نجم الدین رازی

Before Attar, various poets and writers attempted to compose works on the language of birds. The vast majority of these works were composed around the late fifth to early seventh centuries, and despite the many commonalities that the composition of this type of work requires, there are also obvious differences among them. One of these differences is the difference in the way of symbolizing birds. In this study, the Risale-i-Tayr of Khaqani, Sana'i of Ghaznavi, and Najm al-Din Razi are compared with each other from the perspective of symbolizing birds because differences were observed in the method of presentation, the final goal, and their descriptions that made them susceptible to being compared in the present study. This study has found out how the difference in the perspective and purpose of composing these works ultimately led to the difference in the symbolizing of birds. Khaqani's Risale-i-Tayr contains unique descriptions and leads to the praise of the Prophet (Mohammad). Sanai, with the focus on monotheism, depicts the scene of bird worship, and Najm al-Din Razi wrote the praise of the then minister through the language of birds. That is, the style of each poet also has an important characteristic in the uniqueness of his language of birds, which has been reviewed in this research.

In Man with the two forces of reason and love is considered the highest of creations, and in philosophy based on the union of reason and rationality, not only man, existence is based on reason, and in mysticism based on the theory of the unity of love, lover and beloved and the view of existential unity in anthropology and ontology, the sovereignty of love is recognized. From that point of view, everything should be weighed with the scale of reason and with its help, the movement towards perfection is meaningful, and from this point of view, one can reach perfection with the criterion of love. The relationship between the two has been analyzed as opposition, agreement, companionship, and the like, but Sheikh Najmuddin Razi (573-654 A.H.) claims in his treatise "Maiyar al-Sadiq fi Masdaq al-Ashq" that he explained the perfection of love and the perfection of reasonwhich needs re-reading for its strength, and in this article, with analytical-critical method in a library style and referring to first-hand sources, the standard that she presented is examined and an effort is made to find a way to soften these two complementary forces in existence and in human existence. And an effort is made to find a way to soften these two complementary forces in existence and in human existence, and to show that if the hardware program of existence is made up of reason, its software program is also love, and a workshop of existence is organized at the intersection of these two forces.

Accurate recognition of the works and thoughts of Islamic mystics is not possible without knowledge of their specific mystical traditions and methods, as their thought system is derived from the principles of the mystical tradition and the customs of their mystic school. This descriptive-analytical research, focusing on Love and Reason by Najm al-Din Razi, and Reason and Love (Monazerat Khams) by Ali Ibn Turke Esfahani, aims to specify the traditions and mystical schools related to these mystics based on the criteria of the first and second mystical traditions. The findings reveal that these two mystics are influenced by the first mystical tradition in their goal and approach. However, in other works of Najm al-Din Razi, signs of his inclination towards the second tradition can be seen. Najm al-Din Razi does not believe in the efficiency of reason in attaining knowledge, but Ali Ibn Turke’s opinion is the opposite. Regarding the means of knowing and discovering knowledge, Najm al-Din Razi belongs to the first tradition, and Ali Ibn Turke to the second tradition. Love is a significant and widely used concept in Love and Reason, whose intended meaning is close to the first mystical tradition. “Inebriety” and “Ecstatic Expression”, in Reason and Love, are concepts that share the same wording and meaning in both traditions. Mystical language, in Najm al-Din Razi’s work is phrasal. However, in Ibn Turke’s book, it is a combination of phrases and allusion.

Intellect is one of the concepts that have been given different and sometimes contradictory definitions, and everyone has presented an interpretation of it based on their own intellectual opinion. For a long time, there has been a difference of opinion between mystics and philosophers about reason, and among the mystics who have spoken in this field is Najm al-Din Razi, nicknamed Najme Dayeh, who authored Mersadolebaad in mysticism, Sufism, and Sufism in the first half of the 7th century AH. The present study investigates and analyzes the place of reason in Merasodolebaad in a descriptive-analytical way. The research data has been analyzed using the content analysis technique and in a library manner. The research is looking for an answer to the question of what the place of reason is in Mersadolebaad and, basically, to what extent and in what cases Razi accepts intellectual knowledge. The results of the study show that this great mystic has limits for reason, and it is a mistake where reason wants to be the only tool of knowledge, and the intellect that does not accept revelation is a source of error. This point does not mean the downgrading of reason and its position, but it is in line with the exaltation of reason and attention to its existential order. Also, from Razi's point of view, the intellect is incapable of knowing the divine names and attributes and must reach enlightenment through cultivation and austerity.

