ملک محمد فرخزاد

Each of the seven categories of the Persian language has the capacity and ability to create new compound words in combination with other components. In this passage, pronoun is one of the categories of Persian language which has not contributed much in linguistics and grammatical studies. Especially, the investigation of the structure of Persian language pronouns and the extent of their reproduction and expansion in the Persian language has not been the subject of research and research studies so far. Word formation through combination is the most common and main way to generate and expand vocabulary in Persian language. All the seven categories of Persian language have the capacity of composition. There have been many researches about the structure of the combined vocabulary of the verb, noun, adjective, adverb, letter and pseudo-sentence categories; But the pronoun is the only category that has not been mentioned. In this research, an attempt is made to examine the combinability capacity of all the pronouns of the Persian language and their rate of reproduction since long ago, in the area of compound derived nouns, compound derived adjectives, compound derived adverbs and compound derived letters. By mentioning Shahid examples of Persian poetry and prose.

AbuSaeed AbulKhair is the greatest mystics of Iran. Philanthropy and love for them can be considered as one of the most obvious personality traits,which is connected with love for all beings and in a word, the whole universe.AbuSaid destroys the system of conventional and idiomatic meanings and reaches a new meaning and a new definition, which is the product of his intellectual influence and the Khorasan school.The school of Khorasan has become famous for a kind of tolerance regarding religion and religious matters due to their lack of respect for the appearances of Sharia,Sekar,Shathiyat and blaming.AbuSaid has a special place as a full-fledged representative of the Khorasan school and the influence of the Khorasan school is evident in his thoughts. The main question of the research is what is the role of interpretations in creating the spirit of tolerance in the intellectual school of AbuSa'id and the school of Khorasan and what are its dimensions. In this research, AbuSaeed's attitude towards man,his way of expressing and dealing with different sections of society, followers of different religions and differences, and on the other hand, his interpretive attitude towards the world, have been investigated. The results obtained from this study indicate that Abu Saeed has interpreted the phenomena of the universe, religious texts and Sufi terms in Asrar al-Tawheed, and according to Mashrab and his school of thought, Khorasan mysticism, which focuses on making others happy and drunkenness. It is emphasized that it is kindness and compassion towards humans, creatures and existence.

The influence of theology and verbal thoughts in Persian literature is an undeniable issue, so we can observe the majority of verbal subjects in mystical works. In this study, we consider verbal scopes of Attar in his Masnavi including verbal theism and belief in behavioral determinism and wisdom dysfunction. In the conception of narrative virtue, indecency, absolute purity, and divine grace and resurrection are the most important verbal concepts of Attar in Masnavi. But it is noticeable that Attar did not accept different verbal thoughts absolutely. In other words, Attar's perspectives incorporated gnostic scopes and verbal theories. For example, in the field of theism, he believed in a beloved, lovable, and kind God while most poets knew his wrathful and unmerciful features that whatever he does is mere justice. Generally, it could be said that although Attar had the same views as other poets, in some cases, one can see ideas different from the other poets’ ideas in his works.

The issue of human homelessness is an important issue in mysticism. The most important problem of the mystic man is to move away from the original homeland, and his effort to return to the era of carpentry is the subject of all mystical books. Because of his beliefs, Aref cannot live like other people, so he often turns away from people. Considering that there are different types of homelessness and in Masnavi the mystic homelessness in different forms such as homelessness in the world, homelessness of the soul in the material world, homelessness among the apparent in this study examines homelessness among the apparent from Rumi's point of view. . This study shows that Rumi, as a pious mystic, describes the life of the great mystics in seclusion and solitude and considers the presence of the common people as a plague for conduct because often the public and the apparent do not understand the actions of the mystic and in addition When they make wrong judgments, their speech is also useless and sometimes harmful for the mystic, so solitude and traveling and away from people is a good way to cover this homelessness.

