سیدمهدی نوریان

Toghray Mashhadi’s Saqi-nameh is one of the literary genres that received a lot of attention, especially in the Safavid era, and detailed Saqi-namehs, often in imitation of Torshizi’s Saqi-nameh which were written in this era. Toghray Mashhadi, a prolific and capable poet of the 11th century, wrote a Saqi-nameh in nine thousand verses, which is considered the most detailed Saqi-nameh in the Persian language. He has included terms from popular culture as well as sciences such as music and botany in this Saqi-nameh with a noble imagination and created original poetic images. The deviation from norms of Toghray Mashhadi, especially in the use of Indian words, has attracted the attention of anthologies writers. Due to the fact that Saqi-nameh of Mashhadi has not been widely criticized, the present study tries to analyze the stylistic and linguistic features of this work in detail and show the innovations of it by relying on two old versions of his masterpiece.

Rashid Tabrizi is one of the most important and less prominent poets of the Safavid era in the eleventh century. Javaher-al- Asrar is one of his significant verses whose manuscripts are preserved in Malek national library and Tehran university. This masterpiece is an academic and scientific piece on precious stones which is written in verse unlike the previous jewelry books in prose, reflecting the fictional and mythical views of the past. The present research employs a descriptive, analytical method to introduce the manuscripts and examine the structure of this book with the previous jewelry books. The results indicate that while the book is affected by the previous models, it also includes some unique gems and narratives. Moreover, the book connects to Europe and India due to Iran’s international interactions during Safavid era.

Standard language is a genre of writing in scientific and academic contexts whose main objective is the fast and accurate transfer of concepts to the audience. For more than half a century there have been discussions among scholars as to the definition and instances of the standard language. Although there is no consensus among scholars vis-à-vis the standard language, it can be said that this language register has established itself through contemporary, and scientific written texts published in books and academic journals. This paper aims to describe standard language and show its uses and examples in the works of one of the prolific and outstanding contemporary writers, namely, Mohammad-Ali Eslami Nodushan. The results reveal that Eslami Nodushan has followed the role model of distinguished Persian writers such as Sa'adi while simultaneously has distanced himself from literary devices and has opted for an error-free language. Also, he was more inclined to write short and simple sentences and he could prove his own abilities and show his personal style and flexibility. Writing for more than sixty years, Eslami Nodushan has left behind a prose based on the natural functions of language that ordinary people can communicate with and experts have taken a liking to.

In this study, regarding the Third Divan of Hakim Rokna (known as Masih Kashani), the meaning of the phrase(به طرح دادن) ‘be tarh dadan’ is investigated. It is one of the controversial combinations, although it has been studied and discussed for centuries, not only has it not reached a conclusion, but everyone has gone wrong in its interpretation. The phrase is dealt with firstly based on a comprehensive study, especially by witnessing the verse of Hakim in one of the sonnets of the Third Divan. The results of this study can be an end to all verbal disputes, meaningless phrases, and incorrect arguments of the authors on the meaning of this combination, since the poet completely clarified the issue by bringing the simile of(به خرمن دادن) ‘be kharman dadan’, which is a sign of abundance, along with the combination of ‘be tarh dadan’. In the examples from other books mentioned in the study, considering the issues before and after it, this point is very clear. However, the verse of Hakim is: ما بلبلیم لیک به گلشن نمی رویم تا گل به ما به طرح و به خرمن نمی دهند /Maa bolbolim lik be golshan nemiravim/ /Taa gol be maa be tarh o be kharman nemidehand/ Translation: We are nightingales, so we don't go to garden; Until they don't give flowers to us, to.…{be tarh o be kharman} And it is clear that the meaning of this combination in Persian poetry and prose does not match the meaning of Golestan commentators and commentators of other books, and by presenting these incorrect interpretations, they only cause readers and researchers to wander. Then, the Turkish word ‘song’ and ‘Kharabeh-Dehe Song’ and other derivatives and their origins are investigated and different aspects of their meanings are depicted. Then, the importance of the combination of ‘sineh kardan’ is mentioned.

