جستجوی مقالات مرتبط با کلیدواژه « شبه قاره » در نشریات گروه « ادبیات و زبان ها »

After the ninth century, alterations occurred in the use of words and combinations as well as the syntax of Persian poetry, which led to the creation of a new style that later became known as the Indian style. Based on the findings of this research, the linguistic components of this style are prominent in Ghazali Mashhadi’s poetry. Some later sources have considered Ghazali an eloquent poet with fluent and expressive poems. This descriptive-analytical study has examined some of the most widely used linguistic features in this poet's divan. It should be said that in Ghazali's divan, there are some approaches in the use of linguistic elements that do not comply with the criteria of eloquence mentioned in rhetorical books. These include the Complication of word elements, slip of the Grammatical, and the misuse of some letters. On the other hand, it should be said that the poet had innovations in the use of verbs and adjective-noun combinations that have expanded the range of themes and concepts of his poetry.

Malfuzat is said to the texts that are the result of writing and collecting the words of sheikhs in sufi meetings of India. After the writing of “Fawaid al-Fuad” Amir Hassan Sijzi, which is the most impressive example of this literary genre, in the early 8th century, some works called Malfuzat appeared, which were related to the early sheikhs of Chishti and at least a century ago.There have always been debates about the authenticity and attribution of these works to their author. This article compares two works of “Malfuzat” by Chishti Order; Khair al-Majalis, the compilations of sheikh Nasiruddin Mahmood chirag dehlavi, is reliable in terms of authenticity, and the other is anis Al-Arwah, the compilations of sheikh Usman Harooni, which became popular a century after it was written.this article, by reviewing these two works more closely and examining the structural and content characteristics, gives reasons that reveal the imputation and inauthenticity of anis al-arwah compared to other text. The most important of these reasons are the absence of the presence of the author, the existence of historical ambiguity in the work, the attribution of the writing of the text to the main caliph sheikh, the existence of some characteristics of written texts, and the low frequency of verbal character in attributed and fake text.

Mir Seyyed Sharif Jorjani is an Iranian theologian, philosopher, logician, writer and critic of the eighth and ninth centuries AH. Jorjani has many works and has written commentaries and margins on many of his earlier and later books. Jorjani's ideas, opinions and works are very influential, even in lands where he has not been. His influence was such that Iranian, Turkish, Arab, and subcontinental writers read his works and cited his writings. For several centuries, in the Indian subcontinent, Jorjani's works have been read in the school system and annotated or new writings have been provided. They have also sometimes summarized or translated them. Manuscripts, lithographs and lead books of Jorjani’s works are abundant in the libraries of these places. Jorjani's students and descendants were also influential in spreading his views there. In the present article, after referring to the life, circumstances and works of Jorjani, with emphasis on the written sources of the subcontinent, we examine the influence of his views and works in these territories.

The subject of literary criticism has been of great importance in the subcontinent, and many critics have written criticism on both poetry and prose. Many critics and their works have been introduced or even published, but some are still preserved in manuscript form in various libraries. Generally, the written reviews are in prose, but among the existing works, reviews are also written in poetry, which is interesting in its own way. Sheyda Fathpouri, Munir Lahori and Abdul Baghi Sahbai are among the prominent critics of the subcontinent who have tried to experience criticism in the form of order, which seems to have been remarkably successful. Although the regularity of their criticism has caused some limitations. Despite the very valuable works that have been written in the field of literary criticism in the subcontinent, with the identification and discovery of different and innovative works in this field, the scope of literary criticism in the subcontinent becomes wider and more obvious every day, and it shows that this category is of great importance among writers, scholars and writers of that country have been blessed. In this article, we have first introduced the critical accounts of the poem, and then we have pointed out the motives of some of these critics in writing their criticisms, and then we have examined and analyzed these criticisms.

Abstract
Anis ol-Arefin (Mathnavi of Nakhoda) is a fictional poem. This mathnavi has been written by Agha Mohammad Hosein Sahib Shirazi and is dedicated to Nakhoda. He composed this verse in 1293 A.H. (during the reign of Nasir al-Din Shah) in his old age and when he was the ambassador of Iran in Bengal, India. The purpose of this study is the linguistic analysis of the poem of Anis al-Arefin based on two existing lithographs of this poem. In addition, this text, apart from the linguistic benefits, has explanations and novelties from a literary point of view. This includes historical information about the Qajar era and the rulers, especially Fath Ali Shah and Naser al-Din Shah and some local border guards of India, geographical information, especially about Shiraz and India, and the birthplace and residence of the poet. Anis al-Arefin is noteworthy, readable, and fresh in terms of folk literature, anecdotes, legends, and parables. In addition, the poet of this poem was a political-literary person. This poem is a unique document in knowing the poet and with it you can get some of his personal and family information and get to know some of the political-historical figures that have not been left in history. Since literary works find meaning in a literary system, we also mentioned the connection of this work with other works, especially Khosrow and Shirin of Nizami, with which the poet of Anis al-Arifin wrote this poem.
 
