عبدالرضا مدرس زاده

 The aim of this study is to identify the personality type of Mohtasham Kashani, the renowned 16th-century poet, through his poetry, based on the Myers-Briggs Type Indicator (MBTI).

 This research employs a descriptive-analytical method. The theory of the sixteen personality types developed by Myers-Briggs, based on Carl Jung’s psychological theory, is used as the theoretical framework for analyzing Mohtasham Kashani’s personality. Data was gathered from his poetry and analyzed according to personality psychology indicators. The study examines various dimensions of personality, including "Introversion-Extraversion," "Sensing-Intuition," "Thinking-Feeling," and "Judging-Perceiving."

 The analysis of Mohtasham Kashani’s poetry reveals that his personality aligns with the ESFP type. This personality type is characterized by sociability, extroversion, emotionality, and a focus on present experiences. Mohtasham Kashani’s poetry demonstrates a strong focus on emotions and sensory experiences, with less inclination toward long-term planning or logical thinking.

 The results indicate that Mohtasham Kashani possesses an ESFP personality type, marked by extroversion, sensitivity to the environment, emotional depth, and flexibility. This personality type can provide insights into his behaviors and social interactions. Additionally, this analysis offers new perspectives in the field of literary personality analysis and highlights the importance of modeling the personalities of influential cultural and literary figures.

After the Islamic revolution, tremendous changes occurred in the content and intellectual structure and style of thinking of many contemporary poets, including lyricists. The changes that can be clearly seen in this type of literature in its all-round dimensions in the influence of political, social, cultural, economic, etc. issues. Therefore, Ghazal took a new style in the new intellectual atmosphere by distancing itself from its classical content, i.e. the mere expression of romantic themes. In this essay, we aim to achieve a comprehensive analysis of the content of these poets" poems and the intellectual style of the Islamic Revolution"s poetry by examining the lyrical works of the most prominent lyricists after the Islamic Revolution.

The study method in this article is descriptive-analytical in the way of library studies. In order to achieve the goals of the research, fifty ghazals of six prominent contemporary ghazal poets, Mohammad Ali Bahmani, Hossein Monzawi, Seyyed Hassan Hosseini, Hoshang Ebtahaj, Fazel Nazari and Qaisar Aminpour, have been analyzed in terms of intellectual style, and in order to clarify the discussion among the content indicators. And the main idea that is expressed in the sonnets of these poets, we have also presented graphs and statistical analysis.

Ghazal, as an immortal and always-considered form, has also received a lot of attention among poets after the Islamic revolution. With the difference that the approach of contemporary ghazal writers, especially poets after the Islamic revolution, to this format is not only a lyrical and romantic approach, but the themes of many religious, epic, social and protest themes are reflected in the form of ghazal.

Contemporary ghazal writers, especially in the era after the Islamic revolution and events such as the imposed war, have used this format in cases other than romantic ghazals, with the basic changes in the theme, theme and intellectual style of the ghazal. Protest and social approaches are more visible in Qaisar Aminpour, Seyed Hassan Hosseini and Hoshang Ibtahaj"s poetry, and although poets like Hossein Monzawi and Fadel Nazari have paid attention to the social self, the individual self is still more prominent in their poetry.

Didactic or moral stories in Sa’di’s Boostan, like many other episodic stories in Persian texts, play a facilitating role in understanding the poet's mystical, social, and artistic ideas. In the Sa’di’s Boostan, there is a story titled “Tadbir” (plan) in the delay of politics. In this story, we see a model that is consistent with the model proposed by Tzvetan Todorov for story analysis, and the result can be generalized to most of Boostan's stories. Todorov believes that there is a similar structure in the narratives, which include; The initial situation, the entry of the factor that disturbs the balance into the narrative, the disturbance of the balance, the attempt to establish the balance, and as a result, reaching the final stable state, which he interpreted as the transition part. In this article, which is written in an analytical research method, we intend to answer the question, based on Todorov's theory, how to solve the contradiction resulting from Sa’di’s consequentialism in the story with the external realities of society, and how the story in question can be analyzed based on Todorov's model. The result is that by creating a coherent structure in the story, Sa’di was able to accept his ideas and opinions to the reader despite the contradictions and contradictions with the real world and give the victory vote in the story in favor of whoever he wants.

