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Nizami, in spite of the male thinking of his time, has developed the positive character of women in his stories and has allocated a greater share of the story space to their roles and positive presence. Jami's point of view about women and her position in all his works and masnavis was not the same, and he sometimes had duality and contradictions in his works. Investigating the motif of mistress and woman in Panj Ganj and Haft Aurang is the main topic of this research. In this article, we have tried to investigate the positive and negative points of thought of poets about women.

The present research is a theoretical study that was conducted in the library research method. The scope and community under study are five Ganj Nizami and Haft Orang Jami, which after collecting the necessary sources and studying each of them, the desired items were extracted and after categorizing the materials, their comparative analysis was done.

In military masnavis, women have a more praiseworthy identity, although this is not the case in the real world and the times of military life. Military ideas about women, without seeking to exonerate the poet, rather than being influenced by his personal experiences, are a reflection of the perception of the people of his time and the liking of some of the poet's audience; Otherwise, this misconception is contradictory to what Master Ganjah said about his women, including Afaq and others. Jami has expressed his opinions about women on various occasions in his Masnavis, especially the Masnavis of Yusuf and Zulikha, Laili and Majnoon, Salaman and Absal. Jami has an unpleasant mentality about women, and although he has sometimes praised a chaste woman, he considers her existence as alchemy and impossible.

In most of the stories of Five Treasures, the strong presence of women can be seen. They are often honorable and magnificent, and the audience can not only never ignore the presence of women, who always understands their dignity. This presence is very important. Even in some cases, the action of the story revolves around women and they have the main roles of the story. The inherent politeness of this poet prevents him from humiliating women. And he always politely mentions female heroes. In Masnavi Haft Aurang, in Aurang Lili and Majnoon, Jami talks about qualities such as loyalty, tenderness, beauty and self-esteem, but in Aurang Salaman and Absal with a misogynistic view, if he calls a woman beautiful, he calls this beauty a trap and a trick for He has known men's deception and presented women with the characteristics of: deceit, ignorance, incomplete intelligence, means of men's lust and unfaithfulness.

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

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

One of the common topics in religious, philosophical and psychological topics is the meaning of life. Understanding the meaning of life and arranging material and non-material life based on it, makes human life valuable and purposeful, and the lack of it robs man of hope and vitality. Poets, who are intellectual elites, with a correct understanding of this issue, invite themselves and the audience to understand the meaning of life and behave accordingly. The upcoming research, using a descriptive-analytical method and organized in a bibliographic manner, aims to analyze the view of Nasser Khosro, Baba Taher, Nizami and Attar on the above-mentioned topic and find out what solutions these poets have for Making life meaningful based on belief in the best system and the current wisdom of God in all the events of existence?The results of the research show that all four poets consider God to be wise and wise, who does not do anything in vain and does not cancel, and they look at pleasant and unpleasant events with optimism and surrender, and the wicked and They do not consider the sufferings of the creation system to be contrary to the principle of monotheism. In this attitude, they believe in the goodness of all matters and do not open their mouths to protest.

In his play, Farhad and Shirin, the Azerbaijani poet and writer, Samad Vurgun recounted the poem of Khosrow and Shirin contrary to Nizami Ganjavi’s intentions and tried to create a “Self vs. The Other” divide. Iranians were portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides was imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, based on a descriptive-analytical method, tries to answer the question of how Vurgun described the self and the other and what strategies he employed to determine and embody the cultural identity of the Caucasus. The author of the play portrayed the Iranians as people with negative characteristics such as raping, kidnapping, parent-killing, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, introducing Shirin and Farhad as lovers from Azerbaijan and creating a character named Azarbaba were part of Vurgun’s strategies to promote the new identity of the Caucasus.

