عطار

Allegory is one of the most widespread ways of expressing a subject, which conveys moral, educational, social, and political ideas and messages to the reader. In the Mehri ritual, which is one of the first ancient rituals of Iran, perhaps for the first time in the seven stages of the Mehri path, allegory was used to express the purpose, which was to reach the highest level of humanity. The seven stages of Suq are presented in an allegorical form, which in a way can be said to be the etiquette of man's ascension to the highest levels of human existence. Attar is also among the poets who are famous for composing extensive allegories. Although Attar's seven mystical valleys cannot be considered to be completely derived from the religion of Mithraism, we are trying to examine the truth of mysticism with the language of allegory and mystery for the journey and discovery of truth in these two different paths. The language of allegory in Attar's mystical path and transition, influenced by Mehri's path, is a new topic that will be examined in this research. The present research, which was conducted in a descriptive-analytical manner and using a library method, aims to express the stages of human path and transition through the language of allegory to the stages of maturity and higher levels of humanity.

In the first section of the present paper, the tale of Sheikh Sanan is explored according to some concepts of the Freudian psychoanalytic criticism. The results of this section reveal that the skeleton of the tale is the poetic presentation of the conflict among three areas of psych: Sheikh Sanan, “ego,” is under the pressure of two opposite and demanding forces, “id” and “superego,” which are artistically materialized as two personas, the pagan girl and the magnanimous disciple. In the beginning of the tale, the ignited spontaneity of “id” is about to dominate from all sides. Then, however, “superego,” through normative and religious enforcement, reappears and triumphs. In the second section of the paper, a more significant and fundamental issue regarding this intra-textual analysis is revealed. In the end and with respect to the social context of awareness, what purpose does the rereading and rethinking of a mystical text from the psychoanalytic perspective serve? In response to this question, we considered Attar as mystical discoursal subject and The Tale of Sheikh Sanan as the figurative representation of the awareness of a social group and arrived at the following conclusion in this tale, “the totality of the symbolic system” has played the role of “subject and the text is presented as an artistic representation of social forces.

Present study aims at analyzing the concept of insolence towards Almighty in the story of Amid Khorasan, narrated by Attar and Rumi. The theory of negation and affirmation is the research’s theoretical basis. This study, which is conducted in a descriptive-analytical method, aims to analyze the contradiction of insolence towards God in the story of Amid Khorasan narrated by the Conference of the birds and Masnavi. Finally, it provides a correct interpretation of Attar’s and Rumi’s viewpoints using the evidence in their works, and the theory of negation and affirmation.The concept of insolence in the narration of the Conference of the birds and Masnavi does not follow the same discourse, since Attar's narration praises the insolence towards God and Rumi's blames it. In total, both poets have common approaches towards insolence in their works. It means insolence towards God is reflected in Attar’s and Rumi’s view in two states. While insolence is reprehensible in the servantship state, it is praiseworthy in the love state. Therefore, the difference between Attar's and Rumi's narration of the same story does not mean their attitudes are different, but rather it shows that they try to address a facet of different aspects of insolence.

Seeking truth is a trait that has always been in humans and has manifested itself in various ways. including in Shahnameh and Attar's logic, which are two different literary genres. In this research, we have discussed the common concepts and truth between two types of mystical and epic literature, in order to achieve this result, Haft Khwan Rostam has been compared with the Haft Wadi mystics of al-Tar Attar.  With the symbolic interpretation of the common concepts of the two works with the help of mythological texts and the codes of numbers, we will reach that lofty concept, which great superhumans like Attar and Ferdowsi have always been looking for.In this work, we reveal man's long-standing friendship with truth-seeking and show that great topics such as mysticism and epic are two sides of the same coin, and that coin is nothing but man's reaching the ultimate humanity and self-knowledge.In Haft Khuan Rostam and Haft Wadi Seluk, there are common concepts such as: mountain, king, country, number seven and difficulties of the road, and the existence of all these similarities cannot be without meaning.

