مجله فنون ادبی
سال پانزدهم شماره 1 (پیاپی 42، بهار 1402)

The impact of Sokhan magazine on the development of literary trends in Iran is undeniable. One of the ways that this magazine took this purpose was the foundation of modern literary criticism. Focusing on specialized literary criticism was first started in this land by means of Sokhan magazine. The present study aims at analyzing the approaches of literary criticism in Sokhan magazine with a descriptive-analytical method. This study has finally concluded that in the first ten periods of the magazine, the works were criticized in the traditional way, but in the later periods, reviews appeared either through translation or written reviews by Iranian authors, which are included in the three categories of classic, pre-modern, and modern. Classical criticisms have dealt with the lexical-technical discussions of the works of poets and writers. In pre-modern criticism, in addition to explaining the necessity and importance of literary criticism, it is possible to pay attention to the criticism of human experience and coherence. In modern reviews, most of the new aspects such as the fluid flow of the mind have been analyzed in the works of poets and writers.IntroductionThe importance of magazines in literary circulation and especially in the development of new literary criticism deserves detailed research. Before the emergence of magazines in the new era, Persian literature had fallen into the cycle of repetition and petrification and it did not benefit from creativity and innovation (Parsinejad, 2001, p. 17). One of the influential magazines in this field is Sokhran magazine which was published over the years under the management of Parviz Natal Khanleri and led contemporary literature toward transformation. This work was mostly done through translation and literary criticism. From 1321 AH onwards, Sokhon magazine became a field for criticism and strengthening and guiding the literary talents of the time (Yahghi, 1996, p. 102). This study investigates the general approaches of literary criticism in this magazine. Materials and Methods This descriptive-analytical study uses a qualitative analysis method, and the statistical population is all the courses of Sokhran magazine. Research FindingsKhanlari founded the literary-scientific-social monthly magazine Sokhon in 1322 AH with the cooperation of some prominent writers of that time, including Sadegh Hedayat, Bozorg Alavi, and Sadegh Chobak. The purpose of this magazine was to contribute to the progress and development of Persian literature through the publication of the works of contemporary and young Iranian writers and poets, the foundation and development of literary criticism, the promotion of scientific and literary research, and the introduction of writers and poets from other countries in the world through the translation of their works. Sokhon magazine started to define its policy from the very beginning and thus paved the way for literary critics and the spread of critical thinking in the magazine. It mainly aims at:Proposing the needs and priorities of research in the unknown realms of ancient literature with analytical and critical scientific methods.Critically investigating Persian prose and inventing a new plan with a scientific method to know the rhythm and Bahr of Persian poetry, separating the rules of Persian prosody from Arabic prosody, and establishing new signs and terms for it in the Persian language;Designing the first topics of modern linguistics in Persian and publishing articles on topics such as the evolution of language, language and society, and language and dialect, which were written for the first time in Persian, and expressing the topics of scientific problems in simple, easy language; andIntroducing new writers and poets and encouraging them to continue their work by critically reviewing new books in the realm of fiction and poetry.By searching all the periods of Sokhon magazine, we came to the conclusion that the reviews of this magazine have three general approaches: Classical criticism, pre-modern criticism, and modern criticism, and examples of articles included in the magazine were provided for each approach. Moreover, critics were introduced under each approach. The new books section was a title that Khanlari had created in the last few pages of the magazine since the beginning of the publication of Sokhon in Khordad 1322 AH and reviewed new books. It is important from a historical point of view because its words are clear and concise in expressing the matter. There is no ambiguity or generality in its language. It tells the flaws and art of the work and introduces young writers and poets to the literary society of Iran. Many poets and writers who are famous today, have introduced and reviewed their first works in the notes of ‘new books’ in this magazine.Discussion of Results and Conclusion Considering the three approaches of classical, modern, and pre-modern, criticism in the magazine caused both new critics to be cultivated and was a step to stabilize new poetry in front of critics' criticism and pave the way for literary critics and the spread of critical thinking in the magazine. Then, Iranian and non-Iranian critics were introduced. This review and introduction in the magazine made the works of writers and poets visible and made non-Iranians become familiar with Iranians.

