پژوهشنامه ادب غنایی
پیاپی 30 (بهار و تابستان 1397)

the most important term of Yung's psychology is the oldest example that has various types such as: self, hero, shadow, mask, anima, animus and old wise man. Among the ancestors of the samples, what is said in the present article is Anima, "the elemental element of the embodiment of all the psychological tendencies of feminine in the soul of man, such as: feelings, ambiguous mood, prophetic revelations, irrational sensitivities, the ability of personal love, feelings Towards nature, and finally, relationships with the unconscious. " (Jung, 1377: 270) Anima has two positive and negative sides. The positive side of it will make people achieve excellence, perfection and individuality. On the contrary, the negative motive of Anima, the annoyance of the human body and beyond, is the cause of his destruction. In the classical Persian literature, Anima is the same fancier fanfare. Attar, in his sonnets, has always spoken of a lovers who, in the dream and awakening of the kingdom of his mind, always calls him to himself. Hence, Anemian signs can be examined in his poem.
2. Research the present study is descriptive-analytic. In order to co-ordinate the discussed topics, the old ideas of Jung's model of Anima are firstly classified as Anima. Then, with regard to the components described by Jung, the signs of Anima in the lyrics of Attar and the character of the mistress of tracing, have been reviewed and compared. To illustrate Jung's views on his books, he has also used credible sources to analyze his views.
3. in the ghost of Attar, Nishapouri, she has appeared in five cases, which are referred to below:3-1. Beloved and Individual
in the process of individuality, man dies of "me" and reaches "himself," or his own original self. (Jung, 1377: 245). In the writings of Attar of Neyshaburi, the descriptions given from the joinal stage are very similar to the process of individuality. In Islamic mysticism, they are told to someone who "has joined in God and is related to ethics ... [also] is connected with lack of perception." (Goharin, 1388: 10/191) In Attar's eyes, the lover at this stage, due to the affection of the beloved Anima, reaches the peaks of spiritual growth. As a result of the removal of the veil curtains, he reveals some factual facts about him and deserves the human personality aspects He will emerge.
3-2. Beloved and Freamkhani
the ancient presence of the beloved Anima in the ghosts of Atar is very prominent, especially when the poet deals with the emotional experiences he experiences in his unconscious. Experiences that are present in the individual entity of Attar, but as a common heritage to other people, are worth attention. The poets use the various tools to describe these experiences. "Therefore, the poetic tools, the best example of pursuing emotional patterns in individual lives and poetry themselves, are the most important venue for exploration of contemporary human experiences with ancient patterns of the past generation." (Horri, 2009: 177) On this basis, the presence of the beloved Anima in the poetry of Attar is the common heritage of humanity that has come from the distant past to the unconscious of Attar, and he has described various aspects of it in the form of poetry. One who loves the hearts of all the lovers of the world and speaks to him about every whim and dowry.
3-3. Expression of the Beloved in Dream and Dream
Jung believes that, because Anima is an "inner side" of the soul, (Allner, 1993: 58), it always becomes dreamy and dreamy. (Jung, 1368: 109) Attar, too, often speaks of a lover in the guise of ghosls, which appears to him in an unconscious manner and can communicate with him in his dreams. A visit to a beloved in the Valley of Dreams is a dream that he loves to accomplish, waiting for his life. The poet believes that the person who succeeds in seeing a manifestation of Anima is beloved, the heat of love will make all of his infidels believe in faith.
3-4. Spirituality and eternal and eternal beloved
Beloved Anima, in the eyes of Attar, acts like a rescuer who, in moments of frustration, cries for a man's existential shout and brings him back to life. Yong also believes that "whenever a man's reasonable minds fail to recognize the truths that are hidden in his subconscious, he is helpless to bring them out. Even the role that feminine feminism plays in the matching of the male's mind with intrinsic values ​​and thus makes the way more inferior to the angles is more critical. " (Jung, 1377: 286) From the viewpoint of Attar, his beloved has a life-giving spirit, which he even uses, and Moses possesses insight. Anima of the beloved in the sonnets of Attar, when he reveals himself, appears the new doors of the universe of meaning, and all the physical states of the human body are transformed into the Enlightenment of his devotion.
3-5. the Negative Way of Beloved
the beloved Anima appears in two different forms: sometimes negative and annoying, and sometimes positive and calming. This feature is in line with Jung's approach (Shamsa, 1370: 231), which states that the male psychological man in this board mentions men in a destructive game, and that the effect of this psychic trick is manifested in all male conversations, and freedom Exercise and emotional effects of the sexually transmitted genitalia. (Jung, 1377: 284) The figure Attar provides to his beloved is sometimes accompanied by love and love, and it depicts an ideal image of it. Sometimes, he also reveals his bloodsucking up and his negative side.
4.Anima is the embodiment of the female soul tendencies of the man. Attar, as a faithful and mystic poet, speaks of a lovers who have a spiritual and profane structure. This is apparent in light of the metaphoricalness of the mystic language. In Attar's eyes, the lover, relying on the attention of the beloved Anima, reaches to the peaks of perfection and spiritual growth. As a result of the removal of the veil curtains, he reveals some factual facts about him and deserves his human personality. Find out The lover has a certain path in the ghazals of Attar; it means that he first involves terrestrial concepts, and in line with the approach of the lover (solicitor) to the individuality stage, the epistemic aspect of it is added, and eventually, in a final destination It finds only that it contains spiritual truths. He has made great contributions to Pierre Farzaneh this time. The presence of the beloved Anima poetry in the poetry of Attar, as a common heritage of human type, has come from the distant past to the poet's unconscious, and he has mentioned it using the artistic means of poetry. Jung describes the manifestation of Anima in two modes of sleep and dream. Attar also often speaks of a livelier who appears to be in a state of indifference to him and communicates with his dreams. Along with Jung's approach, Anima's beloved in Attar's eyes, as a savior, in the moments of despair, he casts out to the cry of the existential of man and returns him to the cycle of life. This approach illustrates the positive and clear functions of Anima's beloved. Attar has mentioned the negative qualities of Anima. The poet addresses to his inner self, that if there is a confrontation, I will be disturbed and astonished, and that sadness will come across me.

The epic and bloody movement of Imam Hussein (AS) is one of the most influential political and divine uprisings of human history. Attention and importance to various dimensions of emotional, educational, political and ethical teachings that have always been the light of the way and the ship of salvation of humanity for understanding and insight laid the foundation of a literary school and movement in the Persian poetry and literature world that is described as religious, ritual and Ashura literature and laid the formation of various poems such as poetry, taziyeh, exhortation, satire, epic and political and social poems about the events of Ashura.
1-1 Statement of the Problem and Research Questions
The incident of Ashura, in its character, determines boundaries of the good and evil. Many poets and speakers in their poems, referring to the dual concepts of Ashura, try to prove the positive attributes of the followers of Imam Hossein's thoughts and reveal the negative traits of the advocates of the path of Yazidi. Therefore, positive and negative concepts as they appear in their ultimate form in Ashura are described in the ritual poetry of today as ultimately peaked and descended. The present astudy, by examining the Ashura manuscripts in contemporary religious literature, is to answer these questions: how is the evolution of Ashura's manifestations in poetry discussed in the decades concerned? How do the poets explain the way to the audience with the border of the two opposing poles in their poetry? What is the most widely used theme of Ashura's poems in poetry? Among the poets studied, which one has paid more attention to Ashura?
2-1 Objective and the Necessity of the Research
The analysis of the two dimensions of Ashura in the contemporary religious poetry helps us to find out exactly the hidden aspects of the Ashura uprising. . Paying attention to this aspect of the poetry of Ashouri invites the reader to a deep understanding of the existence of two opposing poles to learn from the educational teachings on the one hand, know the evil intentions of the enemy, think better with effective feedback, make judgment and take a lesson.
3-1 Detailed Research This research has been done through descriptive-analytical and content analysis. The theoretical foundations of the research, based on the library resources and the main sources including the works of the poets concerned in the subject of Ashura, have been studied and analyzed.
