فهرست مطالب محمدهادی خالق زاده

The poetry of the Kohgiluyeh and Boyer-Ahmad Province has historically manifested in forms such as Yaryar, Di-Ballal, Serv, and Sharveh. The themes of these poems primarily revolve around love for the homeland and women, praise of nature, divine blessings, and the narration of local epics and battles. One of the prominent themes in the poetry of this region is nostalgia. Alongside the development of the area, the number of nomadic tribes has diminished to a minimum, and the rural landscapes have undergone fundamental changes, with an increasing tendency toward urbanization. Amidst this transition, poetry has become a means for contemporary individuals to express their longings and yearnings to return to the past, to revisit the experiences of nomadic and rural life, and to remind themselves of traditions and subcultures.Today, Lori poetry reflects the realm of recalling the sweet memories of life near mountains, plains, springs, and waterfalls. This inclination to remember the past and the desire to repeat ancient experiences - termed nostalgia - is divided into two types: social and individual. In the present study, conducted through field and library research, the various factors and aspects of social nostalgia in Lori poetry are examined. This is analyzed through examples from poets of the region, including Hassan Bahrami, Rasool Sanaei, Shahrokh Mousavian, and Fereydoun Dâvari. Recollections of sounds and scents, folk customs and traditions, longing for gatherings at night, taking up arms, setting up nomadic tents, and complaints about urban living and the changes in rural life are among these factors.

Persian literature is bound to accept oral and folk culture and literature in its text and heart. Hafez is one of the poets who nurtured the oral culture of his time and reflected it in the art of his poems. There is a verse in his poetry as follows:What should I do with your eyes and eyebrows?And the bow saddle that you draw on the patient's headThe recording of this verse is based on the edition of Abulqasem Anjavi, and Parviz Natal Khanleri, Mohammad Qazvini, and Qasim Ghani gave "I am sick", but Hossein-Ali Haravi "On the head of the patient" is more correct and the recording of Hafez Qudsi is a proof of this claim. knows However, "pulling a bow over the patient's head" is a matter of discussion. In the past, it was official that when they despaired of the patient's recovery, they would keep a big tray next to the patient and without him noticing, they would put a ball of clay in the bow and hit the tray hard to Hearing that unexpected sound, the patient will get scared and recover. This researcher in this article, which is done with descriptive and analytical method, seeks to investigate this issue by exploring popular culture, Persian literature and traditional medicine and by mentioning the mythological roots and basics of traditional medicine along with .

In the days when it rained for several days, they considered the rain to be an obstacle to work, and they started performing rituals until the rain stopped and the sun appeared. These methods are called "Sunshine" ritual. One of these sun-seeking rituals is "Chel-Kachlak" or "chehel-Kachal", which exists in the belief of some Iranian worshipers and used it in the past. Once upon a time, when the rain did not stop, a rope was prepared and the names of forty hairless people were called, and according to the name of each bald person, they tied a knot on the rope and placed it under the gutter or buried it under the ground, and the belief They believed that after this operation, the rain will stop and the sun will appear. This researcher in this article, which is done with a descriptive and analytical method, after the description and description of Chel-Kachalk in different regions of Iran, analyzed the elements in this ritual such as the number "forty in popular culture", "Kachl or hairless character". "rope" and "knot" and searched for its mythological roots and extracted its connection with folk culture and reached the results that this ritual is among the Iranian prayer rituals that By using magical elements such as tying a rope, sacred numbers and hairlessness (anti-fertility), they sought to spell the rain and make the sun appear and with this superstition "fate in their favor".

In this article, we have tried to take a look at the poet's allegory in this poem, especially the close relationship between Fakhruddin Asad Gorgani's style and two important themes, unconscious and self-conscious, can better show the poet's artistic level in adapting and paying attention to allegory. Since Weiss and Ramin's system has not been examined and considered from the point of view of allegory, the research method in this research is analytical and descriptive in the form of a library after collecting the available sources (articles and books) and commenting on them as well as After sampling, it has been done in an analytical way. Allegory in Weiss and Ramin's lyrical system is about 90% of the type of parable and 10% allegorical allegory. The most important achievement in this article is that all the parables in Weiss and Ramin belong to Sending proverbs and folk wisdom in a concise and concise language is expressive, which, of course, shows the wisdom of Wonders, literary concepts and artistic beauty in the best possible way.

Adherence is one of the literary techniques that, according to critics, can create beauty as well as cause extreme fabrication. The obligation in this research is the repetition of one or two words in each verse or stanza that the poet obliges him to mention from the beginning to the end of the sonnet, ode or fragment. The previous researchers have written "Shotor- Hojreh", the name of an ode by a Katebi Torshizi who has used two possible words "Hojreh" and "Shotor" in each verse, and many poets have imitated and followed him, but the reality It is that before Katebi, this type of poetic test, with two words that are incompatible with each other, such as "Shotor" and "Hojreh", had a history, and many poets up to the era of Qajar and Pahlavi put their taste under the torture of difficult commitments like this. have given In the current research, which was conducted in a library format, this researcher faced the question of which poets followed these difficult commitments and what other words were added to it until the era of Qajar and Pahlavi?

