منوچهر اکبری

Undoubtedly, one of the most influential and prolific academic writers in recent decades in the field of Persian language and literature is Mohammad Reza Shafiei Kadkani. This author has a special style in writing his books that is somewhat different from contemporary writers. This difference, in addition to the attitude and thinking to the type of word combination and the way they use different types of words, both Persian and non-Persian, and the composition of these elements is also fully related. Parts of these vocabulary is the involved words or loan words. The main purpose of such research is to analyze the elements and components of a significant and effective authorial work and using this data to approach a corner of the dimensions and causes of its impact. This research uses statistical and quantitative research method to study two books: Poetry Music and Persian poetry Periods and its constituent elements, that`s mean, words, and to determine the nationality of words to a large extent. Also, different parts of these two books have been written at different times and places. This issue has significantly affected the findings. That is, different times and places have affected the type and even the number of loan terms used. Arabic loan words (first lank loan words) is divided into 4 categories: literary terms, sources, constraints and letters.

Travelogues are valuable artifacts that provide firsthand accounts of historical, social, cultural, religious, and literary events. They offer a comprehensive perspective for examination from multiple angles. In ancient Persian literature, travel writing has a rich historical tradition. Approximately a millennium has elapsed since the composition of Nasser Khosrow's travelogue. Subsequently, several travelogues have been authored, serving as compelling evidence of the authors' meticulousness and the audience's profound fascination with this genre of literature. During the Qajar dynasty, travelogue writing played a significant role. Travelogue writing has never been as popular as it is in today's age. Each author in these travelogues examined travel concerns and events from a distinct perspective, focusing on particular aspects. During the Qajar era, the proliferation of this genre of literature led several intellectuals to use travelogues as a means of disseminating information and documenting historical occurrences. The present research has focused on extracting and analyzing prevalent topics and themes in travelogues from this era. To achieve this, we have carefully chosen a selection of significant and comprehensive travelogues from this time period. After a thorough examination of their content, we identified the shared characteristics and themes present in these travelogues. Surveys indicate that these subjects are prevalent in the majority of trip narratives: 1. Worship and adoration of God 2. Explanation 3. Evaluation 4. Inconsistency 5. Providing insufficient information 6. Describing the present circumstances and articulating spiritual states 7. Remorse for one's native land.

Reality is what we experience in our daily life, which can include personal or social issues. Social realism in ancient works can affect us in today"s life by the rituals and customs of the past. Therefore, in this research, by examining the social realism that has been carried out in the stories of the Shahnameh, we will achieve this important goal, which links the author of the Shahnameh, Ferdowsi, established between myths and reality, because on the surface, the cause of the events and actions is supernatural and unreal. It is said that while most of the narratives of the Shahnameh are based on the facts of life, the author in this research also examined the social events from the perspective of social, religious, political and cultural life in the Shahnameh.

The present research is a theoretical study that was conducted as a library research. The main scope and society of the study was Ferdowsi"s Shahnameh, works and websites related to the research contents, after studying these works, the analysis and comments of the authors were included.

In this research, we find that the foundation of most literary works is based on the reality of life, and the connection and similarity of the real manifestations contained in the Shahnameh corresponds to the social reality of our lives. Although the most artistic part of the Shahnameh is the mention of superhuman adventures, and apparently, at first glance, it does not fit with the reality and logic of our human life.

It is hard to believe the acceptance of many stories of the Shahnameh in concrete human life. Although Ferdowsi"s Shahnameh has a mythical and unreal appearance; But in its heart it has preserved the roots of reality. It can be said that the Shahnameh is based on the facts of life, and not only the facts of the life of the Iranian community, but the facts of human life.

The myth and thought of the upper body, which has an ancient root, can be an allusion to the human desire to remain invulnerable, immortal and eternal life, and it reveals the human need for immortality and bravery. Man, as a living being, when he realized that death and nothingness threatens his life, he decided to find a way to get rid of death. This issue created the ideal of immortality and the appearance of the body became the long-standing desire to remain immortal. In this research, an attempt has been made to investigate the relationship between the element of water and Esfandiar's physical appearance in comparison to Siegfried and Achilles.

The current research is a theoretical study that was carried out in a descriptive and analytical way.

Some bodies are transformed by gods and superhuman beings with elements such as water and fire. In the myths of nations, there are many stories of super-body myths that often share many points, and one of these commonalities is the role of water in the super-body. Esfandiar has a special place in the Shahnameh with his mythological, religious, heroic, and epic role. The most important physical superiority of Esfandiar is the prophetic breathing in the water of Dahiti River by Zoroaster (a guardian and spiritual personality) that Esfandiar becomes a new body due to the spread of the Behi religion by washing himself in the holy water spring, and if during purification and washing his eyes It didn't close, it didn't have vulnerable parts and it remains eternal and immortal.

