فصلنامه شعر پژوهی (بوستان ادب)
سال سیزدهم شماره 3 (پیاپی 49، پاییز 1400)

Sublime and subtile examples of Persian poetry such as Sa’di's fluent poems  or even Hafez's poetry, despite its complexities of the structure and hidden meanings, are usually pleasant, beautiful and completely understandable. In general the desire to discover the secret of this charm and greatness of the works of such classical authors in the East and the West has always aroused the curiosity of the researchers of language and the literary critics in the world.  They have studied this problem of poetry, since ancient times till today from various perspectives such as literary schools, rhetoric or literary theory hoping to discover perhaps the most fundamental secrets of the glory of poetic discourse.Although Saadi and Hafez have their own poetics, Hafez's, resemblance and closeness to  Sa’di is so obvious that sometimes  they have been studied together in numerous studies. 

  The literary researchers, in their poetic studies have always tried to discover the most exact points about the form and meaning in poetry with a meticulousness regard in the subtleties of poetic language. They have tried then to name, analyze and classify these unknown mysteries of its magic. At last, they have recorded the collection of their knowledge in the branches of literary knowledge and theories. Based on these foundations we have tried to find and explain some incidents of imperceptible artistic devices in the poetry of Sa’di and Hafez, analyzed from a functionalistic view.Although the most important principle of the literary and artistic view in this article is to rely on the role and function that plays the elements and techniques in achieving the main goal of the work of art. Just as in the art of painting that all the elements of design, drawing, coloring glazing and lighting must serve the ultimate goal and the main purpose of the final oeuvre, the same principle is valid in poetry. From this point of view, the most fundamental neglect in the rhetorical and literary analysis of poetry is when the mere existence of poetic forms and literary figurers of speech is considered valuable and beautiful. In addition to it the lavish and bountiful terms to naming these artistic devices create a delusion.Another important principle is remembering that   the brilliance of the artistic function of the literary devices has different degrees in different poems, but in certain cases, with a seemingly simple linguistic device, it is possible to writing the miraculous associations in the poem, which creates colorful and wonderful auras of meaning around a verse.  Review of literatureUndoubtedly, the source of the ideas presented in this article, inspired and benefiting from the literary and linguistic teachings, is due to respected pioneers and promoters of literary and linguistic research in the world and Iran, and also the writers of a great number of books and articles written about the poetry of Sa’di and Hafez. They have been the source of inspiration for this article in general. The collection of this vast background, both in the field of literary theory, linguistics, and practical research, especially in the field of poetry of Sa’di and Hafez, is so extensive that it is not possible to mention even the names of a small part of them in this short space. However, none of examples of Sa’di and Hafez's poetry and their specific functionalist analysis in the present article are taken from the writings of others, because all of them are the result of the gradual achievement of the author's years of teaching and research. 

In the present paper after explaining the generalities and theoretical principles, the following questions are discussed in detail:The method of functionalist analysis of new artistic arrangements in the poetry of Sa’di and HafezAn example of functionalist analysis of the literary industry in Hafez's poetryThe necessity of searching and analyzing the hidden and invisible artistic devices in poetryAn example of invisible artistic devices in Sa’di’s poetryAn example of invisible artistic devices in Hafez's poetryCodification of theoretical foundations of artistic functionalist analysis in poetryComplete functionalist analysis of a short work in Sa’di’s poetryAs can be seen in the above titles, first the purpose of functionalist analysis method to find invisible arrangements in the poetry of these two poets of Shiraz is explained and then some examples of them are provided. After that, the importance and necessity of this task in terms of better understanding the poetry of Sa’di and Hafez has been discussed. Then based on these topics and their poetical examples, an attempt has been made to formulate the theoretical foundations of functionalist artistic analysis. Finally as an actual example, a short poem by Sa’di has been analyzed according to these principles and general principles in order to show in practice the value and efficiency of this new method in poetry analysis.

Nowadays this idea is spreading that by using a new perspective and having a deeper understanding of the oeuvres and the ideas of ancient poets, it is possible to reveal the secrets and mysteries of pleasant and beautiful poems such as the works of Sa’di and Hafez. Theoretical discussions and practical analysis of examples presented in the present paper show that merely raising this issue is not enough to achieve tangible results and objective achievements. Achieving such a goal requires a coherent theory and the clear formulation of principles and a methodical way of studying the poems.It seems that the introductory plan based on theoretical foundations and practical examples presented in this article can potentially be applied to the poetry and even prose of other great figures of Persian literature, especially if each poet's special needs and occasions are considered.   

One of the salient features of Saadi's lyric poems is the abundance of words, compositions and images that describe violence and the battlefield. These words are usually used when portraying a lover or expressing a love state. Considerable use of words related to the battlefield and describing a violent, bloodthirsty, archer and warrior lover is an undeniable characteristic of Saadi's lyric poems and more or less classical Persian love poems as a whole. The abundance of such words and combinations related to war, including battlefield tools, description of the battlefield and poetic images and descriptions of such words and combinations in Saadi's love sonnets, deserves to be studied, pondered and analyzed from the viewpoint of various approaches. In the present paper, in an attempt to find the motives behind this, various fields of humanities including history, mythology and psychology have been used and the reasons suggested by the authors have been presented based on poetic evidence and the findings of other researchers of the field.

The present study is a qualitative library research. The researchers first extracted the data from the text of Saadi's lyric poems and then analyzed them using other sources. The purpose of this study is to determine the number of words, interpretations and images related to the battle in Saadi's lyric poems and determining what could be the reason for the frequent use of such words and interpretations and images. To date, no similar research has been conducted on the reasons for the abundance of war words in the structure of Saadi's love lyric. The closest research to the present paper is the paper of Dr. Hassan Zolfaghari entitled "Warrior Lovers in Love Poems and Folk Myths", which appeared in the bi-quarterly journal of "Persian Language and Literature." Excerpts from the book "History of the Body in Literature" authored by Seyyed Mehdi Zarghani et al. (2016) can further be considered close to the subject of the present study; However, in neither of these two researches, Saadi's lyric poems are not the main subject discussed. In the section on mythological backgrounds of this research, the paper "A hypothesis on the similarities between Anahita and the beloved of Iranian poets" written by Dr. Alireza Mozaffari, which appeared in the "Journal of the Faculty of Literature and Humanities of Mashhad" in 1995, is preferable; However, again in this paper, Saadi's lyric poems are not the main subject of the research.