One of the beautiful and captivating aspects of mystical literature is the image. In image rhetoric, images that are formed in the imagination are used to express sensible and intangible concepts and can be achieved through rhetorical forms (simile, metaphor, allegory, etc.). Imagination is one of the most important tools in the formation of purgatory images between the physical world and the spiritual world, which is called the ideal world. In the field of photography, the creative mind of Najm Razi has been able to mix images of imagination and inspiration with the eloquence of words in a way that reveals esoteric and mystical states in the form of combinations of rhetorical forms. In this article, an attempt has been made to investigate the images of fantasy in Razi's message of love and wisdom, using a descriptive-analytical method and a library method, in order to highlight the place and importance of rhetorical tools that are effective in understanding sensible and intangible meanings in the world of the senses. . Najm Razi's goal of using imaginary images is to instill the truth behind these images in order to convey his purpose to the audience. The findings of this research show that Najmuddin Razi used more of the rhetorical element of simile and simile addition in this work, which are often sensible to tangible similes. These types of images have a significant variety and have the highest frequency of rhetorical forms. He used more of nature and objects in the creative elements of imagination so that he could have a better explanation of the truths of the world; therefore, each image expresses a truth in different levels.

The theory of intertextuality deals with the presence of one or more texts in other texts. Intertextual reading relies on the texts in front of the readers. One of the mystical topics of interest is the descending and ascending course of the soul from its original home and returning to it. Mystic Najmuddin Razi from the seventh century and Greco-Egyptian philosopher and mystic Plotin mentioned this issue in their works. The main goal of this research is to perform an intertextual reading of their works. The analysis will be descriptive and analytical. Despite Razi's criticism of philosophers and some of their opinions, in intertextual reading about the course of the soul, we see many similarities between his texts and Plotinus on the mentioned subject. They have discussed topics such as the concept of the descent and ascent course of the soul, its descent in joining the body, the effect of divine rapture and love for ascending, the immortality of the soul, and the diversity of souls in this process. They have also mentioned the emergence of hijab and committing sins as obstacles to the ascending of the soul. Additionally, self-awareness and flourishing are important aspects of the soul's ascending journey. Despite Razi's many references to verses and hadiths, his findings about the descending and ascending course of the soul are a blend of philosophical expression and mystical findings.

This research is based on analytical-descriptive methods and has a qualitative approach. Library sources have been used to collect information. First, the topics related to the descending and ascending of the soul in the Enneads or (the scripts of Plotinus) translated by Muhammad Hasan Lotfi and works of Najmodin Razi likeMersadolebad, Manarat al Sairin, resale eshgh o aghl (Love and intellect treatise), Marmuzate (secrets) Asadi, had been gathered and then the common sites between them had been mentioned. Considering that Razi doesn't explicitly refer to Plotinus and his works and thoughts, the presence of Plotinus's text in NajmRazi's works is the perception of the reader, and the intertextual approach to their works is perceivable. Also since the original language of Plotinus'sworks and Najm Razi's are not the same, the reader studied intertextualconnection based on common content.

Intertextuality theory is the idea that all scripts are connected to each other. This theory was first introduced by Kristeva (1941), who was influenced by Bakhtin'stheory of conversationally. Other theorists later developed the concept.According to intertextuality theory, no script is independently written or understood, as every script is created based on previous ones. "( Namvar Motlagh – Kangarani, 2009: 79)  There is a connection between the works of writers who discuss the journey of the soul. In spiritual contexts, existence is believed to have an aim, and that aim is the source. The flow of existence is imagined in a circular turning.Plotinus (204-270 AC) was a Neoplatonic philosopher who was influenced by previous philosophers such as Plato. He was born in Egypt, learned philosophy in Alexandria, and died later. His student Porphyry gathered his notes. Plotinus was familiar with Indian and ancient Iranian mystics. Najmodin Razi (573-654 AH), also known as Dayeh, was a prominent mystic of the late 7th Hijri century. He was born in Rey and was one of Sheikh Najmodin Kabir's students. He left numerous works in Persian and Arabic.Razi criticized philosophers explicitly, but despite their differences, his beliefs were similar to Plotinus. However, these similarities do not necessarily mean that one was influenced by the other. Razi's disagreements with philosophers were based on his knowledge, which adds value to the current text. Philosophers view existence through intellect and reason. One of the reasons Razi conflicts with philosophers is that he does not consider reason as the only tool to comprehend the truth. Instead, he emphasizes sharia (religion), verve, or intuition. Plotinus also regards intuition in addition to reason. Through intertextual reading, the hidden layers of Razi's context with Plotinus are revealed.