In comparing the physical appearance of Esfandiar, the Iranian hero, who had a human frame, with Siegfried, the hero of the German Nibelungen epic, who had a demigod example, and Achilles, the Greek hero, who had a godlike example, it is clear that Esfandiar's physical appearance is due to the following reasons. It has precedence over other mythological characters: 1) Esfandiar Pahlavi is a clean body; 2) Humanity is human; 3) He is a powerful prince; 4) His body is covered with holy water; (5) His bodily fluids have been sanctified by breathing prophetic breath; 6) His physical appearance was the reward for the spread of religion; 7) Holy water is a symbol of transformation and positive transformation; 8) Otenha was the person who chose Ruin-Teni.

The literature of the constitutional era is a mixture of socio-political conditions of the society. Poets and writers present their poems or writings to the audience based on the events of the day, either as critic, advocate or opponent. The literature study of this era is of paramount importance aligned with social and political changes to get basic texture reading, and is an excellent source for analysis and investigation in the field of sociological-semantic studies. Farrokhi Yazdi is one of the poets of turbulent times of constitutional era who dedicated his poetic talent to the service of social goals and concerns and his poems are full of social and folky themes. Diversity of social and national concepts in Farrokhi Yazdi’s poems require an analysis of its discourse with a society-oriented perspective. Discourse criticism according to Van Leeuwen’s model is helpful in better understanding the ideology and value system governing the poems’ text, as well as understanding Farrokhi Yazdi’s intellectual and social views in the constitutional era. The result of this research is not only the linguistic interpretation of Farrokhi Yazdi’s poems, but also the interpretation of the society in which this freedom-loving poet lived and struggled with its crises and difficulties. In this research, it is assumed that social-political poems of Farrokhi Yazdi contain discourse-oriented components that can be analyzed and examined by Van Leeuwen’s model. This study is done in order to discover the position of social agents and how they are depicted in the poems of Farrokhi Yazdi.In Van Leeuwen’s model, the text is not examined from the perspective of formalism, but rather the impact of social issues on the text. In this model, each text expresses the social intellectual views or the specific class of the writer or poet. The degree of utilization of power sources has a direct effect on the openness and concealment of the text in such a way that the greater access to power sources, the franker and more transparent the text and the social agents are displayed in an active manner, and the lower access to power sources, the image of social agents is more covered Although, in Van Leeuwen’s approach, sociological components are preferred over linguistic, but the analyst is still bound to use linguistic components. This is because the foundations of social functions are in language and words are linked with meaning. The current research has taken advantages of the application of nomination and categorization in the discourse approach of Van Leeuwen’s social agents. This research seeks to show the result of using these two components in Farrokhi Yazdi’s poems and rereading them in his social-political thought system. Based on this, in the first step, verses that have social-political contexts were selected. In the following, discussed components were marked in every verse and the application rate and statistic of the components were determined. The result of the study show that Farrokhi has paid much attention to deliver social matters indirectly and in a hidden way due to the asphyxiation and mutes of the era. Highest frequency based on the numbers of occurrences respectively, is assigned to the components of negative appraisement, classification, nomination and functionalization.

Naturalism is a literary perspective that considers the behaviors, attitudes and thoughts of humans originated from inner instincts and natural urge. According to the theory of naturalists, all the facts and phenomena in nature are in the field of scientific knowledge and can be justified by the laws of natural sciences.in the other words, naturalism is the formula for the application of modern science in literature.Naturalism emphasizes aspects of inheritance, environment, definitive fate, see life away from idealism and negating supernatural issues in literature,and in this way draws details which are generally ugly and disgusting. After the constitution, literary naturalism entered the field of Persian fiction through the translation of literary works and influenced writers such as SadeghChobak, SadeghHedayat, Ahmad Mahmoud, Mohammad Masoud, Ismail Fasih, etc.Examining the literary works of holy defense shows the existence of some prominent elements of naturalism such as objectivism, pessimism, black thinking, extensive description of war disasters, rare use of some unconventional expressions about warriors, attention to the science of physiology, and so on taht are seen in some of such works.This research has analyzed some of the characteristics of naturalism in the two novels "Zamestan 62" by Ismail Fasih and "Safar be Geray-e 270 Darajeh" by Ahmed Dehghan using a descriptive-analytical method and with the help of library sources.The result of the investigation based on the textual evidence shows that some naturalistic elements are prominent in these two works.It can be said that what distinguishes naturalistic works from other writings can be identified in these two novels.

More than 250 years have passed since the separation of Tajikistan from Iran. Since then, the country has suffered a lot of bitter events, but has kept its Iranian identity strong. Contemporary poetry of Tajikistan is the heir to the ancient Persian literature, which clearly shows the manifestation of Iranian culture. This article studies the poetry of five prominent Tajik poets in terms of the components of Iranian culture through a descriptive-analytical method. The study found that Tajik poets, regardless of the political boundaries of their country, are contemplating and fascinated by their cultural and literary heritage. The two elements of the Persian language and the common historical past are the most important elements shaping their cultural identity. The manifestation of Iranian culture in their poems can be seen in the form of commemoration of Persian language and the fear of its fate against various sects, citing the common past, the bow of myths and Iranian characters, especially poets and ....

