نشریه جستارهای نوین ادبی
سال پنجاهم شماره 1 (پیاپی 196، بهار 1396)

History of literature is an interdisciplinary field of knowledge that focuses on explaining the history and history of literature during historical periods, the course of changes and transformations of styles, and the development of literary techniques. With the development of literary knowledge, the range of expectations from the history of literature has expanded. What is certain is that the history of literature is not independent knowledge; but it depends on other fields of knowledge such as textology, semantics, critique, history, philosophy, and sociology.
Intertextuality as the great discovery of the century in the field of literature, art and other cultural and human studies, today is one of the new approaches in the world of literature and art, which has caused fundamental changes in the subsequent literary theories of art. Intertextuality or art of communication is a way of examining how literary texts are produced and how they communicate with each other over time. With all the findings and studies that have been done so far about intertextuality, this knowledge has not yet revealed all its potentials and capabilities.
The main discussion of this essay, as stated in the title, is the relation and influence between these literary fields of knowledge; the intertextuality and history of literature. For the first time in Iran, the relationship between these two literary areas was presented in two theoretical books about history of literature written by Mahmoud Fotouhi and later, in the fild of history of literature in Iran and the domain of Persian language, in Evolution and Transformation of Genres (1394) was written by Seyyed Mehdi Zarghani. This study is a small contribution to the world of literature and intertextuality which has investigated and combined theoretical foundations of intertextuality, history of literature, literary criticism and literary theories. The main purpose of this study is to display the common aspects and the relationship between intertextuality and the history of literature.

This study is based on a descriptive-analytical method in a library research form. In this essay, in a deductive and eclectic approach, we have studied the overlapping and common aspects of the two fields of knowledge of the history of literature and intertextuality in terms of the subject matter, methodology, and the functions of both. Subsequently, with these deductive considerations, we refer to the transactions of these two areas of knowledge and their mutual benefits.

At a glance, we must say that the main subject of research in the field of intertextuality and the history of literature is the text. The similarities and relationships of these two theoretical areas of knowledge are revealed in this common chapter. The main purpose of the history of literature is to write the history of the developments of literature and literary texts. Intertextuality is also the science of explaining the communication between texts. Hence, these two areas of knowledge have similar and closely related rules.
The history of literature, with all its definitions and bounds, is a historiography and inevitably involves its own rules and limits. Although contemporary literary historians have access to ancient texts such as tidings and other items and sources of traditional history of literature, as soon as they start writing and reporting the past literature in the present time, they inevitably interfere their contemporary language and insight into their work. The intersection of time, place, and position that is inevitable in history of literature provides a space for introducing and developing intertextuality thought. Although nobody has ever admitted to this etymology, but with a different theoretical reflection, it can be relevant. Contemporary literary historians, for linking up with the past literature, go beyond the boundaries of time and space and understand and introduce the past texts with their contemporary life and society. Intertextuality equally passes the same path to remove the text from the monopoly of the author, and the time and place of the author, and to connect with other times and societies. Perhaps nothing like Raman Selden's words suggests this exchange and the symmetry of the past and present: "The current perspective always involves a relationship with the past, but at the same time, the past can only be understood from the limited perspective of the present"(Selden, 1384, p. 76). The literary historiography has two distinct One focuses on the past and the other on the present. This duality is also seen in the intertextuality attitude. The intersection of the times and the connections between literary works and texts is the basis of the intertextuality insight. Therefore, the similarity of the method and the path that we see in the history of literature and intertextuality is not accidental. The history of literature has a more ancient history than the intertextuality knowledge. Without any bias, it should be said that intertextuality was born in the history of literature,and after developing, it has made its contribution to this field of knowledge; so far as having an intertextual attitude today should be considered as a necessary step in the development of modern history of literature.

By summarizing the goals and topics discussed in this study, we found the benefits of intertextual attitudes in literary historical studies. The most significant achievements in integrating the intertextual attitude in compiling the history of literature are as follows:1. The historical nature is intertwined with the intertextual attitude. Contemporary literary historians, for linking up with the past literature, go beyond the boundaries of time and space and understand and introduce the past texts with the contemporary situation. Intertextuality also passes the same path in order to remove the text from the monopoly of the author and his time and place and to link it with other texts and areas.
2. The relationship between history of literature and intertextuality is reciprocal: Intertextuality, with the aid of the history of literature, recognizes the connective arts of texts, ages, and societies. The history of literature also acquires a deeper understanding of literature through the use of intertextuality techniques.
3. The horizons of expectation and understanding of a literary historian depends on his/her intertextual insight: Intertextuality is not only used in the field of creation, but also in the stage of reading and comprehension of a text.
4. Intertextuality is a literary historiography tool: The past currents have lost their objectivity as well as their historical past, and the literary historians are able to understand and recreate them only through the development of an intertextual attitude in which the boundaries of time and place have been removed.
5. Intertextuality is a necessity for the life and continuity of literary currents: Any criticism of literary works depends on repeated references to other texts. The most certain way to achieve such a goal is to adopt an intertextual perspective that interacts with aristocrats over intertextual and metatextual areas, to deepen hidden relationships, find influential texts and discover public and individual literary currents.

