فصلنامه شعر پژوهی (بوستان ادب)
سال چهاردهم شماره 3 (پیاپی 53، پاییز 1401)

Akhavan Sales’s poetry cannot be appreciated out of the conceptual framework which the mythological world has drawn for him. As much as the mythical thought has acted as a means of defamiliarization and thus constituted the form of his poetry, it has also laid the foundations for those harmful points, through these harms, the weakness of mentality and language of Iranian poet-intellectuals in understanding modern rationality is revealed. Akhavan, in his masterpieces such as Zemestan (Winter), Akhare-Shahnameh (The End of Shahnameh, and Az in Avesta (From This Avesta), has set foot in an area of mythological realm, where archeology and music, sanctification and demonization, nostalgia, etc., have blocked the way for any experience of historical contemporaneity. We know Akhavan from his archaic and ingenious language and his commitment to meter and rhyme and that traditional tenderness that suits his senses and emotions, and we know more that artistic device of "myth" in the structure and form of his poetry has strongly linked his art of “Khorasan” to that of “Mazandaran" (Akhavan-Sales, 1385: 13) of Nimai Yush.The point is that this artistic device of "myth" gradually "transcends the limits of its" art-making function "in the poet's" work "and, in the form of a dominant" insight "dominates the artist's mind. Thus, it takes him away from his artistic "motives" and brings him closer to "ideological" harms. As long as we are in the magnetic field of the enchantment of the mind and language of the poet, we will be unable to argue about the “what” and the “how” of his poetry. It is only by taking a "distance" and standing outside the gravitation of his artistic system that one can discuss the merit or demerit of his poetry. What we are looking for in this research is a starting point that will allow the audience to take an "ontological" look, not only at the legacy of Akhavan in particular, but at all contemporary poet-intellectuals in general.
Research Methodology,

Most of the research that has been done so far on myths in contemporary poetry and Akhavan’s poetry is of admiring nature, but lacks the pathological analysis and the distance that has been adopted in this research. Therefore, in this research, by giving concrete examples, the author has tried to discuss and analyze the artistic heritage of the Akhavan from a pathological point of view in the light of mythical thought using critical analytical method of Enlightenment thinkers.

At the beginning of this research, I will try to introduce the framework of mythical thought to the reader in a short introduction. Now, in this section, by presenting discussions on the form of Akhavan’s poetry specially from his three collections, The Winter (1335), The End of Shahnameh (1338) and From This Avesta (1344), which have formed the basis of his artistic life, in a more objective way. I also try to further explore the generalities of the aforementioned theoretical view.The Music of Akhavan’s Poetry What forms the mythical thought in Akhavan's poetry is its music. It is music that allows him to fly his mind and language to "God and beyond the desert of God" (Akhavan, 1384: 76). The magic of the music of Akhavan's poetry is the first factor that empties its poet and his audience of "individuality" and leads them to the unitary world of primitive myths. 3- 1- 1 Mythological Language Following the dominance of the mythical mythological in Akhavan’s poetry, after music, what tangibly evokes the audience from today to yesterday is the poet's retrospective language. The diction and syntax that Akhavan uses is a parole that will have no future other than the mythological past of language. 3 - 1-1- 2 Revivalism In the poem “Payam” (Message) by relying on this archaic language, Akhavan finds it possible to sanctify and purify everything that is from the "heritage of the past" with such a mythical self-confidence:3-1-1-3 Freedom The first victim that the heavy weight of a mythological past in his poetry takes in the poet's mind and language is the concept of "freedom." From the point of view of mythical thought the "individuality of the subject does not have a mentality of its own, independent of its own people and tribe, its existence is transmuted in his people. (Cassirer, 1399: 39). 3- 1- 3 - Alienation The immediate consequence of the lack of individual-based freedom in Akhavan's poetry is nothing but the sorrow of homelessness and alienation. The grief and sorrow of many Iranian poet-intellectuals should not be taken as the grief that lies in the essence of the thought which is independent and free of tradition. On the contrary, in mythical thought, "man sees himself as real only when he stops being himself and yield to imitate and repeat the actions of the other" (Eliade, 2005: 49). 3- 1- 3- 2 Spiritualism For the mythical man, the meaning of existence is nothing but the spirit of God. He sees a kind of unitary mysticism behind all the natural events and phenomena that affect him. In myth, it is "effect" that takes the place of "reason". We see Akhavan as a "sentimental" poet-intellectual rather than a "contemplative" one, and this in itself has nothing to do with the valuable merit of "feeling and emotion" which is one of the fundamental principles of any pure art. In the face of the tragedies of his time and the life around him, he sometimes shows such fervor that even deviates him from the path of decorum. 3- 1- 3- 2- 1 Epic Hero It is in line with this belief of mythical man in the spirit that the epic genre is formed in Akhavan's poetry. He is always striving for a God-hero who will save him, his society and history from deception and decay. Accordingly, Akhavan is a poet who strongly believes in God. That godly metaphors change color in his poems. Hence, God-centered metaphors are present in his poetry in different forms. 3-1-3-2-1 Tragedy Shafi'i Kadkani in his book about Akhavan, after stating: "Glory is tied to a tragic view", comes to the definite conclusion that "in Akhavan’s masterpieces, that tragic view is always a significant element and the dominant feature" (Shafiei Kadkani,-----).  What might be added to the above statement is that basically the Iranian epic is formed in continuation of the ancient myths of God. In tragedy, the fame and defame of the epic hero comes out of nothing but his “confrontation with death" (Farhadpour, 2007: 1386) By pondering on the fate of the epic heroes that Akhavan portrays in its famous poems, it is easy to see that they are engaged in a kind of ritual act rather than a "tragic death" and thus are away from feature of tragic hero. 3- 2 Ideology of Myth The lack of historical realism in Akhavan 's poetry, which has led to a kind of hostility to the present and a desire to change it, is an immediate consequence of his mythical thought, which, like an absolute "ideology," has always blocked the way of free thinking to him and his fellow intellectuals. It should be said that this is the very essence of ideology, which "constitutes a set of discourses, images and concepts through which we live our relationship with historical reality" (Ferter, 1392: 110). For instance, the idea of duality finds such a place in the mythically tainted mentality of Akhavan that sees everything in black of the Demons or white of Amshasbandan. 3-2-1 Conspiracy Theory In the black and white mental world that the poet and his intellectual followers live, everyone is an accomplice with "Shaghad" and it is only the poet himself and his leftist party who are "Rostam" of the time:"O troubled poor man! Sing another song/ The lovely Pourdastan [Rostam] will not escape the half-brother's well/ Died, died, died/ Tell the story of Pour Farrokhzad now!" (ibid., 75). And surely "Pourfarkhzad" was the same "Pir Mohammad of Ahmadabadi" for whom he wrote:"O rarest of the rare men of the time/ who hasn’t been anyone as glorious and auspicious as you / A long time has passed but none as courageous/ as you have come to the battle front" (Arghanoun, 102). We see how "emotionally" the poet-intellectuals of the 1950s judge a "political matter" that is extremely "rational" and what "mythical" sympathies they have for Dr. Mohammad Mossadegh.