3-1 Lessons of Ashura: Edification in the meaning of following an advice (Dehkhoda, 1998: under the edification) causes awakening and consciousness of man. Edification is devoted to a state in which " there is a visible and evident epistemic, a device and a platform for the understanding of esoteric and immaterial knowledge" (Isfahani, 1984: below edification). The history and aspiration of Ashura have many educational, political and moral teachings and it consists of two parts of the teachings. One expresses Imam Husseini's (AS) Thinking and Conduct and the other represents the imaginary thought of Yazidi. Imam Hosseini thought is smooth, clear, and it expresses the direct path and the highway of human guidance, but Yazidi's view is dark and despicable.
2-3 Contemporary Religious Literature
One of the most important parts of the ritual or religious literature is Ashura's poem. "The Ashurian poetry is a poem that describes the value categories of this divine movement and is committed to turning its focus on its underlying issues" (Mujahidei, 2000: 48), A poem that "with a commitment to the high values of Imam Hussein (as) in reforming the Ummah, establishing justice and fighting against the tyrant, has always been purposeful and openly or hidden tries to realized the goals of his movement, sometimes by challenging the rule of the oppressors so it has put oppression in jeopardy "(Ansari, 2010: 29).
1-2-3 Lessons of Ashura in Contemporary Poem
Effective and profound understanding of educational teachings and positive values in Ashura will be realized if we look at the faces of Yazidis and their performance. In fact, the freedom of Imam Hussein (AS) is the cause of his hard resistance to the humiliation of the Yazidis. Testimony, truthfulness and insight against worldliness, pragmatism and neglect of the devotees of Yazid show their true value better. And basically, these values in the Ashura uprising will be a new identity along with Yazidian performance. And the lessons of Ashura are the result of these two thoughts. By examining the concepts of Ashura in the poems of selected poets, the issues of freedom versus slavery, the revival of religion versus non-religious prevalence, insight against ignorance, spirituality versus worldliness, martyrdom against the dream of the world and power of the world, death with dignity versus the disgraceful life, Hussein's justice against the ruthless government has a considerable frequency, which has come at the end of each topic with a plurality of graphs. By comparing these two opposing poles in ritual poetry, the audience reaches an inner consciousness that can separate the path from the false one and understand the result of the work.
Thematic graphs from 1 to 7 in the abundance of verses indicate that most of the selected poets have focused on the two dimensions of Husseini's thoughts and Yazidi's thoughts in their poetry. Among the negative implications of the evident message of the cruel Yazidi regime, among all the poets, justice-centered value message is more frequent. This indicates that in the eyes of the poet today, the rise of oppression is one of the most important factors in the incidence of Ashura. The other point is that Esrafili has considered negative topics more than other poets. And his most frequent subject is ignorance, worldly, cruelty, the dream of the holy, the prevalence of atheism and contempt. It seems that the poet's axis of thought is more based on the negative aspects of the uprising of Ashura. In this way, according to the negative values in his poetry, he better explains the way of Imam Hussein's uprising for audience.
The evolution of Ashura's poems of the poets discussed in the decades (Fig. 8) suggests that the ascent of Ashura values in the seventies and eighties has almost been more than the other two decades. It seems that the content of ritual poetry has grown in the maturing period of the Islamic Revolution. The only issue is martyrdom that is growing in the nineties. This point indicates that the value of the issue of martyrdom in the decades after the revolution was of interest to their poets and audiences. Therefore, the poets emphasized this message in explaining the values of Ashura.
The most widely used theme of Ashura's lessons (Chart 9) includes martyrdom versus relationship dream with %24/29, insight against ignorance with %23/23, justice against ruthless government with %14/30 percent, and religion versus atheism 10/48%, which has the greatest impact on the studied poets, respectively. The frequency of issues of freedom ... with %9.65, death with dignity ... with %9.15, and worldliness ... with 9% were found to be approximately the same in poems of the poets. It can be understood that the main message of Imam Hussein (AS) was to preserve the ideal of martyrdom, awakening the Ummah, the establishment of justice and worshiping God, and this point is right in the eyes of the poet of today. Among the studied poets (Diagram 10), Esrafili with %23.13, Zholide with % 20.29, Hosseini with % 13.98, Hamidzadeh with %12.64 and Bagheri with % 10.98 have used Ashura lessons a lot in their poems.And Mousavi-Garmaroidi with 6.98%, Hosseini of the 60s with 6.48%, and Biabanaki with 5.49% have relatively less used Ashura lessons . Accordingly, one can conclude that the view of the ritual poet today is not only emotional in Ashura; however, it is also a look of insight and awareness. He focuses on all aspects of the Ashura incident; sometimes in his poems, with the mention of positive concepts, the propagator of thought and the path of Hussein (AS), and sometimes by stating some lessons in the imaginary thought of Yazidi, he tries to make his audience refrain from many bad attributes and vices.

The presence of Persian poets in Iran, on the one hand, and Indian poets, on the other hand, have created a vast part of Iran's literary heritage in the country and will make India one of the most influential centers of Persian language and literature abroad. (AbdulAmir and Imami, 1393: 124) Sheikh Abolfaiz Faizi Fayyazi (1004-954 AH), a famous poet of the Indian subcontinent, and poet laureate of AkbarShah Gurkani court, known as Faizi Dakani, the outstanding poets and writers of the tenth century and the first few years of the eleventh century.Almost all the literary and historical commentators and authors have praised his art and manner of expression, and his genius in poetry and other arts.Apart from the many prose writings, four Mathnavi remained that immitated from the Nizami Ganjavi and also divan poetry.(For more information on his life and circumstances, See: Safa, 1369: 2/838, and Hojjati, 2012: 4/2012)His divan poetry, besides the many independent values, is the first-hand source for studying Persian language in the Indian subcontinent.The majority of this divan is his sonnets.Faizi’s poetry, especially its sonnets, have inspired a collection of what is called the lyric poem.Matters like biography, wine description, opportunity, springtime, morning description and other manifestations of nature, death, sadness and happiness derived from the events of the time, blasphemy, critical satire, patriotism and indigenousness, praise and compassion, wisdom and mysticism, shitah, self-esteem and ... also have a lot of reflections in his poem.
Research This research is based on analytical-descriptive methodology. To do this, first all the lyric themes contained in poems have been written with different evidence on separate flasks.Subsequently, based on the content analysis approach, and taking note of the library resources related to the lyric literature and poetry styles, each single theme has been analyzed from different perspectives.
Lyric poetry reflects the poet's emotions and sense or feeling. According to Professor Shafiei, "Lyric poetry is speaking of personal feelings, provided that we take into account the broadest concepts of the two words of feeling and personality" (Shafii Kadkani, 1353: 112)In Persian literature, the widest horizons of meaning are the horizon of lyric poems.At a glance, poetry of love, philosophy, mysticism, religion, parody, praise, nature descriptions are all examples of lyric poetry. (The same: 113).This kind of poetry has a wide range of meanings and poetic themes."From love and youth to aging and death, sadness and happiness from the events of the day, praise, glory, khamriyah to literary flaws such as slip and riddle, blessings, nature, etc. Therefore, lyric poetry is one of the most diverse forms of Persian poetry."(Rastegar Fasai, 1381: 151-149)
Since this type of poetry is indicative of the state, deep feelings and burning, it’s therefore the most subtle and most valuable type of poetry.Although poetry is not restricted and enclosed in a particular form of poetry, it’s seen in all forms, such as ode, sonnet, mathnavi, quatrain, lyrical mathnavi’s and especially shaghiname,most prominent feature is sonnet and romantic poems, Particularly the Persian sonnet is a mirror which can be seen mix of different types of lyric themes.
In the era of Faizi, lyric sonnet was undergoing a variety of changes, and especially imagination and making themed in that particular place.The poets of this age are looking for new meanings and imagination."As we know, sonnet is in principle the lyric poetry, the main theme of the sonnet has always been love and being in love, but in the Hindi style sonnet, the theme has not been taken into range.As a result, every subject has entered into sonnet.Another point in the importance of this style that it has been able to break some of the subject matter of a poem.The poet has used all things and objects and phenomenas around him to find theme and meaning."(Shamisa, 1373: 184-183) .Faizi’s poetriesare full of new Exquisite themes.His prominent features and attributes are creating themed.Renovation of Clichy Images,battle Images in lyric images.
