احمد امیری خراسانی

Persian literature is mostly characterized by a reflection of moral (individual-social) themes in its poetic and prose works. Ibn Yamin is one of the prominent poets of the Mughal period, who tried to revive the moral norms in the Iranian society that was severely affected by a moral decline in this period. This study sought to examine the components of social ethics in Ibn Yamin’s poetry using a theoretical design and library techniques. The scope of the study was Ibn Yamin’s poetry that addresses social moral values following a descriptive-analytical approach. An exploration of Ibn Yamin’s poems indicated that the poet has paid attention to the themes related to both social and individual ethics which were further divided into social virtues and vices. The results also indicated that the components of moral virtues such as humility, justice, humanity, self-control, spending money on charity (Infaq), serving the people, etc., and the social vices such as cruelty, ignorance, hypocrisy, arrogance, the absence of meritocracy, blind imitation, envy, etc. are reflected in Ibn Yamin’s poetry, especially in his stanzas.

Mongolian tribes, following their cultural traditions, have a diverse array of names for people. This was particularly evident during and after the Mongol rule in Iran, where Persian texts from that era often reflect these Mongolian names. Iranian writers and historians sometimes provided insights into the meanings and reasons behind these names, along with related stories and narratives. Despite the significance of Mongol nomenclature in literary and historical texts, comprehensive research on this topic remains scarce, underscoring the need for this study. In these texts, naming patterns varied according to nature, physical conditions, events, and manners. Sometimes, names were altered for various reasons.

Country is one of the terms and concepts which were paid attention to by patriotic poets from the beginning of Persian poetry and literature. There have been some events in each period of every nation which make the borders of that nation to be under threat by aliens. This threat can be in fields such as cultural and national values. Constitutional period in Iran was one of the period in which alien countries were looking forward to plunder the property and wealth of our country. Poets who tried to guard our country against aliens were one of the effective agents in awakening and awareness of people in Constitutional period. Sayed Ashrafaldin Gilani was one of them who notably tried to look into different aspects of "country" in his Divan. By using this term in his Divan, he wants to make people to be aware of negligence, to show his love to his country and to protect our national values. Since the term "country" has an important position in Persian poetry, the researcher through analysis of Nasim-e shomal'poetry and his knowledge in this field tried to have a brief and thorough look into it.

The Court of kings and dynasties were manifestation of ceremonial customs and occasions which pertain to the roots of literature and history of their nations. Consequently, culture and civilization of our antecedents influenced creation of their descendants' culture in sequential and continual way.Narration and storytelling, known as a notable position at the Court of Emperors and Kings and as constituents of literal customs of the court, have revived and rejuvenated the ancient tradition of oral literature. Regarding such a position, it could be said that some of the authors believe that commencement of the first period of storytelling in Iran returns to The Achaemenid Empire and Kianian Dynasty, but some others believe that it comes from The Gusans of the Parthian Empire.In following periods, since Samanid Dynasty until Ghaznavid Empire, the role of narration and storytelling was played by Zoroastrian Clerics and the mates – servants and maids – as well as reading epics. Servants or maidswere to learn and acquire an agglomeration of literal issues and skills such as poems, reciting, eloquence and performance.During The Ilkhanate Era (the Mughals Dynasty), Iranian stories became more religious due to bitterness of Mughal Attacks. At the Court of Safavid Dynasty, narration and storytelling reach its peak of prosperity and then the Court of Qajar gave this position a new lease of live, titled "Reciter".This current research has tried to investigate and study this position and its evolutions their ceremonial customs at the court of Iranian Kings.

 In the present study, the authors believe that by searching historical and literary sources, storytelling and narration as one of the literary  positions in the court of kings and sultans, explaining the rituals and  relations related to it and introducing and recognizing the letters left  by the storytellers and Although the court narrators are brief in their  research, a part of the article deals with the background of storytelling  related to the Arab government and its connection with court  storytelling in Persian literature.

