فهرست مطالب زهرا اختیاری

Gasemi Gonabady (1603) is a famous poet for his National _Historical epics. At the beginning his Masnavis he starts with a introductory part and then he arrange a Mearaj _ Name. Ghasemi has described the Mearaj of the Prophet Muhammad in a strong and high quality of poetry in such a way that can consider his Mearaj _ Name as a superior part of his poetry. Gasemi described a very exciting picture of this Journey. In the present research first all Mearaj _ Name from Masnavis of Ghasemi were evaluated and all aspects of Mearaj was arranged as he described; then was compared with those in the book of Al Mearaj written by Ghoshairy. By this comparison   Theses questions were answered: 1) which steps of this Holy journey did come to attention of Ghasemi?2) what are commonality and the difference between Ghasemi and Ghoshairy. The results showed that although Ghasmi and Ghoshairy,s point  of  view  are very  closed  to each  other, but Ghasemi had described  Mearaj  events  more. precisely with more relevant pictures. Both poets believe to bodily Mearaj. hasemi believes that Prophet Muhammad saw God with a heavenly eyes, but Ghoshairy  blives that  Muhammad  saw God with the  real eyes. Ghasemi in his poets had not mentioned the date of Mearaj, opening the chest and washing the hands of prophet Muhammad; although Ghoshairy has pointed to these two points. In this paper other differences also have been mentioned.

Zaidari’s prose writing is widely regarded as an artistic and rhythmic masterpiece, with his work “Nafthat-al-Masdur” standing out as a tour de force. Despite the scientific and novel explanation provided by Dr. Amir Hassan Yazdgerdi, there remain several issues and ambiguities within this text.
Shihab al-Din Muhammad Khurandizi Zaidari al-Nasawi or Muhammad bin Ahmad bin Ali bin Muhammad Monshi (died: 647?), whose family resided in the Khurandz Fortress near the city of Zaidar in the province of Nisa (Nasavi, 1965: Introduction), wrote the book Nafthat-al-Masdur four years after the death of Jalal al-Din Khwarazm-Shah (murdered: 628 AH) while describing his own one-year sufferings, and the reign of Jalal al-Din Mangburni (ruling: 617-628AH)
Nafthat-al-Masdur is considered a reliable historical and literary work, particularly concerning the events and situations of the Anushtegin dynasty, their bravery, cowardice of the king, the corruption and betrayal among courtiers, Minkubirni’s disease, and the extinction of the Anushtegin dynasty. Furthermore, it serves as one of the crucial historical sources regarding the Mongol invasions, atrocities, and plundering of Iran.
The book Nafthat-al-Masdur is written in the format of a letter addressed to a prominent figure from Khorasan named Saʿd al-Dīn, who was apparently a relative of Shihab al-Din Muhammad Khurandizi Zaidari (Nisavi, 2020: introduction, 79). Shihab al-Din writes in clerical prose style, which entails the use of verses from the Quran, Hadith, common proverbs, as well as Arabic and Persian poetry to make his prose more artificial and decorated for the reader (Sajjadi, 2016: 532). At times, he employs exaggeration, metaphor, irony, allusion, rhyme, contrast, derivation, and simile to such an extent that it can confuse the interested and novice reader. This study strives to clarify some of the ambiguities within the book.
Despite the efforts made in providing explanations to resolve ambiguities in the text of Nafthat-al-Masdur, certain readers would encounter difficulties and ambiguities that require further clarification. In order to attain a more precise understanding and explanation of Nafthat-al-Masdur, it is imperative that specific points be clarified and expounded upon. Furthermore, technical language and reference pronouns have been identified as areas of confusion for some readers. Correcting the movement of words and punctuation marks, as well as reference pronouns, may also prove necessary in certain instances. The aim of this undertaking was to elucidate the salient points and challenges inherent in Nafthat-al-Masdur to the best of our abilities.


The research methodology entailed providing answers to key questions that had emerged over several courses in which Nafthat-al-Masdur was taught to esteemed doctoral candidates. Furthermore, responses were furnished to other ambiguous aspects deemed necessary. Additionally, the author's intended objectives were cross-examined with three handwritten versions, most notably the version recognized as “Sii”, which is considered the most accurate and superior rendition (Khazanedarloo and Sultani, 2016: 26).
 


This study aims to elucidate, and enhance comprehension of the vocabulary and phrases featured in Nafthat-al-Masdur by presenting the contents of the book according to the late Dr. Yazdgerdi's explanation in a systematic manner. In contrast to the original text, which included the opinions of other scholars, this summary solely focuses on the author’s viewpoint and interpretation.
Page 1, Line 6: “When the Lord of the Days bears the burden of events entwined, he wields the sword of severity in full force.”
The salient point of significance here pertains to the aspect of burden, rather than the placement of “small loads on larger burdens”. In the greater Khorasan region, the term “sarbari” holds two distinct meanings:Firstly, it denotes a lightweight or minor object that is placed on or adjacent to a larger load after some time has elapsed from the movement of the pack animal.
Secondly, it refers to a person or object that interferes or becomes involved in a situation or environment without any necessity. With regards to the feminine phrase under consideration, the latter meaning is intended. The sword, in this context, serves as a lightweight weapon that instead becomes an encumbrance or vexation, causing pain and suffering to others—a burden that materializes during a caravan of unfortunate events, namely, the advent of the Mongols.
Page 3, Line 7: “From a pen that when it does not sit on black, performs white, and when sitting on white, performs black...”
The meaning of “sitting on black” is to insert the nib of the pen into the black inkwell. Considering that a pen filled with black ink creates valuable and useful books and writings, we take “whitework” to mean the good work of the pen and the beneficial effect it produces. The last meaning that the late Ali-Akbar Dehkhoda wrote about “white-work” is true here.
Page 9, Line 14: “And I had heard the news of the return of my desired army from the Romans.”
What was discussed in this article is about “Rome” so that it can be definitively stated for the audience, with reference to historical sources, what is meant by “the army that has returned from the Roman side”.
Page 14, Line 8: “He attained a kind of madness, like that of a shoemaker’s device, in distress.”
With reference to the tools used by traditional shoemakers, “a line like a shoemaker’s device” refers to the non-standard hooks that shoemakers use with a hammer to shape the leather into a shoe. The bad handwringing of Zaidari’s rival is compared to this.
Page 42, Line 8: “You couldn’t even pass through the ring with all your might, and breathing with all your delicacy...” (Nasvi, 2020: 42).
In this phrase, the "ring" refers to the ring of Mongol troops around the tent and court of Anushteginids. The Mongol army had surrounded Jalal al-Din's camp in such a tight circle that even breathing was impossible.
Page 85, Line 3: “Basemak, Ahmad Urmawi..”
“Basemak” or according to Minovi’s the handwritten copy "Bashmik" (Nasvi, 1926: 70), is a non-Persian word. Here, it is used as an insult meaning “dishonorable, dishonored, and weak person.”
Page 104, Lines 8-9: “What is the event of Urmia? ...”
This refers to the attack by Jamāl al-Dīn al-Iraqi's assignees, who beat and stripped Zaidari and his servant in the midst of snow and cold, leaving them to die (Zaidari, 2020: 86). Using contemporary texts, Zaidari provided insights in explaining the meaning of this event.
 


