فصلنامه شعر پژوهی (بوستان ادب)
سال چهاردهم شماره 2 (پیاپی 52، تابستان 1401)

One of the important intellectual foundations of Islamic mysticism is the belief in the kingdom of the soul and its derivation from the Alawite world and its confinement in the earthly body. In the Islamic world, Ibn Sīnā first portrayed this belief in Ayniyya ode with an allegory Ibn Sīnā's allegory is shaped by the symbol of Varqā or pigeons, and this pigeon descends from its high place and is captured in body cage. In one of the stories of Tāqdīs, the story of Parrot and Shah, Mulla Ahmad Narāqi advances belief in the fall of the soul, like Ayniyya ode, with the allegory of the bird. At first glance, it is obvious that the bird in Tāqdīs is parrot, and in Ayniyya is pigeons, as well as the language of Tāqdīs, Persian and its poetic form is Mathnavi, while the language of Ayniyya ode is Arabic and its poetic form is Ode. However, the points of sharing and differentiating these two works require careful examination. The present article deals with this issue. Accordingly, the main issue of the present study is the expression of the points of commonality and differentiation between the story of parrot and shah from Mathnavi Tāqdīs Mulla ahmad Narāqi and Ibn Sīnā's Ayniyya ode.

Research Methodology The method of this article is analytical-comparative method, considering that the base of allegory of both poems is the same, commonalities and differentiations in paying this allegory will be determined, analyzed and compared with each other.

Several articles have been written separately about the Ayniyya ode and Mathnavi Tāqdīs, including the articles "The Gnusian Structure of Ibn Sīnā's Ayniyya ode ", "Symbolism in Ibn Sīnā's Ode and its Reflection in the Thought of Muslim Mystics", "Comparative Study of Two

Ibn Sīnā's Mystical Ayniyya Ode and Ali Via Eram-Nasib Al-Arida". Analysis of Mathnavi Tāqdīs and its impressed by Mathnawi" and "Molanaye Naraq and Mathnavi Tāqdīs", but as their titles show, none of the authors compared the story of Parrot and Shah Mathnavi Tāqdīs to the Allegorical content of Ayniyya ode.

The main purpose of this study is to explain the points of commonality and differentiation between the allegorical story of parrot and shah from Mulla ahmad Narāqi's Tāqdīs Mathnavi and Ibn Sīnā's Ayniyya ode.

The similarities between parrot and shah's story and Ayniyya ode: The descent of the soul from the high world: 1. The most important similarity between parrot and shah's story with the Ayniyya ode is the unity of their main theme that’s mean belief in the the descent of the soul from the high world and its Imprisonment in the prison of the body. Captivity of the soul in the flesh : 2. In their poems, both Ibn Sīnā and Narāqi refer to the captivity of the soul in the flesh and speak of the reluctance of the soul of this confinement. Soul moaning from parting : 3. In both works, the soul whines on parting its original homeland. soul desire to reach the joiner: In both works the soul is in the desire to reach the joiner, which is the same as reaching the original homeland. The material world is like Ruined. Both works see the material world as ruins for the soul. Cause of soul's descension : Both works consider the cause of descension of the soul to be perfection and awareness. Cause of Forgetting the Quds Court : Both works state that the soul, because of belonging to the body and engaging in its needs and other manifestations of the material world, forgets its original origin and homeland, which is the shrine of Quds. The upward trajectory of the soul : In both works, the soul, despite its descension , ultimately has an upward trajectory and will return to its homeland. The differences between parrot and shah's story and the Ayniyya ode: Differences in allegorical birds : 1. The bird that Ibn Sīnā has chosen is a pigeon, but Narāqi has used parrot allegory, which is interesting considering its eloquence and imitatet. Reaction and non-reaction of the soul to accept the descension: 2. As a result of Ibn Sīnā, the pigeon reluctantly welcomes travel, but there is no parrot reaction as a result of Narāqi. The devil's involvement and non-interference in the oblivion of the original homeland : In the work of Narqi, contrary to Satan's objectives, he is also involved in the oblivion of the original homeland. Presence and absence of guidance in the downward trend : Objectively, the guide allegory is not used. Usage and non-usage of philosophical discussions and terms : In the same terminology, questions and astonishments of philosophy are raised that these things are not seen in the Narāqi,s work. Conclusion Undeniably, the story of "Parrot and the Shah" , Masnavi, "Mullah Ahmad Narāqi", regardless of the difference in language and poetic form, is similar to the Ayniyya ode of " Ibn Sīnā" in terms of allegorical and themes. This similarity has been carried out in two main aspects of meaning and form. In terms of meaning, the idea of the soul 's descension from the realm of the kingdom to the material world and his captivity in prison and his attempts to get rid of this prison constitute the theme of two works. Also, in terms of form, both effects are based on the coded allegory of bird,in the first is pigeon and in the second is parrot. In general, the common points of the themes of these two works are: The descent of the soul from the high world, The captivity of the soul in the flesh,Soul moaning from parting, soul desire to reach the joiner, The material world is like Ruined, the cause of the fall of the soul, the cause of the oblivion of the Quds Court and the upward course of the soul and the differentiation points of their themes: the reaction and lack of reaction of the soul to accept the fall, interference and non-interference of satan in the oblivion of the main homeland, the presence and absence of guide in the downward trajectory and using and not using philosophical discussions and terms.

