مجله فنون ادبی
سال هشتم شماره 1 (پیاپی 14، بهار 1395)

Sheikh Sad od-Din Ahmad ó Ansari, the son of Mawlana Abd ol-Ghaffar Ibn Abd ol-Karim, is a mystic of the 12th and 13th centuries AH. Sad od-Din was born in Kabul in the village called Yahya Yahyaee in 1140 AH and died in the same place in 1225 AH (Ansari, 1374: 6). In his youth, he learned canonical law and theology from his father but was soon attracted to mysticism (Heravi, 1373, 43). After performing Hajj in between the years 1169-113 AH and getting permission to guide people from Naqshbandiyeh and Qaderiyeh mystic Sheikh Mohammad Saman Madani, he returned home and guided people untill the end of his life (Ansari, 1390: 3). Sheikh Sad od-Din was well learned in Islamic studies, Arabic language, rhetoric and sciences of his time. He was also familiar with the works of poets such as 'Attar, Rumi, Hafez, Ibn Arabi and other great names of mysticism. He was attached to Rumi and Hafez and has quoted them frequently in his works.
Sheikh Sad od-Din wrote thirty six books and treatises including seven Divans and two Masnavis in Persian; He also wrote a book entitled The Mine of Unity and treatises such as "Greetings Noble Tatar", "Habl ol-Matin" and "The Elite" in Arabic. He composed some poems in Arabic as well.
At least from 1174 AH Sheikh Sad od-Din started to bring changes to the ancient Persian poetry; thus his deconstruction made poetical form much similar to contemporary Persian poetry. However, due to political and cultural distance between Iran and Afghanistan, we did not have a chance to get familiar with his innovations.

In this paper, the use of two different linguistic tools in Arabic language, i. e. Metonymy and Emphasis combined in form of " Emphasizing Metonymy " has been studied. Metonymy, in the tradition of Arabic linguistics, is defined as "the use of a word in the meaning other than the prime meaning for which the word was coined". Using the metonymy has certain requirements; one of them is the existence of sign or marker (ÇáÞÑیäځ) in the text. The function of the sign is to inform reader of word's new use in the meaning other than the prime meaning. In the other words, its function is to prevent understanding the true meaning from the word used in the metonymic meaning. The sign conceptually is related to metonymic meaning and incompatible with true meaning; so, if the reader wants to consider concept of sign and true meaning of word beside each other, he certainly faces conceptual tension. Thus, he has no way but interpreting the word in its metonymic meaning and here, he finds the metonymic use of the word out.
The Muslim linguists have introduced two general types of sign: "verbal sign" and "contextual sign" (ÇáÞÑیäå ÇááÝÙیå æÇáÞÑیäå ÇáãÞÇãیå). The verbal sign is the one seen among the words used in the text and the contextual sign is the one gained from the context. Of these tow, the fist one has more power to determine metonymic meaning, so that if the reader doesnt find it in the text, he can interpret the word in its true meaning. But, in the other hand, due to the extensive and abundant use of metonymy in Arabic, especially in the literary texts, it could be expected to find the metonymic words almost in all sentences, even though there is no verbal sign. In fact, this is because it's likely to be found the contextual sign for metonymic meaning in the text. Since the contextual signs, in contrary to verbal signs, are not seen in the text, it becomes hard for reader to recognize metonymic meaning from true meaning and he continuously faces the possibility existence of metonymic words without any verbal sign.
The emphasis, as well as metonymy, is one of the important Linguistic tools in Arabic which has different uses. To strengthen the word's true meaning and to prevent understanding the metonymic meaning, are the most important aims of using the emphasis. Sometimes, the reader may feel that some word has been used in metonymic meaning and this is because he thinks that there is a contextual sign in the text. So, to prevent such perception by readers, the speaker (i. e. creator of the text) uses emphasis to show that his intention of using the word is its true meaning, not metonymic.
The emphasis conceptually is related to true meaning and incompatible with metonymic meaning. So, if the reader finds some word accompanied with emphasis, he has no choice but interpreting the word in its true meaning. Otherwise, the text faces conceptual tension.
By this explanation, the presentation of "Emphasizing Metonymy" seems essentially illogical and meaningless. Because, in one hand the requirement of making use of the metonymy is to set the sign in the sentence for preventing understanding true meaning of the word, and guiding the readers to the metonymic meaning; and in the other hand, the using of emphasis prevents the perception of metonymic meaning and guides the readers to true meaning of the word. So, synchronic use of these two linguistic tools practically leads to paradox and contradiction.