In the 14th century, Europe left the Middle Ages behind and based its life on human wisdom and empiricism. This process was called humanism. This thought went through four periods of Renaissance, religious reformation or Lutherism, Enlightenment and industrial revolution until it became modern in the late 19th century. Modernity separated man from inside himself and turned him outside. While mystics such as Attar and Maulvi tried to bring man back to God's nature and return to himself. It seems that many of the disorders in the world today are placed in this conflict. The purpose of the article is to find a way that can find an affinity between the thought of modernity and the thinking of Attar and Molvi, so as to be an opening for the problems of modern man. The research has been done in a descriptive-analytical and library style. For man, modernity meant emptiness, loneliness, confusion, cutting from within himself and seeking happiness outside himself. In Elahinamah, Attar considers the wishes of six king's sons as material (external) wishes: (in search of fairies, witchcraft, jam, water of life, Solomon's ring, alchemy). While he believes that the center of gravity of a person's desires is inside him. Rumi finds the whole being of man in his "inside". The inside that has a return to excellence. The thoughts of Attar and Rumi, which are in opposition to the thoughts of modernity, can be a way to free modern man from the impasse of absurdity and absurdity..

The romantic gaze and perspective of lovers, especially in the tale of Layla and Majnun, is a recurring theme in Persian poetry. This article compares the poetic themes of Attar and Jami with the visual representation in Jami’s “Haft Orang” manuscript. It examines the similarities and differences in their narratives, focusing on the climax of the lovers’ meeting. Attar emphasizes the union and Majnun’s well-being, while Jami provides more details about Layla and Majnun’s eye contact and Majnun’s loss of consciousness. The visual representation captures Majnun’s arrival at Layla’s tent but not their meeting gaze. The research method is descriptive-analytical, using library sources and manuscripts. Findings indicate both poets use the tale according to their poetic styles, with notable differences in form and content. In Attar’s text, the climax is the union of the lovers, focusing on Majnun’s well-being and his loss of consciousness. In contrast, Jami’s narrative includes more details about Layla recognizing Majnun, their eye contact, and Majnun losing consciousness. Attar’s narrative concludes with a sarcastic conversation emphasizing Majnun’s self-sacrifice, while Jami’s narrative describes the lovers’ meeting until dawn and then returns to the metaphor of returning to one’s previous state. The visual representation depicts Layla’s tent in a tranquil space, surrounded by flowers and rocks, with Majnun hidden among the flowers. The painting captures the moment Majnun arrives at Layla’s tent dressed as a shepherd, gazing at Layla, who is caressing a lamb

 One of the main difficulties faced by mystics in facing mystical experiences is the inability to express their lived experiences in the spiritual and intuitive worlds. Mystical poetry expresses symbolic and symbolic meanings through specific language and stable structure. The purpose of this research is to investigate and analyze the symbolic language of Attar in the stories of Asrarnameh.

 The research method in this research is descriptive-analytical based on library studies and the method of document analysis among the symbolic stories of Attar"s mystery. In this research, the samples were randomly and systematically selected.

 The results of this research show that the symbols used in the stories of Asrarnameh belong to the field of mysticism and Sufism, and its function is to objectify these teachings and concepts with a simple and fluent language and symbolically.

 The results of the research show that in Asrarnameh, the symbols are simple and understandable, and their origin is mostly in the field of humans and objects. Human symbols such as king, slave, lover, lover, sage, old man, Murad, disciple are used significantly. In most of these stories, Attar has referred to concepts such as poverty, annihilation, leaving the world, removing the hijab, fighting the ego, and leaving relationships. Due to the predominance of mysticism and Sufism in these stories, the symbols of mysticism are sometimes in conflicting state and the two poles are placed against each other.

There is always a reciprocal and influential relationship between literature and social conditions.
From the beginning of Persian poetry the essence of protest and social commitment is seen in the works of poets. Protest is a category of literature in which the enlightened express their dissatisfaction with the status quo in order to express the problems of society and to enlighten and raise awareness. Among them are committed poets, because of the mission and responsibility they feel on their shoulders Accordingly, they do not remain indifferent and react to the various anomalies they see, especially in the social and political structure.
In the meantime, sometimes the conditions of the society provide the ground for the emergence of some literary techniques. One of these tricks is the mask( Persona ) that the poet chooses from among the mythical and historical characters of his culture. He criticizes his society in the back of persona so that he can perform hic poetic duty and he can be safe from damages.
In this paper, it is tried to identify the social context and factors that influence the formation of personality masks in Attar's Masnavi And its connection with the school of protest to be determined And Describes the types of masks used by Attar.

