پژوهشنامه ادب غنایی
پیاپی 35 (پاییز و زمستان 1399)

In literature, Reminiscence nostalgia or homesickness is actually the poetic regrets that the poets talk about for a sense of nostalgia or regret over things or those who have already been lost for any possible reasons (Mousavi et al., 1391). This process, which is rooted in psychology, is said to be a form of writing, which the poet or author applies in his own work in order to remember the memories of the past with the grief and pain or describes what he his has lost. Usually the memories of the homesickness or reminiscence encompasses a wide area which includes the memories of relatives, neighbors, childhood land, the past prominent values and everything that makes the poet to regret about losing it.One of the Arab poets, whose poems make a significant contribution to reflecting the feeling of homesickness, is the contemporary poet “Nazar Ghabbani”. In this paper, the authors tried to reveal the process of "homesickness" in his poems after analyzing the poet's poetry. The purpose of this study is to uncover some of the unknown aspects of Nazar Ghabbani 's poetry, including his attention to Arab lands and his childhood. We aim to fade the suspension that all his poems are related to the love and women exclusively, and the role of grim themes and poetry containing homesickness in various forms is also expressed in the excellence of his poem, which seems to be necessary. In this research, the following questions have been answered.-How has the content of  "homesickness" or "Reminiscence" revealed themselves  in the poems of "Nazar Ghabbani"?-What are the factors leading to the formation of  homesickness in Nazar Ghabbani and its manifestation in the poems of this poet?

This study is based on the descriptive-analytical method and the library resources. The authors initially devoted their work to the definition and the description of the “homesickness” or “Reminiscence” and its factors and its types. Also, in the rest of this paper, we present Nazar Ghabbani’s biography and then, consider the social and political life of him from the "homesickness" perspective.For this goal, the poems of the poet were repeatedly studied and with considering the theoretical foundations of the research, the samples of poems and the various examples of homesickness were extracted from Nazar Ghabbani’s poems. In addition, its main reasons have been analyzed.

After reviewing the Nazar Ghabbani’s poems, five aspects of the manifestation of “nostalgia” or “Reminiscence” were identified in his poems, including nostalgia for his homeland”, “nostalgia for his childhood, “Mom’s grief’s Reminiscent”, “the reminiscence of failure in the society” and “ the reminiscent of losing ideal society” which are discussed below. In order to investigate the manifestation of nostalgia for this poem, “Nazar Ghabbani”, we should mention that, in one of his works “Al-Dameshghiat”, he felt intensively dependent on one of the Arab cities, and the intensity of his feeling was expressed as Mother. He considers himself to be descended (the birth) of these cities, and it seems that his metaphor of Arab cities to Mother was the expression of his anguish (distress) for his homeland and reunion.One of the manifestations of homesickness is the return to his childhood and the memories of those times. In one of his poems, Nazar Ghabbani, recounts the natural beauty of his hometown in his childhood. And perhaps it can be said that seeing plenty of these phenomena in those days and living in an environment full of these beauties and blessings has left such a pleasant effect on his memory, which, after many years, is also one of the most important factors in provoking the poet's nostalgia.He also had a hard and intensive homesickness for his wife and in one of his poems; he used the metaphor for describing his love. He resembled his feeling and his children’s feeling to trembling of the leaves of the trees and then he resembled it  to a feather which is exposed to the rain. And at the end, with the phrase "the sweetest home" addressed to his deceased wife, he would like to point out that even the Arab homeland, with all his popularity with the poet, cannot stop the moment of grief resulting from the death of his wife. Among the issues that raised the regret of Nazar Ghabbani is that he did not have the right to express his thoughts, which made him so annoyed. Moreover, he felt saddened because he could not perform his intellectual and guiding role.In many cases, the sadness of the poet is due to the social problems which were made by politicians who did not have enough knowledge. One thing that caused more grief for Nazar Ghabbani about the homesickness and the separation of ideal land was related to a stifling situation and the coercion of tyrant on his land. Because the people were harnessed by the security officials strictly, they did not have the right to do the slightest manipulation in their lives, and Nazar Ghabbani was very sad about this.

One of the dominant features of most of Nazar Ghabbani’s poems is a feeling of nostalgia and regret, either an anguish for the past events, or for events that had to occur at the time of poet for his country and his countrymen, but never occurred. All of this caused the deep feeling of deep sadness in the poet's soul and made him to write poems with the theme of grief and regret. These poems, known as reminiscent of the poet, have a special place in the Nizar’s book. In an special classification, we can distinguish the most important manifestation of reminiscence in five parts: away from homeland, childhood, wife’s death, a social failure and loss of ideal society.  The most important and efficient factors in manifestation of Nazar Ghabbani’s poems is about homesickness; we can express the wife’s death, being away from homeland, reviewing the childhood memories, seeing the problems and existence of the anarchy in the society including the intolerance of tyrant’s oppression against the people and interference in their lives and also the great grief for people’s silence against the injustice.

Abu Sa'id Fazlullah bin Ahmad is known as Abu Sa'id Abu al-Khair of the great fourteenth and first half-century mystics of the fifth century AH. Mohammad ibn Monavar, a descendant of Abu Sa'id Abu al-Khair, wrote the book of'Asrar al-tawhid 'in the description of his ancestor, since there was no written written about Abu Sa'id From the oral sources of those days, he sometimes spoke with some intermediaries and arranged anecdotes and arranged the book of Sarah al-Wahid in three phases. The writer has used discipline and prose with literary skills and attitudes, and this has doubled the attractiveness of his work. "It seems that Abu Sa'id seems to be the first among Sufis who has committed his Sufi beliefs to the Persian and sometimes to the Shi'a order, and in this regard he must be rightly regarded as the leader of Sana'a, Attar and Jalal al-Din Muhammad Balkhi. What robes associated with the death of Abu al-Khair are among the first Sufi poetry of Persia and even some reasons why Hakim Omar Khayyam followed Abu Sa'id in writing Persian language in Persian. "(Salmi, 1995: 37). The lyrics of Asrar al-tawhid have simple, soft and subtle language, and represent a part of the history of the development of language in the fifth and sixth century AH. "The spiritual heritage is more healing in his mystical teachings, and in his amazing behavior throughout his life, but in the history of Iranian culture, his name has always been repeated in the leading Persian poets along with Khayyam, Baba Taher, Rumi and Attar ... Due to his poetry of excessive friendship and a few poems, the people also rank him in the poetry world, which has received a lesser amount of poetry than any other poet, and translated the verses associated with him beyond the scope of poetry, They are sacred (Shafiei Kadkani, 2005: 20-19). The combination of order and prose in the Book of Wisdom is one of its most important features. "... Although the poet himself is not so poetic But poetry throughout his life from childhood to old age and lyrics, there was a lot of memorization. The poem was always the tongue of his tongue, and he often told poetry instead of the hadiths on the manger, so that on the grave he carved two pieces of Arabic poetry that he read and liked very much "(111) The problem in this essay is that the study of the functions of poetry reveals its role and importance and gives a new insight into the position of poetry towards lovers of art and art. The poetry of each poet contains the views, the history of mankind, civilization, society, culture, art and ... His age is his life, which, in addition to showing the position of poetry among the tribes, examines and analyzes the form and structure of the functions of poetry. it shows. The most important questions in this research are one of why the use of poetry along with prose in the Secretariat? And what other features of the poetry of Asrar al-tawhid are and how many? The main objectives of this research are to recognize the function of poetry in the art of worship and to study the literal and spiritual functions of poetry in it and try to measure the use of the author of poetry and explain the frequency of each of the functions by descriptive-analytical method.

In this research, according to the purpose and hypotheses presented by the descriptive-analytical method, we examine the poetic functions and frequencies of using the poetry and its types of functions, and attempts to perform narrative, mystical-ghana, arrays, interpretations, reasoning and Explaining the deductive of poetry during prose in Salvador.

