لیلی و مجنون

Lover, s life and story has always been used by narrators and storytellers , therefore love stories have covered a large port of literature in different countries. Laili and Majnoon is cosidered as one of the oldest and thr most famous Arabic stories that has greatly influenced the expansion of love stories in Persion literature . At the end of the 6th century AH, the arrangement of romantic stories by Nizami Ganjavi reached its highest peak. He versified several famous stories of his era in such a way that most of romantic versifiers, knowingly or unknowingly, were affected by his style and method of narration. One of his glorious poems is Layly and Majnoon the root of which should be searched in Arab literature. The story has been imitated in different languages several times by poets. In this study, after providing some introductory grounding, the author tries to briefly present the historical- social roots, time and place of the story and the date of its propagation in Arab and Persian literature. Then by paying attention to a brief explanation of the Arabic narration accompanied by Nizami Ganjavi's version of the story, he attempts to make a comparative, analytical criticism of the cases.

In today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem Khosrow va Shirin and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and Khosrow va Shirin. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in love-based relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period.

Psychoanalysis is generally applied in exploring and analyzing of the mind’s functionality and psychological problems among people. The founder of psychoanalysis, Sigmund Freud, had a significant role in promoting literary studies. Among the theories of psychoanalysis, the category of love is one of the issues that have attracted researchers in the field of anthropology, especially psychologists, as an explanatory and fundamental subject in human life. In 1986, Robert Sternberg presented his first theory about love in "A Triangular Theory of Love" theory, in 1994; he re-evaluated the love triangle theory and developed the "love story" or "love as a story" theory.
The central element in Nezami’s narratives is the issue of love and its governing relationships. Two of his works, Leili va Majnoon and Khosrow va Shirin, have aspects of relationships that, above all, can be proposed and assessed in a comparative reading as a proper subject for this type of psychoanalytical analysis. Love is the principal theme in Nezami narratives. In his two significant narratives, his focus is on the clear border between love and lust. The objective here is to assess these two areas concerning the cognitive psychoanalysis of the contemporary period by relying on the data of psychoanalytical knowledge.

Method and Materials:

This research compares the type of love in the two narratives Khosrow va Shirin and Leili va Majnoon through the descriptive-analytical method.

According to the textual implications, passion is evident in all the stories as the most prominent component in the course of the characters’ affection. This component is more apparent in Khosrow va Shirin, especially in the course of Khosrow's love, followed by more elements of intimacy and commitment. The results indicate that Khosrow's love for Shirin was initially the type of love that only consists of passion, and there is no mention of the other two components. By enriching intimacy, Khosrow is placed in romantic love. Khosrow's love for Shirin is foolish, where experiences absurd love when dealing with Maryam; accordingly, in Shirin's personality, more than any other component, is at the first level, followed by intimacy and passion. Because the passion in Shirin evolves quickly next to intimacy and commitment, it can be deduced that love in Shirin, according to Sternberg's views, is the ideal and perfect love, while, the most explicit component of Farhad is his commitment, which appears to be mixed with elements related to intimacy and passion, thus, Farhad's love can be classified as ideal love. The findings here reveal that the frequency of love in the Khosrow va Shirin narrative is romantic love, complete love, foolish love, and empty love, respectively.

The tragic side of the narratives appears when the characters in whom the three elements of love have reached perfection and have experienced ideal love, though love turns out to be a failed experience. At the same time, Khosrow's character, according to Sternberg’s analytical principles, is devoid of the element of commitment and, based on the narrative, is the winning hero of the story. Leili va Majnoon is identified based on commitment, which is a two-way and mutual issue. Although Leili agrees to a forced marriage with Ibn Salam, a traditional marriage, according to the propositions of the text discussed earlier, she committedly insists on the love of Majnoon. Other elements of love are manifested in her existence to the extent of perfection. Because love in Leili and Majnoon is at the ideal love level, the bound between love and lust in Nezami’s narratives is somewhat bolder.
Another determining factor is the element of commitment that is from the perspective of cognitive psychology; a relationship that lacks commitment is practically empty of its perfection and can be defined within the boundaries of lust. Nezami names a story of love as “lustful”. From a cognitive point of view, if the type of love between the two sides is of the ideal love, based on the existential centrality of commitment, love is in its complete form.