According to this, despite the obvious opposition of Najm Razi with philosophers, in intertextual reading some similarities with philosophers' opinions are seen. Although he expressed all his thoughts by referring to Verses, Hadiths, and Islamic narrations; sometimes the content of his words are the philosophers' concepts. The presence of Plotinus's thoughts in Najmodin Razi's books about the descension and ascension of the soul is obvious. Both Plotinus and Najm Razi believe in the descension of the soul from a source and its return to it.They consider the soul joining the body as the descension which causes coverage and forgetting the origin universe. Each one considers factors like divine rapture and love, as important and necessary for the ascension of the soul. They believe that the soul exists before the body and it's immortal. The soul's journey is not voluntary and souls are different in descension and ascension. They both mentioned body and sin as the obstacles in the way of the ascension of the soul. The acquisition of real knowledge and the development of talents are also mentioned by them as the reason for the descending and ascending course of the soul.

The unpredictability of various forms of lyric literature, which is rooted in the limitless manifestations of human emotions, reinforces this thought that in the corner of various works, there is a possibility of emergence of a new and even unknown example of this type of literature in one of its many sub-branches. One of these possible examples is an original boasting written by Najmeddin Razi from the words of the Holy Prophet Mohammad. All aspects of the content and language of the mentioned piece have naturally been affected by the unique position of the boaster. The writing ability and the deep devotion of the author of Mersad ol-Ebad undoubtedly added to the impact of this hypothetical boasting. In this article, while extracting and introducing this special piece, the content and linguistic components that make this boasting stand out compared to other common boastings in Persian literature will be presented and analyzed considering the unprecedented centrality of its high-ranking speaker, the Holy Prophet Mohammad (pbuh).

The resurrection season is one of the important parts of Razi’s Mersad al-Ebad which begins with the mystical reading of one of the verses of the Holy Quran. The author considers resurrection as the return of human souls to God which happens with the journey of quadruple processions of souls in seven stages. According to the systematic structure that the author has for this journey, the present study aims to answer two research questions: 1) Does Razi follow a certain pattern in explaining his worldview about the resurrection?  2) Can the stages in Mersad al-Ebad be matched with the stages of Campbell’s hero’s journey? According to the findings of the study, the condition for the beginning of perfection is divine attraction. After starting the journey, in the second part, a person goes through the stages that Campbell calls the road of tests. In this part, as Najmuddin Razi believes, a person must go through four stages of Nafs Ammareh, Lawwameh, Molhameh, and Motmaenneh. At the end of this perfection process, the person becomes a resident of the promised paradise, i.e. the court of God’s attributes. The author has determined two different fates for the seeker. In his opinion, if a person is one of the seekers, after returning, he is responsible for guidance. Those who have behaved in the manner of those who are fascinated, after returning, will not be responsible for others. In the journey, these two ends are also mentioned.

The common symbolic theme in many myths, legends, and mystical books is the story of man's journey into himself, the result of which is the achievement of spiritual growth, perfection, and psychological integrity. The importance of this issue has caused many researchers, including Joseph Campbell, to investigate the pattern of this symbolic journey. "One myth" is one of the most famous and widely used theories in the field of myth criticism, which was proposed by him in 1949 in the book ‘The Hero with a Thousand Faces’. Jung examined in detail the archetype of the hero's journey and by examining a large number of legends and stories of the world, he showed that this archetype reveals itself in a new form at any time and place to guide man to his inner journey and self-knowledge. Since the main subject of mystical texts and writings is the journey of a person to know the truth of her existence and achieve perfection, the archetype of the hero's journey can be found openly or secretly in many of them. The meaning of religion is that some of the works such as Mantegh al-Tayr by Attar Nishabury, Altavahhom Harith al-Masabi, and many of Masnavi’s stories clearly have this pattern, and sometimes hidden manifestations of it can be found in some works such as Mersad al-Ebad by Razi. Mersad al-Ebad is one of the masterpieces of mystical Persian prose texts. In this work, the author has raised a discussion under the title of resurrection, which can be found in the structure of the hero's journey by studying it closely. More importantly, the author has an interpretative and symbolic view of resurrection and in explaining it, he used symbolic numbers such as four and seven and defined stages for it. According to this hypothesis, the present study aims to investigate the author's approach to the issue of resurrection based on the archetype of the hero's journey. The two research questions are: 1) Does Razi follow a certain pattern in explaining his worldview about the resurrection? 2) Do the stages of resurrection in Mursad al-Abad match the ancient stages of Campbell’s hero's journey?