  Safavid literature provides valuable information about the literary history of Iran due to its social influence and also its geographical and temporal broadness. In spite of its relative distinction from previous periods, the literature of this period can still elucidate a number of unclear points about ancient Persian literature due to enjoying the features of medieval history and culture as well as the literary characteristics of Classic time. However, the prose works of this era have been mostly neglected in researches because it was assumed that their value was much less than their verse counterparts and there is not much wit in them. Due to this, there is almost no knowledge about the quality and quantity of this part of Safavid literature today. Accordingly, the aim of this paper is to explore the life and works of one of the masters of prose, especially the literary genre of "Dibaje", in that period, i.e. Nasirāy-e Hamedāni. This famous writer and poet of Safavid era was much more famous in India than Iran and he himself has emphasized this obscurity within his works. Unfortunately, due to prevailing lack of attention to the literature of this period by today's researchers and also slovenliness of the past men of letters in talking about their lives such information about Nasirā is very vague and unclear, in such way that the story of his life and works have been mixed with a number of his contemporaries, and proper and authentic information about him cannot be acquired unless his works are accessed and scrutinized. Although these difficulties have been mentioned in the literature review section, it should also be remarked that without any exaggeration the authors of this paper provide an account of the life and works of Nasirāy-e Hamedāni and his status in Persian literature, particularly the Hindi style, for the first time by accessing to all the known and accessible works of Nasirā and correcting as well as exploring such works.

To date there is no research paper or independent book about Nasirā and his works and there is only some brief descriptions of his life and some oft-quoted words. The aim of this paper is to acquire some information about his life and works by accessing to all the existent manuscripts of his works in Iran and correcting them. After his own works, tazkirehs are the most authentic sources for exploring his life and works and some information about the issue of this paper is obtained by providing a typology and evaluating the authenticity of these sources and comparing them with respect to the content and age. The oldest source in which Nasirā has been mentioned is Kheir-ol-Bayān tazkireh which provides some novel information about him. The second source is 'Arafāt al-'Āsheqin tazkireh by Ohadi in which the author describes the life of this poet as well as the life of one of his co-citizens, i.e. Khājeh Nasirodin ibn Khājeh Mahmoud Hamedāni, and because of this the later tazkireh-writers have mixed the life and works of these two poets. The third old and important source which has quoted some new and documented words about Nasirāy-e Hamedāni is NasrĀbādi tazkireh. Other sources are simply a copy of these sources or they offer some weak and instable ideas that in this paper we attempt to explore and evaluate them in order to finally identify and recognize the true status of this poet in the literature of Safavid time by investigating and analyzing the works of this poet from historical and rhetorical perspectives.
3. Nasirāy-e Hamedāni, his Life and Works
Like many other great figures of Persian literature there is no information about the birth date and early years of Nasirā's life and even it should be mentioned that there is only some chronological information about the last fifteen years of his life. It seems that he first came from Hamedan to Isfahan and learned some courses in the classes of some great figures like Mozafar Monnajem and Sheikh Bahāei (NasrĀbādi, 1378, p. 241; Sistani, 1386, p. 325) and then set out to Shiraz for completing his education and became the student of Shah Taqiodin Mohammad Nasābeh. Apparently due to the indifference of Isfahan's great figures to him or his attachments to Shiraz he went from Isfahan to Shiraz and completed his education there for some years and accompanied the great men of that city and even praised some of its officials.

It seems that he was in Deccan in the spring of 1021 but the exact time of his entrance to and exit from India is not known. His exit from India and entrance into Iran was definitely before 1025. It has been stated that the date of his death is 1030 and there is no proper information about his children and relatives.
Other than scientific works ascribed to Nasirā which are generally in the fields of philosophy and logic in either Arabic or Persian, his literary works can be categorized into verse and prose ones. However, regarding typology, his verse works include mostly panegyric odes, love sonnets and dilemma poems whereas his prose works are mainly Dibajes and on-demand letters. In a Dibaje he wrote for his epistolary, while providing an artistic and humble introduction of himself, he points to his "writing insanity" and talks about how his friends enticed him to collect "dispersed writings" and "distracted sheets" and then very briefly talks about the chapters and sections of his prose works. These works can be classified as following: 1) Dibajes which may be the very sermons and are epistolary writings that the writer has written about the works of others and sometimes his owns, 2) the epistolary works which include Ekhvāniāt and Moltamesāt