The performance of the ancient tradition of storytelling in Iran is  revealed to us by studying the oldest historical documents and Persian literature; However, considering the fact that emirs and kings have played an important role in the history of Iran as the main supporters and encouragers of Persian literature and its sub-branches, the answer to these questions is to what extent kings were buyers and wanted to tell stories or tell stories. And it is unknown to us with what status and rank the storytelling position as well as the position of storytelling was prevalent in their court. Following the answers to these questions, oral literature in the field of narration and story is considered and researched as the most basic way of communicating with the audience  as well as how it is transmitted and promoted in the court of kings .The search for the roots of Iranian culture and history in connectionwith the early storytelling, the degree of commitment and support of princes and kings to the literary position of storytelling and how to create and spread this artistic and literary taste in the court has necessitated this research.

Noting that the first literary societies about sultans were established in various historical periods, it can be said that literary positions and professions, including storytelling, first appeared in the court  of opportunity by addressing the properties and the chosen ones, whose characteristics are as follows: Are: 1- Generally, the storytellers of the court, due to the special type of their audience and their affiliation with the Shah in meetings and  travels, were required to know the legends and life stories of the  previous rulers or to quote the Shahnameh and other epic texts. Many storytellers were the court of the poet and in their poems  they used nicknames derived from their names and nicknames; also, because the stories about praising Mamdouh were in parallel  with the poetry, court storytellers can be considered as rivals of  poets, who sometimes gained superiority over court poets by   gaining a higher position. 3- Familiarity and awareness of musical instruments and musical  instruments have been among the necessary conditions for  storytellers who have been able to enter the court; as in the book of  Qaboosnameh, the storytellers are mentioned as "Khanyagars"   who narrated the poems of the poets with their instruments and songs. 4- Other special skills and techniques of court storytelling are the ability to narrate the story and bring short and poetic anecdotes,  often in the form of Masnavi, which was expressed before the story and to attract the attention of the audience with the term "pre-   reading".

Ritual literature has a long history in the history of Persian literature, which shows the importance of ritual topics and concepts for poets and Persian speakers. In the past, the main theme of ancient religious literature was myths, traditions and cultural customs, but from the Islamic era and especially with the coming of Shia governments, it took on a religious flavor. Regarding the nature of ritual poetry, especially in the contemporary era, definitions have been made that are not usually comprehensive; furthermore, there has not been a precise boundary between ritual poetry and other poetry, and sometimes in the definitions of researchers, ritual literature has been mixed with mystical, religious or didactic literature. In this paper, library research has been used to identify what ritual poetry is and present a more comprehensive definition of ritual literature. In what follows, the most common types of ritual literature are listed. The structure and content of ritual literature are briefly examined.

Shayest-Nashayest is a jurisprudential-ethical work written in the late Sasanian period detailing Zoroastrian ceremonies, rules, and rituals. The ninth, tenth, and twelfth chapters of this book address religious topics and instructions. The poems of some pioneer Persian poets also contain fundamental ideas about the ways to reach perfection. Imam Mohammad Ghazzali is also famous for his book Ehya-e-Ulum al-Din in Arabic and Persian prose and is also a great scholar in the field of Islamic ethics. This study seeks to address the extent to which pioneer poets were influenced by the ethical discussions in Shayest Nashayest and Ghazzali's thoughts.This study was conducted using a comparative-analytical design with library techniques to examine moral ideas and orders in Shayest Nashayest and also the ethical instructions of some pioneer poets and Imam Mohammad Ghazzali in his books, Ulum al-Din and Kimiyay-e Sa’adat.

This study was conducted using a comparative-analytical design with library techniques to examine moral ideas and orders in Shayest Nashayest and also the ethical instructions of some pioneer poets and Imam Mohammad Ghazzali in his books, Ulum al-Din and Kimiyay-e Sa’adat.

