blame

Among the Persian texts, we encounter a few anecdotes that, although in structure, they can be equated with other similar anecdotes, have different themes. The theme of these anecdotes is blaming one of the properties of religion. These anecdotes are related to time periods and different speakers and the sharing of their structure makes the reader's mind aware of the fundamental system that the anecdotes have come up with. In this essay, based on the structuralism school and using the Propp method in the morphology of folk tales, we first have discussed the structural analysis of these anecdotes. Then the relationship between this surface structure and its deep structure (society and religion) is explored and explained. The result is that these anecdotes come from a hierarchical system in which, on the basis of the blaming thought and the principles of magnanimity, the friends are blamed to learn the enemies and to persuade them to turn to the right path.

Hafez has an exceptional ability in choosing the best words to convey meanings. The significant frequency of the pronouns "I" and "we", with various meanings and functions, in Hafez's poetry indicates that the poet tends to express personal, social, mystical, reprehensible, romantic, cosmic and eternal human sorrows. Hafez, in about 200 verses, reflects different types of "I" and "we" in connection with the mentioned subjects, very artistically. The issue of love, in a sort of visible and invisible way, is connected with Hafez's 'I' and 'we', as the affectionate and melancholic beings, manifests the eternal destiny of human beings with all its ups and downs. The prominent themes in Hafiz's 'I' and ' we', as a human being, are love, blame, and fate, something  inevitable and inescapable in life.  The pronoun 'We' also has multiple meanings in Hafez's perception and poetic style, resembling those found in 'I',  but with a lower frequency. Considering the main tenets of Hafez's poems, the presence of different kinds of descriptive and attributive 'we' and 'I', represents the poet's attitude towards desirable and undesirable aspects of the time, estrangements, and human existential contradictions. However, the employment of affectionate 'we' and 'I', in Hafez's poems, manifests  all good and evil traits of human beings. The use of collective noun adjectives, consecutive fixed phrases, consecutive adjectives with “and” as a conjunction,adjective, or addition, used after the poet’s pseudonym, are the signs that contribute to a better understanding of 'I' and 'we' in Hafez’s lyrical poetry.

Imam Hossein – lord of devotion and one of the greatest religious characters – whose poets are of much value and his devotion related concepts could be seen in Hafez Divan. Some of these concepts are blaming this world and secularism, avoiding acquisitiveness, blaming pride, thinking about death, avoiding guilt and corruption, modesty and humility, repentance and contentment. It is remarkable to mention that Imam Hossein and Hafez both applied simple language as well as Quranic concepts, simple terms and expressions and enjoyable rhyme and rhythm. Imam has enjoyed less imageries while they can be seen in Hafez's a lot. Thus the present article attempts to study Imam's devotions in Hafez Divan in descriptive – analytical method.