The linguistic techniques outlined in Shams's essays adequately assist the audience in expressing mystical concepts. Articles as the only work left by Shams are of particular importance in the history of literature, but have received less attention. The most important reason for this may be in the particular discourse genre of this book, what is at first glance noticed in the articles is the particular style of writing written as spoken notes, as if it were personal notes that never lost their spoken state. And it's not actually written. The oral discourse of the articles is clearly visible elsewhere in the book, and this has given rise to certain linguistic features in the book. The language used in Shams's essays is a specific language and somewhat different from the language of the earlier texts and of course the later periods. Shams's articles have their own style and style, including the use of names that can be better analyzed by analyzing their linguistic features. Onomatopoein is one of the features of spoken language that can easily represent natural situations in real language. The present study, which is a descriptive-analytic and library method designed to introduce some of the text into Shams's articles, shows that Shams has used the phonetic features of language in this work to explain the speaker's interpersonal expressions.

One of the types of poetry music is internal music, which is more often seen as a repetitive phonetic. This type of music, along with rhymes and rows, is also semantically important in addition to helping to coordinate the phonetic verses. Scholars repeat for a variety of reasons, such as focusing on an issue, showing its importance, and attracting audience feedback. Repetition has a variety of names that are arranged in verbal arrays: phonemes, puns, syllable repetition, word repetition, semantic network, Rad Alsdr Ala Al-Ajz, Rad Al-Ajar Ala Al-Sadr etc. In this study, with the aim of identifying the phonetic properties of Rumi’s Masnavi and Sanaei’s Hadighat, we examine the two effects in terms of the way of repetitions using the descriptive-analytical method, and we conclude that the repetition of the word is one of the important elements in these two works. The repetition of the word in the Masnavi is more purposeful and contributed to the semantic coherence and the longitudinal relations of the verses. Other types of repetitions include Repeating at the beginning of the sequence verses, repetitions from the beginning of hemistich, phonemes, semantic networks, syllable repetition, vowel repetition which also seen in Rumi’s Masnavi and Sanaei’s Hadighat, but in both of these works have been created in an artistic manner without any tricking.

Although, like many other human phenomena, a precise and in-depth definition of mysticism and Sufism cannot be provided, in one sense it can be considered an attempt to depict a world free of violence and peace; Creating a world free from drought and bigotry with altruism, all of which are components of world peace in mysticism. Peace, as one of the most fundamental human needs throughout history, has always been the focus of philosophers, mystics and thinkers. One of the Iranian poets and mystics who plays a prominent role in spreading the concept of peace, tolerance, respect and reverence for diversity and differences between cultures and avoiding anxiety and conflict is Maulana Jalaluddin Mohammad Balkhi. Maulana peaceful thoughts and the fresh and pure life of his words can be interpreted in this regard.

The authors of this article, relying on the descriptive-analytical method, intend to extract the peace of this poet and mystic from among the various ideas of Maulana, which is expressed as "Masnavi-Manavi" due to his precious work, and after mentioning the evidence, relying on Masnavi. Rumi corrected Reynold Nicholson to describe and analyze the data and present the results.

A mystic such as Maulana has dealt well with the plagues and crises of the human soul and psyche in the form of universal teachings and has expressed the most important components of this peace with the existence of the universe in the form of his eloquent words. In fact, achieving peace, its obstacles and challenges are among the mental concerns of Maulana"s peace-loving thought.

The ontological manifestations of Maulana peace with the universe begin with the reconciliation, proportion and harmony of the opposites in the universe and end with peace with God, which is the most perfect kind of peace. The results of this research, which has been done in a descriptive-analytical manner based on library data, show that peace with nature, self, others and God are the four basic elements of peace from a universal and general perspective in Maulana style of thought in Masnavi. According to Rumi, peace is love.