However, some of the Muslim linguistics like Abul Fath Othman ibn jinni (1002 A. D.) has permitted such a use and even mentioned examples of it. This has made some questions: Doesnt synchronic use of emphasis and metonymy lead to ambiguity of text or cause that the speaker deliberately confuses the reader? What shall we say, if we find such a linguistic phenomenon in a holy scripture like the Quran? What is the position of this combined tool in Arabic language?
Such questions prompted us to study the validity of this linguistic phenomenon by using of descriptive-analytical method and explain its effect on perception of reader. On the basis of data of this article, the emphasizing metonymy in contrary to its illogical appearance could be an acceptable phenomenon in the tradition of Arabic language.

One type of Persian poetry, which was used as an amusement and rather unknown, is “Shahrashub”. Lexically, “Shahrashub” means a person who excites the people by his/ her beauty and, but in literary terms, it refers to the poems in which the poet praises or criticizes the city, people, and courtiers, or describes the artisans, their jobs and crafts. This kind of poetry divided into two categories, i.e. vocational and urban, has much benefit sociologically, due to including technical words and terms, as well as historically, politically, economically, and socially. Also, the vocational ones have educational features. Those written for describing jobs are stanza and quatrain, and those praising or criticizing a city are often in the form of elegy or couplet.
“Shahrashub” can be found in Urdu, Arabic, and Turkish as well as Persian. However, in answering from what nation it is originated, it should be noted that professor Gibb, in his book “Turkish History of Literature” named this type of poetry as one of the Osmanians’ inventions, but Edward Brown, unlike unaware of Masud Sa’d’s Shahrashubs in the 5th century, doubted about Gibb’s assumption. Regarding the Urdu poets, the author of “Khorasani Style in Persian Poem” affected by “Arguments” by Seyed Abdollah attributes the first Shahrashub to the Lahuri poet in India; however, providing some earlier documents and reasons, the author of “Shahrashub in Persian Poem” rejected Mahjub’s claim and knows it undoubtedly as one of the Iranians’ inventions.
The literature shows the first Shahrashubs by Masud Sa’d in Persian; Muhammad Ja’far Mahjub published an article titled “Shahrashub” in the book “Week”, in 1963, and attributed the oldest Shahrashub to Masud Sa’d. After that, Golchin Ma’ani in his book “Shahrashub in Persian” (1966) introduced Masud Sa’d as the inventor of this style. After them, other researchers and writers studying the works by Mahjub and Golchin named Masud Sa’d as the oldest poets composing Shahrashub; some of them are mentioned here based on the chronology: (Dehkhoda: Shahrashub), (Masaheb: Shahrashub), “Silent Mountain” (Nourian, 1985: 6), “Literary Genres” (Shamisa, 1990: 229), the article “A Review on Shahrashub by Lesani Shirazi” (Shahrestani, 1997: 5), “Persian Poem Types” (Rastgarfasaee, 2001: 227), the article “The Value and Significance of Shahrashub” (Keshavarz Ghasemi, 2007: 37), the article “Shahrashub” (Nosrati Siahmezgi, 2007: 28), “Literary Fun in Persian Poem” (Daneshpajuh, 2001: 317), the article “Six Shahrashub Recovered from the 10th Century” (Fazeli, Jahad: 2009: 120), and in the last article seen by the writers, there can be found no change in the previous assumptions (Dadabayov, 2012: 80).
Studying the Shahrashubs by Masud Sa’d, the writers of this article proved that there existed a background on composing Shahrashub by other poets; in other words, composing 92 stanzas in the form of a novel genre was not …… and we could not know Masud Sa’d as the inventor of this genre since several years before him, some like Ksaee Maruzi wrote some stanza describing professions: florist, launderer, drawer, and poets (Riyahi, 1996: 79, 87, and 88). Even Rudaki, prior to Kasaee wrote a quatrain describing the businesspeople (Nafisi, 2003: 516). Also, there is a quatrain by Abu Abdollah Muhammad Ibne Musa Faralavi, a contemporary poet to Rudaki, whose one verse is available (Lazar, 1982: 45). Moreover, many research resources studying Shahrashub forms, or Mahasti Ganjei’s poems mentioned him as the first quatrain-writer in this field, which is rejected in this article due to mentioned evidence.

