امیرحسین مدنی

In psychology, divergent conflicts are among the critical motives for mental and neurosis disorders. Psychologists have attempted to provide solutions for these conflicts by introducing them, in order to reduce mental disorders in society. One of the subjects of controvercies with respect to the confounds of psychology in Attar’s writings considering his mystical viewpoints, is the vaious kinds of conflicts and their solutions. Since Attar uses a very plain and simple language in his writings and many stories and anecdotes for introducing important mystical topics, it is important to analyze his writings through this point of view in order to explain psychological ideas alongside mystical ones and use that to improve the mental health within the society. This study tries to explain Attar’s viewpoint and solutions, which are mentioned in his four Mathnavis, about three conflict types of interpersonal, social, and intrapersonal using a descriptive-analytical approach. As it appears, Attar has presented approaches for resolving conflicts. These solutions are sometimes in accordance with psychological solutions and sometimes in contradiction with them. Nevertheless, they can be used to reduce the existing conflicts and their outcomes. Among the most important solutions mentioned by Attar for removing or overcoming conflicts are using communication, allegory and anecdotes, kind language, recognition and explaining the problem, submission and compromising, objecting and criticizing the society, criticizing rulers through poems, humor and stories, and fighting the inner human urges to resolve the issues.

Part of the Folk literature of any nation is shaped by local love stories and legends. Animals are one of the most important characters in love poems who have different roles. Sometimes these roles are original and the fate and the bystanders of events move forward actions and events. Poets and authors of poems on different occasions try to develop their own text. They have learned about animals and employ a variety of functions for them. The purpose of this study is to express the roles and functions of animals as one of the key elements and myths in romantic poems. This research is based on Descriptive-analytical method and attempts to answer the question that animals in What Do Romance Poems Work For? Scope of studies in this article is the book Yeksad Manzoome-ye Asheghaneh-ye Farsi. This book contains One Hundred Persian love poem that has become a prose. Results obtained show functions with no, tool, messaging, Mediation, Emotional, Predictive and Non-Predictive, Medicine, Frequency, Sleep And interpretation, storytelling, myth, magic, hindrance, propulsion and cause the cause of death is one of the functions that animals do in systems It is lovingly mentioned. This research can offer a good model for the analysis of romance stories.

Cognitive linguistics is one of the new trends in linguistics that has created effective tools and methods for analyzing different texts. Conceptual metaphor is one of the important theories in this science, according to this theory, "metaphor" is not just a literary arrangement to embellish words, but it refers to the conceptualization of one semantic domain in the form of another semantic domain, and based on this, in explaining abstract concepts, especially It plays a significant role in the field of religious texts. Therefore, the present study tries to extract those metaphorical expressions that contain the concept of "surprise" from the sermons of Nahj al-Balagha and analyze them based on the theory of cognitive metaphor by adopting a qualitative approach and a descriptive-analytical method. The preliminary investigations show that Imam Ali (a.s.) conceptualizes those abstract concepts on the basis of concrete sources of origin, which caused him astonishment, and used different schemas to explain the destination field.

Proverbs are the extract of culture, ethics and worldview of a nation, whose analysis and criticism leads to the explanation of current thoughts and opinions among the people of a society. Negative proverbs, along with proverbs that indicate positivity, have a significant frequency in literary sources and among people, and this type of proverbs is also reflected in Dehkhoda"s proverbs and sayings. In this research, criticism of negative proverbs in Dehkhoda"s proverbs and decrees has been discussed and the intellectual coordinates of these proverbs have been analyzed.

This article is written in an analytical-descriptive way and its type is library.

The prevalence of negative proverbs imperceptibly and unintentionally leads to the spread of negativity in the society. From the point of view of language, the negative proverbs in Dehkhoda"s proverbs and sayings have a bitter and stinging language, and from the point of view of style and intellectual context, they are full of negativity and sometimes include violations of moral norms and lead a person to adopt a negative approach in life.