Despite the extensive commentary of the late Yazdgerdi on Nafthat-al-Masdur and the efforts of other scholars to explain ambiguities in the book, due to the intricate nature of the book, some readers still have difficulties in understanding certain parts. In this regard, an attempt was made toelucidate, as much as possible,  some of ambiguous points of the book. In brief, some of the matters which have been discussed are enumerated as follows:1- “Sarbari”. Although this word has been explained, in Greater Khorasan it has a broader meaning that is better suited to the context.
2- The phrase “blackening the pen” seems to imply that coating the tip or nib of the pen in either silver or black color is more appropriate for the context than other explanations. Likewise, the phrase “whitening the pen” means doing good and virtuous deeds with the pen which results in the production of valuable books and writings.

Regarding the phrase “return of the army from Rome” and based on historical books of the same period such as Tarikh-i Jahangushay and Zaidari’s other book, the meaning of the phrase “I had heard news of the return of an army from Rome” was convincingly explained with reference to the sources, leaving no doubt about this matter.
The simile “a line like a shoemaker’s device” was explained by examining the tools and methods of shoemaking in the past, and the image and meaning of the phrase were elaborated.
The word “to” at the beginning of the first line and the word “jewel box” in the next line were identified, and then the meaning was determined based on the meanings of “to” “in” and “inside”.

“The green and emerald plant are the same color, but they differ in appearance due to their jewel boxes”

The meaning of the first line on page 33 was explained.
The explanation was given regarding whether “bashmak” or “bashmik” is an adjective or a noun.
The meaning of the incident of “Urmia” on page 104 of the book was explained, and some other ambiguities were also resolved.

Story elements are the most important tools for narration,There are many narrations that have a common theme and subject But different narrators have narrated them in different ways at different times. The story of "Playing Backgammon by Taghanshah" in the sixth century has been narrated by a Nezami Aroozi After that, Dolatshah Samarkandi repeated that in the ninth century and in the tenth century by Fakhreddin Ali Safi.One of the factors that changes the narration of different narrators of a narrative is thenarrators' use, non-use or type of use of narrative elements in the narration. In this research, the three narrations have been compared in terms of narrative structure, characterization, staging and theme. These narrations have differences in narrative methods ,These differences are due to the type of narrative elements used in them.In an analytical-comparative study with reference to the library method and based on themethod of taking notes, it was found that the volume of the narration of the CHAHAR MAGHALE is more than the other two narrations.Characterization is seen only in two "Nezami" and "Safi" which is stronger in "Nezami" narration. The staging is weak in all three narrations and the type of theme expression is different in these three narrations.The amount and manner of use of narrative elements causes a change in the type of narration.

 In Persian and Arabic literature, there are poets who devoted special attention to morality. Therefore, a large portion of their poetry are devoted to this matter. “Morality refers to a set of standards to which humans must comply” (Fouchécour, 1998: 211). Poetry, among other matters, is a reflection of moral thoughts across different cultures. Qasemi Gonabadi and Nasif al-Yaziji paid attention to virtues and moral advice in their poetry; Qasemi’s masnawīs The Essence of Poems (Zobdat  al-Ashar) and The Majority of Poems (Omdat al-Ashar), and al-Yaziji’s diwan. There are poems with didacticism themes in al-Yaziji’s diwan (Al-Fakhoury, 1995: 677). Qasemi also “focused on moral issues in all his masnawīs” (Qasemi Hosayni Gonabadi, 2015: 17).Belief in one God and in prophets, along with the poets’ attention to and interest in the Qur’an and Qur’anic teachings and Nahj al-Balagha in their works encouraged us to compare their perspectives in terms of moral virtues.Indeed, this study aims at examining and comparing moral virtues in the works of the two poets. The other goal of the study is to encourage the young generation’s interest in the rich and long history of the Persian language based on the ideas of Iranian scientists in the past centuries. Knowledge, humility, honesty, patience and loyalty constitute the core of moral virtues in the two poets’ works.The article aims to answer these questions:What are the common moral themes in Qasemi’s and al-Yaziji’s poems according to Khaje Nasir al-Din al-Tusi’s category of moral virtues? How?Are there any differences between the two authors’ attention to moral virtues? The main purpose of this paper is to examine common moral virtues in Qasemi’s and al-Yaziji’s poems.

 This study draws on library resources and available documents. To analyze the data, a descriptive-analytic approach is taken. In doing so, Khaje Nasir al-Din al-Tusi’s category of moral virtues in the book Nasirean Ethics is used within the American School of comparative literature. There has been no research on the comparison of moral virtues in Qasemi’s and al-Yaziji’s poems.

