verses

Counter-discourses with religious, mythological and metaphorical motifs are among the most diverse counter-discourses in the novel Jazire sargardani. The novel Jazire sargardani by Daneshvar is one of the socio-political novels after the Islamic Revolution, in which the author was able to examine the social forces and intellectual developments of the revolution generation, taking into account the conditions of Iran in the 1950s, and give a realistic picture of Iran's social situation. In this novel, to express ideologies such as the ideology of freedom, westernization, conflict and class divide, seeking justice, etc., the scholar has been influenced by Quranic verses, hadiths, national stories-mythologies and metaphorical antidotes. Investigating the types and methods of deepening and intellectual, semantic and cultural development of counter-discourses and their structure is essential for better understanding of the narratives; Therefore, in this research, the reflection of religious, mythological and epic counter-discourses in the novel Jazire sargardani has been investigated with a descriptive-analytical method. The emerging data show that in some cases, the author has used pods to emphasize or justify discourses or to convince and persuade his audience. For example, to oppose Westernization, while some characters consider following the West and imitating it as the only way out of problems, using Quranic verses reminds Iranian Islamic culture, or to express the concept of seeking justice from the story of Bahram Khorramdin and the epic. Ashura has benefited. By this method, he strengthens and supports critical discourses.

One of the issues of the divine and human schools has been self-knowledge; Because by recognizing human characteristics, a program tailored to his needs can be prepared for him. One of the dimensions of self-knowledge is awareness of its negative aspects. Recognizing weaknesses and shortcomings is a way to fight and eliminate these shortcomings. Muslim mystics have made great efforts to know and identify the soul, the place of emergence, and to enrich and strengthen their views of the Qur'an. Karim and the statements of the Infallibles (peace be upon them), which were connected to the great source of revelation, have been used. The purpose of this study is to study the word nafs from Attar Neyshabouri's point of view in the Mantiq al-Tair and the extent of his influence on the Holy Quran and the narrations of the Infallibles (peace be upon them) in this regard. According to the results of the research, Attar's perception of the soul in the Mantiq al-Tair is often a negative perception and is consistent with the ego in the Holy Qur'an. He has repeatedly used verses and hadiths to express the characteristics of the soul. Sometimes he has used a part of a verse or hadith and sometimes he has used its meaning

Rumi's Masnavi and Sanaei’s Hadiqah are truly the embodiment of the alchemy of surahs and hadiths with the transformation of words leading into spiritual heavenly poems to satiate the thirsty. Interpretation, which is one of the most important terms in the field of Quranic sciences and mystical teachings, assisted the artistic sense of the poets to provoke and accept their thoughts by pondering over the verses and deepening their expressions. Intuitive taste goes beyond the obvious and universal layers of the verse, and the messages and secondary meanings of wits, which have been overlooked by the superficial eyes, are captured from the depths of the verses with unparalleled skill. The issue has a high status in the poems of Sanai and Rumi and the poetry of the mystical theories is the belief of those who have used the interpretation of verses and hadiths with high frequency. Considering the influence of Rumi on Hakim Sanai, the necessity of their theories in the interpretation of verses, has led to this research conducted in a descriptive-analytical way using library resources to compare their commonalities in the interpretation of verses.

In this paper, we have investigated the fostering of theological concepts through verses and narrations in the preface of Amir Khusrau Dehlavi's Masnavi. The research type is analytical-descriptive and its method is library. After investigating the prefaces from a theological point of view, we have come to the conclusion that Amir Khusrau Dehlavi has quoted verses from the Holy Quran or hadiths of the infallible Imams, either directly or indirectly and implicitly, in most of the verses that contain theological concepts. Thus, he sought to achieve two goals: One is that he attempted to foster theological concepts by quoting verses and hadiths in order to make his beliefs believable to his audience, and on the other hand, he sought to pay tribute to the Holy Quran and the hadiths of the infallible Imams. Among the three poems investigated, theological concepts in the preface of the poem Hasht Behesht are more than the other two poems, and in the preface of this poem, the poet has discussed diverse and various concepts of theology. Most of the theological concepts used in the preface of these three poems are concepts that have been repeated in other poets' poems before Dehlavi, however, Dehlavi is one of the prominent poets in terms of verses, hadiths and narrations that have been used to document and foster theological concepts.