Although archetypal criticism has been used in literary-artistic research for nearly one hundred years, still, as it should be, there is no proper understanding of it, whether in theory or methods, and many studies that have been conducted using this approach, have flaws that require a careful approach to the theories and approaches of archetypal criticism to correct them. Repeated results, misunderstanding of theories, unmethodical and lack of knowledge of archetypal criticism methods, being on the sidelines of mythic criticism, imposing theories on texts and findings, and incorrect and inconsistent results on archetypal criticism, are the most important problems of studies and articles written based on this approach. In the present descriptive-analytical study, firstly the concept of archetype and criticism of archetype is taken into consideration and an effort was made to resolve its ambiguities, and then its various formats and approaches based on different theories have been specified. In addition, related concepts such as Jungian and post-Jungian studies of archetypes have been discussed. The archetypal evolution, the archetypal close-reading, and the rhetorical criticism of archetypes are the approaches that can be used to conduct studies on the criticism of archetypes. Moreover, stereotypical characters, mythological characters, archetypal motifs and situations, collective rituals, public symbols and images, cultural or psychological syndromes, and psychological complexes are forms in which undiscovered archetypes can be explored or literary-artistic texts can be criticized based on them. Keywords: Analytical Psychology, Post-Jungian, Archetype, Jung. IntroductionAlthough numerous studies have dealt with archetypal criticism and examined Jungian archetypes in various works, there is still no clear understanding of this approach. In most of the conducted research, only one of the methods of archetypal criticism is utilized and we can say there is no acceptable understanding of the different methods of archetypal criticism. In many articles written in the field of archetypal criticism, the authors are not even familiar with the most basic concepts of archetypal criticism and have analyzed the works according to the author's intention, though archetypal criticism is one of the text-oriented approaches. Another point that has caused archetypes to be misunderstood is the deep connection existing between archetypes and myths, and myths with epics. That is why most archetypal research is dedicated to epic literature and some think that archetypes and myths are only limited to epic literature and have no place in other literary genres. In addition, the ambiguities in Jung's own words and the difficulty of his writings are also other factors that have caused ambiguity or misunderstanding in the recognition of archetypes. Materials and MethodsIn this descriptive-analytical study, first, the what and why of archetypal criticism have been discussed. Then, its different approaches in facing the texts have been identified to prepare the ground for further studies that either directly deal with archetypal criticism or use it in their analyses. Research FindingsArchetypal Criticism Archetypal criticism is an approach in literary criticism that is usually placed next to mythical criticism, and in many works, it is referred to as the mythological-archetypal approach. In Jung's view, analyzing the personality of an artist based on hir works is similar to analyzing the personality of a judge, police officer, politician, etc. His job has no result but to go astray because artists play an impersonal role in their own position and the artist is also an impersonal process. Archetypal criticism is one of the text-oriented approaches in which the author's intention has no place, and in which the effort is made to study conventions and literary genres in order to place the poems into the body of poetry as a whole.Understanding that archetypal criticism is one of the text-oriented approaches in literary criticism is the first step in this approach. After that, it should be determined how the archetypal literary critic can criticize the literary-artistic texts and by which methods the artist can criticize and analyze the texts. In archetypal criticism, three approaches can be identified based on which critics can criticize and analyze the texts or the archetypes themselves:Evolution of ArchetypesIn this approach, through the Darwinian concept of evolution and the evolutionary theory the author tries to show the course of transformation and evolution of archetypes. This approach can be seen as a higher level of archetypal criticism, in which theoretical explanations about a discovered archetype or an unexplained archetype are discussed. This is the method used by Carl Jung or others such as Erich Newman, James Hillman, Ann Ulanov, Marie Louise von Franz, Carol Pearson, and Joseph Campbell. In this method, it is necessary to investigate the transformations of an archetype based on its sources, that is, myths, ancient literary-artistic works, and cultural anthropology. In the ‘evolution of archetypes’ approach, one should first pay attention to the prototypes and traces of an archetype in mythology and determine its background. Then, it should be investigated in epic texts, lyrical stories, folk traditions, and oral traditions, and its metamorphoses should be clearly displayed in these texts and its transformation in contemporary literary-artistic texts should be specified. Archetypes usually appear in the form of stereotypical characters, mythological characters, archetypal roles and situations, collective rituals, public symbols and