Faizi is one of the most prominent lyric poet in the Indian landand his divan, especially his sonnets, is one of the most prominent texts of Persian literature in the Indian subcontinent.The lyric sonnet in the era of Faizi had undergone various developments, and in particular a field for imagination and theatrical creation and illustration. From what we have come to light, it is evident that Faizi in the sonnet - that one of the most important manifestations of lyric poetry, in its most important form, -has used all the lyric themes with high frequency and his divan is full of exuberant lyric themesparticularly topics such as mysticism and related categories, nativeism,indication of Hindu customs, glory and slander, humor and criticism, exhortation, guilty and self-esteem.The central theme of his poem is love and issues related to various affiliates, accompanied by new and unobtrusive images and interpretations, as it has called its "love book.

First Shaklovovsky introduced the concept and term for familiarization in his treatise, "Art as a Context", in 1917 (Mortazai, 2010: 35). Following him, Yakobson and Tininov described this concept as "alienation" (Ahmadi, 1993: 47). G.N. leech expresses the other angle of this view during the thematic classification. He considers reducing rule as a deviation from the norms of the normative language, and in a simpler sense, states that the poet creates his own poem by decreasing the rules used in his own language. Leech believes that highlighting can be done in two ways. One is a normative which is the violation of the rules governing the normative language, and another is increasing rule that adds rules to the rules of the Normative language (Sujudi, 2008: 18). But from the perspective of Leech, normative and increasing rule function some limitations. He believes that normative can only go as far as it doesn’t cause disturbance in communication (ibid.). Badil-ibn Ali Khaqani Sharwani was one of the first poets and the prominent Persian poetess of the Persian language (520-595 AH). Khaqani seems to have used all the language tools to promote his words so that his poetry shines on top of the literature.
Research In the present study, through descriptive-analytic method, in the framework of the school of constructivism and based on the Normative pattern of Leech, we examined various types of normative in Khaqani's poetry.
Discuss: 1-3 Structural critique
Structuralism first began with study of the structure of language. The scholars of this school believed that language was a social building, and that any culture would transform the narratives or texts to reach the semantic structures, and in this way, people could shape their own experiences. In other words, structuralism is looking for a way to describe the internal link through which meaning is created in a culture. If we want to return to the beginning of the history of structuralism, undoubtedly we should consider the most original beginning text of it, “ Boutiqa “ theory or Aristotle's Poetics or Aristotle poetry or Horus's poetry essay. When Aristotle says, "in the order of necessity, there are six elements in tragedy, that tragedy compounded of them, and its nature are obtained of these six elements" (Aristotle, 1369: 37).
2-3 Concept of construction and its history in Persian literature
It can be said that "the construct is a set of interactions of the components of a whole with each other such that each unit has the greatest role in relation to the other components" (Shafieikadkani, 1366: 10).
3-3 Structural features of literary work
The structural characteristics of literary works can be considered at three levels of cohesion, harmony, and luminosity.
Analysis of the levels: 1-4 Normalization of lexical language
This kind of normative is done in two ways of making strange vocabulary and sounds of meaningless vocabulary. This kind of normative has its first effect on meaning "(Sadegh Shahpar and Mahdinezhad, 2013: 56). Khaqani has used the two words "inside" and "outside" in the following words: Until you are like a mirror from inside dark and from out bright and you have such an attribute, don’t brag honesty (Khaqani,1368:1)
2-4 Syntactic normative
Ignoring some of the syntactic rules governing the normative language, such as the discrepancy between the verb and the subject, creates a syntactic normative. Kaqani has used this over language technique in his own odes. For example: If my breath would not follow me habitually, when I understood that I suppressed it. (Khaqani,1368:210)
Normal syntax of speech: 4-3 Phonetic Normative
In this kind of normative, "the poet changes the phonetic forms of vocabulary, which is not common in the normative language" (Safavi, 2004: 49). In the Khaqani’s Divan, the phonological normality has only been reduced to a phoneme. Example: navard (Khaghani, 1368: 24) instead of nayavard.
4-4 Writing Normalization
There is only in the contemporary modern poets poems.
4-5 Normative of the dialect
In this kind of normative , "the poet terminates in some idioms of a language or dialect other than the norm language, which makes the reader more familiar with the space and place of poetry and poetry, and creates intimacy that normal language words may not be able to" (Sangari , 1381: 79). Khaqani, for example, has used Turkish words and phrases in his own words: Tamghaj Khan (Turkish name): Keykhosrow was the leader of his people, Tamuqaj Khan destroyed the cities (Khaqani,1368:137)
6-4 Lightness Normative (stylistic)
Lightness normative is not seen in ancient Persian poetry.
7-4 semantic escape norm
Leech believes that defamiliarization occurs in the realm of meaning (Beigzadeh and Eibakabadi, 1396: 232). The domain of meaning as the most inflexible level of language is used in literary highlighting by poets more than other levels. In the following is mentioned a sample of these industries in Khaqani's odes.
A) Opacity: Opacity is one of the characteristics of Khaghani poetry: The time is like a butcher who has raised his knife to bloodshot, the lamb and the balance are available to separate the fat and dry. (Khaqani,1375:62)
Here, the mind means the lamb and the balance, but the purpose of the scale is Libra that it is in front of the ship (lamb).
B) Paradox: Oh beloved, give a fiery kiss from the lips like Amber (Khaqani:1375:113)
C) Allusion : When you come to love very close that you stay away from your human traits from the east to the west. (Ibid:1)
D) Symmetry: My day is black like the black dress of monks and every night inside of this dark prison, Im busy praying and moaning like monks. (Ibid:24)
E) Metaphor: Indigo uniform is metaphor of the color of the sky.
Lohrasb split the head of Goshtasb, Zal, the father of Rustam, sat down on the throne of the kingdom (Ibid:145)
Khaqani also frequently uses the diagnostic industry: The heart belongs to the high world, which does not have a terrestrial possession(Ibid:3)
Z) Innuendo: And because you are self-centered like an Asian rock, that's why youre guilty (Ibid:1)
A fiery tongue is innuendo of having a bitterness tongue.
4-8 Normative at a time
In this kind of normative, the poet escapes from the time type of the Normative language and uses the vocabulary and ancient syntactic constructs (Pahlavan-Nejad and Zaheri-Birigani, 2009: 118). It is not possible to judge this kind of Normative in the Khaqani’s court, and perhaps most of the vocabulary that is considered in his odes was common in his daytime language and literature. The word “Khanvar” is this kind of normative that means "bowl" in this bit: Now that life and opportunity of life have been lost, in this short time you will not find a bag. (Khaqani,1368::211)
Khaghani is one of the oldest ancient poets whose poems has a special prominence and diagnostic. These prominences are the result of his ingenious, mastery, and creative departure from the ordinary level of language. Using the Leech pattern in looking up Khaqani's language techniques, It was found that out of the eight linguistic abnormalities, three cases, the lexical anomalies, syntactically and semantically, have the highest frequency and the stylistic feature of this great poet is in this two aspects.

The criticism of psychology in the contemporary era, especially based on the Yung theories has opened a new threshold toward the literary issues. Since love is one of the leading and complicated topics of the human’s psyche. We have investigated the archaic love in the Sultan snake through the archaic criticism. We intended to uncover the internal layers of the text for the readers to comprehend and enjoy the text and introduce a sample to interpret the similar works from this point of view simultaneously. The play called Sultan Snake by Bahram Beyzaiee is one of the various text in which the archaic love has been reflected and has been written with the adaptation of a magic legend called “The drunked Mirza and Bibi Negar”. (Nemat Tavoosi, 2014: 87) The narration of it has been brought by Samad Behrangi in the collection of Azarbaygan legend (Rahmanyan, 2007: 60) and Bahram Beyzaiee has rewritten the legend in the form of a play. The narrator first indicates the mythological atmosphere in the story and awakens the mind of the reader that “the originality of this peculiar story has remained from a far long past” (Beyzaiee, 2003: 504) and this conception is also tangible and clear in the speech of the king which tells the his sovereignty is a territory that “one side stretches to Jabels and Jabelqa and another side stretches up to China” (et al 504). The narrator also indicates to romantic context of it vividly. Since “Beyzaiee and Yung both have intention toward their unconsciousness” (Reyhan, 2001: 49). We intend to answer the following questions while analyzing the archaic love in the Sultan Snake play. To which archaic love of Yung each character of the story adapt with?