  The main foundation of mythical or archetypal criticism was made after the studies of Carl Gustav Jung on unconscious, myth and archetype. In fact, the appearance of archetype in his thought was inspired by unconscious discovery of Sigmund Freud. In his opinion, archetype covers six seventh of soul which is believed to be the result of mental suppression. Analyzing Freud’s conscious concept carefully, Jung criticized the unconscious concept, a personal and limited concept in Freud’s opinion, and discovered the other aspects of unconscious. He classified unconscious into 3 parts in which he mostly talked about unconscious in term of religion and mythical stories which are believed to be in common among people. Thus, the unconscious is considered as a concept which not only is the result of mental process but also is inherited unconsciously. Jung called these countless symbols and images of collective unconscious “archetype”. He believed that this term has been used several times in other’s works (Jung, 2011, p. 16, 20). His theories about collective unconscious, myth and archetype from the 30s to50s inspired scholars such asJoseph Campbell,leading to a system of criticism called archetype or mythic. The aforesaid theory assumes that the readout and analysis of literary texts is similar deep structure. Joseph Campbell, working on narrative stories based on the hero journey, has published a pattern to explain a universal pattern of a story in The Hero with Thousand Faces. In this book, he illustrates a pattern which has a unique and repetitive form in all stories including 3 steps and 17 subtitles.   The analysis of literary texts based on universal theories is a new approach in text interpretation trying to recognize hidden layers in a new perspective. The current study is trying to analyzethe spiritual journey of Ardaviraf Nameh based on the single myth pattern of Campbell. As a matter of fact, it wants to test the ability of Campbell’sapproach to analyze and explain the religious stories of Persian literary texts. Thus, the structure of hero journey in Ardaviraf Name is carried out based on Campbell pattern in a descriptive-analytical approach.
3. The Pattern of Hero Journey in Ardaviraf Name
he journey starts when the hero’s individual or ethnicity need makes him sacrifice himself for a moral goal.
3-1-1. Invitation for a Journey
A wonderful voice makes the hero drag himself out ofhis deep typical life. This starting voice in Ardaviraf Nameis the moan and roar of helpless people and the plea of religion-recipe.
3-1-2. Rejecting the Invitation
The fear of the unknowns and the effort to maintain the current situation make the hero not accept the invitation. Besides,psychologically, his instinct to preserve life stops him from travelling. Viraf delays the journey acceptance by proposing a religious test. However, rejecting the invitation can also be regarded as a religious challenge to reveal the correctness of his choice to everyone.
3-1-3. HiddenRelief
The hero’s journey is always accompanied with hidden powers reflecting a wise saint archetype. In Ardaviraf, Viraf is accompanied with SoroushAhlo and Azareizadthrough the unknown world.
3-1-4. Passing through the First Door
Although the hero’s journey starts with his birth along with the invitation voice, what the unknown world opens in front of him is passing through the first door. Surprisingly, there is no barrier for Viraf, and no blocking power stops him. 3-1-5- Whale Abdomen
This level is the symbol of human transfer to the other world in which Viraf enters by drinking cannabis and overcominghisartificial sleep.
3-2. Being Honored
Going through the whale abdomen diverts the horizon of the events tothe other side; a series of tests and successive meetings. The hero achieves his goal and immortality at the end of this level.
3-2-1. The Road of Tests
The hero is supposed to win a series of problems, overcome his fear and pass terrible events and images to achieve his goal. Viraf has been supported by 2 guardian goddesses through this level.
3-2-2. Meeting with a Goddess
This level is a reflection of the female soul power of the hero which is called Anima by Jung. Viraf does not visit the goddess, but he reports the visit of his ancestors.
3-2-3. Woman in the Tempting Role
In Campbell pattern, the tempting woman is the negative and dark side of Anima anda complementary level to visit the goddess. In fact, the hero visits the darkness and brightness as a part of himself. Like the previous level, Viraf does not visit the tempting woman, but he reports the visit of the ancestors.
3-2-4.Reconciliation and Collaboration with Father
This level is the last one in the process of individualevolution which Jung calls conscious effort of I to get acquainted with self. Undoubtedly, Viraf’s ascension has been a wonderful experience in the process of spirit evolution which has no equivalence in Ardaviraf. As if Vriaf’s devotion to the rules of religion puts him to complete reconciliation with Ahura Mazda.
5-2-3. Gods
When the hero reaches this level, beyond the stupidity and fear, he finds a god-like face. This level is full of Ahura Mazda’s brightness. Unique commemoration of Ahura Mazda is a sign which shows his likeness to gods and goddesses. 6-2-3. The Final Blessing
The hero’s journey is completed by achieving his goal which is a blessing for him and his family. In fact, he aims at messaging from the living world to the dead world. This goal is achieved by travelling to the unknowns and seeing the barren, paradise, and hell. This goal is the knowledge which survives faith and removes doubts.
3-3. Return
When the hero achieves his goal, he is supposed to come back to his routine life, whether he likes it or not. In fact, he should be the hero of his lifewhich shows the hero’s social performance.
3-3-1. Refuse to Return
The hero’s attachment to the unknown world, on the one hand, and his suspicion to transferability of his wonderful experiences, on the other hand, stops him to return. However, he does not care due to his social goal. In fact, he wants to convey Ahura Mazda’s message to Mazdisnas and tries to remove their doubts and fears.
3-3-2. Magical Escape
Faced with difficulties, he should win the hardships of the way back, but he does not face any obstacles. Thus, he does not need the help of the goddesses through his journey. He passes the journey easily.
3-3-3. A Rescue from outside
If the hero was not able to return, a rescue power would have helped him. Through his journey, Viraf has always remembered his messaging role, so he gets orders directly from Ahura Mazda in the way back.
3-3-4. Crossing the Return Door
This level is an effort to match and perceive two apparently conflicting worlds which, in spite of their conflicts, are two aspects of a unique fact. Although Viraf is not the one that used to be before travelling, he can share the findings and experiences of his journey.
3-3-5. The King of Two Worlds
The hero’s return does not interrupt his separation from the unknown world; he dominates both worlds. Even though he will not go to ascension, he becomes the king of two worlds due to the deep effect of his journey on the goddesses’territory, visiting the unknown dimension of his soul and presence in the wonderful heaven.
3-3-6. Free in Life
The hero continues his routine life to his death. If he has a social responsibility, he will offer his souvenir, saving his nation, to his descends. The spiritual experience of ascension has made an incredible change in Viraf’s soul, motivating him to continue his life virtuously.