The secrets of Sheikh Abu Said are among the most important mystical sources in which moral and literary beauties are interwoven. Variety of vocabulary, rhetorical methods, combinations, attention to the techniques of fiction, the mention of evidence and examples of the poems of the earliest times can be considered as one of the reasons for the special significance of the Secularity. This valuable mystical work can be cited in various aspects of mystical, social, historical, geographical and literary. The use of poetry as a prose is a method most of the poets and writers have used in their works for a long time as a tool for the attractiveness of the work and the power of speech and influence. The intensity of emotion and meanings in the poet's mind makes it possible to transcend the normal language and to develop the phenomenon that has formed in his mind and thought, through the help of literary industries, semantic aspects and ... in poetry and by creating creativity and Innovating and creating new images and themes, entering various arenas of imagination and ... creating literary language and personal style that recognizes these features is important. The exact date of the poetry's entry into prose and the combination of these two with each other is clearly not clear. "The presence of poetry in Persian prose began in the period of simple prose perfection, almost simultaneously with the second half of the 5th century AH, and began to imitate Arabic literary works. The tendency to the verbal and spiritual industries of the word as a result of the inherent evolution of prose, the influence of political and social factors, the domination of Persian poetry on the literary fields and the diversity of rhetorical sciences led to the evolution of prose and its movement towards technicalism. "(Tamimdari, 2000: 125) Examines the functions of poetry, its role and importance, and a new attitude about the position of poetry to lovers of art and literature. The poetry of each poet contains the views, the history of mankind, civilization, society, culture, art and ... His age is his life, which, in addition to showing the position of poetry among the tribes, examines and analyzes the form and structure of the functions of poetry. it shows. Although it is a verse written by Abu Saeed that there is no consensus between critics and the owners of thought, and not a sign of it, the poems that came from this book are valuable treasures that ultimately Courage and creativity, and can be considered as one of the most beautiful mystical quatrains.

The extent of the poetic functions and the diversity of themes in the Asrar al-tawhid clearly illustrates the significance and position of poetry in this work. The narrator has used all of the verbal and spiritual functions of the poem in the context of his work. In this precious mystical work of poetry, with narrative functions, literary arrays, descriptive-interpretive, argumentative, deductive and mystical-lyrical, is used. The author's purpose is to use these functions of poetry in prose text in addition to the power of the influence of poetry in comparison with prose, overtaking of poetry is also in understanding the concepts of prose. It is also the combination of order and prose to distract the text from its monotony of prose and tantalizing it and double the attractiveness of its work, and by creating this movement, the poetic abilities In the function of narrative poetry, part of the narrative of his story along with prose in the form of poetry expression It makes its ethical, educational, and mystical teachings more understandable and engaging with poetry. It uses poetry for literary function, thus adding to its aesthetic aspect. Some of the anecdotes used to elaborate their words, themes, and the characters of the anecdotes, and explain them to the descriptive-interpretive work of poetry to persuade the reader. Also, in order to prove and confirm his words, a poem as a proof and reason because the reasoning for poetry is one of the most important methods of proof of the word. In some anecdotes, the poem is used to express the final result of a carving.

Irony such as quibble is one of Hafez's the most important of stylistic characteristics.The basis of Hafez's irony is an extra ordinary which is created in different methods. Hafez's irony despite of other authors and poets irony (that sometime has led to smut and libel) is melodious, closet, and punctual. One of evidence for being melodious and hidden irony used by Hafez is his special way in entrance to the sources of irony-creating. This way has been neglected by others to some extent. One of the Hafez's method of irony creating is substituting vocabulary in to hemistiches of a verse from different fields. In the two ways that some of the concepts of the second hemistich of the verse and is substituted by the other concepts of the first hemistich of the verse by Rhetorical relations. This method is termed Rhetorical opposition".(see: shemisa1388, p:409). He sometimes in order to avoid from repetition of words, compounds and concepts used in hemistich prefer to use the synonym, similar or even antonym of them in the second hemistich, these substitutions besides of avoidance of the tautology (repetition), disaster of the underlying various and different Rhetorical and artificial points. One of these techniques by these substitution (Rhetorical opposition) created, is irony.Hafez's the highest art in this technique is forming words, compounds and concepts of antonym and dissimilar from semantic fields that are clearly different. Instead of similarity this summation of contradictions opposition by means of Hafez's magical art has created irony in the most cases. It's obvious that not all Hafez's rhythm-opposition-led to irony and vice verses. Even among irony which are made by this technique we can't always see antonym relation between two substituted concepts. But substituting different concepts causes deletion of differences and creating sameness among them. The sameness of different concepts is a kind of extraordinary that create irony in Hafez's utterance:With pride in science, you can not be relieved of joy Come on cup-bearer, you are more beautiful than the ignorant. ( Hafez the say)"Aliment" in popular tradition bodes to the god's lawful gifts for servant, but in this verse is termed as joviality instruments (causes) which, is counted height the lawful nor livelihood. Hafez by substituting these dissimilar meanings created equality between them. Equality caused in coherent co and creates irony. The present article introduces the structure of this technique for gibing (irony making) according to concepts in this verse. The aim of the article is answering the following questions.1.How can we create relation substitution and equality between concepts?2.How does this technique create irony in this verse?3.What is the reason for brevity and its hideness of this irony?
4.What are the reasons why we precept two ironic, symbolic and irony concepts from some verses?

This present article aims to study forming of irony by means of the Rhetorical opposition in Hafez's Divan by analytical- descriptive method. It expresses that why and how has Hafez used this technique for irony creating. It seems that a new model of irony creating can be explained by this technique.

Irony creating by substitution of concepts in some cases are obvious (clear) and in some other ones is covert (hidden). The method of reference of concepts to each other is the creation of this quality. In some cases the substituted word (opposition) has direct reference to the first word (from substituted and apparition is referred to substituting by demonstrative such as "this" and "that."The face and eyes this beautiful, you say forgetGo! This meaningless scold enters my head not. (Hafez, 1385:294) Meaningless sermon (advice) is the ironic descriptive of the preachers speech (utterance) that wants to prevent Hafez from seeing the handsome "face" and "eyes". This description by demonstratives has direct reference to the hemistich of verse, so the irony of this verse is obvious. In the most cases the irony which is created by this technique is covert and ambiguous, because reference of concepts to each other is covert and opposition beside of reference to first concept keeps the main meaning.
The mention of thy face and tress, to my heart, Is a great pain that, morning and evening, it hath. (the same:273) The irony of this verse is covert and only by paying attention to metaphoric relations are conceived by words as "morning" and "night" or "face" and "hair". The first meaning that is conceived from this verse is that speaking about your hair and face for me is such as prayer and rosary that i repeat in every prayer and citation. (Haravi, 1386, 1/505. If we consider the meaning of the word(have) "darad" as "possession" not "continuous", another meaning of the verse is conceived which as: the mention of your "face" and your "hair" for me is such as rosary and recitation that i repeat each morning and night. It means that Hafez's heart repeats his minion's "face and hair" instead of the repetition of the gods names and adjectives. As it's popular. People utilize Allah's names and adjective in their prayers and rosaries for blessing. Hafez by creating the simile for preference of "her" "face" and hair to god's names, and using irony and addresses his minion and says that I despite of the pious theosophists, repeat the words instead of the gods names "hair" and "face" continuously. Here assuming the sameness of the "face and hair" with gods names has created irony.

Claiming the sameness between two different things is an extraordinary matter. It makes contrastive meaning and sometimes meaning mixed with irony. This irony, encompass subjects as religion, theosophy and amorous meanings, of course in this article have not discussed all kinds of irony in this fields. Most expressions of these fields are popular concepts in language that because of their extra application in these fields, have lost their elementary (primary) meaning, they have gotten spiritual, religious, theosophists or amorous meanings. Hafez contrasts these expressive with usual meanings.He gets their colloquial meanings and converts them to a usual concept or popular meaning. In to most cases this causes the creation of the utterance irony. In other case a some of customary and juridical persons are substituted by unvalued adjectives and low meaning, and lowers a specious person and apparently sacred. It is interesting that Hafez even don't bear symbolic meanings of the amorous poetry (poetical tradition). He substitutes elegance elements of the traditional poetry by ugly symbols. This opposition and disproportion of the poetical figures sometime approximates and lowers the minion to his academy. Among the characteristics of this kind of irony, ambiguity, brevity can be enumerated. When opposition not only refers to (from opposition) and refers to it but also refers to the causes of the grammatical independence of two parts of the verse and refers to the main and real meaning of them too. Brevity is created which the deletion of relations and substitution of vocabulary and utterance causes approximation to metaphor in this technique. The ambiguity of irony also is created when rhetorical relations of two sides have covert substitution. The reader must deducts them by mental investigation. Sometimes opposition refers to several antecedent (from opposition). This causes ambiguity and hide ness of the irony meaning.