The actions and thoughts of the hero of the epic represent the aspirations and characteristics of a nation. For this reason, recognizing the characteristics of the epic hero is especially important in realizing his role in creating epic content, because the epic poet tries to emphasize the effective elements in creating the epic content by using the "heroic insight". In this research, which is done analytically-descriptively and with the aim of examining the role of "hero" in creating epic content, an attempt is made to rely on the story of "Rostam and Esfandiar", the characteristics of two unique heroes/hero of Shahnameh, namely "Rostam". (the hero of the world and the national epic of Iran) and "Esfandiar" (the hero – the Iranian prince of invulnerability) to be introduced and analyzed as the hero's influential vision in forming repetitive epic themes in Shahnameh. According to the findings of this study, the most prominent characteristics, thoughts, and actions of the two main heroes of the story "Rostam and Esfandiar", which led to the formation of the most epic story of Shahnameh are: the popularity and nationality of the hero, having a superficial character and signs of godliness, the importance of the race, the need to preserve the name and protect the sanctity of the free, the use of special weapons, the need for knowledge.

Persian literary works in verse and prose are included in authoritative document's history of intellectual, linguistics and literary Background about Persian language cultural. Introduced Manuscript of these works and check its features out is an important step in the study of linguistics and literary value of these writings. In this study, we pay attention to introduction and release of corpus of Rashid Tabrizi's Manuscript by descriptive – analytical method and check its method out. Rashid Tabrizi is one of the important poets of the Safavid era in the eleventh century who was related to the Safavid court directly. Corpus of Rashid Tabrizi has important features in terms of intellectual, linguistics, and literary that checking it out has necessary to understand the poetry of the Safavid era and the eleventh century. In general, the most important features of Rashid Tabrizi's poetry at the intellectual level, are praising Imam Ali, praising kings and courtiers, and complained Conditions of the day and art's stagnation. As well as Arabic vocabulary diversity, Mystical Idioms diversity and frequency diversity and mystical terms of the composition of the nominative, accusative and infinitive of the most characteristic of his poetry. The original property of his poetry is The frequency of similes and metaphors in verb in current literary, impressive frequency contradictory the use of puns and row verses feature high frequency.