 Moral virtues have always been in poets’ spotlight; poets who lived in two or more lands far from each other, but their intellectual similarities cannot be overlooked. Qasemi’s and al-Yaziji’s goal in using these moral virtues is to praise and honor human virtues or to encourage goodness and righteousness. “Morality means how society perceives what is wise albeit in practice than theory. That is the reason why Khaje Nasir al-Din al-Tusi and many others before him put morality under ‘practical wisdom’” (Fouchécour, 1998: 8-9).In his book Nasirean Ethics, al-Tusi enumerates four main virtues: wisdom, courage, chastity and justice (Khaje Nasir, 1994: 109). For any of these virtues, he introduces some subcategories (Ibid: 109-117). In what follows, a summary of common moral virtues in Qasemi’s and al-Yaziji’s poems is presented according to al-Tusi’s category. 3.1. Wisdom  Of al-Tusi’s subcategories for “wisdom”, “knowledge” is chosen and common points in Qasemi’s and al-Yaziji’s poems are briefly reviewed. 3.1.1. Knowledge Qasemi has praised knowledge in all his poems. For example, he wrote four pages on the importance of knowledge under the title “In Honor of Knowledge and People” in The Essence of Poems (Qasemi, 2014: 182-186). He calls knowledge the water of life and a reason for survival.Resort to knowledge and wisdom for salvation/it is the staff of life for survival and immortality (Qasemi, 2015: 184).The magnificent features of this poem are: it is easy to understand and is sophisticated, not to mention its pleasant aesthetics.For al-Yaziji, knowledge is the source of life and survival of the scholars’ names:How many kings disappeared [by reputation] after their death,while scholars’ names always remain among people (al-Yaziji, 1983: 45).Beauties of al-Yaziji’s poems are:Positioning the word “king” before “scholars” indicates the superiority of the rank and position of knowledge and scholars over kings.“Populace” means common people and scholars. That is, the name of ordinary knowledgeable people will be remembered but not the name of kings.Qasemi puts emphasis on knowledge (if combined with action) and scholars.Knowledge and practice both together to make [human beings] prosperous in this world and Hereafter (Qasemi, 2015, p. 217) Using similes and parables, he manifests the importance of knowledge combined with action through various forms (Qasemi, 215: 161).For Al-Yaziji, action drives life and is the source of the world’s survival:You should resort to knowledge. So, ask for it without laziness and act on it because a wise life makes sense only through practice. (al-Yaziji, 1983: 400).3.2. Courage 3.2.1. Humility  For both Qasemi and al-Yaziji, humility is associated with being lofty:Someone who practices humility, his status is as lofty as the sky, and his value is excellent. (Qasemi, 980 AH: 113). Al-Yaziji considers humility to be the cause of nobility. It also has verses close to thistheme. (al-Yaziji, 1983: 306). He is the one whose humility is higher than dignity. Every time his rank and position rise, he tells himself to sit down and not be arrogant. (al-Yaziji, 1983: 203).3.3. Chasity 3.3.1. Patience Patience is a key concept in the vast Islamic culture. It is stated in the Qur'an “... God is with the patient” (Al-Baqarah: 153). Qasemi considers patience to be a source of peace and refuge for man in hardships; I am at the heart of the sea ofhardship and suffering, but I seek refuge in patience (Qasemi, 2014: 194). When you flower look at the face, you tore the shirt of patience Qasemi used the beautiful metaphor “the flower’s shirt of patience being torn” and Al-Yaziji calls patience the most valuable medicine and treatment in hardships:Patience is the most valuable thing that heals the wounded/It wounds the heart and shows the paths to God (al-Yaziji, 1983: 222). Be patient during the difficulties, hardships, and events of the time coming one after the other (al-Yaziji, 1983: 222). 3.4. Justice 3.4.1. Loyalty   In all his masnawīs, Qasemi strongly emphasizes keeping the promise. He believes that anyone who breaks his oath is an animal lower than a dog:He is one of the loyal/ but a dog’s life is full of lust!But whoever breaks his oath out of misery, he is a dog, but a disloyal one. (Qasemi, 2015: 187).al-Yaziji also praised loyalty and considered it one of the qualities of generous people and breaking the oath is one of the characteristics of the wicked:Fulfilling the oath is one of the virtues of honorable people, while breaching it is a feature of wretches (al-Yaziji, 1983: 324). 3.4.2. Honesty Qasemi and al-Yaziji have repeatedly praised the virtue of honesty and honest people. Using the title highness, Qasemi praises honest people:You practice honesty, dignity, and sincerity. Oh, my friend! May God protects you from the evils of the time!May God bless you! May honesty be your way until the Day of Doom! (Qasemi, 2015: 197).Al-Yaziji also praises the praised for being honest and trustful:Those who keep their promises and avoid deception are honest people and do not lie (al-Yaziji, 1983:301).

 Persian and Arabic literature are quite similar on many grounds. Both Qasemi Gonabadi and Nasif al-Yaziji addressed moral virtues in their poetry. Such scholars as Khaje Nasir al-Din al-Tusi have written books on morality and ethics. al-Tusi developed a classification of moral virtues. Following the American School of comparative literature, common moral virtues were examined in Qasemi’s and al-Yaziji’s poetry. The analysis suggests, both poets similarly paid attention to moral virtues. The two poets wrote poems concerning such moral virtues as wisdom, courage, chastity and justice. Knowledge is one of these virtues as both poets praised cognitive certainty and knowledge combined with action. Qasemi had topics and anecdotes concerning knowledge and acting on knowledge. He wrote 70 verses on the value of knowledge and 80 verses on criticizing and condemning knowledge without action. Modesty is another common feature of the two poets’ works, which equips the modest person with honor. Mentions should be made of courage, chastity and patience on which the poets wrote verses. Loyalty was considered a virtue of the noble people, and both poets praised honesty. Qasemi also used similes and animal symbols to manifest moral virtues. Appealing literary devices can be seen in their poems.

