علی محمد موذنی

 Comparative literature emerged as a separate and independent branch in literary studies in the 19th century. Considering the common language and proximity of the two nations of Iran and Afghanistan, it is natural to see similarities and differences in the contemporary literature of the two nations.
Iran and Afghanistan, in addition to the same language, also have many similarities in the field of culture and literature, and the history of social and literary developments of these two countries are similar and comparable in places. Processing the themes of the poem can introduce us to some aspects of the poet"s personality. This manifestation is not limited to political and geographical borders; therefore, in the field of comparative literature, it is possible to compare the concerns of poets to understand the similarities and differences of their personalities. Despite the same subjects in the poems of some poets, sometimes we think of two poets from two countries coming out of the same environment. In this article, we have tried to compare the poems of two famous and contemporary Afghan and Iranian poets, Malik Al-Shaara Abd al-Haq Bitab and Malik Al-Shaarai Bahar, in terms of social themes.

 This research has studied the poems of Bitab and Bahar with a descriptive analytical method, relying on a comparative approach and with regard to societies, and has searched for similarities in their poems. In this review, the social issues of the poems of these two poets are emphasized.

 According to the findings, what the poet or writer brings in his works is a direct or indirect reflection of the conditions of the society in which he lives. The contemporary era of Iran and Afghanistan, due to the ups and downs and transformations that arose from the arrival of modernity in the Middle East, had a greater and deeper impact on poets and writers than other periods. The constitutional period is a turning point in the history of the Iranian nation. In this period, literature also moved in step with the constitutionalists and rushed to their aid. Therefore, studying societies in contemporary literature, or examining contemporary literature with a sociological approach, helps to understand the situation of that era.

 Based on this, it was found that concepts such as patriotism, unity of Muslims, justice, freedom, the concept of progress and advancement are represented in the poetry of both poets in various forms. Due to the fact that Bitab has been less political compared to Bahar, political concepts have appeared less in his poetry.

The form of verse in Persian literature has long been a tool for promoting religious and political concepts in the general society. One of the most important concepts presented in this format is "the truth of Muhammadiyah" or the perfect human being. This concept means the first determination of the divine nature and comprehensive attributes of God in the person of the Holy Prophet (PBUH). The historical background and the way of life of the two poets were effective in expressing the concept of "the truth of Muhammadiyah". In this research, this question is raised, how is the concept of "the truth of Muhammadiyah" reflected in the two works of Khamsa Niẓāmī and Abd al-Malik Isami? Using the method of historical description and analysis, it can be argued that the reflection of the concept of the truth of Muhammadiyah in the two mentioned works was to complete the circle of legitimacy. Acquiring the fact that Isami used the method of transferring robes from the caliphs of Rashidun to the sultan of his time in order to legitimize the kings of his time (Bahmanians of Deccan) in Futuhus-Salatin. It is one of the achievements of this research.

Khayyam, Sanai, and Hafez are three great poets and thinkers with different philosophical orientations. Although all the three poets are deeply rooted in Iranian Islamic culture, they have also been influenced by the pre-Islamic Iranian culture and Zoroastrian tradition. The effect of both Zoroastrian and Islamic cultures has often led to penumbras of meaning of same words over the centuries. One of those words is the term “Dūsh”, which traditionally meant “last night” and occasionally synonymous with “dawn” until the time of Khayyam and Sanai. We can view “Dūsh” from two perspectives. Firstly, the well-regarded status of “night” from the perspectives of Zoroastrianism and Islam, and secondly, the connection between “night” or “dawn” with the time of drinking wine and the morning wine (“sabūhi”). Both before and after Khayyam and Sanai, “night” and “dawn” have had an inseparable link with celestial hidden messages. In the verses of Ferdowsi, Manuchehri, and Naser Khosrow, we can vividly observe the connection between "night"/"dawn" and nocturnal inspirations. Sometimes these inspirations are conveyed by hidden messengers such as "Sorūsh" – the celestial messenger angel in Zoroastrianism – and at other times, "night" alone serves as the carrier of secrets and mysteries. The connection of “Sorūsh” with “night” is also reflected in Islam through “revelation” and “Gabriel” which set the groundwork for the divine perspective on “night”, “last night” and the “presence of the hidden messenger” in the poetry of later centuries specially, in Hafez’ poems. Before the genesis of this perspective, “Dūsh” undergoes its first semantic transformation in Khayyam’s Rubayiat, distancing itself from the divine concept associated with “Sorūsh” and Zoroastrian beliefs. Later, with the appearance of mysticism and Sanai’s poetry, it once again rediscovers its divine essence. In the light of the concept of “love,” it obtains a new meaning. Finally, in The Ghazals of Hafez, in which all former concepts and ideas are evolved and reach their pinnacle, the concept “Dūsh” becomes the central theme of his thought, especially by the addition of the meaning of “eternal” to this concept.