verse by Amir Khosro DehlaviAbstract:In the poem Shirin and Khosro by Amir Khosro Dehlavi (born: 651 AH, died: 725 AH), which was collected in imitation of Khosro and Shirin Nizami, there is a verse as follows:I am a subservient for your slaves to worshipThis verse in Shirin and Khosro, which was edited by Ghazanfar Aliyev and published by the Institute of Asian Nations in Moscow (1961) and also in Khamseh of Amir Khosro Dehlavi, which was revised by Amir Ahmad Ashrafi (1983), is the same as mentioned, means, in that verse, the above combination "Religion" is stated.In the present research, which was conducted in the field and in the library, this researcher faced the question of whether there was any revision in the above work or not? Because the key words of this verse such as "servant", "subservient" and "maid" do not have a precise semantic relationship with "ritual worship or religion".On the other hand, in the three manuscripts of Amir Khosrow's khumsa in the library of the Islamic Council, instead of religion-worship, low-level worship is mentioned to prove that it is a valid combination that Amir Khosrow borrowed from Nezami, but due to the low prevalence of this combination in Persian literature and the closeness of the writings of ritual and low in the manuscripts, it was corrected or distorted by the hand writers.

The poem "Chenisernameh" is a perceptive work of Biglari, one of the poets of the 11th century of Hijri. This work, like other lyrical poems, with the theme of earthly and mystical love, although it was written under the influence of Khosrow and Shirin Nezami, but it is not devoid of stylistic and individual poetic creativity. This system has not been noticed by researchers in terms of style. In this essay, while introducing this work, the main goal is to introduce its linguistic, literary and intellectual features.

This research was done to collect library data and information with a descriptive-analytical approach. The statistical community of all the poems of Chenisernameh is around 1000 verses.

The findings of the research indicate that Biglari, the composer of Chenisernameh poem, tries to write a love story in the fictional space of Indian lyrical literature by modeling the poem of Khosrow and Shirin Nezami. The stylistic characteristics of this work, despite the fact that it entered the field of order in the 11th century, but it reflects some of the stylistic features of the Iraqi style.

In the perceptive language style of simple words, without emphasis, Arabic words, Indian words and words, arrays such as detailed simile, irony, repetition, phonetic arrangement, puns, exaggeration, hint, etc. Has used a very simple and understandable limit. In the style of this work, it is simple, easy to understand, and away from special complexities and strange metaphors. In his intellectual style and description of romantic scenes, Biglari has paid much attention to the system, although traces of religious and mystical themes can be seen in the ending of the story regarding the lack of attachment to the world and avoiding whims and unstable loves.

The book Ma’dan ol-Javaher (Mine of Gemes) is the only available work written by Doulat Khan-e Tarzi Dehlavi, a poet and writer in the Indian subcontinent, authored in the years 1024-1025 AH and dedicated to Jahangir Shah Gourkani. This book is being kept in the form of manuscripts with libraries around the world and among them, three manuscripts are available in Iran. The present descriptive study aims to introduce and analyze the text of Ma’dan ol-Javaher. Research findings indicate that the book is composed of seventeen chapters in the same format as Golestan of Saadi, that is a mixture of prose and poetry. The book consists of thirty-six stories, and Tarzi Dehlavi considers himself the compiler of these tales, not the creator of them. Most of the poetic evidence of the book belongs to the author himself, but the verses of other Persian poets such as Saadi, Hafez, Nezami, Jami, and others have also been cited. Most of the poems cited from others belong to Saadi. This shows that Tarzi, in addition to imitating Golestan in his prose, had also an eye on Saadi's Bustan. Employing rare Indian words such as ‘sokhpal’, ‘mooti’, ‘joogi’, etc., agreements of adjectives and adverbs, word formation and the use of verbs in special meanings, the use of redundancy, and the like are among the stylistic features of Ma’dan ol-Javaher.

Mirza Mohammad Hossein Shuae Shirazi, pen named "Shuae" and tagged "Shuae al-Mulk", is one of the great biographers and poets of the Qajar era and the early Pahlavi age. Earlier researchers have talked briefly about his life and circumstances and they have not mentioned some of his works or have even made mistakes which are addressed in this essay. Unfortunately, although he is considered one of the greatest poets of Fars in that age, his bulky Divan has not been published yet. There are thirteen manuscripts of his poems scattered in the libraries of the University of Tehran, the center of the Great Islamic Encyclopedia, and the Farmanfarmayan Library; each of those copies will be introduced and discussed in this article. The data of this article have been collected using library sources and an attempt has been made for the first time to analyze the texts that Shuae Shirazi edited, wrote, or composed. In this research, Shuae's personal library, one of the few private libraries in Iran, is recognized as containing the main sources for compiling his biography; besides, some books available in that library have been identified and introduced.

Symbolic concepts have always been used in mystical literature to express mystical thoughts and ideas. Examining historical and literary texts, we find that the lion is one of the animals that have a symbolic concept in ancient cultures and civilizations as well as mystical literature, and in order to achieve other meanings, it combines this symbol with symbolic elements. Others have benefited. In this article, the researcher seeks to answer the question: in what subjects has the lion been used as a symbol in mystical literature? The purpose of this article is to study the symbolic concept of lion in mystical works, which has been done analytically-descriptively in order to study the role of lion in mystical texts and in a library way by collecting library information and documents. The result of the research shows that the word lion, in addition to being widely used in epic and lyrical literature in the field of symbol, in mystical literature has been used as the symbol of truth, Al-Nafs al-ammāra, men of God, soul, etc.

The poems of children and adolescents have a wide range of themes, among which, religious themes due to the sensitivity of religious education in childhood, have been given more attention by poets of children and adolescents, especially after the revolution. In this article, the themes and the way of expressing religious ideas in the poems of children and adolescents are examined.