Some great thinkers worked in the field of narratology including Vladimir Propp. Studying a large number of Russian fairy tales, Propp could define a consistent pattern for these tales; So, he identified 31-function pattern. Once the theories of formalism and constructivism were formed and popularized, Propp developed This type of format and structural analysis of stories. According to the mythical story plot it seems that we can find Vladimir Propp's claimed characters in Babr-e Bayān poem, whose author is unknown, and try to follow the functions. We investigate three stories in this poem: Rostam's battle with an aquatic animal called Babr-e Bayān, making Babr-e Bayān cloth from the skin of the aquatic animal for Rostam, and Faramarz conception; the stories include many fictional propositions which can be examined through the morphological components of the story.  

This is an analytical-descriptive article which attempts to investigate the structure of the epic poem of Babr-e Bayān, from an unknown author, based on the theory of Vladimir Propp. The background of the study includes the books of morphology of fairy tales and the historical roots of the fairy tales by Vladimir Propp; also, people such as Todorov, Bremond and Greimas present some ideas about structural analysis of narrative based on Propp's theories. In this regard, there are some articles such as: Criticism of Sequences of Hero's Functions in Propp's Theory of Morphology (Based on the morphology of three stories in Shahnameh) by Khavar Qorbani and Keyvan Gourk, Morphology of Mazandaran war story based on Propp Theory by Bahram Jalalipoor, and Analysis and comparison of the narrative structure of Nezami’s tales, black & sandal domes from Haft Paykar based on Vladimir Propps’ morphological patterns of fairy tales by Fereshteh Naseri, Abdulhossein Farzad, Amir Hossein Mahoozi. However, according to my investigations there are no independent research about the morphilogy of Babr-e Bayān poem based on Propp's theory. This is a library research method article which is done by analytical description of the text.

Functions pattern in Babr-e Bayān poem According to the 31 functions in Babr-e Bayān poem and the narrative process stages, and based on the 6 stages of planning for the events, complication, transfer, encountering, return, and recognition, which is the stage for functions appearance, narrative structural pattern can be as follows:β ƴ δ ζ εη ϴ AaBC ↑DEF GHJIK ↓ PrRsOL MQEXTUW All of the Propp’s functions can be find in the 6 stages of planning in this epic poem. All the functions can be observed in a symbol:β ƴ δ ζ εη ϴAaBC↑DEFGHJIK↓ PrRsOLMQEXTUW these functions indicate that this epic story is consist of a general movement and some internal movements. 31 functions can be find in the general movement. Another issue is that the story is made of the Propp’s general confrontational movements:M_________W The movements contributed directly to the balance of the stories and any problem will cause the loss of this balance, so by reaching to some kind of final function they return to the story again. A story can consist of one or more movements. The movements can also have different movements. However, it can be also a single story. Meanwhile, these movements excite the story and determine the main structure and theme of the story. The movements of Babr-e Bayān are as follow:β____________ δ However, it is necessary to consider two inner movements that occur inside the main movement, since they upset the balance of the narrative. Inside the main movement of the Babr-e Bayān, removing the two movements of “Alborz and Zal confrontation and blackmail on him” and “Galimine Goosh confrontation and submitting to Rostam” also should be considered however, However, they have not caused complexity and disrupted the norm of the story. The general movement of Babr-e Bayān is as follows:Babr-e Bayān crisis which leads to the people complain and the India opinion against him (crisis 1) Killing Babr-e Bayān by Rostam (balance) In this poem, the M__W can be find in a general movement. Motivational elements (Babr-e Bayān should be killed because he injures the Indians) and violence (Babr-e Bayān damages the property of the Indians and set fire to everywhere) affect the functions. Prop also suggested another movement organization based on content of the story:- extension through function of H-I (war and conflict) - extension through function of M-N (hard work) - extension through two functions of H-I and M-N (conflict and hard work) - extension with no function

The investigation showed 7 characters among the poem all characters. However, some characters played integrated roles; such as Galimine Goosh who has shown not only as the bad man but also found the role of a collaborator through some events. 31 functions of Propp could be find in the morphological representation but not sequentially. Extension of functions was found in the form of conflict-victory which seems that many epic stories follow this extension pattern due to their structure. It seems that Babr-e Bayān is a case which can remove an ambiguity in Shahnameh; despite some opinions who know Babr-e Bayān as a kind of tiger, it, Patyāre, is an aquatic animal that is killed by Rostam and then making cloth from its skin.

In Iran, poetry and narrative poetry have a history from pre-Islamic times.In the Islamic period, narrative poetry was popular almost from the beginning of Dari poetry. In the contemporary period, the distance between narration and poetry has become very small, and this feature is very evident in the poems of some contemporary poets. It can be said that the movement of contemporary poetry is towards the structure of fiction; In other words, in addition to poetic elements such as imagination, music and image, poetry also has narrative elements such as character, dialogue, time, place and scene in its structure, and the frequency of these elements is such that this category of poems can be called narrative poetry. Among the differences between narration in poetry and fictional narration, we can mention the shortness of poetic narratives, the generality of narration in poetry, and the neglect of details and the one-dimensionality of the characters.

