مجله فنون ادبی
سال سیزدهم شماره 2 (پیاپی 35، تابستان 1400)

The present study examines the works of Saeed Akef, as a major writer of the Holy Defense Literature, in terms of linguistic signs and how they are employed to convey ideas. A close analysis of such works reveals how linguistic  and literary techniques are employed in the service of an ideological apparatus. The results indicate that the author’s intimate eloquence and abundant use of rhetorical techniques and Qur’anic terms, intentional and functional titles, allusive language, and religious satire are key features of Akef’s ideologically intense discourse.

The imposed war against Iran was undeniably a period of crisis and difficulties, yet it brought about blessings, particularly in the postwar era. Some scholars and artists, some of whom had first-hand experience of the war, depicted a victorious and epic image of the event through their memories and works. Saeed Akef is a literary figure in Resistance Literature. His memories and writings reflect his own experience as well as companionship with soldiers in the war. The Story of Winter, The Soft Soils of Kushk, Embankment Vacancy, Dance in the Heart of Fire, The Heavenly Travelers, Hajar in Waiting, Wonderful Memories, and Breeze of Destiny are some of his notable books.

Language carries and forms, and is also formed by, the dominant ideology. Any individual writing is a conscious or unconscious reflection of the personal ontology, values, attitudes, feelings, and prejudices of the time he lives in. Thus, verbal actions and reactions are closely associated with certain social belief systems (Fotouhi, 2013: 345). A linguistic and semiotic analysis of memoirs and the literature of the Holy Defense reveals that they follow a densely ideological discourse and are replete with value-bound elements. These features distinguish the Holy Defense literature from other contemporary writings.   2.1. Linguistic elements and induction of thought Words and expressions with religious connotations are linguistic notions projecting the inner feelings of the writer. They are highly motivating and link the writer's intention with the textual interpretation of the writing. Akef’s oeuvre abounds with his ideological orientations and represents omnipresence of God in human life, and the functionality of the Holy Book, and belief in the other world in realizing human aspirations. 2.2. Interactions between the literature and ideology Literary techniques and rhetorical aesthetics are rarely observed in the works of Akef. In fact, he adopts a simple and direct discourse in conveying the intended idea to the reader and mostly averts literary figures such as symbolism and metaphoric language.   

A linguistic examination of the writings of Saeed Akef shows that colloquial and direct language is the stylistic key he adopts in rendering his ideas and keeping the interest of his readers. Results of our analysis demonstrate that religious and revolutionary terms, mystic discourse, emphatic rhetoric, allusions, and metaphor are linguistic features of the writings of Akef. Indeed, these linguistic constructs are employed by the writer to induce the envisioned value system.

Al-Sahifa al-Qaseriyya is composed by Gholamreza Qaser-Kermani, a poet of the Qajar Era, in five chapters. This descriptive-analytical study aimed at giving an accurate description of Al-Sahifa al-Qaseriyya. For this purpose, the unique language and stylistic features are introduced and the importance of this work among religious epics is highlighted. The findings point to the work's novelty in the composed contexts and themes, particularly in expressing the sufferings inflicted on children in the Ashura incident, including Moslem's children. The poet describes the detailed incidents related to their martyrdom to expose the vicious nature of the enemy and attract the attention of the readers. The tone employed in this epic is similar to the tragedy whereby the readers can imagine the horrific Ashoura incident more clearly. Linguistically speaking, it is influenced by the literary return style and Ferdowsi's poetic expression. In the intellectual view, it expresses individual deep sorrows and concerns of the poet. He describes the events based on his language style, deriving from his deeply religious beliefs. In this study, the qualitative content analysis method is used. 

After the advent and subsequently spread of national epics used to represent the narratives of Iranians in terms of heroism, it took only half a century after Ferdowsi's Shahnameh that religious epics emerged (Razmjou, 2002). To provide contexts for restoring natural pride, Ferdowsi played the main role in adding interest into speechwriting, causing others to test themselves in composing such poems due to the tone attractiveness, epic themes, and contents. The first step after Ferdowsi was the composition of religious epics originating from early Islamic battles (Razmjou, 2002) and Shiite thoughts shared by Iranians. Of the common epic heroes in religious anecdotes, one can refer to Hamzeh, Ali, and Imam Hossein. The prevalence of religious epics reached its peak during the Safavid period (Rastegar-Fesaei, 2008). Following the Literary return tradition, and enduring love and respect for religious figures during the Qajar period, a Kerman-based poet, a devout educated man in Najaf, embarked on composing this Sahifiyya.   