In Akhavan’s view of existence and man after the Iranian Constitutional Movement, mythical thought forms the predominant feature of the content and style of his poetry. As an example of a prominent Iranian poet-intellectual, he uses metaphor instead of history in the axis of substitution, and replaces the reality of the basis of Iran, with all its good and bad, with its exemplary and sacred past. In this way, what fails is the independent and mature thought that is the legacy of Kant and the rationalist thinkers of the Enlightenment. With Akhavan's poetry, the audience cannot see tradition from a modern perspective. On the contrary, this tradition and above all the poet's mythical view leaves no room for the experience of Iranian modernity. In this essay, by highlighting the vulnerable areas of Akhavan's mentality and language, the author aims to take his poetry as a testimony to the failure of that anti-mythological wisdom that at the threshold of modernism is still insisting on its ancient past.

From a holistic and teleological point of view, the principle of poetic justice - derived from the idea of natural law - forms the basic structure of most of the old stories and love poetries. As a matter of fact, the pleasure of the story is rooted in the artistic expression of this law. One of the purest classic, romantic works, that complements these two features, is the verified love story of Weiss and Ramin. Therefore, in this article, while avoiding reductionist one-sidedness, this claim is to be examined, using two morphological and phenomenological approaches - which incidentally confirm each other in convergent paths in this story.

Morphology of the main movements based on love The morphological analysis of the work, which emphasizes the spesific role of different types of love, the structure of movements, and the way events are embeded in the organized body of the story, indicates its central idea of ​​the victorious end of human emotions and destruction and decline of evil and inhuman desires. This idea in this approach is in line with the nature and general purpose of the stories. The morphology of folk tales can be considered a big step in proving the institutionalization of the doctrine of natural law and Poetic justice in stories because we see that in Weiss and Ramin, according to the morphological rule, the story begins with the illicit (irrational) love of Moobad to Shahroo (in the place of evil or initial deficiency) and expands. So the signs of permissible love (rational) between Weiss and Ramin in the story gradually appears and evolves. 2-2. Phenomenology of other events and behaviors Interpreting each of the events and behaviors according to its relation to other events and to the whole story, regardless of the presuppositions and effects of previous experiences, shows that Weiss and Ramin story expresses the lived experiences of the characters in facing the system of punishment and reward with a demanding time and place requirements. Generally, in this story, two categories, consistent or inconsistent with the evolutionary and justice-oriented end of the story, can be examined. Factors contradictory and inconsistent with natural law (evil wills, false beliefs, traditions, etc.) remain suppressed or unfulfilled. On the contrary, factors in line with natural law (natural and supernatural events, enlightened thoughts, etc.) destroy those disparate factors or prepare the ground for the manifestation of this law.

The results of a morphological study of the structure of the story, and also the phenomenological look at cognitive content of the emotions of love and other natural or supernatural events - affecting the story and how to understand their meanings in the lived experiences of the characters - show its justice-oriented system. In this relation, to better explain and analyze the phenomena of love - which are collected in this story - some philosophical perspectives have also been used. Generally, this is a valuable work that has a special place among Persian language romances. It acquaints the thoughtful reader with concepts such as love and lust, belief and rationality, and the role of the human will against the principle of natural law. This is achieved by looking at the whole and considering its totality and ultimate goal instead of a superficial and cross-sectional view.

Mashrote is a critical period in social life of Iran in which Iranian women are regarded as an active force and feminism movement and association helps them to know their rights. This movement effect literature as well. Although the number of women poets is not comparable with men ones but most of them are impressive cultural characters, from Mahsetii up to cotemporary poets. Studying men images in women poems show us their mind about men thus we will be able to understand the poems much better. In this paper we are going to study the presence of men in the poems of women. In their verses, man is regarded as beloved or simply a gender regarding to dichotomy into man and woman.So, in this paper we will answer these questions: what the images are used for men in these three poets verses? What these images tell us about these poets thought about gender? All of their verses have been studied and some cases will be presented and analyzed. Findings show that these three poets have different look toward gender. Parvin is influenced by classic literature thus patriarchy more visible is her poems. Also, the individuality and egalitarianism in Simin poems is more than the rest.

This research is of content analysis type. We extracted verses that directly or indirectly referred to men The research method in this article is in the framework of qualitative content analysis and using library resources.  Among the dissertations and articles that provided a good platform for writing this article:Ghagremai (1395) in an article studied Simin and Tofan fadvi poems comparatively and concluded that Iranian poets showed more emotions toward men. Divsalar in his dissertation (1392) “evolution in Forogh thoughts and images” indicated the changes in her poem and rhetorical images. Zarghani (2010); in the article Analysis of three contemporary female poets with an example of the common Iranian cultural tradition »describes the attitude of three contemporary female poets, Parvin Etesami, Simin Behbahani and Forough Farrokhzad with the cultural tradition of men. Seyyed Rezaei (1389) in his article Woman in the Poetry of Parvin Etesami Simin Behbahani and Forough Farrokhzad has studied the concept of woman in the poems of these three poets Marzbanehpour (1389) in "The effect of gender on the language of poetry of Parvin, Forough and Fatemeh Rakaei" considers poetry as a narrative of language. The result obtained from this dissertation is the effect of gender on literary language as well as standard language. In this article, the individuality of women poets will be examined according to their view of men to determine what image of individuality and activity they had as a woman based on their view of men.

