دکتر یحیی کاردگر

The main objectives of this article are to introduce the structure of and to examine works in the field Majalis (Assemblies) – in oral or written form – as one of the effective methods of communicating religious and mystical teachings in the Indian subcontinent in the seventh and eighth centuries AH. On the one hand, understanding the structure of these works provides the basis for comparative research between the written Majalis of the subcontinent and Iran, and on the other hand, these works reveal the connection between Sufi Majalis and mystical circles with the interests of the public, who are part of the audience of these Majalis. 

Method and Research: 

Considering the position of Nizamuddin Olya in Islamic mysticism, the article examines the external and internal structure of his monographs in a descriptive-analytical manner.

The Sheikh Nizamuddin Olya’s Majalis were often held in the khanqah and had a specific audience. The Sheikh's concern was to propagate and promote Islam and explain the teachings of the Chishti sect with a partial look at moral and social issues. Conclusions Nizamuddin's Majalis are aimed at influencing the audience. Hence, the mystical, Sharia, theological, moral and social discussions with a passionate tone that is the characteristic of these Majalis, seek to arouse the audience. The use of anecdotes, quoting the sayings of the sheikhs, the use of verses and hadiths, religious and moral advice all show that Nizamuddin seeks to build the religion and world of the audience.

The title of a poem collection at first glance, is a bridge between a poetry and reader that can propound the important part of their though with reader before they start reading. Titling collections have become popular in recent century, and it became crucial and noteworthy in literary criticism as the name of collections of a period can be count as dominant literary language of that period. This research has been done in a descriptive, investigatory and comparative way and with reference to poem books of thirty decade and criticisms of critics about titles and poetries of 95 poem books. Thirty decades in contemporary literature is very important due to political and historical events and the presence of big poets with different poetic tastes and wide though area. Analysis of poet books titles in this period as an abstract of each book from each poet has shown distinguished points; in thirty decade the number of published poem books have increased in compare with past decade and poet chose apparent language for name of their books, so they can be more close to the society . also literary schools and political events and personal changes were very important in titling poem books. Titles of poem books have shown the personality, cultural issues, and beliefs that it has root in modern poem of that time.

The culture of "Zobdatol Favayed" written by the tenth-century Afghan author Shirkhan Soor is one of the valuable but unknown and unknown cultures of the age of Indian lexicography, which despite its great value, has not received much attention from scholars and scholars. In this monolingual encyclopedic dictionary, Shir Khan Sour has explained about twenty thousand words, compositions and terms in Persian to Persian. Apart from the above lexical range and detailed scope of this work, in this culture, other basic features such as the use of known and unknown cultures of the past and the present, attention to the words and terms of masterpieces of Persian poetry, providing abundant Persian poetic evidence and Arabic, explanation of verses, the problem of Persian literature texts and quotations of commentators in the description of verses, translation of Arabic evidences, critical view of Persian cultures, etc. can be seen that has given a good comprehensiveness to this culture. Although the diversity of the interventions of this culture is its strong point, but sometimes it has caused mistakes while explaining the interventions, and the elimination of these mistakes requires a critical look at correcting this culture. Due to the great importance and neglect of this culture, the authors are correcting this precious work and will try to provide a worthy correction of this anonymous Persian language work soon with a critical look. In this study, due to the anonymity of Zobdatol Favayed and the unknown of Shir Khan Sour, an attempt is made to.

The legend of Nima Yoshij is known as the new lyric & the beginning of the modern lyrical poetry. The characteristics of lyrical poetry are derived from its definitions. The purpose of the present study was to find out which of the lyrical features are present in "The Legend of Nima"? And in what features, innovations and norms have been done? In this study, using the analytical-descriptive method, by examining the lyrical components, we found that Nima's main innovation is in expressing earthly love and paying attention to the real and perishable lover. Nima also criticizes traditional poetry for sinking into the valley of abstract love and takes the side of humanism. The most important lyrical features of this lyric poem that by creating changes in all dimensions and pave the way for the development of contemporary lyrical poetry are: Utilizing tragic love, free and dramatic conversation format, expressing social issues for the first time, narrative structure, first person narrator, original and slang weight, narrative brevity, present time, objective and internal descriptions, lyrical fantasies and aesthetic elements.

The issue of cohesion in the Persian Ghazal has always been important to the researchers. This subject has raised a lot of controversies regarding the Indian style and the Ghazals of Bidel; and it was stated that there is connectedness in those poems. this study using descriptive-analytical methods and ways to study the coherence of texts and a look to the theory of Halliday and Hassan, has studied coherence in Biddle's sonnet in the mirror of the first sonnet of his divan and has answered the question Why and how the sentence was issued about connectedness in Bidel's sonnet? The results show that cohesion and coherence in the Ghazal of Bidel is implicit in a shadow of genuine figures of speech, special language, ambiguity, and intricacy in his poetry. to prove the integrity of Bidel’s poetry, it is necessary to reflect on its grammatical features specially pronouns references, accuracy in word collocations and poetic compositions, repetitions, synonyms, antonyms, as well as minor and major links between poetic segments particularly words and compositions. each of Bidel’s Ghazals can be summarized into the least sentences; and genuine artistic pleasure can be experienced by discovering the intellectual and semantic harmony in his poetry.