Introduction 
Anis al-Arefin (Mathnavi of Nakhda) is a romantic poem mixed with mystical and religious topics and sometimes historical-geographic references. This poem, according to its poet, is a real and romantic narration of an adventure between Farrokh (son of Manouchehr, an Armenian ruler from the Hoshang generation) and Golrokh (daughter of Marzban Circassian from the Hormoz generation). Almost no information about Agha Mohammad Hossein can be obtained from the sources, but from the introduction of the poet, one can understand some of the circumstances and aspects of his life. Agha Mohammad Hossein was one of the government officials during the time of Nasir al-Din Shah Qajar (1275-1210) who sent people as political representatives to other countries. He was also sent by the Iranian government to Bengal in India and became the ambassador there for thirty years. Agha Mohammad Hossein heard the story of Anis al-Arefin in the year 1250 A.H. in his youth, from an Armenian priest who came to Shiraz from Isfahan to teach and added to it the words he had heard from others. By composing this verse, Agha Mohammad Hossein tried to imitate Khosrow and Shirin of Nizami.
  
Materials and Methods 
In this analytical-descriptive research, we investigated a folk story in poetry from the Qajar era and discussed various perspectives such as linguistic, historical, geographical, intertextual links, imaginary images, and other side benefits of the book. We had two lithographs of this work with different narratives, based on which we corrected the two editions.
 
Research Searching in Qajar era sources reveals new linguistic, literary, cultural, historical, and geographical aspects. Many parts of the works of this era, especially those that were in the Indian subcontinent, have not been corrected and there is no good print of them. The novelties of the work are as follows:Linguistic novelties: Agha Mohammad Hossein was a Persian-speaking Turkish speaker; therefore, there are many Turkish words in this work. Signs of the influence of dialect, composition, morphological and syntactic novelties, and archaism can also be seen in this text. There are Arabic words and signs of the Arabic language in it. In addition, due to the story axis of this poem, which is taken from folk culture and literature, signs of folk language can also be observed in it.
Literary novelties: Agha Mohammad Hossein was familiar with the works of his predecessors and used them in his poems. Among them are Khosrow and Shirin of Nizami, Golestan and Saadi's sermons, Hafez's Divan, Moluk al-Ajam Hosseini Qazvini’s Al-Mu'jam, and Fayyaz Lahiji’s Sam and Bahram. Another literary novelty of this text is the use of anecdotes, legends, and parables that we did not find elsewhere.
Imagery novelties: In terms of imagery, this text also has novelties, especially in the illustrations and descriptions in which the poet uses all kinds of similes.
Side benefits: This system also has benefits in terms of anthropology and sociology.
 
Discussion of Results and Conclusions 
In the subcontinent of India and Pakistan, there are many works of Persian language and literature that remain unknown and have not been corrected yet. One of these works is a romantic poem titled Anis al-Arefin (Mathnavi of Nakhoda) by Agha Mohammad Hossein Sahib Shirazi (nicknamed Nakhoda, meaning captain). Agha Mohammad Hossein Sahib Shirazi was Iran's ambassador in Bengal, India, for thirty years. This work has novelties in different aspects that have been mentioned in the previous section. It has also other aspects including 1) Personal information about the personal and political life of the poet and his positions and associates, 2) Historical information, especially about the Qajar kings and local rulers of India and referring to some of the historical events of that era and personalities that have sometimes been removed from the pages of history, and 3) Geographical information, especially from Shiraz and India, from the perspective of an observer of Naser al-Din Shah era.

The tradition of the Prophet (pbuh) after the great Qur'an has been the most credible and reliable criterion for extracting the precepts(laws) of religion. From the very beginning, due to following the Prophet and through perseverance, Muslims extracted the religion's precepts and therefore there was no division and differentiation among Muslims in religion's precepts. Over the recent two centuries, some dissidents (Quranists) With tendency to their opinions and disrespect for the tradition(Sunnah), differed in all religion's precepts including Zakat. However, there have been reports of Quranicism in the first and second centuries of the AH. The present article uses a descriptive-analytical method to express and criticize the Quranists' reasonings about Zakat based on Qur'an's verses and it concludes: The Quranists, by denying the authority of tradition and the tendency to their opinions and rationalism, have tried to comment the Qur'an's verses subjectively according to their opinions, challenged the Zakat laws and they giving up the Quran's credited evidences directed to subjective and justificational interpretations based on argumental intellect.