The Devalrani and Khizrkhan Masnavi by Amir Khosrow Dihlavi, composed in 715 (Hijri lunar), not only contains awakening points about history and the community and context of India in the seventh and early eighth century (Hijri lunar), but also includes valuable information about the uses of the Persian language and its lexicon in that particular period and area. Amir Khosrow Dihlavi (651-725 Hijri lunar) is the most well-known and outstanding Persian poet in the Indian subcontinent who has left numerous and various works as heritage.One of the significant features of his poems is the use of rare and new word-formation. If we take a random look at the entries of the Dehkhoda Dictionary, below some of the entries, there are some pieces of evidence of the poems of Amir Khosrow as well as the writers and orators before him. We can even find entries with exclusive evidence from Amir Khosrow’s poems. Additionally,  some traces of his morphological innovations have been found in the works of poets and writers after him. Like Hafiz and Mohtasham Kashani, who have used ‘aeeneh ru’ and ‘vahdat abad’ in their sonnets, respectively, Bidel Dehlavi has also used ‘niaz andish’. Jami has used the word ‘belasanj’ and Orfi Sharazi and Qudsi Mashhadi have used ‘ragham sanji’ and ‘faramush gashtegan’ in their sonnets. These all have already been used by Amir Khosrow in Devalrani and Khizrkhan (the first three words), qeran sa’deyn (the fourth mentioned word), ayine-ye eskandari (the fifth word) and in a sonnet from qurat-ul-kamal (the sixth).Nevertheless, so far there have been few lexical analyses of the works of Amir Khosrow Dihlavi though, in some literary research, the works of Amir Khosrow have been occasionally examined to some extent.  Among these studies is the one entitled ‘An examination of some influential Indian words in the Persian poetry’ by Rezayi Baghbidi. In this study, Baghbidi made an etymological analysis of some words found in Persian texts and provided examples for each word from the well-known Persian poets. Among these examples are some verses from Amir Khosrow. In contrast to the study by him, Salim Neysari made a comprehensive analysis of the lexical innovations in Amir Khosrow’s poems in an article entitled ‘Innovations of Amir Khosrow Dihlavi in combining Persian words’. He set ‘Noh Sepehr’ (nine heavens) Masnavi as the basis of his work and the result of his work was a list of the compounds and words used in this Masnavi for which there is either no entry in Dehkhoda Dictionary (28 cases) or there is an entry but no examples (nine cases) or there are both an entry and examples from the works of Amir Khosrow (two cases).The present study is an attempt to select and introduce rare and new words from Devalrani and Khizrkhan and its innovative word combinations and to examine Amir Khosrow’s word-combination way to show that this well-known Persian poet in the Indian subcontinent has been successful in creating new compounds. In addition, considering the fact that some of the existing word combinations in this poem have no entries and examples in the most important Persian dictionary, i.e. Dehkhoda Dictionary, the present study also seeks to introduce these new words and word combinations to be used in this dictionary and in the future lexical analysis studies.It should be noted that Devalrani and Khizrkhan is one of the romantic-historical masnavis of Amir Khosrow. The subject of this masnavi is about the love that KhizrKhan, the son of Sultan Ala’eddin Muhammad Khalaji, had for Diveldi, daughter of Raay Karan (ruler of Gujarat). Amir Khosrow composed this romantic poem in 4519 verses in the prosodic weight of Musadas-e Mahzoof/Maqsoor in 715 (Hijri lunar).In this study, first the whole poem was studied and 240 words and compounds that qualified as new and novel were selected. Then, reviewing different poetry and prose books by poets and authors who lived before the age of Amir Khosrow, 125 words and word combinations, which had been already used in these texts were put aside. For this purpose, in addition to searching the digital version of the Dehkhoda Dictionary and digital library of Noor and Noormags database, and the Ganjoor website, various textbooks in print were also searched including Tafsir-e Nasafi, Koush-nameh, Monsha’at-e Khaqani, Ali-nameh, Loqat-e Fors, Sha’eran-e Bi-divan, Mersad ol-Ebad, Nafthat ol-Masdoor, Faramarz-nameh, Tarikh ol-Vozara, Sandbad-nameh, Divan-e Najib od-Din Jorbazeqani, etc… .The results of analysis revealed a final number of 115 words and compounds not used in the works before Devalrani. These words were classified into different groups as follows:Group A: words or compounds for which there is no entry in Dehkhoda dictionary or there is an entry but the meaning intended by Amir Khosrow cannot be found in Dehkhoda dictionary (85 cases);Group B: words and compounds with entries in the Dehkhoda Dictionary but no examples (19 cases);Group C: words and compounds with entries in the dictionary and examples from Devalrani and Khizrkhan (four cases);Group D: words and compounds for which there are examples from the poets after Amir Khosrow (five cases); and finallyGroup E: words the meanings of which have been provided in the Dehkhoda Dictionary but with examples from the verses of other works of Amir Khosrow (two cases). The results show that Devalrani and Khizrkhan contains a number of unique and novel words and word combinations that not only reveal the poet’s skill and talent in producing new words but also reflect the lexical environment of the Persian language in India at the end of the seventh and early eighth century (Hijri lunar). Furthermore, a part of the lexical benefits of these sets of words includes the unique names and proper nouns used in this text. Out of these names, 11 names are Indian proper names used to refer to ethnicities and groups, social titles, carriers and riding animals, musical instruments, flowers and plants, one of the gods of the ancient India, and also materials and clothes. Besides these Indian proper names, there are a number of Persian names and proper names related to the living environment in India in this poem. These names also refer to ethnic groups, a type of riding animal, one of the coins being used at that time, a type of material, two types of flower and plant, and one of the partners. Additionally, an alternative word is used for riddle and spy news.In addition to these words, this romantic-historical masnavi has preserved some unique word combinations within it; words combinations that the poet has created using 31 non-repetitive (unique) methods.

