مجله فنون ادبی
سال پنجم شماره 1 (پیاپی 8، بهار و تابستان 1392)

It is concluded from the story that the reader to be briefed on the writer that he is fully aware of the education system process, furthermore it signifies that the inefficiency and distortion virtually experienced in the field of education affect the life cycle of the author as well. Modir Madrese or School Principal is a fiction composed by Jalale Aleahmad a writer with genre of third person addressee, he narrates the biography of a teacher that he got tired of his job therefore he got his mind to assume the post of school principal, he reached to the favorite post by bribery as a result the previous teacher turned to school principal, the school situated at the slope of mountain.The principal encountered with seven teachers, a janitor and 235 student who were mostly poor, geographical status, hygienic Services, yard, pond and school insufficient facilities which outlined as major shortcomings in the story.Cognizance of students` parents, local council and establishment of school and home association, pornographies carried by a student, injury of 4th grade class teacher by car of an American citizen, jail of 3 grade class teacher due to sympathy toward socialists, appearing the accountant of education dept at the school asking for bribery and finally sexual scandal by 5th grade student counted as the major parts of the story, the whole incidences forced the principal to resign.he current story represented in three perspectives like prose, simplicity and motive.Motive signifies the text of story in social style it means realism fad while the prose depicts soft and colloquial by contribution of simile, explanations, proverbs and folkloric idioms, the stressed discourses, sarcasms and mockery including intensive and expressive prose manifested by representation of samples drawn out from the text.The prominent part of the criticism revealed by analysis of story characters, as a result criticism of individual characters demonstrate symbol of each different guilds in the community, meanwhile none of personifications represented by nomenclature, ideas by characters and narration of myriad characters expressed by school principal composed of 81 figures plus classification of characters in five categories (main heroes, protagonists, antagonists, ordinary persons and walk on people) all of them well criticized and analyzed finally the characteristics of ethics, deed and faith except the protagonist and main heroes who form the tenet of the story reviewed by a lot of illustrations.The epilogue composes of comparison of the above story with Quranic hero focused stories while the school principal (Modir Madrese) counted as hero focused fiction.

A part of Muslim philosophers’ studies is allocated to music. They categorize music as a sub-branch of mathematical sciences and investigate it scientifically, not artistically. Al-Musighi al-Kabir by al-Farabi and Javame’ Elm al-Musighi by Ibn Sina are among the most important works in this regard. Under the general category of music, they also allocate a section to the music of poem and investigate it scientifically. Their ideas about the music of poem are similar to as well as different from the ideas of prosodists. This article aims to study their ideas about the music of poem briefly. The first section is allocated to the issue of rhythm in verbal arts and it is shown that our philosophers consider two kinds of rhythm: quantifiable and not quantifiable. The first one exists in poem and the second one is in non-poetic language. Also they define certain characteristics for each of these rhythms. Quantity, the equality of cadences, provoking admiration and having distant returns are the features of poetic rhythm, whereas regular join and separation, similar endings, symmetry of sentences with regard to length, agreement and similarity of symmetrical words regarding movements, pauses and numbers of such words, appropriate usage of music-creating devices such as puns, alliterations and parallelisms are among the features of non-poetic rhythms. The significance of rhythm in poem and its status is another issue investigated in this article and it is shown that music and mimesis are two necessary elements that poem is made simply by the presence of them and the fundamental matter in the music of poem is “proportion”. Also it is shown that such matter is the basis of meters and prosodies. Our investigation shows that musical sounds and poetic meters are following the same system. Under other issues such as “Tanghim” it is shown that, by creating such terms, philosophers try to show that the factor of sound is important in the formation of rhythm and the proposition of issues such as the relationship between rhythm and emotional-semantic backgrounds of poem makes it clear if in their views there is a meaningful relationship between these two factors or not? Rhyme is the second music-creating element in the poem. Philosophers have investigated this element less than rhythm. For example, Ibn Sina and al-Farabi explain the relation between rhyme and Arabic as well as other poems. The disagreements between philosophers and prosodists with regard to this element are also studied in this article.