Literature has been a full-view mirror of social and economic developments. According to this macro perspective, the culture of work and life and the jobs that people have dealt with in some ways have been reflected in poetry. In fact, one of the written sources that can represent traditional occupations and popular beliefs about them is literature. These jobs were very common in traditional society but now are being forgotten due to the growth of societies and the dominance of industry, and they cannot be found except in museums. In this article, we will examine common occupations in the poems of Yaghma Jandaghi. Yaghma is one of the poets who, due to the diversity of his poems and the content of his works, has paid special attention to public culture and occupations of street and market people, and through their recollections, he has nurtured novel meanings and themes. Various occupations such as blacksmithing, gardening, grocery, sewing, nursing, etc. have been reflected in his poems. The current research was carried out using a descriptive-analytical method. The results of the examination of occupations in Yaghma's poems show that his poetry, while having literary, aesthetic and meaning-making uses, also gives a clear picture of the economic and livelihood foundation of that time. In turn, it can open a new chapter of discussion under the title of work culture in the subcategory of public culture.

Proverbs are expressions that existed orally among people in the past, and later writers, poets and elders of every age put them in written form. The reason for the commonness of such features is brevity, weight and desirable tone, historical and fictional roots based on experiences, etc. The purpose of the present research was to describe and explain the parables in the poems of Qaim Maqam Farahani, to introduce and introduce this literary, political and social personality and to know more about his poetry and thought. He uses Persian proverbs as a weapon in political campaigns. Unlike his contemporaries who do not mention the events of their time. In most of his poems, he talks about the events of the day. The current research was carried out using a descriptive-analytical method. The results of the investigation and analysis of the use of proverbs in Qaim Maqam's poems show that Qaim Maqam referred to common proverbs. Since the poet found the ode more appropriate to express his intentions; Therefore, the most presence of proverbs and proverbs in the Diwan of Qaim Maqam poems was observed in the form of odes.

As a result of the developments in mysticism in the seventh century; a new tradition was formed in Islamic mysticism. One of the most important divisions cited in mystical texts is the division of Islamic mysticism into practical and theoretical mysticism, each of which has a special place in mysticism. Some experts in the definition of this type of mysticism have a meaning beyond the conventional definition and believe that in practical mysticism should pay attention to its functional aspect in society. Saadi Shirazi is one of those people who believe that the teachings of mysticism should not be summarized in solitude, but mystical teachings should be applied in the context of society. He tries to solve the problems of others and alleviate the suffering of human beings. Unlike some solitary Sufis, who have chosen the corner of seclusion for their own reasons, among the mystical elements, he goes to the components that, in addition to self-purification, purify the soul. And the purification of the human soul is also effective in the context of society and to improve and correct the shortcomings of society. From this text-based and library-based study, it is concluded that Sheikh Saadi, when talking about mystical issues, in terms of the effectiveness of mysticism He has a practical opinion and has always considered the social function of mysticism and its impact on the context of the life of individuals in society.

Oral memories are one of the ways to access past events. However, sometimes narrators of memory, media, power, etc. change the events in their favor. According to this research, the distortion of oral memories is done in both individual and non-individual ways. In the individual part, including personal ideas, exaggerating or understating events, selectively expressing and hiding some memories, aging, and forgetting may distort the narration. In the non-individual part, directing collective memories to unreality, forbidden subjects and topics, supporting special events, changing the context of society, and beautifying memories with the mechanism of literature are some of the factors distorting oral memories, which have been analyzed based on the books published in Guilan between 2012 and 2021. The authors are looking for an answer to this question: What factors cause memory distortion? The research findings show that since the activists and eyewitnesses of the events form their narrations based on expediency, interests, ideology, etc., we often witness different narrations of the same events. These differences can damage the credibility of the narration. Also, those in power and the media try to redefine the events in their favor. Therefore, to reach speeches close to reality, in addition to benefiting from multiple narrations, verification, and validation, the use of archival documents can also play an important role in the representation of memories.