This article is based on library studies and has been done in a descriptive-analytical manner.

After the victory of the Islamic Revolution, the religious poetry of children and teenagers experienced a remarkable quantitative and qualitative growth, and poets addressed new religious topics such as the Qur"an, prayer, fasting, praise and lamentation of the imams.

In conveying religious concepts, poets have used indirect methods such as prayer in the language of animals, reminiscence, question and answer method, conversation, riddles, religious stories and stories in the language of animals. From the perspective of frequency, the concept of God is one of the most widely used themes in Iranian children and adolescents" poems. In addition to this theme, child poets combine many religious themes such as praise of God, acts of worship, etc. with nature and its elements in order to be effective through indirect education and the use of the element of nature that children are well acquainted with. Increase these concepts on children.

Jangannameh, written by Mirza Hassan Atashi Shirazi (13th century AH), is a poem in Farsi about the battles of Imam Ali (a.s.) and the successors of the Shia imams, and it is one of the religious epics, half of which is written in Bahr Mutaqar and the other half in The format of the poem is written and the exact date of its composition is not known. This work is among the works of popular literature and was written under the influence of the thoughts and emotions of the masses of people, and from this point of view, examining the historical sources of its stories will be worthy of attention in order to understand the thoughts ruling the minds of the general public in the 13th century of Hijri.

The work method is descriptive-analytical and it was done with library tools. In this essay, the researcher is looking for the answer to the question, from what sources did Atashi get the stories of this war book?

In composing this work, the poet has used ancient historical sources, verses, traditions and stories, as well as some stories that were popular among the common people during the poet's time. In the meantime, he also mentioned stories that have no historical roots and seem to be made up by the minds of the common people and storytellers.

The author has taken the famous historical stories such as the Battle of Kheyber, the story of Umar ibn Abdud, and the birth of Hazrat Rasool from various ancient sources, and he has taken the fictitious stories of the battle with demons and dragons from storytellers and common people.

Doulat Khan Molla Tarzi Gowalyari or Dehlavi (11th century) is a Persian poet and writer of the Indian subcontinent, whose most important work is the book The Ma’dan ol-Javaher. This work has not been corrected yet and is kept as a manuscript. The subject of this book is moral issues, which Molla Tarzi has expressed in the form of stories. This prose work has been written in seventeen chapters imitating Sa'di’s Golestan. In this book, after praising God and praying for the Holy Prophet are discussed moral and educational issues. In the present study, which has been done in a descriptive-analytical method using library tools.The authors seek to answer how the style of book of the Ma’dan ol-Javaher. The results of the research show that many popular thoughts and street and market words have found their way into the words of Doulat Khan. The existence of Sufi and mystical terms is a sign of Tarzi's interest in mysticism. In the field of language can be seen the use of various Arabic words, ancient compounds and expressions, and ancient grammatical structure. In the literary study of the work, the existence of various imaginary forms, including similes, metaphors, metaphors and Ironies, shows the author's ability to follow Sa'di Shirazi.

There are many Persian manuscripts in libraries and private collections around the world. Despite all the efforts made to identify and revive the written treasures of Iran-Zamin, many of these writings and letters are still unknown. Persian language in Iran and neighboring countries, especially the Indian subcontinent, has been an administrative and official language for many years and people are still interested in it. Sometimes this language was taken by Persian-speaking immigrants to other regions, which was welcomed by the rulers and the people, and new works in Persian were created in these regions.
One of the countries that has a significant part of the Persian versions is the Indian subcontinent. In ancient times, the people of India and Iran had commonalities that can be seen in their language and myths and rituals (Amoozgar, 1994: 48). Much of Ibn Battuta's travelogue is about India and the spread of the Persian language there. The Indian sultans respected the Persian language; For example, Shams al-Din sings a few Persian poems in twenty-seven verses in praise of the Shah and receives a thousand dinars for each verse (Ibn Battuta, 1997: 88(.
The peak of the prevalence of Persian language in the Indian subcontinent is related to the period of Gurkanids, especially Shah Jahan Azam (1628-1659BC). During the Safavid period, many poets and writers went to India from Iran and spread the Persian language in that country, of course, Indo-Iranian scholars were also involved in the development of the Persian language (Fallah, 2009: 92-93).
The migration of writers and poets led to the writing of many literary works in the land of India, which can be seen more in the eleventh and twelfth centuries AH, so that these two centuries are the most fertile period in terms of increasing number of writers and privileges in the style of poets. Persian poetry is known in India (Shafiee Kadkani, 2005: 30). "A writer living in India wants to express more grace and has less to say, or if he has, instead of writing his own words, he has spoken about the wall and has obtained words suitable for his grace sale" (Bahar, 2007: 253). Although Mohammad Taqi Bahar has called these writers bounty sellers, if we look closely at their poems, we find that among the Persian-speaking people living in India, there are also powerful and thematic writers and poets, one of whom is the Gowalyari style.

The method of this research is descriptive-analytical.The theoretical foundations of the research are presented based on stylistic sources and using manuscripts of the work.First, various books about the author of the work;That is to say, Doulat Khan-e Tarzi Gowalyari has been studied, then only his work, The Jewel Mine, has been stylistically analyzed in three intellectual, linguisticand literary fields.

