فصلنامه شعر پژوهی (بوستان ادب)
سال چهاردهم شماره 1 (پیاپی 51، بهار 1401)

As social conditions gives life to language, language gives meaning to social phenomena. From this perspective, language has a representative feature, and the text, as a linguistic structure, results from specific temporal and spatial conditions. Accordingly, language can be seen as an explicit manifestation of its historical and cultural conditions, and texts also represent certain social conditions through words and type of their arrangement. Understanding the identity of a writer or a poet depends on the relationship between the external semantic structures and understanding the social implications of language. A clear example of the multifaceted texts is the praise poems, in which the poet as the author considers language and meaning for a poem, which can be called a meaningful subject with identity who can express his personal interests. From psychological perspective, he/she is a poet who establishes the design and meaning via selecting the words, but the praise poet shows passive obedient objects that ultimately lead to losing his/her identity. In fact, the poet creates himself/herself and his/her personal identity by selecting the words and repeating and internalizing them.

Several studies have been conducted on the identity of the poet in praise poems considering the ethical and historical dimensions. For example, Gholamhossein Yousefi in the book entitled “Farrokhi Sistani, a discussion on his biography and times and his poetry" indirectly pointed out a poet's dependence on the Praised from moral and historical perspectives. Nader Vazinpour in the book entitled “ Eulogy, a stigma on the face of Persian literature” dealt with the history and examples for eulogy in detail and condemned praise using a moral approach as shown in the title of the book. Reza Zarinkamar et al. (Ref. Reza Zarinkamar et al., 2015: 129-152) conducted a study titled “The Dissolution of panegyrist identity in the praised identity ", and tried to dissolve the identity of the poet using a historical and social approach.  There was a difference between the present study and other studies with respect semiotic method.  In the present study, we attempted to examine the identity through the relationship between language and society using the semantic approach. Given that the praise poems are directly influenced by social codes, especially power; therefore, using a social semiotic approach, an attempt was made to investigate how to form the poet's personal identity and its dissolution in the praise poems emphasizing Farrokhi Sistani's poetry.

Identity can be considered as the result of the person-environment relationships. In other words, identity is the unique set of characteristics that can be used to identify a person. Praise poetry is formed by the cultural, political, economic and social codes. The poet's dependence on each of these codes shapes his/her identity. According to memoirs and historical texts, Farrukhi Sistani entered the service of the Ghaznavids due to his financial difficulty (Nezami Aruzi, 1899: 57-58) and was known as one of the most prominent Persian court poets in the history. In the Tasbib, the poet seeks to announce his presence, but in the main body of the eulogy, this power is reduced in favor of the praised and the poet's identity collapses. Accordingly, two structural levels can be considered for the poet's identity in the ode. In the Tasbib, the poet  presents himself/herself in his/her own text and talks about his/her feelings and emotions, and the other part, which is the body of the praise poem represents  the absence of the poet and the transformation of his/her identity as the praised. An example of identity is activism and presence. These two components require freedom. Literature is considered as one of the characteristics of the poet's freedom in the text. The more literary the text, the more visible the poet's personal identity and freedom, but the more the poet constrained to discourses of power, the more entangled his/her text and language would be, and his/her personal identity fades away. Since the praise poems are based on the court’s ideology and discourse, these two-dimensional contrasts encompass all odes, that is, all the praise poems are based on the distinction between poets and the praised. The fact that the poet considers his/her existence and identity to be dependent on the praised shows the poet experiences alienation, leading to his/her anonymous identity. The anonymous identity becomes more apparent when it shows the opposition of the poet "I" and the praised "He" throughout his/her poem. Another example of the anonymous identity in praise poems is the poet's alienation. The more poets alienate themselves from their self, the more they are deprived of their authority and originality. Dependence on material world is the most important factor in the anonymous identity. From this perspective, the poets of praise and courtiers alienate themselves from their self who have sacrificed mentality and wisdom for commodity relations (eulogy and flattery for money).

Praise texts are among the texts that have been organized under the influence of the court’s discourse. Identity has its own mechanism in these texts. The point that makes identity in these texts a matter of reflection is its process and its symbolism, that is, identity in the praise texts has a multi-layered and differential field. Therefore, identity cannot be examined in isolation from the codes of power, because is, as a sign or symbol, is implicit or hidden in the various linguistic and semantic layers of the text. In the Tasbib, the poet  presents himself/herself in his/her own text (I) and on the other hand due to his/her freedom in selecting the signs, he/she somehow reconstructs his/her personal identity, but as soon as the text enters the praise, the process of  loss of the poet's identity begins. In the main body of eulogy, the power of the court, due to its effects on the poet's mentality, manifests itself in the form of words and becomes objective in nature as a layer of the text. For this reason, a kind of general contrast is formed throughout the text, representing   the  praised and  the poet’s  personal identity.

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 literature Undoubtedly, 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 Hafez An example of functionalist analysis of the literary industry in Hafez's poetry The necessity of searching and analyzing the hidden and invisible artistic devices in poetry An example of invisible artistic devices in Sa’di’s poetry An example of invisible artistic devices in Hafez's poetry Codification of theoretical foundations of artistic functionalist analysis in poetry Complete functionalist analysis of a short work in Sa’di’s poetry As 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.

The school of expressionism is one of the manifestations of modern art in the early twentieth century, which first began in painting. Influenced by this school in various branches of art and literature, outstanding works were created. "Scream" by the Norwegian Edward Munch is one of the expressionist paintings that has always been the model of many artists. Western poets, influenced by the school of Expressionism, made fundamental changes in the rules of poetry. Due to its many capabilities, poetry became a suitable space for reflecting expressionist themes. In the contemporary period, Iranian artists and writers, considering the conditions of the time and familiarity with Western culture and civilization, created works that are very similar to Western literary and artistic works. One of these works is the poem "O' People" composed by Nima Yoshij, which is very similar to the painting "Scream" in terms of its expressionist principles. The existence of common and expressionist elements in the poem "O' People" and the painting "Scream" led the authors of the article to analyze and study these two works comparatively.

The research method of the article is qualitative and analytical-comparative. The authors have not seen any article or book entitled "A Comparative Analysis of the Poetry of the "O' People" and the painting "Scream" with an Emphasis on the Expressionist Components ", but many books and articles on these works independently and separately., Written. "Critique of the poem “O’People""from the point of view of semiotics" by Hossein Payendeh (2008), who has achieved a different reading and perception of the poem "O' People". Taghi Pournamdarian and Mohammad Biranvandi also wrote an article entitled "Why is Nima called the poet of "O' People" "? (2006), have tried to address the structural possibilities and the role of formalistic arrangements in the success of this poem. "Semantic Study, the Relationship between Title and Painting" by Shabnam Sadat Radmanesh and Hamidreza Shairi (2013) have also examined visual signs and their relationship with the creation and consolidation of artistic meanings. The purpose of this article is to analyze the expressionist and common components of the two works to show that the poetry of "O' People" is not only a modern poem, but also has many expressionist attitudes. 