According to social identity theory individual`s identity indicates who they are in terms of the groups to which they belong. Those groups effect the individual`s characteristics. According to this theory, the individuality is defined based on the groups to which people belong. Women as a gender see their individuality in redefining the role of men, as the old patriarchal system was removing and the redefinition of the role of men and women was needed, so women achieved a new definition of their individuality. Studying the image of men in these poems is in fact a way to understand the individuality of these female poets much better.

According to what has been said, female poet`s texts were evaluated from the perspective of some of the concepts contained in social identity. The image of men in Parvin Etesami's poem does not go beyond indirect allusions. Parvin Etesami refers more to male roles and jobs than to the man himself as a gender. And this is because Parvin is very much influenced by classical Persian poetry. The rhetorical elements used in her poetry are very traditional and stereotypical, and even when she speaks of women's rights as a new and up-to-date fact, the rhetorical elements of her image are very old-fashioned. Equality was more prominent in Simin's poetry than the other two poets. Therefore, the individuality of Forough and Simin as a woman is much more than Parvin. Forough also has many direct references to men as a mistress as well as a separate gender. Therefore, the individuality of these two poets is much more reflected in their poetry than Parvin. Man has found explicit reference in Forough and Simin's poems, but in Parvin's poetry there are more indirect images based on male occupations. This explicit view of man as a gender indicates the evolution of imagery about men. Man as a lover or beloved in their verses shows the individuality of a woman.

Speech act is considered as one of the linguistic and philosophical theories of language application. In this theory, the application of verbs in the structure of conversation is examined and analyzed according to the situation of speech and social relations.On the other hand, the narration of Mantegh-o-Teyr, considering that it's anindicator narrative text in the field of narrative discourse, is based on dialogues, and its narration intersects with the speech act in connection with the semantic structure of dialogic verbs and sentences and is examined in the systematizing structure of the story or its overall narrative. Speech act theory is one of the most important theories in the use of words and sentences. In this theory, the way of functioning, system and rules of dialogues, words and sentences in the syntactic and semantic structure are examined and the regularity of sentences and practical expressions in thematic and executive actions are also considered. The theory of speech action, first developed by John Austin and later by his student John Searle, nurtured, matured, and categorized it directly and indirectly into the five categories of "descriptive, persuasive, Commitment, declaration and emotion."
Research method,

The research is descriptive-analytical and is based on library sources. After analyzing the dialogues based on spoken verbs and paying attention to Searle's theory of speech action and speech events, the authors analyze the situational verbs and contextual contexts of Mantegh-o-Teyr according to the characteristics of this theory, five speech acts; Declarative, persuasive, emotional, declarative and commitment and their implementation are statistically discussed. Regarding to the background of this research, it should be said that various researches have been done on speech act in some poems; Such as "Serl's speech act and its connection with gender and social status in Garshasbnameh" by Maryam Jalali and MasoumehSadeghi (2016), "Attar Mantegh-o-Teyrand Conversational Logic" by Ahmad Razi and Mohsen BatlabAkbarabadi (2010) alsothearticle "Analysis of the Narrative Structure of Attar's Poems" by BatlabAkbarabadi and Razi (2012) and the article "A Study of Adaptation in the Narration of Persian and Arabic treatise of Birds from the Perspective of the Connection of John Searle's Theory of Speech Action and More" Gerard Genette Text (1399) by Samira Shafiei. The aim of this study is to analyze the verbs and situational context of the dialects of Mantegh-o-Teyraccording to the characteristics of speech act theory.

Speechact of verbs in Attar'sMantegh-o-Teyr Attar expresses his pure and symbolic mystical thoughts in a narrative structure and in an allegorical way, in the form of long poems using dialogues between birds and birds, or a third-person narrative (poet) or anecdotes quoted from Hudhud has mentioned it in the form of a story. He introduces the main narrative in the dialogue between the hooded and the birds, in which questions and answers are exchanged and the type of speech acts of both is expressed as direct or indirect expressive acts.According to Searle's theory of speech act, Attar and Hudhud or birds or sub-narratives (anecdotes and allegories), spoken verbs or thematic verbs in speech are more implicitly expressed by executive action,which in Attar's narrative have a declarative (descriptive) state and in Hudhud's narration they contain more declarative or persuasive speech action (warning or suggestion), but the birds's narrative is more declarative and emotional and the sub-narratives are more descriptive. . Hudhud's speech act in Mantegh-o-Teyr Hudhud's speech act in expressing the valleys, answering the birds' excuses, conversations, anecdotes and allegories are more of a kind of expressive and persuasive action to ignite the flames of desire in the Taliban. Hudhud's expressive speech action (descriptive or explicit) is mixed with persuasive (command) speech action and is in line with the main narrative line. Hudhud uses less emotional descriptive action than descriptive and persuasive; in the same way that his emotional expression has been presented as a thematic verb in speech in descriptive speech action, but the declarative action has progressed to the middle level; because the main narrative itself is presented by declarative speech act. Speech act of birds inin Mantegh-o-Teyr Birds' speech acts in conversation with Hudhud are more expressive and emotional, and the role of emotional action in their conversations in the danger of storytelling is such that it has led to the length and detail of the main narrative, but to some extent the descriptive speech action of birds is consistent with narration. Is. Also, the three actions of persuasion, declaration and commitment have not helped the completion of the narrative process in a transient way. Accrual action, like declarative and persuasive action, has been used to a relatively small extent in the narrative discourse of Hudhud and birds; Because in this prose poem, Hudhud has made a relatively acceptable commitment and promise to the birds and has made promises to them after meeting Simorgh and appearing before him.