The ideas presented in Shayest Nashayest and Ehya-e-Ulum al-Din are also reflected in some poems of Persian pioneer poets, as discussed below:2.1 Adornment with knowledge and science Concerning knowledge and its significance, the author of Shayest Nashayest has argued: “People should visit three places more often: The home of knowledgeable people, individuals who do good deeds, and people of great wisdom” (Mazdapour, 1990: 245) Ghazzali raised extensive discussions on the virtues and benefits of knowledge, various sciences, and their effects: “Knowledge/wisdom is a prerequisite for having a good physical life (Ibid, Vol. 1: 8). According to Nasser Khosrow, a poet who has good knowledge speaks good words,justlike a clean pottery pitcher that has clean water:A knowledgeable person does not speak anything but good words; Just as clean water comes from a good pottery pitcher (Naser Khosrow, 2005: 377).2.2 Telling the truth and avoiding lies In Zoroastrian religion, truthfulness is a sign of religiosity: “Spatman of Zoroastrian says that a religious man is Yuzhdasrgr (truthful). That is, one who speaks the truth and cherished religious instructions is a religious person” (Mazdapour, 1369: 160) Ghazzali also argues that one should not utter something that is pure loss and a statement whose benefit is less than its loss (Ghazzali, n.d., Vol. 3: 108). Narrating the story of Anushirvan, the Sassanid king, Ferdowsi (1979, Vol. 4: 434) stated:If the tongue is accustomed to telling liesIt cannot receive divine illumination. Telling lies is a sign of helplessness and misery We should cry for miserable and helpless people 2.3 Conscious praise In the 19th chapter of the book Shayest-Nashayest, the word “ahunawar” is mentioned many times. It is the most sacred prayer of Zoroastrianism, it belongs to the gods and it is recited on different occasions, in religious, farming, and wedding ceremonies for saving from strays, and purification of sins, and it is not specific to kings (cf. Mazdapour, 1990: 238-240). Describing the evils of praise, Ghazzali suggests that people who use to praise others may say what they do not realize and have no way of knowing it (Ghazzali, n.d., Vol. 3: 156). Sanai (2009: 40) also advises poets to avoid praising worthless people:Poets who praise worthless people to earn money are shameless. 2.4 Good temperateness In Shayest Nashayest, good temperateness as an important personality trait is juxtaposed to truthfulness, and good-natured people are considered more innocent and worthy of selection: “When they are choosing among innocent and decent people, they should choose the one with good temperateness, truthfulness, and decent action based on certain criteria” (Mazdapour, 1990: 159) Ghazzali considers the cure for all bad moods to be a part of knowledge and action and says that acting against the cause brings the right result (cf. Ghazzali, n.d., Vol. 3: 145). Masoud Saad (1983: 636) invites poets to be good-tempered:As a poet, you should not be bad-tempered as good poets avoid ill temperateness.

A single thought dominant in all poetic works investigated in this study as reflected in the parts of the book Shayest Nashayest and Ghazzali's thoughts is that from the point of view of Iranians before and after Islam, having a God-centered spirit, good qualities, and inner purification is a way for human liberation. Persian-speaking poets, due to their religious background and under the influence of religious thoughts, have written moral poems and recommended them to other poets.

Among mysticism and literature, suffering is one of the most important feelings and emotions in the human psychic realm. In general, suffering is one of the most influential aspects of human being. This particular category has been one of the seven main concepts and issues of man throughout history in various forms and with all the internal concepts and its connection with similar concepts, it has been and will be one of the serious concerns of human beings at any time and place. Therefore, this descriptive-analytical study has examined pain and suffering from the perspective of literature and mysticism and its types in the 5th, 6th and 7th centuries, and its purpose is to find out the type of mystics view of this fundamental category of human beings. The conclusion is that suffering does not mean physical and material pain, but spiritual pain, and this pain is one of the foundations of perfection in the thinking human being, and the experience of the human race and every human being during his lifetime proves that human life it has always and everywhere been accompanied by pain and suffering but the spiritual pain makes man and causes the perfection of his soul and knowledge that this is a mystical and spiritual pain is not only painful but also enjoyable. Suffering first causes the desire to move in man and then informs man and finally creates spiritual perfection in him, which is the evolution of suffering.