Analytical and statistical method of research is used in current study. After discovering and classifying of symbols and myths, they categorized into five areas which derived from nature, positive and negative characters, animals and other items which with regard to their essence cannot be included among natural, characteristic and animal areas. Then functional range of these sections and variety and ingenuity of the poet in the use of these concepts will be examined in this study and well try to answer to these questions that how much quantity range of symbol, mask and myth elements are used in Aminpoor's poetry and what kinds of concepts are included in his poetry? Poetry of war in early years, had fallen into a slogan; Poets policy was improvement of speech toward imaginary horizons. The use of symbolic speech is one way of emergence, consolidation and spread of the poetic imagination in the war poem (Poorjafi., 1384: p 22). Identity, ambiguity and seeking a path to literary and artistic richness are the major trends of Aminpoor in the use of symbolic elements. Mythic approach and using of historic characters, which became a part of nation's history (Abbas, 1992: p 125), in Aminpoor's poetry are used to create a hero and heroism in his poetry and expressing resistance ideas as well. Hence, poets by recreating historical, national and religious characters, according to the needs of the community, strengthen a sense of strength, durability against foreign domination and flatter their power and steady to their enemies (Lak, 1384: pp. 64, 69). However, in mask poetry, Aminpoor uses historical, religious and Sufi figures and with recreating these characters, impose his own thoughts and perspectives upon them completely (Ahmad Ali El Zobaidi, 2008: pp. 140 & Ashari Zayed, 1978: p 93). "from the countless names of your martyr / Abel was the first name / anymore / do not remember these days / Abel / was my other name" (A. M., 1388: p 264). With using the name of Abel, Aminpoor, gives an objective and intellectual response to the cultural needs of war-torn community. He uses Abel's name as a symbol of the first man who was killed innocently. Using of the masks, in addition to represents the poet's aim, should be include modernization features and if it doesnt able to interpret concerns of modern man, then it can be said that it doesn’t deserve to promote to an artistic element (Azzam, 1995: p 137). Relationship between symbol and mask is the same as relation between parts to whole. When Aminpoor converts his mask into a symbol, his purpose is to relate his own experience to human experience and by this method bestow a depth sense to his poetry (Kenndy, 2003: pp. 65-66) and also provide a report of war against Iraq and its consequences. The results of study show that (77) out of (306) Aminpoor's poetry (with respect to the version of Morwarid publication 1388) enjoys elements of symbol, mask and myth. Some of his poems, among (306) poetry, contains different samples that in determining percentages are considered. The word of 'Mirror', has been used in (18%) of his poems and high frequency of this word can express the poet's mental and spiritual concerns about declining values such as truth, knowledge, and honesty in the community after war. Natural section includes: colors, flowers, gardens, trees, forests, air, water, river, ocean, night, morning, sun, dust and desert. The positive figures include: Adam, Abel, Ishmael, Joseph, Jesus, Imam Hussein and Hallaj and Shaban (shepherd). Negative figures including Nimrod and is Zoulaikha. The animals section includes: pigeon, Phoenix, swallow, bat and ant. Other items include: mirrors, lights, axes, walls, windows, streets, childish, train, station and road. After counting the symbolic aspects of Aminpoor's poems, it can be seen that there is a relative dominance of natural elements in contrast to other sections. Symbols that were selected from nature are about (47%) which in one dimension depend on environment and in other dimension make a relationship with mystical, divine and holy concepts. Generally positive and negative character areas consist of (8%) Aminpoor's poems which include the concepts such as: Martyr, leadership, purity, innocence, kindness, justice, enemies and carnal desires. Eight percents of poems allocated to the animals which suggests a quantity balance between personal and animal realms. Friendship, love, peace, freedom and the enemy are prevailing concepts of animal symbols. Other items and concepts section, consist of a range about (37%) and mostly covers factors like truth, honesty, purity, brightness, slavery, communication, intimacy and implies good old days. As was stated before, most of Aminpoor's symbols, have single semantic and signified, but play a key role in the coloring of imagination, giving depth to the meaning and ambiguity or poly-semantic aspects of Aminpoor's resistance poetry.