“Ghazal 3” from the book “Akhare Shahnameh” by Mahdi Akhavan Sales have considered as one of the best contemporary lyric poems by researchers. What are the reasons for its superiority? And why has this poem found such a place in contemporary poetry? Using descriptive- analytical method, this research shows that this poem in four areas including language, music, rhetoric and content has moved beyond the boundaries of poetry and has achieved a new area of harmony and artistic unity. Linguistically, the connection with the past linguistic elements at the levels of vocabulary and syntax has created temporal abnormality or archaism and a multidimensional linguistic atmosphere that is unimaginable. The innovative rhythm of the poem is in harmony with its romantic and tragic theme, and along with the alliteration and repetition, it has filled “ghazal 3” with internal and external music. Rhetorically, the author's attempt to take advantage of the innovative form of rhetorical and novel arrays and to avoid common and vulgar stereotypes, has promoted rhetorical images in the direction of the lyrical content of this poem. Conceptually, the representation of nostalgia of the presence of the beloved in the best moments of the poet's life, describing the greatness of her existence in the alleys of love and enduring the sorrow of her distance, fills the poetic space with the intimacy and tenderness of a real and experienced love. The combination of the mentioned factors has turned “ghazal 3” into a successful model for modern Nimai love songs and contemporary lyrical poetry.

research in the field of folklore and its manifestations in Persian literature has a special place among humanity, anthropology, sociology and etc. researchers. Folklore is a bridge to knowing the depth of people's beliefs at different times. Through folklore we can indirectly and with greater conviction realize the truth of the beliefs of different nations.  Every nation has to pay attention to this field of literature in order to figure out the society and analyze the ideas, actions and reactions of different layers to become aware of the literature and culture of its homeland. A case study of works in wwhich popular culture has a special color is one of the requirements of this field.

The present study has been written with a descriptive-analytical method to study the relationship between Mahmoud and Ayaz's stories and folklore and also palpable and contemplative evidences in Zolali's Mahmoud and Ayaz. In fact, we tried to take a step towards understanding the society of the Zolali's era by mentioning the examples and explaining and analyzing each of them through the lens of folklore. More explaining the search for customs and beliefs, methods and origins, occupations as well as tools and instruments used by different nations and the culture and lifestyle were studied in zolali's poem.Although research on folklore in various fields like Iranian folklore literature by Mohammad Jafar Mahjoub and folklore language and literature by Hassan Zolfaghari and even research on Mahmoud and ayaz such as “reflection of Mahmoud’s love for ayaz in persian stories” by Hassan Zolfaghari has been done in different periods, there is no research on Zolali's poem and according to the genre of Mahmoud and Ayaz, and its vacancy is felt.

In Safavid era The spread of literature among the middle and lower layer of society the change of poetic culture, simultaneous attention to popular culture and simultaneous attention to the stories of Mahmoud and Ayaz, change in lifestyle along with spread of sexual corruption in the form of homosexual relations, the court's opposition to composition of lyric poems in Safavid era, led to the emergence of new literary genres that composing Mahmoud and Ayaz and especially Zolali's Mahmoud and Ayaz is one of this change of style. Considering these cases and considering the stories of Zolali Khansari's poems, we find out that Zalali has chosen a poem system that has been common among the public. Poems such as Mahmoud and Ayaz reflect the link between those in power and the lower classes of society. Two classes that are very strangers to each other throughout the history of Persian literature and culture, except in rare cases such as the works of Anvari, Attar, Saadi and few of other writers, and the connection between them seems out of reach. Enumerating the examples of folklore is not only in the direction of describing the Mahmoud and Ayaz poem; Rather, above all, it seeks to explain that this features that have become an inescapable part of Iranian literature from now on it means after Safavid era, and perhaps in analyzing why it appeared and occurred, we have sometimes gone astray and We are looking for it in the borders of Iran. Mentioning examples of this feature indicates changes in the literature of the Safavid era and can be used to change the view of scholars of literature of this era. With such a view, one can search for one of the sources of populist and diversity literature in Iran today in such poem and find a more accurate way to analyze the roots of the emergence of such features. Such a source opens a wider point of view for the poets of this age and provide themes-making, the flight of imagination, the creation of new images and the escape from vulgarity, which are the basic principles of Safavid literature.  