The school of expressionism emerged in the contemporary period as a protest and anti-traditional current in the West. The school is based on introversion, escapism, and rebellion against traditional conventions. Nima Yoshij, a contemporary modernist poet, due to his familiarity with Western culture and literature and his deep understanding of the conditions of his time and society, fought against the rules and traditions of Persian poetry and was finally able to introduce a new form of poetry to Persian literature. In his poems, due to his special attitude towards modern life and way of expression, traces of Western literary and artistic schools are visible. The poem "O' People" is not one of the famous works that has many visual aspects and expressionist themes. This article comparatively analyzes the common and expressionist principles and components of this poem with the painting "Scream". The most important expressionist components of "O' People" poetry and the cryptocurrency are: metaphor of affliction, expressionist outcry, exaggeration and emphasis, meaningless characters, symbolism, and the one-act scene.The existence of expressionist principles and components in the poetry of human beings and the "scream" painting shows that these two works are not only modern, but also carry a bitter message of the death of human values ​​in contemporary society. Fear and anxiety are among the most important inner feelings that are embodied in the poetry of the people and the shout board and infect the audience. This fear and anxiety is the product of human indifference and painlessness, which is immersed in the sea of ​​modernity and modern industry. The meaningless characters of the two works, in fact, represent the human beings of contemporary society who feel lonely despite scientific and technological advances. These characters have an expressionist presence in the poetry of the "O' people" and the "scream". The expressionist cry that resonates in the poetry of human beings and the "Scream" painting, in fact, expresses the pains and sufferings that take modern man away from his identity day by day. The poem of the "O' people" has a narrative and theatrical structure and visually, it is very similar to the shout board. All events take place in a slice of time and in one scene, and the audience communicates with both effects by watching this scene. 

The poetry of "O' people" and the painting of " scream", with a philosophical and religious background, depict the worthlessness and industrialization of modern man. The intellectual climate of twentieth-century societies was influential in the creation of similar literary and artistic works among different nations. The similarity of the themes and structural elements of the poetry of "O' people" and the painting of "scream" were influenced by the atmosphere of the societies of that time. The presence of expressionist elements in the structure of "O' people" and the shout-out board shows that the audience is facing an unreal effect. Scary and terrifying atmosphere, seeing the indifference and meaninglessness of modernism, using symbolic patterns to convey fear, anxiety and public outcry, striving for public awakening and emphasizing emotional experiences are some of the most prominent expressionist and common signs. They are quite effective in the success and permanence of these two works. In "O' people" poetry, the artistic use of the principle of surprise, telegraphic expression, visual character in the reflection of human ideals, emphasis on the short and emotional stanza of "I-Adams" and the appropriate use of sound and color of words to create space and Staging is one of the most important features that make it a modern poem.

Hafez is not a poet like Khajoo that apply a word in his poem, merely in order to create double entendre, and He is not follow Khaghani's way in paling the grace of poem through abundance of scientific expression. Rather his poem is balanced synthesis of scientific aspect of word with poetical dimension of speech. Hi use this rhetorical figure (ihām) on the basis of his detailed Knowledge about scientific texts. So it is necessary to survey the series of couplets which have scientific background, considering every aspect. Our hypothesis is that, there is no sort of conventional word-play thing in such couplets. Although most of our medieval knowledge in comparison to modern sciences are almost nothing, in most cases the speech of poets like Khaghani and Hafez is exactly according to the facts of those ages. In this paper as an instance, meanwhile paying a complete attention to the variant readings and Hafez poetic art also by getting help from common scientific texts of the Hafez age, we have critically edited some couplets of Hafez. If this method receive verification from Hafezian scholars, we can be hopeful that it can be effective and solving in other cases of Divan-e Hafez.

So far Hafezian scholars have enumerated various factors in creation of different variants of Hafez poems. The nature of different variants at the first step is studied considering this aspects: whether these reforms were made by the poet himself? Have the scribes had any influence in its formation? Or other factors than these two have been the source of different variants? Hafez researchers believe that the most important determinant of different variants is not the scribes errors and mistakes, but they are related to the following agents: Unwillingness of Hafez to collect his poems The evolutionary rudiments of his aesthetical points of view The socio-political situations of his time Changing of individual and particular cases into general We can expand this list by two important points: The evolution of Hafez knowledge: Perhaps the evolution of Hafez knowledge in different branches of science of his time has been a reason for the substitution of some of the variants. Hafez textual researches: This factor can be the one of main and the most effective reasons of different variants. Therefore intertextuality will be the authentic method in critical edition of Hafez’s poem. Goals: “The establishment of a reliable text” of Divan-e Hafez -like his poem and character- is an exception in the world of text edition. For edition of Divan-e Hafez it is not the scientific method to collate one particular copy of divan with other manuscripts and note the variants in the footnotes without any critical review. On the contrary, for each different variant several explanatory essays are necessary, these notes along with paying attention to the different versions of manuscripts and exploring aesthetical and rhetorical aspects of Hafez’s poem should be assessed totally, and only in this case -maybe- it is possible to perceive Hafez’s mind and language. This burden is heavy enough to be carried by only one person, that is to say it is necessary for the scholars to research the various layers of Hafez’s multiplanar poem from a special angle where the differences exist. This article is -we hope- a small step in that direction.

In process of creation of art works, Hafez does not believe in “beginning from nothing”. He is the poet of selections and motivations. Instead of using his mind power for creation of art works at the same level, as the poets before his time, through literary critical criterions, which he has learned at the schools of rhetoric and poetic specialists, he strains “Persian/Arabic texts in literary as well as in scientific fields” and as an eloquent poet, selects what he approves of mentally and linguistically, and recreates by exceeding artistic genius values, his knowledge and reflecting incidents of his time. In the process of researching the textual relationships between Hafez poem and Persian/Arabic poetry/prose as well as scientific texts, it turns out that throughout his life time, he has been researching on these resources. There are evidences in the Divan-e Hafez which show that some of the different variants have a root in his researches in scientific texts. For example: حیلت / حالت / طاقت کوه اندوه فراقت به چه حیلت بکشد حافظ خسته که از ناله تنش چون نالی است (Hafez,1387Š: 129) Varian Readings in Hafez’ Qazals (Neisari, 1385Š vol.1:291): حیلت :based on 31 manuscripts→ oldest one: Hagia Sophia dated 813 A.H./1410 A.D. حالت :based on 2 manuscripts→ oldest one: Khalkhali dated 827 A.H./1424 A.D. طاقت :based on 2 manuscripts→ oldest one: dated 817-34 A.H./1414-31 A.D. حیلت:based on The Oldest Manuscript of Divan-i Hafiz dated 801A.H./1398-99A.D. (Hafez,1394Š:14) QB: حالت‖PNSEJ: حیلت Hilat (حیلت) in this line is a single word with a double meaning (=ihām) “obvious” and “far-fetched”: 1. Means or Plan 2. Scientific term applied in the knowledge of ingenious mechanical devices (=ilm-ul-hiyalعلم‌الحیل) that refers to the ancient form of modern mechanical engineer.

Although Hafez poem is clear, it has a deep structure which a thorough understanding of his poem and deciphering his “dense poetic language” would not be possible unless through Intertextuality. This principle can be true in editing his poem. In such cases we should use the method of adding up a series of rational, eloquent and narrative reasons for the preference of different variants and critical editions. It is necessary to be noted that while we emphasize Hafez textual researches, we do not ignore his independent individual and original artistic creativity in the formation and completion of his poems.

The Constitutional Revolution was the result of the general changes in the institutions of Iranian society, such as religion, culture, government, politics, and economics. The literature and poetry of this period, unlike other literary periods of the Persian language, which generally differed only in some aspects, is the result of a fundamental transformation. (Shafiei Kadkani, 1390: 37-27) Poetry is one of the important fields of each period to understand society and its politics and the changes that took place in the language and syntax of the poetry of the constitutional period, with different poets - and sometimes contradictory - requires precision that can be seen in the syntax of poems that has not received much attention before; Recent cognitive research has shown that the study of syntax is one of the most important ways to reach the mental world and discourses of literary texts. The poets of the constitutional period have looked at the social and political issues of that period with different approaches, which have sometimes been in conflict with each other. To understand some of the differences between the views of the poets of the constitutional period, we focus on the poetry of Aref Qazvini and Mirzadeh Eshghi; In this research, all the divans of these two poets have been considered.