In the present age, which is the era of the rule of history and historicism, the question of identifying the mythical time and historical foundations is a concern for research.Particularly, in Iranian studies,  pinpointing the border between myth and history of the national epic is arduous.For the first time, Bertles  stated about the three distinct parts of  Shahnameh with mythical , historical and athletic titles. According to this view,the age of Pishdadian era is mythical, but scholars disagree on the era of Kianyan. The existence of mythical elements in the stories of Kianyan dynasty raises the question of whether the Kianyan kings have historical characters or belong to legends and myths. In response to this question, scholars such as Windschmall and Spiegel and Darmstadt and Lommel and wikander and Dozmil have a mythical view that  Kianyan or some of the kings of this dynasty are mythical.The existence of marvelous elements in the story of Kikavus and Kikhosro is the basis of this thinking. Another group of historians  such as Henning and Mary Boevis and Chrirstensen, consider Kianyan  kings the kings of East Iran to have ruled in the historical period before Achaemenids appierance and attendance Zoroaster in the kingdom goshtasp is the basis of this thinking In the present research, the views, arguments and evidence of these two groups of researchers have been criticized.The results of this study show that historians' theory is more reliable and closer to reality.

Painting is one of the attractive and symbolic arts in Iran and the study of paintings confirms the transfer of significant individual and social concepts of such aforementioned works. Persian poetry and literature are one of the literary artworks that bestows an imperative value in conveying essential human concepts. One of Rumi's main concerns is anthropology and according to him the Quran is considered as the most influential book; the reflection of good and evil is one of such impacts represented in the Quran and on the verses of the Masnavi. This research has been done by "comparative-analytical" method. The research findings indicate that many of the models presented in Masnavi are consistent with Quranic models; the furthermost of these role models are either divine prophets or saints including: divine prophets such as: Adam, Ibrahim, Noah, David, Solomon, Saleh, Younis, Moses, Yusuf, Jesus and Muhammad (PBUH); and divine saints such as: Bayazid Bastami, Mansour Hallaj, Fazil Ayyaz and Shaqiq Balkhi among other figures. In addition; a number of human manifestations in the abyss of the oppressors of history are tyrannical kings and bloodthirsty rulers; including: Cain, Pharaoh, Nimrod, Qarun, Abu Jahl, Abu Lahab, and Hajjaj Yusuf. Rumi has applied such human patterns through symbols and signs and has often made mystical interpretations regarding the figures and events related to their lives; in this regard, his objective was to display what moral virtues or vices each of these patterns partake. In the remaining paintings from the Safavid period, concepts and themes beholding the virtue and significance of human beings can be deliberated upon.

1. Scrutinizing the human face in Masnavi and its comparison with the Holy Quran. 2. Examining the pinnacle and depth of the human face in Safavid paintings.

Research questions:

 1. What is the pinnacle and depth of man from the point of view of Masnavi and Quran? 2. What is the reflection of the human face in Safavid paintings?

Examining the factors of joy in Movlavi's sonnets, we concluded that seeking and discovering the truth and gaining the satisfaction of the Almighty, which indicates the perfection and servitude of man to his god and creates spiritual joy in him. Movlavi's kind of joy is psychic and inner. The coexistence of sorrow and joy in Movlavi's worldview with musical effects and dynamic images to express Movlavi's drunkenness and joy and spiritual joy that brings him from the world of horizons to the soul. Movlavi's approach can be described in the area of divine knowledge, especially in the "Kabir Divan", based on enthusiasm; And in proving such a claim, significant verses appear in this valuable mystical work. On the other hand, sadness and joy also play a significant role in Hafez's sonnets; Hafez considers sadness and happiness as two sides of life and emphasizes their role in life. The present article is the result of reflection and contemplation on the most prominent themes related to joy in "Koliat Shams" and Hafez's Divan.