With the discovery of iron, in addition to material changes, the intellectual and cultural order of the world also undergoes a transformation. The value, depth, and consequences of this discovery are a modern phenomenon with features  of the age called iron, which creates its own myths and heroes. Iran, as one of the oldest ritual civilizations in the world and the first centers to achieve iron smelting and extraction technology, is not without its cultural consequences. The most famous Iranian hero of this era is Kaveh Ahangar, who appears in the dark and turbulent millennium of Zahaki (Iranian version of the beginning of the Iron Age) and provides the ground for the re-creation of the drinking world by Fereydoun. Despite his reputation and constant influence on Iranian thought, Kaveh is not reflected in Iranian patriotic and religious myths. This has led some scholars to consider him a historical figure made by the writers of the Sassanid theologians, which is certainly unbelievable, because it is incompatible with the intellectual foundations of prehistoric peoples in understanding existence. Kaveh, like other mythical characters, has symbolic motives and metaphorical features. In this research, using archetypal analysis, comparative attitude and library method the researchers  try to study the mythological themes of Kaveh's mediation in Shahnameh and present new results by introducing new ideas to show that Kaveh  is , a prehistoric hero who, for some reason, disappears from the scene of Iranian mythology.

the word speech in this title show that speech as the main product of language was the most important feature of Saadi's art. In Saadi's poetry and prose, there are many privileges compared to other speakers, and the sum of these privileges has led to the formation of Saadi's works of art. Saadi has a complete mastery in using rhetorical elements and has worked with the principles of Persian rhetoric in a way that maintains the rhythm and balance between the simplicity and artistic nature of the language. The reason why Saadi's poetry and prose are named Sahl Momena is the same rhythm and balance. In this research, while focusing and reflecting on some technical and rhetorical advantages of Saadi, we try to show that Saadi's artistic mentality is directly related to his linguistic abilities.

Mohammad ibn Yusuf Ahli Shirazi is one of the poets of the 9th and 10th century AH whose poetry is similar to the Iraqi style. He is definitely one of the poets of the Shia religion, who has praised the imams of Athar many times in his poems. The stylistic analysis of his poetry as a poet at the end of the Iraqi style and the beginning of the Indian style is important from a literary point of view. In this regard, the aim of this research is to analyze his poetry on three levels: linguistic, literary and intellectual.

In this research, using the "library" method of collecting information, firstly, the Divan of Ahli Shirazi"s poems was carefully studied and appropriate and desired evidences and examples, which showed the stylistic features of his poetry in three levels: linguistic, literary, and they show an idea, it is noted. In the following, based on the descriptive-analytical method, these evidences have been analyzed. It should be noted that the version of Diwan Ahli Shirazi corrected by Hamed Rabbani (1965) is the basis of this research.

The poetic language of the Shirazi people is simple and fluent, and the characteristics of the old Persian language are rarely seen in it. Also, there is no mention of heavy and uncommon Arabic words in Persian language in Ahli"s poetry. From a literary point of view, similes, especially detailed similes, eloquent similes, and eloquent similes are the most frequent rhetorical techniques in his words. Puns and phonemes are at the top in the verbal industry. Another characteristic of Ahli poetry in the literary layer is the diversity of using rhetorical techniques. Also, "love" is his main symbol, especially in his sonnets. Sometimes the themes of Qalandari"s mysticism can be seen in his poems, which does not have a significant frequency, but it is another telling of his personality and thoughts. In his quatrains, he is close to Khayyami"s thought and emphasizes the brevity of the world, seizing opportunities and happiness. One of the other important aspects of Ahli"s poetry is dealing with Shia themes and praise and praise of Shia imams, or writing elegies for them, especially in the mourning of Imam Hussain and the events of Karbala.