The coherence model of Michael Halliday and Roqayeh Hasan is one of the scientific, efficient, and reliable methods to identify the level of textuality, coherence, and integrity of any text. Coherence is pointed out as the examination of relationships in syntactic structures and components of a text. Therefore, with the descriptive-analytical method, the current research is to investigate the issue of textual cohesion-related elements and semantic relations between clauses based on Halliday and Hasan's approach in the logic of Manteq Al-Tayr by Attar. He examined 3000 clauses in Manteq Al-Tayr from among different clauses. The results of the research indicate that in grammatical coherence, deletion has the highest frequency and replacement has the lowest frequency in Manteq Al-Tayr. The frequency of deletion is one of Attar's rhetorical features; it prevents the monotony of the text and the effort of the mind to find the deleted element and to strengthen the music. In the lexical cohesion, recurrence and repetition have the highest frequency and semantic inclusion has the lowest frequency in this system. Attar has been trying to emphasize and highlight the secondary purposes of his words by using repetition. In terms of lexical coherence, collocation has the highest frequency in Manteq Al-Tayr. In conjunctive coherence, augmentative conjunctions have a higher frequency than other components of conjunctive coherence, which, in addition to acting as the connection link between clauses, has united different discourses in the text. Therefore, all three grammatical, lexical, and linking coherences play a significant role in creating context, coherence, and integration in the Manteq Al-Tayr.

While the theme of the impudence of individuals deemed insane in the presence of the divine has been explored by various authors prior to Attar, it is within his works that this concept is particularly emphasized. Attar dealt with the arrogance of these individuals, their unanswered inquiries, and their resistance to the destined order of creation, which persistently preoccupied his mind. From an intellectual viewpoint, this preoccupation can be attributed to his verbal disposition, while, from a socio-political perspective, it is influenced by the uprisings, tumults, and events that transpired during his formative years, resulting in the loss of numerous lives. Although this theme is discernible in the works of poets and writers preceding Attar, it is notably conspicuous in his poetry. Had these sentiments not been articulated by the individuals deemed insane or anyone other than Sufis, they would undoubtedly have been deemed blasphemous, akin to the way Khayyam was branded as a heretic with regard to certain quatrains. This study, conducted through documentation, library research and content analysis, seeks to address a few questions. Firstly, what were the reasons for the emergence of such a disposition in Attar's mind and philosophy? Secondly, would the Sufis have condemned these sentiments if they had been expressed by someone other than Attar, even if they were voiced by individuals deemed insane? As concluded, these were the internal concerns and contemplations of Attar, which he chose to convey through the words of individuals deemed insane as a means of unburdening his conscience and avoiding direct condemnation of others.

 Sufi behavior and character is not limited to one or more specific aspects, because in their behavioral system, many special and even unique customs can be seen, and adherence to them was sometimes considered as a condition of Sufiism. This behavior of ours also appeared in Sufi living areas, including in the way of living and making a living, which sometimes forced them to wander and wander. The main purpose of this essay is to investigate and analyze the behavior of flaner as one of the behaviors of Sufis in Attar"s Masnavis and Molana"s Masnavi and to analyze and explain Attar"s and Molana"s views in this regard.

 The research method in this article is descriptive-analytical based on library studies and document analysis.

 The findings of the research indicate that Attar and Molana do not have a positive view of flaner and begging and if begging and poverty are praised in some verses and anecdotes of these two mystical poets, the meaning of poverty. God is the only one who is truly in need; Both Attar and Molana are opponents of tyranny, unemployment, and begging as a type of abnormal social behavior.

 The results of the research show that Attar and Molana do not consider Tawakkul as the permission of begging and roaming dervishes and others, and they are strongly against begging for a living based on egoism and gluttony. Attar"s approach in Elahinameh is more critical than his other Masnavies, and Molana has condemned flaner in many ways in the six books of Masnavies.

A symbol is a very broad concept that has been given many definitions in different books. In the category of symbols, one of the types of symbols mentioned is the creative symbols, which are mentioned with other titles such as random, exclusive, personal and special symbols in various books. Each of the symbolic poets has innovative symbols in his symbolic images that no one has used before. Attar is one of the poets who succeeded in developing a coherent symbolic system in his poems and achieving a unique style among the mystic poets. He has innovations in symbolization that in this research we aim to extract these symbols in the Tragedy by using descriptive and analytical methods and by using written and electronic sources and documents, and through this way we can obtain both the methods of Attar's symbolization and its generalization or not. These symbols will be revealed to us after Attar. The results of the research show that Attar frequently used his symbols in the form of simile additions. Moreover, some of Attar's innovative symbols were not used by any other poet except Attar, while some others have become universal symbols in the poetry of poets after Attar. Attar's innovative symbols are expressed in the three forms of simile additions, metaphors and allegorical stories, with most of the extracted cases being in the form of simile additions.