Statistical scanning of this study indicates that in 637 of Saadi's sonnets, all words and combinations related to war number 1014 cases, of which the most repeated is the  source verb of "killing/murder", which along with its grammatical derivatives and synonyms is used 152 times as a whole; Images such as "killed by the sword", "killed by crossing", "killed by an arrow", "killed by a razor", and "coming to kill" are also included in the statistical data of this group. The next most frequent word is "blood" and its derivatives and illustrative compounds, which with 3 repetitions, is the most frequent word in Saadi's sonnets. The word "enemy" and its compounds, with 125 repetitions, has the third place, and the word "arrow" and its compounds, in addition to "lasso" and its compounds with 88 repetitions, occupy the fourth place. "Sword" and its compounds with 58, "Blade" and its compounds with 57, "bow" and its compounds with 49, "captive" and its compounds with 43, "shield" and its compounds with 38, "looting" and its compounds with 37, "injury" and its compounds with 32, "war" and its compounds with 31, "army and its compounds with 18, "chain" with 12, "arrow" and its compounds with 11, "navak" (a kind of arrow) and its compounds with 9, "khadang" (a kind of arrow) with 7, "armor" and its compounds with 6,  “joshan" (a kind of armor) with 5, "peeling" with 3, "weapon" and its compounds with 3, "dagger" with 2 "spear", "caparison" and "catapult" with 1 appearances are found in Saadi's lyric poems. To find the original motives behind the abundance of words and images related to war in Saadi's sonnets, the following items were examined: 1- Mythical backgrounds (the continuation of the old model of the goddess of love and war in poetry); 2- Manifestation of the political situation during the poet's life and his poetry, including the Mongol invasion and the Crusades; 3- The prevalence of pederasty in Saadi's time and the entry of the element of Turkish slaves into the social and literary contexts; 4-Association of meanings and symmetry, especially the two principles of "proximity" and "contradiction". The proximity of "sword", "razor", "arrow", "bow" and "shield" and the contradiction of "peace" with "war", "friend" and "enemy" are among the most frequent patterns of association of meanings in Saadi's sonnets.

In all Saadi's 637 sonnets, 1014 types of words and combinations related to the battlefield have been detected. Among these words, the source verb "killing" and its compounds have the most repetition. After that, comes “blood" and its derivatives. The words "enemy", "arrow", "bow", "sword", "razor", "arch", "captive", "shield", "plunder", "wound", "war", "army " ,"Chain ", "arrow ",  "navak"," khadang","armor","joshan","Peeling"," Weapon", "Dagger", "spear", "caparison" "catapult"  come in the next places. The main subject of this research is to investigate the reasons for the frequent presence of war words and images in Saadi's sonnet. In general, the reasons for the abundance of words related to war in Saadi's lyric poems can be presented as follows: A factor that has provided the ground for this fact is the existence of the goddesses of "love" and "war" in the myths of Mesopotamia, Iran, Greece and Rome, many years before the beginning of history. Furthermore, the pattern of the "warrior lover" is linked to the theme of pederasty and the presence of Turkish slaves in the cultural sphere and poetic atmosphere of Iran, especially in the centuries before Saadi and his contemporaries. Also, the political situation of the poet's time, and in particular the devastating attacks of the Mongols, has made the mental and poetic atmosphere of the country warlike. Finally, the two principles of "proximity" and "contradiction" in the association of meanings are also the reasons for the frequent presence of war words in Saadi's love sonnets.

Despite it is said that the antiquity of Logos dates back to Ancient Greek Civilization, it seems that the term is much older than that of Ancient Greek Civilization, perhaps as old as the presence of human beings on    Earth. According to western intellectuals, the discussion of Logos has seriously begun since the beginning of Greek civilization. The term "Logos" meaning logic or reason, and prior to the serious emergence of philosophy, it used to be utilized with other words such as “Mythos” meaning "belief" and "sensory perception". With the emergence of philosophy in Greece. the term "Logos" gradually began to differ from the word Mythos, and each of the two terms became a special school representative of thoughts and started to struggle with each other, in a way that, according to the scholars of philosophy, the whole history of philosophy can be considered as the conflict between Mythos and Logos in a way that, in the end, by drawing a distinction between that terms, the degree of rationality has been highlighted in Logos, thus, it dominated Mythos. In this way, as it turns out to be, the "word" in the Islamic tradition is also tied to the issue of creation, and in fact, is the cause the emergence of beings. The existence of such perception of the word “Logos” in the Islamic tradition embraces various areas such as philosophy, mysticism, theology, so forth. Similarly, Logos, as the concept of language, word, speech, etc. can be studied first in the Qur'an and then in the tradition of Iranian-Islamic mysticism.

background and Purpose of the studyNo single investigation has specifically been conducted regarding the topic of the current study. Nevertheless, the finding of studies that are indirectly related to the current study are pointed out here. These include the book "Mysticism and Thought" by Omid Hamedani, and some articles entitled "Language in the Language of Rumi" by Mohammad Taghavi, "The Theological Functions of Silence in the Works of Rumi" by Qasem Kakai and Ashkan Bahrani, "Ambiguity and Duality Language in Rumi's Masnavi" by Ali Badami and "The Nature of Language and Its Limitations in Rumi's Theory" by Ghodratollah Taheri. Among them is the book "Mysticism and Thought" by Omid Hamedani, articles entitled "Language in the language of Rumi" by Mohammad Taghavi, "The Theological Functions of Silence in Rumi's Works" by Qasem Kakai and Ashkan Bahrani, "Ambiguity and Duality of Language in Rumi's Masnavi" by Ali Badami and "The Nature of Language and Its Limitations in Rumi's Theory" by Ghodratollah Taheri. However, what distinguishes the present study from the other studies mentioned above is the analysis of different areas of language (logos) in Rumi's mystical system reflecting on Heidegger's ontological views. Still, among the research carried out, in most cases, the openness and the concealment feature of the language (logos) in Rumi's poems and works, particularly based on the text of his poems either without a theoretical approach, or with a combined theoretical approach, including the Philosophy of Language, Linguistics, etc. have been briefly noted. A descriptive-analytical method, along with library resources has been applied for the purpose of this research. In the present study, the researcher aims to have a new design, classification and analysis of Logos in Mathnawi and Ghazals by Shams from Heidegger's ontological perspective on the concept of Logos and its descriptions.