images, syndromes, and complexes.Close reading of the literary-artistic text based on an archetypeIn this approach, which can be considered the middle level of archetypal criticism, how a literary-artistic work is formed in an archetypal situation is discussed and its organic unity is emphasized based on an archetypal situation; for example, a poem, story, film, or image is analyzed based on a single archetype and its components are interpreted in relation to that archetype.Examining Archetypes in a Text In this approach, which is the lowest level of archetypal criticism, several well-known archetypes are examined in the entirety of a literary-artistic work, and the manifestations of those archetypes are shown in that work. For instance, archetypes in a certain poetry book or a certain poet's collection of poems are identified. In this approach, which is closely related to rhetorical criticism, an archetype is considered a literary figure and image just like a metaphor. In addition, a combination of these three approaches can be used in archetypal criticism and the works can be analyzed through them.Post-Jungian StudiesThe prefix ‘post’ in post-Jungian, like other terms that use the prefix, implies several issues: 1) transition from Jung's theories and rejection of some of them, 2) continuation and completion of some of his theories, 3) pluralism in methods and theories, and 4) an obstacle to any ultimate principle in theories emphasizing infinity and uncertainty. Samuels argues that “Jung's attitudes toward women, blacks [and people of color], so-called 'primitive' cultures and so forth are now outmoded and unacceptable. Jung converted prejudice into theory and translated his perception of what was current into something supposed to be eternally valid. Here, too, it has turned out to be the work of the post-Jungians that have discovered these mistakes and contradictions and corrected Jung’s faulty or amateur methods. In other words, post-Jungian means the correction of Jung's work and also a critical distance from it” (2008, p. 2-3). In fact, archetypal criticism is regarded as Jungian when in addition to Jung's theories, the theories and approaches of other post-Jungian thinkers are also employed. As Hillman states, Jung should be viewed as one of the sources and not the only existing theory and method in regard to archetypal criticism.Discussion of Results and ConclusionArchetypal criticism is based on archetypal psychology, which has an interdisciplinary nature, and its teachings and concepts, in addition to psychology, are derived from literature, mythology, theology, anthropology, and public culture. This approach of literary criticism is placed in many textbooks next to mythological criticism and is usually referred to as the mythological-archetypal approach, although it can be used independently in the criticism and analysis of literary-artistic texts. Archetypal criticism is one of the text-based approaches of literary criticism, which can be used in three ways as follows to criticize and analyze texts or archetypes themselves: 1) the evolution of archetypes, 2) in-depth reading of literary-artistic text based on an archetype, and 3) examination of archetypes in a text. Moreover, familiarity with archetypes and criticism of archetypes is very important in comparative literature research because the unfamiliarity with them can cause the literary work to be at the mercy of other literary works’ influences without adequate documented reasons and in this way prevent the formation of necessary research in the field of comparative literature. It can be said that the meaning of post-Jungian criticism is the criticism of the archetypes based on the theories of Jungian and post-Jungian researchers, and the use of terms such as ‘post-Jungian reading and post-Jungian criticism’ and the like do not change it. Indubitably, archetypal criticism is regarded as Jungian when in addition to Jung's theories, the theories and approaches of other post-Jungian thinkers are also used. According to Hillman, we consider Jung as one of the sources and not the merely existing theory and method.

Every writer uses a special method, plan, and manner of narration to express his thoughts and concepts. Bahram Sadeghi is one of the relatively few authors of the contemporary era who left few works but had a lasting impact on Persian fiction writing. The short story ‘Trench and Empty Thermoses’ was published in the collection of stories of the same name, in which the author has used the style of metafiction for narration. In this study, our hypothesis is that there is a close relationship between this narrative style and the content of the story. Repetition and monotony are the dominant deep structures of this story, which the author spreads throughout the story with the help of intratextual symbols and signs and with the use of humor. The names and actions of the characters are also in the same direction and serve the narrative structure of the story. In the present study, based on structural narratology, we have analyzed the link between the plot, depth of the structure, and Sadeghi's narrative style in the story ‘Trench and Empty Thermoses’. How the author uses this special form of narration with the help of other elements and signs within the text has led to the formation of a modern structure. Keywords: Narration, Structuralism, Deep Structure, Bahram Sadeghi, Trench and Empty Thermoses. IntroductionNarrative theory or narratology has been an active branch of literary theory, and literary study relies on theories of narrative structure, plot concepts, different types of narrators, and narrative techniques. Narrative science as a modern