Creating original artistic images, expanding the circle of artistic possibilities and creating an intimate atmosphere and instilling a sense of empathy, expanding the field of artistic choices and providing various tools and facilities for the poet to avoid repetition are among the benefits of clear attention to folklore. The most important palpable examples of popular culture in the Zolali's poem are reference to common occupations among people, such as tailoring and its tools and accessories such as ironing, hem, spindle, tube, coil and medicine and different method of traditional treatment and the details of public places such as bathes and its various parts. Zolali's innovation in this poem is that he has been able to describe and explain a romantic experience by relying on various folk elements. A description that uses interpersonal relationships, attention to jobs, environment and other manifestations of folklore in addition to being innovative is very truthful and realistic. Places, occupations and their belongings that do not have much expression in the literature before the Safavid era in this era depict a different and colorful world in front of the audience and create a familiar atmosphere for him and through this it increases the audience of Persian poetry and literature.  Also in the field of spiritual examples, the use of common vernacular words such as "bottom, trick" for the first time, the use of vulgar words, proverb and idioms, satire and multiplicity of common terms among the people, allusions, also references to funeral customs, wine drinking, method of educations and games superstitions Such as the evil of the crow, the land on the head of cattle and fish, the rot of flax by the moon, etc. more than other examples folklore has been considered by Zolali Khansari. Mentioning the spiritual manifestations of folklore is important because it is possible to understand the darkness of human thought, the philosophical and historical background of human issues and thoughts in historical moments through Zolali's references to these manifestations.

The image of Jesus in the lyric poems of Sā’ib Tabrīzī is especially outstanding so that we can present a fairly comprehensive reflection of this heavenly prophet by collecting couplets in this regard. Since the study of all aspects of this subject is beyond the scope of a single article, it is attempted to focus particularly on the ascension of Jesus in the poems of Sā’ib in order to analyze the philosophy behind the subject as well as its impact on the conceptual trends in his poetry. The descriptive analysis of the study shows that Sā’ib has integrated the Qur’ānīc and biblical texts as well as story books and literary traditions; and has made use of all details on this event to represent his ethical, mystical, social, theological, didactic, and lyric thoughts in the form of three pairs named Jesus-the fourth heaven, Jesus-the sun, and Jesus-the needle. This allusion has been used as a device in creating his themes and fantasies being effective in attracting more audience to his poems.

“Tradition” is one of the widely used concepts in different fields of human sciences and has its specific use and special idiomatic meaning in diverse subcategories including philosophy, theology, sociology and literature. That is why this concept is closely connected to an extended range of concepts in different fields of human sciences. Even though there are common elements in the definition of tradition in these fields, its accurate and distinctive definition in each has exclusive elements and meaningful differences. In all these diverse semantic fields, literary tradition is quite remarkable as one of the most notable components leading to the creation of literary works. Regarding the outstanding role of the two concepts of literary tradition and innovation, in the present study, first, the views of Iranian authorities and their offered definitions of these terms are examined and criticized; then, their views are compared to those of non-Iranian theorists to offer an opportunity to the readers to critically compare these concepts from different views.  That is due to the fact that when these terms are explained in detail, it is much easier to know features rooted in tradition as well as turn-points of innovation and making changes in tradition; So it becomes clear how important a role the writers and poets had owing to their literary innovation and their choice to deviate from or follow the tradition.
 


In the present paper, first, the views of Iranian critics, authorities and writers regarding the definition of tradition and innovation, elements leading to them and the correlation between the two concepts are expressed and some examples are mentioned for each. Then, these definitions are compared to those of Western and Arabian writers and their common and different points are highlighted.
 


The definitions of literary tradition offered are diverse regarding the composing elements and the conditions leading to tradition. Most of the definitions, including the ones offered by Sima Dad, Ehsan Yarshater and Fatemeh Sayyah, consider literary tradition something like literary norms, principles and rules, and diverse elements including subject matters, themes, forms of prose and poetry, figures of speech and the like as composing elements of literary tradition. Nevertheless, in some definitions, including the ones offered by Jamal Mirsadeghi and Meimanat Zolghadr among the Iranian thinkers and T. S. Eliot among the Western ones, literary tradition is regarded much more extended and includes every sign of literary past and heritage left from past generations in a literary work which makes literary tradition a complicated and at the same time expanded term. On one hand, when it makes elements of tradition, there is usually an emphasis on repetition. In most definitions of literary tradition, repetition and continuance in a long period is the necessary condition to form a literary tradition. In the definitions offered by Sima Dad, Fatemeh Sayyah, Jamal Mirsadeghi and meimanat Zolghadr, there is an emphasis on repetition. On the other hand, in some definitions, there is no necessity for repetition and all of the literary history in a language, literary heritage of any kind, even the most exceptional ones, are considered as literary tradition. Among the Iranian writers, Taghi Poornamdairan, and among the Westerns, Eliot and Gadamer affirm this definition of tradition. This difference is much more significant when we have in mind the fact that there are some features in the works of literary geniuses and pioneering people which, due to this aspect of genius and forward-lookingness, have not been imitated nor repeated after them and have remained unique and exceptional. In such a circumstance, if the condition of repetition is extremely emphasized, some of the most significant and outstanding literary works do not find a way to the circle of literary tradition. To find a way out, the two concepts of the style of the age and individual style might be helpful, the two paradoxical views which can be reconciled by the fact that these unique features were not repeated at the time and even at the close periods following the time of their being created, which made them unable to form a literary tradition, but in many cases, they have been found worthy and significant after a period of time, imitated, repeated and considered as literary tradition as well.
Regarding the definition of innovation, it is worth mentioning that contrary to the concept of tradition, innovation by itself has not been much attractive and its correlation with tradition has been of more importance. In other words, innovation has mostly been meaningful in contrast to tradition and not independently. However, the most important point in present definitions by many Iranian and non-Iranian thinkers, including Mashallah Ajoudani and Ali Ahmad Said (Adunis), is the emphasis on accompaniment of innovation with identity, nobility and independence in every literary work.
While discussing the correlation between tradition and innovation, the main part of diverse definitions, the issue emphasized by many Iranian, Arabian and Western authorities, including Taghi Poornamdarian and Ali Mohammad Haghshenas among the Iranian thinkers and Eliot and Roman Jakobson among the Western ones, is the emphasis on their accompaniment, and it is tried to exposit and explain the dynamic and dialectic relation of the two concepts. So, innovation can only be durable and acceptable while based on tradition and tradition can only survive and pull through while opening the way for innovation to be revealed and acknowledged. That is why there are two kinds of innovation, one based on tradition and born out of traditional heritage and the other not rooted in tradition, isolated and separated. It is based on the first kind of innovation that some Iranian and Arabian authorities, including Abbas Milani and Adunis, hope to find the roots of the contemporary modernity and innovation in historical periods and deep in the pioneering and developed movements of eastern traditional thinking.
 


