دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 The Literary Center/Hub: Formation, Definition, and Classification کانون ادبی: تکوین، تعریف و طبقه‌بندی 1 18 29596 10.22108/liar.2025.144179.2434 FA اسماعیل علی پور استادیار گروه آموزشی زبان و ادبیات فارسی، دانشکدۀ علوم انسانی، دانشگاه بجنورد، بجنورد، ایران Journal Article 2025 01 29 This study examines the role of four fundamental layers, ecological environment, economic geography, political geography, and cultural geography as essential infrastructures in the formation of literary centers/hubs throughout literary history. Time and space are key elements in literary historiography, and the emergence of institutions and gatherings of literary figures is inconceivable without considering spatial dimensions. The term "literary center" refers to a specific place where speakers of a language gather, forming educational, cultural, and literary institutions. While literary historians have frequently mentioned the locations where literary events and figures flourished, the exact nature and mechanism of their formation remain unclear. This study seeks to establish a systematic model for understanding the ontology of literary centers, exploring questions regarding their formation, features, and typology. The core idea is a geographical stratification approach, suggesting that the emergence of a literary center depends on the interaction of four spatial layers within a defined geographical unit. These interactions can lead to three distinct types of literary centers: territorial, regional, and urban. Furthermore, the study emphasizes that a literary center is not a passive physical space but an active, agentive discourse-producing entity that influences literary production, even as it transforms or migrates to other centers. Keywords: History of Literature; Space (Place); Stratification; Literary Center. Introduction The present study addresses a fundamental question in literary historiography: What constitutes a literary center, and how does it come into being? Time and place are central to the study of literary history, and the gathering of literary figures is inherently dependent on spatial conditions. Despite the frequent mention of "place" in literary biographies and histories, the exact dynamics of how a literary center is formed remain understudied. The aim of this study is to explore the ontological foundations of literary centers, presenting a typology based on their characteristics and developmental trajectories. Previous research has generally referred to centers of literary activity descriptively or regionally, without offering a structured model. This study builds upon interdisciplinary insights from human geography, cultural theory, and literary historiography to offer a layered spatial model. The research is guided by the following three research questions: 1) What are the necessary and sufficient conditions for the emergence of a literary center? 2) What qualifies a location as a literary center? 3) How can literary centers be classified? In doing so, the study seeks to reframe spatial discourse in literary studies from a descriptive to an analytical domain. Materials and Methods The research employs a conceptual-analytical methodology rooted in interdisciplinary approaches. The primary method includes qualitative analysis of literary-historical texts, maps, and documented biographies of authors and poets, along with a spatial reading of literary production patterns. The study draws on theories from literary geography and spatial humanities, particularly the notion of “layered geography,” to construct a model of literary center formation. Secondary sources include classical literary histories, tazkirahs, and historical atlases. By isolating key variables (e.g., environmental stability, cultural density, political centrality), the study identifies recurring patterns across historical periods and locations. The method also incorporates comparative analysis between known literary hubs (e.g., Baghdad, Neyshabour, Shiraz, Herat) to validate the proposed typology. Data collection emphasizes narrative documentation rather than statistical metrics, given the historical nature of the subject. Research Findings The findings of the study indicate that the formation of a literary center necessitates the convergence of four core geographical layers: ecological, economic, political, and cultural. These layers create the necessary groundwork for literary activity to emerge and thrive. Based on the intensity and balance of these layers, the current study identifies three main types of literary centers: Territorial Centers: covering vast cultural geographies, often aligned with empires or linguistic zones; Regional Centers: typically provincial capitals or culturally significant locales; Urban Centers: specific cities or towns that gain prominence due to institutional concentration and literary productivity. Moreover, the research suggests that literary centers function as active participants in literary production—they not only host literary activity but shape it. A literary center is, therefore, both a space and a semiotic actor: a site of discourse production that nurtures and disseminates literary forms. The study illustrates this with several historical examples, emphasizing that even when such centers lose their institutional status, their cultural resonance often continues in transformed or relocated forms. Discussion of Results and Conclusions The results of the study reinforce the central hypothesis that a literary center is not merely a geographic marker but a dynamic and layered phenomenon shaped by interrelated spatial dimensions. These centers serve as incubators of literary identity and tradition, influencing the trajectory of literary history. The geographical stratification model presented here provides a new lens through which literary scholars can study the rise and fall of literary hubs across time. Importantly, the model accounts for both the material and symbolic components of space, revealing how literary centers act as discursive agents. Even after their decline or physical dissolution, many centers persist through cultural memory, textual influence, and institutional replication elsewhere. The study thus offers a conceptual framework for future research on literary geography and proposes that literary historiography adopt a more spatially nuanced and interdisciplinary methodology. این پژوهش به بررسی جایگاه و کارکرد لایه‌های چهارگانۀ زیست‌بوم، جغرافیای اقتصادی، جغرافیای سیاسی و جغرافیای فرهنگی، به‌عنوان زیرساخت‌های تکوین کانون ادبی در تاریخ ادبیات می‌پردازد. زمان و مکان (فضا) دو رکن اساسی در پژوهش‌های تاریخ ادبی است. تشکیل نهادها و تجمع شخصیت‌های ادبی، بدون در نظر گرفتن فضا، ناممکن است. گردهمایی گویشوران زبان در زمان و مکان مشخص، موجدِ مرکزیت نهادهای آموزشی، فرهنگی و ادبی است که از آن با نام «کانون ادبی» نام ‌برده‌اند. مورخان ادبی همواره از مکانِ برآمدن و بالیدنِ شخصیت‌ها و رخدادهای ادبی نوشته‌اند و این اصطلاح در نگاه نخست، ساده به نظر می‌رسد؛ اما ماهیت و کیفیتِ شکل‌گیری آن همچنان مبهم است. نوشتار حاضر، در پیِ یافتن الگویی روشمند برای مطالعۀ هستی‌شناسی کانون‌های ادبی، پرسش‌هایی پیشِ‌‌رو دارد که محورهای آن در این مقاله عبارت است از: 1. چیستی و چگونگی تکوین کانون‌ها؛ 2. ویژگی‌های کانونی بودن؛ 3. معیارها و گونه‌شناسی کانون‌های ادبی. ایدۀ محوری این مقاله در چگونگیِ تشکیل کانون‌ها، «لایه‌نگاریِ» جغرافیایی است. یافته‌های پژوهش نشان می‌دهد که تکوین کانون ادبی، نیازمند زیرساختی چهارلایه‌ای در محدودۀ مکانی مشخصی است. برهم‌کنش این لایه‌های چهارگانه می‌تواند موجب و موجد تشکیل سه گونه کانونِ ادبی «سرزمینی، منطقه‌ای و شهری» باشد. دستاوردها همچنین گویای فاعلیت و کنشگری کانون‌ها در فرایند آفرینش ادبی است؛ یعنی کانون ادبی، فقط یک اقلیم یا فضای فیزیکی بسته و خنثی نیست که فقط محل اجتماع شاعران و نویسندگان و رویدادهای ادبی باشد، بلکه کانون ادبی، زِهدان زمان و شخصیت‌هایی است که از آن تغذیه می‌کنند، در آن می‌بالند و فضایی فعال است که به‌عنوان یک فاعل گفتمانی، پیوسته کنشگری می‌کند؛ حتی هنگامی که مرکزیت یا موجودیت خود را از دست‌ می‌دهد و در کانون‌های ادبی دیگر استحاله می‌شود و حیات آن ادامه می‌یابد.

