مقالات رزومه دکتر محمد فولادی

Ghalib Dehlavi (1212-1285 AH) was a subtle Shiite poet of 13th century AH in Indian peninsula. He had a new look at the social and philosophical issues. Due to his status in Persian and Urdu poetry and his special style as well as his religious look and his interest in the Shiite Imams, especially Imam Ali, it is worth to investigate his ritual poems. Therefore, the present study seeks to answer the following questions: “What are the features of Ghalib Dehlavi’s thought and poetical style?” and “How have the issues of imamate and the Shiite Imams been reflected in his poems?” To explain the status of the Shiite poetry in the Indian peninsula and Ghalib Dehlavi’s poems, this study was conducted in a descriptive-analytical method and the following results were obtained: Ghalib Dehlavi was a stylistic poet who covered a new path with his innovations in words and meanings. He is considered as the pioneer of the new style and the founder of new Urdu literature. He was the first one who entered philosophical doctrines in Urdu poetry. In his odes, he admired the Prophet (PBUH) and his Ahl al-Bayt, especially Imam Ali, Hussein bin Ali, and Imam Mahdi. In this way, he showed his respect for them. He also composed some poems regarding the events of Karbala and the martyrs there, like Hazrat Abal-Fazl, Ali Akbar, Ali Asghar, and Qasim bin Hassan. He had a broad mind in religious beliefs and respected all religions.

This article examines the limitations that Beyhaqi has faced in writing his history, and by finding evidence from the book, he intends to show whether Beyhaqi believes in human freedom and authority or whether everything is purely algebraic. Does he know? The appearances of the history of Beyhaqi indicate the determinism of Beyhaqi, but the more accurate we become, the more our evidence leads to determinism and the matter between matters. Although in some cases Beyhaqi as a Muslim and a monotheist, where he speaks of Qada and Qadr, is his heart's belief, in many cases the circumstances have forced him to write like this and attribute all matters to Qada. Hence, we have sought to explain the social, political and religious contexts of this issue. Beyhaqi seems to value human wisdom, will and free will, and if he attributes many of the events and mistakes of the government to fate, it is in many cases due to the limitations imposed on him by the circumstances. And he has resorted to coercion in order not to be exposed to accusations.

Dari poets of Afghanistan are the inheritors of great thinkers and nobles such as Daqiqi Balkhi, Sanai Ghaznavi and Mawlavi Balkhi in the contemporary world; the ones who sing the sweet and glorious language of Dari and are the great and persistent pillars of the life and moving of their for-forty-year oppressed and in-pain nation and darkened and destructed country; the ones who resonate the voice of love and hope, kindness and empathy, goodness and happiness, positivity and foresight, morning and tomorrow, brightness and liberation and courage, epic spirit and heroism and the like in the ears and soul of our individuals and society; what we know it as "Poetry of Hope". Through a descriptive-analytical method, this study aims to answer this question that what is the place of Hope Poetry in the contemporary poetry of Afghanistan, how these poets predict the future and how they express their hope? By referring to the content and themes of the poems of a group of contemporary Afghan poets (from 1979 onwards) who have included positive and hopeful themes in their poetry; examples have been given and the originality of hope and epic spirit and positive thinking in contemporary poetry has been explained and established. Prophets of justice, Jihad against oppressors, promised savior, epics and bravery of ancestors and forefathers, defense of religion, homeland and humanity to the point of martyrdom, have spoken very audible words, and there are few people like them who cried sonnets at dawn from bloody throats, read the dawn lyrics and told the story of the sun at the heart of night.