Research method and theoretical foundation:

Fictional elements under the headings of narration, narration, narrative elements or narrative in the poetry of some contemporary poets such as Mohammad Reza Shafiee, Kadkani, Qaisar Aminpour, Mehdi Akhavaneshal, Forough Farrokhzad and Tahereh Saffarzadeh have been studied separately or comparatively and in whole or in part.Here are some examples of dissertations related to the topic:A Comparative Study of Narrative Elements in a Barren Land and Believing in the Beginning of the Cold Season, (2015) by Amir Afshar; Structure and form of narration of Forough Farrokhzad's poems, (2012) by Elham Hajian; Storytelling in the works of Mehdi Akhavan Sales (2011) by Ramin Zaboli; A study of the narrative element in the poem of Qaisar Aminpour (2016) by Ameneh Hosseinpour. The closest work to the present study is the dissertation on the evolution of storytelling in contemporary lyric poetry (2015), the beautiful work of Safarpourchafi. In this dissertation, first the narrative lyric and the story lyric have been studied in general and then the narrative elements in the lyric poems of Simin Behbahani and Hossein Manzavi have been studied in two separate sections. Simin Behbahani's narrative poems are discussed briefly in this dissertation and only a few examples of Simin's narrative poems are mentioned. The statistical population of the present study has been extracted and provided from all their poetry books. The present applied research, effective narrative elements in the process of narration, story creation and poetry: dialogue, perspective, characterization, theme and format in the poetry of two contemporary female poets: Jaleh Esfahani and Simin Behbahani study in a descriptive-analytical manner and in some cases use statistical analysis, tables and graphs.  The statistical population of the study is 70 narrative poems by Simin Behbahani and 37 fiction poems by Jaleh Esfahani which have been extracted and provided from all their poetry books. The method of data collection in this research is the library method and the data collection tool is phishing.  Then, the techniques and methods of storytelling in the works of both poets are examined in a comparative way to determine the similarities and differences in the use of fictional elements in the poetry of Jaleh Esfahani and Simin Behbahani. 

This study intends to study the use of important and influential narrative elements in the narrative process in the poetry of two prominent and contemporary female poets: Jaleh Esfahani (1300-1368) and Simin Behbahani (1306-1393) and shows that they have narrative elements such as characterization,  How and with what characteristics have they used dialogue, description, atmosphere, time, place, scene, etc. in their poetry, and what themes have they mainly dealt with in their narrative poems. A comparison is then made between the two poets to show which of these poets has used the narrative method the most in their poems; In which works are the techniques and methods of storytelling richer and what are the similarities and differences between the quality of using narrative elements in the poetry of these poets. The focus of the research is on the relationship between storytelling and poetry in the narrative poems of two poets. Considering the influence of women's poetry in the field of contemporary poetry and the prevalence of storytelling and narration in various poetic formats by contemporary poets and the history of application of this artistic method in classical literature, this type of research in addition to showing the evolution of contemporary poetry, scientific standards and  It provides valuable art for the critique of poetry today and provides a broader and more diverse context for research in the field of fiction and narrative literature. Considering the importance and position of Jaleh Esfahani and Simin Behbahani in the history of contemporary women's poetry, it is important to study the fictional elements in the poetry of these poets. 

Despite the similarities in the narrative poems of these two poets from the perspective of fictional elements, we conclude that in the narrative poems of Jaleh Esfahani, sometimes the expression of narrative in poetry has damaged the structure of the poem and reduced its poetic features. In fact, in Jaleh Esfahani's poems, narrative features have surpassed poetic features and have reduced the imagination, feeling and poetic nature of the poems, and the poems adhere more to the rules of the story than poetry;  In the sense that the poet wants to include a story in the form of a poem and tell it to his audience in a melodic expression. In Simin Behbahani's poems, the narration of the story has not damaged the structure of the poem and has not diminished the poetic nature of the poems, and it is this narration and story that has served the poetry.  In other words, poetry has approached narration and story by preserving the rules and regulations of poetry. According to the examples of Simin Behbahani's narrative poems that were mentioned and according to the characteristics that we mentioned for these poems, it can be said that Simin Behbahani has established the link between poetry and story in the best way in her poems. Expresses important issues and problems in the form of poetry, using narrative elements in such a way that the audience does not reject the poem, but quite the opposite;  Follow and remember the poem with interest. Finally, we can borrow from the sentence of Mehdi Akhavan Sales about his own narrative poems and point out that: Simin Behbahani has raised the narrative to the level of poetry and in some cases Jaleh Esfahani has reduced the poem to the level of narration.

In books on rhetoric, Ruba'is are mostly considered as formal, and by its name account, a foreign type of poetry, while it is one of the oldest forms of Farsi poetry. Ruba'i is a descendent of Pahlavi language in Iran's pre-Islamic era, the dialectical versions of which could be observed in some texts. Besides the theoretical debates on the form and content of Ruba'i, it is important to study its function and style of reading among people. This study is to investigate the idea that Ruba'i was common among people and should not be considered as a classic form. No evidence except Pahlavi texts are given to suppose this idea. This study, however, performed a field study on 14 types of Ruba'is with their customary functions in different areas of Iran. The results indicate that Ruba'is were common among people of Iran, singing it in their happy and sad ceremonies.Reading Ruba'is has been prevalent in different areas of Iran which is different from the formal and classic Ruba'is. Public Ruba'i has tremolo and additions; it is compatible with the language and dialect of the area; it is sometimes accompanied with music; it is often performed customarily in wedding or mourning ceremonies. Reading Ruba'is is sometimes performed through dance and games; the poems often do not have the title of Ruba'i and they do not have any particular poet. In fact, they take a title in each area. These titles are mostly the changed and manipulated versions of Ruba'is such as Rabayi, Ravayi, and Rabahi, meaning that they follow the content. The poems are simple and without much literary devices, carrying themes of daily life, while the classic Ruba'i often has a mystic and philosophical meaning.

