سید علی سهراب نژاد

The social environment is the most effective factor in the emergence of literary works, especially mystical literature. Mystics believe In order to reach the lofty peak of knowledge, a person must go through the authorities completely. In fact, mysticism is a defense mechanism so that poets and writers can overcome their internal inflammations and anxieties caused by the political-social conditions governing their ecosystem. In both poetry divans, the poet's attitude and knowledge have been refined, along with the use of pleasant and unpleasant concepts, to present a favorable image of the goals and characteristics of the era with a library study and a descriptive-analytical approach. In the shadow of Imad Faqih's attention in the 8th century, the place of asceticism and humility has been valued with 71 frequency in the structural concept and authentic mystical meanings.While in the Safavid era, when the rulers of that time focused on promoting the Shia religion, Shaukat Bukhari has used the position of asceticism and submission with 48 frequencies to express political-social issues. In fact, Imad Faqih's poetic language has acted like celestial poets in expressing mystical themes; But Shaukat Bukhari has used mystical themes as a tool to express her social-political developments, thoughts and inner experiences.

Poets create innovation by using various methods in fixed and single concepts and distance their words from everyday and normal language. This importance convinces the audience's sense of aesthetics and the ease of the process of transferring single concepts to the audience, which is considered in formalist criticism. Based on the basis of this criticism, adding rules is one of the main methods of literate people to distance speech from vulgarity and common language habits. In this essay, Amir Khosro's main base-adding techniques to avoid the conventional relations of everyday language in Khamsa have been investigated and analyzed.

The present research was carried out based on library sources and descriptive-analytical method.

Amir Khosro Dehlavi has prevented vulgarity of speech in Khamsa with the purposeful and conscious use of two base-enhancing components, i.e. phonetic and lexical balance.

The main manifestations of phonetic balance in this work are: phoneme repetition and harmony; Also, examples of lexical balance include the use of puns, repetition of words, rejection of al-Sadr Ali al-Ujjaz and rejection of al-Ujjaz al-Sadr, sajja, rhyme and row. The most important goal of the poet from the use of these two components can be seen as accelerating the transfer of lyrical, educational, religious, etc. content to the audience through strengthening the aesthetic dimensions.

So far, various theories have been proposed in various scientific branches on the category of personality, among which are the opinions of Jean Shinoda Bolen. Taking an archetypal approach and considering Greek myths, he has represented new dimensions of each character based on their attributes. Bolen's comments have a favorable impact in providing a new reading of fictional texts and the characters present in them. Accordingly relying on library sources, taking a descriptive-analytical method, and considering Jean Shinoda Bolen’s archetypal views, the personalities of Yeki Boud Yeki Naboud (once upon a time) by Mohammad Ali Jamalzadeh were examined. The archetypal characteristics of the characters are considered with regard to their actions and psychological functioning, which can reveal the hidden layers of their characteristics. The results of showed that the influence of the archetypes of Hades, Zeus, Hephaestus, Dionysus and Hermes have been in the inner and outer world of characters, and the result of this influence has been sometimes positive and sometimes negative. This shows Jamalzadeh’s belief in the grayness of human personality and removing the absolutism (good or bad) in dealing with others. Moreover, it was found that Sheikh Jafar has the most complex personality in the story of the political man, who shows signs of the archetypes of Zeus (desire for power), Hermes (trickster and messenger), Hephaestus (inner dissatisfaction, weakness in political skills, etc.). These are evident in his actions, words and thoughts. Other characters are created and processed quite simply and predictably.

Muhyiddin Ibn Arabi (538-638 AH), a great Islamic mystic, has introduced certain ideas into Islamic mysticism in the sixth and seventh centuries AH. Some of these ideas, under the title of Unity of Being, have a special character after him in many mystical texts. Shāh Da’ei Shirāzi (870-870 AH), a poet and mystic of the ninth century AH, is one of those who has received many influences from Ibn Arabi. In his commentary on Golshan-e-Rāz by Sheikh Mahmoud Shabestari, entitled Nasa’em Golshan, he has dealt with Ibn Arabi's thoughts. In addition, there are many aspects of Ibn Arabi's thought, especially the issue of the Unity of Being, in the margins of his Divan and Settah. This research has been done by descriptive-analytical method. The information and data have been collected using the library documents and books. The result obtained from this research clearly shows that Shah Da'ei borrowed his idea of the Unity of Being from Muhyiddin Ibn Arabi and simplified it by using his allegories and explanations.