Majales Sab'a is one of the important works of Jalaluddin Mowlavi, which consists of seven sermons. This type of prose is called rhetorical prose and inspires the highest thoughts through the simplest logical forms. It has been used by great people such as Khawja Abdullah Ansari, Abu Saeed, Abul Fatah Shahreshtani, Rozbehan Baghli, Baha Ould, Mowlavi, Shams Tabriz and Saadi. The most important feature of this type of prose is its closeness to the spoken language, which is sometimes mixed with literary prose; the simplicity of the prose and lack of embellishment are among its characteristics as well. Compound verb is one of the most important grammatical topics and its correct usage makes the prose solid and well-founded. Considering this fact and the status of Majales Saba' and its linguistic features, the present article, with a descriptive-analytical method, explores the usage of compound verbs in Jalal al-Din Mowlavi’s Majales Saba'. The use of verbs in these texts helps us find the natural usage at that time and their precise grammatical analysis. In this research, we found that Rumi paid more attention to the use of simple verbs, and in many cases, he used many simple verbs from the same root or from different roots consecutively or with a short distance. Sometimes the simple and compound forms of a verb are combined. Some compound verbs are also affected by the existence of Arabic words in the structure of compound verbs, and although they are used in simple form in Arabic, they have become compound verbs in Farsi and Majales Sab'a. Saj’a (literally meaning musicality) also causes the usage of compound or simple verb.

Fana (annihilation) is considered as one of the fundamental doctrines in Islamic mysticism. Through spiritual journey, the mystic is released from any kind of delusive entity, achieves infinite truth, and finally annihilates in it. In Indian mysticism, the term “nirvana” is used instead of “Fana” which takes the seeker out of the realm of universe and its goal is annihilation, vanishing, and quietude. Mawlana as the lord of love and mysticism in literature and Bidel as the representative of Indian style have much in common in many mystical fields. Bidel’s poetry book is as a dictionary of mystical terms although in Indian mysticism, mystical words are a little different from those in Islamic mysticism. Nirvana in Indian religion is similar to the concept of Fana in Islamic tradition and Bidel has applied it in its Islamic concept. According to this comparative study, it seems that Bidel like Mawlana has an Islamic view to Fana, and it is even claimed that nirvana as an Indian ritual in which there is no concept of God, has not achieved a position in practical Fana in Bidel’s poetry.

Annihilation is one of the most important and fundamental ideas of Islamic mysticism and mysticism of different religions. The status of annihilation is one of the most important and complex issues in Sufism and Islamic mysticism. Islamic mystics consider the status of annihilation as the goal of the seeker's journey and say that the main goal of going through all circumstances and positions is to achieve annihilation. In Indian mysticism, instead of the word “annihilation”, “nirvana” is used, which is one of the most important principles in all philosophical schools of India, both religious and non-religious. Reaching Nirvana means the highest victory, although the loss of individuality and identity, is also hidden in it. (Stacey, 1375: 327). This study deals with intellectual and linguistic features of Bidel Dehlavi, the Persian poet and mystic in the Indian subcontinent, in explaining the qualities of a perfect human. The anthropology in Bidel’s ideology, the reason of human creation, Mohammadieh truth, human perfection in Bidel’s thought and Indian mysticism are among central subjects in this research. Using descriptive analysis and library method, this study explores the poetry and idea of Bidel from stylistic view in intellectual levels. The results showed that Bidel who was raised in India presented a comprehensive and complete definition of human and his qualities relying on his Islamic and Ibn Arabi-like ideas. Bidel’s perception of perfect human differs from that of Indian mysticism and Buddhist perspective that assume the ultimate goal of perfect human is to achieve Nirvana and an arhat state or that of Yoga perspective that aims to reach the mere state of freedom. Therefore, the intellectual feature of Bidel in explaining the qualities of perfect human, parallel with his Islamic thoughts, approaches his works and entails messages from his special ideas and intellectual style. Bidel Dehlavi and Rumi are two mystical poets, one of whom lived and flourished in an Islamic country and one was raised as a Muslim in India under the influence of Indian ideas. Let us examine the concept of annihilation in the thought of Rumi and Biddle and its relation to Indian annihilation (Nirvana), to find a clearer view of the worldview of these two thinkers and common concepts in Indian and Islamic mysticism. The main question of this research is: What is the view of Biddle and Rumi about the mystical position of annihilation? What are the commonalities and differences between Biddle's Islamic annihilation and Indian annihilation (Nirvana)?

This research has been conducted by descriptive analysis. First, the theoretical foundations of the research were mentioned based on mystical references in Iran, Islam, and India, and then the concept of Fana (annihilation of the self) was extracted by delving deep into Matnavi Ma’navi and GhazaliyatBidel as two works by Mowlana and Bidel Dehlavi. Finally, the extracted concepts were classified, compared, and analyzed using the method of content analysis.