One of the prose works of Amir Khosrow Dehlavi is the valuable book "Rasa'il al-Ijaz", which was written in the early eighth century AH. The author, while using a lot of literary figurative devices in the text of the work, has dedicated its third treatise to rhetoric. In this sector, he has taken over some past figurative of the device and some figurative of the device in this sector, are made by Amir Khosrow himself, which shows his mastery and knowledge in this field.
Ambiguity or imagination is one of the literary figurative devices that has a special place in this valuable work. Observance of verbal proportion and also the ambiguity of proportion have a great role in this text. The abundant use of some special and rare figurative devices, such as "Tarjomat-al-lafz" and "Zemn-al-lafz" in this work, which according to the author claims, is one of his innovations, in line with the purpose of observing proportionality, is remarkable; But with a little care and comparison with other rhetorical books, we find that these figurative of devices are sometimes mixed with some similar industries, and some of them existed before Amir Khosrow with a slight difference, and their basis in previous rhetorical books, Been. Considering the importance and position of this work in the field of literary works of technical and artificial prose, the authors in this study, while examining the place of ambiguity in this work, critique and analyze some of its new figurative devices, such as "Tarjomat-al-lafz" and "Zemn-al-lafz".

“Rasael al-Ijaz” or “Ijaz Khosravi” is a valuable work of Amir Khosrow Dehlavi, which was written in the early eighth century in the field of writing and composition. Considering that no revised correction of this work has been made in our country so far and also considering the importance and position of this work in the field of literary works of technical prose, on the part of the researchers' lack of attention to this precious work, the authors decided that Research the stylistics of the work based on layered stylistics. Due to the breadth of the subject, in the present study, the analysis of three levels of phonetic, rhetorical and ideological has been proposed.

This research has been done by analytical-descriptive method.

Based on the findings of this study, the most prominent stylistic coordinates of the work at the phonetic level are abundant application of rhyme and paronomasia, acrostic and parallelism, repetition types (alliteration and assonance) that have increased the beauty and harmony of speech in terms of phonetic relations. The most prominent Stylistic features of “ejaz Khosravi” in the field of rhetoric can be called the observance of textual appropriateness and coherence. Types of ambiguity, including the ambiguity of proportionality, the ambiguity of contradiction, and the ambiguity of translation, or in the words of Amir Khosrow, " tarjomat-al-lafz " and “zemn –al- lafz”, can in fact be considered as examples of lexical coherence in several places in his book.

Therefore, it can be concluded that the author of “Rasael al- Ijaz” has expressed a unique writing style in this work, which is based on the observance of appropriateness and coherence. The use of examples of coherence and continuity such as types of ambiguity, as well as the invention of new figurative of device in this field, such as "tarjomat-al-lafz " and "zemn- al-lafz" by Amir Khosrow and their abundant use, can indicate the importance of proportionality between the components of the text.

The Resurrection and the life after death have always been mysterious and unknown, so this leads to more fear from death. thus, to clarify the nature of the Resurrection as one of the most important roots in the Persian poetry, it is essential to survey the thoughts of the mystics and the religious books. Attar Neyshaburi, the Iranian impactful poet, had a profound thought on the Resurrection, widely expressed in his poems. In this article, presenting the preliminaries of mysticism as a way to discover the truths, the researcher referring to the concept of the Resurrection in the Persian and Arabic dictionaries surveys its reflection in the poems of Attar as one of the outstanding Mystic figures and reviews the factors of prosperity or failure in the Resurrection through his views, and indicates that the Holy Quran has been the source of Attar's religious thoughts.

This article analyzes traditional agricultural terms in the Lori Mamasani dialect. Some of these terms have become obsolete with the advent of technology, but the middle-aged and older generations know them. Concerns about the destruction and the need to preserve these words for the future require that they be safe from the ravages of time. There are still people in Mamasani and the surrounding areas who know or use these words. Advances in technology and the abandonment of traditional agricultural tools have led to the forgetting of these words. The text of the article includes a description of words specific to traditional agriculture and more related to the cultivation of rice husk in this city, which is dedicated to seven topics and are: terms related to water, terms related to land Terms related to planting and maintenance, pests and weeds, terms related to tools, terms related to labor and terms related to harvest. Each section is arranged alphabetically. For a better understanding of the meanings, talk to a number of middle-aged and illiterate or illiterate middle-aged people, and after recording audio and notes, record the pronunciation of the words by transliteration and the meaning of the words, the type of grammar and The relationship of the words is described; The way some tools are made, and the local names of the small and large parts of the tools are given, is the result of a treasure trove of mostly Persian words that will be preserved in the future.

