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Masnavi Manavi written by Jalaleddin Mohammad Balkhi (Rumi) is one of the most prominent mystical works in Persian literature. This book has been and is influential; consequently, the readers' needs have been and are subject to many descriptions in different languages.

Assessing and analyzing the method and the content of descriptions of Masnavi are considered the most important study subjects in searching the works of Mowlavi Analyzing the affectivity of the available descriptions would demonstrate the significance and stance of such works in the field of writing description. The description of Mostafa Ibn Shaban Soruri on the subject here is considered one the most complete and the oldest in Asia Minor in Persian. Regarding the antiquity and the description language of Soruri, it is essential to specify the rate of its affectivity in the process of writing a description. The objective here is to find the extent of the oldest Persian descriptions of Masnavi by comparing Soruri's description with Javaherolasrar and Zavaherolanvar by Kharazmi.

The results of this comprehension indicate that the description of Soruri has been affected by Javaherolasrar in terms of structure and content. An important part of Kharazmi's description is included in Soruri's description without any reference, while Soruri, in his foreword claimed that he perceived this work by discovering the spirit of Mowlavi.Keywords: Soruri's Description, Kharazmi, Javaherolasrar and Zavaherolanvar, Method, ContentIntroductionThe remarkable interest of Masnavi readers in comprehending it and the necessity to clarify its complexities initiated literary works like description, glossary, modification, translation, etc. in different contexts. The high volume of explanations of Masnavi from the past to the present indicates the level of interest in this book, and the necessity of proving the deficiency and weakness of its explanations. One of the significant research issues in the field of Masnavi studies is to recognize and analyze the procedure of writing descriptions. The comparison of Masnavi's descriptions in terms of method and content reveals the span of their overlap; next to assessments of advances, and shortcomings.The description of Masnavi by Moslehoddin Mostafa Ebn Shaban Soruri (1561) is identified as the oldest Persian description including both the Masnavi books. The two core questions here are: 1) Are all of these descriptions Soruri’s brainchild or they refer to other descriptions? and 2) If Soruri has resorted to others, how effective was it? Answering these questions necessitates considering analyzing and comparing the description of Soruri with othersThe objective here is to scrutinize and explain the method and content of Soruri's description by comparing it with the Javaherolasrar description (the oldest Masnavi description).Method and MaterialsThe method adopted here is analytic and descriptive based on library data. The focus here is on presenting a pattern to assess the different aspects of the descriptions of Soruri and Javaherolasrar Kharazmi. In the first section, the similarities and differences are compared and explained to clarify the verses; in the second section, the opinion of each commentator is analyzed in terms of compliance with the views of Mowlavi based on the model of the mystical tradition and in the third section, by assessing the preface of each book of Soruri's description, the acquired evidence indicate the outperformance of this description vs. Javaherolasrar.

Comparing the method in Soruri's description and Kharazmi's description indicates that primarily, many of the phrases and deductions of Kharazmi exactly resemble that of Soruri's description. Similar proses and verses are detected in both descriptions and that Soruri has taken advantage of Kharazmi’s descriptions is evident. Soruri applied the language of Kharazmi (books one to three) which is intricate. In other sections (book four and on), descriptions are written in simple prose. Soruri has summarized and simply described the verses not mentioned in the descriptions of Javaherolasrar.The content of the description of Kharazmi and Soruri is compared based on the mystical pattern of Mowlavi. Kharazmi has sometimes pointed out the viewpoints of Ibn Arabi in describing Masnavi. In some other cases, Soruri has made a connection between the first and second mystical traditions. Unlike Kharazmi, Soruri has mainly considered the lexical and rhetorical layers. To describe the mystical concepts, defined the outlooks of the second tradition of Kharazmi and sometimes described the first tradition. The foreword indicates that the commentator has consciously benefited from Javaherolasrar.The results of this study indicate that Soruri was affected by Kharazmi's description. There exist doubts about the independence of Soruri's opinion in Masnavi's clarification, thus, it cannot be considered an effective explanation. Direct affectivity from Kharazmi's description and not pointing out his name raises this notion that the rest of the materials not derived from Javaherolasrar may belong to others except Soruri.

