عبدالناصر نظریانی

The frequency of Leyli and Majnoon's tales is high in Persian literature. The tale of Leyli and Majnoon has been considered by Iranian poets and authors since the fourth-century AH and has been included in their works. Evolution of narrative, characters, and themes in the tales and anecdotes of Leyli and Majnoon in Persian literature, their relationship in terms of where and when the tale is written, and its difference from the original version and the location of the Arabic story would help to have a better and different understanding of the stories written under the common name Leyli and Majnoon. In this study, the main purpose is the investigation of the Leyli character changes among Persian poets. The research shows that the Layla and Majnoon poems in the history of literature in Persian poets, based on the imitation of Nezami, do not have much variation except minor changes. And all authors reach a consensus about the location and culture, and the pure love, although interesting minor differences were in Leyli's character in their writing.

In this study, with the aim of general study of the Place and developments of proverbs in Persian prose styles, fifteen prominent prose books It has been analyzed in various subjects from the fifth to the ninth century AH. About The historical evolution of the use of proverbs, how they are used in the text, the relationship between Persian proverbs and Arabic proverbs and the authors' approach to them. In these centuries, all kinds of verses and hadiths, Common proverbs, sayings of elders, sages, mystics and poems of poet have entered prose in the form of proverbs. The results of the study of developments show: Historically, this is the evolution of proverbs, Morsal style (fifth century): beginning, Beynabeyn style (late fifth century): consolidation, technical style (sixth and seventh centuries): the golden age and the eighth and ninth century: the Age of decline. Repetition without change, repetition with partial change, simile, the abandonment of some proverbs by changing styles are among the evolutions of proverbs in these centurie. The position of proverbs in the text is with a letter and a connecting sentence or without a connecting sentence. A large part of the structure of proverbs has remained unchanged with the change of styles, but some proverbs have been transformed with the change of styles.. Arabic proverbs along with Persian proverbs come in several ways: without translation, verbal translation, conceptual translation and equivalence. The personal style of the writers has been involved in the evolution of proverbs, and some of them have changed or rejected the proverbs in line with their ideas.

Bijan Elahi is one of the "other poetry" poets who in the 40's turned to a type of white poetry in which mystical concepts and influence from the verses of the Qur'an are abundantly seen. If mystical symbols, metaphors and images in general are not interpreted in his poems, a huge and important part of the content in divine poems will be neglected. Of course, sometimes the Divine Vision refers to the verses of the Qur'an directly and only through the lexical level of words, and sometimes the divine references to the verses of the Qur'an depend on the interpretation of the images and the relationship between the components in the axis of coexistence and succession. In this book, the authors intend to analyze all the influences and also the divine attitude towards the verses of the Qur'an in the order of his poems in the two collections of poems "Youths" and "Seeing" in a descriptive-analytical way, as well as the process of the formation of meaning to The means of using Quran by Bijan Elahi is also of interest to the authors in this research. From the results of this research, it can be pointed out that in the poetry collection "Seeing" the lover is often real, and in the poetry collection "Youths" the lover is virtual and the type of love is often carnal.

One of the distinguishing features of Sufism from other sects has been the issue of flattery, which ironically has been one of the most controversial features of this group. In this research, we have studied the process of differentiation in mysticism with emphasis on the phenomenon of Shath and Taamaat from the beginning to the ninth century (AH).  The results show that although mystics initially resorted to certain customs and behaviors to distinguish themselve from other currents of thought, these distinctions were gradually criticized and opposed by both groups. A group that has used the special traditions of mystics as a pretext for its transgression in order to transcend the totality of mysticism, and another group of mystics who have tried to fight against these extremes and deny some behavioral and speech features. Thus, the wave of differentiation from mysticism had continued from the beginning of the formation of this current thought and became more and more intense and pervasive, since the mystics themselves, relying on critique within the discourse began to monitor and refine unusual customs. They practiced Mysticism, Shath and Taamaat were also attacked, and later, in their own interest and in order to protecting their original beliefs and fortifications, Shath and Taamaat, which were the hallmark of mysticism, due to its controversy and marginalization, were attacked. Sufis erased their speech and character of Taamaat.

One of the important intellectual foundations of Islamic mysticism is the belief in the kingdom of the soul and its derivation from the Alawite world and its confinement in the earthly body. In the Islamic world, Ibn Sīnā first portrayed this belief in Ayniyya ode with an allegory Ibn Sīnā's allegory is shaped by the symbol of Varqā or pigeons, and this pigeon descends from its high place and is captured in body cage. In one of the stories of Tāqdīs, the story of Parrot and Shah, Mulla Ahmad Narāqi advances belief in the fall of the soul, like Ayniyya ode, with the allegory of the bird. At first glance, it is obvious that the bird in Tāqdīs is parrot, and in Ayniyya is pigeons, as well as the language of Tāqdīs, Persian and its poetic form is Mathnavi, while the language of Ayniyya ode is Arabic and its poetic form is Ode. However, the points of sharing and differentiating these two works require careful examination. The present article deals with this issue. Accordingly, the main issue of the present study is the expression of the points of commonality and differentiation between the story of parrot and shah from Mathnavi Tāqdīs Mulla ahmad Narāqi and Ibn Sīnā's Ayniyya ode.