Tradition and innovation are two important and functional concepts in different fields of human sciences. Although the definitions of the two offered by Iranian and non-Iranian critics are different, they have many significant similarities. Analysis and examination of diverse definitions from a general view leads to the fact that they are different from two aspects: the extendedness of the composing elements of tradition and the necessity of repetition to form it. The definitions which consider more extended features of form and content seem to offer a more accurate definition of tradition. Moreover, apparently, despite the affirmation of the condition of repetition in forming a tradition, the condition is applicable not only in immediate imitation but also in further imitation in later periods and centuries. Therefore all features related to the form and content of past literary works, which have been repeated, continued and circulated after a short or long period, form a literary tradition. Regarding innovation, it is worth mentioning that its dynamic and complicated relationship with tradition, is the main essence of literary works which is, on the one hand, the guarantor of the durability and success of literary innovations and on the other, the main cause of revival and renaissance of tradition.
 
e constituent elements and the presence or absence of repetition among the conditions of the formation of tradition. Accordingly, all the formal and content features that exist in literary works and are repeated, and survived after short or long periods of time, form the literary tradition. In the case of innovation, its dynamic relationship with tradition is the main essence of literary works and is the guarantor of the success of innovations and will lead to a continuous renaissance of tradition.

Except the quatrain theme, what makes it more salient than any other feature is its verbal simplicity, expressive unpretentiousness, brevity and melodious music. The contribution of music in acceptability the quatrain format has received less attention the instant that The Robai form is more related to music than other forms of poetry and meter is one of the distinguishing components of this format. an comparative study of the music of the first Persian Robaies with its climax can explain the role of music in the course of Persian Robaies and  the climax of that. In this article, in descriptive-analytical methods and based on statistical data, the musical characteristics of Rudaki's Robaies have been compared with Khayyam's Robaies. Therefore, Roudaki's quatrains are based on 34 quatrains of Nafisi and Braginsky prints and with comparison to Daneshpazhuh and Jahangir Mansour editions are used. Khayyam's quatrains have been selected due to the wide differences between different editions and the unanimity of Khayyam researchers on the originality of the quatrains in the books of Mersad al-Ebad, the history of Jahangosha Jovini, Nozhat al-Majalis, Tarikh Wassaf and history Gozide and according to the 34 quatrains in this Books are the basis of this research.The research shows that Roudaki, by making more use of his poetic licences and not paying attention to subtleties such as the consonant and vowel letters of the hemistiches, paying little attention to the side and inner music and neglecting the intimate music Persian words have not been able to use the musical attractions of the Robai to attract the audience, while Khayyam carefully uses the poetic licences quantitatively and qualitatively, more adherence to the musical characteristics of the main meter of the Robai, enjoyment Moderation of the capacities of side and inner music along with creating an intimate song using original Persian words has benefited from the prominence of Robai music in attracting the audience and the perfection of this format

This research investigates tradition and innovation factors in the adventure of Haji Baba of Isfahan written by James Morier and translated by Mirza Habib-e Esfahani. Whereas this book has been considered as one of the first samples of new fiction in Persian literature, analyzing the role of tradition and innovation in it can help to identify the evolution of Iranian fiction. This research studied this subject by a descriptive-analytical method and showed a balanced combination of traditional and innovative factors in it. Based on the results, this book has a balanced composition of traditionalism and innovation in terms of fiction elements. Modernist tendencies have dominance in such cases as realism and attention to details in Characterization, attempting to increase the believability of the events in the story, minor descriptions, and observance of the tone; on the other hand, traditional tendencies have dominance in the stagnation of characters, methods of the characters’ introduction, effective factors in the advancement of events, and some motives, especially in romantic sections. In the topic of the style of writing, despite the successful attempt of the writer to be innovative in the Persian language, since this innovation has been impressed most of all by Said's poetic formulas, especially in Golestan, it can be regarded as an adaptation of tradition and a form of revival of it. Criticism of the traditional society of Iran and the contrast between tradition and modernity are the most important themes of the book. The writer has criticized tradition by a balanced approach and relying on the roots of tradition.