- How has the archaic love been dramatized all through out the Sultan Snake play?
This research has been done in a descriptive- analytical and data analysis based on information gathering instrument, library, documenting and note taking. The theoretical basis of this research revolves around the Yung’s and Joseph Cambel’s attitudes and works that the conception of the archaic in the Sultan snake play has been analyzed based on their thought and ideas.
Main Mythological criticism in the contemporary era is mainly based on the theories of Yung and Cambel. On the Yung’s point of view, art and literature are areas for revealing the mass unconsciousness and he believes that “a part of the personality is related to consciousness and some factors we have to confirm to be able to explain their existence. These factors are unconscious” (1991: 77) and Yung divides the unaware psyche of the human in to two categories: mass unaware and individual unaware and believes that the archaic form the mass unaware from which many of the unconscious behaviours of human would be shaped, since the archaic are permenant landmarks marked and reflected in the heart of every human (Kazazi, 1993: 74).
The number of the mass archetype unconscious is so vast. One prominent archetype which has become so visible in the mythological texts is the love archetype. The love archetype has different images and always found new forms and clothes all through out the human community. Love myth has found a different reaction in the various cultures of human being. The mundane love in its oldest form is shaped in the shape of Adam and Eve, because Yung believes that Adam and Eve are the metamorphic sister of the old human who revived themselves with power of love (Yung, 2002:367). The prospects of the love archetype are being shown in its best form in the shape of Anima and Animos. Anima and Animos are two psychic archetype of human, that means every body intends to reveal the opposite gender features, although “men considers only themselves as man and women vice versa”, but the reality of psychology expresses the fact that human is a bisexual entity (Senford, 7: 1388). From Yung’s point of view “based on an old narration Adam has been bisexual before Eve” (Yung,2002: 367). The analysis of love archetype in the Sultan snake play has been analysed and evaluated in relation with the sage archetype and the process of individualism in which every character in the play symbolizes one Yung archetype.
The conceptions of archetype of Yung in the contemporary era have made the literary works into a new study. Love is one of the most prominent archetypes of human which has been hidden from the early creation in the existence of human and has been expressed in myths and books. From Yung’s point of view, human is bisexual and its existence is shaped with two parts called Anima and Animos and the human psyche has always intended to join to its lost half. The apparent image of love in Sultan snake of Bahram Beyzaiee which is a mythological and romantic literary work expresses itself in the relationship between miss Negar and Sultan snake and this opposing couple can be a symbol for all the imaginable opposing couples which have been separated from one principle an d a gap has been created all through out the history and in today’s world, Anima and Animos intend to join together. From Yung’s view, the love phenomenon is justifiable with the idea of Anima and Animos and all people seek to be attracted by their opposing sex which reflects their internal features. This conception in “Sultan snake” play has been revealed within the characters miss Negar and Sultan snake and the friar who is the symbol of sage archetype in the play. He picked them in form of an apple which was the symbol of pregnancy and showed to their parents and the children were supposed to marry with each other through the recommendation of the friar to reach their ultimate level of psyche that can reach the process of individualism with the help of the love by Anima and Animos, of course with elixir of love, Sultan Snake passes from his shadow archetype which was formed in the character of sheriff and finally copes with it. Also, the two main heroes of the play unveil in the love journey. It is necessary to explain that the mask of Sultan snake is coetaneous which is necessary for dominating others and he wears it until he reaches to his ultimate goal (beloved), puts it away. Miss Negar also passes the love area in which she wears seven pairs of shoes and clothes and makes them threadbare. She also abandons her archetype which is “to be the minister’s daughter”. Yung believes that the process of individualism and climax have been attained in the Sultan snake play in the shadow of love archetype.

Sa’di, famous poet of 7th century AH, was known not only for his valuable books: Boostan and Golestan, but also mostly for very beautiful and lovely Lyrics. Content of his poems were rich and full of public culture. One of the most important and outstanding point in his poem is his verbal artistic usage. (Shamshirgarha, 2009:123). Simplicity and fluency of language, being both simple and impossible simultaneously, also his beautiful contents of lyrics has made him famous for general and specific audience.(Khalili Jahantigh et al, 2010:81). Sa’di in Golestan and Boostan shows his proficiency in narration, and describing Pleasant and lovely content in Lyrics. Also there are signs of narrative elements. A narrative poem is the oldest one and narrate a historical event or story (Da’d, 1996: 185). Usually, Masnavi style is used for narrating stories and events but narration in other poem styles such as lyric can be seen.
At the beginning, narrative lyric started in Roodaki’s poems. In other words he , as father of Persian poem, was the origin of narrative lyrics. More developed type of narrative lyrics in each structures (description, narration and dialogue) was observed in poems of Sa’di, Attar, Molavi and Hafez which any of these poets improve it in context and style (lovely, mystical, lovely-mystical) to its top level. (Roohani and Mansouri, 2007:33). Totally, one can say that a narrative lyric is a lyrics follow a specific form and geometry which define as introduction, body and conclusion and poet describe a short event through these part (Heidari, 2007: 33) In fact, poet like a novel writer represent an event or narrate an accident. He sometimes describes himself, sometimes his beloved and her beauties for audience and sometimes talks with other beloved or person and narrates at the same time. Since in Sa’di’s Lyrics, both self-describing and describing beloved characteristics can be seen, this research tries to answer questions such as : which narrative elements are observed in Sa’di’s Lyrics and what patterns does he follows?
Research The research method is based on descriptive-analytical one with a narratology attitude. Data gathering was in library form which was analyzed via Content analysis method. Ghazaliat was the research domain and after separating lyric-stories, narration patterns and structures were studied.
The inclusion of all the narrations of Sa’di’s lyrics in a collaborative model is very difficult and somewhat impossible. But several narratives - which are more similar to each other - can be put together in a single category and show a common structure. Each narrative has three parts: one is the initial state, which is usually descriptive, in which it introduces individuals or the narrative environment. This section can be appreciated and not referred to. The second part of the incident or the main events is based on the basis of the narration of the ghazal. The third part is the result of story and narration (Gravel, 2009: 91), which is also the basis for the study of ghazals. Accordingly, there are three common patterns or structures in most of Sa’di’s lyrics.
The first pattern: Anecdote
In this template, the poet speaks an adventure or defines an anecdote. Since the format of the ghazal is confined to the limitations of the verses, sometimes the poet refers to the events he uses, such as the ghazall 156, which refers to love stories in the first to fourth episodes, and then the story of his love.
Pattern two: Descriptive
In this model, the focus of the events is on description or description. In fact, the description of the circumstances, characteristics, and status of a person are expressed or described by the states and merits of the beloved. The poet may also describe something other than himself and his beloved; the description may be either living or inanimate, but in any case the poet describes his condition, condition and condition. Like the lyric 80, which is the name of the beloved.
Pattern Three: Addressed
Many of Sadi's lyrics are based on the message. In this pattern, the narrator addresses a person and speaks to him. Of course, in Sadi's poem, usually a two-way conversation is not formed, and only a short word can be exchanged. The narrative ghosts in which the poet explicitly places his lover from the beginning to the end of the lyrics, falls into this category. In these kinds of ghosts, a lover's response may not be given to the beloved, but these ghazals make the reader more audiences than other narrating ghosts. The lyrics 573 are an example of the lyrics Sadi addresses at the beginning of the claim of love, and then he speaks with the beloved. Beloved at the end of the lyrics has a short answer for him.
This research, which was carried out with the aim of investigating the narrative structure of Sa’di’s lyrics, shows that the narrations are lacidly placed in Sa’di’s lyrics, and Sadi's goal in the narrative ghazal has not been specifically understood, but because he is fully familiar with the narrative structure, Sometimes it also uses this ability in its lyrics.
