فهرست مطالب رحمان مشتاق مهر

The history of Persian literature owes the immortality and influence of its pure didactic and mystical topics in its various forms to the form of “masnavi” poetic genre. Masnavi structure stands as one of the most extensive forms of Persian poetry due to its distinctive feature in rhyming, witnessing the creation of some of the greatest literary masterpieces in the Persian language. The most effective approach to understand and fully comprehend these compositions and to articulate the points of divergence and commonality among them, is to delve into their form and structure. This research undertakes the examination of the external aspects of masnavis from the studied period and delves into the internal exploration of these collections, focusing on their form and structure. Accordingly, the text (the central core) and paratexts (preface and conclusion) of long didactic and mystical masnavis until the end of the seventh century AH are discussed and analyzed. The purpose of this article is to examine the form and shape prevailing in the text and paratext of long didactic and mystical poems in terms of their adherence to the literary traditions of the poets’ era. The authors, recognizing that literary works, as integrative discourses, presupposes the existence of a beginning, middle, and end, endeavor to examine the functions of paratextual elements in seven didactic and mystical masnavis (Hadigat al-Hadigat, Makhzan al-Asrar, Manteq-o-tteyr, Mosibat-Nameh, Ilāhī-Nāma, Bostan and Masnavi). Through the examination of these paratexts, the authors aim to highlight the functions envisioned for the use of these elements and articulate the unique features of Rumi’s Masnavi as the exemplar of masnavis.

The present study is the introduction and textual analysis of a manuscript called the Divan of Bolbol-e Gilani, written in the 9th century AH. It is manuscript number 86 in the library of Istanbul University which has not been introduced or edited so far. The main goal of this research is to introduce and review this manuscript and express its main linguistic, literary, and intellectual features. The research method is descriptive analysis based on field and library studies and in-text evidence. There is no information about this poet in literary and historical sources and Bolbol remains unknown even among the people of Gilan. He is a poet from the middle class and lacks style, having experimented with the forms of masnavi, qasida, ghazal, and qet’a. Bolbol follows the Khorasani style in qasida and the Iraqi style in ghazal. The manuscript consists of 107 pages and 3078 verses and does not have the scribe's signature, name, or information; moreover, the time of writing is not available, but the text shows that the scribe did not have enough precision in copying: several typographical errors are seen in his manuscript. The main themes of the Divan are the praise of the local rulers of Gilan and the description of its land and beauty.

Khosrownameh or Gol -o Hermez is one of the famous poems attributed to Attar, which, unlike other fake poems attributed to him, due to its poetic order and coherence, some linguistic features, and the relative mastery of the poet, has been praised by some in a way that they consider the poem as Attar's, and put besides his four main and definite poems, "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". On the contrary, some others have rejected this attribution by stating evidence. This article deals with the stylistic study of Khosrownameh in terms of structure, language and content. The research results show that the attribution of this poem to Attar is incorrect; beecause there are major differences between Khosrownamaeh, and  Attar's  main works, both in terms of form and structure, also in terms of language usages in both lexical and syntactic levels, and in terms of content and theme. On the other hand, the rejection of its attribution to Attar is strengthened by the manuscript issues and extratextual study of this poem and the discovery of some historical facts.

Attar-e Neishabouri is one of the poets whose works have been underestimated throughout the history, to the point that a large number of inappropriate poems have been attributed to him and being placed in the ranks of his four main works "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". Among the works wrongly attributed to Attar, and the subject of discussion and research by many researchers of Persian literature, is Khosrownameh. The subject of this poem is the love story of two lovers named Khosro and Gol. The poem is written like some other romantic poems as Khosrow and Shirin of Nezami. This poem is written fluently, and in terms of style and poetic language, it has coherence, arrangement and the ability to induce the content to the reader, and by the way, this issue has caused some people to consider it as that of Attar without comprehensive investigation. In the present study, an attempt has been made to compare the Khosrownameh with Attar's main works both in terms of extratextual aspect (historical and manuscript issues) and from the stylistic aspect in the three fields of structure, language and content.