Knowledge of myths and epics is important and necessary to get acquainted with the past culture and civilization of nations. Therefore, it is worth considering the developments that occur in a society’s myths and epics due to political and social reasons and the passage of time. So far, no research has been done aimed at identifying the causes and the changes occurred in the mythological and epical images of Iran in the most important Persian history books from the third century up to the end of the Safavid rule. The results of this study, which was done using the descriptive-analytical method, are: the removal of many ideas of Zoroastrianism from the face of Iranian mythology as a result of Arab domination and the influence of Islam, changes in some of the actions and deeds of Iranian mythological characters and the influence of Islamic teachings on them and their mixing with the Israelites (foreign narratives from Jewish sources), the transformations that took place in the form of characters, stories, and mythological geography, and the mixtures that influenced the Iranian mythology due to the spread of Israelites in the form of contemporaneity, fake lineage, uniformity, and geographical affiliation. Other findings of this study show the influence of the thoughts of the Semitic people on Iranian mythology and the logic of the credibility of the historian’s era on the Iranian narratives, which led to various myths about them.

The significance of setting a valid model for the analysis of literary texts is inevitable. Thus the attempts in this regard date from the history of first Persian literary texts. This significance is deemed even more necessary in prose research than poetry research because Persian language and literature researchers as well as readers have already paid more attention to poetry than prose. Using already conducted research in this area and with reference to the introduction of Abu-Mansuri Shahnameh the oldest Persian prose, the present study aims to represent a model for Persian prose analysis. The present research which has been done by descriptive analysis holds that setting the subject of the text, correlation between the text and influential factors, and also the place of text in the circles of formation and transformation of prose are among helpful contributing elements in prose analysis. As an introduction to perform the above mentioned model, it is deemed appropriate to research on the genuine features of Persian language and the accurate developmental stages of Persian spoken and rhetorical language as two seminal forms effective in the evolution of Persian prose. Abu Mansuri Shahnameh, with epic and national theme and settling at a critical moment meeting of conversation, rhetoric and written Persian prose, considers prose independence and by adhering to the subject of originality of language, attention to indigenous criterion in using the Arabic language, Observance of natural rhetoric is a reliable model for Persian language writers.

Although the challenging topic of predestination (qażā va qadar) has always been discussed in Persian literature, some poets in the Safavid era paid a particular attention to the topic, composing eponymous masnavis, and this trend continued until Qajar. Most of these poems are manuscripts. The present study introduces a number of predestination poem and their poets and from the point of view of analyzing the aspects of fiction, these poems are criticized. The results of this study Indicates that the Predestination poems (qażā va qadar), despite minor differences, have common features that provide the structural unity of these works in terms of story processing. Common narrative components of these texts are: simplicity of language, the existence of a dominant pattern in the plots well as in characterization and the repetition of stereotyped, conventional, and static characters; being based all poems  on a key and important theme; Create Heterogeneous and accidentally Events and Weakness of verisimilitude; Unexpected ending and the tragic end and The dominance of incidentalization over characterization. According to this research, these poems may be introduced as a new type of literature. The result of this study can clarify part of the evolution of Persian literature and of the knowledge of literary trends

During the Islamic revolution and the holy defense, poetry and hymns, the representation of dynamic literature, together with the people created an important part of the Iranian history. The combination of the anthem with music, fluent language, simple and ideal concepts are the characteristics that make the anthem communicate with the audience. Research in the language of hymns reveals ideological and cultural values in society by which we can achieve a rooted history and prevent its destruction.

The study of literary texts with a variety of theories and criticisms has attracted literary scholars in the twentieth century. The purpose of analyzing texts with new theories and criticisms is to show the delicacies of literary texts. Formalist literary criticism is one of the theories for text analysis regardless of external factors. The focus of formalist analysis is on the literary text as a creature that is far from the role of producer (poet/writer) and consumer (audience) in shaping it. In this paper, according to Leech's classification, the cases of deviation are studied to show the beauty of the lyrics of the hymns.

This paper is based on the theory of formalism and Leech's classification, the frequency of types of deviation was studied in the hymns of the Islamic Revolution, and the Holy defense.

a) Semantic deviation: In the hymns, this type of deviation has the highest frequency with 47.79%. Poets have combined elements of poetry with rhythmic language to express deep and meaningful concepts to make the text full of emotion and more effect. Most semantic deviations in the literary context of hymns belong to irony, metaphor, symbolism, and simile. b) Archaism: The poets in the hymn use words and structures that are either not used or less commonly used in today's language; they use this method for foregrounding. c) Syntactic deviation: Ignoring the rules of language syntax, disruption, and displacement of its components and structure to achieve foregrounding indicates that the poet has done it consciously to create beauty. d) Phonetic deviation: The poet ignores the phonetic rules of language and uses phonetic forms which are not common in the standard language. He uses this technique more to maintain the rhythm of the poem. Hymns are audio elements so they have no visual function. Therefore, the written deviation frequency in them is zero. Also, since the audience is not involved in verbal complexity, the lexical deviation and creation of new vocabulary are very few. The use of dialect deviation, local and regional dialects in the hymn is zero due to the importance of conveying the message to the audience. The poets have used less of the spoken language in the anthem because it reduces the grandeur of the anthem.