Doulat Khan-e Tarzi Gowalyari or Dehlavi is a Persian poet and writer of the subcontinent, in the 11th century AH. He is the son of Molla Ali Ahmad Fazel (Qatei Heravi, 1979: 63). Anousheh calls him one of the people of Israel (Jews) and says that Tarzi lived during the reign of Jahangir Gurkhani (1605-1628BC), is related to Molla Ali Ahmad Fadhil Ulyasat (alias 1669 BC) and this group, all they are dervishes and guardians of character and good nature (Anousheh, 2001: 1643).
His maternal ancestor was Molla Khajeh Owais Gowalyari, an astronomer and alchemist of the period of Jalal oi-ddin Akbar Gurkhani (1556-1605BC) (Qatei Heravi, 1979: 63-66). His family was educated and literate: "He enjoys his position under Jahangir Khan. His grandfather, Molla Khajeh Owais, was an expert in astronomy and mysterious sciences” (Hadi, 1995: 593).
The author of Tazkeh Rooz Roshan writes about the art and literary talent of Tarzi: One of the works that can be considered as one of the best and most influential works in the field of educational literature is Golestan Sa'di. Herman Ateh believes that Sa'di "is more moderate in his mystical beliefs and makes mysticism exclusively subject to moral goals" (Eteh, 1978: 167) Doulat Khan-e Tarzi wrote the book Ma'dan Al-Javaher in the style of Sa'di Golestan and Henri Mase has also mentioned this issue (Mase, 1990: 341). That is, both its appearance, the story in the story and the structure of the work is similar to Golestan, and in the text we encounter sentences that are similar to Golestan prose: " One day, when Saba's camouflage had made the maidens of Bostan look like all kinds of glorious plants, and the cloud-washing washed the feet of the grass-fed luminaries, he went out to hunt in the desert and meadows.”(Tarzi, 1163, Page 18).
Doulat Khan-e Tarzi lived in the Indian subcontinent and wrote his book in that land. From reading Ma’dan ol-Javaher, we sometimes come across topics and themes that are related to the nature of the Indian region. Doulat Khan-e Tarzi has shown in the Ma’dan ol-Javaher that he has religious, moral, theological and mystical ideas. The beginning of the work is dedicated to the praise of God and the prayers of the Holy Prophet, and then comes the praise of the Prophet (PBUH) and the elders of the religion; then it refers to popular beliefs and so on.
The Jewel Mine is one of the works that has been written about moral issues. As Safa has said; Tarsi's method is such that he first brings anecdotes and categorizes each category of them under moral points (Safa, 1999: 1497). Addressing all the issues raised in this work requires separate research; But in short, we can mention themes such as truth, loyalty, solitude, religion, avoiding slander and lies, justice, contentment, trust, earning lawful sustenance, and so on. Examples of ethical themes in the Ma’dan ol-Javaher are as follows: Enthusiasm: "It is unlikely in the world of enthusiasm that one would give one's sleep to another out of greed for wealth and wealth" (Tarzi, 1163, P. 20).
Generosity: "In the time of Rajah Man, who is famous among the virtuous guilds of ethics, he was a military man whom the eternal craftsman had created for the people and wrote the figures of cream and kindness on his forehead. His nature had arisen to some extent” (ibid., P. 88).Avoiding Miserliness: "Therefore, one should not lose the skirt of generosity and miserliness and should not be surrounded by miserliness" (Ibid., P. 84).Beggar: "You loved the beggar as much as you loved the beggar" (ibid., P. 78). Treasure and snake: "This treasure is neither the trouble of a snake nor the protection of a guard" (ibid, p. 4). Water of life: "He was oblivious to this water of life, every drop of which is worth a thousand eternal lives" (ibid., P. 4).Stranger sciences: "Allameh is a demon who is skilled in the science of ghosts and other alien sciences and brings out the unrepeatable magic every time" (Ibid., P. 73).
Demon: "The demon-possessed and ill-possessed demon ruled this city" (Ibid., P. 73) Fairy: "He thought that the fairy was locked in that dark house" (Ibid., P. 95). In his book, Molla Tarzi Dehlavi also refers to mystical issues and themes, which indicates his familiarity and interest in mysticism. Some of the stories he mentions are mystical and allegorical. The author has spoken about love many times by mentioning love stories. The second chapter of the book of the Jewel Mine is about love and affection and the joining of the true beloved.

Doulat Khan-e Tarzi Gowalyari or Dehlavi is a Persian poet and writer who lived in the 11th century in the Indian subcontinent. The only effectTarzi is called Ma’dan ol-Javaher. The work of this work is in the field of educational literature. This work is written in imitation of Golestan Sa'di and the author tells anecdotes and stories in seventeen chapters. Ma’dan ol-Javaher, like other works of Persian language, has started with the praise of God and the prayers of the Prophet and the Imams. The following results were obtained from the stylistic study of this work: Tarzi pays attention to educational and moral themes, and the author, with a prose mixed with poetry, some of its moral concepts are; Enthusiasm, avoiding theft, justice, chastity, generosity, loyalty, avoiding stinginess and enthusiasm, chivalry, respect for guests, avoiding slander, thanksgiving, etc. Tarzi Gowalyari is interested in mysticism and Sufism and also mentions mystical themes in the margins of the stories.The author has used many similes in the field of imaginary forms, there are additional types of similes and Mersal similes.The author's use of metaphor is such that by reading the book's prose, images and poetic nuances are visualized in the reader's eyes. There are also allusions in this work, and considering that the Ma’dan ol-Javaher is a moral and educational work, and there are some instructive issues behind the allusions.