There have been many studies on Ruba'is in classic literature. However, few have attempted to investigate reading Ruba'is and their function among people. To show the prevalence of this literary form among people, Zolfaqari (2015) conducted a field study on 600 types of folk poems which were considered Ruba'i. The comparison and analysis of their structure revealed the following results.The tradition of reading Ruba'i in IranReading Ruba'i and couplet is the basic of musical songs of southern and central Khorasan. The common songs in Khorasan and Tajikistan in the form of Ruba'i are known as Gharibi which shows the sorrows of a Tajik. Gharibis were also sung in Iran and Afqanistan. They were sometimes known as quatrain in the Northern Khorasan (Yousefzadeh, 2009, p. 143), differentiating between their own quatrains and those of the other areas, considering them regional or foreign. Reading Falak (heaven) is a complaint poem about the destructive events of the world in Khorasan. In the Ruba'is of Falak, Falak is the destiny of the human, thus, the poet complains about the unkind behavior of Falak.Ravayi or Ruba'i is a type of happy poetry in Dameghan which were sung by ladies in wedding ceremonies. They are not accompanied by music, and their content is about the bride and groom.In Sistan, the feminine mourning ceremonies are known as Ravayi, or Ardeh (shouting). They are sung in group or individually without any musical instrument.In the desert area of Dameghan, the epic and heroic poems are sometimes sung as Ruba'i, and ladies read Ruba'i in wedding and groom (Damad Sadkani) ceremonies. Marvegi is a type of happy songs and musical instrument in Marv city which is sung in wedding and happy ceremonies. It is actually a public Ruba'i taken from Bukhara.In the north of Iran, Ruba'i or Tabari Khaun/Tabari Khan is a type of poem in Mazandarani dialect which is sung in Tirgan or Tirmasinzeh ceremonies. In the south of Iran, particularly in Abadeh city, when families take the bride to the groom's house, they sing some poems which are known as Rabahi. Reading Khayam, or Khayami or Shaki is a type of music in Bushehr city which is performed in the wedding, circumcising, and other happy ceremonies.

Attar (537-627 AH) is one of the most prominent poets of the great mystical school who has the most subtle and refreshing spiritual thoughts and the most beautiful spiritual experiences in the field of mystical worldview has left. In many of his sonnets, a kind of story or event is depicted that expresses the sudden spiritual transformation of a mystic or a seeker of the path. Among his sonnets, which include 872 sonnets, about 70 sonnets have a special and different structure from the rest of the sonnets. In these lyric poems, which express a kind of intuitive experience and are considered as the randan and bullying lyric poems, almost the same situation occurs on Attar or his elder. This state, which is a kind of mystical event and a personal and inner perception, is "the expression of a spiritual experience that implicitly refers to the attainment of unmediated knowledge of the senses and intellect, and requires the creation of special psychological conditions resulting from asceticism and austerity." (Pournamdarian, 1390: 17). Although such a theme can be deduced in most of his sonnets along with other themes of his poetry, but in these few sonnets, they have their own construction and function.

The research method is descriptive-analytical and the purpose of conducting it is to study and analyze those of Attar's sonnets in which the experience of his meeting with a holy witness is depicted. Regarding the researches related to the subject of meeting oneself, one can mention the works of Poornamdarian who have spoken about this subject in detail; In his book Mysteries and Mysterious Stories, he traces the history of such experiences even to pre-Islamic works. In the book Meeting with Simorgh, he describes the spiritual events and the dreams of mystics. He has also dedicated a part of the book in the shadow of the sun to the subject of commands, speech and experiences of mystics in this field, and subsequently to the aspects contrary to the habit and revelation of Molana's sonnets.Taheri (2003) studied the structure and mutual relations of various units and elements in 27 lyric poems narrated by Attar based on the combination of two chain and vertical structural methods (axis of companionship and succession) and he was the originator of this type of lyric poems in Persian literature.

The manifestation of the beloved in one of its infinite forms is among the spiritual experiences which, in Jung's words, is "a psychological knowledge whose contents originate from the unconscious" (Pournamdarian, 1390: 152; quoted by: Jung, 223). This mystical knowledge, which is a spiritual or psychological experience, is obtained as a result of finding a special spiritual space that requires austerity, enduring hunger and thirst, leaving the world and giving up carnality and the like. Such knowledge is born of personal memory and experiences of the type of dreams and dreams that the speaker is not aware of in order to overcome the emotions and emotions that result from it. In such a process of writing, the speaker speaks of the nature of experience and meeting and observing. The predominant aspect of these lyric poems is "emotional passion" and writing meanings and taste experiences that originate from the poet's mentality. Since in most of these sonnets the time of the event is night and especially at dawn, it can be seen that these sonnets are born of a personal experience and inner perception and the narrator is immersed in an intuitive experience (event). , Is a dream) and speaks of the essence of experience and the same meeting. Attar has reported such an experience in many of his joyous sonnets. These poems are more like a dream, because the occurrence of such events in the real world is not very consistent with reality.That a drunken and irrational painter enters the mosque at dawn and on two knees sits in front of the old man and gives him a cup or pain, and the old man under the influence of his words and also under the influence of the painter's beauty or under the influence of a cup or pain that he loses He is drunk, returns from asceticism and religion and turns to infidelity, or ties a rope to the cult of the drunken beauty of Loli, and then reaches the position of discovery and intuition and achieves secrets, is unlikely in the real world. And the possibility of having it as a reality is completely ruled out. Hence, these sonnets "if they are not dreams, they are dreamy and like interpretation, they need to be interpreted; interpretation that is derived from the possessions of the poet's mind "(Pournamdarian, 1390: 146).