This research investigates the themes and motifs of Ezri"s love in the story of Shirin, Farhad, Laili, and Majnoon. Its main issue is the answer to the question that the concepts and characteristics of excused love are similar in these two stories. In this way, they deserve to be reviewed and analyzed with each other.

In this essay, the writer aims to show the important components and characteristics of love for excuses by describing and analyzing these two love stories, and for this purpose he has used the descriptive-analytical method.

The results of the research show that Nizami was well familiar with the themes and motifs of Excuse Love and used its features to organize these two stories.

Based on this, the most important common romantic themes between the two stories are based on the characteristics of love for an excuse: the height of love in childhood and youth, scandal, attempts to connect, obstacles to connecting and inhibiting factors, travel and travel incidents, the lover"s reaction, The meeting of the lover and the beloved, the death of the lovers and the belief in connection in the other world is the end of the story and the construction of a dome for the lover and the beloved.

Among the remaining literary works, the story occupies a large part and every story written in the past and present has elements that each of these elements contribute to the success or failure of a story and its author. It plays an important role. The theory of structuralism regarding cognition examines narratives based on the rules and patterns created by the fundamental structure. The plot is one of the most important elements of the narrative and the main component that is analyzed in the structuralists" analysis. The two books "Mam and Zain" in Kurdish literature and "Laili and Majnoon" in Persian literature can be compared in the field of constructivist plot theory due to their structural and semantic similarities and the characters of the lover and the beloved.

This research is descriptive-analytical and with the help of library sources, it has studied the narrative structure of the lyrical plot of Nizami"s "Laili and Majnoon" in Persian literature and Ahmed Khani"s "Mem and Zain" in Kurdish literature.

The findings of the present research show that in both narratives we are faced with a romantic genre that has a similar design and the same narrative flow. In both stories, there is an introduction including the introduction of the characters, place and time, and the stories move towards the climax while creating a knot.

The resolution in these two narratives is similar to the end of modern stories, and it seems that the narrator has left it to the audience, because the story is not resolved. In terms of the plot structure, there are many similarities between the two stories, and in both stories, a lot of suffering is inflicted on the lovers.

Humor has been a consistent presence in Persian literature since its inception, serving as a literary device for political and social critique, as well as a means to imbue works with a lighter tone. Nezami Ganjavi, a pioneer of satirical writing in the 6th century, utilized satirical techniques to not only critique the social, cultural, and moral milieu of his era, but also to infuse his narratives with an element of amusement. In his poem "Leyli and Majnun," the incorporation of humorous verses serves to alleviate the somber narrative and engage the audience. The rhetorical framework governing the work has provided a platform for humorous discourse and expression. Utilization of identification and simile as prevalent literary techniques within this framework has given rise to situational humor. Additionally, wordplay, a hallmark of the 6th-century (Arrani) style, has been extensively employed, contributing to verbal humor. Etiology and paradox, two other devices, have frequently contributed to tempering the story's solemn atmosphere. The humor in Nezami's works has been subtly interwoven within the layers of language, often evading immediate recognition, thus adding a touch of subtle irony to his verses. 

One of the cases of the use of Contradiction and Paradox in literary works is the description of the lover and the beloved, Because the power of love is beyond what can flow in the normal speech of the language. To describe the concept of love poets and writers go beyond ordinary language to better express the state of the lover and the beloved. In this research, an attempt has been made to answer this question by using critical discourse analysis and Fairclough's three-dimensional model, what is the role and position of Contradiction and Paradox in expressing the state of the lover and the beloved .The result of the research is that Contradiction and Paradox are evident at all levels of Fairclough's theory. The use of Contradiction and Paradox to express the state of the lover is more than the beloved. The gender difference makes the poet use different methods of contradiction and paradox to describe the lover and the beloved. The male sex has more power than the female, and the poet uses a more obvious contrast, But because revealing the issues of love for the female gender is against the custom, he uses contrast

In narrative poems, poets use the structure and elements of narration in order to create an attractive and attractive narrative. A narrative can be considered as a representation of an event or a series of events. Narratology as a science that analyzes the narrative structures of a narrative as a report of facts in an artistic form. The study of narratology of classical texts, especially narrative and story poems, is a new horizon in front of the audience. Based on this, the main goal of the upcoming article is to use Roland Barthes' narratology theories to analyze and analyze Nezami’s works as one of the story treasures of Persian language and literature.