The research results show that negative proverbs have a high frequency in Dehkhoda"s proverbs and sayings. The negative proverbs in Dehkhoda"s proverbs and sayings mainly include themes such as incompatibility, ignorance, anxiety, threats and caution, bad past, conflict, fear, futility, destruction, unfortunate events, despair, violence, oppression, bullying, insults, death thoughts, They are teasing, talking, lying, sarcasm, sedition, deception, bullying, superstition, reproach, humiliation and threats, fault-finding and self-praise. Among the above cases, ignorance has the highest frequency with 1456 cases (12.3 percent) and self-praise has the lowest frequency with 50 cases (0.42 percent).

plays Bahram Beyzaei is one of the playwrights who has depicted the contemporary world in the most beautiful way possible through the element of conversation and dialogue. Modernity, progress, technology, industry and finally the ridiculous world they have created for people in the society. Beyzaei has artistically put all the words and terms of conversation together in such a way that the tension and vulnerability of the characters in certain situations can be easily evaluated. A different technique that distinguishes Beyzaei from other playwrights is that he uses the characters of the play as the narrators of the work, and he does this with dialogue between the characters, autobiography, and dramatic monologues of the characters in the story. In this research, with the descriptive method and content analysis, the artistic functions of the dialogue element in Elliptical plays have been examined and analyzed. This author has given different functions to the dialogue element through character disclosure, symbolic typification and creation of new situations in his plays. The results of the research show that the creativity and innovation that Beyzaei has used in the narration of some of his plays is in the design of the plot and plot, which places the climax of the play at the beginning of the story. And it does this through dialogue and the words of the characters in the story. In other words, in order to avoid repetition in the narrative, Beyzaei resorted to the element of dialogue to depict many of the religious features and themes of the play in a different atmosphere.

Fantasy is a type of story that has been noticed in the literature of children and teenagers in recent years. The Possessed of Badyan Island is a teenage novel and a fantasy story written by Badri Mashhadhi. In the present research, this story has been analyzed in terms of the elements and structure of fantasy and climate literature by analytical-descriptive and library method. In this research, a new definition of the genre of fantasy has been presented under the title of climatic fantasy, and by examining the mentioned novel, it has been shown that the story of The Possessed of Badyan Island is a climatic fantasy. Also, by using the climatic fantasy genre, in addition to creating a gothic and scary story with a local atmosphere, the author not only satisfied the need for excitement of teenagers, but also directed the attention of teenagers from similar foreign to local and Iranian examples. It has also used the climate fantasy genre to familiarize the audience with the culture, history, customs, superstitions, etc. of a specific region. Therefore, this story can be considered an example of an Iranian climatic fantasy story.

Nahj al-Balaghah is undoubtedly the most comprehensive book after the Qur'an, which can be considered a human guide in all aspects of life and can be responsible for guiding humanity in various fields. This precious book contains a wide range of abstract concepts that cannot be expressed in everyday language, and to make the subject understandable to the audiences, appropriate linguistic tools must be used, among which metaphor is one of the most widely used tools. Imam Ali (AS) sometimes used illocutionary acts in his words to encourage the audiences to do good things and to warn them about evil deeds. Therefore, the present study tries to extract those sentences with metaphorical structures responsible for conveying abstract concepts from Nahj al-Balaghah sermons and analyze them based on cognitive metaphor. The research results indicate that Imam Ali (AS) conceptualizes the destination area using maps taken from everyday life that everyone can understand and uses various cognitive metaphors based on the audience's knowledge and understanding of the target concept.

Abdul Hossein Zarrīnkūb is a prominent Iranian researcher and writer whose extensive research in various fields and his tremendous power in writing and research have made him one of the remarkable contemporary researchers. One of the research methods that Zarrīnkūb uses in most of his works is "note writing," a method which has enabled the author to provide further explanations about the main text as well as presenting extra information about documentations and sources. In this manner, Zarrīnkūb has owned specific style in most of his works to the extent that a significant part of the final pages of his works is dedicated to "notes." The notes are closely related to the original text, and the investigation of their rhetorical-linguistic features makes it clear that they have given a special structure and coherence to Zarrīnkūb’s works due to the author’s unique linguistic and rhetorical explanatory style in writing marginal information, documentations and references.  This feature has made the contents of his main texts more methodical and orderly, which has become one of the components of Zarrīnkūb's personal style and research methods. This descriptive-analytical study has aimed to examine linguistic and rhetorical features of his note writing style so as to shed light on minute details that represent the writer's thought and language style in his “notes.”