Journey has always occupied a unique position in world literature. The current paper investigates the concept of journey in children and adult’s narrative literature. Samad Behrangi’s “the Little Black Fish” concerns the challenges faced by the main character while passing through different stages of the mystical journey. The present paper aims at investigating the comparability of the stages of the Little Black Fish’s journey with that of the birds in Resalat Al-Toyur by Ahmad Ghazali. In the two works, the stages are not distinctively named. In Attar’s Mantegh Al-Tair, as an adaptation of Ghazali’s work, the seven stages of the mystical journey includes: quest, love, wisdom, independence, monotheism, amazement, indigence, and death. This framework is employed in comparing the aforementioned stages. The findings revealed that the stages are remarkably similar to each other. The major reason for the existence of such an incredible similarity was originated in the fact that they belong to mystical literature and cover the same theme of “Mystical Journey”. Last but not least, the similarity may also have its origins in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.
The Notion of “journey” has been always given a unique position among the other multiple interesting concepts in the world literature. The current study is an investigation of this concept (Journey) in both children and adult’s narrative literature. Fiction or narrative literature has played an important role in showing the impact of “journey” on religious, cultural, and social changes.
“Journey” has appeared in children’s literature, both in the form of physical and spiritual journeys. The story of The Little Black Fish is one of the few works that deals with the topic of spiritual journey in a pleasant and delicate way. This story comprises a lot of symbols that, if explained and decoded, reveal the deep layers of the story to the reader. In adult narrative literature, there are also works in the field of travelogues and spiritual journeys, the latter of which is referred to as a “mystical journey”. In the classical literature of Iran, a large quantity of outstanding works on “mystical journey” exist. Attar is one of the most prominent literary figures of Iranian-Islamic mysticism and his “Mantegh Al-Tair” is a masterpiece in Persian literature. This book is considered as an adaptation from Ahmad Ghazali's “Resalat Al-Toyur”. In the present paper, the primary focus is on the stages of journey in “Resalat Al-Toyur”.
The research questions are as follows:1) Is the journey of the “Little Black Fish” comparable to that of the birds?
2) Which of the stages on the journey of birds is comparable with the stages of the journey of the black fish? How can we analyze the journey of the black fish in the context of the journey of the birds?
3) What factors can influence the comparability of a work in contemporary children’s literature with a work in classic adult literature?
The story of The Little Black Fish is written by the famous Iranian writer, Samad Behrangi, and is referred to as one of the most important works of Iranian children's literature. This book was published in 1968. The story of The “Little Black Fish” was chosen from among various works of Samad Behrangi since it was his only work on the mystical journey. The “Little Black Fish” concerns the challenges faced by the main character in passing through different stages of the mystical journey.
Ahmad Ghazali was a mystic jurist and a jurist mystic. In The Resalat Al-Toyur, he has pleasantly narrated the journey of the birds to the King-Simorgh palace.
In studying literary works, the focus is usually on the text, the writer, and the reader. In the current comparative study, the authors could be divided into two groups of contemporary and classical. Readers also belong to two different groups in terms of age. However, the texts are well-matched since both are among the famous literary works of Iran and share the same theme of mystical “journey”. Both works also enjoyed an allegorical and symbolic language.
In Attar’s Mantegh Al-Tayr, as an adaptation of Ghazali’s work, seven stages of a mystical journey are engaged which include: quest, love, wisdom, independence, monotheism, amazement, indigence and death. This taxonomy was employed as a model or framework in comparing the stages of the mystical journey
In the current research, the stages of journey in “The Little Black Fish” (in the contemporary children’s literature) have been compared with the stages of the mystical journey of the birds (in classical literature). In the two works, the stages were not distinctively named. However, all seven stages of the journey of the birds could be identified in Samad Behrangi’s “The Little Black Fish”.
Amazingly, the classic framework of Ghazali’s and Attar’s mystical journey of the birds was so applicable to the story of “The Little Black Fish” that it seemed as if Samad Behrangi had artistically and delicately arranged the stages of the black fish’s journey in accordance with the stages of the mystical journey of the birds.
Behrangi was quite familiar with children’s language, and he was also familiar with the classical Persian masterpieces like those of Ghazali’s and Attar’s. It does not seem improbable that while he was writing The Little Black Fish, he also might have been thinking about the stages of the mystical journey of the birds. The process could also be of unconscious or subconscious type. In any case, what was found in the present paper indicated the high comparability of journey stages in the two works in Persian (children and adult) literature.
The findings of the current research indicate that the story of “The Little Black Fish” can be compared and interpreted based on the framework of the journey of the birds in Ahmad Ghazali's Resalat Al-Toyur and Attar’s Mantegh al-Tayr. It was realized that the stages of the journeys of the heroes in the two works were remarkably similar. The major reason for the existence of such an incredible similarity was found to be the fact that they belong to mystical-literature and cover the same theme of ‘mystical-journey’. Last, but not least, the similarity may also have its roots in the unconscious impact of the classic writers (i.e., Attar, Ahmad Ghazali) on the contemporary author (i.e., Samad Behrangi), as well as the human soul commonly shared by all human beings.

