mohammad sadegh basiri

"Focalization," as one of the innovative theories proposed by Gérard Genette in narratology, examines the structure of narrative, techniques, and strategies for distributing knowledge (awareness) by the narrator. It elucidates the dominant ideology of the text in relation to its impact on the audience’s understanding of the narrative. Genette’s significant distinction between two key narrative agents—"Who sees?" and "Who speaks?"—identifies two primary functions within the text: the act of "telling" and the act of "seeing." The focalizer (the agent of focalization), after positioning itself as an intermediary between the reader and the text, influences the reader’sperception through different modes of focalization: perceptual, psychological, and ideological. These modes operate with varying degrees and qualities, leading to different effects on the audience.In this article, focalization techniques in Vis and Ramin, a work by Fakhr al-Din As'ad Gorgani, are examined to determine how the element of "awareness" is distributed within the narrative. The findings indicate that the narrator successfully maintains a balanced and proportional approach in utilizing both external and internal focalization. This balance ensures a meaningful distribution of information between the reader and the characters, effectively conveying the dominant ideology of the text. The organization of event sequences by the narrator-focalizer is structured in such a way that, in most instances, the reader does not possess more information than the characters. However, the reader is implicitly engaged in the psychological exploration of the characters' destinies, maintaining a distinct yet introspective presence within the text’s systemic framework.

This study compares the stories of Veis and Ramin and Khosrow and Shirin. The basis for this study is Greimas theory and the characters’ communication model, which assists the study to systematically identify the characters’ contributions in the events, and their motivations, demands and wills in the story’s incidents and actions. The essential grounds for this comparison is the transition from a similar superstructure to the Narrative infrastructure differentiation in two stories. The results of this study is an indication of the plot for Weis and Ramin which narrates the struggle of love with the law and the royal throne. Last but not least, the victory of love but the story of Khosrow and Shirin is based on the conflict and then the compromise of royal power with morality and religion. These are the most important differences between the two stories: In the story of Khosrow and Shirin, unexpected events and destiny play a greater role Creating beautiful scenes has no role in the plot. In the story of vis and Ramin, the plot has a logical order. The role and action of the characters is important in completing the plot, and women play a more important role in the story.
Veis and Ramin and Khosrow and Shirin are referred to as famous and prominent love stories in Persian literature. The Story of Veis and Ramin, the lasting work of Fakhroddin Asad Gogāni, is the third Persian Masnavi in terms of antiquity and the first Persian love poem that has survived to this day. This story is one of the most natural and influential stories of celebration and love in Dari Persian language, the subject of which distinguishes it from other ancient romance novels. 
Fakhr Al-din Asad's fame for the provision of the arrangement method in this story dates back to the fourth century, however, since the subject of this story was, in many cases, far from the moral standards of the Islamic environment of Iran at that time, the fame and popularity of Fakhreddin's story diminished after Nezami Ganjei's Poetic stories and the poets who imitated him.  Nezami is one of the most famous poets who imitated the weight and composition of Veis and Ramin in composing the element of Romance in Masnavi. There are many indications that Nezami, after reading the story of "Veis and Ramin", has thought of like those of composing love poems and perhaps Fakhreddin's work was his inspiration in selecting Khosrow and Shirin. Nezami's ability to compose festive stories has made him a role model for others and, according to some scholars, Khosrow and Shirin, the second Masnavi of Nezami's “Five Treasures”, is the best and most famous love story of his poems.
The connection between these two stories, the influence of Veis and Ramin on Nezami in composing the story of Khosrow and Shirin, and the similarity of these two stories in subject, nature, weight, and narrative characteristics, has made it possible to compare these two works. The purpose of this comparison is to identify the differences between the two stories, in terms of the impact of the characters’ actions in the plot and the events of the story. This comparison is based on Grimas's narrative theory and the action pattern of the characters and helps to identify the similarities and differences in the narrative structure of Persian love stories.
This research is based on the description and analysis of the text, and the action pattern of the characters in Grimas theory. The analysis method is based on dividing the text into the components of the sequence and then identifying, analyzing, and describing the action pattern in each sequence.
Both the stories of Veis and Ramin and Khosrow and Shirin include a grand plot that narrates their love and struggle with rivals and deterrents, the constant joining and separation of two lovers, and finally overcoming all problems and the final and the creation of an eternal bond between the two lovers.
In the story of Veis and Ramin, Veis, Ramin and King Mubad are the main subjects in the story. The most important assistants for Veis and Ramin, are Veis himself, the old maid and, sometimes, the mothers of the two lovers. Furthermore, there exists some opposing powers like Power, custom and law, the Shah's mother and brother, and sometimes Veis's mother. The most powerful opponents of the two lovers are the power of the king, the law and custom of society, and then the king himself and the mutual love of Veis and, finally, Ramin is the most important obstacle for Shah Mubad to enjoy Veis's love.
In the story of Khosrow and Shirin, Khosrow and, sometimes, Shirin are the only subjects in the story, and it is only at the end of the story that "Shiruyeh" appears as another target. In this story, love is the main theme and at the beginning of the story, Shapur and the kingdom, are the motives for Khosrow's actions. Accident and destiny are the most important helpers and opponents of the characters in the story. Another opponent of the two lovers which abandons them from reaching each other is Khosrow's marriage to Maryam and Shirin's motivation to maintain chastity. Shirin's love for Khosrow is also the cause of Shiruyeh's failure.
The story of Veis and Ramin is the story of the victory of love over the law and the royal throne. This story has very few extra scenes and images, its plot is coherent and the events play an important role in complication, denouement, creating a crisis and bringing the story to an end.
The story of Khosrow and Shirin is the narration of the alliance and agreement of religious laws and social traditions with royal lust and domination. The plot of this story has very few events and there is no serious and effective tension and conflict in complication and denouement with the story and, finally, the characters are not threatened by a serious crisis. The story of Khosrow and Shirin includes a large number of beautiful but redundant scenes and images that make the story come to an end late. This story, Contrary to the story of “Veis and Ramin”, contains a large number of beautiful but redundant scenes and images that make the story end late.
In the story of Veis and Ramin, accident and destiny have no role in the story, except in the scene of Shah Mobad's death. The main actors in this story, are the characters and the formation of the plot depends on their actions and motivations. In this story, women have a more effective role than men as subjects or helpers and opponents; They are active actors, depending on the situation and events of the story, try different solutions to achieve their desires.
In the story of Nezami, Contrary to the story of Veis and Ramin, accident and destiny play an important role in creating and completing the plot; Accident and destiny are the most prominent assistants as well as opponents in the story and Shapur, except accident and destiny, is the only helper of the story. He, unlike the maid of Veis, is the only the executor of Khosrow's orders and his messenger.
In the story of Khosrow and Shirin, the number of characters, in all roles, is much less than the story of Fakhreddin Asad Gorgāni and, more importantly, the motives and actions of the characters in this story, unlike the story of Veis and Ramin, remain constant throughout the story. The story of Khosrow and Shirin is the Scene of action and superiority of the will of men, especially Khosrow, and Women in this story, unlike the story of Vis and Ramin, do not play an active role in the events of the story.
The results of this study confirm the validity of Forouzanfar and Mahjoub's opinion. They hold the idea that the story of Veis and Ramin has got a great influence is more beautiful and influential in terms of story structure and rules than Nezami's story and has had a great impact on the flow of Composing poetic stories in Persian literature.