First, the keywords related to “constitutional” were extracted and then studied by the method of explaining Langaker conceptualization and the chain of action that Stockholm classifies according to Langaker that includes agent, patient, instrument, experimenter, and mover, and finally Foucconier and Turner's conceptual blending. Many studies have been done with cognitive approaches in subjects other than constitutional poetry, for example: two books; how to compose and receive text in contemporary poetry (Nima, Sepehri and Babachahi), and a cognitive approach to the system of grammatical directions in the Gilaki dialect . The articles; "Study of the body of the Compulsory and Optional Complementary Foundation in Persian language based on Langaker's grammar", "Analysis of children's fiction texts with a cognitive poetic approach", and "Reading the poem" Anecdote "by Ahmad Shamloo with a cognitive poetic approach". but apart from theories with cognitive approach, in other researches that have been done on constitutional poetry, several researches can be mentioned; Saba to Nima, Volume 2 (Freedom-Modernity), Periods of Persian poetry from constitutionalism to the fall of the monarchy, and death or modernity, a book on constitutional poetry and literature, political and social concepts in constitutional poetry, Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran, and discourse Iranian political literature on the eve of two revolutions. The purpose of our study is to answer the question of what syntax and grammatical arrangement Aref Qazvini and Mirzadeh Eshghi have used to express their views on the constitutional; What is the thought and attitude of the two poets towards the concept of constitutional and how did they conceptualize it grammatically and conceptually? What are the differences between their conceptual domains and their discourse?

In Mirzadeh's poems, “constitutional” is placed in different grammatical posision, in which sometimes no action is performed conceptually, but in cases where there is an action, "it is sedition." "Constitutional" and "Constitutional" itself and in three cases "I" (pronoun referring to Maryam's father) are agent. Once "we" (Maryam's father and her sons) and once "Shah Muzaffar Din" remain experiencer (not agent). In conceptual blendong, in one case, “constitutional” is law. (Law that does not apply), in other cases, “constitutional” is commandment, God, lover (sweet), child (under guardianship), living being, time, and in three cases, it is ideal and purpose. To conceptualize “constitutional” he has used the conceptual domains of absolute monarchy, history, religion, time, love, Shirin and Farhad’s story, sacrifice for ideals, fruit metaphor for child, court, responsibility, immortality and "backbreaking" metaphor to express grief and Failure. In the compounds and similarities of “constitutional”, the compound "constitutionalist" has been used twice, in which the “constitutional” has the objective role, and once in "more constitutional" it is adjective. There is no action in sentences except for one case in which "constitutionalist people" is agent. Conceptual domains include city, people, party, honesty, religion, livelihood, marriage, politics, overthrow of the king, and aristocracy. In Aref Qazvini's poems, like Mirzadeh Eshghi's poem, the “constitutional” has appeared in various grammatical roles, but in the chain of action, beloved (hidden) is agent three times, "constitutional" itself, and once a pronoun referring to Mohammad Ali Shah. Once the "patriots" are both agent and patient, and twice the "constitutional" is patient . In conceptual blendong, "constitutional" is guilty or accused, living being, work, rule and government, lover, spring or gardener, will and desire, Joseph, and power of love. Aref Qazvini for conceptualizing "constitutional" has used conceptual domains such as tyranny, rope, old vintner, bibulous, nation, whitewashing, disclosure, rosy wind, flower season, tribune, flower parliament, rights, bad circulation of heaven, sacrifice and killing, monarchy. Joseph and love, which is a combination of the elements of nature, love and politics, as well as the belief in destiny and a an operator outside of the human will.

In many cases, there is no action in the poetry of Aref and Eshghi, but in other cases, in Mirzadeh Eshghi’s poems, "that sedition from Constitutional", "Constitutional” itself and in three cases "I" (pronoun referring to Maryam's father) And once the "constitutionalist people" are agents, and once "we" (Maryam's father and his sons) and once "Shah Muzaffar Din" are experiencers (not agent). But in the poetry of Aref Qazvini, in one case, beloved (hidden) and three times "constitutional" are agents, once Mohammad Ali Shah with the pronoun "you", once "patriots" who are both agents and patients, and "constitutional" is patient twice. For the conceptual blending of “constitutional” Mirzadeh Eshghi has used love, law, command, God, lover (sweet), child (under guardianship), living being, time, ideals and purpose. But Aref Qazvini’s conceptual blending for “constitutional” are the domains of the criminal or the accused, the living being, work, rule and government, the beloved, the spring or the gardener, the desire, Yusuf, and the power of love. Aref Qazvini has used a wider range of concepts for conceptualization, which is a combination of concepts in the domains of romantic and socio-political poetry, but Mirzadeh Eshghi has described “constitutional” more realistically than Aref Qazvini, for which at least two reasons can be mentioned; One is that Mirzadeh Eshghi, unlike Aref Qazvini, has written articles criticizing the political and social situation. It has also influenced his poetic atmosphere. Secondly, Mirzadeh Eshghi's poetic mentality is more modern than Aref Qazvini’s, and he has less traditional metaphors and elements than Aref Qazvini,

Anatomy of rhetorical-lingual techniques of Masnavi satire narrationsZahra RajabiAssistant Professor, Persian Language and Literature Department Arak University of Arak, IranZ-rajabi@araku.ac.ir IntroductionHumor and Satire is one of the ancient literary genres that in the last two centuries, with the development of literary criticism studies, the discussion of humor has been raised as a complex and polyhedral sociological, psychoanalytic, epistemological, and linguistic matter. Arthur Asa Berger, a prominent contemporary professor of communication science, from an interdisciplinary perspective regarded humor as a communicative issue which depends on usage of multifaceted literary, logical, identity, and action of routine language. In addition, he has presented a global and general model for humor function based on lingual-semantic structure which includes 45 lingual-rhetorical techniques, and has called it "humorous anatomy". In the present study, humorous narratives of 6 books of Rumi's Masnavi have been studied and analyzed based on Berger's view point.Research method, background and purposeThis research has been done in a descriptive-analytical manner using library tools. Thus, after referring to relevant theoretical resources, the words humor and satire were defined and their position was expressed in mystical texts. Then, Burger's anatomical theory was introduced and after that, humorous narratives which have been extracted from 6 books of Masnavi studied and analyzed based on Burger's point of view. So far, Berger theory has not been used in Persian satire research, but many studies have been done in Western research for example, in the study "Developing a Typology of Humor in Audiovisual Media" (Buijzen & Valkenburg, 2009), 319 humor commercials have been examined on this basis, and it concluded that of 41 techniques available in the advertisements, 7 techniques were the most used. Mardiana et al. (2016) have examined burger techniques in a comedy television series and concluded language tricks and use of stories with logical techniques are the cause of laughter in this TV series. Therefore, the aim of the present study is investigating the anatomy of 76 humorous narratives of Rumi's Masnavi, one of the greatest works of Persian literature, in order to introduce Berger's theory in Persian satire research to know the most important lingual-semantic techniques used in Masnavi humor; and of four technique types of language, logic, identity and action, which one has the greatest effect on lingual-rhetorical structure of Masnavi humor narratives.