The semantic function of the conversations of Hudhudand birds, according to the speech acts, has played a prominent role in advancing the narration which these conversations are quoted along with the main narration, as well as the speech act of the verbs during the direct or indirect expression method along with the main narration and the sub-narratives of Mantegh-o-Teyr, which are referred to as "anecdotes and allegories"; It has introduced a semantic and conceptual function to the whole narrative. The speech act of this prose poem has been studied separately in the conversations of Hudhud and birds with a method of analysis and statistics and the results show that the expressive action in the conversations of birds and Hudhud has a high percentage, but the actions Commitment speeches and declarations have not received much attention in these conversations; because each of the birds sought to express their excuse or describe their view of travel, which they mostly expressed in a descriptive and expressive way. While persuasive (suggested) speech act had a prominent place in Hudhud's conversations because he sought to bring the birds to his views and did not pay much attention to emotional speech act.

Poem and singing have been two integral parts of Iranian culture, poets and singers have been from the elite class of the king's court and they had played an important role in many large courts of the kings and their gatherings. Poem and singing have been very important in the literature of Baloch nation and the effect of these two arts is narrated in different narrations. One of these narrations is the story of Sayadhān and his wife "Fatemeh Bashkardi", and its comparison with the story of Amir Nasr Samani and the ballade "Joye Molian" from Roudaki is the main aim of the present research.  

Aims, method and history of the research:

The method of the research is a field method in the Bagin baškard story and poem. The author has derived the poem from minstrels' songs, and has derived its story from narrators, and after collecting, a comparative study is done with story of Amir Nasr Samani and the ballade "Boye Joye Molian" from Roudaki using the analytical descriptive method. The main aim of the present research is to introduce the anonymous story of Sayadhān and Fatemeh and state its similarities with the story of Amir Nasr and the ballade "Boye Joye Molian" from Roudaki. No research is conducted on Balochi story and poem" Bagin baškard". Its summary is published by Fakeer Shad cited by the minstrels in the book "Miraas" (2016, Pakistan).

Discussion and examination:

Sayad Khan Son of Hossein Khan was one of Makoran powerful Khans in the same period as Qajar dynasty, and Fatemeh was one of noblewomen in Bashkard region. After meeting each other, they fall in love and after being engaged, they are separated from each other. One year later, Fatemeh becomes restless because of being far from her husband, and sends a messenger with presents to Ibrahim Raski to help her husband comes back home. At dawn, Ibrahim writes the famous poem "Bagin baškard". He gives his poem to a minstrel with a nice voice known as "Abdolrahim" to sing it in Khan's gathering using harp. Khan's gathering began and as usual, poem reading and music playing decorated the gathering. The minstrel started singing Ibrahim's poem very sweetly. Sayadhān liked poems and was impressed as he found out about the issue and he immediately rode on his horse to Bashkard without letting his gathering end. Finally, he reached Fatemeh and Ibrahim received precious presents in return for his poem.The story of Sayadhān being provoked by Baloch poet "Ibrahim Raski" to meet and reach his beloved is very similar to the story of Amir Nasr Samani being provoked by Roudaki to go back to Bokhara. This poem describes the beloved and Khan's horse and the road passed by Khan. This poem matches "Boye Joye Molian" from Roudaki in this respect.According to the narration by Nezami Arouzi in the book "Chahar Maghaleh", Nasr Ibn Ahmad Samani once left Bokhara city to Harat and Badghis to spend the summer and for recreation. The king found that it had a nice weather and stayed there for four years and he wanted to stay there more. Because his armies suffered from being far from their family and city, they became upset and went to Roudaki and asked him to make the king leave the city in return for giving him valuable presents. Roudaki accepted and wrote a ballade and it was sung for the king together with harp. Amir Nasr Samani was impressed by Roudaki's poem so much that he immediately rode on his horse to Bokhara, and the armies gifted Roudaki two times what they had promised, i.e. 10,000 Derhams. These two stories and poems are similar in some way, such as: 1. Roudaki is the father of Persian poem, and Ibrahim is one of the greatest Balochi classic poets and both of them were great poets of their time. 2. The court of Nasr Ibn Ahmad Samani was the center of poem and literature and this king was interested in poem and music. Sayad Khan was also interested in poem and Balochi literature. 3. Both Roudaki and Ibrahim made a king go to the place he was expected to go using the poem tool. 4. Encouraged by others, both poets wrote their poems to stimulate the kings to go to a city or a beloved. 5. The poems by Roudaki and Ibrahim Raski were sung for the kings in their gathering. 6. The poets of both poems received precious presents. 7. Both kings immediately rode on their horses to the intended place as they heard the poem. 8. Roudaki's poem is a ballade and Ibrahim's poem structure is like great Persian ballades in terms of stability and dignity although its arrangement is not a real ballade. The ballade "Joye Molian" from Roudaki has 7 to 9 verses, but Ibrahim's poem " Bagin baškard" includes about 70 verses.

The Balochi poem "Bagin baškard" is one of the most important poems of Balochi literature related to the 13th century (AH). Ibrahim Raski wrote this poem to provoke Sayad Khan Naroei to go to his beloved wife being far from him for a long time. The story of Sayadhān and his wife and the poem Bagin baškard are similar to the story of Amir Nasr Samani being provoked by Roudaki to go back to Bokhara in different ways. Relying on comparative literature methods, the relation between both stories and poems can be identified. Since there is a gap for 1000 years between the story of Amir Nasr Samani and Roudaki's poem and the story of Sayadhān and Fatemeh and Bagin baškard poem, and both of them are historical events being narrated in poems, it is not possible that Balochi poem is affected by Roudaki's ballade. Ibrahim and Roudaki were both great poets of their time; both of them interacted with the kings in their courts and were gifted by them. Using their magic poems, they both provoked kings in the feast into going to a place immediately. Bagin baškard poem is more detailed than "Joye Molian" ballade ad includes more poetic descriptions. Both poems are in ramal poetical metre and they are similar in some descriptions, such as addressing "wind" in the first hemistich and describing the destination city and the path and horse ridden by the king.