The research method in this thesis is descriptive-analytical with the main narratological approach.

In the narrative pattern in the story structure of Khosrow and Shirin, Leyli and Majnoon, and Haft peykar from a balanced to an unbalanced situation, we are faced with various main and secondary developments, mutual actors, and many mediating profiles and functions. In all the stories, a complete transformation has occurred in the narrative and the main and secondary achievements of the story have appeared in the way of internalization and chain.

The research results indicate that the structural pattern of Khosrow and Shirin's narrative begins with the change of balanced to unbalanced conditions with a complete follow-up. The main story of Khosrow's and Shirin's love for each other, which includes the secondary stories of Khosrow's love for Maryam, sugar, royalty, and Farhad's love for Shirin. The mutual actors of the story, including the confrontation between Farhad and Khosrow, and Maryam and Shirin, in the end, the final whirlwind of developments, namely the death of Khosrow, the loss of the monarchy, and the death of Shirin, ends. The main development of the story of Leyli and Majnoon is the love of these two lovers for each other, which, along with secondary developments such as the beginning of the madness and madness of "Qais", the marriage of Laili with Ibn Salam, the death of Ebn-esalam, the proposal of the father of Qais to Leyli is the main core of the death of the two characters and the main actor. ends The contrast between Lili's love for Majnoon and her indifference towards Ibn Salam is one of the main action levels of this story. In the Haft Peykar series, the main achievements such as Bahram's accession to the throne, finding a room with seven figures of beauties, and bringing seven princesses from the seven regions of the world to Iran are depicted.

Leyli and Majnoun, as well as Khosrow and Shirin are famous stories that have been composed into verses by many poets. Amir Khosrow Dehlavi and Nami Esfahani are the poets who versified these two stories commensurate with their own time and place conditions, and also made changes to the main poem composed by Nizami. This research aims to investigate the characterization of these versified stories using the Propp’s Theory and comparing key characters with each other.

For this bibliographical research based on Vladimir Propp’s theory, the descriptive-analytical methodology was adopted for conducting this research.

Characteristically, Khosrow, Shirin, Leyli and Majnun are all subjects to the conditions of their time. Little change has been made in the storyline with similar characters. In these four versified stories, the main plot of the story is a fixed one, with only some elements of the story being changed, eliminated or added. The introduction of characters is mostly done by direct description, interaction between characters and their conversations.

Khosrow and Ghais are both heroes that confront their rivals and obstacles. The motivator of Khosrow in Amir Khusrow’s narrative poems, is Shapour, whereas in Nami’s version, vise speakers considered as dispatchers motivate Khosrow. In both narrative poems, Shapour, Nakisa and Barbod are the helpers. The dispatcher of Ghais is his drive; his helpers cannot be of any help to him as obstacles are more powerful. There is villain in Khosrow-Shirin narrative poems whereas there are none in Leyli-Majnun but obstacles. Female characters in all four narrative poems are morally more realistic than male figures as the formers are depicted more resilient to difficulties and love melancholia. Among male characters, only Khosrow has a negative characteristic (he is a player) and has a less authoritative character in Nami’s version as he doesn’t show patience towards Shirin’s love. Majnun is weak and helpless towards love melancholia and is unable to tolerate it and dies. Both Amir Khusrow and Nami give Leyli more freedom of action as a consequence of their life condition and have both depicted a more detailed relationship for Leyli and Majnun, which is different from Nizami’s original version.