Among mysticism and literature, suffering is one of the most important feelings and emotions in the human psychic realm. In general, suffering is one of the most influential aspects of human being. This particular category has been one of the seven main concepts and issues of man throughout history in various forms and with all the internal concepts and its connection with similar concepts, it has been and will be one of the serious concerns of human beings at any time and place. Therefore, this descriptive-analytical study has examined pain and suffering from the perspective of literature and mysticism and its types in the 5th, 6th and 7th centuries, and its purpose is to find out the type of mystics view of this fundamental category of human beings. The conclusion is that suffering does not mean physical and material pain, but spiritual pain, and this pain is one of the foundations of perfection in the thinking human being, and the experience of the human race and every human being during his lifetime proves that human life it has always and everywhere been accompanied by pain and suffering but the spiritual pain makes man and causes the perfection of his soul and knowledge that this is a mystical and spiritual pain is not only painful but also enjoyable. Suffering first causes the desire to move in man and then informs man and finally creates spiritual perfection in him, which is the evolution of suffering.

Some similarities in the elements and components of the story of Adam (AS) are about Adam's rebellion, the relationship between Adam's descent and his caliphate, the divine covenant, and the divine names. The questions that arise in the mind of the audience and interpretations reveal the need for a hermeneutic analysis of this issue. Meybodi and Gonabadi have deciphered the similar, symbolic, and cryptic themes of Adam's story with a mystical approach. The reason for choosing these two interpretations  is that both of them by using  mystical interpretation and  the cryptographic language have tried to clarify some ambiguous elements of this story. The story of Adam is full of secrets and mysteries addressed  in  past commentary books with different interpretations. The Quranic interpretations choose various approaches such as rational, narrative, ijtihad, mystical, etc. Among them, mystical interpretations in terms of hermeneutic approach and the use of symbolic language have been more powerful and attractive in clarifying the semantic ambiguities of the verses. Among these interpretations,  the interpretation of Meybodi’s Kashf-al asrar and Gonabadi’s Bayan-al Saadat fi maghamat-al Abadat could be mentioned In the present study, we deal with the interpretable elements of the story of Adam (AS) in the above-mentioned works. In this qualitative study, the data were collected using the content analysis method. From a hermeneutic point of view, Meybodi and Gonabadi, while expressing various meanings of the divine names and words, by expressing their depth and mystery have provided the audience with a way to offer other interpretations and, based on modern hermeneutics, consider the final meanings impossible. However, they have not explicitly stated this. In the mystical interpretation of the similarities of the story of Adam (AS), Gonabadi takes an approach which focuses on  ijtihad and reasoning while  Meybodi uses  a tasteful approach  with a mystical and romantic tone. Both commentators have tried to find an interpretation of Adam's rebellion or infallibility, but in all the verses of Adam’s story, it seems that the prohibition of eating the fruit of the tree was for the sake of guidance and benevolence. Meybodi considers the divine names as subtle points or the secrets of God which have been entrusted in the heart of Man by the command of God, and no other being is worthy of carrying the divine trust. Yet,  Gonabadi believes that the divine names are in Adam’s intelligence. In the Holy Qur'an, a combination of traditional and modern hermeneutic approaches can be seen. In similar verses, on the one hand, the knowledge of the intention of the author, who is God, is important;  on the other hand, it is not possible to reach the final meanings because the celestial text originates from a vast and infinite source of knowledge which is not limited.

One of the important fields of lyrical poetry is its social dimension, one of the dimensions of which is family life. His views on the family are in line with Islamic traditions and traditions. Rumi pays much attention to the status of family and women in marital life, children and upbringing, family life, parental rights, and so forth in both the doctrines and the rules and it has promoted the dignity of the family system. In his view, men and women are responsible for meeting each other's emotional needs. Love is the basis of family relationships, although the man is responsible for earning a living and paying attention to the welfare and upbringing of children, and housework, childbearing, and the upbringing and education of children are the responsibility of women. Rumi has also made connections between many family relationships and mystical concepts; For example, for him, marital life can be a symbol of the creation system and the relationship between man and God and the creation and maternal attachment of God. In his view, men and women complement each other. This research is a descriptive-analytic study with regard to the verses and hadiths about women and the family and analyzes the Rumi's theories about the family and its rights.

