https://nf.apll.ir/ Namaeh Farhangistan en daily 1 Sat, 22 Nov 2025 00:00:00 +0330 Sat, 22 Nov 2025 00:00:00 +0330 https://nf.apll.ir/article_239942.html The victory of the Seljuks in the Battle of Malazgerd (463 AH) shattered Byzantine resistance and began a period of migration and settlement of Turkmens in Asia Minor (Roman lands). The gradual settlement of armies and various groups of people paved the way for the penetration of the Iranian language and culture into Asia Minor, and the expansion of migration from Transoxiana, Khorasan, and other places to Asia Minor contributed to the cultural and linguistic diversity in this land. During the rule of the Seljuks of Rome and the principalities, numerous works were written in Persian, and with the formation of the Ottoman state, the Persian language continued to maintain its importance, as numerous works were written in this language. With the strengthening of the Turkish language, the writing of works in this language and the translation of Persian works into Turkish gradually became popular and widespread. Of course, the strengthening and consolidation of the Turkish language during the Ottoman period did not diminish the importance of the Persian language, but rather the attention paid to the translation of Persian works into Turkish increased to the point that various translators translated some of the enduring Persian works of different periods into Turkish several times. In this article, while referring to the position of the Persian language in the Ottoman period, the course of the translation of works in three different periods is examined and the reasons for the prevalence of translating Persian works into Turkish are explained. The findings of this study show the importance of the position of the Persian language in the Ottoman period. The abundance and diversity of works translated into Turkish are indicative of the interest of the Ottoman elite in translating Persian works into Turkish. https://nf.apll.ir/article_239943.html Among the works of Idris Badlisi, there is a short treatise entitled “Khazāniyeh”, which has not been introduced and corrected so far. In this treatise, the author has brought poems in proportion to the subject that are worth considering and examining in terms of function. This research, which was conducted in a library manner and based on the analysis and explanation of the poems in this treatise, seeks to answer the following questions: Given the historical content of this treatise and its small volume (7 pages), what was the author’s motivation and purpose in bringing significant verses from himself or other famous poets? And what function do the poems in this treatise have in the text, and which of the functions do they belong to most frequently?       The results of the research show that Badlisi's education and his proficiency in literature and composition, which earned him the position of special secretary to the AqQoyunlu court, as well as his great interest in poetry, played a significant role in producing these poems. He combined his text with poetry and literary techniques in such a way that the result is historical in terms of content and literary in terms of form. Following the style of his predecessors, Badlisi created a magnificent artistic and literary work in addition to recording history, and he also paid attention to the aesthetic aspect in it. He used various poetic functions in this work, but the literary-arrangement and argumentative functions with high frequency have a greater share than other functions. https://nf.apll.ir/article_239945.html Guarantee is one of the literary devices and techniques that is widely used in poetry and prose. In literary texts, this technique is used to decorate the text and express consolidation and confirmation of the content. Among the texts in which this device is widely used is Idris Badlisi’s Hasht Behesht (Eight Heavens). Idris Badlisi has used Persian and Arabic verses, hadiths, and poems in various places in this great work, based on the material he mentioned; Among the Iranian poets whose poems he used in his work are Nizami, Sa’di, Hafez, Maulana, Jami, Kamal al-Din Ismail and others. He especially guaranteed the poems of Khamsa by Hakim Nizami Ganjavi, a great poet of the sixth century AH, in Behesht-e Haftom (The Seventh Heaven) during the reign of Sultan Muhammad Fatih. Nizami is one of the greatest Persian-speaking poets whose most important work, Khamsa, has received much attention in Iran and abroad. Asia Minor is one of the lands that paid special attention to Khamsa, and considering the fame of Khamsa in this region, Idris Badlisi used many of his poems in the text of Hasht