An interrogative sentence is a sentence that the speaker puts forward to seek understanding and knowledge of a matter that is yet unknown; however, sometimes interrogative sentences are used to induce other meanings, called secondary meanings. Using this rhetorical function of language makes a literary work more eloquent, and hence, poets use this device to make the language of their work more rhetorical. The present study investigates interrogative sentences and their secondary functions in Ganjavi's Makhzan al-Asrar using a descriptive-analytical method and relying on library sources. The purpose of this study was to determine what concepts Nizami Ganjavi intended to present through the use of interrogative sentences in Makhzan al-Asrar and to what extent he was successful. The analysis of the data shows that out of the total of 225 interrogative sentences found in the book, 10 sentences are real questions and the rest are used in secondary meanings to indicate rebuke, surprise, negation, prohibition, guidance, exaggeration, etc. In general, using interrogative sentences, Nizami expressed a total of 39 themes and implicit concepts, most of which indicate rebuke and blame, and the least display pride and disappointment. In addition, the use of several secondary meanings in one sentence can also be traced in this work, which shows Nizami's high skill in using the rhetorical potentials of language.

 ground and purpose Nezami Ganjei is one of the poets of Azerbaijani style, who is seen in his poems due to the necessity of living in Ganja and influenced by the environment, language and culture of the Turks of the region. In this article, with the aim of investigating the reflection of Azerbaijani language and culture in his poetry, his Panj Ganj has been examined from the point of view of words, terms and content on three linguistic, literary and intellectual levels.

 The method of writing the article is descriptive and analytical, and the information was collected using the FISH tool with library studies. The statistical population is Panj Ganj Nizami.

 Nizami in language and thought has been influenced by the language of the people and the Ganja environment. Turkish words, compounds and expressions are mentioned in Panj-Ganj, which are not abundant in the poetry of Khorasani style poets. The word Turk and the combination Turktazi bring Turkish words in the names of people, tools, edibles and clothes at the linguistic level. At the literary level, he has illustrated with Turkish words in the array of similes and metaphors, and in addition, what has made his poetry unique from this point of view. The use of Turkish proverbs is a feature of his style, which he brought with direct and indirect translation. Descriptions of nature are included in intellectual level, customs, way of life and beliefs. This influence can be seen in the naming of the stories, the use of the nature of Ganja in the descriptions, the Turkish identity of the characters, the thematization with the beliefs and the way of life of the Turks, and the local games of the region.

 The language, culture and thought of the Turks who lived in Ganja in the 6th century influenced Panj Ganj Nezami and became part of his poetry style. He has used words, terms, and ideas of Turks in his poetry, and without knowing this influence, it becomes difficult to understand some of his verses.

This research deals with the semantic analysis of architectural elements in the paintings of Kamaluddin Behzad and the story of "Gonbad Firouze" by Nizami, focusing on folk aspects. At first, key concepts such as architectural elements, narrative, and semantics are defined to clarify the theoretical framework of the research. Then, the similarities between these two works are examined. The main question is how the architectural elements, especially the dome and color, are used in the narration of these works and what meaningful role they have in the narrative and visual structure. The research uses a three-stage approach: In the first stage, architecture and literature are introduced as two separate narrative structures. In the second stage, the picture and the story are reread simultaneously to analyze the popular aspects of each work. In the third stage, the findings are evaluated and twelve indices are extracted for narrative architecture and eight indices for folk literature. The results show that architectural elements and colors act as mediators for conveying symbolic concepts, and in these works they have roles such as evoking a special atmosphere and creating tension. This research also emphasizes the relationship between architecture and literature through a semantic approach and examines the role of architectural elements in the creation and development of cultural narratives.

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

One of the most important poetic topics in literature is the description of pure and chaste romances, which the poet reflects from the language of a person in love. Romances have been the most attractive subject of culture and literature throughout history, and many poems have been written in this article. One of the most important and oldest of them is the poem Laili and Majnoon, which is considered one of the most famous romances in the works of Arabic and Persian literature. The current research, with a descriptive-analytical method, investigates and compares the aesthetic effects of Laili and Majnoon Nizami and Qais Bin Molavvah. In this way, after examining the content of the above two works, he examines and compares the aesthetic aspects and literary arrays affecting the above two systems. One of the most important results of the research is that Nizami, due to his rich literary taste and his mastery in literature and poetry, is more capable in using literary arrays, especially when he describes Lily in the language of Majnoon. as if he, like Majnoon, is in love with beauty and describes his lover with pleasant similes. In Ibn Molavvah's poetry, the poet beautifies the poems with his descriptions. One of the aesthetic effects of poetry is the way words are used and selected. Two poets performed well in this field and chose words that match well with the meaning of the poem's content and other elements.

