpour and Siahpour’s (2013) Reflection of nomadic politics Reza Shah in Boyer Ahmad's native poems and songs. However, so far, to the best of our knowledge, no independent scientific investigation has been done on the subject of this research. Materials and Methods In terms of purpose, the current study is fundamental, and in terms of data collection, it is based on field-library studies and qualitative content analysis and categorization of structured interviews. After the interviews were recorded, coded, and translated from the Lori dialect into Farsi, the materials related to the research subject were noted and analyzed. The research data (poems) have been quoted from folk poems in addition to printed sources. To select folk poems and also to recognize the correct form of some words, assistance was received from Bakhtiari and Boyer Ahmadi speakers (in the form of 5-10 minute field interviews). The interviewees were selected from Shahnameh singers and narrators of folk and epic poems who were interested in participating in the interview and were mostly over sixty years old. Research Findings This research, based on library and field studies and employing qualitative content analysis and structured interviews, aims to analyze the rhetorical features in Bakhtiari and Boyer-Ahmadi epic poetry. It specifically focuses on examining and analyzing the application of the most important figures of speech in a selected corpus of Bakhtiari and Boyer-Ahmadi epic poetry. The existence of turbulent, war-prone, rebellious regions, enclosed within rugged mountains, and the struggle against a harsh nature and ferocious animals have resulted in epic manifestations being strikingly prominent in the poetry of the Bakhtiari and Boyer-Ahmadi people. Simile, metaphor, irony, and hyperbole are among the rhetorical elements that hold significant importance in rhetorical studies and are considered the central elements in Bakhtiari and Boyer-Ahmad epic poetry. The findings of the research indicate that the most frequent manifestation of simile in Bakhtiari and Boyer-Ahmadi epic poetry is the comparison of heroes' bravery, courage, and strength to predatory animals, domestic and non-predatory animals, mythological and epic heroes, and natural elements. This indicates a deep connection between Bakhtiari and Boyer-Ahmadi people and nature, and the mysteriousness of its elements in their ancient myths and beliefs. Lions, leopards, wolves, and snakes are among the animals used metaphorically in Bakhtiari and Boyer-Ahmadi poetry to represent warriors. The presence of these animals in the habitat of the Bakhtiari and Boyer-Ahmadi people and their significant role as nature's ultimate warriors has led to their metaphorical use in Bakhtiari and Boyer-Ahmadi epic poetry. One of the primary reasons for the prevalence of such metaphors can be attributed to the living environment of the Bakhtiari and Boyer-Ahmadi people. The animals used as metaphors are considered to be forces of nature and are renowned for their ferocity during hunts and in times of danger. Bakhtiari and Boyer-Ahmadi poets have employed these themes to inspire and motivate their warriors, fostering a spirit of bravery. In Bakhtiari and Boyer-Ahmadi epic poetry, ironies are clearly visible and mostly appear as repetitive and clichéd expressions. The metaphors used in Bakhtiari and Boyer-Ahmadi epic poetry are primarily related to concepts such as readiness for war, courage, fearlessness, the annihilation of the enemy, a thirst for battle, and victory. These metaphors, often drawn from the harsh nature and nomadic lifestyle of these regions, are extensively used in these poems through similes like lions, leopards, swords, and daggers. In addition to conveying meaning, these metaphors contribute to the rhythm and musicality of the poetry and enhance the martial and heroic spirit. The metaphors employed in these poems primarily refer to the qualities of a prepared and brave warrior, numerous battle experiences, and the grief associated with war. Discussion of Results and Conclusions Considering the results of the present study, the following conclusions were drawn: Simile, metaphor, irony, and exaggeration have been among the most used figures of speech in Bakhtiari's and Boyer Ahmadi's epic poems. Simile is one of the most frequent elements and usually is taken from the mountainous environment and people’s livestock and agricultural life. It is mostly sense to sense, which can be attributed to the simple mind of the poets and audience of the poems, orality, recitation, and illiteracy of the singers. Bakhtiari ethnic heroes have been likened to lions and Rostam, and Boyer Ahmadi to wolves, snakes, dragons, and Rostam, and their warrior women to lions and tigers. Rostam and Bahram are among the heroic models that the warriors have been compared to. The high frequency of the words Rostam and Gerz shows that this epic character was a model for Bakhtiari and Boyer Ahmadi warriors. Lions, tigers, wolves, and snakes are among the animals that are used as metaphors in their poems. The presence of these animals in the living places of the Bakhtiari and Boyer Ahmadi people and their special role as superior warriors of nature have made them metaphorical in the epic poems of Bakhtiari and Boyer Ahmadi. Ironic expressions used mostly refer to the quality of warriors and their readiness to fight more wars and to be mourners. There has been a great deal of exaggeration regarding the description of ethnic heroes to show the glory and awe of their fighting.

https://liar.ui.ac.ir/article_28816_3e975aadbea1f2a2e0f2f6b04d31ad56.pdf

University of Isfahan Literary Arts 20088027 17 1 2025 03 21 A Comparative Study of Story and Narrative Elements in Classical and Contemporary Persian Narrative Ghazal A Comparative Study of Story and Narrative Elements in Classical and Contemporary Persian Narrative Ghazal 27 46 29073 10.22108/liar.2024.142559.2402 FA Mahdi Rostami Assistant Professor, Department of Persian Language and Literature, Faculty of Humanities, Salman Farsi University, Kazerun, Iran Alimohammad Mahmoudi Assistant Professor, Department of Persian Language and Literature, Faculty of Humanities, Salman Farsi University, Kazerun, Iran Journal Article 2024 08 31 In the classic Persian narrative ghazals, in addition to expressing romantic issues, there is also a strong presence in mysticism, and examples of it can be seen in the Attar and Rumi’s divan. In contemporary Persian poetry, poets such as Simin Behbahani and Mohammad Saeed Mirzaei have evidently used narration in ghazal. There are clear differences between the contemporary Persian narrative ghazals in the use of narrative elements, especially the character and description of the scene and plot, with the classical Persian narrative ghazals. This research aims to analyze and criticize the similarities and differences of narrative elements in classical and contemporary Persian narrative ghazal using a descriptive-analytical method based on sample reading and analysis. It can be said that the past narrative has a general, subjective, and transcendent state, but the contemporary narrative ghazal considers objective and minor issues in the society. The themes of classical Persian narrative ghazals are romantic, general, and mystical, but the subject of contemporary narrative ghazals is social realities and issues. Keywords: Persian Ghazal, Narrative, Narrative Ghazal, Traditional Ghazal, New Ghazal. Introduction In the contemporary era, the Persian narrative ghazal was one of the poetic movements that emerged in the seventies. This type of ghazal was officially introduced with the publication of two books of poetry by Mohammad Saeed Mirzaei and was welcomed by young poets to the extent that its influence extended to the 1990s. But before the form of narrative ghazal became known as a trend in today's poetry, it can be seen in the sixties, especially in the poems of Simin Behbahani. Research works on the subject of narrative poetry of the past can be seen in several articles: Heydari (2007) who has found four constructions of address, backbiting, soliloquy, and dialogue in narrative ghazal. In addition, Garavand (2009) is a worthy research in the field of understanding the structure of the story in the Ghazliat of Shams. In the field of contemporary narrative ghazal, we can also refer to the critical article on young Ghazal (Akhlaghi, 2006) and the article on cinematic narrative styles in Ghazal (Fesharaki & Safaei, 2013). It should be mentioned that, so far, no independent research work has been observed on the subject of comparison of past and contemporary narrative ghazal. The purpose of this research is to analyze these distinctions and categorize them. It aims to answer the question of: What similarities and contrasts are there between the past and present narrative ghazals in the use of narrative elements? Methods The type of this research is theoretical and the method of collecting materials and data is library-based using related sources. The research method was descriptive-analytical. In this way, according to the previous sources, the most prominent characteristics of the narrative ghazal of the classical Persian poets (Sanaei Ghaznavi, Attar, Molana, Hafez Shirazi, etc.) were extracted, categorized, and