The purpose of this article is to analyze the evolution of the concept of self and the other in Iqbāl-e Lāhorī's political thought and action. Iqbal is not only a great thinker of the subcontinent but also a selective poet of Persian and one of the revivers of Islamic identity and at the same time one of the founders of the Pakistani government. The main question is what the evolution of 'self' and 'other' identity was in Iqbāl-e Lāhorī's intellectual and political thought. The main hypothesis of the paper is that Iqbal's political thought evolved from the mystical 'self' to the Sufi isolationist 'other' and the individual identity to the collective identity. Iqbal's own social identity meant first to British colonialism and then to Islamic identity to Indian identity and then to nationalist identity. Iqbal's ideas have shaped Pakistan. The ambiguity between the identity of self and other that was in Iqbal thought was inherited to the Pakistani government.

From the very beginning, Ibn Arabi's opinions spread and received a special acceptance in the Central Asia and India, and "during a period of nearly eight centuries, the brains and thoughts of a great number of the best and most sincere researchers were occupied by these opinions." (Ibn Arabi, 2007, preface: 91) Most mystics after Ibn Arabi were influenced by his opinions and thoughts. Those who disagreed with the Grand Sheikh were mostly Muhaddiths, jurists and those scholars who were referred to as outwards Ulama. Although these scholars were very prominent in knowledge and science, most of them were not aware of the indoor truths and sciences, for this reason their opposition was ignored. (See: Nadvi, 2004:182). The first refutation of Ibn Arabi was written by Muhammad bin Umar Damishqi (died in 652 AH) and the first book against Fusous al-Hikam was written by Imad ad-Din Ahmad bin Ibrahim Hanbali (died in 711 AH) called "Ashi’ta an-Nusous fi Hatk Astar al-Fusous". In Persia, the first voice of protest apparently arose not from among the jurists and theologians, but from among the mystical circles. The famous mystic Sheikh Rukn ad-Din Abu al-Makarim Alaa ad-Dawlah Semnani (659-736 AH), called Ibn Arabi a "great man", but he did not like his belief of the unity of existence. (See: Ibn Arabi, 2007, preface: 40) Two other personalities have also proposed the theory of Monotheism of Witness in front of the theory of the unity of existence; one is Ibn Taimiyyah (661-728 AH), a famous muhaddith, theologian and jurist (Jalili, 2020: 73) and the other is Shaikh al-Islam Ahmad bin Yahya bin Muhammad Hashemi Manyari, one of the great scholars of the Indian subcontinent. (Dabiran, 2006: 47). Abul Hasan Ali Nadwi believes that "among the critics of Ibn Arabi, Sheikh Ahmad Sarhandi is the only person who, while he himself has actually passed through the valleys of mysticism and its stages, was able to comment on the unity of existence like an eye witness and with full confidence. He could say that I know every bit of this alley." (Nadvi, 2004: 188). He rejected Ibn Arabi's theory of unity of existence by proposing the theory of the unity of witness, redefining his ontological concepts.

The upcoming research has been done by using study and library tools, especially by studying the text of the three-volume book of Sheikh Ahmad Sarhandi (the Letters) and by the method of critical analysis of the text Topic In the Islamic world, three types of explanation of the existence can be distinguished: theological explanation, philosophical explanation and mystical explanation. (Turan, 2010: 176). In the first stage, all the theologians, philosophers, and mystics agree that the ancient and eternal independent existence belongs only to the Almighty God, but they differ on how to attribute the existence to the creatures. The theologians say: the beings of the world have real obtained existence, which means that their existence depends on God's will and creation. Some Muslim philosophers believe that the existence of creatures has a ratio relation with the existence. In this regard, mystics are divided into two groups:Those who believe in the theory of the unity of existence, and Ibn Arabi is the leader of them, consider the existence of creatures to be illusory (which have an external appearance). b. The supporters of Wahdat al-Shohoud, headed by Sheikh Sarhandi, consider the existence of creatures to be an illusory shadowy existence. (Usmani, 2006:252; Abbasi, 2003:87).According to the mystics, acceptance of the personal unity of existence is the prerequisite of believing in the actual infinity of God; because God is an infinite and unlimited existence; if we consider His existence limited, we have accepted some of His perfections and refused some other ones. Accepting such a limitation is a defect, and God is free from any defect. Therefore, the prerequisite of God's existence being infinite and unlimited is that it encompasses all actual existence and reality and leaves no place for other existences in its width or length; therefore, the existence and existed will have a real and essential example, which is the Almighty, and all possible multiplicity and virtual beings must be interpreted any way in the heart of this infinity. (Yazdan Panah, 2019: 266) In the works of Sadr al-Mota’ahhileen, personal unity can be approached through the infinite and limitless nature of God Almighty. (Vahedjavan, 2018:146) According to Sheikh Sarhandi, the way to get rid of this problem is the one adopted by mystics and Sufis who consider the world to be "illusory". (Sarhandi, 1381:3/512) Of course, this illusion is not the illusion that the sophists claim, but it means the illusion which God created it in the stage of illusion and exists in the level of illusion, "and in saying illusion, no prohibition is necessary because it is in the color of existence, and the eternal rulings and transactions and immortal blessings and torments are related to it. It is a different illusion from the illusion a foolish sophist believes in it which is a mere imagination. (Ibid: 3/512 and 513)