The mystics were not indifferent to the social conditions around them. Sufism aims at the salvation of the individuals of society and has no systematic program to govern society, but this does not mean that the Sufis were indifferent to the social and political conditions around them. In this study, we have turned to Attar's Tadhkerat al-Awliya and through a rereading and reconstruction of the concept of Foucauldian resistance, how the vast majority of the stories of Tadhkerat al-Awliya fall within the scope of the big game of power and resistance and how Attar represents the methods of Sufi resistance by designing diverse bodies. Some of these bodies use the method of negative resistance and others use the method of positive resistance, and sometimes both aspects of negative and positive resistance are manifested in one physical behavior. The reason for choosing Tadhkerat al-Awliya is that this work contains the essence of Attar's thought. He displays his many life and writing experiences in his previous works, and now in the final parts of his life he writes Tadhkerat al-Awliya, which is the subtext of many of the metatexts of Sufism of later periods. To this end, we first carefully read the stories of Attar that contain the concept of resistance and extracted their instances. In the next step, we classified them into several groups and identified the instances of negative and positive resistance in them. In the final step, we analyzed each section and presented the analysis report in the article.

 Hermeticism one of the oldest intellectual traditions it is in Iranian mysticism. Which its course through Dhul-Nun of Egyptian, and ibn Arabi To shahabuddin Suhravardi To Iranian poetry and literature has been established. Hermes or Hermeticism Philosophy which according to the writings of Hermes Trismegistu is created. Upcoming article with descriptive,analytical method and comparative.The research results show Effort has this capability that the objective and tangible world Man to the abstract world and transmits withinThe acti0ns of these three poets coherence of Hermetic mysticism with iranianMysticism it is in his poem. This approach useful works To improve the quality And a little of human lif brings. This essay has tried in some key topics such as,Klchemy, transformation, Manifestation, Abstraction and…Share the words of three poets. In writing this articie from direct sources such as Divan Attar, Maulawi s spiritual masnavi and Hafez s sonnets, Hermetic books and the Hermetic tradition used. According to this article sir Bin Maieh Hormesi In the poetic works of iraqi style, the result of inclusiveness the general Popularity of poets, in the 5th-9th centuries it has been seen in order of

The examination of the works of poets and literary and mystical writers of this land shows that storytelling, which is the process of using reality and narrative, to communicate with the audience, is used in a very subtle way. Sheikh Attar and Maulana are two poets who have benefited from storytelling and allegory in explaining mystical points and sending their messages many times. But despite the difference in the time period of these two poets, there are significant points of commonality and difference in their common stories and anecdotes, which require to be explored from a literary point of view.

The research method in this research is descriptive-analytical, the data of which is collected from two Masnavas of Attar (Palehannameh, Elahinamah) with Masnavas of Rumi, during twenty common stories of these poets, by documentary and library method and by taking a survey.

In this study, the influence of Rumi on Attar was completely revealed and it was concluded that, despite similarities in terms of story characters, time, place of occurrence and the style of presenting the stories, there are also differences in terms of the literary style and the way of presenting them. And from the point of view of the morphology of Molavi"s stories and the analysis of his fictional actions, it shows a more logical order that governs his stories. Therefore, in terms of innovation, Molavi"s mind is more attractive in creating expressions and concepts.