This is the first research that particularly aims to focus on textual criticism and the introduction of this work. The qualitative content analysis is used  along with using library resources.

Qolamreza Qaseri Kermani is a poet  born in Joupar, Kerman. He narrates his own life story in the first chapter. He first studied in Kerman, then in Najaf, Iraq. Then he returned to his hometown at about the age of forty where he taught and  preached. In his forties, Qaseri composed Al-Sahifa al-Qaseriyya in five chapters in the form of Mathnawi using Ferdowsi’s Shahname’s meter. Chapter Two recounts the martyrdom and fate of five children especially Moslem's children, Abdollah Ibn Hassan, and Ali-Asqar in the Battle of Karbala. The third chapter refers to Imam Hosayn’s suffering  at the hands of enemies in the Ashoura incident and the horrific scene depicting the way the master of martyrs was slaughtered. In the next chapter, a group of Christians and Jews protesting against Yazid for the beheading of Imam Hussein and for non-Muslims' speeches about Imam Hosayn's admirable personality traits are portrayed. Chapter Four describes the virtue of scholars and theologians as well as their excellence by telling the anecdotes related to Muhammad the Prophet and the other Shiite imams. Also, the poet’s liturgical poems are presented in the last chapter. In this book, he is strongly influenced by Ferdowsi’s poetic language of Shahnameh. However, the tone of his work compared to Shahnameh is more tranquilized and closer to mourning. Because this book is written to show the legitimacy of Ashoura and express the martyred children's conditions in the hands of Yazidis, it is novel in terms of the epic text. In terms of narrating epic episodes of the battle, this work does not have anything new to say. In the description of scenes, in the unnecessary cases, it does not turn to the expression. The poet is more skilled at narrating terrible scenes of what happened to children in the battle of Karbala and the way non-Muslims defended Imam Hossain’s rights, resulting in their faith in Imam and hatred of Yazid. The poet’s speech tone is influenced by Nezami’s liturgical poems when he composes liturgy; he is a follower of Saadi in his preaching. However, he is poor at keeping up with Ferdowsi in terms of epic tone. Words of advice and aphorisms at the end of anecdotes and terrible scenes of children in the Ashoura incident are strongly influenced by Ferdowsi's sayings. The moderation and coherence of the text  are also insignificant compared to Shahnameh’s.