According to historiographical expressions, Maqtal (place of killing or murder) refers to the description of reasons, motivations, peripheral events, details, contemporaneous accidents and the consequences of killing someone or some ones specific which has been the origin of evolution in different intellectual, political, cultural, military or social dimensions during a period of time; the first writing of Maqtal in Islamic historiography dates back to Ashura event and the Shia history: “the first examples of Maqtals are oral ones about the murder of Osman, but it was Iraqi Shiites who wrote Osman Maqtal, so it seems that Sunni Maqtal-writers are more influenced by the Shiites and wrote Osman Maqtal against them” (Hosseinian Moghaddam, 2016: 89). The Shiites’ inclination to the third Imam and Hosseini epic has developed Maqtal to art and literature, so that “bloody altars and Seyyedoshohada place of murder have been the subject of valid Maqtals” (Anasori, 2004: 95).The Maqtal of poor Mirza Mahmood Fadaei Mazandarani the Persian-speaking elegist poet in 13th lunar century and contemporaneous with Fath-Ali Shah Qajar and Mohammad Shah Qajar has been recorded as one of entries of the Encyclopedia of Islam. With 3718 verses, this Maqtal is considered the longest Persian Tarkib-Band (Composite-Tie) with four “systems” or “parts”, so it is sometimes called “Fadaei’s Four-System’.

Research Objectives & Significance:

Considering emotional language and great and living pictures, Fadaei’s Maqtal is one of the richest examples of this type of Persian poem. It is obvious that linguistic elements have not been able to carry such great volume of lyrical themes and emotional connotation existing in this Maqtal. This shows the necessity of doing research in non-verbal processes existing in this work; therefore, searching for the aforementioned questions, the current study aims at the following

Analyzing the role of physical communications in making more emotional and more influencing text narrative and elegiac dimensions. Explaining and highlighting the role of non-verbal communications in transferring Ashurai discourse of this Maqtal.

Research literature:

Several studies have introduced and investigated the style of Fadaei’s Maqtal-writing and analyzed stylistic features of elegy: Taheri Shahab (1961) in “Fadaei Telavaki Mazandarani”, Fereydoon Akbari Sheldareh in several article such as “Involution and Evolution in Fadaei Mazandarani’s Poetry”, “Fadaei Mazandarani the Reporter of Hosseini Epic” and “Aesthetic Investigation of Fadaei Mazandarani’s Ashurai Poems” with his colleagues, Mohseni et al. (2015) have introduced the frequency of Arabic words and the art of structures like repetition, allusion, long Radifs and also different rhetoric simile metaphorical pictures as the most frequent literary and artistic aspects of this work in “Investigating the Stylistics of the Maqtal of Poor Fadaei Mazandarani”.Investigating Physical Messaging in Fadaei Mazandarani Maqtal- Body Language and Narrative and Dramatic Grammar Due to lyrical and dramatic nature of this literary genre, searching for the role of non-verbal communications in recognizing narrative grammar of Maqtals in investigating narrative structure of them will significantly help understanding narrative system of this poetic genre; the role of so many narrative and dramatic elements like space creation, descriptions, complication, functions and current processes and the development of narration plot is played by messages resulted from body movements; the important point is that since this literary genre has epic-lyrical nature, the prominence of body and the story plot is mainly focused on physical activities and or injury and amputation.  Narrative and dramatic nature of Maqtal and its composition of epic and elegy that both of them are among the most active poetic genres, has provided the poet with an opportunity to use body language to make a picture of words and complete their mental themes. Due to its integrated theme, there are different physical messages in this poem than in other poems. As well as reinforcing discourse basics and focusing on intonation and meaning-making, these messages contain cultural and social signs and sometimes are archetypes for the audiences and have increased the influence of words and their emotional richness.

 Sequential Physical Signs:

  Composite descriptions of body appearances deeply and significantly influences on making poetic events emotional and transferring lyrical concepts in this Maqtal. These descriptions reinforce dramatic feature of this work and visualize and imagine different moments and senses of people in narration before the audiences; a set of physical messages following each other sequentially and as context of numbers (dry pharynx, wet eyes, yellow cheek and …) and are responsible for an important part of space creation, narration descriptions and text emotional connotation.   

Physical Messaging and Elegy:

A part of physical behaviors appeared in human civilization and among different tribes as old cultural sings of different human states and experiences. These physical messages are also frequent and repetitive in lamentation and elegy. Movements like: crying, sighing, hitting on the head, pouring soil on the head, kissing corpse, nail pulling face, turning around corpse an things like that which are usually abnormal movements out of deep human intolerance and impatience in mourning for dears, they are among apparent and repetitive physical messages in elegy.

The results of investigating and analyzing the role of non-verbal communication elements and messaging in Fadaei Mazandarani Maqtal are:Maqtal is narrator and forms and reinforces physical messaging (body, face member and both) and Maqtal narrative grammar in processing different narrative elements such as decoration and descriptions, character actions and current process in both epic and elegiac dimensions.The elegiac aspect of the work-elegy is considered the most sensational lyrical genre- has loaned so many of its emotional conditions and its emotional effectiveness from physical messaging. These messages are mostly old rooted cultural signs in lots of civilizations and tribes and so they play an important role in reminding meanings and familiarizing melancholic scenes and concepts in audiences’ mind. Another key and important role of physical messaging in Maqtal-writing is transferring and reinforcing discourse components of Ashura revolution. How verbal and non-verbal communication elements join each other in Fadaei Maqtal is of substitution type in 80% of the cases which reveals deep and wide penetration of non-verbal elements in text.

Introduction :

This research aims to investigate the concept of objectivity of Almighty, which is the consequence of manifestation status not the essence one, in mystics’ poetry such as Attar of Nishapur, Rumi and Abd-alrahman Jami by using imagery techniques like simile, metaphor and allegory. Therefore, by explaining simile metaphorical, allegorical and patterns and ideas, the author seeks to know the mentality and ideology of mystics in relation to the objectivity Almighty. The result of this study shows that the objectivity of Almighty in the manifestation status is defined in three general images: "human", "phenomenon and object", and "the universe and its beings". These general images have referents, some of which can be interpreted by simile and metaphor techniques and others by allegory.Given to extracted points of similarity, it can be concluded that evidences indicate the objectivity of Almighty with human or object in the form of simile-metaphorical images as well as evidences imply to objectivity of Almighty with the universe in the form of allegorical images have heterogeneous and diverse points of similarity. However, evidences in the form of simile images refers to objectivity of Almighty, have equal points of similarity.