Terms such as comedy, satire and humor have different definitions. Since humor means anything that intentionally or unintentionally causes laughter in the audience, and somehow encompasses all other forms of this genre, such as comedy, jokes, humor, etc., Burger also has chosen the word humor for his theory. Looking for a global model for any humorous speech, he found that laugher is created at the linguistic-semantic level and is mostly the result of purposeful use of rhetorical tools. Burger, like Propp, who was looking for constructive functions of popular narrative textsp, concluded that there were 45 fixed linguistic-rhetorical techniques in various humorous texts that in different combinations made audience laugh.  He categorized these 45 techniques into four groups: language, logic, nature (identity), and action. There are 76 short and long humorous narratives in 6 books of Rumi's Masnavi, in which 409 different techniques have been used. Studying the variety and number of these techniques shows that Rumi used less humorous narratives at the beginning of composing Masnavi especially in the first two books but with more artistic processing and technical variety which indicates the spontaneity and interest of the audiences present in Rumi's lesson sessions. The number of humorous narratives in the second book is more than the first, third and fourth books which may be due to the interruption and delay had occurred between composing the first and second books of Masnavi. On this basis, there is state of stability and balance in the third and fourth books; While in the last two books, which were certainly composed long after the beginning of the Masnavi's lesson sessions and his audiences probably might have lost some of their motivation, Rumi has been persuaded that during his speeches and lessons to use more humorous narrations as a tool to attract the audience's attention and create successive variations in his speeches. Although the number of humorous narrations in the last two books is too higher, in average number of techniques used in them are much less also in terms of frequency, 19 repetitive techniques in Masnavi's humor are: Stereotypes, Ignorance, Repetition, Satire, Irony, Embarrassment, Absurdity, Allusion, Analogy, Before/After, Bombast, Eccentricity, Exaggeration, Repartee, Slapstick, Disappointment, Reversal, Impersonation.In terms of categorization, the techniques relevant to logic category, such as Absurdity, Coincidence, Analogy, Reversal, Comparison, etc, that understanding of their working are related to the aspect of logical and argumentative thinking, have the greatest share in the structure of Masnavi's humor. In the next level, other language techniques such as Irony, Bombast, Embarrassment, Allusion, Facetiousness, Satire, Repartee, etc, Which are mostly related to the humorous aspects of everyday language using common and understandable rhetorical skills among people.

The present study has two main conclusions first, introduce the Burger's anatomical theory and a new approach in Persian humor research, based on context-based and linguistic-rhetorical structural techniques. And second, indication the mechanism of Rumi's Masnavi humor. The results showed that what causes laught in Rumi's audience depends on the linguistic-rhetorical structure of these humors and the distinguished usage of these four categories of techniques by Rumi. His specific style is the use of techniques that depend on the reasoning aspect of language and mental operations. From a linguistic point of view, more emphasis is put on simple and conventional techniques such as Exaggeration, Bombast and Repartee. However, it was found that in immoral humorous narrations on the contrary irony and allusion, which are usually used for indirect reference, is applied more.

Attar's Manṭiq-uṭ-Ṭayr is one of the most important mystical works that with its coherent structure Has passed the boundaries of time and place and has affected the works of other Iranian and non-Iranian poets. "Manṭiq-uṭ-Ṭayr is the story of a search, the search for the traceless Simorgh, a spiritual odyssey that depicts the journey in the authorities and the condition of the mystics and expresses the levels and degrees of this behavior in the symbol of the search of birds". (Zarrinkoob,1999: 89). Although scholars recognize Manṭiq-uṭ-Ṭayr as epic-mystical poem,(Zarrinkoob, 1993: 207) but the effect of this poem can not be ignored on romantic literature which the "Mehr O Mah" of  Dehlavi is one of them. In the poem of “Mehr-va-mah”, "Mah" follows his dream by abandon of all his possibilities and steps on the path of mysticism and experiences annihilation by passing through all appointments, therefore the study of the effect of the mystical behavior of Sheikh San’an's story on Masnavi of Mehr O Mah of Jamali Dehlavi is placed as the subject of this research.  

This article uses a descriptive, comparative and analytical method to study the effect of the story of Sheikh San’an of Manṭiq-uṭ-Ṭayr on the poem of “Mehr-va-mah”of Jamali Dehlavi based the French Comparative School. Background research The story of “Mehr-va-mah”has two poetic narrations by Jamali Dehlavi and Hosseini Shirazi and a prose narration by an unknown author“Mehr-va-mah”, Jamali Dehlavi's poem is one of the works that despite of its literary and mystical aspects, has received less attention. About this valuable work, except for three articles: The analysis of narrative function genre and negative fictional deceleration in the lyric language (The case of study of “Mehr-va-mah”) " (Talaei et al., 2016), "Comparison of love stories of Shahnameh Ferdowsi with Masnavi “Mehr-va-mah”"(Kazemi, 2016), and" The accordance of Hero’s journey with Campbell’s model in “Mehr-va-mah”,s Epopee written by Jamali Dehlavi (Rasmi et al., 1397) no other research has been done, however, various researches have been done about Manṭiq-uṭ-Ṭayr and also its effect on other Iranian and non-Iranian works, which indicates the high influence of this Masnavi on Persian and non-Persian literature as:  Return: A comparison of the voyages of  birds in Manṭiq-uṭ-Ṭayr and the Odyssey ,(varedi, 2005) " Conference of the birds”  to  Richard  Bach’s “Jonathan Livingston Seagull " (Copa et al., 2011), A comparative study of the stages of Attar Neyshaburi's mystical journey in mantegh-ut- tair And ala tarighe-eram of nasib arizeh(Seifi et al., 2012)" Comparative study of characters of Attar’s conference of birds with characters of Becket’s waiting for Godot "(Khosravi Khorashad et al., 2012), An intertextual analysis of Sheikh San’an’s story with a view on the story of the Prophet Moses and the Prophet Khidr (PBUT) (Hejazi et al., 2014).  

The story of Sheikh San’an, while narrating of the journey of the birds, is told when the birds have doubts about the correct path of the journey to Simorgh and Hudhud, who is the symbol of wisdom, convinces the birds with this story and explains the power of love to them. Sheikh San’an is a pious ascetic who has spent fifty years with his four hundred followers in abstinence and repentance. He never violated any of the traditional Islamic moral laws until he embarked on a journey from Mecca to Rome after seeing a dream. On this journey, the sheikh falls in love with a Christian girl and to reach her, violates all the moral and religious boundaries of Islam: worships idols, burns the Qur'an, and drinks wine, but finally, through the prayers of one of his most loyal followers and the intercession of Prophet Mohammad (PBUH)   returns to himself, becomes a Muslim again and comeback to Mecca. At the end of the story, the girl who was initially portrayed as an earthly lover and whose only desire was to fulfill her worldly desires becomes a symbol of heavenly love and helps her lover to purify his soul from worldly desires pass from virtual love to real love .The mystical mysteries of this story are quite evident in the story of “Mehr-va-mah”of Dehlavi. In Mehr-va-mah”of Dehlavi, the Dervish of Badakhshan, and Khezr appear as wise eld men and when his situation is getting worse, Hz Mohammad (PBUH) as the story of Sheikh San'an apears in the dream of the hero,s companion and helps him.The mystical mysteries mentioned in the poem of “Mehr-va-mah”completely are reminiscent of Attar's Manṭiq-uṬayr. Regardless of age and religious differences of beloved, which introduces the love of Sheikh San'an as forbidden love, in both stories the common elements such as the dream, the night as the turning point of travel, travel from east to west, obstacles and dangers, the alignment of wisdom and love, the appearance of Hz Mohammad (PBUH) in the dream of the hero's companion, and disciple, the passage from virtual love to true love can be seen. This article studies the relationships of two works based on French school. 