Behesht. In the present article, after providing a definition of the arrangement of guarantee and a brief comment on some Persian poems of Behesht-e Haftom (The Seventh Heaven), a number of poems guaranteed by Nizami in this inscription will be discussed. https://nf.apll.ir/article_239946.html The Shahnameh of the Hakim Ferdowsi has had a significant impact on the writing of epic poems after it, both inside and outside the borders of Iran. These poems, some of which are classified as historical epics, sometimes bear the name Shahnameh and sometimes are recorded with the name of the king in question. Although these epic letters were written in the style of the Shahnameh and were apparently an imitation of the great work of the Hakim of Tus, they have never been able to match it in terms of content, imagery, and even language. Instead, they have only been able to narrate history using the rich mythological and cultural motifs contained therein or to take advantage of the positive and negative models of the characters in the Shahnameh in order to praise their own praise or condemn their enemies. In Asia Minor, Shahnamehs have also been composed under the influence of Ferdowsi's Shahnameh. The Shahnameh of Suleimani, composed by Fathullah Aref Chalabi (d. 969 AH/1561 AD), is one of these Shahnamehs. The Shahnameh of Suleimani is the fifth volume of the great five-volume Shahnameh of Humayun or the Shahnameh of the House of Osman. In addition to describing historical events, court ranks, schools, teachers and their ranks, wars and warriors during the reign of Sultan Suleiman the Magnificent (926-974 AH/1520-1566 AD), this work is also an encyclopedia of various sciences that Aref wrote at the request of Sultan Suleiman the Magnificent. The present article examines and analyzes the mythological names taken from the Shahnameh of Hakim of Tus and some mythological beliefs based on the first 100 pages of the Shahnameh of Suleimani, and shows that the Shahnameh of Suleimani (Suleiman Nameh) is more influenced by the Iskander Nameh of Nizami. https://nf.apll.ir/article_239947.html The Seljuk Roman state is one of the most important local states in the history of Iran in the Middle Ages, which has received less attention and discussion in historical research. This state was one of the most powerful and important Iranian states in Asia Minor from the beginning of the seventh century AH/13th century AD to its middle (640 AH/1243 AD). The correct policies of the Seljuk Roman sultans over a forty-year period, from the Fourth Crusade to the Mongol invasion of Anatolia and their conflict with the Seljuks of Rome in the Battle of Kusa Dagh, led to the expansion of trade relations in this region. The most important works of the Seljuk Roman government during this period, which led to economic prosperity, were: expanding its territory from the center of Asia Minor to the shores and ports of the Black Sea and the Mediterranean Sea, creating economic infrastructure such as markets and caravanserais on various routes, developing important cities, and most importantly, ensuring the security of land and sea routes under its rule. In this study, trade relations in Asia Minor from the capture of Constantinople in the Fourth Crusade to the Battle of Kusa Dagh have been examined using a historical method and a descriptive-analytical approach. https://nf.apll.ir/article_240040.html Traveling to the city of Mashhad and residing there for citizens of other countries, including Ottoman citizens, despite the availability of spiritual and tourist attractions, especially from the Constitutional Period to the end of the Qajar Era, was sometimes accompanied by some difficulties. These problems were due to the intensification of the fluctuations in political-religious relations between the two countries and the existence of some factors of cultural, economic and legal divergence. In this article, an attempt has been made, based on historical sources and documents and with a descriptive-analytical method, to identify and examine the types of problems and dilemmas of some Ottoman citizens who immigrated to the city of Mashhad during the Qajar Era and the ways they faced them to overcome these difficulties. Most of the findings of this research show that the tax policy of some local emirs of Khorasan in the Qajar era, the delay and obstacles to issuing ID cards for some Ottoman citizens on the way to Mashhad, legal and property lawsuits, trade obstacles for Ottoman citizens, and the failure to determine the fate of some Ottoman citizens imprisoned in this city were among the challenges and dilemmas that some Ottoman citizens were not immune to. Some of these dilemmas