نشریه ادبیات تطبیقی
پیاپی 29 (پاییز و زمستان 1402)

In this study, one of the important issues of human thought, that is, man and his unknown existence, is discussed. This issue has always been the focus of discussion among philosophers and mystics. Based on their point of view, they have looked at man from two perspectives: Some of them talk about the current condition of man and about "how man is and what he is not", and some others talk about ideal human conditions, in the sense of how humans should be and what they should not be.
This article aims to explain, analyze and apply philosophical anthropology and mystical anthropology from the perspective of Kant and Rumi. In comparison of these two approaches, it should be said: Philosophical anthropology deals with the basic issues of man with a rational view and looks at him as a rational and thinking being, and mystical anthropology studies and discusses about man and how he achieves to the perfection by means of intuition. The findings of this research show that the ultimate goal of Rumi's anthropology is to introduce the perfect or ideal human being, while Kant in his pragmatic anthropology discusses the existing human being in the form of whatever he is. 

In this research, we have first examined the history and foundations of anthropology in the East and the West. Then, with a comparative descriptive approach, we have investigated philosophical and mystical anthropology from the perspective of Molana and Kant, and we have compared the opinions of these two great thinkers about man, and we have extracted the similarities and differences of these two approaches in the existential dimension of man.

In examining the attitudes of two great thinkers, Kant and Rumi, we find out that Kant plays a central role for man in existence and considers him to be the center of everything. Unlike the philosophers before him who defined man based on essence and identity (truth), he tries to objectively discover the characteristics, abilities, actions and behavior of man, with a new approach. In fact, in this attitude, the nature of man and his situation in the world are examined.
Therefore, it is necessary to examine the human being in the scope of his functions, actions and reactions. The fundamental subject of Kant's critical philosophy is "man and his destiny". He tries to help him by providing solutions to reach his ultimate goal, which is "being moral". Kant's anthropology is different from other approaches about man in the 18th century due to his pragmatic character.
In his epistemological system, Kant considers the external world (existence) to be the subject of man or the wise subject. Based on this philosophy, the world cannot be identified as it is. The world is the result of the formation of intellectual subjects and these are the people who give order, law and structure to the world. Kant deals with another characteristic of man, namely freedom and liberty, and he believes that man's rationality is not the reason for his privilege, but his volition is the creator of moral values ​​and standards. He believes that the ultimate goal of anthropology is to reach the position of "man subject to moral laws".
In Rumi's ontological system, on the one hand, existence, soul and spirit of the world are seen, which are infinite, eternal and immortal, and on the other hand, the visible finite world, which is accidental and decaying, and the distance between these two worlds is filled by the presence of “Man” who is able to establish a relationship with God. Based on this, man is the center of cognition, and God and the world are discussed from the angle of his understanding.
Rumi introduces man with two attitudes. First, his attention is on human existence, with all his weaknesses and natural conditions; as he is and then he introduces man from the side of what he should be and how he can be (perfect man). Despite these two aspects in man, Rumi believes that the soul and truth of man can sometimes be superior to angels and sometimes inferior to animals. When he is able to surpass the position of matter and be freed from every material thing, the ability of fondness with God will be created in him and he will reach the world of the soul. In fact, a person reaches the upper limit of human conduct (Soluke) and perfection (Kamal) when love and free will gather in him. In his upward trend (development) towards his origin, he can reach the end of the path of truth through rebirth. In discussing the true nature of man, like other mystics, Rumi calls man the great universe (Alam Akbar). Unlike the philosophers who consider man as a small universe (Alam Asghar) and hence, they see his place in the world as great one. 

"Man and anthropology" is one of the important and prominent issues of human thought, which has always attracted the attention of many thinkers. Since each of the thinkers has looked at the complex dimensions of man from a certain angle, they have only been able to describe a part of the human existence. As a result, they have had different definitions of the human category. They have discussed human cognition with two approaches "how it is" and "how it should be". In this study, we have investigated the opinions of Molana and Kant about human beings. In summarizing the opinions of these two thinkers about humans, we are faced with two approaches, which are summarized below:Molana considers the creation of man as a result of manifestation (Tajalli) and love and a matter of God's grace. Therefore, it is considered the highest degree for man in the universe, and the goal of his perfection (Kamal) is to be close to God. In his view, man is the most perfect manifestation of God, the principle and axis of existence, and the rest of the world is subordinate to him. Molana considers man to have a divine origin and related to the transcendental world. He believes that man has two poles of earthly and celestial existence, which can go infinitely in the arc of descent and ascent. One dimension of him in this world is limited to time and space and the other dimension is timeless and space less. This way of looking at man has caused the emergence and finding of a perfect man in his mystical thought.
According to Kant's belief, man is a being with intellection, wisdom and freedom, and he is the only high goal of philosophy. In this attitude, which is a new approach to man, his nature and position in the universe is investigated. The prominent feature of Kant's anthropology is its "pragmatic" or pragmatic nature. This means that he introduces an anthropology that is related to human action and behavior and has less theoretical aspects. From his point of view, a human being cannot be placed in the form of a definition, but his identity is formed by his social life and interaction with others. In fact, Kant's man has more of a moral aspect, and on this basis, man needs to be examined in the scope of functions, relationships, actions and reactions.
Kant considers two reasonable and sensible worlds for humans. He considers his body to be related to the sensible world and his essence to the reasonable and rational world (beyond the sensible world and the system of nature) regardless of geographical additions. On the one hand, he considers man as a moral being, and on the other hand, he considers him to have animal motives and desires, which is capable of using his intellect and the freedom that is defined for him, to remove himself from the rank of an animal to human being.
In this approach, the relationship between man and the universe is revealed through his actions and behavior, on this basis, he must take responsibility for whatever he chooses. Although both thinkers have looked at man from two dimensions, the ultimate goal of Rumi's anthropology is to identify the perfect or ideal man, and the fundamental subject of Kant's philosophy is man and his destiny.

The Epic of Gilgamesh (2100 BC) and the Anthem of Pearls (between 50 and 70 AD) are two precious human works that seem to have many similarities, although one is a form of Epic literature and the other contains Gnostic (mystical) content. In this research, these two ancient texts, namely the Epic of Gilgamesh and the hymn Gnostic of the pearl, have been chosen for comparison. The first text belongs to Mesopotamia and the other text basically belongs to the Parthian-Iranians; But the main concept raised in these two works is the concern that has occupied the minds of all the people of the world and that is the desire for immortality. If we think about these two works, we can see that Gilgamesh makes a difficult journey for himself in order to escape death, and the prince of the pearl anthem party also goes on a very difficult journey to get the pearl (immortal soul). The same view prevails in Manichaean texts. In the belief of the Manichaeans, we face Hormazdbagh (the fate of humans) who must travel to the darkness or the land of the devil and intermingle with it to provide the means for the ultimate defeat of the devil and
 bring the immortality of the soul that is trapped by the minoy (soul) of darkness.
Among these (Epic of Gilgamesh, Anthem of Pearls and Manichaeism), there are several commonalities that connect them: the existence of the Mother Goddess, Le double, going to darkness, a misleading female, a deceptive father and daughter, rescuing sailors, awakeners and... that we try let's report these cases and thus reveal this point: Mani, who himself lived in Mesopotamia, on the one hand inherited the ancient ideas of this geography, especially Gnostic beliefs, and on the other hand, apparently through his mother, who was a Parthian princess, with Parties and their intellectual heritage are connected. So, it is obvious that his thoughts and beliefs are connected with the Epic of Gilgamshe bin al-Nahrin and with the anthem of the pearl, which basically belonged to the Parthians. We should not forget that, especially during the Arsacids era, there were very close cultural connections (religious, linguistic, commercial, art and architecture) between the Parthians and Mesopotamia (cf. Wiedengren, 2017); Therefore, it is natural for Mani, raised in the Parthian era, to be influenced by this integrated culture and benefit from it. 