literature review and purpose (206) This research has been done by descriptive-analytical method, and has been compiled by library method. Similar studies which have been done in this field are: In "Ontological and epistemological aspects of simile and purification in Jami's poetry and its adaptation to the views of Ibn Arabi" (2016: 141-168), Farhangi and Farhanizadeh studied the simile and objective characteristics of Almighty in relation to existence and the possibility of knowing it, From the perspective of Ibn Arabi and Jami. Malamiri and Zafari in the article "Objectivity at the same time with otherness of Almighty and creatures from the perspective of theoretical mysticism" (2016: 33-47), provided a vivid comprehension of this relationship by explaining the teachings that have caused the objectivity of Almighty with creatures.Vahedjavan and Nikkho in "Analyzing the issue of objectivity and otherness of Almighty with creation in Islamic mysticism with the approach of evaluating the criticisms of critics" (1397: 111-125), considered the meaning of the objectivity of Almighty and creation in the manifestation status not in essence one and based on it, have responded to the critics' objections. This study aims to recognize the intuitive world of some mystics about objectivity of Almighty in the manifestation of existence through relying on a set of imagery techniques.

discussion :

This study examines the concept of the objectivity of Almighty in the poems of Attar of Nishapur, Fakhr-Al-Din Iraqi, Rumi and Jami. However, this objectivity does not mean unity of eternal essence with temporally creature. It means the manifestation of Almighty in creatures through mirror of attributes and operation in the images of possible creatures. Based on extracted evidences from poems of mentioned poets, this study divided the concept of Almighty’s objectivity in three forms.First part is dedicated to objectivity of Almighty in human form. Proposition “Almighty is the same human” has been studied from different aspects such as “objectivity of Almighty with human in beauty attribute”, “objectivity of Almighty with human in speech attribute”, “objectivity of Almighty with human in terms of being visible in the mirror”. It is worth mentioning that this kind of objectivity is manifested in both ways of reasonable simile to the tangible and also hidden metaphor. Extracted points of similarity from mentioned propositions in this section are different and heterogeneous.Second part is dedicated to objectivity of Almighty with phenomenon and object. The objectivity of Almighty with a specific object and phenomenon is considered in this part. For example, “the objectivity of Almighty with the sun (light)”, “the objectivity of Almighty in the mirror” and “the objectivity of Almighty with treasure”. Extracted points of similarity from mentioned propositions in this part are different and heterogeneous.The third part is dedicated to the objectivity of Almighty with the universe and its beings. This kind of objectivity is manifested in two forms. In the first form, simile technique is used to show objectivity of Almighty with beings of the universe. Extracted propositions have analogous points of similarity. In the second form, allegory technique is used to show objectivity of Almighty with the universe. Some of these allegories are like “allegory of number one”, “allegory of sunlight”, “allegory of sea, wave and foam”, “allegory of wine and chalice” and “Allegory of the person in the mirror”. Extracted points of similarity in all these allegories are different and heterogeneous.

conclusion:

After analyzing extracted evidences in poems of Attar, Iraqi, Rumi and Jami, it is said that the concept of objectivity of Almighty can be interpreted in three forms as objectivity of Almighty with human (using simile and hidden metaphor technique), objectivity of Almighty with phenomenon and object (using simile technique) and objectivity of Almighty with the universe (using simile and allegory technique). Therefore, better comprehension of imagery techniques has helped the audience to better understand the concept of mystical objectivity. As a result, applying rhetoric techniques is beyond aesthetic aspects and is considered as a special approach to discover the mystical world.Based on extracted points of similarity from simile, metaphorical and allegorical propositions, evidences related to the objectivity of Almighty with human, phenomenon and object have dissimilar points of similarity. Furthermore, evidences refer to the objectivity of Almighty with the universe have points of similarity which are different from allegory technique and similar with simile technique. Finally, although extracted points of similarity refer to the objectivity of Almighty with human, object and universe, differences and unique figures among them show that mystics use imagery techniques not only for describing objectivity of Almighty but also to show different aspect of this objectivity. These differences are the result of different mystical and intuitive experiences of mystics.

Materialism, in its Hegelian-Marxist sense, provoked unprecedented reactions specifically among the clergies since its inception in Iran. Morteza Motahhari was one of the first people who understood the importance and sensitivity of this concept and its consequences in the intellectual condition of the society as well as the indisputable necessity of paying attention to it. Therefore, he could bring a part of society, especially the clergies, to an approximate consensus in its confrontation against it. The central question in this campaign is what the role and function of Persian literary heritage has been, and the present study has dealt with it.

 This study has been done in the framework of qualitative content analysis using library resources. Researchers have always considered Motahhari's thoughts and works as one of the most prominent and influential contemporary characters. As a result, some prominent works have been done about materialism in Motahhari's thought. Shaverdi and Kermani (2011) in their article, titled "Analysis and critique of Hegel's dialectical movement and dialectical materialism with emphasis on the views of Shahid Motahari", have dealt with the difference between the concept of movement in Islamic philosophy and Marxism from Motahhari's point of view. Another important work in this regard is Mohammad Sadra's thesis, titeled "The interaction between clergies and Leftist thoughts in contemporary Iran", which deals with Motahhari's efforts against materialism in the third chapter. It should be noted that there is very little research which examines Motahhari's thoughts and works in relation to literature. For example, Mousapour and Shirjooposht (2014) in a dissertation titled "Arabic literature in the works of professor Morteza Motahari" has examined the position of Arabic language and literature in some of Morteza Motahari's works. Also, Tijani Semari (2007) in his thesis "Foundations of mysticism from the Perspective of Imam Khomeini and Shahid Motahhari", has partly approached literary discussions with Morteza Motahhari in accordant with the link between mysticism and literature. Rahmdel (2012) in the article "A brief look at the Observer of Secrets" has addressed Motahhari's views on Hafez's poetry and thoughts. Hosseinzadeh Yazdi (2016) has explained the causes of the degeneration of Islamic civilization from the perspective of Morteza Motahari with an emphasis on the book Anecdotes of pious men. Fasai and Dorri (2020), in the article "The Position and Function of Saadi's poetry and thought in the intellectual System of Morteza Motahari", have searched for Saadi Shirazi's poetry and thought in Motahhari's intellectual system. Thus, like the approach of present study, no independent research was found which examined the role and function of Persian literature in Motahari's exposure to materialism. The main importance of this article is due to indicate the undeniable and important position of Persian literature in the socio-political environment of contemporary Iran.