The term "Absurd" in dictionaries refers to something irrational, illogical, or nonsensical from a rational or conventional standpoint. However, the title of Absurdist Theater "is not derived from the definition of the term according to the dictionary; rather, it was first used in a book by Martin Esslin under the same name." (Roberts 18) This word, which in a musical text means lack of coherence, has been translated into Persian as "theater of emptiness" or "absurd theater," but "it is a pure mistake to argue that this theater is inherently absurd and trivial based on the naming, but rather the theater of absurdity seeks to make its audience aware of the unstable and mysterious condition of humanity" (Nik: Ghanimi Halal 90) and the void and meaninglessness of human interaction in societies lacking depth and significance, reminding them of the futility and absurdity of human life with a critical view, and "from this perspective, all plays of Absurdist theater have a humanistic, progressive, and spiritual aspect." (Nik: Roberts 10)The roots and reasons for the emergence of this form of theater must be sought in the events of World War II and the perspectives of intellectuals in the post-war era. The horrors of war had confronted intellectuals with difficult questions about human responsibility and even the continuation of human existence, and the reflection of these questions in theater was the writing and performance of plays whose main theme was anxiety and feelings of guilt. The experiences of the Absurdists were the most significant transformation of theater in the post-war era (Nik: Brackett 198-204) which "employed various theatrical techniques contrary to logical analysis to indirectly reveal the emptiness of contemporary human life." (Stalley Persaud and Bulke 231) This form of theater "represents a transformation in contemporary theater and reflects tendencies that have been evident in the works of complex writers such as Kafka and Joyce since the 1920s and have been associated with some of the leading writers in Europe and the United States such as Samuel Beckett, Ionesco, Genet, etc." (Nik: Esslin 18) "Harold Pinter" is one of the main figures of this theater in England (Nik: The same 255; Brackett 300/3) and "The Birthday Party" is one of his well-known works that has been staged worldwide, including in Iran.Thus, the works of all these writers, including Pinter, have deep roots in a culture and tradition that "in Western culture, constitutes a coherent and consistent intellectual system requiring realism, avoidance of vain hopes, which considers despair, ultimately suicide and escape from the heartbreaking reality as the essence of human emptiness." (Setari 22) But in Iran, the attention of modernist writers to emerging forms of writing, including the writing of Absurdist works, can be seen as a continuation of a trend that began during the Constitutional period and under the influence of Iranians' acquaintance with Western literature. In the field of theater, "the period between 1963 and 1978 can be considered the peak of Western-style theatrical activities. Playwrights, according to their political, social, philosophical, and theatrical tendencies, used a wide range of styles of Western writers - from Brecht to Beckett and Ionesco - as a model and turned away from Aristotelian theatrical conventions to create dramatic texts." (Nik: Bozorgmehr Gofteman 154-158) Among these writers, mention can be made of "Behrouz Forouzan," "Bagher Sahraoordi," and "Abbas Nalbandian," who "were influenced by writers such as Beckett, Pinter, and Harold Pinter and were referred to as pioneers of Absurdist theater." (The same 159) Ghulam Hossein Sa'edi (1935-1985) is the most familiar of these playwrights and a influential writer in contemporary Persian fiction, but "his field of activity is the stage, and it is in this field that innovation is evident." (Dastgheyb 60) His work between the years 1960 and 1978 includes twenty plays, of which "Cobwebs in the First Eaves" and "Honeymoon" (1978) are among the last.In light of the above, the aim of this research is to comparatively analyze Sa'edi's "Honeymoon" and Pinter's "The Birthday Party" in terms of addressing the most important elements of Absurdist theater and analyzing Sa'edi's receptivity to Pinter's work.Background of the Study:Esslin specifically addresses the history and critique of works by writers who follow this approach in his book titled "Theatre of the Absurd." This book is one of the primary sources for this research and for many studies related to Absurdist theater. Other books by non-Iranian and Iranian writers mentioned in the sources of this research also form an important part of its background. Additionally, attention can be drawn to articles that focus on the characteristics of Absurdism in the works of Iranian writers; among these studies, those that have closer relevance to the present research include the following articles: Mohabi and Youssefian Kenari (2011) examine the extensive linguistic transformations in Absurdist plays and their role in the formation process of modern and postmodern literature. They conclude that Absurdist theater has had an impact on the evolution of the novel and in literary language after the 1960s. Rameshki, Shakery, and Faghfouri (2015), in their analysis of Behrouz Forouzan's plays, consider circular plots and open endings, poetic imagery, and the slanted portrayal of characters and their philosophical-belief views as the most important elements of Absurdist theater in his works. Alavi and Mozaffari (2016), while identifying Absurdist elements in "Wood in the Hands of the Wrestler," concluded that Sa'edi, by violating all the structural elements of traditional playwriting, reflects a pessimistic attitude towards existence in his work and puts generational anxieties in front of the deep sorrow of occupation and colonization. Salehi Mazandarani and Gobanchi (2011), in their research, examine how the concept of emptiness is reflected in the plays of the modernist playwright Ghulam Hossein Sa'edi and his direct and indirect reception of this theatrical style, showing that Sa'edi's reception of modern playwrights is much more than that of traditionalists.The subject of the present research is not to prove Sa'edi's influence by playwrights adhering to Absurdist theater, but rather to demonstrate Sa'edi's receptivity to a specific text that has been translated and staged in Iran, and without a doubt, Sa'edi was familiar with it. The results of this research, in addition to providing a more detailed analysis of how Sa'edi, as one of the most important and influential contemporary Iranian writers, was influenced by contemporary literary movements, can be useful in understanding and analyzing how Iranian writers are influenced by the form and structure of contemporary literary movements worldwide and be of interest to scholars in the field of comparative literature.The field of comparative studies examines and studies the historical relations of the literature of a nation with the literature of other nations; how the literature of nations is interconnected; what they have borrowed from each other, and what influences they have exerted on each other (cf. Tah Neda 20). Different schools of comparative literature have different approaches to this subject, but "usually the study of the influences and similarities of literary works serves two main purposes in this field. This study focuses on interactions and similarities between two or more literatures, works, or writers of different nations, or on the specific role of some influential figures in transmitting intellectual principles and literary industries" (Yost 64). The French approach to comparative literature, while examining and expressing affinities and similarities between two works, also emphasizes the importance of race, environment, and social conditions, focusing on the relationships and interactions between two literary works, employing empirical and practical methods in comparative research, and limiting these studies to the examination of influence and impact on literary works (cf. Bersler 60-61). There are various connections between literary genres, ranging from the overall national literature to more focused studies on the influence of one writer on one or several other writers; however, these influences occur directly or indirectly, and although the means of transmission are not always apparent, translation and translators play an important role in this regard (cf. Yost 65-66).Translation, as a criterion by which a literary system can measure its indication and semantic formation, has been very important during the literary renewal of Persian literature (cf. Karimi Hakkak 115). The beginning of the acquaintance and influence of Iranian writers and intellectuals with Western literature must be sought in the Qajar period. "The continuous relations between Iran and the West began with the end of the Iran-Russia wars. In the aftermath of Iran's successive defeats by Russia, Abbas Mirza and his prime minister Qa'im Maqam realized the technical and scientific weakness of Iran and pondered solutions. They established factories in Tabriz and other cities and asked Europeans to come to Iran for living. At his command, 'The History of Peter the Great' and 'The Rise and Fall of the Roman Empire' were translated into Persian, and Tabriz became the center for the promotion of Western ideas, customs, and traditions. Eventually, the students who were sent abroad for education by his order were the first to engage in the translation of Western literary works and then attempted to write like them" (cf. Behnam 21-23). Alongside Abbas Mirza's efforts to establish schools based on the European model, through his initiative, the first printing presses were established in Iran, and the publication of texts increased unprecedentedly; as a result, the printing of publications became widespread, and the translation of foreign works deeply penetrated all sectors of society (cf. Balaii 12).The translation of dramatic texts and subsequently, the writing of plays in the European sense also began with the establishment of Darolfonoun and the translation of Molière's plays, and some translators, due to their personal taste and preference, added Iranian color and flair to them; however, the oldest plays written in imitation of Europeans are the works of Akhundzadeh, which Mirza Jafar Gorgani translated from Azerbaijani into Persian (cf. Arianpour 1/336-342). With the beginning of the constitutionalist movements, especially after the end of the Minor Tyranny and the establishment of the constitutional period, the art of theater gained the attention of intellectuals and reformists, and after journalism, it became their second occupation; an independent magazine called "Theater" was published, the first theatrical groups were formed, and plays were staged in Tehran and other cities (cf. Malekpoor 2/28). Yet, all these efforts must characterize the reign of Reza Shah as the period of "the beginning of playwriting seriously and not professionally. In this period, we are once again faced with a wave of works written by literary figures" (cf. Malekpoor 101). Despite this, unlike the Qajar period, playwriting in this period was mostly influenced by the structure rather than the content of translated Western works, such as plays by Shakespeare, Schiller, Dumas, etc. (cf. Bozorgmehr Tathir 161-168).During the reign of Pahlavi II, in terms of the number of theaters, the diversity and prosperity of stage performances, the scientific approach to performance and theater education, and the establishment of the foundation of the national theater of Iran, considerable attention was paid. In this period, a new season began in the process of renewal, and Westernization took on a new form. Intellectuals gathered in Istanbul cafes, and the works of Sartre, Kafka, Camus, and Steinbeck were translated by them. Between the years 1340 to 1357, the magazine Sokhan became a forum for Western-oriented intellectuals (cf. Homaan 198-212), and many translations of Western authors' works were published in this magazine and other literary journals. The establishment of translation and book publishing companies and the activities of institutions such as the Franklin Foundation provided the opportunity for the publication of more translated works, including classics of world literature such as the works of Shakespeare, Chekhov, Molière, and others, as well as the works of contemporary American and European playwrights such as Williams, Miller, Ibsen, etc., became available to the audience. In addition, Iranian writers also wrote and published more plays, but there was no organized effort in the field of independent playwriting apart from Western thought in their works. One of these works is the play "Leilaj-ha" by Gholamhossein Sa'edi, which was published in the 8th issue of the 8th volume of Sokhan magazine in 1356 (cf. Bozorgmehr Discourse 355-357).The establishment of the Dramatic Arts Office in 1357 and then the Radio and Television Faculty and the Faculty of Dramatic Arts in 1362 had a significant impact on the translation of most Western theatrical works; because the professors of these two faculties were educated in the West, and the content of the courses was also in accordance with Western theater schools. Therefore, between the years 1365 to 1377, theatrical activities reached their peak in the Western style, and simultaneously with the increase in theaters in the capital and other cities, translators with various motivations (cf. Ibid 381-391) engaged in translating the works of foreign playwrights, including prominent playwrights of meaningful theater. The translation of works and the performance of plays by authors such as Beckett, Camus, UNESCO, and Albee, as well as insightful and critical writings about the plays of these authors, led to Iranian writers' familiarity with these works and the principles of meaningful theater.Pinter is also among the playwrights whose works were translated and performed during this period. "The Caretaker" is his first work that was translated into Persian in 1347 and staged a year later. "The Dumb Waiter" in 1348, "The Birthday Party" in 1349, "The Collection" in two performances in 1350 and 1356, and "The Elevator" in 1356 are other works of Pinter that have been translated (cf. Bozorgmehr Discourse 198-311). It was during the period of their continuous activity that Sa'edi served as a writer, translator, and literary critic. The simultaneous publication of Sa'edi's writings in widely-read literary magazines of the time, such as Arash and Sokhan, also confirms Sa'edi's deep acquaintance with meaningful theater. But since "comparative literature uses comparison as the main tool and not as the goal" (cf. Salamin Parvar 10), French researchers have focused on the impact of the work in their studies (cf. Aloush cited in Pirani 167). Therefore, comparing two works structurally is essential for researchers in this field.The subject of this research is the analysis and comparison of two plays, "Jashn-e Tavalod" and "Mah-e Asal," using the principles of French comparative literature. The results of this study indicate that Sa'edi was familiar with the elements of meaningful theater and the works of Pinter. The atmosphere of both plays is similar, and they both disregard classical narrative conventions. Both works begin with scenes portraying futile and inconclusive conversations and the display of calmness and repetitive routines resulting from daily life, confined to a constrained stage; however, Pinter's stage, although initially simpler and melancholic, evokes a warm and secure refuge that preserves the characters from chaos. On the other hand, Sa'edi's stage, while initially presenting a brighter image of a sanctuary, gradually turns into a confined and disturbing place, leaving the characters no way out. In both plays, the use of dialogue characterized by confusion, disorder, repetition, and length is the most significant theatrical element and the only event on the verge of occurrence. The theatrical characteristic of dialogues, fragmented and unstable identities of the characters, in coordination with the main theme of the story—portraying the turmoil and chaos of the world and the loneliness and distress of individuals trapped in this world—by disrupting the linear flow of time and emphasizing the tediousness of time, once again highlights the everyday boredom and futility of life.In creating the atmosphere of the play and portraying the characters, processing the space and time of the performance, the synchronous method of Pinter, the characterization of space and place, and the alignment of dialogues and characters with analyses and interpretations, it became clear that Sa'edi was directly influenced by Pinter's play in the stylistic innovations applied in "Mah-e Asal." He structured the narrative format of the play, including the form of the performance, the plot, the setting, the characterization, the language, and the timing of the performance, based on Pinter's innovations; however, sometimes he used details contrary to Pinter's style. With these interpretations, we come to the important conclusion that "Mah-e Asal" was created under the influence of Pinter's style and thought. Following the theatrical style and borrowing elements of "confusion" and "anxiety" from "Jashn-e Tavalod," Sa'edi, a writer whose works are characterized by "fear" and "anxiety," has created a notable and distinctive work among Iranian plays.