Cognitive semantics reaches how the mind works and human experience in understanding concepts through language by studies the meaning. The summary of this approach is that metaphor is not just a linguistic issue; the main origin of metaphor is the mind, but for its emergence, it needs appropriate linguistic, cultural, and social contexts, and the relationship between metaphor and mind, society, and culture is a two-way relationship. Metaphors help abstract areas to be understood based on objective areas. Image schemas are among the conceptual structures that have been paid attention to in this field and are made with a metaphorical foundation to be considered as a bridge for the relation between our physical experiences and more complex cognitive domains and help to understand concepts that are essentially immeasurable. The present study has aimed to analyze the spatial metaphors and volume, movement and power schemas in the sonnets of "Hossein Monzavi" using the descriptive-analytical method and referring to the theory of cognitive semanticists. The findings of the study show that Monzavi used image schemas to visualize concepts such as: love, doubt, desire, hatred, sadness, endurance, happiness, madness. His conceptual metaphors show that love, madness, drunkenness, shame and kindness have a high place in the poet's mental world and in his lived culture; Love is one of the powerful forces in his thought and dominates everything, and after love, division, fate and sadness are at a high level in terms of power.

From a cognitive linguistics viewpoint, metaphor not only is a linguistic process but also is connected with human thought and we can be aware of the speaker's method of thought with it. The main cognitive application of metaphor is to provide an understanding of an abstract concept through a more tangible concept. Then it plays a significant role in the determination of mystical concepts. One of the main and fundamental issues in religious literature is the concept of "Love" due to its abstractness, it is expressed generally at the framework of conceptual metaphor.  Imam Ali has used this art structure in Nahj Al-Balagheh as a tool to understand abstract concepts. Therefore, in the current study, those metaphorical statements containing the concept of "Love" are extracted from Nahj Al-Balagheh's speeches adapting a quality approach and analytical-descriptive method and they were analyzed and studied based on cognitive metaphorical theory. The conceptual metaphor has been categorized from different aspects. Metaphors in the first category are studied from the role viewpoint (structural, ontological, and orientational), and in the second category from the nature viewpoint (propositional, pictorial-schematic, and pictorial). According to the results of this study, Imam Ali made the abstract concept of "love" understandable for the audiences at the cognitive metaphorical framework, schema, and tangible and objective areas of destination. In structural metaphors, he depicted the concept of "love" using "Hijab", "Disease", "Commodity", and "Object' as the areas of origin for the audiences. The ontological metaphors play an important role in the description of the "love" concept and the sentences implied it. He tried to stabilize its meaning in the mind of the audience by objectification to abstract concepts, sometimes using description and animatism. He used the volumetric schema for conceptualization of the "love" and introduced the love of God internalized in the angels' beings as the cup of love. On the other place imagined the concept of "guidance" as a place where its doors are open for the entrance of lovers and the people should use this opportunity, to enter the atmosphere of divine mercy, and be on the way of guidance before the door is closed. Imam Ali at a motion schema used the motion that is an inevitable and objective behavior of every person to do daily affairs to describe the concept of "love". In such a way, using "God" visualization at a place framework, encouraged the God lovers to step and move toward the path of salvation through jihad and fighting which is a means to reach the true god.

Deformation of cells and changing in mechanical specifications is one of the most important of cancer as serious illness. In fact, variation of mechanical properties of the cells is one of the important effects of the cancer. Here, the mechanical specifications of normal and cancerous skin cells have been studied. HU02, A-375 and A-431 as the normal and cancerous skin cells respectively have been investigated. The mechanical specifications including elasticity modulus and adhesion have been obtained using nanoindentation using JPK Instruments-Nano Wizard 3 atomic force microscope (AFM). The JPK SPM Data Processing software (v.5.0.96) was used to obtain the mechanical specifications. The results show that cancer can decrease the elasticity modulus of the cells to half in skin and increases the adhesion up to 38 times rather than normal cells. The cancerous cells are more adhesive than normal cells. The height of the cancerous cell is greater than normal cell.