The concept of Fana in Islamic mysticism and Nirvana (soteriological release) in Buddhist mysticism are among issues that come from mystical experiences practiced in each tradition, and the wayfarers attempt to achieve this purpose. Islamic Fana is interpreted as “dying before one dies” and it has some stages: Fana by acts or annihilation, Fana by qualities or passing away, and Fana by essence or nullification. Through these stages, the mystic releases from his act and sees God as the doer of all acts, loses his qualities and just sees the properties of Haqq so his ego breaks down and he returns to Haqq (God). However, Nirvana in Indian mysticism is the end of mystical experience and does not have the stage of Baqaa be-llah (subsistence in God). In Islamic mysticism, the way that a Salek (wayfarer) must pass has different stages, dwellings, and guidelines that lead him. One of the stages of seyr va solouk (spiritual journey) is Moraqebeh (Sufi meditation) in which a Salek releases his mind from anything other than God, and instead, replaces that with God. A Buddhist mystic by doing some acts and commitment to 8 steps including appropriate perspective, appropriate will, appropriate speech, appropriate behavior, appropriate living, appropriate attempt, appropriate thought, and appropriate thinking can achieve Nirvana. Therefore, Nirvana is a state that is achievable and is the result of the attempts of a Buddhist follower; whereas, Fana is a state that comes from God and is the result of divine attraction. In Islamic mysticism, the truth of Fana is not annihilation and passing away, but rather it is a sort of real insight. Likewise, Nirvana in Buddhism does not mean nihilism and breaking down, but rather its truth is a sort of special insight free from any formality and attachment and by which human achieves mere enlightenment, quietude, and silence. The insight denoted by Islamic mysticism is by no means analogous with obtained insight or even knowledge by presence (consciousness). It is instead a quality of perfect witnessing (Shuhud) by which a Salek can perceive the truth without any physical medium. By such an insight, the pluralities disappear in the truths of the world of unity. However, the insight in Buddhism by which human achieves Nirvana is identical with an absolute insight that is obtained directly. As for Fana, Mowlawi believes that one’s spirit, without losing the essence of its individuality, remains in God. He uses various allegories to illustrate his point, for instance, he holds that life is in death, and subsistence is in Fana. In the poems of Bidel, Fana as the ultimate destination for the attempts to the general truth and the purpose of human endeavors to spiritual perfection is displayed through lively images.

Fana is a mystical concept that exists in other religions, too. The equivalent of Fana in Buddhist mysticism is Nirvana. By studying the Ghazaliyat of Bidel as a Muslim mystic, it is perceived that, in addition to being an Indian and his familiarity with Buddhist mysticism, he has had the advantage of reliance on the expressions and ideas in Islamic mysticism by using the instructions of Islam. Contrary to what is expected, he has not used the term Nirvana, that is equal to Fana, even once in his poems. Although Nirvan or Indian Fana is the goal of a Buddhist mystic and he achieves this state by detachment from human qualities, the purpose is release from Samsara suffering and nihilism, not subsistence in God. The spiritual journey of a Buddhist wayfarer has guidelines that is not favored by Muslim mystics. Nirvana is the result of human attempts and is achievable but Islamic Fana is not merely the result of endeavors because it needs attraction, too. Mowlana has had special attention to the issue of Fana in Mathnavi and has applied this term 89 times. This subject has also received special attention in the poems of Bidel Dehlavi who has referred to this mystical concept in his Ghazaliyat 101 times. He has mostly been under the influence of the Islamic concepts, the terminology of Islamic mysticism, and some great mystics such as Mowlana. He has consciously or unconsciously preferred not to use the expressions of this tradition specially its key term, Nirvana, that is similar to Islamic Fana although he lived his life in the land of Buddhist tradition. As a Muslim poet, Bidel who has used Islamic instructions holds that the ultimate goal of spiritual and mystical journey is reaching to God. He regards that Vusul elal-Lah (reaching to God) and Baqaa bel-Lah (subsistence in God) relies on detachment from human qualities and attachment to divine qualities. Thus Fana in the poems of Bidel is identical with Islamic Fana. By an investigation of the poems of Bidel, it is concluded that the concept of Nirvana in the sense that exists in Buddhism, has no way in the poetry of Bidel. The ideology of Mowlana and Bidel relies on reaching to God and subsistence in God and they both regard Fana and Baqaa mutually interdependent. They believe that a wayfarer by breaking down his ego and unity with divine qualities can reach to real subsistence.