The educational system of a country intends to prevent the major problems of human society, such as social injustice, war and bloodshed, moral decline and economic corruption, by educating human resources. To achieve this goals, educational systems are supposed to nourish the emotional intentions as well. This research is aimed at investigating the foundations of Rumi's theology for the fulfillment of these principles on emotional training. Applying a descriptive-inferential method, Rumi's works and his views on the bases of knowledge of the existence of God, power, patience, beneficence and repentance were all reviewed. Furthermore, the relationship and impact of these views were explored to identify their relation with the objectives of this study.  The principle of request was derived from the knowledge of the existence of God; the principle of supplication was derived from the foundation of power; the foundation of patience resulted in awareness; the basis of beneficence resulted in the principle of developing the capacity for receiving mercy; and the basis of repentance resulted in the principle of return. Based on these principles, appropriate methods were derived, including: heartful prayer, consciousness and knowledge, truthfulness, avoidance from aggressiveness and extravagancy, humility, compassion for the aggrieved people, and avoidance of brutality and arrogance.

Abstract Famous a history with forged‏ ‏Name‏‎ ‎ In the history of writing,‎ ‎ we deal with works where the author's is unknown‏,‏‎ ‎‏ ‏or works ‎that have been attributed to two or three authors.‎ or a book that has two names ‎but ‎becomes famous with its first name and its second ‎name is considered a lost work.‎‎ ‎But ‎this article discusses a book (Tajziyat al-amṣār wa-tazjiyat al-a'ṣār history known ‎as ‎the ‎history of desaf Wassaf History )that by a turkish historian has been renamed.‎ ‎ ‎And since then in all its ‎contemporary books, this forged name has been used. ‎despite ‎the fact that the the name ‎of the book is true in all manuscripts ‎ , But regardless ‎of the manuscript text the forged ‎name was used. ‎Even if the name is true in other ‎Historical books, the corrector had the ‎True title Put in ‎the Footnote and had the forged ‎name put in the text‏!‏‎ ‎ ‎ This article wants ‎to prove that real name and Arabic name of Wassaf History ‎is ‎Tajrabat al-amsaar wa-‎tazjiyat al-a'ṣar‏.‏

The Sacred Defense Literature is one of the branches of resistance literature and is affected by the events of the Iran-Iraq war in our contemporary literature. One of its themes is works related to children's and adolescents' literature, written to inform this generation about war and foster values of the Sacred Defense in them. Due to the sensitivity of this age group, quality and tone of the work require more accuracy. One of the best ways of saying the complex issues of war is to  put the content in the context of irony. This way can add to the attraction of the matter and acquaint the mind of children with the valuable concepts of war and jihad. Hence, in this paper, we have tried to review humor and its effect on teenagers finding Sacred Defense literature pleasant. For this purpose, the book Hasti and QaterchihaBattalion from the series Today's adolescent novels  were selected for the study. The two books were named in the first and second category when polling adolescents, and both of them are about the Sacred Defense and are written in a humoristic style . The main aim of this study is to prove that the element of humor has had a favorable effect on the young audience and has attracted the attention and interest of the young to the war literature.

One of the very argumentative and doubt-creating issues in the minds of those who advance in the direction of the cognition of Qur’anic ayahs and their explication for the readership, is the nature of mutashabih ayahs and their basic difference with muhkam ayahs, which might otherwise set the ground for the interpretability, plurality, polysemy and sometimes the misunderstanding of those addressees whose have not reached the purity of heart. Pondering over the Qur’anic ayahs explicates two basic philosophies of mutashabih ayahs: on the one hand the rhetorical language of the Qur’an and its being symbolic in bringing up some topics, both of which, on the other hand, having to do with hermeneutics whether in its traditional or modern form especially in mystical interpretations. One of the notable mystical interpretations, is Abulfazl Meybodi's (6th century AH) Kashf al-Asrar that in the third turn addresses the interpretation Qur’anic ayahs using a literary and mystical language. The present study's major question concerns the possibility to analyze, from the perspective of traditional or modern hermeneutics, important mutashabih ayahs in the mystical interpretation of Kashf al-Asrar expressed using an interpretable secret language and with rhetorical beauties. The research method used is content analysis. Analyzing mutashabih ayahs in Meybodi's interpretation taking a hermeneutic approach is worth investigation. Therefore, we will first focus on hermeneutics and its varying meanings in the Qur’an as well as its alignment with types of hermeneutic and then we will address the classification of mutashabih ayahs in terms of form and meaning, muhkam and mutashabih ayahs in connection with unity of acts, in the being of humans, and in the world of creation and exegetes' ideas in this regard.