In general, it can be said that Ahli Shirazi"s poetry is significant in terms of dealing with various subjects and themes, from earthly love and male lover to Sagiyeh poems, Qalandari mysticism, religious and Shia themes, and the events of Karbala. Also, simple language and clear rhetoric, far from complexity, are other features of his poetic style.

Ritual Literature is inextricably linked to the Persian thought and culture, and ritual Poetry is an important part of Persian Literature, and the poets give it special importance and prestige. It has a special position and background in Persian language. Ritual Poetry is a kind of poetry which is composed on rituals and many occasions in individual, social, national, religious and regional life. This kind of poetry contains the praise of the Holy Prophet of Islam (PBUH), Imams (PBUT), etc. With the victory of the Islamic Revolution, Ritual Poetry enters a new and unprecedented stage, and poets, due to the religious and epic nature of the revolution, turn to the Ritual Poetry in a different way than in the past. This study aims to investigate the position of the Ritual Poetry in the Divaan of one of the well-known poets of Guilan province, Hazeen Lahiji; and his Ritual poems, which are composed in the praise of the Holy Prophet (PBUH), Imams (PBUT) etc., will be analyzed. The results of this study show that Hazeen Lahiji has paid special attention to great human virtues of the Holy Prophet (PBUH) and Imams (PBUT) in his poems.

The sociological criticism of literature is a scientific discipline which initially tries to extract social issues through the literary works by focusing on the content. The  contemporary Hungarian thinker, George Lukacs, made major changes in this discipline. In Lucien Goldmann's genetic structuralism approach, based on Lukacs’s views, the aesthetic techniques of the text in parallel with it’s content are studied and the overall structure of the story and the structures of society that story developed in, correspond to each other. With regard to the fact that intended research field of the present research is social novel, this article is going to deal with the short story in a descriptive-analytical way with genetic structuralism approach and by the case of study of Scattered Memories by Goli Taraghi, and  seeks to explore how society is represented in the imaginary world of a short story collection. The results show that although none of the stories happened at the same time, this book approximately is in line with the events of Iran milieu after the revolution and after the war, in content and form. Moreover, by expressing the consequences of prejudice in the first decade of the revolution and the consequences of modernity in the second decade, it implicitly, invites the audience to pluralism and to avoid luxury.

The fictional and mythical character of Christ has provided a liturgy for literary knowledge. Apart from addressing the role and influence of Jesus in Persian literary texts, this research, with a mystical insight, describes the Trinity, the communion, the ascension, and the course of Jesus in a coherent manner and explains the findings of the problem with the evidence of Persian literature in an interpretive way. Also, by looking at the marvelous life of Christ-with the aim of manifesting the beliefs-it has made clear the need for research. On the other hand, with the view of the metaphor of the species, the Trinity is considered as a cipher of unity, and the cross has been shown as the symbol of the soul, which must be fought with. But regarding the myth of the circle, the ascension as a sign of glory and return is a metaphor of the return to the principle of self, and, with a mystical look, has revealed that with the advent of a wise man as a Christian, the abstract can be lifted from the west to the east of the ascendant. He returned to the real homeland and the realm of love for eternity.

 This article introduces and examines the content of the manuscript of the Great Criteria by Mohammad Azim Qureshi. "Azimiyeh Criteria" was written by Mohammad Azim Qureshi in 1130 (twelfth century AH), in vocabulary, rhetoric and grammar. The subject of this work is "Persian language in the subcontinent". This version is written in 414 pages, with annotations and spelling. Existing copies of this manuscript have been registered, one at the Noor Microfilm Center, the library of the Army Progress Association in New Delhi, and two copies in Pakistan, Karachi, Hamdard Collection, and Islamabad, Ganjbakhsh Collection, number 7872. This book is listed in the Guide to the Joint Index of Pakistani Manuscripts, vol. 13, p. This article introduces and examines the content of this collection ‌ and explains the issues in the version by citing evidence.

 The method of this research is descriptive-analytical using the library collection tool as a document research and content analysis data mining method. In this way, we have examined the corrected text of the manuscript of the great criteria, which is itself based on the method of intermediate correction, and we have analyzed its content, grammar and rhetoric.