Ghanaian poems are one of the most beautiful and fascinating fiction parts of literature, which has been able to be liked and liked by the general public with the centrality of love and the glorious language of poetry. It is known as the greatest story of Persian lyric poetry. One of the pillars of Persian poetry, he has been skilled in arranging his poems, describing houses and the character of powerful works. Ghani Lily and Majnoon compose similar Ghanaian poems. This research is regulated in a descriptive-analytical manner and library method, and the author intends to study and compare the lyrical system of Ghani Lily and Majnoon with the most famous love stories of Balochi, Hani and Shimerid. The system dates back to the reign of Rendan Baloch in the 15th and 16th centuries and is about five hundred years old. In this study, the author intends to carefully examine and analyze this poem with the military lyrical system, to reveal the beauties hidden in the work of this Baluchi love poem.

A large part of artistic creativity, especially in classical texts, is merely the creation of poems that shows the power of creation, imagination, and storytelling of poets. In the present study, considering Seven Bodies, Eight Heavens by  Khosroudhalvi, Yusof and Zoleykha and Leyli and Majnoon of Jami.  The results show that confirmation of acceptance, cause and effect relationships, story-by-story creation, and surprise a ending  are the characteristics of the plot in the Seven Bodies. Conversely, the stories of the Eight Heavens have strong causal and effect relationships, and the plot of the stories is to plot something and ultimately decipher it. There is no insistence on creating a knot in the plot of Jami's stories. The central characters of these poems are women, among whom the women of the week are very witty, fearless and thoughtful, and in contrast, the women of the eight heavens are lustful, cunning and treacherous. Women in Jami Collection are also passive and obedient to the power of men (kings, ministers, fathers, etc.). The Collection is given to describe the nature and setting of a special story in a picture in which Amir Khosrow pays more attention to the description of women and their betrayals. Jami's poems are the boundary between these two poets, and Jami's setting is proportionate and very effective in inducing the concepts desired by the poet.

One of the areas of interest in literary criticism is the study of "intertextual relations" of literary works in one or more cultural and literary fields, especially if these languages ​​and cultures are in a common geographical and historical area. These relationships are more prominent and will lead to better results in literary criticism. Accordingly, in this study, we have tried to deal with the intertextual relations of three works by Nizami with three Kurdish poems: Mam and Zayn, Sheikh Farrokh and Khatoon Esti and the poems of Baram and Golandam. Point to commonalities and show how texts, even if in different forms (written and oral), can influence structure and content. This article emphasizes the influence of the mother tongue on the content and language in the works. This research has been conducted by comparative analytical method. The Materials of research are Khosrow and Shirin, Lily and Majnoon and Hafte Peykar by Nizami and three Kurdish folk poems, Mam and Zayn, Sheikh Farkh and Khatoon Esti, and   Baram and Ghulandam. The result of the research indicates that among the common works the type of love, customs, beliefs, norms and the heroes can be observed in the text of crystallization, while being reflected in the structure and content.

Criticizing the Descriptions of Nezami’s Leily and MajnoonAbstractToday, content analysis is a widely used method to study literary works. It is a systematic, objective and quantitative analysis through which the characteristics of the language usage, text words and description of titles are examined through compatibility and correlation of words with each other and its findings cause to analyze the thematic content and to create the central words. Discourse analysis, among the different methods of content analysis, was selected to examine three descriptions of the existing descriptions of the poem "Nezami’s Leily and Majnoon" and critiqued to determine the correct and incorrect linguistic and semantic representations. For this purpose, the controversial verses have been studied in these three descriptions (Hassan Vahid Dastgerdi, Behrouz Thervatian, Barat Zanjani) that have been neglected in terms of correcting the version, prosody, the grammar and the correct meaning and concept, or the general meaning of a verse or a word that has been described in the wrong verse; some examples have been mentioned in this research. Among the other qualitative or interpretive methods, obtaining the criteria of the scientific method is the most distinguished feature of content analysis. In this research, in addition to referring to the practical examples, it has been tried to obtain the criteria of a scientific method in describing texts. 