 The spread of anti-colonial thought in Arabic began when the Arab elites informed people about the ominous goals of colonialism and invited them to persist against occupiers. On the other hand, the oppression imposed by colonial governments on the peoples paved the way for the reinforcement of people's political sustainability. In this way, the poets began to write poems by approaching their poetic language to the language and needs of society. Contemporary Algerian poet, Ahmad Sahnoun is one of the poets who has boldly and explicitly focused to the subject of decolonization at the center of his poems. In this study, we intend to explore the most important colonialism effects in his poetry.

 This study uses descriptive-analytical method and relies on the library resources with regard to the goals and raised questions. Therefore, his poems about anti-colonial thought are first extracted from the book and then the components are analyzed.

 With the emergence of colonialism and capture of Arab countries, literati and poets which initially concerned with the oppressive rulers, gradually addressed the people and called upon them to fight for the preserving of their national existence. From this time, the literature took a shape of resistance and took charge of nation's awakening. Ahmad Sahnoun's poem also reflects the events that occurred by French. He is disturbed since colonialism has captured his country and calls on the people to stand up against them and never give up. He calls on the warriors to stay steadfast against the aggressors and not be afraid of their weapon's power and impressiveness through different imperative verbs and epic and strong language and similes that their resemblance was stand firm against the oppressors, since death is more pleasant than living with slavery and accepting humility.The issue of unity is also one the most fundamental issues in each society and is considered as one of the themes of anti-colonial poetry. Anti-colonial poets always sought to unite people of their homeland and even other Muslim countries, since unity and empathy are one of the factors for the victory of nations and, in contrast, division and collapsing have been the cause of their disintegration and failure.Furthermore, Ahmad Sahnoun calls for unity and empathy when he sees the turmoil in his community and the turmoil in his community and the divisions among Muslims. He believes that unity and solidarity between the parties of society as the only way to overcome and win against colonist, which is achievable if the heads of any governments, abandon their greed and avarice.In principle, anti-colonial poets have played an active role in creating a spirit of hope in people. Ahmad Sahnoun is not an exception and, in his poems, he always draws a bright future for his people to have hope and encourage them to resist against the aggressor. From the poet's point of view, the oppressors' governments and colonial rulers will soon collapse and hope will be blown. In fact, he wants to soothe the people's heart of his land, with the good news that the occupiers will be punished for their cruelty that impose on innocent people. The poet gives hope not only to his people but to all Muslims and repeats this meaning many times in his poetry.The greatest danger that threatens any society and provides its collapsing and failure is hopelessness and despair. If this dangerous disease spreads to the mind and thought of the community, especially the youth, it can easily lead to its destruction and annihilation. Thus, the poet promises bright days to reinforce the spirit of his people and fighters for freedom, the days when great aspirations will come true, and that is the moment when the light glints and the shade of darkness will be removed. He recommends that people endure hardships and not be afraid of prisons that on day of freedom, they will forget all those hardships.

The obtained results are as follows:Ahmad Sahnoun is a committed and obligated poet whose commitment element the predominant aspect of his poetry, so the extent of anti-colonial literature is his poems is highly reflected. Observing the deplorable state of society in poverty and misery on the one hand and plundering the riches of the homeland in the other hand, made the poet angry and encouraged him to enter the scene with all his abilities.A wide section of Ahmad Sahnoun's poems has been written with the theme of calling for unity and encourage people to fight against colonists. His active involvement in the field of literature has played a significant role in arousing national and patriotic sentiments of Algerian people against colonialism. He has fulfilled his mission towards the fate of society by increasing his knowledge and aspiration for freedom and an ideal future as well as revealing the evil image of colonialism.The tone and atmosphere of anti-colonial poetry is epic, lampoon and generally criticism and objection to the presence of colonialists. In the meantime, his poetry is remarkably clear and vivid, and without any conservation condemning the colonial countries and revealing their evil intentions.

One of the most important philosophical schools which has an important role in the emergence of literary and artistic works is existentialism.  The philosophers of this school of thought are Sartre, Camus, Heidegger and Nietzsche, the creators of many literary works with philosophical themes. Iranian contemporary modern poets express these philosophers’ thought patterns, specifically Sartre, in their poems. With this in mind, it is impossible to understand their poems and personalities without considering components of existentialism. The basis of this school is thinking about human beings and existence, freedom and choice, as well as responsibility and social commitment. Persian modern poets have deliberately pondered on existence and inexistence based on their individual characteristics, time to time. They also casually wrote some poems based on the socio-political situation which are to some extent derived from existentialism.

This study hired a library research method in which the components of existentialism were expressed and different examples of poems by Persian contemporary poets were selected and analyzed. Threads of existential thoughts were analyzed in poems of Esmaeel Khoyee, Siavosh Kasraee, Esmaeel Shahrody, Hamid Mosaddegh and Nader Naderpour.

There are different notions prevailing about the etymology of existentialism; however, the most suitable and reliable one is that the Latin verbs existo and existere mean step forth, arise, become. Terminologically, the philosophy of humanism and Phenomenology (against extro) is only attributed to the creatures aware of special reality who can deliver their awareness to other aware creatures; this awareness is valid for the recognition of the subject. In other words, existence is applied to the special existence of human beings and is considered against essence. Existentialism is a philosophical school of thought expressing the idea that human existence is prioritized over the essence. In existentialism, in fact, the material existence of human being precedes its essence in a way that after the existence of the substance and his or her materialistic aspects, he or she can determine his or her faith himself or herself. It was in the 60s and 70s when existentialism gained popularity in Iran. The related books were translated and Ahmad Fardid started teaching this philosophical school of thought at university.  In the meantime, some of Sartre books were translated and some article were written in this regard. Many writers and poets got acquainted with the definition of existentialism. In the study of contemporary poems, the themes of which were romantic, socio-mystical, political, epic, we encountered notions which expressed special philosophy in the poems of this era. Sometimes, the poets in this period were tired of social issues and strove to change the political system and social values and feel responsible for the world and whatever was in it. In this way and situation, contemporary poems were influenced by the philosophy of existence and essence.

The relationship between philosophy and literature is unbreakable in a way that even existentialist philosophers found literary works as a vehicle to express their philosophical notions.  Therefore, this school of thought is known as a philosophical-literary school. Sartre is one of the biggest philosophers of this school in which his notions developed under the name of existentialism. Among temporary poems’ themes is philosophical thoughts especially notions, compatible with existentialistic ideas. There are different reasons for the emergence of existentialistic ideas in our contemporary literature. It is either probable that a poet deliberately addressed this subject thinking about God, the creator, the world, human beings, time, faith and death, or the poet may subconsciously think about these subjects and started writing poems with philosophical themes which can engage any thoughtful thinker’s mind.  On the one hand, since existentialism is philosophy of existence which values human beings and their personality development and the creation of events of by themselves, it is a human being who creates his or her own existence. In this regard, freedom, choice and responsibility become valuable in the poet’s mind; this freedom and choice is accompanied with anguish and stress.  On the other hand, human beings should be committed to the society and should proceed to change their own faith and history. Thinking about time which brings about a kind of thinking about death is vividly seen in contemporary poets’ works. This is the result of existentialistic influence on the contemporary poets