Mohammad Reza Shafiei Kadkani is a contemporary, diligent, and tireless scholar and a man of letters who has proven his mastery, skillfulness, precision, and poetical artistry in various literary fields such as writing, translation, editing, and poetry. Editing priceless mystical works is one of his favorite fields. His bright resume in this field is no less than his research works. The edited version of Attar’s “Tadhkiratu ‘l-Awliya” in three sections of introduction, text, and annotations, is one of his works in this field. Shafiei Kadkani’s academic rigor, abundant mystical knowledge, writing the biography of undistinguished mystics, diligence in research, honesty and being true to the main text, criticizing the scribes for using incorrect words and interpolating, having useful information on methodology and morphology, artistic and poetic translations, and having a good grasp on bibliography are some of the features of this masterful editing. These features can be used to answer the following fundamental questions. What are the advantages and merits of Shafiei Kadkani’s annotations in “Tadhkiratu ‘l-Awliya” and why are their values no less than the main text? This article mentions the advantages of the aforementioned annotations in detail under ten titles. The author believes that solitary editing is fruitless even if it’s done through the best scientific methods and it would do no good other than introducing the literary work on a basic level. It is only when the text is embellished with an introduction and well-researched annotations, which is the result of pondering on every inch of meaning in the text, that it comes to life, dusts itself off the obscurity, and talks to the readers.

The dream is one of the most frequent motifs in mystical proses, which was considered a kind of honor. It is used as a medium to gain knowledge and understanding because it brought information from the unseen world (the afterlife). In these dreams, the question of “What did the God Almighty do to you?” is very frequent because of the fear Sufis had of the afterlife and the consequences of their actions. The inquirer asks the teller to enlighten him about the events of the purgatory. If God has absolved him of his sins, what was the reason for that? And if he has been tormented or punished for his sins, what negligence or mistake was he punished for? To answer the abovementioned questions, eighteen mystical proses were analyzed. The analysis of the obtained results showed that, in most cases, the teller talks about the favor and mercy of God and that the affairs of the afterlife are easier than what people think, so much that for fifty-nine cases of God's mercy, only nine cases of punishment were seen during the analysis. Contemplation on the proses shows that first, God’s favor and “causeless mercy” or, to be more precise, His “generosity and beneficence” are not only toward mystics and righteous people but also toward normal people, sinners, and murderers; hence God’s true nature is of justice and mercy. And second, that heaven and its blessings are the least of rewards given to the blessed by God; while the more exclusive rewards are seeing God and His companionship, God’s consent and satisfaction in His servants, the prophet greeting the mystic, and being the companions of prophets and righteous people.

To know this subject that the literature has Fuzzy nature not Aristotelian, can help audiences and analyzers to have a more open view when dealing with texts. Literature, like any other science and art, has the ability to be evaluated, and according to the logic that governs it, one can judge whether any text is literary or not. For this reason, concepts such as literature, mystical literature, Aristotelian logic and fuzzy logic have been defined in this research, and then the relationship between literature and Aristotelian and fuzzy logic has been investigated. In this analysis, four main literary elements of a text (emotion, imagination, polysemy and form) have been analyzed in a fuzzy diagram along with an example of Persian literature. In all four cases, the result shows that a text can be placed in the circle of literature by having a degree of each of these four elements, and its literary ratio is determined according to the degree of these elements. In all four cases, the result shows that a text can be placed in the circle of literature by having a degree of each of these four elements, and its literary ratio is determined according to the degree of these elements.

Anvari has been called one of the stylist poets and one of the three prophets of Persian poetry due to his special style of expression and poetic style. He is best known for his glorious poems; However, in the style of lyric poetry, he has been considered the pioneer Saadi style in lyric poetry. In ode and lyric, Anwari has chosen two different official and court languages, as well as a simple and colloquial language. There is also an independent article about the language of Anwari's poetry in his sonnets and about his stylistics in poems; But no work was found to examine the different levels of language in his poems. Anwari's official language in poems is the new expression and style that starts from the field of words and combinations and continues to the field of imaginative forms and the creation of similes, metaphors, allusions and rhetoric of the image and praise.the authors have tried to analyze the syntax of Anwari's poems in three levels: formal and verbal, grammatical and semantic, in an analytical-descriptive way, and then to classify and describe his personal linguistic elements. that Anvari has acted very creatively in poems in different levels of the mentioned language, fromand music the selection of words to the composition and use of novel elements and expression. And it seems that the title of one of the three prophets of Persian poetry is due to his powerful talent and eloquent language and style in each of the fields of language.