analyzed. Then, the contemporary narrative ghazals (the ghazals of Hossein Monzavi, Simin Behbahani, Mohammad Saeed Mirzaei, Biyabanki, Hamed Ebrahimpour, Mozhgan Abbaslou, etc.) were studied. In the following, the prominent changes in the story elements in the new ghazal compared to the classical Persian ghazal were examined and criticized. Research Findings In the classical Persian story, heroic and sometimes dynamic characters are seen, but the contemporary narrations, with the exception of religious ghazals, are more anti-hero. They include characters such as a child who has to work on the street, a poor child, an absurdity who intends to suicide, a man who does not reach his favorite woman, a woman who betrayed the man, and so on. In general, contemporary Persian narrative characters are from different strata of the society, which has given these categories of ghazals a social taste. In romantic and descriptive ghazals, the story is weaker, and often the lover remains in the burning and separation. In contemporary narrative ghazals, a space full of bitterness, grief, and despair in the context of the narrative is seen, so that endings usually lead to the death of a personality without causing a node. The field of narrative in the past is sometimes a mental space. Sometimes it is a public space like a garden and market. The time of the event is general (at night and in the morning). In the contemporary narrative, there is a scene of urban environment events and the street has a strong presence. Discussion of Results and Conclusion The dominant subject of mystical narrative ghazals is the passing of the seeker/mystic through the achievement of maturity and perfection. In this regard, Attar's narrative ghazals on the subject of the story of Halaj and Sheikh Sanaan have the most frequency in the experience of meeting the beloved and mystical beloved (Sharif Nasb & Karami, 2012, p. 270). In contemporary poetry and ghazals, the subject and the interior derived from urban life and modern society become more diverse. Themes such as death, failure in love, loneliness, poverty, child citizenship, women's citizenship, war, misunderstanding, and diminishing ethics are the main issues of these ghazals. There are, of course, ritual issues such as Ashura, the imposed war, and the waiting for a savior. In contemporary narrative ghazals, the main personality of the ordinary and low-income classes is the marginalization of an urban society, and suffers from social problems. Inaction and submission to the disadvantage can be considered anti-hero. In the study of the past poem, the Freitak pattern (introduction, narrative, and conclusion) can be seen. The plot in classical narrative ghazals is generally a kind of storytelling. In most contemporary narrative ghazals, the lack of a stable state is evident, and the narrative is formed with an unstable situation. Usually, the unstable situation of the main character forces the story to do an unwanted practice: childhood work, crossroads, beyguards and sales, newspaper distribution, sale of a memorial bangle, work on the day of closure, and so on. In the classic Persian narrative ghazals, in addition to expressing romantic issues, there is also a strong presence in mysticism, and examples of it can be seen in the Attar and Rumi’s divan. In contemporary Persian poetry, poets such as Simin Behbahani and Mohammad Saeed Mirzaei have evidently used narration in ghazal. There are clear differences between the contemporary Persian narrative ghazals in the use of narrative elements, especially the character and description of the scene and plot, with the classical Persian narrative ghazals. This research aims to analyze and criticize the similarities and differences of narrative elements in classical and contemporary Persian narrative ghazal using a descriptive-analytical method based on sample reading and analysis. It can be said that the past narrative has a general, subjective, and transcendent state, but the contemporary narrative ghazal considers objective and minor issues in the society. The themes of classical Persian narrative ghazals are romantic, general, and mystical, but the subject of contemporary narrative ghazals is social realities and issues. Keywords: Persian Ghazal, Narrative, Narrative Ghazal, Traditional Ghazal, New Ghazal. Introduction In the contemporary era, the Persian narrative ghazal was one of the poetic movements that emerged in the seventies. This type of ghazal was officially introduced with the publication of two books of poetry by Mohammad Saeed Mirzaei and was welcomed by young poets to the extent that its influence extended to the 1990s. But before the form of narrative ghazal became known as a trend in today's poetry, it can be seen in the sixties, especially in the poems of Simin Behbahani. Research works on the subject of narrative poetry of the past can be seen in several articles: Heydari (2007) who has found four constructions of address, backbiting, soliloquy, and dialogue in narrative ghazal. In addition, Garavand (2009) is a worthy research in the field of understanding the structure of the story in the Ghazliat of Shams. In the field of contemporary narrative ghazal, we can also refer to the critical article on young Ghazal (Akhlaghi, 2006) and the article on cinematic narrative styles in Ghazal (Fesharaki & Safaei, 2013). It should be mentioned that, so far, no independent research work has been observed on the subject of comparison of past and contemporary narrative ghazal. The purpose of this research is to analyze these distinctions and categorize them. It aims to answer the question of: What similarities and contrasts are there between the past and present narrative ghazals in the use of narrative elements? Methods The type of this research is theoretical and the method of collecting materials and data is library-based using related sources. The research method was descriptive-analytical. In this way, according to the previous sources, the most prominent characteristics of the narrative ghazal of the classical Persian poets (Sanaei Ghaznavi, Attar, Molana, Hafez Shirazi, etc.) were extracted, categorized, and analyzed. Then, the contemporary narrative ghazals (the ghazals of Hossein Monzavi, Simin Behbahani, Mohammad Saeed Mirzaei, Biyabanki, Hamed Ebrahimpour, Mozhgan Abbaslou, etc.) were studied. In the following, the prominent changes in the story elements in the new ghazal compared to the classical Persian ghazal were examined and criticized. Research Findings In the classical Persian story, heroic and sometimes dynamic characters are seen, but the contemporary narrations, with the exception of religious ghazals, are more anti-hero. They include characters such as a child who has to work on the street, a poor child, an absurdity who intends to suicide, a man who does not reach his favorite woman, a woman who betrayed the man, and so on. In general, contemporary Persian narrative characters are from different strata of the society, which has given these categories of ghazals a social taste. In romantic and descriptive ghazals, the story is weaker, and often the lover remains in the burning and separation. In contemporary narrative ghazals, a space full of bitterness, grief, and despair in the context of the narrative is seen, so that endings usually lead to the death of a personality without causing a node. The field of narrative in the past is sometimes a mental space. Sometimes it is a public space like a garden and market. The time of the event is general (at night and in the morning). In the contemporary narrative, there is a scene of urban environment events and the street has a strong presence. Discussion of Results and Conclusion The dominant subject of mystical narrative ghazals is the passing of the seeker/mystic through the achievement of maturity and perfection. In this regard, Attar's narrative ghazals on the subject of the story of Halaj and Sheikh Sanaan have the most frequency in the experience of meeting the beloved and mystical beloved (Sharif Nasb & Karami, 2012, p. 270). In contemporary poetry and ghazals, the subject and the interior derived from urban life and modern society become more diverse. Themes such as death, failure in love, loneliness, poverty, child citizenship, women's citizenship, war, misunderstanding, and diminishing ethics are the main issues of these ghazals. There are, of course, ritual issues such as Ashura, the imposed war, and the waiting for a savior. In contemporary narrative ghazals, the main personality of the ordinary and low-income classes is the marginalization of an urban society, and suffers from social problems. Inaction and submission to the disadvantage can be considered anti-hero. In the study of the past poem, the Freitak pattern (introduction, narrative, and conclusion) can be seen. The plot in classical narrative ghazals is generally a kind of storytelling. In most contemporary narrative ghazals, the lack of a stable state is evident, and the narrative is formed with an unstable situation. Usually, the unstable situation of the main character forces the story to do an unwanted practice: childhood work, crossroads, beyguards and sales, newspaper distribution, sale of a memorial bangle, work on the day of closure, and so on.