Literary language and poetic aspects arise from deviating from the linguistic norms for artistic purposes. In the formalism theory, this is called "defamiliarization". One of the most important aspects of deviating from the norm of automatic language and defamiliarization is the semantic norm-breaking obtained by using imaginary forms and creating novel semantic relationships. The Indian style poetry pays special attention to defamiliarization and breaking the norms of automatic language in semantic domains; therefore, most of the poets of this period have focused on creativity in the field of new themes and images. Rashid Tabrizi, known as Rashid Abbasi, is one of the poets of the 11th century AH and the Indian style period. In his poems, he has used various methods of imaginary elements. Therefore, the study of semantic norm-breaking in Rashid Tabrizi's poetry shows an important dimension and stylistic aspect of his poetry. Among Rashid Tabrizi's works, the two Masnavis, Hosne Glousoz and Saqinameh, concerning the unity in form, subject, and content, as well as the quantity, which differ by only about ten percent, are suitable for analysis of semantic norm-breaking. The quantity of these two works provides sufficient data for frequency studies. In this article, using the  descriptive-analytical method, , semantic norm-breakings in the two mentioned Masnavis have been examined. In addition to a comparative study, this article aimed at identifying the outstanding features of Rashid Tabrizi's literary style in the field of semantic relations and imageries. Different types of semantic norm-breaking found in Rashid Tabrizi's poetry in this article are as follows: simile (compound simile, predicative simile, and allegorical simile), metaphor, personification, implicit metaphor, metaphor in the verb, synesthesia, paradoxical (paradoxical compounds, predicative paradoxes), exaggeration, kenning (paradoxical kenning, predicative kenning), and poetic scales. Also, in  this article, the images and similarities of Rashid Tabrizi's poetry are examined and his most frequent semantic networks are investigated Based on frequency studies, the simile is the most frequent method in semantic norm-breaking of Rashid Tabrizi's poetry seen in most of the verses of the studied Masnavi. Also, most similes are additional combinations, which are also mentioned in Hosne Glousoz and Saqiynameh. Many of these combinations are novel, and some are paradoxical. The new combinations in Rashid Tabrizi's semantic norm-breaking, except for simile, include metaphorical additions, paradoxical combinations, and ironic combinations. Also, in some cases, synesthesia is observed. Hence, after many uses of simile and metaphorical additions, the construction of additional or descriptive novel compositions is the most important feature of the poet's stylistics in the field of semantic norm-breaking. In the studied works, the explicit metaphor has no significant use; on the contrary, the implicit metaphor, personification and metaphor in the verb as a whole are frequent. Therefore, after the simile and new compositions, the most commonly used semantic norm-breaking constructs are types of virtual predicates (prediction of the verb to a virtual subject or virtual verb to a real subject). The use of these constructs has created movement and vitality in Rashid Abbasi's poetry. Also, the two dominant rhetorical features of the studied Masnavis related to their mystical themes are paradoxical and exaggeration. Paradoxical (contradiction) in the Masnavis in question is predominant in two ways: The mystical nature of these works: Because paradox is one of the characteristics of mystical texts and due to the paradoxical experiences of mystics, it is considered one of the main levels of mystical language. The creative and innovative aspect of these images: This is so because these images, like most synesthesia examples, are not fit into literary clichés. There are significantly more paradoxical images in Hosne Glousoz; but in Saqinameh a large part of the paradoxical combinations goes back to the paradox of mystical truths and unseen affairs, and it has phenomenological aspects. Although synesthesia and paradox are highly used in Hosne Glousoz, exaggeration has been used more in Saqiynameh. The reason for such high frequency is the mystical aspect of Saqiynameh and the abundance of images in it. Exaggeration is a feature of epic texts, and mystical texts have epic infrastructures. In the last section, we examined the high-frequency networks of Masnavi’s images. Images of plants, fiery and lighted things, pub images, water and sea images, and animals' images form frequent video networks in the text. Overall, the variety of networks in Rashid Tabrizi’s poetry highly shows his creative style in imagery. This study concludes that Rashid Tabrizi has used a significant variety of expressive and innovative constructions in a semantic norm-breaking way.

Understanding cultural and social factors plays an important role in our comprehension of cultural concepts. Among cultural concepts, allusion is examined in this study. The occurrence of allusions is more challenging than the semantic or syntactic difficulties of a text for translators. Translating allusions is considered a reader-centered process. 

Allusions are some of the cultural elements that require an understanding of the culture and language of the ST. Such adequate fluency is not possible for foreign language readers, so collecting these elements and making them available to the TL can greatly alleviate the difficulties of these verses, even helping translators.According to Hatim and Mason (1990), “translators should find TT equivalents for allusions of ST in such a manner that what has intentionally been covered is not explicitly explained, while the meaning of allusions is retrieved”. Comparing the original version with two English translations, the researcher tried to find the strategies selected by two translators to transmit religious allusions as well as their success in introducing implicit meanings. 

This research is supposed to provide answers to the following questions:Have the translators understood the implicit meaning of these stories?What strategies have they used to translate these allusive devices into English?How successful is the quality of the translated versions of this poem in terms of conveying the half-hidden meanings in religious allusions?  Theoretical framework After the model proposed by Leppihalme (1997) for translating allusions, another model was introduced by Gambier (2001). Gambier places culture-specific items and allusions in one category, and so his model is more general than Lippihalme's and can be used to translate cultural elements. 

According to Mona Baker (2009), in cultural translation, cultural elements and concepts such as dialect, allusion, customs, etc. are targeted, and the question that always arises is what the best-proposed solution is for translating cultural elements so that cultural differences can be properly understood. 

Overall, 60 allusions from among the Seven Beauties stories (Haft Peikar) and the strategies to translate them, based on Gambier’s theory (2001), were found. Then two English translations were examined and the equivalents of the desired phrases were identified. The selected solutions of translators and the frequency of each were obtained and placed in a table. 