The issue of meeting the holy witness is one of the important issues that is reflected in Attar's lyric poems more than other mystic poets. In a significant part of his sonnets, Attar has tried to present a report of his spiritual experiences and emotional emotions to the audience in a simple and intimate language. In these sonnets, the semantic background of which is determined by the story of Sheikh Sanan and Hallaj, the beloved, who has absolute power, appears to him in a body of violence and beauty.Due to the predominance of emotional states, the poet clings to metaphorical language and uses codes and symbols that often play on the institutionalized signs of the Sufi linguistic community. Hence, the circle of the possibility of signification of the signs expands and the system of signification and the domain of meaning in them remains open and opens the door of interpretation to itself. Dreaminess, contradiction and ambiguity are the inherent nature of these sonnets. The poet's tone is serious and regrettable in them, and due to the narrator's close connection with the events, the news and emotional aspects prevail in them.

Spacement poetry has proved its situation in contemporary Iranian poetry after publishing it’s manifest in winter of 1348. Yadollah Royai, the prominent figure of this stream has also tried during time to practice it's different lingual, philosophical and aesthetic bases. This approach has always been a Subject for debate, for its own ambiguity in manifest and theorical discussions. One of the reasons for this ambiguity is the effect of Husserl’s phenomenonlogical philosophy. After publishing its manifest, Royai has confirmed this impact. Accordingly studies show that there is a deep correlation between spacement poetry and phenomenology. phenomenonlogical concepts such as superior I, Epoche, phenomena, conscious expriences and so on are easy to be understood when the poet has used them. in his ideas, in form of suspicions  Dekartic I, putting preassumptions in paranthesis, imagining a supernatural world, the audience creations in conference with spacement imagination mechanism and the like these themes and concepts have been used in Royai’s ideas and have been effective in the connection between spacement poetry and Husserl’s phenomenology, ambiguities, And the complications of the manifest and the poets ideas.

This research has followed liberary method in which the writers have read the references and have taken notes and use them in there essay. the most important references could help the writers include:“from epoche to poetic innovations: pathology of using phenomenological approach in Literary studies in Persian Language”, ”the hidden face of the Word”, ”the phenomenology of a spacement”, “the poetic of spacement poetry who is Yadollah Royai and what does he say?”, “the poem of our time/12”, “explanation of the margin”, “the contemporary streams of Persian poetry”, “unseen mases”. “Deconstruction in spacement poetry”, “theorical bases of spacement poetry and Royai’s Labrikhteha”, “A study on the form and the Content of a spacement poetry with some interpreations”, “spacement poetry stream”, “a study on  Yadollah Royai’s works according to spacement poetry manifest”. Considering philosophical bases of spacement poetry, the writers aim to understand, analyze and compare between the connections, structures, and  Husserl’s phenomenological similarities and spacement phenomenology and ultimately illustrate it's practical function in the poetic of image in spacement poetry. Accordingly, they have examined the following two fundamental questions: first,  the howness Obvious separation of Poetic theory of spacement and Husserl’s phenomenology and second, the howness of its function in the poetic of images in Yadollah Royai’s poetry.

 Without understanding Husserl’s  phenomenology,  It is not possible to understand the different phenomenological levels of spacement and it’s imagination mechanism. Therefore, what is important is to achieve a relationship between these two issues, leaded to an ambigous action.  Here, Royai writes about "arriving to some instant causeless understanding and of a degree Of the absolute that cannot be passed" (Royai, 1396: 89).  This illustrates a technical aspect of supreme retation of Husserl's philosophy.  He discusses the being Dekart “I” in paranthesis and he changes the famous sentence of Dekart "I think, so I am" into "I think, so it does not exist". This way he not only expresses new poetic thoughts of fundamental concepts of Husserl's phenomenology, but also he approaches the Husserl's  transcendental Ego. Also, He continues that the poetic of spacement poetry seperates that super man from the world and it's phenomena. The poet creates images in epoche and he wants to destruct the paranthesis and its content, but this imagination can somehow be suitable with some images of conscious experiences, such as imagination, tendency and so on. He also approaches some other Husserl's phenomenological concepts, for example, in explaining the distances, the texture of images of spacement poetry and the audiences Creations in encounter with the spacement imagination mechanism and ultimately arriving to a fundamental unity of various experiences. So, in the Vast field of scepticism of the spacement phenomenology, in striking Husserl's philosophical system, the expanded bases of this rivival and the independant identity are last. In Royai's thoughts, the audience always faces Husserl's philosophy and a statements and when it comes to comparison, he will find out more similarities between a spacement poetry and Husserl's philosophy. Here is an example of Husserl’s phenomenological function in a piece of poem: 59) A tree with some crazy branches  and the echo leaves on the body of the mountain morality of protecting flower in a garden (Royai, 1387: 520)  In this poem the reader understands both the mental education of the spacement and an absolute concrete experience, which enters him in the spacement imagination mechanism and finally he discovers the morality of protecting flower in a garden, as he has imagined. So, the circle of this giving meaning takes place in the absolute experiences of I and finally it makes the phenomenological experiences objective.

Conclusion:

This research showed that the basis of the separation of spacement poetry and phenomenological bases is ambigious. The similarities between spacement poetry and phenomenology are so much that this kind of poetry cannot be separated from Husserl’s phenomenology. Language is one of the reasons for this issue, since it can be stated that one of the responsibilities of language in spacement poetry is making capacities for carrying Husserl’s phenomenological concepts. Therefore, despite the poet’s ideas and the various discussions, this aspect of the spacement poetry could not compensate its defects. In addition, considering the similarities between these two, a phenomenological analysis has been directly made via some poems of Yadollah Royai. It was observed that these poems are connected with Husserl’s phenomenology from spacement imagination, mental education of spacement and spacement images points of view. These poems also show the poet’s viewpoint, expression, semantic originality metaphysical concerns in concepts like supreme, distance, epoche and so on.