In this comparative-analytical research, we will first compare two texts, one with an Epic structure, Gilgamesh, and the other, the Anthem of Pearls, which is a Gnostic (mystical) text, and we will try to find the common themes of these two texts, which are different in form; But they have similarities in content, let's describe. After that, we will find these common features in the beliefs and thoughts of the Manichaeans, paying attention to the Manichaean texts, and analyze them.

3-1. The fullness of the role of the mother: a short review in the Epic of Gilgamesh, the anthem of pearls and Manichaean texts will show us that "mother" has an impressive and outstanding role in these texts. Rishat, Gilgamesh's mother, is the one who gives Gilgamesh the good news of Enkidu's arrival. Also, he ensures the safety of Gilgamesh and Enkidu before they both go to the Cedar Forest. He asks the Titan to protect Gilgamesh. In the anthem of pearl, before the prince goes to Egypt, his mother (Queen of the East) sends him away. In Manichaean texts, before the first human being (Hormazdebagh) goes to the land of darkness, the mother of life/umm-e-hayat/Bahjat (Mādar ī zīndagān) puts her hand on his head and sends him to war.
3.2. The anthropomorphism of the princes: Gilgamesh, the prince, is a hero like a god, which is only one-third of his being is suitable for humans; But it is this small part of humanity that prevents Gilgamesh from reaching immortality. Just when Utnapishtim asks him not to sleep for six days and six nights, he puts him to sleep. Even after they give him the plant of immortality, he is unable to keep it. He sees a "piece of earth" just when he should be protecting the life-giving plant. There, he indulges in pleasure and immersion in water, and the snake, steals the plant that gives immortality. The Parthian prince of the anthem of the pearl, is also similar to the gods. Like Gilgamesh, he is a human god. Partian prince can be compared to Gilgamesh, who both fall into sleep, drunkenness and forgetfulness and forget their godly origin. In manichaeism, there is also talk about the soul in the prison of a person, which is reminiscent of Gilgamesh and the Prince of Parthia. This trapped spirit in the Manichaean texts, like those two, is a prince who falls into darkness. He is a representation of a human being who, despite his precious soul, is trapped in the body and the world.
3.3. The outstanding role of le double: One of the similar aspects of Le double in the Epic of Gilgamesh and the Anthem of Pearls is the presence of Le double, which attracts attention in Manichaeism. In the Epic of Gilgamesh, we see that Enkidu appears next to Gilgamesh as a twin and helps him. The Parthian prince also speaks of a "great-grandson" who is his "own" and has joined him. It seems that he is the twin who keeps the prince away from the material world and the impure people in the world. Mani also claims that at the age of twelve, an angel named At-taûm, which in Aramaic means companion and comrade, was sent to him for the first time, and after he appeared to Mani at the age of twenty-four He has fought with greed and devil. It is obvious that after getting to know and meeting his le double, Mani basically undergoes a transformation in his life that makes him different from before.
3.4. Rushing to the land of darkness: After meeting Enkidu, the first thing Gilgamesh does, is rush to the cedar forest, where Enlil, the god of the soil and the land, has placed Khumbaba, a scary demon, as a guard. Gilgamesh and Enkidu attack the land of demonic Khumbaba and after enduring many sufferings, they finally kill Khumbaba. The Parthian prince also goes from the east (the place of light) to the west (the land of darkness). In Manichaean, Hormazdbagh with his five children (Forohar, Wind, Roshni, Water, Fire) rushes towards Shahriar of darkness.
3.5. Devil dragon like lion: In the Epic of Gilgamesh, Khumbaba is the embodiment of evil; Thus, a demonic image of him is presented: “They saw Khumbaba coming. He had paws like a lion, his body was covered with bronze scaley. His legs were the claws of a vulture. On his head were the horns of a wild bull. The tail and his combination organ  ended with the head of the snake" (Gilgamesh, 2012: 48). In the anthem of the pearl, it is only mentioned about the dragon that took the pearl of the soul. The possession of the pearl by the dragon is reminiscent of the abduction of the life-giving plant by the snake in the Gilgamesh Epic; The Shahriar of the dark world (dragon/serpent/matter), steals the soul. In Manichaeism, "the Shahriar of the world of darkness is the dragon"; But in some places of the Manichaean texts, the face of Devil is drawn more precisely, which is close to what we see from Khumbaba's face; A combination of lion, snake, fish, eagle/vulture.
3.6. Shahriar off the war clothes and putting the crown on his head: Gilgamesh, after returning from the war with Khumbaba and killing him, while washing himself and his war tools and combing his hair, "threw his dirty clothes on the ground and put on clean clothes" (Gilgamesh, 2012). : 51). According to Rosenberg's narrative, he also wears a crown (Epic of Gilgamesh, 1389: 59). In the Anthem of Pearls, when the parents of Parthian prince want to send him to Egypt, they take off his clothes (a sign of physicality).  Also in the Manichaean texts, The Manichaeans use interpretations about Mani's death that are very similar to what we saw about Gilgamesh and the Prince of Parthia. The Manichaeans compare him To Shahriar, who has taken off his dirty war clothes and is wearing a royal robe and wearing a crown.
3.7. Seductive female: It should be mentioned the presence of Ishtar, who was constantly in his temple before Gilgamesh met Enkidu (Le double) (Gilgamesh, 2012: 27). Just before confronting Enkidu, we see him in a bed that was spread for Ishtar to sleep with (r.k. ibid.: 31). Ishtar constantly calls Gilgamesh to her. In the anthem of the pearl, we do not see any mention of the seductive woman, and it seems that she has given her place to the delicious stews that the prince of the party is seduced by. In Manichaean, the feminine gender is not a desirable element and  the Manichaeans are constantly called to stay away from women, along with meat and wine; But it seems that these worldly desires are also tools for liberation.
3.8 Father and daughter: In Gilgamesh Epic, which is about daughter and father; Ishtar, the goddess of love and her father, Anu, after Gilgamesh does not respond to Ishtar's request for love, Ishtar asks Anu to punish him. Ano also fulfills his daughter's wish. In Manichaeism, we also see a father and a daughter: Murdiyānag and Ašaqlūn. This daughter and father have demonic behavior against humanity; Just as Anu and Ishtar are trying against Gilgamesh and of course the people.
3.9. The boatmen and reaching the anchorage of salvation: Gilgamesh, guided by Sidori Sabito, to reach Utnapishtim, "the blessed one who found life" and destroy the "demons of death" and lock the gate of death that those demons own(p..K: Gilgamesh, 2012: 90), in search of Orshanabi, the boatman of Utnapishtim, comes "to take him safely through the sea and the waters of death" (ibid.: 84). In the anthem of the pearl, the prince of Parthia does not use a ship or a boat to reach the pearl that is in the hands of the dragon in the sea, or maybe it is not mentioned in the text; However, in the Manichaean texts, there is a lot of talk about "escaping from the sea of ​​this world and reaching the anchorage of salvation" (cf. Klimkait, 2014: 60). What Orshanabi does to save Gilgamesh (bringing him to utnapishtim by crossing the deadly waters and then obtaining the life-giving plant), according to a Manichaean text, Mehraizd reaches it for the "men of the true religion". Obviously, in the Epic of Gilgamesh and the Manichaean text, we see the existence of a savior (Orshanabi and Mehrizad), the sea and water, a ship, an anchor of salvation (the land of peace/bright heaven) and a saving plant.
3-10. Awakeners: In the Epic of Gilgamesh, Utnapishtim informs Gilgamesh of his being a man-god, his combinational existence between spirit and matter. In the anthem of pearl, the "letter" that takes the form of an eagle plays a role in awakening the prince; But in Manichaeam, this role is entrusted to the shining Jesus.
3.11. The Titans: Gilgamesh at the end of the Epic, is a Shahriar who shines like the sun in the "shining hall of the palace". The prince of Parthia, like the sun, goes from the east to the west (Egypt). In one of the Manichaean psalms, Mani is called "the sun" and the Manichaeans are asked to honor him.
3.12. Not harming animals: In the Epic of Gilgamesh, we see in Enkidu's actions a way of guarding animals. He tries to keep the hunter from harming the animals. In Manichaeism, he is ordered to avoid harming and killing living beings, even those that are predatory and poisonous. Considering the similarities we have seen before between the Epic of Gilgamesh and the beliefs of Manichaeism, in The case of not harming animals can also be said that Manichaean was probably influenced by the Epic of Gilgamesh.