The most frequent strategy selected by these two translators was "literal translation". Wilson, the first translator of this work, has translated this masterpiece in prose. But the second translation, which was done by Meisami, is a rhymed version. The second translation is considerably successful because the translator has added some explanation to make allusive meanings explicit. Due to using inadequate strategies, excess of literal translation, omission, and incorrect translation, the first translation is not considered to be a good version in English.

Today, the stylistic study of literary works based on linguistics has expanded. Paul Simpson is one of the contemporary theorists who has provided practical and methodological strategies in the field of stylistics. The "transitivity" is one of his precise and methodical models, which is based on Halliday's "functional grammar". Transitivity is a special grammatical tool used to visualize experience in language and include the three elements of the process, the participants, and the circumstances. Therefore, in the stylistic analysis of texts with the model of transitivity, the above linguistic elements are emphasized.Moreover, research in the field of Persian mystical literature has often been done on the internal structures such as conceptual content and intellectual areas of the authors and less attention has been paid to the external structure and linguistic levels of these works; while evaluating them with new criteria is very effective in further understanding this precious heritage.Tamhidat is one of the richest writings of Sufis in expressing the principles of the path and mystical secrets and the result of personal experiences of Ein al-Qozat Hamedani, which has been conceptually analyzed and interpreted many times but has been less evaluated in terms of external and linguistic structures. The present study, using Paul Simpson's "transitivity" analysis model, analyzes the text and evaluates the components of that model, including phrases and verbal groups, nominal groups, circumstances (adverbial group and Preposition groups) and has dealt with all the frequent elements that have given this work a stylistic specificity in various forms.According to the results of the research, Ein al-Qozat, depending on the subject, has quoted 493 Quranic verses and 98 narrations of the Prophet. In addition, he has quoted in his work the words of 8 other prophets, the four caliphs, and 46 great men of religion and Sufism in his work. Apart from ideological sources, Ein al-Qozat has used 267 verses of Persian poetry and 11 verses of Arabic poetry in his book to emphasize various topics. For this study, some parts of Tamhidat have been selected that show the thought and art of Ein al-Qozat. A stylistic study of the transitivity in Tamhidat suggests that Ein al-Qozat, through the intellectual or experimental function of language, has used mental actions and processes (relations of the outside and inside world) in the service of the educational and doctrinal content of his work. He also used the interpersonal function more than any other type of language function in which language regulates the relationships between participants through indication, command, and interrogation in the form of verbal actions. Therefore, in Tamhidat in general, the use of relational and verbal processes is much more than other types. Material, behavioral, existential, and to some extent mental processes have not received much attention from Hamedani and are much less present in the Tamhidat.The relational processes of Tamhidat (how a phenomenon or a situation is reported) are expressed in the form of indicative sentences, which make up about 89%  of the total sentences and are used to report and teach. This feature introduces the Tamhidat as a news and reporting work. In the verbal process, which has the second place of application, some examples of stylistic features have been found:1-Using different types of “vocative sentence" and especially the call "O friend!" and "Dear!" with high frequency. This feature indicates the sincere communication of  Hamedani with the audience. 2- The use of "verbs" with first and secondary meanings, especially the specific use of "be" which is not used in the true sense of "being", but evangelism and in a way encouraging to be patient and carries a kind of definite prediction.3- Using "interrogative propositions" with secondary purposes such as denial questioning, denial of the subject, bowing and glorifying the subject, a small number of the audience and even blaming the audience.These characteristics show that the Ein al-Qozat has recognized and used different ways and methods of dialogue. Although the mental process is not used in high-frequency, the specific use of "sounds", especially with the implications of "sorry!", is a stylistic aspect. Ein al-Qozat has used it 177 times in various states, such as the inability to be puzzled, the intensity of the onslaught of meanings in his mind, pettiness, and regret. This feature shows the author's extreme pain (consciously).The high use of superhuman contributors and spiritual worlds introduces the Tamhidat as a spiritual book; on the other hand, the high frequency of employing human participants, as well as the high rate of use of emotions, positive and negative human actions make this book dedicated to human beings and the human world. Therefore, according to the research data, it can be said that the Tamhidat of Hamedani is a work in which the man has been depicted in a spiritual world.