Khosronameh is a poetic and romantic work that some have attributed to Attar and others have rejected this attribution. In the meantime, what is clear and recognizable is the difference in the content of this poem with other works of Attar. Khosronameh is a narration of the love story of two princes named Hormoz and Golrokh, which is somewhat reminiscent of Khosrow and Shirin Nezami Ganjavi. In this article, after a brief review of the accuracy and correctness of the attribution of this work to Attar, its allegory, types and extent in the loss letter are considered and analyzed. The purpose of the present study is to what extent the poet has been able or willing to use the art of allegory to advance his narrative and make it attractive.

This research is based on library studies and descriptive-analytical method. The study version belongs to the correction of Ahmad Soheili Khansari (1960).

Allegory is divided into two major categories: narrative (narrative) and descriptive. In the loss-making letter, it has almost no frequency in the first category (except for one case at the beginning). Unless we consider the whole story as an allegorical narrative for the insurance and instability of the world.

Among the types of descriptive allegories in the loss statement, the frequency of sending proverbs, allegorical metaphor, allegorical metaphor, and equation style are respectively higher. Placing proverbs and allegorical metaphors at the top shows that the poet is more interested in mentioning other common expressions in Persian language and literature than creating similes. This has brought his work closer to the language and understanding of the masses. Another point is that most of these allegories are also used in today"s language.

Complaint lyrics are one of the themes and types of literary subtypes, which means to confabulate from the painful events of life and express its speaker's pain and grief. Complaint poems are diverse in terms of subject matter and content. Many factors, including the sensitivities and psychological conditions of the poet, as well as the socio-political factors influencing his environment, affect the diversity of themes and concepts existing in the complaint lyrics. The political and social disturbances in society in the sixth century have led to a rise in the frequency of complaint poetry in this period. In this article, by reviewing the poems of Attar, complaint poetry has been analyzed in terms of both language and content. In terms of content, they are divided into five categories: political, social, mystical, philosophical, and personal; and each has been investigated and analyzed individually. These poems are sometimes expressed in an indirect and humorous language, and sometimes in a serious and direct way.

The present study has been conducted on the place of mysticism in the literature of sacred defense poetry. The main purpose of this study is to answer the question of whether mystical terms and teachings have been used in the literature of the sacred defense system or not; If so, how did poets use mystical terms?

This research is of theoretical type, relying on qualitative content analysis. The research method is a library method based on the study of books and articles related to the subject, which has carefully extracted and evaluated the required data from sources using the method of taking notes.

Among the studied poems, those that had a mystical approach were extracted, and based on this, it was determined that the poets of the Holy Defense often used mystical teachings and terms in their poetry, and it was also determined that the poets were mystics. Practically and theoretically, they have also taken different positions in dealing with mysticism.

What is the result of this research is the certainty of the connection between mysticism and its concepts with the literature of sacred defense (poetry) and also the fact that the diversity of views and diversity of usage in relation to mysticism, combined with intensity and weakness, in the poems of observation poets Has been.

Translation and publication of the Persian novel in the epic genre after the revolution and war; especially in the West, despite the rapid, growth of quantity, major changes and new forms of content, has been very slow. It seems, Regardless of the political aspects and disagreement of the sacred and ideological content of these works with a Western audience, at least, Failure to discover and selecting suitable examples of existing novels – which have most harmony with Western taste - is something that by Attention and correction, can be Reinforcement for Publication and promotion these works outside Iranchr('39')s borders. In this article, a random selection of war novels based on rhetorical (audience-based) criticism, Based on the national psychology of the English people as exemplified, in the manner of Kenneth Burke, is criticized and analyzed. The critique and analysis of the three novels "Clash" "Under the Cherry Tree" and "In Search of me", which are almost at the top, below and in the middle of this adaptive spectrum, are fully embodied. The result is a wide and varied range of maximum to minimum conformations, as the capacity for acceptance and persuasion by the English audience. So it seems, on the possibility of promoting and propagation a Persian novel in England, we should have to go into detail: some of these works are well-suited to be present in the UKchr('39')s cultural space, and some are not. A group may also, with some form of editing, find the context needed to better communicate and attract Western audiences for persuasion and influence. The results can also serve as a mirror for Iranian writers to expand their global audience.

The subject of the perfect man is one of the most important topics in Islamic Sufism, so much so that it can be said that the axis of all beliefs and principles of Islamic mysticism is summarized in this issue. Almost all mystics and Sufis have spoken about this subject, but Rumi has given more importance to this issue and especially in Masnavi and Divan Shams he has repeated it with more branches and depth. As it can be concluded, one of the most important pillars of Rumi's worldview and thinking is the theory of the perfect man. The present study aims to answer the main question of what commonalities and differences the image of a perfect human being has in these two works and why.

In this regard, using descriptive-analytical method, all the offices of Masnavi and Divan Ghazaliyat Shams have been examined from this perspective.

The most widely used rhetorical image in Masnavi and Shams lyric poems in describing the perfect man in the order of the sun and its belongings is the mirror, the shadow of truth, and alchemy and alchemy. The most widely used images are the manifestation of divine attributes in the perfect man and his caliphate, secrecy and secrecy, moral growth and promotion of disciples, and liberation from worldly attachments, respectively.