Shams Tabrizi's Divan, the well-known work by Mowlana Jalaluddin Mohammad Balkhi, the great Muslim mystic during 7th century Hegira, just like his other valuable work, Masnavi Manavi, as well as the entire Islamic mystical Persian works, is the mirror reflecting the specific beliefs of great Muslim scholars. One of them is a belief in "cosmic consciousness" that their core inspiring sources are the Koranic verses and Islamic relations. A great mystic such as Rumi, affected by such religious treasures, exclusively the verses that pinpoints the eulogy of creatures or being addressed by their creators, considers the whole universe to be living things, able to speak, and conscious. Moreover, to achieve this belief, as admitted by himself, one must go through discovery and intuition. By means of case study during gathering information, this paper endeavors to extract and analyze and describe some remarkable samples of cosmic consciousness from Shams Tabrizi's Divan. Out of the most significant results of the paper is the fact that Rumi has overtaken the reflection of this Islamic belief in Shams Tabrizi's Divan in terms of both the amount and oration.

Today, fourteen years after the glorious Islamic Revolution and the growth of the Islamic Revolution poem, until now, this kind of poetry has not been studied scientifically and the studies have been more semantic and content-oriented; However, this research has tried to dwell on the structure of the language of the Islamic Revolution poetry and how to link the poetry templates on the subject of the Islamic Revolution. The method of this research is library and documentary, and then the data are presented descriptively-analytically. The result of the research shows that the axes such as freshness of language, compositional movement, novelty in rhymes and rows, the use of specific interpretations and images of the revolution and sacred defense, and the vocabulary of speech, constitute the prominence of the language of revolutionary poetry. By examining the various forms of the poem of the revolution, it is clear that the mantra of the Qesida has grown and prospered because of the epic spirit that ruled the country during the sixties. The revolutionary ghazard, with its features such as vertical order and the application of long weight, is especially important. The Masnavi Template is reborn with fresh and fresh rhymes. The Ghazal-Mathnawi format is expanding dramatically, and the revelation of a verbal weight in quatrains is a good platform for expressing the passionate feelings of the revolution and sacred defense. The main challenges in this paper are the dangers in the linguistic structure of the Islamic Revolution poetry and how to link the poetry forms with the subject of the Islamic Revolution. The importance of this issue in the present article is that the literature of the Islamic Revolution is often considered as meaningful literature, and its literal and structural features have not been taken into consideration; of course, it is not doubtful that the Islamic Revolution literature has a more semantic aspect, but with In the works, there are a number of structural and structural features and features. The verbal and structural prominence of the Islamic Revolution poem In terms of verbal and structural prominence, all forms of aesthetics are a literary work such as poetry that combines language and lexical modernizations, combining and using particular interpretations and images of the examples that we have addressed in these axes, respectively. 1-   Axes such as freshness of language, compositional movement, novelty in rhymes and rows, the use of specific interpretations and images of the sacred revolution and sacred defense, and the pace of vocabulary constitute the prominence of the revolutionary poetry. 2-   One of the points of the Islamic Revolution's poem is the tongue of the tongue, which sometimes has a freshness at the same time as the mold, language, freshness, and this freshness of language, thanks to the coincidence with the new poem and to be in the forefront of this way. 3-   The composition of the poetry revolution in terms of construction, it can be divided into three groups of additional composition, composition and phrases. 4-   Trying to use new rhymes and rows in different formats and using vocabulary and terms that reflect the vision of the revolution, and using the current and native rows of other linguistic features of revolution poetry. 5-   Use of specific interpretations and images of the war and the range of the lexical circle associated with the content of the particular thought of the revolution and the sacred defense, as well as the use of particular names, military terms and expressions, religious terms and expressions are the other factors for the novelty of the poetry language of the revolution. 6-   By examining the various forms of the poem of the revolution, it is clear that the form of the verse, although not very sparkling in contemporary poetry, is due to the epic spirit that ruled the revolution in the first years of the holy defense in the country, growth and prosperity Finds 7-   Ghazal in the poetry of revolution is of particular importance and is well received by the poets of the Islamic Revolution. Revolutionary ghosts have features such as vertical order, the use of high weight and novelty, and innovation. 8-   After the revolution, Masnavi's template was restored using new rhymes. The prevalence of Ghazal-Mathnavi's format is one of the structural features of the revolutionary poetry, which expanded dramatically during this period. 9-   The weight of the voice in the quatrains was a good basis for expressing the passionate feelings of the revolutionary period and the sacred defense of the sixties. 10-    The poets of the revolution in the middle years turned to new forms and introduced new insights into new poetry. The new poetry of the revolution is a narrative and supportive poetry and is usually long, but the new poetry is not a boring age. During the Islamic Revolution, Cari-kalamator grew dramatically, and the reason for its increase in the increase of the press and their release is the politicization of the country and the people after the revolution, and the breathing of the themes of satire and protest in the field of literature of the Islamic Revolution. This template found a significant difference in the present period before the revolution, and it was Cari-kalamator’s semantics in the era of the revolution.