Review of the Literature:

Mystical studies have made it possible for researchers to investigate and analyze many of these works with a semiotic and archetypal approach and reveal some of their hidden layers with their symbolic content and symbolic and mysterious language. The attractiveness of this type of analysis and the pleasure of discovering the hidden layers of the text has caused the emergence of relatively significant studies with this approach in the field of mystical literature. In some of these studies, the archetype of the hero has been completely investigated in one work. Among them, we can mention ‘Analysis of a fictional story based on Jung's psychological views’ (Esmaili & Bahrami Rahnama, 2017), ‘Deciphering the process of individuality in Attar's Divine Book by relying on Jung's archetypes (Ahmadi & Haghighi, 2019). Some articles have also examined some of the archetypes in mystical works and writings; for example, ‘Comparison of Jung's Archetypes with Abu Sa'id's Mystical Way’ (Aegean & Arab, 2016), ‘criticism and analysis of the archetype of the shadow with respect to the concept of self in mysticism’ (Rozhatian, Mir Bagheri Fard, & Mani, 2013), ‘examination of the ancient pattern of shadow and its adaptation to the soul in Attar's masnavis’ (Qashqaei, 2013), ‘the course of the conceptual evolution of the word self in al-Tayr logic based on individuality’ (Gholampour Ahangarkalai, Tavossi, & Ojag Alizadeh, 2018), ‘the use of archetypes of color in spiritual masnavi based on Jung's theory’ Asadi, Eshghi, & Amir Ahmadi, 2018). In addition to the mentioned studies, many other ones have been written in this field, and mentioning all of them will make the article long. According to this review, the analysis of the topic of resurrection in Mursad al-Abad based on the old model of the hero's journey, both because of the choice of topic and the type of approach, is new and contains different content.

The archetype criticism has defined two types of self-care for the hero. In the first type, the focus is only on the universal world and the hero faces any kind of danger in the battle and shows heroic deeds. In the second type, the hero, at the same time performing his bravery and heroism, undergoes internal change and transformation, and after going through symbolic stages, he achieves spiritual maturity and spiritual perfection. Cambell's emphasis is on the analysis of the archetype of the hero, focusing on the second self-work, that is, spiritual transformation. According to him, the hero begins his journey from the everyday environment until an inner call reaches him and after that, he must step into a mysterious world that is full of unusual events. Campbell has assigned three stages to this self-care: departure (separation), arrival, and return. Departure includes calling the call, rejecting or accepting it, seeking help from the beyond, crossing the first threshold, and going to the whale's palate. The journey also includes the road of tests, the meeting with God, the temptress, reconciliation and unity with the Father, the Gods, and the final blessing. The return also includes stages such as refusal to return, magical escape, rescue from outside, crossing the threshold of return, master of two worlds, and free in life (cf. Campbell, 2004, p. 59-250). In this study, among the above-mentioned steps, we examine the cases that can be adapted to the Maad chapter of Mersad al-Ebad.