https://liar.ui.ac.ir/article_29073_67c6319a78279f41b22562c15fb46189.pdf

University of Isfahan Literary Arts 20088027 17 1 2025 03 21 Introduction and Analysis of the Linguistic Features of the Manuscript Version of Masnavi Zinat-ol-Anjoman by Mirza Hasan Kafash Isfahani Introduction and Analysis of the Linguistic Features of the Manuscript Version of Masnavi Zinat-ol-Anjoman by Mirza Hasan Kafash Isfahani 47 72 29054 10.22108/liar.2024.142584.2403 FA Hamid Assarzadegan Ph.D. Student of Persian Language and Literature, Islamic Azad University, Dehaghan, Iran 0009-0004-7213-8911 Maryam Mahmoodi Associate Professor, Department of Persian Language and Literature, Islamic Azad University, Dehaghan, Iran Hamid Reza Ghanooni Assistant Professor, Department of Persian Language and Literature, Payam-e Noor University, Tehran, Iran Journal Article 2024 08 28 Zinat-ol-Anjoman is a Masnavi comprising two thousand verses that praise the Prophet and the Imams, along with elegies dedicated to Imam Hussain. This work is attributed to Mirza Hasan Kafash Isfahani, a poet from the 13th-century revival period. Regrettably, there is a lack of reliable biographical sources regarding his life and neither the lists of Persian manuscripts nor any known manuscripts have mentioned Zinat-ol-Anjoman. Only one of the two existing copies of Kafash’s Diwan—the version held in Ayatollah Golpayegani's library—begins with this Masnavi. This article first examined the bibliographic features of Zinat-ol-Anjoman using a descriptive-analytical method and library research and then analyzed the linguistic aspects of the work. Kafash Isfahani drew inspiration from Ferdowsi's Shahnameh in crafting this Masnavi. His poetry was characterized by simplicity and fluency, avoiding unfamiliar or complex vocabulary. Instances of archaic words and Arabic phrases were minimal in his Diwan and the vernacular interpretations and expressions he employed connected his poetry to the everyday language of ordinary people and those in the bazaar. Keywords: Return Period, Manuscript, Zinat-ol-Anjoman, Masnavi, Mirza Hasan Kafash Isfahani. Introduction Mirza Hasan Kafash Isfahani is a notable poet from the 13th century Hijri, who resided in Isfahan. He was part of the literary revival period and lived during the reigns of two Qajar kings, Mohammad Shah and Naser al-Din Shah. Kafash is known for two surviving works: his Diwan of poetry and Masnavi Zinat-ol-Anjoman, neither of which has been corrected or published to date. The central theme of Zinat-ol-Anjoman revolves around the praise of the Prophet (PBUH) and the infallible Imams, alongside the lamentation of Imam Hussain. The significance of this Masnavi lies in the fact that the poet references narrations that align with reputable religious sources, indicating that he has drawn upon these texts during the composition of his work. Furthermore, this Masnavi holds particular value as it originates from a poet of Isfahan, a city with a rich Shiite heritage that has persisted since the Safavid era. Despite its importance, Zinat-ol-Anjoman is not mentioned in any lists of Persian manuscripts; only Kafash's Diwan is referenced. Notably, one of the two existing copies of Kafash's Diwan—the version held in Golpayegani's library—begins with this Masnavi. This research focused solely on the linguistic features of Kafash's poetry. Materials and Methods This research presented the manuscript version of Masnavi of Zinat-ol-Anjoman through a library and documentary research approach. Initially, the manuscript of the text was corrected followed by the extraction of its linguistic characteristics. Research Findings Lexical Features Kafash's poetry was characterized by simplicity and fluency, avoiding unfamiliar or difficult vocabulary. He employed a language that was accessible to the general public. Overall, his poetic language was free from complexity and ambiguity, lacking philosophical, theological, astronomical, or scientific terms, and showed no signs of innovation. Slang Words and Combinations Many of the words and expressions used by Kafash Isfahani reflected everyday language and colloquial speech. Arabic Words The influence of Arabic on Persian was evident, with numerous Arabic words having entered the Persian lexicon over centuries. Persian poets have often incorporated Arabic words and expressions into their works. Kafash Isfahani similarly employed Arabic vocabulary, interpretations, and phrases in Zinat-ol-Anjoman. Given the religious themes and content of this Masnavi, many of the terms used were religious in nature, with a significant number being of Arabic origin. Grammatical Features In Zinat-ol-Anjoman, the combination of words and adherence to Persian grammar was generally consistent with only a few exceptions primarily due to the need for metrical balance. In this research, some examples were presented to illustrate the grammatical features found in this Masnavi. Discussion of Results & Conclusion Zinat-ol-Anjoman, a Masnavi composed by Mirza Hasan Kafash Isfahani in the 13th century, is a religious poem centered on the mourning of the Prophet and his family for Imam Hussain and his companions. In this work, Kafash presented various perspectives on the Prophet, Imam Ali, and Imam Hussain, with the epic of Karbala serving as the central theme. While this poem shared thematic elements with earlier and contemporary works—particularly in its references to the Prophet and the infallible Imams, especially Imam Hussain—it distinguished itself through its brevity and conciseness. Stylistically and linguistically, Kafash's poetry was marked by simplicity and fluency, avoiding unfamiliar or difficult vocabulary. He employed a language that was free from complexity and ambiguity and was largely devoid of philosophical, theological, astronomical, or scientific terms. Additionally, Zinat-ol-Anjoman reflected the influence of classical language, with Kafash occasionally adopting stylistic elements reminiscent of past poets. Overall, the Masnavi stood out for its accessible language and poignant thematic focus on mourning and reverence. Zinat-ol-Anjoman is a Masnavi comprising two thousand verses that praise the Prophet and the Imams, along with elegies dedicated to Imam Hussain. This work is attributed to Mirza Hasan Kafash Isfahani, a poet from the 13th-century revival period. Regrettably, there is a lack of reliable biographical sources regarding his life and neither the lists of Persian manuscripts nor any known manuscripts have mentioned Zinat-ol-Anjoman. Only one of the two existing copies of Kafash’s Diwan—the version held in Ayatollah Golpayegani's library—begins with this Masnavi. This article first examined the bibliographic features of Zinat-ol-Anjoman using a descriptive-analytical method and library research and then analyzed the linguistic aspects of the work. Kafash Isfahani drew inspiration from Ferdowsi's Shahnameh in crafting this Masnavi. His poetry was characterized by simplicity and fluency, avoiding unfamiliar or complex vocabulary. Instances of archaic words and Arabic phrases were minimal in his Diwan and the vernacular interpretations and expressions he employed connected his poetry to the everyday language of ordinary people and those in the bazaar. Keywords: Return Period, Manuscript, Zinat-ol-Anjoman, Masnavi, Mirza Hasan Kafash Isfahani. Introduction Mirza Hasan Kafash Isfahani is a notable poet from the 13th century Hijri, who resided in Isfahan. He was part of the literary revival period and lived during the reigns of two Qajar kings, Mohammad Shah and Naser al-Din Shah. Kafash is known for two surviving works: his Diwan of poetry and Masnavi Zinat-ol-Anjoman, neither of which has been corrected or published to date. The central theme of Zinat-ol-Anjoman revolves around the praise of the Prophet (PBUH) and the infallible Imams, alongside the lamentation of Imam Hussain. The significance of this Masnavi lies in the fact that the poet references narrations that align with reputable religious sources, indicating that he has drawn upon these texts during the composition of his work. Furthermore, this Masnavi holds particular value as it originates from a poet of Isfahan, a city with a rich Shiite heritage that has persisted since the Safavid era. Despite its importance, Zinat-ol-Anjoman is not mentioned in any lists of Persian manuscripts; only Kafash's Diwan is referenced. Notably, one of the two existing copies of Kafash's Diwan—the version held in Golpayegani's library—begins with this Masnavi. This research focused solely on the linguistic features of Kafash's poetry. Materials and Methods This research presented the manuscript version of Masnavi of Zinat-ol-Anjoman through a library and documentary research approach. Initially, the manuscript of the text was corrected followed by the extraction of its linguistic characteristics. Research Findings Lexical Features Kafash's poetry was characterized by simplicity and fluency, avoiding unfamiliar or difficult vocabulary. He employed a language that was accessible to the general public. Overall, his poetic language was free from complexity and ambiguity, lacking philosophical, theological, astronomical, or scientific terms, and showed no signs of innovation. Slang Words and Combinations Many of the words and expressions used by Kafash Isfahani reflected everyday language and colloquial speech. Arabic Words The influence of Arabic on Persian was evident, with numerous Arabic words having entered the Persian lexicon over centuries. Persian poets have often incorporated Arabic words and expressions into their works. Kafash Isfahani similarly employed Arabic vocabulary, interpretations, and phrases in Zinat-ol-Anjoman. Given the religious themes and content of this Masnavi, many of the terms used were religious in nature, with a significant number being of Arabic origin. Grammatical Features In Zinat-ol-Anjoman, the combination of words and adherence to Persian grammar was generally consistent with only a few exceptions primarily due to the need for metrical balance. In this research, some examples were presented to illustrate the grammatical features found in this Masnavi. Discussion of Results & Conclusion Zinat-ol-Anjoman, a Masnavi composed by Mirza Hasan Kafash Isfahani in the 13th century, is a religious poem centered on the mourning of the Prophet and his family for Imam Hussain and his companions. In this work, Kafash presented various perspectives on the Prophet, Imam Ali, and Imam Hussain, with the epic of Karbala serving as the central theme. While this poem shared thematic elements with earlier and contemporary works—particularly in its references to the Prophet and the infallible Imams, especially Imam Hussain—it distinguished itself through its brevity and conciseness. Stylistically and linguistically, Kafash's poetry was marked by simplicity and fluency, avoiding unfamiliar or difficult vocabulary. He employed a language that was free from complexity and ambiguity and was largely devoid of philosophical, theological, astronomical, or scientific terms. Additionally, Zinat-ol-Anjoman reflected the influence of classical language, with Kafash occasionally adopting stylistic elements reminiscent of past poets. Overall, the Masnavi stood out for its accessible language and poignant thematic focus on mourning and reverence.