Fasih Khafi (777-845AH) wrote the Mojmal Fasihi book in the ninth centuryAH, often each work is somehow related to works before and after it. Knowing source of a work helps to know it better. One way to understand the content, structure and position of a work is to understand extent and how it relates to works before it. Transtextuality is a theory that deals with all kinds of relationships between texts. In many cases, Fasih Khafafi has omitted source in order to avoid prolonging speech. For example narrations of Scaffi's death and Makan Kakoi's rebellion which have been narrated in events of 386AH. research question is to find out source of Khafi in these two anecdotes and prove it. By contemplating two books of the Chahar Maghale and Mojmal Fasihi and examining and comparing two in terms of intertextuality similarities, it was determined that three anecdotes of the Chahar Maghale are also mentioned in Mojmal Fasihi. Existence of common historical errors, similar phrases and common details between two narrations of Mojmal Fasihi in mentioning events of 386AH, and first and second anecdotes of first Chahar Maghale article, as well as the paratextuality of Khayyam's prophecy in Mojmal Fasihi with seventh anecdote The third of the Chahar Maghale proves that Chahar Maghale written in the sixth centuryAH by Nezami Aroozi are source of Fasih Khafi in writing narrations that he mentions about events of 386AH about Scafi and Makan.

Intertextuality is a textualist theory that analyzes and interprets the meaning of texts, reading and receiving text in the poststructuralist paradigm. Divan-e Qaemiyat is also a poem by Hassan Mahmoud Katib (645) nicknamed Jalaluddin. The aim of the present study is to show to what extent and how the intertextual dependence of Divan Ghaemiyat on Sanai poems is. For this purpose, after identifying all the appearances of Sanai's poems in Ghaemiyat Divan, these texts were quoted, referred to, alluded to, and plagiarized through Gerard Genet's intertextual theory and four types of intertextuality. The purpose of research is to better understand and understand the meaning of the poems of Divan Ghaemiyat through discovering and analyzing various intertextual relations. The research method is descriptive-analytical. The result of the research showed that the extensive intertextual relationship of Divan Ghaemiyat with Sanai works is not explicit and only of the type of quotation and reference, but in some poems, implicit and hidden intertextuality, ie types of allusion and literary theft, are also present. Therefore, most of the presence of some texts of Sanai poems is evident in this divan.

“Islam” (Submission to be a Muslim), “Faith” and “Ehsan” (goodness) are the three main dimensions of worldly and otherworldly life. The documentary of this trinity is a hadith known as the hadith of Gabriel, which shows that Islam implies outward deeds, Faith in inward deeds, and Ehsan in observation; thus, the faithful people are Muslims and the people of ehsan are Muslims and faithful. Although some Sufis have interpreted Islam and faith and sometimes ehsan, Khwaja Yusuf Hamadani (435-535 AH) has a special view on these categories and is the first person who extensively include this trilogy in his two work; First in the book Rotbat al Hayat and then in the book Alkashf an Manazil al Saerin elallah. Alkashf (No. 438) is the most detailed work of Khwaja Yusuf that has not been published yet; Based on the manuscript of this book, we have tried to extract and study his views. In this article, we have shown what a special view Khwaja Yusuf had on this trinity, and explained the ascending course of man in these stages in a way that had not been discussed before him. From this perspective, man goes from the level of Islam to faith and then to ehsan, and finally, he reaches the stage of observation which Khwaja calls freedom and liberty.

Persian literature has undergone one of the most important periods of its transformation in the Indian subcontinent and the land of India, where the number of Persian manuscripts and Manuscripts in the land of India is still close to all manuscripts in Iran. Therefore, the position of Persian language in the subcontinent, in which for centuries of Persian language has been the main, official and circular of Islamic-Iranian thought and culture is very high and valuable. Research on the Persian poets and writers of the language of the period, which has left the Valuable works in poetry and prose, is an indispensable and inevitable cause; because today, we are indebted Today's glory of Persian in the subcontinent region to those who are forgotten, and maybe a name of them, even in the history of our literature time, is not mentioned. Kashmiri's vision is one of those owners of style, whose biography and detailed research about whom have not been provided; Mir Ja'far Beyg, recognized as Binesh, is a Persian-Hindi poet in the eleventh century. His ancestors migrated from Iran to Kashmir and spent their life there. Binesh was born in that land (Routledage, Kegan Paul. 1990, pp164-165). To understand each poet and work, it is necessary to examine the ideologies and thoughts of the poet, because the language is influenced by these ideas and ideologies at each level and in each age. Ideology is "a system of norms, values, beliefs, and worldviews that guide socio-political attitudes and the actions of a group, a social class, or society as a whole" (Noth, 2004). In fact, it is the individual beliefs, which are steadily and gradually learned with respect to each period of time, override and change thinking, speech, perception and individual reasoning. Binesh Kashmiri, this Indian-Persian poet, is a from Kashmir who lives in that geography and has never seen the land of Iran, but Iranian intellectual and cultural traits is quite evident in the language and expression of his poetry; this study addresses this issue to find out why a poem who has spent his entire life in Kashmir and India, but his linguistic skills and traits are entirely Iranian? It also answers these questions, who is Binesh Kashmiri and what is his poetry style? Can we visualize an image of the poet's community by examining the text of a poet's poetry? Binesh Kashmiri, like mirrorists, reflects the thoughts and beliefs of the Iranian people, which has engraved in his subconscious and manifested in his poetry. Therefore, the study of the intellectual content of Binesh Kashmiri added on the findings of Iranian history, culture and civilization during the Timurid period and maybe this type of research will lead to the establishment of discrete circles of our interactions and commonalities between Iran and the land of the India subcontinent.

The research method in this paper is library and documentary. After reaching the existing manuscripts of the work, the writer reads the manuscripts and takes note of the points given in the text, as well as studies in the books of biography and the history of literature, introduces the poet and examines his poetic themes. Then, reviewing the copies of the work and referring to library resources and authentic internet sites, the political, cultural and artistic ideologies of the Timurid period were examined and their reflection in Binesh poetry was examined. Since the research results from the handwriting manuscripts have been taken; therefore, where a verse is given as an instance, instead of page numbers, the number of the sheet is mentioned. It is necessary to state that the samples of the verses in the section (poetry works and introduction of the work) of the poet's generalities No. 705 of the Library of the British Museum. Hereafter, where the verse has been given as an instance, taken from the 1571 edition of the treasure trove of the easel manuscripts of the Tajik Academy of Sciences.