A proverb is a full-view mirror of the culture, customs, and ideology of a society. Examining the oral literature of nations is the most honest way to get to know the culture of each society. Different societies have had many effects on one another due to communication, migration, war, trade, and the like. In the course of this mutual influence and cultural exchanges, sometimes many commonalities in a field make it difficult to identify its real origin. Examining and analyzing Persian and Urdu proverbs and discovering their similarities and symmetries express cultural, intellectual and social commonalities and differences between the two nations. Based on this, with a library study and through a descriptive-analytical and comparative method, Urdu and Persian proverbs have been compared in this article, with an emphasis on Quranic and narrative themes. This study has tried to reduce some of the difficulties of finding the equivalent of the proverbs in these two languages. In examining the issue, we came to the conclusion that proverbs are one of the important components of folklore among every people and nation, and one of the vital pillars of language and culture, and are a sign of taste and beauty, which are often disguised as metaphors, irony, or in the form of a harmonious and pleasant speech. Also, from the comparative analysis of common proverbs in Urdu and Persian, both in terms of meaning and content, as well as in terms of form and manner of expression, we find out that the similarity of this group of common proverbs is to such an extent that it seems someone years ago wrote the same proverb for the same purpose, or translated the same words into another language. This group of proverbs, although are used between each of the two nations of Iran and (ancient) India with a different language and specific to the same language, but they have shared uses and the words have the same meaning and relatively similar phrasings are applied.

Ashura or the 10th of Muharram in the year 61 AH, an incident happened in the Islamic world, which in a short period of time spread not only on the Islamic lands, but also on all the corners of the world and made the name of Karbala popular. Today, the fame of the bloody movement of Karbala and the greatness and sanctity of this courageous act are known to all the people of the world as one of the most sublime manifestations of the human spirit and anti-tyranny. Poems, eulogies and elegies of great Persian poets about Imam Hussain and the people of Ashura have a great contribution in making this event known and perpetuating. This article examines Ashura, Karbala and the martyrs of Karbala in the Mirza Mohammad Taqi Hojjat al-Islam known as "Nayyir" Tabrizi’s poetry through an analytical and descriptive approach. Considering the fact that Nayyir was a jurist and a scholar of Islam, his poetic description and analysis of this incident is worthy of consideration and he was able to look at this issue with a special perspective; and although some of his narrations is in need of more investigation, he has tried to express the incidents mainly based on reliable sources.

Many lexicographers, commentators and correctors of Shahnameh have considered the words "Junagh" and "Junna" as one word and have used them instead of each other; However, paying attention to the contextual context, in-text cues, and a comprehensive look at the verses in which these two words appear, indicate that in Shahnameh these two words are not one word but are two words with two different meanings. Although the main purpose of this study is to correct verses from the scientific-critical correction of Jalal Khaleghi Motlagh, the authors, referring to other corrections of Shahnameh such as: Moscow, Jules Moll, ancient letter and Azizullah Jovini Shahnameh, tried to show and eliminate the errors in these corrections. Through this study, it was concluded that the words "Jenagh" and "Jana" have the ability to associate with the words "Leopard (Palang)" and "Choob e Khadang", respectively, and not paying attention to the different meanings of these two words, their companion capacity and avoiding relying on the Florence version, Khaleghi Motlagh did not follow the right path in correcting two verses in which these two words appear. In this research, in addition to correcting those two verses, the problems found in other corrections of Shahnameh were also pointed out. Also, in line with the discussion, a verse of Barzunameh of Shamsuddin Mohammad Kosaj was corrected.