Literary critics have different views about personification as a literary device. Some have considered personification as a sub-branch of the makniye (implicit) metaphor, defining it as attributing human traits and emotions to objects, natural phenomena, and concepts. That is to say, using imagination, the poet describes those things as human beings. In this definition, the mind and imaginative power of the poet in exploring the similarities of those objects and personifying them are of great importance.Some have regarded it as a category of ontological metaphors and imaginal deviation, in which the poet conceives identification of two independent and separate things and thereby ascribes human activities, emotions, and thoughts to them. In fact, through personification, various entities, having never been compared up to now, are juxtaposed to cause artistic effects.Other critics believe in the principle of animism and suggestive appearance. They maintain that there are two mental approaches to animism: the "mythological" approach and the "psychological" approach. In the mythological approach, animism is a part of mythology. That is, having childlike fanciful mental activities, primitive simple-minded man believes everything in nature has a living soul or soulmate. Psychologically speaking, animism is a kind of return to childhood.  The child's view of the world as an animate thing is one of the fundamental questions in psychology which was set forth both in Piaget’s theory of animism and Werner’s theory of physiognomic perception.Accordingly, some modern semiologists like Derrida, Levi Strauss, and Lacan believe that trope, metaphor (personification), majaz-e morsal (synecdoche), and irony belong to the realm of semiotics. They maintain that rhetorical techniques are not merely ornamental materials of style but they are, in the general sense of the word, structural components of discourse. In other words, treating metaphor as a meaning-generating factor, without reference to intertextual relations and structural layers of the text is impossible. What is important in the latter definition is that metaphor is a literary device whose meaning depends on the context in which it is utilized. To put it simply, a separate combination of words may be perceived as a makniye (implicit) metaphor, whereas it could be something quite different in the context. The same is true of personification.According to what is said and based on literary animism and suggestive appearance (third view), context, and structural layers of the text (fourth view), the writer believes that objects and phenomena, like humans, are animate and have their own feelings and emotions. This idea has been widely reflected in the Qur’an, hadiths, and literary works. On the other hand, context and structural layers of the text are good criteria that play an important role in recognizing personification. More precisely, it is from context and overall intertextual relations of the text that one can differentiate between personification and other similar literary devices.

The literary return movement, which began in response to the decline of the Indian style in Isfahan and spread throughout Iran, did not affect Afghan literature, and Afghan poets continued to compose poems in the Indian and Bidel Dehlavi’s style. At the time of the Indian style domination of Afghan poetry, Vasel Kaboli (1244-1309 AH) was one of the few poets who also paid attention to the poetry of poets before the Indian style. Also, composing poems, he was influenced by Khorasani, Azerbaijani, Iraqi and other previous poets in both form and content. The influence has been more noticeable in the form, especially in terms of meter, rhyme, and radif. The present research is an intertextual analysis of statistical data by the use of descriptive-analytical methods to examine the influence of Vasel Kaboli by the poets before him; a literary tradition that is called “esteqbal”.The findings of this study show that Vasel Kaboli, occasionally has been influenced by a wide range of poets before him. He has systematically imitated Hafez. About 50% of Kaboli’s poems, in the available version of his Divan, have been composed in esteqbal of Hafez Shirazi. There are a total of 62 lyric poems, 33 elegies, 3 odes, 2 Masnavis, and 5 fragments in his Divan. Among those poems, 32 ghazals (of which the subject of 5 pieces is elegy) and one ode are written in esteqbal of Hafez. After Hafez, Vasel Kaboli has paid the most attention to Rumi's ghazals and  made the esteqbal of 6 ghazala of Divan Shams Tabrizi. After Molavi’s poetry, Biddle Dehlavi's poems have been considered by Vasel Kaboli. A statistical look at the esteqbal in the Vasel’s Divan shows that 42% of the rhyming words in the sonnets are exactly of Hafez and about 58% of the rhyming words in the poems in question belong to Kaboli. Considering the role of rhyme in thematic composition, this indicates the greater variety of themes in the poem submitted by Kaboli. Another noteworthy point is that Vasel has sometimes written two poems in response to a poem, examples of which can be seen in esteqbal of Rumi, Hafez, and Qodsi Mashhadi. More interestingly, he has sometimes made an esteqbal of a poet through another poet; like the examples seen about the poems of Rumi and Amir Khosrow Dehlavi. In conclusion, the influence of Hafez and other mentioned poets on Kaboli is not limited to the weight and rhyme but as discussed in the analysis of the esteqbal of Hafez's first sonnet, it includes different formal (including music, language, imaginary, …), and semantic areas.