The present study is a comprehensive study of Qais ibn Amer, the main character of Layla and Majnoon of Nezami who, due to his unusual and irrational behaviors, led us to investigate his character with the help of personality theory of Raymond Cattle. This theory tries to describe the traits of a person that guide his behavior. “Perhaps the most distinctive feature of the theory of traits is its emphasis on the traits that make up a person's personality”. “The theory of traits emphasizes that the personality of each person can be described according to his traits” (Shojaei, 2010, p. 130). Cattell considered the adjective as a psychological structure that is inferred from observing a specific human behavior and is responsible for the order and continuity of this behavior” (Shamloo, 2003, p. 174). According to the above explanations, it should be said that “the main axis of Cattell's theory is the distinction that is made between two types of formal traits and basic or deep traits. Formal attributes are obvious and superficial and their duration is very short, and deep attributes are the source of formal attributes and the real causes of human behavior. These traits are enduring and are more important to Cattell and they are in two categories: natural traits that are inherited and environmental traits that are obtained through learning and education and are the result of the environment” (Karimi, 2005, p. 150-151). “Cattell divides traits into three categories based on how they manifest themselves as dynamic traits, traits that move a person toward a goal; ability traits, traits that show a person's talent, ability and ability to achieve a goal; and mood traits, traits that show characteristics such as energy, emotional response, speed of reaction and speed and motivational strength” (Shamloo, 2003, p. 74). He considers human reactions to be due to two deep and dynamic attributes, which play a motivating role.


This research has been done by analytical-descriptive method. In this way, we have first studied the basics of Cattell's theory from books related to the subject of research, then we have extracted the evidence of each of the main topics from Layla and Majnoon and we have examined each of them in detail. Finally, with a logical conclusion, we psychologically analyzed the personality of Qais ibn Amer for the audience.


The science of psychology helps us to better understand people's personalities, and this is very effective in improving the emotional relationships between different people in various fiction books. One of these people is Qais ibn Amer, the character of Layla and Majnoon of Nezami who has certain moral characteristics. To advance this, we used Cattell's theory. By studying the story of Layla and Majnoon and using the above theory, we found Majnoon as a quiet and withdrawn person who does not show any sign of being social throughout the story. He was an anti-social person who, from an early age to a time when he was studying at school, became attached to Lily, which provided more space for Majnoon to withdraw from society. Also, according to the content of the story and the study of Majnoon's character, we found that the components making Majnoon an intelligent human being do not exist during the story, and this is mostly due to the love that gripped him at the very beginning of his intellectual maturity. He has completely unnatural reactions to behaviors and issues and problems. An example of this trait is found in Majnoon's character when his father argues with Layla about his love and starts advising Majnoon about it, but Majnoon forgets his father's words in an unusual behavior, this forgetfulness in such for a short time, it seems abnormal and indicates a disorder in majnoon intelligence. In most cases, he cannot control his emotions in terms of stability and excitement, and cries when he hears the slightest news. The character we are studying is a domineering person, and not only he does not have any objections to those who have dominated him, but also the person himself strengthens his ability in him, and this factor causes the person to give up the effort. Majnoon is also morally carefree. This carelessness is more related to social issues and customs, because love has dominated him in such a way that he completely withdraws from the surrounding events and is careless about them, but he is expedient towards a human being and his actions are more based on benevolence and he does it out of charity. An example of this type of behavior can be seen in freeing a deer from the hunter. Majnoon, seeing a rope around the neck of the hunter, takes pity on him and buys the deer from the hunter in front of his horse out of benevolence and charity. In terms of personality, Majnoon has an arrogant personality that insists on his affairs and desires, in which he not only is not afraid of anyone, but also acts very boldly and courageously. A clear example of this can be seen in the story when Majnoon's father takes her to the Kaaba's house so that he may give up Layla’s love, but Majnoon stubbornly asks God not only to take Layla’s love away from him for the rest of his life, but to take it from him and add it to Layla’s life. In addition to the above, it should be said that Majnoon does not have a skeptical personality, but his behavior indicates a gullible human being who easily believes in the behavior of others and stands by these beliefs. While being gullible, he is very frank and openly declares his desire, and in this regard, he is not afraid of anyone, which shows that he is fearless, and in most issues, he is not afraid of dangers and problems, and with open arms they are welcomed. However, he relies more on others in his actions and promotes his behavior and actions by relying on others. Behaviorally, he has a very disturbed and anxious personality, and examples of this behavior are evident throughout the story. A person who exhibits disturbed behavior does not have a patient personality, and most of his reactions are of the unpleasant type, which eventually leads to hasty and far-fetched behaviors. It should also be noted that Majnoon is a fearful and worried person, and his fears and worries in life are more related to the love he has been caught in since school, and this has caused him to run away from the facts and fantasize more than his companion in a way that he walks around the animals and talks to them.