 This text is a rich and useful educational book in the period in question, about Persian grammar, rhetoric and literary crafts, rhyme and prose, as well as other related sciences such as astronomy, logic, theology, etc. In this version, which the author has used all the relevant textbooks up to his period, he has not left out any points about the topics of discussion, and it seems that this book has been an educational book for teaching in schools.

 The Persian language and its development during the rule of the Gurkhanids in India was the concern of writers and rulers, and the writing of this book and similar books and the preparation of subsequent manuscripts from it, proves the necessity of this education and expansion. Although this book belongs to about two centuries ago, but because it is an educational book, it is as easy to understand as possible.

Zahir Faryabi, was a sixth century A.H. poet born in Faryab(near Balkh) who immigrated to Neishabour and several other cities before his death in 598 AH in Tabriz. The beginning of Zahir's life coincided with the sedition of Ghoz that attacked Balkh and other cities in Khorasan. Thus Faryabi's immigration was not only due to a desire to seek literary knowledge but also for safety. That time there was families of Kharazmshahian, Iraqi Salajeghe and Atabakan who were not at all as powerful and glory as Ghaznavian and 1st Saljoughian, and poets had no honor and no reception. This was a matter which overshadowed poem’s of Zahir. Zahir ’s collection of poems consists of 3790 couplets of which 2292 couplets appear as 81 qaside (odes) and the remaining 1498 in other poetic forms. This article examines the texts from three perspectives: linguistic, literary, and intellectual by way of descriptive-analytical method.

Handwritten texts, which have remained of the ancestors and are technically called manuscript, are the main part of cultural heritage of every nation and country. Therefore, scientific maintenance, conservation, correction, and research of them are the cultural obligatory. Javaher Al-asrar couplet poem by Rashidaye Tabrizi is one of these invaluable manuscripts which is now under our correction and this article has been written to introduce it.

The present research is a theoretical study that has been done by library method and descriptive-analytical method. The study area and population is a manuscript of javaher al asrar.

This couplet poem, as its name shows, is about mineralogy, and is worthy in terms of science history among the other literary works. In the literature, there has been no study about two remained versions of this manuscript.

This investigation aimed to answer the questions as to: Which topics was Javaher Al-asrar written about? in which style and structure was it composed? and concluded that its main topic was mineralogy, and the poet talked about eight pricey gems in eight detailed chapters. He appropriately used the historical stories, and started each section and unit with a quatrain in an innovative way. In terms of language, he focused on making an incorporation more than anything else.

Since long time ago, Sufism Sama has had a particular status in the prose and the poetry of mystics, and has always been controvertial among sufists. Some used to call it the food for soul and some others denied and rejected it. Meanwhile, through studying the manuscript of Latayef-e- Ashrafi, the ideas of Sheykh Ashraf al-Din Semnani, the famous Iranian mystic of India during eighth and ninth centuries AH, we understand that he had a special perspective toward Sama and regarded it as listening to cunning lyrics and sufism dancing. He has divided human beings into three categories and introduced the issue of Sama according to the spiritual features of the listener in details. He believes that Sama has some specific conditions and if done by Sufi, he will enjoy eternal life. Though most of Chishti sheykhs- the formers and the latters- performed Sama and accepted it, Ashraf al-Din regards the permit of Sama conditional to the listener and the method of performing. In general, his pious attitude to Sama is considerable, so that he introduces mosque as the best place for Sama. This research aims at not only presenting a brief introduction to Seyed Ashraf al-Din Semnani and his book but also analyzing his outstanding viewpoints about Sufiam Sama.

Azhari Shirazi is an anonymous poet of the 11th century AH who has not been researched about this poet. The basis of the present article is based on the unique version available in the library of Shahid Motahari High School and its purpose is to study the style and thought of the manuscript of this Safavid poet.

The present article is an intra-textual, stylistic and theoretical study that has been done by library research method. The study area and community is Shirazi Divan.