The government which was empowered after Ayubians in Egypt and Levant was called Mamloukians approximately 656 AH (Anno Hegirae). Mamloukians were originally those slaves who were captured in wars by Ayubians. Inasmuch as they had physical strengths and were great warriors, Ayubians could take the advantage of them in army and military affairs. After a while, Mamloukians seized power and Ayubian`s government gradually dropped out of sight. Then they established a government called Mamlouki. Although their language was Turkish, there wasn`t any desire and tendency to poem and poetry. Hence, poetry in that era were recessed and weakened. Poets, unlike previous periods, inevitably were made to do various jobs and professions to make ends meet. Therefore, each of them was known by the job that holds such as Kahal, Jazar, Varragh, Dahan, Hamami, etc. Not only unsupportive Mamloukians made their lives misery, but also Mamloukians` successive wars with Mangols, who had greedy eyes on Egypt and Levant, and also Crusaders who were looking to reclaim the land of Bayt al-Maqdis, had made people’s lives specially poets in poverty and left them destitute.
Since social situations were appalling and intolerable, Poets started creating the image of themselves and people`s pain and suffering. The other factor that poets were agonized was ruler`s, brokers` and governors` corruption, judges` bribery, worldliness of jurists, stinginess of the new rich (called upstarts). Those who had made the aspects of the society dark and hideous. Thus, poets complained about bribery, corruption and deviation of authorities that more than ever, thrived type of blame and complaint poetry. Consequently, they turned out to be two of the most noteworthy poetry techniques.
Theoretical Framework: As aforementioned, the most prominent subjects that comprise blame and complaint poetry in Mamlouki`s era are: poverty, indigence, cruelty, rulers` corruption, brokers` corruption, injustice, judges` bribery , impiety of scholars and jurists, the negligence of the rich to the poor community. Both their poems expressed on solving social problems, making depressed and grief-stricken people smile, and also make poets hidden from rulers` wrath and anger. They mingled the poems with humorous and satirical elements. Ultimately, a type of poetry was created which had complaint and comedy features that nowadays is called Black Comedy.
Direct description of personal traits: Whereas poets made political and social issue as central factor in Mamlouki`s era, their poems totally laced with political and social nature. It can be said that this feature is exclusively for Mamlouki poems and it has been unprecedented in previous periods. The most significant questions in this research are: 1- What is the most important structural and conceptual feature of blame and complaint poem? 2-What are the most prominent political and social issues that had impacts on blame and complaint poetry techniques? 3-What are the most important themes of blame and complaint poetry in Mamlouki`s era?
Indirect Description: The main hypothesis in this research is that the complaint poem affected by political and social situations, entered new level of existence and obtained social and political function while it used to be for personal intentions. Subsequently can be stated that generally Mamlouki poetry and specifically blame and complaint poem are appropriate source for studying the political and social situation of Mamlouki`s era.
Research method is descriptive-analytic based on poets` Diwans (Poetical Wokrs) in Mamlouki`s era.
Key results of this research are: 1-Successive wars and natural disasters such as diseases, earthquakes and droughts had made the people`s lives tightened. 2- Based on the impacts of overwhelming and appalling situation of those days, the majority of poets and people had lived in poverty and deprivation that led to have unbearable jobs in contrast with Abassid`s era that they were in great comfort and contentment. 3- Since the poets illustrate the truth of social and political aspect such as: poverty, war, natural disasters, governors` corruption, brokers` and judges` bribery in poetry format, their poems laced with political and social nature. 4- Poets of blame and complaint poetry made their verses with satirical elements and can be considered as one of the most vitally technical and structural feature of blame and complaint poetry in Mamlouki`s era. 5- On the account of blame and complaint poetry technique in Mamlouki`s era, political and social events were illustrated. It is a proper source to be accustomed to state and condition of Mamlouki`s era.

This article attempts to show the similarities and differences between epideictic genre in ancient western rhetoric، and the principles of praising and blaming in Islamic rhetorical textbooks. Epideictic genre is one of the three main rhetorical genres – along with deliberative and forensic genres- and its basic features may be traced in two kinds of textbooks: 1- Official rhetorical textbooks such as Aristotle’s، Cicero’s، Quintilian’s and others; 2- Sophistical textbooks such as Progymnsmata and Menander’s “Division of Epideictic Speeches”، and the treatise falsely attributed to Dionysius of Halicarnassus، namely “On Epideictic Speeches”. The aim of this article is to show that both of these approaches have some counterparts in the Muslim world. The rhetorical Islamic textbooks are somehow the counterpart of official approach، and anthologies such as “Al-yavighit fi ba’z al-mavaghit”، “Tahsin al-ghabih va taghbih- al hasan” and many others reflect the sophistical approach to praising and blaming. Finally، the article concludes that although western and Islamic cultures differ fundamentally from each other، however، when it comes to praising/blaming، they are mostly on the same track.

Emotion is a force with which we convey our interior feeling such as love, hatred, anger, anxiety and is general all our joys to the others.emotin, or maybe its force by itself is one of most fundamental bases of a literary work and its exactly the factor that makes the words or the works eternal, because it evokes the person emotion and feelings all the time and the person never gets tired of reading it. Science and scientific theories related to it are made and processed by our wisdom and wisdom is rapidly changeable but emtion has very little changes and even if its changer at a time, the change is not in the foundation and its basis, but the change is in the form and is appearance. Emotin itself includes: the emotin of enthusiasm, fear, joy and anger and each of them has its own special details and perceptions. Enthusiasm, for example, includes the two element of eulody and thankfulness.emotion of fear includes apolgy and affection and joy includes enthusiasm and tenderness and tenderness and anger includes satire, promise and blame