Sanai, the founder of Persian mystical poetry, is one of the poets who strived to introduce the language of mysticism practically and at times theoretically. So far, several theories have been proposed regarding mystical language. These theories, where they are based on the more general theories of language of the target religion, fall into two categories of formative theories and role-oriented theories. One of the role-oriented theories about the language of metaphysical experiences is John Herman Randall's theory. This philosopher considers religion, just like science and art, as a kind of human activity that contributes to human culture, and lists four roles for religious mysteries and myths. The present article, adopting a descriptive and analytical research method, renders a new analysis of anecdote functions in Sanai's Hadiqat al-Haqiqah and examines their correspondence to Randall's theory. The findings reveal that Sanai deploys anecdote for two purposes; first, to clarify ontological, theological, cosmological, and anthropological issues and to correct social problems, and second, among Randall's four roles, Sanai’s Hadiqat al-Haqiqah anecdotes, in the first place, play the role of stimulating practical senses and strengthening practical commitments (Anthropological), and stimulating senses of cooperation and social cohesion (Social), in the second place. The next two roles, namely the transmission of unspeakable human experiences (Theological) and the explanation of the glorious divine system (Cosmological) have been considered less by this mystic poet. These roles place Sanai’s mysticism under the banner of Khorasan School, which is better known as humanism and socialism.

Abul-Hassan Ali ibn Uthman Hujwiri was one of great Sufis and the writer of one of the oldest and most valuable Sufi texts. He had a great influence on Sufism after him, like Tazkirat al-Awliya, while being influenced by mystic writings of his past. Kashf-ul-Mahjoob, while including Mystical, historical and social aspects, also contains great knowledge on the character, life and thoughts of its writer, who stated what he found, saw and heard with scrutiny and accuracy. Researching, investigating, engaging in debates with people of wisdom and knowledge, complaining about insipient Sufis of his time, defending Malamatiyya, giving a full report on Sufi intellectuals and factions, Sufi habitude, complete explanation of his journeys and life experiences, are only a part of the knowledge upon which we can figure out the personality of Hujwiri and the process of his individual growth. Based on this data, we can assume the base of Hujwiri’s character and thoughts to be a combination of “controversial knowledge” and “innate intuition”. Because on one hand there is a great value for learning from it ,and on the other hand seeing the truce in this life and the next is due his strives. After an introduction on his life, journeys, titles, and writings the writer tried to point out the most prominent characteristics and viewpoints of Hujwiri, so that he can compensate for the lack of information about his life and personality.

The defeat of Sassanid dynasty against Arabs, marked a new “historical” era for the land of Iran; but not only the ancient and rich culture of Iran lost by this defeat, but also it continued in the Islamic era. One of the beliefes and rituals which has taken many forms and shapes and has been through many ups and downs over the course of history is “chivalry” .The common theory in this regard is that  chivalry is derived from Sufism; Since Sufism was originated from Islamic training, chivalry has Islamic origin too. Although one cannot completely ignore the influence of Islamic culture in chivalry, ignoring Iranian culture and civilization whose foundation is wisdom, goodness and art, isn’t rational and fair. The author has attempted to refer to the origins of this doctrine and its probable effect from pre Islamic culture and civilization in spite of different and controversial views of researchers about chivalry and difference existing in its origins and principles. Therefore, the effects of  ancient Iran, Zoastrianism and Mehri and Manavi religions on chivalry are examined in three independent sections and it is believed that these effects don’t mean complete agreement or adaption.

Although the last ancient period of Persia ended with the Arab attack and the fall of the Sassanid dynasty, the Persians were experiencing new traditions and customs, but the Sassanian historical defeat was not the end of Iranian culture and civilization. Ancient Iran’s old culture continued its survival in the Islamic era; even the heavy attack of Arabs was unable to break the relationship between Islamic Iran and the rich, ancient heritage of pre-Islamic period. In this respect, the periodic connection between Sassanid and Islamic era is not the period of interruption but “the period of transfer of Iran’s culture and civilization from an epoch, with its own characteristics, into another in which other characteristics have been produced as a result of dealing with other factors and on the path of its gradual, historical evolution” (Mohammadi Malayeri, 2000, p.6). One of the customs that has undergone many changes during the course of history, is “chivalry” which has many kinds in history and culture of Iran. In this study, it is tried to refer to the Iranian sources of chivalry and the probable effects of pre-Islamic Iranian culture and civilization on it.