With a short pause in what we have left behind, we come to the point that Gilgamesh's Epic seems to be the first work that many years before the spread of Gnostic ideas, reflects these beliefs (which later had many fans in Mesopotamia, such that Mani and his family also influences it in Babylon); Because everything that comes from these thoughts in this work was given in the Anthem of the Pearl and later, the Manichaean texts. The main similarities of these three are: 1) the existence of a mother goddess who plays a prominent role in the upliftment of the child. In the Epic of Gilgamesh, Rishat, and in the anthem of the pearl, nameless mother and in the manicheaem, the mother of life; 2) In all three, we see a human-god with the title of Shahriar and prince who is trapped in a piece of land (Egypt/West) and forgets his supreme gem and then sink in the depth of the sea (the world) in search of a pearl/rejuvenating plant (spirit) and Finally, he has found it; 3) in all three, we see the existence of a le double(Enkidu, the twin of Gilgamesh, a good-looking chivalrous with the prince of Parthian, and Narjamig, the le double of Mani) whose physical life has been transformed into a spiritual life after the hero's encounter with him; 4) Gilgamesh in the Mesopotamian Epic, the Parthian prince in the Anthem of Pearls and the living soul in Manichaeaism, all three descend to the land of darkness (Cedar forest, Egypt and Devil's Abyss or the same body and world); Because reaching the light passes through the path of darkness; 5) in all three, an evil being tries to take possession of the hero's soul; In the Epic of Gilgamesh, Khumbaba and later the snake who steals the immortality plant from Gilgamesh, in the anthem of the pearl, the dragon, he holds it in his hand, and in Manichaean, Devil dragon like lion; 6) In all three, the hero covers the soul with a garment and after going through the treading, frees the soul from that garment and wears the royal crown of the soul; 7) The presence of a misleading female or forgettable good food, causes the hero to go astray. In the Epic of Gilgamesh, we see Ishtar and later Sidori Sabito, and in the anthem of pearls, the delicious food of the Egyptians. In Manichaeasim, woman is not a desirable element; But it is a secret of the world that in order to refine and exalt the light/soul, one must go through that darkness;8) The presence of an evil father and daughter, who harm the hero. In the Epic of Gilgamesh, Ishtar and Anu seek revenge against Gilgamesh, and in Manichaeism, Mordianag and Ashkelon seek to deceive Gehmord and hurt him; 9) We also see the existence of rescue boatmen. In the Epic of Gilgamesh, Orshanabi and in Manichaeismh, sometimes Mehrizad and sometimes the first man or Mani and Jesus have the duty to bring people to the bright paradise or the anchorage of peace; 10) In all three, there are awakeners who make the hero aware of the truth of the essence of their existence. In the Epic of Gilgamesh utnapishtim, in the anthem of the Pearl, the letter which takes the form of an eagle, and in Manichaeism, the shining Jesus;
11) The hero in all three is associated with the sun. Shamash,the Titan, is the supporter of Gilgamesh, the prince of Parthia, as the sun goes from east to west, and Mani is considered the sun. The sun is a symbol of the soul and immortality; 12) We see not harming animals in Enkidu's character; The same thing that the Manichaeans have emphasized a lot.Keywords: the epic of Gilgamesh, the Pearl's Song, Mani, Manichaean

Comparative studies of the poems of great poets assists in the affinity among different nations and the recognition of their outlooks and sometimes under the aegis of these studies, the possibility of better understanding of their poems and their effective criticisms is ensured. Sohrab Sepehri and Octavio Paz are among those poets who, due to their excessive interest in the culture of India and world mythology, have a similar poetical approach specially towards the basic elements of the entity, tree, water and light and since in mythological context these elements have a coherent relationship, they have been appeared with a same function in the poems of Sepehri and Paz. In this study, the functions of these natural elements in their poems have been studied and expressed in a descriptive-analytical method. Both of these poets, using mythological construct, have reflected the union between the human and tree, the union among tree, water and light, and the union between water and light, and finally the deep relationship among human, tree, water and light have reflected in a similar poetical utterance which understanding this not only helps in the analysis of many of the odd and weird poetical compounds of these two poets, but also in the demonstration of their poetical pulchritude and under the aegis of this study the link between Sepehri and Paz from a poetical and mythological approach is revealed.

The concept of love with all its semantic realm and all its capacity to create and evoke emotions has always been present in the poetry and literature of various nations and cultures, especially in Persian literature. Love has permeated our literature in an aura from myths and legends to mystical secrets and everyday affections. This study focused on finding out whether there is a relationship between the concept of love and its multiple functions, in the poems of the contemporary Persian language poet Hossein Monzavi and Nâzım Hikmet, the great Turkish poet. If we find such an affinity, then we can contrast, assess and classify the prominent functions and elements of the concept of love in the works of the two poets. Following the American school of comparative literature, this contrastive study sought to find similar experiences and commonalities of the two poets in facing the reality and concept of love, and then its linguistic, emotional, social, aesthetic, etc. functions in the language and world of their poetry.

First, an overview of the concept of love and its reflection in the poetry of two poets (Hossein Monzavi and Nâzım Hikmet) was presented, and then the elements and functions of the concept of love in their works were compared, analyzed and classified.

