سوسن جبری

Nowadays, literary sociology theory, as an appropriate mechanism for recognition and social and cultural analysis, has been considered by literary scholars. Among the many works, stories are more inclusive of various social issues that can be studied more deeply than the writer's community. In the meantime, the titles of the stories as the first sign that the reader is encountered, reveal the secrets of the quality and content of the work, the thoughts and feelings of the author, and especially the environmental conditions of the creation of the work. Hence, the titles of the works represent both emotional, social, historical, indigenous and climatic situations and in a wider range of metaphors, metaphors, metaphors, allegories and compositions or symbolic phrases that convey their creator's feelings, thoughts and beliefs to the audience.The question of this research is that what the social conditions surrounding the creation of the work have had in the title of contemporary stories from 1941 to 1978?In this research, we have analyzed the titles of Persian stories from 1953 to 1978. The research method is a descriptive analysis which is done as a library method.

Review:

Much has been said about contemporary fiction and the examination of various aspects of its long and short stories.  Sometimes the works of a storyteller and sometimes periodically or stylistically examine.In general, there has not been an independent research on the topic of "title" of Persian stories from 1953 to 1978 with a sociological approach.

In reviewing about 1200 of the titles of stories written in the years (1953-1978), we find that bitter streaks of despair, tyranny and repression of the coup of August 1953 (1953-1963) are seen in the story plans of post-coup years. In the second period (1963-1978), reactions to the sudden arrival of modernity and its influence on the social structure of traditional Iran are evident. The findings showed that the titles of the stories were influenced by the social conditions of the creation of the work following the plotting of the story in these two historical periods.

Chaos and order are dual opposites of meaning production in Yuri Lutmann's cultural semiotics. Order is a positive and constructive thing that, by being in the interaction of chaos, which is a negative and destructive thing, causes the production of meaning and the creation of complex concepts. This article aims to make a comparative reading of Reza Ghasemi's novel The chahe Babol and Baha Taher's Vahei Ghorob based on the pattern of chaos and order by Yuri Lutman with a descriptive-analytical approach.The results of the research indicate that the authors have expressed their inner feelings in the structure of fictional characters in dealing with the new atmosphere and different culture based on chaos and disorder in the text of the two novels Chah Babol and Vahei Ghorob.Eternal turmoil and butterfly wing movement make events in these novels nonlinear and events based on uncertainty; In fact, any complex phenomenon, such as fear and disorder, is affected by other events.These events are things like: eternal turmoil, pre-order chaos and post-order chaos that cause changes and turmoil in the heart of the text and fictional characters. What is very similar in the two novels is the eternal turmoil, the main basis of which is fear and confusion, and the butterfly wing movement is the main difference between the two novels, which has become more frequent in the novel Chah Babol due to different time periods.

Yuri Lutman has defined cultural semiotics based on interactive confrontations in three patterns comprising; "nature and culture", "chaos and order", and "insider and other". His cultural semiotics has been able to interpret the connection among special cryptographic structures in a confrontational-interactive system. Lutman has depicted the influence of nature, culture, and their codes on the characters and their actions in the three above-mentioned models. The purpose of cultural semiotics is to study the intercultural relations of the confrontational-interactive system for the "nature and Culture" pattern, which explains the dominance of the insider culture and its cryptocurrencies against the uncultured ones or other cultures. Novels targeting immigration are a good subject to study the notion of confrontation, interaction, the obstacles by nature, culture, and their mysteries. The current study has investigated the basic components of the character construction and their actions in the novels "Hamnavai Shabane-e Orchestr-e Chobha" by Reza Ghasemi and "Vaha-e Ghoroob" by Baha Taher based on the "nature and culture" pattern by Lutman in a descriptive-analytical method. The purpose of this study is to explain the position of characters and their actions based on the intercultural interaction of origin and destination culture in the studied novels. As presented by the results of the study, these two authors have preserved their own culture in the turmoil of character immigration to the host culture based on the components of nature and culture. More precisely, the novels of these two authors is in alignment with the "nature and culture" pattern with respect to the social components of gender, marriage, and domination of power (murder). The spatial and atmospheric texture of "Vaha-e Ghoroob" is consistent with the pattern of nature, but the novel "Hamnavai Shabane-e Orchestr-e Chobha" converges more with the pattern of culture.