    “Mehr-va-mah”is the longest Masnavi of Jamali Dehlavi, which is full of mystical mysteries and points. The poet, who is himself a follower of Suhrawardi, and as appears from his own words, for some time he has been sitting on the throne of Sheikhism as a guide, in apparently romantic poem,   depicts the Mystical journey and behavior well .It can be said that the poem  “Mehr-va-mah”  is a combination of the story of Attar's journey in the Seven stages of Love and the story of Sheikh Sanan. It can be said that the poem  of “Mehr-va-mah”is a combination of the story of Attar's journey in the Seven stages and the story of Sheikh San'an that hero, by freeing from himself, connects him to the highest degree of humanity and the eternal lover and unites him from multiplicity.The manifestation of the beloved in a dream, which is influenced by mysticism and an adaptation of a kind of story of Sheikh Sanan,s Attar, causes the seeker to set foot on the path of seeking  and walked from the east (Badakhshan), which is a symbol of survival, to the west of annihilation (Mina) to achieve survival with his annihilation, In both Masnavi, reason and love move in the same direction to reach the original truth. The dervishes of Badakhshan,s mountains and Hz Khidr and the Prophet Mohammad (PBUH) lead him in this journey and the hero, with the help of wise helpers, passes safely through the deadly valleys  and achieve rebirth.  

Language is one of the most important tools for conveying a message between human beings and it is used artistically by poets. Poets use the possibilities of language to express their abilities and try to acquaint others with their world. Attention and accuracy in the use of phoneme and linguistic words can help the poet to achieve his goal and induce the literary type of the work. This study, by discussion fourteen Persian Verse from the beginning to the end of the eighth century (64485 bits in total) in a complete induction manner and using Simia software, was able to track the evolution of phonetics and phonology in these poems. This research has also paid attention to the views of European experts such as: Grammont, Genette and Persian language such as: Farabi, Ibn Sina and others. Based on the obtained results,  Fricative phoneme are the most used in these Verse. Nasal phoneme and  fluent phoneme are the next step in facilitating reading and creating psychology in reading. Although explosive phoneme are widely used in early poems, they fade due to the predominance of Iraqi style and lyrical literature.key words: Explosive, phoneme, language ,  Fricative, Verse.

No research has been found on the Review of the study of the evolution of phoneme in Verse. However, some researches can consider the Review of this study. In 1396, a study entitled " phoneme and Meaning in Shahnameh" was conducted by Gita Zakeri et al., Who studied a limited number of lyrical and epic verses of Shahnameh in terms of phoneme. Studies in the field of typology of lyrical literature and epic literature such as: model of epic language study written by Asghar Shahbazi et al. In 2011, content and formal characteristics of lyrical literature by Rahman Mushtaq Mehr et al. That lyrical literature has an , Fricative phoneme and epic literature has used an explosive phoneme. Therefore, accurate, comprehensive and scientific Study the subject seems necessary. In this research, fourteen Verse from the beginning of Persian poetry until the end of the eighth century were studied in a completely inductive way (the verses of these Verse in the number of 64485 bits). These Verse are: Vargheh and Golshah from Ayouqi, Wiss and Ramin from Fakhreddin Asad Gorgani, Khosrow and Shirin and Nezami and Majnoon and Leily, Haft Peykar from Nezami, Azhar and Mazhar from Nazari Ghohestani, Shirin and Khosrow and Majnoon and Leily and Hasht Behesht and Khazer Khan and Dowalrani by Amir Khosrow Dehlavi, Eshghnameh by Hassan Dehlavi, Homay and Homayoun and Gol and Nowruz by Khwaju Kermani and Jamshid and Khorshid by Salman Savoji. This study, by examining the phoneme of the verses of the fourteen Verse and their Phonetic in Simia software, seeks to track the evolution of the phoneme and phonetic characteristics of the Verse in question.

The phoneme of language are divided into two categories: vowels and consonants. These phoneme sometimes induce an idea or state or feeling, which are called Effectiv phonemes, and sometimes they are neutral due to other factors (see: Qavimi, 2004: 20).Vowels: Since vowels are the same musical notes that affect human corners, they come in many forms. Including: Zir note, Bam note, dark note, light note, incomplete note, bright note, etc.Consonants: Consonants also play an important role in Effectiv thoughts, feelings and thoughts. Grammont examines these words from two aspects: a: The nature of pronunciation, 2- Phonological of place (see: Grammont, 1960: 387). In terms of the nature of pronunciation, consonants are divided into several groups: ,  Explosive, Fricative, nasal, fluent, trembling (see: Deihim, 1979: 44-60). In lyrical language, Fricative phoneme usually take precedence over other phonemes, and this is derived from the calming effect of these phoneme. trembling and fluent are also softly spoken in the current language and evoke the quality of slippery, flowing and fluid "(Zakir et al., 2017: 113). Lyrical language should be softer, deeper and gentler than epic language. From the point of Phonological place of the  Verse, in the Verse of Vargheh and Golshah, Haft Peykar, Majnoon and Leily, Khazer Khan and Dowalrani and Homay and Homayoun, the most use of explosive phoneme can be seen. This type of phoneme has been used the least in Leily and Majnoon, Gol and Nowruz poems. The reason for this is the literary type of the works and their martial spirit.  Fricative phoneme that have been used the most in the Verse of Khosrow and Shirin, Leily and Majnoon and Gol and Nowruz. The least amount of use of this type of phoneme based on Literary style, geographical location, literary type of the Verse, etc. belongs to Vargheh and Golshah, Khazer Khan and Dowalrani. Nasal and fluent phonemes are influenced by each other. However, nasal are mostly a function of Fricative, Because they are closer to Fricative in terms of phonetic physics and denominators than fluent. The fluent also have a facilitating role, and along with the Fricative and nasal, they make the phonetic space more conducive to the lyrical language. Inductive phoneme and Effectiv phoneme have experienced many ups and downs in the Verse of Persian literature.

In the study of the evolution of sound in fourteen Verse in Persian poetry until the end of the eighth century AH, four types of phoneme were studied. Explosive and obstructive phoneme, although initially widely used in terms of style, are gradually used in less cases due to the prevalence of lyrical literature and linguistic development, and every poet, if he has full knowledge of these types of phoneme, to induce limited purposes of them. Profit. The second category is Fricative phonemes, which, based on the type of lyrical literature and their extensive functions in inducing various emotions in the fifth century onwards, are given more attention and a wide range of them are reflected in the poems of poets nasal and fluent phonemes also mature with Fricative phonemes and reduce the intensity and thickness of obstructive and explosive phonemes.  

research in the field of folklore and its manifestations in Persian literature has a special place among humanity, anthropology, sociology and etc. researchers. Folklore is a bridge to knowing the depth of people's beliefs at different times. Through folklore we can indirectly and with greater conviction realize the truth of the beliefs of different nations.  Every nation has to pay attention to this field of literature in order to figure out the society and analyze the ideas, actions and reactions of different layers to become aware of the literature and culture of its homeland. A case study of works in wwhich popular culture has a special color is one of the requirements of this field.