The Constitutional Revolution is the most fundamental socio-cultural change that transformed the traditional worldview of Iranians; Therefore, the poets of this period created works appropriate to those conditions because they realized that they should compose the poem for the people that satisfy their political and social feelings. These changes can be seen in various fields of contemporary poetry, including debate.Debate is a literary form in which two people exchange views on moral, political, religious, and legal issues, and usually a third party judges between them. Another form of this debate is Dialogue.Debate was influenced by political, social, cultural, and intellectual developments; as far as its types, themes, forms, and techniques is concerned with Bakhtin's theory, the similarity of the political and social conditions after the constitutional revolution in the Iran with the conditions of the Bakhtin period and Stalin's oppression had a great impact; Therefore, the writers study the aspects innovation in the debates of the debates from 1922 to the Islamic Revolution (1979), with a descriptive-analytical method based on traditional and contemporary Persian debates. they have studied and found the poet has explained part of his method of thought and created a different atmosphere in all these conversations.

Background and purpose of the research:

Some works have been published about debate in Persian poetry; Among them, the following can be mentioned: In the dissertations of Parvin Seyyed Almasi (2010) as "Study of the structure and content of Parvin E'tesami's debates" and Ismail Sharifi (2012) as "Comparison of debate technique in two styles Khorasani and Iraqi"; Mehdi Rahimi (1996) in his treatise entitled "Debate in Persian poetry (from the beginning to Parvin E'tesami)". Narges Mohammadi-Badr and Hashem Mehdizadeh (2016) in the article "Reflections on the evolution of the debate from the Assyrian tree to Nimaee poems"; Ali Akbar Amini (2002) in his article "Dialogue in Contemporary Iranian Poetry"; Mohammad Reza Roozbeh (2013) in the article "Shafi'ei's innovations in the field of debate" and Reza Zarrin-Kemar (2017) in the article "From Debate to Conversation: The Impact of Coup d'etat of 28 August on polyphony in contemporary poetry based on two poems by Akhavan-Sales and the Hushang-e  Ebtehaj» ; Vida Sabzevari Beidakhti et al. (2021) in the article "Study of reasoning method in Parvin E'tesami's debates based on Toliman's theory"; But no one of them has dealt with innovative ways of  Nimaee debating; However, considering the importance of political and social developments and their direct and indirect impact on the literary works of each period and the place of dialogue and debate in the world and life today, it is necessary to study this issue and discover new ways of debate in contemporary poets.

Contemporary debates, influenced by political and social circumstances, are often written in the form of dialogue. The purpose of the parties to the debate is to weaken and destroy each other; But the purpose of the conversation is to clarify the issue and reach a common ground and accept each other.Start with a question; Existence of rhetorical propositions; Enjoyment of freedom and authority; Intertextual connections with myths and multifaceted actions are components of dialogue that are all seen in contemporary debates. Form of poetry; The role of the poet in poetic narratives; Use of monologue (poet's conversation with himself); Existence of multilateral dialogue; The use of the carnival style and the use of the grotesque are some of the innovations in Nimaee debates that are not found in traditional debates.In traditional debates, the reader pays attention to the text only from the point of view of the poet or narrator; While new debate shows its emotions, it leaves the judgment to the audience; then, in contemporary debates, we are confronted with a kind of hidden narrator who remains silent in order to events to manifest themselves through inner monologue, polyphony, and dialogue. Belonging to the personal world and paying attention to individual feelings draws the poet to the self-talk, and the poet's “you” and “me” is expressed in social pains and the collective "me and you". Traditional debates had lyrical, romantic, and educational content and ignored the social structure of their society; While the contemporary poet, in addition to believing in the connection between the individual and society and their interaction, even pays attention to philosophical concepts.Ancient debates are mostly two-sided; But Contemporary debates are sometimes three- or four-sided. Nimaee debate moves from a state of bilateral conflict to a multi-voiced space with the expansion of the characters present in the poem.Multilateral dialogue can lead to the application of the carnival and grotesque methods of Bakhtin in contemporary debates. The concepts and values ​​that govern society are challenged through the use of carnival and tools such as criticism, satire, irony and ridicule.The components of determining grotesque instances are imperfection and metamorphosis; Exaggeration; It is also called the "grotesque body ", a mixture of conflicting emotions and the human body and related concepts. Contemporary debate uses symbolic character and language, and aesthetic techniques. The atmosphere of ancient debates is based on confrontation and its argument is based on controversy; but Nimaee debates are based on interaction and dialogue.

Nimaee debates have been written in a new form and structure and express the social and political themes and problems of modern man. Most conversations begin with rhetorical questions and statements that require an audience. The audience is not always a specific person; Rather, it can be the poet's personal or social self. In new debates, dialogue is based on freedom and authority, and neither side is superior to the other; Hence they interact with each other.The poet is usually active in the field of poetry and is not the only narrator. In most cases, debates are formed with the presence of different characters in a narrative atmosphere and create a multi-voiced world. Belonging to the personal world and paying attention to individual feelings sometimes leads the poet to debate in the self-talk.Using the symbolic element, the poet creates symbolic characters and leads the reader to the realm of the multiplicity of poetic meanings and concepts. By creating a carnival atmosphere, he criticizes the political and social situation. The disruption of the values ​​that govern society creates multi-voiced societies with diverse discourses.