theory is mainly related to European structuralism. Constructivist thinking entered the literature based on Saussure's ideas in linguistics and became the basis of structuralists. Structuralism is one of the most extensive theories that is the basis of the work of various researchers. Structuralism is a detailed study of a work and the discovery of its constituent elements and an understanding of the governing relationships between those elements. In this sense, the narration is a kind of worldview. The narrative world is completely in the hands of the narrator. The narrator creates his desired world by creating characters and their functions. On the other hand, the logical form of language and the non-random sequence of events in it provide the basis for the formation of a worldview in humans.Bahram Sadeghi (1315-1363) is one of the prominent contemporary writers and one of the representatives of contemporary modern literature who, in addition to the collection Trench and Empty Thermoses, has a short novel called Malkut. Although these works are small, they have left a lasting impact on Persian fiction writing. In order to express his thoughts and concepts, in addition to choosing the topic, he uses special methods of narration. This story is a symbolic and multifaceted story that has a special connection between the narration style and its content. The purpose of the present study is to explain the connection between the deep structure and the author's narrative style in this story.The book Blue Blood on a Sad Land by Hassan Mahmoudi (1998) is one of the first sources that examines the life and works of Bahram Sadeghi. Bahram Sadeghi's interviews and letters, as well as articles written by various authors about his life and works, are included in this book. In addition, Olfat Fasih (2013) examines the subject of narration in all of Bahram Sadeghi's short stories in the collection of Trench and Empty Thermoses. Based on this, the position of the author and the narrator has been discussed in the story and the relationship between these two, as well as how they relate to the characters of the story and communicate with the reader through the narrative text. Materials and MethodsThe above-mentioned characteristics of the narrative show that there is a close relationship between this element and the way of thinking. In this study, we try to examine the structural narratology and by specifying the type of narrator, the extent of his intervention or non-intervention in telling the events of this story, find structural signs and elements within the text, and the connection between the deep structure of the story. Research FindingsThe results of the study show that the method used by Bahram Sadeghi in the structure of the narrative signifies the emphasis on the importance and priority of the technique. He starts his story with a central theme, and his goal during the story is to expand this theme and instill depth in the story. In this regard, he gives importance to signs and symbols. The title of the story (Trench and Empty Thermoses) is the first sign that tries to choose it according to the theme of the story and deciphers it at the end. The structure of the story of Trench and Empty Thermoses is the result of repetitions and proportions that the author establishes between words and concepts and uses all the elements in such a way as to convey his desired theme. The repetition of words and phrases serves to shape the structure of the story, and the use of words makes the language a special feature and presents it in a new way. The ironic speech of the characters, which has a different meaning beyond their appearance and the symbolic nature of the characters are obvious ways to convey the depth of the story. The rhythm of the sentences and the syntax of the author's words help to convey what he wants to say. The sentences are sometimes orderly and sometimes chaotic and confused, sometimes vague and sometimes clear, and they affect the form of story narration. Discussion of Results and ConclusionThe method used by Bahram Sadeghi to narrate the story of Trench and empty Thermoses is innovative. As an author, he tries to reduce the distance between himself and the audience and becomes the narrator in the text in order to minimize the channels of communication between the author and the reader. With this attitude, humor finds a special place in Sadeghi's stories because in his story-writing style, the narrator openly shows his presence in his story. In addition to bringing humor to the field of narration, Sadeghi uses this tool to reveal the bitter realities of the characters' outer world and their inner world. For this purpose, he gives signs in the structure of his story and forces the reader to reflect on discovering these signs and understanding the deep structure of the story.The deep structure of the story is based on the repetitive and monotonous life of the characters in the story and is shown in the narrative structure by using signs within the text. This cycle of repetition continues and leads to frequent distance from which it is unthinkable for them to withdraw. The narrator also uses symbols to expand this deep structure. Trench and Thermoses are among the symbols that are mentioned at the beginning of the story, and at the end, they are deciphered by the link they create with the title of the story. Mr. Kambojie (a character in the story) considers the bastion (trench) as the bastion of life, where he has been living for years, and runs away to the corner with a few flasks empty of hope. His long stay in the bastion of life has made his existence duplicate and he tries to escape from this duplicate existence.