In Isfahani Divan, Isfahani style can be found along with verbal and spiritual industries and innovations. The language of this poet"s poems is simple and his lyric poems are very delicate. Despite the poet"s acknowledgment of composing Turkish poems, no trace of it was found in this version. His poetry has advantages in various aspects among the court of his contemporaries; Notable are the titles for the poems, the lamentation, the boasting, the romantic lyricism and quatrains, the humorous and satirical Masnavi, and the pieces containing the material of history. I also enjoy a variety of linguistic and literary benefits in this divan.

Azhari Shirazi has experimented with other Isfahani style poets. The time of the poet"s life can be considered according to the articles of the Divan, between the years 991 to 1061 AH or shortly after. At the intellectual and content level, religious, romantic and humorous themes are the main themes of his poems. At the linguistic level, unlike Isfahani style poets, slang words are less noticeable in his poems. The use of special weights and long lines is a feature of his poems. At the literary level, phonology, repetition, types of puns, as well as forms of imagination, simile, metaphor, irony, allusion, observance, and style of equation have the highest frequency in his poems.

Language is the most important tool for communication by means of which human being can express his or her meanings and various needs. One of such needs is expression of envy, homesickness, and grief for the past called nostalgia. The sense of nostalgia is mingled with the thinking, sensation, and behavior of humankind. In Sufism and Islamic mysticism, nostalgia is remarkable presence having meaningful dimensions and various interpretations. In addition, nostalgia is the most impressive psychological activities in Persian literature, especially in the eighth century for which there are two mystical poets, namely Khaju Kermani and Salman Savoji. This paper investigates through descriptive analytic methodology aimed at the study of the poems by Khaju Kermani and Salman Savoji on the mystical nostalgia to explain the different types of nostalgia and the causes pertinent to that notion from their standpoint. The most significant thing this paper accomplishes is the identification of various factors affecting the mind and thought of the poet and its reflection on the better understanding and relation with their poems. The original staying away from home country and real beloved is the nostalgic themes of their works. The results of this paper explains why Salman Savoji, like Khaju Kermani, has felt the mystical nostalgia arisen from distance from real beloved and original homeland. After a short introduction on the multifaceted concepts of traditional, modern, and postmodern nostalgia, the writer deals with the explanation and account of nostalgic idea and its subdivisions in Khaju Kermani’s and Salman Savoji’s divans with reference to dictionaries and reference sources and articles, and thereafter, he mentions some evidences of their literature for each subject matter.

Sadegh Hijri Tafreshi is one of the wise but unknown poets of the Fitrat period and one of the pioneers of literary return who lived in the late Safavid and Afshari periods. Hijri's divan consists of masnavi, ghazals, pieces, an ode praising Imam Ali (AS), quatrains and singular lines (mofradat). In this article, we have tried to examine the style and content of the poems from three perspectives: intellectual, linguistic and literary.

The present research is a theoretical study that has been done in the style of documentary research. Manuscripts of Sadegh Hijri Tafreshi's poems which has been collected from different libraries by the efforts of the researcher is the research scope and population.

The poetic features of Hijri Tafreshi are such things as beautiful images, masterful use of figurative language, selection of different meters, use of verbal radifs that enrich the poetry and perfection of rhyme concept, as well as proper and poetic use of figurative language in the field of rhetoric and novelty.

By analyzing the style and content of Sadegh Hijri Tafreshi's poems, he can be considered as one of the eloquent poets of the return period following the poets of his predecessors and confirmed his success in reflecting their intellectual, linguistic and literary structure in his poems.

The present study introduces the Treatise of Kamal by Budagh Azhari Shirazi (died 991 AH.). He was one of the unknown poets of the Safavid era. No research has been done on him and his poetry collection, which he calls the Treatise of Kamal (perfection). He began to write it from 1030 to 1059. There is only one manuscript in the poet’s own handwriting in the library of the Sepahsalar School, which is currently being corrected. The authors of the present study aimed to introduce the version by analyzing the content and structure of the poet’s poems as much as possible to help to know him and his poetry with a descriptive-analytical approach based on the text of the poet's poems and referring to the historical sources of the Safavid era. The question posed in this study was: What is the structure of his poetries and what topics did he deal with? According to the results of the study, it is clear that the poet's divan has two proses prefaces and 1034 verses in the form of odes, sonnets, fragments, rhymed couplets, and quatrains. The poet’s poems were mostly dedicated to the Prophet’s household (PBUH), especially Imam Ali (AS) and the praise of the Safavid sultans. Finally, his fragments and rhymed couplets portrayed the thoughts and life events and contained redundancies, smuts, and chronograms. Most of his quatrains were about love, and boasting was one of the main motifs of his poetry. Paying attention to archaic diction, and imitating his predecessors’ style, especially Khaqani, Anvari, and Hafez, were evident in the formal and semantic structure of his poetry. The use of his predecessors’ handwriting style was another important feature of this manuscript.