In this research, by referring to an old description and several contemporary descriptions of Makhzan al-Asrar, while comparing the commentators' opinions in the analysis of verses from this work, the differences and ambiguities of the description of the verses have been discussed. Considering that the selected verses are controversial, paying attention to the opinion of each commentator and comparing them with each other, on the other hand, shows the importance and position of each work, ambiguities, and possibly the semantic inadequacies of each verse become obvious. Mohammad Qavam Balkhi's commentary is one of the oldest manuscripts of MakhzAn al-Asrar, which dates back to the 8th century and has influenced many later commentaries. Hassan Vahid Dastgerdi's commentary is one of the first contemporary printed commentaries, and along with Behrouz Servatiyan's and Barat Zanjani's commentary on Makhzan al-Asrar, it has been of great interest to researchers in this field. The results of the current research shows that the difference in meaning and interpretation in these explanations is relatively high, and sometimes they have differences. In addition, some of these meanings do not solve the problem in the end, and the ambiguity of the verse remains. Therefore, it is necessary to understand the more precise meaning of the verses while referring to the textual context of the verses, and taking advantage of the poetic evidence of other Nizami poems, descriptions, and interpretations of Makhzan al-Asrar should be discussed again.

Razi Estrabadi is one of the scholars who has shined in the sky of simplicity and good syntax by authoring her two famous works - Sharh Kafiyyah and Sharh Shafiyyah.Undoubtedly, Nahj al-Balagha and the words of Imam Ali (AS) are after the Qur'an, which is the speech of the creator of languages, and after the hadith of the Prophet (PBUH), who is the messenger of the creator of speech and the most eloquent Arab. It is the best collection in which all the characteristics and attributes of a witness have been manifested due to the principles of narration. Razi Estrabadi, unlike most of Nahyoun, cites this valuable book in some cases to prove his claim.Estrabadi's unique opinions that has made him stand out is the "syntactic agent theory". In other words; The only scientist who investigated this theory specifically and completely distinctly was Razi Estrabadi.view of researcher Astarabadi, the elements of agent theory, in addition to the temporary and apparent aspects of syntax, include its structural, compositional and structural aspects - correlation, cause, cause, condition, pillar and reason - which relies on the semantic dimension of rules. He believes that the reason for the emergence of Arabic in one word are: creator (or the theological), agent (or the object) and place (or the noun).Razi Estrabadi believes that the syntactic factor, in addition to the temporary and apparent aspect of the syntax, also includes the structural, compositional and structural aspect of the syntax - which includes the meaning -. He mentions the best arguments, which are unique in their kind, while prescribing the rules by referring to the words of Hazrat Amir, relying on the semantic aspect of the mentioned evidences

There are several descriptions in Persian, Arabic and Turkish on the lyric with the first to attributed is which" دوش وقت صلبحدم در چرخ پایان یافتم/ در میان دانه خشللخاش سلندان یافتم" :verseof Jalaluddin Rumi. The most detailed known description was probably written in Arabic by Yusuf ibn Haj Hamza Malati in the city of Caesarea and presented to the Ottoman Sultan Salim I. There is a few information about this exegete; except that he was a Sufi from the Kobraviyah dynasty who lived in the second half of the ninth century and the first half of the tenth century AH and probably wrote his work between 918-926 AH. His shaikh, Sayyed Obaidullah Shirazi Tostari, is also one of the unknown elders who had a monastery and disciples in Caesarea. The only known manuscript of this exegete, entitled "Sharh Ghazal Mullah Jalaluddin" No. 1859, is preserved in the Hagia Sophia Library in Istanbul. Since it is in Arabic, it has received no attention from Rumi's research and mysticism. In this article, while introducing Yusuf Ibn Hamza Malati, aspects of the importance and content of his description are explained. This description is from various sources due to the symbolic nature of the words and the difference in the words' recordings in the versions. One of the interesting points in this book is the perfect Arabic marking of words. It shows how a person probably of Turkic descent in the Ottoman Empire in the 10th century read these verses. Some of the sources mentioned in this commentary, such as Ishaq Khotlani's treatise, have remained unknown in the history of Persian literature.