According to cognitive linguists, with the help of conceptual metaphors which are very common in people's everyday language, mental concepts become objective and tangible. In this type of metaphor, the conceptual domain of the target, which is single and abstract, is expressed objectively and comprehensibly with the help of everyday experiences influenced by the culture of the source domain. There are three types of conceptual metaphors: ontological, structural, and directional. The ontological metaphor also has three parts: the metaphor of ‘entity’, the metaphor of ‘container’, and the metaphor of ‘personification’. By examining Moulavi's Masnavi from an ontological perspective, it was found that Moulavi has demonstrated the abstract and fundamental concepts of heart, love, reason, poverty, existence, non-existence, etc. sometimes in the form of matter and object, sometimes in the form of container and place, and sometimes through personification to make these concepts both objective and comprehensible. Keywords: Cognitive Linguistics; Conceptual Metaphor; Ontological Metaphor; Molana; Masnavi Manavi.IntroductionAs the realm of mystical literature is the nature of human beings and is to do with internal feelings and perceptions, the internality of these perceptions on the one hand, and their personal nature on the other hand, lead to ambiguity and thus make language and its usual facilities look insufficient in dealing with the transmission these inner states. Therefore, in order to make up for this insufficiency and to provide and develop the necessary language facilities, this type of literature leans towards the metaphorical pole of language which has a wider potential to reflect these inner states and experiences (Fotouhi & Alinejad, 2009, p. 13). In their study, Lakoff and Johnson (2017) challenged the early conceptualizations and stated that metaphor is not only in language but also prevalent in our daily thoughts and actions. The characteristic of this type of metaphor is to make abstract concepts objective and comprehensible. The mental concepts of the target domain become objective and comprehensible with the help of experiences in the source domain. In this study, the two research questions are: 1) How do mental concepts which are abstract and unstructured become tangible and objective? 2) What is a conceptual metaphor? To answer the mentioned questions, one should be familiar with the structure of conceptual metaphors. Materials and MethodsThe present descriptive-analytical study has been conducted through a library research methodology. First, the works of the theorists of conceptual metaphor, Lakoff and Johnson (1980), and other followers of this theory such as Zoltán Kövecses (1990) were analyzed and studied. Then, the works of Iranian researchers in the field of linguistics such as Golfam (2002), Rasakh Mohand (2013), Afrashi (2015), and Safavi (2003) and several other related articles were investigated and the important concepts relating to the theoretical framework of the study were identified. Research Findings Based on this, ontological metaphors, as one form of conceptual metaphor, were identified and analyzed in the first book of Masnavi. Each of these types of ontological metaphors helps to make vast parts of mental experiences and concepts objective and understandable (Likaf & Johnson, 2017). In this section, the verses of the first book of the Masnavi that can be matched with each of these three types of ontological metaphors are examined. In the following, first the poems that contain material and object metaphors are discussed, then the container metaphors, and finally the characterizing metaphors of Masnavi’s poems have been examined. For example, the Ontological metaphor of Jan/soul is found in Masnavi and analyzed in this article as follows:“Jan (soul) is a noun that expresses a subjective and intangible concept, and it is "the human soul and an allusion to the merciful soul and the manifestation of truth” (Sajadi, 2008). Molana shows this as a subjective and non-objective concept in the form of a physical phenomenon that can be grasped. The king gathered the sages from the left and the right and said: The lives of both are in your hands (1/43). Discussion of Results and ConclusionsThe most important feature of the conceptual metaphor is to make the abstract concepts objective and comprehensible. The ontological metaphor is one of the types of conceptual metaphors that has three types: entity, container, and personification. In this study, the first book of Masnavi was examined from the point of view of ontological metaphors and it was found that sometimes concepts such as life, heart, poverty, science, and existence are assumed to be objects. Sometimes some of these abstract concepts and other concepts such as religion, love, solitude, thought, etc., are perceived as a container or a place where something is placed, or a good state as a substance penetrates, or a field where a plant or tree grows in or divine light originates from, etc. Sometimes abstract concepts are given characters with animism. A large part of these concepts in the first book of Masnavi is sometimes conceived of as a body, a container, or a place that has both inside and outside aspects.