Through the history, the wise and educated people in all nations wished to achieve utopia; so some of them ,like Plato described utopia, codified and directly ; and others like some poets, indirectly. An important part of Persian poem is encomiastic and eulogy. Some critics ignored these poets and considered  them just poetic exaggeration to get more prize ,but it doesn't  match the reality ,they call encomiastic tellers  ,flatteners who hid the praised faults and deceived people .But it should be considered that, on one hand, these poems describe utopia  which exists in the mind of the society, and on the other hand, they describe the social progress of the history. When Anvari or Farrokhi eulogize their own praised for a special personality , although the praised person doesn't have all these personalities –that he often doesn't have-the eulogy shows that these qualities are the standard of social values, which dominated the heart of the society and people's wishes .(Shafiei Kadkani, 1993 :43 ). In Ghaznavi  Dynasti, encomiastic and eulogy, got away from purity and approached flattering. Ghaznavi kings who knew the importance of the poem as a media, very well; had ordered a special and limited instructions for poets, and tried to take advantage of the them, pretending  that their government is perfect. Although this described society ,  is really different from the reality ;but it should be considered that, the poet needs to be safe to show his abilities ; and it's possible through being closed to the government. The poet may get away from the government and be a recluse or may flatter it; the other choice is looking for safety ,  through companionship of kings. In fact, apparently, he is devoted to kings and eulogize them , but he doesn't really believe that eulogy , and tries to use this situation to achieve his own inner goals (Pour Amen , 2009,: 1); so the encomiastic teller, describes utopia , to ask the addresser to know better about the kings' injustice , oppression and cruelty when he compares this utopia to reality. This study wonders if we can understand Ghaznavian poets' mental utopia according to their great number of encomiastic   poems ? If the answer is "yes" how have the two personalities of justice and majesty ,  been described in poets' eulogies, (Farrokhi,  Onsori , Manouchehri ) , living in the first period of Ghaznavi  Dynasty ?

  Research method is descriptive-analytic, so sources and documents ,available in libraries, have been used. It means , after studying the important poets' poetical works ( Divans of Farrokhi, Onsori, Manouchehri), living in the first period of Ghaznavi Dynasti;  enocomiastic verses including two utopian qualities  such as justice and majesty and related subjects ,have been noted and classified; then according to the evidence , poets' ideas about the importance and output of the quality in the  ideal king (the praised) , have been studied. Besides, the importance of these two qualities has been considered , in ancient Iran and some utopian nations.

 Considering the importance of justice in achieving an utopia, Ghaznavian poets who were encomiastic tellers , described kings and princess as fair persons:" Justice came , and safety came and people were released  From the claws of the cruel wolves".(farrokhi, 1932: 158)These poets, compared  the praised kings ' justice, to that of historical and mythical kings, living before Islam , like Esfandiyar and  Anoushirvan ( fake fair). The fair praised were sometimes compared to caliphs of Rashedin (Omar) or Abbasi caliphs . In Ghaznavi eulogy, the ideal king is so fair that little gazelle drinks milk from the lion and partridge doesn't get scared of hawks. In the society which is under their domination, the poor and the rich are the same; and the peasants are safe from the wolfishes; even the wild boar doesn't dare to attack the saffron farm; and the king's justice influenced on snake poison too, it made it ineffective and made it not hurt others. Justice and fairness have extremely eradicated aggressive and greed people, so that the guards are unemployed because of peace and safeness ; and have nothing to do , except being happy and welcoming the guests who have come to utopia. Peace and safeness make people come back hometown and cause the business boom; and the country gets cultivated, decorated and comfortable, because of the fair king. Justice which is the base of utopia, itself, originates from the wise king's knowledge and awareness , and the king's knowledge lets him know the importance of justice in the society and how to establish it. That's why in many verses , knowledge and justice, together have  been known as the praised  kings' personalities , it proves their necessity to be together, in the ideal king to be able to implement justice:" The fair king whose knowledge is so much that,There would be no secret for him about his country". (Manouchehri, 2011 :189)Besides justice, majesty is also one of the ideal king's personalities. Majesty and power qualify the king to found a utopia based on justice and fairness. The kings try to show and retain majesty. A lot of factors influenced on magnificence and majesty: The number of soldiers in the army ; the number and size of palaces and the number of servants. The number of poets and scholars who attended the court, was a factor which increased the majesty of the court; it was why, Mahmoud Ghaznavi made a lot of efforts to invite poets and scientists to Ghazneh. Even, the king's appearance was shown powerful, using big crowns and beautiful clothes. Justice is another criterion for king's majesty" It was asked , which power, is more useful and beneficial for the kings, and its benefit is more public? It was answered: the majesty of justice and being perfect ; and defeating bad people and trouble makers' wickedness." (Ibne Maskawiyeh , 1995:92).Therefore justice, on one hand , creates majesty , and on the other hand , it can be implemented at the presence of power and majesty. The poets , living in the first period of Ghaznavi Dynasti , believe that majesty prevents chaos , oppression, violation of human rights and social laws and rules. The king majesty is the peasants' protector and nobody can disagree with a strong king. King's majesty , not only provides safeness and peace, in the country , but also, it discourages the kings of other countries from the attack, and can defeat enemies too:" The name of god has given him so much majestyThat nobody dares to disagree "(Onsori, 1984: 112).

According to the study the poets' eulogies in Ghaznavi Dynasti, represent their ideas and opinions about the ideal king's personalities which they had in their minds. Although these eulogies are full of exaggerations and don't match the praised kings' real personalities _these kings are mostly Ghaznavian _ they show the ideal king's personality from the wise poet's point of view. Out of these qualities , justice and majesty are very important and poets living in the first period of Ghaznavi Dynasti, especially Farrokhi , Onsori, and Manouchehri, used them to praise their kings. After the study of these verses we understand that king's justice comes from his knowledge and wisdom; and justice creates safeness and peace in the society. So  people go there, business booms and happiness and improvement increase. The king's majesty and power, also lead to safeness, prevents violation of laws, and prevents dictators from …people's properties. It also prevents other countries from the attack . justice and majesty complete each other; so if the king doesn't have majesty and power, people and peasants don't obey social rules and laws, and just try for their own personal benefits, and their greed make them violate other peoples' rights. Therefore, the base of utopia which is social justice, can't come true. The king's domineering and power against injustice , can retain majesty and magnificence, and makes it possible for the kings to do their most important task, which is implementation of justice,  _the most fundamental, part of utopia.

The Vis and Ramin poems of Fakhroddin Asadgorgani have a special place in Persian language. This poem is one of the first romantic masnhas in Persian Dari. The principle of the verse of Weiss and Ramin is from the Persian periodic and pre-Islamic period of the Parthian period. The story of a story goes "in a family that, according to Professor Minorsky, was founded by Goodarz II" (Islami Nodoshan, 1370: 203). This poem has a specific feature (love forbidden) than similar ones, which can be considered from various aspects.The first hero and the main character of the story is "Wis"; a shrewd and unscrupulous woman who handles her appreciation in the face of events and has no claims and dreams except for the love she himself calls for. The story of Fakhroddin Asad, in this regard, contains some very interesting points about the life of aristocratic women at that time, their motives and their social status.it should be noted that the story of Fakhroddin Gorgani about wis is so clear that his personality is completely believable in the story. In fact, we can say that the story of Weiss and Ramin emerged from the consciousness consciousness, as well as the unconscious author of the story, which, in Islamic interpretation, has been "loved" and because in Love is imperceptible, and may have been compensated for by failing to compose a successful love story "(ibid., 202). This story and its characters have been subtly disciplined, carefully scrutinizing each person's character in the story, they can be evaluated by the psychologists' theories, including the characters in this poem, the same rich and rich personality of Wis .

This research focuses on the psychological theory of Alfred Adler, in a descriptive-analytical manner on the constraint of humility in the person of Weiss. Therefore, the method of doing this research is that, after introducing Adler and his theory of humiliation, he analyzes the character of Wis and describes his features in relation to this theory, such as neglect, jealousy and rebelliousness, excellence, etc. Ultimately, the presence of such contracts in the visibility of the reader is enhanced.