In the early centuries of the advent of Islam in Iran, the devotees founded the ideology of “Sufism”, using the teachings of Islam, Quran, and Hadiths. Many researchers believe that the foundations of Sufism are Islam and Quran. According to many books on Sufism, “generosity and chivalry” is retrieved from Sufism; also chivalry, as well as Sufism, first had a primitive form, then began to expand day after day. The issue of retrieving generosity from Sufism does not end here; because there are many reasons which represent that awareness of older sources of generosity requires looking at the heritage of ancient Iran, including the Sassanian and even the Parthian period. Perhaps chivalry, at least in some aspects, has roots in such a viewpoint. According to the prevailing perspective, “generosity” is rooted in Sufism and Sufism itself comes from the teachings of Islam; therefore, generosity has Islamic origin. Accepting this vision, conflicts with researchers’ remarks and requires reflection on the issue. Sahrverdi clarifies that not all codes of generosity are in accordance with Islam’s principles but ofcourse it does not deprecate the principles (Saraf, 1991). Sahrverdi (2001) has applied the interpretation of “fati beyza” to “Hallaj”; on the other hand, Abo Abdullah Dastani has introduced Bayazid Bastami Zartoshtizade as one of the first believers who reached the highest levels of generosity (Haman, 2006); the fact that these two with “Kharaghani” and “Abul Abbas Ghasab” formed the kernel of “Khamire Khosravanin” can indicate the close relationship of chivalry with some ancient Iranian traditions and pre-Islamic culture.The author does not seek to attribute all documents to pre-Islamic Iran by overlooking the influence of the productive Islamic culture and its role in generosity or to look for all roots in that period; in fact, he argues that it is impossible to renounce the influence and role of Iran’s culture and tradions. He also mentions that this delicate, narrow path requires fair, cautious steps as well as avoiding absolutism, generalization, bias, and jaundice. The influence of pre-Islamic culture on expansion and development of chivalry in Islamic period has many different manifestations, including the ancient Iran and its influence on chivalry; also it includes traditions and religions of Zoroastrianism, Manichaeism, and Mithraism in addition to their influence on chivalry, which have been discussed in detail in this study.

The chivalry as a belief and a manner, having ancient origins, has never been destroyed by the extinction of governments. In addition to accepting new requirements as well as environmental, cultural, and social conditions, chivalry is transferred from one age to another.  The custom of chivalry, which grew simultaneously with the expansion and development of Sufism, has connection with Iranian origins; in a way that some relevant Zoroastrianism customs can be referred to, such as the refusal of perfidy, hospitality to strangers, altruism, igniting five-burner light kerosene lamp, changing “kosti” to “shad”, changing “sodre” to “saravil”, changing wine to “kasolfotove”, forgiving in the midst of need, and continuing the custom of writing books on generosity. Furthermore, some characteristics of Mithraism and Manichaeism has influenced generosity, such as equality, brotherhood, love, friendship, honesty, respecting elders, respecting masters, and making sacrifices in order to refine human’s soul. Yet, the most influential contribution to historical influences belongs to the Sassanid dynasty, since Zoroastrianism, Manichaeism, and Mithraism had better opportunity to grow in this very period.

Afzal al-Din Kashani is one of the great philosophers of Iran in the sixth and seventh centuries (A.H) who, just like Suhrawardi, created a philosophical system with connecting philosophy and intuition, which was not based only on abstract wisdom and pure philosophy, but also on "enlightened vigilance and wisdom”. It was precisely from such a system that a strong emphasis on "self-knowledge" and enlightenment about the nature of self as a human was created. The intellectual heritage and treatises of Baba Afzal are important and worthy of studying in many ways; Including: the extent of his knowledge and information in different fields of Islamic philosophy, Greek philosophy, literature, ethics, political philosophy, mystical teachings and even antient Iranian culture ; Simple language, explicit and free from complex and abstract metaphors and concepts of the era, and the use of Persian words and equivalents instead of Arabic ones; Paying close attention to the right way of thinking and the fundamentals of wisdom and the full application of virtues and good morals in life. this article tries to analyze the three motifs of "vigilance, wisdom and knowledge" from Baba Afzal’s point of view, based on his writings; and to show that these three terms, while being closely related to each other, are in complete contrast with elements such as negligence, obscurity, and death. The result of this research shows that in Kashani’s work, "wisdom and virtue" are two sides of the same coin which lead to "truth".