The results of the study show proper use of linguistic capacities and a variety of deviations has made the hymn text fresh and prominent. Using this method does not cause speech failure, but it adds to the beauty and strength of the hymn. Among deviations, the highest frequencies belong to semantic deviation. Irony followed by metaphor, symbol, and simile are the most important ways to influence and attract audiences in the hymn. After semantic deviation, temporal deviation, or archaism, with 33.52% of the total, was used more than any other deviation. In the hymn, the proper choice of the classic word and its connection with the common language has not caused any interruption in communication with the audience it also highlights the vocabulary of the text, and it creates greatness and strength in the language. The syntactic deviation frequency is 5.63% of the total deviations. Syntactically, most of the sentences in the hymns are simple and orderly. Syntactic deviation often occurs due to ignorance of the rules of the order of the components of a sentence which is a prominent and influential factor in poetry creation. Components of phonetic deviation are used to create harmony, enhance the musical aspect, and increase the influence.

The poems of fortuity are a collection of works written in the Safavid-Qajar period based on the algebraic thinking in the form of a story. Most of these poems are in the form of manuscript and they are more than 20. In this article, four prints and 11 manuscripts of these poems have been studied considering the elements of popular culture and literature. Although the poems of fortuity are written in the form of formal literature with a focus on the theological and philosophical themes, their linguistic and content characteristics prove that the main source of inspiration for these texts is the folk cultures and literature. The superficial approach to the fortuity that challenges the subject, being free  of the  complex philosophical reasoning and  the promotion of fatalism thinking in these poems,  the manifestation of popular culture and literature such as simple language and expression, the slang tone of these works, realization of superstition such as the belief in fortune, describing some popular traditions, reflecting some popular behavior, and describing personalities and places in the  popular life are some indications of fortuity poem  being  influenced by folk  literature. In terms of story structure, fortuity is also perfectly consistent with the structure of folk tales. Weaknesses in plot and verisimilitude, centrality of the events, static and dynamic characters, vague time and place and the omniscient narrative are some features that link these poems to the folk literature

The present paper investigates the poets of the Persian poetries of Tarikh-e Yamini</em>. The explanations that are given in the introduction and conclusion of the book about the quotation are misleading. This difficulty is based on the explanations of Jorfadeghani and in the following of the author, Jafar Shoar, the editor that claimed that Mostofi is the poet of the Persian poetries. This paper introduces the poets of the Persian poetries in Tarikh-e Yamini</em> and criticizes Jorfadeghani and Shoar’s views and the ambiguities about quotation in this book. 

Mirza Mohammad Khan Majd al-Mulk was one of the political, critic and writers of Qajar period and his"Majdieh epistle" is one of the first literary Persian critique that before the victory of constitutional Revolution has been written and the defects and the disturbances of Nasseri era has illustrated in firm, critical and humorous publication. This essay tries to study this work in a descriptive, analytic way. The author by using the master piece of Persian literary, times subtle and deep recognizing, rich living language and using the artistic elegances skillfully has been criticized by ministers, government agents, scholars, mystics, the monarch and educated people, and the spread of bribes dedications, inappropriate ethics and undesirable manner of governors rulings, heavy taxes on the people, the profiteering of the religious authorities, the hypocrisy of the mystics, the silence and negligence of the king, and the superficial knowledge of educated people who returned from Europe. Majdolmolk, with a close look at the Qajar era, using various capacities of the Persian language, and finally the artistic use of rhetorical techniques in criticizing the epoch situations, has presented a magnificent work in the field of critical literature that can be a critical example of critical literature.

Technical prose is more than the meaning in the thought of the arrangement of the word, and uses a lot of rhetorical delusions to decorate the word. One of these linguistic and rhetorical delicacies is the guarantee of poetry during prose. In this paper, the names of the poets that their poems are quote in Kalileh and Demneh, and the semantic and content links of the quote lyrics in Kalileh and Demneh with the text are investigated. Nasr al-Lah Monshi was not defeated by word and his priority was meaning in the selection of the quote verses. He has specially looked at content and language in the selection of verses. Educational and wise thoughts, social sciences, religious and mystical teachings, fanatical approach, and subjective and thoughtful ideas are the main subjects that have linked the text with quote poetry. The authors suggest that other prose books should be investigated from this approach in order to clarify some of the links between poetry and prose in Persian literature, and the methods and techniques and hidden and obvious tips of the quote poetry in Persian prose should be critically analyzed and criticized.