In the discussion of the book “Being and Time’ Heidegger finds it necessary to examine the concept of Logos and to etymologize the Greek word ’Logos’ in order to clarify the concept of phenomenology as the knowledge of phenomena. He refers to Greek language to find out about the origin of the word ‘Logos’ so that he can gain a deeper understanding of the word “Logos”. Heidegger's attempt to understand the term Logos by means of etymology can also be considered a historical study that is not unlike the philosophical function of the term "restoration". Heidegger's insistence on the historical study of the Logos is due to the fact that there is little evidence to guide the true meaning of the Logos, and it is clear that the Logos cannot be studied on the basis of contemporary components, and therefore, history must be referred to. He seeks out his answer though the analysis of Heraclitus’ works and scrutinizing his fiftieth part of the treatise. Eventually, he ascribed some features to Logos and makes its nature even clearer: Logos as "discourse"; Logos as Being-true or Being-false (either uncoveredness or concealment); and Logos as a reflector. All Heidegger mentioned about the Logos and its characteristics can also be seen in Rumi's poems, including Masnawi and lyric poems:Paradoxical aspect of uncoveredness or concealment of language (Logos) in Shams’ Masnavi and Ghazals (lyric poems)The dominance of covering aspect over openness in Shams’s Masnavi and GhazalsThe language (Logos) is like a covering dust in Shams’s Masnavi and Ghazals ShamsThe language (Logos) as cover upThe language (Logos) as an immature and imperfect phenomenon .

When Heidegger speaks of Logos in “Being and Time” and conducts a phenomenological study of this phenomenon, in fact, he tries to explain a connection between Logos and reality. As defining phenomenology, Heidegger first describe Logos as uncoveredness, and during the etymology of the term, he referred to its connection with the Greek Aaletheia. But then, he finds it like an overlapping phenomenon and considers apophatic function of speech as the main reason for occurring the overlap, as the most basic and lowest level of language function. In accordance with the world of mysticism, Rumi also uses language or Logos in various places in his poems with regard to what he notes as reality, examines language or logos and pays attention to its strengths and weaknesses.  Rumi expresses the openness and obscurity of the logos (language) in the representation of what he considers as “truth”, and eventually, like Heidegger, he states that the language (Logos), at its lowest level, is more leading in covering up than it is in revealing. In the end, through the obscurity aspect of Logos, Rumi indicates that Logos is an immature and imperfect phenomenon. Through his poems, he also acknowledges that language is an obstacle and a veil to perceive what in the world of conduct is called truth.  

One of the ways to know the depth and richness of Hafiz's sonnets can be the use of new theories; therefore, in the present article, Hafiz's collection of humorous and auto-biography sonnets has been studied and analyzed using the theory of "Halliday's systematic functional linguistics", which is widely used in the analysis of spoken, written, literary and stylistic texts. In examining and analyzing the stylistics of literary texts, this theory seeks to examine the common values ​​between the audience and the producer of the text (spoken or written), analyze the linguistic interactions between the speaker's abstract presence and the audience, and how to affirm or reject, passion and excitement, evaluate the praise and criticism, and also the style and method used to influence the audience, and evaluate the communication norms in the text. “Halliday's Theory of Systematic Linguistics is functional, because it is based on meaning, and is grammatical because it gives a semantic interpretation of linguistic forms, and is ultimately systematic because it is an intertwined network of semantic and grammatical choices.”(Majidi, 1390: 186). Linguistics, On the other hand, this linguistic theory is a semantic based through which Holliday seeks to explore specific meanings using general words and meanings through grammar, and to identify language tricks.

In this study, (8) humorous sonnets and (16) auto-biography sonnets have been analyzed in three levels of Appreciation, Judgment and Affect based on the theory of evaluation, which is one of the three systems that make up the interpersonal role. The main measurement tool in this study is frequency. After reviewing the mentioned sonnets in the three mentioned levels and collecting the necessary data, the data related to each subject were described and used in their place, and finally, the obtained frequencies in each section were analyzed and interpreted. The humorous and auto-biography sonnets have been selected based on thematic classification in the article "A new look at Hafiz's sonnet style and thematic classification of sonnets". On the other hand, there are various works related to Holliday's theory of linguistics that have been used as literature in this paper; Books such as "Language, Texture, and Text, Aspects of Language in the Socio-Semiotic Perspective" and "Towards Poetry Linguistics", and research articles such as, “A Study of Objective Noun Phrase in Persian from the Perspective of Halliday's Functional Grammar”, “Application of Function-oriented Teachings in the Analysis of Literary Texts”, "Stylistics of Hafiz's Sonnets based on the verb: Function-oriented Approach", "Analysis of Coherence and Cohesion in a Sonnet of Hafiz in Function-oriented Approach" and some more. The purpose of this study is to achieve the degree of conformity of the traits used in Hafiz’s humorous and auto-biography sonnets according to the microsystem of “Attitude” from the theory of evaluation and its relationship with the subject of sonnets.

The humorous and auto-biography sonnets are close in subject matter with reference to social, political, moral and intellectual issues; that's why these two poetic topics have been selected for study and analysis. Since the number of auto-biography ones is currently twice the number of humorous ones, this issue makes the study and analysis of the present study more accurate. According to evaluation theory, the adjectives in these sonnets are studied in terms of attitude microstructure in three areas of appreciation, judgment and affect. In each of these areas, adjectives are sometimes used in a descriptive role and sometimes as a noun-substitute in other grammatical parts of speech. Appreciation is a system by which phenomena and processes are measured and encompasses values ​​that, under a general aesthetic group or a non-aesthetic group, give rise to social valuation; while judgment evaluates human behavior. At this level, the evaluation of human behavior is done with reference to a set of moral norms. Affect is the mental process of reactions and the characteristics of phenomena with respect to emotions. With regard to the above definitions, the three domains of appreciation, judgment and affect, measure and judge the quality or behavioral or physical characteristics of phenomena and human beings, and these cases are consistent with the concept of expressive adjective in Persian grammar; Therefore, in this research, words such as expressive adjectives have been studied and, of course, sometimes expressive adjectives replace nouns. In Hafiz's humorous sonnets, there are a total of 123 adjectives that can be studied in evaluation theory, of which 40 words are in descriptive role and 83 adjective replace nouns in the role of subject, complement, object, predicate, adverb, adverb and quasi-sentence; In addition, out of 40 descriptive words, 26 words are in the field of appreciation and 14 words are in the field of judgment. In the sonnets, of the total of 275 words studied, 89 cases are in the role of adjectives, of which 60 cases are in the category of appreciation and 28 cases are in the category of judgment and 1 case is in the category of affect. On the other hand, 186 words have been used as noun substitutes in verses, of which 90 are in the category of appreciation, 90 are in the category of judgment and 6 are in the category of affect.