 One of the most famous poets known by the nickname "Bosḥāq" is Jamal al-Din (Fakhr-al-din) Abu Ishaq Hallaj Shirazi. We know Bosḥāq Atema ( 827 or 830 A.H. ) with his Contradictions. The focus of Bosḥāq's contradictions is the description of different types of food. Apart from the contradictions of his verse and prose, Bosḥāq has a collection of poems (about 700 verses) that are not based on types of food. A copy of this collection is in Malik National Library, N 4842. Most of the poems in this collection are mixed with mystical terms and concepts. New Fahlavi poems are also included among the poems in this collection, and we know that Bosḥāq has many Fahlavi and Shirazyat (Poems in Shirazi dialect) poems in Divan Atema. In this article, we will examine this collection and the reasons for its attribution to Bosḥāq Atema.

There are many prints of Bosḥāq's works. The first edition was published in 1302 A.H. together with Divan-e-Albase with the correction of Mirza Habib Isfahani, and after him it was published twice, one in the years after 1320 A.H. [the exact date of this publication is not known], and the same edition was published by Kanoon-e-Marefat in 1360, and in 1392, Azarm reprinted it. In 1382. Mansour Rastegar-fasaei made another correction and it reached the third edition in 1397. In 1392, Mirza Habib's edition was published with a new edition and the title "Description of food" by Mohsen Azarm. The prints of Bosḥāq's works contain only a part of his collection of works and none of them are complete and contain at least two thirds of his works. By examining this collection, we sought to find out another aspect of Bosḥāq's poetic personality that no one has mentioned so far. Also, by analyzing the intratextual and extratextual signs of these poems, we enumerated the reasons for assigning them to Bosḥāq.

Discussion and review:

The manuscripts of Bosḥāq's works were not carefully read in the previous Prints, and there are many poems and verses in them that are not available in the printed editions. Among them, there is a collection of Bosḥāq's works numbered 4842 in the Malik National Library, among which there is a collection of poems containing about 700 verses that have been overlooked by researchers in this field. The poems of this collection can be included in the section: the section that begins with praise God and then praise the prophet and praise Abu Bakr and Ali. The other part is the poems that are written like these poems with the nickname of "Bosḥāq" but they often have Stable meanings, poetic and thoughtful and verbally stable and include all kinds of poetry in different formats. Most of these poems include good Ghazals. This second part contains poems by Bosḥāq that show his poetic power in various poetic formats and other subjects other than contrasts, but for some reasons these poems have been forgotten. Because on the one hand, the originality of Bosḥāq's contradictions, which became famous in the poet's own time and entered the works of his contemporaries as a poetic witness, made him stand out as a poet of contradictions, and his contradictions found followers. On the other hand, Bosḥāq's serious poems had a smaller volume compared to the contrasts. Despite this, one cannot ignore the power of Bosḥāq's imagery in the short poems of this collection or his lyrical art in these poems.  In the text of these poems, we can find signs that can be used to identify the poet of the poems and to be sure about their affiliation to Bosḥāq Atema Shirazi. Among these are: the mention of the nickname of "Bosḥāq" in almost all verses, the use of titles mentioned for Bosḥāq in  his works, such as "Morshid" and "Hallaj", referring to the poet's rhythm and prose, signs of poet's contradictions, the existence of poems or The fresh verses of the studied collection are found in other manuscripts of the works of Bashaq Atameh and named after him, the existence of some verses of this collection in the Dictionaries named Bosḥāq Atema, geographical references to Fars - the poet's birthplace and residence - and its cities, the foods that Bosḥāq liks and verses similar to Bosḥāq's works.