Memories have been written for centuries in Iran and the world, but in oral memories, a knowledgeable interviewer plays a role in its production and review and puts the narrator's unsaid in front of the audience with his questions. For this reason, most of the oral memories are more important than writing the memories in the traditional way, but the inclusion of the interviewer and the writer in the narration may also cause harm. One of these damages is the interference of the author in the text, in such a way that some memoirs, at least in parts, enter the scope of literary prose, or historical sources are used instead of narrative data. In this article, the authors seek to answer the question whether the originality of the narrative has been damaged in the book Ask the Mountains. Also, with narrative illustrations, does the reader establish a better relationship with the text or not? In addition, the challenges of narrating the book "Ask the Mountains" including narrating without meter and criteria and referring to unreliable sources, not referring the text to documents and data and other narratives and not completing the interview are shown in order to determine how much the author Has the size been successful in illustrating the text, and has the amount of the author's intervention damaged the originality of the narrator's narration or not? The research method in this research is the historical method in a descriptive-analytical way.

Sayye Bahaeddin Mostoufi is the neglected poet that has not received any recognition in the books of the literature history . His name is only mentioned in some of the literary notes, just like finding treasures in the old ruins . He had true expertise in numerous scientific areas of mathematics, geomancy and numeric, poetic techniques, chemistry, with vast knowledge of Greek / Babylonian/ Hebrew writings, Nastaliq calligraphy and scripts, very knowledgeable in finding marvels of the science of Arouzi poetry . He wrote great poems in numerous poetic forms. But alas, he has received no recognition . There are many poems of ghazal, ode, and ghateh type left from him that reveal his Irfan or spiritual thinking . The contents of his poems are mostly in the praise and eulogy of the Shiite Imams, and in particular Mola Mottaghain Imam Ali, the noble man of the men and the lord of the braves. The present paper has addressed the achievements of this notable poet in scientific disciplines as well as examining the literary devices employed in his works.

The knowledge of modern linguistics and the collation of literary texts, which linguists refer to as "critical discourse from the point of view of semantic semiotics", is the science in which the collator of writing seeks a deep understanding of the various layers of thought and the atmosphere of composition. The texts go beyond the sentences and the context of the speech according to the artistic position and its position is linguistically explored and reveals the metatextual vision of the writer or the songwriter.Therefore, the author of the present research explores the hidden message in the linguistic layers of the three beginnings in the most precious epic masterpiece of the Persian language, Shahnameh with the  following titles: "In the name of God" , the tragic poems "Rostam and Sohrab" and "Rostam and Esfandiar" in  a descriptive-analytical method to explore the critical discourse.

Athir al-Din Akhsikati was a prominent poet and literary figure of the Seljuk period in the sixth century AH. His Divan has been edited and published three times in Iran, with the latest edition made available through the efforts of Mahmoud Barati Khansari. However, in this latest edition, the structure of some of the verses has been found to be damaged. In this critical study, the author aims to provide a corrected and revised form of these verses by comparing the different variations of Akhsikati's divan and providing evidences from ancient Persian and Arabic texts, while also relying on linguistic and literary knowledge. The findings of this paper suggest that the process of editing Akhsikati's poems is still incomplete, and a closer review and revision of the discussed book is necessary, taking into account the previous efforts of editors such as Rokn al-Din Homayoun-Farrokh and Abbas Mahyar, as well as the handwritten version available in the British library.

Stylistics is a science that examines the special way of each person in expressing his opinions and ideas. Layered stylistics with the approach of literary analysis examines the text in five layers, phonetic, rhetorical, syntactic, lexical and ideological. The purpose of this research is to analyze the style and content of Yaghmai Jandaghi's poems from three intellectual, linguistic and literary perspectives.

This article is based on library studies and has been done in a descriptive-analytical way, and the scope of the study is Yaghmay Jandaghi's sonnets.

Yaghma is considered one of the return style poets, but he was not just an imitator of the previous ones and he adopted a new method. In his poetry, all kinds of poetic styles and methods can be seen, from lamentation and Marathi to satire and humor. He is a point-wise critic, so that his poetry can be seen as the culmination of differences and contradictions. He has tested his style in various formats, from ghazal, masnavi, and quartet to nimaei and sepid.