Theoretical framework :

In general, there are many differences of opinion regarding the attribution of Khosrownameh to Attar. Among the prominent scholars of Persian literature, Saeed Nafisi, without any doubts, recognizes Khosrownameh as Attar's, and believes this poem is one of the works of Attar's youth and middle life. Shafi'i Kadkani believes that the name of this poem is actually Gol and Hermez, that Hermez is another form of the Greek word "Hermes", and Khosrownameh is the original name of Attar's Elahinamah. According to others, such as Zarrinkoob, by composing a romantic poem such as Khosrownameh, despite the interpretability of some of its verses to mystical themes, at the end of Attar's life and after composing his four main poems, the poet's spiritual and mystical behavior cannot be justifiable. Other valid reasons have also been presented later by other researchers in rejecting the attribution of Khosrownameh to Attar,  including Ahmad Ezzatiporur in a research while criticizing the reasons of other researchers pointing to some extratextual evidence and clues, such as The names of some characters in it, and the belief that its author is a “Shia” have led to the conclusion that Khosrownameh is not from Attar. Among the other important researches that have been done regarding the attribution of Khosrownameh to Attar, is “the stylistic study of Khosrownameh to explain the correctness of its attribution to Attar e Neishaburi” by Teimur Malmir. In this research, it has been concluded that due to the frequency of commonalities between Khosrownameh and Attar's main works, its attribution to Attar is correct. In a research titled "Whose is Khosrownameh from?" from Akbar Nahvi, the conclusion is that this poem is undoubtedly not from Attar, and it was written in Isfahan near 600 AH, and its poet was Sheikh Attar Abu Abdullah Muhammad Mianaji (d. 619 AH). A number of other researchers have also presented their opinions regarding the correctness or incorrectness of the attribution of Khosrownameh to Attar e Neishabouri in various articles, but in none of these studies, the investigations have not been comprehensive, and have not led to correct conclusion.

In this research, an attempt has been made to investigate the attribution of Khosrownameh to Attar, both in terms of extratextual evidence, and in terms of intratextuality, i.e. stylistic issues using analytical-inferential methods.

In this research, the indisposition and correctness of the attribution of Khosrownameh to Attar has been investigated from two extratextual (historical and manuscript issues) and intratextual (stylistic) aspects. From extratextual analysis, it was concluded that the date of writing of the oldest manuscript of Khosrownameh is 696 AH, so it can be definitely said that this poem was written in the 7th century of hegira. Another important point that can be considered from a historical point of view in this poem is the praise of “Imam Hasan” and “Imam Hussain” (second and third “Imams” of Shia Muslims), and two Hanafi and Shafei imams by the poet, which shows that he was of the Shafei religion; and if he mentioned Imam Hanafi as well, it was because of observing the social and religious situation of Isfahan in the sixth century. Since in this era, most of the people of Isfahan were Shafi'i and Hanafi, and both clans were very strict in their beliefs and were constantly in conflict with each other. The comparison of Khosrownameh with Attar's four main works in terms of intratextual and stylistic issues indicates that, firstly, Khosrownameh was written with an almost coherent structure and with a slight difference from Attar's style in arranging the contents in his poems; With full knowledge of the ways of composing a long poem, the poet has divided and arranged the different contents of the work and has started his story. Secondly, due to the fact that Khosrownameh has the necessary eloquence and fluency to an acceptable extent, the lexical and syntactic level of the language in this poem is not much different from the lexical and syntactic level of Attar's poems, and only in a few cases we can carefully point out the differences. Thirdly, in terms of theme, this poem can be interpreted into mystical themes, so that from many of its verses, the influence of the poet from Thoughts of Ibn e Arabi, especially his most famous theory, "pantheism", is evident, while Attar puts "Oneness" in opposition to polytheism.