In the Resurrection season of Mersad al-Ebad, Razi divides the spirits into four stages (rows). The first phase is the souls of prophets and special saints who are in a position of immediacy and ‘Matmaennegy’. The second row is ‘Molhamegy’. The residents of ‘Lavamgy’ are in the third row, and in the fourth row are the souls of disbelievers and hypocrites who live in ‘Amargy’. According to the author, all souls in their symbolic resurrection should start their journey from the level of Amargi. This movement has a narrative infrastructure in which the triple stages of departure, appreciation, and return of Campbell's model can be clearly found. In the stage of departure, the call is the main and preliminary condition for the beginning of the journey that Razi considers to be dependent on divine attraction, which if it does not happen, a person cannot enter the path of self-knowledge. After sending the invitation, depending on whether the person accepts or rejects it, it may be placed in the category of Ashqiya or Soada. In the Tashraf stage, which is the most detailed part of the archetype of the hero's journey, Razi defines and explains the four main stages, which are, respectively: Amaregy, Lawwemgy, Molhamegy, and Ammaregy. According to him, all four spirits must go through these four stages on their way to perfection and return (resurrection). According to Razi, the passing of the soul from Amaregy, Lawwemgy, Molhamegy, and Ammaregy takes place in seven stages. These Haftkhans, respectively, include: passing through the qualities of earth, water, air, fire, the heavens and heavenly bodies, the kingdom of stars and stars, and finally the heart. Passing through this Haftkhan places a person in the highest rank and known position. After going through this difficult path, one enters the promised paradise. After that, the stage of return takes place, and in this return, if a person is one of those who are fascinated, he does not have a mission to guide, but if he is in the group of seekers, he will be a guide to others on the path of knowledge.

Resalat–ol-Toyour, written by Najm-od-din Razi (573-654 H.Q.) has a mystical, allegorical prose and is among the technical prose and metaphorical texts in sixth century. To render the events tangible and to report them from the best perspective, the author uses literary techniques such as simile and undermines them with mystical and allegorical content of his stories. The similes intensify the beauty of the text and the pleasure of the audience. The technique is skillfully extended all through the text. Most of his similes/imageries include extended, detailed, allusive and descriptive ones. He benefited from best types of imageries to express his ideas innovatively. He has made use of Qura’nic Ayyahs, the stories of the prophets, allusion, making abstract concepts tangible through terms of astronomy, war, court and geography. Embellishing this type of expression with other techniques such as symmetry, conflict, exaggeration, allusions, mental imagery, and metaphor, he has managed to improve language and imagination.

Mystical and Seleucid concepts have many commonalities and differences between different dynasties. The specific type of thought and view of mystics on knowledge, the characteristics of the sheikh, the attributes of the disciple, the conditions of solitude, its mention and importance, observation and hearing have caused the emergence of various dynasties. This study has compared the above topics in the works of Najmuddin Kobra and Najmuddin Razi in order to understand the depth of thought of the founder of Kabruyeh.

This research has been done by descriptive-analytical method and using library and documentary studies. Al-Din is a secret.

Najmuddin Kobra"s views are considered to be very concise and simple in spite of their very detailed works. Najmuddin Kobra"s thought has not been paid much attention and Najm Kobra"s works have considerable insight that has been hidden.

What Najmuddin Kobra expresses in mystical and Seleucid discussions is scattered and by putting it together, we can realize the novelty and depth of Najmuddin Kobra"s thought and Najmuddin Razi has many similarities with Najm Kobra, but where Monastic issues arise or in controversial issues beyond the public understanding, Najm Razi is not mentioned and his thought is simplified.

The present article introduces a newfound manuscript of one of Najm al- Din Razi's (573-654 AH) treatises, which was written before the Mongol invasion and during the life of Majd al- Din Baghdadi (martyrdom: 607 or 616 AH). Besides describing and editing the treatise, attempts are made in this study to prove its attribution to Najm al- Din by looking for similarities between this work and his other works, particularly Mirsad al-Ebad. Due to the similarities found in the use of words, collocations, and phrases; the use of the same hadiths, verses, and poems, which are present in other works by Najm al- Din; as well as the similarity in the topics raised; this treatise can be attributed to Najm al -Din Razi. Considering the goals of this research, a stylistic analysis approach and a historical analysis based on base manuscript were adopted. The editing was done on base manuscript (No. 2996 F) available in National Library of Iran. The results of the research make it clear that this newfound short treatise, containing an initial draft of Mirsad al-Ebad, was most probably authored by Najm al- Din Razi, which was written in the period when he paid homage to his sheikh, Majd al -Din Baghdadi.