According to romanticism, there are aspects of human existence, especially aspects of inner life, which have been completely ignored. For this reason, the orators of the school of romanticism used inner feelings to create literary works. From the point of view of the romantic poet, the duty of poetry is only to influence the audience, not to convey a message, explain and arrange thoughts. Considering the introspection and pictoriality of Nizami's works, especially the Repository of Secrets, he can be considered an Iraqi style poet with romantic aspects. The main goal and problem of the current research is to investigate the prominent aspects and coordinates of the school of romanticism in the military secret repository, to show which aspects of the romanticism school are more effective in the military secret repository and what is the context of the appearance of these aspects?In this research, with analytical-descriptive method, based on library study, the analysis of Makhzan al-Asrar was analyzed based on romantic aspects and dimensions, while expressing the contexts of romantic thought such as; Naturalism, love, discovery, and intuition, etc., have been investigated in Makhzon Al-Asrar, with an emphasis on images such as similes and metaphors. The result of the research shows that some aspects of romanticism such as naturalism, love, freedom, etc. are reflected in this work. In fact, Nizami has been able to create vivid images by using the elements of nature and imagination. Also, Nizami has used metaphor with high capacity to erase the boundaries between man and nature, thought and object, and to erase the boundary between language and the real world, just like romanticisms. .

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

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

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

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

The stories of Haftapikar Nizami and the novel Shazdeh Kochlu are considered valuable works that employ unique narrative techniques, and the present research has conducted an analytical-comparative examination of the rules governing the structure of each. Initially, we have outlined the fictional elements of Nizami and Exupery by illustrating the seven-stage behavior of the seven figures and the little prince, and finally, through the lens of Lacan's psychoanalytic theory, we have assessed the storytelling approach in each text. Jacques Lacan's psychoanalytic theory revolves around the idea of the unconscious mind and posits a comparison between the unconscious mind and the structure of language, examining the ways in which language encodes and reveals the unconscious structures of the human mind. The findings suggest that the seven celestial bodies passed by the little prince in the novel are dissimilar to the seven mystical journeys in the story of the seven military figures. In the same manner that Bahram Gore attains his truth and enlightenment by traversing through the seven spheres and planets in Haftapikar, the little prince also discovers the fundamental truth represented by the rose, through his journey across the seven planets. Additionally, the analysis of key story elements reveals that both authors have incorporated the tradition of storytelling within a story, and to elevate the engagement of their tales, they have employed techniques such as dynamic scenes, unconventional external descriptions, and multiple plot twists. Nevertheless, important nuances can be discerned in the content of the two texts, with the seven figures in Haftapikar being capable of mystical interpretation, whereas the mysticism depicted in the realm of The Little Prince is a form that does not exist in Iranian culture or thought but rather a form of perfectionism. Tashraf, or self-perception, denotes the level of existence of a human being, embodying their moral values, behavioral patterns, and cognitive development. It holds greater significance during adolescence, serving as a critical stage for personality development.Keyword: Haftapikar: The Little Prince; Military; Mystical Elements; Jacques Lacan.

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

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

The oldest existing manuscripts of Khamseh Nezami date back to a century and a half away from the year of his death. This may be the major reason for the existing errors and omissions and corrections in the text of the precious Masnavi despite the various corrections that have been made from the Khamseh due to the lack of old and reliable manuscripts. Also, this is why the combination of "Sabzakhor" in two verses of Sharafnameh appeared based on the incorrect reading of these Nezami’s verses.  Furthermore, all the correctors and commentators of this book based on the incorrect recording of the manuscripts and the existence of the entry "Sabzakhor" and its meaning in the dictionaries have accepted the recording of these words in those two verses in the same way and tried to justify the meaning for it. In the current research, alongside examining the cases that the commentators of Sharafnameh have raised about the meaning of this combination, it has been indicated that "Sabzakhor" in two verses of Masnavi is a translation of "Sarakhor" which means the best horse and special carriage of kings and officials who precede all the horses are closed in the stable and it is also used to inseminate the mares. In another part of the article, based on the in-text evidence of Khamseh Nizami and also using the evidence of other Persian literary texts, the suggestion of correcting "jers in the waist" instead of "jers in the throat" in a verse of the Shrafnameh has been proposed and it has been shown that "Aaronan the king, they tie the jerseys on the "waist".