Literary language and poetic aspects arise from deviating from the linguistic norms for artistic purposes. In the formalism theory, this is called "defamiliarization". One of the most important aspects of deviating from the norm of automatic language and defamiliarization is the semantic norm-breaking obtained by using imaginary forms and creating novel semantic relationships. The Indian style poetry pays special attention to defamiliarization and breaking the norms of automatic language in semantic domains; therefore, most of the poets of this period have focused on creativity in the field of new themes and images. Rashid Tabrizi, known as Rashid Abbasi, is one of the poets of the 11th century AH and the Indian style period. In his poems, he has used various methods of imaginary elements. Therefore, the study of semantic norm-breaking in Rashid Tabrizi's poetry shows an important dimension and stylistic aspect of his poetry. Among Rashid Tabrizi's works, the two Masnavis, Hosne Glousoz and Saqinameh, concerning the unity in form, subject, and content, as well as the quantity, which differ by only about ten percent, are suitable for analysis of semantic norm-breaking. The quantity of these two works provides sufficient data for frequency studies. In this article, using the  descriptive-analytical method, , semantic norm-breakings in the two mentioned Masnavis have been examined. In addition to a comparative study, this article aimed at identifying the outstanding features of Rashid Tabrizi's literary style in the field of semantic relations and imageries. Different types of semantic norm-breaking found in Rashid Tabrizi's poetry in this article are as follows: simile (compound simile, predicative simile, and allegorical simile), metaphor, personification, implicit metaphor, metaphor in the verb, synesthesia, paradoxical (paradoxical compounds, predicative paradoxes), exaggeration, kenning (paradoxical kenning, predicative kenning), and poetic scales. Also, in  this article, the images and similarities of Rashid Tabrizi's poetry are examined and his most frequent semantic networks are investigated Based on frequency studies, the simile is the most frequent method in semantic norm-breaking of Rashid Tabrizi's poetry seen in most of the verses of the studied Masnavi. Also, most similes are additional combinations, which are also mentioned in Hosne Glousoz and Saqiynameh. Many of these combinations are novel, and some are paradoxical. The new combinations in Rashid Tabrizi's semantic norm-breaking, except for simile, include metaphorical additions, paradoxical combinations, and ironic combinations. Also, in some cases, synesthesia is observed. Hence, after many uses of simile and metaphorical additions, the construction of additional or descriptive novel compositions is the most important feature of the poet's stylistics in the field of semantic norm-breaking. In the studied works, the explicit metaphor has no significant use; on the contrary, the implicit metaphor, personification and metaphor in the verb as a whole are frequent. Therefore, after the simile and new compositions, the most commonly used semantic norm-breaking constructs are types of virtual predicates (prediction of the verb to a virtual subject or virtual verb to a real subject). The use of these constructs has created movement and vitality in Rashid Abbasi's poetry. Also, the two dominant rhetorical features of the studied Masnavis related to their mystical themes are paradoxical and exaggeration. Paradoxical (contradiction) in the Masnavis in question is predominant in two ways: The mystical nature of these works: Because paradox is one of the characteristics of mystical texts and due to the paradoxical experiences of mystics, it is considered one of the main levels of mystical language. The creative and innovative aspect of these images: This is so because these images, like most synesthesia examples, are not fit into literary clichés. There are significantly more paradoxical images in Hosne Glousoz; but in Saqinameh a large part of the paradoxical combinations goes back to the paradox of mystical truths and unseen affairs, and it has phenomenological aspects. Although synesthesia and paradox are highly used in Hosne Glousoz, exaggeration has been used more in Saqiynameh. The reason for such high frequency is the mystical aspect of Saqiynameh and the abundance of images in it. Exaggeration is a feature of epic texts, and mystical texts have epic infrastructures. In the last section, we examined the high-frequency networks of Masnavi’s images. Images of plants, fiery and lighted things, pub images, water and sea images, and animals' images form frequent video networks in the text. Overall, the variety of networks in Rashid Tabrizi’s poetry highly shows his creative style in imagery. This study concludes that Rashid Tabrizi has used a significant variety of expressive and innovative constructions in a semantic norm-breaking way.