One of the best ways to introduce and introduce the cultural background of different nations and nations and their authenticity is to pay attention to manuscripts; Because these copies are part of the heritage and cultural, literary and historical birth certificate of a nation, and their introduction and correction is considered a big step in valuing and strengthening the cultural and literary foundations of a language. One of these copies is the manuscript of Mirza Taghi Sahib Ali-Abadi's Kolliat, one of the poets of the second half of the 13th century. The main purpose of this research is to introduce the manuscript of the generals of this powerful poet and to examine and analyze its stylistic features from three linguistic, literary and intellectual perspectives.

The work method in this research is descriptive-analytical and the data were collected by writing sheets and sampling the text with repeated reading and checking and selecting repetitive options. Sometimes mentioning rare cases has helped to answer and approach the research questions.

The findings of the research indicate that the content of this work has some characteristics of Khorasani style, such as old combinations and words, use of verbs in the old form, use of literary arrays, similes, intelligible allusions and exoteric metaphors. This poet has used linguistic and literary possibilities in the service of religious teachings and praising the kings and rulers of his time.

The results of the research indicate that Mirza Mohammad Taghi Ali-Abadi Mazandarani has succeeded in composing odes with a literary taste in the old style, especially the poets of the Khorasani style. The description of Mamdooh, easy-to-understand similes and metaphors, simple language and sometimes the use of Arabic compounds in a difficult context according to the requirements of the court style, mention of religious, Quranic and mystical terms is some of the features of this system.

Faqir Dehlavi is a Shiite poet of the 12th century AH and was born in the Dar al-Khalafah of Shah Jahanabad. This romantic Masnavi tells the love story of the queen, the daughter of the Roman emperor, to Imam Hassan Askari (AS). A complete copy belongs to the public library of the Ayatollah Golpayegani with the code 29/58 and the date of writing 1171 AH of this work remains. In this research, while introducing the version, its stylistic analysis has been done.

This study was conducted with a descriptive-analytical approach.

The study of this Masnavi shows that the poet has used soft music, along with the emotional tone and syllabic proportions of Bahr-e Hazaj along with the balance of words to strengthen the lyrical language of his poetry. Proportional use of various forms of imagination, the main element of which is simile, in the field of literary style, is the artistic basis of this Masnavi. His poetic language is simple and fluent, and unlike other Indian-style poets, there is no mention of the ambiguous themes and subtle fantasies in his words.

In narrating the story, the poet has used the element of emotion and feeling to promote the lyrical aspect of Masnavi. Although the poet has used rhetorical crafts to beautify and strengthen music, he has not sacrificed the meaning and concept of the word and has avoided the use of abandoned, ancient and obscure words and has used a smooth and smooth style. Nevertheless, the frequency of Arabic words, especially the plural of mokassar, is very high in his poetry. In this work, earthly love is a medium for achieving divine love.

Mir Abdul Wahed ibn Ibrahim ibn Qutbuddin ibn Mahro Belgrami is one of the most experienced and Sufi scholars in India whose mystical teacher is Chishti and the book "Sab’e Sanabel" is one of his works. The purpose of this article is to introduce, study and analyze the style of "Sabea Sanabel" manuscript. Correction of manuscripts and revival of these texts is one of the most important and fundamental fields of research in Persian language and literature.

This article has been done in a descriptive-analytical method by document and library methods. Also, while introducing the author, his works, intellectual and mystical foundations, the manuscript of "Sab’e Sanabel" has been introduced in detail and has been criticized in terms of style.

The author has been very much influenced by the Arabic language in composing this work. This is confirmed by the high frequency of Arabic words, Arabic, blue, and imitation of the context of the Arabic language in writing Persian sentences. Intellectually, the author has paid more attention to the customs, thoughts and intellectual foundations of the Chishti way than anything else. In terms of aesthetics and use of literary arrays, however, it has not been very successful and the frequency of arrays and rhetorical forms such as irony, simile, metaphor and all kinds of puns in this text is very low.

Belgrami has shown interest in using the characteristics of the ancient language and many manifestations of the ancient Persian language can be seen in Sab’e Sanabel. On the other hand, the excessive mixing of the language of this work with the Arabic language sometimes makes it difficult to understand the text. Nevertheless, in some parts of the text, especially in the narration of anecdotes, the language has become simple. Except in the preface and a few cases in the original text, we do not encounter the richness of rhetorical industries in the prose of this work; Although there are about 600 bits in this work, this frequency sometimes causes confusion and scattering of thought and order and coherence of the content.

Chenisarnameh is a newly found and unknown poem of Biglari's perception in the 11th century, imitating and weighing Khosrow and Shirin Nizami Ganjavi, with the necessity of an artistic and more accurate identification of this poem from a two-sided allegorical dimension with the goals of identifying the target and also understanding the inferential and real connections. Among the allegorical characters of the story and real, imagining imaginary characters and implementing these characters in today's world, and the artistic recognition of the alphabet in Chenisarnameh and its aesthetics from the allegorical dimension, along with their results. It also provides a better understanding of nature and human behavior than is possible for people in real life. This research is analytical, descriptive and library according to the research questions and hypothesis based on the allegorical analysis of human characters are similar to real human beings because the poet creates them, but the readers expect the character The allegories of the system should look like real characters, full and alive, believable and worthy of attention, and then the allegory of the letters in this system is an allegorical and symbolic allegory. The important and main allegorical characters in Chenisarnameh are almost the same well-known people who appear mostly in romance stories and dramas, these human allegorical characters Conroe (female), Lila and Cheneser (male) ) form the triangular shape of the story. In this article, researchers try to pursue this goal and examine these allegorical human characters in the real world.