This research is about "Investigating the reflection of shame and modesty in Haft Awrang Abd al-Rahman Jami". Shyness has an important place in Islamic ethics and mysticism and in Iranian thought and culture; It also plays a key role in the development and growth of individuals' personalities and the training of their souls and psyches. In Jami's point of view, shame and modesty are the best ornaments for women and men, and are the rosy of women. In his poetry, haya or modesty is interconnected with many moralities and its existence within individuals causes honor, dignity, chastity, zeal, fidelity, patience, elegance, and so on. In addition to the deterrent aspect, it also compels and motivates the good. Plus, haya is an innate characteristic of human beings not changing with cultural changes. Shyness is not in conflict with love, but it nurtures and purifies love from lust and protects the sanctity of the lover and the beloved. Shyness modifies our behavior towards God, family and community. In addition to what addressed, this article also covers topics such as: praise of modesty, shyness and haya in Jami poems, the relationship between modesty and patience, beauty, hijab and zeal in Jami poems.

In the Safavid era, Iran went through many ups and downs in political, social, economic, cultural and many other domains. The relations between Iran and India were especially important in this period inasmuch as it had a tremendous impact in all these fields. The relationship between the two countries was important for a number of reasons such as the commerce and trade, poetry, friendship, attaching importance to literature and poetry, and most importantly, the spread of the Twelver Shiite denomination in the Indian subcontinent. On the other hand, the significant influence that this period had on the thoughts and mind of Saeb Tabrizi, who was well-known for his own poetic style and for his profound thinking, astuteness, broad-mindedness, insight as a leading poet should not overlooked. Saeb was able to delineate the themes related to India in his poetry and to perpetuate it artistically. In this article, the history of Iran in the Safavid era and the relations between Iran and India and its reflection in the poetry of one of the most important poets in the Indian style are studied.

The theme of sin and punishment has been raised in all Divine religions in various ways. In the national epic of Iran, Ferdowsi, who was aware of the history of the ancients and was observing the oppressors’ failure to obtain their desires, expressed this theme in various ways in the form of wise words and moral teachings. In the scrolls of storytelling, some of which reflect the oral narratives of the National Epic of Persia [Shahnameh], the theme “the Shah - Hero's Sin” has found a vast reflection. Since the scrolls of storytelling have been formed on the basis of oral narrations, and many of folk beliefs have been mentioned along with written narrations in the texts, here the theme “the Shah - Hero's Sin” is reflected with this viewpoint. The sins including injustice, breach of promise, tyranny, greediness, overindulgence, the killing of innocent people, the killing of a father or a child, the abandonment of a baby, the claim to be divine, despotism, and so on, are among those that are reflected in the scrolls of storytelling, and each has an effective punishment. This article examines this theme and tries to explore and express its various aspects [illustrated] in oral narratives and, the folk beliefs in the scrolls of storytelling.

Anvari and Zahir al-Din Faryabi are two of the most influential Poets in the history of Persian poetry. These two have had a major impact on Persian lyrical poetry. This article is a research on the most important manifestations of poetic music in the sonnets of these two poets. After providing an introduction to these two poets influence on the evolution and promotion of Ghazal, in a descriptive-analytical manner, the article explores the inner music (verbal novelty) in their sonnets presenting diagrams. The analysis of statistics has suggested these results both poets have used internal music in inducing concepts and influencing the audience. Despite composing only a small number of lyric poems, Zahir Faryabi has been able to take advantage of the musical features of literary figures as well as of the mood of the audience to contribute to the promotion of musicality in language. Figures like alliteration, repetition, and perfect pun are of highest importance in creating verbal musicality.. Anvari also benefits a lot from this type of music. He has become more successful than Zahir in this field, especially in use of pun, alliteration and repetition. In general, both poets have played an important and fundamental role in promoting novel figures in their simultaneous reliance on the speaker, the text and the audience.

The new novel is an important current in novel writing that goes beyond traditional novel writing and discards everything related to tradition and past from content and structure. Although it did not last more than three decades, it had lasting effects, and many of the novels that emerged after that were far removed from the classic novel. Fluid flow of the mind is one of the most important aspects of the novel, and it expresses the inner feelings, thoughts, and mentalities of the characters or characters of the story in the form of an unorganized and seemingly non-existent event. The purpose and the specific cause are intertwined, and sometimes by disrupting the logical order of the elements of the story, for example, by language or by breaking syntactic rules. In Iran, Bahram Sadeghi is the first person to write a new novel with "Kingdom" and use the fluid flow of the mind in it. After him, Houshang Golshiri wrote in this way and in the two novels "Prince of Ehtejab" and then "Mirrors of the Door" he used this method in the best way and perhaps it can be said that no one after him could write a new novel like him and the fluidity of mind He used it creatively and derived from the Iranian literary tradition and mixing it with the new Western style

Biddle Dehlavi is a Persian mystic and poet of Indian style and brought up in the Indian subcontinent. He had a special view and expression on various issues. The purpose of this article is to study his style and level of thought and it wants to analyze the salient features of Biddle's style of thinking about the perfect man and find out whether his attitude is influenced by Islamic mysticism or Indian mysticism and what is the difference between his view and Indian mysticism in explaining the perfect man?