Most of the concepts and messages have been conveyed through literature, stories and poems, for long. It is necessary to communicate in order to convey the concepts. The theory of Implied Reader is based on this point of view which there is two persons needed in order to communicate and convey the concept. Therefore, the writer must communicate with their reader in order to convey the concept they want. Aiden Chambers a British author and theorist of children’s and young-adult literature born in 1934, believes that by studying some of the elements in a story, it is possible to discover the relation between the writer and the reader as well as the concepts considered to be conveyed by the author. On the other hand, resistance literature tries to communicate with children through teaching resistance, devotion, forgiveness, hope, salvation, the victory of good over bad, etc. Therefore, the current study tries to recognize and compare the readers of resistance literature in the 60s and 90s based on Chambers’ theory and also studies the methods that writers employ to communicate with their readers in the both decades. Consequently, two stories in resistance literature published by Institute for the Intellectual development of Children and Young-Adults (Kanoon) have been chosen and studied.

Adib Ghasemi Kermani (1859-1929), the satirical poet and writer, lived in Qajar era. Teaching in Dar-al-Fonoon and connecting with the Constitutionalists, were two features of his life. He has written “Neyestan and Kharestan” as a parody of Saadi’s Bustan and Gulistan. This parody is rich with the inventiveness of the writer and has presented a colorful and fun work. Rhetoric of satire in the works of Ghasemi are presented through specific techniques and methods in the two branches of rhetoric, which, along with introducing his style offer valuable findings regarding the combination of satire and rhetoric. Through a descriptive-analytical method, and emphasizing the functions of rhetorical techniques of satire in relation to the reader in the works of Adib Ghasemi Kermani, this study analyzed the text. The results showed that the application of rhetorical devices and techniques with focus on simile has played a crucial role in the formation of Adib’s style and the significance of his satire.

Our ancestors paid special attention to didactic literature, especially the ethics, whose main subject is good and evil and focuses on the people’s behavior toward each other. The goal of ethics is to guide people toward good and beauty and prepare them for modifying personal and social behavior, a theme that is prominent in Persian prose and poetry.
Khajeh Nasiradin Tusi is one of the scholars who focused on this subject, especially in his two books of “Nasirean Ethics” and “Mohtashami Ethics”. The Nasirean Ethics inspired lots of other writers, centuries later to create works based on his books.
Another book with the subject of household management or family ethics is “Jalali Ethics” written by Jalal-al Din Davani, a 9th century scholar. The book is in fact a rewriting of Khajeh Nasir’s work and the only differences between them are in making the religious tone bolder than Khajeh’s philosophical view, its composition according to the style of his time, summarization of the book, addition of some Arabic Koranic verses and poems. The aim of this study is to review the subject of “household management” (family ethics) in these two books.