AbstractSymbolism is among the most used literary devices to represent and evoke layers of meaning. From ancient times, artists and rhetoricians have utilized the applied capacity of symbols to infuse their works with further appeal. As a prominent Persian poet, Nizami Ganjavi has used symbolic language in his works, particularly Panj Ganj [Five Treasures] (also known as Khamsa). His symbolism is influenced by his knowledge of the prevailing intellectual, philosophical, cultural, and mystical traditions of his time, rooted in various sources. With a long history in ancient civilizations and cultures, the ring is one of the symbols used in Nizami’s works. Historically and according to ancient beliefs, ring symbolizes kingdom, divinity, immortality and power. The result of the present study indicates that the ancient and mythological believes about the symbol of a ring are in conformity with this symbol in The Ring and the Shepherd anecdote in Nezami's Eghbal Nameh. In this anecdote, the ring is a code of superior power and all of the other symbolic elements as the shepherd, the cane and the spell reinforce the symbolic meaning of the ring.

Resistance literature is rooted in history. Wherever there is oppression, literature of resistance has sprouted in the form of one of the literary types. In Iran, this literature has always received attention, and, especially after the victory of the Islamic Revolution in 1357, and during the eight-year war with the neighboring country, it increased and was favored by Iranians.Although prison literature, as a type of the subset of resistance literature, ows part of its existence  to the prisons of the Pahlavi regime, its colorful and main part was born in the prisons of Iraq. The letters exchanged between Iranian war-prisoners and their families are part of this captivity literature.For Iranian prisoners, who were in captivity from two to ten years, there was no other way of communication than the two special letters delivered to them at the beginning or end of each month, or sometimes every two to three months. Once given to them. Obviously, in those few pages, a prisoner had to share important information with his family and write about his situation, and, in return, the family of the prisoner had to write back about the life of the family, the city and the country, and their friends to reduce the pain of his exile. In such limited and difficult conditions, and in such a small space of writing, half of which should be left empty for the recipient of the letter, a stream of literature-in-captivity was formed and those few pages were able to record a large part of prison-literature."From the beginning of 1359, when the first letters of Iranian prisoners of the Iran-Iraq war were received by their families, until August 1369, when the great exchange of prisoners began, within these ten years, that is, from the beginning of the war to the great freedom, we in the Office of the Missing Soldiers and Prisoners of War, exchanged about six million letters from both sides, and this was when almost half of our 40,000 prisoners were registered, and we learned about the presence of the rest of the prisoners in captivity only when they were released. And these letters were exchanged under the strictest limitations and different excuses of the Iraqis" (Afraz, 2019).The history of letter writing in Iran dates back to the Achaemenid period; at that time, words were written in cuneiform on the tanned skin of animals, and the skin was given to a chapar (mailman/messenger) to carry it to its destination. Of course, in the BCE history, writing was not used except in government offices and courts. 1800 years ago, when paper was made by the Chinese, letter writing on paper and book writing appeared, and letter writing became much easier (cf.: Amini, 1379: 43). In the history of Herodotus it is stated: "Harpak wrote a letter to Cyrus and encouraged him to fight with Astyaks (Korush's maternal grandfather) and in order for the letter to easily pass through the Medes and reach Persia, Harpak put it in the belly of a rabbit. He hid it and a letter carrier in hunter's clothes was able to deliver it to Cyrus. In the Torah, a letter and a decree from Cyrus about rebuilding the building of Jerusalem - which was destroyed by the Chaldean victory - is mentioned" (ibid.).The oldest work in Pahlavi language on the art of corresponndence is the small letter "Ayin Nama-Novisi". "This book contains special examples of correspondence in various cases and to various people. This text has forty-five paragraphs, each of which presents different methods in letter writing style. The first paragraph is an introduction in the description of those to whom the letter is written. In other paragraphs, the way of writing different types of praise, address, heading and title of a letter, sympathy and consolation, and how to start and finish a letter are mentioned (Mehdizadeh, 2012).

In 1387, the author of the present study took part in the national plan for collecting letters from Iranian ex-prisoners of war carried out by the Office of Resistance Literature and Art in Hozeh Honari, and collected more than 1500 letters from Kerman province; nearly 8000 letters by prisoners from other provinces was also collected and effort was made to determine those letters with coded messeges. The research method in this study is mainly based on analyzing collected letters, and memoirs of the ex-prisoners.