Considering the number of auto-biography sonnets (16), which is twice the number of humorous sonnets (8), the number of words studied in the auto-biography sonnet (275) is about twice as many as the number of these words in humorous sonnets (123); This means that in both cases, the use of expressive adjectives has been the same. In both types of sonnets, the adjectives substituting for the nouns are more commonly used as poetic adjectives, and this increases the magnification, effectiveness and rhetoric of the poem. Considering the frequency of application of adjectives in the fields of appreciation, judgment and affect in both types of humorous and auto-biography sonnets, it is found that Hafiz's emphasis is on the use of adjectives that evaluate outward features. The difference between the two types of sonnets is in the frequency of application of noun substitution adjectives in the field of judgment. In auto-biography sonnets, however, the adjectives substitute for the noun in the field of judgment and appreciation are equal; in humorous sonnets, on the other hand, the field of judgment has been used four times. Using the interpersonal role in Halliday's theory, it can be seen that Hafiz, considering the subject of the sonnet, chose the words and was able to draw the atmosphere of the sonnet and have the greatest impact on the audience.

The religious epics are historical epics that narrate on literary levels the lives of religious leaders, rituals and events, and the conflicts between religions. Islam and Shiism provide valuable sources of inspiration for Persian poets in writing religious epics. A great number of these works deal with the past wars that, since the advent of Islam, have been associated with the confrontation between Right and Wrong, and have been intended to demonstrate Islamic values and moral norms. The Shiite epics are mostly centered around Imam Ali and Imam Hussein.These epics are known as Alinameh and Hosseiniehnameh, respectively. Among the most valuable and magnificent religious epic poems, we mention Delgoshanameh by Arjmand Kashmiri, dealing with the Mukhtar Uprising, which has not been analyzed, corrected, studied and recognized thoroughly yet. According to some sources, this work is credited to Azad Belgrami, but after examining the earlier and later sources, the attribution is found to be incorrect, and the work belongs to Arjmand Kashmiri. Delgoshanameh recounts Mukhtar's story in a precise and detailed manner. 

The authors of this research looked at the textual aspects of Delgoshanameh, which is one of the lesser-known works in this field. There are various points to be observed in attributing the work to two poets (Azad Kashmiri and Azad Belgrami), secondly, the poet's condition should be examined as thoroughly as possible, and thirdly, concerning the work and its extant versions, the text's content and linguistic features, as well as its most important aesthetic features, should be scrutinized and analyzed. The current study was conducted using the bibliographic approach and was based on qualitative content analysis and description. The literature review can be summarized as follows:Aidenloo (2007) quoted a verse from Azad Kashmiri on Zulfiqar in his article “Zulfiqar, from history to myth (narrative characteristics of Zulfiqar in Iranian culture and literature)”. While introducing poetry books of Persian Mokhtarnamehs ( Poetry that chronicles the story of Mukhtar's uprising is sometimes published under the general title “Mukhtarname”), Qaffari (2019) mentioned Delgoshanameh and briefly debated the accuracy of attributing the work to Azad in his piece "A Look at Mukhtarnamehs”. Abdollahi (2011) briefly referred to Delgoshanameh in the articles “Supplementary version of Heydari’s attack or a single work” (2011) and “Introduction of epopee of battles”(2012). 

Mirza Arjmand Mohammad Khalaf Abu al-Qasim ibn Abd al-Ghani Beyg Azad Kashmiri (1722 AD) was the son of "Qabul" Kashmiri who taught him the fundamentals of science and literature. In memoirs and books on literary history, little is known about him. His Iranian and Tehrani origin is confirmed in the work's concluding stanza. His pseudonym was “Azad” at first, but he eventually altered it to “Jonoun”. They erred in assigning Delgoshanameh to Azad Belgrami due to the resemblance of the pseudonym between Mir Gholam Ali Belgrami and Mirza Arjmand Mohammad Khalaf Abolghasem Abdul Ghani Beyg, both of whom had “Azad” nicknames, from ancient recollections to certain current sources. Delgoshanameh was written in 1709 and has around 16,500 verses. Delgoshanameh is composed in the form of Bahre Moteqareb. This collection begins with Tahmidiyeh) a preface relating to praising god) following Ferdowsi's Shahnameh and the prevalent style of Persian Mathnavi. Around 1709, Azad began writing the collection, which recounts the events of the Mukhtar Uprising, and finished it in six years. With the highest fidelity and attention to detail, Arjmand attempted to portray the most exact and full sequence of this significant Shiite event for the readers. Due to the theological and historical aspects of the narration, as well as the Shiite philosophy that pervades the work, the poet expressed his deep spiritual anguish over the Ahl Bayt's (prophetic household) sufferings in a language full of sorrow. The speech's epic and heroic tone, particularly in the disputes between the heroes and the descriptions of the battlefields, is reminiscent of Ferdowsi's Shahnameh's glorious descriptions and tone. The regretful and heartfelt prayers of Arjmand Kashmiri, which are described in the opening and at the end of the book, are one of the special and noticeable elements of the Shiite Mathnavi of Mokhtarnameh. Arjmand Kashmiri dedicated verses to advise and words of wisdom while recounting in the framework of Shahnameh and in the style of Ferdowsi’s speech. However, Arjmand’s approach in these words of wisdom, which is different from Ferdowsi's brievity, is verbosity, an example of which is quoted below. More than 10 unique and verbose saqinamehs have been written in Delgoshanameh. After all, the inclusion of this type in the story's narration resulted in some spiritual positions. In terms of style, it is important to mention that the work's language is relatively beautiful and strong. There are many allusions and references to the story and the Qur'an and narration in the book due to the religious context and the excellence of the story. 