Some consider ellipsis as a Phenomenon to avoid redundant words, but poets look at it not only as a valuable point which is avoidance of redundant words, but also sometimes as a linguistic technique. Perhaps the main and initial goal of ellipsis had been the least effort principle according to linguistics. However, in 10th to 13th century AD, there had been a kind of ellipsis in Persian that involved a specific structure and poets have looked at it as a literal and linguistic technique. Writers and linguists have rather indicated different kinds of ellipsis. The ellipsis which is mentioned in this study is not addressed in any grammatical and linguistic topic. Although, this grammatical and linguistic feature is not attributed exclusively to Shahnameh; but its frequency of occurrence in Shahnameh are more than other texts. A reader who is not aware of such an ellipsis may not communicate with text naturally. There are two advantages in knowing such an ellipsis: First, the reader can communicate with text easily. Second, being acquainted with this structure, the editor of the text can have a better realization of a fake version. Background of ellipsis provided in this studyThe kind of ellipsis provided in the present study is not mentioned in our old grammatical research. This specific grammatical structure is not derived from the necessity of rhythm and rhyme that some researchers mentioned in poetry. The ellipses, consider in this article, are those that can be found in conditional. We have called this ellipsis "odd ellipsis" in this article. According to accomplishments of this study. This kind of ellipsis includes a clear and known farm a work for poets and writers of previous periods. It can be said that the structure of this kind of ellipsis is plotted in compound or conditional sentences. The first conditional sentence + [components of first condition which is omitted] + second condition whose content is omitted; but linking words are present + the components of second condition: this formulae can be applied on these two verses from Shahnameh: کنون گر بيايی دل از کينه پاکو گرنه شد اين پادشاهی و تختسر دشمنان اندر آری به خاکز بن برکنند اين کيانی‌درختIn these two verses, we face a noteworthy sentence. The first sentence is conditional. Simple meaning of the verses is "If you come without bearing any grudge and kill the enemies", the sentence in quotation is the first part conditional sentence. This sentence needs an answer for the condition but it’s not followed by the answer; on the other hand another condition has raised and this condition contains its own answer: "If you dont come, you will miss the kingdom. The main question of the present study is that how the answer of the first condition can be figured out? Our answer is: within the first condition. Now, we revise the formulae as: first condition: If you come without bearing any grudge and defeat the enemies + [The answer to this condition is omitted] + Second condition: If not, you dont want to do that + the answer of second condition: [enemies] to ruin this kingdom completely. In these formulae the answer of first condition is omitted. According to this report, the answer to the condition should be inferred from the answer of second condition. The answer to the 2nd condition is "To ruin the kingdom completely"; so the answer of the first condition is "The kingdom will not brained completely. "

One of the important methods of defamiliarization is the order according to formalist /association of the words in the verse, whose foundation is rhythm and music of phonemes and the factors personify each word. Literal works, by the we get music element benefit from particular criteria and the web of these elements in prose and poetic works have special characteristics’. Farsi works of Ahmad Qazali are the examples of prose poems in which music helps the effective inspiration at the message. on this aspect different kids of exterial music (prosodic and phonemic rhythm), side music (rime and order) internal music (pan, middle rimes and coordination of internal vowels and consonants or phonemic tone) spiritual music (avidity of coordination’s of one or some rimes according to paradox, parallel and soon) in Farsi works of Ahmad Qazali – by the use of a kind of defamiliarization and prominent – making – are applied to inspire the message in a best manner. Persian works of Ahmad Qazali are among mystic Prose works. The attraction of this piece of work is more due to its poetic prose which has turned it to an attractive prose poem. So far, nothing has been done regarding the characteristics of this kind of prose except in the literature history and methodology, and it was only in the field of literary criticism. Thus, we consider it as our duty to analyze these works from a new literary perspective, which is the investigation of works in terms of the originality of word in contrast to the originality of meaning. So, we have investigated the Persian works of Qazali in the area of music- as one of the four major elements of poem- in terms of application of exterior, interior, marginal and moral music. These factors have played a significant role in giving rhythm to the prose in order to surprising the audience due to the highlighting the language. There is no nation which is deprived of music. So, we should accept that music is an innate phenomenon. It should be mentioned that a prose poem is a poem in the prose form which contains worldview of poetry especially lyric poetry, but its appearance is not like other poems. Still. it includes poetical elements like: emotion, imagination, language and music. It should be noted that go-togetherness of words in poem and prose is among the defamiliarization methods in text which is based on the music. Thus, different kinds of exterior, interior, marginal and moral music have been seen in Persian prose works especially in the works of fifth and sixth centuries. Among the works of this era, Persian works of Ahmad Qazali attracts our attention. As we know, Qazali's Bahr-al-Haqiqa and Sivanah in terms of application of exterior music (syllabic rhythm) have a special place among the Ahmad Qazali's persian works of. Of course, the application of exterior music in Bahr-al-Haqiqa does not go beyond two or three cases. But Sivanah in terms of having exterior music is almost incomparable among the mystic Persian works of its era. Also, in terms of the quality of applying the exterior music it equals to the best examples of Sepid poem (prose-poem) of our era.