Research Methodology The method of this article is analytical-comparative method, considering that the base of allegory of both poems is the same, commonalities and differentiations in paying this allegory will be determined, analyzed and compared with each other.

Several articles have been written separately about the Ayniyya ode and Mathnavi Tāqdīs, including the articles "The Gnusian Structure of Ibn Sīnā's Ayniyya ode ", "Symbolism in Ibn Sīnā's Ode and its Reflection in the Thought of Muslim Mystics", "Comparative Study of Two

Ibn Sīnā's Mystical Ayniyya Ode and Ali Via Eram-Nasib Al-Arida". Analysis of Mathnavi Tāqdīs and its impressed by Mathnawi" and "Molanaye Naraq and Mathnavi Tāqdīs", but as their titles show, none of the authors compared the story of Parrot and Shah Mathnavi Tāqdīs to the Allegorical content of Ayniyya ode.

The main purpose of this study is to explain the points of commonality and differentiation between the allegorical story of parrot and shah from Mulla ahmad Narāqi's Tāqdīs Mathnavi and Ibn Sīnā's Ayniyya ode.

The similarities between parrot and shah's story and Ayniyya ode: The descent of the soul from the high world: 1. The most important similarity between parrot and shah's story with the Ayniyya ode is the unity of their main theme that’s mean belief in the the descent of the soul from the high world and its Imprisonment in the prison of the body. Captivity of the soul in the flesh : 2. In their poems, both Ibn Sīnā and Narāqi refer to the captivity of the soul in the flesh and speak of the reluctance of the soul of this confinement. Soul moaning from parting : 3. In both works, the soul whines on parting its original homeland. soul desire to reach the joiner: In both works the soul is in the desire to reach the joiner, which is the same as reaching the original homeland. The material world is like Ruined. Both works see the material world as ruins for the soul. Cause of soul's descension : Both works consider the cause of descension of the soul to be perfection and awareness. Cause of Forgetting the Quds Court : Both works state that the soul, because of belonging to the body and engaging in its needs and other manifestations of the material world, forgets its original origin and homeland, which is the shrine of Quds. The upward trajectory of the soul : In both works, the soul, despite its descension , ultimately has an upward trajectory and will return to its homeland. The differences between parrot and shah's story and the Ayniyya ode: Differences in allegorical birds : 1. The bird that Ibn Sīnā has chosen is a pigeon, but Narāqi has used parrot allegory, which is interesting considering its eloquence and imitatet. Reaction and non-reaction of the soul to accept the descension: 2. As a result of Ibn Sīnā, the pigeon reluctantly welcomes travel, but there is no parrot reaction as a result of Narāqi. The devil's involvement and non-interference in the oblivion of the original homeland : In the work of Narqi, contrary to Satan's objectives, he is also involved in the oblivion of the original homeland. Presence and absence of guidance in the downward trend : Objectively, the guide allegory is not used. Usage and non-usage of philosophical discussions and terms : In the same terminology, questions and astonishments of philosophy are raised that these things are not seen in the Narāqi,s work. Conclusion Undeniably, the story of "Parrot and the Shah" , Masnavi, "Mullah Ahmad Narāqi", regardless of the difference in language and poetic form, is similar to the Ayniyya ode of " Ibn Sīnā" in terms of allegorical and themes. This similarity has been carried out in two main aspects of meaning and form. In terms of meaning, the idea of the soul 's descension from the realm of the kingdom to the material world and his captivity in prison and his attempts to get rid of this prison constitute the theme of two works. Also, in terms of form, both effects are based on the coded allegory of bird,in the first is pigeon and in the second is parrot. In general, the common points of the themes of these two works are: The descent of the soul from the high world, The captivity of the soul in the flesh,Soul moaning from parting, soul desire to reach the joiner, The material world is like Ruined, the cause of the fall of the soul, the cause of the oblivion of the Quds Court and the upward course of the soul and the differentiation points of their themes: the reaction and lack of reaction of the soul to accept the fall, interference and non-interference of satan in the oblivion of the main homeland, the presence and absence of guide in the downward trajectory and using and not using philosophical discussions and terms.