https://liar.ui.ac.ir/article_29054_51ab42af4588a7665cb9a734d960cd24.pdf

University of Isfahan Literary Arts 20088027 17 1 2025 03 21 Basics of Orthography in Standard Persian Basics of Orthography in Standard Persian 73 88 29047 10.22108/liar.2024.140944.2367 FA Elham Sayyedan Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran 0000-0009-0009-0009 Tannaz Karamatian Fard Ph.D. Student in Persian Language and Literature, Faculty of Literature and Humanities, University of Isfahan, Isfahan, Iran Journal Article 2024 03 11 The discussion of linguistic errors and the focus on correcting writing mistakes are common themes in many editing and writing guides. However, these resources often present linguistic errors without adequately addressing the fundamentals of orthography, leading to the inclusion of numerous subjective and personal comments. A comprehensive discussion of orthography necessitates an explanation of its underlying principles and foundations. This study aimed to establish criteria for orthography while critically reviewing the perspectives of Abolhassan Najafi, Khosrow Farshidvard, Mirshams-eddin Adib Soltani, and Nasergholi Sarli. The findings indicated that a crucial aspect often overlooked in the discussion of orthography was the acknowledgment of various styles and types of language. Among the recognized language varieties were administrative, media, literary, and scientific styles. Given the distinct subject matter and audiences associated with each type, it is essential to consider these differences when formulating orthographic principles. Additionally, attention must be paid to the evolution of language across different linguistic periods and the advancements in spoken language. Due to the fragmentation and lack of clear, definitive criteria in prior research, this study proposed a set of criteria for orthography. Keywords: Orthography, Standard Persian, Orthography Basics, Language Editing. Introduction The importance of "correct writing" is a common theme in many writing and editing books. Most of these texts offer guidance for enhancing writing by identifying linguistic errors. However, they often suffer from issues, such as disorganized content, subjective commentary, imposition of rigid criteria without considering different styles and contexts, and a lack of consistent methodology. These problems largely stem from a neglect of the fundamental principles of orthography. Until clear and uniform principles for orthography are established, we will likely continue to see a diversity of opinions and practices in this area. Given the absence of a scientific and methodical discourse on the basics of orthography, this study aimed to address the following questions: What criteria for orthography have been proposed in previous research? On what basis are the orthography criteria for a standard language determined? How can we suggest indicators for correct writing across various linguistic varieties? Some studies have, albeit sporadically, focused on the characteristics of standard language and relevant linguistic-structural issues concerning correctness. For instance, Ali Ashraf Sadeghi (1983) has generally discussed the concepts of correctness and incorrectness in linguistic forms. Ali Mohammad Haqshenas (1994) has explored the social roots of linguistic correctness, critiqued the educational system's flawed approach to language, and emphasized the importance of properly teaching calligraphy and writing style, as well as the challenges posed by orthography in elementary education. Zahra Zandi Moghaddam (2017) has provided a critique of "Bibliography of Right and Wrong in Language" authored by Ahmad Khandan. Materials & Methods This study aimed to review and critique the perspectives of Abolhassan Najafi, Khosrow Farshidvard, Mir Shams-eddin Adib Soltani, and Nasergholi Sarli while proposing criteria for orthography. Consequently, the methodology employed was both descriptive and analytical. Research Findings The studies revealed that existing sources, including books and articles on the topic of correctness in language—published under titles, such as "Standard Language", "Writing and Editing Rules", "Correct Writing", and "Let's Write Better"—lack a clear basis for determining right and wrong in standard language. With the exception of a few style guides, most authors focused solely on examples of linguistic and structural editing, such as the removal of clauses, deletions, foreign words, grammatical errors, excessive length, consecutive verbs, verb omissions, use of Arabic words in Persian, stereotypical expressions, slang, inadequate expressions, incorrect verb usage, failure to properly observe sentence components, and incoherence in sequential sentences. Notable scholars, including Abolhasan Najafi, Nasergholi Sarli, Khosrow Farshidvard, and Mir Shams-eddin Adib Soltani, had proposed specific, categorized, or general principles and criteria for correctness in standard language. Najafi's perspective was moderate; while he considered the history of language and established rules for correctness, he also acknowledged the evolution of spoken language. Conversely, Adib Soltani's approach did not account for spoken language, thereby overlooking its intrinsic qualities. Farshidvard adopted a prescriptive stance, asserting that the correctness of speech was contingent upon adherence to grammatical rules. In contrast, Sarli emphasized the communicative aspects of language, focusing on the effectiveness and adequacy of linguistic patterns in conveying meaning. A reflection on these perspectives indicated that some proposed criteria might not be universally applicable across all linguistic varieties. Discussion of Results & Conclusion A critical aspect that has not been adequately addressed in the discussions of orthography is the consideration of different styles and varieties of language. Standard language encompasses various forms, including administrative, media, literary, and scientific styles. Each of these types has distinct subject matter and audiences, making it essential to account for these differences when establishing principles of orthography. Many editing and discussion books on orthography have been created without regard for these variations. This study identified existing shortcomings and proposed criteria for orthography that included: consistency, attention to the morphological, syntactic, and phonetic features of the Persian language, consideration of the semantic relationships among sentence components and meaning transfer, linguistic economy, and acknowledgment of the historical evolution of language alongside the adaptation of speech and writing. The discussion of linguistic errors and the focus on correcting writing mistakes are common themes in many editing and writing guides. However, these resources often present linguistic errors without adequately addressing the fundamentals of orthography, leading to the inclusion of numerous subjective and personal comments. A comprehensive discussion of orthography necessitates an explanation of its underlying principles and foundations. This study aimed to establish criteria for orthography while critically reviewing the perspectives of Abolhassan Najafi, Khosrow Farshidvard, Mirshams-eddin Adib Soltani, and Nasergholi Sarli. The findings indicated that a crucial aspect often overlooked in the discussion of orthography was the acknowledgment of various styles and types of language. Among the recognized language varieties were administrative, media, literary, and scientific styles. Given the distinct subject matter and audiences associated with each type, it is essential to consider these differences when formulating orthographic principles. Additionally, attention must be paid to the evolution of language across different linguistic periods and the advancements in spoken language. Due to the fragmentation and lack of clear, definitive criteria in prior research, this study proposed a set of criteria for orthography. Keywords: Orthography, Standard Persian, Orthography Basics, Language Editing. Introduction The importance of "correct writing" is a common theme in many writing and editing books. Most of these texts offer guidance for enhancing writing by identifying linguistic errors. However, they often suffer from issues, such as disorganized content, subjective commentary, imposition of rigid criteria without considering different styles and contexts, and a lack of consistent methodology. These problems largely stem from a neglect of the fundamental principles of orthography. Until clear and uniform principles for orthography are established, we will likely continue to see a diversity of opinions and practices in this area. Given the absence of a scientific and methodical discourse on the basics of orthography, this study aimed to address the following questions: What criteria for orthography have been proposed in previous research? On what basis are the orthography criteria for a standard language determined? How can we suggest indicators for correct writing across various linguistic varieties? Some studies have, albeit sporadically, focused on the characteristics of standard language and relevant linguistic-structural issues concerning correctness. For instance, Ali Ashraf Sadeghi (1983) has generally discussed the concepts of correctness and incorrectness in linguistic forms. Ali Mohammad Haqshenas (1994) has explored the social roots of linguistic correctness, critiqued the educational system's flawed approach to language, and emphasized the importance of properly teaching calligraphy and writing style, as well as the challenges posed by orthography in elementary education. Zahra Zandi Moghaddam (2017) has provided a critique of "Bibliography of Right and Wrong in Language" authored by Ahmad Khandan. Materials & Methods This study aimed to review and critique the perspectives of Abolhassan Najafi, Khosrow Farshidvard, Mir Shams-eddin Adib Soltani, and Nasergholi Sarli while proposing criteria for orthography. Consequently, the methodology employed was both descriptive and analytical. Research Findings The studies revealed that existing sources, including books and articles on the topic of correctness in language—published under titles, such as "Standard Language", "Writing and Editing Rules", "Correct Writing", and "Let's Write Better"—lack a clear basis for determining right and wrong in standard language. With the exception of a few style guides, most authors focused solely on examples of linguistic and structural editing, such as the removal of clauses, deletions, foreign words, grammatical errors, excessive length, consecutive verbs, verb omissions, use of Arabic words in Persian, stereotypical expressions, slang, inadequate expressions, incorrect verb usage, failure to properly observe sentence components, and incoherence in sequential sentences. Notable scholars, including Abolhasan Najafi, Nasergholi Sarli, Khosrow Farshidvard, and Mir Shams-eddin Adib Soltani, had proposed specific, categorized, or general principles and criteria for correctness in standard language. Najafi's perspective was moderate; while he considered the history of language and established rules for correctness, he also acknowledged the evolution of spoken language. Conversely, Adib Soltani's approach did not account for spoken language, thereby overlooking its intrinsic qualities. Farshidvard adopted a prescriptive stance, asserting that the correctness of speech was contingent upon adherence to grammatical rules. In contrast, Sarli emphasized the communicative aspects of language, focusing on the effectiveness and adequacy of linguistic patterns in conveying meaning. A reflection on these perspectives indicated that some proposed criteria might not be universally applicable across all linguistic varieties. Discussion of Results & Conclusion A critical aspect that has not been adequately addressed in the discussions of orthography is the consideration of different styles and varieties of language. Standard language encompasses various forms, including administrative, media, literary, and scientific styles. Each of these types has distinct subject matter and audiences, making it essential to account for these differences when establishing principles of orthography. Many editing and discussion books on orthography have been created without regard for these variations. This study identified existing shortcomings and proposed criteria for orthography that included: consistency, attention to the morphological, syntactic, and phonetic features of the Persian language, consideration of the semantic relationships among sentence components and meaning transfer, linguistic economy, and acknowledgment of the historical evolution of language alongside the adaptation of speech and writing.