Vis and Rāmin, by Fakhruddin Aschr('39')ad Gorgani, is one of the first love poems in Persian literature that has been morally rejected in the history of Persian literature as it is the first story of marital infidelity in both ancient and Islamic Iran. Regardless of the poem’s content, one cannot deny its literary, social, and cultural values as well as its unique status among the ancient works of Persian literature. Although the poem has immoral content, there are reasons behind the immoral actions of the characters in the story that need due attention to some points for the analysis of the poem from a moral criticism perspective. They comprise knowledge about the poet and the society, religious beliefs affecting the actions of the characters, and the four main themes of the poem: “pleasure”, “fatalism”, “conflict between seniority and youth” and “love”. Vis and Rāmin can be considered as a literary example of art for art’s sake doctrine and morally as an example of the moral relativity of the characters in the story.

In the divan of Awhadi Maraghai, four ghazals are found in the ancient dialect of Isfahan people. The manuscripts are documented bearing some defects and modifications, such as some words which are not identical in the two different manuscripts; furthermore, the printed texts do not appear in better conditions. In 1963, Adib Toosi corrected, translated into Persian and transliterated three of these four ghazals in an article; however, his work was not flawless and in several parts of the article some defects could be characterized. Therefore, re-correcting and re-translating these three ghazals in addition to one he had not studied seems necessary. In this study, after the introduction, literature review and introducing the available manuscripts, all of the Awhadi’s dialectical ghazals were critically corrected, described, explained, and transliterated wherever it was necessary. Besides, describing and explaining the verses some defects of Adib Toosi’s article were mentioned.

"Meftah al-Talibeen" is a valuable work of which there are only two manuscripts - one in the Ganjbakhsh Library of Pakistan (No. 2853) and the other in the Library of Nadu al-Ulama of India (No. 191) - and have not yet been reviewed or corrected. This book was written by Mahmoud Ghajdwani (10th century AH) in the manuscript of Sheikh Kamal al-Din Hussein Kharazmi (born before 885 Kharazm) in four quatrains with a short introduction and conclusion. The first and second articles on the austerities of the Sheikh and the third article in Khariq, his habits, and the fourth article include forty assemblies of his assemblies. Ghajdvani also had a poetic nature and sometimes composed some of his poems under the pseudonym "Mahmoud" in this text. In this article, the most important features of Muftah al-Talibin are written in three levels: intellectual, linguistic and literary, along with a brief introduction of its manuscripts. Kamaluddin Hussein Kharazmi.

Historical developments, outbreak of wars, migrations and man’s changing insight are all influential and indispensible factors of the literary developments within any society. Historical developments, changing beliefs and intellectual developments have given rise to and furthered children’s literature. Investigating and extracting children-specific literary passages, produced both before and after the Islamic period, can shed light on fundamental shifts in this kind of literature. Therefore, studying such developments can enable the experts to cope with the current and future needs of Iranian children and adolescents. This study has sought to examine and discuss the four major elements of religion and morality, justice and injustice, Islamic educational system and, dreams and metaphysics in different historical epochs of Iran so that the findings could be potentially used for planning the creation of literary products for Iranian children.

In the field of contemporary storytelling, recognizing the literary type of a work and its characteristics depends on assessing the constructive components of that story. One of the most important and influential of these components is the mood. Proper use of the mood is very important, especially in epic works. This is because the epic poet can convey the dominant atmosphere of the work to the reader. This study examines and identifies influential factors in mood and the creation of epic content in the story of “Haft Khan Esfandiyar” from Ferdowsi’s Shahnameh. Considering Ferdowsi’s masterfulness in composing the national epic of Iran, analyzing the stories of Shahnameh is necessary in understanding the features of this literary genre. In “Haft Khan Esfandiyar,” Ferdowsi has created a mood and content appropriate to the nature of epic by using the element of “defamiliarization” in the form of celestial forces, natural elements, and magical affairs. Moreover, the heroism of Esfandiyar in passing through “Haft Khan,” with the help of hyperbole, which is an inseparable part of epic, has highlighted the epic mood of the story. In this story, exaggeration sometimes directly and sometimes in the form of similes, metaphors, irony or in the context, effect the epic mood of the story, and the proper use of these devices by Ferdowsi, together with defamiliarization, plays a significant role in creating the epic content of “Haft Khan Esfandiyar.”