In this research, Biddle's poetry and thoughts are studied from the perspective of intellectual stylistics with descriptive-analytical method and library tools. The four main axes of Biddle's thoughts are: Anthropology in Biddle's thought, Man as the cause of creation, Muhammadiah truth, Man's perfection in Biddle's thought and Indian mysticism.

Biddle Dehlavi, although he was brought up in India and influenced by Hindu mysticism and philosophy, gives a comprehensive and complete definition of man and his characteristics by Islamic mysticism perspective and he has been influenced by Ibn Arabi's thoughts in this regard. The perfect man in Biddle's view is different from the man in Indian mysticism. According to the Buddha, the ultimate goal of man is to attain nirvana (silence) and the status of "Arhat" (perfect man), and his view is also different from that of yoga, which aims to achieve the status of "living freedom". In Biddle's view, the perfect human being is the complete mirror of God, the summary of the nobility and the best of the horizons, that is, the Prophet of Islam (PBUH). Biddle considers the purpose of creation to be the holy existence of the Prophet Muhammad (PBUH).

One of the main themes in Biddle's intellectual level is the theory of the perfect man. In Biddle's view, man is a perfectionist being who can attain perfection through self-knowledge. In following these stages: self-knowledge, voluntary death and self-control, dignity, patience, trust in God and submission, and satisfaction play a special role in man's attainment of perfection. Biddle Dehlavi grew up in India, at the center of Indian philosophical thought and mystical schools. In this geographical space, the main source of his thoughts, in addition to Islamic sources, has been the study of Upanishads and Indian mysticism, but still his theory of the perfect man is Islamic and Ibn Arabi-like.

The poems of Bidel as a remarkable poet of Indian style, who lived outside the geographical boundaries of Iran, reflects the popular culture, rituals, traditions, and people’s beliefs in India. This Persian mystic poet whose works originates from the basic culture of his homeland, consciously or unconsciously, accomplished to reflect parts of the culture and popular beliefs of Hindus in his poems through different ways. This study seeks to survey some popular beliefs, customs, ceremonies, and rituals dealt with Bidel Dehlavi in Mathnavi-e Erfan. The results of this research was extracted by a descriptive analysis revealing that beliefs in reincarnation, Sati practice, Vedas custom, and burning the dead people are among some common traditions and beliefs in the land of India applied by the poet to create artistic themes and explain mystic and religious ideas for the audience. Furthermore, the romance of Kamdi and Madan in Mathnavi-e Erfan displays the luxurious state of courts of the Indian kings and their social customs. This research can be a reflection of popular culture and tradition of Hindus, and be useful in ethnology studies, social science, and cultural research.

Following Prop, structuralists attempted to present an overall model in creating different narrative in the 20th century. In this field, A. J. Greimas—the most popular narrative theorist—went beyond the limited studies of Prop, and presented his action model and his narrative chains. By doing so, he attempted to reach to the general principles of the narratives language and to analyze each narrative based on a specific narrative structure. He created his action model in a way that it can be adaptable which other narratives. Therefore, the aim of the present research is to study the narrative structure of Sandali dome story, as a sample of the amatory and lyrical poems based on Greimas theoryso This is the sixth story of the week and its narrator is the Lady of China in the sixth climate. we can analyze the structure of the original Plot using changes in statuses according to two-fold reciprocities, the narrative chains, and the action model of narratives.after analyzing the context, we concluded that Greimas's action model in analyzing the narrative of lyric poems of It is the change of situations based on the dual confrontation and the change of the process of action from one character to another, in which the story goes from an initial balanced state (beginning of the journey) to an unbalanced state by asking for Keir water from Shar. ) This situation changes until the Kurdish girl helps the shepherd and the shepherd completes his ascent towards the final balance (marrying a Kurdish girl, marrying a king and a minister, and sitting on the throne of Keir).