As for the use of narrative elements in Sa’di’s narrating narratives, it can be said that the script is not impressive in Sa’di’s poetry, but the description of the time and place of the event is confined to a narrow and limited extent, for example by expressing words such as the shower, the Dawn, today and the morning to time, and with The use of words such as home, market, desert, meadow, and golzar refers to the place of events, which are often public places. The angle of sight in Sadi's lyrics is more pronounced in the form of an externality, and sometimes also variable, and we encounter a rotational angle of view, for example, with a third person's narration and in the middle of the first person. Most importantly, there are a variety of personalities in the hands of Sa’di’s lyrics. The characters of Sa’di’s narratives are more loved and beloved, but sometimes there are characters like rival, enemy, jealous, and so on. Sadi's narrative narrative, like his other lyrics, is more romantic, and the beloved - who is usually the complementary character of his lyrics - is the liveliest of the earth.
totally, it is possible to show three patterns among Sadi's narrators: addressing, narratives and descriptions. In many of his ghosts, he addresses his beloved or himself. The conversation in Sa’di’s lyrics is usually short and does not exceed a few bits. In some of Sadi's narrative lyrics, there is an accident or story that is sometimes accompanied by Talmih. Describing a meeting with a beloved and describing his or her beauty, his own self, or beloved, and the description of the grief of seperation are among the other patterns that are evident among Sadi's lyrics. Of course, it must be emphasized that Sa’di’s tendency toward romantic themes and the expression of feelings and emotions that he had overcome at the moment led him more towards expressing his own narrative, as well as the narrative of beloved qualities and circumstances.

Allusion is a rhetorical technique which has always been effective in strengthening the semantic and aesthetic aspects of literary works, especially poetry. Poets always pursue different purposes in using allusion, such as ellipsis, assimilation, solidity, visualization, exaggeration, influence on the audience, etc. (A’la, 2010:59). Some traditional scholars have investigated allusion solely within the sphere of modern science;but thinkers who have newer insights, have considered it as an element of imagery, as well. Accordingly, allusion is believed to have two or more layers; an imaginative relationship is created between deep structure and superstructure which leads to “a kind of pleasure of association and spiritual music” (Shafiee-Kadkani, 1994: 310). Allusion can also accommodate other rhetorical forms in itself or its adjacent structure so at to highlight inspirational and imaginative aspects of speech. This is always helpful in addressing the functions of allusion in literary texts.Accordingly, the purpose of this research is to analyze contextual and rhetorical aspects of allusion in Saadi’s sonnets; a poet whose other subtleties and semantic/form based potentials of his word can be learned through the findings of this research. Especially since he explains some of his most fundamental thoughts through allusion hints. The main research questions are: what are the most prominent types of allusion in Saadi's sonnets? What contextual functions and semantic details are manifested in different types of allusion? In using allusion, which rhetorical technique has been more prominent?In this paper, the researchers tried to answer these and more detailed questions using an analytical approach.
Research This research is conducted using descriptive-analytical method. For the purpose of this paper which is an outcome of a research on on content and literary style of Saadi’s sonnets, after extracting and classifying of all types of allusion in nearly all of the Saadi’s sonnets and reviewing its various semantic-thematic functions, manifested rhetorical methods are examined. The ultimate description and analysis is performed based on the most prominent types and functions and the selected evidence.
Saadi's dominance over Persian language and literature has created a clear harmony between form and content of his word; i.e. “it first interests the reader and then reveals its content. Those who read Saadi’s sonnet pay attention to both side of language, form and content …” (BarzegarKhaleqi and Aghdaei, 2007: Introduction). This feature also appears when it comes to effects of allusion. Understanding the subtleties of this feature requires independent analysis of semantic and formal representations.Types of semantic and thematic functions of allusion in Saadi’s sonnet are: romance, mystical, and moral-ethical. Function of romance: contextualbasis of most of the Saadi's sonnet is composed of lovebased semantic clusters.Saadi “clearly expresses romantic concepts ... usingpleasant literary arrays, and this is the secret of his success” (Zarrinkoub, 1991: 253). Accordingly, one of his tactics is allusion. In this regard, the most important types of allusion are: historical-storytelling allusions, Quranic-narrative stories of prophets, and folklore and mythological-epic adventures. In Saadi’s sonnet, romantic function of allusion commonly is to describe conditions of love, quality of love, andbeauty and merits of the beloved. Mystical function of allusion in Saadi’s sonnet is significant useof romantic themes along with benefiting from mystical reflections.In line with these interpretations, Saadi’s use of allusion is important. In such sphere, most of his allusions are Quranic references and adventures of the prophets.On the other hand, Saadi's art gives him the power to use romantic and mythological stories for expressing these intentions.The most important semantic manifestations of this sphere are:mystical practices, satisfaction and surrender, drunkenness and mortality, concomitance of the right men, and fighting the ego. Moral-ethical functions: Saadi, who "is both master of love, and teacher of piety and wisdom; things that you can hardly find together in one person…” (Anvari, 2003: 37) never ignore giving advice, even in his sonnets.In this sphere, Quranic-narrative allusions are most evident.The most important implications are: humility, self-esteem, generosity, criticism, and worldliness.Rhetorical function: rhetorical manifestations of Saadi’s sonnets have subtile and ongoing effect on its deep structure. In respective order, the most central aspects of his rhetorical forms linked to a type of allusion are: simile, symbol, and ambiguity. Simile function: the most prominent type of allusion in this sphere is references to Quranic stories, especially the story of prophets. Romantic inspirations are the most important semantic function of alluding simile. Symbolic function: alluding keywords are used as symbols to amplify the effect of word in Saadi's sonnets. In this sphere, Quranic allusions, especially the stories of prophets as well as mythological-epical references are most frequent. The most important concepts also have romantic themes. Allusion and spiritual music: “spiritual music ... is created from contradictions or contrasts and any kind of conceptual correspondence” (ShafiiKadkani, 1994: 307). In Saadi’s sonnets, allusions are mostly used along with spiritual arrays appeared in form of ambiguity that is often of symmetry type. The important point of this discussion is symmetrical nature of allusion. Alluding ambiguity often use romantic-storytelling references, Quranic allusions, and stories of prophets, and they usually have romantic function.
The most prominent types of allusion in Saadi's sonnets are Quranic-narrative references and stories, especially adventures of the prophets, historical-storytelling tales (romantic adventures whose narrative aspect is dominant) and mythological-epical references. Allusion referring to folkloric beliefs are also in the next level of significance. The most frequent semantic function of allusion in Saadi's sonnets appears in romantic poems. In this sphere, allusion is mostly used to describe the estate of lover, the quality of love, and the virtues of beloved. In romantic sphere, romance stories are most manifested. Allusions to adventures of the Prophets, Quranic verses, folkloric culture and beliefs,and mythical-epical adventures are the next. Saadi’s romantic poems have the most variety in using allusion. The next level is mystical function. In this sphere, allusion serves the purpose of communicatingconscious and romantic conduct, satisfaction and surrender, drunkenness and mortality, following the truth carriers, and fighting the ego. Allusion to Quranic verses and stories of the prophets is also most evident. Saadi uses allusions with love theme to explain his mystics.Moral-ethical function is in the third place.In this sphere, allusions are often used to convey concepts related to humility, generosity, self-esteem, and greediness and worldliness.Quranic-narrative stories are the most prominent types of allusion in this sphere where the slightest variation in the use of allusion is evident.In the rhetorical function, metaphorical images are the most frequent. It is worth mentioning the repetition of adding simile that attracts attention due to its compression. In this sphere, Quranic stories, especially story of the prophets, the story of Yusuf in particular, have a special place.The most important semantic function of these allusions belongs to romance. Symbol is the next. Within this sphere, inspirational potential of speech is increased by enhancing the semantic function of symbolic allusion. In this structure, the most important mission of which is conveying of romantic concepts, the frequency love stories and stories of the prophets is more pronounced. Musical – imagery style of ambiguity is another technique. Within this sphere, where we are dealing with symmetrical ambiguity and symmetrical ambiguity, adjacency of symmetries resulted from allusion and ambiguity creates a chain of semantic connections.The most commonly used allusions in this sphere, where romantic function is more prominent, are love stories, Quranic references, and stories of the prophets.