In depicting the perfect man in Masnavi and Ghazals of Shams, Rumi has used elements of natural phenomena, human artifacts, animals and historical figures. Most of this belongs to natural phenomena and then to human artifacts. The most important characteristic of the perfect man in the rhetorical images around him in these two works is his insight and the place of manifestation of divine attributes. Hence, the most important feature and nature of a perfect human being in Rumi's view are summarized in these two attributes.

In this paper, we examine the tone and tools of creating tone in the Shahnameh. These are distinct in various times, situations and places and in the face of different audiences and in different positions. In this review, we got into a variety of tone, usually two-tone, at the same time used together, and sometimes we are more than two tone in a speech. Sometimes a character, although it was long, was accompanied with only one or two tune. Sometimes the speech was short, but the tone changed, for example, the beginning of speech was aggressive, but in the continuation, he spoke, and the countless variations of the tone and its various types in the Shahnameh, caused that the long-being of this great feat would not be, and with the art of Ferdowsi, even sometimes the audience This is so influenced by the speech tone, which unconsciously changes the face mode and the type of reading, and with that character is also a essence.

Mysticism is the recognition and realization of the Truth with the heart, and the mystic is one who walks in this way to see God with his heart. Perhaps one of the best definitions of mysticism is: "Mysticism is nothing but an aesthetic and artistic view of theology" (Shafi'i Kadkani, 2002, 19). The best platform for the emergence of Sufi ecstasy is the field of literature, especially poetry: "Sufism is closely related to literature, including prose and order, as if the mysticism of the literary language, especially poetry, is more expressive in expressing mystical findings. A form of mystical language is a scientific or teaching language. In this language, a mystic tries to convey his findings to others in the language of order or teaching poetry, such as most of the poems in Mathnawi-e Ma'navi and Shabestari's The Secret Rose Garden " (Fanaei Eshkevari, 2013:56).Resistance literature is another literary variant influenced by the spirit of resistance and freedom of nations.  In our country, especially in the contemporary era, resistance literature has become more manifested by the literature of Holy Defense, which itself is a subcategory of resistance literature."Although there are differences among poems with themes of resistance in the period before the victory of the Islamic Revolution, the period of Holy Defense, and the postwar era, all of which are considered as periods of contemporary poetry, the common point among them is fighting against oppression, advocacy of justice, and call for resistance against the enemy" (Hejazi, 2008, 74).Eight years of Holy Defense for the Iranian people is a passion for epics, faith and mysticism, as warriors defended their religion and country with such a vision: "In the field of culture of Holy Defense, love and mysticism, valor and masculinity, courage and epic, sacrifice and devotion, faith in purpose and confidence in victory, and in one word, genuine human moral values emerged. The culture of Holy Defense is a collection of thoughts, beliefs, values, interests and attachments, common relations, and habits manifested during the Holy Defense. The areas of 'spoken', 'written', and 'behavioral' form this valuable and value-creating culture, and can naturally be transmitted to later generations" (Barzanoni, 2006,7).There are similarities between the literature of Holy Defense and mysticism, whether it is the literature of Holy Defense as epic literature, because it is the narrative of the warriors of Islam, and at the same time, our mystical literature also implies epic concepts: "A mystical front in our literature has exactly the epic form: the hero of mysticism is a hero who dreams of immortality (and immortalizes himself by joining the eternal God through fanna-fi-Allah); his enemy is a demon in the name of the soul, a pitched war between them. In this war, there is a talk of bloody roars and whales, love whales, sea of monotheism and other epic objects" (Shamisa, 2002, 46).The poetry of the Holy Defense, as its name implies, should have an epic color, and it may seem, in the first place, that this branch of literature is a subcategory of epic literature (although technically the Holy Defense literature is a subcategory of resistance literature) because it is about battle, courage, and preparation for sacrifice in the way of national ideals and values, but more carefully, the poetry of Holy Defense can be considered a subcategory of mystical literature. Iranian soldiers' view toward war was a spiritual one, and saw jihad in the way of God and being killed in war as equivalent to martyrdom, which is a high status. So, the poetry of Holy Defense, whichsuch literature, can also be mixed with mystical terms and interpretations.

Mystical terms and concepts are of great variety and illuminate the study of the poems of the Holy Defense, as well as how poets deal with them. One of the terms that has taken another color is the night. Mystics make use of natural phenomena to express their spiritual experiences, and night is of no exception. Mystical terms are not mono-semantics and sometimes accommodate fruitful meanings. Night is one of these terms, the multifacetedness of which becomes clear when taking a look at mystical texts, its. The night can be transcendent and precious, on the other hand it can be degraded and represent the darkness of existence and the symbol of the human soul. The purpose of this paper is to investigate and evaluate the 'night' used in the poetry of the Holy Defense with a mystical approach.     