A contrastive analysis of different functions of the concept of love in the poetry of Monzavi and Nâzım Hikmet does not seek to prove the historical connection and directive interactions between the two poets’ works but aims to specify the similarities and differences of these functions in the poetry of the two poets. Although chronologically, Monzavi could have been influenced by Nâzım Hikmet, whose works have been translated into Persian and known in Iran for years, upon further contemplation we find the poetic style, genre, world and language of Monzavi have no direct relationship with Nâzım Hikmet’s poetry. Among the contemporary poets of Iran, Ahmad Shamlou, who developed modernism after Nima, by presenting prose poetry and creating important and successful works in this field, was influenced by the language, form and even the content of Nâzım’s poetry. In an interview, Shamlou confirmed this influence: “One of those who strongly influenced my poetry, that is, instantly revolutionized my poetic style, is Nâzım Hikmet (Mojabi, 2009: 751).
The emotional and lyrical function in the poetry of the two poets is one of the most powerful and prominent elements of their poetry, which has been analyzed by referring to examples of their poetic expressions and their roots.
Emotions in Hossein Monzavi’s poetry represent one of the important elements of the artistic geometry of his poetry. Emotional expressions never subside in different stages of his life and the course of his poetry. His poetry is replete with representations of emotions such as joy, sadness, longing, fear, hope, expectations, the pain of separation, and lover’s suffering: “The most important thing that has added to the prominence and impact of Monzavi’s sonnets is the spirit of pure lyricism and the central role of love in his sonnets” (Hosseinkhani, 2005: 106). An analysis of the lived experiences of Monzavi and Nâzım Hikmet about love and being loved reflects a type of love in their works, which is the outcome of a kind of emotional behavior of the poets themselves and their romantic lives. In the book Philosophy of Love, the author refers to two important barriers to love in the contemporary world; One is the promotion of safe love in the sense that in the modern capital-oriented world, the riskiness of love, which is the natural recompense of love, is negated and safe love is promoted and thus love is diminished to the level of a safe relationship, and the other flaw in our time is its denial and suppression.
Highlighting the dangerous nature of love is one of the bold functions of the concept of love in the poetry of Hossein Monzavi and Nâzım Hikmet. This common and continuous function is predicted in the poetry of these poets; Because, in addition to a kind of cultural and collective belief in the reciprocity of suffering and love, Monzavi and Hikmet were victims of partings and heartbreaks, and part of their lived experiences has been formed in pain and suffering caused by love. Thus, they have numerous poems that have focused on this theme. In some of his poems, sometimes directly and sometimes with a symbolic expression, Nâzım Hikmet considers the suffering lover to be the victim of the beloved. In the following poem, he points to the male bee as a symbol of love: “The male bees are trying to reach her. Finally, the strongest of them embraces her. Their connection did not last a second. He shook himself and the female bee separated from him. The male bee fell to the ground with his body torn to pieces”.
The important point is that Hossein Monzavi and Nâzım Hikmet are both the most capable poets of their era in creating the aesthetic functions of poetry. The aesthetics of the poetry of the two poets has a lot of power and attraction, and for this reason, each of them is considered an important and influential poet in their own culture and language. All the themes, concepts and contents of the poetry of the two poets are expressed with aesthetic function and artistic methods focusing on social and protest themes to the deepest human emotions and universal concepts. The concept of love in their poetry is based on their belief in love and their deep personal experiences of love and its representation in various linguistic and formal beauties.  Using harmonized rhetorical techniques and effective image creation including similes and metaphors, Monzavi’s poetry contains new compositions and optimally uses linguistic and musical capacities to turn romantic themes into powerful aesthetic elements of his poetry. That is, the most artistic language behaviors have appeared in his lyrical poems. His dynamic and creative images representing the beauty and heart-wining effects of the beloved are some of his most successful poetic techniques.

The present study showed that the concept of love is one of the main and most comprehensive thematic aspects and layers of meaning in the poetry of Hossein Monzavi and Nâzım Hikmet, with the difference that the world of Monzavi’s poetry is based on the concept of love. However, due to metatextual issues, his lyric poems have also other functions. In contrast, the essence of Nâzım’s poetry is the wisdom of struggle and protest. Moreover, due to his belief in the concept of love and his deep emotional experiences, the concept of love has found a special place in his poetry. Besides, the two poets’ focus on love in their poetry based on their intellectual backgrounds and personal experiences has caused similar and close perceptions of the concept of love and has had similar manifestations in the layers and elements of their poetry.
Furthermore, the expressions of the concept of love in the poetry of these poets have led to multiple elements and functions, including the emotional and lyrical function, the social and protest function, the earthly and individual function, the aesthetic and lyrical function as reflected in the poetry of both poets. However, there are differences in linguistic representation of these themes in their poetry. Overall, the findings from this study indicated that the common functions of the concept of love in the poetry of two poets in two different countries, two languages and two different cultures confirm that a great and comprehensive human concept, such as love, can overcome many linguistic, social, climatic and artistic differences, become a common ground for literary and artistic works, and bring them closer together from different aspects. Thus, with comparative research, we can discover and reveal these common grounds and expand the cultural interactions between different nations through literature.

One of the most contemporary and significant areas of research in literature and the arts that has attracted significant attention of critics and researchers today is the field of "interdisciplinary" studies. In this research field, comparative literature studies within the American school are considered a subset. This field emphasizes that to better understand and comprehend literary productions and phenomena, it is necessary to establish connections between various forms of art and consider their relationships with social and cultural backgrounds. The fundamental principle is to move away from a biased view of literary texts and establish connections between branches of the humanities so that we no longer would witness the isolation of these sciences from artistic branches. Recent experiences and research have shown that a work of art can both influence and be influenced by other artistic branches. This theory is the result of the efforts of "Rene Wellek," a prominent theorist in the American school of Comparative Literature. In this research, in addition to the discussion of interaction between two branches of art, the discussion of "adaptation" is also our focus. Although most research on literary adaptation has been in the context of cinema adapting literary narratives, this field has broader implications. What is under scrutiny and examination in this article is the analysis of the function of "poetic words" adaptation in a mythological poetic work and its cinematic representation by a poet-director. Furthermore, we will examine the structure of the poetry and cinema of "Sohrab Sepehri" and "Abbas Kiarostami" in terms of external and internal levels of an artistic work, considering poetic and cinematic elements in both works for comparative analysis. 

The approach adopted in this research is a descriptive-analytical approach. The data from the two works under study have been examined in terms of form and content. It is natural that the interdisciplinary approach employed in this comparative study is grounded in the American school of Comparative Literature.

