نشریه تحقیقات تمثیلی در زبان و ادب فارسی
پیاپی 47 (بهار 1400)

A proverb is a literary form that pays particular attention to its linguistic structure, much like a riddle. But the purpose of the proverb is not to mask the meaning, but to compact it in a memorable way. All types that condense the wisdom of this world and past experience into short headings that can be referred to in the present are proverbs, stories, rulings, and acronyms. One of the main features of Indian style poetry is the use of proverbs. The poets of this style were influenced by the everyday living environment. As the most influential poet of this genre, Saeb Tabrizi, the genius of the audience, led him to make the most of the literary form of proverbs in order to understand ethical, mystical and social issues better and more efficiently. The proverb has great variety and breadth in Saeb's sonnets. Saeb has used every subject and tool for his purpose. Pottery is one of the most accessible tools and means of living of ordinary people in the street and bazaar, which has a high capacity to create the literary form of proverbs. It is not possible to study the proverbs made of all pottery in Saeb's multi-poet divan in one article. Let us show a proverb from Cebu pottery in literary form.

One of the common methods in world literature is the use of code and allegory to rhetoric the text and the richness of the concept. The story of Jonathan, the seagull, is one of the most important allegorical stories in Western literature that has much in common with Iranian Islamic mysticism. The concept of the perfect man, which is expressed in the form of allegory in Persian poetry and poems, expresses the image of the transcendence of human nature and soul through harmony with true light and isolation from worldly belongings. In Jonathan's story, this seagull reaches the truth and the status of a perfect human being in similar ways to Islamic mysticism.In this research, the common aspects of these two categories have been studied in a descriptive-analytical manner. The need for research is not limited to recognizing the common roots of human thought; Comparative research leads to the expansion of the scope of knowledge of literary and interpretive texts and in order to recognize the influence of the concept of the perfect man and mystical journey to neighboring cultures.

This article is an analysis of the symbolic and allegorical biennial of HAYE _ IBN _ YAQZAN Avicenna, Reality of Love sohrevardi. It is worth saying that both stories have an existential correspondence with each other. Because both Paths of the seeker clergy show that the fear of returing to their original homeland has a clear conscience. And in this way,they see obstacles in front of them that they must overcome. Both sages have spoken in the language of metaphor and irony and have expressed their intentions in language. What is clearly stated in the year book is that: the seeker must be released From the prison of his body and soul and his soul must fly to his original and heavenly homeland.

No words or speech have the inclusion and tolerance to accept the deep and emotional experiences of mystics from the higher world, hence, they use symbolic and allegorical language to fulfill their purpose. Ayn al-Qodhat Hamedani, as one of the pioneers in the field of mystical symbolism in explaining the deep mystical principles and concepts, has a major role in the interpretation of theoretical mysticism and practical wisdom, and his works show many aspects of his allegorical perspective, according to necessity and importance of analyze aspects of his cryptic and allegorical language and to recognize his position in the field of allegory, and allegorical explanation of one of his cryptographic networks, the five pillars of Islam, and with the aim of obtaining the components of his allegorical language and justifying and interpreting the allegories hidden in the form of those pillars, this research was conducted by descriptive-analytical method in the framework of analytical, semantic and allegorical theories, and by illuminating these pillars and showing their appearance and interior, other codes related to this network such as "La ilaha illa Allah", "intention", "ablution", Kaaba, and "Qibla" were identified, which in a coherent allegorical relationship, It led to the next understanding of the dimensions of the system of thought of the Ayn al-Qodhat.

The longitudinal and iterative study on Rostam and Sohrab's story, and importance of this story from venerable Ferdowsi Hakim’s Shahnameh which is taught to associate and bachelor’s degree students in the first semesters of language and literature program have encouraged us to conduct this research. The research could investigate, explore, identify, and interpret various allegories embedded in this story. We strongly hope this research is useful and helpful for students and those interested in epic literature, along with the efforts and works of other researchers who have worked on this valuable book. After a longitudinal study from technical and verbal perspectives, the research has found that the story of Rostam and Sohrab, which consists of long dialogues between heroes, is such a novel painting presenting the meaning, expression, rhetoric, and aesthetic devices, especially, in terms of allegory in various forms in the platform of metaphorical applications of animism and foregone, and also, in terms of metaphor, simile, irony, permissibility, allusion, sensibility, vulgarity, epanodos (Laf-o-Nashr), and proverb. Indeed, using all novel expression and rhetoric devices throughout the Shahnameh's literary work is evident in this specific story. What is more appear in this story is various exaggerations and propagandas, which were used in other stories of the Shahnameh. The presence of these expressions and rhetoric devices is one of the main features of the epic stories of Shahnameh. Besides, the descriptive and compound analogies derived from sensory observations were extensively used, which is not common in other stories of the Shahnameh. This research aimed to understand the allegories used in the story of Rostam and Esfandiar, also using the novel expression expressive devices to understand the content of this Epic-letter (Razm-nameh) of Shahnameh. This research has been conducted employing library and descriptive-analytical methods on the verses of Ferdowsi Hakim’s Shahnameh in the story of Rostam and Esfandiar. The variety of these plentiful applications is a sign of its nurtured content. Deeping to this content is achieved through iterated revisions that Ferdowsi has incorporated for more than thirty years, from 369 to 402 Hijri.

The use of allegory as one of the most important and basic industries of rhetoric is common among poets of Persian language and literature. Most of the allegories used in the works of poets are rooted in myth and religion. Ferdowsi and Rumi, who have elevated the position of Persian poetry in epic and mysticism to the highest possible point, have made the most use of allegory in order to instill their mental abstractions in the mind and thought of the audience. The use of allegory of fire is one of the most significant and most allegories used in Ferdowsi's Shahnameh and Rumi's poems. Despite the essential and structural differences in the epic and mystical literature, the thematic similarities of the allegory of fire can be seen in the poems of both poets, which, despite the similarity in subject matter, are different in content. In this article, by descriptive-analytical method, thematic commonalities and attitudinal differences of two famous poets are discussed to determine the degree of influence of two poets from myth and religion and also determine the course of images of fire from myth to mysticism.