https://liar.ui.ac.ir/article_29047_90aedf376c0ef7767d636ad69e994400.pdf

University of Isfahan Literary Arts 20088027 17 1 2025 03 21 Examining Sana'i Ghaznavi’s Quatrains Based on Roman Jacobson's Theory of Verbal Communication Examining Sana'i Ghaznavi’s Quatrains Based on Roman Jacobson's Theory of Verbal Communication 89 108 29231 10.22108/liar.2025.142002.2390 FA Ahmad Sanchooli Associate Professor of Persian Language and Literature, Faculty of Literature and Humanities, Zabol University. Zabol, Iran Journal Article 2024 07 02 Roman Jacobson’s verbal communication theory, in which the main functions and roles (sender, message, and receiver) and secondary roles (topic, symbols, and communication channel) of language are considered, is one of the most consistent theories in the field of linguistics and literary criticism. Based on this theory, directing the message towards each of these roles causes the emergence of special functions such as emotional, persuasive, literary, referential, meta-linguistic, and empathy. In the study of Sana'i Ghaznavi’s quatrains, according to the six functions of language, it was found that in addition to the literary role, which all quatrains have due to the use of poetic elements, the emotional role also has the greatest function. In the emotional role in which the direction of the message is towards the speaker, the poet has expressed his emotions and feelings in a simple and intimate language regarding issues such as beloved, admired, or his opponents. Therefore, the purpose and centrality of the speech in these quatrains are with the sender (the poet) and the literary type of these quatrains is the type of lyric literature in which the structure of description is considered the most important structure and the poet has described categories such as love, lover, praise, man, world, and God. Keywords: Sanai Ghaznavi, Quatrain, Theory of Verbal Communication, Roman Jacobson. Introduction Sana'i Ghaznavi (d. 529 A.H.), is a famous poet of the 6th century. In addition to being considered a flow-making poet in Masnavi, odes, and ghazals, he is also a poet in the quatrains and opening new semantic horizons. He brought mysticism into the realm of quatrains and in this sense created a new movement in quatrains that were more romantic before him. For this reason, his works are among the texts that have been referred to as "the text of the moment of change" (Fottouhi, 2012, p. 230). In these quatrains, various themes can be seen such as romantic, mystical, philosophical, and moral, as well as praise, satire, witnessing, and chaos, which are usually divided into ‘light’ and ‘gray’ categories (Shafiei Kadkani, 2010, p. 25-34). In addition to mystical themes, his Khayamiyat is also worthy of reflection in this poetic form. The themes of Khayami, before Sana'i, are seen in other poetic forms (Islami Nadoushan, 1995, p. 122). Introducing these themes into the form of quatrains is very likely done for the first time by Sana'i. Sanai is also a pioneer in composing the quatrains of Shahreshob (Shamisa, 1984, p. 55). In this research, while examining the Sana'i quatrains based on Roman Jacobson's communication model, these questions have been posed: Which role is more important in these quatrains? What is the function of other roles in these poems? How does a dominant construction influence other constructions? Materials and Methods The method of conducting this research is the descriptive-analytical method, in which all Sana'i Ghaznavi’s quatrains have been examined and studied based on Roman Jacobson's model of verbal communication, and the six functions of language in these quatrains have been categorized and analyzed by mentioning the frequency. Research Findings It is rare to find a poem in which only one of the language roles is used, but in most instances, two or more language roles are present at the same time, and even in some cases, the language roles are separated from each other. According to Jacobson, what makes different messages different from each other is "the predominance of one of the functions of language over other roles" (Meghdadi, 1999, p. 623). In the analysis of Sana'i quatrains based on Roman Jacobson's communication model, it was found that in addition to the literary role that all quatrains have due to the poet's use of the quatrain format and the use of literary devices, the emotional role has the most function, which has influenced other roles of language. The most obvious structure in the emotional role is the structure of description, in which the poet has described his situation, his lover, his admirers, and sometimes his opponents. In addition to these two main roles, Sanai has also used other roles of language, i.e. persuasive, referential, meta-linguistic, and empathic roles. The most important structure in the role of persuasion is the structure of advice, which includes moral, religious, and romantic advice. In the referential role, the poet's point of view can be seen towards categories such as love, lover, human, world, and God. Considering these points, it can be said that Jacobson's theory of linguistic communication is an efficient and coherent theory in the analysis of literary works, which pays attention to both the structure and the content of the literary work. Discussion of Results and Conclusions According to Jacobson's model of verbal communication, Sana'i has used all the six roles of language in his quatrains. In the emotional role, Sana'i talks about his feelings in relation to his lover, praised, or his opponents. Therefore, his quatrains can be considered a type of lyrical literature, in which the most important element is description, and the most important structure in description is the herding structure, in which Sana'i complains to the herd and about his lover's cruelty. He pays attention to his lover's bad temper, bad language, cunning, trickery, reproach, and cuteness. The tone of lamentation and glory from the lover is sometimes to such an extent that it finds the side of burning and symptoms of the lover, and in some cases, it even comes close to satire. In addition to being proud of his lover, Sanai complains about destiny, luck, and sometimes from some of his friends and relatives. The predominance of the emotional tone in Sena'i quatrains is such that it has overshadowed other roles and functions of language. In the role of persuasion, in which the direction of the message is towards the audience and the structure of advice is considered the most important structure, in cases where the audience is a lover, the tone of the poet is not commanding, but is accompanied with a kind of desire and expression of romantic need. Of course, in cases where the audience is general, the poet's tone becomes commanding. In these cases, the most important recommendations are moral recommendations. In addition to the structure of advice, the structure of wish, which comes with a prayer verb, has a significant function in which the poet has a wish in the form of a prayer or a curse for his beloved, praised, or opponents. In addition to these roles, the poet has also used other roles of language, i.e. the role of meta-linguistics and empathy. Roman Jacobson’s verbal communication theory, in which the main functions and roles (sender, message, and receiver) and secondary roles (topic, symbols, and communication channel) of language are considered, is one of the most consistent theories in the field of linguistics and literary criticism. Based on this theory, directing the message towards each of these roles causes the emergence of special functions such as emotional, persuasive, literary, referential, meta-linguistic, and empathy. In the study of Sana'i Ghaznavi’s quatrains, according to the six functions of language, it was found that in addition to the literary role, which all quatrains have due to the use of poetic elements, the emotional role also has the greatest function. In the emotional role in which the direction of the message is towards the speaker, the poet has expressed his emotions and feelings in a simple and intimate language regarding issues such as beloved, admired, or his opponents. Therefore, the purpose and centrality of the speech in these quatrains are with the sender (the poet) and the literary type of these quatrains is the type of lyric literature in which the structure of description is considered the most important structure and the poet has described categories such as love, lover, praise, man, world, and God. Keywords: Sanai Ghaznavi, Quatrain, Theory of Verbal Communication, Roman Jacobson. Introduction Sana'i Ghaznavi (d. 529 A.H.), is a famous poet of the 6th century. In addition to being considered a flow-making poet in Masnavi, odes, and ghazals, he is also a poet in the quatrains and opening new semantic horizons. He brought mysticism into the realm of quatrains and in this sense created a new movement in quatrains that were more romantic before him. For this reason, his works are among the texts that have been referred to as "the text of the moment of change" (Fottouhi, 2012, p. 230). In these quatrains, various themes can be seen such as romantic, mystical, philosophical, and moral, as well as praise, satire, witnessing, and chaos, which are usually divided into ‘light’ and ‘gray’ categories (Shafiei Kadkani, 2010, p. 25-34). In addition to mystical themes, his Khayamiyat is also worthy of reflection in this poetic form. The themes of Khayami, before Sana'i, are seen in other poetic forms (Islami Nadoushan, 1995, p. 122). Introducing these themes into the form of quatrains is very likely done for the first time by Sana'i. Sanai is also a pioneer in composing the quatrains of Shahreshob (Shamisa, 1984, p. 55). In this research, while examining the Sana'i quatrains based on Roman Jacobson's communication model, these questions have been posed: Which role is more important in these quatrains? What is the function of other roles in these poems? How does a dominant construction influence other constructions? Materials and Methods The method of conducting this research is the