One of the important consequences of the Indian Timurid rule is the expansion of some aspects of Iranian culture and civilization in the Indian subcontinent. This was due to the fact that the great leader of this dynasty, Timur, paid special attention to the maintenance of Turkish rules and the preeminence of the Turks of Chagatai to Iranian nationals (Ajand, 1383: 825). After Timur's death, a number of his sons and grandchildren moved away from his political and cultural heritage and became an affinity for Iranian culture, art, literature and science (Razpush, 1383: 834). Babur and some of the next kings of the Indian Timurid series, including Shah Jahan and Orang Zi, were the princes who became interested in manifestations of Iranian culture and civilization. This insight and way of thinking, not only paved the way of Iranian immigrants access to the important administrative and military occupations of the Indian Timurid, but also provided some of the manifestations of Iranian culture and civilization in that land Binesh Kashmiri is an Indian –Persian poet who, despite the fact that he did not see the land of Iran even once, but his Persianism and Iranianism are quite evident in his poems. So that even a Hindi word has not been found in his court , and he uses the terms, combinations, and conspiracies used in his poetry, which is entirely Iranian, and is undoubtedly derived from thoughts and the ideas of an Iran friendship by all intents and means that have overshadowed the speeches, perceptions and individual arguments of the Kashmiri poet. Some cases have been investigated for the "You may know by the handful the whole sack"maxim in this study.

Binesh Kashmiri has emerged in the Hindi style of time, but his desire for Iraqi style is higher. Binesh, in addition to the poetry Diwan that includes the lyrics and Qsayd, has six mathnavis: Binesh-e- Absaar, , Ganj-e-Ravan, Shour-e-Khiyal, Goldaste, Reshte-e GoharT, Jawaher Nama. Iranian thoughts and passion and ideologies have had a profound effect on the poetry of Binesh. His poetry expresses a deep and lofty emotional feeling about his interest in Iranian language and culture, and has reflected Iranian ideas in his poems as a true and loyal follower of the state. What is revealed by the poems of Binesh, his personality is tied up with integrity and truth. He has embraced ethical doctrines through his poetry through the use of knowledge and thought in an eloquent and explicit terms. A deep, precise, and insightful understanding of the concepts and terminology used in his poetry, In addition to the richness and Prosperity of his poem reflects his domination of Iranian culture, language, and knowledge in his words, and is an indication of the same interest which was aforementioned. In his poems, he has repeatedly recalled some of the cities and places of the land of Iran. A land that has not even seen before death. Also, the reflection of Iranian architecture and remembrance of some traditions such as the Nowruz celebrations of that period, popular beliefs common in Iranian culture, paying much attention to the early poets of Khorasani and Iraqi style, and all of them lead to a better understanding of the poet and also to illustrate Indirectly, some of the corners of the social and intellectual history of the Indian timurid era. The poet's interest and focus is on his ancestral land.

Chahar Maghaleh or Majmaol Navader contains anecdotes, some of which are not found in any former sources. After Chahar Maghaleh, many books have mentioned anecdotes. Each text is somehow related to the texts before and after it in terms of whether the connection is direct or indirect, conscious or unconscious, and limited or unlimited. Understanding such connections helps us to better understand the text through its sources. ‘Dialogue and intertextuality’ is a theory examining the relationship between texts and works before and after them. Dialogue deals with the relationship between all systems of language, writing, image, etc., according to the social nature of human beings. Man's interest in history and the experience of the past for a better life is based on the intertextual characteristic. The present study examines the memoirs of the ninth century AH to determine the relationship among six biographies and Chahar Maghaleh. For this purpose, first, six ninth-century AH biographies were examined. The related memoirs were Majmal Fassihi, Tazkereh al-Shoara, Baharestan, and Roza al-Safa. Then the commonalities between them and Chahar Maghaleh in the fields of vocabulary/words, phrases or sentences, events, time, and places were examined. Among the ninth-century memoirs, four were related to Chahar Maghaleh in the areas under discussion, especially events.

Masnavi of Layli and Majnun, written by Ghasemi Al-Hosayni Gonabadi (982 AD Deyar bakr), was published in 2014 by Zahra Ekhteyari’s introduction, correction and annotation. Two respectable students by claiming of description of verses, have written a criticism in less than 10 pages on it. This article is written to violate and criticize their scrip. They have claim of description, without describing even one verse. Their script is mostly incorrect, inefficient and long writing. Sometimes, they have quoted some parts of the corrector’s descriptions by their own names. In some cases, they have added a second meaning to some interpretations, whereas the corrector’s method is on balance and not on verbosity; so she consciously didn’t use different meanings of one interpretation. They also plagiarize from the introduction of the book, which the corrector has written. Their script is published in a journal which isn’t approved by Science Ministry. Verbosity and false reasoning, are the most important features of the script. Their criticisms aren’t based on scientific reasons, so I don’t accept them and I fairly presented my reasons. I advise these two students to read the book more carefully and fairly, also to study the methodology of correcting text, writing introduction and formatting text..

Khanik is a historical village in south part of the Kakhk rural district, Gonabad city in Razavi Khorasan Province. Its people use different constructions of infinitive such as [mæ:jstæ:] (shahkoorzadeh, 1984: 599) and [mæstæ] (Rezaei, 1994: 429) in their speech. This verb has different meaning such as “to want”, “to like” and “to desire”. Due to the fact that different constructions of infinitive [mæ:jstæ:] are prevalent in Khanikian dialect, it is one of the most applied verb in this dialect. This verb is mostly used as an auxiliary, while it is also used as an independent or main verb, it has a memorial history to speaker and listener. Some verbs of infinitive [mæ:jstæ:] are seen in Persian texts of 4th and 5th century. This infinitive, verb or a construction of it aren’t present in great and valid dictionaries such as Borhan-e Ghate or Dehkhoda dictionary. In addition, there isn’t any trace of it in Old Persian languages. Different verbs of this infinitive have basic differences with standard Persian language such as having two stems.
The main questions of this research is about the way of constructing the rare infinitive [mæ:jstæ:] and its nature. Research questions: Are the past and present stems of the infinitive [mæ:jstæ:] different in Khanikian dialect?
What are the tenses, constructions and species of this infinitive in the past, future and imperative?
Is there a verb or a construction which is not in standard Persian? Hypotheses: Difference in past and present stems is prevalent in this infinitive, which is remained since ancient Iranian languages.
There are vast variety in present stems too.
Building method of verbs of this infinitive is different from standard Persian and other verbs of Khanikian dialect.