Conclusions & Suggestions:

Based on the examination and comparison of Khosrownamah with the main works of Attar from two very important extratextual and intratextual aspects, the conclusion was reached that firstly, according to the date of the oldest manuscript, this poem was written in the 7th century of hegira, and secondly, despite having eloquence and coherence, in terms of structure, syntax, vocabulary, content, and theme is different from Attar's main poems.

Lyrical literature and hence romantic poetry is a collection of feelings, emotions and representations of human relationships which has been widely used in different eras and discourses with various even conflicting functions and manifestations. Romantic poetry, distancing from political poetry, discusses politics of literature rather than political literature. However, modern Iranian poetry, deeply connected with politics and protest literature, establishes a different relation between dramatic poetry and political poetry. Shamlou is one of the prominent poets of political poetry whose antagonism and political conflicts are sources of metaphors and constructions in romance. This paper, based on critical discourse analysis, emphasizing the concept of "antagonism" as a key concept in politics, shows that politics is related to romance in two ways. First, such romances are new experiences to represent human relationships. Second, they are against traditional literature, since Shamlou by changing the rhetoric of romantic poetry created a type of literature that is romance in surface but resistance literature in depth.

After the literary revolution of Nima, numerous currents were born from Nimai's poetry and it merged with the currents and literary schools of the West and became popular. Following this, many studies and critiques were made about these poetic currents Due to the large number of available resources in the currentology of contemporary poetry Reviewing and comparing them will help us figure out which one is better In this article, we tried to critique these currentologys, and compare each of these books in comparison with each other and in the analytical review of each stream. The results show that the attempts to explain the evolution of contemporary poetry, although very useful, but in some of them there are fundamental drawbacks. Many of the critiques have been mere descriptions of a poetic current and At best, some critics have criticized poetry and interpreted poetic currents. The lack of a clear criterion in the classification of poets in the currents and even the naming of the currents and the lack of a clear time category for the contemporary poetic style, has caused confusion in some divisions.

The national epic of Iran includes the religious and social beliefs and traditions of older times, which are the context of the occurrence of its narrative events and have been extensively presented while telling stories. Including the belief in the influence of stars and constellations on the emergence of events that somehow connect the material world to the supernatural world. Also, resorting to supernatural forces such as magic was a way for a person to overcome his helplessness against destinies. Some of Mazdayasna's rituals and rituals are reflected in this work, which is part of the popular culture and beliefs of that time. Criminal sentences and common methods of punishment at that time is another category that is linked to this literary and epic work as social behavior. In this article, which is provided in a library style, the issues raised are discussed as much as possible.

One of the poets whose quatrains can be traced in various forms among the quatrains of Rumi's Divan-e Kabir is Sana'i. After reviewing "Nozha Al-Majalis" and several valid manuscripts from Sanai's Divan, the number of common and similar quatrains to Sanai's Divan corrected by Modarres Razavi and Rumi's Divan-e Kabir corrected by Forouzanfar increased from 26 quatrains to 35 quatrains. In order to perform an accurate attribution analysis in the field of common and similar quatrains of these two poets, the works of poetry and prose of other poets and writers before Rumi, in addition to the mentioned sources, were also investigated. Out of a total of 35 common and similar quatrains, 24 quatrains from the Divan-e Kabir definitely belong to Sanai, or are guaranteed and adapted from his quatrains. 8 quatrains are most  likely from Sanai, and the other 3 quatrains have been attributed to other poets in addition to Sanai. Of the Sana'i quatrains, only four quatrains are mentioned in complete and unchanged form in the Divan-e Kabir. In other cases, the quatrains are accompanied by changes that vary from a change in a few words to a change in three lines.   