The major lines of the story are in accordance with Campbell’s pattern, although, in his pattern, crossing the first door in the departure, reconciliation with father inthe stage of being honored and refusing to return, magical escape and the saving hand in the return stage do not match with the hero’s journey in Ardaviraf. Besides, the hidden relief in a special period of the journey and the quality of meeting with the dark and light sides of his soul isquestionable. The first reason for the aforesaid differences is the existence of slight but determinative heterogeneity in the quality of Viraf’s journey compared with the heroicjourneys in mythical texts. This heterogeneity is due to the weakness and strength of the sacred aspectsofboth myth and religion. Therefore, a hero like Viraf feels less doubt and fear at the beginning of his journey and he is supported by a hidden relief. Besides, even if we underestimate these powers to sheer spiritual symbols, their performance in term of an archetype is more trustworthy than helping forces in mythical stories. The unknown is not that much unknown for such heroes,for they know the destination, their activities and how to return without any problems. However, a mythical hero should start a dangerous journey which definitely passes through darkness and loneliness. Continuous tests and the hardship which are passed by the hero alone and in ambiguitywill shake the curve of characteristic change at the end of the journey. In fact, the heroes are not the ones they wereused to be. Besides, the other reason is going beyond the limit of the hero’s journey and explaining it as a book of ascension. In fact, the pattern of a single myth is the foundation of a potential heroic journey which is changed to real heroism by stimulating inner self-abilities and crossing tough levels. Each person is able to experience this heroism as much as he can, but Viraf is the only one who was prone to ascension in Mazdayasna society. Thus, it is predicted that he has passed his heroic journey in advance to getting ready for another journey as a sacred hero.The third reason is related to the extensive individual aspects of Campbell pattern which can be considered as the seamless manifestations of individuality in Jung psychology. Therefore, Viraf’s ascension is an individual experience, although it has a real social performance which is not mainly accounted as an issue or a level in relation with the individuality concept. Accordingly, the features of Viraf’s memoir are considered more transcendentalthan general achievements of mythical heroic journeys in terms of rank and concept. However, he apparently has less heroic reputations