The method of this research was based on traditional dialectology, in which researcher talked with speakers and records their voices. Then the questionnaire which had been filled by people, were analyzed.
In this research which is the first one in its kind, different constructions of rare infinitive [mæ:jstæ:] in the past, present, future, interrogative forms, negative forms and imperative forms are described and analyzed. There are several differences among verbs of this infinitive with standard Persian. The most important point of infinitive [mæ:jstæ:] is its high frequency and diversity in present and past form.
There aren’t such diversities in other verbs of Khanikian dialect, especially in present form. In addition to current tenses in standard Persian, this infinitive has some other tenses which are not in Persian or other dialects (Ekhtiari, 2015: 36–45). A) Past tenses of infinitive [mæ:jstæ:] are included: Simple past: with [x] and with [bæ] Past progressive: with [x]
Present perfect: with [xæ] and with [bæ] Present perfect progressive: with [xæ] and with [bæ] (it rarely applies except than in first person) Past subjunctive: with [xæ] and with [bæ]
in special case (due to the replacement of identifier) with [xæ] Past progressive subjunctive: with [bæ] in special case with [xæ] (due to the replacement of identifier) Past perfect: with [x]
Past perfect (in future form): (past in future), it isn’t in old or current Persian such as [ma:yesta m boda bo bor om] (Ekhtiari, 2016: 34-36)
Past perfect progressive: with [x], Past perfect and past perfect progressive hasn’t heard with [bæ]
Ab?ad (in past present perfect form): with [x]
Ab?ad (in progressive form): with [xæ] B) Present and future tenses: Simple present in Khanikian dialect has 12 different constructions such as simple future, future progressive and interrogative form. Some important differences of infinitive [mæ:jstæ:] and four constructions with standard Persian language are as follows: Lack of infinitive [mæ:jstæ:] and its different constructions in standard Persian language. For example past progressive subjunctive, future progressive and present perfect in future are not in standard Persian.
Infinitive [mæ:jstæ:] has some present stems or roots which are in contrast with present stems in standard Persian.
There are some tenses of [mæ:jstæ:] in Khanikian dialect which standard Persian doesn’t have them.
Present and past intensifiers are different in construction of infinitive [mæ:jstæ:], while in standard Persian six intensifiers in past and present are used alike.
Making negative form of this infinitive, is in contrast with most verbs of the dialect. Sharifi (2011) believes in respect that “when there is negative element in verb construction, it is just after verbal prefix.” (Sharifi: 2011, 10), but in opposite of what is prevalent in most verbs of Khanikian dialect, verbs of infinitive [mæ:jstæ:] don’t have prefix and its negative form is in contrary with rules of other verbs in this dialect. For example positive form from a regular verb [var guftan] (to say) in this dialect is [vær gujʊ m] (I say) which its negative is [vær næ gujʊ m] (I don’t say), but when it comes with auxiliary verb from infinitive [mæ:jstæ:] negative mark is added at the beginning of auxiliary verb and it does not replace the place of identifier: [næ mæ m værgu: jʊm] (I don’t want to say).
Introducing and reviving of this infinitive will help reconstruct about 500 verbs of Persian language (its past, present, future, negative, imperative and interrogative forms) which some of them are used in old text of Persian. In addition, its different method of verb construction will help Persian language ministration in word making.

‘Az’ (greed) is one of the concepts of practical philosophy that is manifested in the thoughts, speeches, and actions of human beings. This concept is represented in Iranian classical literature represented in various narrative and non-narrative literary forms. The Iranian epic poetry, due to the narrative structure and importance of the actions in the typical human beings (heroes and anti-heroes), has more features to illustrate this concept more precisely. Regarding the reflection of the concept of "Az" in the epic literature, researchers have mainly focused on Shahnamehand did not paid attention to the epics after Shahnameh. Therefore, this study aims at specifying the origin of the concept of "Az" and its representation in the narrative structure of the two athletic poems after Shahnameh, Koush Nameh and Faramarz Nameh, in three parts of the conception, the mode of expression and action of the heroes and the anti-hero by a descriptive-analytical method. The theme of "Az" is manifested in both poems, but in Koush Nameh the content is obvious in all parts of the story, and there is not much narration in the main world of Faramarz Nameh. In both poems, the strong connection between Khosrovani and Islamic philosophy is fully perceptible in specifying the meaning of "Az". Speakers speaking about the "Az" in both poems are divided into narrators and heroes.

The epic of Shahrokh-Nameh is a Masnavi with 4700 verses that Ghasemi Gonabadi composed it about King Shahrokh and gifted it to the King Tahmasb Safavi in 950. The topic of Masnavi is about of conquests, preys, journeys, Honesty, goodness and braveries of Shahrokh Teymoori (779-850) from coronation to death. Shahrokh has not any biography except of this manuscript. Masnavi of Shahrokh-Nameh has not another manuscript in Iran, thus it was corrected according to British and French manuscripts.
After introducing of the Shahrokh-Nameh, some of the characteristics of Masnavi have been evaluated and its versions are introduced. The Saghi-Nameh of this Masnavi is introduced for the first time. Several parts of Sahrokh,s life from perspective of Ghasemi and historians of Shahrokh's period are compared. This historical epic is greatly based on historical documents and is composed according to the acts of Shahrokh. Although the description of the 43 years of Shahrokh's kingdom with about 50000 words by artistic descriptions and epic exagerations is a great work, Ghasemi has not explained the details of Sahrokh's life but nevertheless he afforded it very good. This is the first article in introducing and identification of the Shahrokh-Nameh