Sheikh Ahmad Sarhandi has redefined Ibn Arabi's ontological concepts such as the levels of existence, the level of illusion, the level of proof and manifestation of the universe, the unity of existence, the difference between the creator and the creature, the plurality and the five demotions for God. For example, by rejecting the theory of the unity of existence of Ibn Arabi, he put forward the unity of witness in contrast to it, and considered the position of existential monotheism as the position of the heart from the point of view of verve and intuition, which the people of mysticism usually experience it, but he does not consider it the end of mysticism, and he believes that it should be passed.The result of the research shows that Sarhandi agrees with Ibn Arabi that the universe has an imaginary existence, but the level of illusion in his view is different from what Ibn Arabi intended. In his opinion, Ibn Arabi's mistake is that he considers an illusory appearance as an external appearance, while the objects of the world that have been stabilized by God's will are in the level of illusion, and we as part of the world, are in the same level; therefore, we do not have access to the outside. It is beyond this world and is superior to our intuition and feeling. What we see and feel are all in the realm of illusion, and the external being is beyond our understanding and separate from the world.

Sa''dī''s words, such as the paper, have gone hand in hand with This earth globally, and have been spotted on the eyes of readers and enthusiasts of poetry, one of the items that the works of Sheikh Ajil are always enthusiastic about, the sub-continent of India, and from The sentence of this magnanimous Mirzahar Aghpopal is the throttling of Pikandarabadi (1214-1296), which follows Sa''di''s works, and he has three works, called Four Barons, Svanbestan, in response to Sa''di Boulevard and Sa''di''s Golestan Sa''di. In this paper, we compared the guarantees of Golestan Hafez and Sa''di''s effect in expressing the structural property of the effect of speculation, and we examined and categorized the types of guarantees used in his work. Then, by comparing the guarantees provided by Golestan with the hypothesis of yusefy copies Khazaeli, the idolatry of Golestan Saadi, regarding the recording of a fragment of Golestan''s words, the importance of looking at the manuscripts in the subcontinent in the correction of the works of Saadi was pointed out; therefore, the comparison of two books can be from the perspective of correcting Golestan and then Landsat Saadi.

 This article introduces and examines the content of the manuscript of the Great Criteria by Mohammad Azim Qureshi. "Azimiyeh Criteria" was written by Mohammad Azim Qureshi in 1130 (twelfth century AH), in vocabulary, rhetoric and grammar. The subject of this work is "Persian language in the subcontinent". This version is written in 414 pages, with annotations and spelling. Existing copies of this manuscript have been registered, one at the Noor Microfilm Center, the library of the Army Progress Association in New Delhi, and two copies in Pakistan, Karachi, Hamdard Collection, and Islamabad, Ganjbakhsh Collection, number 7872. This book is listed in the Guide to the Joint Index of Pakistani Manuscripts, vol. 13, p. This article introduces and examines the content of this collection ‌ and explains the issues in the version by citing evidence.

 The method of this research is descriptive-analytical using the library collection tool as a document research and content analysis data mining method. In this way, we have examined the corrected text of the manuscript of the great criteria, which is itself based on the method of intermediate correction, and we have analyzed its content, grammar and rhetoric.

 This text is a rich and useful educational book in the period in question, about Persian grammar, rhetoric and literary crafts, rhyme and prose, as well as other related sciences such as astronomy, logic, theology, etc. In this version, which the author has used all the relevant textbooks up to his period, he has not left out any points about the topics of discussion, and it seems that this book has been an educational book for teaching in schools.

 The Persian language and its development during the rule of the Gurkhanids in India was the concern of writers and rulers, and the writing of this book and similar books and the preparation of subsequent manuscripts from it, proves the necessity of this education and expansion. Although this book belongs to about two centuries ago, but because it is an educational book, it is as easy to understand as possible.