  Regional story writing is a well-known and independent branch of fiction writing in the contemporary literature of Iran. The first true regional story in Iran is The Dark Days of the Worker by Ahmed Khodadadeh Kord Dinvari, written in 1926. Later some other stories of this sort were composed in 1950s and 60s which are considered as the first organized attempts in this field. But regional story writing rose to a height only in 1970s and 80s when such great writers as Gholam Hossien Saedi, Mahmood Dollat Abadi, Ahmed Mahmood, Ebrahim Rahbar and Ali Ashraf Darvishian produced a plethora of such stories under five different geographical regions namely North, South, Khorasan, Azerbaijan and Kermanshah. Thus the present study aims at depicting the special features of the stories of Azerbaijan region up to the Islamic Revolution in Iran, offering a critique of the literary schools before that and answering a major question about the common features of the regional stories of Azerbaijan that differentiate them from the stories of other regions and give them an independent identity.   The present study is a library one carried out based on a descriptive-analytic method and through content-analysis. After carrying out a critical study of the stories of Azerbaijan writers, collecting and classifying the necessary data, the researcher has come up with the common regional features of such stories. Some of the schools and classifications about the regional writing in Azerbaijan have also been critiqued, and weaknesses and problems of such schools have been highlighted. We have also tried to avoid the interferences, discrepancies and defects of the previous studies. In the contemporary story-writing of Iran, there appeared about forty writers from the region of Azerbaijan, mostly from the city of Tabriz. About half of these are young writers whose works have been published after the Islamic Revolution of 1978, while the other half comprised those older writers whose stories were written in the pre-Revolution era. Most of these forty writers, however, have written historical and social stories, not necessarily about the regional and environmental problems of their time. Yet, in the regional and rural story writing styles of Azerbaijan in the time span extending to the year 1978—the time considered in the present study—three major writers, Gholam Hossien Saedi, Samad Behrangi, and Behrooz Deghan (Tabrizi), stand out. Saedi in the novels, Ball and Bial Mourners, Behrooz Dehghan in his short story collection, -“The Grasshoppers”-, and Samad Behrangi in his folkloric stories and those for children, have depicted the rustic life of Azerbaijan, the superstitious naiveté of its milieu, and the poverty of people in that region of great Iran. Applying a simple traditional style, Behrangi has written kids’ stories set in the villages of Azerbaijan and showing the sociocultural poverty of simple rural people. Similarly, Saedi intended to analytically relate the defective roles of poverty and superstition in the decline of human society and character. He wisely depicts the psychological effects of poverty on the minds and actions of his characters in Bial Mourners. In this novel, he presents a terribly ironic picture of the rural life of Azerbaijan which, at the same time, symbolically stands for the pains of the traditional lifestyles of Iran.
Although the writing styles of these three regional writers are different in story-telling, common among them is a wholehearted concentration on the region of Azerbaijan, and the presence of regional elements and aspects in their stories.
That is why, in studying the regional stories of Iran, we have put the three above-mentioned writers in the story-writing of the region of Azerbaijan—merely for their regional stories not because of their belonging to one geographical area—and separated them from the rest of Azerbaijani writers. In the same way, we have assigned the novel, The Giant’s Foot, by the writer Nasser Shahinpar from Tehran, to the story writing region of Azerbaijan as it is set in that region and its events focus on the simplicity of rural people and life, and particularly on a naming and appellation custom which is a common feature of the regional stories of Azerbaijan. As we know, lack of focus on regional writing styles, and mingling writers with both regional and non-regional writing styles are among the problems of the previous researches conducted about the region of Azerbaijan.
Attending to native and folkloric customs and beliefs, reproducing historical events and popular local tales, writing monographies and recording the customs and traditions of the people from Azerbaijan region, naming the characters after the local historical figures and focusing on the representation of the sociocultural poverty of rustic people and societies are among the outstanding characteristics of regional writers’ writings and those which identify the corpus of regional stories of Azerbaijan. In fact, such vast reflection of historical events, tales and stories from folkloric sources in the regional stories of Azerbaijan deserves great critical attention, and shows that such elements have been closely connected to the mentalities, feelings and deep-seated beliefs of the people of the region. This also shows the sensitivity of these writers toward the ethnic, cultural, and linguistic identities and legacies of Azerbaijan land.

Showing the poverty and destitution of villagers of Azerbaijan along with lots of superstitious beliefs, presenting the lives and actions of tough and violent people, caring for ethnic customs, reproducing local stories and anecdotes and consulting historical events are among the common elements of regional stories of Azerbaijan which give such stories a distinct face. Through his traditional style of writing, Samad Behrangi, for instance, has written childish stories set in the villages of Azerbaijan focusing on the sociocultural destitution and people’s beliefs and customs. Also, Gholam Hossien Saedi has tended to the historical events and beliefs of the region, and through intermingling reality with imagination, penetrates the depth of the rustic society highlighting the destructive effects of poverty and superstition on the mental lives of people and in transforming human society and relationships. Behrooz Tabrizi and Nasser Shahinpar, on the other hand, look upon the people deeply entangled in superstition and destitution from different viewpoints. Despite their different writing styles and ways of narration, their wholehearted focus of attention on showing and highlighting the effects of poverty and dearth, superstitions and cultural lag of the villagers, and reproducing the local and folkloric stories and historical events of Azerbaijan connect their stories to each other. This same relatedness and common regional characteristics in the stories of these writers bring them together under the head title of “regional story writing style of Azerbaijan”. Thus, along with other regions of story writing in Iran, the regional story writing realm of Azerbaijan has an outstanding independent identity

  Myths have been defined differently from researchers' perspectives and there are various criteria for defining and discrimination of myths. In this article we define myth based on Gilbert Durant's definition, a contemporary theorist. In Gilbert Durant's view, myth is a combination of signs, arc types and stimulators. He also believes that there is a relationship between imagination and myth. Mythologists on the one hand believe that mankind seeks eternity, and on the other hand, they believe that the time passage is the greatest fears of human beings. Myth has an instrumental role in removing this time passage and reaching eternity. One can consider eternity as a panacea against time and death. Gilbert Durant believes that imagination force can create literary works against death.
Since Nezami is one of the most prominent imaginative poets of Persian literature and Bahram Goor is one of the mythological characters in Persian literature, this paper is focused on analyzing the story of Bahram Goor by using Gilbert Durant’s imagination structures and components of mythology. Nezami is one of the dreamiest poets of all times. The story of Bahram Goor is full of signs. In this paper, based on Gilbert Durant's theory and his categorization of fear of time, we review how Nezami has created fascinating and remarkable illustrations of Bahram by depicting him as an idealistic, saint and mythical personality which makes him immortal.