Tarikh i Balami", written by abu Ali Mohammad Ibn Abdollah Balami, Minister of Samanis in the fourth century, is one of the oldest books in Islamic period that contains the first step of creation till Arab raid and the prophet's life and the kings.
Amir Mansur ibn Noah Samani ordered Translation of the book “Tarikh al-Omam va al-Muluk” of Tabari to his minister , Balami. But on several occasions he summarized The original book in the translation and used the other sources and removed something from his translation.
Different versions of this book show that many differences between eleven versions used for comparison, none of them became similar to each other. Replacing the oldest words with new words and the Arabic word with Persian word in the same meaning is one of problems that copyists have caused for stylistics of this book.
Writing "Tarikh i Balami" is related to the first period of Persian prose in Iran. During this time that took Samanis and Tahiris period, the authors have written in a simple style. This style of writing, also called Khurasani style, because the authors have lived in Khorasan. The style is also called Balami, the author of the book, because he was one of the most prominent writers of this genre.
Results of comparison between this book and the other books of this period, such as mughaddamih Shahnameh abu Mansuri, translation of Tafsir i Tabari, Hudud al-alam min al-Mashriq ela al-Maqrib, Tafsir i Pak and…. show that the most important stylistic features in its language level are significant in some areas. One of them is the author tried to use Persian words, but sometimes the shorter and more familiar Arabic words have been replaced.

Khaghani is one of the preeminent Persian poets. He is a stylist poet. Creating exquisite, dramatic and enigmatic imaginations in the era that most of the poets tried to imitate, integrate and repeat the themes of predecessors makes his position in the poetry more clear. His poems inspired by his rich talent and his proficiency in various sciences such as medicine, astronomy, philosophy, theology, history and math are one of the most exquisite and beautiful Persian poetries.
Understanding his poems seems to be difficult due to his heavy use of these sciences, as well as using specialized and strange wordings and creating out of the mind imaginations.
This Shervani poet not only has created so beautiful and exquisite dramatic themes and imaginations on the horizontal axis, but also he has done same in several cases on the vertical axis of the poem. In cases the themes are felt repeated, he has uttered them masterfully and skillfully with so novel and exquisite imaginations that they are not seem repeated and keep their value. One of the most outstanding characteristics of Khaghani's personal style is imagination persistence on vertical axis of the odes.
Imagination on two horizontal and vertical axes of the poet usually includes the terms such as congestion, interference and persistence. The congestion of imagination mostly takes place on the horizontal axis of the poem and resulted by involving several independence imaginations in a verse of the poem and usually leads to compression of imaginations and their interference and disparity.
Poets often use congestion to demonstrate their talent and power in Poetry, while in most of the cases it has no result except for imagination's interference and that it causes some problems for reader to reach what poet means. But, persistence means to bring several imaginations about an object, a word or a motive in several verses which indicate the talent and imagining power of the poet and his emotional and thought attachment to that object, word or motive, in a way that he does not stop to get imagination in a single verse and continue to get imagination.
Imagination persistence on the vertical axis is one of the coherence factors of whole of the poetry, especially in odes which has accounted a large amount of Persian poet's work to itself after Masnavi and has more capabilities to be investigated about imagination persistence in the term of ode's number comparing with other forms of poem.
Imagination persistence on the vertical axis of odes is because of two main reasons: a) the emotional and thought attachment of poet to the imagination and b) showing poetry grace and power related to making diverse imaginations about a word or motive that the matter is so significant in Khaghani's poem which it can be considered as a characteristic of his personal style. Because he wants to show that his poetry talent and power is so high that he is able to make several successive imaginations about a word or motive and it is obvious that this characteristic has distinguished Khaghani and Azerbaijani style from Khorasani style.
In present study, different types of imagination are four traditional and imaginary forms i.e. two types of simile, allusion and metaphor and the imagination persistence at least should be represented in three consecutive verses and it has three different kinds. These three kinds include:1) Imagination persistence in verses, continuously and immediately
2) Imagination persistence with a verse away
3) Imagination persistence with two verses away
In present study, the imagination persistence has been investigated in 15 odes of Khaghani's odes. The odes totally include 703 verses; among them 269 verses have the imagination persistence on the vertical axis of the ode. In the other words, it can be said that more than one third of these odes contain imagination persistence on the vertical axis and this significant statistic indicates that imagination persistence in Khaghani's odes can be considered as his personal style's characteristic.