were resolved with the supportive efforts of local trustees with the assistance of relevant departments in the center, while others, due to the inadequate economic infrastructure of the late Qajar era and the lack of rapid and timely cooperation of relevant departments, resulting from the bureaucratic chaos of this period, remained unresolved and were transferred to the next period in other forms. https://nf.apll.ir/article_209373.html This study investigates the positioning of object phrases in simple Persian sentences, with a focus on the influence of phrasal weight. In the absence of marked word order, previous research has shown that the direct object is placed at a distance from the verb. However, some studies propose dual syntactic positions for the direct object. Moreover, linguistic evidence underscores the role of phrase length in syntactic word order. Leveraging data from the Persian Dependency Treebank, this study combines descriptive and inferential approaches. Findings reveal that direct objects, (definite, indefinite, and mass nouns,) consistently precede the indirect/prepositional object, often in distance from the verb. The study shows how Persian's inclination toward forming compound verbs influences the adjacency of the direct object to the verb to form a single eventuality. Additionally, structural weight significantly influences marked order, with heavier structures tending to be positioned away from the verb or to be post-positioned. https://nf.apll.ir/article_235389.html Calligraphy plays an important role in human history and it has been exposed to many damages to the same extent. Dari Persian calligraphy has not been spared from these damages and has faced many ups and downs during its life. In the present research, calligraphy and its decisive role also investigating the different calligraphy and isolated writings used in the works of one of the Persian writers after the revolution, Reza Amirkhani is the researcher's main goal. After studying the published written works of this author and separating the words with different writing rules, he examined the differences, similarities and heresies of the handwriting used in the writings of Reza Amirkhani and in a structured classification, he made it conform to the approved handwriting of the academy. The purpose of this research is to investigate the different calligraphy of Reza Amirkhani's works based on the script of the Handwriting Academy, while there has been no research on the calligraphy of Amirkhani's works so far. In the end, the findings indicate that the spelling of some words in the works of Reza Amirkhani contradicts the principles of calligraphy Handwriting Academy and is in an obvious conflict. There is no discrepancy in her works, except for the separate writing of words and the fact that the spelling of some words is in conflict with the grammar of Handwriting Academy. https://nf.apll.ir/article_238135.html In the book, Avini's Heavenly Treasure, the mystical discourse of classical literature and stability can be seen. Therefore, in order to better understand the work, which is a prominent example of contemporary sustainability literature, the intertextual relationship between mysticism and classical literature must be considered. This article uses a descriptive-analytical method with a comparative approach to examine the influence of Avini's texts on ancient texts of Persian literature, especially mysticism. For this purpose, mystical themes such as love, guardianship, secrecy, and satisfaction as the most important common mystical features of the discourses of Shahid Avini and mysticism are considered. The extent and manner of Avini's influence on these principles are examined in classical Persian mystical texts such as Masnavi, Koliat Shams and Divan Hafez, etc. The results of this research confirm that Avini, in order to describe his observations of war, has been influenced by classical mystical themes, especially Molana and Hafez, and has given these concepts dynamic and vivid aspects and has translated them in his work with contemporary and new formulations. In adapting the mystical themes of classical Persian language and literature, Avini goes so far as to show that the heavenly treasure book is based on the rich mystical literature of Islamic Iran in the contemporary world. https://nf.apll.ir/article_238136.html In this study Gol-e-Simin” book diary collection of Saham Taaghati has analyzed based on frameworks for critical discourse analysis, Van Leeuwen’s(2008) pattern to understand that how the social functions are embedded in lower layers of text dialogue those are reperesnted in the lower layers.Gol-e-Simin has studied