نشریه مطالعات نقد ادبی
پیاپی 47 (بهار و تابستان 1397)

Tone is one of the important influential instruments for the transfer of the concepts and emotions of the poet whose origin can be found in the moral, spiritual and psychological, convictions and beliefs that are intertwined to the style, form and structure of the poet's poetry. This article has tried to introduce the tone of Mosaffa as an epic tone by a descriptive and verifiable method. Individual and social bitterness, resentment and irritability, the quality of the poet's growth and prosperity in the environment, along with the mystical character, disdain, self-respect and freedom along with the boasting, caused the formation of epic context of the poet's poetry and shaped his personal epic. In the mirror of Mossafa poetry, all sorts of disasters from natural determinism, personal pain and social pain with a bitter and poignant narrative language can be sought. In addition to the bitter content and special rebellious and the courageous spirit that comes with an epic, the poet brings his poetry with words, compositions, imagery, and stylistic features

Al-'Iqd al-Farid (The Unique Necklace) by an Andalusian scholar and poet named Ibn 'Abd Rabbih, is one of the major source of Arabic literature, history and culture. This book has been criticized by writers and critics since the author’s time. One of these criticisms which has been discussed so many times is the issue of Ibn 'Abd Rabbih’s adaptation from other author’s works and since some of chapters and contents of this book is similar to the book of “Eun al-Akhbar”, some people accused him of plagiarizing someone else work. Other criticism made on this book includes elimination of Sindh Dynasty, lack of Andalusian literature, and particular irregularity. In this paper, the authors tried to initially discuss and define these critiques, and then answer each one of them separately by considering the cultural and social conditions of that period of time.

In this study, the main question is how to achieve the mystical style and the distinctive linguistic-semantic features in Masnavi based on the Halliday`s Functional Grammar. The perception of Rumi’s methods in the expression of spiritual matters and its linkage with the material and concrete experiences could express the properties of the context. To this end, the main purpose of this research is to investigate the characters of two stories of Masnavi with a focus on Pir (Sufism) character according to the transitivity system. Therefore, the linguistic and stylistic features of the studies context is identified after presenting the frequency of the processes associated with each character in each story; so, initially, the verses related to the original story plot is separated and then qualitative analysis along with statistical and quantitative frequency is presented by specifying the percentage and frequency of processes used. Applying a variety of processes in order to teach mystical issues and the position of Pir (elder) shows that induction of Rumi’s attitude using various processes within verbal and sometimes mental processes reflects a distinctive feature of mystical style and induce the superiority of the verbal process and dialogue method from the point of view of the poet of this eternal work.

Structural analysis of contemporary French is based on studying the function of specific codes which have two aspects: spoken and written ones which transfer the speech codes.In order to be able to describe the function of these codes, one should either have a complete knowledge of all these factors or at least propose a theory on their operation in specific situations.
What is the significance and distribution order of indicators in noun and verb,which is two main elements of french grammatical structure?
How the changes made by these transformations in french language is justified?
In order to describe the components of a language there are various methods which clarify the possible replacements, another important factor is the familiarity with the order of distribution of these elements.
From linguistics point of view this analysis explains "Concept" from behaviorism point of view & it is also a combinatorial analysis which can describe language completely & in details.
 This research considers the revolution of noun & verb in both French & Persian in order to identify & describe the related codes in both languages & manipulate them in the best way possible.

Symbolism in literature and poetry has long lasted history full of ups and downs. Symbol or code has various definitions. In the book of world’s literary terms symbol means thing that stand on behalf of another thing, but this representation is not because of identical similarity between two things but also because of some vague implication or relationship that is by chance or arbitrary. Yung believes that the unconscious language is the symbolic language. The unconsciousness does not talk to us directly, there is always sign and secret and by the disguise of symbol.
Fereydoon Moshiri is like other poets follow this rule. He by the use of symbolism in his poems has simple words multi-meaning. Therefore, the aim of this paper is to study the symbol and symbolism in poems of him and a question: what symbols he used more? Therefore, the result of research, that was carried out by the means of library, show that Moshiri was interested in natural phenomena such as flower, water, fire, as well as mystic subjects, mythical characters, heroes, religious figures, and poets.

Forgiveness is among human and moral concepts which has highly been dealt with in our literary texts. It specially holds a prominent place in didactic and mystic works and has been in particular and individually referred to in some texts; contrary to expectations, however, there is no chapter dedicated specifically to this concept in the works created by Saadi. It has rather been briefly pointed out in his anecdotes. At first, he attributes this trait to the God and correlates it with the “concealing” attribute of the God. He, then, invites regnant in his aphorisms to show forgiveness. That might be the reason why the concept is more referred to in the first chapter (Kings’ Way of Life). As Saadi puts it, the kings, who often had erratic nature and handed down stiff sentences, mostly forgave disfavored through intermediation of third parties, considering an elegant speech or an epigram favored by his royal nature , a reply or reasoning by the disfavored or someone else or beholding a behavior exhibited by the disgraced. He attributes the trait to the God’s fellows as well and regarding Dervish ethics tells two anecdotes validating this statement. It is worthwhile mentioning that regardless of all his commendations concerning forgiveness, he believes that the kings sometimes offer forgiveness unduly and by mistake to oppressors and corrupt agents.