One of the Rumi's most important works in Persian literature is his quatrains. In Badi-ol-Zaman Forouzanfar's edition of Rumi's Divan, 1983 quatrains are attributed to him. In this work, traces of several quatrains can be found that belong to Sufi and non-Sufi poets before Rumi.One of the poets whose quatrains can be traced in various forms among the quatrains of Rumi's Divan-e Kabiris Sana'i. Rumi's poetic thought and style of expression, in his quatrains, like his other poems, has been influenced by Sanai's poetic thought and style of expression. The important point about the common quatrains of the Sanai's Divan and Rumi's Divan-e Kabir  is that Rumi is not only the narrator of the Sanai's quatrains, in the form of direct and unchangeable quotations, but in most cases these quatrains in the Divan-e Kabirare accompanied by changes. 

Several researchers such as Franklin D. Lewis, Badi-ol-Zaman Forouzanfar, Mohammad Amin Riahi, and also the prominent researcher of Persian quatrains, Sayyid Ali Mirafzali, have mentioned the existence of quatrains from other earlier poets among the quatrains of the Rumi's Divan-e Kabir. However, the only research that has been written in this field is an article entitled "Recognition of the source of 38 quatrains attributed to Rumi in literary and historical texts." In this research, in most cases, the quatrains have been investigated which are mentioned in earlier prose texts from previous poets. However, studying the common quatrains of Rumi's Divan-e Kabir   cannot be performed in such a generalized study. Conducting more specialized research, the subject can be studied better and more accurately so that more new results can be achieved. In this study, by examining the Sanai's quatrains and comparing it with Rumi's quatrains, in addition to examining other earlier works, it has been tried to investigate the traces of the Sanai's quatrains in the Divan-e Kabir   more carefully. 

The most famous correction of the Sanai's Divan is the correction of the Modarres Razavi, however, none of the editions of the Sanai's Divan incompass all his quatrains. Therefore, in this article, we have also referred to the authentic manuscripts of Sanai's Divan. We argue that through finding all the common and similar quatrains of Sanai and Rumi, an accurate analysis in attributing the common quatrains according to the date of writing of this manuscripts can be achieved. Of course, in order to search for Sanai's quatrains among Rumi's quatrains, we did not just suffice to the Sanai's printed divan and the manuscripts of his divan, Because many wandering quatrains have been repeated many times in the Divans of early Poets that, in most cases, the poet of these quatrains cannot be determined with certainty, so in addition to examining the printed Divan and the most important manuscripts of the Sanai's Divan, other works of earlier poets and writers, Rumi was also examined in order to obtain more accurate results. 

The study of the common quatrains of Divan-e Kabirand the Sanai's quatrains shows that Rumi, with his own style, often uttered the Sanai's quatrains with changes, so that 35 common and similar quatrains of these two poets can be divided into five following categories: 1. Four quatrains of the Divan-e Kabir   in all four lines are completely similar to the Sanai's quatrains. 2. Sixteen quatrains from the Divan-e Kabir, while being similar to the Sanai's quatrains in all four lines, show some differences. 3. Four quatrains of the common quatrains of the Divan-e Kabir and Sanai's quatrains are similar in three lines. 4. Seven quatrains of the Divan-e Kabir are similar to the quatrains of the Sanai's Divan in only two lines. 5. Four quatrains of the Divan-e Kabir are similar to the quatrains of the Sanai's Divan in only one line. 

After examining the quatrains of the "Nozhat Al-Majalis" collection and four manuscripts of Sanai's Divan, another 9 quatrains were added to the common and similar quatrains of Rumi's Divan-e  Kabir and Sanai's printed Divan, and based on this, the number of common and similar quatrains of the two poets reached 35 quatrains. According to the present study, 24 quatrains from the Divan-e Kabir, based on two ancient manuscripts from the Sanai's Divan, as well as the collection of quatrains, "Nozhat Al-Majalis" and certain earlier prose texts, are definitely from Sanai, or have been guaranteed and adapted from his quatrains. The 8 common quatrains are most likely to belong to Sanai, based on the recent manuscripts of the Sanai's Divan and some stylistic features. The other three common quatrains are probably by Sanai, or another poet. In other words, these quatrains, in addition to Sanai, are also attributed to one or more other early poets.   