According to many experts, Sheikh Shahabuddin Suhravardi has proposed common aspects between ancient Iranian wisdom and Islamic philosophy and mysticism in his works. By entering the world of symbolic signs, he approached the field of conceptual metaphor. Light (Noor) and Divine Glory (Farr-e Izadi) are macro metaphors containing smaller metaphors, which will be obtained from the purity of the soul and as a result of a sensory-perceptual interaction between the subject and linguistic signs. The semantic connection of the linguistic signs of divine glory and light in the divine narrative discourse is highlighted under the correct cycle of interaction and exchange of value. Although divine glory is related to the chosen man of truth, and light is related to the creator of man and the world, they pass through a path from Earth to Heaven. Also, the relationship between this light and ‘black light’ in mysticism is worthy of investigation. Are truth and metaphysics, according to post-structuralists, illusions formed in the system of metaphors? Verse 35 of Surah Noor is the most important metaphor of the Qur'an, which has an absolute general and special relationship with the conceptual metaphor of the divine circle. In mystical thinking based on unityism, light cannot be completely separated from darkness because the existence of both is necessary in the world and light is the origin of all light and darkness. The present study, with the approach of semiotic-semantic analysis, deals with how to produce meaning from similar linguistic signs and uses the theory of imperfection of meaning by Greimas to achieve its goals. Among the four narratives proposed by him, ‘adaptive narrative’ and ‘mixed narrative’ will be a guide for the interpretation of the conceptual metaphor of light and its connection with divine glory. IntroductionSheikh Shahabeddin Suhrawardi was the initiator of removing the distance between the wisdom and myths of ancient Iran, Islamic philosophy, and mysticism. His attention to Divine Glory (Farr-e Izadi) and light in his writings is one of the reasons to prove this issue.The conceptual metaphor proposed by Likoff and Johnson (1980) has a broad concept beyond rhetorical metaphor to the extent that the frequency of conceptual metaphors in any text is considered an indicator of the author's style. According to Greimas, every text contains conceptual metaphors that can be analyzed by semiotics. The metaphorical function of language in the direction of knowing the truth is not hidden from the researchers, and Suhrvardi also approached the field of metaphor, especially conceptual metaphor, by entering the world of symbolic signs. Among all the signs, this study investigates light and divine glory with the approach of truth analysis and metaphysics. The relationship between this light (pure light) and black light in mysticism is worthy of consideration. In this research, these two issues have also been explained. A semiotic-semantic method will be discussed in order to prove the capacity of mystical texts in revealing the meaning in this way. Materials and MethodsQualitative content analysis of the text in an inductive way was chosen among several methods in this research in order to discover their hidden meanings by analyzing the linguistic messages of the target words. Therefore, we deal with the metaphorical function of language in recognizing the truth, conceptual metaphors, and the relationship between light and divine glory in Sohrawardi's view. Research FindingsTaking into account its dimensions and the abilities it creates in its owner, divine glory is a conceptual metaphor that has an absolute general and particular relationship with the conceptual metaphor of Surah Noor verse 35: "Allah is the light of the heavens and the earth...". That is, divine light includes that divine glory that deserves competent people. The outstanding point about divine glory is its connection with light as if in addition to the unique features that appear in someone after divine glory is assigned, a light can be seen in his face that distinguishes him from others. The light that is taken from the source of light, which is God, and according to verse 35 of Surah Noor, is an inherent light from which the incidental lights come into being.Suhrawardi considers light and darkness as the bases for dividing the universes, emphasizing light and the power of light over darkness, and establishes a relationship between light, science, and power. He divides the universes into four groups: Anvar Ghahreh, Anvar Modabareh, Sourolmoalegheh, and Barzakhan (the world of senses).In this division, Anvar Ghaherh, or the intellectual abstract is placed in the highest rank which dominates all other universes and the shining of these lights creates some abilities in competent people. Efforts to purify the soul and maintain inner purity are directly related to preserving divine glory and divine confirmation. Discussion of Results and ConclusionsSheikh Shahabeddin Suhrawardi by creating the link between wisdom and the ancient Iran myths and Islamic mysticism, on the one hand, provides the ground for receiving the interactional tradition among the followers of both spectrums. On the other hand, by discussing an adaptive and mixed narrative, he has made the perception of the indescribable truth possible to some extent. In his belief, mystical conduct provides a basis for people to benefit from divine glory.In mystical thinking based on unification, light cannot be completely separated from darkness because the existence of both is necessary in the world, and light is the origin of both light and darkness. The black light design among mystical experts and attributing it to the metaphysical world first caused the astonishment and opposition of religious people and experts. But by separating its multiple meanings in a hierarchy into ‘praised blackness’ and ‘reprehensible blackness’, this doubt was resolved. The black light of ‘praised blackness’ means the manifestation of the unknown essence of truth, the qualities of glory and love mixed with ecstasy. Iblis is the manifestation of the black light of ‘reprehensible blackness’ that constantly distances itself from the other levels of this light.In Greimas’ belief, when facing anything, its true meaning is always hidden and its deviant meaning is revealed, hence the relationship between the signifier and the signified is not responsive to semantic productions, and this lack of meaning is compensated by referring to the science of phenomenology. If Suhrawardi considers the sun as a tangible sign, a symbol of Noorolanvar in this universe is to compensate for this lack of meaning. Out of the four narratives proposed by Greimas, the ‘adaptive’ and ‘mixed’ narratives will be helpful for the interpretation of the conceptual metaphor of light and its connection with divine glory.