descriptive-analytical method, in which all Sana'i Ghaznavi’s quatrains have been examined and studied based on Roman Jacobson's model of verbal communication, and the six functions of language in these quatrains have been categorized and analyzed by mentioning the frequency. Research Findings It is rare to find a poem in which only one of the language roles is used, but in most instances, two or more language roles are present at the same time, and even in some cases, the language roles are separated from each other. According to Jacobson, what makes different messages different from each other is "the predominance of one of the functions of language over other roles" (Meghdadi, 1999, p. 623). In the analysis of Sana'i quatrains based on Roman Jacobson's communication model, it was found that in addition to the literary role that all quatrains have due to the poet's use of the quatrain format and the use of literary devices, the emotional role has the most function, which has influenced other roles of language. The most obvious structure in the emotional role is the structure of description, in which the poet has described his situation, his lover, his admirers, and sometimes his opponents. In addition to these two main roles, Sanai has also used other roles of language, i.e. persuasive, referential, meta-linguistic, and empathic roles. The most important structure in the role of persuasion is the structure of advice, which includes moral, religious, and romantic advice. In the referential role, the poet's point of view can be seen towards categories such as love, lover, human, world, and God. Considering these points, it can be said that Jacobson's theory of linguistic communication is an efficient and coherent theory in the analysis of literary works, which pays attention to both the structure and the content of the literary work. Discussion of Results and Conclusions According to Jacobson's model of verbal communication, Sana'i has used all the six roles of language in his quatrains. In the emotional role, Sana'i talks about his feelings in relation to his lover, praised, or his opponents. Therefore, his quatrains can be considered a type of lyrical literature, in which the most important element is description, and the most important structure in description is the herding structure, in which Sana'i complains to the herd and about his lover's cruelty. He pays attention to his lover's bad temper, bad language, cunning, trickery, reproach, and cuteness. The tone of lamentation and glory from the lover is sometimes to such an extent that it finds the side of burning and symptoms of the lover, and in some cases, it even comes close to satire. In addition to being proud of his lover, Sanai complains about destiny, luck, and sometimes from some of his friends and relatives. The predominance of the emotional tone in Sena'i quatrains is such that it has overshadowed other roles and functions of language. In the role of persuasion, in which the direction of the message is towards the audience and the structure of advice is considered the most important structure, in cases where the audience is a lover, the tone of the poet is not commanding, but is accompanied with a kind of desire and expression of romantic need. Of course, in cases where the audience is general, the poet's tone becomes commanding. In these cases, the most important recommendations are moral recommendations. In addition to the structure of advice, the structure of wish, which comes with a prayer verb, has a significant function in which the poet has a wish in the form of a prayer or a curse for his beloved, praised, or opponents. In addition to these roles, the poet has also used other roles of language, i.e. the role of meta-linguistics and empathy.

https://liar.ui.ac.ir/article_29231_c8933a68f14805c45b6db8c4b8b27a98.pdf

University of Isfahan Literary Arts 20088027 17 1 2025 03 21 A Study of the Poetic License "Taskin" in Persian and Arabic Prosody: A Focus on on Molamma'at Mujir Al-Din Bilaqani, Mowlana, and Khajou Kermani A Study of the Poetic License "Taskin" in Persian and Arabic Prosody: A Focus on on Molamma'at Mujir Al-Din Bilaqani, Mowlana, and Khajou Kermani 109 130 29282 10.22108/liar.2025.143144.2411 FA Oula Alsaid Ph.D. Student in Persian Language and Literature, Faculty of Literature & Human Sciences, Shahid Beheshti University, Tehran, Iran Aliasghar Ghahramani Moghbel Associate Professor, Department of Arabic Language & Literature, Faculty of Literature & Human Sciences, Shahid Beheshti University, Tehran, Iran Sayyed Mahdi Tabatabaei Associate Professor, Department of Persian Language and Literature, Faculty of Literature & Human Sciences, Shahid Beheshti University, Tehran, Iran Journal Article 2024 10 28 Poetic license is a vital concept in any prosodic system and it is particularly prominent in Persian and Arabic poetry. Among these, the Taskin license stands out as one of the most important and frequently utilized licenses in Persian prosody. While it is also present in Arabic prosody, it is referred to by different names. The concept of Taskin as a metrical allowance was first proposed by Ibn Farakhan in the 6th century; however, the term "Taskin" was initially introduced by Khwaja Nasir al-Din Tusi in his work Mi'yar al-Ash'ar. This license permits poets to substitute two short syllables (UU) with a single long syllable (–). In the context of Molamma'at poetry—especially where the Arabic portions adhere to Arabic meter and the Persian sections follow Persian meter—Taskin plays a crucial role in establishing similarities between the two metrical systems. This study examined and analyzed the Taskin license in both Persian and Arabic prosody through the lens of the Molamma'at of three poets. The findings derived from a descriptive-analytical and comparative approach indicated that the prosodic elements of Idmar and Asab in Arabic prosody corresponded to the Taskin license in Persian prosody. However, application of Taskin in Persian prosody was more extensive. Additionally, Taskin had significantly influenced the frequent use of specific Molamma't meters in Persian poetry. Keywords: Persian and Arabic Prosody, Taskin, Molamma'at. Introduction Scholars of prosody generally agree that the foundation of meter in both Persian and Arabic poetry is quantitative, meaning it is based on the length of syllables. Consequently, many metrical features are shared between these two poetic traditions, one of which is the license known as "Taskin". Exploration of poetic licenses is crucial in any prosodic system and it is uncommon to find a poem in Persian or Arabic that does not utilize such licenses. These licenses enable poets to select between two metrical options based on their artistic preferences. Among the most commonly employed licenses is Taskin, which permits the poet to substitute two consecutive short syllables (UU) with one long syllable (-). Given the lack of independent studies focusing on this topic, it is essential to investigate it further. This study aimed to address two primary questions: What terms are used in Arabic prosody to refer to the Persian prosodic license of Taskin and what are the similarities and differences among them? What role has the Taskin license played in shaping and expanding the prosodic possibilities of Molamma'at in Persian poetry? To this end, the article was divided into two main sections: the first examined the Taskin license in both Persian and Arabic prosody, while the second analyzed its application in the Molamma'at works of three poets. Materials & Methods This research was categorized as a comparative study of prosody, employing a methodology that integrated historical, analytical, and statistical approaches. Research Findings History of the Term "Taskin": The term "Taskin" was first introduced as a metrical license by Ibn Farakhan in the 6th century. Although he occasionally used the term "Taskin", he did not formalize it as a prosodic term. He referred to the transformation of "Mustaf'ilu" to "Maf'ulun" and "Mufta'ilun" to "Maf'ulun" as "Irhaf" and designated the resulting foot as "Murhaf". Khwaja Nasir al-Din Tusi also employed the terms "Taskin" and "Taskin Awsat". However, many contemporary prosodians, such as Khanlari and Najafi, were unaware of Khwaja Nasir's usage. It was likely that Shamisa was the first to adopt and popularize this term from Mi'yar al-Ash'ar. Examination of the Reverse of Taskin: Shamisa noted a distinction between Arabic and Persian prosody: the reverse of Taskin is applicable in Arabic but not in Persian. However, no Arabic prosodians have formalized this reverse. Generally, in both Arabic and Persian prosody, two short syllables serve as the standard, while a long syllable substitutes for the two short syllables. Role of Taskin in the Meters of Molamma'at: The quantitative foundation of meter in Persian and Arabic has facilitated the creation of successful Molamma'at (poems that combine Arabic and Persian lines). A common structure features the Arabic portion in the Wafir meter with the Persian segment in the same meter ("Mafailun Mafailun Faulun"). Taskin plays a crucial role in this context by transforming the Arabic "Mufailatun" into the Persian "Mafailun", thus preserving the aesthetic and rhythmic harmony of both parts. Discussion of Results & Conclusion Ibn Farakhan was the first to mention Taskin as a metrical license in the 6th century. However, it was Khwaja Nasir al-Din Tusi who formally defined the term and Shamisa was the first to adopt and popularize it from Khwaja Nasir. In Arabic prosody, the concept most closely related to poetic licenses is Zihaf, with the Zihaf of Idmar and Asab serving as equivalents to the Taskin license in Persian prosody. Notably, the scope of Taskin in Persian prosody is broader as Persian poetry requires more frequent use of this license. This is primarily due to the characteristics of the Persian language, which lacks vowels and often employs more long syllables. Additionally, the predominant prosodic feet in Persian are numerous and frequently include two consecutive short