Narrative and storytelling among the various nations have always had a great place. The scholars are now trying to identify and classify their historical and social sources in literary studies. On the one hand, folk tales are popular among the people and, on the other hand, they describe the story and adventures of the kings, emirs, businessmen, Anonymous men and women who have been confronted with incredible and surprising events by chance. These stories are described in Simple and common language and are referred to as "folk tales" (Mir Sadeghi, 1987: 37). These works have historical and sometimes mythological sources, and maybe some of them come from the combination of different cultures of several lands. The correct name of Darab name according to the guesses of Safa, is “Firouz Shah name” because throughout the book is abundant of the performance, warfare and love of Firooz Shah. This story has been reported and spelled out for the scriber who has named “book reader” by “Beyghami”, the eighth and ninth century AH storytellers.
Undoubtedly, the analysis of different facial and content aspects of any folk tales can greatly increase the Amount of benefits of studying in this field. In this regard, one of the most important of these issues seems to be the adaptation of folk tales with of the carried out analyzes in the critique of the structure of stories. The most important questions in this regard are that is it possible to basically impose such ideas on Persian stories? And also the elements of Darab name can be seen with the complexity which exists in the present-day stories? Or is it a simple and straightforward story stream?
The matching of folk tales with principles and accepted theories in the field of critique as well as the analysis of the content of these works, on the one hand, can help to classify and arrange such research and on the other hand, it is effective in Explaining dominant principles on stories. Therefore, the main goal in this regard is to show the extent and the way to adapt the elements of the story with Beyghami’s Darab name and, consequently, other folk tales.
Research The methodology used in this research is analytical and based on written library resources. In the beginning, the story of the Darab name and then the elements of the story were studied based on new theories and then these elements and factors which involved in the critique of the story were matched to the above work in order to measure the degree of coordination of such elements with the story analysis topics.
The long story of Firooz Shah, despite its simplicity, has various incidents and a complex design. The mode of overturning or the transformation of positions in this work goes on with continuous nodes. At first, Firouz shah see the beloved in dream. But he does not know who she is and how can she be found? So the first node of the story, which leads to the start of the movement, is formed. This knot will become more complicated with the adventures and abundant events of the story. In this work abnormal events are divided into two parts: A) Stories that occur in spite of the reader's expectations or breaking the rationale of the story. Such as the involvement of Firouz shah and his companions on the way to Ayn al-Hayat with foreign forces such as the people of Jamileh castle, Shah Hurong, Shah Sarvar ,… . B) events that occur with the help of magic and since this is one of the frequent elements (Motif ) of folk tales, it is also appears in this story in format of magic yolk, magic drum, and so on. On the other hand, by analyzing the events of the story, it is determined that the plot (main theme) is closed, and sequential difficulties and troubleshooting have given an artificial order to the story. In the romances, since the scenes of the combat and the shindig are mixed, the story space is epic and sometimes emotional. Furthermore, it should be noted that in addition to the general tone of the story, there are two different tones in conversations and communications: The tune of the Iranians, which is solemn and good, and the tone of non-Iranians which is abusive and insulting.
According to the analysis of the structure of this story, it was concluded that the Darab name (Firouz shah story) contains all the elements of the story including the plot, the point of view, the character, and so on. Of course, these elements in this story can be seen in the simplest and the most elementary terms, not in today's complexity and in their many categorizations. The only element that is not fully compatible with the story is the element of truth like. The most important results are: the main theme in this story includes sequential difficulties and troubleshooting. Furthermore, Conflict, in spite of simplicity, is emotional. In general, this story plot is good and has all elements, including accidents, logical process, sequential and causal, regular difficulties and troubleshooting and attractive conflicts. The author introduces characters of the story explicitly and directly in the start scene of the story plot. This is due to the type of audience of such stories that are common people. The main characters of the Darab name are in the category of static characters. Furthermore, new characters entry in the story trend is accompanied by descriptions, and often these descriptions are a favorable background for the narrator's performance and enhance the richness of the work. The presence of Iranians as government slaves feels impalpable and indirectly in the story trend. But the people who are in the ship of khaje Elyas are Supernumerary character indirectly. Since Beyghami is one of the narrators of the Darab name story, not its author, and this story is quoted in the presence of people, it has an external or third person perspective. The Firouz shah story, like many folk tales, has no specified time and place. In general, in Darab name, the message is transmitted from person to person in an explicit and basic form and there is no particular complexity during the conversation. And although Beyghami has tried to use the standard words and vocabulary of the nineteenth century but the framework and the Superficial main theme of story require explicit conversations. The conversation of this work are divided into several categories: internal soliloquy, main heroes conversation, the dialogues of the walk-on characters, dialogues in the form of a bragger in battleground and written dialogues. The main theme of the Darab name is the love of Firouz shah to Ayn al-Hayat which makes the events of the story. . In the romances, since the scenes of the combat and the shindig are mixed, the story space is epic and sometimes emotional. In terms of style, the prose of the Darab name is ultimately simple and very close to the colloquial. The text of this work is full of pure Persian words and in comparison with other books like that, Arabic vocabulary is much less.

Mysticism is an artistic look to religion, and what is important in it is the issue; moral virtues and the correction of the affairs of the soul; part of this, realized by the fear of God and the hope of his never-ending mercy, is realized; therefore The issue of "Fear and Hope" plays a decisive role in the mystical journey; Suhrawardī pays great attention to "fear and hope", which puts the foundation of the work of the seeker in four pillars (khouf, Raja, bow and shame). Knows and considers " khouf and Raja " as its two important pillars (Suhrawardi, 1364: 640). Abu Naser Siraj considers " khouf and Raja " as a component of ahval(Abu Nasr Seraj, 2009: 27). But Ezzeddin Mahmud Kashani In Mesbah Al-Hedayeh and meftah-al-kefaya are considered " khouf and Raja "as a component of maghamat. (Kashani, 1381: 430-336). Such differences of opinion in the mystical issues are not low; hence, the present research problem is to compare the similarities and differences of Imam Mohammad Ghazali and Jalal al-Din al-Mowlavi's views on the issue of " khouf and Raja ". Answer the following questions like this: From the perspective of these two Islamic thinkers during the course of mysticism, which one is preferring to another? How is the effect of each of these ahval on the type of solicitor's conduct? What causes and causes the appearance and appearance of " khouf and Raja " in the Mystic? And which of these qualities do any of the human beings have? In this study, by comparing the Imam Mohammad Ghazali and Jalal al-Din al-Mowlavi's view of " khouf and Raja ", we are going to make the way for more comprehension of mystical texts more comprehensible by the mystics and their states (which will help them understand their words and ways). Indeed, we have a share in the discovery of the mystery and the sadness of this vast sea.
Research The research method of the present study is descriptive-analytical, through the library's resources and documentation, in the form of taking notes of topics and collecting data from sources. By revising the notes and categorizing them in various topics and titles, the author will use the structure of his research and write the text by documenting the findings and notes containing the materials related to the authoritative sources and references. It should be noted that our statistical society in this study will be: Masnavi Mowlavi, Fihe ma fih, ehyaye 'oulum al-Din, Kimiyaye Saadat, ketabe 'arbain of Imam Mohammad Ghazali.
"Raja" in the word means hope and hope, and in the term of belonging to the heart, it is desirable to attain and become popular in the future, the The mystics of the dwelling and tranquility of the heart are proud and promising." (Goharin, 1380: 13) But the "khouf" Means fear and fear, and in the sense of the expectation of the appearance of unwantedness or death is popular "(Goharin, 1808: 180). In the definitions given by "khouf and Raja", they are considered to be common and of Muawiqi, which do not come under the will and authority of the servant. The fourth time is "khouf", and "Raja" is considered the fifth most mystical. (Sajjadi, 2006: 37) Ghazali "khouf and Raja" like two wings for the mystic, which makes him maghamat pleasing. With the help of these two wing mystics, he can pass through the barriers and reach the closet. From these two, the Raja's wing causes the lover to enthusiastically walk along the way and endure the difficulty of the way, and the "khouf" wing also makes it impossible for the devotee to take pleasure in lust and not be trapped. "Raja" is like a jerk that brings the seeker to the side and the "khouf" is like a flutter that pushes him forward in this way, and opens up his breath and lust. (Ghazali, 2004 : 385) He still believes that "khouf" is so great for God, and because his servant does not know the outcome of his work and he does not know what his final outcome will be and is unaware of God's initiation, then always "khouf" will accompany him, but that God has placed the "Raja" on the mystic and made them so comfortable, it is from the mercy of God (al-Ghazali, 1384: 294), and But "khouf and "Raja", with all their importance, with mowlavi only the primitive modes for the They provide a spiritual gift; they may bring him closer to the part of human journeys. "(Shimmel, 1370: 436) From Rumi's point of view, there is a huge difference between "khouf and Raja" because "Raja" loves to Beloved and attention to his beauty comes to light, and "khouf" comes from selflessness, fear of God's wrath and observance of the attributes of God's glory.