Muftah al-Talibeen is a valuable work of which there are only two manuscripts - one in the Ganjbakhsh Library of Pakistan (No. 2853) and the other in the Library of the Prophet of India (No. 191) - and have not yet been reviewed or revised. This book by R.Mahmoud Ghadjavani (10th century AH) wrote a short introduction to Sheikh Kamal al-Din Hussein Kharazmi (born before 885 Kharazm) with an introduction and a short introduction. The first and second articles on the austerities of the Sheikh and the third article in Kharijite are his habits and the fourth article includes forty assemblies of his assemblies.Ghadjavani also had a poetic nature and sometimes composed some of his poems under the pseudonym "Mahmoud" in this text. In this article, the most important features of Moftah-ul-Talibin are written in three intellectual, linguistic and literary levels, along with a brief introduction to its manuscripts. It offers information about the course of mysticism, Sufism, and the condition of mystics, especially Kamal al-Din Hussein Kharazmi.

In Pahlavi narratives based on the theme of Haft / Multi Khan (seven crossings), events and difficulties occur independently and with a specific purpose in the form of a special story for the hero. Haft Khan Rostam is also an adventurous voyage that the Iranian warrior sets out to rescue King Keykavus.One of the frequent narrative techniques in storytelling, especially in epic stories, is the use of the "atmosphere" element. The storyteller through creating atmosphere, through descriptions and detailing makes the work more effective and encourages the audience to know the continuation of the story and indirectly induces the dominant spirit of the work.One of the effective factors in creating an atmosphere appropriate to epic stories is the use of the epic poet's element of unlike habits and the elements of imagination in the creation of his work. The “unlike habit” is one of the most important elements of the epic and represents the course of events which is incompatible with logic and scientific experience and the existence of events and characters.

The scientific and critical correction of ancient text is one of the most valuable and essential literary research. The divan of Ohadi Maraghei (Esfahani), mystic and poet of 7th and 8th centuries A.H., is one of the ancient text. In 1340 A.H.S., Ohadi Maraghei's Divan was corrected and published by Saeed Nafisi but considering some defects in the context and also the availability of some manuscripts which were not in the access of Saeed Nafisi, the re-correcting of this divan seems necessary. In this research, after the introduction and introducing manuscripts which are used by Saeed Nafisi in the correction of Ohadi’s Divan, we investigate the defects in Saeed Nafisi’s correction consist of 1. The ambiguity of the main manuscript and the correction method; 2. Inaccurate comparison among manuscripts; 3. Uncritical correction or no reference of substitute manuscripts in the footnote; 4. Displacements; 5. Omissions; 6. Affixed verses; 7. Repetition; 8. Misreading and miswritten; 9. Publication error; 10. Defects in rhythm; 11. Duplicated Rhymes; 12. Wrong punctuations; 13. Lack of essential contents and descriptions.

Devalrani and Khizr Khan is the description of the love of Khizr Khan Khalaji for Diveldi or Devalrani which Amir Khusrow Dihlavi (651- 725 AH) composed in 715 AH. In a part of this Preface of Masnavi, Amir Khusrow has composed an advice letter addressed to the great sultan of the time, Alaeddin Mohammad Khalaji, whose important feature is the clarity of the poet's language and his audacity when advising the sultan. This article aimed to introduce the advice letter and to examine how its various mandatory and inhibitory topics were presented, elaborating on the reasons for the poet's choice of words in Sultan's sermon. To this end, after using the books of Indian history to delve into and identify the authoritative and callous personality of sultan’s Alaeddin Mohammad Khalaji, through examining the text of the advice letter as well as the characteristics of the poet described in various sources, the results indicate that the reasons for Amir Khusrow's explicit and brave truthfulness lies in his honesty and mysticism, his close relationship with Nizamuddin Auliya (the great mystic of the time), his high status at the royal court of Sultan Alaeddin, and the influence of Sanai’s recommendations on him.