as a dialogue that appeared from Iraq–Iran war , based on the above mentioned framework. The aim of this study is demonstration of the quality of representation of social actors for expressing the writer’s viewpoints and ideology.Representation of actors has conducted to guidance, supervision and orientation of social viewpoints. The narrator has represented Iranians as the dynamic actors and has showed them as oppressed people by representing them as the passive actors. The narrator shows Iranian forces as the people with positive values but never devaluated opposite forces directly , and increased the text’s documentary ability by using naming and person-reference elements. https://nf.apll.ir/article_238137.html Among the issues that have been neglected in the poems of contemporary poets, and no comprehensive research has been done on this issue, is the issue of whether contemporary poets, in principle, in explaining the relationship between science and knowledge and the method of attaining it, from an epistemological point of view. whether they had it or not, and if they had this point of view, among the various methods of acquiring knowledge, which one would they prefer over other methods? In this article, an attempt is made to prove this by analyzing the poems of contemporary poets and comparing it with the mystical tradition, that in contemporary poetry, many propositions can be found in support of this view that contemporary poets have never written this type of They have not equated the method of knowledge with heart and intuitive knowledge. https://nf.apll.ir/article_238138.html کنکاش در انواع سؤال‌های بلاغی و طبقه‌بندی و نقد آن‌ها، در پژوهش‌های تحلیل گفتمانی از اهمیت بسیاری برخوردار است. سخن‌وران و اندیشمندان حوزه‌های مختلف علم و تفکر، در تبیین و تحلیل منظورهای گفتمانی خود از انواع سوالات بلاغی بهره برده‌اند. آیت‌الله خمینی، جز فقاهت دینی و زعامت سیاسی، با زبان شعر نیز به تفسیر و تحلیل اندیشه‌های عرفانی-قرآنی پرداخته است و هنرمندانه در لباس سوالات بلاغی، منظرهای گفتمانی و اندیشگانی خود را بازتاب داده است. مسئلۀ اصلی تحقیق حاضر، مطالعه در انواع سؤالات موجود در اشعار این متفکر بزرگ فقید و تحلیل و طبقه‌بندی آن، به جهت القای معانی ثانوی و گفتمانی بوده است. در این تحقیق که به روش تحقیق ترکیبی (توصیفی- آماری و استدلالی) انجام شد، به این نتایج دست یافتیم: انواع سوالات بلاغی با معانی ثانویۀ اظهاری و اخباری، تقریر و تاکید، نفی و انکار، اعتراض، بث‌الشکوی، مبالغه، تجاهل‌العارف، تمنی و ترجی (آرزو) و استبعاد از بسامد بیشتری در دیوان شعری آیت‌الله خمینی برخورداراست. سوالات بلاغی برای تبیین، تاکید و تقویت مبانی اصلی گفتمان عرفانی شعر ایشان، به‌ویژه: تجلّی معنای عظیم و شهودی عشق، جنبه‌های تعلیمی-حکمی عرفان، جنبه‌های انتقادی و اصلاحی گفتمان عرفانی استفاده شده است و به‌خوبی توانسته است عهده‌دار نقش‌های گوناگون هنری و گقتمانی و ارزش ساختاری خود باشد. https://nf.apll.ir/article_238139.html This study aims to investigate the “aesthetics of tradition and innovation in the language of Ali Moallem Damghani’s poetry” by examining the linguistic and rhetorical mechanisms that have shaped his unique style and highlighted his position in contemporary Persian poetry. The main research question addresses how Moallem’s poetic language utilizes the aesthetic capacities of both classical and modern linguistic forms, and what role this integration plays in advancing modern Persian poetry. The methodology is based on literary aesthetics and the analysis of linguistic, semantic, and stylistic layers in selected exemplary poems. The study draws on key linguistic and aesthetic theories from both Iranian and Western scholars, including Roman Jakobson, Ferdinand de Saussure, Roland Barthes, and Mohammad-Reza Shafiei-Kadkani. The findings indicate that the conscious and masterful blending of classical and modern linguistic aesthetics constitutes the central component in creating the aesthetic structure of Moallem’s poetry. By crafting this language, Moallem has not only developed a distinctive and innovative poetic language in the context of the entire history of Persian literature—with inherent aesthetic and literary value—but also a sophisticated and poetically advanced language that transcends automatic or conventional usage, thereby enriching Persian literature and contributing to the advancement of poetic language and poetic innovation in linguistic and rhetorical areas in contemporary Persian poetry. https://nf.apll.ir/article_238175.html This research examines the works of two prominent 20th-century poets from Iran and Pakistan, Fereydoon Rahnema and Ahmad Faraz, as well as the impact of the political and social transformations of their times on their poetry. The primary objective of this study is to analyze the content and explore the social and