It is necessary to juxtapose two works under examination to determine in which part of the cinematic film this adaptation and reception of words has manifested.
The language of poetry is a language that every reader or listener immediately perceives its structural and semantic differences with an ordinary language (everyday language) after reading it or listening to it. In other words, readers and listeners easily discern that both in terms of the words that reach to their ears and in terms of the thoughts and perspectives conveyed them differ from other discourses. This concept is clearly articulated by "Aristotle" in his discussion of the essence of poetry. He states, "Poetry is a craft that imitates through words (imitation of nature, mimesis). Now these words may be in prose or in verse." The understanding of words is the most important factor in understanding and interpreting a poetic work, and indeed, in any literary work. Because these words are essentially the products of the poet's mind that signify the intended meaning separately. The more diverse and rich the meanings of these selected words, the more diverse and beautiful the poet's imagination and thoughts.
Today, all theorists agree that cinema, like other arts, has its own language. This means that there are parameters and conventions that help us understand the intended meaning of a film. Some critics view the language of cinema as a collection of images of humans, places, and other subjects that essentially convey the sentences of the text and must be understood and interpreted alongside other sentences to decipher the meaning of the film. It should be noted here that although cinema is understood as a language, comparing it with the language of text (including words, sounds, and sentences, etc.) is a futile endeavor. Therefore, we should speak of "the language of images" for cinema. This visual language has succeeded over the past century in establishing a special place among humans. During this journey, cinema, as the seventh art, has successfully utilized this visual language and enamored humanity with its mode of expression on the Earth. Certainly, what concerns us regarding the "language of cinema" includes aspects such as image processing, scenes (editing), lighting, framing scenes, the relationship between sound and image, and so on. All of these are visual aspects of the "language of cinema." Of course, it is also important to note that other characteristics of this language are related to the narrative and the structural composition of the film.
Furthermore, the content is the inner aspect of any literary work, which can never be one-dimensional. Even if the creator of the work has created it for a single theme, readers and critics can extract different meanings from it, in line with their own perspectives. This behavior is more pronounced in the context of "literary adaptations." In the two works discussed in this research, Kiarostami, as a later creator, has freely adapted under the influence of Sepehri, an earlier creator. This adaptation can be compared with the words and concepts of Sepehri's poetry and reached a unified viewpoint. The concepts of "home," "friend," "passerby," "rider," and "love," which we have compared, form the foundation of both works.
In Sepehri's poetry, the content has a spiritual and elevated aspect that, with its specific symbols, steps into the realm of symbolism to indirectly interact with objects in the service of its abstraction. Kiarostami, on the other hand, creates a poetic, down-to-earth, and realistic theme that can present these two fundamental concepts, "love" and "friendship," in their most elementary form, in the form of two children, to the audience's gaze. Indeed, he has succeeded in this regard. Additionally, the concept that these two great men have left behind regarding the "tree" throughout this poetry and film is another content that attracts the audience. It is not easy to overlook Sepehri's mystical and mythological view of the tree, just as in Kiarostami's cinema, especially in the film "Where is the Friend's Home?"; "In Kiarostami's cinema, the tree evokes meanings of eternity, rejuvenation, and rebirth.

In this research, it becomes evident how Kiarostami, with precision and artistic skill, borrowed from the external and internal layers of Sohrab's poetry, transforming it into a visual and direct work with no ambiguity. This borrowing in the realm of cinematic "space-making" has been so successful that words such as "horizon, sky, light, tree, pause, rider, alley-garden, alley, fear, solitude, fountain, myths, flower branch, and transparency," along with the combination of "fluid intimacy of space," are all parts of Kiarostami's film, serving as cinematic vocabulary.
In the aspect of "form", Kiarostami has developed an internal structure that aligns with Sohrab's poetry. The initial and concluding symmetry of the film and the narrative journey between two essential points in the film are equivalent to the two key interrogative sentences in Sohrab's poetry, which are placed at the beginning and end of the poem. The main essence of the poem, with its narrative quality, flows through this interval, and all scenes and sequences are shaped based on Sohrab's poetic content.
Moreover, in the "narrator" aspect, both artists have utilized a knowledgeable and outward-speaking narrator. This knowledgeable narrator in Sohrab's poetry narrates the affairs and actions of the "rider," while in Kiarostami's film, it transforms into the camera, accompanying the main character (Ahmad) everywhere, ultimately becoming another narrator like music, evoking the mystical space of Sohrab's poetry.
Finally, the discussion revolves around the "theme" and "content." Kiarostami, with his earthly interpretation of Sohrab's spiritual and mystical poetry, interconnects the characters of the "rider" and the "passerby" from Sohrab's poetry through the motivating force of "love" in his film, arriving at the fundamental question of the poem, from his own perspective: "Where is the Friend's Home?" He also transforms elements such as the "tree," which in Sohrab's poetry has a mythological dimension, into a philosophical and humanistic concept.
This comprehensive approach illustrates Kiarostami's masterful adaptation of Sohrab's poetry into a cinematic masterpiece, shedding light on the intricate layers of meaning and artistic choices made in the process.

Intertextuality is an approach that examines the effectiveness of the text in other texts. it is particularly important in the examination of texts and determines how much a genre has mixed with other genres and how much has been created creatively? In the analysis of genres according to Genette theory, "it can be said that the main issue is the predominance of imitation or change aspect, so in the first stage, the amount of imitation or change is of interest, and after that, the type and quality of transformation are discussed. In other words, what has changed and what has been imitated." (Namvarmatlaq,  2013: 147)
Genette has divided the transtextual relations into five basic forms: 1- Intertextuality 2- Paratextuality 3- Metatextuality 4- Architextuality 5- Hypertextuality. Namvar Motlatq,2011: 434). Genres can be combined, and each genre can include subgenres. Sometimes new genres are created from their combination. In contemporary genre theory, this issue has been called "Literary Types Interaction". This attitude refers to the fact that "there is no pure genre; For example, in a novel, it can appear in different genres such as plays, ghazals, and odes." (Wediji, 2014: 281). One of these genres is fantasy in which can be seen different literary genres. This genre arose in the late 19 century in the West. Harry Potter is one of the famous examples of this genre, after its publication, many works have been published in different countries. Fantasy works have been written also in Iran. One of them is the Dasht-e Parsova collection, the first volume of which - Hume Sokoot - has been recorded in the Black Crow list as one of the top two hundred works in 2017.
 
Since in the intertextual analysis of the genre, we identify the genres in a text by using architextuality, and by using hypertextuality, we analyze the amount of changes in the text. In this research we have tried to answer these followig questions: Which genre has represented in Azizi's fantasy? Does the author's work have its own characteristics? Is it an imitation of previous literary texts like Harry Potter? What are the similarities and differences between this work and Harry Potter?

It is a comparative-analytical research method to investigate the intertextuality of genre in Harry Potter and Dasht-e-Parsova. 