Semiotics is the science of studying the signs found in society. Historically, semiotics has been associated with constructivism. Michael Riffaterre is one of the pioneering theorists who introduced and promoted structuralism in the field of literary studies in the 1960s. Like other theorists, he believes that one should choose a method derived from literature itself to understand literary works. He does not consider the poetic role to be an emphasis on the message element; rather, it seeks to convey this emphasis to the recipient. Riffaterre believes that some poems have two types of readings: "received reading and non-dynamic reading". As such, he tries to discover ways to achieve this inner reading. According to him, every poem is formed around a core or a central semantic idea - origin or matrix - which is never explicitly mentioned in the text. In Riffaterre’s theory, the text is transformed into poetry by the three principles of over-determination, transformation, and expansion through poetry with minimal mappings.
Minimalism refers to commonly used clichéd propositions or words that evoke conventional meanings in the reader's mind. Over-determination means that the reference of signifiers in poetry is elements within the same poem. It is created with the help of an over-determination of meaning in poetry and seeks to prove that there is a deeper semantic structure behind the superficial appearance of poetry. During the "transformation" a new change is achieved through the meaning of the stereotype phrases and the field of meaning expands. The "expansion" rule also allows the poet to break down the origins of the poem into smaller elements and then improve each of those elements separately.

The story of "Khalife and A’rabi” in the first book of the Masnavi Manavi consists of 690 verses and its source is a narration that Sheikh Farid al-Din Attar Neyshabouri has written in 35 verses in the Mosibat-Nameh. In the first reading of both anecdotes, it seems that the signs mentioned in the poem have real-world meanings. According to this reading, the allegory of the Khalife and the A’rabi in both anecdotes describes the poverty and helplessness of the A’rabi and the generosity of the Khalife. But in the retrospective reading of this anecdote, the reader goes beyond the level of meaning and discovers hidden meanings, and finally reveals the matrix of poetry, which is "the knowledge and obedience of a few human beings" and the basic proposition of poetry both in the Masnavi and in the Mosibat-Nameh.  There are two chains of words, each of which is connected by sharing a semantic element. In the allegory of the Khalife and the Arabs, two concepts can be achieved with the two meanings of "poverty" and "generosity". The concept of "poverty" refers to human limited knowledge while the concept of "generosity" refers to the infinite knowledge of the truth. However, due to the simple plot of the story, the presence of words in the vocabulary chain is less than in Masnavi.By comparing the words accumulated in the chain of "poverty", it is possible to get the majority of Masnavi’s words around the concept of "poverty and need" while the selected words of Attar are around the axis of "famine". Rumi uses consciously these words which make the issue of poverty more tangible. The descriptive system in Masnavi has one more character than the Mosibat-Nameh, and that character is the "A’rabi’s  wife". Rumi has increased the number of characters by using the presence of women. In addition to making the story more attractive and creating new content, he has been able to advance the story according to his own wishes, expand the plot of the story and bring order and unity to the narrative.In the "overdetermination" section, the signs of Khalife and A’rabi poetry refer not to the meanings outside the text of the poem but to other signs of the poem. This creates a closed system of specific signs. For example, an A’rabi is not a person who has never drunk fresh water, but a servant with little knowledge and captive of his little intelligence. Similarly, Khalife is not a holy king, who, according to the Arabs, accepts the “hot dirty water” from him but he is a Lord who accepts the little obedience of his servant in order to connect the servant’s little knowledge to his infinite knowledge. Other signs of poetry such as A’rabi’s wife, ewer, hot dirty water, Baghdad, Dejle and the Khalife's companions also refer to other signs in the closed system as a result of over-determination, not to their conventional meanings.The expansion rule enables the poet to break down the central idea of ​​the poem into smaller elements and then improve each of those elements separately. In the above-mentioned anecdote, using this rule, the contrast created between the two concepts of famine and insignificant A’rabi’s gift and the Khalife's generosity can be divided into smaller or more specific parts, and then each part can be drawn as a separate image. . The main images of this poem in Masnavi are divided into three types: 1) "A’rabi’s poverty and misery" (paragraph 1); 2) the worthless gift of the A’rabi (paragraph 2); and 3) honor and generosity of Ma’mun (paragraph 3). In Mosibat-Nameh, these images are divided into three paragraphs: 1) the struggle of an A’rabi woman with poverty; 2) description of the A’rabi’s gift; and 3) the arrival of the A’rabi to the court of Khalife.