https://liar.ui.ac.ir/article_29596_ccd3474cc72765241a25d950a8731423.pdf

دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 Rhetorical and Argumentative Analysis of Persuasive Language in Rumi's Majalis Sab’ah: A Study Based on Toulmin’s Theory تحلیل بلاغی و استدلالی زبان اقناعی در مجالس سبعه مولانا: مطالعه‌ای بر مبنای نظریه تولمین 19 32 29503 10.22108/liar.2025.144589.2444 FA فائزه عرب یوسف آبادی دانشیار گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه زابل، زابل، ایران Journal Article 2025 03 06 This study analyzes the rhetorical and argumentative structures of persuasive language in Rumi’s Majalis Sab’ah using Stephen Toulmin’s model of argumentation. Using a descriptive-analytical method, the research examines claims, grounds, and rebuttals within Rumi’s sermons to uncover how he integrates mystical and philosophical concepts into persuasive discourse. The findings reveal that Rumi employs two primary types of claims: interpretive claims (symbolic readings of natural phenomena) and causal claims (cause-effect relationships). These claims are supported by transmitted grounds (Quranic verses, hadiths) and intuitive grounds (mystical experiences). Rebuttals, though less frequent, enhance argumentative flexibility by contextualizing claims within cultural and theological frameworks. Statistical analysis shows that interpretive claims dominate (50%), followed by transmitted grounds (32%), intuitive grounds (9%), and rebuttals (9%). Rumi’s reliance on transmitted grounds reflects the religious epistemology of 13th-century Konya, while his use of metaphors and analogies bridges abstract mysticism with audience accessibility. The study concludes that Majalis Sab’ah exemplifies a sophisticated fusion of logical argumentation and poetic rhetoric, tailored to persuade diverse audiences through culturally resonant reasoning. Keywords: Majalis Sab’ah, Claim, Argumentation, Rhetoric, Persuasive Language, Rumi. Introduction This research addresses the intersection of mysticism, rhetoric, and argumentation in Rumi’s Majalis Sab’ah, a collection of sermons that exemplify the persuasive power of Persian mystical prose. The study’s primary objective is to explore how Rumi constructs persuasive discourse using Stephen Toulmin’s model, focusing on the interplay of claims, grounds, and rebuttals. Existing scholarship has analyzed Rumi’s mystical themes (Gholamrezaei, 2008) and linguistic styles (Safari Bandpi, 2024), but few studies apply modern argumentation theory to his prose. The research gap lies in understanding how Rumi’s sermons balance logical rigor with poetic expression to persuade diverse audiences, from scholars to commoners. The study’s significance stems from its novel application of Toulmin’s (1958) framework to Persian mystical texts, offering insights into the adaptability of classical argumentation models in non-Western contexts. Two research questions are: How does Rumi employ claims and grounds to validate mystical ideas? What role do rebuttals play in moderating absolutist assertions? The analysis is contextualized within the socio-religious milieu of 13th-century Konya, where sermons blended Islamic scholarship with Sufi symbolism. Konya, as a cultural crossroads of Persian, Islamic, and Byzantine influences, fostered a dynamic environment for intellectual and spiritual exchange. Rumi’s sermons, delivered to heterogeneous audiences, reflect this diversity by weaving Quranic exegesis, hadith citations, and poetic imagery into a cohesive argumentative structure. This study illuminates how Rumi’s rhetorical strategies resonate with both the theological expectations of his era and the universal appeal of mystical insights. By examining Majalis Sab’ah through Toulmin’s lens, the research reveals the structural logic beneath Rumi’s lyrical prose, contributing to global discussions on spiritual rhetoric. This analysis aims to deepen our understanding of how mystical discourse achieves persuasive impact across cultural and temporal boundaries. Materials and Methods The study adopts a qualitative-quantitative approach, combining textual analysis with Toulmin’s argumentation model. Data were extracted from Majalis Sab’ah through line-by-line coding, identifying 55 interpretive claims, 35 transmitted grounds, 10 intuitive grounds, and 10 rebuttals. Statistical tools (Excel) quantified the frequency of each component, while qualitative analysis contextualized their rhetorical functions. The coding process involved: Categorization: Classifying claims as interpretive/causal and grounds as transmitted/intuitive. Validation: Cross-referencing Quranic/hadith citations with classical commentaries. Triangulation: Comparing Rumi’s arguments with Toulmin’s criteria (Toulmin, 1958). Ethical considerations included avoiding anachronistic interpretations and adhering to the original Persian text (Mowlana, 2011). Research Findings The analysis highlights Rumi’s strategic use of argumentative components (Table 1): Table 1. Frequency of Argumentative Components in Majalis Sab’ah Component Frequency Percentage Interpretive Claims 55 50% Transmitted Grounds 35 32% Intuitive Grounds 10 9% Rebuttals 10 9% Key findings are: Interpretive claims dominate, reflecting Rumi’s symbolic exegesis of nature (e.g., dawn as divine revelation). Transmitted grounds derive authority from Islamic texts, aligning with Konya’s religious norms. Rebuttals mitigate absolutism, as seen in Rumi’s paradoxical treatment of sin and redemption. Discussion of Results and Conclusions Rumi’s argumentation in Majalis Sab’ah transcends rigid logic by harmonizing mystical intuition with scriptural authority. His interpretive claims invite multilayered engagement, while rebuttals (e.g., “sin leading to salvation”) reflect Sufi antinomianism, challenging conventional theological boundaries. The prevalence of transmitted grounds (32%) underscores the cultural weight of religious texts in 13th-century Konya, whereas intuitive grounds (9%) prioritize personal spiritual experience, aligning with the Sufi emphasis on inner revelation. This study demonstrates that Toulmin’s model effectively decodes the persuasive mechanics of pre-modern texts, bridging rhetorical analysis and mystical studies. The findings highlight Rumi’s rhetorical sophistication, as he tailors his arguments to resonate with Konya’s diverse audience, from religious scholars to lay devotees. His use of metaphors, such as dawn symbolizing divine truth, transforms abstract concepts into accessible imagery, while his strategic deployment of rebuttals ensures argumentative flexibility. This balance of logic and lyricism reflects the broader Sufi tradition of conveying profound truths through evocative language. The statistical dominance of interpretive claims (50%) underscores Rumi’s reliance on symbolic exegesis, a hallmark of mystical discourse that invites continuous reinterpretation. The integration of Konya’s religious culture, rooted in Islamic scholarship and Persian poetry, amplifies the text’s persuasive force. Future research could extend Toulmin’s framework to other Sufi works (e.g., Attar, Sanai) or explore comparative analyses across religious traditions, such as Christian mysticism or Buddhist sermons. Such studies could further elucidate how spiritual rhetoric adapts universal themes to specific cultural contexts. This analysis affirms Majalis Sab’ah as a masterful synthesis of argumentative rigor and poetic eloquence, cementing Rumi’s legacy as a rhetorician of the divine whose work continues to inspire across centuries. Limitations of the study include the focus on a single text and the subjective interpretation of mystical metaphors, which may vary across readers. The study also acknowledges the challenge of applying a modern framework to a medieval text, necessitating careful consideration of historical context to avoid anachronism. این پژوهش به تحلیل بلاغی و استدلالی زبان اقناعی در کتاب مجالس سبعه مولانا بر مبنای نظریۀ استدلالی استیون تولمین (Stephen Toulmin) می‌پردازد. روش تحقیق در این مطالعه، تحلیلی‌ـ‌توصیفی و مبتنی‌بر تحلیل متن است که ازطریق یادداشت‌برداری کتابخانه‌ای ادعاها، دلایل و استثناهای موجود در استدلال‌های متن مجالس سبعه بررسی می‌شود. هدف اصلی این پژوهش، کشف نحوۀ استفادۀ مولانا از انواع ادعا، دلیل و استثنا در استدلال‌های موجود در مجالس سبعه است. نتایج این تحقیق نشان می‌دهد که مولانا در مجالس سبعه با طرح ادعاهایی مبتنی‌بر مفاهیم عمیق فلسفی و عرفانی، از دلایل نقلی و شهودی برای تقویت این ادعاها بهره می‌برد. ادعاهای او به دو دستۀ تفسیری و علّی تقسیم می‌شود که اولی بر تأویل پدیده‌های طبیعی و دومی بر روابط سببی میان علت‌های ظاهری و غایی تأکید دارد. در این راستا، استثناها نیز عملکردی کلیدی دارد و به استحکام و انعطاف‌پذیری استدلال‌ها کمک می‌کنند و امکان تفسیرهای متنوع و عمیق‌تر از مفاهیم مطرح‌شده را فراهم می‌کند. در نهایت، یافته‌های این پژوهش نشان می‌دهد که مجالس سبعه مولانا، متنی است که در آن به‌طرز مؤثری از عناصر بلاغی استدلال برای اقناع مخاطب استفاده شده و در نتیجه، غنای فلسفی و عرفانی آن را افزایش یافته است.

https://liar.ui.ac.ir/article_29503_01b70726a9d50555106e9f9848150e9b.pdf

دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 Ighaie Meters in Tasnifs اوزان ایقاعی در تصنیف 33 52 29509 10.22108/liar.2025.144410.2441 FA مصطفی جوزی استادیار گروه زبان و ادبیات فارسی، دانشکده ادبیات فارسی و زبا نهای خارجی، دانشگاه پیام نور، تهران، ایران Journal Article 2025 02 18 One of the most challenging issues among researchers in the field of Tasif or songwriting is the issue of the meter of Tasnif and its nature. Some consider the meter of Tasnif to be a syllabic meter; others believe that these meters are prosodic; and some emphasize that these meters are syllabic-stressed. This disagreement continues to the point that some, due to a lack of proper understanding of the structure and form of Tasnif, consider some Tasnifs to be without a meter. In the present study, we aim to investigate the multiple musical aspects of these Tasnifs using a descriptive-analytical method and focusing on the different and special structures of Tasnifs after the Constitutional Era. The outcome of this study shows that Tasnif, given its direct association with melody and rhythm, has specific musical requirements that are influenced by musical beats and Igha'at. The result of this is the creation of meters that we call ‘Ighaie meters’. Considering the melodic reading of Tasnifs, pauses, the tension of sounds, and the starting and ending points of the beats of Tasnif, leads us to ‘Ighaie meters’ that have unique characteristics. یکی از مباحث چالش‌برانگیز در میان پژوهشگران در حوزۀ تصنیف یا ترانه‌سرایی مسئلة وزن تصنیف و ماهیت آن است. برخی وزن تصنیف را از مقولة اوزان هجایی می‌دانند؛ برخی دیگر به عروضی بودن این اوزان اعتقاد دارند؛ عده‌ای هم بر هجایی ‌ـ‌ تکیه‌ای بودن این اوزان تأکید دارند. این اختلاف‌نظر تا آنجا ادامه می‌یابد که برخی به‌واسطة نداشتن درک درست از ساختار و شاکلة تصنیف، پاره‌ای از تصنیف‌ها را بدون وزن قلمداد می‌کنند. در این پژوهش برآنیم تا با روش توصیفی ‌ـ‌ تحلیلی و با تمرکز بر ساختار متفاوت و ویژۀ تصنیف‌ها بعداز دورۀ مشروطه ساحت چندگانة موسیقایی این تصنیف‌ها را بررسی و تحلیل کنیم. برایند این جستار نشان می‌دهد که تصنیف با توجه به ملازمت بلافصل آن با ملودی و ریتم، الزامات موسیقایی خاصی دارد که متأثر از نقرات و ایقاعات موسیقی است. حاصل این اتفاق، خلق اوزانی است که به آن «اوزان ایقاعی» می‌گوییم. توجه به خوانش ملودیک اشعار، دقت در درنگ‌ها، مکث‌ها، کشش اصوات، نقاط شروع و پایان ضرب‌های تصنیف، ما را به اوزان ایقاعی که ویژگی‌های خاصی دارد، رهنمون می‌سازد.