The discourse genre is a continuum between speech and writing in which the elements of behavioral and written forms of language are intertwined. The language used in Shams’ articles is a special language and somewhat different from the language of the texts of the previous period and of course the later periods.
A speech in which the speaker did not bother to write, record, edit and modification the speech and other author or writers have written the speech. The present article aims to introduce the writing style of Shams’ articles, which is very special and interesting in the Persian written tradition and in the phonetic, morphological and syntactic layers of language units and then, in summarizing as much as possible, distinguish the spoken boundaries of Shamse Tabrizi’s articles from the written aspect and its criteria.

This research is based on descriptive-analytical method.

Shams breaks the monotonous and repetitive process of mystical texts by deconstructing and presenting a new discourse of linguistic structure and meaning and pays attention to the functions of language that were less noticed before him and in fact acquires a personal language.
 

The text in the phonetic layer, the processes of homogeneity, change and deletion, and to some extent the phonetic process of the types of changes in pronunciations, the mixture of written and spoken language, represents in Shams articles. In the morphological layer, also the name of sounds and in a few cases the nonsenses and in the syntactic layer, style, mixing speech and writing in the type of usage of verbs material, verb indentifiers , personal pronouns, verbs of an indentifier, repeated syntactic construction and omissions in the syntactic structure of sentences taken place, is visible. In all linguistic issues and in the mentioned stylistic layers, the quantity of fusion of spoken and written types of language in the discourse genre of Shams articles has been considered. The syntax of Shams’ sentences is unique. He expresses the question sentences with the same tone of speech, there is a lot of movement and behavior in his words and hand and hand gestures. The melody of his sentences with face and hands expressions , makes the presence of the speaker in his words much stronger and bolder.

Allegory is one of the most important types of genres in literature that has an important place in Persian literature and is very effective and efficient in conveying intellectual, mental, and abstract concepts to the audience. Examining the various dimensions of allegory is an important step in identifying Attar"s works and his techniques for understanding concepts and conveying the message. The Mosibat Nameh as an allegorical work that narrates the spiritual journey of the seeker of thought is a good example for this study. The main question of the research is how Attar has used allegory and its types in the presentation of mystical and moral concepts and better understanding of these themes for the audience, and as a mystic what is his view about this literary genre? The data were gathered through library method and note taking and then they were analyzed. According to the findings of the research in the Mosibat Nameh, among the narrative allegories, the most used is the parable and among the types of descriptive allegories is the using of proverbs. It can be understand that Attar has used allegorical fable more to convey complex mystical concepts than word arrangement to convey words.

Homesickness and loneliness have been taken into account by many researchers and proponents of mysticism literature from a few past decades. Since the soul -after the fall into the body- has represented as a stranger in the cage of body and due to the fact that Rumi has addressed such issue in details in Mathnawi, the researchers of this study decided to study the same. In the present paper, the soul homesickness has been investigated from Rumi’s perspective. It has been attempted to find out the principles the homesickness is based upon in Rumi’s opinion, how Rumi reacted to such homesickness and what outcomes it would bring about in the end. Rumi’s homesick thinking is based upon 4 primary presuppositions: mankind consists of both soul and body, the basis of mankind is the soul not the body, the mankind soul has the divine origin, and the mankind is constantly astray and restless due to the innate difference he has comparing to other creatures. Considering the mysticism insight, we can divide the Rumi’s homesickness by means of a cycle starting from The Soul Genesis to its Return to the Soul before the World, The Fall (Descending), The Ascending, The Ascension, and The Grief of the Loneliness and Separation. Since the Rumi has shown an eternal enthusiasm to free the soul from the body restriction, searching/finding more about this cycle seems necessary.

One of the most pivotal issues in Rumi and Zagzebski’s thoughts is the components of virtue and morals virtuosity. Patterning virtue morality by promoting and demonstrating the issue, Rumi endeavours to make his audience comprehend the morality. According to Zagzebski’s comparison with Rumi, it is believed that Rumi’s morality and virtue are as identical as Zagzebski’s. Rumi and Zagzebski concur with the view that virtue is admirable, furthermore prosperity lies in it. In fact, Rumi’s emotions and feelings are led to honesty and loyalty by his moral values, thus it gets Rumi to guide his objectives. And it meets the Zagzebski’s theory saying that processes and practices managing our emotions and desires are called moral values. Zagzebski introduces moral values’ fundamental motive as loving existence and intellectual values’ fundamental motive as loving truth. In Rumi and Zagzebski’s thoughts God is the ultimate foundation of moral values and attributes. It is also believed that God has great motivation and his virtue is the most excellent one in the universe.