syllables. Moreover, the reverse of Taskin—substituting two short syllables for one long syllable—is not applicable in either Persian or Arabic prosody. An analysis of Molamma'at, particularly in the works of Mujir al-Din Bilaqani, Rumi, and Khaju Kermani, revealed that poets of Molamma'at had extensively utilized the Persian Taskin license. Since this license was applicable in both Persian and Arabic prosody, even when it appears in non-primary feet in Arabic, the fundamental rule of Taskin—replacing one long syllable with two short syllables—was still recognized and accepted. Poetic license is a vital concept in any prosodic system and it is particularly prominent in Persian and Arabic poetry. Among these, the Taskin license stands out as one of the most important and frequently utilized licenses in Persian prosody. While it is also present in Arabic prosody, it is referred to by different names. The concept of Taskin as a metrical allowance was first proposed by Ibn Farakhan in the 6th century; however, the term "Taskin" was initially introduced by Khwaja Nasir al-Din Tusi in his work Mi'yar al-Ash'ar. This license permits poets to substitute two short syllables (UU) with a single long syllable (–). In the context of Molamma'at poetry—especially where the Arabic portions adhere to Arabic meter and the Persian sections follow Persian meter—Taskin plays a crucial role in establishing similarities between the two metrical systems. This study examined and analyzed the Taskin license in both Persian and Arabic prosody through the lens of the Molamma'at of three poets. The findings derived from a descriptive-analytical and comparative approach indicated that the prosodic elements of Idmar and Asab in Arabic prosody corresponded to the Taskin license in Persian prosody. However, application of Taskin in Persian prosody was more extensive. Additionally, Taskin had significantly influenced the frequent use of specific Molamma't meters in Persian poetry. Keywords: Persian and Arabic Prosody, Taskin, Molamma'at. Introduction Scholars of prosody generally agree that the foundation of meter in both Persian and Arabic poetry is quantitative, meaning it is based on the length of syllables. Consequently, many metrical features are shared between these two poetic traditions, one of which is the license known as "Taskin". Exploration of poetic licenses is crucial in any prosodic system and it is uncommon to find a poem in Persian or Arabic that does not utilize such licenses. These licenses enable poets to select between two metrical options based on their artistic preferences. Among the most commonly employed licenses is Taskin, which permits the poet to substitute two consecutive short syllables (UU) with one long syllable (-). Given the lack of independent studies focusing on this topic, it is essential to investigate it further. This study aimed to address two primary questions: What terms are used in Arabic prosody to refer to the Persian prosodic license of Taskin and what are the similarities and differences among them? What role has the Taskin license played in shaping and expanding the prosodic possibilities of Molamma'at in Persian poetry? To this end, the article was divided into two main sections: the first examined the Taskin license in both Persian and Arabic prosody, while the second analyzed its application in the Molamma'at works of three poets. Materials & Methods This research was categorized as a comparative study of prosody, employing a methodology that integrated historical, analytical, and statistical approaches. Research Findings History of the Term "Taskin": The term "Taskin" was first introduced as a metrical license by Ibn Farakhan in the 6th century. Although he occasionally used the term "Taskin", he did not formalize it as a prosodic term. He referred to the transformation of "Mustaf'ilu" to "Maf'ulun" and "Mufta'ilun" to "Maf'ulun" as "Irhaf" and designated the resulting foot as "Murhaf". Khwaja Nasir al-Din Tusi also employed the terms "Taskin" and "Taskin Awsat". However, many contemporary prosodians, such as Khanlari and Najafi, were unaware of Khwaja Nasir's usage. It was likely that Shamisa was the first to adopt and popularize this term from Mi'yar al-Ash'ar. Examination of the Reverse of Taskin: Shamisa noted a distinction between Arabic and Persian prosody: the reverse of Taskin is applicable in Arabic but not in Persian. However, no Arabic prosodians have formalized this reverse. Generally, in both Arabic and Persian prosody, two short syllables serve as the standard, while a long syllable substitutes for the two short syllables. Role of Taskin in the Meters of Molamma'at: The quantitative foundation of meter in Persian and Arabic has facilitated the creation of successful Molamma'at (poems that combine Arabic and Persian lines). A common structure features the Arabic portion in the Wafir meter with the Persian segment in the same meter ("Mafailun Mafailun Faulun"). Taskin plays a crucial role in this context by transforming the Arabic "Mufailatun" into the Persian "Mafailun", thus preserving the aesthetic and rhythmic harmony of both parts. Discussion of Results & Conclusion Ibn Farakhan was the first to mention Taskin as a metrical license in the 6th century. However, it was Khwaja Nasir al-Din Tusi who formally defined the term and Shamisa was the first to adopt and popularize it from Khwaja Nasir. In Arabic prosody, the concept most closely related to poetic licenses is Zihaf, with the Zihaf of Idmar and Asab serving as equivalents to the Taskin license in Persian prosody. Notably, the scope of Taskin in Persian prosody is broader as Persian poetry requires more frequent use of this license. This is primarily due to the characteristics of the Persian language, which lacks vowels and often employs more long syllables. Additionally, the predominant prosodic feet in Persian are numerous and frequently include two consecutive short syllables. Moreover, the reverse of Taskin—substituting two short syllables for one long syllable—is not applicable in either Persian or Arabic prosody. An analysis of Molamma'at, particularly in the works of Mujir al-Din Bilaqani, Rumi, and Khaju Kermani, revealed that poets of Molamma'at had extensively utilized the Persian Taskin license. Since this license was applicable in both Persian and Arabic prosody, even when it appears in non-primary feet in Arabic, the fundamental rule of Taskin—replacing one long syllable with two short syllables—was still recognized and accepted.

https://liar.ui.ac.ir/article_29282_36380851a300ddd1dec3ea2593ef6004.pdf

University of Isfahan Literary Arts 20088027 17 1 2025 03 21 Semiotics of the Archetype of the Wild Woman in Light of the Characters of Franck and Tahmineh: A Study Based on Contrasts and Similarities Semiotics of the Archetype of the Wild Woman in Light of the Characters of Franck and Tahmineh: A Study Based on Contrasts and Similarities 131 156 29457 10.22108/liar.2025.142562.2401 FA Marziye Abasi Ph. D. Student, Department of Persian Language and Literature, Faculty of Literature and Humanities, Shahrekord University, Shahrekord, Iran Masoud Forouzandeh Associate Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Shahrekord University, Shahrekord, Iran Seyed Kazem Moosavi Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Shahrekord University, Shahrekord, Iran Journal Article 2024 08 24 The field of semiotics has evolved over several decades, exploring signs from various perspectives. Semiotics is a research method that seeks to derive meaning from form. Key elements such as opposition are fundamental in linguistics and semiotics, particularly in structuralism and post-structuralism, which focus on interpretation and meaning-making. The archetype of the Wild Woman, derived from Jung’s findings, is a contemporary theme. The word wild in its commutation refers to something that is untameable or uncontrollable. This archetype represents the primordial mother and a nurturing, wise figure. This study examines semiotics, opposition, and the Wild Woman archetype through the characters of Farank and Tahmineh. Within this framework, Farank symbolizes the benevolent mother in contrast to the malevolent element (Zahhak), while also sharing maternal qualities with Tahmineh. Frank embodies the nurturing mother, whereas Tahmineh represents the suppressive mother, positioning them in opposition. In this study, symbols serve as essential semiotic elements that enhance our understanding of the archetype. The semiotic analysis of symbols like Sepandarmaz, Anahita, and the cow as a source of sustenance in these narratives deepens our comprehension of the stories. The contrast of light and darkness reflects the irreconcilable struggle between good and evil, a foundational aspect of Iranian mythology, which can subtly be found in Farank and Tahmineh’s maternal role. Keywords: Semiotics, Wild Woman Archetype, Nurturing Mother Farank, Suppressive Tahmineh, Opposition and Similarity. Introduction This study examines the intersection of semiotics and the Wild Woman Archetype in analyzing mythological characters Faranak and Tahmineh from the Persian epic Shahnameh. Semiotics, which studies signs and symbols, provides a framework for decoding cultural and societal meanings in myths. The research highlights opposition and symbolism in shaping archetypes, referencing theories by Peirce (triadic sign model) and Ferdinand de Saussure (language as a relational system). Estés’ (2007) Wild Woman Archetype, central to the analysis, redefines female heroism through Jungian psychology, framing it as natural feminine power, resilience, and transformative journeys. Though superficially similar, Faranak and Tahmineh represent distinct aspects of this archetype. Faranak embodies resistance against tyranny (Zahhak), symbolizing collective female strength and agency. Tahmineh’s heroism delves into the personal and emotional dimensions of womanhood. Their contrasting roles underscore archetypal duality-collective defiance versus individualized struggle highlighting how myths encode gendered narratives. The study