https://liar.ui.ac.ir/article_29509_6a9a8b89522ecc2c6b1405852dcd1408.pdf

دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 The Potential of Negation Questions for Affecting the Audience in Dehkhoda's Amsal-o-Hekam ظرفیت‌های پرسش انکاری برای اثرگذاری بر مخاطب در امثال‌وحکم دهخدا 53 72 29517 10.22108/liar.2025.144551.2443 FA زهره احمدی پور اناری دانشیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران موسی غنچه پور دانشیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران فاطمه محمدی دهج دانش‌آموخته کارشناسی ارشد آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران Journal Article 2025 03 02 The negation question is one of the rhetorical questions that are widely used in language and literature. Poets and writers use it according to the situation to persuade the audience. The application of negation questions in Dehkhoda's Amsal-o-Hekam is also noteworthy, as the majority of rhetorical questions in this book are of the negation question type. Moreover, negation questions have unique characteristics compared to other rhetorical questions. Given these two points, the present research answers the question of how negation questions are strengthened with expressive and semantic methods to have a greater impact on the audience. This descriptive-analytical research is of a library type. It utilizes the principles of rhetoric, semantics, and logic in some cases. As the evidence extracted from the book of Amsal-o-Hekam shows, negation questions have sufficient power to emphasize the negative sentence, because they are accompanied by expressive possibilities such as allegory, allusion, and theological method. On the other hand, the content of some negation questions in Amsal-o-Hekam includes the premises of the reasoning, especially accepted premises in logic (Maghbulat), testimony (Motavaterat), and generally accepted beliefs (Mashhurat), which is why they have a special persuasive power. Keywords: Secondary Thoughts, Amsal-o-Hekam, Negation Question, Logic. Introduction This study examines one type of rhetorical question (i.e. negation questions) in Dehkhoda's Amsal-o-Hekam. The purpose of a rhetorical question is not to receive an answer but to convey a point or concept to the audience. In Dehkhoda’s collection, interrogative sentences, especially negation questions, are frequent; out of 729 interrogative sentences in the four-volume set, 256 are used to express negation, accounting for 36% of the rhetorical questions, which is a notably high proportion. The use of negation questions in Amsal-o-Hekam is considerably more frequent than in other literary texts. This high frequency raises two questions: 1) What is the reason for the abundance of negation questions in this work, and 2) What are their characteristics? Previous research shows that recent studies have mostly focused on extracting rhetorical questions from texts and identifying their main meaning, but rhetorical questions have not yet been analyzed specifically in Dehkhoda’s Amsal-o-Hekam. This study differs because it focuses solely on negation questions and employs both rhetoric and logic in its analysis. This dual approach is scientifically grounded because logical discussions are essentially linguistic, with the foundations of logic derived from language. This study answers these two questions using two tools: rhetorical analysis and logical analysis. Of course, the use of both rhetoric and logic is scientifically grounded, as “logical discussions are, in fact, linguistic discussions, and the foundations of logic are extracted from language” (Bateni, 1999, p. 2). This point is demonstrated in the present study. Materials and Methods In terms of purpose, the current study is fundamental, and its method is descriptive-analytical. First, all negation questions were extracted from Dehkhoda’s four-volume Amsal-o-Hekam. Then, among these negation questions, those that, from the perspective of rhetoric, involved allegory, allusion, or theological methods were separated. Finally, the negative rhetorical questions were examined according to authoritative books on logic and the premises of the reasoning. Research Findings The capacities of negation questions to influence the audience were examined in two areas: rhetoric and logic. First, the rhetorical capacities are discussed. In the negation questions found in Dehkhoda's Amsal-o-Hekam, allegories are frequently observed because a negation question is essentially an interrogative sentence aimed at obtaining the audience’s admission. Considering the factors and reasons embedded in the negation question, the audience agrees to the negation of a certain issue. Allegory, especially those well-known to the audience, serves as a form of evidence because allegory expresses an abstract meaning in a concrete form, thus possessing the power to persuade the audience. Allusion is also one of the rhetorical factors that enhances the effectiveness of the message on the audience, since in each allusion, a claim is made and reference is made to someone or something, providing an emotional and familiar implication for the matter at hand. The third rhetorical factor is the theological method. This has been considered one of the figures of the thought field, defined as “the theological method is that which establishes speech with reason and rational or proof and by citing indisputable accepted principles so firmly that it causes the listener’s assent” (Vahidian Kamyar, 2006, p. 135). Many negation questions are accompanied by the theological method. The logical capacities of negation questions are addressed. It is necessary to mention that in logic, propositions must be declarative, and interrogative sentences, being performative, cannot be evaluated for truth or falsehood. However, negation questions, based on implicative entailment, are declarative sentences because the main meaning of a negation question is a negation proposition. Regarding the capacities of negation questions, allegory is both a rhetorical and logical factor that contributes to their effectiveness. In logic, allegory is defined as “allegory means that the mind transfers a judgment from one object to another due to the existence of a common aspect between them” (Mozafar, 2010, p. 234). In addition, some negation questions are parts of the premises of the reasoning and therefore have a special capacity to influence the audience. The premises of the reasoning are like the materials from which syllogisms are constructed. A study of Dehkhoda's Amsal-o-Hekam showed that some negation questions, based on indication per nexum, correspond to some of the fourteen premises of the reasoning, namely accepted premises in logic (Maghbulat), generally accepted beliefs (Mashhurat), testimonies (Motavaterat), or imaginations. Discussion of Results and Conclusions The examination of negation questions in Dehkhoda's Amsal-o-Hekam shows that these rhetorical negatives are emphasized through various rhetorical devices. Some of these devices include the use of allegory, allusion, and theological methods. In Dehkhoda's Amsal-o-Hekam, there are 312 negation questions, of which 191 cases (61%) are accompanied by allegory. Besides allegory, allusion also serves as a form of reasoning and often persuades the audience even more effectively, since it is based on a historical (real or mythical) event. Additionally, many negation questions in Dehkhoda’s Amsal-o-Hekam are reinforced by the theological method. Furthermore, if some negation questions are considered declarative sentences based on indication per nexum, they serve as the premises of the reasoning. The proverbs and maxims cited from religious scholars, philosophers, and reputable poets, as well as commonly accepted proverbs among the people, are regarded as accepted premises in logic. Those conveyed through allusion and agreed upon by historians are considered testimony. Some allegories are regarded as persuasions. Wisdom based on Islamic principles is considered a certainty, and wisdom that is true to all or based on public interest or ethics is regarded as a generally accepted belief (Mashhurat). Therefore, negation questions in Dehkhoda's Amsal-o-Hekam can persuade the audience because they are reinforced by rhetorical devices and logical premises. پرسش‌ انکاری نوعی پرسش بلاغی است که در زبان و ادبیات کاربرد فراوان دارد و سخنوران به‌مقتضای حال، برای اقناع مخاطب از آن استفاده می‌کنند. کاربرد پرسش انکاری در کتاب امثال‌وحکم دهخدا نیز چشمگیر است، به‌طوری‌ که بیشترین درصد پرسش‌های بلاغی در این کتاب از نوع انکاری است و افزون‌بر این، پرسش‌های انکاری در مقایسه با دیگر پرسش‌های بلاغی ویژگی‌های خاصی دارد. با توجه به این دو نکته، این تحقیق درصدد پاسخ به این سؤال است: پرسش‌های انکاری برای تأثیرگذاری بیشتر بر مخاطب، با کدام شیوه‌های بیانی و معنایی تقویت شده است؟ این تحقیق از نوع کتابخانه‌ای است که با شیوۀ توصیفی و تحلیلی ارائه می‌شود و برای تحلیل یافته‌های پژوهش از مبانی علم بیان و معانی و همچنین در مواقعی از مبادی علم منطق استفاده خواهد شد؛ زیرا چنان‌که شواهد استخراج‌شده از کتاب امثا‌‌ل‌وحکم نشان می‌دهد، پرسش‌های انکاری قدرت تأثیر کافی برای تأکید جملۀ انکاری را دارد؛ بدین دلیل که پرسش‌های انکاری، با امکانات بیانی ازجمله تمثیل، تلمیح و مذهب کلامی همراه شده‌ است و از سوی دیگر، محتوای برخی پرسش‌های انکاری در امثال‌وحکم از نوع مواد قیاس به‌ویژه مقبولات، متواترات و مشهورات است و به همین دلیل قدرت اقناع‌کنندگی خاصی دارد.