Yaghma's lyrical poetry is usually of the type of romantic lyrical poetry, which is mostly written in Bahr Ramel, the use of Persian words is one of the special features of Yaghma language, the poet's attention to verbal arrays such as "repetition" is high, but he is not limited to the use of puns and in terms of image Different types of photos; Most of the similes are eloquent and of the sensory type, the metaphors are more explicit and the allusions are of the gestural type with the focus of recognition and succeed in creating beautiful images with a simple language.

The translation of Molana's books as a one of the greatest literary works of Persian literature is considerable with the modern theories of translation's skills, structurally and contently. Antoine Berman with his theory "Endances eformantes" (deconstruction tendencies), emphasized on the importance of the others and underscored the main text and he believed that the translators must be respect the first text and be faithful toward it.  In this paper, by using Process- oriented descriptive translation studies, we examine the Arabic translation of Seirolebad Elalmaad by Yusef Abdulfattah using the eight parameters of Berman's theory: Rationalization, Clarification, Ennoblement, Glorification, and the Destruction of underlying Networks of Signification, Quantitative and Qualitative impoverishment. The conclusion shows that the main reasons of deviation in Arabic translation from Seirolebad Elalmaad belongs to:  translator's lack of acquaintance to Persian language, the grammatical and lexical differences between Arabic and Persian and naturally it is resulting from the unconformity of culture, civilization, and tradition of these two nations.

Practical wisdom is a comprehensive, applicable topic that observes the dos and don'ts of individual and social life, which has a high frequency in didactic works. After Islam, Persian literature has always been influenced by the teachings of the Quran and hadiths. On the other hand, due to its eloquence, multi-dimensional nature, and divine teachings, Nahj al-Balaghah has attracted the particular attention of poets and writers as a rich source of personal and social spiritual teachings. With a descriptive-analytic method based on library studies, this research has investigated the reflection of related themes to the practical wisdom of Alavi Nahj al-Balaghah in Hadiqa al-Haqiqah Sana'i. The proof of these reflections, along with the sincere devotion of their composer to Imam Ali (AS), has shown that Nahj al-Balagha is one of the intellectual sources of Sanaa in the composition of Hadiqa. So, this work can play a unique role in promoting authentic Islamic-Iranian culture and protecting written heritage as a bridge between the thoughts of Imam Ali (AS) and the audiences of this work.

Romanticism in Kurdish literature, like the literature of other nations in the Middle East, was formed under the influence of Western romanticism. The term romanticism was introduced to contemporary Kurdish literature at the beginning of the 20th century. Romanticism in Kurdish literature, and especially in poetry, was formulated under indirect influences of Turkish romantic literature. Hekari, Piremird, Goran and Sheikh Nouri Sheikh Saleh were able to establish the school of romanticism in Kurdish literature. Kurdish romantic poetry was developed by a number of poets after this first group and they completely avoided the order of classicism in terms of theme and content. Goran, as the precursor of contemporary Kurdish poetry, was able to elevate Kurdish romantic poetry to its peak. In this article, we introduce Abdul Rahim Rahimi Hekari as the founder of Kurdish romantic poetry. We also discuss the history of romanticism; its origin, its dominance, and the reasons behind its emergence and expansion in Kurdish literature. Then we present the components of romanticism in the poems and works of Kurdish poets, as well as the relationship between modern and romantic poetry in Kurdish literature.

Rababnameh of Sultan Valad is a mystical text that has been versed using Rumi's Masnavi and has explained many of the principles of Rumi's thought. In Rumi's Neiname, the reed instrument is a symbol of a complete and distant lover who has a lament, but the rabab instrument has many moans because the symbol of lovers is separated. Bidel Dehlavi is one of the famous poets in India and Sindh who has a high position in Iran and Central Asia. Just as Rumi changed after meeting Shams Tabrizi, Biddle also experienced a kind of romantic madness in his first meeting with king of Kabol. This research has examined the intellect and love in the textbook of Sultan Valad and the spell of wonder Bidel Dehlavi by referring to library documents and sources by content analysis method and based on intertextual theory and it has concluded that in the two systems, the intellect is like a ladder that raises the mystic step by step to meet the beloved but what brings the lover to the beloved is love, which is naturally superior to reason.