The value and position of the night in Islamic culture is definitely derived from the teachings of the Qur'an and the prophetic tradition, and since mysticism is not separate from Islam, in order to better determine the spiritual position of the night, we have investigated it from the perspective of Quranic verses and hadiths, and then from the perspective of mysticism to evaluate the attitude of the poets of the Holy Defense with a mystical approach to the night by specifying the spiritual characteristics of the night. Night and its value in the Qur'an .The night is very important in the Islamic religion, because God has sworn to it in the Qura'n and assigned a separate Surah (Al-Layl) to it. In contrast to the day, which is special for working and trying to live a worldly life, the night is a good time for peace and stillness, and as a result, a better heart-focused attention towards God. This is why it is recommended in the Qur'an that: " Stand vigil through the night, except for a little [of it], a half, or reduce a little from that (Qura'n, 73:2-3 ).The special emphasis of the Qur'an on performing worship and night prayers has increased the importance of the night for Muslims, especially since worship in the night is a sign of the truth of the faith of the servants: "Indeed the watch of the night is firmer in tread and more upright in respect to speech, for indeed during the day you have drawn-out engagements" (Al-Muzzammil: 73: 6-7). In the Qur'an, God has mentioned thirty nights completed with ten other nights, which is a total of forty nights of prophetic solitude with God: " We made an appointment with Moses for thirty nights, and completed them with ten [more]; thus the tryst of his Lord was completed in forty nights" (A'raf, 7:142).The night is so high in position that the Qur'an was revealed at that time: " Indeed we sent it down on the night of ordainment " (Qadr, 97:1). The existence of the nights of ordainment for man is a blessing that makes man hopeful for both the erasure of previous sins and the determination of a good fate.-Night in Hadiths The night is also mentioned frequently in the hadiths of the Prophet (s) and the Infallible Imams (a), and as quoted by Muhammad (PBUH), this mentioning is influenced by the recommendations of the angel of the revelation: "Jibrail recommending me to worship during the night made me believe that the  good people of my Ummah would never sleep, but only a part of the night " (Ibn Babiway, 1988, 13). In emphasizing the importance of the night, the Prophet (S) goes so far as to draw a line around certain people and distinguish them from other people and gives them a special title: 'The Companions of Layl (night)', who are the noblest Muslims: "The noblest people of the Ummah are the bearers of the Qur'an and those who are familiar with the night"  (Allama Majlisi, Vol 110, 230).Imam Hasan al-Askari (a) says about night in a mystical expression that he considers night as the path to truth and proximity, and thus, the night is a shortcut that brings man to his great goal as soon as possible, which is the proximity to Allah. Indeed, the proximity to Allah and reaching the position of proximity to God  is a journey which cannot take place except by staying up during the night" be 2. The Verse 103 It doesn't arrive). (Allama Majlisi, vol. 75, 380).-Interpretations of The Night in Mysticism Night is one of the multifaceted terms in mysticism. From a point of view close to the view of the Qur'an and hadith, the night has a great status that has secrets in itself.In the heart of the night, God reveals his friends and lovers, because lovers visit friends and enjoy proximity to God in the solitude of the night, away from the sight of aghyaar:"When night comes, the special friends of God will be praying: their hearts in prayer, their hearts in need, their lives in secret... When it is time for dawn, it is commanded that these doors of the victory will be opened and the skirts of the holy throne will be thrown over and those closest to Him should be extinguished by the command of the glory. Then, Jabbar-e Kaenat, with his pride, says: Every friend came with their friend in private, where are my friends?" (Meybodi, 1982, 3710)But night is a multifaceted phenomenon in mysticism. The night can also be the bedrock of pure mystical moods and the joy of worship and make proximity to God possible, it can also represent the dark part of existence and take on a negative semantic burden. The night, in the words of mystics, sometimes refers to God, for example, Shaykh Mahmud Shabestari, with the term 'bright night', refers to the right to transcendence: "The meaning of the bright night in the words of Shabestari is the 'essence of ahadith', "which is likened to the night in colorlessness and indiscriminateness, because as there is nothing to be understood in the night, in this stage of nature, which is the stage of the demise of manifestations, there is no perception, for the inconsiderate nature of proportion and constraints is all vanishing. But, it is bright because the right of the Truth is bright in Himself and everything is takes light from Him" (Sajjadi, 2004, 497).Night is sometimes a symbol of the high levels of existence: "Also, mystics, since they often look at the truth and the heart of affairs, consider the night to have esoteric and spiritual meanings and characteristics, which are mostly interpretations; for example, ibn 'Arabi interprets Layl as intellect and clergy and lunch as a appearance and tangible, and believes that it is necessary to bring man to the limits of existence. And his senses are aroused" (Asadollahi & Fathi, 2015, 12,13).The night is an allegory for 'possible' because of its darkness, and from this perspective, its semantic burden is reduced: "The darkness of the dark night is a possiblity because the possibilities are 'zill' and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 497). Also, the night in the interpretation of the wisdom of Illumination is the stage of absence and 'the position of the standing property': "The standing property are also inferred as the darkness of the night. As the night of humanity implies, is the position of the standing property. The darkness of the night is the darkness of the possibilities because the possibilities are subtle and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 496).A corporeal thing is in the position of darkness and appears to Incorporeal things as a defect. The materialistic world is Absolute darkness: "Sohrevardi considers the materialistic world to be a shadow of a black stain on Gabriel's left feather because of its inherent darkness" (Amini Lari, 2010, 3).Sometimes night, blackness, and darkness and the day and light are interdependent, which refer s to spiritual conditions. In this definition, the night represents ghabz and obstruction: "This bright day is the sign of the covenant of the heart, and that dark night is the example of a resentment. O you! who are calm in the daylight of the state, do not feel safe that the darkness of the night is a suffering. That's why the states are sometimes ghabz or bast" (Sajjadi, 2004, 497).In a summary of the mystical categories mentioned, the night is seen from the perspective of time capacity, place of solitude, secret and romantic need, joiner with true lover and mystery or discover secrets. The night, due to darkness and anti-light, represents the ego and the dark side of the existence of man, the possible and the universe of matter, as well as the stage of non-existence. From a more specialized mystical point of view, the night represents the essence of ahadith as well as the highest levels of existence.