We know BosḥāqAtema Shirazi with his contradictions, but this poet of the Timurid dynasty, apart from the contradictions of his verse and prose, has a collection of poems that, unlike his other poems, is not based on the theme of food and is mixed with mystical themes, and sometimes historical-geographical information andsometimes it has humorous elements.This collection contains about 700 verses of Persian and Fahlavi poetry, in various formats  and shows another aspect of Bosḥāq's literary personality that no one has addressed so far.Intratextual clues and other secondary sources show that this collection of 700 verses belongs to Bosḥāq.Examining these poems shows that they are good and not good, many of the poems in this collection are lyrical poems with a strong structure and thoughtful meanings, and another part are Sufi poems that are inferior to lyrical poetry in terms of structure and meaning.The large number of good poems in this collection, compared to inferior poems, shows the power of Bosḥāq's poetry.

The use of allegory has long been one of the most effective ways of expressing educational issues, because, in the view of ethical thinkers, the most prominent function in literature is humanization. To this end, writers and speakers have used allegory to understand the complex content or the influence of their words, and in this way, they have conveyed their purpose to the audience and made them think. Most of the mystical poems contain the poems of Hakim Sanaie, which are often based on his allegories, verses, hadiths, the lives and sayings of the prophets, and the infallible, Sufi thoughts or myths. In this article , which has a descriptive-analytical approach and whit using library resources the review of Allegorical anecdotes in Hadiqag al_Haqiqah based on Quranic verses has been Proceed.With the porpuse of how standing of Allegory and its usage in sanaie Poems,bused on Quranicverses, has made the compredension of important subjects in religion and social issues Possible?The allegory stories of sanaie’Hadiqah,has been Proceed to Necessity of topics such as “Zakh and Munificence” “Worldliness” “Self-Refinement””Backbite”and etc.and has Propounded the affect of these concepts in life and after-life , by expressing pleasnt anecdotes,Adding charisma to his words.

Writers sometimes use verses to show their complete and artistic mastery in rhetoric and sometimes with poetic illustrations and skillful illustrations,by referring to verses,they have placed the speech with balanced and equal expressions and words on the basis of rhyme,leonine verse and paromoiosis,or they have created a masterpiece with alliteration,allegory,poetical aetiology,metaphor,personification and paromoiosis,and of course,masterpiece.Nafsat al-Masdoor,the excellent work of Mohammad Zeidari Nasavi, is an exemplary example of this;Especially that the author,while using the verbal virtues of verses and hadiths as well as the literary style of the Qur'an and the rhythm of words,has considered the deep conceptual use of verses of the Qur'an and hadiths. Adaptation and use of verses and hadiths is one of the most important features of technical prose and Nafsat al-Masdoor Zeidari is one of the most prominent historical-literary books in which the use of verses and hadiths is due to the authors' connection with the Ghaznavid sultans. And the Mongols and knowledge of political events and the expression of their taste-motivational goals and their political secrecy in the form of literary tricks, is one of the important features of the prose of this book. The present study uses the library method and content analysis to follow the common methods and methods of using the verses and hadiths of Nafsat al-Masdoor as well as the innovative methods of Zeidari in adapting verses and hadiths. It should be noted that in the verbal application of the verses, the methods of " paromoiosising the verse as a sequence of words", "relative that" and "noun in generative case" are included as additional explanations in the text, which indicate the author's power in combining words. The Qur'an is with its words. Spiritually, in most cases, the adaptation of verses and hadiths has been completed and completed without semantic mediation

Persian historical texts in the classical period, while are related to history in terms of content, are considered part of the heritage of Persian prose. Authors of historical works also pay special attention to the literary of prose and try to present history in the form of beautiful prose and reflect a part of literary heritage such as the use of Persian and Arabic poetry, proverbs and rulings, Quranic verses and hadiths in their works. In this article, literary heritage has been studied and concluded in two prominent historical texts related to the Seljuk period, "Rahat al-Sodur" by Ravandi and "Aghd al-Ala" by Afzal al-Din Kermani, as well as the methods of using each of them. It has been concluded that both authors have used literary heritage with special skill in their works, which has had a great impact on Persian literature of that time. The reflection of verses and hadiths in both books is almost similar, but their methods of application are different. Also, the poems, proverbs and rulings used in "Rahat Al-Sodur" are far more than the book "Aghd Al-Ala". The ways of poems' function are similar in both works, and while the narrative-historical function seems to be preferable, both authors have benefited the least use of this function.