Nezami’s Poem is in the front rank of poetry. He always attempted to choose the best words- fine words using beautiful words and expressions. His poetry is enriched by his power of imagination and awareness of the common knowledge and beliefs of the time. The common features of his speech includes a unique use of the words-word choice, creating new compounds, compounding- description, repetition, emphasis, transformation, omission, using Quranic verses, Islamic hadiths and Arabic compounds, expressions of astrology and medicine, adages, proverbs and idioms regularly used by ordinary people. He is a poet familiar with the language of ordinary people and their beliefs, customs and traditions. Since he rightfully attended to the spoken language and because of his particular style of speech, his works are full of street talks to the extent that this propery can be viewed as the prominent stylistic feature of his poems. He took advantage of the common sciences of the time and utilized the scientific, astrological and medical terms and also the technical meanings and themes of these sciences. His imagination and awareness of the sciences and beliefs made his poems productive. Some of the features of his poems are as follow: 1- Imagery: Imagery refers to producing pictures, paintings or shows in the mind of readers /listeners using words. That is, the poet or writer should have such mastery over using words, space, meanings and their relations that makes him able to effectively use the sentences and words to create paintings, pictures or shows in the mind of readers or listener, to enable the reader to imagine a real painting or picture when he is over with his reading. 2- Diction: Experts of language issues and grammar beliefs that word coining can strengthen the foundation of language. So, the first premise in creating fine text is to choose musical words appropriate for the given text and meaning. In the first step, melodic, expressive, rich words compatible with the spatial totality should be choosen. This powerful diction is one of the major reasons for the immortality of Nezami’s poems. 3- Compounding: In addition to words which need to be musical and melodic, literary compound should supplement the musical quality of the text. Since compounding is one the major features of Persian language, Nezami effectively utilized his power of compounding and its one of the prominent features of his poetry. 4- Description: In his poems, description of the nature is done through personifications, descriptions, similies and metaphors, and this description is indispensible feature of the theme that improves the manifestation of the heroes and events from the poetic perspective. Since His poems are full of personifications, all the manifestations of the nature simply represent characteristics, attitudes and thoughts of human beings. A plentiful supply of finest descriptions can be found in his Masnavi-e Khosro va Shirin 5- Repetition: Repetition of a morpheme, word or picture proves to be one of the main characteristics of his poems. Nezami uses a large variety of repetitions in his poems and this variety in repetition enriches his works. Reading the poems of Nezami, one can understand that the initial words determine the following morphs and words. In fact, words are chosen based on their melodic properties. Generally speaking, in a noble poem, imagination, melody and form should be consistent in order to reach the optimal goal. If they are not consistent with each other the poem may not be influential as well as possible. So, the music of the poem should be compatible with the imagination and the language of the poem. A successful poet attends both to the form and meaning of the poem and does not strengthen one at the expense of the other one. Nezami attends to both form and meaning.

