Ali Asghar Babasafary Professor of Persian Language and Literature Isfahan University author Hasan Ziari Ph.D Student of Persian Language and Literature Isfahan University author text article 2012 per Javaher-al asmar is one of the Persian narrative prose that remember a pleasing andattractive story, traditionally interested by Persian speaking readers.The efforts of Shams al-din Al-e-ahmad dedicated to the publication of thisbook, many years ago has made it available to the enthusiasts of Persian literature.Despite the book's corrector efforts, margins, descriptions and emendations of thetext contain a few shortcomings and recall the necessity of correction. This articleattempts to remove some shortcomings and provides a better sense for some Arabicphrases and words. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2012 1 14 https://classicallit.ihcs.ac.ir/article_465_766b2b1262cc8c6e792060cb3fa9c6bb.pdf Zahra Parsapour Assistatant Professor at Institute for Humanities and Cultural Studies author Azadeh Molayi Ph.D Student of Persian Language and Literature at Institute for Humanities and Cultural Studies author text article 2012 per “Hosn-o-Del” is one of the mystical romantic stories of the Persian literature thatinspite of including a large number of literary beauties and the unique method of itscomposer in using a romantic story to indicate the different steps of the internaljourney and the journey to God; it has not been paid enough attention by theresearchers and literary men so far.This article is an attempt to introduce some of its notable mystical and literarypoints to the fans of Persain literature and Islamic Mysicism & Sufism.Sibak-e-Neishaburi’ s use of romantic expressions to indicate the steps of theinternal journey, his opinion about “ love”, the relationship between “love ”and “ logic”in his story and finally the effect of Nizami, Ferdowsi, Hafiz, Sohrevardi and KershenMesher’ s works on his story ; are the most important points that have been reviewedin this article. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2012 15 31 https://classicallit.ihcs.ac.ir/article_466_34492d6904661637ad3febf7931ce2e5.pdf Taqi Pournamdariyan Professor, Institute for Humanities and Cultural Studies author Mohammad Hani Mollazadeh Student of Ph.D. Persian Languages and Literature, Institute for Humanities and Cultural Studies author text article 2011 per With considering and comparative study of Dvn-e Šhams and Masnavi-ye Ma'navicommon thoughts and contents can be seen at both of these magnum opuses. Some ofthese common thoughts have been come in summary and obscurity at Dvn-e Šhamsand very detailed and clear at Masnavi-ye Ma'navi. Therefore comparing and collatingthese two opus magnums and applying their common points is effective at removing thepoetical obscurities of Dvn-e Šhams.This article is searching the common ideas of these two masterpieces and is trying topresent explanations for some of the verses of Dvn-e Šhams by calling Masnavi inevidence, at the same time. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2011 33 45 https://classicallit.ihcs.ac.ir/article_467_b196d914862189be2867f77bc0870f93.pdf Kazem Dezfoulian Professor of Persian Language and Literature, Shahid Beheshti University author Mostafa Malek Paien M.A. of Persian Language and Literature, Shahid Birjand University author text article 2011 per One of the different kinds of literary criticism is mythological criticism which is amethod born out of Yung’s theories on collective unconscious. A mythological critic’stask is to analyze the archetypes of a literary work as representations of the collectiveunconscious of the writer or the poet’s mind; archetypes which are prevalent in thatsociety or people’s mind or above that, in all humanity. Human’s mind often turnssuch archetypal beliefs and behaviors into symbolic ways, and one manifestation ofthe appearance of such archetypes as symbols alongside dreams and sleep, etc. isliterary creations.Nizami’s Haft Peykar is a work full of mythical symbols and archetypal applications.In this essay, it is tried to offer an analysis of a verse narrative of this work using thetools that Yung’s psychological model in relation to collective unconscious and alsoNorthrop Frye’s theories on mythos give us in order to shed light on the symbolicapplications of this narrative. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2011 47 66 https://classicallit.ihcs.ac.ir/article_468_f03167d6782f2def8cf9392326bef92a.pdf Abol-Qasem Radfar Professor, Persian Language and Literature, Institute for Humanities and Cultural Studies author Saman i Qasemi Firuzabad Ph.D Candidate, Persian Language and Literature, Institute for Humanities and Cultural Studies author text article 2011 per In this article Vyu, a dual-natured Zoroastrian divinity of the wind, is brieflyexplained. This divinity is simultaneously angelic and demonic and has both dark andlight substance. Then it is shown that according to shah name heroes have the samesubstance as Vyu and are mixed of both dark and light aspects. At the followRostam’s character, as the symbolic hero, is studied to show the similarities to theVyu. We will see that Sohrb is the symbol of dark tendency of Vyu. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2011 67 88 https://classicallit.ihcs.ac.ir/article_469_33648790e2e63b50c6186751a459a160.pdf Said Mahdavifar دانشجوی دکتری زبان و ادبیات فارسی، دانشگاه ایلام author Mohammad Reza Salehi Mazandarani Asssitant Professor, Persian Language and Literature, Sa’id Chamran Ahwaz University author text article 2011 per The diwan of Khaqani Shirvani is an artistic and literary masterpiece filled with manyrare words and stylistic innovations. The poet’s cultural background is mixed with aninclination for originality and rich imageries. Khaqani creates images and figures of stylewhich have no historical precedents. Hence, it would have been difficult for people notfamiliar with his style, to transcribe his poems properly. Scribes, willingly orunwillingly, have inserted numerous mistakes in his poetry. Some of those recordedmistakes or errata were even reinforced over many generations of manual copying.These errata are now part of Khaqani’s poems and can even found in the oldest extantmanuscripts. Today, by relying on our knowledge of Khaqani’s cultural background aswell as his artistic and literary style, it is possible to reedit parts of his poetry. In thisarticle, we have corrected some of the errata found in his lyrical poetry. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2011 89 106 https://classicallit.ihcs.ac.ir/article_470_4115448749e8c1ae3e9fd00508f898cc.pdf Mahshid Mir Fakhrayi Associate Professor, Linguistics, Institute for Humanities and Cultural Studies author text article 2011 per Books of advices (andarznamih) occupy are an important part of Pahlavi’s middle-Persian written texts corpus. Words of advices reflect ethical and social issues andintroduce modes of thinking, ways of speaking and behaviors pertaining to a differentera. In Sassanid times, writings and speeches with ethical and social contents enjoyeda unique status. Books of advices are not only found in the pre-Islamic Sassanidenvironment, but are extensively present In Persian literature as well as in Arabicwritings compiled by Persian authors. It can be argued that such literary works arecharacteristics of eastern literature. In order to assess the extent of the influence ofbooks of advices on various areas of Persian literature, we will rely upon epic literatureparticularly the Shanamih of Firdowsi and the work of Ibn Miskawayh entitled eternalwisdom (javidan khirad); we will also turn our attention to Persian proverbs and wordsof wisdom from eminent poets and writers like Sa’adi Shirazi. Institute for Humanities and Cultural Studies 2383-0603 3 v. 1 no. 2011 107 119 https://classicallit.ihcs.ac.ir/article_471_f785d5024acdc69dfb60f179272e9815.pdf