A story is an allegory made to give meaning to a collective experience with the aim of extending its generalization as a comprehensive understanding of that experience. The question of the current research is, what cognitive consequences does the application of the story with its comprehensive generalization ability and practical capabilities have? Examining the causes of generalizability in language and narrative elements in Kalileh and Damneh, Marzbannameh, Golestan and Baharestan show; the language is made up of: commonly used, simple and general meaning words, small noun groups and short sentences. The narrative structure of the story is small and simple and complete, character types are processed by using common nouns and adjectives. Events and few incidents that are included in the verbs of very short sentences. The scene is often processed with general and vague adverbs of time and place. The omniscient narrator includes the general theme of the story at the peak of the narration; therefore, due to its language and structure, the story has become so generalizable that its examples can be generalized to all people in all times and all places. In addition, the generalizable narrative and linguistic features have given practical capabilities to the story. Including; meaningful ability, oral transmission ability, conceptualization ability, ability to apply metaphorical elements of narrative, ability to accept broad implicit meanings, ability to give meaning to experience, ability to imagine creatively, ability to persuade, role play The adaptability and capabilities that have provided the grounds for its widespread use, and its widespread use has some cognitive consequences. Including; Holism, homogenous identity, persistence of beliefs, reductionism in cognition, one-dimensional view of phenomena, absolutism and mental prejudices.

Cultures have heterogeneous and contradictory demands on each other in the model of Lutman's own and another's. Immigrants have a confrontational or interactive or accepting approach to the "unfamiliar" culture in the face of these approaches. Lutman explains the cultural interior and identity of the immigrant or immigrant writer and categorizes its codes, which are now commonly called Lutman's role models. The research on the migration novels of Reza Ghasemi (The Babylonian well and the Verdi sung by the Lambs) is based on Lutman's cultural semiotics, using concepts such as astrology (structural inequality, border, center and periphery), cultural duality (marginalization) and cultural shocks. The result of the research shows that cultural codes and symbols on the border, structural inequality and the center indicate the relationship between different texts and spaces, which has caused the defined border to prevent the intersection of one with the other. In fact, Ghasemi was able to apply the necessary filtering and protect his own culture within the border from "foreign / other" interference. In general, Reza Ghasemi has preserved his own culture in dealing with another culture despite the contradictions and contrasts of his own culture and the other, and has kept the other outside the boundaries of the components of his own culture, although this view is not absolute

This study does an archetypal reading of Ghesehaye Irani and examines the process of individuation and how things that form the process happen. The question is how in such a process the hero gets rejoining with anima and animus. Analyzing the content of the Ghesehaye Irani text, first we found the manifestation of archetypes, and then the two-stage nature of the process of individuation - which falls into two categories of Wisdom-driven and power-driven - became known. Findings show that there are complicated links between the hero’s ego, or the conscious part, and unconscious parts such as anima, animus, the wise old man, and the shadow. The shadow is of the same nature as the hero, and the unknown, repressed, and challenging part of the psyche. Things that happen in the process of individuation are based on challenges caused by the shadow for the hero. The tales with their bipartite and sometimes epizod structure go through two stages. In the first stage, the hero’s effort to join with anima or animus. This symbolizes socialization of the individual in the first half of life. In other stage of rejoining, the hero’s join to anima and animus runs up against problems, and to get rejoining with them, he has to have a decisive battle against the shadow. At this point, there are female and male narratives of the realization of individuality. In the female Wisdom-driven narrative, the hero triumphs over the shadow with the guidance and assistance of the wise old man, and gets rejoining with animus, often forgiving and accepting the shadow after he has defeated it. In the male power-driven narrative, the hero still has the guidance and assistance of the wise old man, yet, relying on his power in a head-to-head battle, overcomes the shadow and often kills or drives it away.

Title is one of the main pillars in a literary work, a base which, if chosen correctly and thoughtfully, will have a significant impact on attracting the audience. This is certainly more prominent in fiction; the proper choice of title from an aesthetic and literary point of view, can highlight the coherent structure of a work of fiction. However, such studies have not been conducted comprehensively on the titles of Persian stories. In this article, based on library sources, the aesthetic function of the titles of 60 Persian novels written between the years 1953 to 1978 are examined and analyzed concerning grammatical superstructure, sounds, words, music and imagery. The research results show that, since the combination and collocation of words has a more effective role in the association of emotions and the meaning; most of the titles have been selected in combination which are either additional or joined with the preposition and. In the titles, phonemic combinations of the letters produce musical rhythms that seem to have been created by the authors to induce specific meanings. Alliteration and repetition, among figures of speech,  and   synecdoche and allusion, among figures of thought, have been used more often. Furthermore, the use of metonymy and metaphor is more prominent than other devices.