In the prologue of their works, poets have discussed various issues, including praising God and enumerating His names and attributes, and express their opinions about them. In this research, the divine names and attributes in the prologue of the Makhzan al-Asrar and Haft Peykar have been criticized and analyzed with the approach of Fairclough's Critical Discourse Analysis. Fairclough's three-dimensional model for analyzing texts comprises: description, interpretation and explanation. Farclough's final goal of his three-dimensional model is to clarify the connection between the text, the discourse in which the text is produced, and the connections of power, ideology, and hegemony, so that it is finally clear that the text is in the direction of consolidating and reproducing discourses and ideology is dominant, challenges or changes them. The fundamental question of this research, which was carried out with a descriptive-analytical method, is how and why Nizami highlighted some divine names and attributes and negated others? In order to find the answer, the text was reviewed and analyzed on two general lexical and grammatical levels. Finally, the findings indivated that most of the divine names and attributes mentioned by Nizami were common to all Islamic theological sects; Of course, sometimes we come across names and attributes that are in accordance with Ash'ari thinking and against the Mu'tazila and Imamiyyah.

Khumsa "Makhira" or "Muhirah" was written in imitation of Khumsa Nizami (the founder of Khumsa Sarai in Persian literature) and by a poet named Abdul Wahab bin Muhammad Mahmoud bin Muhammad Omar Kermani in the 9th century AH. (15 AD). In Türkiye, it is kept in the libraries of Istanbul University and Hagia Sophia Library. This essay is the result of the bibliographic and stylistic analysis of the second volume of this Khamsa titled "The World List."

The current research is a theoretical study that was conducted using a library method and a descriptive-analytical method, and its sources are based on the version of the Istanbul Library (913 AH).

The findings of the research show that this poem was written following the military poetry of Khosrow and Shirin. Despite this, except for the weight, it has no resemblance or proportion. The poet believes that the legend of Khosrow and Shirin has nothing new to say and a new plan should be thought of. Aladdin has created original and sometimes beautiful and pleasant ballads following Nizami, and this can be seen as one of the advantages of his style. The content of this work is educational and in the field of philosophy and mysticism.

The poems are simple and fluent in terms of language. But the number of Arabic words in it is very high. The number of verses in this masnavi is not significant. Despite this, he has used a variety of rows. In terms of rhyme, "verb" and "noun" respectively constitute the most types of words in rhyme. Puns are widely used among innovative industries. In terms of rhetoric, it has various rhetorical techniques and industries; And sometimes it contains strong and creative similes. Among the types of similes, eloquent similes and then detailed similes are the most frequent. After simile, metaphor is the most frequent among expressive arts. The frequency of metaphor in the play is more than that of Makaniyyah. The poet has made the most of current references. The content of the work is educational and mystical, and during these discussions, he praises the Prophet, describes nature, flocks and herds from the past, etc., and in general, it can be said that he is more skilled in expressing lyrical themes than educational ones. themes

Looking at the form and content of historical Shahnamehs written from the Mongol era to the end of the Safavid era shows that during the Mongol period,historical storytellers focused on Ferdowsi's Shahnameh. Back then, Ferdowsi was respected and admired by writers of historical epics, and his Shahnameh was seen as the only proper model to follow. On the other hand, Nezami wasn't given much attention by Mongol-era historical writers. You could almost say their respect for him was close to nothing.However, things changed completely in the Timurid and Safavid eras. Nezami took Ferdowsi's place in these times. Evidence suggests that Nezami was given more respect and credit than Ferdowsi in the historical Shahnamehs of this period.This text uses library research and existing evidence to show the influence of Ferdowsi and Nezami on writers of historical Shahnamehs from the Mongol era to the end of the Safavid era. It explains and describes how the importance of these two literary giants changed throughout the historical Shahnamehs written during these periods.

This research aims to analyze and investigate the two-way relationship between love and morality in the character of women of Khosrow's and Shirin Nizami's systems in a descriptive-analytical way and with a library method. By examining the poem of Khosrow and Shirin, we can conclude that this poem is based on the love between people and the topic of ethics and moral virtues has a high position in this story. According to the structure of the story, Nizami has written the story in a suitable format for indirectly projecting ideas and teaching moral issues to the readers.