The contents expressed in the prisoners' letters were important and sometimes included war secrets, that is why it was tried to express these contents in code and in literary language, and these codes were revealed only between the writer and the reader.One type of literary arrangement that the writers of letters have used a lot to express secret content was simile, because the simile was understood only by the reader and the writer, and others did not know about it.Another type of literary figure that is used to express secret content in prisoners' letters is metaphor. Metaphor has been defined as "the use of a word in its non-real meaning along with the interest of similarity between the real and figurative meaning and the analogy that prevents the will of the real meaning. In fact, metaphor is a type of lexical permission whose interest is similarity, and sometimes it is interpreted as "metaphorical permission". For example, someone who has seen a brave man in school says “I saw a lion in school.” Lion hasbeen used in the meaning of a brave man, and the speaker actually has seen a similarity between the vehicl (lion) and its tenor (brave man), and has established communication (Hashmi, 2011: 1/258).Sometimes, in the structure of some letters, especially coded letters, an equivoque was used to express the purpose; the writers could use it, hidden from the eyes of the enemy, to explain things to their audience in a coded manner in order for the secret content about the war to be protected and the desired messages to be transmitted easily. Equivoque is the use a word with more than one meaning in poetry and prose, some of whose meanings are close to the mind, and some are detached.In captivity, to have a photo of Imam Khomeini or the officials of the Islamic Republic was considered as a crime. Correspondence with these people also had bad consequences for the prisoner, and if the enemy noticed a letter written by a prisoner, his first impression was that the writer of the letter was probably a prominent soldier who had been hiding his rank. Therefore, some prisoners accepted the risk and started writing letters with tricks such as using code words instead of the name of the official. During the years of captivity, some of the prisoners, as mentioned, wrote letters to the officials of the Islamic Republic and received answers. Imam Khomeini, may God bless him and grant him peace, Mr. Khamenei, Rafsanjani, Meshkini and some other officials were among the people who answered the letters of the prisoners, and these answers encouraged and created morale among the prisoners.One of the most important issues that had to be expressed in code language was the communication of war news and secrets. If these news were revealed to the enemy, it would result in the worst torture for the prisoners, and on the other hand, it would cause their army's plan to be turned upside down and lead to their defeat.

Coded letters showed that: 1. Literary language can be most useful in expressing content and news when necessary. 2. Forcing prisoners to write coded letters reveals the dire conditions of captivity and the filth of the Baathist regime and the hypocrites. 3. In secret letters, simile has been used the most because of its simplicity and its familiarity for the author and the reader, and equivoque has had the least use in these types of letters due to its ambiguity for the reader. 4. The simplicity and intimacy of the letters and the fact that most of them are devoid of literary language indicate the level of literacy of the letter writers at the high school level. 5. Most of the topics and content of the encrypted letters followed the same line, including issues such as politics, mentioning the names of the officials of the army, Basij and Sepah, family news, war secrets, and the pains of exile.The most repeated subject was mentioning the names of the officials of the Islamic Republic, especially Imam Khomeini. 6. Much of the sensitive content of the news and war secrets has been conveyed through pun, which shows the utmost cleverness of the Iranian prisoners. Contrary to the opinnion of some people who interpret literature based only on the scale of pleasure, these could confuirm the practicality of literature.

Iqbal Lahori, a Muslim thinker, believed that poets, like prophets, are leaders and guides of human beings. Poetry, in his belief, is the means of expressing the truth and inviting people to fight for the truth. Iqbal has paid attention to the instructive and persuasive aspect of speech, as well as the eloquence and rhetoric of words and meanings of poetry. Imperative sentences show the most important aspect of the conative function of language. For these reasons, the function of secondary senses of imperative sentences in Iqbal poetry was studied and analyzed in this study. The research method was based on the identification and classification of secondary senses of imperative sentences in Iqbal's poetry besides analyzing the evidence based on the two-way relationship between the speaker and the audience. This was an important research because it could explain the function of language and message transmission methods according to the interaction between the poet and his audience. The results of this study showed that in Iqbal's poems, 770 sentences had been used with secondary meanings, while the imperative sentences had the meaning of guidance in 50% of them and he was thus in a superior position to the audience in terms of knowledge and awareness. In 35% of the evidence, he spoke to the audience with an equal verbal communication so as to persuade them. He showed a lower position in front of the audience only when he spoke to God and absent or imaginary audience.

Shayest-Nashayest is a jurisprudential-ethical work written in the late Sasanian period detailing Zoroastrian ceremonies, rules, and rituals. The ninth, tenth, and twelfth chapters of this book address religious topics and instructions. The poems of some pioneer Persian poets also contain fundamental ideas about the ways to reach perfection. Imam Mohammad Ghazzali is also famous for his book Ehya-e-Ulum al-Din in Arabic and Persian prose and is also a great scholar in the field of Islamic ethics. This study seeks to address the extent to which pioneer poets were influenced by the ethical discussions in Shayest Nashayest and Ghazzali's thoughts.This study was conducted using a comparative-analytical design with library techniques to examine moral ideas and orders in Shayest Nashayest and also the ethical instructions of some pioneer poets and Imam Mohammad Ghazzali in his books, Ulum al-Din and Kimiyay-e Sa’adat.

This study was conducted using a comparative-analytical design with library techniques to examine moral ideas and orders in Shayest Nashayest and also the ethical instructions of some pioneer poets and Imam Mohammad Ghazzali in his books, Ulum al-Din and Kimiyay-e Sa’adat.

The ideas presented in Shayest Nashayest and Ehya-e-Ulum al-Din are also reflected in some poems of Persian pioneer poets, as discussed below:2.1 Adornment with knowledge and science Concerning knowledge and its significance, the author of Shayest Nashayest has argued: “People should visit three places more often: The home of knowledgeable people, individuals who do good deeds, and people of great wisdom” (Mazdapour, 1990: 245) Ghazzali raised extensive discussions on the virtues and benefits of knowledge, various sciences, and their effects: “Knowledge/wisdom is a prerequisite for having a good physical life (Ibid, Vol. 1: 8). According to Nasser Khosrow, a poet who has good knowledge speaks good words,justlike a clean pottery pitcher that has clean water:A knowledgeable person does not speak anything but good words; Just as clean water comes from a good pottery pitcher (Naser Khosrow, 2005: 377).2.2 Telling the truth and avoiding lies In Zoroastrian religion, truthfulness is a sign of religiosity: “Spatman of Zoroastrian says that a religious man is Yuzhdasrgr (truthful). That is, one who speaks the truth and cherished religious instructions is a religious person” (Mazdapour, 1369: 160) Ghazzali also argues that one should not utter something that is pure loss and a statement whose benefit is less than its loss (Ghazzali, n.d., Vol. 3: 108). Narrating the story of Anushirvan, the Sassanid king, Ferdowsi (1979, Vol. 4: 434) stated:If the tongue is accustomed to telling liesIt cannot receive divine illumination. Telling lies is a sign of helplessness and misery We should cry for miserable and helpless people 2.3 Conscious praise In the 19th chapter of the book Shayest-Nashayest, the word “ahunawar” is mentioned many times. It is the most sacred prayer of Zoroastrianism, it belongs to the gods and it is recited on different occasions, in religious, farming, and wedding ceremonies for saving from strays, and purification of sins, and it is not specific to kings (cf. Mazdapour, 1990: 238-240). Describing the evils of praise, Ghazzali suggests that people who use to praise others may say what they do not realize and have no way of knowing it (Ghazzali, n.d., Vol. 3: 156). Sanai (2009: 40) also advises poets to avoid praising worthless people:Poets who praise worthless people to earn money are shameless. 2.4 Good temperateness In Shayest Nashayest, good temperateness as an important personality trait is juxtaposed to truthfulness, and good-natured people are considered more innocent and worthy of selection: “When they are choosing among innocent and decent people, they should choose the one with good temperateness, truthfulness, and decent action based on certain criteria” (Mazdapour, 1990: 159) Ghazzali considers the cure for all bad moods to be a part of knowledge and action and says that acting against the cause brings the right result (cf. Ghazzali, n.d., Vol. 3: 145). Masoud Saad (1983: 636) invites poets to be good-tempered:As a poet, you should not be bad-tempered as good poets avoid ill temperateness.