The statistics of verses with imagination persistence in the study which their number is1406 verses have been separated in following kinds and groups:1) Imagination persistence in verses, continuously and immediately: 161 verses
2) Imagination persistence with a verse away: 73 verses
3) Imagination persistence with two verses away: 15 verses

The literal rhetoric (scheme) is a most important branch of Persian language aesthetics. The purpose of the knowledge is studying and evaluating the verbal music with applying the instruments that called Ornaments. Ornament as is obvious from its name is all devices that writers using them for making their art fine. With historical skimming over Badi` books, we understand our rhetoricians have gave and dedicated useless names and titles to the literal ornaments rather than analyzing the musical beauties of language. The author has used a historical method and content analysis approach in his research. The sampling kind in this research is stratified sampling; i.e. the Persian Badi` books and linguistic and phonetic books from two old and new classes with regarding indicative criteria have been analyzed.
The author’s essential problem in this article is replying to the question:How the literal ornaments can be analyzed with scientific and measurable principles?
In this article the ornaments below are evaluated:Movashshah, Moamma, Mosahhaf, Khifa, Motazalzel, Raqta, Mo`jam, Tanafor, Hazf, Moqatta`, Movassal, Vase` osh-shafatayn, Vasel osh-shafatayn, Heja, Touzi` (Tekrar) (Hamhorufi, Hamsedayi, Tekrar-e Heja), The natural relationship between letters and words with theme of poem.
The author has reported his findings in below items:1. The impact of Arabic language and its phonetic rules in Persian Badi` books is very remarkable and sometimes caused faults of Persian writers.
2. The examples that mentioned as samples of literal ornaments are very rare and exceptional.
3. The musical repetition of phonemes and sounds and the concepts associated from them is the only reason of beauty of literal ornaments.
4. In translating the foreign ornaments to Persian has not been used enough accuracy.
5. Occasionally, in explaining the repetition ornament the phonetic and syllabic structure of Persian language has not been the analytic basis.
6. Exploiting linguistics and phonetics provide the necessary criteria for scientific evaluation of literal ornaments.

One of the linguistics theories that are utilized in present age in the analysis of literary texts is the theory of Halliday’s linguistics which is called theory of systemic - functional linguistics. Halliday’s theory in the second half of the twentieth century, in contrast to the "generative linguistics" approach, which is based on formal language like a mental and individual phenomenon.
Hallidayan called the semantic, literal, syntax and logical relationship of words as coherence of a text and believes that the coherence of the text, includes all the semantic relations by which, every piece of speech or writing can serve as text. Hence, cohesion, referred to relations that relates all elements of a sentence to the elements of other sentences. From Hallidayan's point of view, elements of coherence of a text are divided into two parts: grammatical and lexical. Grammatical cohesion includes factors such as referrals, replacements, removals and relevancy, and lexical coherence includes repetition and collocation in literary language.
Kaiser is one of the contemporary famous poets that have composed many poets in different molds of poetry. Kaiser Manipur's poems benefit the integration due to the poet's fluency in Persian and his familiarity with the vocabulary and grammatical and lexical capacities of Persian literature. In this research, we have studied the cohesion in Kaiser Manipur's poems from two views of lexical and grammatical by using Holidaying theory of coherence as well as the techniques that the poet has applied to reach the cohesion in his poems.
The method of research in the present paper is descriptive-analytical and all the information and data has been collected from the sources of library and electronic. In this paper, we first briefly discussed the Holidaying coherence theory, and then, with a special approach to this theory, the most important techniques that Kaiser Manipur has benefited to create the coherence in his poems and poetry, analyzed and investigated.
The Research results indicate that the poems of Kaiser Manipur have a specific integration due to the poet's fluency in Persian and his familiarity with the vocabulary and grammatical and lexical capacities of Persian literature. Hence, techniques of creating coherence in two aspects of grammatical cohesion and lexical cohesion in Kaiser Manipur's poetry are considerable. Grammatical coherence in his poems is achieved through techniques such as references, omission, and relevance. And the techniques of lexica coherence in his poems are: using phonemes, repeating the words, pun, repeated sentence, the balance, the heart of the matter, proportion, contrast, sequence and so on.
Kaiser Aminpour has widely used the techniques of lexical and grammatical coherence in his poems, so that in most of his poems we can see several techniques used together in a way to reach the mentioned coherence. Hence, we can say he is a poet who knows his language as well as words and has the complete power of selection and combination of words and sentences. And his poems are very coherent and the sentences and phrases are intertwined and related to each other in his poetry.