One of the most important Persian exegeses in the sixth century AH is "Kashf al-Asrar and 'Uddah al-Abrar" by Rashid al-Din Abulfazl Meybodi. He is one of the students of Khajeh Abdullah Ansari and he has been influenced by his teachings in this exegesis. This exegesis has been done in three steps: "the first step", "the second step” and the third step ".In the first step, the literal meaning of the verse has been presented, in which interesting Persian words and combinations are presented in antitheses of Arabic words. In the second step, the dignity of the revelation of the verse, its abrogation and obsolescence and its religious interpretation, and in the third step, mystical interpretations are expressed. In this treatise, the author aimed at studying the Quranic antitheses, interpretations and interesting compounds in Herawi language, expressing the grammatical features of verbs, nouns, adverbs, pronouns and letters, and removing the ambiguities that have been revealed in previous researches, and also expressing the novelties and pure uses of the Persian language in the era of Khajeh Abdullah Ansari, which are abandoned and forgotten and have a resurrected talent. In his research, the author has used the scientific reserves of experts.

 The present study expresses the common views of Rumi and Ibn Arabi on the levels of Prophet Moses (AS) in the field of Islamic mysticism. Ibn Arabi and Rumi have many common views and thoughts about this divine prophet, and the reason for this is their common intellectual foundations, especially the Holy Quran, as the main source and source of knowledge, and then Islamic hadiths and teachings and statements of previous mystics. Therefore, both mystics have provided comprehensive definitions regarding the position of Moses in the system of creation. In this article, with a descriptive-analytical method, expressing the basics of Rumi and Ibn Arabi's thoughts about the hierarchy and existence of Moses, with similar allegories by him with five axes: A: The sincerity and transcendence of Prophet Moses, B: The order of completion, C: The murder of the children of Israel by the order of Pharaoh, D: The controversy and victory of the miracles of Moses over the magic of Pharaoh, p: The murder of the children of Israel. Belief in the moments of death, according to Ibn Arabi and Rumi, and after explaining and applying common and different concepts and components, we have achieved the same results.

 One of the most popular beliefs of Gilan cattle breeders is the belief in a mythical creature called Siahgalesh, which over time, is intertwined with reality and fantasy and has a special place in the formation of their cultural identity. The Epic of Gilgamesh is the most comprehensive and ancient Mesopotamian myth that the protagonist is considered the shepherd god and the role of blessing and protection of domestic animals is one of the most important duties of this holy god. By analyzing these myths, while discovering the mechanisms and customs of the pastoral society, it is possible to achieve the degree of attachment of life and the achievement of dreams. Representing and examining the myth of Gilani Siahgalesh, and comparing it with the Sumerian myth of Gilgamesh about hunting and livestock, comprehensive support for ranchers and environmental protection, is one of the objectives of this research.

 This research was conducted by descriptive-analytical method.

 In these legends, Siahgalesh is one of those heroes who have dominated the social system of the pastoral and hunting society and has a special reputation. People consider him equal to the religious leaders because of his immortality and blessed power.

 The existence of common intellectual, religious, doctrinal and cultural themes between the two civilizations of Gilan and Sumer and the influence of these two civilizations on each other in rituals and customs, is one of the results of this study.

Considering contemporary literary currents, the style of contemporary poetry has a high status. This research introduces one of the contemporary poets named Mohammad Zohari and examines the stylistic features in his poems.

This article is based on library studies and has been done in a descriptive-analytical manner.

Mohammad Zohari is one of the modernization poets who between the two decades of 1330 to 1350 by mastering and surrounding the old poetry and full ability in classical poetry, has modernized. The meanings of his poetry are a reflection of socio-political and popular issues. The descriptive expression is concise and short, and there are six collections of poems called "Island", "Complaint", "Night Letters and Raindrops", "Fist in the Pocket", "The Old Man Said", "... and the End" and also a few Has a lyric.