Shekarbagh, one of the two existing writings of Seyyed Reza Bakhsh Mousavi (Natiq Nili), is composed of more than three thousand verses. In terms of the meter, it is similar to Nizami’s Khosrow and Shirin and Jami’s Yusuf and Zulikhai. The main subject of this masnavi is the romantic relationship between the poet and a lady named Nesagol. Besides this, other topics such as eulogy, praise, complaint, love, giving advice to the ruler, and social, cultural, and political issues dominant in the society are reflected throughout the poem and adorned with rhetorical elements. This study aims to investigate the linguistic features of Shekarbagh. There are differences in collocation-making and highlighting at the vocabulary level, which is different both in terms of combination and in terms of meaning from what is recorded in dictionaries. In some cases, the differences have dialect characteristics; moreover, the deletion and transfer of sentence components and compound verbs have fluctuations. On the other hand, in some verses, heavy caesuras and defective rhymes can be seen. This is the characteristic of the poet's style and language resulting from his attention to images, sometimes it is due to the poet’s disability to provide sound meter, and in some cases, it is due to the carelessness of the scribes. Keywords: Natiq Nili, Shekarbagh, Linguistic and Stylistic Features. IntroductionSeyyed Reza Bakhsh Mousavi, known as Natiq Nili, was born in Afghanistan in 1228 A.H. The date of his death is not known for certain, but his tomb is considered to be located in Mashhad. Two of his remaining works, Shakarbagh and Tofan al-Mosiba, are poems. Shekarbagh is a verse love story between a poet and a lady named Nesagol, which took place in Hazarjat, Afghanistan. Tofan al-Mosiba is a religious and panegyric poem.Although Nayel (2000, 2016), among others, in two of his books, Essays and Notes on the Land and the People of Hazarjat, gives information about Natiq and his works. But due to the fact that Natiq was not one of the leading poets of Afghanistan, and because of the social problems of that country, no specific research has been conducted on the topic under discussion.In this research, the authors try to answer this research question: What are the outstanding linguistic and stylistic features of Shekarbagh by Natiq? It seems that although Natiq’s language in this work is simple and fluent, it is not homogeneous. He has used a special style and method by foregrounding and developing the language by means of collocating, changing word order, altering the grammatical form of phrasal verbs, etc. Materials and MethodsThis study has been carried out using a descriptive-analytical method with an emphasis on qualitative analysis. After examining the text of Shekarbagh, the linguistic and stylistic features of the verses have been extracted and analyzed. Research FindingsThe linguistic and stylistic features of Shekarbagh have been briefly analyzed and evaluated in two parts. In the first part, there is an emphasis on the foregrounding and linguistic features including collocations, displacements of word order, deleting part of a sentence, using words and combinations derived from the local dialect, etc. In the second part, there is a critical look at heavy caesuras and the drawbacks of rhymes in some lines, as well as the miswriting and misspelling of the scribes.The findings of the study are summarized as follows:In Shekarbagh, the attention to all types of adjectives is remarkable.Pronoun displacement in Shekarbagh is significant. These displacements are sometimes due to poetical necessities and sometimes arise from the poet's attention to aesthetical purposes.The use of reduced infinitives and ‘ra’ which are used to separate noun combinations is one of the most frequently linguistic features used by Natiq.In some cases, instead of nouns and adjectives, the poet has made a compound verb from the past participle and the present participle.The frequency of creative words and combinations is abundant in Shekarbagh, and some of these differences in structure and meaning are influenced by the Hazargi dialect.Omission of the prepositions and connectors is evident in many of Shekarbagh's verses due to poetical necessities.In some lines of Shekarbagh, caesuras or disharmonious rhythm can be seen, which are either caused by the carelessness of the scribes or a blur created in the poet's manuscript. Discussion of Results and ConclusionsShekarbagh is a love story by Natiq Nili, which is composed in the form of Masnavi and in Bahre Hazaje Mosaddas, with more than 3,050 verses. The overall structure and developing method of the work show that the poet paid more attention to Jami’s Yusuf and Zulikha. Natiq’s language has creative combinations and the poet acts assertively in composition. If a combination causes a caesura in the rhythm, he innovates another combination that is completely new. In addition, he feels no restrictions in describing, sometimes the adjectives are used before nouns and sometimes after them, and if there are several adjectives, some are given before nouns and some after them. Some words and collocations in Shekarbagh are used with a different meaning than what is recorded in dictionaries, which sometimes has a dialect characteristic.