Structuralism is a theory that is devoted to the knowledge, study and evaluation of narrations based on rules and models that have created their fundamental structure. Plot in every story is part of the most important narrative elements which is studied in the analyses of Structuralists. Jaap Lintvelt (2018) believes that in every story there is a narrative discourse focused on the aspects of narration. In Mostamli Bokhari’s Sharh-e-Tarruf relying on the audience status three types of narration with different messages have taken form in the world of story of Sharh Tarruf. Accordingly, in the present study we seek to analyze the structure and meaning of the world of story of the parables of this book relying on Jaap Lintvelt’s model and focusing on the audience story status. The results of current study that has been conducted based on a descriptive-analytic method taking advantage of the library sources show that by relying on the theory of Lintvelt in the world of story there are three types of narration in this book insofar as each one of them has a special narrative discourse.

The Qur'an is a fundamental source used by scholars to compile mystical books. The authors of the Sufi works have used the words, expressions and verses of the Qur'an or the stories of this valuable source directly or indirectly in accordance with their subject matter and in order to clarify some issues for the audience. Mostamali Bukhari, in his commentary on the book Al-Ta'rof for the Sufi religion, has used the story of the Prophet Moses and the corresponding Qur'anic verses to explain mystical, religious and sometimes theological issues. The aim of this research is to realize the complementary approach to the story of the Prophet Moses to express the topics of the book Sharh al-Tarif. The findings indicate a two-pronged approach to this story. In the first one, when God is manifested on the mountain, the Prophet Moses is a symbol of a seeker who has reached the perishing of attributes and conducts. He is as a seeker who is drunk and lost in ecstasy. Dominance, segregation and division have passed for him. This approach presents the entanglement of the story of Moses in the explanation of mystical issues. In the second approach, the story of Moses becomes an example to explain issues related to the law. In this continuous approach, the author introduces Moses as a prophet who is in a lower rank than the Prophet Mohammad in matters such as miracles, ummah, words with God, and closeness.

Persian language has long had a great impact on Ottoman language and literature and was once the main language of this region and many Ottoman thinkers have researched and followed important Persian texts and have written many commentaries on important texts of Persian literature; Among them, we can mention the commentary on Soodi on Hafiz's Divan and the commentary on Anqravi on Rumi's Masnavi. Since the description of the text is also a kind of critique of the text and the common description in the past and among Muslims, it focuses more on word and content, the aim of this article is to describe the Turkish commentators and their view of prominent texts such as Hafiz's Divan. Masnavi and seeks to answer the question of what cultural, social and political contexts have influenced the description of these thinkers and what are the signs of social, historical... critique in the method of library study, filing method and data analysis. Can their details be seen? It seems that although most of these explanations are word descriptions, they are different from the view of traditional commentators, and we see traces of attention to the history and society of the poet's time in these explanations. Paying attention to the typography and examining the correctness of the attribution of a verse or poem to the poets in question, mystical interpretations, paying attention to the life of the poet and individuals in the description of the text, are important features of these explanations.

Persian language has long had a great impact on Ottoman language and literature and was once the main language of this region and many Ottoman thinkers have researched and followed important Persian texts and have written many commentaries on important texts of Persian literature; Among them, we can mention the commentary on Soodi on Hafiz's Divan and the commentary on Anqravi on Rumi's Masnavi. Since the description of the text is also a kind of critique of the text and the common description in the past and among Muslims, it focuses more on word and content, the aim of this article is to describe the Turkish commentators and their view of prominent texts such as Hafiz's Divan. Masnavi and seeks to answer the question of what cultural, social and political contexts have influenced the description of these thinkers and what are the signs of social, historical... critique in the method of library study, filing method and data analysis. Can their details be seen? It seems that although most of these explanations are word descriptions, they are different from the view of traditional commentators, and we see traces of attention to the history and society of the poet's time in these explanations. Paying attention to the typography and examining the correctness of the attribution of a verse or poem to the poets in question, mystical interpretations, paying attention to the life of the poet and individuals in the description of the text, are important features of these explanations.