Sheykh Abdol Qāder Gilani is one of the mystics of the 5th century who was eminent in Feqh, Hadith, exegesis and literature. His writing style in didactic literature has ‎influenced some of the prominents like Mohy ed Din ibn Arabi. He chose to preach in Baghdad and he was licorice. In his training Assemblies, more than 400 thousand people used to gather and Sohrewardi, ‎Moqaddasi, and ibn Jozi were among his pupils in mysticism. Fotouh al ghayb is a didactic work written by Abdol Qāder Gilani in which the author explains the epistemological concepts, training and ethical points for the audience. His ‎training method includes coordination between Tariqat and Shari’at, as well as adherence ‎to Qur’an and tradition in order to achieve Haqiqat (ultimate truth). Using a descriptive ‎method and an analytic approach, the present study aims at surveying the ‎principles of mystical trainings declared by Sheikh to a mystic to reach the ultimate ‎truth. Besides, the impact of Sheikh’s teachings' on Nokāt by Bidel, one of the Murids (disciple) of Abdol ‎Qāder in India would be analyzed. Regarding the significance of this study it could be ‎mentioned that Gilani, the founder of the sufi dynasty of Qāderiyeh, has many Murids in ‎India who practice his didactic traditions to purify soul. However, Gilani’s ‎works and teachings are not truly known yet. The present study attempts to depict a more vivid ‎presentation of his didactic and training principles for the researchers. The results of the ‎research show that Bidel and Abdol Qāder have got a lot in common in ethical and didactic issues; however, some differences in their view points is to be demonstrate in this article. ‎

One of the motives considered a constant and the most applied element in epic texts and the storyteller’s scrolls, is searching for medicines that are supernatural and healing, and that many events are happening around this search. In epics there are strange plants and fruits that have magical properties. Also, there are magical and healing balms that come from herbs, demons' body parts (including horn, brain, heart and liver), the dragon oil or the feather of Simurgh, and they miraculously heal wounds. Magic potions, magic beads, healing mineral springs, healing through prayers and enchantment and, becoming blessed are among the magic items in epic narratives and storyteller’s scrolls. The saints, the devout, the spiritual guides, the kings, the heroes, Simurgh, Zal (Rostam’s father), and the magicians are among the therapists or witch doctorswhose practices of treatment are reflected in the storyteller’s scrolls. This article aims to do a briefly descriptive-analytical study on the therapies, magical and healing medications in narrators’ scrolls

The Shanameh written by Ferdowsi is a long epic poem in Persian classic literature that has many tragic stories, among which we can mention the murder of Siyavash (Soug-e Siyavash) as an old narrative with a tragic theme. This study aims to explore the story of the murder of Siyavash based on the theory of “Mythos Tragedy” by the Canadian critic, Northrop Frye. According to the theory which asserts some general principles on the anatomy of tragedy, “The Murder of Siyash” involves some components such as “incompatibility between love and social structure”, “predetermined destiny” as well as 6 phases that all make it as one of the most beautiful tragedies in the world. In his theory, Frye does not refer to an antihero, but rather he attributes the tragedy to the predetermined course of events, destiny, and the will of Gods that turn the friendship to animosity. In the story of Siyavash, the dominance of fate and inspired destiny leads to unintended and accidental hostility between Afrasiyab and his daughter and son-in-law ending to an inadvertent fight. Another component of tragedy is “inevitability of the final catastrophe” that is depicted in the best way in the “Murder of Siyavash”. The ultimate peace and tranquility at the end of the story as well as its fatalist ideology lead to a sort of metaphysical relief that is required in the ending of a tragic work.