The character is an actor of the story, and in a narrative or dramatic manner, there is one whose psychological and moral quality has existed in his practice and what he says and does (Mirsadeghi, 1997: 299). Characteristics of personality in a person can either be unique or have a common interest among individuals. Uniqueness means that each person has different personality patterns (Ross, 1999: 16).With precise descriptions of how Fakhroddin Asad Gorgani has presented the spiritual conditions, doubts, and fears of Wis in the story, he largely reveals the poet's knowledge of the psychological and internal vises and its complexities.In fact, Wis is a very natural and completely true woman whose existence is associated with the accumulation and life, and in addition to the elector's spirit, the sense of revenge is also very strong in him. She is inherently a charming woman, and since she encourages her to be friends with Ramin, she repeatedly defames Day'a and hardly surrenders; this surrender of Wis can be seen as a revenge of a man who prevented her from her husband. He even killed his father and stole him from his home. Revenge itself, amongst other things, means less reparation that forces a person to take revenge on others due to his shortcomings (Mansour, 1358: 50).His charm and ability to disagree with the mobid is one of the characteristics of his youthful age. Although Wis is condemned to a decision made prior to his birth and has not played any role in this regard, it is used in critical and critical situations with the force of command and character and the language of thirst. What is important about Wis is the story of his life, which, according to Adler's theory, is a symbol of the conceit of humiliation that occasionally flourishes in order to compensate for this indignation and flutter against the priests.Indeed, the story of the story reveals that what wis is more than anything else in the story is that wis has used all his thoughts and feelings to serve Ramin's attachment and betrayal of Mobid. And this is the result of a complex in this character. 

The story of Weiss and Ramin, the forbidden love to compensate for the ensemble hidden in Weiss is as well illustrated as possible. Fakhroddin Asad has arranged this situation with positioning, appropriate and timely, artistic spaces. What is evident in the story of Weiss and Ramin, from the psychological point of view of Adler, is the various aspects of Weiss's actions and behaviors that tried to express some aspects of Weiss's personality with Adler's psychoanalysis. His gender and difference with his other homosexuals in dealing with the challenge that comes to him in love; his forbidden love to Ramin and the negative view of the clergy and the environment in this category, on the one hand, and the emergence of repeated psychotic behaviors, the compensatory responses of Weiss to reconstruct the situations of loss On the other hand, and finally, his superiority to the cleric, is evidence of a documentary on this claim.The conquest of humility forced him to reach out to what he chose and thereby succeed in substituting this complex. This view of Weis's personality, in the correct understanding of the mind and spirit and the unconscious implications of this character, leads the reader to the conclusion that Fakhroddin Asad has used extreme elegance and narration in the processing of narratives; In order to explain a clear and clear picture of the characters in his story, they show them with all the apparent, inner, and subjective features, as well as the scene in front of the reader

In the twentieth century, almost simultaneously with the formation of Romanticism, in addition to lyric poetry, lyric novels were formed, and speaking about love and displaying its various forms in addition to poetry became popular in Persian prose. Iraq's imposed war on Iran created a literary genre called “holy defense literature” that also met the needs of the holy defense of the child and adolescent literature community. Adolescence period is a time of growth of the individual's imagination and emotion. During this period, the individual experiences many physical and behavioral changes “puberty grows rapidly and the adolescent attends to the opposite sex. Also, attention to gender-related books, more taste differences will be created in the studied books” (Ghafari, 1384:43). In this time, lyric concepts such as love, received less attention from holy defense writers of adolescent and child, while addressing this issue with regard to the emotional and cognitive needs of adolescents seems to be an obvious matter. In this study, the authors attempt to clear the lyric characteristics of holy defense and related concepts by analyzing and reviewing the novel “Younes’s romances in fish belly” the work of Jamshid Khanian and then find response to the following questions:1- What are the techniques are used by the holy defense writers to express lyric love?2- Where is the place of mystery and ambiguity in the theme of love?3- Which factor in this novel makes the audience aware of virtual love - true and mystical love?

This study has been done in a descriptive-analytical way. For this purpose, by using the library tool, first of all, the sources and articles which are related to child and adolescent literature, holy defense literature, and lyric literature were studied and then the concept of love and the different stages of phenomenal, maturity and end of love of fictional characters in this holy defense novel of adolescent and child were analyzed.

In this work all of the kinds of the love are seen: Love of mother to the child, love of mother to the partner, love of sister and brother to each other, love to materialism and finally symbolic love of Younes and Sarah which is the main love in this novel and the study is based on it. The common point of all these earthy loves is their purity and simplex.In this work, earthly and heavenly love is necessary for each other. Not annoying or opposing each other. As a result, it is a means of knowing and attaining intuitive knowledge. According to the symbols which are seen in this story, this work can be considered as an allegorical – mystical work. Based on this view, the novel can be interpreted as follow: Sarah is a teenage girl and loves music; music is the manifestation of divine sounds. She starts a journey to attain self-knowledge, the first step in mysticism. Sarah meets Younes in the middle of the road, a strange character who is also seeking self-knowledge. Yunus invokes poetry, and throughout her plays invites Sarah to look in the mirror which is the symbol of the mystical heart and the source of self-awareness. He proves to Sarah that the everything is reversed in the mirror. This scientific fact is an illustration of this mystical point that this world is the shadow of the parable and nothing has true existence in it, but the existence of anything depends on the heaven universe and this world is just a means to know and discover the truth of the universe: “when you want to draw a line in to the left side but your hand go through the right side, it means that the mirror tells you that you can extract something strange and new from repeated things, provided you abandon your habitual habits … we really look at ourselves in the mirror, who are we watching? (Khanian, 1382: 162). Younes who is sure that Sarah will follow Salma to know her and discover Younes’s love mystery, provides a condition in which Sarah can climb the ladder with the help of her brother Sam, by enduring the hardships of the journey, to discover the garden which Salma lives in it. In this way, as mentioned above, the ladder is a means of ascension and a means to bring the lover to the beloved and Sam is a guide and mediator; the garden can also be an allegory of paradise or attainment of knowledge and intuition. After that Younes dies while digging a well. The well is a symbol of material world which Younes by passing it goes to meet God (die). The well can also symbolize the darkness behind which the water of life exists and Yunus attains eternal life in the pursuit of the water of life. So presence of these symbols in the work causes the story to become double layer. In the surface layer, war and jihad for the defense of the homeland and in the second layer self-Jihad attributes that are consistent with one of the features of allegorical story One of the features that is emphasized in the story of the allegory is the existence of another layer of meaning beyond the apparent layer of the work (Fotouhi, 1390:259).

 the Novel of Asheghanehay-e Younes Dar Shekam-e Mahi is an adolescent novel of holy defense. Love and war are the two main themes of this novel. The author depicts the pure love of two teenagers parallel to violence and brutality of the war. In this novel, love has a dual structure and involved of two outer and inner layers, in its surface layer, the love was mentioned in war background. This layer contains many of the features of a romance novel and includes stages such as the beginning of love, revealing the secret of love, describing the beloved, jealousy, suffering, sacrifice, the death of a lover, and so on. In its inner layer, the author tries to show love from its primitive form to its most enduring and original form, with the help of mystical symbols and allegories. The basis of the movement of love in this work is from earthly love to heavenly love. The Love of Teenage Characters This story is accompanied by a sense of pride that is linked to the concept of heaven love by departing from the sensual desires. This power of love departs the characters from the savage world of war and blood, removes class distances, divisions and disagreements, and ultimately acts as an instructive and guiding power. It is in such an environment that the beloved comes to know herself and goes with the lover and finally dies in his presence and attains knowledge and intuition. In this way the lover needs a guide and a mediator who is Sam (Sarah’s brother). This guide is a mediator and a link between the lover and beloved and shows the truth of love to the beloved. Thus, we can describe this novel as a lyric work, that the author gives mystical attributes compatible with his adolescent audience as well as the spiritual atmosphere of the holy defense and images the love of two adolescents in a delicate and symbolic form, a love which responds positive to the emotional needs of today's adolescent audience.