The signs of collective unconsciousness appear as archetypes in literary works including myths, tales and legends. The question is how to look for such archetypes. Indeed, efficient methods are needed in this regard. There is also a need for a clear understanding of archetypal identities to recognize the self of tale characters by using the morphology of tales. In this study, bold archetype representations are uncovered by  analyzing mythical and symbolic backgrounds. As many as 97 Iranian stories were studied for old wisdom representation. At first, the self-characteristics, selfishness, guidance and generosity of old wisdom representations were searched in the text. The findings reveal that such characteristics exist in such characters as phoenix (for 41 times), horse (30), demon (9), fairy (4), gazelle (2), old lady (2), lion (2), dog (2), old bird (1), golden bird (1), eagle (1), crow (1), snake (1), talking bird (1), sugar bird (1) and ant (for 2 times). Accordingly, it is possible to find the characters which represent archetypal wisdom. The characters who have selfishness, guidance ability and generosity help the readers. Phoenix, horse, demon and fairy, which have mythical and symbolic values, are found to have the highest frequency. In fact, they convey a profound content of archetypes. Lion, dog, golden bird, eagle, crow, talking bird are the independent characters of the tales.

Is art created consciously or unconsciously? This question always sparks controversies amongst artists, researchers, philosophers, and psychologists. Nonetheless, as an intricate phenomenon, art demands both consciousness and unconsciousness to come into existence, and manifest attributes of both realms. Poetry is the most prominent artistic form of the ancient world, and to our predecessors, thinkers, Sufis, and poets were educators. Therefore, the vast portion of the ancient literature is didactic, and poetry has been used as a rhetorical devise to effectively convey the poets’ beliefs and instructions to the audience or the readers. Needless to say, didactics requires forethought and conscious thoughts of the educators on what they aim to teach. Masnavi</em> is amongst the greatest Sufist didactic texts. Surprisingly, some believe that Masnavi</em> comes from a free stream of consciousness and, as a result, they describe Masnavi</em> as a chaotic, disorganized and opaque work. Chaotically, he delivers an ordinary tale by means of a chain of semantic and sentimental blocks (Abdul-Hakim, 1977). And sometimes researchers have doubts and offer contradictory observations; … Rumi has surrendered himself to inspiration to see where it gets him. However, this does not imply that Rumi does not engage his conscious thoughts. As he has mastered several levels of knowledge simultaneously, ‘no task stops Him from doing other tasks’. The proof is that he returns to speech whenever he wants (Zekavati Gharehguzlu, 2007).

War and captives subject influence on Elements Story of Manzendeam. The results indicated that the theme of Manzendeam based on the narrator's belief that she have to defense of the country. The events of the novel linked with the historical events. Novels full of internal, external, mental, physical and emotional conflicts. Unpredictable events full the plot. Conflicts have fundamental role in the plot structure and create most difficult challenges in the middle of life and death The events in war and captives are naturally suspension. Crisis are coming and continue each other every moment. War have been transformed the characters to the ideal mans. Then it represent them as the symbol of Iranian warriors of land. First-person pint of view is remarkably unable to transfer of complex emotions, full of terrible fear with hope and certainty of salvation. The scene display the towns in war, Bombardments and terrible torture. Plot is full of events. Captives dialogues’ bringing news of the war are motivated empathy and stability in captivity and include the bulk of the novel. As a result, can say: The elements story of Manzendeam create with the nature of war and captivity not by creative mind of the writer.

Why the language of ancient Sufi texts has such a remarkable persuasion power. For example, why does the Sufi’s interpretation of Meibodi, have such a lasting impact on its audience? In this study, we investigated the messages of Sufi’s interpretation, by applying the theory of persuasive communication of Atollar Binger's social psychology and analysis content. The findings indicate the existence of a five-fold scheme in of Atollar Binger's theory. Principle One: The Meibody Response Stimulus Plan first puts forward its idea. Then, by affirming the verses, hadiths, traditions, sayings of the elders of religion and the Sufi elders, they associate it with the past teachings and values of the audience. Principle Two: Reasonableness and Fairness. Principle Three: Expressing the needs of the audience. Principle Four: Incorporate group norms and social interests of audiences such as the need to accept others, the need to internalize human values, the need to be respected, the need to belong to the group, the need to protect human rights. Principle 5: Messages are formed according to the personality characteristics of the audience - their - urban middle class. Therefore, the creative application of persuasive methods has the potential to influence audiences. Because empathy makes the message pleasing to the audience. As a result, responding to the immortal, timeless and impotent individual and collective needs of humans has resulted in the mystical Sufi messages of such influential persuasive power to this day.