A single thought dominant in all poetic works investigated in this study as reflected in the parts of the book Shayest Nashayest and Ghazzali's thoughts is that from the point of view of Iranians before and after Islam, having a God-centered spirit, good qualities, and inner purification is a way for human liberation. Persian-speaking poets, due to their religious background and under the influence of religious thoughts, have written moral poems and recommended them to other poets.

In linguistics functional theory is an approach to describe and analyze the texts. In this approach, for discourse analysis, three meta- functions entitled experiential, interpersonal and textual are considered. By examining the structure of the sentence, this approach explains the different types of processes and their function in the sentence, and on this basis, the sender of message presents his experiences, thoughts and perceptions of events and phenomena in the inner world and outside. According to Halliday viewpoint, it is assumed that patterns of experience are represented in the form of processes and through the role of thought in language. As a result, one can become aware of the author's experiences, thoughts, and world by examining the different processes in verbs and determining how often they occur in the story. Therefore, considering this question and the close relationship between mind and language, the present study examined the processes used in the novel Wandering Island through the method of qualitative content analysis. The results show in this novel Simin Daneshvar, while portraying the socio-political developments of the contemporary era, reflected her feminine views in the personality of Hasti and used material and relational processes to describe and narrate the events. She was able to speak about the social situation and the status and role of women as well.

Language has referential and emotional functions. It is the peak of the emotional use of language in poetry, especially the sonnet form. Emotion, imagination, language, rhythm, and form are the basics of poetry that make a work in a poetic form. In this study, the rhetorical elements of the Maktab-e-Voqu (School of Realism) are stylistically investigated. The studies conducted so far on the Maktab-e-Voqu have examined the theme, novelty, and expression and characteristics of the poetry of this school based on the poems of one or two poets. The purpose of this study is to investigate the level of poetry in the Maktab-e-Voqu, relying on the poems of famous people of this school. This research has been done using the descriptive-analytical method and through library studies. The richest poetic component of the poets of this school is ‘emotion’ and the poet's creativity is dedicated to the emotional dimension. As far as imaginary points are concerned, since the poets are looking for few words but rich in meanings, they use sarcasm a lot as well. Allegories and metaphors are simple and commonplace, and figures of speech are used frequently in their poetry. Also, the language of poetry is simple and colloquial. In music, the prosodic weights are chosen according to the poet's message and most sonnets are ‘Moradaf’ (melodious). Additionally, the poet enjoys verbal music more than spiritual music. In the form dimension, the poems have a coherent, continuous, and harmonious form that has led to a single tone.

‘Protest Poetry’ as a literary type tries to present the dark spots of society in order to reform it, and for this purpose, it attacks many weaknesses, injustices, disorders, inattention and so on. This article tries to examine the themes of protest poems of the contemporary period of Iranian history, which include the constitutional era, the Pahlavi era and the period of the Islamic Revolution.This article has been conducted as a case study and library study, and the themes of protest poems of the contemporary period of Iranian history, which include the constitutional era, the Pahlavi era and the Islamic Revolution, have been collected and analyzed descriptively.In general, the themes of these poems can be divided into two categories, i.e., common and specific themes. Common themes are the issues that exist in all three mentioned periods, such as protest against class conflict, poverty, hypocrisy of traitors, foreign interference and self-blame, etc. Based on the political and social situation of each period, some protests have been given special attention in each period, including protesting against the ignorance of the people, protesting against suffocation and not being free, protesting against forgetting the memory of the martyrs, etc. In all these themes, poets with a language mixed with humor try to guide to the right path those who have deviated from it.Finally, by examining these themes, it was concluded that the purpose of protest poetry is to preserve values, reform society and fight against various types of injustice, and it is a kind of enjoining the good and forbidding the wrong.Protest poetry, Constitutional period, Literature, Side of the Islamic Revolution, Injustice.

Resistance poetry is one of the most important literary trends in 100 years of contemporary Iranian period; and few poets who have not works in this field might be found. This huge number of poets and audience with different beliefs has brought about a lot of discussions in resistance poetry, ranging from the enlightenment, protest, labor poems of the constitutional era to partisan, waiting, protest, labor, poems of the Holy Defense period, after the Holy Defense, poems related to the Intifada and Al-Quds, religious and Ashura poems, etc., in the contemporary era. This paper, thus, intends to investigate the subcategories of resistance poetry in the contemporary period divided based on historical periods (the constitutional period, Pahlavi, and the Islamic Revolution), and then to review their subject in order to offer a comprehensive analysis of this trend in poetry, and to reveal that this literary genre has mostly dominated the poetry of the contemporary period of Iran .

Olfati Savoji" is the Shiie poet of the court of Abdullah Qutb Shah,The seventh QotbShahian king, The kings who Ruled from 924-1098 in Deccan, Golkonda and Heydarabad. We don't know much about his life.Based on Little information about Olftie's life and A great number of poets named Olfat stayed in the Indian courts, Some biographies have referred to him as "Olfati Yazdi".and Biographers have said that the Author of Qlfati Savoji's books is Qlfati Yazdi. Olfati Savoji has two books: Reyaz -al- Sanaye Qotbsgahi and Ravayeh Golshan Qotbshahi. Two of his works have not yet been edited:"Riyaz-al-Sanaye" A book about the Prosody and Rhyme and The imagination of poetry and "Ravayeh_e_golshan QutbShahi" A book about the Praise of "Abdullah Qutb Shah" and a description of the royal monuments and some of his court customs. Through the study of the manuscript of Savoji's works and the study, analysis and historical adaptation of Things that biographers have written about him, This study tries to give correct and accurate information about his life and his works. The findings of this study can be helpful in further studies of Persian literature history and stylistics in the 10th to 11th centuries. Key Words: Olfati Savoji, Riyaz-al-Sanaye,Ravayeh Golshan Qotbshahi.

Nafsat al-Masdur as a major source of ornate prose in Persian literature is a literary-historical work written about the events happened at the end of Jalaluddin Kharazmshah's kingdom and the beginning of Mongols' attack. There are some aspects of resistance contents in this book. The present study tries to answer the question if we could consider this literary work in the territory of resistance literature through its textual and content analysis. By scrutinizing the text and  comparing it with the features of  resistance literature, we can find indicators of battle and resistance in both lexical and semantic level. The most distinctive components include the following themes: Patriotism, pity and regret for the foretime, criticizing adverse life conditions and governors' incompetence, objection against inhumanity and the transformation of moral values. By the identification of these traits in both surface and deep structure, Nafsat-al-Masdur could be discussed as a literary text in the domain of resistance literature. This fundamental research is analyzed based on library information.

Persian prose has long been a suitable platform for the promotion of educational and moral teachings in society and has always been able to inspire valuable points to the audience, as well as to steady steps to strengthen the desirable traits and attempt to remove and denigrate the unpleasant traits in the audience. The attitude of each writer about these themes has a prominent role in the quality of expression and the transmission of this content to the audience. Since there has not been direct research on the moral and educational content of Pahlavi's literary prose, in this study, based on the library and documentation method, the ethical and educational content of some Pahlavi literary works in the framework of analysis and Classification is checked.A part of the educational and ethical thoughts of these writers originates from the social, cultural, and political conditions, and partly due to the ideal world, shaped by the writers' aspirations to lead the next generation in society. The main question of this research is, what is the frequency of moral and educational content in Pahlavi's literary prose and what are the main emphases of these writers on teaching? The findings show that in the first and second episodes of prophylaxis, the most emphasis of committed writers is on religious teachings, but in other teachings, this frequency is different.With the explanation that the writers of the first Pahlavi era, after religious instruction, considered social education, and then, human training, while the writers of the second Pahlavi period, after religious education and trained human ultimately emphasized on social education in their prose.