In pre-Islamic Persian syllabic poem, rhyme has not played an important role and, firstly, the science of rhyme has been collected for Arabic poem and then it has been developed in Persian language. Due to its special position in poem, rhyme is effective in rhythm of poem and selecting it can be phonetically and semantically effective in giving worth to poem. Always, poets and scholars of Persian language have recognized rhyme as an external force that help the poem and subject of rhyme, its range and relationship with the nature of poem have been highly considered as far as different forms of poem are differentiated from each other through the position that rhyme is used in them. Showing Nizami's art of using rhyme in composing Khosrow and Shirin poem and hidden values in it have been led to reveal the prominence of this work among the works of Nizami and even the works that have been composed in imitating it. To study poem rhyme, whether at the level of rhyme letters or rhyme words, can greatly explain the ability and the creative power of poet in the art of poem. However, this ability can be more obvious by studying other parts of rhythm i.e. external and internal rhythm. In poem of Khosrow and Shirin of Nizami, the speaker artistically uses this ability in poem and shows his uniqueness through rhyme lyric. Using long and verb rhymes and usefully well-known rhymes such as (an, ar, a, nad) and also using clear and fluent letters such as "R", "M", "N", "Sh" or vowels like "A" and "Ey" are rhythm lyrical factors of Nizami poetry in this poem. In Khosrow and Shirin of Nizami, rhyme is strong and it is rarely appeared in pun form and it is more in rhyming prose (Saj) (it must be noted that pun is more rhythmic than rhyming prose). Various rhymes are used in this poem and the main cause of this variety relates to its poetic form i.e. Masnavi and this increases the lyric of poem.
Skillfully using verbal and spiritual novel figures of speech such as symmetry, oxymoron, repetition, rhyming prose, and pun is one of the reasons that rhymes are important in Khosrow and Shirin of Nizami because rhyme will be included figurative, lyrical, and spiritual values or etc in this case. Some types of pun presented in this study consist of homophonic, compound, line, and additive puns. Sometimes, Nizami has created homeoptoton or parallelism by using rhyming prose. Nizami poem is strong and rich in terms of variety of repetition. Repetition in his poem language has increased the lyric of his poem whether in the phoneme level or word level. Repeating rhyme at the end of verse and using the word "Zooghafiatain" in the couplets and repeating the same words before rhymes at each word include the arts of Nizami to giving lyric to rhyme. After repetition, figures of speech such as symmetry and oxymoron are among the most important ones to increase the value of text words, especially, verse in Nizami poem. A large symmetry that is available in most couplets of Khosrow and Shirin and even the word rhyme that is a part of these symmetries show the pinnacle of Nizami's poetical art in arranging couplets. In addition, he delicately uses the words in a verse that include figures of speech like symmetry and oxymoron. In studying Radif in the couplets of Khosrow and Shirin, it is cleared whenever he wants to strengthen the emotional and poetic aspects, he uses couplets having Radif. In this poem , most of the couplets having Radif have verb Radif and they are stronger in terms of lyric and they have more good order, syntactically; this matter help to giving lyric to rhyme and the words will be more interesting for reader.

The achievement of Russian formalists to the various devises of language for literary analysis leads them to accept an independent identity for the literary texts. Therefore, they just consider these texts on the linguistic events, and brought the literary works out of external citations which are the basis of the analysis and interpretation of the traditional and symbolist critics.
The review of Tahereh Safarzades’ poem and her point of view, as an index to the meaning-oriented of nowadays’ Persian literature, and her critical opinion towards the formalist view of the literature, may lead us to the pathology of the usage of the formalism techniques in the analysis of the meaning oriented poems in the todays’ of Iran.
Form/ Shape: Formalists believe that the “form”, is the relation between elements which will be followed by an integrated structure. Based on this definition, every verbal and semantic of text, would be “form” and “shape”.
Tahereh Saffarzade does not accept this elucidation of “form” or “shape” as a pattern for the literary interpretation. She believes this significance of literary works is not compatible with the spirit of the Literature. She also considers some kinds of totality, instead of “form”, which the elements of the sentence move towards it.
Term and content: Contrasting between words and content also superiority of one of these categories is among the oldest arguments between pundits. Formalists believe this contrast does not have any basis because there is nothing named “content / form” at all. They believe content is exactly what it comes from “form” or “shape”.
In the contrary, Saffarzade believes “content” could not be one of the constitutive elements of a “form” in a literary work. The relation between these two is quite divergent with what formalists believe. She says the themes or conceptions of the poem proceeded its forms.
