خسرو و شیرین

Romantic narratives constitute an important part for the history of human culture. Nezami’s world-famous work, Khosrow and Shirin has some hidden characteristics, such as the purpose of love between Khosrow and Shirin, which could be revealed by the help of interdisciplinary approaches. The German philosopher Arthur Schopenhauer believes the main goal of romantic relationships to be reproduction with the mutual motive of procreation. In his view, the selection of the mate is based on external beauty and with the aim of compensating biological imbalances. Without having intercourse and producing children, the lovers eventually tire of each other. It is the principle of “will to live” that makes both parties blindly fall in love. Our research extracts eight major components about the purpose of romantic relationship from Schopenhauer’s book, The World as Will and Representation, and evaluates the stages of Khosrow and Shirin’s romantic relationship according to them. This analysis shows that in their relationship, none of the factors such as distance and loneliness, not establishing a marital relationship for a long time, the presence of competing narrative elements such as Khosrow’s loveless marriage with Maryam and having a child from her, and introducing Farhad –Khosrow's love rival– could result in a permanent reduction of attraction between the two lovers. Even after marriage, they remain in love until death. In this narrative, Shirin contradicts Schopenhauer’s views more than Khosrow. Our analysis reveals that by an idealist view of romantic relationship, Nezami first builds a lyrical theme but with a spiritual infrastructure; and then, contrary to Schopenhauer’s opinions at the beginning of the narrative, he leans towards spiritual love, moving away from Schopenhauer. Eventually, Nezami’s narrative stands in opposition to Schopenhauer’s point of view by honouring Shirin’s spiritual position to the highest levels and highlighting Shirin’s persistence on chastity in accordance with the common religious practice.

The last description of Khosrow and Shirin is a description written by Seyyed Shahrokh Mousavian and published by Almas Danesh publishing house in 1400. Mousavian intended to write a comprehensive description of the problems of this system and to correct the mistakes of Vahid Tasgardi. Since the review of this description can help the commentator in the final editing of the work and provide a revised description to the lovers of this work, in this article, this description has been examined in terms of verse description, text correction, literary techniques, references and editing issues. And finally, it is clear that the commentator did not provide a good explanation at least in 69 bits and made mistakes. In 90 bits, he did not notice the incorrect recording of the unified version and therefore did not provide a correct description. In several verses, he has not recognized literary industries well. There are many problems in the references, such as the fact that the evidence is unreferenced and sometimes the first-hand sources are not referenced. In this description, there are also many editing problems due to non-observance of spaces and semi-spaces between words.

Throughout history, the body has always been an identity builder at the individual and social level. Physical techniques include skills and abilities, physical strength, age, religious issues, food consumption, and sexual techniques to express emotions and feelings and make human thought physical. Nizami, the leader of Persian lyrical storytellers, in his works, in addition to using verbal communication, he used non-verbal communication to keep them alive. In this essay, with analytical-descriptive method, the body techniques of representation of Iranian body sociology in Khosrow and Shirin Nizami have been investigated and analyzed based on the theory of Marcel Mauss. In the meantime, sociology and anthropology of the body by representing the classical literature relying on the romantic genre (Khosro and Shirin) can lead to an area for getting to know the culture and society of Iran. The findings of the research show that body techniques and skills such as swordsmanship, spearmanship, shooting, hunting, horse riding, etc. are abundantly seen. In addition to physical strength, age and learning skills in childhood and maturity and its impact on the actor, the way of consuming and maintaining the balance of food and religious issues are significantly evident.

 Characterization is one of the main components of storytelling. Character is a set of characteristics that make up the existence of a person in the story, and the audience expects to see the same characteristics in that person when dealing with that person at different stages of the story. Therefore, characterization is the art of portraying the characteristics and character of the people involved in the story in such a way that it is expected and believable. In this article, an attempt is made to compare the characterization in Khosrow and Shirin Nizami and Shirin and Farhad Vahashi Bafghi, and the similarities and differences of the views and tastes of these two poets in The field of characterization should be explained.

 This research has a comparative aspect and is based on the comparison of Khosrow and Shirin Nizami and Shirin and Farhad Vahshi Bafghi in the field of characterization methods. Discussions are presented in a combination of description and analysis.

 The findings of this research show that although the theoretical discussions related to the field of characterization are new and have become common in Iran since the encounter between Persian literature and Western literature in the contemporary period, two great Parsigo poets, Nizami Ganjavi and Vahsih Bafghi with Relying on their ingenuity, they have done characterization at an appropriate level.