Apostrophe means paying attention to someone or something. It is a literary technique which has not been studied deeply despite its widespread role in fo regrounding the literary language, norm-breaking and creating a sense of defamiliarization in the audience. Its meaning is limited to the " transferring the speaker from the absence to the audience and vice versa ". In rhetorical texts apostrophe is attributed to the three areas of semantics, eloquence and rhetoric. Such triple attribution is due to two factors: the mixing of rhetoric areas in previous periods and the extension of apostrophe 's meaning in rhetorical books. But it seems that a variety of notions which are raised in traditional rhetorical books should be examined in the field of semantics. The only type of apostrophe which can be analyzed in rhetoric is the one proposed in some contemporary books as the result of semantic extension and is used in the vertical axis of poem. Therefore, regarding semantic extension, we consider apostrophe as any change in semantic structure, narrative, texture, etc which occurs without any background and surprises the reader. The presence of different types of apostrophe in various branches of rhetoric and literature lead to the creation of many names for this literary technique. This technique was not called apostrophe in the first period of the Arab rhetoric which coincided with the rise of Islam in Ibn Motaz period. It was always called “metonymy”. Then Asmaee used apostrophe in its technical sense in the second century (A.H) and Ibn Motaz presented it in Albadi. Gradually and in later periods rhetoricians such as Qodame Ibn Jafar, Ibn Rashigh Ghiravani, Abu Halal Asgari etc. gave other names to this technique such as inflection and dissuasion, completion, objection, Estetrad, Talvin, Shojaol Arabiyat and so on. Apostrophe has the same meaning in Persian rhetorical books. The first rhetorical book is Tarjomanol Balaghat written by Radviyni which is an imitation of Mahasenol Kalam by Marghinani. After that other rhetorical books were written to imitate it. Fortunately, contemporaries present apostrophe in their books such as The Art of eloquence by Mohammad Rastgoo and the works of Poor Namdariyan such as Journey in the Mist, Missing at the Beach and It the Shadow of the Sun. Types of apostrophe are not directly presented in rhetorical books. In the following section, some definitions of apostrophe are presented. We study each of them in terms of new meanings and add a number of new types. 1. Change of register in language: change of context and structure of a literary language to a slang language and vice versa. 2. Colloquial change: successive changes to address several audiences. 3. Grammatical change: changing pronouns, verbs and so on 4. Semantic change: it can be recognized only through semantic analysis. It includes varieties such as mentioning individual words in a speech or prayer after the speech, semantic change in poetry and hidden meanings. 5. Apostrophe 5.1. Appealing technique which means that the poet asks for an invisible power. 5.2. Rhythmical change: a sudden change in rhythm during the speech such as the poem of Jamshid, the sun and some of Molana’s sonnets. 5.3. Narrative change: (story in story mode): consecutive stories which are not related to each other such as Baha Valad ’s Maaref and Molana’s Masnavi. Each technique has rhetorical and literary functions which are its aesthetic criteria. Zemakhshari was the first person who presented the technical and aesthetic values of apostrophe. He considered apostrophe as the criterion for consciousness of the reader which brings him joy and happiness. Other rhetoricians followed Zemakhshari and mentioned this advantage for apostrophe. Here we mention other rhetorical functions for apostrophe which are associated with linguistic concepts: 1. Norm-breaking, defamiliarizing, foregrounding: apostrophe destroys the familiar and common processes of words and sentences and hence creates pleasure and surprises the reader. Thus, words become foregrounded and more pleasant and tasteful. 2. Art ambiguity: apostrophe creates the sense of defamiliarization a nd unexpected changes and makes the text ambiguous. it makes the reader to explore and understand the ambiguity and the result would be the reader's enjoyment. 3. Increasing text coherence: apostrophe in its broad sense is based on the collocation axis. Semantic cohesion and coherence can be achieved by the collocation of couplets and hemistiches. Although using apostrophe destroys the form and body of the language, it makes more motivation and tension in text and strengthens the vertical axis of the language and finally increases the coherence.