This article seeks to explain the political views of two famous mystics holding different mystical views than those of Khanghah-Sufis, Jami (9th century AH) and Najm al- Din Razi (7th century AH), through the study of their anecdotes, Haft Aurang and Mursad al-Ebad. Although entering the realm of politics and affiliation with the court has long been a point of contention for intellectuals and mystics, mystics like Abd al-Rahman Jami and Najm al- Din Najmuddin Razi have provided advice for improving the state of the society. The political aspirations of these two mystics can be examined from four perspectives: how the king was elected, the religiosity and policies of the king, how the oppressed of the society were organized, and criticism levelled at the government's policy for earning money. This descriptive study, by citing representative examples from Hafte Aurang stories and quoting the teachings of Najm al- Din Najmuddin Razi, seeks to examine the political ideals of these two mystics, who lived in two different social conditions, so that the differences between the roles played by them and the reasons for their involvement in the political activities could be determined. The results of this study show that due to different social conditions in these two eras, there are fundamental differences in the political thoughts of these two mystics of the 7th and 9th centuries AH.

There are certain methods, rules, and principles in any education system that teachers and learners should be aware of so that the paths to reaching the goal and/or destination could be paved. Such methods are also significant to which all mystic schools adhere. Likewise, there are specific principles and methods in the Kobraviyedynasty for the spiritual wayfarer to reach the main destination. The present study investigates the characteristics of the spiritual wayfarer and addressee and his education from the instructional perspective of three well-known mystics of this dynasty, including Najmuddin Kobra, Majduddin Baghdadi, and Najmuddin Razi, through a critical description of the existing literature. The results show that the mystics of this dynasty have specific educational suggestions and instructions for the spiritual wayfarer and addressee in various individual, social, spiritual, and unseen dimensions. All three authors have listed features in their intellectual system for better audience education that can be examined in the three ways of individual, social, and spiritual-occult values.

In Islamic parliament library, there is a collection (anthology) belonging to the 10th century collected by Sa´ad-al-din-e Elāhi/ Ălehi and can be considered as the third anthology which is similar to two collections of Yahya tofiq (dated 745 AH) and Ganjbakhsh Library 14456 Jong (probably belonging to the late 8th century). However, Mirafzali (2016) in his recent writing, provided fifty two newly found verses from Najm-e Dayeh obtained from these three collections (anthology) and particularly introduced the recognized and newly found poems by Najm-e Dayeh in Ganjbakhsh 14456 Jong. In this article, eighteen newly found other verses out of one hundred and fifteen verses available in these three collections are provided which are obtained by investigating the collection of Yahya Tofiq and Parliament Library 534 Jong. From this collection, it seems that thirty eight verses are by Najm-e Razi, because in other resources, his name is also mentioned. In addition, fifty nine newly found verses are also identified as Mirafzali’s verses and eighteen ones are also newly found verses (i.e., they are mentioned in bold letters in the text) which are provided in this article and there is no other resource mentioning his name. The main aim of this research is to scientifically investigate the newly found poems by Najm-e Razi and secondly to specify the correct attribution of these verses to him based on other resources. The present article attempts to answer three following questions through a scientific investigation on this issue: Why is it necessary to find new Najm-al-din's verses? In which format are his newly found verses classified? In which format is his new literature more frequent?