Boudagh Azhari Shirazi (died 991 AH.) is an anonymous Poet who lived in the Safavid era. Among diverse treaties written in that era, his name was just mentioned in al-Zaria’h by Aghabozorgh Tehrani. His collection of poems, entitled Kamalnameh by the poet himself, is the only work by him left behind. Azhari has written about different issues of his time in his poems by using rhythm, rhyme, and literary figures.

There is only one manuscript from Azhari’s collection of poems written in his handwriting which is preserved in the library of Sepahsalar School (number 377) in Teheran. The scan of this very manuscript is available in the library of Tehran University (code F-6078). There is a CD of thescan in the National Library. This manuscript has about 343 pages of fifteen lines. In total, the collection has 10385 lines including odes, sonnets, and quatrains which are written in the margins of the book. This manuscript has been written in a nice Nastaliq handwriting on rough octavo paper (24 cm length and 15 cm width). The book has a marcasitic binding. The present manuscript has footnotes (Rekabeh) and the titles of its odes are written in cinnabar (Shangarf/red ink). Between the first and the second odes by Azhari and after his sonnet number 160, some pages are missing. According to the book, the poet has started writing his formerly-composed poems from1030 AH. He has finished the book, based on what has been mentioned in the final pages of the book, in 1054 AH in GharaBagh when he was about 63. The writings in the margins of the collection finished four years later in 1059. This treaty has been corrected deductively, and the writers have used a descriptive-analytical style to elaborate and analyze the content and the structure of the poems.

Azhari (born 991 AH) is said to be originally from Fars Province. He was a contemporary of Hakim Shafaie Isfahani who has accompanied King Abbas I, the well-known Safavid king, in his military attack on Gharabagh and had a luxurious life for many years. Meanwhile, he became the correspondent of Ghale’h Bost for some time and felt homesick many times. Azhari has written his poems in many genres including odes, sonnets, couplets, quatrains, and fragments. His collection of poems has two prologues in poetic prose, one of which starts the collection, before his odes, and the other follows the odes and precedes his sonnets. The preface of his collection starts with the praise of God, the Prophet (PBUH), Imam Ali (AS), and other Imams (AS). It follows with the praise of Shah Abbas Safavi and finishes with points about the book itself. There are 627 sonnets in his collection. In total, they have 4494 lines. The major theme of his sonnets is the description of love and the beloved. A distinctive feature of his sonnets is the literary figures and novel identical ending syllables (Radif). In his sonnet writing, he has followed the Iraqi School, especially Hafez’s style. He has about 215 fragments with 1208 lines. These poems are mostly about requests, demands, satire, and history-telling. His fragments provide the reader with good information about the poet’s life. Among his poems, there are 505 quatrains. In this type of poem, Azhari gives voice to his emotions about love, the beloved, carpe diem, and a strong desire for visiting Mecca. The specific feature of his quatrains is their four-line rhyming pattern. Azhari has 7 poems in the pattern of couplet poems (Masnavi) which include 271 lines. The couplets are largely satiric in nature. Despite his contemporaries, Azhari has not deployed the every-day language in his poems. His poems are full of archaic words, phrases, and structures. This showshis imitation of six-century poets, especially Khaghani. Furthermore, his use of many literary figures such as fantastic etiologies, oxymorons, allusions, preferential similes, and implicit similes is evidence of his following the Iraqi style, especially Hafez.