The basis of this research is on the structures of imagination and review of the components of myth from Gilbert Durant’s viewpoint. Gilbert Durant believes in a relationship between imagination and myth. This research attempts to answer this question: Can we analyze Bahram Goor’s story using imagination framework and mythology components of Gilbert Durand?

Gilbert Durant believes that through imagination, human beings will find out that their lives are limited by time and that they are not immortal. He has has been a bitter truth for early humans, because time passage includes pain and suffering and ultimately death. This is where the role of mythology becomes important. He believes in mythology as a medicine for mortality and death. Durand’s view towards myth is a particular one and has a different function. According to him myths are the most significant manifestations of imagination, and imagination is also composed of symbolic imagery.
Gilbert Durant categorizes all the human imaginations in two very large clusters: daytime imagination cluster and nighttime imagination cluster. Gilbert Durant puts some of the images in the group of daytime imagination cluster and puts some other images in group of nighttime imagination cluster. His approach regarding the images is inspired by functions of understanding reactions. He develops a set of singes that have archetypal contents. He also emphasizes on image similarities of the daytime imagination cluster and compares the two groups of images with each other. The first group of images includes the ones that show a great fear of time passage. The second group of images includes the ones that show the hope of victory and controlling the anxiety of time passage and seeking the limitations of human life.
The images that show the fear of aging due to approaching the time of death are categorized in three signs: beast signs, darkness signs , and falling signs. Mankind chooses three reactions to overcome this fear in three forms of “separating signs”, brightness signs and elevating signs. According to Gilbert Durant, in daytime imagination cluster, the positive and negative forces do not interact with each other. Also in the nighttime imaginations cluster all the frightening images are repeated, although the fear is alleviated and the human being becomes fearless.

In this article, it is determined, according to Gilbert Durant, that in the first chapter of Masnavi Bahram Goor, the imagination structure of the poet is more inclined to daytime imagination cluster; the champion fights with different shapes of the time passage challenge and attempts to overcome them. In poets’ imaginations, the only way to win is in a battle. He believes that in this confrontation Bahram can win using a surprise attack and sharp weapons. Bahram’s journey to domes, which starts from black dome and ends with white dome is an elevating journey. In the second half of story, since the imagination of the poem is in the nighttime imagination cluster frame work, Bahram wins without any confrontations. In this chapter we see bond, unity, and peace. The champion of the story needs a shelter for reaching peace. Bahram protects himself from the claw of the death by going to solitude. Each of the stations and domes are signs of these places for solitude. This time Bahram unifies with the world forces by going to the cave. In Nezami’s imagination, Bahram has to go into a cave and the story has to be finalized in such a mysterious way. The idealistic character requires a mysterious finale. Here we come up with the importance of imagination and why the poem starts to imagine. The poet’s champion is the king of Iran and Nezami is a patriot within the chaos in the era he lived. Going back to Sassanid empire and Iran’s glorious times in his stories alleviates his pains for tolerating the chaotic Iran of his time. In the poet’s imaginations, Bahram is a king with wisdom and bravery that was in contrast with the kings of Nezami’s era. A powerful king that can organize the contrary, Bahram is a mythical and idealistic character for the poet. Therefore the end of such character’s life should be mysterious. The champion of his story neither falls into a swamp nor in a well, and not even dies in his bed. Nezami determines the faith of Bahram by his own choice, going into the cave and being eternal; in this way, he protects Iran’s king from death. Accordingly, Nezami has created his mythical champion to be eternal by dehumanizing Bahram

  Several different manuscripts are preserved in various libraries in the world, whose identification and close introduction for the researchers in the field of codicology and text edition is both a delightful and an essential
practice. The job of identifying and introducing manuscripts becomes more essential especially if gaining access to a manuscript is difficult, or if the notes or lists that are allocated to introducing a manuscript /manuscripts are incomplete or erroneous. Among other prominent centers that preserve manuscripts, Leiden University Library started work in 1575, almost immediately after Leiden University was founded in the Netherlands and now after a couple of centuries owns one of the largest collections of Oriental manuscripts in Europe. There are more than 26000 manuscripts in 27 Oriental languages preserved in Leiden University, 6000 of which is in Persian, Arabic and Turkish. Warner (D. 1665) is the donor of a large collection of Oriental manuscripts. He was not an academic, but a young merchant who traveled to the Orient for business purposes and could collect about a thousand manuscripts. Two days before his death, Warner donated all his manuscripts to Leiden University, and the cataloguing of this collection became, in practice, a basis for the following various manuscripts of this library. This collection is among the largest donated collections to Leiden University Library. Some of the manuscripts in this collection are of paramount importance but because they are not accessible, researchers have not yet had the chance to study or identify them. Manuscript number 600 of the donated collection of Warner in Leiden is among the less easily accessible ones, as we still do not have it scanned or digitized. Also, the existing reports suffer from incompletions and errors. Therefore, providing a complete and accurate report of this manuscript is necessary. When seeking the manuscript for the correction of Zaad-e Akherat by Abu Hamed Mohammad Ghazzali, we also decided to find the scanned copies of this manuscript, which later helped us verify the errors in the previously published reports, for instance in cases such as the date of creation of the copy, the range of works and their arrangements. Other than Zaad-e Akherat, two works by Mir Seyed Ali Hamedani (D. 1384), namely Risaleh Zikryeh and Zakhirat-ul Moluk are also copied.