political influences on the poetry of these two poets. Fereydoon Rahnema’s poems, particularly in "Guardians of the Night"and "Invitation to Travel,"reflect a critique of the political and social conditions in Iran, advocating for change and revolution. In "Guardians of the Night," Rahnema symbolically critiques the prevailing oppression and expresses hope for change and reform. In "Invitation to Travel," he portrays an idealized world where current issues have been resolved, leading to freedom and perfection. Ahmad Faraz’s poems, especially "Siege," offer a deeper critique of social conditions and individual freedoms. Faraz, employing symbols and imagery from the Middle Ages, addresses the siege and suppression of freedom of speech, highlighting resistance against oppression and injustice. The analysis of these poems demonstrates that both poets were profoundly influenced by the political and social currents of their respective countries; these influences are evident in the content, style, and language of their poetry. https://nf.apll.ir/article_238343.html This article presents a hitherto unknown manuscript of Saadi Shirazi’s Golestan copied on Sunday,26May1313.The manuscript is a part of the GaziHusrevBeg Library collection in Sarajevo.It is the third-oldest dated manuscript of the Golestan; however, due to problems with the validity and authenticity of the earlier two manuscripts,the Sarajevo manuscript can be regarded as the oldest one with a certain date.As such,it is of immense importance for the history of the book’s text.We introduce the spread of Persian literacy and the Golestan in the Balkans,followed by a description of the manuscript’s features.Finally,we trace an even older copy belonging to Husamuddin Begler;the older copy is mentioned in the colophon of the Sarajevo manuscript.The existence of at least two Golestan copies in Anatolia until713/1313and the transfer of this old manuscript to Bosnia further confirm the spread and high status of the Persian language and literature at the western end of its geography. https://nf.apll.ir/article_239005.html Khaqani refers to his ascendant sign nine times throughout his poetry, yet he inconsistently identifies it as either Cancer or Leo. Most commentators have regarded Leo as his true ascendant, interpreting his references to Cancer as purely metaphorical: since the crab (Cancer) moves backward and obliquely, they suggest that Khaqani invoked it symbolically rather than astrologically, without any connection to his actual horoscope. This article challenges that assumption and argues that a poet such as Khaqani—renowned for his extensive and precise knowledge of astronomy and astrology, could not have erred on a matter as fundamental as the ascendant, which forms the basis of numerous calculations in classical astrology. By dating several of the poems in which he mentions his ascendant, we demonstrate that Khaqani initially believed his ascendant to be Cancer, but later discovered that it was in fact Leo. In tracing this intellectual and poetic transformation, we further analyze his opposition to the astrological predictions surrounding the great conjunction (qirān) of 582 AH. This analysis reveals the central role of the concept of qirān-i mustarqa (“concealed conjunction”) in shaping Khaqani’s rejection of those forecasts. Overall, the study highlights the poet’s sophisticated engagement with astrological discourse and his evolving interpretation of celestial signs within the broader context of medieval Persian intellectual culture. https://nf.apll.ir/article_239006.html Abstract: this paper deals with some ambiguous and controversial phrases in Divān of Khāqāni. According to the variant readings in early manuscripts of the Divān, it is shown that the under-discussion phrases have been recorded in the modern editions of the Divān with corrupted forms stemming from a few manuscripts, while the earliest manuscripts of the Divān guide us to the correct and original forms composed by Khāqāni. In other words, in this paper, some of the textual-critical advantages of the early manuscripts of Divān of Khāqāni not consulted in earlier editions, are shown with an emphasis on the very important manuscript no. 439 at Lala Ismail library, and some remarks on Khāqāni’s poetic style are provided as well. The early manuscripts of the Divān may allow us to have the most-authentic form of Khāqāni’s Divān, to understand the precise meaning of many hitherto ambiguous phrases, and to have a clearer picture of Khāqāni's true poetic style.The early manuscripts of the Divān may allow us to have the most-authentic form of Khāqāni’s Divān, to understand the precise meaning of many hitherto