Qazvin has been a city of dignitaries throughout post-Islamic history. Until the time of the Timurid and Ilkhans, this city and its subordinate areas were a refuge for political fugitives and religious defendants. The geographical location of the city caused it to be noticed by Shah Ismail (Ismail I) and Shah Tahmasb (Tahmasb I) from the beginning of the Safavid rule. Shah Tahmasb chose it as his capital for various reasons. Given that the cultural-economic dimension of any city is subject to its political centrality, so the concentration of government and political power in Qazvin was very influential on the conditions of this city. After the transfer of the capital to Isfahan, the economic capability of the city declined. But it still retained its political and cultural role. However, due to the presence of religious scholars, poets, writers and officials of Qazvin, it played a key role in cultural-political and economic relations with foreign countries, especially the subcontinent, and also attracted dignitaries from other cities. At the same time, factors such as the formalization of Shiism religion, religious pressure (prejudice) and political power of this region, have been the most important reasons and the basis of cultural-political relations between Iran and foreign governments, especially the subcontinent in this era. Also, due to the spirit of religious tolerance of the Indian court towards the immigrants, each of them became an intellectual and cultural circle between Iran and the Land of India. On the other hand, the close relations and interactions between the lands of Iran and India throughout history are another proof of this claim; especially since the Persian language and literature during the time of the Timurid and Mongol of Iran and India had such a movement and authority that all reports and correspondence of the Indian government had to be written in Persian alongside the native language of India and Indian poets of the Timurid era in India were often bilingual. This encouraged the natives of the subcontinent to learn Persian, and according to historical evidence, Persian words in most of these places became synonymous with the native Indian words.

A work of art is a different way of looking, and this artistic attitude is manifested in linguistic functions. The use of linguistic elements also reflects the artistic attitude of the artist; In the sense that the author makes his work eloquent, eloquent fluent and effective by using artistic language. In the present descriptive-analytical research, we have tried to read the new elements of the book "Sharh-i-Se Nathr-i-Zuhuri ", which represents the critique of the emerging linguistics of the nineteenth century in the subcontinent. New elements such as the difference of words based on the difference of vowel and consonant , substitution of the substitute, the agreement of the people in the subject of vocabulary. The main purpose of this research is to discover and introduce these new linguistic elements that have been discussed in the field of linguistics of the Sahbai period. The achievements show that the commentator was able to maintain the connection between the three basic elements of the author, the text and the audience in the description of the work and to observe the scientific standards of linguistics that were still developing. He was also well able to follow the linguistic issues of his period, according to the scientific principles and standards of his time in his works Scientific re-reading of the linguistic views of Sahbai and his contemporaries can be effective for the audience in understanding the literary works of this period, poetry, prose research and, as a result, enriching the capacities of linguistic criticism.

The present study reviews the local historiography books in the Persian language of Sindh province from the early seventeenth century to the first half of the 12th century and their authors and motivators. According to a survey, many of these works have been written by influential government officials, or based on the recommendations of the personalities and leaders of the country and the military. The format and content of these works include awareness of historical geography, dynasties and rulers, wars, conquests and rejels and celebrities. The culmination of local Indian historiography from the years 613 to 1150 AH was in the eleventh century and, due to geographical dispersion, most of the works of Indian history during these years are related to Sindh. Most of these writings are written by immigrant Iranian writers to the subcontinent, some of which are considered to be the most celebrated, celebrated and celebrated Sadat. Given the nature of the present research, the research methodology used in this paper is based on the description and analysis of the historical sources of the Persian handwriting of Sindh in the period under consideration.

Persian literature and Islamic mysticism have been very popular in India for many years and many precious works in Persian have been left by them. Among these works is the book Miftah al-Fotuh written by Sheikh Abdul Haq Mohaddith Dehlavi (1058-1052), a scholar of hadith, researcher, historian and Indian Sufi. In Sufism, he was a follower of Sheikh Mohieddin Abdolqader Gilani (471-561), an Iranian mystic, narrator and poet of the fifth and sixth lunar centuries, and the founder of the Qaderiyya Sufism dynasty. The main issue of this research is to introduce the description and commentary, classify the criteria of description writing and analyze his views in the description. To explain this issue, the author seeks to answer the following questions by using the method of content analysis and citing the achievements of the genre approach to the text: Who is Mohaddith Dehlavi, what are the characteristics of his mystical description and what are the author's views? What role has this description played in the revival of Sufism on the subcontinent? The results of the research show that Miftah al-Fotuh is a translation and intertextual description of prose and extended into Persian, which was written in the 11th lunar century by the order of Shah Abu al-Ma'ali, the ruler of that region and one of the lovers of Qaderieh way. In writing this work, in addition to translating the words and meanings of the book Fotuh al-Ghayb,