In the field of mysticism, there is a huge volume of literary works, in prose and poetry, in Persian or Arabic, the content of which is diverse, ranging from wisdom, philosophy, interpretation of the Qur'an to hadith. The theory of Sufi beliefs and terms, and the expression of love, knowledge, and the critique of reason, and the proof of the agreement of the way with the Shari'a, ethics, customs, monastic customs, and the history of the elders, and the expression of dreams, revelations, and eloquent words are ecstatic. One of the branches of mysticism is the school of semantics, which has seven major literary indicators. Mir Abdul Wahid Ibn Ibrahim Ibn Qutbuddin Ibn Mahro Bilgirami (1161-1095 AH) is one of the most experienced and mystical scholars of India whose mystical school is Chishtī and the book "Sabaa Sanaabil" is one of his works. The aim of the researcher in this article is to introduce and study the customs, beliefs and ideas of the Chishtīyah sect in "Sabaa Sanaabil" by Mir Abdul Wahid Bilgirami with an emphasis on the school of semantics and its indicators, through a descriptive-analytical method. While introducing Bilgirami, authors criticize the intellectual and mystical foundations of his works. Findings indicate that intellectually, the author is greatly influenced by the intellectual mentality of the Chishtī sect, such as the veil, the etiquette of the disciple, the dhikr, meditation, listening, ‘Shariatmadari’, etc., so that he has discussed and referred to the ideas and intellectual foundations of the Chishtī sect.

Though females are not presented positively Persian literature, and poets usually ignore them, but when they get the role of a wife they are somehow praised, even in classical literature that again their presence is not so clear. Women in contemporary sonnets have a lofty place. They are constantly praised by poets. Men usually do not appear in Persian sonnets, whether classic or contemporary, but when they appear, they usually are not praised but criticized by women. The study tried to investigate and analyze the praise and criticism of spouse (male-female) in Persian poetry and literature. Library resources were used and a descriptive-analytical method was applied. The results showed that in classical poetry, poets do not usually speak about their spouses and even if they praised them, the poems are so limited and mostly briefly praise them in the mourning of their deaths. Men even do not appear in these poems. In contemporary Persian sonnets, however, patriarchal or man oriented thoughts have been greatly reduced, so that poets’ wives are praised and even men are sometimes praised and sometimes criticized for just being spouse. Contemporarily, poets’ lyrical thoughts has changed as not only they praise their wives, they even mention their names in sonnets. This is not seen at all in Persian classical poetry. This issue is so tangible in contemporary poetry. Spouses get sometimes the position of the poets' lovers. No more do they praise an imaginary lover. Spouses only are praised by poets.

Women have a hated face in Persian poetry and literature - especially classical literature And in the poems, he has usually been unloved by the speakers and has always been in an aura of ambiguity and secrecy. But in contemporary poetry, due to the change in the vision and thought of poets and the promotion of social consciousness, women enjoyed a high position. And was placed in the frame of praise of poets. The purpose of writing this article is the evolution of women's role-playing in contemporary poetry. The working method is library and descriptive-analytical. The results of the research show that in classical poetry, poets have spoken less than praising women and have condemned her more. But in contemporary poetry and literature, since patriarchal and populist ideas have been greatly reduced and women have been praised and praised. During this period, the lyrical mentality of poets changed and they not only opened their mouths to praise women And at three levels of lexicography, perspective, and literature, women experienced new descriptions that have no precedent in our classical literature.

Some great thinkers worked in the field of narratology including Vladimir Propp. Studying a large number of Russian fairy tales, Propp could define a consistent pattern for these tales; So, he identified 31-function pattern. Once the theories of formalism and constructivism were formed and popularized, Propp developed This type of format and structural analysis of stories. According to the mythical story plot it seems that we can find Vladimir Propp's claimed characters in Babr-e Bayān poem, whose author is unknown, and try to follow the functions. We investigate three stories in this poem: Rostam's battle with an aquatic animal called Babr-e Bayān, making Babr-e Bayān cloth from the skin of the aquatic animal for Rostam, and Faramarz conception; the stories include many fictional propositions which can be examined through the morphological components of the story.  

This is an analytical-descriptive article which attempts to investigate the structure of the epic poem of Babr-e Bayān, from an unknown author, based on the theory of Vladimir Propp. The background of the study includes the books of morphology of fairy tales and the historical roots of the fairy tales by Vladimir Propp; also, people such as Todorov, Bremond and Greimas present some ideas about structural analysis of narrative based on Propp's theories. In this regard, there are some articles such as: Criticism of Sequences of Hero's Functions in Propp's Theory of Morphology (Based on the morphology of three stories in Shahnameh) by Khavar Qorbani and Keyvan Gourk, Morphology of Mazandaran war story based on Propp Theory by Bahram Jalalipoor, and Analysis and comparison of the narrative structure of Nezami’s tales, black & sandal domes from Haft Paykar based on Vladimir Propps’ morphological patterns of fairy tales by Fereshteh Naseri, Abdulhossein Farzad, Amir Hossein Mahoozi. However, according to my investigations there are no independent research about the morphilogy of Babr-e Bayān poem based on Propp's theory. This is a library research method article which is done by analytical description of the text.