Mowlānā has likened the body to a stream and the spirit to the flowing water in an allegory in his Masnavi. Although water is constantly running, many believe it to be stagnant and therefore Rumi draws the perforce attention of populace to the movement of brushwood on the water and that, if they do not see the passing of life through their eyes, let them reflect on plant life and river through heart. This allegory contains Rumi’s fundamental mystical thoughts, including the new creation and the fact that the whole universe, despite its stagnant and still picture, is being constantly refreshed and undergoes a transformation, hence there is a “death and recurrence” in every moment. In the perspective of this mystic, this constant creation proves the permanent presence of God, the universe’s constant need of Him and that God’s grace is flowing through the material world each and every moment. But the fast speed of this creation and destruction and the constant connection between the physical and spiritual worlds makes the world look stagnant. The author of this paper has attempted to address the new creation or God’s renewed wills from Rumi’s viewpoint. The author has also sought to connect this fundamental concept to concepts such as substance theory, manifestation, time, the Unseen, and the Mystic’s eagerness for exploring novelty and innovativeness. It concludes that renewal of the present in full flow and the departure of the old removes Mystic’s grief and heartsickness and brings him happiness and a sense of living in the moment.

Saeed al-Din Farghani is one of the greatest and most obscure ecclesiastics of Islamic mysticism that with his sincere taste and deep understanding, Ibn Farez, the Egyptian poet (TaEye) wrote a detailed and exuberant statement. In his mystical passage, he has given Shahab al-Din Suhrawardi the ratio of his cuff and his mention. Farghani is the guardian of consciousness with full knowledge of the opinions and thoughts of mysticism and Ibn Arabi, and familiar with the ancient mystical heritage, especially the Sufism of Khorasan, who was able to write a syntax called (Masharegh al-Darari) and in this work, without the likes of many other commentators being trapped in sick-minded imagery and language games derived from the magic of proximity, he would open up a modestly manifestly new Bobby in theoretical mysticism and designed his description with a few words and sayings from Bayazid, Hallaj, Joneyd and Zo al-Noon. In this article the author tried to study Mystical thoughts and rhetoric of Farghani in two departed parts. Thoughts such as: love, lover, tactile view, the ratio of perfect man with the triples of Islam, faith and kindness, the concept of time and expansion, intimacy and effective knowledge of the right and in the language and rhetorical sector like: likeness, revelation, affirmation of poems and verses and hadiths, exquisite translations and artistic expansions.

The fifth HA century was a turning point in Khorasan and Transnistria in areas like mysticism, interpretation, hadith, jurisprudence, speech, preaching and sermon, regarding both the quality and quantity of progress; particularly in two branches of romantic mysticism emphasizing "affection, love, and chivalry" and wise mysticism based on acquainting with Islamic educations. AbuAli Farmadi (dead 477) is one of the erudite of this century full of mystic thoughts and Islamic educations. Skill and mastery of Farmadi in speaking and holding preaching ceremonies was known to almost everybody and gave him such titles as "the tongue of time, and the tongue of Khorasan". Farmadi accompanied by five other mystics namely "AbuAli Rudbari, AbolGhasem Nasrabadi, AbuAli Daghagh, AbuSaied Abulkheyr, and AbulGhasem Korrakani" made the chain of romantic and wise mysticism in Khorasan in 4th and 5th century, and they shared the concern about such contents as elements as "preaching, mastery of Islamic educations, being polite and respecting the old and the teacher, shari'a, and revitalizing the ascetic ways of ancestors, believing in affection, favor, and kindness of God, tolerance, being good tempered, and not being fanatic, generosity and chivalry and finally Hallaji thinking system".In this article, we have tried to briefly point out to the life of Farmadi and elaborate on his role and significance in completing and regulating the legacy and the trend that had started from AbuAli Rudbari and ended with Farmadi, so that hidden aspects, attraction, and the art of mysticism in Khorasan is manifested more than before.