 Nizami actually wrote the history of Khosrow Parvez"s life and reign, although he highlighted its romantic aspects as well. The main character of his poem is Khosrow, followed by Shirin and other characters, who are also numerous, some of them have secondary aspects and some of them are black. On the other hand, Vashvih has chosen a section of a bigger story and according to this choice, he has also chosen the characters. The number of characters in the wild system is as minimal as possible. The characters in the military system have more individuality due to the fact that they act in the heart of a historical text, and in the wild system, the aspect of the type of characters, whose number is also small, is more impressive, and even Farhad can be more or less He considered a symbolic and at the same time eternal character. The characters of the military system have more action, but the characters of the wild system are more like the people in the painting, who are quiet and still, and the poet is standing next to this painting and is talking about the people in it.

In romantic poems, one witnesses many events that unfold around love. Different poets and writers express their views on love in the form of a series of fictional events. To analyze these events, Robert Sternberg has proposed one of the most reliable theoretical frameworks on love stories. He has drawn five main axes for love stories, and for each of them, he has listed twenty-six sub-branches. The present study is an analysis of the poems of Weiss and Ramin and Khosrow and Shirin through the lens offered Robert Sternberg's theory of love as a story. Since the parts in Sternberg's love stories are numerous, the space of this research allows only for what the writers consider to be more important and outstanding love stories. The results show that Weiss and Ramin and Khosrow and Shirin prove to contain many components of Sternberg's theory. Among these components are, psychological reasons for characters' actions revolving around love as well as their interactions and approach to romantic and physical relationships which reveal the hidden psychological dimensions of the characters to a great extent. The study reveals that elements of Sternberg's theory are more prominent in Khosrow and Shirin compared to Weiss and Ramin.

Nezami Ganjavi is one of the leading poets of Iran in the field of lyrical literature. His khumsa has been famous in many neighboring countries, including India, since his lifetime. Poetry of his works was welcomed many times in different ways. The Nezami popularity in the land of India led Mullah Masih Panetti to organize the Indian epic Ramayana in line with Nezami lyrical stories, especially of Khosrow and Shirin. This article examines and analyzes the two stories of Khosrow and Shirin Nezami and the Ramayana of Mullah Masih Panipati in a library manner in order to determine the degree of influence and similarity of the Ramayana of Mullah Masih Paniti Peti of Nezami lyrical poems, especially Khosrow and Shirin Nezami Ganjavi. Structural similarities and unity, signs of the effectiveness of the two works, as well as personality similarities between the two authors should be examined.. This article examines and analyzes the two stories of Khosrow and Shirin Nezami and the Ramayana of Mullah Masih

Conflict is one of the issues that occurs in social relations and is revealed when the goal of an individual or a group is not in line with the goal of another individual or group. This element has been very effective in continuing the story of Khosrow and Shirin. This descriptive-analytical study investigates the conflict and its types in the story of Khosrow and Shirin. Although the conflict between Khosrow and Shirin lasted long, it has led to positive results. However, other conflicts in the story have ended with negative results. The types of story conflicts include 1) Goal conflict: The conflict between Khosrow and Farhad, Bahram and Khosrow, and Shiruye and Khosrow is of this type; and 2) Emotional conflict: The conflict between Shirin and Maryam, and Shirin and Shakar. The strategies taken by the characters in the story to resolve the conflict are: 1) Surrendering strategy: Khosrow's strategy against Shirouye and Farhad's strategy against Khosrow is of this type; 2) Shirin and Maryam have used the avoidance strategy; 3) Win-loss strategy (competition): Khosrow's strategy in disagreement with Farhad and Sheroe's approach to Khosrow is like this; 4) Win-win strategy: This is the strategy of Khosrow and Shirin; and 5) Compromising approach: Khosrow's method in reaching Shirin is like this.

 Dialogue, a French word derived from Greek meaning dialogue, is the words that are exchanged between the characters of a play. Dialogue is the most important part of a show and the characters of any drama are developed and developed through this technique. Read any literary work as a dialogue between two or more characters.

 In this research, by referring to library sources and using a descriptive-analytical method, an attempt is made to investigate and analyze the tragic and dramatic aspects of Khosrow"s debate with Farhad in Khosrow and Shirin Nizami in its traditional form and centered on dialogue.

 Debate writing literary type is one of the formats and methods of Persian poetry and prose, which debate poets and writers generally use this literary form in different forms such as traditional (dialogue between individuals) and new (monologue) to express themselves. They use various examples such as advice, wisdom, ethics, feelings and social issues. Debate is often created by using question and answer tools, and each questioner or answerer in their desired position should get out of the dilemma of the debate with the rules of debates. Khosrow"s debate with Farhad is one of the most famous debates in Persian literature, in which Nizami has been able to show in the best possible way the conflicts between representatives of the two rich and poor classes of his time, "Khosrow and Farhad".