The subject of storytelling and allegory in Persian literature, especially the poems of Attar and Rumi have been of special importance, who have chosen this type of artistic format to convey ideas and remind their audience. Although Attar has a great influence on Rumi in defining his line of thought and mystical approach and teaching its teachings, Maulavi has a higher position in the art of developing stories and drawing conclusions from them, and despite the similarities in terms of the structure and content of the common stories, there are significant differences with Attar"s stories.

Perfectionism means setting very high and absolute standards and criteria in various areas of human life and action, defined on a predetermined path in order to achieve a certain goal. Moving on the path of mystical behavior requires adherence to certain rules and principles in order to achieve the necessary quality to reach extinction and absolute truth. Attar sets very high and difficult standards and expectations for the salik, and this situation extends to the salik's personal and social life as well. Anxiety and perfectionism have a two-way and mutual relationship, and their roots can be traced back to the poet's existential anxiety in dealing with the qualitative and abstract path of behavior. The anxiety resulting from decline, the inherent and omnipresent absoluteness of God, the failure of man to claim his place in heaven and the anxiety of dependence on the lowest possible point, are reflected in the realm of Attar's thought as an attempt to compensate to the maximum and restore the dignity of man. The main result of Attar's perfectionism is the binary thinking or the "all or nothing" that does not accept being in the middle of the path of the path and only accepts reaching the end of the path. Religious obsession or scrupulousness and emphasis on acts of worship that go beyond religious rules are other results of perfectionism. By narrating the story of the perfectionism of the mystics and Sufism, Attar recreates his original view on the quality of behavior and the way the salik moves.

Love is a generative balance, a balance that needs to be created and nurtured. Love gives both pain and pleasure to the seeker and seeker and is an experience of unity in the midst of contradictions. A contrast that is sometimes sweeter than honey and sometimes bitterer than poison; With all these descriptions, the lover loves it to reach his beloved. He fights and chews, that too with all his heart. Based on this, this research aims to examine and compare the love of the devil and man for the true God with a descriptive-analytical method and a library tool, and among these, considering the two valuable works of Sheikh Attar's Divine Book and Ain al-Qadat's Tahimidat. to show Which one has been the defender of the devil and his love and which one has been on the side of man and his love for his god, creator and lover. The results of the research show that in order to reach the truth, Attar and Ain al-Qadat consider love as a necessity for the seeker; Especially if this seeker is an ignorant man or a jealous devil. Also, both of them have considered love as a means of spiritual perfection and sometimes they have distinguished between the love of man towards God and the devil with strength or weakness and willingly and unwillingly. has warned.

The course of satirical writing in Iran is closely related to political history. In the periods when poets and writers have benefited from relative freedom, satirical writing has also grown more. During the Seljuk period, when the government was in an intermediate political position - that is, neither absolute tyranny nor populist government - the course of satirical writing, like the literature of that period, had a completely different and perfected state. In this period, on the one hand, there are many courts and free from tyranny, and on the other hand, at the same time, publicism dominates the kings and people, and education in the society has expanded and has created a variety of styles and voices in the creators of poetry and prose. And in the third level, poets and writers have been abandoned by the government and have benefited greatly from freedom of action. With the progress of literature, numerous satirists have emerged with different and innovative styles and methods, the example of which is not seen in any other period until the constitutional period as a period with complete freedom. The development of humor in this period is more intellectual and content-oriented and has two popular trends such as lampoon and facetiousnes and literary jokes, and special trends such as philosophical, sectarian and mystical satires. Composing odes with a combination of satire, humor and praise, and boldly suspicious poems and humorous narratives of insane intellectuals, has given a different atmosphere to poems and divans in this period.

The creation of man and what happened at the time of creation are subjects that have been the subject of many intellectuals and religious schools. In the meantime, the mystical look at the subject of human creation and the prostration of angels against this new creature with a particular angle of view can have its own special effects. Among these mystics Attar and Rumi have a prominent place in both mysticism and Persian literature. The reflection of human creation and its existence on it is not hidden from the eyes of these poets. In this essay, the author intends to examine the works of these two poets from the perspective of praying against the new creature of God and arrange their reasons. Looking at all the works of these two poets, there are reasons for the deception: the virtue of the heart in human existence as the airport and the footsteps of God, the spiritual dimension of human dignity, soul and soul, and the creature that can evolve even to the realm of al-Quds and the right to exist. It is, ... part of the context that two poets have put forth on other kinds of creations for the sake of human virtue.