Persian literature has undergone one of the most important periods of its transformation in the Indian subcontinent and the land of India, where the number of Persian manuscripts and Manuscripts in the land of India is still close to all manuscripts in Iran. Therefore, the position of Persian language in the subcontinent, in which for centuries of Persian language has been the main, official and circular of Islamic-Iranian thought and culture is very high and valuable. Research on the Persian poets and writers of the language of the period, which has left the Valuable works in poetry and prose, is an indispensable and inevitable cause; because today, we are indebted Today's glory of Persian in the subcontinent region to those who are forgotten, and maybe a name of them, even in the history of our literature time, is not mentioned. Kashmiri's vision is one of those owners of style, whose biography and detailed research about whom have not been provided; Mir Ja'far Beyg, recognized as Binesh, is a Persian-Hindi poet in the eleventh century. His ancestors migrated from Iran to Kashmir and spent their life there. Binesh was born in that land (Routledage, Kegan Paul. 1990, pp164-165). To understand each poet and work, it is necessary to examine the ideologies and thoughts of the poet, because the language is influenced by these ideas and ideologies at each level and in each age. Ideology is "a system of norms, values, beliefs, and worldviews that guide socio-political attitudes and the actions of a group, a social class, or society as a whole" (Noth, 2004). In fact, it is the individual beliefs, which are steadily and gradually learned with respect to each period of time, override and change thinking, speech, perception and individual reasoning. Binesh Kashmiri, this Indian-Persian poet, is a from Kashmir who lives in that geography and has never seen the land of Iran, but Iranian intellectual and cultural traits is quite evident in the language and expression of his poetry; this study addresses this issue to find out why a poem who has spent his entire life in Kashmir and India, but his linguistic skills and traits are entirely Iranian? It also answers these questions, who is Binesh Kashmiri and what is his poetry style? Can we visualize an image of the poet's community by examining the text of a poet's poetry? Binesh Kashmiri, like mirrorists, reflects the thoughts and beliefs of the Iranian people, which has engraved in his subconscious and manifested in his poetry. Therefore, the study of the intellectual content of Binesh Kashmiri added on the findings of Iranian history, culture and civilization during the Timurid period and maybe this type of research will lead to the establishment of discrete circles of our interactions and commonalities between Iran and the land of the India subcontinent.

The research method in this paper is library and documentary. After reaching the existing manuscripts of the work, the writer reads the manuscripts and takes note of the points given in the text, as well as studies in the books of biography and the history of literature, introduces the poet and examines his poetic themes. Then, reviewing the copies of the work and referring to library resources and authentic internet sites, the political, cultural and artistic ideologies of the Timurid period were examined and their reflection in Binesh poetry was examined. Since the research results from the handwriting manuscripts have been taken; therefore, where a verse is given as an instance, instead of page numbers, the number of the sheet is mentioned. It is necessary to state that the samples of the verses in the section (poetry works and introduction of the work) of the poet's generalities No. 705 of the Library of the British Museum. Hereafter, where the verse has been given as an instance, taken from the 1571 edition of the treasure trove of the easel manuscripts of the Tajik Academy of Sciences.

One of the important consequences of the Indian Timurid rule is the expansion of some aspects of Iranian culture and civilization in the Indian subcontinent. This was due to the fact that the great leader of this dynasty, Timur, paid special attention to the maintenance of Turkish rules and the preeminence of the Turks of Chagatai to Iranian nationals (Ajand, 1383: 825). After Timur's death, a number of his sons and grandchildren moved away from his political and cultural heritage and became an affinity for Iranian culture, art, literature and science (Razpush, 1383: 834). Babur and some of the next kings of the Indian Timurid series, including Shah Jahan and Orang Zi, were the princes who became interested in manifestations of Iranian culture and civilization. This insight and way of thinking, not only paved the way of Iranian immigrants access to the important administrative and military occupations of the Indian Timurid, but also provided some of the manifestations of Iranian culture and civilization in that land Binesh Kashmiri is an Indian –Persian poet who, despite the fact that he did not see the land of Iran even once, but his Persianism and Iranianism are quite evident in his poems. So that even a Hindi word has not been found in his court , and he uses the terms, combinations, and conspiracies used in his poetry, which is entirely Iranian, and is undoubtedly derived from thoughts and the ideas of an Iran friendship by all intents and means that have overshadowed the speeches, perceptions and individual arguments of the Kashmiri poet. Some cases have been investigated for the "You may know by the handful the whole sack"maxim in this study.

Binesh Kashmiri has emerged in the Hindi style of time, but his desire for Iraqi style is higher. Binesh, in addition to the poetry Diwan that includes the lyrics and Qsayd, has six mathnavis: Binesh-e- Absaar, , Ganj-e-Ravan, Shour-e-Khiyal, Goldaste, Reshte-e GoharT, Jawaher Nama. Iranian thoughts and passion and ideologies have had a profound effect on the poetry of Binesh. His poetry expresses a deep and lofty emotional feeling about his interest in Iranian language and culture, and has reflected Iranian ideas in his poems as a true and loyal follower of the state. What is revealed by the poems of Binesh, his personality is tied up with integrity and truth. He has embraced ethical doctrines through his poetry through the use of knowledge and thought in an eloquent and explicit terms. A deep, precise, and insightful understanding of the concepts and terminology used in his poetry, In addition to the richness and Prosperity of his poem reflects his domination of Iranian culture, language, and knowledge in his words, and is an indication of the same interest which was aforementioned. In his poems, he has repeatedly recalled some of the cities and places of the land of Iran. A land that has not even seen before death. Also, the reflection of Iranian architecture and remembrance of some traditions such as the Nowruz celebrations of that period, popular beliefs common in Iranian culture, paying much attention to the early poets of Khorasani and Iraqi style, and all of them lead to a better understanding of the poet and also to illustrate Indirectly, some of the corners of the social and intellectual history of the Indian timurid era. The poet's interest and focus is on his ancestral land.