Delgoshanameh is written by Mirza Arjmand Azad Kashmiri that has been mistakenly credited to Gholam Ali Azad Belgrami for the first time in the Rio list. The Bankypour Library Manuscript List is the oldest source that warns of this erroneous attribution. Six manuscripts of Delgoshanameh can be found in Iranian and international libraries. Only the copy in the National Library of Iran contains the complete text of the work and is of aesthetic worth among all the copies available in Iran. In Iran, other copies are incomplete.Delgoshanameh's historical narrative is founded on Atta Ibn Hussam Waez's Mokhtarnameh in prose in most of the collection’s stances. Mukhtar's religious story has been portrayed in an epic tone by Arjmand Kashmiri. Battle scenes, dialogues, heroics, mass battles, and hand-to-hand fighting rites are all described in detail. Sometimes, between the narration, there are some pieces of advice which are relatively verbose. Shahnameh's effect on the work is undeniable. In Delgoshanameh, there are numerous saqinamehs.Saqinamehs appear at the opening of stories and at the triumphant conclusion of Imam Hussein's (AS) punitive forces. Saqinamehs are partly similar to Tajdid-e-Motale Qasayed and give a lyrical taste to the narration. 
 
 

Sanai Ghaznavi, is considered one of the most important cultural creators in Iran. The reason why Sanai is called the epoch-maker is the creation of backgrounds in Persian poetry that were not so prominent before him and many after him owe it to him. Sana'i's influence has been manifested in the minds and consciences of the spiritual thinkers after him, in various fields, such as his literary-poetic themes and his special mystical way. Attar, Rumi, Najmuddin Dayeh, Roozbehan Baqliashirazi, Shahabuddin Suhrawardi, Jami and many others have been influenced by Sanai. Most of the mystical works of the sixth century, especially the mystical interpretation of Kashf al-Asrar Wa-Uddt al-Abrar, despite its contemporaneity with the poet, have used Sana'i poetry more than any other work in various mystical fields. From this perspective, Sanai's cultural creation in the spiritual realm of Iran is obvious due to his many influences in the minds and consciences of the poets after him. Cultural creation is a rare and elusive category and arises from individual wisdom and a special historical capacity. In this sense, Sanai can rightly be called a cultural creator; Because not only did he add a new atmosphere to Iranian thought and poetry, but he also devised a new design in the ode and established and valued themes such as the critique of the lord of power and the poetry of Qalandar and Moghaneh. Of course, Sanai's approaches in terms of creating a new school and his wide-ranging influence on his later works bring him closer to the field of culture creating. One of the most prominent aspects of Sanai's cultural creation in the realm of poetry is Qalandar and Moghaneh, so that most of the themes of Sanai Qalandar are explained and nurtured in the poems of the poets after him. Contrary to the common view of the form of the ode, which is generally considered to be a vehicle for asceticism, admonition and praise; Sanai has used the ode of the poem to express his Qalandar teachings due to its descriptive atmosphere. After analyzing all the odes of Sanai from the perspective of Qalandar and Kharabat contexts, we have come to the conclusion that the components of Qalandar on which Sanai has based its spiritual-literary worldview in a symbolic field; are: Conflict of sacred paradigms with blasphemous and Kharabati paradigms; Criticism and rejection of traditions and taboos; Shatah and Tamat as Qalandariyat; Defending the devil; The value of disbelief as faith; Relying on Blamefulness; The creation of a lover in the image of Qalandar and improvidence. The culture creation of Sanai in Qalandari was revealed by analyzing the works of contemporary and post-Sanai poets, such as Ein al-Qudat Hamedani, Attar, Maulana, Hafez and Iraqi, and led them to the fact that they are derived from the various components of Qalandar. The background of this research can go back to the days of Sanai and his infamy. Sanai's effectiveness dates back to his own time, and to this day, Sanai scholars have looked at it from a variety of perspectives. From the Ayn al-Quzat Hamadani and Rumi Balkhi to the present day when Professor Mohammad Reza Shafiei Kadkani (1372) in the book Whips of conduct and Dr. Reza Ashrafzadeh (1374) in the book Ab-e-Atash-e-Furuz and Dr. Mohammad Jafar Yahaghi and Dr. Mehdi Zarghani (1397) In the preface to the correction of Hadiqah al-Haqiqah, there are clear references to the extent of Sana'i's literary influence, but the present article has been compiled only in the field of odds, focusing on culture creating and relying on Qalandar concepts. The presentation of mystical symbolism with the presence of the first Qalandari paradigms, including Sana'i creations and cultural creations in the field of Iranian thought. Sanai culture-creation is also evident in world literature; As some scholars believe, Dante was influenced by Sir al-'Abbad Sanai in the Divine Comedy. Like Masnavi and Ghazal, Sanai's odds have been influential in the field and time after him, both due to their critical approach and critique of the lord of power, and due to its special mystical discourse, and many poets have welcomed him. One of the most important subjects that has a special prominence in Sanai's odds and in a way, has a prominent role in his culture creation; Qalandari look, with all its dimensions. Although Qalandar's approach to Sufism existed before Sanai, a comprehensive poetic view of it and the symbolic establishment of this field of Iranian mysticism occurs for the first time in Sanai's poems; To the extent that many scholars believe that the transformation of Qalandaran's image into transcendent examples and the creation of the first Qalandari backgrounds in mystical poetry has been studied from the perspective of Sanai's pioneering and cultural creation. By examining Sanai's odds, it can be seen that Sanai is the initiator of a style with characteristics such as infidelity, sabotage, blame, randy, Qalandari and in general, which are reflected in many poems of poets after him such as Saadi, Attar, Mowlan , Iraqi, Hafez, etc. are repeated and evolved. Pre-Sanai's odds were mostly used to express the themes of praise and admonition, but Sana'i's culture creation in the ode is due to the fact that he breathed new life into it and promoted the teachings of Qalandar and Muganeh. Sanai has also used the capacity of the ode to reflect the image of the Qalandariyyah and the creation of the ideal state resulting from this frequent motif, in all its dimensions - from the themes of ruin to the teachings of blasphemy. A careful analysis of Sanai's poems reveals that one of his most important (if not the most important) poetic themes is his thoughts of Mallamati and Qalandari; In this way, the semantic field of other teachings has been constructed around this macro-narrative. The analysis of Sanai's odds has led us to the fact that the components of Qalandar literature in his view are formed in several main axes, which are: the beauty and behavior of the beloved is Qalandar and Negligence; Sacred paradigms are intertwined with blasphemous and destructive paradigms; Mystics and taboos have been criticized and rejected; Shatah and Tamat look like Qalandariyat; Defending the devil is the basis of Sanai's Qalandari thought; The essence and truth of religion and Islam, infidelity, reproach, is the basic element of Sanai and Randy Qalandari thought is an example of Qalashi model and Qalandari.