The resistance literature is rooted in the soil and the territory of Iran and Palestine, and the poets and literary figures of these two lands have contributed substantially to the cultivation of this concept. The Palestinian literature, using themes related to oppression and popular uprising, has wielded huge influence on promoting the resistance culture and freedom of Palestine and unravelling the nature of Zionist regime. The literary figures of Iran have also waged their battle against the Pahlavi tyranny through poetry and writing or portraying the facts overlooked in the Iran-Iraq war. The Palestinian resistance poems and the Iranian holy defense poems, as part of the national resistance literature, have played a significant role in reflecting the specific circumstances governing the battlefield of fight with the aggressors. In general, the role of the Palestinian resistance is to stimulate, mobilize, raise ethnic and national consciousness, and to direct the public opinions toward the rebellion, which helps the cause of struggle (Kanfani., 1968: 5). In Iran, the events related to Islamic Revolution and the outbreak of war, with its diverse and wide-ranging scope, have opened up new perspectives in the literature, giving rise to new images in Sacred Defense poetry.In this paper, Salman Harati from among Iranian poets, and Shafiq Habib from among Palestinian poets have been selected. We adapt and review the poetry of these two poets in the realm of resistance literature. The poems of Shafiq Habib and Salman Herati are representative of contemporary literature of Palestine and the Sacred Defense literature in Iran, respectively, emerging among the screams of resistance, the reverberations of bullets and the blood-infused clamor of refugees. On the other hand, Shafiq Habib and Salman Hradi have undergone similar experiences and periods; Shafiq Habib is a poet who has dedicated his whole life to his war-torn homeland, and paid the cost of his dedication by multiple trials, imprisonment terms and burning of his works. Salman Herati is also one of the activists in the field of resistance literature, and his first-hand experiences of dealing with suffocation, revolutionary uprisings, war and the passion of the youth, along with religious upbringing based on Islamic belief inspired him to join the circle of the Revolution poets. He strived to portray one of the burning social issue of his era, i.e. war and oppression, through the profound and yet romantic outlook of a poet. The poems of Salman are filled with spirituality, idealism and sacredness of martyrdom and endurance. "(Alipur, 1996: 85). Given that Shafiq Habib and Salman Herati have a literary approach and gone through similar experiences, this paper seeks to answer this question “What are the similarities and differences of Shafiiq Habib and Salman Harati in portraying diverse manifestations of resistance?

This paper adopts a comparative research method that is based on content analysis. For this purpose, first the main themes of resistance literature are briefly described, and then these motifs are discussed in details in poems of Salman Harati and Shafiq Habib, to explore similarities and differences of the two poets in analyzing each of these themes.

Salman Harati, Iranian poet, and Shafiq Habib, Palestinian poet, composed poems which are studying and comparing in this paper. Salman Harati and Shafiq Habib have admired warriors, called for standing against the oppressors, and talk about the war-torn people of their land and killing defenseless children there. These two poet have honored martyrs and their immortality, and described enemies and their crimes, using simile, symbol, etc. despite of their resemblance in setting to this topic, these two poet have some differences; so that Shafiq Habib has told about his war-torn nation, and also threated and humiliated enemies in his poems more than Salman Harati. Salman Harati has told about the supersensible concept of awaiting meanwhile describing the warriors and martyrs, and also he wished, in his poems, to became martyr.

The resistance literature has flourished in Iran and Palestine. Salman Harati and Shafiq Habib are two renowned poets who have composed poems on this subject. Salman Herati has praised the fighters and their sacrifices and courage, along with the innocence of children and the oppression that has been inflicted on them. He amalgamates the struggle and resistance of the fighters with the concept of expectation, rebuking the indifference of some people during the war and their moral vices. Salman Herati discusses the lofty status of martyrs and their pursuit of martyrdom, dedicating some of his poems to the children of martyrs. In his poems, Herati portrays the enemies using secret codes, allusion simile, etc., describing them with the appellation such as bat, pharaohs, and so forth. Shafiq Habib lauds the fighters and arouses the spirit of combating oppression and struggle in his nation. He invites all Palestinians to stand up and resist tyranny, aggression and oppression. He laments the unfavorable conditions of his war-stricken people, speaking out against the grief, tears, exploitation, fears, hunger, chaos, corruption, the deleterious consequences of war on children, to mention a few. Shafiq Habib honors the martyrs and portrays them as perpetual beings, arguing that martyrdom is preferable to living under oppression and aggression. He depicts the enemies of his nation as evil and double-faced, portraying them with terms such as dog, wolf, etc. In describing the enemies, he resorts to threats, humiliation and challenging of enemies, illustrating his war-stricken nation even more than Salman Herati.

Today, some schools criticize contemporary literature search ways to check the structure of the text by relying on the text, thoughts, and ideologies dominating the author's mind. This attitude is because, in his view, there is not neutral text and but always influenced by environmental factors and social history in their society. In other words, there is always a two-way interaction between text and society, whose structural and systematic examination reveals data that is important not only in the analysis and critique of literary work but also is useful in the historical explanation of the time of creation. One of the new approaches in this field is Norman Furloughs’ model that means critical discourse analysis. Critical discourse is, in fact, a systematic approach whose basic principles are based on linguistic structure. In fact, Folkclub's aim is to unveil a structured way of criticizing to focus on the syntactic structure of the text's social context. The peculiarity of Ferrakoff's approach to others is that he places the text at the center of his attention and in the process of text production, he interprets the interaction between the author and the social structure. This exchange between textual content and society can be termed textual interaction, which is often overlooked in the conclusions of research and critique of texts, either forgotten or highly regarded. In examining these two-way interactions, two axes will be identified: ideology and power. Ferkloff believes, since every text is subject to the cultural, social, and political constraints and conditions in its society therefore, there is always a trace of dominant ideology in textual analysis and this process is because the production of a particular meaning or a social value undoubtedly carries the author's ideological motivations.  In this study, it has been attempted to re-read the critical story of Marta Albany's short story by Gibran Khalil Gibran. In this way we can recreate the author's mind and the governing atmosphere as well as the environmental factors that influence the creation of the story. The main message of the story is based on a redefined model of a society based on class antagonism, and the author intended to reset its consequences. The ideology of compensation in this story is the depiction of scenes in which the meaningful confrontation of poverty and wealth and its devastating consequences is demonstrated. With regular vocabulary and clear insight, he has overtaken the morphological achievement of their self-made power. His vocabulary is the collective memory of a large part of the society of his time that undoubtedly has its own social identity, belonging to the realm of social norms and values. Finally, the achievement of compensation in this story and its social outlook can be regarded as historical and eternal. In this study, by relying on the structure of critical discourse we attempt to reread the role of two important factors in the author's mental cohesion, ideology and power. These two factors are among the factors that have always remained in the analysis of texts and finally answered the following questions, how has Khalil Gibran's compensation made sense by targeting syntactic structure? How can it be used to represent the conditions of society by relying on the Ferrakoff model, and given its syntactic structure, power, and ideology?

The present study is a descriptive-analytical and content analysis study; Theoretical foundations are based on Norman Farclaw's critical discourse. The paradigm has a linguistic structure that is based on three stages called description, interpretation, and explanation.Relying on the same triple paradigm is characteristic of his model over other schools,because relying on this approach can restore the widespread worldview in the text and then the power that the text seeks to expose. Finally, the researcher can represent the role of social factors in text creation that are usually overlooked in text analysis.

Critical discourse analysis as a newer approach to discourse analysis is a way of discovering literary worldviews, the result of which is always much closer to the truth. Whereas other schools of criticism in literature have concentrated on aspects such as aesthetics,psychology or the sociology of language and have achieved remarkable results; Ferkloff based his vision on a distinctive structure; A structure that is not only one-sided but also has different aspects of a work. In fact, his criticism of other schools is that their view is purely ontology, and this approach can only lead to an objective description of the text.The consequence of this approach for him is individualism in analysis because it focuses only on the people involved in their discourses and practices, and so the role of society and its transcendental structure (ideology-power), which have been instrumental in shaping discourse, will be completely ignored. According to this theory, the text has different levels that we need to analyze for each level. So when we look at the stages of critical discourse; we will note that the effort of this interdisciplinary knowledge is to obtain the linguistic factors necessary for analysis by creating horizontal cuts. That is, the researcher relied on this section to perform the descriptive phase then relying on the information of the description stage and creating vertical cuts has actually penetrated the depth of the text, this process means performing the interpretation phase. The result of this process is not only the discovery of macro-social meanings but also the detailed structure of the target community. Recognizing the social factors that have been instrumental in the creation of the text means performing the explanatory phase. It can be acknowledged by relying on the implementation of the three stages of Ferrakoff in the Martha Albany story, the literary style of compensation has played a significant role in drawing people's social truths into society. The main focus of the author is to combat the existing bipolar structure of wealth in the face of poverty. The data in the description section show that the story in terms of vocabulary does not have the same style and location but varies according to the status and position of the story; and by quoting the syntactic structure of the story it can be claimed that there is little satisfaction at all; the sentences are short, the nature of the accompanying and the words positive. But where the object of expression is objection, words are heavily weighted, negative meanings and the number of negative vocabulary are significantly higher than positive ones. The ideological outlook for the story is the cry for justice and the fight for norms and values that are hidden under the guise of wealth and that permit any holder of wealth to do so.