The use of the form of Nimayi poem is also remarkable in Zohari"s works and the most widely used prosody weight used in his poem is Bahr Ramal. The lines and rhymes in the poem are also common, and the additional lines and rhymes are less noticeable. Poisonous words are full of repetitions that increase the inner music of the poem. His similes are mostly "rational to sensory" and "sensory to sensory" and the similes of "rational to rational" or "sensory to rational" are few. Among the types of similes, the addition of similes has the highest number of statistics, and in the next rank, there are other similes such as concise, emphatic, plural and subtraction, and the lowest number of them is imaginary and illusory similes. In terms of frequency, metaphorical addition is the most frequent, and the approved metaphor is in the second place, and after that, frequency is the non-redundant Meccan metaphor. Nature and its manifestations are very prominent in poisonous poetry. Mystical terms are more or less seen in the poet"s poetry. All in all, Zohari is a poet whose people are full of socio-political concepts.

The terms "nightingale", "the eastern wind", and "rose" are three gones of an emotional,romantic relationship that has been used by poets through different eras. The common elements of the three is the fact that they exist in the nature. These three term used in the poems of poets have symbolic significance and metaphorical approach. The nightingale as the symbole of lover or poaetic "I" , wind, breathe, Saba or eastern wind as the mesenger in commute between lover ( the nightingale) and beloved (rose) as the symbol of beauty or projection of beloved. In Persian literature ,specially in versed works, and in the works of three mentioned poet in present study( Khaghani, Hafiz, Bidel Dehlavi) there are plenty of natural elements such as wind, funa, and flora which are accompanied by  beautiful ironies, metaphors, similies, and combinations. Allegorical approach of these elements is more prominent in hafiz poems in comparison with the two other Aforementioned sonneteers. Considering the various functions, this study aimed to investigate the allegorical approach of these symbols and compare their functions in the poems of the three poets.

In this article, for the first time we have studied "Focus" and its various types as one of the most important and most frequently used stylistic features in Nasir al-Din Shah Qajar's diaries with a linguistic, literary and stylistic approach, along with a descriptive - analytical - statistical method. For this purpose, first we have shown the most important methods of "Focus" in speech in the form of a diagram, divided in two parts: Morphology and Syntax, by using the most important opinions of researchers and our personal efforts as well; Then we have examined the most important methods of "Focus" in these notes. By analyzing the obtained data, we have shown a new aspect of Nasir al-Din Shah's personality; Finnaly by selecting random examples from the original copy and confronting the corrections made from these works, we have shown that the misreadings, misunderstandings and unexplained eliminations made by the editors in these corrections, have made them unreliable and invalid for literary and linguistic research..

AbstractRhetorical sciences have long been very important among Iranians who have worked in the field of literature. Theological method is the title of one of the literary figures that has existed in the field of Badi’ for a long time. Theological method means the method of theologians (scholars of theology and principles). Although the theological method has been introduced from the third century by the works of Jahez and Ibn Mu'taz in Arabic, this title can not be found in the first books written by Persian-speakers and Iranians on the field of Badi’ and it was mentioned very briefly in the second half of the eighth century AH. And then from the second half of the ninth century AH, this title finds its way to such books in a complete and clear way. Of course, some of his contemporaries did not mention the theological method in their works. These rhetoricians mainly wrote their books on the field of Badi’ in the late 13th and early 14th centuries. From the 11th century onwards, as the debate over this figure of speech became more prevalent among rhetoricians, some more divisive divisions were added by some, which will be addressed in this research. Another point that seems to be considered is that some rhetoricians have also gone astray and have confused the discussion of theological method with another figure of speech such as Phantastic etiology. Some of them have made mistakes in defining it and others have made mistakes in providing examples.

Narratology, as a new science, examines the grammar of fiction. Using the indicators of narratology, the structural pattern of narratives can be achieved. Numerous linguists have offered extensive theories in this field, and among them, Gerard Genet's studies are extensive. In his study of narratives, he relies on three general indicators: "time", "state or aspect" and "sound or tone". Ghazaleh Alizadeh, is among the contemporary writers of Iranian fiction whose works can be considered from the perspective of narratology. Relying on the views of narratologists, especially Gerard Gennet's theories, this article examines the three components mentioned in the works of these authors. Narration in the past and the past in the past, the narration of the present and the frequent passage from the present to the past are the salient features of the mentioned works in terms of time. Most of the events of these works are narrated in a straight line, Using Negative and Positive Acceleration, Frequency and Its Types, Zero Focus and Inner Focus, Intra-Story Narrative from a First-Person Perspective, Monologue, Hadith Nafs and I am a Witness, Extra-Story Narrative from a Third-Person Perspective, as well as Post-Time and Simultaneous Narration, Is one of the features of narration in the above-mentioned novels.