dissects symbolic elements (e.g., natural imagery, heroic deeds) and structural oppositions (power/submission, society/individual). Findings reveal Shahnameh’s mythic language, rich in symbols, aligns with Estés’ archetype, providing insights into ancient Persian notions of femininity. By positioning these characters within semiotic and archetypal frameworks, the research illustrates how myths preserve marginalized female narratives while challenging patriarchal constructs. Bridging semiotics, Jungian theory, and literary analysis, the study demonstrates the Wild Woman Archetype as a lens to reclaim and reinterpret female agency in cultural and historical contexts. Materials and Methods In this study, through library research and using a descriptive-analytical method, a semiotic analysis of the Wild Woman Archetype and the contrasting characters of Faranak and Tahmineh has been conducted. Research Findings This study examines the duality of the "nurturing mother" and the "restricting mother" by combining Saussure’s theories of signifier/signified and Peirce’s triadic model of the sign (icon, index, and symbol). Symbols such as Faranek (embodying fertility and resilience, aligned with Jung’s anima and the Zoroastrian Spandarmad) and Tahmineh (destructive maternal love) are analyzed. Signs like the cow (life-giving) and the mountain (a boundary between order and chaos) function as semiotic tools—through natural resemblance and causal relationships—to reinforce values such as fertility and resilience in collective memory. Furthermore, the heroic journey of Fereydun, guided by Faranak, illustrates the interplay between the anima (the feminine unconscious) and the animus (the masculine conscious). By re-examining women’s roles, this study challenges patriarchal narratives in Shahnameh and highlights the connection between myths and cultural-cognitive frameworks. It underscores how ancient symbols and archetypes continue to shape societal values and identity. Discussion of Results and Conclusions According to Clarissa Estés' (2007) Wild Woman Archetype presented in this research, several significant differences between Faranak and Tahmineh are highlighted. The concept of opposition—whether in myths with good versus evil, light versus darkness, or within characters to reveal deeper meanings—holds a special place in literary studies. Aspects of an archetype manifest in varied depictions. This archetype is described extensively in the book, showing similarities to ancient Iranian goddesses like Sepandaramaz, Anahita, and Dena. It represents the primordial mother and first being of the matriarchal lineage, with Faranak embodying all these traits, symbolizing the archetypal primordial mother. Although on the surface there are functional similarities between Faranak and Tahmineh, they differ in essence. The opposition of light and darkness, conveying the dichotomy between good and evil in Iranian mythology, is subtly evident in Faranak’s function. Faranak embodies the helper of good, standing against Zahhak. Both are described as wise in Shahnameh; however, Faranak’s wisdom integrates intuition. Both are eloquent, yet their purposes and outcomes in speech differ. Faranak makes multi-stage efforts to combat malevolence and unveil shadows. Her goal is achieving power and awareness, while Tahmineh’s sole aim is acquiring power. Their fundamental difference lies in the concept of the nurturing mother, embodied by Faranak, and the encompassing mother, embodied by Tahmineh. This distinction underscores the nurturing mother’s primordial role to strengthen and guide the hero or child, aiding the female hero’s transformative journey. The field of semiotics has evolved over several decades, exploring signs from various perspectives. Semiotics is a research method that seeks to derive meaning from form. Key elements such as opposition are fundamental in linguistics and semiotics, particularly in structuralism and post-structuralism, which focus on interpretation and meaning-making. The archetype of the Wild Woman, derived from Jung’s findings, is a contemporary theme. The word wild in its commutation refers to something that is untameable or uncontrollable. This archetype represents the primordial mother and a nurturing, wise figure. This study examines semiotics, opposition, and the Wild Woman archetype through the characters of Farank and Tahmineh. Within this framework, Farank symbolizes the benevolent mother in contrast to the malevolent element (Zahhak), while also sharing maternal qualities with Tahmineh. Frank embodies the nurturing mother, whereas Tahmineh represents the suppressive mother, positioning them in opposition. In this study, symbols serve as essential semiotic elements that enhance our understanding of the archetype. The semiotic analysis of symbols like Sepandarmaz, Anahita, and the cow as a source of sustenance in these narratives deepens our comprehension of the stories. The contrast of light and darkness reflects the irreconcilable struggle between good and evil, a foundational aspect of Iranian mythology, which can subtly be found in Farank and Tahmineh’s maternal role. Keywords: Semiotics, Wild Woman Archetype, Nurturing Mother Farank, Suppressive Tahmineh, Opposition and Similarity. Introduction This study examines the intersection of semiotics and the Wild Woman Archetype in analyzing mythological characters Faranak and Tahmineh from the Persian epic Shahnameh. Semiotics, which studies signs and symbols, provides a framework for decoding cultural and societal meanings in myths. The research highlights opposition and symbolism in shaping archetypes, referencing theories by Peirce (triadic sign model) and Ferdinand de Saussure (language as a relational system). Estés’ (2007) Wild Woman Archetype, central to the analysis, redefines female heroism through Jungian psychology, framing it as natural feminine power, resilience, and transformative journeys. Though superficially similar, Faranak and Tahmineh represent distinct aspects of this archetype. Faranak embodies resistance against tyranny (Zahhak), symbolizing collective female strength and agency. Tahmineh’s heroism delves into the personal and emotional dimensions of womanhood. Their contrasting roles underscore archetypal duality-collective defiance versus individualized struggle highlighting how myths encode gendered narratives. The study dissects symbolic elements (e.g., natural imagery, heroic deeds) and structural oppositions (power/submission, society/individual). Findings reveal Shahnameh’s mythic language, rich in symbols, aligns with Estés’ archetype, providing insights into ancient Persian notions of femininity. By positioning these characters within semiotic and archetypal frameworks, the research illustrates how myths preserve marginalized female narratives while challenging patriarchal constructs. Bridging semiotics, Jungian theory, and literary analysis, the study demonstrates the Wild Woman Archetype as a lens to reclaim and reinterpret female agency in cultural and historical contexts. Materials and Methods In this study, through library research and using a descriptive-analytical method, a semiotic analysis of the Wild Woman Archetype and the contrasting characters of Faranak and Tahmineh has been conducted. Research Findings This study examines the duality of the "nurturing mother" and the "restricting mother" by combining Saussure’s theories of signifier/signified and Peirce’s triadic model of the sign (icon, index, and symbol). Symbols such as Faranek (embodying fertility and resilience, aligned with Jung’s anima and the Zoroastrian Spandarmad) and Tahmineh (destructive maternal love) are analyzed. Signs like the cow (life-giving) and the mountain (a boundary between order and chaos) function as semiotic tools—through natural resemblance and causal relationships—to reinforce values such as fertility and resilience in collective memory. Furthermore, the heroic journey of Fereydun, guided by Faranak, illustrates the interplay between the anima (the feminine unconscious) and the animus (the masculine conscious). By re-examining women’s roles, this study challenges patriarchal narratives in Shahnameh and highlights the connection between myths and cultural-cognitive frameworks. It underscores how ancient symbols and archetypes continue to shape societal values and identity. Discussion of Results and Conclusions According to Clarissa Estés' (2007) Wild Woman Archetype presented in this research, several significant differences between Faranak and Tahmineh are highlighted. The concept of opposition—whether in myths with good versus evil, light versus darkness, or within characters to reveal deeper meanings—holds a special place in literary studies. Aspects of an archetype manifest in varied depictions. This archetype is described extensively in the book, showing similarities to ancient Iranian goddesses like Sepandaramaz, Anahita, and Dena. It represents the primordial mother and first being of the matriarchal lineage, with Faranak embodying all these traits, symbolizing the archetypal primordial mother. Although on the surface there are functional similarities between Faranak and Tahmineh, they differ in essence. The opposition of light and darkness, conveying the dichotomy between good and evil in Iranian mythology, is subtly evident in Faranak’s function. Faranak embodies the helper of good, standing against Zahhak. Both are described as wise in Shahnameh; however, Faranak’s wisdom integrates intuition. Both are eloquent, yet their purposes and outcomes in speech differ. Faranak makes multi-stage efforts to combat malevolence and unveil shadows. Her goal is achieving power and awareness, while Tahmineh’s sole aim is acquiring power. Their fundamental difference lies in the concept of the nurturing mother, embodied by Faranak, and the encompassing mother, embodied by Tahmineh. This distinction underscores the nurturing mother’s primordial role to strengthen and guide the hero or child, aiding the female hero’s transformative journey.

https://liar.ui.ac.ir/article_29457_ba8e35c8565c537c4cea1b3f5da100ae.pdf