According to Razmjo, genre theory is an attempt to divide various literary topics according to the appearance or formats in which the topics have created and composed with their own special characteristics and rules. (Ref: Razmjo, 1374:10). Frow defines genre as "the organization of texts according to the thematic, rhetorical and morphological dimensions" and subgenre as "becoming more specific of a genre according to specific theme" (Frow, 2005: 67). Intertextuality is a very important method in identifying the relationship of the text with other texts. Genet has also mentioned genre in explaining intertextual relationships; He introduces five categories of factors that play a role in accepting and receiving texts, among which "two types of Architextualie and hypertextuality are related to the issue of genre." (Vaezzadeh et al., 2013: 98)
For this reason, by examining these two methods, we will identify literary types in Harry Potter and Dasht-e-Parsova:A) Architextualite
In Architextualite, the longitudinal relationship between a work and the genre to which the work belongs to it is examined. According to Genet, in the main text, "we have the genres, with their determinations that we’ve already glimpsed: thematic, modal, formal, and other" (Genette, 1992: 82) as mentioned in this way, the connection that a text establishes with the texts before it is through genre. In this way, the later text uses the literary type of the previous text and sometimes it includes different types and achieves a new type.
B) Hypertextity
Another intertextual relationship that leads to the recognition of genres is hypertextuality. Hypertextuality examines the way of reproduction and expansion of the text more than other genres of transtextual relations. Hypertextuality "means the placement of the text in a totality of texts and especially the knowledge of literary genres" (Ahmadi, 2018: 321). According to Genet, hypertextuality employs two methods of imitation and transformation. The purpose of sameness is to keep text A in text B without the slightest change and with a little creativity, and one of its functions is to stick different texts together without the slightest change. If the author's goal is to change a lot in the text A, "transformation" has been done, and if the goal has only a little overlap, then "imitation" has been formed. (Genette, 1997: 92-91(

The present research investigated the genre in Dasht-e-parsova and Harry Potter series with an intertextual approach in order to determine the level of creativity and imitation of the Iranian author according to this research, the author has connected with the pervious text by using Architextualite and different genres such as fantasy. Oral tradition, myth, legend, riddle, romantic genre has been used in his work with architextualite. He has introduced these genres into his text by using architextualite and has given it special characteristics by using hypertextuality. Azizi, by following the modern story writing in the space and plot of the story, has created changes that have caused innovation in the story and made it different from Harry Potter.
The author has also benefited from tragedy as a genre in his story to influence the audience, and the genre is not seen in the Rowling story. In general, Azizi, though in the entry of literary genres in his text, has benefited from Rowling's work; but by using the hypertextuality, he has introduced his national culture into his work and has distinguished it from its western sample.
The present research investigated the genre in Dasht-e-parsova and Harry Potter series with an intertextual approach in order to determine the level of creativity and imitation of the Iranian author according to this research, the author has connected with the pervious text by using architextualite and different genres such as fantasy. Oral tradition, myth, legend, riddle, romantic genre has used in his work with architextualite. He has introduced these genres into his text by using architextualite and has given it special characteristics by using hypertextuality. Azizi, by following the modern story writing in the space and plot of the story, has created changes that have caused innovation in the story and made it different from Harry Potter.
The author has also benefited from tragedy as a genre in his story to influence the audience, and the genre does not seen in the Rowling story. In general, Azizi, though in the entry of literary genres in his text, has benefited from Rowling's work; but using the hypertextuality, it has introduced his national culture into its work and has distinguished it from its western sample.

The question of whether literary criticism and theory existed in Iran's literary past or not is a question that has arisen in recent decades with the spread of modern literary criticism in Iran. In response to this new question, researchers and literary critics have different orientations. These orientations go back to the motivations and thoughts of these researchers and critics. Some believe in the existence of criticism and literary theory in Iran's past, and some do not accept this. The reasons of the second group are not very convincing. Also, it cannot deal with the evidence and signs of the existence of criticism and literary theory in those days. Iran's literary past has not been without criticism and literary theory; But with the definition of literary criticism and theory that existed in those days, and that definition should not be exactly the same imported definition that is common today of literary criticism and theory. Literary criticism in its modern sense is: creative, theoretical and methodical reading of the text to understand its secondary meanings and implied meanings. It is also a meaning-making approach and a new understanding of the text that is provided by reading the text in a new frame of reference. The theories that make modern literary criticism and differentiate between its types are interdisciplinary theories (see. Culler, 2000: 14). These theories are taken from such sciences as linguistics, psychology, sociology, etc. Unfortunately, sometimes the argument about the presence or absence of modern literary criticism and theory in Iran's past has caused neglect in identifying the tradition of literary criticism in those days and analyzing its characteristics and aspects. This essay believes in the existence of criticism and literary theory in the past of Iran and analyzes the tradition of theorizing and criticism. Because it intends to examine its features and coordinates and introduce a type of theme-oriented literary theory in Iran's past and the literary criticism formed based on it. We have called this type "mystic literary theory and criticism" considering its intellectual foundation and scope.  

This article is a theoretical and developmental article. So this article is written with a descriptive-analytical method. Library sources are used in this article. First, the resources are valued and classified. Then, conclusions were drawn from the information received from them. 

So far, various models have been presented for the typology of literary theories. In our opinion, the model proposed by Raman Selden and Peter Widdowson is the most efficient model for the typology of literary theories. This model was designed with the influence of Roman Jacobsen's (1896-1982) language communication model:Theories addressed to the author: romantic-humanist theories.
Reader-oriented theories: Reader-oriented and
 phenomenological theories.
Theme-oriented theories: Marxist theories.
Text oriented theories: formalist theories and new criticism.
Theories focused on code: structuralist theories.
Koresh Safavi has exactly imitated this model and quoted it in his books, Familiarity with Linguistics in Persian Literature Studies (2019) and Familiarity with the Theory of Literary Criticism (2012).
     According to the ideas presented and the models proposed to identify the types of literary theories, mystical literary theory is considered a subject-oriented theory. Because it has the greatest tendency to the subject. In mystical literary theory, meaning and content are important. This great content and meanings are closely related to "religion". The origin of the keyword "religious poetry" in mystical literary theory is here. In the mentioned discourse, this trend towards meaning versus the trend towards the form or the trend towards the container instead of the container has found many reflections in various fields of philosophy, politics, sociology, psychology, etc That It should be checked. In the following, for example, some manifestations of this problem have been discussed only in the literary opinions of Sufis. In the mystical literary theory, "what to say" is original and more important than "how to say" and this has made the literary work, whether it is a story or a poem, in the most optimistic state, only a tool to fulfill this desire. In the mystical intellectual atmosphere, poetry and poetry have been ridiculed in at least two aspects and considered worthless:The mystics were dependent on religion, and in religion, a poet has not had a pleasant image. The Qur'an describes poets as those who lead astray; They wander in every valley and do not do what they say (Shuara/226-224). In some verses, the Prophet of Islam has been cleared of the slander of poetry and the Qur'an has been cleared of the slander of poetry, and it has been said that the dignity of the Prophet is higher than these.
Until the development of mystic poetry, according to social and economic requirements, poetry mainly belonged to praise poets and a means to praise kings and powerful people. The poet has been looking for wealth with these poems. Romantic topics and descriptions in these poems are also about earthly (worthless) loves.

D Accepting modern literary theory and criticism is necessary and correct. But not in such a way that the fascination and fascination with it leads to the idea of the ineffectiveness of our literary tradition of literary theory and criticism. In the literary past of Iran, there has been literary criticism with a special definition of literary criticism in those periods. Since literary criticism is basically a theoretical practice, then there has been a literary theory in the literary tradition. These theories, which are found in the poetic treatises of philosophers and literary critics, rhetorical books, historical books, biographies and poetry collections, can be classified Based on the models used in the classification of modern literary theories.
According to the models presented in this regard, the mystical literary theory is a theory focused on the subject and is formed on the basis of the ideas and opinions of the Sufis. In mystical literary theory, content and meaning are superior to structure and form. This problem is the center of gravity of mystical literary theory and has shown itself in various ways in the discourse of literary criticism of Sufism. In this theory, the superiority of content over form has led to the dislike of poetry as a common literary form in those days. Also, in rating poets, religious poets are superior to praise poets. When talking about the story, it is looked at as a shell whose credibility is based on the content and the brain that is placed in it.