Badi-ul-Zaman Forouzanfar, the editor of Rumi’s Divan-e-Kabir, and other scholars believe that there are common quatrains between Divan Kabir and the early sources. By searching for the quatrains from the early poets in Divan-e Kabir, one can understand the vast range of Rumi’s study references and the sources of his literary thought. One of the valuable sources of quatrains is the collection of Nozhat-al-Majales, which contains 4125 quatrains from 300 Persian poets. In addition to the 40 common quatrains between Divan-e-Kabir and Nozhat-al-Majales, which Riahi mentioned in the footnote of Nozhat-al-Majales, 75 other quatrains from this collection were found in Divan-e-Kabir. These quatrains were then searched in other Divans and earlier literary works, and as a result, other new sources were obtained for some of these common quatrains. Out of a total of 115 quatrains shared by Nozhat-al-Majales and Divan-e Kabir, in 65 cases, the name of the poet of the quatrain is clear, which entered Divan-e-Kabir from 38 poets. Among these poets, Sanai is at the top with six quatrains. Not all of these quatrains appeared in the Divan-e-Kabir without change. The similarity of common quatrains varies from similarity in four shutters to similarity in one shutter.

One of the most important topics in literary criticism is research into the correctness and inaccuracy of attributing a work to it's poet or writer. Throughout the history of the literature of various lands and nations, works have been attributed to famous poets and writers for various reasons, including political prejudices and religious Purposes, or similarities in form or theme that either really belonged to other poets and writers or have been works whose authors have been unknown; Attar ē Neyshaburi is one of the poets whose works have been mixed with those of poets of later periods, that have been written in a high degree of weakness in terms of form and structure and poetic language, and also differ from Attar’s definite poems in terms of their content. Undoubtedly various factors, whether intentional or unintentional, played a role in mixing the works of others with the works of Attar. The most famous work attributed mistakenly to Attar ē Neyshaburi is Pandnameh. This poem has about 900 bits, and the oldest Manuscript of it, is dated to 861 A.H.; namely ninth century; just two centuries after Attar's death. The difference between the date of the writing of the first version of Pandnameh since Attar's death, indicates that this poem most likely belongs to the eighth or ninth century and that it's author probably lived in the late eighth or early ninth centuries.

Methods & materials:

In the present study, the attribution of Pandnameh to Attar has been investigated and compared with Attar’s poems in the analytical-inferential way from the point of view of stylistic issues namely structure, language and content. It should be noted that in this review, the printed version of Pandnameh, corrected and annotated by Silvestre de sacy, has been cited.

Pandnameh differs dramatically from the point of view of three stylistic aspects, namely structure, language, and content, with the four definite mystical poems of Attar, Asrarnameh, Elahinameh, Manteqotteyr and Mosibatnameh. For example, besides the boring repetitions and the shortness of volume of the verses, there is no anecdote and allegorical story in the structure of Pandnameh. Whereas one of the most common methods of Attar to express the meaning and contents of his poems to the reader, is the insertion of allegorical stories and narratives. In other words, Attar as a narrator and interpreter tells stories and narrates to teach. The poetic language used in Pandnameh also differs from poetic language used in definite poems of Attar; some of the words and combinations used in the text of Pandnameh are either not used in Attar's poetry or have been used in different forms in his poetry. In terms of syntax and grammar there are also major differences between Pandnameh and Attar's poems; for example, verbs, adjectives, prepositions and other elements used in the verses, and the way of putting the linguistic elements together in verses is contrary with the syntax of Attar’s poems. The content of Pandnameh also differs from the content of Attar's poems; for example, the author of Pandnameh expresses beliefs about love, Health and Silence (in the mystical sense), kings and other topics that are opposed to what Attar thought in his poems.