Adaptation and using the divine verses and Ahadith from Prophet Muhammad (PBUH) in Persian and Arabic prose has been common after Islam and it has been applied in different methods for semantic or word embellishment purposes. This application has been more or less common in various Persian prose including mystical texts, letters, stories, historical books, and so on. Makatib-e Sanaii is a technical prose in the sixth century in which abundant Quranic verses and Ahadith have been used with different purposes and in various methods with adherence to verbal and semantic coherence with the Persian text. The present study aims to explore different aspects of verbal and semantic coherence between the Quranic phrases/Ahadith and the Persian text. The results of the study show that from verbal point of view, the verses and narrations in Makatib-e Sanaii are as a part of the Persian prose and they have different grammatical functions. They are also used in some rhetorical elements. The Quranic and Hadith adaptations have semantic coherence with the Persian Text as well and they are applied to complete, confirm, and emphasize the text.

Various methods of scaling has been suggested for measurement and recognition of vocabulary but Johnson scale is the most important amongst which. He believes that by calculating the ratio of vocabulary diversity in a text and counting them the overall number of words would be reached out. In this scale the new words would be counted only once then based on their frequency and counting the various words divided by the overall, the result would be reached. The present article – which has been done comparatively – cites samples of Ahmad Shawqi, Hafiz Ebrahim and Khalil Matran in library – analytical – statistical method.

Interpreters have emphasize the necessity of knowing E’rab (Diacritic) and syntax in the Holy Quran and none of them has been doubtful in the significance of the role of E’rab in interpreting. Tabarsi in his interpretation book has exerted his efforts in delineating E’rab and after mentioning verses for interpreting, firstly explains lexical elements and then, discusses their E’rab. The significance of E’rab can be argued as follows: “E’rab is the greatest quranic knowledge because each meaning is based on E’rab and it is E’rab which can explicate words and their semantic relations. Because intentions are hidden in words and E’rab can explicate, reveal, discus and guide them. In addition, E’rab is a criterion by which the deficits and superiority of words can be revealed and it is a cornerstone for evaluating the goodness and badness of words” (Tabarsi, 2005, vol. 1: 5). Tabarsi, in his interpretation, investigates the issue in two sections of E’rab and reading and allocates a section to expressing meaning. In the present study, the issue of the effect of different forms of E’rab in the mentioned sense, and the issue of the effect of E’rab in meaning were investigated. Therefore, in the present study, it has been tried that different forms of E’rab in the Holy Quran can be extracted and then, their meanings can be mentioned in places where Tabarsi has been neglected. Afterwards, according to the mentioned syntactic information, this issue can be investigated that those E’rab forms are related to which meaning. In most of parts, only ideas of other scholars other than Tabarsi are mentioned.

Five to seven centuries have been usually regarded as the richest career in mystical writing. It was in the middle of the same career, it means sixth century which was the beginning of prose poem, or artificial prose that officially established by Nasrollah Monshi in his Kalila-and-Dimna.It is very important that the prevailing spirit of mysticism in this period- besides regarding the point that although the stories in Kalila-and-Dimna are animal fables, actually they represent humans’ actions and reactions when confronting different spheres of political and social life- the question is whether these stories were excluded completely from the effects of mystical ideas or if they were affected directly or indirectly by them? This article concludes that, this author is contemporary with the beginning of mystical poetry and being familiar with Sufi poetry and prose, his work could not have escaped from the influence of religious and mystical ideas. Especially, the tendency to negate the world and belief in the hereafter was the prevailing thought in his mind-set, emerging in Kalila on the different pretext.