The mystics call for "khouf and Raja" from the attributes of anger and the grace of God, and the two hal as the two balises, for human flight to perfection, are also necessary and necessary. Ghazali and Rumi believe that humans in the worldly life must have "khouf and Raja" together, but in the preference of one on another, Ghazali emphasizes the "khouf" and mowlavi on "Raja". Ghazali "khouf" is the result of knowledge of God's glory and knowledge of his sin. Therefore, it is valuable when it comes to preventing sin and increasing the good deeds. If Ghazali believes that if God neglects God's pretense over his heart, he is superior to "Raja", but if despair of God's mercy prevails over his heart, "Raja" is better than "khouf"; ultimately, due to the internal and emotional states of human beings "Khouf" superior to "Raja" and according to the origin of "khouf and Raja", "Raja" is better than "khouf" because "Raja belongs to the Sea of ​​Mercy of God but the "khouf" belongs to her anger, so "Raja" is the source of affection, but love to "khouf" does not belong to fear. Take up Against Moulawi, Iman calls "khouf and raja". And according to the level of humanity, both "khouf and Raja" agree, but in favor of one on the other, "Raja" prefers to "khouf", because "Raja" is the lovers of God, and has a lot of velocity towards the beloved, The hardness of the path makes it easier and more enthusiastic, but "khouf" moves and brings the heart out of fear because the servant sees his actions contaminated with the desires of the soul and is always fearful. From Moulawi 's point of view, man must not hesitate to go with "khouf" until God's guidance has led him to do so, but he must not be afraid when love dominates his heart.

Narratology or narrative function is a relatively new science (Akhavat, 1992: 2). It is one of the successful fields of structuralism (Green and Lebihan, 2004: 110). The Russian formalists were the first group who conducted major studies on storytelling and narration. They began their research in the twentieth century, and their goal was to come up with a formulation, through which they can evaluate and analyze the form and structure of the stories. Greimas is a French linguist, semiotics and structuralist, and his views are the modified version of Prop’s.The narratological model of Greimas is a universal model, flexible and adaptable to (non) literary genres, through which the main structure of each narrative can be analyzed. One of these coherent narratives is the Iranian lyric and love narratives of the "(Mashhadi and Savab, 2014: 85); Therefore, the main purpose of this research is to study and compare the two verses of “Lilly and Majnon” and “Khosrow and Shirin” from the point of view of Greimas it attempts to analyze the behavioral pattern, narrative chains and semantic square in these two stories, to answer the following questions: -What is the structural and semantic model of Greimas? And how it analyzes narratives? Is it possible to analyze the structure of “Lilly and Majnon”, and “Khosrow and Shirin” based on the Green's pattern? What are the similarities and differences between these two based on of the Greimas pattern?
Research This article is done through content analysis method with a descriptive-analytical approach. The data of this research are two lyric verses of “Lily and Majnon” and “Khosro & Shirin” by Nizami Ganjavi. So, after theoretical explanation of the research on the narratology and the introduction of Greimas model, two verses were studied and summarized. Then two stories were examined based on the action model, narrative chains, and the semantics square of Greimas.
According to the actor's model, “the main character seeks to achieve a certain goal, he faces the opponent's resistance; a resolute power (sender) sends him to the mission. This routine also has a receiver (receiver) "(McCarrick, 2005: 152). The model of the actors in “Lilly and Majnon” and “Khosrow and Shirin” shows that the actor, sender, receiver, inhibitor and helper are influenced by the agent of the subject and therefore are influenced by the valuable object, which indicates the importance of agent actor and valuable object. In the “Lilly and Majnon”, we face two narrative systems that in both of them all actors are present, and the difference between the two systems is only in the actor of the agent and the actor of receiver, and in other cases they are the same. But in the “Khosrow and Shirin”, three systems of narrative were found that are present in all three actors, and the difference between the two systems is only the actor of the agent and the actor of receiver, and in other cases they are the same.
Greimas considers the entire structure of stories as the result of the sequence of three chains i.e. contractual, performative and disjunctive.
In both verses, there is a covenant and a contract that the agent actor in an attempt to act or violate it. There are also contractual and disjunctive chains. In both verses, by looking at the sequences in the performative chains, one can get the main plot of the story, and the number of sequences of this chain is less in the story of “Lilly and Majnon”. In both verses, there are numerous journeys, departures and returns that are numerous and varied in the “Khosrow and Shirin which indicate disjunctive chain and a change in the status of the hero of the story against the act or violation of its treaties or contracts along these two narratives.
By studying two narratives, in each of the verses two semantic squares were found. It is true that the semantic square resulting from the two opposing words of life and death is available in these two verses, but some differences are also available. Love in “Khosrow and Shirin” is different than the love in “Lilly and Majnon”. In “Khosrow and Shirin”, in addition to the love story of “Farhad and Shirin” -love in marital life, the virtual love of man to woman and woman to man is evident; but in “Lilly and Majnon”, though seemingly there is love and lover, but these are tools to express mystical love. In other words, love in “Khosrow and Shirin” is the same as Vis and Rāmin and they live in the earth, but love in “Lilly and Majnoon” is beyond the tangible world (Gholam Razaei, 1991: 235). Also, in “Khosrow and Shirin”, the lover finds his beloved after a long time and the occurrence of different events. This love, along with the bitterness and expectation, has sweet moments, but in “Lilly and Majnon” we find a tragic love in which union does not happen.
In this research, the actional pattern, semantic square and semantic chains of two lyrical verses of “Lily and Majnoon” and “Khosrow and Shirin” were studied according to the Greimas pattern and the following results were obtained: -In the case of plot, these two verses contain all the elements of the plot, the elementary, middle and final parts, and the organizing and destructive force. In both stories, the destructive power comes to the story in almost the elementary part of the poem. The events of story are complicated and there are many incidents that make it possible to take different perceptions.
-From the structuralist narrative of Greimas, in both verses we face a number of narrative systems (two narrative systems in Lilly and Majnon, and three narrative systems in Khosrow and Shirin), each of which has six actors such as agent, sender, receiver, helper, opponent and valuable object, and the value object. In this narrative, some actors have multiple roles. Majnon and Lily, as well as Khosrow and Shirin are both agent and receiver
-Reviewing the narrative chains in “Lilly and Majnon”, and “Khosrow and Shirin”, indicated that all three chains of contractual, performative, and disjunctive are available. The disjunctive chain in this narrative reflects the course of the story moving from an unstable state to a moderate and calm state; therefore, in both narratives, the initial balanced state with the opposing and deterrent forces turns into an unbalanced situation, until this situation, with the influence of the contributing forces, moves toward balanced situation.
-With semantic square analysis, in each of the two verses, two semantic squares were obtained. The square is obtained from the two terms “parting and joining” in both verses. In the semantic square of both verses, actors move towards achieving a valuable object. This move is done from words to their contradictions and ultimately reaches the final meaning. With regard to what has been said so far, it can be said that the two lyrical verses, “Lilly and Majnoun”, and “Khosrow and Shirin”, have a structural and full validity model and can be analyzed and analyzed in the framework of the structuralism and semantic theory of Greimas. The two narratives in the field of structuralism narrative and in Greimas pattern are very similar. Of course, there are some differences.