Nowadays technology has extended all over the human’s life and has affected even his language. It seems that a new language is propagated within people especially among youth which utilizes the words or compositions related to technology. Metaphor, metonymy and is used in these compositions. These words were first applied in ironies but later on it has been perceived in people conversations and even within the poems. The primary goal of this paper is to investigate the Today ’ s language structure and also the effects of technology on the language. Ahmad Azizi’s poems are chosen for this study. In this content the main question is how greatly the human and machine relation is affected the human conversation and specifically on the Ahmad Azizi’s poems. The theory in the current paper is that there should be a relation between the technology and language in Ahmad Azizi’s poems. The method here is to find and study the effect of words related to technology, such as automobile and its content, telephone and other means of communication devices and also urban lifestyle, within the Ahmad Azizi’s poems. Investigations related to stylistics often perform in three methods of language, music and literature studies. However, in this paper we focused on the words and literature points and do not investigate the grammar and music. This research is merely descriptive and is not looking for the reasons for using those specific words. Ahmad Azizi made a breakthrough in utilizing the Today ’ s language. There are several words in his poems related to urban lifestyle and its hardships such as metro trains, highways, buses, speeding and traffics. There are a numerous effects of technology on human lifestyle, eating habits, costumes and human manners. Words which are related to machine parts such as “sag dast” or “achar kalaghi” and etc can be seen in his poems. Even compositions like “rip zadan”, “cheragh dadan”, “aab va roghan ghati kardan” and etc is used. The products trademarks are also seen in some poems. Here technology not only interferes in creating words but psychologically changes the human ideas. The new words are generated by cutting the words into pieces and changing their meanings; or it can be generated by metaphor and metonymy which obtain a new intended meanings. From the moral point of view the new words and compositions are rather objections to the current society situations, called “argo”. The Ahmad Azizi’s method in using new words is somehow to continue predecessors’ method. Finally, according to new word creations in Today ’ s language we propose to include the machine metaphor to Rhetoric.

One the most important factors in correct and fluent translation of a text is analyzing the syntactic structure of the source text. This is particularly important in the translation of the Quran so in this article; we analyze syntactic construction of emphatic "L" (ل) in Quran and after analyzing parallels of this structure in Persian and some translations of this construction in translator Qurans regarding the view points of syntactic and vowel point scientists, interpreters and Persian grammar, we present a similar translation based on analyses of this structure. This structure: "was /were not + "L" (ل) +future verb followed by "that" ((ان that is not present in sentence " used in 19verses of Quran and discussed in syntactic sources, Quran`s vowel point books and interpretations. Emphatic "L" (ل) comes before future verb while "was /were not" is precede and marks end of the verb with vowel point "a", for example: " وَ مَا کاَنَ اللَّهُ لِيُضِيعَ إِيمَانَکُمْ " (Al_Baqara, 143). There are many disputes among two Basra and Kufa schools and syntactic scientists following each of the two schools over the factor which marks the end of the future verb with vowel point "a" and " predicate" of this structure. Basra school thinks that this factor is "that" which return to infinitive and with preposition "L" (ل) which precede it, governed by a preposition and it is owned to the omitted " was /were" predicate and structure of that is so: " ماکان قاصداً للفعل" because the negation of intention is more eloquent than negation of verb because negation of the verb is not entails negation of the will, but negation the will entails negate a verb. But Kufa school believes that vowel point "a" at the end of the future verb is because of "L" (ل) itself and "L" (ل) is unnecessary and for emphasis so predicate of (was /were) is future verb + "L" (ل) that is present in sentence. Hesitate to this verse and other verses confirms point of view of both the Basra and Kufa schools; that is precede by "L" (ل) is because of "that" ((ان that is not present in sentence, but not "L" (ل) itself because in many verses of Quran vowel point of future verb that is precede by (was /were not) become "a" because of "that" ((ان such as: " وَ مَا کاَنَ لِنَبیِ‏ٍّ أَن يَغُلَّ " (al_Emran 161), " وَ مَا کاَنَ لِمُؤْمِنٍ أَن يَقْتُلَ مُؤْمِنًا إِلَّا خَطًَا " (nesa 92), " مَا کاَنَ لِنَبیِ‏ٍّ أَن يَکُونَ لَهُ أَسْرَی‏ حَتیَ‏ يُثْخِنَ فیِ الْأَرْض‏ " (anfal 67), and other 17 verses cab be confirmation for the structure of "L" (ل) that the factor which marks the end of the future verb with vowel point "a" is "that" ((ان that is not present in sentence. In the syntactic books: among the factors that mark the vowel point of future verb to "a" only "that"((ان can function while it is hidden or appear and should be hidden when it precede by (was /were not), moreover "L" (ل) can not mark the vowel point of future verb to "a" because it is one of the factors that assigning to the nouns so it is not correct that what is allocate to noun; act on verb, then it is necessary to a factor to change the future verb to noun, so that "L" (ل) can act on it as preposition and only "that" ((ان can do this. Most of the vowel point scientists and interpreters believe that predicate in this verses is not appear in sentence, but some of them think so in some verses and in others believe that the factor which marks the end of the future verb with vowel point "a" is "that" ((انthat is not present in sentence. Mohiedin Darvish in 6 verses can not accept the omitted predicate and say: " "L" (ل) and preposition is in place of predicate". Studding the context and meaning of other 13 verses not only reject hidden predicate, but also show that future verb with vowel point "a" because of "that" ((ان can be predicate itself in these sentences without any problem. Due to differences of opinion of syntactic scientists, the context and meaning of the verses and the rule of non omission in any of these 19 verses; it is not necessary to omitted predicate and "L" (ل) emphasis on negation (Ibne- Hosham: 1, 228/1386). For translation of this structure "never" adverb and continuous past or predicative future/present regarding to the context should be used. While the parallel structure of "L" (ل) in Persian is: a confirmation adverb such as "certainly"; but due to meaning of these verses "never" adverb should be used in for translation of "L" (ل).