Georg Gadamer offered a unique and remarkable theory which today is named as Hermeneutics or Text Interpretation. Gadamer has investigated the soul of understanding issue of understanding; In other words, for him, ontology, understanding, and conditions are more understandable than how to understand the text, and that knowledge depends on history, language, and prejudices. In this regard, philosophical hermeneutics is discussed in relation to the principle of the understanding phenomenon, to interpret the rules and methods of understanding, or the bases of understanding and its existential conditions. Therefore, according to this, the Hermeneutics of Rumi should be regarded as a philosophical hermeneutics. According to Molana, understanding and thinking is one of the most important aspects of human differentiation from other beings. Molana’s first exploration of the nature of understanding the subject matter that is supposed to be exchanged between him and the audience, he selects the structure of the story for this. Molana believes human is equivalent to language, precisely the same idea Gadamer suggests in explaining the relationship between thought, understanding and language, that the relationship of thought and language is the relationship between matter and form. This research is descriptive-analytic and based on library data, and seeks to show that Molana, like Gadamer, attaches great importance to the ontology of understanding and its conditions.

"Death" in public usage means "not becoming" the existence of this world and the end of life. But the writers of thought and thought in various fields of thought, especially in the realm of mysticism and Sufism, have explained the "nature and meaning of life and death" from their own point of view, based on their attitudes toward the afterlife. Sanai, who has a significant position in the field of poetry and mysticism "Praise of Death and the Conceptual Relationship between the Nature of Life and Death" is in his intellectual geometry, with a different look and special focus. He is not the first or last poet to attempt to explain the "concept of life and death But "The Death of Praise of Axis and the Stranger of Its Nature," in support of the Jajbeh brothers who specialize in the "Philosophy of Life" in the form of various allegories and various concepts entitled Beautiful Creations, in his mystical poems, especially Hadiqah al-Haqiq, It has a high and unique frequency, in this - the first Persian mystical system - we see a beautiful and varied explanation of the "concept of life and death". In this article, we have tried to study and evaluate his views and based on his valuable works, especially the precious book "Hadiqah".Al-Haqiqah "Analyze the concept and nature of life and death, the dimensions of praise death and the reasons for her longing" in dealing with this mysterious event.

Happiness, as an inner sensation, is featured in the verses of poets such as Saadi, who is one of the pioneers of the Persian sonnet. In his sonnets, Saadi points to features that create happiness and invites people towards serenity and contentment and far from sorrowfulness and grief. In Saadi's sonnets, the components of external and aphasic happiness as well as inner and infinitive happiness can be studied. The outer components of happiness, such as enjoying the beauties of nature and spring, pleasurable memories, being in the company of friends, songs, music and dance; also additionally, inner components of happiness comprising of goodness, justice, etc. Hence, the most imperative factor in regard to happiness is love. In this article, in addition to the external happiness factors mentioned, the main factor of the manifestation of joyfulness which is love will be discussed. Love is considered as the gem of Iranian painting in such a way that it is impossible to isolate the theme from the structure of the painting. This article relies on library studies and is based on a descriptive and content analysis method.

Research questions:

1. To what extent is happiness reflected and manifested in Iranian paintings? 2. What effect has the concept of happiness had on the structure of the paintings?

Research aims:

1. A study of the concept of happiness expressed in Saadi's sonnets manifested in Iranian painting. 2. To investigate and reveal the intertwined form and content of paintings with themes of joy in painting.