By examining the selected poetic evidences of the Holy Defense in this paper, the night with a mystical approach in these poems has various interpretations that this diversity of perceptions can be close to the multidimensionality of the night in mysticism.From one perspective, the night is at odds with light, which can represent blasphemy and falsehood, as well as sensuality and sensuality. The night is the time for the red death, which in the poetry of the Holy Defense is equivalent to martyrdom.The night itself has no credibility or value, but it is the people who pay the price for it by their behavior or devalue it.As can be seen and the evidence quoted in this article, the night in the poetry of the Holy Defense is consistent with its mystical interpretations, but in the poetry of the Holy Defense of mystical terms and interpretations such as the essence of ahadith, rationality and clergy, and the position of the lords of the fixedness is not a sign.Two things that are specific to the poetry of the Holy Defense and are new in mysticism, are the occurrence of red death or martyrdom at night and the last night or the night of the operation.

Panegyric means praising admirable qualities of the praised which poet praises his moral and behavioral qualities during the praise odes. Praise poetry, due to its major influence and significant contribution to Persian literature, should be considered a special type of literature and along with epic, lyric and drama, it should be regarded as a type of literature. In the literary type of panegyric, personality of the praised is in position of the hero, and various subjects related to his virtues become means of the poet to praise the hero of this type of literature. Exaggeration is one of the salient features of the literary genre of panegyric, in which the panegyrists were obliged to "show the hero more than he is and to mythologize the so-called figure." (Shamisa, 2007: 254) In the literary type of panegyric, the panegyrist attempts to manifest the characteristics of the praised to the highest level of perfection by using the form of ode and by means of exaggeration, so that the praised turns into a superhuman character. Among the praised qualities, the component of justice has been one of the things that all panegyrists have used as a pretext to praise the praised. The main questions of the present research in this regard are: 1- How has the theme of justice evolved in terms of superstructure and infrastructure? What have been the tools and elements of the panegyrists regarding the theme of justice? In what context have been the innovations of panegyrists regarding the infrastructure of the theme of justice?

 Methodology of research:

The research of the present article has been done analytically and descriptively and the relevant information has been collected in a library manner; Thus, the praise poems of ten panegyrists (Rudaki, Farrokhi, Ansari, Manouchehri, Ghatran, Massoud Sa’d, Abol-faraj, Moezzi, Anvari and Khaghani) have been the subject of research from the beginning to the end of the sixth century. During the research process, in the first stage, the evidence related to the component of justice is extracted from the two poets and in the next step, it is examined in two general categories, under the headings of superstructure analysis and infrastructure analysis.

3-1- Superstructure analysis of the theme of justice The main feature of the theme of justice in the Samanid and Ghaznavid eras is the use of tangible and material images. Most of these images are superficial and have only a confirmative aspect. The poet's imagination does not go beyond the outer shell and superficial relations of phenomena. "The meaning of the words of this type of image does not exceed the literal meanings and stops at the level of apparent and approximate meaning or only in description and expression." (Fotouhi, 2009: 59) In the Seljuk era, the poet's imagination is not limited to the superficial shell of objects, and dealing with superficial images does not satisfy his sense of modernity. The main innovation in the theme of justice is limited to images that are obtained from two tangible and sensible components, such as: miracle of justice, wine of justice, wheel of justice, sword of justice, water of justice, sleeve of justice, flower of justice, smell of justice, spy equity, breeze of equity, mount of justice, Seedlings of justice , Government of justice, Dress of Justice, etc. The ingredients of the theme of justice, in the Rudaki and Ghaznavid periods, are generally provided from the material elements of nature and are used quite simply and without any obligation during the poem. Things like: runnels and flowers, animals and birds and other landscapes and everything else that the poet has been dealing with every day and has been concrete and tangible to him.What is more prominent in the Seljuk era than any other subject in the superstructure of the theme of justice is related to the extraction and implementation of components and elements of religious stories and narrations, the most important of which are: the story of Prophet Moses and the miracle of his staff,the blindness of Prophet Jacob and the shirt of Prophet Joseph, the story of The Prophet's journey from Mecca to Medina and his hiding in the cave of Hara, the story of Noah's flood and the landing of the ark on Mount Judi, the pregnancy of Prophet Maryam , etc. 3-2-Infrastructure analysis of the theme of justiceThe panegyrists have resorted to people who have been famous in justice in all the periods discussed in the present article, in order to highlight the praised justice and to find an objective and external reward for it. In the meantime, Anushirvan Sassanid and the second caliph in terms of frequency and repetition, have been repeatedly referred to as a symbol of justice. Apart from this, from the point of view of poets praising predators and birds of prey, they were like transgressors that the praised justice cut off their aggression and forced them to give up their hunting instinct and wild temperament in order to live at peace with other animals.One of the obvious examples of the effect of praised justice in the Seljuk era is the creation of harmony and reconciliation between opposing and heterogeneous natures. Examples of this are related to the compatibility between water and fire, the equality of rose and of wine with fire and water, and the acquainting of four opposite natures in the human body with each other, as well as the deprivation of properties and phenomena, so that despite praised justice, wine has the property of hangover and the moon has lost the ability to wear linen

