پژوهشنامه متون ادبی دوره عراقی
سال دوم شماره 4 (زمستان 1400)

One of the symbolic, prominent and thematic words in Persian poetry is the theme of the mirror. Attention to the mirror due to its appearance and symbolic features, the quality and how these images originated and their connection with some of the epistemological and social discourses of each period, has always been considered by poets, especially Iraqi-style speakers. . The purpose of this article is to explain the structure of the mirror and analyze the connections of its meaning with the heart and inner spirituality of the person, the beloved face and other examples of it according to its apparent, symbolic and social functions in Hafez's lyric poems. There is a recurring image title and face narration. The results show that in Hafez's lyric poems, among the functions of the mirror, the highest frequency of the mirror is related to the heart of the seeker. It has added rhetorical features and even social discourses.

Persian literature has had widespread popularity and a large territory in the Indian subcontinent. During the reign of the Gurkhanids, especially Akbar Shah (984 S.H. / 1014 A.H.) and Shah Jahan (1044 S.H./1076 A.H.), the Persian writers of India created wonders in the Persian language and literature. One of these unique works is the correction and research that the secretary of the Shah Jahan's court, Abdul Latif Abbasi Gujarati, has conducted based on Masnavi Ma’navi by Maulana Jalaluddin Mohammad Balkhi, a great mystic, and poet of Persian literature. This work, which had not surpassed the manuscripts in our day, was recently published with the correction of the text and additional research, opening a new window to the study of the text of Masnavi (Abdul Latif Abbasi: 1400).This study indicates that some critical propositions on this work, have been raised in a general way without accuracy and sufficient contact with the text, and influenced by the public atmosphere around this work in scientific and literary circles. Therefore, there are errors concerning the reality of the work. Just as unverified praise suffers from the same complication.While introducing the manuscripts of "Nuskheye Nashekhe" Final version of Masnavi, this article deals with the course of previous research and judgments, and it tries to introduce the literary and historical values of this work to the researchers, outside the dust of general judgments.At the same time, without over-acknowledging and elaborating, this study invites researchers to know this work accurately and without prejudice and to enjoy its tangible and possible historical benefits.

From the beginning, theorists have studied the life of literary works from different perspectives, considering the principle of the existence of literary works and its independent verbal structure. In the meantime, structuralists have paid special attention to the function of components and elements and their organization in the formation of a work, in order to discover similarities and contrasts. Since the understanding of a work of art depends on finding the correct understanding of the words and studying its language system and poetry is a suitable arena for the emergence of these contrasts, to appear through this feature of the poet's thought; This research intends to study the Masnavi of Homad Homayoun Emad Faqih Kermani with the focus on double confrontations by means of qualitative analysis while briefly introducing the eighth century mystic Emad Faqih Kermani. Since the text is a reflection of one's thoughts, by recognizing the contrasts of the text, we find our way to Emad's thought and gain a better understanding of Homayounnameh. The result of this study showed that seven types of opposition (graded, complementary, two-way, directional, lexical, semantic, personality) were seen in Homayounnameh with grammatical forms of nouns, adjectives and verbs. Among these, four contrasts, Shah / Darwish, Shah / poor, Shah / beggar, Shah / servant have the highest frequency in Homayounnameh of Emad Faqih Kermani. . These contrasts reflect Emad's mystical thinking and secularism. It also reflects Emad's mystical-educational view in order to teach the seekers the path of truth through the path. This result is an introduction to show the different capacities of different readings of the text.

Since the term Azad has been used mostly as a synonym of emancipation and independence, researchers, interpreting or correcting old texts, usually have ignored the real meaning of expressions like Azad, Azade and Azadi or compounds like Sarve Azad, Susane Azad, and Azad Mard. Documentary studying of terms Azad, Azade, Azadi and Azadegan in old texts shows that these terms, besides emancipation and independence, have some other meanings like faultless, sincere, white, healthy and perfect. Therefore, when descriptions as Azade, Azadegi and Azadegan have been used about Iranian people, they have been used in those latter meanings. The usage of Azadegi as a word for admiring goodness was so common that being free had the meaning of thankfulness and praising.

Sanai Ghaznavi, mystic of the sixth century AH. Q., who is also one of the prominent poets of Persian educational literature, has paid attention to the issue of hypocrisy as one of the important moral-social diseases in his works and has tried to eliminate and correct this problem through hypocrisy. In this way, he pays special attention to the teachings of the Holy Quran, as one of the intellectual and intellectual sources of his advice. Identifying and introducing Sana'i influences from the Holy Quran in the Divan of Poems and Hadiqah al-Haqiqah based on poetic evidences and their critique and analysis is the main issue of this article. This article has been written in a descriptive-analytical method. Sanai condemns hypocrites from different groups and strata of society such as: jurists, scholars, preachers, ascetics, readers, Sufis, pilgrims, etc., and various material and spiritual motives to turn to hypocrisy and hypocrisy. He counts, such as: gaining wealth, position, respect, fame, etc. Inspired by the teachings of the Qur'an, he believes that: Hypocrites are the companions of Satan, do not have sincerity in their acts of worship, and seek hypocrisy through hypocrisy and pretense. They are worldly. And offers them solutions; Such as: turning to the world of contentment and contentment, avoiding the air of breath, having sincerity and honesty, not being deceived by appearances, avoiding hypocrisy and hypocrisy, etc. Finally, it is recommended to enter the bend of unity and leave it with uniformity.

Metaphor has long been increasingly attracting literates’ attention in its literary and rhetorical form. However, thanks to the views put forward by Lakoff and Johnson with regard to conceptual metaphors, the metaphor gained a widespread and significant meaning. One of the metaphors which has received a good deal of attention in Persian literature in terms of literary aspects and the creation of artistic creativity and aesthetics is the metaphor of idol. Because mystics have conveyed mystical impressions about many terms and concepts of literature, they have made use of different conceptions and interpretations in regard to the idol metaphor. This term is of high importance in relation to religious interpretations; because idolatry has been accompanied by punishment; for this reason, considering that they have primarily focused their attention on divine compassion in their viewpoints, some mystics including Mowlavi, Shabestrari, and Ibn Arabi have had a tendency to use idol in its nonmetaphorical manner. Comparatively, there exists a similar theory in Hegel’s thoughts as to the field of sculpture. Being contingent on these cases, the present paper seeks to prove this issue that conceptual metaphors have long been drawn upon by thinkers and, especially mystics in their interpretations. Even though these thinkers have not taken advantage of the system and framework presented by Lakeoff and Johnson, they have set forth this issue in another form and format.