The Safavid era is one of the most important periods in the history of Persian language and literature, and valuable works of poets and cultural geography literature of this period have been remembered. The cultural sphere of the Indian subcontinent and Central Asia was more important in this era, and the contribution of Indian scholars in the field of vocabulary, criticism and linguistics was sometimes greater than that of Iranian writers. One of the most prominent literary figures of the subcontinent, Siraj-ud-Din Ali Khan Arzoust, who has rendered valuable services to Persian literature by composing more than twenty works. Fruitful is one of his valuable works. In this book, Arezoo talks about linguistic issues, phonological processes of exchange, heart, decrease and increase of phonology, and Iranian acquisitions in Arabic and Hindi words. In writing this work, he has commented on the book of Al-Muzahar Suyuti. Arezoo is one of the pioneers in the field of linguistics and one of the first to realize the harmony between Persian and Hindi. This work is a chapter on the compatibility and agreement of Persian and Arabic, Persian and Hindi and Tafris, and the compatibility of Persian and Hindi words has been studied from various angles, and in addition, throughout this work, several words are used according to the issues raised. In this article, the authors intend to provide the audience with a perspective on the mechanisms of Persian and Hindi language by presenting evidence to the audience.

Manuscripts are a valuable legacy of ancestors whose correct and scientific revision can bring the text closer to the original work and take advantage of the texts of past authors. The manuscript of Matla Al-Saadeyn is a work on the rhetoric of 12th-century poet and writer Sialkoti Mel Varasteh in the Indian subcontinent. One of the features of this work is the author's critical point of view, the lack of imitation and repetition of the contents of earlier rhetoric books. The author of this book also pays particular attention to the poetry of his era, the Indian style poetry, as most of the evidence points to the poetry of the eleventh and twelfth centuries. As more evidence has chosen an example from the poems of poets of the eleventh and twelfth centuries. Studying this work can inform us about the status and quality of rhetorical knowledge in the Indian subcontinent. In this article, we introduce the manuscript of Matla Al-Saadeyn. The method of this research is to study, record, and collect information from authentic library sources and its purpose is to introduce one of the valuable subcontinent rhetoric books in the 12th century AH.

Mir Seyyed Sharif Jorjani is an Iranian theologian, philosopher, logician, writer and critic of the eighth and ninth centuries AH. Jorjani has many works and has written commentaries and margins on many of his earlier and later books. Jorjani's ideas, opinions and works are very influential, even in lands where he has not been. His influence was such that Iranian, Turkish, Arab, and subcontinental writers read his works and cited his writings. For several centuries, in the Indian subcontinent, Jorjani's works have been read in the school system and annotated or new writings have been provided. They have also sometimes summarized or translated them. Manuscripts, lithographs and lead books of Jorjani’s works are abundant in the libraries of these places. Jorjani's students and descendants were also influential in spreading his views there. In the present article, after referring to the life, circumstances and works of Jorjani, with emphasis on the written sources of the subcontinent, we examine the influence of his views and works in these territories.

Romantic -poem is one of the most prevalent types of Persian lyric poetry. This literary field's development in the Safavid era is very significant, especially in the subcontinent. Lyric poetry's increasing popularity in this era led to numerous romantic stories by diverse poets (whether innovative or imitative) in various forms. Mughal court's great interest and encouragement in Persian poetry, poetic stories, and the translation of Indian stories and legends into Persian attracted numerous poets from all over Iran. Furthermore, many Indian poets turned to Persian poetic stories at the behest of Mughal kings and courtiers. In this way, poem writing became a tradition during this period. In other words, each poet achieved their mission with a romantic poetic story. Although many of these works' manuscripts have been lost over time, a considerable share of these poems is preserved in the form of manuscripts, lithographs, and movable type printing in the Central Library of Astan Quds Razavi.,  The author has collected  several romantic poems from the Safavid era of Iran and the subcontinent through visiting this library. In this research, twenty  poems have been studied and analyzed and then compared with each other.