https://liar.ui.ac.ir/article_29517_bfd9ab3597fff8382f80878d1170f0f8.pdf

دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 Zāl and Simorgh as Trickster Figures: A Mythological Reinterpretation of the Shahnameh Narratives زال و سیمرغ به‌مثابۀ یک ترفندباز: خوانشی نوین از داستان‌های شاهنامه براساس نظریه‌های اسطوره‌شناسی 73 92 29829 10.22108/liar.2025.144866.2450 FA توحید تیموری استادیار گروه زبان وادبیات انگلیسی، دانشکده علوم انسانی، دانشگاه زنجان، زنجان، ایران Journal Article 2025 04 09 This study examines the trickster archetype within the narrative of Zāl and Simorgh in Ferdowsi’s Shahnameh. The trickster, a mythological figure characterized by ambivalence, shape-shifting, resourcefulness, and divine intervention, occupies a significant role across various cultural traditions. Drawing upon established theoretical frameworks, this research identifies Zāl and Simorgh as a trickster within Iranian mythology. The analysis focuses on key trickster attributes—including shapeshifting, wisdom, and the capacity to disrupt and reconstitute social order. Zāl, marked by his extraordinary birth and upbringing by Simorgh, embodies a liminal identity that facilitates intervention in pivotal events. Simorgh, in turn, functions as a supernatural guide and healer, contributing to the restoration of equilibrium and the revelation of hidden truths. A close reading of the Rostam and Esfandiar episode demonstrates how Zāl and Simorgh employ cunning and esoteric knowledge to challenge oppressive power structures and institute a renewed order. This study underscores the significance of the trickster archetype in Iranian mythic traditions and elucidates the roles of Zāl and Simorgh as agents of transformation and balance within the Persian cultural discourse. Keywords: Trickster, Zāl, Simorgh, Shahnameh, Mythology. Introduction The trickster archetype represents one of the most significant and beloved figures in world mythology, characterized by paradoxical qualities where positive attributes typically outweigh negative ones, though this balance varies across different mythological traditions. As liminal beings existing between worlds, tricksters challenge established laws, confront deities, and disrupt social and cultural norms. While often depicted as deceiving ordinary people, tricksters more importantly challenge those in positions of power, undermining the dominion of kings, heroes, and the powerful through cunning and artifice. This study examines the trickster archetype within the narrative framework of Zāl and Simorgh in Ferdowsi’s Shahnameh, positioning these figures within the broader context of Iranian mythology. The research addresses a significant gap in Iranian mythological studies, as the trickster concept, despite its prominence in global mythology, has remained largely unexplored in Persian literary scholarship. By applying established theoretical frameworks from folklore, psychoanalysis, mythology, and anthropology, this investigation seeks to illuminate the transformative roles of Zāl and Simorgh as agents of change and balance within Persian cultural discourse. Materials and Methods The methodological approach employs a comprehensive theoretical framework drawing primarily from the foundational works of Paul Radin and Carl Gustav Jung on the trickster archetype. Radin’s conception of the trickster as a “culture-bringer” who facilitates societal transformation from lower to higher levels of civilization provides a crucial analytical lens. Jung’s psychological interpretation, viewing the trickster as a representation of the collective unconscious and undifferentiated human consciousness retaining its animal nature, offers complementary insights into the archetype’s enduring significance. The analysis incorporates perspectives from various scholars, including Claude Lévi-Strauss’s structural approach to mythological dualities, Joseph Campbell’s hero archetype theory, and Mary Douglas’s anthropological insights on social order disruption. The study employs close textual reading of Shahnameh, focusing particularly on key episodes including Zāl’s birth and upbringing by Simorgh, and the pivotal Rostam and Esfandiar confrontation. Comparative analysis with trickster figures from other cultural traditions—including Loki from Norse mythology, Anansi from West African folklore, Coyote from Native American traditions, and Prometheus from Greek mythology—provides cross-cultural context for understanding the unique characteristics of the Iranian trickster manifestation. Research Findings The investigation reveals that Zāl and Simorgh collectively embody the essential characteristics of the trickster archetype within Iranian mythology. Key findings of the study include: Extraordinary Birth and Liminal Identity: Zāl’s albinism marks him as fundamentally different from birth, leading to his abandonment and subsequent raising by Simorgh. This unusual upbringing creates a liminal identity existing between human society and the supernatural realm, a defining characteristic of trickster figures. Shape-shifting and Duality: The relationship between Zāl and Simorgh demonstrates the trickster’s capacity for transformation and dual existence. Simorgh functions as both a physical being and Zāl’s spiritual essence, while Zāl himself bridges the animal, human, and divine realms. Wisdom and Problem-solving: Zāl’s renowned wisdom, acquired through Simorgh’s tutelage and his own dedicated study, enables him to serve as advisor and mediator in critical situations. His knowledge encompasses both earthly learning and supernatural wisdom, positioning him as a crucial problem-solver in times of crisis. Shamanic Attributes: Zāl exhibits shamanic characteristics through his ability to summon Simorgh via the ritual burning of the sacred feather, accessing supernatural assistance when confronting seemingly insurmountable challenges. This shamanic connection enables intervention in the natural order when necessary. Divine Intervention and Social Transformation: In the Rostam-Esfandiar episode, Zāl and Simorgh’s intervention challenges corrupt power structures represented by Goshtasp and Esfandiar’s ambitions, ultimately facilitating