Motahhari is one of the people who has a special interest in applying literary traditions.Meanwhile, the position of Persian literature in Motahhari's struggle against materialism is very prominent and significant. This issue refers more than anything to the latent capacities in Persian literature which can be present in the most sensitive historical moments and play its social function. In the following, referring to some of the most well-known figures of the Persian literary tradition, it will be clear how and with what quality Motahhari used their poetry and ideas to describe and interpret the monotheistic worldview and in contrast to the material one.

 Radical and revolutionary ideas of the Left were introduced to Iran in the first Pahlavi period by Taghi Arani, and unlike the Constitutional period, it took on a scientific form.In front of Taghi Arani and Donya Magazine were the clergies, who tried to present an anti-narrative against the materialism of doctor Arani and his followers. Realizing the necessity and the sensitivity of the issue, Tabatabai and his student, Morteza Motahhari were widely stood up against the roaring flood of materialism. Therefore, Persian literature has been one of the important tools for confronting materialism. Motahhari has realized that the tremendous capacity of this great treasure can be used to counter some currents, especially materialism. Hence, he has referred to the most prominent figures of Persian literature. Hafez, Rumi, Saadi and Khayyam are among those who have played a prominent role in Motahhari's decisive struggle against materialist traditions. Motahhari presents a completely mystical reading of Hafez's poetry and thought. He confronts Ahmad Shamloo and his material perceptions of Hafez. With meta-textual information and then textual implications, he reaches an immaterial reading of Hafez and tries to free him from the accusation of being materialistic. In this article, we have also shown that Rumi has a special place in literature. Motahhari uses some of Masnavi's anecdotes to weaken materialist discourses and to clarify some positions of dialectical materialism. We have also shown that Saadi's poetry has been very effective during Motahhari's confrontation with materialism. In the end, we have dealt with Khayyam and demonstrated that Khayyam's poetry and thought have also been used to explain some of the fundamental issues of materialism. In the final analysis of the result of this article, a part of the importance, sensitivity and performance of Persian literature is indicated outside the university and in the social, political and cultural relations of contemporary Iran.

Defamiliarization is a literary term of the Russian school of formalism. It was first proposed in 1919 by Viktor Shkolovsky. Formalists believe that de-familiarization is the essence of being literary. This is one of the most important differences between automatic language and poetic language. The artist and the poet have a duty to make comprehension more difficult by de-familiarizing and renewing the meanings of words, thus adding to the audient’s pleasure, literary taste, and surprise. It can be argued that all the strategies that are involved in highlighting a literary text, such as expressive, rhetorical, linguistic features, etc., contribute to artistic de-normalization and de-familiarization. Contemporary poetry, both modern and traditional, has been influenced by Hafez’s thoughts and language. In many cases, the contemporary poet engaged in de-familiarization by highlighting the specific words of Hafez's sonnets. In other ways, the poet uses Hafez’s vocabulary and literary strategies to provide the audience with strange and new poetic arrangements. If we consider the language of Hafez's poetry as a literary language that existed in the mind of the audience familiar with his lyric poems, the changes that have taken place in poetic norm-braking practices of contemporary poetry under the influence of Hafez’s poems can be considered as defamiliarization factors. To this end, the present study focuses on the recreation of Hafez's poetry in contemporary poetry through different types of defamiliarization (lexical, semantic, syntactic, and temporal).

This study aimed to investigate the different types of highlighting and defamiliarization of Hafez's lyric poems in contemporary poetry. With a closer look at the Divan of contemporary poets, different manifestations of highlighting in Hafez’s lyric poems can be identified. The application of these norm-braking practices varies in the traditional and modernist currents of contemporary poetry. For example, the traditional poet endorses and comments on Hafez’s lyric poems, while the modern poet highlights the specific peptic style of Hafez for critical purposes and sometimes to express ideas that are contrary to those expressed by Hafez.This study follows a historical and analytical documentary method and adopts an approach to exploring the de-familiarization of Hafez's lyric poems in contemporary poetry. A study of every contemporary poet reveals all kinds of highlights and defamiliarization of Hafez's lyric poems in their poems. Some studies have addressed de-familiarization and norm-breaking practices in contemporary poetry based on Hafez's lyric poems. For instance, Ishani (2019) conducted a study entitled “Norm-braking, a distinct aspect of Hafez's lyric from Emad Faqih's lyric poetry” and compared the norm-breaking practices used in Hafez and Emad Faqih's poetry. Firoozi (2019) examined types of de-familiarization in the poetic work of Mehdi Akhavan Sales. A review of the literature shows that there is no comprehensive study on instances of de-familiarization in contemporary poetry.

Lexical de-familiarization is one of the ways of highlighting linguistic terms whereby the poet uses norm-breaking practices to coin new words. De-familiarization involves the creation of a new word and enriches poetic words. In lexical defamiliarization, the contemporary traditional poet skillfully borrows special words from Hafez verses and creates new compound words and derivations using collocations and affixation, promoting the linguistic emphasis of their poetic expressions. Besides, lexical differences in modernist movements have helped poets to separate semantic and practical aspects of Hafez’s poetic words and create novel words and expressions through de-familiarization. The poet separates the words of Khajeh's divan from its semantic burden and everyday use and transforms them into a novel and new combination by making them strange. Norm-breaking practices in the imaginary forms of poetry de-familiarize the meaning of poetic words. The modern poet looks at Hafez's lyric poems from an unconventional point of view to come up with an unfamiliar meaning. The poet also breaks conventional concepts of imaginary forms, judges them from a different perspective, and creates poetic prominence by creating new meanings in poetry. The contemporary traditional poet uses poetic techniques such as metaphor and irony as the predominant aspects of Hafez's sonnets to highlight and de-familiarize instances of Hafez's lyric poems.In the poet's syntactic de-familiarization, the poet uses poetic elements and dismisses syntactic rules of normative language. As a result, poetry transcends the syntactic rules of normative language by shifting the constituent elements of the sentence, thus leading to de-familiarization.One of the poetic strategies used by the contemporary poet for de-familiarizing Hafez's sonnets is the employment of syntactic changes and the use of ancient words (lexical and syntactic archeology). Temporal deviation (archaism) is the use of words that were common in the past but are not common in the modern language. The use of old and archaic words in modern poetry gives prominence to the poetic language and, if used correctly, can lead to de-familiarization. Contemporary traditional poets have used mythical words, words related to the history and culture of the past, verbs or derivatives of verbs with ancient prefixes, etc. from Hafez's lyric poems to highlight and de-familiarize poetic norms. Syntactic archeology uses the syntactic structure of the past in sentence components or prepositions, and this promotes the archaic atmosphere of the poetry. Contemporary poets have used syntactic archeology, trying to deviate from the norm of Hafez's lyric poems and promoting the linguistic prominence of the poems.