The reflections of Khayyam on the philosophy of life and death, sometimes accompanied by doubts, questions and objections, is considered as one of the unceasing concerns of mankind throughout history. Khayyam's art is to portray these philosophical reflections in a subtle and poetic manner in the form of Rubái (quatrain). Khayyam's special thoughts and views about life and death, along with his expression manner and particular images, have had a great deal of echo in Persian literature from the past to the present time. Mehdi Akhavan-e Sales is among the poets whose works are clearly affected by the thoughts of Khayyam. A look at the life of this contemporary poet shows such a fondness for the poems of Khayyam that it is stated "The dearest figure for him, in the Islamic period of Persian history, was Khayyam" (Shafii Kadkani, 1386, p. 397). The purpose of this study is to investigate Khayyam-like protest and uprising in the poetry of Akhavan-e Sales with regard to various socio-political and philosophical fields. The main question in this study is that to what extent the Khayyam-like protest and uprising observed in the poetry of Akhavan-e Sales is based on the socio-political aspects of his era, and how the poet's philosophical reflections and concerns in different periods affect such protest and uprising.
This study was written with a descriptive-analytical approach by using library resources. Theoretical framework of the study was based on the poetry books, books and articles related to the topic of the study.
The philosophical protest and uprising with Khayyam-like odor is one of the characteristics of Mehdi Akhavan-e –Sales’ poetry. He, as his life and poetry signifies, has been familiar with the Rubáiyát of Khayyám and was influenced by this poet and philosopher in expressing his philosophical reflections. In the early poems of Akhavan-e Sales, he is mostly seen as a poet with personal concerns. In the second stage, we see a socio-political poet who is optimist and combatant. He cares for the pain of the community, and invites – with hope and dynamism – people to struggle and fight. The third stage of his life, as in the second stage, was also in the second Pahlavi period. At this stage, we face a protester and aggressive poet who rebels against the socio-political conditions of the era. Then, he involved in a socio-political desperation, and hence a philosophical desperation, and denounced everything adopting a doubtful and denial perspective in some periods in his life. This situation is caused as a result of the black situation of the country during the second Pahlavi regime, bitter experiences and successive defeats of protesters especially after the Coup of Mordad 28th, and the spread of some Western schools such as existentialism. Khayyam-like poets raise their philosophical doubts in the form of question. When the noose is tightened around them and theirs questions result in no answer, Khayyam-like poets turn to uprising and protest. They sometimes address their community as the target audience of their protest, and sometimes attack the whole universe. This feature can be well seen in the poems of Akhavan-e Sales. The philosophical contributing factors for Khayyam-like protest and uprising in his poetry can be classified as follow: complaint about destiny, protest to universe and being, uprising and protest against death, and revenge on servitude.
Unlike Khayyam, the protest of Akhavan-e Sales is not only philosophical, bus also protests and rebels against the social and political affairs of the Pahlavi era. On the other hand, Akhavan-e Sales, compared to than Khayyam, in many cases is more frank, harsher, and bitter, his philosophical protests, complaints, and uprising are sometimes reminiscent of mysticism. The protester and rebellious spirit of Akhavan-e Sales is more pronounced in his poetry books of Winter (Zemestān), The Ending of Shahnameh (Ākhare Shāhnāmeh) and From This Avesta (Az In Avestā). The contributing factor to his Khayyam-like protest and uprising in Winter is often socio-political as well as it is mainly influenced by the Iran’s space in the years after the coup of Mordad 28th. While in his subsequent poetry books, these factors are often philosophical and arise from the poet's reflection on the philosophy of life and death. This issue in the three-book collection of “In the Autumn's Small Yard in Prison (Dar Hayāte Koochak Pāeez dar Zendān)”, “Life Says: Still We Must Live (Zendegi Migooyad Amma Bāz Bayad Zist)”, and “Hell, but Cold (Duzakh Amma Sard)” is more prominent. In the last book, the disappointment, aging and boredom with life, along with his Khayyam-like philosophical thoughts, make the poet protest; but ultimately, his protest is less harsh than the preceding periods, and in some cases, a kind of reflection and surrender are substituted with protest and uprising.

Generally knowing literate language and literary texts will undermine the desire of the reader. For this reason, the prominent writers use new methods and tricks in the creation of literary texts that enhance the taste of the audience and the language of poetry. Sanai Ghaznavi is a member of this poetry group who has entered the mystical arena into sonnet and has also been widely used in Ghazal for the first time as a contradictory technique. According to Shkolovsky, art technique is "unfamiliar" with things, obscuring forms, to increase the difficulty and length of time of perception. (Scholes, 1383: 122). Jakobson considers highlighting the most important reason for Turn away from routine language, which release speech of stereotypical damage and repetition (Shamsa, 2009: 179) The same thing that the Sanai did in sonnet has led to the same result, using the highlighting of contradictory images in the form of widespread confrontations and saved the Persian sonnets from vanity; since sonnets went further from the norm and conventional. What seems to work is outstanding and art. One of the methods of alienating the word is the contradictory that causes the readers hesitate to read the text. Otherwise, easy reception of the poem's message, and the early identification of the poet (finding his purpose), brings the poem closer to the article. Due to the great work of the Sanai in the development content of the Persian sonnets, it should not be dealt with as it should and maybe. Perhaps only because his favorite sonnets are still childish and raw. For this reason, we decided to analyze Sanayi's lyrics by half a look at the structuralist theory in the contradictory field, a poet who, in the words of Said Hamidian, is a significant taboo breaking and normative. (Hamidian , 1390: 137). The questions that this research seeks to answer are what are the causes of the emergence and expansion of contradictory images in Sanaa sonnets? Also, what is the function of this rhetorical element in his lyricism and how does the poet create it?
Since Sanazi Ghaznavi is the first poet who has grown extensively to sonnets, it is necessary to explore the aesthetic mechanisms of his sonnets. The purpose of this essay is to explain the paradoxical rhetorical element as one of the important structural elements of this poet's sonnets.
Research This research uses a descriptive-analytical approach, using a library and documentary approach. In this way, the sources of contradiction are examined first, and in continue with this approach the contradiction in the Sanai poetry will be analyzed.
The contradictory is one of the semantic normative forms in which the poet or composer uses the combination or the verb in a manner that appears to be seemingly dispassionate and meaningless but has meaning or contemplation, or a truth The diversity and extension of contradictory in the Sanayi sonnets is such that a cultural point of view can be obtained from. Since the initiator of the sonnets, in its special sense, is Sanai, the paradoxical images of the sonnets must be based on the findings of this research, and this is an undeniable fact that the sonnets after the Sanais have been influenced in this way of speaking. As Shafiee says: " contradictory images, in the exact sense of the word, begin with Sanai and his poetry that Mowlana has expanded the same image." (Shafie Kadkani, 1996: 56) The duality of the nature and character of Sanai, The turmoil in the social conditions of the sixth century, the different modes of love and the duality of the basis of human thought, and the factors of this kind, can be the reasons for the contradictory application in the Sanai sonnet. The contradiction is rooted in all the intellectual and existential writings of the Sanai; there is this contradiction in his personal life, he sometimes has a shelter, sometimes homeless, sometimes barefooted, sometimes with a foot, sometimes in a mosque and sometimes in ruins. (Zarrinbub, 1376: 245). In the structure of his sonnets, this contradiction can also be seen in terms of humiliation of wisdom, respect of wisdom, respect of beloved, humiliation of beloved, ethereal beloved, terrestrial beloved, being male partner, the female partner, tends to Christianity, Christianity evasion and so on. All of these factors play role in the poet's sonnets contradictory. The Sanai uses various ways of constructing a contradictory in his sonnets. This construction sometimes appears in the form of a combination, and sometimes with a mixture of both negative and positive (denial and proof). Sometimes the poet expresses something contrary to reason in the form of contradiction, sometimes contradicting the law and in some cases contrary to custom and habit, and sometimes contradicting the material that is scientifically impossible. In this article, we will examine the Sanai's paradoxes from two perspectives: one in terms of structure and the other in terms of content.
Sanai is the first Persian poet to use the contradictory in his sonnets. The frequency of this stylistic feature in the poet's poem is very high, to the extent that a culture of contradictions can be made. This rhetorical element is presented in a variety of forms in the Sanai sonnets. The paradox in poet's sonnets, in combination, in constructing a sentence, and in ethical areas, is contrary to the law, beliefs, scientific subjects, and affairs. All types of paradoxes in Sanai's sonnets have artistic and aesthetic functions, which make desertification and highlighting. The other function of the paradox in the poet's sonnets causes the language to be individualized to the extent that it results in the audience's attraction. Another contradictory performance of the poet's sonnets is that the message reaches the reader later, a point emphasized by the structuralists.