a restoration of proper governance and social order. Discussion of Results and Conclusions The findings demonstrate that Zāl and Simorgh function as a unified trickster entity, challenging oppressive power structures while maintaining cosmic and social balance. Unlike tricksters in other traditions who often act from self-interest, the Zāl-Simorgh complex operates primarily for societal benefit, distinguishing the Iranian trickster tradition. The Rostam-Esfandiar confrontation exemplifies the trickster’s role in exposing corruption and facilitating necessary social transformation. Esfandiar’s invulnerability, granted through Zoroastrian blessing, represents a sacred power corrupted by personal ambition. Zāl and Simorgh’s intervention—revealing the secret of targeting Esfandiar’s eyes with a double-headed arrow from the gaz tree—demonstrates the trickster’s function in challenging even sacred authority when it threatens social harmony. This episode reflects broader tensions between two political paradigms: the pre-Lohrasp tradition of balanced power between royal and heroic houses, and the Lohrasp-Goshtasp model concentrating all authority in the monarchy. The trickster’s intervention supports the restoration of balanced governance, suggesting Ferdowsi’s critique of absolute monarchical power. The comparative analysis reveals both universal and culturally specific aspects of the Iranian trickster. While sharing common features with global trickster figures—liminality, shape-shifting, wisdom, and social disruption—Zāl and Simorgh demonstrate unique characteristics rooted in Persian cultural values, particularly the emphasis on wisdom (kherad) and justice (dād). This study establishes Zāl and Simorgh as a distinctive trickster manifestation within Iranian mythology, contributing significantly to the theoretical understanding of the trickster archetype. The trickster archetype plays a vital but previously unrecognized role in Iranian mythological traditions, with Zāl and Simorgh embodying this function through their combined attributes and interventions. The Iranian trickster tradition emphasizes wisdom, justice, and societal benefit over the self-interested cunning often associated with tricksters in other cultures, reflecting core Persian cultural values. The Zāl-Simorgh complex serves as a mechanism for critiquing and transforming unjust power structures, particularly relevant to Ferdowsi’s historical context and his concerns about tyrannical rule. Recognition of the trickster pattern in Shahnameh opens new avenues for comparative mythological studies and a deeper understanding of Persian literary traditions. The study’s findings have implications beyond literary analysis, offering insights into mechanisms of cultural resistance, identity formation, and social transformation relevant to contemporary Iranian society. This research advances scholarship in Iranian mythology, comparative literature, and archetypal studies while demonstrating the continued relevance of ancient mythological patterns for understanding cultural dynamics and social change. Future research might explore trickster manifestations in other Persian literary works and examine the archetype’s evolution in modern Iranian literature and culture. مقالۀ حاضر به بررسی شخصیت ترفندباز در داستان زال و سیمرغ از شاهنامه فردوسی می‌پردازد. ترفندباز به‌عنوان شخصیتی اسطوره‌ای، با ویژگی‌هایی همچون دوپهلو بودن و پیکرگردانی، چاره‌گری، و مداخلۀ خداگونه شناخته می‌شود که در فرهنگ‌های مختلف جهان حضور پررنگی دارد. این پژوهش با استناد به نظریه‌های مختلف و بررسی ویژگی‌های یک ترفندباز، زال و سیمرغ را به‌عنوان ترکیب ترفندباز در اسطوره‌های ایرانی معرفی می‌کند. در این مقاله، ویژگی‌های ترفندباز مانند تغییر شکل، خردمندی، و توانایی ایجاد تحول در نظم اجتماعی تحلیل شده است. زال با تولد غیرعادی و پرورش یافتن توسط سیمرغ، شخصیتی بینابینی دارد که به او توانایی دخالت در موقعیت‌های بحرانی می‌دهد. سیمرغ نیز با نقش راهنمایی و شفابخشی، به‌عنوان موجودی ماورایی عمل می‌کند که در تعادل بخشیدن به قدرت و آشکار کردن حقایق نقش دارد. بررسی داستان رستم و اسفندیار نشان می‌دهد که زال و سیمرغ با استفاده از ترفند و دانش خود، به مقابله با ساختارهای ناعادلانه قدرت می‌پردازند و نظم نوینی را رقم می‌زنند. این پژوهش بر اهمیت ترفندباز در اسطوره‌های ایرانی تأکید دارد و جایگاه زال و سیمرغ را به‌عنوان نمادهایی از تحول و تعادل در فرهنگ ایرانی تبیین می‌کند.

https://liar.ui.ac.ir/article_29829_4fc3bd7ad133db5fede1faf9c2efebfd.pdf

دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 Poetic License of Teskīn: A Technique Serving Content (Case Study: Saadi’s Ghazals) اختیار شاعری تسکین؛ شگردی در خدمت محتوا (مطالعۀ موردی: غزلیات سعدی) 93 114 29761 10.22108/liar.2025.144962.2453 FA ریحانه عسکری دانش‌آموخته دکتری، گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه تربیت مدرس، تهران، ایران نجمه دری دانشیار گروه زبان و ادبیات فارسی، دانشکده علوم انسانی، دانشگاه تربیت مدرس، تهران، ایران Journal Article 2025 04 18 The metrical license of teskīn (pause insertion) is one of the prosodic techniques in Persian poetry, often used to escape metrical constraints. Traditionally, poetic licenses have been studied mostly at the musical level. However, the findings of the current research show that Saadi, in his ghazals, employs teskīn not only for musical purposes but also to enhance semantic and emotional meanings. This research uses a descriptive-analytical method based on library resources, focusing on the role of teskīn in meaning-making and emotional expression in Saadi’s ghazals. The analysis reveals that teskīn in mid-hemistich positions sometimes evokes emotional states such as sorrow, wonder, hesitation, and joy through sonic suspension. It also highlights key words, contributing to implicit layers of meaning. A case study of ghazal number 564—one of the poems with the highest frequency of teskīn—demonstrates that Saadi, through deliberate repetition of teskīn, not only enhances the poem's music but also deepens its meanings and emotions. Ultimately, teskīn in Saadi’s ghazals can be regarded as a tool that bridges music and content. Keywords: Poetic Music, Poetic License, Teskīn, Saadi's Ghazals. Introduction Despite the long-standing acknowledgment of the connection between rhythm and meaning, most