Ambiguity is one of the most beautiful tricks that creates ambiguity in words And it forces the reader to delay, and it can be considered as a kind of semantic aberration. Ambiguity has attracted the attention of speakers because of the special complexity it creates in speech. The scholars of modern science have long sought a definition to clarify its types. Some of the definitions given for Tory ambiguity are related to proportional ambiguity. While in the ambiguity of proportionality there is only one meaning in the word and the second meaning is absent. The ambiguity in the poetry of a number of poets, including Assar Tabrizi, has a special character and he can be called an ambiguous poet. In Masnavi "Mehr and Jupiter" types of ambiguity: proportional ambiguity, ambiguity in ambiguity, ambiguity of contradiction, ambiguity of translation, ambiguity of employment, ambiguity of exchange and ambiguity of photo have a very high frequency and from this perspective ambiguity can be considered as stylistic features of Tabrizi extract. So far, no research has been done on the ambiguity in the poems of this poet and the poems of great poets such as Hafez and Khaghani have been studied. The research done on Tabrizi extract is mostly related to the mysticism and morphology of Masnavi Mehr and Jupiter, and its aesthetic aspects have been overlooked. Therefore, this research can be a new work in its kind.

In modern Iranian and Turkish literature, the emergence and evolution of storytelling and its varieties has followed a similar pattern from the beginning. Fictional literature in both countries has been influenced by Western literature since its inception, largely through translation of texts and literary works. The result of this impact is the formation of the various streams of storytelling, both in form and content. Orhan Kemal is one of the most prominent Turkish novelists, whose work has been translated into Persian and is one of the pioneers of rural literature. Mahmoud Dowlatabadi is also one of the most influential contemporary Iranian writers whose climate literature is evident in his works. This research is a comparative study aimed at identifying the similarities and differences in the stories of Orhan Kamal's " On Fertile Soils " and "Silhouette Vacancy " by Dowlatabadi with a descriptive-analytic method. By examining both effects, it can be concluded that Kamal and Dowlatabadi describe the evil, distress, injustice and poverty and misery existing in the rural community with meticulousness and accuracy.

Every work of art is a combination of structure and beauty. Aesthetic values ​​are in the role of the building blocks of a work of art, and a principled and purposeful structure can be used to apply them. The arrangement of aesthetic values ​​depends on the structure of the work; That is, a proper structure contributes to the relationship between aesthetic values. Narratology, as a science, strives to achieve clear narrative patterns. Propp and Garms are theorists who have defined narrative based on the actions of actors. The role model is one of the most important tools that provides semantic cues to critics. With the help of this model of action, it is possible to understand the presence or absence of internal coherence between narrative elements. Pirang is another important theoretical issue in the field of semantics and narratology with a constructivist approach and the most important part of a narrative and it can be considered as one of the most important elements related to the model of actors on which the coherence of the narrative structure depends. Weiss and Ramin is a Persian lyric poem that has always had a high place in Persian literature. In the present study, we have tried to establish this position by using Garms theory and by prescribing scientific frameworks.

Precedent, research goal This research is a descriptive-analytical method and the sources used in it are library documents. Babak Ahmadi (1991) in the book Structure and Interpretation of the text and (2017) the book from visual signs to the text took a big step in introducing the development of new approaches to narratology. Ahmad Okhot (1992) also tried to prove the compatibility of Persian literature with them by introducing the theories related to narratology by writing the book Grammar of the Story. Other authors such as Hamid Reza Shairi (2002) with the book Basics of Modern Semantics, Ali Abbasi (2016) with the book Applied Narrative and Mohammad Hadi Mohammadi and Ali Abbasi (2002) with the book Samad Structure of a myth in introducing this scientific approach and localization of this Theories have made a significant contribution. The purpose of this study is to prove the coherence of the plot and the narrative of Weiss and Ramin based on the structuralism of Propp and Garms.

This narrative consists of four action models, each of which is based on a plot. The first and second action models work in parallel in a contradictory relationship to achieve a goal and form an independent story. Following these plots, a new story begins with two other action models, both of which (in conjunction with Weiss and in conjunction with Ramin) operate in parallel; But the relationship between them is interactive and they advance the narrative to achieve a common goal. The plot on which these two narratives are based is the same. In Weiss and Ramin's narrative, we are faced with two types of plots: linear plots that follow each other and parallel plots that tell the story at the same time. These plots themselves fall into two groups of confrontation and interaction. In Weiss and Ramin, it can be seen that a fictional character is placed in the position of two actors. Sometimes these two positions of action have an interactive relationship with each other and move towards a goal; In the first plot, the target (viro) acts in the position of the actor, and in the second plot, the midwife appears in the position of the actor and the actor. This shows the importance of these fictional characters in the narrative; Because they take on the narration of an important part of the story and by being in two positions, they bring the most help to the active actor to reach the goal. In some cases, the actions of the actors change; That is, from the front of helping the active actor, they are transferred to the opposite front. As in action model First, the actor (city) has become a deterrent actor, and in action model second we see this change in city action. Given the material motivation of the city for this change of action, the most important feedback received from the analysis of his position in these models of action is the realization of his shaky personality and the sudden change of direction of the narrative. By summarizing the initial and final parts and devoting as much volume as possible to the middle part, the author has created a fit and a principle of uniformity that causes order and coherence in the story of Weiss and Ramin.