This research has been done by the descriptive-analytical method (text research) .  Moreover, the data collection method is the use of library tools.  Literature Review Among the essential studies that have been done in this field, the following studies can be mentioned:Seddighi (1998) has classified and introduced the  subcontinent's poetic stories’s types in the Timurid era. Babasafari (2013) has introduced 1389 romantic stories, including Persian poetry and prose from pre-Islamic to the contemporary period, which holds  considerable storied poems relating to the Safavid era. Zolfaghari (2013) has addressed the classification, typology, morphology, and introduction of romantic  poems and their themes. Notwithstanding the significance of these studies in lyrical literature, the Safavid era's romantic  poems, especially the works related to the subcontinent, have not been comprehensively analyzed compared  to any of the introduced works.  Through avoiding repetition, this paper has reviewed works that have not been analyzed and reviewed so far or those of which only little details have been mentioned in catalogs and bibliographies. 1-3- Research Objectives Introducing and reviewing the Safavid era's romantic poems. Understanding the causes and factors of the wide acceptance of Iran and the subcontinent's Persian poets of this literary genre. Study and comparison of stylistic and linguistic features of poems written in Iran and the Indian subcontinent.

The Differences between the Poems 2-1-1-  Differences in Volume and Size (Number of Verses) The number of verses of Iran's poems is more than the number of verses of poems written in the subcontinent. Out of a total of six poems written in Iran, Shirin and Farhad by Mir Aghil Kowsari (1331) includes 3770 verses, Naz and Niaz by Vahid Qazvini includes 3200 verses, Sam and Bahram by Fayyaz Lahiji includes 3048 verses, Majnoon and Leily by Navidi Shirazi includes 3000 verses, Mehr and Vafa by Shouri Kashani includes 1432 verses and Salaman and Absal Navidi Shirazi  contains 860 verses. However, the most extended  poem out of fourteen works in the subcontinent is Candles and Butterflies (Padmavat and Ratan), with 2333 verses. The number of verses in other poems differs from 156 to 1500 verses. 2-1-2-  Differences in  Poems’ Preface or Introductions Regardless of the independent poem of Kamdi and Madan and the incomplete poem of Khosrow and Shirin by Shahpour Tehrani, fifteen of the other eighteen works have started with monotheism, praise, prayers, and the Prophet's admiration. However, among the fourteen compositions of the subcontinent, only the preface of one poem (Nahid and Akhtar) is adorned with the praises, supplications, and Holy Prophet's (PBUH) admiration as well as Imams' (AS) admiration.  The preface of one poem (The Passion of Imagination) is also adorned with Ascension. Meanwhile, the openings of four poems out of the six works in the geographical area of Iran are adorned with praise, monotheism, prayers, Holy Prophet's (PBUH) admiration, Ascension, and Imam Ali's (AS) and Imams' (AS) admiration. This indicates the type of society's religious beliefs in the Safavid era of Iran. 2-1-3-  Differences in the Story's Final Elements " A woman’s self-immolation," " lovers’s resurrection," and "attaining eternal life" are common themes of Indian and subcontinental stories which do not exist in Iranian stories. In  Kamdi and Madan, lovers die due to the news of a false death out of experiments and come back to life after death or unconsciousness. Moreover, Hir and Ranjha come to life by drinking the elixir of life from the hands of the old man in green (Khidr prophet) and attain eternal life. 2-2- The Commonalities of the Poems 2-2-1-  Common Motifs Common motifs of this era's most romantic poems are the commonality in the commencement of love or the beginning elements (falling in love by seeing face image, hearing the beloved's description, seeing the beloved's face), lovers' royal lineage, king's death, helper, mediator (nanny/parrot), travel, sea crossing, hunting, desert wandering, intrigue, lovers' secret meetings, lovers' prayers, the tact of those around, love letters, experiments, love parties, wars, lovers' sudden death, failed love, and death after joining. 2-2-2-  Application of Simile Several types of imagination forms, including simile, metaphor, personification, metonymy, and irony, have been utilized in the studied poems with variable proportions. However, simile (according to its frequency) is the most significant literary element of this era's romantic poems. The similes' roots are in nature and the world around the poet and are often of the sensory simile type.

 The Safavid era's romantic poem study and analysis indicate that most romantic poetical stories (about seventy percent) were written in the subcontinent.  Due to the shared cultural backgrounds and motifs of Iran and the subcontinent, these two regions’ poems are alike in general structure, lexical features, type of similes, and some narrative motifs. However, there are significant differences in volume and size, preface and introductions, cultural roots, and selection of characters in the story. Iranian poets have created their stories or poems with a complete structure, broader development, stress on the type of characters, and places beyond the realm of authorship. However, in choosing the heroes and describing the story's scenes, most of the subcontinental storytellers (according to Indian traditions) have depended on characters and places limited to the subcontinent and have acted with the utmost brevity and conciseness. Furthermore, many Indian poems are different from Iranian poems in terms of the final elements of the story. " A woman’s self-immolation," " lovers’ resurrection," and "attaining eternal life" are common motifs of Indian and subcontinental stories that do not exist in Iranian poems.