 From long ago, letters have served people as a great, substantial communication resource and an efficient tool. They have also helped people in communicating with each other and conveying their desires and thoughts to others. Letters can be considered as the most important tool for conveying thoughts and opinions as they could save people from dissociability and redeem them from mental isolation. Letter writing is a process in which a communication is formed between two or more people by sending a paper work for a person to another or others. Letter writing can be accomplished in any subject. In primitive age, letter writing was done in paper, but today, with the improvement of technology and invention of tools, such as computer, internet, cell phones, etc., letter writing in paper and traditional correspondence have faded and have partly given their way to these tools. Overpassing the social function of letters, we can define this word according to Amid Dictionary as ‘a written subject that is addressed to a particular person and is usually sent to a receiver through post and in an envelope; or it is a paper letter on which some matters are written’. Letter writing has been of great importance in history and in Iranian and Islamic civilization; As it is recorded in literary and historic texts. This importance was to an extent that Iranians even in the pre-Islamic period, it had ordinances and special standardizations for secretaries and techniques (Rastegar Fasaei, 2001: 194-195). Centuries after Islam, letter writing propounded among secretaries in Arabic with Iranian-Islamic style by accommodating the principles of letter writing in Persian and Arabic, and the letter writers being influenced by the Quran and letters of prophets and caliphs to the kings of neighbor countries and Islamic agents and functionaries (Khatibi, 1996: 309 – 361). In the middle of Qajar era and the introduction of writers like Fazel Khan Garousi, Mirza Malkum Khan, and more importantly, Qaem Maqam Farahani, the style of letter writing transformed in Persian literature to an extent the sentences of letters became shorter and the extravagance in using rhetorical features was minimized in Qaem Maqam’s letters alongside the simplicity of language and its closeness to natural speech (Aryanpour, 2008: 65). Simplification of the structure and language of letters, whether in administrative letters or in friendly and family letters, which were the consequences of literacy growth, lead to more extension in letter writing as one of the main communication tools in decades after revolution, particularly during  the imposed war. A point that this article delves into.

Considering the point that freedmen's letters form an important part of war and holy defense documents and also these important documents have not been collected and codified in an authentic and formal collection yet, also having utilized the library and quite rich sources of Payam-e-Azadegan publication and corresponsive sites, the main method the researcher has used was collecting the documents and works of martyrs and martyrs and veterans affairs foundation, and has used more than six thousand letters.

3-1. Letter 3-1-1. Classification of captivity letters Apart from the common classifications in the field of literature and correspondences, captivity letters can be divided into the following types based on their form, their general or particular nature, the addressee and the content: 1- Letters with frontispiece 2- letters without frontispiece 3- pattern letters (stereotype) 4- exclusive letters.

3-1-2. Letters with frontispiece They are letters with a special slogan and mark of an organization, imperial system, company, factory, etc. Frontispieces which were accommodated to captives for writing letters, were papers in white and blue, which were 21 centimeters long and 14 centimeters wide. They were endorsed with sender and receiver’s address and the letter had been divided into two parts. Its top was for the captive’s text letter and the addressee could reply the letter at the bottom of the paper. These papers belonged to the International Committee of the Red Cross and had a particular form:

3-1-2-1. The blue frontispiece This kind of frontispiece was given to captives who met the Red Cross representatives and wanted to write letter for the first time, or it was given to captives who were prohibited from writing letters for a period of time and were uninformed of their family. These kinds of letters were unilateral and the captive only could write a letter at the bottom of it and inform his family about his health.

3-1-2-2. The white frontispiece These letters were open and they have to be passed and checked by censorship office of Iraq while exiting or entering Iraq and they were usually controlled by members of militia organization – that were known as feudists among people.

3-1-3. Letters without frontispiece These letters do not have any frontispiece and sign like general papers, such as paper of notebooks or other kinds of simple or lineolated papers. They were also mostly used for friendly and family correspondences. Naturally, it was not possible to use ordinary papers for letter writing in captivity period and letters had to be written in particular forms. But, using letters without frontispiece in front was common among fighters some of whom acceded to camps as a document with captives.

3-1-4. Pattern letters (stereotype) According to Moein dictionary, stereotype letters are kind of letters that are written in a particular framework and usually has similar style and structure. Thus, it can be said that most of the captivity letters are stereotypes because they are written in a particular format with specific structure. The paper of the letters are the same, flat and equal in size, the volume and space of letters are limited and their content is about greetings. Pattern letters can be studied from two general aspects: 1- their addressee and its application 2- their dominant framework in the structure form.

3-1-4-1. Classification of pattern letters based on the addressee and application: Considering the addressee and application, pattern letters are categorized into personal or family letters, friendly letters, letters to politicians, letters to enemies, testaments and power of attorney.

3-1-4-1-1. Personal letters (family) Personal letters are letters that a captive wrote to his immediate family members, which include father, mother, sister, brother, spouse and child. Among these, there were correspondences between the captive and his other relatives as well.

3-1-4-1-2. Friendly letters Friendly letters can be considered as continuator of the tradition of Akhavani letters in ancient literature. But there is a difference between these two kinds of letters that friendly letters of captives are much simpler than Akhavani letters in ancient literature structurally and also in the way they express a statement.

3-1-4-1-3. Letter to Imam Khomeini: Though captives were given only two paper sheets for each correspondence to Iran, they sometimes wash their hands of their family and write a letter to their spiritual father, Imam Khomeini, due to  the abundance of captives' passion for the Islamic system of Iran and government representatives, especially Imam Khomeini.

3-1-4-1-4. Letter to enemies: The other main types of captivity letters based on the addressee are letters which were written to the enemies of the Islamic Revolution and the opposing forces. These letters are distinct from family letters in their epic tone and their collective state. Also, word choice in these letters is somehow different from other letters, based on the purpose of their writing.

3-1-4-1-5. Testament: Freedmen’s will to their family and friends usually made part of the letters; however, in captivity literature we sometimes face letters in which captives devote a whole letter stating their commendations and wills. There are not much absolute wills in captivity literature and wills of Mahmoud Amjadian (a martyr freedman) and Ma'sumeh Abad (a freedman) can be named as two examples.

3-1-4-1-6. Power of attorney: Considering the point that some of the captives had properties, houses, cars, etc., before they became captivated, they had to reveal and clarify the quality of occupation for their family. Therefore, the International Committee of the Red Cross coordinated with the Islamic Republic of Iran, gave the captives particular papers titled as power of attorney, which were authentic to Iran government and its content was indispensable to the addressees. If a captive want to write a power of attorney then he filled one of those papers and sent it to his family. For brevity, I avoid exemplifying an instance in this article.

Studying about six thousand letters of freedmen, it was concluded that they can be divided into different types as: letters with frontispiece (in blue and red), letters without frontispiece, pattern letters and exclusive letters. There are some main patterns in captivity letters which are repeated in most of captives' letters. If pattern letters are considered as the most important general kind of captivity literature, it will be noticed that they are continuator of the style of Akhavani letters in previous centuries of Persian literature in their structure, frequent frameworks, in the way they begin, the text form of the letters and their end. The distinction between captivity letters and ancient correspondences are caused by the diversity in their expression and simplicity of words, and how they get close to colloquial language and abundant use of words related to accents. This distinction has special sight in letters where political and revolutionary thoughts of writers were posed and also in descriptions of the condition and qualification of camps.

Today, fourteen years after the glorious Islamic Revolution and the growth of the Islamic Revolution poem, until now, this kind of poetry has not been studied scientifically and the studies have been more semantic and content-oriented; However, this research has tried to dwell on the structure of the language of the Islamic Revolution poetry and how to link the poetry templates on the subject of the Islamic Revolution. The method of this research is library and documentary, and then the data are presented descriptively-analytically. The result of the research shows that the axes such as freshness of language, compositional movement, novelty in rhymes and rows, the use of specific interpretations and images of the revolution and sacred defense, and the vocabulary of speech, constitute the prominence of the language of revolutionary poetry. By examining the various forms of the poem of the revolution, it is clear that the mantra of the Qesida has grown and prospered because of the epic spirit that ruled the country during the sixties. The revolutionary ghazard, with its features such as vertical order and the application of long weight, is especially important. The Masnavi Template is reborn with fresh and fresh rhymes. The Ghazal-Mathnawi format is expanding dramatically, and the revelation of a verbal weight in quatrains is a good platform for expressing the passionate feelings of the revolution and sacred defense. The main challenges in this paper are the dangers in the linguistic structure of the Islamic Revolution poetry and how to link the poetry forms with the subject of the Islamic Revolution. The importance of this issue in the present article is that the literature of the Islamic Revolution is often considered as meaningful literature, and its literal and structural features have not been taken into consideration; of course, it is not doubtful that the Islamic Revolution literature has a more semantic aspect, but with In the works, there are a number of structural and structural features and features. The verbal and structural prominence of the Islamic Revolution poem In terms of verbal and structural prominence, all forms of aesthetics are a literary work such as poetry that combines language and lexical modernizations, combining and using particular interpretations and images of the examples that we have addressed in these axes, respectively. 1-   Axes such as freshness of language, compositional movement, novelty in rhymes and rows, the use of specific interpretations and images of the sacred revolution and sacred defense, and the pace of vocabulary constitute the prominence of the revolutionary poetry. 2-   One of the points of the Islamic Revolution's poem is the tongue of the tongue, which sometimes has a freshness at the same time as the mold, language, freshness, and this freshness of language, thanks to the coincidence with the new poem and to be in the forefront of this way. 3-   The composition of the poetry revolution in terms of construction, it can be divided into three groups of additional composition, composition and phrases. 4-   Trying to use new rhymes and rows in different formats and using vocabulary and terms that reflect the vision of the revolution, and using the current and native rows of other linguistic features of revolution poetry. 5-   Use of specific interpretations and images of the war and the range of the lexical circle associated with the content of the particular thought of the revolution and the sacred defense, as well as the use of particular names, military terms and expressions, religious terms and expressions are the other factors for the novelty of the poetry language of the revolution. 6-   By examining the various forms of the poem of the revolution, it is clear that the form of the verse, although not very sparkling in contemporary poetry, is due to the epic spirit that ruled the revolution in the first years of the holy defense in the country, growth and prosperity Finds 7-   Ghazal in the poetry of revolution is of particular importance and is well received by the poets of the Islamic Revolution. Revolutionary ghosts have features such as vertical order, the use of high weight and novelty, and innovation. 8-   After the revolution, Masnavi's template was restored using new rhymes. The prevalence of Ghazal-Mathnavi's format is one of the structural features of the revolutionary poetry, which expanded dramatically during this period. 9-   The weight of the voice in the quatrains was a good basis for expressing the passionate feelings of the revolutionary period and the sacred defense of the sixties. 10-    The poets of the revolution in the middle years turned to new forms and introduced new insights into new poetry. The new poetry of the revolution is a narrative and supportive poetry and is usually long, but the new poetry is not a boring age. During the Islamic Revolution, Cari-kalamator grew dramatically, and the reason for its increase in the increase of the press and their release is the politicization of the country and the people after the revolution, and the breathing of the themes of satire and protest in the field of literature of the Islamic Revolution. This template found a significant difference in the present period before the revolution, and it was Cari-kalamator’s semantics in the era of the revolution.