One of the motifs of epic and mythological stories is the supernatural forces’ intervention made in the form of supernatural aids from God in support of a hero. In mythology, the inability of a hero is offset by supporting forces or supernatural forces. A mythical hero, praying and seeking help from God, fights a battle against an anti-hero, a demon, a dragon, and wins the victory over all his enemies with seeking help from God. The hero of the epic has a strong connection with the divine and supernatural forces, which often occurs in the form of association with the gods and predictions of his destiny. The predictions usually are made through seeing dreams, hearing the voice of an invisible speaker (soroush), the astronomers, spiritual leaders, fairies and Simurgh. And the association of the hero with God and his benefitting from the gods’ support sometimes directly takes place. Magical objects, ceremonial armaments and special armaments for killing dragons, such as the ox-headed mace and the armaments that are memorials from heroes' ancestors, including armlet gem, realistic and mythological animals, and supernatural beings such as fairies and demons and natural forces such as wind come to help the hero. Here in, referring to the narrative scroll of “Haft Lashkar” I have tried to examine analytically and descriptively the supernatural powers that are supporting and helping a hero.

Blood and bleeding and their related themes have long been rooted in human spirit and have had a decisive influence on Iranian and world culture. Themes and beliefs such as the sacrifice of human beings and animals, the rituals and beliefs that involve it, the killing of the holy people and its effect on human destiny, the bloodlust of the bleeding woman, blood spilling on the stone for the suppression of magic, the death of a sacred animal and those reflected in the history of Siavash, Iraj, Sohrab and Esfandiar in Shahnameh and finally the narrative petitions and oral narratives about the national epics are reflected and rooted in myths and branches in popular beliefs. In this research, using stories and other sources, first of all, popular beliefs about blood and its contents are examined at narrative plan, then the method of content analysis has been used and the desired samples have been compared.

In most manuscripts of Shāhnāmeh, as well as descriptions and dictionaries about it, there is a controversy about the meaning of the two words Jonagh and Jona. Available explanations about the meaning of these two words do not have much compatibility with verses in which these two words are used. Therefore, this essay studies the meaning of these two word in Ferdowsi's Shāhnāmeh by considering the situational context of verses, and the in-text markers of Shāhnāmeh, through a holistic and comprehensive study of the verses in which these two word are used. Hence, the researchers first classified the meanings found in important dictionaries of the Persian language, with special descriptions about those two words. Afterward, by considering these three important factors, this article criticized different meanings to finally acquire the main definition. Through this review, the researchers found that, contrary to the opinion of some researchers, the word Jona cannot be other form of Jonagh, and in fact these are different words with different meanings. The semantic proximity and apparent affinity of these two terms caused many people to consider them as one, using them interchangeably without considering their semantic differences.

With the rise of the scientific study of mythology in the twentieth century, mythological approaches were widely applied to the analysis of literary texts. In doing so, the critic attempts to penetrate into the deep layers of the meaning of a text and extract a recurrent pattern that is shared by other stories.
Joseph Campbell redefined the field of mythological criticism by developing the idea of "hero's journey archetype" which was later modified by his followers including Christopher Vogler. After studying a wide variety of myths from different nations, Campbell asserted that the hero progresses in the story in a formulaic pattern which is repeated in all stories, with minor variations, in form of a mental grammar and which ultimately leads to the perfection of the hero's personality.
Many stories from Shahnameh readily lend themselves to an analysis based on hero's journey archetype. The story of Bizhan and Manizheh is not an exception. In this story, Bizhan responds to the invitation of an external call, i.e. Keykhosrow, and leaves the ordinary world behind. Having overcome the problems, he then comes back to his land with a personality change which is represented by his marriage to Manizheh. This paper seeks to offer an analysis of the story of Bizhan and Manizheh based on the pattern of hero's journey archetype

Objective voyage is one of the most important issues of mystical literature. The value and importance of this topic has been such a place in Sofia Which has led many Sufis to devote part of their book to discussion in this field And discuss the various motivations of travel planners and travel terms and conditions This book is one of the most prominent books that Attar Nishabouri has written about hundreds of Sufi elders. In this book, along with the expressions of these mosques, he mentions some of their traditions, including the course of the journey that has been used for various motivations between these Mashhad Some of the motivations of travel, such as the trip for pilgrimage to the Hajj or the pilgrimage, are more frequent among the elders of Sufi Tazkera al-oulia than other motivations However, the common theme of these trips is that with any motivation, it eventually leads to self-esteem for esoteric evolution In this essay, we try to examine the motives of these elders in the Old Testament, as well as the evidence in this regard.