This research is based on close observation, measurement and analysis of manuscript number 600 from Warner Collection in the Leiden University Library on the one hand and the library study of the existing reports about this manuscript and specifically the section on Zaad-e Akherat. First, the manuscript is closely studied for its structural features and content. Then the existing errors and imperfections of the previous reports, including the book of Moalefat Al-Ghazali by Abd-Ul Rahman Badawi and the introductions by Mohammad Taqi Daneshpajuh and Jan Just Witkam about this manuscript are mentioned and corrected.

Two introductions about the manuscript number 600 exist in Leiden University Library: one is the report by Mohammad Taghi Daneshpajuh, published in 1979 in the 10th volume of the Journal of Manuscripts of the Central Library of Tehran University, and the other is the report by Jan Just Witkam in the list of Leiden University Library published in 2007. In the published introductions from this manuscript, the number of sheets are mentioned as 46, which is erroneous, with the reason being not having counted the first page of the manuscript. Moreover, there are errors in recognizing the range of works copied and their arrangement in this manuscript, as Daneshpajuh counted sheets 7 to 28 as Zaad-e Akherat, while Zaad-e Akherat is given up as incomplete on the back of sheet 12, with the text from sheet 13 to the end of sheet 28 being two sections from Zakhirat-Ul Moluk by Mir Seyed Ali Hamedani. Even so, in this research we have demonstrated the important and different records of Zaad Akherat in comparison with the published text and the Paris copy (dated 1345) in tables. Also, in the reports previously published about this manuscript, nothing is mentioned about the content or notes in the starting or ending sheets, while there exist poems in Persian and in Arabic from Rumi's sonnets, a quartet from Fahlavi and two Persian quartets, all of which are studied and compared to other sources.

This research demonstrates that regardless of several reports about this manuscript, there are imperfections and occasional errors or wrong pieces of information. The findings in this study could be summarized as follows:a. The date of writing this manuscript is 1409, which is close to the time of Mir Seyed Ali Hamedani (1315-1384). Hence, Risaleh Zikryeh is of significance in the correction of this work, though has not yet been used in any of the corrections or versions of this work.
b. Although often deemed important in correcting Zaad-e Akherat, the Leiden manuscript is too incomplete to be important.
c. The section that follows Zaad-e Akherat, which is understood as the continuation of Zaad-e Akherat by all catalogers, is originally two sections of Zakhirat-Ul Moluk by Mir Seyed Ali Hamedai.
d. On the back of sheet 39 of this manuscript, a new structure of a quartet by Fahlavi is written, which deserves attention of the researchers in the field of historical linguistics, regarding its structural differences from the previous quartets in Mersaad-Ul Ebaad and two other manuscripts

Some scholars believe that Sa'di is attributed to "Sa'd bin Zangi", a local Atabeg (prince). "Mirkhand", "Azar", and "Hedayat" are among them (Safa, 1993: 3rd volume: 1/589). Another group of scholars attributed him to Sa'd bin Abubakr, who died in 658 A.H; Few of the past and most contemporary scholars such as Qazvini, Bahar, Iqbal Ashtiani, and Jan Ripka are in this category. (Hasanli, 2001: 207 & 389). Muhit Tabatabai associated him to Sa'd ibn'Abadah. (Zikr e Jameel Saadi, 1990: 194).It should be noted that neither Saadi's works nor historical facts confirm Tabatabai view. This article is written in an analytical and inferential manner using relevant library and specialized resources. The main sources of this article are Saadi's works, since his works have the most accurate and precise information on the subject. The statements and writings of others on the issues raised in this regard have been quoted and verified reasonably.