In the investigation and classification of modern Persian poetry based on the subject matter, especially from the Constitutional Period afterward, a new literary form, i.e., ‘labor poetry’ and ‘labor literature’ can be observed, the contents of which have never been specifically investigated. This paper tries to reveal the sources for the emergence of labor literature in the Constitutional Period, to depict the influence of labor ideas of the Russian Revolution on labor poetry during the Constitutional Period, and to examine and analyze their contents. Finally, it was concluded that this literary form came into existence to fulfil the rights of laborers and the oppressed, as well as to raise their awareness and help them to invite them to resist poverty and the oppression of capitalists and he ruling regime

The main function of the media is persuasion and obviously, the difficulty of persuading and influencing others cannot be overlooked. In the present research, a selection of methods and principles of persuasion from Islamic texts as well as texts of resistance literature have been extracted in a descriptive-analytical manner; The grounds have been laid according to discourse, the principle of impartiality, the principle of graduality and the principle of synchronicity, that are listed as four essential principles of persuasion. The methods of reasoning, comparison, questioning, allegory and simile, humor, repine, sanctification and the use of myths are among the suggested methods in this research which are recommended to be used according to the dominant discourse in the individual and social domain. Consequently, effective persuasion will be the result of the discourse that also affect the discourse itself. In addition, in cases where the use of these methods were not fruitful, to avoid the advancement of rival discourse, methods such as denunciation and controversy are suggested; these methods are considered complementary to persuasive practices.

Mohmmad Sadegh Basiri Enayatollah sharifpour2 *Shamsieh Mirzaei3 Abstract: Resistance or endurance poetry is one of the Iranian poetry tendencies or branches. During Islamic revolution and imposed war era, many poets wrote poetry in this field and became legend. One of these legendary poets is Gheisar Aminpoor. In the early years after Islamic revolution he joined the artistic field of Islamic propagation organization and was affected by discourse of Islamic revolution. Aminpoor became a legend by writing the “morning breath”. In his following works he took some distance from this approach however, war and discourse of Islamic revolution can be observed in his poetries. In present manuscript discourse of Islamic revolution impacts on structure and contents of Aminpoor’s poetries were studies. Four volumes of his poetries were analyzed and the relationship between structure and content of these poetries and discourse of Islamic revolution were indicated. Findings of this article show that Aminpoor’s poetries have general relativity to discourse of Islamic revolution from 60’s and early 70’s. Case and library study were used as method of research.

There are several ways for word-making, but literati and linguists, have described "combination" and "derivation" as one of the most important processes in the word-making; In this regard, the Persian language is due to the "Indo-European" language family and in this family, the process of word-making is mainly made up with "combination", is classified as "combinatorial languages, " and on the other hand, the Arabic language, have same origin with the "Sami" languages, these languages is introduced and classified in the "derivational languages" because of the importance of "derivation" in the process of word-making. In this article, it has been tried to investigate the two processes of "composition and "derivation" in two languages "Persian and Arabic" with more in-depth analysis and from this perspective, a comparative review of these two languages is investigated.
However, the results of this research show that the processes of "combination and derivation" exist in both "Persian and Arabic" languages, but the concept and percentage of the usage of each process in these two languages are not the same and are different.
Similarities of "combination" in Persian language with Arabic language
The combination phenomenon in Arabic is not wide-spreading as Persian language. However, few similarities between some of the combination methods in these two languages can be counted:• In both languages, the combination phenomenon is in all ýthree types of the word (noun, verb, and letter).
• In both languages, there are additional combinations: "ÂÈÑæ¡ ÓÑãÇیå / ãÇæóÑÏ¡ ÑöÓãÇá
In both language, exist "Naht" (make a word from several words) or amalgamation: ÊæÇäیÑ¡ ÑÒãÇیÔ / ÌõáãæÏ¡ ØóÈóÑÎóÒãی
Differences of "combination" in Persian language with Arabic language
It should be said that although the main process of word-making in the Persian language is "combination", but some types of combination in Arabic language are wider, more systematic and methodic than Persian language.
• The "Naht", phenomenon in Arabic is more than Persian language. Arabs uses of "Naht" in three types of word (noun, verb, and letter); whereas this method is rarely found in some Persian nouns.
Similarities of "derivation" in Persian with Arabic
However, the concept of derivation is different in both Persian and Arabic languages, but few similarities between them can be counted:• The process of "derivation", in both languages, is one of the main processes of word-making.
• It was said that "derivation" in Persian means: adding prefixes and suffixes to the roots of words; this definition also applies to a few Arabic words. This means that in Arabic, "You can rarely find suffixes which are added to the clause of the words, and get new words from them. " For example, in Arabic, "proportion ya" and "infinitive yayt"… are same kind of derivation. (Zakeri, 1372:377) for example, in some words such as: Ansari, Kamiyat (quantity), Keifiyat (quality) these suffixes give new meaning to the words.
• The role of "roots" in the process of derivation of both languages, Performs the main and fundamental role.
• In both languages, many parts of the derivation making, is based on the "verb" axis, it means that, derivation is limited to verb, but this principle has not been stable in none of these languages, and in few cases, derivations have also been derived from "names": Makalbe / Stealing; perhaps the only reason for the creation of such derivatives in both languages, is expanding their lexical domain.
Differences in "derivation" in Persian language with Arabic language
In Arabic, what is derived from root of verb called "derivation", and "underived" referred to other words, but in Persian, created with attachments (prefixes and suffixes), called "derivation" whether it derived from verb (verbal derivation) and whether not derived from the verb (non-verbal derivation). (Farshid Ward, 1382:52).
In process of derivation and word-making in Persian, "metamorphosis doesnt find in the root itself or main word, and its letters dont separate. " (Daraei, 1350:8). Persian example; for "Ñæ" root ÑæÔ¡ ÑæäÏå¡ ÑæÇä" " – form "ÑäÌ" root "ÑäÌÔ¡ ÑäÌæÑ¡ ÑäÌیϐی¡ ÏáÑäÌ" / Arabic example; from "Ì á Ó" "ãóÌáöÓ¡ ãõÌÇáöÓå¡ ÅÌáÇÓ¡ ÌõáæÓ þ"
• The root, in the Arabic derivative words, are "Consonant letters" which is seen in all cognate words, such as "Þ Õ Ï", inÇÞÊÕÇÏ¡ ãÞÕÏ¡ ãÞÕæÏ¡ ÞÇÕÏ"þ" which in this words consonant letters are; ý"ýÞ Õ Ïý"ý and root and letters ""á Ê¡ ã¡ æ þ are redundant and adjoining elements, but root in derivation words of Persian; "The lexical part of the word is located in versus of the attachments (Suffixes and prefixes) and adjoining elements. For example; in the word "ÏÇäÇ", "ÏÇä" is root and "Ç" is suffix and adjoining elements. " (Farshidward, 1382; 136).
• The number of roots in Arabic derivatives is originally "three letters" (ËáÇËی) three times), though, a few of the roots are four letters (quatrain) or quintuple letters (epical), but in Persian derivative the number of letters in roots is different.
• In Arabic, "all derivatives with the same principle are Branching out from" one root ", whereas this arrangement in some cases, been eaten in Persian. Today, in order to regulate the Persian derivation, from each verb must be considered two roots. " (Daraei, 1350:17) One: is "Èä ãÖÇÑÚ" present infinitive, and another: "Èä ãÇÖی" past infinitive or idem abbreviation infinitive.
In Persian language, the common and natural and alive word-making is done with Organized or wisely and poetic wording and by the way of "combining" more than "derivation". In word-making in Persian language, though, "combination" is considered as very extensive and important hybrid language, but "derivation" is also known for an important process of word-making.
Also, since "derivation" is one of the most important ways of word-making in Arabic and it is considered as a derivational language, but "composition" also has its own place in this language.
Therefore, both the processes of "combination and derivation" exists in both "Persian and Arabic" languages, although the concept and percentage of the use of each process are not the same and there are different in these two languages.