Literary text independence: It is a long time that the study of the biography of the author, his spiritual council, his ideas and also the historical, political and social position of his life, seems important to the Literature critics for criticizing the literary works. But the formalists do not believe the importance of the influence of these factors in the literary works. They might think of them as sub-factors.
In this subject, also, Saffarzade’s poem and point of view is in opposition. That is because she believes in an obliged and responsible poem which takes effect from political, social and ideological situation of its age. This kind of poem is responsible to react into them and its task is to awareness of the society. Hence, based on her opinion, to transfer the message and to have the most effect on the audience, the form of the literary work must be compatible with its concept.
Literariness: in the expression of difference between literary language and non-literary language, formalists believe that literature depends on the kind of attention which the language presents in the message. Based on this opinion, if the orientation of message was subjective instead of informative, the literary role of language has met its goal.
With a general overview in the Saffarzades’ poetries, we can see some of her works are compatible with the above mentioned ideas and based on the formalists’ point of view, they are among the literary language, and however, the others are inconsistent with these criteria.
To express the reason for non-lyrical approach of some of her works, Saffarzade, herself, pointed out to an entirety which shapes her main idea.
Regarding this opinion, it is not right to just look for a beautiful line in a poem, beauty is not to be found only into obsolete elegances. Also it is far too unfair to judge the Literariness by extracting a part of a poem. We must consider a literary work both through its totality and the literariness which comes from the whole idea
She also claims that even fantasy elements in a poem, such as simile and metaphor are used in a way that not only they have the nature of illustration, but also must be a part of the real structure of language.
Defamiliarization: The famous formalist, Cheklovsky, in his article entitled “Art as Technique”, while rejecting the symbolists’ understanding of art, has mentioned that, life is full of various phenomena which we get used to them eventually and that would involve us into a kind of mental blindness.
Therefore, he believes the task of art is to disturb the comfort and disrupt these habits in a way that the repetitive and routine events, would be presented to us strangely and unexpectedly. In this case, art will defamiliarized the objects and phenomena through creation of the strange shapes, accumulation of the difficulty and time perception.
Based on Cheklovsky and the other formalists, the techniques that make "defamiliarization" are abundant. But the most important categorization is done by G. Leech, the English linguist, into eight different kinds of normal aversion. The most common feature is named the developments of language.
Hence, to this point of view, the poems of language-oriented poets could be studied but for meaning-oriented poets such as Saffarzade, would be neglected. It is because, the poet who claims to have the real and direct reflection of life into his/her poems, must focus on the examples which are related to the meaning of poem
For him/ her, it is very important to talk to people by their language and avoid to normal aversion such as; using the words and syntax of past times, frequent mess up of syntax and any other techniques which effect on the relation between him/her and their audiences.
Saffarzade has so many experiences in normal aversion which will not be covered by the above mentioned normal aversions. For example, she suggests a poem named “Tanin” (reverberation), which refers to meaning dimension of vocabulary and poetic words, in a way that the understanding of this dimension not only completes the lack of rhyme in the poem, but also moves the audiences’ mind to the state of awareness and consciousness. The states of mind which In spite of lacking any relations between verbal features of words, but it still relates to the power of words to make the Symantec rhymes.
In addition to these, Sarffazade has also a way of normal aversion in the subject application and lyrical themes. For example, she is among the pioneers who bring the religious poetry to the new poetry (Nimaic poetry) with new point of view and surprise the audience of this type of poetry. Spread of disclosure of Colonialism in the occupied countries, has been entered to literature by her poems.
Therefore, it seems that it is necessary to pay special attention to the mental and meaning normal aversion beside the linguistic normal aversion, more than what was meant by Leech.