ambiguous phrases, and to have a clearer picture of Khāqāni's true poetic style.Keywords: Khāqāni Sharvani, codicology, textual criticism, Lala Ismail manuscript, stylistics https://nf.apll.ir/article_239007.html Khaghani Shirvani, a renowned poet of the 6th century AH, has an ode in praise of Fakhr al- Din Abul-Fath Manouchehr Shirvanshah, of which, according to a manuscript from the 10th century AH (dated 993 AH), a verse was interpreted by Abdullah ibn Hassan ibn Ali Makkiy al-Husayni al-Ajlani, based on mystical elements. This commentary, which he called Romuz al Asrar, is written on four leavers and is perhaps the only copy of this commentary. In this work, the text of Romuz al Asrar has been corrected and Ajlani’s view and reading of the verse, recorded in the editions of Divan Khaghani, have been examined. What is observed from the examination of this verse, in addition to some differences between the parts of the verse and the same verse in some manuscripts and printed copies, is a different interpretation that Ajlani has given of it. Whether the explanation of this verse is part of a more complete book on the explanation of Khaqani's verses is currently unknown to us. This mystic also has another book called Neshat al-Ishq, which is a commentary on the Ghousiya treatise of Sheikh Abdul Qadir Gilani.There is no other information about him except his name and the fact that he was a follower of Qaderi. From these two descriptions, it is clear that he was a poet and used the pen name Makki; thus, it is not out of the question that he also had a collection of poems or other works. https://nf.apll.ir/article_239008.html This paper compares two odes by Khaqani Sharvani (12th CE) in praise of two cities, namely: one ode in Persian, in praise of Safāhān (an alternative form of the city name Isfahan) which begins as follows: Nakhat i hawrā-st yā havā-yi Safāhān "is it the scent of the houri or the air of Isfahan?", and the other in Arabic, in praise of Baghdad, which begins as follows: a-mašrab-u-l-Xiḍr-i māʾ-u Baġdāḏā "is it the Baghdad’s water is the same Fountain of Youth achieved by al-Khadir?" (the two odes are henceforth called Safāhāniyyah and Baġdādiyyah respectively). Due to the considerable resemblance between Safāhāniyyah and Baġdādiyyah in aspects such as the prosodic features, the content, the sequence of the thems, and even the puns and other literary techniques, both odes seem to be elaborately composed based on the same sketch, and therefore, I call Safāhāniyyah and Baġdādiyyah "two sister odes". Based on evidence from the odes, it is argued that Khaqani composed Safāhāniyyah in his youth, either in 552 AH or 556 AH (i.e. almost one year after his two Hajj pilgrimages to Mecca، when he had c.a. 32 or 35 years old). 12-20 years after, he composed Baġdādiyyah based on the sketch of Safāhāniyyah, during the reign of the Abbasid caliph, al-Mustaḍiʾ bi-Amr Allāh (566-575 AH), before his third Hajj pilgrimage (571 AH), and likely, shortly before the foregoing pilgrimage journey. During the discussion, I emendate some of the couplets of Baġdādiyyah cited in the paper according to the early manuscripts of the Dīwān, since Khaqani's Arabic verses have been recorded with numerous errors and corrupt readings in the modern editions. Furthermore, I introduce a manuscript of the Dīwān of Khaqani, which، though relatively late، is a copy containing highly authentic and non-corrupt readings of the Arabic verses, and should be taken into consideration in a critical edition of the Diwān. https://nf.apll.ir/article_239009.html Based on Abul-Hasan Najafi’s theory, this dealt with the question if the two meters of “Mustaf'alo Mustaf'al Mustaf'alo Mustaf'al” (traditionally scanned as “Maf'ulo Mafα’ilon Maf'ulo mafα’ilon”) and “Mustaf’alon Mafα'el Mustafa’alon Mafα'el” (traditionally scanned as: “Maf'ulo Fα’elαton Maf'ulo Fα’elαton”) are cyclic meters or not? According to Abul-Hasan Najafi's structuralist and synchronic approach, these two meters are cyclic, but within the framework of a diachronic or historical approach, answering this question needs some historical information too. These two meters were current in Persian poetry from the second half of the 5th century AH to the end of the 6th century. The poet, using the optional variation of bicep, changes two short quantities at the middle of the two long meters “Mustaf'alo Mustaf'alo Mustaf'alo Mustaf'al” and “Mustaf’alon Mafα'elo Mustafa’alon Mafα'el” into long ones and produce the two meters of “Mustaf'alo Mustaf'al Mustaf'alo Mustaf'al” and “Mustafa’alon Mafα'el Mustafa’alon Mafα'el” respectively. These two latter meters are called pseudo-cyclic meters here and they are