 The heterogeneity of the position of the parties in the debate makes the issue of conflict and duality more prominent in the existence of the figures of the narrative and causes this debate to end tragically and unfairly; Because the two sides of the debate present their dialogues from two different positions.

The Right Device is the most complex iranian music apparatus that has narrated its Nezami, performance method, and complexities that are impossible without musical knowledge. The present essay Nezami skill in music, analysis of the layout of the parts of the right device Barbad and Nakisa duet in those parts, in the style of narrative, has not been returned. The research method in this paper is library. The area and society studied are Khosrow and Shirin Nezami's poetry with The Shebli No'mani and M. Darvish's efforts, published by Jawdan Publications (1991). Khosrow and Shirin's poetry is one of the best fictional poetres of Persian literature the narrator is the lover of Khosrow Parviz's life with different mistresses that ended with Armenian Shirin. In Khosrow and Shirin, we witness many things that present music by famous and unknown musicians. The best of them is The Barbad and Nakisa donnings before marrying of Khosrow with Shirin. Their playing seems to have been a sign of Nezamis art in music and a diagram to present a style for him, along with exchanging messages of Khosrow and Shirin, reducing the psychological tension of Khosrow and Shirin. Nezami in feast of Khosrow narrates the parts of the right device correctly and with the duet of Barbad and Nakisa and based on the ancient iranian musical criteria and the details of the right turn (Mahoor, Shour, Bayat and, Homayoun) with its various peaks and landings and parts.

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.

With the promotion of European culture in Qajar era, it caused significant changes in fields of culture and art. One of influential Qajar painting and tile manifestations is scene of Shirin bathe who has been as a symbol of Persian woman but concept of “other”. Qajar image tiles of the scene have been distinguished from images of pre-Qajar artistic schools with the appearance of “covering crone” between king Khosrow and queen Shirin. Therefore the research answers what is the function and cause of the emergence of "curtain and old woman" as covering crone in tiles of Qajar era in the context of a society in transition from traditional culture to modernity and what is the textual myth? Has it been formed? This research aimed to identify the cultural and social factors affecting the visual expression of "covering crone" that has produced specific cultural concepts of Qajar culture and aesthetics. This research employed descriptive-analytical method using analytical method of Gilbert Doran’s myth analysis.The manifestations of the old woman and the curtain show the traditional and Islamic culture, mediation between the lover and the beloved, hiding the beloved, legitimizing the religious-Islamic meeting of the lover and the beloved, emphasizing non-sanctity, expressing the transition from tradition to modernity. The duality of traditional and Western culture (self and other) dominates Qajar period. And from an aesthetic point of view, the duality of beauty-ugliness, old-youth, and fertility-sterility is manifested in the old woman highlights the two mythical characters of Khosrow and Shirin.

In today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem Khosrow va Shirin and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and Khosrow va Shirin. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in love-based relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period.

Psychoanalysis is generally applied in exploring and analyzing of the mind’s functionality and psychological problems among people. The founder of psychoanalysis, Sigmund Freud, had a significant role in promoting literary studies. Among the theories of psychoanalysis, the category of love is one of the issues that have attracted researchers in the field of anthropology, especially psychologists, as an explanatory and fundamental subject in human life. In 1986, Robert Sternberg presented his first theory about love in "A Triangular Theory of Love" theory, in 1994; he re-evaluated the love triangle theory and developed the "love story" or "love as a story" theory.
The central element in Nezami’s narratives is the issue of love and its governing relationships. Two of his works, Leili va Majnoon and Khosrow va Shirin, have aspects of relationships that, above all, can be proposed and assessed in a comparative reading as a proper subject for this type of psychoanalytical analysis. Love is the principal theme in Nezami narratives. In his two significant narratives, his focus is on the clear border between love and lust. The objective here is to assess these two areas concerning the cognitive psychoanalysis of the contemporary period by relying on the data of psychoanalytical knowledge.

Method and Materials:

This research compares the type of love in the two narratives Khosrow va Shirin and Leili va Majnoon through the descriptive-analytical method.

