پژوهشنامه متون ادبی دوره عراقی
سال دوم شماره 1 (بهار 1400)

Entanglement of astronomy in astronomical rules and beliefs used to be the main reason of people’s tendency to this branch of knowledge and its high usages in daily life. Iranian’s tendency to astronomical beliefs has been reflected in Persian poems since Persian poets were not only familiar with astronomy but also raised in a society which used to believe strongly in astronomical beliefs. Therefore, pondering ancestors’ poem will show the course of astronomical belief changes and transformations in Iranian cultures and lifestyle. Emad Faqih Kermani is one of the most prominent speakers of eighth century who has worked on various poetry formats; he has composed a lot of poems in Divan and quintuple Masnavis, Panj Ganj. The present study is a kind of descriptive-analytical one which applies library sources. It aims to study and analyze Emad Faqih Kermani’s beliefs in terms of the application and function of astronomical beliefs. The findings reveal that astronomical beliefs has high varieties in which believing in Heavens, Four Elements, the effect of stars and cosmos in people’s destination, the Earth rotation and its circular form, omen and lucky star, and minstrelsy of Venus are more frequent. In fact, he has applied these beliefs to make themes in praise Qasidas, Tahmidiyes, odes, complains, etc.  High frequency of astronomical beliefs in Emad’s poems indicates both the influence and popularity of these beliefs and his attention to culture and popular beliefs.

God’s image in the mind of every religious thinker is an important part of his ideology. This image is the bases of shaping the humans relationship with God, himself, the world, and other people. Simile is a proper literary tool for extracting the hidden aspects of this image. This study wants to investigate similes about God as used in the first three chapters of Masnavi and clarify other hidden angels of imagining God in Mowlavi’s mind. For a more concise investigation of God’s image (imagination) in Masnavi the similes are adjusted in terms of the point of resemblance with God’s names and attributes. Each of these similes point to name (s) of God. Using a descriptive analytic method, this study shows that via using similes, Mowlavi, was able to create images for the audience which point to God’s names and attributes. He mostly used natural elements and beautiful images in his similes. Also the points of resemblance between the tenner and the vehicle are in coordination with God’s names. This points to the imagination of a compassionate God in Mowlavi’s thought. Furthermore, this study shows that, from the stand point of referring to God’s names, the similes about God in Masnavi, can be divided into three categories: the similes that refer to one name, two names or three names by showing a single image.

Rumi's Masnavi is one of the most thought-provoking mystical-fiction poems in Persian in terms of form and content, which, despite belonging to the seventh century AH, is still very attractive among thinkers and writers. In this system in which Islamic mysticism has been analyzed and explained using short and long and sometimes nested anecdotes and allegories, a variety of satires have been used extensively to the extent that this system has been analyzed due to analysis. One by one, the stories and the full use of all kinds of fictional and situational satires can be considered as one of the unrivaled books in the field of literature and mysticism. Rumi's tendency to these two types of satire, and to a lesser extent to linguistic and literary satire, is not done with the intention of satire, like other poets. Believing in the goodness of the system of creation and the wisdom of the creation of all the phenomena of existence, he depicts the biological and social realities with a kind of natural behavior, far from any intention, and following this behavior, Humor, which is part of the daily actions of human beings in everyday life, also enters his narratives. In other words, Rumi in Masnavi because of his realistic view of man and society and avoiding the myths of jinn and magic and choosing relatively ordinary stories from the world of humans with which humor is also mixed with Sufi teachings And theoretical mysticism gives as much practical and believable aspect as possible and also proves that the nature of life is always intertwined with a set of natural satires that language and literature have little role in their creation.

Mysticism is a kind of transcendental and trans-rational cognition and a path and path in knowledge that the mystic, through the course of his behavior, acquires a special perception, experience and knowledge that it is impossible to convey the truth of these experiences in the language of phrase and routine. Using special tools, gnostic invents a new language They say"sign language". Educational mysticism requires that abstract matters and paradoxical concepts be expressed in the form of anecdotes, stories, codes, allegories, and other forms of sign language And mysticism evolved in terms of language and content. The content and linguistic evolution of mysticism, the reduction of attractions, the combination of religiou law and rule of life, the prosperity and influence of Shiite thought and Ibn Arabi's school in mysticism are prominent Timurid and Wahhabi periods. This effectiveness turned Zoghi's mysticism into a teaching and a cryptic language into a visual and educational language, and Jami's poetic works, from this perspective, are among the masterpieces of educational literature of the period under study in this research. This article, based on descriptive-analytical "allegory theory", has concluded that the most significant tool for expressing allusions in this period is allegory; Because allegorical anecdotes, with all their capacities and subtleties, have the power to make sense of sensible things. To limit the scope of the research to the subject of the unity of existence and its branches and affiliates, we have contented ourselves with haft Orang Jami.
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CDA Crisis Discourse Analysis is an interdisciplinary trend that began to emerge from the mid-1960s through the mid-1970s following the widespread scientific and epistemic changes in the social and human sciences interested in exploring the discursive dimensions of social action. This approach uses sociological theories of Karl-Max, Antonio Gramsci, Louis Althusser, and others in the study of social ideologies. In the foregoing research, we have tried to analyze the concept of guilty in Hafez's poetry using this approach, usng the method of analyzing qualitative content, and elucidating how the poet's attitude towards this static concept is extracted through his poems. The result of the research shows that by adapting the theory of discourse analysis to the extracted evidence from Hafez's poetry, one can look at this poet with a different attitude. Since it is at least very difficult to obtain historical facts, if not impossible, we must examine the remaining texts with an all-round view; thus, in this research, we tried to analyze the existing data with the critical theory of discourse We will present a distinct interpretation and explanation alongside a lot of interpretations.

Cat f hnur has lng been cmmnly referred t as the cmmn dress given t ministers r emirs by a Muslim ruler, king, r caliph. Cat f hnur is nt nly a categry related t the mnarchy and the curt, but als an expressin that mystics, especially Sanai, Attar and Rumi, have used in their bks. Assuming that mystics refrain frm being explicit in speech and tend t refer t their intended meaning in speech, we set ut t answer the questin f what meanings and allegries can be interpreted frm the interpretatin f Cat f hnur in the bks f Sanai, Attar and Rumi? In this research by analytical-descriptive methd and Based n the evidence, we have shwn that if Gd gives a special Cat f hnur t the mystic, it is gd and pleasing; therwise Cat f hnur will be the veil f the mystic. The frgiveness r achievable f Cat f hnur has dimensins. That is, accrding t sme evidences, the mystic can be given a cat f hnur by Gd, and accrding t sme ther evidences, the mystic must fight with ne’s wn self t btain it. Ennbling f cat f hnur is its mst imprtant aspect. Als, Cat f hnur can mean frgiving and cvering the shrtcmings f mytics.

Haft keshvar which has been written for the minister of Shah Ismail Safavid and himself, in the form of a travelogue that can be considered as a folk theme , in thoughts And Afkar, by giving historical examples, intends to teach the king and the minister, as he has sometimes stated explicitly, and closes the end of all the stories by determining the purpose of the story in the text. Literally, the fusion of order and prose in this work has given it the character of folk tales, while the literary aspect of order and prose in this text is not equal and the order seems weaker and weaker, and sometimes There are incorrect applications that may be related to copying or proofreading. But in terms of language, the prose of this book with captioning and plurality of adjectives and adjectives and ... and the use of storytelling words such as news narrators and narrators of works ... The mixture of poetry and prose differs from technical and industrial texts in such a way that poems can be removed from them without damaging the understanding of the meaning of the text.