Based on the above evidence, it can be said that Qais ibn Amer has many abnormal traits that take his behaviors away from positive traits and normal behavior and lead him to behaviors that are due to the depth of his emotions and these factors. It has caused the traits that can motivate him to advance to the goals not to be placed in the personality of this person enough and as a result he cannot act to get Layla himself and he is dependent on others to do so. Therefore, it can be said that this factor has caused the ability traits in this person to be completely weakened and open the way for mood traits leading to behaviors such as emotionality and unhappiness, and fear and worry in life and even anxiety and distress created in him and chain-linked these actions and behaviors as the result of the same acquired motivations that environmental conditions have caused it. Therefore, it can be noted that the frequency of negative and unusual actions of Qais is very high and leads him from an ordinary human being to a person with low intellect, which by analyzing and examining those behaviors based on Cattell theory, we see that Qais ibn Amer has a personality which was with dementia that this was inherently institutionalized in his behavior.

In Persian literature, to express lyrical and romantic themes, along with the form of sonnet, it is also common to use romantic verses. Storytelling is one of the types that was noticed very early in Persian poetry. At the end of the 6th century, the order of romantic stories reached its perfection by Nizami Ganjavi. He arranged some famous stories of his time and the performances of this poet were so skillful that most of the composers of romantic verses, knowingly or not, have been influenced by his style and manner of storytelling. One of his brilliant poems is Leyli and Majnun, whose origin should be sought in Arab literature. This story has been imitated many times by poets in different languages. The Eastern world has known the tragic story of Leyli and Majnoon in its literature since ancient times. Over the years, this story has inspired dozens of great poets in the creation of fantastic poems, and it is still reflected in the works of poets, writers, playwrights and musicians of different nations of the East. Undoubtedly, the origin of this story belongs to the Arabs and its history goes back to the end of the 7th century AD.

The critique of the archetype of literary texts is a valuable critique from an anthropological and epistemological point of view because it shows the depth of the poet or writer's thought. Nezami, the great Iranian poet, is one of the few storytellers who reflects on the psychological characteristics of the characters in his story and explains their stagnation and dynamism in connection with "Anima and Animos". In this article, the main characters of the two stories, Khosrow and Shirin and Lily and Majnoon, using Jung's archetypal theory, which is part of his theory of individuality, to examine the influence of men's feminine nature and women's masculine nature on their psyche has been. The relevant information is obtained using the library method and then described using the analytical method. These two stories show that Nezami, without being aware of Jung's theories, simultaneously emphasized the role of women in transforming men's personalities. This study shows that the women of the story, Shirin and Lily, of course, with the significant differences that can be seen in them, have been able to transform their men in such a way that at the end of the story, they become different human beings than at the beginning, have been become.

The premise of lover and lover dominance over each other is the result of a sociological approach of theorists such as George Lukach, Pierre Bourdieu and Theodore Adorno in the category of love. In this paper, through reading the relevant sociological elements with love, we can address the status of domination, its causes and consequences in the love of Leily u Majnun Neziganjoy. The research method is descriptive-analytical, the research revealed that love was carried out by the conflict of dokodak otherness until adolescence and youth, in a geographical way that the objects, minds, habits and social base dominated the behavioral hierarchy of lovers, not their will. Unity of pluralism and domination has permeated the thinking of lovers and social solidarity with Leily and Majnun has not been able to cope with the system of tarigi. The sociology of their behavior showed that the male dominance, as an addition and variable, has occasionally dominated Leily, but the force of mistress has often disturbed the balance of domination in Lily's favor, and ultimately the objects and minds of society have entered another active and class variable, ibn Salam, into the story so that failed love, which is desired by the minds of the Stonak society and more influential in the space of the story.