Technical prose is more than the meaning in the thought of the arrangement of the word, and uses a lot of rhetorical delusions to decorate the word. One of these linguistic and rhetorical delicacies is the guarantee of poetry during prose. Among the more than 240 verses that are implicated by Nasr ol-Lah Monshi, more than seventy percent has been chosen from odes. Abundant usage of the ode form is very common because it was the prevailing form of poetry before the seventh century. In Kalileh, which is a masterpiece of technical prose, the quote poetry has a unique position in terms of quality and quantity. Nasr ol-Llah Monshi, has quote poetries and verses in all stories of Kalileh and Demneh. The relation between poetry and prose in this book is such that the reader does not feel any jump between the prose and the quote poem. It seems that the entire work, including poetry and prose, is written in an integrated form and by a person. He has various methods that using the quote poetry does not hurt the linguistic integrity of the text. One of the most important ways that Nasr ol-Lah has utilized to create and maintain this harmony is making minor changes in the poems of the poetries. In other words, he has created small changes in some quote poetries that are not capable to quotation in the text without changes to increase the harmony between his own text and the other’s poetries to the best. Of course, all the changes in the quote poetries in Kalileh cannot be known deliberately or in order to the maintenance of the integrity of the text. Linguistic changes created in the quote verses, as compared to the poet’s books, can be due to reasons such as the difference of copies, the carelessness of the scribes, making the coordination with the prose or the presentation of the poetries from the writer's memory without referring the original books of the poets. The changes in the quote verses and hemistiches are at the level of the vocabulary and increase or decrease the conjunctions and prepositions. Nasr ol-Lah Monshi has tried to use a variety of linguistic and rhetorical techniques to maintain a strong link between quote poetry and his text. In such a way that we see less of the heterogeneity between quote verses and the text of the book. In Kalileh, the verses and hemistiches are quoted from poets such as Sanaayi, Masoud Saad, Abu al-Faraj Rouni, Amir Moezi, Farrokhi Sistani, Osman Mokhtari, Kasayi, Abu Saeed Abu al-Khair, Onsori, Masoudi Razi. Among the more than ten poets whose poems are quoted in Kalileh, Nasr ol-Lah Monshi has used the Sanayi poetry more than the other poets. Undoubtedly, there is a certain difficulty to make connections between the quote poetry and the prose. The author of the prose must be so dominant in poetry and prose that he can put them together in such a way that it is not inappropriate for the reader. Perhaps this is the reason why the authors of technical prose use most of the quote poems in the role of parenthesis in the prose sentences. But sometimes the link between the quote verses and the text of the book is such that they can be placed in various grammatical roles. Nasr ol-Lah Monshi has used quote verses and hemistiches in various grammatical roles that created the most artistic and perfect kind of the quotation in the technical prose. One of the most commonly used roles that the quote poetries in Kalileh and Demneh have, is object role. Approximately thirty of the quote verses have been used in this role and have increased the richness of technical prose. In the Kalileh and Demneh, there are quote verses that are used in adverb role. The similarity of this adverbs with many of Kalileh and Demneh verses, is that they are parenthesis sentence and their probabilistic elimination from the main sentence, does not make any problem in the concept of sentence. The adverbs that are used in Kalileh and Demneh are all adverb of state. In addition to the variety of grammatical roles of the quote verses, there is also a strong rhetorical link with prose. The types of the rhetorical link of the quote poetries with the text are very extensive. Since the enhancement of the impact of the text on the reader is one of the main concerns of the authors of technical prose, Nasr ol-Lah Monshi with full understanding of this point, has tried to adhere to rhetorical elegances in the quotation of the poetry. Hence, in applying poetry, there are many rhetorical elegances in the text. What is evident in the quote verses in Kalileh and Demneh is their rigorous selection and arrangement rhetorically. Nasr ol-Lah Monshi has followed all the principles of eloquence and rhetoric, and in addition to the great care in choosing the poetries from the point of view of content, some other points such as poems forms and even their meter have been paid special attention. From the factors of the stability of this connection can be mentioned to rhetorical arguments, confirmation and emphasis on fictional thoughts, descriptions and exaggeration. However, the dominance of tendency to the destiny in the era of the translation of the book, has decreased tendency to the reasoning. Nasr ol-Lah Monshi has often used the quote poetry to balance the arguments of the prose sections of the book. The attraction and sweetness of poetry led to exist the quotation of the poetry for attraction of audience in most of the proses. This means that a writer such as Nasr ol-Lah Monshi with full knowledge of the position of poetry in the minds and language of his audience, uses poetry to explain the artistic ideas of his thoughts and uses the effectiveness of his poetry and its great influence in verifying his word. One of the ways to extend and, of course, presentation the art of the writers of technical prose, is the usage of poetic descriptions in different positions. This feature can be used as a criterion for evaluating this category of works. This means that sometimes the descriptions have a decorative aspect and sometimes they add to the rhetoric of the text and affect to attract of the audience. Nasr ol-Lah Monshi has used this opportunity in the best way. So that the book's descriptions increase the effectiveness of the text on the audience. Exaggeration, in addition to increase the poetic features of the text, is more consistent with the spirit of works such as Kalileh, which has a general audience, and the appropriate usage of this poetic technique has a lot of impact in the accompaniment of such audience with the text; because this feature active the imagination of the audience and makes him enthusiastic about accepting the thoughts of the author, and in this way becomes more enthusiastic for companionship with the author's thoughts. This article, in a descriptive-analytical method, has tried to analysis the mystery of success of Nasr ol-Lah Monshi in the quotation of poetry and introduce the linguistic tricks and rhetorical elegances that he employed through utilizing the poetries.  The present research shows that Nasr ol-Lah Monshi has always adhered to the eloquence and rhetoric in the quotation of poetry. So that in the place of the connection between poetry and prose in Kalileh, there are many linguistic and rhetorical elegances.