The deep impression of Sufic prose of Meibodi is partly due to his structural innovations. This study examined compound sentences to indicate the influence of syntactic innovations and structural flexibility on meaning. The significance lies in understanding several capacities of Persian language for expressing elusive ideas. The data was gathered by systematic sampling from Kashf-ol-Asrar in order to explore the influence of structural expansion of compound sentences on their meaning. A few types of structural connection and meaning formation in compound sentences can be identified in Meibodi's prose. First, linear connection between the structure and meaning of independent coordinate sentences. Second, the connection between the structure and meaning of compound subordinate sentences. Third, cluster sentences which are a combination of coordinate and subordinate compound sentences. The evidence showed that, often, an independent sentence appears at the beginning of the utterance and some part of the meaning of previous sentences is included in the subsequent sentences in different ways, and also each sentence becomes a part of the meaning of next sentences, although they enjoy structural and semantic independence. The final meaning of the utterance is constituted in such a process of semantic interaction. Consequently, the rhetorical fruit of using such innovative compound sentences is semantic deepening and suspension, besides the aesthetic function. Thus, it can be argued that Meibodi, in addition to lucid expression of complex ideas, gives the reader a deep and lasting impression.

Significant innovations in contemporary poetry with imagination and tried to create amazing images and new compounds, the language of uniformity, and to revitalize the outside. Private contemporary poets and companion to emotions in the field of succession and deliberate deviation from the soft language of the contract ignores leading up to his word. Of course, this does not mean that any semantic field occupied language, has always been associated with beauty and success , but any change that takes place in these areas should be planned for and so it is Hdmnd as the creative process. In this way , the contemporary poets of Iran and Iraq in particular with regard to the intellectual and cultural commonalities , and is influenced by various factors in contemporary life , seeking the creation of new images and ignoring the semantic rules of the language, the way to understand the audience, stop intentional In this context it is important to note that although the two poets take advantage of the land imagery of the new techniques , often referred to their language has an exquisite effect , but when combined with the weakness and failure , the challenges of their given poems. From this perspective, based on the authors work in this research is to answer the question : which factors shared within the meaning of language, poetry vulnerable to Iran and Iraq have shown , what is ? The results indicate that extremes in tabular arrangement of words and the frequent disruption of family words , relying on stereotyped use of language, intellectual rigor Rkayyk situations and ... is The factors that the semantic field of language, aesthetic realm of contemporary poetry of Iran and Iraq are vulnerable .

Folklore Fictions such as mystery and legends contain magical elements which have been considered since further past years among people. Whereas the metaphysical beliefs provide the psyche calm, they have approved their places despite of scientific progress. Folklore Fictions are one of the most popular features of folkloric culture which has provided the suitable bed for the collective consciousness of a nation. This study approaches two layers including; deep-structure and surface structure of fiction simultaneously. The different forms of magic appear in the surface structure, while the deep structure refers to the critical method of archetype. The findings show that 89% of magical elements appear in the fictions containing the archetype of hero’s journey. Such fictions overlap with the archetypal elements .There are either white or black magic due to archetypal heroes in such fictions, their connections are as if that shadow or the black magic make conflict for the hero and the archetype of old wisdom or white magic guide the hero, in order to remove problems. Their functions are diabolical. The different forms of magic make the elements of fiction which are respectively frequent like: the magical objects, the natural elements, the human personality, the imaginative elements and creatures, the semi-human creatures, the surrounding elements of human, the pseudo-animals, semi-animals, and Satan.

Concise Writing is an important style in contemporary literature. In Western countries, this trend originated from haiku and minimalism, but in Persian poetry it has a long history and various forms. The earliest form can be seen in Gāhān in which each stanza stands by itself. A number of short poems can be traced in Manichean and Sassanid periods as well as in early centuries after Hijrah. This long history and great variety has made it difficult to classify the short poems. This article through explaining different point of views on short poems, introduces a kind of classification that falls into three groups: First, those poems like closed couplet, tetrastich, quatrain, and fragment; Second, the unprecedented poems such as now-khosravāni and seh-gāni; and Third, the poems in free forms like sketches and the unconventionals.