The interconnectedness of multiple sciences in humanities has led to effective integrated approaches in the field of intertextuality. The issue of identity is one of the important topics that is fundamentally related to sociology, cultural semiotics, discourse analysis, anthropology and even literary criticism. The present study has made an attempt to use the common elements of semiotics, discourse and anthropology in connection with the element of identity with an intertextual approach in order to represent the identity in Khanlari’s poem, the Eagle. Julia Kristeva’s theory of abjection and the concepts of “self” and “other” in the field of cultural semiotics have been selected as the main interpretive tools to represent the process of eagle’s identity formation in interaction with foreign culture and abjection drives. The results showed that, at the beginning of the narrative, death, as the abjection drive, forces the subject to find a solution, but after interacting with the subculture (culture of magpie) and observing the abjection drives, including the living environment and magpie feed, returns to its social identity and, while considering death as desirable, rejects abjection drives and leaves the foreign land.

The present study aims to answer the main question of what specific cultural, discursive and social elements have played a role in determining the eagle’s identity by using the above tools in an intertextual approach. The present study is an intertextual study with a discursive approach that has used cultural semiotics, discourse analysis, anthropology, and a little narratology. It seeks to take an intertextual approach to the process of representing the identity of the seeker hero in the Eagle, translated and rewritten by Parviz Natel-Khanlari. This poem is originally in Russian and there are many translations with different alterations and extensions.McAfee (2006) has elaborated on Kristeva’s views, including the concept of abjection, in a book entitled Julia Kristeva.Khosravian (2009) has given an overview of the aesthetic and pictorial aspects of Khanlari’s the Eagle.Following the theories of Bermon and Greimas, Aghakhani et al. (2011) have studied the two narrative poems of the Eagle and the Serivili House.Pour-Ali et al. (2014) have interpreted the novel “The Rule of the Game” using Kristeva concept of abjection.Salimi Kouchi and Sokout Jahromi (2015) have studied the characters in Anārbānu and Her Sons from the perspective of Kristeva’s abject body and have discussed the concept of abject body in the Introduction.Alami and Babashahi (2017) have interpreted Siavash’s story based on Kristeva’s theory of abjection.

Death is represented in the beginning of the poem as the abjection drive, and the eagle tries to find a way to avert it. Since conversation is the beginning of culture, formation of any of the cultures, supercultures and non-cultures requires the existence of dialogue and conversation. In the Eagle, the dialogue between the magpie and the eagle is the beginning of the formation of cultures and the demarcation between superculture, non-culture and culture. The cultural atmosphere of the magpie appears in the beginning as a superculture with which the eagle enters into conversation in order to have a long life. In order to draw the attention of the eagle and impose cultural elements related to its culture, the magpie claims that the winds that blow in the heights are the cause of death and short life of the eagle. Later in the conversation between the magpie and the eagle, by highlighting its culture, the magpie criticizes the culture of the eagle and tries to take the eagle with him and invite him to a life full of filth. The description of abject drives through the magpie’s habitat and food symbolically represents the cultural and social system of the “other”, which is in conflict with its own culture. The eagle enters the land of the magpie to find out the secret of the magpie’s long life. The eagle is reminded of its abjection struggle by being in a foreign land, which is the residence of the magpie and the place of filth and humiliation. Conflict with the abject element occurs in two stages through recall and return to the eagle’s social identity. In terms of social identity, the eagle and magpie have a group conflict. After interacting with the magpie, the eagle recognizes this group conflict again. In this cognitive process, the eagle’s perceptions and evaluations of its social group and its opposing social group lead to the representation of its social identity. This is where the eagle realizes that being an eagle requires accepting a set of signs and necessities belonging to the social identity of the eagle group, and what he thought about longevity was only a crude dream that is incompatible with his social identity and that he must give it up. In addition, a set of signs and values ​​of the magpie social group are in conflict with the social identity of the eagle and must be rejected. After communicating and evaluating the eagle from within the magpie culture, the cognitive process of the eagle, as a cognitive subject, is formed and interaction with abject drives within another culture leads to cultural transformation.

The eagle, as a cognitive agent, interacts with its opposing social group in order to find its identity. In the process of finding the eagle’s identity, the element of death first appears as an abject and inconsistent drive, but after the subject interacts with the alien world and the culture of the “other”, it rejects the abject drives and, during a cultural metamorphosis, the superculture becomes non-culture and the narration ends by considering death as a desirable, normal and harmonious thing. In this way, the identity of the eagle, which is living with dignity at the peaks with a short life and rejecting another culture (magpie), is revealed. Although death is considered one of the abject drives in the first part of the Eagle, in the end, the drive of death protects the eagle’s definite identity and prevents the eagle from mixing with the filth and degrading life of the magpie.

     One of the mystical poems of Attar Neyshabouri is Masnavi Asrarnameh, which although less attention has been paid to it, compared to his other masterpiece The Conference of the Birds; however, two well-known researchers and experts, Dr. Sadegh Goharin and Professor Shafi'i Kadkani, have not neglected this work and have corrected and added a commentary to it. These two corrections, especially the commentary of Dr. Shafiee Kadkani, who has untied many ambiguities of the verses due to his accurate acquaintance with the linguistic details of the people of Neishabour and Kodkan, are very valuable in their place, but they also have some shortcomings. These shortcomings sometimes arise from the misinterpretation of some linguistic or conceptual points. These verses cover 30% of the cases. Sometimes it is due to neglecting the points and ambiguities that deserve attention. The verses of this section also account for 55% of the cases. And in some cases, the result is few and incomplete explanations of verses that need further explanation. The verses of this section also make up 15% of the cases. In this article, an attempt has been made to reconsider some of these shortcomings and, in addition to presenting the opinions of the two professors, to suggest the views of the authors of the article along with documents and evidence from Attar and others.Research method, background and purpose   

  in a way that describes the difficult words and phrases of the verses and corrects the incorrect explanations of the mentioned commentaries about the verses. . Although, some works and descriptions have been written about some of Attar's poems, especially The Conference of the Birds, However, Asrarnameh has not received much attention from researchers, and for this reason, apparently, no attempt has been made on the subject of this research by critics in the field of Persian literature. Therefore, understanding the exact verses of this mysterious poems in order to understand Attar's intellectual geometry, more accurate knowledge of historical developments and mystical thoughts of Islam, as well as facilitating scientific research on the influence of the great mystics and Persian literature on Attar, is essential. 