Leyli and Majnoon are among Ganjavi's nizami poems that have had a great impact on the storytelling of Persian literature and have been imitated many times. In this research, using analytical descriptive method, Ganjavi's nizami narrative models in Leyli and Majnoon's narration have been studied. The results show that the main confrontation in this work is the confrontation that arose from the society of the age, a confrontation that is rooted in ethnic nervousness. The actions of the actors in this story are also significant based on this confrontation. Madman is a dynamic character who changes and transforms, but Leyli has a static personality. The protagonist of the story is insane, and those around him also play a supporting role. The main deterrent to this story is Leyli's father, and the value object is love, and for this reason the story has found a mystical color and smell.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. Neighboring confrontations are a term associated with the science of syntactic meanings. The term, which is a combination of the two, is one of the hidden arts in Nezamy poetry. In this article, based on the theory of syntactic meanings, an attempt has been made to study and analyze various constructions and its various patterns; These patterns include: adjoining adverbs in a sentence with the same grammatical identity, adjoining adverbs with dissimilar grammatical identities, inflectional and non-adverbial antonyms, implicit adjoining adverbs, music of adjoining adverbs, and so on.The combination of these patterns with other rhetorical and aesthetic elements adds to their semantic capacity and rhetorical goodness. Such diversity has made military poetry more dynamic in terms of rhetoric, language and meaning. The high frequency of these confrontations has led to a stylistic feature in Nezamy poetry. In this research, all-round confrontations of introduction and syntactic structure of the verses that include this art have been analyzed in two poems: Khosrow, Shirin, Lily and Majnoon Nezamy.

Poets had used two important narration structures in narration systems to create an attractive narration – narrative and description. Theorists as Tomasheveskey, Bart and Genette considered contrast of these two structures from the perspective of text item and narrative. According to this view, every narration is the representation of an event or series of events that contain the time of text and the word. This paper analyzed the contrast of description and narrative with relying on the views of three theorists and answered this question that what type relationship is between description and narrative and the Jamie’s Leyly and Majnun system is considered as the base to better understanding of this relationship. In this system, descriptions that are used for characterization and atmosphere-creating are the free and static motif of text based on the Tomasheveskey view and become special index and informant according to the Bart view. According to theGenette view, description comprises of existence statements, so description of this system has a kind of ornamental and manifesting function.According to the categories of these three theories,description hasn’t any effect on the plot and in the narration – especially narration of Leyly and Majnun- leads to the formation of deceleration in narration.

The main story of Lily and Majnoon is from those Arabs and thepeople who wrote on this subject have confidence in the Isfahani narrative, including the play "Majnoon Lily" by Ahmad Shoghi. The present study is a comparative study in the field of intertextual comparative methods and aims to examine the intertextual relations in"Majnoon Lily" and "Lily and Majnoon" in an analytical-descriptive manner, to show the extent of the rich influence on Shoghi poetry. To answer the question, what are the intertextual aspects, the difference and the extent of the impact and innovations of enthusiasm compared to the main story? In response, it should be said that the study of the intertextual relationship between the two works revealed similarities; These include: the correspondence of the characters, the formation of the roots of love, the common theme of excuse love and the similar structure, which is mostly in the form of implicit, implicit and sublime intertextuality. The results show that the two poets, despite the common language, had similarities and differences in theme and style, and Shoghi was influenced by Aghani and added or removed some items from it, and in the dramatic literature the work Has offered impact. Innovations and loyalty to the story are many. His play has a narrative level of tragedy whose subject matter is history; But Shoghi sometimes mixes it with superstition, sometimes with love, and sometimes with both, and gives it a lyrical appearance in terms of form.