The discussion of literary genres has been widely raised in literary circles in all of the world and has experienced significant changes since the opening day when Aristotle introduced it firstly. In our literary circles, however, a very superficial attention has been paid to it, in a way that this surface attention has prevented new discussions in this regard; what has incompletely and primitively entered our literary debates on this subject, without being equated with Persian literary language, however, we sometimes find something out of that from which the samples and the components are incomplete as a consequence. Proposing new examples of literary genres, it has been tried in present paper to illustrate some of the defects and to prove that the inclusion of literary works in Aristotle's classification of genres is not accurate and needs to be seriously reviewed. The fluidity of sub-genres, their independence, and the dominant or non-dominant genres etc. are among the topics have being discussed at the current level of this study. Although, the criticisms will be received in this regard and the discussions can be followed-up.

Internal shepherd is the most important element of mysticism. According to this, the salek must take steps to reach The inner guidance can be considered as the most important part of mysticism. Accordingly, the seeker or any person who follows his principle must take steps to reach knowledge. In this way, a guide is of particular importance and all mystic events are in some way related to the inner guidance. In Abhar-ol-Asheqin, the need to meet the inner guidance or the perfect nature is to return to the heart and refine the heart; and love at all stages of the conduct is until the moment of the spiritual meeting of the guide of the seeker. The purpose of studying the inner guidance is to find some of the effects that mysticism has in this case on philosophy and Illumination since the impact of various thoughts on the viewpoint of the mystics is the basis of seeking and confronting the celestial nature of Me. In fact, the seeker in the ideal world with his perfect nature faces himself as an inner guidance with its fullness or self-righteousness. This is an epistemological attribute which is seen in a perfect man. We investigated the perfect nature or inner guidance in Abhar-ol-Asheqin with the focus on topics such as mystical experience and self-knowledge. Then, we explain the details on this inner guidance which is the same as the perfect nature.

The Quran has always been the fountain of inspiration for Muslims and the greatest school of education for the believers and truth-seekers. Quran is outwardly and inwardly full of beauties and mysteries which manifest themselves according to the disposition and understanding of those who appeal to it. To express their understanding, mystics and poets have often cited Quran and it is mirrored in their words impressively as it is. One such poet is Amir Khusro Dehlawi, the Indian-born Persian mystic-poet, whose poetry is valued as inspired by the Quran. The evaluation of the Quranic light and allusions in his "Noh Sepehr Mathnavi” helps better understand the formation of Quranic allusions in the Persian literature.

Rumi poems which are the interaction of his feeling and emotion with his mind are of the world's exciting lyrical poetry.
In the interaction of this emotion and language and changing frequency of this interaction that how much such emotion is effective in creating lyric poem, and how much the mind and language, the poem draws him from a norm to braking norm and finally to beyond breaking norm, the sample of which is very rare unless in his poems. In his poems, the more the frequency of emissions enhances, the more his poems approaches to breaking norm and sometimes they become meaningless sounds. We dealt with classification of his poems between the interval of breaking norm to beyond breaking norm discussed in the linguistic issues and addressed and analyzed their conditions.

Alongside the collection of poems and the poets’ biographies, the dictionaries, the Amsal-o-Hekam books, the nonliterary works and poetry miscellany and collections are considered as the most important references of the literature and Farsi language where one can come across a lot of samples of poems of the poets. The value of the recent type- that is, the poetry miscellany and poetry collections although not as much as the poetry collections and the poets’ biographies, one can gain access to poems and works that can be counted as the sole trustworthy references in some literary researches. Among these poetry miscellany and collections there is a valuable handwritten miscellany that has been estimated to have been recorded between the tenth and eleventh centuries and its handwritten copy is kept in the library of the majlis of Islamic council under number 156. This manuscript has been written by an unknown scribe and has been probably recorded based on the manuscript belonging to the sixth or seventh hijri century. The most prominent trait of this manuscript is the essence of the poems written by the unknown poets, the recent poems by the famous poets, and the attribution of some poems to the other poets, and some affidavits. The present article introduces this copy fully and tries to unravel its literary and research values for those who are interested in the poetry specially the Farsi poetry in the 5th, 1th, and 7th centuries.