A review of the literature shows that all kinds of de-familiarization of Hafez's lyric poems have been used in contemporary poetry. But these highlighting practices vary in traditional and modern poetry. For example, the traditional poet endorses and comments on Hafez’s lyric poems, while the modern poet highlights the specific peptic style of Hafez for critical purposes and sometimes to express ideas that are contrary to those expressed by Hafez. However, by borrowing from Hafez's poems and de-familiarization, the contemporary poet has not only enriched his poetry aesthetically, but by creating special poetic arrangements, he has added many lexical items to the contemporary poetry. In general, norm-breaking practices are widely used in contemporary poetry. All these emphases and de-familiarization have been used in the service of poetry and for expressive purposes. In this article, it was not possible to describe and address all of them. However, it should be noted that semantic de-normalization has the highest frequency in contemporary poetry and its norm-breaking practices can be significantly found in simile, metaphor, irony, and illustration.

In the present article, we used gesture in one of Rumi's narrative sonnets. In this discourse, Rumi portrays a subject who, by practicing and practicing in a gesture, becomes what he expected of that gesture. Rumi's subjects are formed through interaction with the gesture in the form of body and transcendence, and in a process based on the system of adaptation, they achieve a kind of co-presence with the gesture. But the main question is what is the mechanism of such a situation and based on which strategies and discourse functions it is realized. The main question of the research is under what conditions the gesture is produced and how it transforms the subject from a physical state to a transcendental state. Our hypothesis is that sensory-perceptual and sensory-intuitive pressure produce a gesture when it exceeds its limit. The subject transforms into a transcendent subject by repeating and internalizing his constructed gesture (transcendental gesture) Thus, the gesture with two-dimensional capability, on the one hand, frees the subject from other gestures, masks and images, and on the other hand, through the gesture itself, the subject is elevated from the physical-gestural space to the transcendent space and reaches an absolute presence.

In the present study, how the subject encounters the gesture and its effect on Rumi's poetry system can be explained. The aim is to show by the method of content analysis that the subject transcends with the help of gesture and again represents the experience through that gesture. Subject related research in works: In the Shadow of the Sun: Persian poetry and deconstruction in Rumi's poetry (Pournamdarian, 2009), "From Lacan to Rumi Lacan's view of the subject's mental development in Rumi's views" (Shiri Et al., 2012), "Existential-oriented sign-semantics: from interaction to transcendence based on the discourse of Rumi and the Chinese" (Shairi and Kanani, 2015) and "The other and its role in Rumi's discourse" (Kanani, 2019), in a way They have dealt with the confrontation of commands and subjects and others. Gesture research has also been conducted in non-literary Persian texts. Therefore, the interaction of the two categories of subject and gesture with each other and their role in how to form semantic occasions in Rumi's poetry has not been studied. Therefore, the present study has examined the effect of gesture on the subject in a lyric by Rumi from a new perspective.

In the course of Rumi's thought, it is obvious that we have descended into the material world; A world in which we have a language with form and gesture. Rumi believes that we have been thrown into this world from an eternal, meaningful and pre-linguistic world. We had a substance in that world and we were in unity and by stepping into the material world, we became multiplied and caught in the chains of language and gestures. In this world, we resort to language and body language and gestures to understand each other, but a surplus of that original meaning remains that cannot be represented in this way. For this reason, the subject in Rumi's sonnet has a desire for transcendence and the world. The subject begins a journey to achieve this goal. This journey begins with myself and me, then reaches the stage of unconsciousness, and finally leads to absolute presence. Therefore, in order to achieve transcendence, one must abandon the physical, verbal and gestures path and walk in an intuitive path, without gestures and stillness. But in this path, he must use the factors of this world, and in the first step, he must accept the gestures and achieve what he wants. But this way is possible only through gesture. In this way, the gesture enters to begin this transcendental journey and then to remove its other gestures. The subject is able to establish his identity in the symbolic world by giving in to the gesture that can create his identity. These gestures are sometimes psycho-intuitive and sometimes physical. n the body of the sonnet in question by Rumi (2013: 1 / sonnet 2219), when the subject intends to become a transcendental subject, this desire for transcendence enters the psyche of the subject as a force. As a result of this force, some of the subjects who still belong to this world insist on stagnation in the same state, and the opposite pole, which tends to transcend, tends towards dynamism. One part "existing subject" and the other part is "the gestural subject". The gestural subject in the role of mediator accompanies the existing subject in the path of transcendence in order to unite with the transcendental subject. As a result, and as soon as the two coincide, the gestural subject disappears, as there is no distance between the two subjects, and they are transformed into a transcendental subject.

In this article, based on the function of gesture, we examined the subject situations of Rumi's sonnets. In this study, it was shown that the value object is an intuitive subject. This inner intuition with sensory-perceptual and sensory-intuitive pressures led to the production of a transcendental subject gesture. Thus, in order to achieve the pre-linguistic world, which is transcendence, the subject first repeats the gesture of silence and extends this gesture throughout his body and mind. In this journey, the existential subject of an ethical system is at the service of its other branch, the gestural subject, in order to be free from gestures, but this liberation is possible only with the gesture itself. Thus, the origin of the whole process of presence is the initial gesture that the subject intended and then repeated, and step by step we witnessed the emergence and spread of the gesture throughout the body of the subject. This breadth shows the union of body and soul of the subject; So that there is no longer a disconnect between the subject and his constructed gesture, and this fusion leads to the transcendence of the subject.