Literary orientation and stylistic novelty used by Beihaghi in writing his history has made this work a distinguishable work among all historical works of Persian language. This work bears many advantages with regard to both Persian prose and historiography. It is also an ethical and educational work. Since one of the important features of this era’s prose is the using of verses and hadiths، the authors of this article aim to investigate descriptively-analytically the stylistic and rhetorical art of Beihaghi with regard to using verses and hadiths in this work. Thus، two main questions are raised: 1) regarding the kind of using verses and hadiths in the prose of that era، which methods have been used more by him? 2) have such verses and hadiths had other functions and usages and how much have they added to the stylistic significance and art of him? The results of this study show that، more than being a decorative element prevalent in that era، these verses and hadiths have been used for political، moral and instructive functions as well as analyzing the personality of people، suspension etc. In this study، some instances of using verses which join to the sequence of prose without any distance and have moral instructive function are pointed out as the most prominent methods of using verses and hadiths.

From the beginning of Persian poetry، due to familiarity with the Muslims and recite the Holy Qur''an and Qur''anic injunctions; effect Koran in Vasar poetry writers directly and indirectly in various ways; allegorical; adaptation and can be seen pointing. Context in which poets and writers of the fourth and fifth sections will exceed the height of NasserKhosrow This influence is apparent in the works. Expressions of verses used in poems Nasserkhosrow also saw examples are studied makes and practice the precepts it poems Court has to consider. And believes that the Quran should look inward preferred.

Using the Quran verses and the hadiths by the Prophet in the prose texts was a common practice after Islam. This was done to maintain the words of God and the Prophet. In addition, the texts were adorned and arranged in numerous manners. Using Quran verses and hadiths accounts for the fundamental basis of mystical texts. These have been frequently used in simple and technical prose of this type of texts. The book Sharh-e Shatahiat by Ruzbahan Baqli is among the mystic prose texts written in technical prose (12th century AD), in which Quran verses and hadiths have been used more than 1,000 times in numerous ways. After a thorough and precise study of the book Sharh-e Shatahiat, this article attempts to first provide comprehensive statistics on the number of verses and hadiths used in the text, and then after showing the highly used cases, it investigates and analyzes the applications of the numerous verses and hadiths from the three viewpoints of grammar, expression, and meaning. In the grammar part, grammatical roles of the verses and hadiths, including subject, object, etc. as well as the way they are arranged in the sentence are studied. In the expression part, metaphors made of the verses and hadiths, the poetic images resulting from them, and the motivation and purpose of Ruzbahan about his creation of these images are analyzed and investigated. In the semantic part, the secondary purpose of the applications of verses and hadiths are explored on the basis of the viewpoints by Hossein Khatibi.

In Islamic Theology and Moslem’s Literature, Quran and Hadis are two primary rich and complete sources which poets and writers have inspired  from constantly through the history. Molavi is one of the poets of Persian language who has benefited from them in an artistic manner.
Artistic selection and picking some verses and prophet’s sayings has made Molavi more successful than other poets in connecting with the audience; this issue has made Molavi’s Ghazaliaate specific and different in comparison with other poet’s Ghazaliaat. Although, this way of application is also observed in Sanaaie’s and Attar’s poem, it has noticeable frequency in kolliyaat-e- Shams  and has particular variety there. This means that Molavi has now and then interfered in expressions of verses and prophet’s sayings or their meaning or he has sometimes used verses and prophet’s sayings in a meaning other than their real meaning. Molavi’s particular art lies in the type of entangling these phrases with other words of poems to make compound adjectives and nouns. The writer of this article has investigated some poems of Kolliyaat-e- Shams as a sample here and has shown how the poet has used verses and prophet’s saying and their artistic reflection. This is in order to linguistically artistic landscapes of Molavi’s Ghazals to the audiences.

Although Jaami’s prose is historically considered to belong to the Seljukian era, some features and capacities of his prose outperform other kinds of prose in his time. His prose was based on a preaching style; it was a valuable remnant of the Khanqahi system in Khorasan. His special attention to the translation of the Koranic verses and his effort to anthologize and use Persian equivalents are the most outstanding manifestations of his prose that this article is trying to study.