Proposing a general model of the world has been considered by many physicists and philosophers since ancient Greece; since it seems tat this idea forms the basis of ‘Attar’s ideas in Manṭeq Al-Ṭair (the Conference of the Birds), this study analyzes and compares holism in ‘Attar's mystical ideas and modern physics.In holism, which was formed in the twentieth century, living beings are considered an “integrated whole” in which the properties of the components lay in its totality. “Such approaches are observed both in Chinese and ancient Iranian mysticism and also Ephesian, Platonic and Aristotelian thoughts.” (Golabi, 2017) Traces of holism can be observed in ancient Iranian or Khosravani Wisdom; he creation unity, which was interpreted as “existence unity” in Mola Sadra’s philosophy; the principle that has had a great influence on mystical thoughts. Although ‘Attar was impacted by the creation unity and humanism of the world in Khosravani Wisdom, unlike his predecessors, he achieved a new allegory, namely the scientific- philosophical allegory of the correspondence between the "particle of the world and the world of the particle". The abovementioned theory has a special status in the western wisdom and philosophy. (Zarrinkub, 1989)

During Hafez's lifetime, several rulers came to power in Shiraz. From the Choupanids, Amir Pir Hussein, from the Injuids, Shah Mahmoud, Shah Massoud and Shah Abu Ishaq and from the Mozaffarids, Amir Mobarez, Shah Shoja, Shah Mahmoud, Sultan Zinal-Abedin, Shah Yahya and Shah Mansour. Some, such as Shah Shoja, ruled over Shiraz for a long time (more than two decades) and some, such as the Shah Yahya in a short period of time (less than a year). Due to his long association with the court, Hafez met and became acquainted with many princes and ministers. These interactions are widely reflected in Hafez's poems and the repetition of their names in his poems confirms this. Among the kings mentioned, he preferred three: Shah Abu Ishaq, Shah Shoja and Shah Mansour. Shah Mansour was the last king to rule in Shiraz during Hafez's lifetime, and the last years of Hafez's life were spent during his reign. A considerable number of Hafez's poems are dedicated to him in this short period of time, and it appears that the poet's interest and respect for this king is special.

 Methods and Literature review:

The purpose of this article is to study the image of Shah Mansour Mozaffari in Hafez's poems and its comparison to valid historical sources by content analysis method (descriptive-analytical approach) In order to find a logical explanation for his prominent dignity with Hafez.About Shah Mansour Mozaffari in addition to the information contained in historical sources; The books "Shah Mansour, the Heavy mace champion" by Mohammad Ibrahim Bastani-Parizi and "Shah Mansour" by Ahmad Foroughbakhsh have been published. Also, since Shah Mansour is one of the famous praisers of Hafez, he has been mentioned in many works that have described Hafez's poems. Sahar Fereydoni in her article "The role of human factors in the fall of Shiraz during the reign of Shah Mansour (795 AH)" has studied the conquest of Shiraz by Timur Gurkhani. Hafez's political thought is a subject that has been studied in the book "Hafez's view of politics" by Fatemeh Zolfagharian  and the articles: "Shiraz of Hafez's era and how to reproduce Iranshahri thought" by Azim Shahbakhsh and Omid Ghiasi, "Hafez's paradigmatic turmoil in dealing with politics" by Shamsi Parsa and "Interaction and confrontation of Hafez Shirazi's poetry with the political structure of power" by Mohammad Keshavarz Beizai et al.

The intensity of Hafez's attachment to Shah Mansour is evident through the poems he wrote for him. This interest, in addition to Shah Mansour benefiting from the characteristics of a desirable king, must have other reasons. To find the answer, there is no way but a more detailed analysis of Hafez's words, and this search must be based on the historical developments of that period. In the history of Iran, there have been several major attacks by foreigners that have caused irreparable damage to Iranians. These include the invasion of Alexander in the fourth century BC, the invasion of the Arabs in early Islam (early seventh century AD), the invasion of the Ghozs at the end of the Seljuk dynasty (twelfth century AD), the Mongol invasion at the end of the Khwarizm dynasty (thirteenth century). AD) and the invasion of Timur in the eighth century AH (late fourteenth century AD). Shah Mansour's rise to power coincides with one of the turning points in Iranian history, which is the invasion of Timur.In a poem composed by Hafez to congratulate Shah Mansour on his accession to the throne; Shah Mansour is counted against Timur, as the savior Mahdi against the Antichrist. It seems that considering Shah Mansour as the hero of the resistance was not limited to Hafez. The historical information left about not believing in Shah Mansour's assassination and waiting for his appearance for a long time after this incident is a proof that people looked at Shah Mansour as a savior. When fighting the domination of an alien invading power that has invaded the country; This attitude has a history among Iranians. Examples of hope for the return of the national hero in the role of savior include Bahram Varjavand in the Arab conquest and Jalal al-Din al-Khwarizmshah in the Mongol invasion.Hafez realized that none of Mozaffari's princes had the courage to face Timur. During Timur's first expedition to Fars; Sultan Zin al-Abedin; The son and successor of Shah Shoja, After hearing the horrific news of Timur's massacre in Isfahan and his move towards Shiraz, fled and headed for Khuzestan via Kazerun. Other princes of the Mozaffari dynasty welcomed Timur near Shiraz. But Shah Mansour's audacity in taking Shiraz from Timur and his successor, Shah Yahya; Confirmed Hafez's opinion and caused the people to consider him in that catastrophe, their savior from the danger of the Antichrist. Shah Mansour's uprising against Timur in that difficult situation caused him to find an excellent position with Hafez.

Shuja al-Din Shah Mansour Mozaffari, the last king of the Mozaffari dynasty, has a special and privileged position among all those who have been praised by Hafez. Evidence from Hafez's poems shows that there was a close and intimate relationship between Hafez and Shah Mansour. This intensity of interest in the last years of life, in addition to the adaptation of Shah Mansour's characteristics to a desirable ruler, is linked to the conditions of the last decade of the eighth century. Shah Mansour is the only one who has the courage to stand against Timur, and that is why Hafez and many people look at him as a savior and hope for his victory. Among Hafez's poems for Shah Mansour, Mughniyehnameh, in which form and content are used to strengthen the mentality of patriotism and resistance, is of extraordinary importance and value. It is in this poem that once again, the value of the national epic as a stronghold of national identity and cultural ideals of Iran in the critical historical moments is manifested.