In this article, by Scientific study and stylistic comparison of Pandnameh with Attar's poems from three aspects of structure, language and content, it is concluded that this poem is not from Attar, because first of all, the form and structure of Pandnameh is significantly different from which is clearly seen in the four definite works of Attar; because While Attar has attempted to convey the content of his mind and thought to the readers in all four of his poems by using narrative expression and allegory, Pandnameh is devoid of this structure and form of expression. A greater percentage of the poetic language used in Pandnameh is different both in terms of words and idioms and in terms of syntax from Attar's poetic language in his poems; a greater percentage of the content of these two groups of works are dramatically different from each other. The dominant thought in Attar's poems is pure mysticism and Sufism; but, not only is the prevailing thought in Pandnameh sometimes just for expressing religious themes far from the pure mysticism, it is more like other books written on the subject of advice that just teaches and expresses general ethics.

Beyhaghi in his history refers to valuable points about the behavior and actions of individuals and the causes of the incidents. The audience is enchanted by his detailed and sequential descriptions and reads and accepts history on the pretext of its fictional form. This history, like other histories, does not function as a stereotype, and Beyhaghi always tries to create a contradiction in the mind of the reader by using some linguistic signs and causes him to think about the analysis and retrieval of the blind points of history.  Language, which is a body of games and linguistic functions, is a means to perceive these contradictions. However, the understanding of a language game requires participation in that as a form of life that the linguistic game in question lies in its context. This article tries to draw the reader attention to Beyhaghi’s efforts to bring the dialogues and discourses together and to explain all its angles and then analyze transcendence and language games of these discourses and emphasize the characters. The tricks and language games of this discourse and its people emphasize. By examining the voices of the texts, the reader becomes closer to the speaker’s mental circle and the true meaning is obtained. Therefore, it is necessary to step through the use of information and linguistic indications to fill the void text spaces and by analyzing the hidden layers of the text, reach from the “conversation” to the “sub-text” and activate the text meanings. At the same time, paying attention to the active elements in the context of the text, the style of writing and the implications and parallel stories, we get familiarize with using language games and the use of internal and external situations for each other for seduction and illusion.

The Kurds, like other Iranian tribes, have a rich, gorgeous, and ancient oral literature. Lullabies have a significant share in Kurdish oral literature as part of folk songs. These lullabies, like a mirror, reflect corners of culture, history, and social realities. By researching this part of popular culture, many sociological materials such as religious, educational, moral, political, cultural, customs and traditions are obtained, which are in the knowledge of culture and people and familiarity with spirits and attachments. The ethnicity of the Kurds will play an important role. This research aims to examine the image of the Kurdish community and the culture of the Kurdish-speaking people through the Kurdish lullabies collected in the book "Jeanne Jean". Findings suggest that echoes of women's voices, religious beliefs, superstitions, political issues, living conditions and relationships, games, stories and anecdotes and climatic characteristics can be found. He listened to these lullabies and through them became acquainted with one of the oldest Iranian tribes.

Persian Poetry was affected by verbal and semantic language of Quran in its early ages met its perfection by the advert of Sanai( the sixth century) and mysticism. The Quran has its effect in many ways including lexical, propositional, inspirational, reportorial, allusive, paraphrastic, illustrative, comparative, methodical and multilateral. This paper studies the lexical effects which consist: borrowing, translation and divisible resultant. Here the lexicon is considered by its general concept to include simple and compound constructions as well as equivalents and idiomatic expressions. We mean simple construction as “lexism” and compounds as noun+ adjective, noun+noun, synonyms and antonyms. The equivalents are considered the Persian render of simple and compound Quranic construction. Quranic equivalents are accepted by the condition of having a proportion in the same poetic line, the former or latter lines or the topic of the poem. We can conclude that the effect has developed gradually and has its climax in the sixth century poetry. So it has double effect on the richness of poetic and religious language of Persian poetry.