The shortcomings of the above explanations can be included in three categories: A Deficiencies due to misinterpretation of verses. Like:Must play wonderfully and cleanlyThat comes from every coquetry grief(Attar, 2015, verse 573: 111)A verse of the second article in describing love is far from fundamental ambiguity. What can be challenging is the word "wonderful." Shafi'i has defined it "excellent." Although this meaning is faceted; But the other meaning of "brave and great man, Bahador" (Dehkhoda, Dictionary) seems more compatible with the context: the love of a pure and brave seeker who considers any sorrow in the way of the beloved as sweet and mercy and Make difficulties easy. In the previous verse, he does not consider the incompetent people to be worthy of love, which is apparent, and its confrontation with "brave and valiant" is more profound than its confrontation with "excellent":Let love be every incapacityYou have to be perfect and associateNo disable worth loveMissed verses without explanation. For exampleEveryone sat down one by one to grieveThey close the atmosphere one by one(Attar, 2015, verse 2717: 207)A verse of the sixteenth article also contains verses in inviting man to flee from people and avoiding worldliness. "One by one in sorrow" means "any time in sorrow" and is equivalent to "moment by moment in sorrow". The verse can be interpreted from two aspects:1. It seems that Attar, contrary to the usual view of society, which considers comfort and convenience in the accumulation of wealth, it is believed that people accumulate wealth little by little. He has made people to consider life as place of sorrow instead of this effort leading to their happiness and leisure. People are momentarily caught up in grief to collect a little bit of wealth, in other words, people are busy with accumulating wealth.Deficiencies due to incomplete and few explanations. Like theHe saved your body from deathHe died of a disease(Ibid., Verse 1176: 138)A verse of the sixth article is in addition to the verses that depict the quality of each person's resurrection as a reflection of his life. Shafi'i did not mention the verse and Goharinn brought the verse with the verses back and forth and give a general explanation about them. He believes that the purpose of death in these verses is to eliminate the effects of humanity and destroying the soul and its effects such as anger, avarice, jealousy, greed, ambition, selfishness and the like. (Attar, 1382: 318) But pay attention to this verse and the verse before it:Body and soul have two diseasesTurn both of them aroundIt shows that we are talking about two diseases: physical illness and life illness. The poet encourages that both diseases should be avoided. He is in a subtle payment that is not devoid of humor either, he mentions a single incident (the same as physical death) that has two opposite consequences: liberation from illness and physical suffering, and suffering from the consequences of the illness of life  that we do not pay attention to in our worldly life.. Death here is the natural death here in both stanzas of the verse in question; Death that destroys the pain of the body; But it does affect the spiritual defects and shortcomings in the afterlife.

Despite the persistent efforts of the two great masters of literature, the Letter of Secrets of one of the greatest mystic poets is still accompanied by knots and mysteries that require the masters' attention again. The shortcomings in the descriptions of the two professors in general can be caused by 1. Misinterpretation (30%); 2. Negligence (55%); 3. Defective explanation (15%). As is to be expected from these two great masters, 70% of the shortcomings arise from the fact that these great men, in their high epistemological position, did not pay attention to the needs of the audience and considered ambiguities unnecessary to explain.This approach has caused that sometimes the verses that need explanation and allusions are accompanied by no explanation (B. negligence) and sometimes in the interpretation of the verse not all the points worthy of explanation are taken into account (C. deficiency in explanation) and of course there are cases that The explanations of these valuable professors do not seem to be correct (a. Misinterpretation). The authors of this article dared to review some of the impressions of these irreplaceable greats and tried to provide explanations and aspects that seemed more accurate, and considering the aspects and reasons inside and outside the text. And with reference to Attar's poems and other works and other sources, explain verses and clarify deficiencies. 

Attar and Nezami, two Mathnawi poets, are among the most famous Persian language poets. At first and thoughtlessly, in the multiple layers of the works of these two poets, their line of thought and worldview may seem distant and different from each other. Still, with a deeper look at the moral-judgmental context of the works and, of course, relying on a specific commonality, this masked intellectual coherence manifests itself. This common point is the poetic talent in the simulation of the Sana'i Hadiqat al Haqiqa. Nezamis's Makhzan ol-Asrar is an educational system containing abstract thoughts and sermon stories, a strange and eloquent echo of Sanai's Hadiqat al Haqiqa, but with an instructive and ascetic melody and with a different and clever choice in the meter and style of poetry. Sheikh Attar also composed his Asrar-Name poems with some differences, but in a romantic and painful tone, almost simultaneously or a little later.

The attractive point in Nezami and Attar's works is the common moral and mystical themes that are important for both of them, and each of them has benefited from them in their way. These similarities are more apparent in Makhzan ol-Asrar and Asrar-Name. After hearing the names of these books, the audience immediately thinks that they are probably common due to their similarity, and one may be influenced by the other. Numerous studies have been conducted independently on Makhzan ol-Asrar and Asrar-Name, but the two books have not been matched so far. Only Ashrafzadeh (1994) addresses common narrative concepts in Attar and Nezami's works in a general comparison. Zarrinkoob (2001) also implicitly refers to the influence of Makhzan ol-Asrar and Asrar-Name from Hadiqat and the possibility of the influence of Asrar-Name from Makhzan ol-Asrar. However, he suffices with this general statement and does not enter into a detailed comparison. This article assesses the similarities and differences between the theme and structure of Attar's Asrar-Name and Nezami's Makhzan ol-Asrar so that the similarities would bring some conclusions.