Mirza Kazem Tabib Yazdi, was a significant but anonymous poet and physician of Qajar Period and from the Hakiman Family of Kerman. He was also in the family tree of the Nazem al-Atebba’of Kerman. In 1214AS/1250AH, he was born in Yazd. He passed his elementary level of education in Yazd and then moved to Isfahan to further his education. As the number of physicians were quite few during the Qajar Period, Mirza Kazem was ordered by the ruler of Yazd, Jalal aldole the son of Zal alsoltan, to go to Abarkooh to practice medicine and to stay there for the rest of his life. Eventually in the year 1304 HS/1343 HA he died with 90 years of age in Abarkooh. Only one complete handwritten version and one half-complete handwritten pre-version of Mirza Kazem Habib's Divan is available today. His Divan has more than 4200 verses and has been written in Sonnet, ode, Masnavi, Msmt, Tarji’ band, Tarkib band, quatrains and sub forms like Mostazad and refrain Mosammat and etc. In his poems he has selected the name "BASIR/Sage" for himself as a pseudonym which has remained with his offspring as their family name in the Pahlavi Period. Mirza Kazem is one of the innovative poets of the Qajar period. His innovation is observed in the figurative literature and literary elements that he has used from novel verbal commitment, which is also called Eltezam, Enat or Lozoom ma yalzam. In the book of Badi'(novelty) there has been only limited applicability of this literature, while Eltezam is one of the poetic pleasures of poets and has various applications. This literature has been used in Mirza Kazem's sonnets which seems that it could be assumed that he has been the founder of it, due to his massive use of the literature.
In many of Badi' (novelty) Persian and Arabic books, paying attention to a letter(s) or the sound before, the deletion of one or a few letters, or the repetition of one or more words in a poem are examples of the application of Eltezam. Now, the definition of this literature could be more than these uses. In fact, Eltezam in general terms means the use of any kind of adverb which its use is not necessary and the poet uses it for aesthetic creation and by committing him/herself to using it, makes his/her own task difficult.
The eltezam used in Mirza Kazem Tabib's poetry seems to be a creation of his own, which we have named Eghtezaye Darsadr. Using this literature gives the poem a certain music, yet only in the beginning words. From among the 165 sonnets which exist in Mirza Kazem Tabib Yazdi's Divan, 128 of them have been created with a careful consideration of Eltezam, which have made a total of 1272 verses of the Divan. The first commitment observed in these sonnets is their number of verses. Mirza Kazem Tabib has written most sonnets in ten verses, in such way that in the total of these sonnets only two of them have nine verses. Yet the commitment or Eltezam which we are concerned with here is the commitment that the poet feels in using a certain letter in a certain place of a verse. The poet seems to have attempted to make such a collection but it has remained unfinished. In the first section of this collection he has finished all verses of his sonnets with the first letter of the alphabet and hence he has named this section as "Bab A". Then he has continued orderly, in every sonnet of this section, he has considered a letter from the alphabet and has begun the first and second verses of the poem with that very letter. In the following sections, "Bab B", "Bab T" and "Bab C”, he does the same, and only after a few sonnets from "Bab J" the collection is remained unfinished.
This literature, besides its aesthetic contribution and beauty that it has to the poem, has a few disadvantages too such as the use of rare archaic words and sometimes even changing the spelling of the words. Although these examples are the result of the difficulty of the Elztezam literature, but it is also received as a kind of frailty on the part of Mirza Kazem's poetry language. In general, as this special Eltezam adds a new pleasure to the elements of poetry, it is very crucial to know.

Given that narrativization has a unique position in Saadi’s works, the main purpose of this study is to introduce and to analyze these types of stories in Saadi's Gulistan and Bostan. Also, another purpose of this study is to investigate the stories based on Tzvetan Todorov’s framework from the "typology" of rules and laws governing the construction of these known anecdotes. Results of this study showed that there were similarities between the fictional story of Gulistan and Bostan with Todorov's theory in terms of the presence of features such as event-based stories, the principle of causality non-mediated, emphasis on character interaction, lack of psychology, there is an imaginary time and place, the presence of exemplary character, and the absoluteness of some characters. Also, these stories were categorized into three species of mythical, epistemological and ideological tales. According to the survey, it was found that most stories in Gulistan were "epistemological" (48%) and the least were “anecdotal” (12%). However, in Bostan, the highest proportion was allocated to the epistemological side (59.52%) and the least belonged to the ideological category (7.15%). As the result, ideological category is the lowest one in both stories. However, for the highest proportion, the decision is not that much clear.

Ahmad reza Ahmadi is one of the poets and writers of Iran who started writing from the 40 decade and also started writing of story book for the children syncronicly.His first book for the children has been written in 1348 and still he is witing.Ahmadi's works in this case has a different atmosphere.Studing his works will display some signs in the reader's eyes prominently. This article is investigating the semiology of this story by the name of 'Neshani'.Semiology is studying everything which indicates another thing and these signs can appear in the form of words,images,sounds,manners and objects. By reading Ahmadi's works markendness of imagery will be prominent. Studies indicate that imagery in his works has modern meaning which is called fantastic imagery. And also accompaniment of imagery, metaphor and ambiguity, will show the modern meaning of metaphor in paradigmatic, ambiguity and writerly text to the readers. This essay proceeds with the meaning of imagery and metaphor reflected in Romanists a symbolists theories and then will encode these sings based on lakoff theory.

Saadi's Gulistan tales, classic Persian literature are among the most successful story The research that has been done with the aim of revealing one of the values of Gulistan of Sadi, the problem of "fast version" as a factor in the story lasting popularity and the effect is studied. The speed of the narrative is to be shown in a literary work, actions and events occurring during the period of time And to measure the volume of each of the time zones of the book is dedicated to them. Therefore, the purpose of this story is based on the theory of narratology "Gérard Genette", to form a cross - sectional study was ", And to increase and decrease the speed of the narrative on topics such as selection and removal time - Parish, frequency, description, dialogue, adding episode, theorizing writer, subjective expression, revealing the imaginary and mental - emotional, Soliloquy and quotes were investigated. The results of this study suggest that the pace of the narrative is the story of Saadi's Gulistan. Due to the volume of the stories, use the maximum speed at which the reducing agent is a good And a reputation for durability and is more of a literary work.

Different ways exist to express purposes. Some select the direct way, which means they prefer formal and non-literary language, in this way sentences would be predicative. But some others select in direct language because they believe it is more effective.
Of importance and noticeable subjects are pests and sins of tongue. The reason is more than benefits and value of tongue and express its sins and pests are Harmful and undesirable, and same as there is no devoutness better than rightful speak, there is no sin worse than Speaking unjustly to god. There are lots of valuable subjects and words in divine teachings and wises words about tongue pests which we cannot speak about all but will consider some of them from religious knowledge regeneration by Ghazali and from Manavi Manavi by Molana. In this article we are about to clarify that how Imam Mohammad Ghazali and Molavi sent their message to the readers and which way they have chosen (direct or indirect). And how is their way of express from the aspect of word and meaning.