علیرضا حاجیان نژاد

The aim of the present research is to explain the existence of systematicity in the metaphorical conceptualization of knowledge based on visual perceptions in Ain al-Quzat Hamedani’s Tamhidat va Nameh-ha. In addition to showing the existence of metaphoric correspondence between the concepts of the field of knowledge and visual perceptions and explaining how this correspondence is done, the authors have tried to say which basic conceptual metaphors in the mentioned books correspond visual symbols with knowledge. To achieve this goal, the authors have used the theoretical framework of conceptual metaphor. The claim of the present research was that there is compatibility between the metaphor of knowing is seeing and the set of concepts in the field of knowledge. Also, in this research, the adaptation of the terms of the field of knowledge - heart vision, light, the light of Muhammad, and black light of Ezraeil - based on the conceptual metaphor of knowing is seeing is examined with the sense of sight. Other achievements of the research also showed that in Ain al-Quzat’s intellectual system of light and darkness and the subcategory conceptual metaphors of these two fields, it is consistent with the metaphor of knowing is seeing, and the conceptualization of knowledge is consistent with visual perceptions.

The significance of research in old translations of Quran is evident to scholars in various facets, ranging from the linguistic benefits in the history of Persian language to various Quranic sciences. Among numerous Quran translations that are not studied and explored yet, we identified an incredible opportunity to introduce and examine the manuscript of Hudai Afendi’s translation of the Mushaf No. 20 for the first time, which dates back to the early 7th century. In addition to the linguistic and lexical benefits within the context of Persian language, which can be found in majority of old translations, the Hudai Efendi’s version includes some additional insightful points pertaining to Quranic sciences such as counting verses, Tajweed, and especially, the variant readings of Quran. The main focus of this article is to explore and investigate how the variant readings of Quran is captured in this mushaf, and how the variant readings of Quran has impacted this translation. By studying Al-Fatiha Al-Kitab up to the end of Surah An’am as well as the beginning of Surah Az-Zumar towards the end of Quran, we point out and analyze cases that have influenced the translation, and rare occurrences of the variant readings of Quran in this Mushaf, independent of the translation, while comparing with some main references in the field. We discuss how the writing of this Mushaf has affected the translation due to employing the traditional ways of scribing Quran through choosing from different variants based on the writer’s discretion.

The Tārikh-e Jahāngoshā Joveini is one of the most special texts of Persian prose, which is full of Persian, Arabic and Turkish words, idioms, poems and proverbs. These features have led to the need for a comprehensive description of the Tārikh-e Jahāngoshā Joveini. Habibaullah Abbasi and Iraj Mehraki have corrected and explained this book. This edition, in addition to its many advantages, in some cases has major drawbacks. In this article, we have divided these problems into five groups: problems with the preference of the Paris version, problems with the commentary of the Persian section, translation of Arabic poems, insufficient search for the description of the text, and lack of mention of the speakers. We have tried to show how the correctors made a mistake in each of these cases and what the source of this error was by referring to the Divan of Poets, reference books and authoritative Persian and Arabic dictionaries. The typographical errors of this correction are due to the insistence on the Paris version on the other version, the syntactic and morphological errors of the commentators are often the result of not recognizing the syntactic role of words and phrases, not recognizing the time, root and form of verbs, and their inadequacies and ambiguity are due to not referring to the poet's divan, reference books and valid dictionaries. In each case, after mentioning the error of the text, we have provided the explanations of the commentators, and after reviewing these explanations and showing their errors and drawbacks, we have provided the description and explanation of our proposal from the verse. We have tried to make our proposed explanations free of these slips and to be deeper and more accurate.

Although we have access to a number of critical editions of Attār's works, there still remain some problematic and ambiguous points in his works that cannot be clarified merely based on the codicological details. To elucidate such matters, it is indispensable to analyze closely the different aspects of Attār's style based on the authentic documents to discover the general patterns. In this study, we deal with some of the symmetrical patterns recurring throughout all the layers (from the verses to the whole work) of Attār's original poems. These patterns are classified into four main groups including repetition, parallelism, congruency, and a particular recurrent structure. The study of these symmetrical patterns, combined with the other stylistic and codicological details, can help us with evaluating the authenticity of some of the confusing parts in Attār's works.

Among the manuscripts preserved in Berlin’s Central Library, there is a unique manuscript, untitled and undated, written by Hakim Yahya b. al-Husain al-Shāshi on ethical and philosophical matters in thirty-six chapters. The work is in Persian prose and of Transoxiana character that, given certain historical evidence, must have been written in the 5th H./11th CE century.Introducing this MS, the present authors have addressed the textological aspects of the manuscript at phonological, lexical, and syntactical levels. Writing in pure Persian (Farsi) is one of the marked characteristics of this MS., with few Arabic words therein. The MS is a remarkable treasure of words and expressions used in Transoxiana. Besides, despite the dominance of a moralizing aura of the text, it is far from being a work of sermons and homilies.

More than 250 years have passed since the separation of Tajikistan from Iran. Since then, the country has suffered a lot of bitter events, but has kept its Iranian identity strong. Contemporary poetry of Tajikistan is the heir to the ancient Persian literature, which clearly shows the manifestation of Iranian culture. This article studies the poetry of five prominent Tajik poets in terms of the components of Iranian culture through a descriptive-analytical method. The study found that Tajik poets, regardless of the political boundaries of their country, are contemplating and fascinated by their cultural and literary heritage. The two elements of the Persian language and the common historical past are the most important elements shaping their cultural identity. The manifestation of Iranian culture in their poems can be seen in the form of commemoration of Persian language and the fear of its fate against various sects, citing the common past, the bow of myths and Iranian characters, especially poets and ....

