نشریه تحقیقات تمثیلی در زبان و ادب فارسی
پیاپی 45 (پاییز 1399)

Rebabnameh in the sky of Islamic literature and mysticism is like the shining moon that receives its light and emanation from Rumi's Masnavi sun and illuminates the dark nights of the new travelers. Like the father, Sultan Valad sees love beyond all phenomena of existence and introduces it as a leadership that governs all elements of existence, from the physical world to the spiritual world. Sultan Valad, the son of Maulana Jalaluddin, was one of the figures who wished to preserve Sufi poetry in a lively and dynamic way after Maulana. While enjoying his father's teachings, he benefited from the knowledge of the time and, following that, the esteemed mystic of the Divan sang along with the generalities of Shams Tabrizi. At the same time, imitating the spiritual Masnavi, he arranged the Rebabnameh with the help of God, for the followers of his father and his companions. Rebabnameh is an educational Masnavi that has solved the contradictions and dilemmas between Rumi and some of his disciples in simple language during Rumi's time. Sultan Valad has always used allegory in conveying mystical and philosophical concepts. The allegory is the result of a dual connection between the simile and the simile, which, because the allegory is the inner meaning of the story, is narrated by Sultan Valad, referring to the appearance of the anecdote. This research has dealt with the method of (descriptive-analytical) method and referring to valid library documents and sources in the category of allegory in Rababnameh. As Rumi interprets the symbolic reed as a lover away from the beloved. Sultan Valad explains that he is Rumi's beloved Rebab maker, and of course his heart's melody is more burnt and life-giving than Ney's lament. There is only one moan in the reed, but in Rebab, there are many moans of helpers who have been separated from their homeland and sex. The result of this research is that: Allegory has a high position in the genealogy of Sultan Valad.

Mehr or Mitra is one of the goddesses of Zoroastrianism, which is sometimes a symbol of fire and of "Ahura Mazda", or of the sun, which shows the philosophy of illumination and light and blessings. The most mysterious story of the Mehr is the battle with the first bull. Mitra helps to blossom and create earthly creation by killing an old cow and flooding his blood. Believing in the victim to escape from the evil and evil forces in order to achieve the blessing has been in various forms alongside the people of Iran's plateau through time. From this sacrifice in the ancient ceremony of Mehr, which is a symbol of the killing of the animal's breath in human existence, it has been interpreted in the mystical literature to kill the cow. In "Masnavi" of Mowlana, allegories and similes of many similarities have been used in this field to convey the concepts and teachings of the author's point of view to the audience. Rumi as a well-known mystic, using the Mithraistic myth of cow killing, considers killing a cow (a beast) with the help of the power of reason as a man-made principle., we will discuss the extent to which Rumi has influenced the expression of the allegory of the element of the myth of cows in expressing his thoughts in spiritual mathnavi.

Allegory is one of the measures of rhetoric in conveying rational concepts. Baha-e-Walad in Ma'aref was able to turn simple prose into poetic prose by using this illustrative element. In this research, in an analytic-library method, we investigate the role allegory in clarifying the philosophy of some acts of worship, such as prayer, fasting …and also, dhikrs and mustahabs in Ma'aref  book, and we have also followed the same themes in books such as Kashfah al-Mahjoub, Fih-e-Mafih, Kimiay-e-Sa'adat, and Mersad al-Ebad.The results show that "Ma'aref" considered prayer as the most important religious duty that consists of three parts: call to prayer, ablution and dhikrs of prayer and allegory is used most frequently about prayer and its etiquette in which 7 cases are about prayer and its dhikrs, 4 cases are about ablution and 1 case is about call of prayer. After the prayer, the Prevention of Vice is in the second place with 7 allegories. Hajj and fasting are equally in the third place with 3 allegories. The virtue of the month of Rajab also has a significant place for Baha-e-Walad who had used 7 allegories in introducing its value. It should be noted that the allegories in Ma'aref are all based on new sensory similes and are less clichéd. That is why allegories used by Baha-e-Walad , help his addressees to more enjoy understanding the religious Duties and Obligations without trying to force and making the addressee to understand. Allegory has little place in other mentioned books.

This article tries to examin and analyze various allegory in Persian literature and in the paper of In Reality of iove sohrevardi.
It is worth mentioning that they are compatible with each other and existential temperament.That is, in analytical and comparative thought, the above philosophical treatise on Persian literature is controversial. There is a kind of linguistic, empathetic and intellectual harmony between literary and Philosophical Lliterature as well as sohrevardi.This article deals witg the category of allegory in the paper of In Reality of love. It also examines the tree themes of love,Goodness or Beauty, and Grief.To Sohrevardi love belongs to goodness and beauty On the earth, as Goodness comes whith Zoleikha, Grief comes with Jacobe. It has been said that the speaker expresses his intention in a mysterious and closed way.

Morphology is a new and structuralist approach to the study of literature, and the Russian anthropologist Vladimir Propp should be considered the initiator of this scientific method. The use of allegory as a rhetorical industry and method of reasoning is a fundamental method in Iranian mystical literature. This practice, which has been common in Iranian literature for a long time, has started from Sanai poems. Examining mystical allegories from a "morphological" point of view allows for a comprehensive literary, social, and mystical analysis of them and provides an opportunity to examine the application of allegory in mystical literature in a purely scientific manner. In the present study, while expressing and examining the types of allegory, we try to analyze its constituent elements according to Propp's model in order to explain Sanai's allegorical expression based on the self-works that Propp introduces for fictional elements.

At first glance, the story of Rostam and Esfandiar and considering the confrontation between them, it is expected throughout the story is of war, the clatter of swords, and the commotion of confrontation. The question is whether Ferdowsi's expression was technical, artistic, and mixed with allegorical, verbal or expressive images, or not? After a longitudinal study of the work from technical and verbal perspectives, the researcher has come to the conclusion that the story of Rostam and Esfandiar, which consists of long dialogues between two heroes, is a picture of novel expressive and aesthetic literature devices, especially in term of allegory in various forms, in a context of metaphorical applications of animism and foregrand, as well as, Simile, irony, permissibility, sensuality, vulgarity, epanodos (Laf-o-Nashr), and proverbs. It is more like a practice in expressing literary aesthetics than an epic content that can be simple and straightforward due to its very large content. The necessity of this research is to better understand the allegories used in the story of Rostam and Esfandiar for the students for using novel and expressive devices, in order to better understand the content of the Epic-letter )Razm-nameh(. The research has been conducted using library, descriptive and analytical methods on the Ferdowsi Hakim Shahnameh verses. And this is a sign of nurtured content, and deepening it through iterated revisions that Ferdowsi has incorporated for more than thirty years, from 369 to 402 Hijriijri.