According to the textual implications, passion is evident in all the stories as the most prominent component in the course of the characters’ affection. This component is more apparent in Khosrow va Shirin, especially in the course of Khosrow's love, followed by more elements of intimacy and commitment. The results indicate that Khosrow's love for Shirin was initially the type of love that only consists of passion, and there is no mention of the other two components. By enriching intimacy, Khosrow is placed in romantic love. Khosrow's love for Shirin is foolish, where experiences absurd love when dealing with Maryam; accordingly, in Shirin's personality, more than any other component, is at the first level, followed by intimacy and passion. Because the passion in Shirin evolves quickly next to intimacy and commitment, it can be deduced that love in Shirin, according to Sternberg's views, is the ideal and perfect love, while, the most explicit component of Farhad is his commitment, which appears to be mixed with elements related to intimacy and passion, thus, Farhad's love can be classified as ideal love. The findings here reveal that the frequency of love in the Khosrow va Shirin narrative is romantic love, complete love, foolish love, and empty love, respectively.

The tragic side of the narratives appears when the characters in whom the three elements of love have reached perfection and have experienced ideal love, though love turns out to be a failed experience. At the same time, Khosrow's character, according to Sternberg’s analytical principles, is devoid of the element of commitment and, based on the narrative, is the winning hero of the story. Leili va Majnoon is identified based on commitment, which is a two-way and mutual issue. Although Leili agrees to a forced marriage with Ibn Salam, a traditional marriage, according to the propositions of the text discussed earlier, she committedly insists on the love of Majnoon. Other elements of love are manifested in her existence to the extent of perfection. Because love in Leili and Majnoon is at the ideal love level, the bound between love and lust in Nezami’s narratives is somewhat bolder.
Another determining factor is the element of commitment that is from the perspective of cognitive psychology; a relationship that lacks commitment is practically empty of its perfection and can be defined within the boundaries of lust. Nezami names a story of love as “lustful”. From a cognitive point of view, if the type of love between the two sides is of the ideal love, based on the existential centrality of commitment, love is in its complete form.

Imagery is one of the prominent elements and components in the field of aesthetics of literary works. The aim of the research Is to discuss images in lyrical literature, based on which three poems were studied and imaginary elements were extracted and then classified and compared into four image elements. These four elements are: abstract element, elemental element, element of nature and astronomy. Exploring the imagination of each poet helps the audience to better understand his view of his surroundings and to be able to connect with his poetry.One of the remarkable topics in lyrical literature is the topic of love, which in every period the poet tries to portray this topic in his poetry in accordance with his words and the relationship between the lover and the beloved and their connection and separation according to the circumstances. In this article, each of the poets in the field of imagery in all three poems has assigned the highest amount to the element of nature, which in Weiss and Ramin is more than similes, in Khosrow and Shirin the metaphor of Masrah and in Gol and Nowruz. We had both elements of fantasy.Also, all three poets have used the least abstract elements, which was in the form of a metaphor. In terms of the use of abstract elements, the three poets have tried to sensitize mental matters and give them life. Weiss and Ramin, as the first poem, has been a model for other poems.

The traditional and new views on metaphor are different. From the classical point of view, metaphor is a rhetoric that occurs in the word; but new theorists such as Lakoff and Johnson believe that metaphorical concepts exist in all human life and the world around him. In the conceptual metaphor, a mental concept is understood by a more concrete or objective mental concept in the form of a mapping. In this research, the conceptual metaphors of love in Khosrow and Shirin, Logiq al-Tayr and Shahnameh were examined and compared. By examining the concepts of love based on the theory of conceptual metaphor, 30 maps with the destination of love, in the form of 1958 cases, were categorized and analyzed. These mappings were classified into two groups: the first group includes common mappings, such as LOVE IS SADNESS, IS JOY, IS HUNTING and IS GROWTH. Among the three types that expressed a common point of view, and the second group represented the different mappings like LOVE IS LIGHT, WAR, FIRE and WINE. There were also other maps; Such as: LOVE IS WONDER, were only specific to the mystical text of al-Tayir, which expresses a kind of true and mystical love. The investigated maps were mostly ABSTRACT to CONCRETE, and in some cases abstract forms with more concrete matters were used to express concepts related to love.

 The goals of psychology in the past have been to focus on diseases and their treatment methods; However, about two decades ago, a branch of psychology called positive psychology with the aim of emphasizing six moral virtues such as wisdom, courage, justice, moderation, love and kindness, transcendence, leadership, etc. was taken into consideration. The purpose of this research is to identify and analyze the virtues and abilities of the characters of Khosrow and Shirin Nizami based on the theory of positive psychology.

 This research, using the content analysis method, has explained the virtues and abilities of the characters in the story of Khosrow and Shirin.

 Khosrow and Shirin is one of the systems of Khamsa Nizami, and the people of this system have virtues and capabilities that knowing these virtues and capabilities can have a significant impact on the analysis of the characters of this story.