Animation is one of the most popular cinematic genres for people of different age, intellectual and cultural levels. Adaptation of literary texts is, also, one of the flourishing areas for making these works, which in line with its global flow, in Iran, considering the rich and great Persian literature, has the capacity to be given more attention. With this approach, mystical works, and especially Attar's poems, are one of the desirable contexts/areas for adaptation. In the Indian Sarpatak in Elahi Name and similar examples, this type of work is suitable for making adaptive animation, providing the ground for its dramatic exploitation, emphasizing capacities such as the story, and theme, which are standard and expandable, different  kinds of storytelling techniques, the presence of lovely characters and the possibility of of expansion with a focus on description and dialogue. In addition, the text and the use of crisis points and peaks, action-oriented and suspenseful conflicts, and, finally, the ability to create different kinds of interesting scenes and situations suitable for animation space could be some potentials in this respect... Such anecdotes and similar examples in the mystical works of classical Persian literature can be considered as suitable frameworks for making adaptive animation.

Aliname and Khavaranname are prominent examples of religious epics of the fifth and ninth centuries in Persian literature related todescription of the wars under the command of Imam Ali (as). Epic elements are formed according to the content and theme of the stories, and the structure is drawn according to the theme procession. Comparative analysis of modern epic elements in ancient epics is the main topic of this article. In these two poetrypoetries, the main elements of the epic include the story format, heroism, time, place, elements and extraordinary forces. Aliname and Khavaranname are among the Iranian epic works after Shahnameh in terms of literary status. These two epics have common foundations and structural-epic features. The events of both epics are temporally proportional. The epic of Aliname is more about describing Imam Ali (AS) in the battles of Jamal, Seffin and Nahrawanwhile Khavaranname is mainly concerned with the description of Imam Ali's travels and expressions of bravery in land of Khavaran, accompanied by Malik Ashtar, Abolmohjan And Amr Umayyah and other elders of his army and the war with Ghobad, the king of the East and other pagan rulers such asTahmas king, Salsal King and the war with the demon, the dragon and the like. The research method is descriptive-analytical. The results of this study indicate that although the two epics are very similar in appearance and epic elements, the theme and form of the epic elements in the stories are different. Although these two books are strong in the field of habit and fiction, the popularity and absence of the heroes of these two poems from high moral qualities have caused the general public to consider the main hero of the story as an example and manifestation of their ideal and epic man. Irrespective of the religious dimensions of Aliname and Khavaranname, in terms of epic aspects, the heroism feature is reflected with the presence of Imam Ali (AS) and other religious figures and heroes of the Islamic Revolutionary Guard Corps. In these two religious epics, there are many wars between Muslims and infidels for religious reasons, and in the end, the Muslims win. In describing Karzar Square, these two religious epics are very similar to Ferdowsi's Shahnameh which share exaggeration and forms of imagination with an active manifestation. “Rabi' and Ibn Hussam” imitation of Ferdowsi's expression is quite obvious. In the study of Aliname and Khavaranname, from the narrative point of view, we came to the conclusion that Ibn Hassam and Rabi' used more direct methods in characterization. In other wordsm, bydescribing the characters of the story and by showing Imam Ali as a hero, they made him a "brigade" that seems to be far-fetched and extraordinary in the audience's opinion. Many of the stories in these two epics are strong in terms of plot. The plot of Khavaranname is about the events that are related to the elements of supernatural things or acts that make the story weak and unbelievable. In the field of extraordinariness, with the presence of bold elements such as demons, dragons, magic, as well as the high frequency of objects and strange places in this epic, it can be called the most imaginative epic poetry in Iran. This is despite the fact that extraordinary elements such as dragons and demons are not seen in the poetry of Aliname. In terms of heroism, the goodwill and intimacy of the heroes of these two epics and the absence of high moral qualities have led people to consider the main protagonist as an example and manifestation of their ideal and epic man. In general, Khavaranname is less cohesive in structure than Aliname.