The present study has been written with a descriptive-analytical method to study the relationship between Mahmoud and Ayaz's stories and folklore and also palpable and contemplative evidences in Zolali's Mahmoud and Ayaz. In fact, we tried to take a step towards understanding the society of the Zolali's era by mentioning the examples and explaining and analyzing each of them through the lens of folklore. More explaining the search for customs and beliefs, methods and origins, occupations as well as tools and instruments used by different nations and the culture and lifestyle were studied in zolali's poem.Although research on folklore in various fields like Iranian folklore literature by Mohammad Jafar Mahjoub and folklore language and literature by Hassan Zolfaghari and even research on Mahmoud and ayaz such as “reflection of Mahmoud’s love for ayaz in persian stories” by Hassan Zolfaghari has been done in different periods, there is no research on Zolali's poem and according to the genre of Mahmoud and Ayaz, and its vacancy is felt.

In Safavid era The spread of literature among the middle and lower layer of society the change of poetic culture, simultaneous attention to popular culture and simultaneous attention to the stories of Mahmoud and Ayaz, change in lifestyle along with spread of sexual corruption in the form of homosexual relations, the court's opposition to composition of lyric poems in Safavid era, led to the emergence of new literary genres that composing Mahmoud and Ayaz and especially Zolali's Mahmoud and Ayaz is one of this change of style. Considering these cases and considering the stories of Zolali Khansari's poems, we find out that Zalali has chosen a poem system that has been common among the public. Poems such as Mahmoud and Ayaz reflect the link between those in power and the lower classes of society. Two classes that are very strangers to each other throughout the history of Persian literature and culture, except in rare cases such as the works of Anvari, Attar, Saadi and few of other writers, and the connection between them seems out of reach. Enumerating the examples of folklore is not only in the direction of describing the Mahmoud and Ayaz poem; Rather, above all, it seeks to explain that this features that have become an inescapable part of Iranian literature from now on it means after Safavid era, and perhaps in analyzing why it appeared and occurred, we have sometimes gone astray and We are looking for it in the borders of Iran. Mentioning examples of this feature indicates changes in the literature of the Safavid era and can be used to change the view of scholars of literature of this era. With such a view, one can search for one of the sources of populist and diversity literature in Iran today in such poem and find a more accurate way to analyze the roots of the emergence of such features. Such a source opens a wider point of view for the poets of this age and provide themes-making, the flight of imagination, the creation of new images and the escape from vulgarity, which are the basic principles of Safavid literature.  

Creating original artistic images, expanding the circle of artistic possibilities and creating an intimate atmosphere and instilling a sense of empathy, expanding the field of artistic choices and providing various tools and facilities for the poet to avoid repetition are among the benefits of clear attention to folklore. The most important palpable examples of popular culture in the Zolali's poem are reference to common occupations among people, such as tailoring and its tools and accessories such as ironing, hem, spindle, tube, coil and medicine and different method of traditional treatment and the details of public places such as bathes and its various parts. Zolali's innovation in this poem is that he has been able to describe and explain a romantic experience by relying on various folk elements. A description that uses interpersonal relationships, attention to jobs, environment and other manifestations of folklore in addition to being innovative is very truthful and realistic. Places, occupations and their belongings that do not have much expression in the literature before the Safavid era in this era depict a different and colorful world in front of the audience and create a familiar atmosphere for him and through this it increases the audience of Persian poetry and literature.  Also in the field of spiritual examples, the use of common vernacular words such as "bottom, trick" for the first time, the use of vulgar words, proverb and idioms, satire and multiplicity of common terms among the people, allusions, also references to funeral customs, wine drinking, method of educations and games superstitions Such as the evil of the crow, the land on the head of cattle and fish, the rot of flax by the moon, etc. more than other examples folklore has been considered by Zolali Khansari. Mentioning the spiritual manifestations of folklore is important because it is possible to understand the darkness of human thought, the philosophical and historical background of human issues and thoughts in historical moments through Zolali's references to these manifestations.

One of the sciences widely reflected in Persian literary texts is medicine. Rumi is one of the poets who have knowledge in various sciences, and like many of the scholars of the ancient era, he possessed medical knowledge. However, he has never artificially and conspicuously reflected such knowledge in his works. Concerning the herbal terms, medical statements, and medicinal plants mentioned in Divan-e Shams, this research tries to show to what extent and for what purposes Rumi has used such medical contents and terms. In fact, Rumi does not merely intend to express the concepts of medicine or traditional medicine in Divan-e-Shams; rather, as is clear from his mystical practices, he employs medical terms as a means of expressing his views and ideas. Research method, research background and purposeIn Persian literature, there are scattered researches on reflection of medical themes in poets' divans. One example is Golshani’s Medicine and Medical Themes and its Reflection in Persian Literature (2012), in which poetic themes in medicine are studied based on ancient medical texts. “The Manifestation of Medicine in Ancient Literature” in which medical themes in Masnavi-ye-Ma'navi, Divan-e Shams, Saadi’s Bustan, Khamsa of Nizami and the poems of Attar and Khaqani are extracted (Zanjani and Asadi, 2002: 117), "Biography of Physicians in Persian Literature" that highlights the ethics of physicians in Persian literary texts (Kollahdoozan, 2004: 98), and "Medicinal Terms and Medical Themes in Attar's Works" that deals with Attar’s medical terms, medicinal plants, medical position and medicine (Bahmani Motlagh and Toni, 2013:29) are all examples of such research.This research mainly aims to make ancient texts more comprehensible. By adopting inductive approach, it studies relevant couplets where medical concepts are stated or implied; and also explains Rumi's intentions in employing such terms. First, treatment methods including preventive methods, medication therapy, and other therapies reflected in Divan-e Shams are categorized; then, all medicines are listed and classified based on their predominant features into recreational, analgesic, narcotic, tonic, and mood stabilizers.

1-3- Preventive methodsHuman beings have always been looking for ways to maintain their health. Abstinence, Cupping, and stability of mood are preventive methods reflected in Divan-e Shams. Rumi believes that physical abstinence along with spiritual abstinence will be the way forward. Therefore, the poet considers the divine calamities, which are a means of purifying the human soul and spirit from material belongings, to be as similar to cupping, which was practiced in order to remove blood and impurities from the human body (Ibn Sina, 1991: J 1: 491). In addition, human existence is made up of four elements. Any disruption of moderation among them causes illness in the individual (Golshani, 2012: 5). In Divan-e Shams, four temperaments have been repeatedly mentioned so as to explain Rumi's intentions. Referring to the inflammation caused by cholecystitis (Ibn Sina, 1991: 1/281), the poet states that materialists neglect their very existence out of arrogance due to the weakness in them.2-3- Medication TherapyIn his poems, Rumi mentions various herbal medicines, compounds, herbal and minerals, which are classified as follows:Recreational: Badeh, Sharbat, Mosalas.Analgesic: Tootiya, Golshekar, Marham, Matbookh, Manbal.Narcotics: Afsantin, Afyoon, Teryagh.Tonic: Belador, Pest, Sormeh, Sabr, Lekhlekheh, Marjan, Moshk, Maajoon, Mofarreh, Nil.Stabilizer drugs: Balileh, Pelpel,Anbar, Laal.3-3- Other treatmentsSurgery: Rumi refers to the concept of surgery in his sonnets (1268/3, 1337/3, 1428/3, 1474/3, 2263/5). The poet introduces the presence of the beloved as an ointment that relieves pain and pulls out old trachoma with a fork. Fasd or Bloodletting: It is a kind of blood withdrawal to remove impurities (Ibn Sina, 2013, vol. 1: 471). One of the blood vessels mentioned in Divan-e Shams is Akhal or brachial vein (1337/3, 3082/6, 3102/6, 322/7), bloodletting of which is beneficial for most human diseases (Jorjani, 1978: 193).