Poets innovate in fixed and repetitive images by using a variety of linguistic methods, distancing their language from vulgarity. In formalist critique, linguistic and semantic aberrations are among the main methods of literati to turn words away from vulgarity and common linguistic habits and are thematic tricks. In his works, especially Layla & Majnun, Amir Khosrow Dehlavi has prevented verbal vulgarity with purposeful and conscious aberrations and has created an innovative poem with new themes. Thus, this descriptive-analytical paper investigated the main differentiating techniques of Amir Khosrow to escape from the rules and conventional relations of everyday language in the Layla & Majnun. The research results show that the main manifestations of abnormality in this work are: "simile", "metaphor", "personification" and "irony". With the help of simile, the poet, by creating a conscious instability in the meaning of the signs, has increased the dynamics of linguistic signs in his poems and has drawn his own independent literary policy towards Nezami Ganjavi. Also, through the use of metaphor and personification, referential and explicit meanings of words have been discredited and new literary meanings have been replaced. In addition, Amir Khosrow has often used the irony which has been effective in reducing literary creativity and the role of the audience in reading the text and his position in the process of discovering abnormal relationships.

Nizam al-Din Mahmud, nicknamed Da'i Ali Allah, nicknamed Da'i (810-870 AH) was one of the poets and mystics of the 9th century of Hijri, whose lineage reached Husayn bin Ali bin Abi Talib through nineteen intermediaries. He was both a scholar and mystic. The works that remain in memory of him show two aspects of him. In examining his works, the influence of Maulana Jalaluddin Muhammad Balkhi and Ibn Arabi is clearly evident. In addition, he wrote a book titled Nasayem Golshan, which is a detailed description of Golshan, the secret of Sheikh Mahmoud Shabastri. In addition to relatively many works that have come down to us from him, Divan has a collection of poetry that amounts to thirteen thousand verses. This diwan was printed and published by Seyyed Mohammad Dabir Siyaghi in 1339 and 1349 A.H. in two volumes. The first volume of this work is a collection of six poems in the form of Masnavi, which includes his most important thoughts. In this article, which has been done in a descriptive-analytical way and we have used library sources, we intend to introduce Shah Dai Shirazi's life along with his life. The results obtained from this article show that Shah Da'i is one of the poets and mystics who were influenced by Ibn Arabi, and his poetry, which is sometimes written in symbolic language, has significant innovations that preceded him. It was not common in Masnavi Sarai.

Leyli and Majnoon are among Ganjavi's nizami poems that have had a great impact on the storytelling of Persian literature and have been imitated many times. In this research, using analytical descriptive method, Ganjavi's nizami narrative models in Leyli and Majnoon's narration have been studied. The results show that the main confrontation in this work is the confrontation that arose from the society of the age, a confrontation that is rooted in ethnic nervousness. The actions of the actors in this story are also significant based on this confrontation. Madman is a dynamic character who changes and transforms, but Leyli has a static personality. The protagonist of the story is insane, and those around him also play a supporting role. The main deterrent to this story is Leyli's father, and the value object is love, and for this reason the story has found a mystical color and smell.

In this article, we try to show that defamiliarization is basically a philosophical approach to phenomena, especially in the field of language, literature and poetry. In this regard, Derrida's deconstructive approach, as a difference, is more closely related to the concept of Shkolovsky unfamiliarity. Basically, our mentality is a matter of language, and in the meantime, poetry is the crystallization of this kind of mentality. Hence, it can be said that mentality is constructed in the context of language, and in the thinking of poststructuralists such as Barthes, Deleuze, Derrida, this construction is always formed in the form of language. What is particularly important about Derrida's difference and, more generally, about Shkolovsky's unfamiliarity with language, is that we can never say that we have reached the full meaning of a word or sentence or phrase, and so on. Meaning is never fully present in a world. However, in this article, we deal with deviations as defamiliarization in various forms, and suffice with one of these abnormalities, namely the phonetic type, and deal with examples of contemporary Iranian poets from the traditional and romantic spectrum in confirmation of this kind of abnormality. . The poets discussed in this article are Simin Behbahani, Malek e Shoaraye Bahar, Fereydoun Moshiri and Hamid Mossadegh.