briefly represented as “Mustaf'alo Mustaf'al/” and “Mustaf’alon Mafα'elo/”. The most important feature of any pseudo-cyclic meter is that the last syllable of the first hemistich of each line can never be a super-heavy syllable unless the first syllable of the following hemistich begins with "alef". From the late sixth century onwards, the two pseudo-cyclic meters gradually transformed into cyclic meters of “Mustaf'alo Mustaf'al//” and “Mustaf’alon Mafα'elo//”, i.e., the last syllable of their first hemistich in each line could be a super-heavy syllable without the next syllable having to begin with “alef”. It has also been shown how Khaqani made the greatest contribution to the formation of the above procedure. https://nf.apll.ir/article_239672.html This paper deals with the attestations of the suffix -kade in Khaqani’s works (including poetry and prose). Firstly, it briefly discusses the attestations of the suffix -kade in the 10th and 11th CE Persian texts, and then, provides a list of the words containing -kade in Khaqani’s works. It is shown that totally 18 words with this suffix have occurred in Khaqani’s works, two of which have a considerable occurrence in the earlier texts from 10th and 11th CE. 8 out of the 16 reaming words have also attestations in earlier or contemporary works to Khaqani, but the remaining 8 words may have been invented by himself, namely: the words: khom-kade, daru-kade, rezvan-kade, salāmat-kade, esmat-kade, isā-kade, mehnat-kade, ne’mat-kade. It is notable that 6 out of the 10 words common among Khaqani and others have occurred in Sana’i’s poetry, 3 of which is unique to Sanai and Khaqani. This may be considered as another evidence of the stylistic influence of Sanai on Khaqani.This paper deals with the attestations of the suffix -kade in Khaqani’s works (including poetry and prose). Firstly, it briefly discusses the attestations of the suffix -kade in the 10th and 11th CE Persian texts, and then, provides a list of the words containing -kade in Khaqani’s works. It is shown that totally 18 words with this suffix have occurred in Khaqani’s works, two of which have a considerable occurrence in the earlier texts from 10th and 11th CE. 8 out of the 16 reaming words have also attestations in earlier or contemporary works to Khaqani, but the remaining 8 words may have been invented by himself, namely: the words: khom-kade, daru-kade, rezvan-kade, salāmat-kade, esmat-kade, isā-kade, mehnat-kade, ne’mat-kade. It is notable that 6 out of the 10 words common among Khaqani and others have occurred in Sana’i’s poetry, 3 of which is unique to Sanai and Khaqani. This may be considered as another evidence of the stylistic influence of Sanai on Khaqani. https://nf.apll.ir/article_240808.html In Molana's Divan, it is said about a "Khaje" who, whether he has a historical identity or a creation of Molana, his characteristics, behaviors and the way he confronts God and the world, are reminiscent of philosophers. A group that considers Molana and other Sufis, their methods and approaches to express what God is or know or prove God as misleading and far from the goal. The signs and references in the text to the states and authorities of this Khaje and his spiritual evolution is strengthen the hypothesis that we consider the Khaje of these sonnets as a person whose fate is narrated in scattered sonnets. Knowledge of Khaje will lead to the discovery of the semantic network of a number of allegorical sonnets and verses of Divan-e- Kebir. https://nf.apll.ir/article_240809.html تکیه از جمله بناهای مذهبی است که در طول زمان از نظر معماری و کاربری تغییر یافته است. این مکان که در سده‌های اولیه، بنای ساده‌ای برای سیر و سلوک بود، از دورة صفویه به بعد در ایران اهمّیت بیشتری یافت و در برخی موارد به عمارت مجلل و با کاربری جدید تبدیل گردید. در این دوره در اشعارفارسی نیز تکیه جایگاهی ویژه‌ای پیدا کرد. و شاعران فارسی در تاریخ احداث، معرفی و توصیف برخی از این تکایا اشعار مستقلی سرودند. در این پژوهش اشعاری که دربارة تکیه سروده شده از قرن چهارم تا دورة قاجار از دیوان‌ها و تذکره‌ها استخراج و تحلیل گردید. بررسی این اشعار از اوان شعر فارسی تا دورة قاجار دگردیسی معنایی و تغییر کاربری این مکان را نشان می‌دهد. با استناد به این اشعار پنج نوع تکیه را می‌توان متمایز از یکدیگر معرفی نمود که در بسیاری از موارد به موازات همدیگر وجود داشته‌اند. . https://nf.apll.ir/article_240810.html Numerous editions and emendations of Sa'di's Bustan have been published so far, accompanied by critical explanations and annotations of verses, vocabulary, and idioms. Despite the efforts made to date in elucidating and amending the verses of Sa'di's Bustan, some verses of this work still need to be explained, annotated, and revised based on the available ancient