Rumi is one of the greatest spiritual teachers of the world in the majority of the West and That's why translate his poems and write books and research papers about his thoughts and works and in this method pave the way for further studies in this regard This article examines Nickelson's description of Masnavi to classify and express the most important harms available in the two sections of introduction and description, and to describe and critique his methodological process. This study shows that the Nicholson's description of Masnavi in addition to have some benefits such as: trying to translate accurately English phrases, and document them, has some shortcomings. The main weaknesses in the introduction of the work are include: disregarding the stylistic features, inattention to explaining of the worke position, Failure to introduce additional. The most important shortcomings in the description can be categorized into four main axes: sophisticating of the Simple concepts, in some cases, extremes in explaining the verses, the lack of reference to the number of Quranic .

     One of the mystical poems of Attar Neyshabouri is Masnavi Asrarnameh, which although less attention has been paid to it, compared to his other masterpiece The Conference of the Birds; however, two well-known researchers and experts, Dr. Sadegh Goharin and Professor Shafi'i Kadkani, have not neglected this work and have corrected and added a commentary to it. These two corrections, especially the commentary of Dr. Shafiee Kadkani, who has untied many ambiguities of the verses due to his accurate acquaintance with the linguistic details of the people of Neishabour and Kodkan, are very valuable in their place, but they also have some shortcomings. These shortcomings sometimes arise from the misinterpretation of some linguistic or conceptual points. These verses cover 30% of the cases. Sometimes it is due to neglecting the points and ambiguities that deserve attention. The verses of this section also account for 55% of the cases. And in some cases, the result is few and incomplete explanations of verses that need further explanation. The verses of this section also make up 15% of the cases. In this article, an attempt has been made to reconsider some of these shortcomings and, in addition to presenting the opinions of the two professors, to suggest the views of the authors of the article along with documents and evidence from Attar and others.Research method, background and purpose   

  in a way that describes the difficult words and phrases of the verses and corrects the incorrect explanations of the mentioned commentaries about the verses. . Although, some works and descriptions have been written about some of Attar's poems, especially The Conference of the Birds, However, Asrarnameh has not received much attention from researchers, and for this reason, apparently, no attempt has been made on the subject of this research by critics in the field of Persian literature. Therefore, understanding the exact verses of this mysterious poems in order to understand Attar's intellectual geometry, more accurate knowledge of historical developments and mystical thoughts of Islam, as well as facilitating scientific research on the influence of the great mystics and Persian literature on Attar, is essential. 

The shortcomings of the above explanations can be included in three categories: A Deficiencies due to misinterpretation of verses. Like:Must play wonderfully and cleanlyThat comes from every coquetry grief(Attar, 2015, verse 573: 111)A verse of the second article in describing love is far from fundamental ambiguity. What can be challenging is the word "wonderful." Shafi'i has defined it "excellent." Although this meaning is faceted; But the other meaning of "brave and great man, Bahador" (Dehkhoda, Dictionary) seems more compatible with the context: the love of a pure and brave seeker who considers any sorrow in the way of the beloved as sweet and mercy and Make difficulties easy. In the previous verse, he does not consider the incompetent people to be worthy of love, which is apparent, and its confrontation with "brave and valiant" is more profound than its confrontation with "excellent":Let love be every incapacityYou have to be perfect and associateNo disable worth loveMissed verses without explanation. For exampleEveryone sat down one by one to grieveThey close the atmosphere one by one(Attar, 2015, verse 2717: 207)A verse of the sixteenth article also contains verses in inviting man to flee from people and avoiding worldliness. "One by one in sorrow" means "any time in sorrow" and is equivalent to "moment by moment in sorrow". The verse can be interpreted from two aspects:1. It seems that Attar, contrary to the usual view of society, which considers comfort and convenience in the accumulation of wealth, it is believed that people accumulate wealth little by little. He has made people to consider life as place of sorrow instead of this effort leading to their happiness and leisure. People are momentarily caught up in grief to collect a little bit of wealth, in other words, people are busy with accumulating wealth.Deficiencies due to incomplete and few explanations. Like theHe saved your body from deathHe died of a disease(Ibid., Verse 1176: 138)A verse of the sixth article is in addition to the verses that depict the quality of each person's resurrection as a reflection of his life. Shafi'i did not mention the verse and Goharinn brought the verse with the verses back and forth and give a general explanation about them. He believes that the purpose of death in these verses is to eliminate the effects of humanity and destroying the soul and its effects such as anger, avarice, jealousy, greed, ambition, selfishness and the like. (Attar, 1382: 318) But pay attention to this verse and the verse before it:Body and soul have two diseasesTurn both of them aroundIt shows that we are talking about two diseases: physical illness and life illness. The poet encourages that both diseases should be avoided. He is in a subtle payment that is not devoid of humor either, he mentions a single incident (the same as physical death) that has two opposite consequences: liberation from illness and physical suffering, and suffering from the consequences of the illness of life  that we do not pay attention to in our worldly life.. Death here is the natural death here in both stanzas of the verse in question; Death that destroys the pain of the body; But it does affect the spiritual defects and shortcomings in the afterlife.