Rhetoricians have introduced five criteria for the identification of allusion. The aim of this study is to verify the fourth and fifth criteria and to examine their efficiency since they have caused obscurity and confusion in recognition and identification of allusions and created inconsistency between the definitions and the nature of allusions. Regarding the correctness and effectiveness of the fifth criterion, it can be said that allusion is not realized in the form of words or compound words since it involves a compound image that is essentially embodied in an allusive proposition. This proposition enjoys a prime meaning with an actual or imaginary instance and hence it paves the way for the connotative meaning. Allusions, therefore, should be called allusive propositions. Regarding the efficiency and correctness of the fifth criterion, it can be argued that due to the imaginary and pictorial nature of allusion, its surface or prime meaning cannot always be realized in external world. Therefore, the prime meaning of allusion has sometimes an external instance and sometimes an imaginary one. Hence, according to the nature of prime meaning it could be said that there are three kinds of allusive propositions: pictorial allusive propositions whose prime and connotative meanings are realizable in the external world; imaginary allusive propositions whose prime and connotative meanings are imaginable or recognizable in imaginary world; and poetic allusive propositions which contain metonymy, simile and metaphor and their prime meaning is realizable after uncovering the metonymies and metaphors. The prime and connotative meanings of this kind are realizable in the external world or imaginary world.

In order to express their view of different phenomena, authors of literary texts occasionally expand upon the meaning of signs to the extent that their meanings would undergo a transformation. These signs would then function as keywords the meanings of which sound hard to grasp. Today, a semantic study and an examination of the conceptual relationship between words and sentences make possible the objective analysis of the processes involved in the semantic expansion and metamorphosis of the signs; having studied the conceptual relationship between the signs, the researcher could then easily comprehend the attitude and outlook of the author of the text. From among conceptual relationships, Hyponymy and contrast are specifically efficient in the semantic analysis of linguistic signs within a text. In order to highlight the role of conceptual relationships in the process of semantic expansion and metamorphosis of linguistic signs, semiotics of "need" in Hāfiz poetry has been examined. Based on researches in this domain, conceptual relationships between words and sentences and the semantic affinity between "piety" and "self centeredness", "pride", "vanity", "deceitfulness" and "hypocrisy" expand the meaning of piety to an extent that it overlaps with "hypocrisy", thence the phrase "hypocrite piety." The contextual meanings of such keywords as "piety", "hypocrisy" and "need" indicate that Hāfiz, apart from his social and individual pathology of the concept of "piety," creates a complicated network of references, connotations and associations based upon the contrast between "need" and "piety." Thus, he not only expands the meaning of "need" but also creates a Hāfiz-specific concept of piety based on the semantic overlap between the concept of "need" and "ascetic poverty."

Nowadays the issue of the recognition of the history and nature of the tradition narrative in Persian language processing is necessary. In the attempt to investigate the nature of old story remains a tale of the text of the stories، the first part is focused on Balamy. processing described in the text. Feature stories fictional elements on the Balamy started writing it (352 AH)، a show that narrative began forming in the early centuries of the common language، Farsi Dari and cooked narrative elements and a Structural sophistication Balamy anecdotes on the nature of the text shows that this approach suggests a translator that are making you experience the heritage Balamy predecessors had left. So the root form tradition of story -making in ancient texts processor must be sought from the fourth century AD.

The simplest and most common definition of narrative text that tells a story and storytelling is. In the fourth to sixth centuries AH Persian prose narrative forms, many suchmarchen, fables, stories, reports, etc. is used as the border are not separately identified. The research is based on the content and validity of the classification and evolution of the works specified. The marchen is the most frequent form of narrative texts. From simple to complex narrative structure - a fictional elements - moves, and indicates the primary form, raw and without a coherent narrative literary delicacy, cooked and becomes full. Characters, setting and tone of anecdotes about the story of the ancient literature is used today. The themes in the stories of the last century as well as clear and direct as the goal expressed by the authors, moral principles. What we know today as the story elements are borrowed from the development of Persian prose fiction Drhkayt West know in the fourth to sixth centuries AH in Persian thought.