Among the various theories on semiotics and their evolution are the critical interests of the  French-based American theorist Michael Rifatter (1924-2006), a structuralist linguist who specializes in semiotics. The poem is thought-provoking. In Rifater's semiotics, not only the reader's critical and creative effort is involved, but also his literary and linguistic knowledge and experiences are effective in understanding and receiving poetry. He based his theory on the nature and function of language in literary texts. Poetry deviates from its usual functions of understanding and receiving poetry based on the poem itself, using indirect language to refer to unnecessary things: changing the function of language in poetry from imitation to signage, creating grammatical statements in poetry, altering a central origin to create Poetry, the transformation of text into poetry by means of minimal writings with the three principles of multi-factor determination, transformation and expansion is one of the most important points in Rifater theory.                                                                                                              

The research method is descriptive-analytical and its purpose is to read the semiotic reading of the Akavan Sales's Ghese – e - shahr – e – Sangestsn following can be considered about the research

 1.Shariati Siasar (2011) who in his dissertation entitled "Analysis of the second millennium of mountain deer based on the theory of Rifater semiotics" using the above theory to the origins of philosophical thought such as thinking in He has dealt with life and death, human existence and place in it, and destiny and philosophical doubt.  2.Najafi (1396) who has interpreted the " Akavan Sales's Ghese – e - shahr – e – Sangestsn " based on Kristova's theory and using the symbolic and symbolic matter. The analysis of this poem is based on the critique of poststructuralist semiotics.  3.Hypothesis (2012) that in the article "Archetypal Critique of the Poetry of the Akavan Sales's Ghese – e - shahr – e – Sangestsn Mehdi Akhavan Sales" examines the poem from the perspective of archetypal critique and based on the archetypes of hero, old, shadow and self He has analyzed and dealt with symbols such as tree, mountain, valley, cave and spring.                                                                                                   

"The Akavan Sales's Ghese – e - shahr – e – Sangestsn Fabeli, which is narrated in a narrative manner and in a logical way from the language of two pigeons, and in it, most of the mythical themes, elements and characters are used. And the poet has even recreated myths according to the needs and events of the time and in opposition to the situation of society and based on his mentality. The main content of the poem is political and apparently its hero is Dr. Mohammad Mossadegh. In linear reading, "The Akavan Sales's Ghese – e - shahr – e – Sangestsn " consists of eight verses, according to which "The Akavan Sales's Ghese – e - shahr – e – Sangestsn " is the story of a prince whose people have been enchanted and turned to stone. Like the common customs of many folk tales, he seeks guidance from two pigeons. We see that it prevents us from considering poetry through imitation and merely representation of an event, but in the second stage because of the nature of the language of poetry in which the reader is faced with a chain of apostasy and contradiction. The poem must be read reactively in order to decipher the signs in the text. "Reactive" or "retrospective" or "non-dynamic" or "interpretive" reading is done in a non-sequential way and using literary power from the end to the beginning of the text as a review, revision and comparison. "During this process, the reader, by testing the hypothesis formed in exploratory reading, goes beyond the level of meaning and seeks the meanings of poetry, and finally the matrix or network of poetry, which is the basic proposition of poetry. "It recognizes and unites poetry." Reactive reading helps to interpret and analyze poetry using techniques such as "accumulation" and "descriptive systems". The four lexical chains of "loneliness", "silence", "despair" and "water" are the core of Sangestan's story collections. In the poetry of the Akavan Sales, there are three descriptive systems of pigeons, the city of Sangestan and the prince, and the most important descriptive system is related to the "prince". With instances of multifactorial determination, transformation, and expansion, the minimum spellings of each poem can be obtained. The "Ghese – e - shahr – e – Sangestsn " has been written around three minimalist inscriptions: The first paragraph: the captivity of Iran in the hands of thieves and colonialists. Article 2: Removing Obstacles with the Guidance of the Wise Men Article 3: The Disappointment of "Determining Multi-Factors" means that the signs in the language used in poetry do not refer to non-poetic beings but give rise to semantic networks. It turns out that the connections between its components are internal and self-directed. The signs of the poem " Ghese – e - shahr – e – Sangestsn " also refer not to meanings outside the text of the poem but to the other signs of the mentioned poem and therefore create a closed orbit of specific signs. The prince, the city of Sangestan, pirates, trees, wells, doves, fire, caves, mountains, valleys, springs and dreams are the multi-factor determinations of this system. "Expansion" in this poem has made possible the abstract theme of "despair and despair" to certain images. 

"The Tale of the City of Sangestan" is the product of the development of the origin of "despair and hopelessness" on which the meaning of the poem depends. This origin has expanded through processes such as accumulation, multifactorial determination, transformation, and descriptive systems. These components take poetry beyond the level of imitation, transform it into a meaningful and unified system, and can be analyzed with systematic semiotics. Has accepted. In this way, it can be seen that in the process of "accumulation", the Akavan Sales has chosen more objective words in the second chain, namely "despair and sorrow", which is the main theme of the issue, in order to make it more realistic. In "descriptive systems", the "prince" macro system is at the top of the other two micro-systems due to having more constellations. This confirms that poetry revolves around this character and the things that follow it. With the help of the "expansion" process, he has turned an abstract subject (despair) into three definite images, each of which corrects and intensifies the other.