In addition to occasional mentioning of the biography writers, to the best knowledge of authors, Modaberi (1984) is pioneer in studying the subject related to the goal of this research and his research book entitled "Poems of Sheykh Najm-al din-e Razi, Dayeh" was published. Using handwritten and printed sources, the author of this book briefly explained Najm-e Dayeh's biography and collected his poems from ancient and original resources. However the author referred to many references, there are three shortcomings in his book: first, this book does not encompass all Najm-e Dayeh's poems and by a research in other resources, there are other poems attributed to Najm Dayeh which can be found. Present research aims to study this issue. On the other hand, in this book a part of poems attributed to Razi and other speakers is not mentioned and sometimes, the poems and particularly Quatrains which are attributed to Najm-e Razi need to study more or certainly they are not his poems as a mystic and poet. Therefore, this is required to revise the number of real verses composed by Najm-e Razi, whether this is 391 verses based on Modaberi (1984, p. 4) or 250 verses based on Riahi in collection of poems by Najm-e Razi in Mersad- al Ebad and Marmouzat and Resaleye Aqhl va Esgh (The book of wisdom and love) (Najm-e Razi, 1973, p. 54). Third, some verses in this book are deviated and falsified in term of records. The records in this research are corrected and we recorded more original verses to better understand Najm-e Dayeh's poems. I addition, in late 2015, Mohammadi published the book "Najm-al din-e Razi's poems" with an introduction, correction and explanation which was studied by Seyed Ali Mirafzali in 2016 in a research entitled "Najm-al din-e Razi's and His friends' poems and analysis of the book "Najm-al din-e Razi's poems" and studied the strengths and weaknesses of this book. After criticizing this book, MirAfzali, at the end of writing, quotes the poems attributed to Najm-e Dayeh from five ancient sources three of which are the Safinehs mentioned in this work. But in this valuable research, there are three deficiencies: first, the poems provided from two Safineh in his paper are not complete. In the first Jong, i.e. the Yahya Tofigh's Safineh, there are seventeen verses of him while Mirafzali (2016) quoted ony eleven poems of him and in Jong number 534 in Parliament Islamic Library, there are 52 verses by Dayeh but Mirafzali (2015) quoted only fourteen verses of Razi. Second, in his article the newly found verses of these three Jongs were not found in other resources. This research, irrespective of originality of attributing known poems to Najm-e Dayeh, in fact, provides a new and original record of the poems which can be used for better understanding of the poems by audiences.. Third, in his study on three collections of poems, collection of verses in Safineh, newly found verses (without subtracting the verses repetition in two other Jongs), particular newly found verses (with subtraction of repetition for verses in two other Safinehs) shared newly found verses with two other Safinehs, recently known poems shared with these two Bayaz as well as recently particular found verses in each Jong are not certain and as a result, in his article, it is not possible to find Razi's known and newly found poems, accurately. Disregarding this, other biography books explaining the poems of Najm-e Dayeh only studied his biography and quoted his previous poems following the previous resources and sometimes, some of these resources criticized superficially his poems so that it can be stated that however, they are valuable attempts in re-correcting Razi's poems, new resources such as three collection mentioned should be particularly studied to add newly found verses by Najm-e Razi to the previous verses and provide the remained poems in a comprehensive research on other resources.

This research is a library study. The resources at first are hand-written texts of three Safineh from which eighteen newly found verses are provided and then using other relevant resources, the correctness of attributing this literature to Najm-al-din-e Razi is investigated.

Najm-Al-din Abubakr Abdullah ibn Mohammad ibn Shahavar ibn Anushirva Abi al-Najib Al-Asadi Al-Razi (1177 – 1256) entitled as Razi and Najm-E-Razi called Dayeh who composed poems like other Sufiyah in addition to writing and mentioning his poems in his works and in most of the resources, there are brief statements about his situation are mentioned along with his poems and in general, it can be stated that only his Rubaiyat are mild and full of painful words. Generally, it can be stated that his quatrains are pathetic, pleasing and subtle. His literary position in poem is lower than his writing position. His certain poem collections are not a lot. His short quatrains, sonnets and odes are not collected in a collection (Shafiee Kadkani, 2002). The author of the book Poems of Sheykh Najm-al-din-e Razi (Dayeh) attempts to state that there is no poem collection and was not mentioned of him (Modaberi, 1984). He considered 390 poems of Najm-al-din-e Razi which are quatrains, some sonnets and odes proposed in a written book in different situations and attempted to prove that some of other poems are proposed in biography books and that hand-written Jongs and Sufian books attributed to his name (Ibid). One of reliable and important collections in which some poems of Najm-al-din-e Razi are provided, whether known or newly found ones, is the Jong number 534 in Parliament Islamic library which is the third Bayaz and is similar to the Jong 14456 in Ganjbakhsh library (belonging to late 15th century), and Yahya Tofigh's Safineh (15th century) which is collected by Sa´ad-al-din-e Elāhi/ Ălehi as one of the highlighted 13th and 14th centuries characters (Khatami & Saket, 2018). the present research attempts to provide newly found verses in these Safineh as a complementary material to Mirafzali's paper and using these resources, investigated the correctness of their attribution to Najm-e Razi.

In this research, eighteen newly found verses by Najm-e Dayeh from 115 verses in three Safineh of Yahya Tofigh, Jong 14456 in Ganj Bakhsh library and Safineh 534 in Parliament library obtained are provided. From this collection, probably thirty eight verses are Razi’s because they are attributed to him in other resources. Fifty nine newly found verses are also introduced by Mirafzali from these series of Safineh. Among eighteen newly found verses, nine verses are short odes, seven verses are Moghataat and two verses are single-verse format remained from his poems. Five verses are mentioned among the poems which are probably attributed to him because they are mentioned under his name in other resources. Moreover, 15 verses are newly found which are not mentioned under his name so far. Accordingly, based on the findings of this article it can be claimed that what is now available as Najm-e Razi's poems does not include all his poems. Using other Safineh and Jong in which other poems are attributed to Razi, one can provide his newly found verses which are necessary to investigate their originality of attrbituion.