The subject of this study is to present a number of unspoken and unanswered fundamental doubts on the interpretation of the works of Abul-Fazl Rashid Ed-Din Maybodi, namely Kashf Ul-Asrar and Ede al-Abrar. These doubts have led to major challenges in understanding these texts. The challenges can be classified into two groups. The first group is the contradictions between the text and the allegations of the compiler in the prelude of the first volume, who presents his goal as an elaboration on the brief interpretation rendered by Khaje Abdullah Ansari. The text shows that the interpretation of Abdullah Ansari has not been detailed, and the attesting role of his remarks has faded away compared to the remarks of other Sufi figures. In order to explain this challenge, a number of assumptions can be presented. Initially, the prelude has been authored at the very beginning, and prior to the formation of the final text, and the long process of formation of the text and passage of time has changed the nature of the text. Secondly, mastery of sources of interpretation and Sufi texts by Maybodi has expanded the interpretations and has distanced the compiler from the initial goal and plan of the book. The other group of challenges is in regard to lack of harmony in the text. Why is the language and viewpoint of the compiler throughout the mystical interpretations in the first six volumes different to the four last volumes? In order to explain this challenge, a number of assumptions can be presented: Firstly, there might have been an interval between the compilation of the first six volumes and the four last volumes. Hence, the passage of time and gradual change in cultural, political, and social conditions have impacted the mindset and language of the compiler, leading to lack of harmony in the text. Secondly, the lack of harmony has been the result of falling fervor and dynamism of the author in the last four volumes which manifests the isolation of the compiler in this phase. Thirdly, this ten-volume book has had two compilers, with one compiler preparing the first six volumes and the second compiler preparing the last four volumes.

Translation has many different models and methods. It also serves a variety of functions, one of which founding a basis for the expression of interpretations pertain to verses, anecdotes and Hadiths. In mystical texts, the discourse is based on many verses, anecdotes, Hadiths and quotes. So, the necessity of direct citation obliges the mystic to bring the corresponding Arabic quotation beside its translation in her/his text. The great Sufies, such Abu al-Fazl Rashid al-Din Maybodi in his al-Nawbat al-Salesa Kashf al-Asrar wa Iddata al-Abrar, have applied translation not only for the necessity of evidence, but also for effectively expressing their intrinsic interpretation of verses and Hadiths. The delicacy, depth, complexity and efficiency of this kind of translation play a basic role in forming the linguistic and semantic structure of the text; the issue which is investigated in this study. The findings show that, in the mystical exegesis of Maybodi, the original Arabic form of verses, anecdotes, Hadiths and quotes sometimes were presented beside their translation and sometimes were not. Furthermore, when needed both free and word for word translations have been done. At the very beginning of translations, the planned arrangement of them shows a turn from surface meaning towards hermeneutic meaning, and then, by expansion and explanation of hermeneutic meaning, the linguistic and semantic structure of the text is formed. The author founds the expression of his thoughts within or in relation to such translations. Besides, the translation has a fundamental role in matching the intention of Arabic text with the author’s thoughts, integrating the semantic structure of the text, and increasing the depth and dimensions of the meaning. Such rhetorical functions of translation lead the translator exegete mystic to the main goal, say, expressing his mystical interpretations and thoughts in a clear and effective way.

The existence of eight imitations and five translations of Hosn va Del into other languages such as English and German shows the importance of this Persian book of verse. Many researchers have sought the sources of this work and some sources have been mentioned, but the imitation of Sibak Neishaburi from Nezami’s Khosrow va Shirin, as the most important source of this work, has not yet been mentioned. Due to the innovative mixing of symbolic story, folk tale and love story which is done by changing the names of characters into abstract concepts resulting in creating two layers of primary and interpretive meaning in the text of Hosn va Del, the similarities between the two books have not yet been discovered. The fruit of such mixing is the creation of a sufist and interpretive reading of Khosrow va Shirin (named Hosn va Del) which is a love story at the primary level and is very similar to Nezami’s Khosrow va Shirin. At the interpretive level, it is a mystical book of verse which narrates the story of the Progression and reaching Knowledge and Immortality. This article tries to study the similarities between the two stories through comparing the texts of these two books and using the method of textual criticism. The results show that the love between lover and beloved is common between the two books. The structure and organization of the two books are very similar and there are very causes and motivations in the plot of the two stories. Also, more than half of the characters of the two stories are of common characteristics. There are similar events as well as places in the two stories. Also, many similarities can be seen in the content of dialogues. The results of this study show that Khosrow va Shirin is the main source of Hosn va Del and Sibak Neishaburi is among the imitators of Nezami in composing love story.