The result of the research shows that the subject of justice is one of the noteworthy components in praise of the praised and all panegyrists have considered it in their praises. The analysis of the construction of the theme of justice in the Samanid and Ghaznavid eras shows that the raw materials of theme making about praised justice were obtained from the material elements and the surrounding nature, their main rhetorical tools have been detailed and tangible to tangible similes. In the analysis of the infrastructure of the theme of justice in this period, innovation and exaggeration in relation to the theme of praised justice, in the first step, is related to the equality and superiority of praised justice in comparison with historical figures. Secondly, it is flexible to the effect of praised justice on the level of animals, which has put aside their wild instincts and temperaments, as well as the effect of praiseworthy justice on society.In the Seljuk era, the subject of justice gradually turns from simplicity to complexity,the panegyrist does not spare any effort to deal with the superstructure of the theme of justice, detailed and tangible similes replace compact and sensible images, to the extent that the issue of the conflict of images in themes arises. In order to find a pristine and original theme, the poet goes through all the fields and whatever helps him to invent the theme, falls into the circle of raw materials and elements of his theme making.In infrastructure of the theme of justice in the Seljuk era, panegyrists, while considering the themes of poets before them (comparison of praised justice in comparison with historical figures, the manifestation of praised justice among animals and the impact of praised justice in society) were also not unaware of innovation and creation in this field. Among the innovations and exaggerations of the poets of this era about the praised justice, we can mention the creation of an inverse relationship between the hunt and the hunter, the creation of a bond between opposing natures and the deprivation of properties and relations between objects and phenomena and landscapes.

Young poets are less familiar with classical Iranian culture and literature. The lack of knowledge of some of the young poets about the great cultural and literary heritage of our past has made their poems less and less enlightened. Unfortunately, they do not know that the prominent contemporary poets such as Nima, Akhavan and Shafi"i Kadkadi reached a degree of importance and prestige before they became familiar with Iranian classical poetry, culture, and literature and they read and understood them as well. Because of the importance of the subject, we studied the works by Qeysar Aminpour (1338 - 1338) to show the representation of classical Iranian culture and literature on his poems. Qeysar Aminpour was a PhD graduate in Persian language and literature and a professor at the University of Tehran, and worked in the fields of poetry and literary prose, as well as in the field of literary research. The research method of this article is library-based, and the basic questions are: 1. Has Qeysar Aminpour made use of classical culture and literature and the heritage of our past in his poems? 2. How has this influence from the classical Iranian literature shown itself in Aminpour"s poems? 3. Which period or literary style was Qeysar Aminpour most interested in and made use of? In this research, we studied his poems word for word and examined the various influences in terms of content, image, and showed the composition, interpretation of classical Iranian culture and literature.

This study has aimed to examine the religious characteristics represented in Persian war novels from the perspective of Critical Discourse Analysi. To do so, the religious identity of warriors in their conduct with prisoners of war, discursive presuppositions about such issues as sacrifice and martyrdom, and the attitude of warriors towards such issues as represented in Persian prominent war novels have been analyzed. The results of the study revealed that the interdiscursivity of Persian war novels is composed of religious teachings and defense strategies. Furthermore, it was found that the Islamic Revolution discourse has articulated a religious semantic system based on Islamic ideological signifiers such as Jihad, sacrifice, martyrdom etc., and that it has consolidated the meaning of discursive signifiers by modeling the ‘eventof Ashoura’ , reference to the Quran, and utilising positive comments about martyrdom and consecration of that, thus facilitating the hegemonization of this discourse.

Grimas (1917) believes that there are six positions, including the sender, the receiver, the actor, the object, the deterrent, and the assisting force, and five positions, including the initial position, the destructive force, the intermediate position, the organizing force, and the final position in each story. In the poem "Khosronameh", attributed to Attar, which is a lyrical and romantic poem, in addition to the said situations and positions, according to the role of a valuable object (Golrokh), which the main events of the story are created by his presence, except the main narrative, sub-narrative is formed with a plot separate from the main plot; As the multiplicity of characters caused numerous episodes in the story, and this is what adds to the appeal of this work. Accordingly, in this study, we intend to analyze the plot structure and the position of a valuable object in the story of "Khosronameh" based on the model of Grimas actors. The results of the present study, which has been provided in a descriptive-analytical manner using library resources, show that the existence of sub-narratives and plots hidden in the heart of the "Khosronameh" narrative, in addition to creating multiple structural patterns of plot caused suspense and various episodes.