studies have described teskīn merely as a way to overcome metrical constraints. The main question of this study is whether teskīn in Saadi’s ghazals serves solely as a musical device or whether it also carries emotional and semantic implications. Among poetic forms, ghazal has the highest metrical variety, providing fertile ground for examining various poetic licenses. The ghazal is also the domain of emotional expression and fresh themes, making it an ideal form to explore the link between rhythm, music, and meaning. Furthermore, Saadi’s unique skill in blending musical delicacy with semantic balance makes him the best subject for this study. Numerous studies have been conducted in the field of Persian poetry's rhythm and musicality; however, most of these works have remained limited to the formalist functions of meter and poetic licenses, and have not specifically addressed the relationship between rhythm, meaning, and emotion. Among such works, one can refer to Khanlari’s (1998) The Rhythm of Persian Poetry, Vahidian Kamyar’s (1990) Rhyme and Rhythm in Persian Poetry, and Abdollahzadeh’s (2015) The Music of Poetry in the Iraqi Style with Emphasis on the Ghazals of Rumi, Saadi, and Hafez. Yet, as mentioned earlier, no independent study has thus far examined the metrical license of teskīn in Saadi’s ghazals with a focus on meaning-making and emotional expression. The present study seeks to fill this gap. Materials and Methods This study uses a descriptive-analytical method, analyzing textual examples. First, the concept of teskīn and its place in Persian poetic prosody are explained. Then, Saadi's ghazals are examined, and instances of mid-hemistich teskīn are analyzed from semantic and musical perspectives. Finally, the findings are categorized into five thematic groups to clarify the various functions of this technique in relation to meaning and emotion. Research Findings Analytical Categorization The textual analysis shows that teskīn in Saadi's ghazals directly serves meaning and emotion. Based on detailed examination, these uses are classified into five main categories: Semantic Highlighting and Emphasis on Key Words Emotional and Psychological Significance Spatial or Quantitative Imagery Invitation to Silence, Reflection, or Pause in Speech Conveying Intensity Case Study: Ghazal 564 Ghazal 564 from Saadi’s Divan, with its high frequency of teskīn in various positions, is a unique example of purposeful use of this license. The analysis of this ghazal shows that Saadi consciously uses teskīn to create meaning and evoke emotions, for example, in describing the cruelty of the beloved or the severity of separation. This ghazal serves as distinct evidence of Saadi's deliberate and artistic use of teskīn. Discussion of Results and Conclusions The findings of this study reveal that, contrary to common belief, teskīn in Saadi's poetry is not merely an escape from metrical constraints but rather a conscious technique to enhance meaning, evoke emotions, and create suspension, emphasis, or tension. Since Saadi closely links this license to content, teskīn in his ghazals possesses rich semantic and emotional potential. The fivefold categorization provides a new framework for semantic and musical analysis in Persian poetry and offers a fresh perspective on other poetic licenses as well. Statistical Results of the Use of Teskīn The findings show that teskīn most frequently occurs in the middle of hemistichs, particularly in the second metrical foot. This is likely because creating a musical pause in this position has a greater effect on altering the rhythm and conveying emotions. Table 1. The Occurrence of Taskīn in Metrical Feet Position First Hemistich Second Hemistich Both Hemistichs First Foot - 2 - Second Foot 25 36 5 Third Foot 3 4 - Between First and Second Foot 1 1 - Between Second and Third Foot 3 6 - Figure 1. Statistical Analysis of the Occurrence of the Prosodic License Taskīn in Metrical Feet The statistical analysis of teskīn in Saadi’s ghazals reveals that this metrical license appears with varying frequency across different poetic meters. According to the data, the mojtath meter, with 46 instances, has the highest frequency, followed by ramal, hazaj, mozareʿ, sariʿ, rajaz, and monserah, respectively. This distribution indicates that Saadi employed teskīn more frequently in certain meters, which may suggest a particular harmony between this metrical license and the internal rhythm and musicality of those meters. Table 2. Poetic Metres Meter Frequency Mojtath 46 Ramal 20 Hazaj 6 Mozare' 5 Sari' 2 Rajaz 2 Monserah 1 Figure 2. Statistical Analysis of the Occurrence of the Poetic License Taskīn in Metres اختیار وزنی تسکین، یکی از شگردهای عروضی در شعر فارسی است که اغلب به‌عنوان مفرّی برای رهایی از تنگناهای وزنی از آن استفاده شده است؛ چنان‌که می‌دانیم از دیرباز اختیارات شاعری اغلب در سطح موسیقایی بررسی شده‌اند؛ بااین‌حال، بررسی کارکردهای اختیار تسکین در غزلیات سعدی، به گمان نگارندگان نشان می‌دهد که این اختیار علاوه‌بر نقش موسیقایی به‌عنوان ابزاری در خدمت معناسازی و القای عواطف به کار رفته است؛ به همین دلیل در این پژوهش کارکرد اختیار تسکین در غزل‌های سعدی به‌منظور تبیین پیوند میان تسکین با معانیِ ضمنیِ بیت و همچنین بازنمایی عواطف با بهره‌گیری از روش توصیفی-تحلیلی و منابع کتابخانه‌ای بررسی و تحلیل شده است. یافته‌های این پژوهش نشان می‌دهد که سعدی آگاهانه از این اختیار وزنی برای تأکید بر واژگان کلیدی، بازنمایی حالت‌های عاطفی و خلق لایه‌ای پنهان از معنا بهره برده است. بررسی نمونه‌ها نشان می‌دهد که تسکین در میانۀ مصرع‏ها، گاه به‌دلیل کشش‌های آوایی، در القای اندوه و سکوت مؤثر بوده و گاه، ازطریق ایجاد سکتۀ موسیقایی، احساس حیرت، اعجاب، تردید، شادی و... را به مخاطب منتقل کرده است. مطالعۀ موردی غزل ۵۶۴ دیوان سعدی به مطلع «مرا دلی‌ست گرفتار عشق دلداری/ سمن‌‌بری گلرخی جفاکاری» نیز به‌عنوان نمونه‌ای شاخص از غزلیات که بیشترین نمودهای تسکین در آن وجود دارد، نشان می‌دهد که سعدی با تکرار آگاهانۀ این اختیار در واژگان کلیدی و هجاهایی خاص، نه‌تنها موسیقی شعر را تقویت کرده، لایه‌ای پنهان از معانی ضمنی و عواطف را نیز خلق کرده است. در نهایت می‌توان گفت، نتایج این پژوهش نشان می‌دهد که اختیار تسکین در غزلیات سعدی ابزاری آگاهانه برای هماهنگ کردن هرچه بیشتر موسیقی شعر با محتوای آن، همچنین خلق و تعمیق معنا و عواطف است.