 In persian literature many poets eulogized kings, commanders, agents and accountants and they expected to recieve reward for their livelihood. Due to this, there is a section in persian literature entitled demands. Among poets of persian literature there were poets who did not belittle themselves for meeting their daily needs in this way, but if we compare the life conditions of these poets and their life situations with each other we will percieve that most of times they were inevitable to behave in such a way and also comparing people from moral point of view is correct when they have the same conditions. So, it is not correct to attribute beggary to these poets and it is not a fair judgement..Anvari is among those poets that researchers consider him as an excellent poet. However, from moral point of view some of contemporary literati with dismissing historical, social and cultural situations and Anvari's personal life conditions have called him a beggar.In this research demand poems of poets such as Rudaki, Onsori, Farokhi, Manoochehri, Masood Sad, Ghataran Tabrizi, Moazi, Sanaie, Amaghe Bokhari, Adib Saber, Osman Mokhtari, Abdolvase Jabali, Ghavami Razi, Osman Mokhtari, Soozani Samarghandi, Asir Akhsitki, Jamal Al din Abdorrazagh Esfehani, Khaghani, Bilghani, Rashid Vatvat, Zahir Faryabi and Kamal Al din Esfehani are investigated to understand that whether the accusation of beggary attributed to Anvari by many researchers of persian litrature is right or wrong and also we investigate the development of material demands of poets and the causes of such demand poems.

 Firstly, related versus and causes of composing demand poems were extracted and then through analytical- discriptive method the reseach questions were answered.

  Maazi as the poet laureate of Saljugh era demanded horse tent, horse, camel, silver cup, incense, amber, musk, last year prize, Turkish beautiful woman and sumptuous cloth. In his poems he explicitly demanded rewards and prizes. The development of demands from Samanid to Saljugh era can be observed through comparing demands of Rudaki, Onsori and Mazi as three distinguished poet laureates. Not only in the poems of Mazi( as the poet of Saljugh era) but also in the poems of other poets from this era trifle goods are demanded, for example Sanaie demanded rice, bread,fruits, prize, money( Derham), silver. Osman Mokhtari also demanded bread, cloth, wine, gold, prize, loan and silver. Abdolvase Jebeli also demanded wine, cloth, house, and loan. Another poet Ghavami Razi demanded bread, meat, mistress, horse, prize, price of turbun, saddle and cloth. The last poet is Asir Akhsitki who demanded straw and barely for his horse, meat, camel, wine, horse, paper, money ( Dinar), silk cloth and robe.

  Anvari can not be vindicated from beggary accusation, but as it can be seen in most poets' Divans that we investigated including Rudaki, Manoochehri, Farokhi, Onsori, Masoud Sad Salman, Sanaie, Zahir Faryabi, Rashid Al din Vatvat, Jamal Al din Esfehani, Osman Mokhtari, Soozani Samarghandi, Kamal Al din Ismaeil Esfehani, Mojir Al din Bilaghani, Abdolvase Jebali, Ghataran Tabrizi, Moazi,Khaghani, Asir Akhsitki and Ghavam Tabrizi, there are explicit and implicit demands. Almost all the trifle demands that Anvari due to those was accused exist in poems of pre- Anvari poets and especially in poems of those who lived in Anvari's period. Persian language demands transformed gradually. In Samanid era in which eulogies were normal and far from exaggeration the poets demanded more generosity and the goods did not include trifle things and they were expressed indirectly.  In Ghaznavi era praising odes were more exaggerated and demands were expressed more direct and explicit and gradually trifle demands were penetrated poems. In Saljuk  era in which praising odes reached its climax and the praised people were portrayed in full exaggeration, it seemed that others did not deserve those odes and they did not understand the value of poets and in result demands of poets were expressed more explicitly in comparison to prior eras and they included other trifle goods, too.Reasons such as lack of job's security and lack of income sources and special importance of poets' praising for people in power led poets to compose demand and praising poems.Instability of political situation of ministers and governmental agents  led them to pay more attention to their power position and they did not have necessary time and composure for other poets. In addition, the poets had to praise two rivals simultaneously and this made the praised ones annoyed and they did not give  expensive rewards and this caused many poets were satisfied even with trifle demands.Finally, at the end of this research it can be mentioned that it is not correct to consider Anvari a beggar, because it is a historical fact that demand poetry was a common issue among all persian poets and it was ont restricted to Anvari.The difference among Anvari's demand poems and other poets' was  due to political, social and cultural condition of that period. Perhaps one of the reasons that caused that some of contemporary researchers consider Anvari as a beggar is that in past some people such as Hatefi Jami and Azar Bigdeli considered him as one of the three pinnacles of persian poetry and positioned him beside great poets such as  Ferdowsi and Saadi and dismissed poets such as Mowlavi, Hafez, Sanaie , etc. It should be noted that Anvari like Sanaie at last put the demand poetry aside and he considerd it as begging and he composed poems in praising needlessness which are unique in persian litrature.

 Some similarities are observed between two or more ideas which seem to be chronologically and geographically unrelated to each other. These similarities might rise from the identical roots between different nations. Qualities like life and death, good and evil, justice, cruelty, love, sacrifice, patricide, filicide and etc. are transnational and universal and appear more and less similarly in different nations’ literature. The reason behind these similarities might be found in their oral literature, mythology, myths or subconscious of the nations. The more universal one nations’ thoughts, the more important they become. Among these thoughts, thinking about death has been considered of high importance in Muslim and western intellectuals. Khayyam is the representative of Iranian old theoretical thoughts in whose philosophical quatrains has asked questions about death and its stress and incomprehensible features by using different similes and metaphors. In order to overcome these difficulties he proposed some solutions which violated the religious convictions. This is when he lived in a society whose foundations were based on strong religious beliefs. However, the idea of the transcendent future is related to the modern world which thinks about death in a non-religious way and suggests some solutions as well. Since there was no comprehensive research on the topic, the main objective of this paper is to compare and contrast the visions of Khayyam and western ideologists who think of death as the transcendent future. Thus the research questions are:What are the transcendent future and thinking about death in Khayyam’s point of view?How do these two views consider overcoming the stress of death?How do these two views consider immortality, heaven and hell?What is the effect of thinking about death on seizing the day?

 This paper is a comparative analysis and uses library resources and written texts. Therefore, Zimbardo’s transcendent future theory and Khayyam’s quatrains were analyzed to compare and contrast.