Functions pattern in Babr-e Bayān poem According to the 31 functions in Babr-e Bayān poem and the narrative process stages, and based on the 6 stages of planning for the events, complication, transfer, encountering, return, and recognition, which is the stage for functions appearance, narrative structural pattern can be as follows:β ƴ δ ζ εη ϴ AaBC ↑DEF GHJIK ↓ PrRsOL MQEXTUW All of the Propp’s functions can be find in the 6 stages of planning in this epic poem. All the functions can be observed in a symbol:β ƴ δ ζ εη ϴAaBC↑DEFGHJIK↓ PrRsOLMQEXTUW these functions indicate that this epic story is consist of a general movement and some internal movements. 31 functions can be find in the general movement. Another issue is that the story is made of the Propp’s general confrontational movements:M_________W The movements contributed directly to the balance of the stories and any problem will cause the loss of this balance, so by reaching to some kind of final function they return to the story again. A story can consist of one or more movements. The movements can also have different movements. However, it can be also a single story. Meanwhile, these movements excite the story and determine the main structure and theme of the story. The movements of Babr-e Bayān are as follow:β____________ δ However, it is necessary to consider two inner movements that occur inside the main movement, since they upset the balance of the narrative. Inside the main movement of the Babr-e Bayān, removing the two movements of “Alborz and Zal confrontation and blackmail on him” and “Galimine Goosh confrontation and submitting to Rostam” also should be considered however, However, they have not caused complexity and disrupted the norm of the story. The general movement of Babr-e Bayān is as follows:Babr-e Bayān crisis which leads to the people complain and the India opinion against him (crisis 1) Killing Babr-e Bayān by Rostam (balance) In this poem, the M__W can be find in a general movement. Motivational elements (Babr-e Bayān should be killed because he injures the Indians) and violence (Babr-e Bayān damages the property of the Indians and set fire to everywhere) affect the functions. Prop also suggested another movement organization based on content of the story:- extension through function of H-I (war and conflict) - extension through function of M-N (hard work) - extension through two functions of H-I and M-N (conflict and hard work) - extension with no function

The investigation showed 7 characters among the poem all characters. However, some characters played integrated roles; such as Galimine Goosh who has shown not only as the bad man but also found the role of a collaborator through some events. 31 functions of Propp could be find in the morphological representation but not sequentially. Extension of functions was found in the form of conflict-victory which seems that many epic stories follow this extension pattern due to their structure. It seems that Babr-e Bayān is a case which can remove an ambiguity in Shahnameh; despite some opinions who know Babr-e Bayān as a kind of tiger, it, Patyāre, is an aquatic animal that is killed by Rostam and then making cloth from its skin.

Chenisernameh is a lyric and semi-popular poetry in the minds of the Iranian people, imitating Khosrow and Shirin of Nizami in a thousand verses from the 11th century poet named Mr. Edraki Biglari. The subject of this fascinating and popular poetry is the story of Leila and Cheniser Shah along with very interesting and purposeful events. It was necessary to study, explore and adapt some of the dimensions of the mentioned works, that is, the considerable existence of allegory in this story, to further explore the horizon of thought of this poet. In this poetry, allegory is mystical and symbolic and the poet's attitude to this category is descriptive-analytical and a library with the aim of reminding the value and ability of allegory in expressing one or more mystical or moral concepts and explaining the desired result of this poet. In the poetry, he pursues a specific purpose and also identifies the lyrical story of Chenisernameh. According to the research questions and hypotheses, the reason for Biglari's perceptual tendency to the category of allegory in the lyric poetry of Chenisernameh is metaphorical, mystical and symbolic, but sometimes it is obligatory and that is when the poet can not express his intellectual concepts easily. In the field of stylistics, in a small number of verses, allegory is sometimes presented in the style of Indian allegorical ghazal, and more precisely, this is a Mathnawi poetry that the poet used both Khorasani and Iraqi styles to compose it during Indian periods, meaning that this ghazal is not an Indian style that the poet mentions in every verse in the first stanza of allegory or in the second stanza of allegory.

Majles-e-Ara is a version of moral-narrative educational texts of the 11th century AH written by Mohammad Mohsen Shirazi in forty hadiths and Majlis. The purpose of this study is to express the characteristics of the stylistic index of this work. Research

The present study is a theoretical study and has been done in a documentary (library) method.

The present study is a theoretical study and its method of data collection is documentary (library).

Categories such as the use of words, phrases, hadiths in Arabic, the use of the ancient form of continuous verbs, the use of prefix verbs, the omission of verbs to the verbal counterpart, the use of the plural verb for the singular verb, the use of prayer verbs, interest Taking from rhetorical and spiritual rhetorical industries such as rhyme, pun, simile, metaphor, allusion, etc. are important linguistic and literary features of the work. In terms of intellectual level, he has dealt with moral issues such as advice, sermons and guidance by quoting verses and hadiths from the Prophet (PBUH) and the Imams (AS) and the poems of great poets.

Majles-e-Ara is a prose work mixed with order and has a simple and fluent prose, and at the same time it has convincing words and coherent and strong combinations and includes subtle and long themes and is close to the words of prominent masters of past centuries. It seems that in this case, Saadi"s method in Golestan has had an effect on the author of the work, in which the frequency of literary arrays such as prostration, pun and metaphor is higher.