Although different literary genres can be gathered into three known groups of epic, lyric, and allegory, each category also has more specific divisions and subtle and pleasant types that make literature attractive. This abundance of types has sometimes led to forgetting other genres. One of these genres is Haft Qaapi and its different forms, which we have introduced and explained its various aspects in this study. This research, which is based on descriptive-analytical and direct reference researching methods, eventually found and introduced twelve forms of this genre. The results show that different forms of this genre exist, from Chaar Qaapi to Davaazdah Qadam, and Qaapi Cheraq is prominent among its forms. In addition, Musamat Makhams is the most popular poetic form among the poets of this genre. Qaapi Soraayi is also one of the practical forms of Persian poetry. The most practical aspect of it is to visit an old man. As we found in this research, Shah Cheragh is a respectful term for Sufi, not a popular name. Keywords: Haft Qaapi, Literary Forms, Qaapi Goshayi, Ayiin-e-Solook. Introduction Literary genres and their knowledge are among the prestigious literary sciences. Undoubtedly, the pleasantness and sweetness of knowledge of literary types are due to its subtle sub-categories that are placed inside its bigger categories which consist of epic, lyrical, and allegory literature. The abundance of the genres and gathering them into bigger categories sometimes led to forgetting some of them. The books and articles which were written on this topic (i.e. literary genres) usually contain similar content, and their differences in introducing strange and rare genres are few. As a result of this, introducing uncommon genres is of high importance.One of these genres that is less noticed in Persian literature is Haft Qaapi or Haft Qadam. In the present study, we try to properly introduce this literary genre based on a few newly found examples in manuscripts. The two questions of this research are: 1) What is Haft Qaapi literary genre? 2) Which poetic forms does it use and where and when is it used? Materials and MethodsThis study is done through library research by direct reference researching methods. Considering that only a few references reflect this literary genre, most of our research has been in manuscripts, and in addition to that, we have benefited from the Solouk Name (behavior books), Maraam Naameh (Manifesto), and Fotovat Nameh (books regarding Chivalry). Research FindingsHaft Qaapi is a literary genre because its foundation is based on poetry. However, in the design of Haft Qaapi, verses of the Quran, hadiths of the infallibles, and famous sayings of mystics and Sufism are also used in it. But, as mentioned earlier, it does not necessarily use a poetic form.  According to the examples that we provided in this study, we see three content areas which are: 1) Praising the innocent imams and religious elders, 2) Praising the kings and political rulers, and 3) Respect to the sheiks and elders of mystics and Sufism. In addition, the most popular forms of this type of literary genre are Haft Qaapi or Haft Ghadam, Davaazdah Ghadam, Chaar Qaapi, Qaapi Bastan, and Qaapi Goshaayi. The poetic forms of Mokhammas and Qaapi Cheraq are more noticeable than others. Our most prominent findings in this study are as follows:Molla Zabih’s Haft QaapiCheragh Haft Qaapi (Molla Naqdi’s Haft Qaapi)Molla Saael Baqli’s Haft GhadamQaapi Bastan and Qaapi GoshayiCharQaapi (Mansoor or in English Prose)Quran Haft QaapiCheraqi Chahar sham (four candles) Haft Qaapi.Cheraqi Do Sajde Haft QaapiKaateb’s (scribe) Davazdah (12) QadamMokhamas Davazdah (12) QadamMolla Naqdi’s Davazdah (12) QadamIt is clear that each of these types is represented with descriptions and divisions. Discussion of Results and ConclusionsIt is clear that there is a deep and unbreakable connection between mysticism and Sufism and Persian poetry. In the meantime, important and well-known Sufi groups do not use any art as much as they use poetry. We cannot easily find an iconic mystic that isn’t a poet or at least doesn’t have a direct and meaningful relationship with literature and poetry. This is why special literary genres are born from this delightful connection. But because mysticism is noticeably away from selfishness and ostentation and aims for selflessness, it is not impossible that it does not aim to prove these genres. Now, the literary genre of Haft Qaapi and its different forms are also the same. Haft Qaapi, considering its vast diversity, can be a leading literary genre and also be a sub-group of mysticism. Another issue that is worth noting is that Haft Qaapi is a practical literary genre that was recurringly performed in the format of mysticism behavioral ceremonies at holy places such as religious grandees’ courts or monasteries not long ago. Many incorrupt people have memorized a good amount of these poems, and probably performed them with enjoyable voices like a ballad for interested audiences