Persian and Arabic poetry have been telling emotions, events and developments over the centuries. In addition to the content and themes of the poems, which are telling these points, the title of the poems, especially in the contemporary era, plays such a role; Because the title is the opening for the audience to the world of the text.
The ambiguous choice of the title causes the meaning of the text to be hidden; This is because the literary and artistic works are usually a collection of references to other texts, currents, literary schools and numerous cultural, political and social issues and the signs that are in the title of the work can come to the mind of the audience. It helps to understand the set of references - which are sometimes in-text and sometimes extra-text.
In general, the title of the poem is the identity of the poem. Every poet, during the writing of his poem, needs to separate the title and the text of the poem from each other so that the reader can remember and examine it when he sees the title of the work For this reason, it is necessary to choose the title for the poem and it makes it easy to study, memorize and recognize the poems.. In this research, the title of the poems of two poets has been examined from different linguistic and literary perspectives, the relationship between the title and the content of the poems, as well as the frequency of sensory-abstract concepts. 

In this research, which has been carried out by means of analytical-descriptive, comparative and statistical analysis, it has been tried to investigate the various linguistic and semantic angles of poetic titles with the structure and content of Ahmed Matar and Seyyed Hasan Hosseini's poems.

 The title in the term "is an appearance that indicates the inner or absent, and they say about it: an appearance, a sign or a sign for the inner; The title is a set of words that is the starting point of a research or a story or a key for a branch of science or an entry for a subject.
According to the mentioned definitions of the title, the title can be considered as a complete message and parallel to the text, which by choosing the title for a book is actually a kind of sign selection for the book because "the one who puts a title for something, in In fact, he chooses that title based on a certain sign; So the title is a sign and a name that indicates something.
The criteria for naming traditional poems are different from contemporary poems. These criteria can be achieved by referring to rhetoric books and tazkerehs. Naming based on the line of the poem, naming based on one of the focal words of the poem (such as the poem of Tarsaiyeh Khaghani or the poem of Hurayya Abu Saeed Abul Khair) or naming based on the rhyme have been among the ways of naming in traditional poetry
Considering the importance and role of the title in poetry, contemporary poets are constantly trying to choose different and varied titles. With the beginning of new poetry in Persian literature, many naming principles of poems were changed. Of course, the emphasis on the naming of poems had started before Nima and during the constitutional period. Printing and publishing newspapers and magazines and translating poetry played an effective role in this matter.
Sometimes, the spatialization of the poem is done by means of semantics. Vocabulary is one of the factors that help to expand the semantic implications and cause the expansion of the semantic domain of the poem. In literary texts, each word can take on new meanings apart from literal meanings. For example, the word winter means "the fourth season of the year"; But it has many implicit and symbolic meanings such as "coldness", "suffering", "prison", "tyranny" and... This is the reason why the mind familiar with symbolic poems, for example, upon hearing the name of the poem "Zimestan" by the Akhavan –e- Sales, finds itself in the space of poetry from the very beginning.
Ambiguity is one of the prominent features of contemporary poetry, and in literary criticism, it is considered one of the essence and basis of poetry. In some contemporary poems, the title of the poem can help to understand the topic and content of the poem and resolve this ambiguity. Many factors can play a role in the author's choice of title; In-text elements and extra-text elements.
The main tool that the author has for naming his work is the theme. The relationship between the title and the content can have two completely different sides. Sometimes the poet chooses a title for his poem that is in line with the text, and sometimes he may choose a title that is opposite and opposite to the theme. If the title is in line with the theme, it provides the reader with an image of what will come in the poem and what will happen.
Intra-textual or intra-thematic elements are said to be the elements that arose directly from within the text and establish a kind of dialectical relationship with the main text. Selecting the title based on the in-text elements with direct implication and relying on the text somehow creates a conversation between the title and the text. Usually, such titles play a prominent role in forming the horizon of the reader's expectations and provide the audience with more detailed information about the atmosphere that governs the poem.
Any factor outside the text that affects the atmosphere of the literary work is called extratextual elements. These external elements may be a cultural, socio-political event, a historical phenomenon, etc.
From studying the poetry titles in Matar and Hosseini's poems, we come to a number of social-political concepts, which include themes such as mocking ignorance and superstition, openly naming enemies, the spread of corruption and class differences, and the spread of poverty. These poets of sustainable literature have depicted their common spirit in their poems in similar conditions and with a close point of view in relation to the issues that have arisen at the level of the country, region and the world.
From the linguistic point of view, the poetic titles of both poets have a high frequency in word formation, two-part construction, and then three-part construction and more. This issue shows the relationship of both poets to word-making and presentation of concepts through words.
From a literary point of view, although Hosseini and Matar have used literary arrays in the titles of their compositions, and this indicates the use of lexical capacity to expand images, but they use a lot of euphemism and less use of metaphors, similes, etc. In the critical titles of Matar, it is due to the choice of exile and sojourn and being away from the impeachment and accountability of the government.
In terms of the relationship between the titles and the text of the poem, the research shows that these two poets pay attention to both the lexical connection (choosing the title from within the text) and the semantic connection (choosing the title from outside the text) in choosing the titles. have had However, by choosing simple titles from outside the text, Hosseini tried to express the meaning and purpose of his poems more eloquently and expressively.

From the results of the comparative analysis of the poetry titles of Ahmad Matar and Seyyed Hassan Hosseini, it can be concluded that choosing the appropriate title for the poems was one of the main concerns of both poets. They express the poetic titles with rhetorical techniques such as eloquence, metaphor, and allusion. Unlike Ahmad Matar, who mainly paid more attention to the lexical connection (choosing the title from within the text) in choosing poetic titles, Hosseini paid attention to the semantic connection (choosing the title from outside the text) by choosing simple titles to make the meaning and purpose eloquent. Express more and more clearly.

Al-Faraj Ba`Da al-Shiddah (Deliverance Follows Adversity) is a book written in Arabic by Al-Qazi Al-Muhassin ibn Ali Al-Tanuhkhi in the 4th century Hijri. He was known for his strong memory. His son has narrated: “Besides memorizing Jahiliyyah (pre-Islamic) and post-Islamic poems, he memorized jurisprudential issues, hadith, theology, logic, geometry, traditional astronomy, and seven hundred odes by Abu Tamam and Bahtri”. This book was translated into Persian for the first time by Mohammad Awfi, but there is no copy of that translation, except for the anecdotes that he narrated from this book in Jawami ul-Hikayat. Afterward, the book was translated into Persian by Hossein Ibn Ahmad Dehestani in the 7th century to which he added some Persian poems and the conclusion to the anecdotes. Al-Faraj Ba`da al-Shiddah contains anecdotes of miserable people who were released and escaped from difficulties. The purpose of the author in this book, which is full of historical and instructive anecdotes, is to portray the society of his time and its evil traits and also narrate the stories of humane and moral behavior of the characters in his stories and the effect of those behaviors in freeing people from problems. Before al-Qadi al-Tanuhkhi, Madaini compiled a book in five or six pages and narrated the stories of people who were caught by grief and sorrow but then were released from hardship and difficulties and named it “al-Faraj Ba`Da al-Shiddah and al-Zaiq”. Later, al-Tanuhkhi added some parts to this book and compiled it into 14 chapters, each with a different title but with the themes highlighted in al-Faraj Ba`Da al-Shiddah. 