Ferddowsi’s Shahnameh reflected the history and culture landscape of Iran and has been under consideration different tribes in Iran, one of the tribes , looked respect are Kurd people. Kurdish poets, parts of the Shahnameh epic works to translate or to recreate it according to their living environment, have written in Kurdish language. One of these works, verse of Zahak and Kaveh Ahangar Kakavand’s work – a poet of the twelve century and early thirteenth century AD – is a free translation of the Shahnameh, which can take into account. This article is part of a verse that did Kakavand – King Jamshid – compared with the Shahnameh, and then characteristics of this effect are discussed. Ferddowsi’s Shahnameh reflected the history and culture landscape of Iran and has been under consideration different tribes in Iran, one of the tribes , looked respect are Kurd people. Kurdish poets, parts of the Shahnameh epic works to translate or to recreate it according to their living environment, have written in Kurdish language. One of these works, verse of Zahak and Kaveh Ahangar Kakavand’s work – a poet of the twelve century and early thirteenth century AD – is a free translation of the Shahnameh, which can take into account. This article is part of a verse that did Kakavand – King Jamshid – compared with the Shahnameh, and then characteristics of this effect are discussed.

"Habsiyeh” is a kind of poem written by a poet in prison to represent its sensory, spiritual, epistemology interactions, which are involved with its imagination to show his threatening  position in prison by using a special language. The prison “landmark” either draws the poet to the threatened body and mind, or forms the cognation in which the "prison" is a "supernatural". prison discourse is formed in the poem  according to his related social affairs and the world. Accordingly, in explanation of the poem of “Habsiyeh”, we face with two types of prison discourse which at first is pre-modern world poet whose poem confirms the governing of the social and political powers, and the second is poet representing of the contemporary “Habsiyeh” whose poem is against the power and in a context of resistance literature. In this article, by using a critical discourse analysis method and with special attentions to Laclau and Mouffe points of views is tried to investigate two prison discourse in the poetry of Masood Saad  and also “Habsiehs” of another two contemporary poets known as FarrokhiYazdi and Bahar to reveal their discourse circumstances. In the traditional discourse of “Habsieh”, fanaticism is the core of this discourse. The elements that are articulated in this discourse, represent the poet's worldly life as a symbolic structure, social acts involved with the governing power.  But in the modern “Habsieh” poets, prison discourse is a political protest; therefore, the core of political protest is articulated by elements such as law, liberty, struggling and constitutionalism.

To understand the rhetoric of Persian language and to recognize its capacities in expressing meaning, its syntactic structures should be initially studied and analyzed. It is only possible in this way to know how a particular concept and in what structure it should be expressed. "Restriction and bound" is one of the concepts has various syntactic structures in the Persian language. This variety of syntactic structures expresses the high capacity of syntax in Persian language to induce rhetoric intentions and creating a perfect conforming between the form and the language format with the desired meaning and purpose. In this regard, it has been tried in this paper, relying on Saadi's words, to identify all the facilities and capacities of Persian language in expressing the restriction and to propose a distinct classification for them. The results show that all of the facilities express the restriction in Persian language can be divided into two general categories: 1) The metalinguistic process, which has no specific lingual sign to be appeared in the objective chain of language; "stress" is the only capacity of this process. 2) The objective factors and signs of language; syntactic structures such as "attributives", "exceptions", "displacement of components" and "use of special constraints" are subsets of this category

One of the new theories in field of linguistics is environmental linguistics, that addressing to the relation of thinking, language and the way of human interact with surrounding environment. Environmental linguistics emphasizes that language structures play a significant role in creating environmental degradation. So, mystics are searching for stories, means useful mental models which can correct and reconcile human communication with nature. Because the mystics have a significant relationship with nature, the authors of the article reviewed the works of Boghli Shirazi, Baha Valad and Molavi from this perspective.
The result of this review suggests that in mystic language, linguistic patterns can be developed as a useful model for the community, with the goal of introducing the universe and ontology of mystic, it can be used as a tool for solving environmental problems, in order to prove its effectiveness