Structuralism theory is accepted as one of the most effective theories in the current century. This theory’s final goal is to discover the hidden secret and linguistic aspects of a literary work via structural elements of a work based on this theory. In structural analysis of a work, implications beyond the text are not important and just the text is considered, and also the meaning is wanted from the structure. According to this theory, the current essay tries to study the structure and the interactions of the numerous elements in Nafthat ol-Masdur from three points of view: content, lingual technic and form, to achieve the hidden layers of the writers mind patterns. Besides these internal elements, two external elements, i.e. social and political structure and the writer’s taste and thought are considered. The fiction-narrative pattern of Nafthat ol-Masdur is analyzed with biographical content of this work as well. Nafthat ol-Masdur is a major historical book which is written by Zidari Nasvi, one of the great authors of 7th century. It is the description of hardships of Sultan Jalal od-Din Khwarazmshah. The author also describes his own hardships in the book. The content of the book is historic-autobiography which is explained in literary-artistic form. The author has adopted fictional-narrative form for his writing and with his subtle and precise viewpoint illustrates the governing policy of the society of his time and speaks the issues of the government. Nafthat ol-Masdur is a narrative story in which the narrator -the author- recounts the events with general overview; events which he had witnessed himself and were tied to his emotions and feelings. He expresses his internal reflections in a descriptive-narrative method. The book is skillfully written in figurative prose and it is decorated with the diverse literal and semantic figures and arrays. Using words with compound and derivative structures, especially for verbs, is one of the morphological features of the book. But, heavy and formal sentence structure is a syntactic feature of Nafthat ol-Masdur. Verbosity of the author, redundancy and using scientific terms affected the style, morphology and syntax of his language. One of the salient features of the book is the use of expressive and innovative arrays by which the author has decorated his prose. Although it tends towards sophistication and formality, the author narrates the story with their mask. Recognition which is the most vivid and dynamic metaphor, is a prominent feature of the book; namely, literal arrays by which the author in addition to aesthetic measures, has highlighted the language. However, the story is event-driven.
Sometimes, he describes and illustrates the characters in such a way that it becomes character-driven. One of the issues that is very prominent in characterization of Nafthat ol-Masdur is the offensive attack to the negative characters of the story. The scenery in Nafthat ol-Masdur is a real description as if the audience or the reader is present in the scene. Zidari has coordinated the moods of sadness, joy, fear and panic in each part with the events and incidents of the story. One of the story-telling tools is the narrator being the first-person with prolocutor and narrative style that recounts the events. The author with a general view which is called “bird-like view” opens up and illustrates his memories.
The most important motifs of his story can be noted as escape and evasion, treachery, mean-breeding of the time, gratitude and loyalty to the masters, conflict, dispute and the description of hardships. Nafthat ol-Masdur has a story frame; the author is quite familiar with scribing and teaching words and it is possible to find out the style and manner of teachers of that time from his writings; the style and manner which preserves the concept of redundancy. Nested tales are also seen in Nafthat ol-Masdur so that sometimes they disrupt the sequence of the events. The author, in accordance with the society and the available prose, adopted the mix of Arabic and Persian prose and this is one of the effects of socio-political structure on his prose. The presence of different social classes in his book reflects the interaction between literature and society.

Fantastic etiology in Persian poetry has such a high status that we can say that this figure of speech is one of the most interested figures between classic Persian poets. This figure is frequently used by Hafez in his poetries so that after equivocalness it is the second rhetorical figure in his poetries. The definition of fantastic etiology is that causality in poetry is based on similarity and it must be aesthetical and satisfactory, not scientific and discursive. By Fantastic etiology poets create imaginative connection between two phenomena; in the other hand, this figure rationally proves the possibility of the impossible and thus presents the lies disguised as truth. The poet’s goal in fantastic etiology is not to invent the cause, but rather to make the conventional descriptions sound unusual. For example, in the line “Because the cloud weeps without reason, tulips and roses laugh at it,” it is the groundless tears of the cloud which cause mockery on the part of the tulips and roses. In this example, two conventional expressions- “the cloud’s tears” (describing the spring rain) and “the flowers’ laughter” (describing their blossoming) - are connected by a causal relationship which does not exist in reality.
In classical Persian poetry Hafez, along with equivocalness, utilized of fantastic etiology in the best form . His uses of this literary device, like another figures of speech in his poetry, is very natural and unassuming. Understanding, interpreting and aesthetical purpose of some Hafez poetries is based on fantastic etiology.
Companionship, concomitancy and admixture of poetical figures are factors that must be discussed in stylistic analysis of poetry. Literary figures occasionally uses alone in poetry and some when uses together. Though fantastic etiology in rhetoric or figure of thought is an independent figure, but this devise occasionally uses with another literary figures such as: exaggeration, personification, simile, and pretention. Hafez in his poetries utilized of fantastic etiology along with these figures.
Fantastic etiology first and foremost along with exaggeration that entails the reader amazement and attention. In some Hafez poetries, fantastic etiology attendant with exaggeration. In rhetoric, simile divided into different species; in Hafez poetries fantastic etiology along with distinctive simile and specially simile concomitant. As we know equivocalness is the dominant figure and literary device in Hafez poetries; some fantastic etiologies in his poetries participant with equivocalness that in this situation tow figure of speech jointly assistant. Personification is one of the important bases of fantastic etiologies, because imaginative causes that makes for fantastic etiologies, always built on to personalize of phenomena.