To understand the themes in the book al-Faraj Ba`Da al-Shiddah, it is necessary to analyze the Arabic poems in the book, excluding the Arabic poems added by the translator. To do so, it is necessary to determine the era of the poet after correcting the poems while checking the reliability of the translation, their syntactical, rhetorical, and Islamic-Arabic cultural connections with the Persian text, and the entry of various information into the Persian prose to specify the literary genres used in the text of the book. 

Abu Ali Muhassin ibn Abul Qasim Ali Tanuhkhi (327-384 AH) was a literary judge and writer of the 4th century AH and the author of al-Nashwaar al-Mahadera, Akhbar al-Mahakara, and -Faraj Ba`Da al-Shiddah. He was born in Basra in 327 AH and grew up there in his literary and hadithologist family and then in Ahvaz. All his instructors during his childhood or adolescence were celebrated scholars, and Abu Bakr Soli is undoubtedly the most eminent one. It is obvious that in the family of a great judge like Abul Qasim Tanuhkhi, religious education was ahead of literary education.
Al-Faraj Ba`Da al-Shiddah (Deliverance Follows Adversity) is a book written in Arabic by Al-Qadi Al-Muhassin ibn Ali Al-Tanuhkhi in the 4th century Hijri. To make his prose better understood and beautified, Tanuhkhi has narrated poems from himself or others that contain some religious, literary, historical, and scientific information. These poems are sometimes expressed by the author himself and sometimes by the characters of the stories. This book was translated into Persian for the first time by Mohammad Awfi, but there is no copy of that translation, except for the anecdotes that he narrated from this book in Jawami ul-Hikayat. Afterward, the book was translated into Persian by Hossein Ibn Ahmad Dehestani in the 7th century under the name of Wazir Ezzeddin Taher bin Zangi Faryoumdi. He also added Persian poems to it and at the end of each story, he narrated the main themes and conclusions. The book contains 13 chapters and narrates anecdotes of miserable people who were released and escaped from difficulties. The purpose of the author in this book, which is full of historical and instructive anecdotes, is to portray the society of his time and its evil traits and also narrate the stories of humane and moral behavior of the characters in his stories and the effect of those behaviors in freeing people from problems. Before al-Qadi al-Tanuhkhi, Madaini compiled a book in five or six pages and narrated the stories of people who were caught by grief and sorrow but then were released from hardship and difficulties and named it “al-Faraj Ba`Da al-Shiddah and al-Zaiq”.
One of the famous anecdotes is related to Abdullah bin Tahir bin Al-Hussein bin Musab bin Zuriq al-Khaza’i, the emir of Khorasan during the Abbasid era. He wrote an ode in praise of his family, Tahir, Hussain, and Musab. He exaggerates that no one is higher in honor than them. Moreover, they had no rival in fighting and conquering the enemies and dominating Baghdad with a violent army:I am the one who you know me and my ancestors
Who are the virtuous of the world and the lords of the land
My grandfather is Musab, a lord from the Prophet’s household
A great man is known for his nobleness and virtues
Hussain was also a lord at that time;
When there was no peace and stability in the land
Abdullah went to Egypt on behalf of Ma’mun in 210 AH. On the way, he restored peace to Damascus and its neighboring areas and defeated his enemy, Muhammad bin Yazid Umayyad. Before that, this person insulted Abdullah by writing an ode praising Tahir, and now he apologized, by referring to one of the verses of Abdullah’s ode, which admired his father’s magnanimity. He stated his Arab bias towards Tahir Ajam as the reason for his action and asked for forgiveness. Abdullah also renounced his sins.

In Al-Faraj Ba`Da al-Shiddah, al-Qazi Tanuhkhi has written some poems in Arabic, which are sometimes narrated by the author and sometimes by the characters in the stories. Except for the poems of Hossein bin Asad Dehestani, most of the poems belong to the Abbasid period, such as al-Qazi Tanuhkhi, Bahtri, Da’abl Khaza’i, Abu al-Atahiya, Imam al-Shafa’i, Rateji, Attabi, Fazl bin Rabi’, Ibrahim bin Al-Mahdi, al-Husain bin al-Dahhak Abdullah bin Tahir, Abu al-Abbas bin Nawaleh, and Muhammad bin Yazid. A few poems belong to the Umayyad period, praising Hammad al-Rawieh, Ashi Hamdan, Abu al-Aswad al-Dauli, Ali bin Abi Talib, and Yazid bin Dabba al-Thaqafi. Some errors can be seen in the translation of poems and Arabic translations, and sometimes the poet’s name, such as Rathi, has been reported by mistake. Poetic translations are also not free from errors. Arabic poems are often used as substitutes for the phrase “these verses” and the like, and sometimes as direct quotations. Some verses are the emphasis and repetition of the meaning of the prose phrases repeated before. Moreover, sometimes the answer or rejection of the poem is related to previous verses. The themes expressed in the poems in al-Faraj Ba`da al-Shiddah include the conspiracies of the courtiers, the hardships of captivity, the divine decree and the instability of the times, the effect of music, the migration of the beloved, the good fortune, the duties of a friend, the recommendation of patience like the patience of Job, avoiding desperation and despondency, expediency, praise of the Prophet’s household and Arabism, and the innumerable cruelty of Bani Umayyad and Ibn Ziyad to the offspring of the Holy Prophet (PBUH). The poems in the book illustrate many Arabic customs and traditions reflecting religious, romantic issues, etc., including themes from the verses and traditions such as the themes of verse 26 of Ale Imran and the prayer of Joshan Kabir, Rami al-Jamarat [Stoning of the Devil], Ihram from the Shajra Mosque, the hereditary nature of the caliphate, and reference to romantic relationships and courtesies in the palaces of the Abbasid caliphs.

The Akhawan Sales is a well-known poet in Iran and Afghanistan. He wrote most of the poems in the Nimai form and among the Nimai poets, he has his own linguistic and stylistic features, which distinguish him from other Nimai poets. Wasif Bakhtri is a well-known poet in Afghanistan and relatively in Iran, and among the contemporary poets in Iran and Afghanistan, he has the most linguistic, literary and stylistic connection with the Akhawan Sales.The relationship between Wasif Bakhtiri's poetry and the poetry of the Akhawan Sales has been the subject of discussion in literary circles, poets and cultural scholars of Iran and Afghanistan, and two general opinions have been expressed about it: some say Bakhtiri is influential and some defend that it is not. In science and research, it is not correct and scientific to project effectiveness and lack of effectiveness by expressing a general opinion.In this article, based on Kristeva's theory of intertextuality, the relationship and appropriateness of Ikhwan and Bakhtiari poems in five topics and the title "Intertextuality of vocabulary and archaic language constructions, intertextuality of images and literary compositions, intertextuality of myths and archetypes, epic intertextuality and intertextuality of Ikhwan poems in Bakhtiari poetry" and analyzed and the common intertextual relationships in these five levels are documented and shown by mentioning examples of poems of both poets.