Despite the persistent efforts of the two great masters of literature, the Letter of Secrets of one of the greatest mystic poets is still accompanied by knots and mysteries that require the masters' attention again. The shortcomings in the descriptions of the two professors in general can be caused by 1. Misinterpretation (30%); 2. Negligence (55%); 3. Defective explanation (15%). As is to be expected from these two great masters, 70% of the shortcomings arise from the fact that these great men, in their high epistemological position, did not pay attention to the needs of the audience and considered ambiguities unnecessary to explain.This approach has caused that sometimes the verses that need explanation and allusions are accompanied by no explanation (B. negligence) and sometimes in the interpretation of the verse not all the points worthy of explanation are taken into account (C. deficiency in explanation) and of course there are cases that The explanations of these valuable professors do not seem to be correct (a. Misinterpretation). The authors of this article dared to review some of the impressions of these irreplaceable greats and tried to provide explanations and aspects that seemed more accurate, and considering the aspects and reasons inside and outside the text. And with reference to Attar's poems and other works and other sources, explain verses and clarify deficiencies. 

The study of mysticism and mystical texts forms an important part of Persian literature. However, understanding the meaning of some of these works is not without complexities and difficulties given the considerable distance between the contemporary era and the time of writings of these works. Therefore, writing interpretation of these works is indispensable, which has been of due attention to literary scholars. But sometimes, these interpretations themselves need reform and revision. Among the works on which numerous commentaries have been written, albeit incompletely, is the Hadiqa al-Haqiqa by Sanai, which is a resource for undergraduate course in Persian language and literature. The present study sought to elaborate on some of the verses detailed in the book entitled ‘Explanation of Haqiqa by Dr. Yahaghi and Dr. Zarghani’ with some Arabization & spelling problems, which seemed to require corrections, in order to provide a clearer and more complete view for students and scholars.

Jamali Ardestani is a famous poet and mystic of the ninth century in the Timurid era who has over twenty-eight books and treatises and despite the efforts made, so far few of his works have been introduced and corrected. One of these works is a poem mixed with prose, called "Sharh al-Waslin", of which there are a number of manuscripts. Therefore, the purpose of this article is to introduce the manuscripts of Sharh- al-Waslin and to examine its stylistic and content features. In this research, Jamali Ardestani and the manuscripts of Sharh al-Waslin are introduced and based on the older version, called "Jamali generalities" which was written in 1229 AH and is kept in the National Library of Malik under number 5052, its stylistic and content features Has also been reviewed.

For this purpose, a descriptive and analytical study with library studies has been conducted that the study area is the description of the originals and its manuscripts.

In this work, which is a mixed interpretation of poetry and prose; Pireh Jamali compares religious verses, hadiths and narrations with his mystical beliefs and explains, interprets and interprets them in the form of appropriate anecdotes. In addition to his anecdotes and interpretations, he has often dealt with the most important principles and authorities of Sufism, namely, the poverty and annihilation of God, and has considered himself mortal. Has stated.

This work is also important in terms of linguistic and literary features. Although the Timurid era was the era of the decline of prose and order, but it has preserved the characteristics of Khorasani style and traditional prose. Using the past tense with the sign "hemi" and using the adverbial form of prepositions, the use of some ancient words along with the use of some verbs with local and slang accents and the extensive use of Arabic words and combinations, indicate the poet's interest in continuing to use One of the characteristics of Khorasani style is related to the characteristics of Iraqi style. Apart from the religious and mystical value of this work, because it has followed Rumi's Masnavi and used the weight and tone of Rumi's expression, it can also be further studied as an example of imitation of Masnavi in the Timurid era.