Those who believe that Saʿdī took his name from the name of a local Atabeg (prince), Saʿd Ibn Zangī have no definite and convincing reasons and quoted from the past, without any explanations. Some of the contemporaries have some reasons to confirm their views. They consider it unlikely that Saʿdī has lived a long life so that he can understand Sa'd bin Zangi. But this idea is merely a conjecture without reason, and it is not verifiable, since in Saʿdī works, many long- lived people have been referred to, and Sa'di has seen some of them, and is not unlikely and impossible that he himself was one of them. But without knowing the date of his birth and death, one cannot say with certainty that Saʿdī lived a long life.
This group of scholars also refers to a Qasida (“Odes”) in Gulistān:O you who sleep as 50 [years] pass, can you seize these five days?”
Gulistan was composed in 1258, and by referring to " O you who sleep as 50 [years] pass " Sa'di's birthdate was in 1208, and therefore he was not contemporary to Sa'd bin Zangi. But their inferences and deductions are not correct because according to other evidence presented in the works of Sa'di, it turns out that the "fifty" is an antonomasia.
Contemporaries also believe that in Sa'di's works there are no indications that Sa'di was associated with Sa'd bin Zangi, but, contrary to their imagination, Saadi said in a Qasida that he had advised Sa'd bin Zangi. In a verse (epic metre) from the aforementioned Qasida, in which "Sa'd Ibn Abi Bakr" is praised, Sa'di says:Listen attentively to the admonition I've given to your ancestor / because I die, but my words are lasting
This verse has been addressed to "Sa'd Ibn Abi Bakr" Grandson of Sa'd bin Zangi, and "Saad bin Zangi" is also the "ancestor" of" Sa'd Ibn Abi Bakr "; therefore, this verse explicitly implies Sa'di's presence in the court of Sa'd bin Zangi. There is no uncertainty about Saʿdi’s pen name; it serves as his signature (takalloṣ)in all of his sonnets (ḡazal, q.v.) and appears repeatedly elsewhere in his work, years before returning to Shiraz and attending the court of "Abi Bakr bin Sa'ad" and his son " Sa'd Ibn Abi Bakr "
Saadi, in Gulistan, narrates that:"I saw a merchant in the island of Kish. He entertained me in his apartment, and during the whole night didn’t cease talking foolishly, finally being quite exhausted he said "o Sadi say also something of you have seen and heard."
As mentioned above, the merchant explicitly calls him "Sa'dia" and "o sadi". (See: Sa'di: 1990 pp. 109 & 112). In another anecdote, he narrates his story when he was a young jurisprudent, and in that part, we also find that others identifying him as "Sa'di" and calling him as "Sa'di". (Sadi, 1990: 301 - 303). That time Sa'd bin Abbakr didn’t exist.
Sa'di, in one of his sonnets (Saadi, 1990: 556), says:Another time Sa'di you decided to leave home/why are you escaping from Turk to Qaan.
This verse which was sung in 639, proves that Sa'di owned his signature (takalloṣ) many years before compiling Bustan in 655 A.H. (1256 A.D.) (16 years before Bustan and 15 years before returning to Shiraz and presence in the court of Sa'd bin Abi bakr)
The main name of Qaan, who was called by Sa'di is Ogta Qa'an, and Qa'an absolutely refers to him. He was the third son of Genghis Khan Mongol, who ruled From 626 to 639 (A.H). He ruled and died in his last year of ruling. (See: Iqbal, 2007: 135, 148)
Sa'd Ibn Abi bakr was living in the Developmental Age at that time (639 A.H). This verse may have been written in any of the years 626 to 639 A.H. Sa'di also has written some odes in which he explicitly implies that he was known as Sa'di years before returning to Shiraz and even leaving Shiraz. He has an ode "In the Description of Shiraz", composed before returning to Shiraz, by his signature (takalloṣ) "Sa'di". He says (Saadi, 1990,p: 726):Happily I see the dawn again in Shiraz, Allho Akbar
Sa'di continuously talked about Shiraz considering him a superior city in comparison to others.
In another ode, Sa'di on the occasion of his return to Shiraz says: (Sa'di 1990, p,714):Sa'di who had gone by foot and returned with complete passionate while he was Mufti of lovers.
This sentence with the words: "Sa'di", "went" and "returned back" indicate that his signature was " Sa'di " before leaving Shiraz. Sa'di has another ode on "In Praise of Abu Bakr bin Sa'd", in which he narrates his departure from Shiraz in an unsettled situation caused by the war, and his return to that city after the compromise of "Abu Bakr bin Sa'd" with Moguls. When he reappeared in his hometown Shiraz, was enjoying an era of relative tranquility. Surprisingly, he asks how this has happened? And hears that this has all happened because of Abu Bakr bin Sa'd's good deeds."
I asked when this country became calm someone told who distressed you are Sa'di
It was such as you saw first, full of distress and confusion
This (peace) happened at the time of Sultan Adel Atabak Abobakr bin Sa'ad Zangi
In this poem, others have called him Sa'di. Just then Sa'di was shown great respect by the ruler and held to be among the greats of the province.

Based on the present paper, in which Sa'di was attributed to Saad ibn Zangi, Saadi's birth date was not in the early seventh century between 600 and 606 A.H, he was born in the last third decades of the 6th century (A.H). Determining the clearer and more precise date of Saadi's birth requires a separate investigation. The fact that Sa'di was born not in the early seventh century but before that, transforms our image of Sa'di; because contemporary researchers, due to Saadi's vague time of birth, were forced to justify his remarks, to be consistent with their recognitions and comments. Even some scholars have accused him of forging anecdotes. Sa'di's assignment to Sa'd bin Zangi is consistent with Saadi's remarks and sayings, and some of his anecdotes can no longer be justified or treated as fake ones. This makes Saadi's birthdate clearer and, in total, reveals real and more acurate information about him.