نشریه تحقیقات تمثیلی در زبان و ادب فارسی
پیاپی 29 (پاییز 1395)

The attitudes of famous mystics, facing epistemological matters and relationship between human being, the Creator, and the universe during eras and times, at any mystic level, differ from one another. Every thinking-mystic attitude is endowed with a particular analysis of the mystic and enjoys the exclusive writing methods or special thoughts to express their mystical discoveries, which might have been the results of other famous mystics’ team works. Although investigating mystics’ masterpieces, sayings, and writing structures have many things in common, much attention and evaluation of this piece with the special and pure mystical factors and literary language may provide precise readers with delicate differences regarding vocabulary, imagination, and thoughts. Allegory is considered to be the best mimetic method for the mystics to express more about mystical experiences and in higher levels, mystical-instructional thoughts, which have different structures and images in the two big inclinations of intuition unity and existence unity. By comparing the masterpieces of two mystic poets as the samples of these two mystical thoughts – i.e. Hakim Sanai Ghaznavi and Fakhr al-Din Ibrahim Iraqi – the author has tried to analyze this issue in order to explain and express the same through evidences.

Proverbs in Persian literature are one of the most valuable treasures, which have appeared in poets’ and writers’ works since long times ago and they have enriched these works. The writer of this article is trying to apply an analytical method for content comparison of proverbs in two prose works belonging to two famous and outstanding writers in seventh and contemporary century, respectively; the two works are Saadi’s Goolestsan and Jamalzadeh's Once upon a time. An attempt is made to compare and analyze the attitude of these two writers; Golestan and Once upon a Time – Yeki bood yeki nabood. These two works have a considerable effect on Persian literature over two different segments of times, both writers have used proverbs to convey their messages. In this research, an attempt is made to present typical feedbacks of these proverbs with content analysis of both works at a glance. The article ends up with a conclusion, and the result from the content attitude shows that Saadi has used the proverbs that he himself has created, and mostly, these proverbs possess profound points and moral and educational values. But Jamalzadeh's witing style and his attitude is only an imagery look because he is going to clarify images and scenes of the story which play a considerable role in the enrichment of his language.

Epic romantic stories usually lack dependence due to their reliance on the historical and epical context. Thus, the elements of failure and disappointment in them create a sense of sympathy and fear what we call the mythical definition of tragedy.Ferdousy's great book- Shahname- as the most significant epic demonstration of Iranian national mythical history ends tragicly in all of its romantic stories.The present paper intends to investigate the tragic love demonstrations of 'Shahname's stories called 'collective me'.This paper has been fulfilled via library sourses and descriptive analytic research method and also the application of the 'Noortroup Fray' theory.The findings of this paper display the fact that most of the heroes in 'Shahname''s love stories do not follow the aim of uniting with their beloved, yet most of them have a nasty aim which is in contradiction with the epic soul of the storyFor this reason, they usually fail to obtain their tragic love which arouses the sense of sympathy and fear in them.

Rozeye Khold by Majd –e- Khafi that is an imitation of the Saadi's Golestan is written in the eighteen chapters, including short, concise, and instructive anecdotes and Allegory. In the present study, an attempt is made to analyze the allegory of the Rozeye Khold, considering anecdotes and allegorical characters in the anecdotes marked. The research methodology is descriptive - analytical. It would have been more effective concepts and content. Most of them are short allegories.

Frequent application of verbal language in the works of some poets, has led to a flow of today’s poetry known as verbal poetry. Elegant lyric thoughts which are personal and experimental, leads to the discovery of lovely scenes in the form of verbal language, reacting against the traditional principles of sonnet, including meter and rhyme. Couplets and their verbal replacement has changed the form of verbal sonnet. Forough Farokhzad and Seyed Ali Salehi are formal founders of verbal sonnet. Farokhzad has expressed her emotions and pains while expanding the limits of language through development of the least lingual intermediate and cultural advancement. This factor has changed her into an iconoclastic poet. The poet presents a sensory and tangible attitude, using verbal language and protest, expressing her emotional feelings. To present such an attitude, she has sacrificed cultural ethical contracts along with feminine norms. In these dimensions, her poetry has a norm. Based on these dimensions, her poetry has a negative reflection in the minds of audiences because she has not used lingual intermediates and symbolic or metonymic tools as a poet for expressing her feminine issues and she has used some contractive metonymies. In this article, we first define verbal poetry and its evolution, and then express elements against feminine contracts and effect of removing the symbolic language or forming transgressive feminine patterns. Moreover, we will investigate some instances of symbolic usage in her poetry.

In art therapy, verbal, non-verbal or everything unconscious is what one of the most amazing art of therapist's activities. Poetry therapy, is an aspect of art therapy. Whenever the use of descriptive language to describe the phenomenon is considered, and when the attitude is symbolic phenomena, the allegorical language used. The best language education, intellectual and spiritual concepts that can explain to the people, is figurative language. The present article is based on work focuses on poetry therapy, based on the allegory; the scientific method used here is analytical and descriptive and library – based approach.

Forough Farrokhzad has been a poet whose life has been the focus of attention. Her works are seldom analyzed. The author of the article has made an attempt to analyze most of her poems from this perspective, with reference to their use of reputable sources to investigate the use of the allegory (external and abstract), symbols (ideogram) and metaphors (personification and animism) in the works of the poet. It is concluded that Forough is a very special person who has used symbols. After the birthday song is written by the poet and intellectual perfection. Her analogy is quite prosperous in terms of form and content that is very interesting and noteworthy. She seems to have made a very extensive use of diagnostic and significant and noticeable personifications.