Rumi has employed medical terms and concepts in a natural way and, unlike some other poets, his goal has been to explain moral and mystical points, not to boast.On the one hand, Rumi transmits the symptoms and treatment methods of physical diseases to the realm of the human spirit, and this demonstrates the fact that his main focus is the soul not the body. And if ever the human body gets attention, it is because body is the carrier of human soul; on the other hand, Rumi's intense inner feelings and emotions are not the result of rational reason and thought, but the result of intuition and revelation inasmuch as he points to the mystical nuances by expressing the medical and scientific themes of his time with no poetic artificial fabrication.One of the most important things about the use of medicine and medical terms in Rumi's poetry is that, for Rumi, referring to the properties of drugs has no intrinsic validity. He rather uses them in order to explain the minute points of spiritual medicine and further to contrast it with physical medicine. From the various properties of a medicine, he selects the ones that are most suitable for explaining his spiritual medicine.

Sentimentalism is an intellectual-philosophical school that emerged in the first half of the eighteenth century. The ineffective reliance of rationalist philosophers on the originality of reason and deliberate disobedience led to the emotional movement of the human soul, so that a literature emerged at the time that used the reader for sensitivity, compassion, and empathy on a large scale and abandoned the rule of reason. The purpose of it in literary texts, plays and other types of art has been to revive the natural sense of man, his moral development and to achieve sublime art. The great product of this kind of philosophical view of the world has been the sentimental novel and the sentimental comedy. In sentimental comedy, the emphasis was on the misery of the middle class, thus increasing the audience's sympathy. The writers of this type of comedy brought tears to the eyes of the spectators by showing the suffering of the good people, but in the end, they confirmed everything with the victory of good over evil. The sentimental literature, often based on the teachings of Jean-Jacques Rousseau, was designed to influence the school of European Romanticism and to bring a sense of empathy.

The approach of this article is descriptive-analytical; by examining two collections of poems by Sohrab Sepehri and Fakhreddin Mazarei, prominent examples and prominent pieces of poetry that have dealt with emotions and the expression of emotions will be extracted and analyzed and analyzed by adapting them to the theoretical framework of the research. Obviously, the brief scope of the article does not allow all the sentimentalist contexts of Sepehri and Mazarei poetry to be compared, but this comparison is made by selecting the famous poems of two poets so that both rulings can be issued as correctly as possible about both rulings. The contemporaneity of these two poets, their almost equal lifespan, the coincidence of their artistic activity with the most important events in contemporary Iranian history, the adoption of a particular language, the secularism of both poets, and the emotional concentration of their poetry led us to compare them. Sentimentalism has not been studied in Persian literature so far. Scattered articles in the field of other arts such as cinema have been written with a half-hearted approach and a very brief look at the principles of sentimentalism, almost none of which is relevant to this field of study.

Sohrab Sepehri and Fakhreddin Mazarei are both poets who historically belong to the same period. One chose free poetry and went to Nima, and the other remained faithful to the old styles and formats, but chose a relatively new language to compose. One was a painter and in his conduct he chose the experience of Buddhist mysticism and Indian mysticism and the teachings of Zen, the other was a university professor and gained experience and expertise in English literature. Sepehri and Mazarei lived equally; One lived for 52 years, the other for 50 years. Both lived single. Both died of disease and, in a sense, had a "sensitive state." Both were young at the time of the socio-political events in Iran, and both were experts in their field. Both have different languages ​​and both can be considered masters of style. The Iranian literary community is less familiar with Fakhreddin Mazarei. With the help of an introduction written by Asghar Dadbeh, the compiler of a collection of farm poems, on the book of Arezoo anthem, this unfamiliar poet was introduced. Mazarei was born in 1315 in a literary and scholarly family in Shiraz, and finally died in 1986 due to a heart attack in the United States. Sohrab Sepehri was born in 1307 in Kashan and died of cancer in 1980. The overlap of the lives of these two poets and their placement in the most inflamed period of contemporary Iranian history (from 1320 to the Islamic Revolution) and the acquisition of both in a specific language led to a comparative study of poetic sentimentality of both and a report on the literary situation of both Be lost.

After comparing these two poets, the following results were obtained;Sepehri's poetry, in terms of superficial emotions, focuses on the emotion of happiness and positivity.Mazarei's poem depicts a dark world and it has a lot of emotion and anger.Mazarei's poem should be considered as black sentimental.In Sepehri's poetry, the poet's language is very close to the language of the people, and this has caused the intimacy of his poetry.In Mazarei's poetry, the insistence on new and epic compositions has caused the poet's language to be far from the language of ordinary people.Sepehri's poem is a delicate poem and there is a lot of dealing with nature, so his poem sometimes approaches prayers. Sepehri is a poet who praises life, but at the same time he seeks another world beyond this world.Mazarei's poem is a sign of the poet's loneliness and isolation. His most delicate poem is mother's poem.The poetry of Sepehri and Mazarei are both full of emotion, but one side is happy and the other is sad. Therefore, the reason why Mazarei remains unfamiliar to the Persian-speaking audience can be sadness of the poet. 

From the end of the eighteenth century, following Schleiermacher, religious and epistemological experiences gained increasing attention. In this article, after introducing religious experience and its characteristics from the Western philosophers’ point of view, this type of experience is investigated from the perspective of Iranian mystics and philosophers. Travel has been one of the main topics in mysticism and many mystics have considered the journey of horizons as a prelude to the journey of the soul. Attar, as one of the mystics, and his work “The Conference of the Birds”, are introduced in connection with this subject as a personal and spiritual travelogue, and by looking at Mulla Sadra's "Four Journeys", this notion and its dimensions are examined. “The Conference of the Birds” is seen as a travelogue that arrests an abandoned caravan to the confines of its presence; The “Four Journeys” is seen as a single journey. The article is based on the question: What was the basis of Attar's knowledge? The article concludes that Attar, in addition to believing in an experience-oriented religion, tries to bring seekers to this experience step by step. Also, it quotes the characteristics of religious experience, obstacles and travel equipment that end in this experience in Attar’s terms and the product of this religious experience is analyzed.
Research method, background and

The research method of this article is the library method and its contents have been provided by examining books and articles.
Regarding the background of the article, it should be said that although the phenomenon of religious experience has existed in all religions and sects from the beginning, its idea has been proposed since the late eighteenth century and many books and articles have been written about it. Mystical experience and revelations are under the religious experience and the life and works of great people such as Rumi, Attar, Sanai and Hafez have been studied from this perspective and several articles have been written about them.Few articles have been written about Attar and religious experience in his works, which are: "Investigating Attar's mystical revelations in lyric poems based on the theories of William James" by Dr. Homayoun Jamshidian (2013); "Qalandarian Themes in Attar's Divan" by Mahin Panahi (2013); "A Comparative Study of Attar and Jung's Opinions on Religious Experience" by Marie Ikhlas (2006). Maria Ikhlas's study can be considered as the only text that has specifically studied and analyzed Attar's religious experience and has seen his Conference of the Birds from this perspective.