The women´s position in authers and translators works, is as an indicator of their perspective about the half of society. There are two translation of an Indian book, Sooke Septati (Seventy Parrots) that was accomplished in a short interval. Imad Ben Mohammad Saghri has translated the book between 713-715 from Indian to Persian and named it Javaher-al-Asmar and Zia-al-Din Nakhshabi with due attention to the Saghri׳s translation, has translated the book in730 and named it Tooti-Nameh. In addition to differences in literary aspects, the interferences of these translators in stories, created differences. The different perspective of both translators about the women in stories, is one of the important points. Due to the reputation and importance of the two works and the difference between the views of the translators, it was essential to look at their way of looking at women. In spite of the fact that general principle of the book is similar, the perspectives of Saghri and Nakhshabi about the women, are different. In spite of Saghri׳s moderate perspective about women, Nakhshabi׳s expression and conclusion indicated the hostile perspective of him about the women. In Nakhshabi׳s stories, sinful men are forgiven, but in Saghri׳s stories, there is no difference between men and women in pardon or punishment. Meanwhile, there are new points about the Saghri׳s life in this article.

Safvat al-safa is one of the mystical books in the 8th century written by Ebn e Bazzaz about the characteristics of Sheikh Safi Ardabili. This book, written in late Mongol era, has been always considered as a historical document because it illustrates the features of Mysticism and Sufism in that era especially in the west of Iran. Discovering the identity of the characters in the book while some of which have not been studied so far, gives us more information about Mysticism before the advent of Safavid. By studying the book Safvat- al-safa, we figure out the effective role of women in this era. Some of them were mystics or disciples of sheikh Safi and some of them were prominent characters in that era due to their influence on the government and society, besides their mystic trends. In this research, after the introduction, by presenting examples from stories in Safvat al-safa, 15 women are introduced in two fields of mysticism and politics , and their roles in these fields are studied.

Introduction Tarikh-e Baihaqi has been most often read as a seminal work of literature; by virtue of this fact, a great deal of its merits has been eclipsed. In this very research, the extent of demonstrating the prominence of war and military related issues will go under a close scrutiny. The prime assertion of this research states that Tarikhe-e Beihaqi presents a panoramic view of war and military affairs in Qaznavi period. Adding to the fact that Beihaqi has not been a mere chronicler, but a figure fully cognizant of war and military issues. In terms of paying close attention to the war and military affairs, Tarikh-e Beihaqi is being referred to as a towering magnum opus among other classical works.
In this very research, we indicated the fact that few remaining parts of Tarikh-e Beihaqi holds a special significance in shedding light on the very nature of obscurantism within Qaznavi period. Hence, given the textual extracts taken from the book, we elucidated and scrutinized the dark sides of Qaznavi tenure.
Embarking on studying Beihaqi, one will come across some military terms to the extent that a comprehensive understanding of the work requires and adequate knowledge of the terms. A further primary purpose of this research is to clarify and account for the military issues employed in Tarikh-e Beihaqi for its readers to make a better sense out of it.
Methodology In this paper, at first, the history of Beyhaqi, according to militarism, has been compared with some important historical works. In the next section, the fact that Beyhaqi describes military influenced by Ferdowsi is explained. The overall situation of Qaznavi Army is discussed based on the history of Beihaqi, and elements of the army are classified based on the book. In the next section, various types of weapons used in the book have been introduced and the ambiguous points have been analyzed. Moreover, the war style in Qaznavi era, according to what Bayhaqi brought in his book is investigated. Finally, in order to help the readers achieve an accurate and comprehensive understanding, scattering wars were important in areas of the war-by 421 to 432 with the image accordingly.
Discussion A Brief Look at the Expression of Military Affairs Quality as Reflected in Tarikh-i-Beyhaqi and Comparing it with a Number of Historical Books
Drawing a comparison between the prominent historical books of Qaznavi and even the following periods, we come across a significant difference in the expression of military and war affairs. As such, in terms of the expression of military details, weapons, and different ways of war, Tarikh-i-Beyhaqi stands on one side of the spectrum and the rest on the other side, i.e. it signifies a remarkable supremacy. Beyhaqi describes the whole wars with utmost precision, introduces the pillars of army, and enumerates the weapons used in the war. He does it so masterfully that its readers can visualize the war if they are familiar with the technical terms used in the book.
Beyhaqi Under the Influence of Ferdowsi in Military Description
Given the fact that in other historical books that are contemporary with Tarikh-i-Beyhaqi or its forthcoming literature, except Tarikh-i-jahangusha Juvayni, war and military affairs have been rehearsed to the extent of pinpointing historical facts, Beyhaqi’s being under the influence of Ferdowsi could account for his interest in detailed description of war and strategies. The author of this book holds an epic tone while it is a historical work.
The Image of Qaznavi Army as Represented by Beyhaqi
What can be seen in Tarikh-i-Beyhaqi is that in Sultan Masud’s army grandeur, conquest, and the characteristics regarded as positive for an army surpassed weakness, and negative characteristics. The king, as an authoritative man, takes control over the affairs, and Bayhāqī admires him throughout the book.
The Pillars of Legion and its Related Issues in Tarikh-I-Beyhaqi
In this section, the order of Qaznavi legion and its pyramid have been considered. Additionally, the different types of weapons and the issues related to the right and nutrition of legion have been specified.
War Styles, Military Conventions, and Martial Actions as Mentioned in Tarikh-i-Beyhaqi
In this section, it has been explained that the wars in Qaznavi period have taken place in the three forms of guerrilla, face-to-face, and besieging. Furthermore, this section has explained military actions.
The Wars Mentioned in Tarikh-i-Beyhaqi
In this section, all the already mentioned wars have been discussed and the geographical map of those strategies has been shown. Among the wars mentioned in Tarikh-i-Beyhaqi, all of them have been recorded as bringing victory to Qaznavi legion except two.
Conclusion Although Tarikh- i Beyhaqi is taken into consideration as a work of literature and history, but it can be a good source for obtaining military information and details of Military during the Ghaznavi period. Because the author of the book had been present in all important government events and highlights significant and detailed points for the reader.
It seems that one of the main reasons Beyhaqi pays attention to details and military issues is that he was influenced by Ferdowsi's Shahname. The similarity between Beyhaqi and Shahnameh in this issue has also been represented in the similarities between prominent characters of Tarikh- i Beyhaqi and Shahnameh’s heroes as well as the quality of wars.
On the other hand, comparing Tarikh-i Beyhaqi and other historical books and even books following Ghaznavi era shows that military matters explained in this book are different from other monuments in terms of accurate and detailed analysis. It can be claimed that Beyhaqi is not a mere court editor and author, but he can be considered as a human scientist who has mastered different sciences including military sciences.