"Death" in public usage means "not becoming" the existence of this world and the end of life. But the writers of thought and thought in various fields of thought, especially in the realm of mysticism and Sufism, have explained the "nature and meaning of life and death" from their own point of view, based on their attitudes toward the afterlife. Sanai, who holds a prominent position in the field of poetry and mysticism, focuses on "praiseworthy death and the conceptual relationship between the nature of life and death" in his intellectual geometry, with a different kind of appearance and special attention. He is not the first and last poet to attempt to explain the "concept of life and death," but "the death of the praiseworthy death of passion and the demystification of its nature and appearance," while emphasizing the significant attractions hidden in the "philosophy of life." The format of various allegories and various concepts with beautiful illustrations, in his mystical poems, especially Hadiqah al-Haqiqah, has a high and unique frequency, in this - the first Persian mystical system - we see a beautiful and varied explanation of the "concept of life and death". In this article, we have tried to analyze the meaning and nature of life and death, the dimensions of praiseworthy death and the reasons for his enthusiasm "in dealing with this mysterious incident, through accuracy and research in his view and based on his valuable works, especially the precious book" Hadiqah al-Haqiqah. and put research."

Translators often translate rhetoric as rumor, semantics, sermon, or eloquence. Romans called oratory and orator as rhetorica and rhetor respectively. As the beauty of an architecture is the product of the exquisiteness of its different parts, rhetoric and aesthetic aspects of poetry is also the result of the aesthetics of its structural units, including the attention to the phonetic structure and the use of techniques and methods that enhance the aesthetic effects of the vocal of speech more and more. Jalal ad-Din Muhammad Rumi (Mawlana)’s skill in expressing concepts and using language is shown in his sonnets by utilizing poetic creations and artistic processing as well as various figures of speech. The mastery of Mawlana on language has a great contribution to his artistic personality and literary creativeness. As one of the most prominent Iranian poets and mystics in Iran, Rumi has skillfully used the phonological elements of the language to musically create his own words and, as a result, has had a greater impact on the addressee. By using his knowledge of language capacities especially in the field of phonology, he has not only made music and formed pictures but also has paid special courtesy to transfer the necessary concepts to the addressee. Hence, Mawlana’s prominent and distinguishing feature in this field is his selection of appropriate formal elements in order to induce his poetic meanings in a way that his sonnets are not only regarded as a suitable tool to transfer the supreme concepts of his mystic thought, but also as a kind of musical tool to impress the aesthetic emotions of the addressee. Results of this research, which are based on a bibliographic and descriptive-analytical method, show that Rumi has used phonetic clusters at all phonological, lexical and syntactical levels appropriately.

One way of expressing technique is to use metaphor in its general sense - to use one word or phrase instead of another based on the similarity between them. The use of metaphor as linguistic phenomena is not general in the literary language but specifically cognitive and mental occurrences, and what appears in language is merely a manifestation of this mental phenomenon. On the other hand, this cognitive and subjective expression of thoughts can be analyzed and interpreted in the context of critical discourse and linguistic criticism. The use of descriptive and intuitive metaphors in the poems of Nima Yushijj and Mehdi Akhavan Saleh can be one of the examples of critical discourse analysis approach from Fairclough's perspective. Accordingly, although the approach of critical discourse analysis prioritizes the relation of language, power, ideology, and discourse, the literature of nations can also be analyzed and interpreted within the framework of critical discourse and linguistic criticism. In this descriptive-analytical research based on library studies, after studying the poems of these two poets, the descriptive and visual metaphors of the poems have been identified and quantitatively and qualitatively studied. Finally, by comparing the sonnets of Yushiij and Akhavan, it can be concluded that the metaphorical application of the prevailing political and social conditions and conditions in the Akhavan’s poems can be more conclusive. According to the above-mentioned intertextual analysis both poets have been influenced by the governing social and political conditions; however, this is more evident in the poetry of Akhavan.