manuscripts. Considering the comprehensiveness and popularity of Yousefi's emendation and explanation of Bustan, the verses discussed in this article are quoted based on that edition. Having presented the verses and Yousefi's notes, we then compare and critique other emendations of these verses that are either taken from printed editions of Bustan or articles and research books on critical reading of Bustan. We also highlight a few instances of commentators' errors or omissions, emphasizing the necessity of paying attention to the rhetorical nuances in verse explication. https://nf.apll.ir/article_240813.html The Bundahishn is the oldest Iranian text that presents a list of various species of plants. "Given its nature as a religious and mythical text rather than a botanical or medicinal one, the Bundahishn does not easily allow for the identification of flowers and plants." In chapter 16a, flowers are given a special mythical status without botanical descriptions, and a list of 30 fragrant flowers is presented, each associated with one of the 30 Amesha Spentas. "Understanding the nature of these flowers, and exploring their linguistic, onomastic, or botanical aspects, is only possible through their usage and continuity in classical Persian texts, particularly in pharmacognostic works such as Al-Saydana by Al-Biruni and Makhzan al-Adwiya by Aghili Khorasani, as well as in texts in other languages, such as Arabic, Hebrew, and others, where these flowers are listed." The Hamāg Wahār, associated with the deity Ard, is one of the floral names listed in this catalog of flowers and Amesha Spentas. Thus, This research focuses on the systematic analysis and interpretation of the name "Hamāg Wahār" in texts following the Bundahishn. The study aims to identify whether textual studies, based on the use of this flower in classical texts, can determine the nature of the flower known as hamisheh-bahar and whether it is still referred to by that name today. The findings reveal that some translations of the Bundahishn, based on limited sources, have incorrectly identified " https://nf.apll.ir/article_240815.html Preposing and postposing are one of the most important inter-artistic concepts that has a cohesive, order-creating and imaginative presence in the structure of various artistic creations. In literature, the term "preposing" and "postposing" and its order-building and aesthetic functions are known to literary activists, and from the distant past, scholars such as Abdul Qahir Jarjani have discussed it in separate chapters. But in calligraphy, despite its wide use and great importance, like other calligraphic rhetorical techniques, it remains nameless and has not been mentioned in treatises. The present research in a descriptive-analytical way, for the first time by uncovering the existence of two devices "eloquence" and "rhetoric" in calligraphy and its role in creating the primary and secondary order of structures, and the movement of components from sequential positions to preferred positions based on "contractual" and "contextual" implications, It has explained the inter-structural interactions in two textual systems of script and language and revealed the most hidden structural links of literature and calligraphy in the vast realm of preposing and postposing. Based on the results of this research, script and language both have an adaptable nature and their components provide the possibility of restoration, regeneration and renewability in an endogenous and dynamic system during calligraphic and literary creations. These possibilities have entered the structure of calligraphy and literary works through processes such as preposing and postposing, and they give them the ability to be organized in two devices, eloquence and rhetoric. https://nf.apll.ir/article_240816.html This article offers an explanation on a verse from Ferdowsi's Shāhnāmeh that has yet to receive a persuasive interpretation. The verse in question is as follows: پس پشتشان زال بــا کـــیقباد به یک دست آتش به یک دست باد Some researchers have interpreted "fire" and "wind" as allusions to "swiftness and speed" imagining the second hemistich to describe the flanks of the Iranian army. Others have considered "fire" a metaphor for "sword" and "wind" a metaphor for Zāl's horse. However, these interpretations are not convincing. There is ample evidence showing that fire has long been considered a weapon used by worrier gods and heroes to combat darkness and evil forces. In our view, the theme and content of the verse reflect the same ancient belief that Zāl is armed with fire and wind to fight and destroy the Turanians, who represent the forces of evil in the Iranian national epic.