The correction of “ Gouy va chowgan” (karnameh)made by the Ghasemi Gonabady published as enclosed to two volumes of seasonal journal of Ayeneye Mirath. This manuscript is aimed to make a critical correction on the matter with respect to the correctors, some points must need modification including: the year of versifying the “Gouy va chowgan mathnavi” is 947 instead of 977. The birthday of the Ghasemi Gonabadi mistakenly noted at 930, while versifying of Mathnavi of Shah Esmael Nameh “ is 940,” the Gouy va chowgan “ and “ Leili va Majnun was versified in 947, “ Shahrokh Nameh “,” Khosrow va Shirin “ and ShahTahmasbnameh “ in 950. Furthermore, the scientific method hasn’t been applied in the correction of the book especially in the preface and also the correctional method throught the book is not uniform and even sometimes the citations from other manuscripts are in the square bracket, but other times arent. Even the important part from different manuscript is not shown as footnote or inside the manuscript. The present research has corrected the errors and faults of the correctors based on a logical and scientific method.

Siddha Nasafi’s Baharieh (1636- 1705) is an allegorical story of fable kind. This work which is similar to Panchatantra’s stories is capable of being adjusted with contemporary literary theories such as Propp’s morphology theory. Unlike content analysis, in formal- structural analysis the story is analyzed through form and structure and the content and subject are not very much considered. Lots of folk tales can be studied using this approach. Propp’s structural approach is a suitable method to analyze stories. Because of proximity and sequence of characters’ actions, Baharieh can also be analyzed using the structural approach. Among 31 narrative units of Propp’s theory, the units of “villainy”, “struggle”, “false claim” and “reconciliation between parties” have been used more in Baharieh and hence are similar to many of Panchatantra’s stories. On the other hand, at the end of Baharieh, the debate of “lion and ant” can be compared to ParvinEtesami’s debates of “ant and snake” and “ant and nightingale” that not only have similar contents, but also share common points according to structural theory of Propp. Like Siddha Nasafi’sBaharieh, in these two debates, narrative elements of “villainy”, “struggle” and finally “victory of protagonist against antagonist” have been proposed.

The people living in the historical village of Khanik in Gonabad City have a number of peculiarities in their speaking language. The dialect of the village, for a variety of natural and geographical factors such as enclosure and lack of immigration, has remained partially intact. A unique feature of the Khanik dialect is the widespread use of a specific tense which has persisted from a long time ago. In this tense, we have the intention of doing something in the past, which has not been realized until the present time, but is expected to be completed in the future.
An example of this tense is a sentence like [ma:sta m boda bo boxoro m] (I had wanted to have eaten). This is called "future perfect" or "past in the future", which should not be confused with the "future in the past" described in some grammar books. Further, the application of some tenses unprecedented in Farsi language and structures that were only employed in the ancient texts is common in Khanik dialect.
This tense, recorded through interviews with the elderly and illiterate speakers of Khanik village, is presented based on the results of several articles on verbs in Khanik dialect and its comparison with historical and grammatical texts.

In spite of their apparent diversity and variety، Arabic and Persian maqamas are unified، which is the result of a common narrative structure. The main purpose of this study is to uncover this common structure. To this end، 124 maqamas including those of Hamadani، Hariri and Hamidi were analyzed based on Vladimir Propp’s morphology theory. The results indicated that Arabic and Persian maqamas are similar to each other in terms of character types and functioning. Moreover، in 31 functions and seven areas، they are in line with Propp’s theory. Such an approach allowed us to investigate all of these 124 maqamas within a single model and to conclude that narrative structure of these maqamas is the result of a single and primary plan، which has been effective in creation of this genre.

Maqama refers to a type of technical and riming prose such as narrative, humorous writing and literary notes. Many studies have been conducted into the technical prose and writing style of maqama, however, the Arab and Persian critics and researchers have not paid any attention to the speech acts of this genre. “Fel-sakbaj” is written by Ghazy Hamid-o-din Balkhi. Noticeable similarities between “Fel-sakbaj” and “Almozyrye” have led some people to introduce “Fel-sakbaj” as a translation of “Almozyrye”. The purpose of this paper is to reject this theory. To this end, “Fel-sakbaj” and “Almozyrye”, were analyzed based on speech acts theory. the results of the study indicated that “Fel-sakbaj” is not pure imitation of “Almozyrye” and also it is broader than “Almozyrye” and speech acts of “Fel-sakbaj” is more variable than “Almozyrye”. Because of these features, Ghazy Hamid-o-din Balkhi has been able to give more dynamic narrative to Persian-speaking audiences.

MaqamateHamidi is a good example of a text، which has emerged out of the previous culture and literature. This book has turned into a broad site in which various texts have been mixed in such a way that it represents an extensive array of genres. The main purpose of this study is the discovery and analysis of the intertexual relations in Maqamate Hamidi. To achieve this aim، we investigated twenty three Maqams in this this book in the light of Gerard Jeant’s Transtexuality Theory. The results indicated that MaqamateHamidi is a good example of intertexuality in a sense that different allusions to the Holy Quran are made، and also Arabaic poetry is extravagantly is used. Moreover، Hamidi’s book is greatly modeled on Hamadani and Harriri’s works، which attest to the intertextual nature and diversity of voices within this book. This intertexuality reinforces the coherence of meaning in this text، which is in line with Gerard Jeant’s Intertexuality Theory.