The cultural bond between Iran and India is a deep and rooted one. Both lands, although inhabited by natives, found a new identity with the migration of the Aryans. From the beginning, the Indo-Iranians had more similarities than differences and became more friends than enemies. Siti (= siti) is one of the ancient and additional traditions of Hinduism that has been practiced as a religious duty in India for many years and, today it seems to be abandoned. It is a cruel and inhumane custom - albeit by the standards of siti of the ancient and appended customs of Hinduism, which for years now - that led the newly widowed woman to voluntary self-immolation with her husband's body. In return, she was given the good news of living again with her husband (according to the theory of reincarnation) or living again with the masculine body. It was based on three axes of believing in fire, loving one's spouse, and believing in another life. According to this research, the real siti has conditions, that the first condition for calling an action a siti is the presence of the element of fire in that action, i.e. any other type of suicide (self-harm with a dagger, eating poison, drowning in water, etc.) It is not considered a siti. The second condition for being an act siti is that it should be romantic. In the real world, it may have happened sometimes that women have been forced to become siti, but what is said in the stories of siti and according to Hindu beliefs , this act is romantic and voluntary. Another condition for a ceremony to be called a sati is that it be Hinduism, and the last condition for calling a ritual a siti is that the Hindu who goes to the heart of fire for her own beliefs and love in India is a "woman".In India, widowed woman - though young, healthy and beautiful - is placed on the husband's body and the harvest of wood, incense and sandals is set on fire. They adorn the widow, wears a fine garment, and she stands firm and determined, throwing herself into the fire, or covering the woman's hands and feet with henna, and a ring on her nose. They put a veil on their noses as a sign of chastity and purity, then they put the best clothes on her, put the most fragrant perfume on her, put make-up on her, and dressed her like a bride with perfect ornaments. The woman was given a kind of narcotic drink to get rid of the fear of death. The prepared firewood was hidden behind a curtain so that the widow would not look at it so the fear of the flames would not change her decision . After leaving the woman next to her husband's body. All friends and relatives brought some gifts and asked her to take them to their loved ones in the other world. Sometimes they put a woman on a horse and people accompanied her to the place of the ceremony. When they arrive at the place of the ceremony, they cover her with uncut cotton clothes. At first, relatives, neighbors, and even the judge and the ruler of the city try to dissuade the determined widow with a promise and advice, if she did not accept and continued to insist on being siti They asked her for good prays and after accompanying her to the place of the ceremony, they watched her, She hugged her dead husband. People stood around her with long bamboo sticks so that she would not regret it and would not run away from the fire.One of the most important discoveries of this research is finding a reference to Masoudi (280-345 AH) in siti custom in Iran, which is not mentioned anywhere. He deals with a tribe of Caspian people who lived near Amol: "The peyrovane jahl in the Caspian Sea are different tribes, including the Sqlab and the Russians, who are on one side of Amol and They should burn their dead with all his tools and ornaments, and if a man dies and his wife is alive, they should burn the woman with him, but if a woman dies, they should not burn the man, and if a single man dies, they should marry him after death, Women are interested in burning because they think they are going to heaven…", There are several important points in this oldest Iranian document about the siti custom. firstly, this custom was common in Iran and secondly, this custom, unlike in India, where a woman willingly goes on fire, has been mandatory for women in Iran . Many Persian poets have attributed being siti ,husbandworshipery and loyalty of Hindu women. Anwari at the beginning of a poem composed in praise of Omar bin Mukhlis, likens burning in fire due to love .In this article, this researcher has tried to examine the history and manner of performing this custom, determine its reflection in the romantic poems of Persian literature that have not been studied so far, and to show that some of the poems that have already been titled Sitinameh, they are not, and a number of poems that have been neglected are Sitinameh according to the characteristics and coordinates of this ancient Hindu tradition. These researchers by using the reasons in the definitions, introduced and separated the Sitinameh and Sitivareا. According to this research, the poems of Abdolshakur Bazmi Dehlavi, Azar and Samandar (Hosn and Eshgh) Hesami, Azar and Samandar Zalali Khansari, Ahli Shirazi candle and butterfly, Aqel Khan Razi candle and butterfly, Seyed Mohammad Eshrati's padomat, Zaker padomat, Bostan Sokhan Emami, Padmani's story by an unknown author, Ratan and Padm's story by an unknown author, Padmavat Hassan Ghazaneh, Padmavat and Ratansin Feyz Dakani, Hosn and Eshgh of an unknown author, Padmavat Abdul Shakur Mansour Sitinameh, and the burning and melting are a kind of warmth, boiling and roaring of Sirajuddin Ali Khan Arzoo, burning and melting of Sadegh Tafreshi, And burning and melting of Molasabegh Baranasi, Hassan Dehlavi's love letter, Varasteh Kashmiri siti, Ahmad Bakhsh's love miracle nicknamed Neshat, the image of love of Faghir Dehlavi ,chansirnameh edraki Biglari, Abdullah and Radhan Farahat Lahori are Sitinameh or Sitivareh.

Earth is the symbol of coldness and renewal, the dead go underground to renew and reappear in a new form; in other words, the earth is the mother of the universe and the soil is a ground for fertility and human life. According to many verses of his poetry Divan as well as his Masnavi Hadiqat al Haqiqa, Sanai Ghaznavi is well acquainted with the ancient culture of Iran; the mythological themes are reflected in his poetry. By using descriptive-analytical method, the present article intends to examine the mythological themes related to earth in the works of Sanai Ghaznavi. The results show that Sanai, relying on rich sources of Iranian mythology and Islamic culture, has well illustrated the myths of life and creation from the earth in his works; also, he was also fully aware of the relationship of the four elements, including soil, with other elements and with the four temperaments.