The authors of mysticism used the allegory element in different way to indicate their thoughts and ideas. It is necessary to mention that many concepts, which are seen in Sufi’s proses, originated from abstract concepts and mystical experiences. The mystic need to make them sensory and tangible to facilitate their understandings and acceptance. In result, allegory is a kind of narration. Najm-e-al-din Rāzī in Mirṣād al-ʻibād narrated a verse or Hadith regarding to discussed subject in start of each season. He tried to use allegory and story from common subject proportional to its subject. His style in writing was completely simple and expressive. Nature and Human nature, among other elements, were the most common elements that he used in explanation and edition of his religious research. In this study, the authors tried to follow this case using documentary and analytical methods and analyzed the effective and efficient allegories.

Sociology of literary taste is one of the branches of sociology of literature that deals with the formation of literary taste among people and the factors affecting it. To study the literary taste of each period the works of that period should be taken into consideration. Najmodin Razi's Mersad-ol-Ebad is one of the works that has clearly been influenced by the literary taste of its period. Diversity of content and audience in different seasons of the book shows that tastes of different social groups are considered in this work; therefore, the author walks away from his original motivation of (teaching the disciples) in some parts of text. Diversity of literary tastes in Mersad-ol-Ebad has distinguished this work from other mystical teaching and makes it worth of analysis in this study. Sociological analysis of literary taste in Najmodin Razi's Mersad-ol-Ebad shows that several factors have been effective in shaping the literary taste in this book; the most important ones include: The spirits of the time, social, political and historical conditions, insight of king as the aesthetic judgment, and intrinsic-true values of the literary work itself.

Originating from Islam teachings, Islamic Sufism developed in the context of Iranian culture and was influenced by Iranian thoughts. Such thoughts and ideas affected theories, demeanors and customs of Sufis with different trends, and resulted in different mystical perspectives. In his Hikmat al-Ishraq (illuminism), Shahab al-Din Suhrawardi explained the history of philosophy in ancient Persia to his time and called mystics such as Bayazid Bastami, Abul al-Hasan al-Kharqani, and Abul al-Abbass al-Qassab Amoli the followers of this philosophy. One of those who was influenced by Iranian thoughts in his view is Najm al-Din Razi. In Mirsad Al-Ibad Men Mabda’ Ela Al-Ma’ad, one of the most important mystical sources, he expresses his views. His words about light and darkness, tribes’ behaviour, kings’ values, the place of fire and some other issues is reminiscent of Mazdean thoughts.The purpose of this research is to find the influences on the Islamic Mysticism in its history by various ideas and cultures. The study seeks to answer the question how Najm al-Din Razi, as one of the experts of Islamic mysticism, had interpreted the Iranian thoughts and ideas. The study is inductive, and identifies ideas in the explanation of which the author of Mirsad Al-Ibad seems to be influenced by pre-Islamic culture, in addition to Islam. Through a full review of Mirsad Al-Ibad, as well as other works of Najm al-Din Razi, it was determined that although he received his basic mystical thoughts from the religion of Islam and there is no conflict between his speeches the Islamic teachings, however he has been influenced by Hekmat Khosravani in explaining and describing such ideas, especially at the sociopolitical level.

Mirsa al-Ibad is a mystical work and is regarded as one of the major prose works in the Persian Literature and its like is almost rare among Sufi works. According to Razi during the first and second writing of this work he has been wondering for thirty years in Asia Minor, Egypt, and Rome where according to historians and scholars were the cradle of Gnostic and Manichaean thoughts and mythology therefore it is not surprising that Razi was acquainted with their mythology in this environment as he repeatedly refers to his acquaintance with the following sects such as Isma’ilis, Ebahieh, Molahedeh, and Tanasokhieh. Therefore, according to the evidence found in Mirsa al-Ibad this article is concerned with pointing out similarity in frameworks of some stories of Mirsad al-Ibad with Gnostic and Manichaean mythology.