Weiss and Ramin's lyrical system is a narrative based on Grimas structuralist theory that has a complete structural pattern and narrative; Because in addition to having three initial, middle and final parts, the element of change is also seen in it. Also, based on the type of text that was chosen (narration), there is a kind of semantic coherence in it and no part of the anecdote is ineffective in advancing the flow of narration. This is a privilege that many literary works lack. Another feature of the story of Weiss and Ramin is the multiplicity of narrative syntax and plot in this work, which shows the complexity of the narrative. There is more than one plot in a long narrative of tricks that prevent the audience from getting bored and accompany him with the narrator. Despite the various narrative patterns in Weiss and Ramin, Weiss is a fixed point around which other elements revolve, which contributes to the coherence of the text. The result of the above results is the proof of the high position of Weiss and Ramin's system on the basis of a lawful and scientific system that responds to linguistic theories after nine centuries and has the ability to make the audience have a better reading based on scientific theories. 

According to many scholars, the Raji Kermani's attack is the finest religious epic that has replaced the Ferdowsi epic or other national epics in the position of imitation and narration. The story of Qasim (PBUH) in the text of this epic is one of the best and most sorrowful stories in which Raji mixes the two elements of epic and narration masterfully and although it is imitative in the style of national epics, the story of Hazrat Qasim (PBUH) does not appear in any other religious epics other than Raji's epic, and this is one of Raji's unique features. Likewise, this story shines beautifully in the context of Raji's attack in terms with the stylistic features of each epic work. The findings of the study indicate an exaggeration in the poems of Heydari's attack, especially in the epic story of Hazrat Qasim (PBUH). This exaggeration is also reflected in the images related to this event. This exaggeration has varied in the form of the appearance or creation of untrue stories to the narration of extraordinary events to Hazrat Qasim (PBUH) .

1. Examining the reflection of exaggeration in the poems of Heydari attack with emphasis on the story of Hazrat Qasim. 2. Scrutinizing the exaggerations in the poems of Heydari's attack on Hazrat Qasim in the images of epic stories.

Research questions: 

1. What information do the poems of Heidari attack provide about the story of Hazrat Qasim? 2. What is the reflection of the story of Hazrat Qasim in the images of epic stories?

The Hamleh-ye heydari is one of the epic poems written by Mashhadi in the Ferdowsi Shahnameh. This poem is a historical-religious work whose main theme is the narration of Muhammad's life story and his wars, the expression of Ali's heroics. And their miracles and miracles are historical events related to the early days of Islam and recorded in the course of history and history, in fact the historical aspect of the work is quite evident and history has become the ground for linking historical and sometimes extraordinary events. The poetic purpose is a religious and religious purpose. In this paper, which is written in a descriptive-analytical way, we have studied the stylistics of this work. The main purpose of this article is to investigate and determine the stylistic features of the Haidari attack. The results of the research show that the selection of transverse breeches due to the high syllables and the closure of the pulse has caused the epic linguistic proximity. Repetition of phonemes, words, words, and puns has increased the introspection of the poem. The stylistic structure of the words has created a mixture of rich, religious and epic language that is incompatible with the logic of the epic style and the presenting of the verb, the use of specific Shahnameh syntax, and the syntactic and syntactic properties of the word. He is. The literal co-ordination of the word is more based on imitation; it is the most sensory-like analogy that corresponds to the epic space of the work. The metaphors are more mockery and non-epic; it is more folk and interactive and has no epic spirit.

The constitutional period is a distinct period in Iran’s history, in which all aspects of Iranians lives has transformed and as a result the verse and literature encountered a great change by the change in point of view of poets of this period in comparison to former poets. In this period everything even the poetry serve the society. The greatest poets of this period are those who were in the middle of the society and the social events and react them; So this periods verse is explicit, clear, and thought governed, however streaks of feeling is accessible in these works but they cannot be classified in lyric poetry but this doesn’t underestimate the emotional aspect and semi-lyrical language of these works. Sometimes, the Constitutional poets try to support their works emotional and logical sides simultaneously; therefor the social matters present with a semi-lyrical language that cause a kind of Socio- lyrical integration in their works; however it’s a slight integration. This kind of socio-lyrical integration is observable in Aref`s, Farrokhi`s, Eshghi`s, Bahar`s, etc poetry with an unequal severity and weakness, Mohammad Taghi Bahar`s poetry as an authority in Persian verse in this respect is worthy to consider and investigate; because in this period no other poet is familiar with Persian classic poetry and in other hand he is the most political poet of constitutional period.