The study of text cohesion is a linguistic tool for understanding the structure of Persian literary works based on objective and accurate descriptions using a single model. In this paper, verses from Sanai’s Hadiqat al-Haqiqah (The Walled Garden of the Truth) were studied using the theory of text cohesion by Halliday and Hassan in systemic linguistics and the results were presented in diagrams. According to this theory, cohesion has grammatical, lexical and relational devices each of which includes more detailed devices. The purpose of this paper is to analyze each of these cohesive devices in Sanai’s Hadiqat. The research method is descriptive and each of the cohesive devices is investigated by mentioning couplet samples and their repetition frequencies. The results show that among the various types of cohesion, lexical cohesion, especially contrasts, and relational cohesion, especially causal relationships, have the greatest effect on the cohesion and integrity of the verses of Hadiqat.  

In a general perspective, narratology viewpoints in the field of “story” (including novels, short stories and so on) is founded based on the narrative characteristics of the story. Therefore, for illustrating “Memory” as a narrative context with unique characteristics, we need to redefine a number of the descriptions according to fundamental ideas about narratology along with considering the special characteristics of memory. In this article, after a brief discussion about memory, its components, its narrative characteristics, the narrator’s role and James Phelan’s theory of the narrator’s reliability and we examine the role and reliability of the narrator in Ahmad Dehghan’s book Rouzha-ye Akhar based on the viewpoints of rhetorical narratology. Our main purpose is to identify the narrator’s role and his functions and to measure the reliability of his dialogue according to James Phelan’s “theory of unreliable narrator”. With this study, it is known that the narrator of the memory by using various methods such as omission, reticence, moral and ideological evaluations, repetition, etc to support his purposes and this can change him into an unreliable narrator in all three aspects of reporting, interpretation, and evaluation.

Ritual poetry is said to be an obligatory poem that, for the sake of meaning and content, is completely religious and comes from the teachings of revelation, the culture of the Etruth and the Providence. In the poem of the Mashrooteh era, according to the circumstances of the time, new themes such as oppression, justice, and the struggle against tyranny and colonialism are influenced by the Ashura movement in poetry. The ritual poets of this period are also two categories: one of the poets who, along with religious matters, also pay attention to social and political issues of time. But the second group of poets whose poems are not reflected in political or social events. During the period of Pahlavi, ritual poetry continues and its poets are in different categories: the poets of the flow of symbolism, poets of the resistance and poetry of traditionalism, who have written religious lyrics. The features of perseverance literature in poems, whether constitutional and religious, include attention to Hossein's uprising and its philosophy, praise for Jihad, as well as the design of patterns and myths, especially Islamic models such as Abu Zar, Salman, ... or contemporaries such as Mirza Koochak Khan and ..

In this research, we have studied the stylistic style of "Strolling in the Stranger's Soil" by Ahmad Dehghan. The study of the structure and content of the works of this author helps us to better understand the differences and differences of his works with his collaborators. The stylistic studies of this work are done in three linguistic, literary and intellectual levels. At the linguistic level, we examine the spontaneous and syntactic characteristics of the story "Stroll in a stranger's soil". We believe that Ahmad Dehghan has used a formalistic language. The widespread use of military terms, slang words and phrases, the removal and displacement of sentence elements from its linguistic style features. In our literary circle we will speak of a variety of literary works that highlight the language of the peasant. In this section we will also discuss the narrative methods of this author. At his literary level, he uses a new and late understanding. Another feature of the peasant's style is the poetic descriptions that accompany the introduction of objects. By this, the writer engages the audience in the story space. At the intellectual level, we will look at the specifics of the peasant in the category of war. The atmosphere of Ahmad Dehqan's stories is extremely patriarchal; this space is a condition of war. The peasant, in a minor commentary, seeks to convey the facts of the war. Also, humorous streaks can be seen in the unpleasant events of the nove

 The Writers intention in this article is to study the Herats vulgar distich couplet . These distich couplet took arouned four hundred year of time. The method of studing is like this , at first about three hundred distich couplet choosen and analysed based on them accomplished, and these results mentioned mentioned in a short formed in this article. and these results mentioned in a short form in this article. In the articles text for the limitation reason some distich couplet has been chosen from the origin distich couplet.

In order to investigate the effects of seed priming on seed germination indices and fatty acids of marigold (Calendula officinalis L.) seeds under ultraviolet radiation and temperature, a factorial experiment was conducted in a completely randomized design with four replications. The levels of treatments contained of 8 types of priming (200 and 400 mg.l-1 of gibberellic acid and potassium nitrate, -5 and -10 bar levels of polyethylene glycol, hydroperiming and control), two temperature levels (20 and 25 ° C) and two levels of ultraviolet radiation (0 and 15 minutes with 220 gms with 3 k.Gy intensity). The results showed that the use of gibberellic acid at concentration of 200 mg.l-1 could largely eliminate the harmful effects of ultraviolet radiation. Significant excesses in germination traits such as germination percentage and seed vigour were observed in seeds treated with gibberellic acid. There was a positive interaction of this hormone with other treatments. The highest seed vigour and fatty acids content were observed in 200 mg.l-1 gibberellic acid treatment without ultraviolet irradiation at 20 ° C.