The imagery in poems of blind poets, is the issues which has not been noticed, analyzed and criticized so far. In this article the imagery of this poets were investigated in a descriptive-analytical way with this consideration that they were deprived of seeing visual. This research is based on shourireh shirazy’s book and three published books of Mahin Zoraqi. The main question is that if could consider a role for other senses except visual in creation imagery in persion poem. This research investigated the share of visual and unvisual elements and hidden layers in poems of blind poets. And effect of blindness in their poems . this research shows that there is no difference between blind poets and other poets in usage sensible context and colors in imagery; but blind poets attempt to compensate absence of visual sense with the capacity of other senses .therefore in their poems there is more frequency of imagery like synesthesia and irony. and lack of diversity of colors; prominence of some parts of body like hand, tongue and ambiguity of some fancy forms is the clear property of blind poem's imagery.

Simile, which appears in different modes, is one of the major subjects of a branch of rhetoric called Bayan. Some of these modes, such as intellectual-intellectual and sensible-intellectual are not in harmony with the illuminating role of simile; therefor, the books on Bayanhardlyhave positive attitudes towards these modes of simile, but contrary to this attitude, such similes appear with a high frequency in some literary ages and some Persian texts. By critiquing and analyzing the intellectual similes in Tarikh-e-Vassaf, this article tries to study the reason why these similes were widely used. This research shows that Vassaf’s tendency for this mode of simile was because of his penchant for breaking with tradition and departing from the literary norms, widespread desire for innovation, the limitations of creating simile’s by the restricted views of ancients, general inclination for circumlocution, and a tendency to use the exaggerated forms of imageries. By using artistic elegances,the author of Tarikh-e-Vassaf has tried to elude the negative consequences of these similes, yet he has not been successful in all his efforts. Moreover, one of the important reasonswhy the text is abstruse and obscure, is the high frequency of intellectual similesin this text.

The poetical aspect of any poem has an inseparable bond with imaginative elements, and a major part of poetic delicacy is dependent on the way these elements are used. Therefore, evolution and alteration of these elements in the scope of Persian poetry, which has experienced several different styles, are inescapable. Discussion of the state and philosophy of these evolutions in poetic styles and the attitude of oratory researches toward these changes have been neglected in literary studies. This study attempts to, comparatively, examine the evolution of imaginative elements of Persian poetry in four poems from different styles and to introduce forms of the evolution. The results indicate that the imaginative elements of Persian poetry have not followed a single direction having been influenced by factors such as conditions of the age, poetic styles, literary theories, poetic genius, interaction of speech and written forms, and finally, tendency toward deviating from the norms. The departure point begins from Iraqi school and culminates in the poetry of Safavid era and Nimaee poetry. Throughout this process, Persian poetry has created original imaginative elements which are beyond interpretation in words.

The cultural and literary relation ship between Iran and India has been a firm and undeniable one and though with ups and downs، it has continued through the time. This connection reached it،s zenith at safavid and Gourakanian،s age and the poetry and literatue of this age is a mirror reflecting it completely. saeb،s poetry that is the summit of the poem of this age has portraited artically the mutual cultural and literary relation ship between these two territories، so that the mixture of the culture and literature of Iran and india is one of the obvious speciality of it. Parody of indian persian-composer poets،using india،s literary traditions،exploiting literary language of India،s persian-composer poets،being influenced by love poems of India،s literature and the reflection of indian،s culture،believes، and ceremonies are all of obvious manifestation of cultural and literary connection between Iran and India in saeb،s poetry and apprehension of his poem is not easy without a good knowledge of the above mentioed points. Through investigating sa،eb،s divan and drawing out the verses connected with the topic and analyzing the extracted verses and classifing them and exploiting the researches in this domain، I have tried in this paper to introduce some displays of India،s culture and literature in saeb،s poem and thus to open a way to his verse،s mysterious world.

"Matla" is one of the rhetorical and prosodic works of the seventeenth century in Iran which was written by a literary minister called Razi-al-din Mohammad Ibn Mohammad Shafii Mostofi. He wrote the book by order of Caliph Sultan Mazandarani, one of the Safavid ministers and dedicated to him. The topic of the book revolves around figures of speech including rhetoric, prosody and rhyme. The author of the book has been influenced by the previous works on this subject, including "Meyar-al-Ashar"," Meyar-e-Jamali" and "Hadayeq-al-Sehr". This study can clarify the missing link in between Teimouria and Qajar Period rhetoric in Iran. It can also be a contribution to the direction that rhetorical books have taken.