Manije and Bijan story, a poem by a great poet, Firdausi Tousi, like his other stories in Shahname is a story which can be analyzed by archetyoal approach. According to this approach, this story can be considered as the individuation of here of this story, Bijan, who voluntarily enters into the individuation and psychological growth by being called. In his perfection cycle which is started and in Iran, by the trickery of evil wise old (gorgin), Bijan meets his Anima of unconscious. Bijan, who lived in Ashkanian era as some researchers believe, is one of the prime characters in Shahnameh. From mythical point of view, Bijan story, which is known as one of ancient myths, is the indicator of feminine society in Iran. Bijan story, like Bahram Chobin, Rustam and Sohrab, Ardeshir Babakan, and Rustam and Esfandiar, is an independent story added to Shahnameh. The comparison of Bijan story with other stories of Shahnameh represents this issue that Ferdowsi composed Bijan story in his youth and just after Daghighi’s death. Because Bijan story, like most other stories of Shahnameh and other myths, has a quite symbolic structure and motifs, Jung archetypal point of view is helpful to discover a lot of mysteries. In the present article, Bijan story is analyzed from Jung’s archetypal point of view. According to this theory, there are a lot of symbols, motifs and archetypes in this story. There is a united structure in every story formed base on its plot; thus, to discover the structure of a symbolic story is an important act. The symbolic motif of Bijan story is reaching the perfection and the story structure is completely commensurate with this motif; the move is started from Iran, which is the indicator of Bijan story’s consciousness, then the hero after getting individual experience in land of unconscious, Turan, comes back to Iran. Bijan voluntary goes on a dangerous and symbolic way as the hero. Actually he is the portrayal of a part of Keikhosrow’s consciousness because both Keikhosrow and Bijan live in Iran. According to what Ferdowsi said, Bijan is unable to finish his heroic act by himself because he is young and not experienced; consequently, he is tricked by Gorgin, the old impostor in the story, and got in a predicament. This inability causes Rustam, the primmest hero of the story, to enter in order to help Bijan and finish the progress. In addition, because of linked construction of stories of Shahnameh, whereas Bijan story is independent, it is slightly connected to its previous story in Shahnameh, Rustam and Akvan Div, and it are a justification for the presentation of Rustam in this part of the story. The connection between these two stories is that according to Asrasiab’s order, the hole which Bijan is trapped in is covered by the Akvan Div stone. In Bijan story, Manijeh, who is Afrasiab’s daughter, has the role of the Anima archetype. At the beginning of the story, she is a temper, immoral and whimsical person and she gets the hero of the story in a predicament by her characteristic which is the indicator of the first phase of Anima. Manijeh enthralls Bijan with helps of Gorgin and her nursemaid as the Mother archetype. Accordingly, Bijan undesirably enters Turan. In other words he steps in the devilish land. During the story, Manijeh’s negative function changes to a positive one after an upheaval. This upheaval causes her to move from a devilish section to a heavenly one.