As mentioned before, Makhzan ol-Asrar and Asrar-Name are moral-mystical Masnavis comparable with Hadiqat al Haqiqa based on their poets' mental structure and taste, and they can be compared with each other from this point of view. This comparison reveals their similarities and differences, which will be described below. The central concept that Attar pursues throughout his book is the "structure of human existence." In this structure, the body is like a spell guards the treasure of existence. Man must find that existential treasure and release it from the spell. He introduces and responds to different concepts in different articles. Still, he does not forget the invisible thread connecting the articles and the thematic unity of the whole book, the "structure of human existence". For Attar, cosmology, theology, poetry, and other concepts are inextricably linked to anthropology. The same thing exists from another perspective in Makhzan ol-Asrar. Makhzan ol-Asrar is a book that introduces the man to himself and provides a general solution for human happiness. The difference is that the poet's intention in this book is to address the general public, especially the king and courtiers, whose happiness and healthy living depend on the health of their souls. If Nezami speaks of other sub-concepts while composing, he defines and gives meaning to all those concepts in the shadow of human existence. The secret hidden in Makhzan ol-Asrar and Asrar-Name is the "secret of human existence". However, the point that makes the expression of this mystery astonishing is as follows. In Nezami and Attar's view, the three concepts of "God," "man," and "world" are astonishingly intertwined, creating a meaningful geometry that there is a path from one to another. The world becomes meaningful with man's existence, and man with God and God exists in both in terms of emergence and has nothing in common with either of them in existence. Cosmology is valid and valuable because it is a way of anthropology. In the holistic view, which is based on unity, the analysis of the world can lead to the analysis and interpretation of human existence. Man himself is a world of the advent of God the almighty. He becomes a bridge to theology because the "I" that characterizes identity, like the world, is existentially extinct. There is nothing but the "ultimate existence."  This amazing geometry has not been introduced to this extent by other poets and even the mystics before Nezami and Attar, considering all three concepts in connection with each other. Only Sanai transiently and incompletely refers to the connection between "man and God" and "the world and man" separately, but there is no connection between these three concepts in his view. This connection winding connection is a key to understanding the attitude and worldview of both poets and their most important similarity, which is a solid reason to prove their influence on each other. The differences in the content and structure of the two books are due to the two poets' different personalities, mental structure, and positions. Nezami is a romantic, wise, and moral poet who has a special place among the kings of Azerbaijan. According to his special audience, he cannot speak recklessly and without any cover of high mystical behavior or concepts. Nezami, by considering the audience's request and their level of understanding, reduces the transcendent human and existential concepts to the level of common and all-encompassing advice, and of course, sometimes gives up and devotes verses directly to his favorite topics. On the other hand, he is a poet more than anything else, and he needs to pay attention to the word and its nature, and this poetic identity and context of his poetry distinguish him from a poet's mystic like Attar. As a poet attributed to the court, he tries to present his social criticism in the form of an allegorical poem to his primary audience, the Shah and his entourage, and this interaction with those in power makes his poetry more reflective of social issues. On the other hand, Attar is a lover of mystics and poets who does not place himself in any of the social relations and faces relative freedom in composing. The only thing that limits him is to cover the secrets from the incompetent, which occasionally interrupts his speech and disturbs him. Attar's poetry, which is a mirror of his existence, is so clear and free from the poetic array and even the element of time that it can be considered the embodiment of the poet's existence. The poet's reflection of the eternal and timeless soul has appeared in his poems.

The general comparison of the two books shows the intellectual commonalities of the two poets in the fundamental issues. Any differences in content and structure in this regard indicates the different personalities, mental structures, and positions of Attar and Nezami. Although it is impossible to prove the influence of Asrar-Name from Makhzan ol-Asrar, the similarity of mentalities reflected in the poems and the central themes are two graphic effects of this influence.

Pierre Macherey(born in 1938) is a French Marxist philosopher and literary critic. He is known as an influential figure in the formation and development of post-structuralism and Marxist literary criticism. The Marxist criticism analyses literature based on the historical (economic and social0) context. His main contribution in the area of criticism is the book entitled “A Theory of Literary Production” released in 1966. This book includes the main topics in Marxist criticism and as its title suggests, through a material viewpoint, it examines literature not as a subjective creation of the author’s mind but as a product like other manufactured products, with the difference that here the raw material is ideology. One of his best theories in this book is the silence zone. The most important parts of the theory in elaborated in two chapters of the book: “Implicit and explicit” and “The spoken and the unspoken”. Any literary work has silences and pauses without which the work could not exist. Understanding a work depends on the exploration of this zone as well as its interpretation. Macherey believes that silence is life-giving. The ideas of any literary work originates from a given silence and this silence forms the work. Thus, a work is not self-sufficient, but inevitably is accompanied with the silence, a silence without which the work could not exist. Understanding a work should acknowledges such presence. Therefore, it would be reasonable if we ask that a work implies which untold statements. Around any explicit utterance is an implicit utterance. To state something, some other things should be ignored. In this study, we attempt to explain a very important silence zone in Mohammad Reza Shafiei Kadkani’s poems, i.e. his attention to women. Shafiei is a well-known poet in contemporary Iranian literature. His language and style has made him a well-established poet among Iranian readers. As such, describing his works is a must in contemporary literary criticism. The research on various aspects of his poems is abundant, but the ideas represented in his works have not been analyzed yet. His viewpoint on the women has not been elaborated. Women are not represented in his poems explicitly. Most critics claim that women are not mentioned as earthly, achievable individuals. His women are mostly typical historical women. He mostly has dialog with a prototypical, subjective woman, not a contemporary, living one. Our major question here is that why Shafiei encounters the feminine characters with maximum care? Why he ignores earthly love? The absence of woman and woman-hood is obvious in his poems and we cannot take it as something accidental. In Shafiei’s poems, women are almost absent and the absence cannot be casual. Here, we shed light on the intratextual and intertextual reasons behind this absence and silence. An intratextual reason could be ignoring the personal “I”, poetics of committed poetry, and an affection with the traditional poetry. The poet’s ideology (Iranian, religious and leftist) and his professorship are introduced as some intratexutal motives. Likewise, a psychological explanation is outlined that says Shafiei has made an exchange in his mind. According this assumption, the poet has filled the empty position of women with other elements and concepts. In psychology, substitution is a defense mechanism in which the person cannot express his or her excitements due to shame, and therefore he or she transfers the experienced feelings to other objects. This transfer reminds the concept of metaphor. Such substitution does not take place just in the level of word, but sometimes the transferred object happens to be visual. In Kafka’s Metamoorphesis, for example, the hero is embodied as a cockroach. These changes are related to the unconsciousness or the suppressed side of the self. Shafiei has substituted the love for earthly woman with the love to mother, homeland, Persian language and literature, Iranian culture, nature and pigeons. It should be mentioned that before the Islamic revolution, Shafiei had a sympathy with active militia. In those groups, love affair was taboo. In effect, the intellectual, revolutionary culture of that period welcomed such taboo. The militants put their life on their struggle and had no time for love. Due to his military nature, Shafiei was overwhelmed with such feelings too. Once he passes the early years of his life and steps into middle-aged period, Shafiei puts more attention on philosophical ideas. He fills the empty place of women with counterpart subjects. To extend, we can present other reasons too and we also interpret them, but this important empty place cannot be ignored.