In this paper, the comments of Professor Amir Hassan Yazdgerdi on the Nafsat Al Masdoor has critiqued and analyzed: Despite the scholarly careful consideration of Professor Yazdgerdi, some points ,although limited, remained unclear in this book, which checked in this paper. Some times, Persian and Arabic vocabularies of text has criticized and analyzed; In some cases, Arabic poems translation and some times quranic verses translation have analyzed; Correction ofsome vocabularise or phrasses has also discussed in this paper. After notice any above points from book Nafsat Al Masdoor, comments of the deceased proffesor is mentioned; then is addressed to enlightenment about ambiguities as the main purpose of this article by description and analysis method and by citing the valid sources and necessary arguments. The necessity of conducting this research is the imortanceof Nafsat Al-Masdoor as a important literary work for the friends literature and researchers. This book especially is one of lesson sourses for PhD students inthe field of Persian literature.

Amir Khosrow Dehlavi’s Majnoon and Leily is one of the poems written after Nezami’s Leily and Majnoon. The core themes of this work are different from the narration of Nezami’s Leily and Majnoon, which shows that Dehlavi was not completely faithful to Nezami’s narrative. This study investigated the speed of narration in this poem using descriptive-analytic method. This research utilized the model that criticizes Gennet's views based on classical texts of fiction poems presented in one of the research articles. The results showed that the core themes of the Dehlavi’s narrative were less than the ones in Nezami’s narrative. Most kernel features of the poem under analysis are reported at high narrative speeds, while only three kernel features are reported at slow narrative speeds. In these three themes, characterization and the appropriateness of the environment, time, etc. are processed in light of  Majnoon’s character. The richness of the text is placed in the same three themes that are interrelated in such a way that the first leads to the second and the second leads to the third. It seems that Dehlavi's main goal was to process these three themes in his work and the other themes have been mentioned upon necessity and in order to observe the causal plot of the story.

A critique to annotation of the Nafsat al-masdour (1) Abstract In this article, the correction and explanations of Professor Amir Hassan Yazdgerdi on the Nafsat Al Masdoor has critiqued and analyzed: Despite the scholarly comments of Professor Yazdgerdi, due to the weight and complexity of the text of the book, some points remained unclear, which were criticized and reconsidered. Sometimes, the description of Persian vocabularies and sentences was criticized and researched; In some cases, Arabic and Quranic words and phrases were discussed; Correction of some words was also criticized and evaluated; Marking, which sometimes result in misinterpreting the meaning of the sentence, was examined and corrected;The final point of this article is about the incorrect reference of many verses used in the text ofthe book.In the mentioned topics,first , the desired article is discussed; after that, the comment of the honourable commentator is mentioned, then by the description and analysis method and by citing valid sources and expression of argument, the meaning of preference and correct aspect of the article is explained as the main purpose ofthis article. The necessity of conducting this research is the valuability and prominence of the text of Nafsah al-Masdoor as a lesson source for PhD students in the field of Persian literature and to eliminate some of the problems in correcting it. 

Symbolic addition is one of the most important and beautiful aspects of speech. Some of the literary works have achieved specific attraction by using symbolic addition. Persian writers have used this kind of speech in the best way from the beginning to the current time. In this addition, people and some living things are so specific and unique in some features and characteristics as if those features are recognizable for people just by their existence. Therefore, those features are regarded as a symbol for people. In symbolic addition , a person's or an animal's name is mentioned, then its function or its feature is attributed to the person or animal. In other words, addition is a symbol of a noun to which another noun has been attributes. For example, in two compounds of " the scale of justice" and "the morning of hope" scale is a symbol for justice and morning is a symbol for hope. Some writers regard symbolic addition as a kind simile addition. Of course, in this study, the researcher by analyzing and reviewing the theory has found that the symbolic addition can be divided into four types based on its usage in Persian poem and prose. In this research, symbolic addition by its nature, its connection with poetic images , similar cases and different kinds of division has been reviewed completely based on descriptive-analytic method and according to speech grammar. This study has also used the most beautiful symbolic additions of  different poets  in different periods

The innuendo is one of important methods of expression in all languages and it has used widely in language and literature of all peoples، including the Arab nation. considering that the Quran speaks in the language of their people، has benefited from all of expressive elements especially innuendo for expressing different purposes. In this article، we analyze six innuendoes in the Holy Quran; the innuendoes that some translators or interpreters have interpreted it so that most Persian speakers can’t understand the meaning of the verses by studying them. After mentioning the verse، we''ve expressed commentators'' comments about the ironic phrases in that verse، thenby“describing and analyzing’’ method،andaccordingto reliable sources and review of Fouladvand and Ayati''s translations، the preferred mean of ironies is explained as the main purpose of this article. The necessity ofthis research is the failure in the translations of some commentators، pay attention to only literal meaning in some contemporary translations and sometimes lacking of full understanding ironic meaning of the verse.