Schleiermacher was the first to propose the issue of religious experience. Emphasizing the "feeling of absolute reliance" as the essence of religion, he tried to bring religion back to the intellectuals. There is no complete consensus on "religious experience". The "contradiction" of the concepts of "experience" and "religion" and "the lack of access to a single concept of religion" have doubled the ambiguity of the meanings of religious experience. Religious experience is an unconventional experience that belongs to a supernatural being. The characteristics of this experience are "indescribable", "epistemic quality", "being ephemeral" and "passive state".Attar's religious experience belongs to the logic of God, which according to him is far from the reach of reason and is beyond "simile" and "anthropology" and all manifestations of creation are manifestations of his essence and attributes and only through the heart and soul, one can know him and must experience him. Attar’s Conference of the Birds expresses religious experience in a symbolic language. He likens himself to birds who have taken a moral path to achieve religious experience by having communications with one of the prophets and by breaking the cages and freeing themselves from lusts have achieved spiritual degrees.By looking at Mulla Sadra's four journeys and examining the frequency of words related to travel, Attar's works can be considered as personal travelogues. In the general plan of Conference of the Birds, at least two of the four journeys discussed by Mulla Sadra can be found. The first journey is the movement of birds towards Simorgh and the second journey is taking a step into the essence and becoming qualified and falling in love. Attar in Conference of the Birds intends to fulfill his spiritual duty, which is to give the indescribable experience of beloved and eternal lover to the seekers of love, and he carries out this mission in the guise of Hodhod.In the beautiful story of Sheikh Sanan, one can also find the four journeys.Some similarities can also be found between the states of the Conference of the Birds and the characteristics of mystical experiencesOne of them is reaching a passive state in which the seeker feels that he has lost his will and has been conquered by a higher force. This feature can be seen in the state of independence. The indescribability of mystical experiences can be seen in the state of wonder, in which the seeker is amazed and considers himself indescribable.

Considering the empirical nature of religion and the salvation of empirical religiosity has led to the survival of religion in recent centuries. The great mystics of Islam also realized that religion is effective in the destiny of man if the religious person has reached a destructive and constructive encounter with the transcendent and has felt that infinite existence immediately. Attar is also of this type who has reached this sweet and painful experience and knows that the experience he has been through is indescribable and one can only be placed in the position of gaining this experience and his conference of the birds is a travelogue to help travelers reach this state; A healing prescription for the pain of the whole sick human community; The pain of love and longing. Salvation from hereditary religiosity and guidance to the threshold of oneness with the Creator. They state that God can be known with God or with a heart and soul and a true theologian is someone who loses himself as a shadow in the sun of God's radiant existence.

Amir Moazzi was the emir of the Seljuk court and he had a special place in their court. A place reminiscent of Rudaki (309 AH) in the Samanid court and Onsari (431 AH) in the Ghaznavid court. (See: Awfi, 1390: 301). His dollection has been published three times so far. Abbas Iqbal Ashtiani has published this collection for the first time. This collection contains 18,623 lines. Although the old version of the collection was not available, this correction is the best edition of Amir Moazzi's poems so far. After him, Nasser Hairi and then Mohammad Reza Ghanbari have presented a new edition of this collection. The two last corrections in the recording of the poems followed Iqbal, and the quantity and quality of Amir Moazzi's poems is the same in their printing as in the printing of Iqbal. (، 1386: Yalmeha: 56). One of these books, which provides a valuable collection of Amir Moazzi's poems, is the book Rasa'il al-Oshq and Wasa'il al-Mushtaq by Seifi Neyshabouri. This book is a unique collection of one hundred love letters. During these letters, on the occasion of the subject, distiches from poets of the fifth and sixth centuries have been included. In the meantime, 39 distiches of Amir Moazzi have been included in the text for testimony, some of which have not been identified yet, and some of which were known as others. In the following, we will review the poems of Amir Moazzi in this book.

This research has been done by descriptive-analytical method and relying on library resources. Javad Bashari (1398) in his article entitled "Some Persian distiches from the fourth century and early fifth century AH in some ancient sources" has mentioned that Rasa'il al-Oshq contains new poems from the poets of the fourth and fifth centuries. As it can be seen from the title of the article, the time frame of the author's study is the fourth and early fifth century, and for this reason he has not dealt with Amir Moazzi and his poems. Ahmad Reza Yelmehaha (2008) in his article entitled "Amir Moazzi's Collection and the need for correction" after reviewing the Collection, reminded that some recordings of Amir Moazzi collection are wrong and the collection should be corrected based on new versions. Yelmehaha did not have access to the book Rasa'il al-Oshq and did not say anything about this work. Therefore, the findings of the present study are new. The purpose of writing this research is to present distiches from Amir Moazi that has not been registered in his name yet.

The quotation of Amir Moazzi's distiches in a sixth century source is very important; because in terms of antiquity, the book Rasa'il al-Oshtaq and Wasa'il al-Mushtaq is the second oldest historical source of Amir Moazzi's poems. The oldest copy of Amir Moazzi's poems is a copy that was written in 542 AH. has been written. This is a selection of Sanai's poems. After this edition, the second version of the historian who quotes poems from Amir is the book Rasa'il al-Oshq, which is dated 685 AH. has been written and it seems that Seifi Neyshabouri wrote it in the second half of the sixth century AH. After these two copies, a copy of a selection of Amir Moazzi's poems dated 713 AH. Are available. This is a selection of his poems. With these explanations, it becomes clear how important the book Rasa'il al-Oshqah is in the field of recognizing Amir Moazzi's poems. (See: Drayati, 1389: 5/53). In this book, 39 distiches have been quoted from Amir Moazzi. In the meantime, 10 distiches of the distiches mentioned in Amir al-Moazi's Rasa'il al-Oshqah are also available in his collection. Of the two quatrains, one quatrain is attributed to Majd al-Din Abu al-Barakat Bayhaqi Alavi (615 AH) and the other quatrain is attributed to Jamal al-Din Shahfour ibn Muhammad Ashhari Neyshabouri (606 AH). These two quatrains belong to Amir al-Moazi's; because the single copy of the book Nozha Al-Majalis was transcribed on 25 Shawwal 731, and according to the corrector of the book, this date is close to the date of its authorship. (See: Shervani, 1987: 48). According to this, the date of writing Rasa'il al-Oshqah, which was written in 685 AH., it is more than forty years older than the date of writing and transcribing Nozha Al-Majalis. Moreover, it is clear that the date of the "compilation" of Rasa'il al-Oshqah was before the date of the "writing" of the manuscript; so, approximately, the time difference between the authorship of these two books is more than half a century. Furthermore, it should be noted that Amir Moazzi, Abu al-Barakat and Ashari were among the intellectuals of Khorasan in the Seljuk era, and the book Rasa'il al-Oshq was written at a time when the memory of these poets is still alive in the minds of the author's audience and their poems were in other languages; so it is far from the mind that Seifi Neyshabouri has made a mistake in attributing the poems to Amir Moazzi. Also, distiches from Amir Moazzi have been sent to the Sanai court. These distiches are not found in any of the ancient versions of the Sana'i court; therefore, attributing it to Sanai is wrong. Now, based on the information obtained from Rasa'il al-Oshq, it must be said that these distiches are from Amir Moazzi. The main part of the distiches quoted from Amir Moazi in this book are the distiches that have not been mentioned in any text so far. The importance of this text is also provides us with newly discovered distiches. In Rasa'il al-Oshq, according to the subject of the discussions, ten quatrains and four lyric poems by Amir Moazzi are mentioned. In total, 24 newly recited distiches have been mentioned in Rasa'il al-Oshq, which have not been published anywhere so far, and these newly recited poems should be added to Amir Moazzi's collection in the re-correction of the collection.

In the present study, the following results were obtained by examining Amir Moazzi's distiches in the book Rasa'il al-Oshq: - It became clear that Jamal Khalil Shervani in Nozha Al-Majalis, by mistake, attributed Amir Moazzi's two quatrains to Abu al-Barakat and Ashhari. - It was found that one of his sonnets had been mistakenly sent to Sanai's court. - Three distiches of Amir Moazzi's distiches were corrected. - Also, twenty-four newly recited distiches by Amir Moazzi were presented for the first time.