https://liar.ui.ac.ir/article_29761_a6542b302d8a53ec8e353b3d02ed3fcc.pdf

دانشگاه اصفهان فنون ادبی 20088027 17 4 2025 12 22 Unraveling Ambiguous Compounds and Allusions with the Centrality of "Pustin" (a Fur or Sheepskin Garment) گره‌‌‌‌‌گشایی از ترکیب‌ها و کنایه‌های مبهم با مرکزیت «پوستین» 115 134 29828 10.22108/liar.2025.145299.2458 FA یحیی کاردگر استاد گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه قم، قم، ایران. Journal Article 2025 05 18 Allusions (kenāyeh) are imaginary elements shared between literary and everyday language. It is natural that, as the contexts for the formation of allusions disappear and the philosophy behind their creation is forgotten, understanding some of them becomes difficult. The allusions that have formed regarding the word "pustin" (a fur or sheepskin garment) belong to this category. The present study, using a descriptive-analytical method, investigates some of the ambiguous allusions centered on "pustin" that have taken shape in Persian literary texts. Deciphering these allusions is instrumental in resolving ambiguity in certain texts. The findings of the research show that imprecision in the critical editing of texts, incorrect readings of texts, the copying and imitation between dictionaries and commentaries, inaccuracy in the reporting of these allusions in dictionaries, and a lack of attention to the specific context of the texts when reporting these allusions have led to the ambiguity and a failure to accurately grasp the meaning of texts that contain this word. Therefore, to resolve these ambiguities, a precise and scientific revision of commentaries and dictionaries, even a lexicon as prominent as the Dehkhoda Dictionary, is necessary and essential. Meanwhile, given the critical editions available for many of the texts from which these allusions were sourced, some of the paths to resolving the ambiguity of these allusions have been cleared. Consequently, it is necessary to rely on these texts to undertake a serious revision of the meaning of existing allusions in reference works and dictionaries. Keywords: Imagery, Allusion (Kenāyeh), Persian Texts, Dictionaries, Pustin. Introduction The use of the word "pustin" (fur garment) has a history as long as human history itself and has long served various functions in people’s lives. It is for this reason that diverse manifestations of "pustin" can be seen in the Persian language and literature. In the use of "pustin", a progression from a literal meaning to a symbolic one is evident. In a general overview, "pustin" has functions in various fields of Persian culture, civilization, and literature, the most important of which include: 1) As a type of attire for both war and festivity, which has been prominent from the most ancient historical periods to the present day; 2) As a theme-building element in various literary genres such as mystical, epic, lyrical, didactic, and other literary forms; and 3) It is the raw material for countless literary expressions that manifests itself in the form of various Imagery. What stands out most among the figurative and poetic elements when discussing "pustin" are the allusions that have been formed around it. In this study, several ambiguous allusions in this domain, which have been defined with uncertainty in dictionaries and whose decipherment is useful for understanding some ambiguous sentences and verses in texts, have been examined. Materials and Methods In this research, first, the allusions of the word "pustin" in Persian literature were identified by consulting Persian literary texts, dictionaries, and dictionaries of allusions. Then, several allusions that were subjects of debate and for which a precise meaning had not been mentioned in sources and references were examined and analyzed. The description, analysis, and critique of these allusions made a descriptive, analytical, and critical research method unavoidable. Therefore, a combined method was employed to investigate these allusions. Research Findings Part of the ambiguity in the compounds and allusions recorded in dictionaries, which are sourced from Persian literary texts, is related to the reading of the verse; if the problem in reading the compound is resolved, the issue with the text will also be solved. This is the case of the ambiguity in the compounds "pīl-e postīn", "postīn kardan", and "sūkhtah-ye postīn" (the burnt fur garment). The allusive phrase "postīn be gāzor dādan" (to give the fur garment to the Laundress) and similar constructions are used to mean performing a wrong and inappropriate action. This meaning is expanded in Anvari's poetry, where its individual and social undertones are highlighted. In the poetry of Sanai, within the context of mystical poetry, "pustin" takes on a mystical semantic load and becomes a symbol of material attachments and dependencies. Therefore, in his poetry, "postīn be gāzor dādan", in light of this symbolic meaning, is used in the allusive sense of renouncing attachments, releasing materialism and worldly dependencies. This meaning is also used by Rumi. The allusive phrase "postīn be gāzor dādan" has been used in two different contexts. The first instance is in the works of Amir Mo'ezzi and Anvari, and the second is in Sanai and Rumi, after which this allusive phrase was forgotten in Persian literature. This represents a movement from the material to the metaphysical aspects, for various reasons, including the diminishing relationship between the fur garment and the Laundress. Discussion of Results and Conclusions Allusion is more closely related to the daily life of humankind than other imagery elements. It is for this reason that as human lifestyles evolve and their perspective on surrounding elements and phenomena changes, the allusions in a language also transform. This point, alongside the freedom of perspective on phenomena in literature, increases the speed at which allusions change. Therefore, to understand texts that deal with allusions, awareness of culture, history, civilization, and human ways of life, and attention to the transformations in these areas, is essential. Inattention to these characteristics, carelessness in the editing and printing of Persian literary texts, imprecision in recording allusions and their meanings in dictionaries, and inattention to the literary genre and the author’s intended goals have caused more errors to occur in the explanation of allusions than in other parts of language and literature. The mentioned mistakes create obstacles for the reader in understanding the precise meaning of texts where an allusion directs its meaning. The examination of several ambiguous allusions centered on "pustin" has shown that to resolve the ambiguity in this area, it is necessary first to provide a correct and reliable edition of the texts, and then, based on these texts and with attention to the context, to provide a precise meaning for the allusions. This meaning should not create complexity in conveying the author’s thought to the audience but should lead to their conviction and, of course, be useful in the scientific analysis of the text and its subtleties. کنایه‌‌ها، عنصر خیالی مشترک بین زبان ادبی و زبان روزمره‌‌اند؛ طبیعی است با از میان رفتن زمینه‌‌های شکل‌‌گیری کنایه و فراموشی فلسفۀ ساخت آن‌ها، فهم برخی از کنایه‌‌ها دشوار می‌‌شود. کنایه‌‌هایی که پیرامون پوستین شکل گرفته‌‌اند از این دسته‌‌اند. در این پژوهش در شیوه‌‌ای توصیفی، تحلیلی و انتقادی، برخی کنایه‌‌های مبهم شکل‌گرفته با مرکزیت پوستین در متون ادب فارسی واکاوی شده‌‌اند. گره‌‌گشایی از این کنایه‌‌ها در رفع ابهام برخی متون راهگشاست. نتیجۀ پژوهش نشان می‌‌دهد که بی‌‌دقتی در تصحیح متون، خوانش نادرست متون، رونویسی و تقلید فرهنگ‌‌ها و شرح‌‌ها از یکدیگر، بی‌‌دقتی در گزارش این کنایه‌‌ها در فرهنگ‌‌های لغت و توجه نکردن به حال‌وهوای متون در گزارش این کنایه‌‌ها، موجب ابهام آن‌ها و دریافت نکردن دقیق معنی متونی شده که از این کنایه‌‌ها بهره گرفته‌‌اند؛ بنابراین برای رفع این ابهام‌‌ها، بازنگری دقیق و علمی شرح‌‌ها و فرهنگ‌‌های لغت حتی لغت‌‌نامه‌‌ای چون دهخدا لازم و ضروری است. اکنون با توجه به تصحیح انتقادی بسیاری از متونی که منبع استخراج این کنایه‌‌ها هستند بخشی از راه‌‌های رفع ابهام از این کنایه‌‌ها هموار شده است. در نتیجه بایسته است با تکیه بر این متون، بازنگری جدی در معنای کنایه‌‌های موجود در مراجع و فرهنگ‌‌های لغت صورت گیرد.

https://liar.ui.ac.ir/article_29828_d9d3b136a8c5ee8ccb06d8311c6cc2ce.pdf