In Hafez lyrics, fantastic etiology is a vehicle for representing the sublime beauty of ideal beloved. Almost ninety percent of lyrics in which that Hafez used fantastic etiology, are composed to represent the utopian and ethereal beloved; as if in poetical world of Hafez, all existence phenomena mimeses the Hafez beloved. In this poetical and mystical attitude, if the existent phenomena undergone the alternation, movement, quietness and maturity, it is because of the reason that those phenomena mimeses, unhappy contests and welcome to beloved.
The first result of this essay is that in every literary text, one or several devises are dominated; In Hafez lyrics, this devise is one of the dominant rhetorical figures that utilized in different ways. Another result of this essay is that we occasionally must analyze the literary figures together so that we can obtain the poet's style and poetics. The other important result is that the meaning of some poetry in Hafez lyrics is depended to fantastic etiology.

According to what Nezami states in his versified story Khosro va Shirin, King Hormoz is a fair and peasant-supporter monarch and everything is alright in his time. The only matter which bothers the King’s mind and feelings is the sadness of having no child. But this piteous sadness is removed after vowing, sacrificing and being born a boy as a result. This boy is totally different from his age children because of his unique characteristics.
Leili va Majnoon’s starting pattern can be Khosro va Shirin’s starting pattern simply by having some changes in characters. In this poem, the memoir related to the chieftain of Amer, who was one of the Arab grandees and has a settled land, is expressed. He is an artist who has a significant reputation in hospitality and being mendicant-adherent, but the sadness of having no child makes him like King Hormoz, so he decides to vow and sacrifice and asks God to give him a child.
Based on an archetypal approach, the boy who has been requested by prayer in Khosrow va Shirin, Leili va Majnoon, and other myths is an archetypal item that these literary works’ starting patterns are the expression of common conditions before, during, and after his birth. He is the heavenly child who has been born to make a great upheaval.
Based on an archetypal approach, the heavenly child can be considered as the best form of emanation of the potential aspect of Ego in dreams and myths in which the king, as the actual aspect of this archetype, wishes this child’s birth; to reach his perfect ideal. With this paraphastic approach, Khosrow Parviz and King Hormoz are respectively the potential and the actual aspect of Ego. Hormoz is the actual part that is almost perfect. He is an ideal, fair and peasant-supporter king. But this perfect person is only some parts of his talent who has reached the actuality and can be manifest. This potential aspect is the child whom the king is willing to have; because the item of the child’s archetype is related to the future and actuality; those talents which should come to existence to make reaching perfection possible. After many vows and sacrifices, Khosrowparviz is born; to reveal his Ego, his hidden half part, and to complete the Universe. This analysis is completely true about Majnoon and his father, and other similar myths.
Both Khosrow Parviz and Majnoon are sons of just fathers; fathers who are, in their own position, perfect and faultless, but because of the necessity of the existence of a gape in order to lose the balance and, as a result, to start moving toward individuality, a mutual sadness bothers them and that is having no child; the child that is actually the physical or concrete aspect of the potential perfection which has been made destined for these fair kings. This situation is practicable only when their fathers are in perfection; but the collective unconscious will choose another way to reveal its contents when the king is not fair and just. It does not bother such a father with giving no child to him. Instead, it gives him many children and kills them; therefore the father regrets not having a child alive. So in a delicate situation, a child, such as Khosrow Parviz and his peers, who have a propitious fate comes to life and grows somewhere else and becomes fair and just like King Hormoz and his peers who have reached perfection. This is the starting pattern of Haft Peykar, a historical story, like the historical story Khosrow va Shirin, which because of its noticeability has been put in the collective unconscious and has been narrated generation by generation and has been got a mythical aspect.
Although there are some differences between the starting pattern of Haft Peykar and that of Khosrow va Shirin and Leili va Majnoon, the three main characters in those works, i.e. Bahram, Khosrow, and Majnoon, have many shares and that is because of the mutual mission put on them by the collective unconscious. From the birth time, they have especial signs which cannot be seen in other babies including, having propitious fates, being intelligent and clever, being handsome in bodily appearance, being the main character in love stories_ the love without which it is impossible to reach individuality, and finally growing in a fair and civilized place.