 Khayyam’s thinking about death arises from his personal thoughts and has a materialistic and nihilistic look on death. (Nowruzi, Davoodkhani, 2000,110; Nafisi,2006:23),  While the transcendent future vision believes in the life after death .(Ortuño,., Paixão. & Janeiro, 2013;11). Khayyam’s belief in body and soul and metempsychosis is in line with the transcendent future (Khatat,. Shouhani,2006:59). Nonetheless, the theory of transcendent future is the result of different research and religious beliefs which attempts to present a concept which is acceptable to all religions without considering any specific culture. The other bold concept in the transcendent future view is believing in the life after death as a transcendent feature  (Boyd& Zimbardo 1996:38), whereas Khayyam does not think of death as a transcendent concept which probably is their most obvious difference. However, according to the differences between the meanings of the words, it is not easy to claim that they had similar view of a transcendent concept.For the stress of death, it needs to be said that since the time is short, both views propose confronting mechanism; for Khayyam they are: having fun, seizing the day and vinosity in order to enjoy more (Rahmdel,2006:139) . In the transcendent future view, these mechanisms are positive attention to suicide, building and positive attention (Boyd, & Zimbardo,2005:191). Positive attention is almost similar to being happy and seizing the day in Khayyam’s view. Since the life after death is meaningless to Khayyam, being happy and enjoying life is to reduce the stress of death up to the point a human being is alive. However, in the view of the transcendent future which believe in the life after death, the focus is on building and creating over time. They believe in this sentence that “I go but my generation continues.”  And it reduces the worries (Urien,2007:369).Heaven and hell exist in both views. For Khayyam these exist within the human being and they are the center (Ebrahimi Dinani,2011:257). Followers of the transcendent future also believe in the heaven and hell as they will be after death (Van Beek, Karieyz, 2015:82). The concept of immortality also exists in both views. Immortality for Khayyam is worldly; it is to convert into other elements (Kohandani, 2005:80). For the followers of transcendent future, there are five forms of immortality which people will face based on their culture and religion (Hood, Mooris,1983:354).Both views give high importance to seizing the day and living in the moment; however, since the findings were gathered from older people (Scheibe,Carstensen,2010:137), it cannot be said the youngsters who believe in the transcendent future also think the same of seizing the opportunities.

Through analyzing and comparing Khayyam’s views which were done only based on his quatrains and the idea of the transcendent future which is a rather modern psychological theory, it can be said that both believe in death. For transcendent future followers, which is a more scientific view on death, dying is not the end and there is life after it while Khayyam think of death as the end of life. In order to escape from the worries of death, he suggest to be happy, drink and live in the moment while transcendent future theorist think of suicide as a solution which can please human beings and help them overcome the stress and fears of death.Also, while Khayyam sees Heaven and Hell within himself, the vision of a transcendent future believer, unlike him, is believed to be an outer land based on people's future view of them. The concept of immortality is also expressed differently in each perspective; while Khayyam suggests the belief in worldly immortality and the return to the material cycle, the perspective of the transcendent future suggests different forms of symbolic immortality that each individual may tend to one. But perhaps the most similar in the two perspectives is the issue of seizing opportunity. Both visions insist on enjoying the life in the moment; the issue is called hedonism for the transcendent future view.

 Abhar al-Asheghinis considered as one of the most important Persian works of Sufism in the twelfth century, which was written by RuzbehanBaqliShiraziwith a prominent and distinctive textfor expressing love and its belongings. This text is considered as mystical literature due to the author's spiritual experiences and esoteric perceptions, but the same mystical text that recounts the author's personal moods in a melodious and rhythmic language is characteristic of the field of lyrical literature too. The lyrical language ofAbhar al-Asheghinbecomes apparent when two prominent functions of language (poetic and emotional functions) are intertwined. Barani and NasimBahar, quoting Khanlari, wrote about the common objective of poetry and music: "The objective of both is to create a state, not to prove something or an external image" (Barani and NasimBahar, 2012: 42). The high frequency of the two prominent processes that make up language i.e. extra-regularity and deviation within the range of semantic para-normality and balance, has highlighted the poetic function of the language of Abhar al-Asheghin. This paper focusing on the analysis of the intertwining of semantic extra-regularity and the balances in the text provides a better and deeper understanding of the author's mood and worldview.

This study has been conducted by descriptive-analytical method and tools of library work. The field of research is RuzbehanBaqliShirazi's book Abhar al-Asheghin. The authors have attempted to explain the poetic and emotional functions in the lyrical language of Abhar al-Asheghin.

The emotional and literary functions in any text have the most important effect on the poetic nature of speech. If the message is aimed at the speaker, the audience will in fact be facing a text in which the speaker's voice is strong and dominant. The audience will hear the narrator's heart line in different situations and from different angles. The sound of complaints, and sometimes the sound of excitement can be heard in front of the lines. On the one hand, if the message is oriented towards the message itself, the audience will be confronted with a text that is both through a variety of balances, musical and melodic, and through a variety of norms, has taken the necessary advantage from a variety of expressive arrays. Due to its linguistic prominences and poetic and emotional functions, the text of Abhar al-Asheghin has a poetic and artistic language that has developed all kinds of linguistic, syntactic, lexical, stylistic and semantic deviations. Music, which is one of the most important components of creating lyrical language, also has a significant effect on this text through various balances. RuzbehanBaqliShiraziis the narrator of his intuitive and non-intuitive anecdotes in Abhar al-Asheghin. RuzbehanBaqliShirazi attempted to develop language in the realm of a variety of deviations, especially semantic deviations and the balance of music, in order to be able to give the right to present an earthly image of an alien. RuzbehanBaqliShirazi attempted to bring the word closer to the transcendental components. RuzbehanBaqliShirazi'smystical field of experience is so vast that it sometimes creates a new feeling in the audience by intertwining the external senses. Sometimes synesthesiain Abhar al-Asheghinis a combination of an outward feeling and an inner and perceptual sense, because RuzbehanBaqliShirazi, on the one hand, intends to compare the beloved and on the other hand wants to express the incompatibility of the beloved or the concept. In Abhar al-Asheghin, sometimes the emotional concern of language, which is caused by the excitement of the author's mystical experience, uses language as a tool for artistic expression, the basis of perspective, and literary creation. With this technique, the author makes more use of emotional and poetic functions. For the audience, the meaning is delayed and the author is lost in the language games. Creating this state in the audience is very effective on receiving the author's state of confusion in intuitive situations. Abhar al-Asheghinis the result of an intuitive experience and mystical discovery that RuzbehanBaqliShiraziencounters a single creature in this mystical journey. "The most prominent aspect of RuzbehanBaqliShirazi'sspiritual life isspiritual"visions", revelations and scenes he has seen at various times during most of the days and nights of his life" (Ernest, 1998: 4). The emotional function of language in the very first part of the book, which is for expressing how this meeting and conversation between the two is, is very clear. In all the phrases expressed in this part, the message is directed and focused on the speaker; in other words, the audience in these parts focuses on the speaker's expression for describing moods of the beloved and author.

The purpose of this paperwas to explain and analyze the characteristics of the lyrical language of Abhar al-Asheghin. According to Jacobsen's views on the direction of the message, two emotional and poetic functions were examined in the language of Abhar al-Asheghin. This study shows that by directing the message towards the message itself, the language finds a poetic function. The high frequency of the two prominent processes that make up language i.e. extra-regularity and deviation within the range of semantic para-normality and balance, has highlighted the poetic function of the language of Abhar al-Asheghin.In the field of semantic para-normality, the two industries of paradox and synesthesia are significant. The poetic nature of the text depends more on the music of the word through balances. The types of balance in this text are very frequent. Also, the departure from the criteria of automatic language is done through reviving all kinds of mystical concepts and poetic description of "JanatiLobati". These descriptions basically highlight the language by combining a variety of paradoxes and synesthesia, and reduce the automatism of standard language. Also, emotional functions of the text, which are formed by directing the message towards the speaker, have played a very important role in creating lyrical language in Abhar al-Asheghin. Since this text was written for the expression of RuzbehanBaqliShirazi'sintuitive experience and in fact was written in response to the questions of a particular beloved (a special creature or person), there is a lot of dialogue, reasoning and description of exaggeration in it. Intrinsic monologues and introspective perspectives are also very visible. From a linguistic point of view, these monologues and introspections are components of the emotional function of the language. Also, vocative, question and surprise sentences in this text are highly used. These sentences also reinforce the emotional function of the language. The peak of lyrical language in Abhar al-Asheghinis when two prominent linguistic functions (poetic and emotionalfunctions) are intertwined, and this is when the author's emotional turmoil for expressing the audience's contact with that person excites him. As a result, he deliberately and consciously reinforces the emotional and poetic aspects of speech in order to both subdue his emotional excitement and influence the audience by his emotions.