 In this story, the relationship of mutual love is tangible. Although Khosrow enters this romantic relationship from the beginning with a selfish view, he achieves the virtues of courage, love, transcendence, etc. by emphasizing the abilities of courage, kindness, understanding beauty, etc., and we see the evolution in his character. Shirin also achieves all virtues by strengthening abilities such as self-control, humility, and forgiveness.
 
Keyword

In Persian literature, the old rock is a symbol of impenetrability and hardness, and the mountain is a symbol of stability and endurance. The multifaceted nature of stone in culture and literature has both positive and negative aspects. It is also a factor of fertility and destruction. This research aims to investigate the archetype of stone and mountain in mythology and in Nizami's "Khosro and Shirin" in an analytical-descriptive way and how the word "stone" is used. In this regard, examples are presented by examining the mythological roots of "Khosro and Shirin" Nizami. The main tool for collecting information is to get files from library sources. In this research, it was found that the words "stone" and "mountain" are frequently used in military works, especially "Khosro and Shirin". In many places in this story, the word "stone" is used in several key ways, both in the construction of literary arrays and in different parts of the story. Shabdiz's mysterious birth, sweet life in a stone building with the intrigue of Khosrow's palace women, Farhad's stonework to create a milky stream and bring him the desired drink, and digging a mountain for sweet love are among the things. Highlights of this story, which has a mythological aspect. Examining the presence of the main characters of this story is not complete without considering the rock and the mountain.

The figurative function of sentences and their secondary meanings is one of the topics discussed in the science of semantics, which is expressed in the form of a question, and considering the fact that interrogative sentences are considered essay sentences, the purpose of interrogatives is to obtain information and news. is. In most rhetorical books, thirty-two cases are considered as secondary objects for interrogative sentences. The aim of the research is to find out what concepts Nizami Ganjai intended to express through the use of rhetorical questions.

In this research, which was carried out using a descriptive-analytical method and a library tool, the secondary purposes of interrogative sentences in the poetry of Khosrow and Shirin Nizami were investigated and analyzed.

It should be mentioned that 446 rhetorical interrogatives are used in the poetry of Khosrow and Shirin. The use of this volume of rhetorical questions shows the richness of themes and concepts and the rhetorical value of Khosrow and Shirin.

The results of the research indicate that most of the interrogative questions of Khosrow and Shirin contain the implicit meaning of helplessness and expression of despair, and Nizami in his poem has used all the linguistic tricks and abilities in the structure of the science of meanings well and has expressed his speech in such a way The art is decorated in such a way that the optimal use of the science of meanings has made the words of Khosrow and Shirin"s poem lasting and affecting.

Hakim Nizami Ganjavi is a poet with a style and creator of the literary movement in the creation of lyrical versified stories in the history of Persian literature. Khosrow and Shirin is the first lyrically versified story of the poet, the story of affection, love, and lust, and a brilliant example of body pleasure composition in Persian poetry. This article analyzes the use of euphemism in Khosrow and Shirin and seeks to answer the following questions:  euphemism has been used to express and represent what themes in Khosrow and Shirin; What kind of literary and rhetorical tricks has been reflected in Khosrow and Shirin through euphemism, and what factors have provided the ground for the formation of euphemism in Khosrow and Shirin. The author has extracted research data from the text of the story by complete inductive method and has explained the use of euphemism in the versified story by the descriptive-analytical method. The results show that themes such as words and concepts of taboo, death, and descriptions of making love and lust in the text of the story have been expressed using euphemism and the poet has used rhetorical techniques of simile, metaphor, and irony in expressing forbidden and challenging concepts, and by this way has tried to maintain his image and that of the actual and potential audience of the story.

Absence as an inherent feature of language has two levels. The first level, the absence in the normal level of language and the second level, the double absence which is related to literature. By using rhetorical techniques and tricks, poets use some themes either to create beauty or because of the moral limitations they place on themselves or the moral and political prohibitions and controls that exist in the society. They take absent. Nizami is one of the poets who skillfully, according to the content of his romantic poems, has used absence from the simplest level to the most forbidden form to represent the physical matter in his poetry. The statistical population of the present research is Khosrow and Shirin Nizami, in which the verses which the physical aspect is absent, They have been collected in a library manner and have been analyzed by analytical-descriptive method and using the content analysis technique, then they have been classified based on the epistemic-behavioral domains used by the poet. In the following, it is clear that the poet has used fifteen cognitive-behavioral domains. The highest frequency of verses has the absence of unquoted matters and taboo matters related to agriculture with 25% and stones and precious stones with 15% of all verses. Among the fields used, the fields of horse riding and spices and food have the lowest frequency of verses with 2% of the total number of second and third level verses.