Philology means the study of culture through language and attention to the linguistic nature of culture. Philology has been a major part of European Orientalism since the 18th century. Attention to Eastern languages began with biblical studies, with the advent of philology gradually separating its path from theology and becoming a way of understanding Eastern languages and texts. The need to learn Arabic, Persian and other Eastern languages led to the establishment of schools in Europe. It started in France but continued in Germany. In this article, after a brief overview of Orientalism and expressing the turning points of Iranian studies in Germany, the academic tradition of philology is explained in detail. Then, the importance of the philological method in the two traditions of German Orientalism (romantic and philological) is illustrated. The Romantic tradition relies more on the translation of Oriental texts and uses philology as a means of improving the quality of translation. The philological tradition seeks the historical reconstruction of text and language, and follows a neat trajectory. The importance of the philological method is attention to the text and its context. Classical philology, with its teaching of Oriental languages and manuscripts, has provided rich sources, from dictionaries to catalogs and corrected texts. In this tradition, the analysis of the Quran and the reconstruction of its context play a pivotal role. The importance of the philological tradition in the study of the sacred text is the abandonment of the concept of sanctity, which makes it possible to research the context and details of the text. This article deals with the genealogy of German philologists and the classification of their services at the levels of translation, cataloging, and proofreading of Persian and Arabic texts, and shows its evolution from the first generation to the golden age in the twentieth century. The focus of the article is on correcting mystical and Islamic texts and the projects of German-speaking orientalists in this field.

The present study has been conducted on the place of mysticism in the literature of sacred defense poetry. The main purpose of this study is to answer the question of whether mystical terms and teachings have been used in the literature of the sacred defense system or not; If so, how did poets use mystical terms?

This research is of theoretical type, relying on qualitative content analysis. The research method is a library method based on the study of books and articles related to the subject, which has carefully extracted and evaluated the required data from sources using the method of taking notes.

Among the studied poems, those that had a mystical approach were extracted, and based on this, it was determined that the poets of the Holy Defense often used mystical teachings and terms in their poetry, and it was also determined that the poets were mystics. Practically and theoretically, they have also taken different positions in dealing with mysticism.

What is the result of this research is the certainty of the connection between mysticism and its concepts with the literature of sacred defense (poetry) and also the fact that the diversity of views and diversity of usage in relation to mysticism, combined with intensity and weakness, in the poems of observation poets Has been.

The subject of the perfect man is one of the most important topics in Islamic Sufism, so much so that it can be said that the axis of all beliefs and principles of Islamic mysticism is summarized in this issue. Almost all mystics and Sufis have spoken about this subject, but Rumi has given more importance to this issue and especially in Masnavi and Divan Shams he has repeated it with more branches and depth. As it can be concluded, one of the most important pillars of Rumi's worldview and thinking is the theory of the perfect man. The present study aims to answer the main question of what commonalities and differences the image of a perfect human being has in these two works and why.

In this regard, using descriptive-analytical method, all the offices of Masnavi and Divan Ghazaliyat Shams have been examined from this perspective.

The most widely used rhetorical image in Masnavi and Shams lyric poems in describing the perfect man in the order of the sun and its belongings is the mirror, the shadow of truth, and alchemy and alchemy. The most widely used images are the manifestation of divine attributes in the perfect man and his caliphate, secrecy and secrecy, moral growth and promotion of disciples, and liberation from worldly attachments, respectively.

In depicting the perfect man in Masnavi and Ghazals of Shams, Rumi has used elements of natural phenomena, human artifacts, animals and historical figures. Most of this belongs to natural phenomena and then to human artifacts. The most important characteristic of the perfect man in the rhetorical images around him in these two works is his insight and the place of manifestation of divine attributes. Hence, the most important feature and nature of a perfect human being in Rumi's view are summarized in these two attributes.

Intertextuality examines the relationships between texts. Because in every text there are references to earlier works. It can be said that there is no new and original text. In intertextuality, two texts are compared: a text below and a rough text. Genette divides intertextuality into three categories, which can be examined in the form of the explicit, implicit, and implicit presence of one text in another. In this article, the authors first explore the roots of Rumichrchr('39')s mystical anecdotes and thoughts in the first book of Masnavi in mystical, fictional, interpretive works, Davin poetry, and Arabic historical books. Then he divides these anecdotes into three categories based on Genetchrchr('39')s theory of intertextuality. At this stage, the following text of Masnavi is specified. This text below should have both chronological and historical precedence over other texts and should be most similar to Masnavichr('39')s narration. This study shows that Rumi had read many Arabic historical, interpretive, fiction, and mystical books before him and brought them to the margins of Masnavi. However, in all the cases studied, he has changed mystical thoughts and previous anecdotes to achieve his mystical, theological, and moral goals. Meanwhile, Ibn al-Farid and al-Thalabi are more present in the first book of Masnavi than others in the field of mystical theories and anecdotes.

Nezami’s poetry has a great rhetorical value. The poet’s attention to rhetorical principles and the way of relationship between poet and audience are the most important discourses in Nezami’s poetry that through the illustration of these discourses we can understand poet’s ability in his poetical art and his influence on the audience. In Khosro and Shirin versified story the poet has used conversation more than his other works. The audience presence and the poet’s attention to the audience are completely evident and there is a mutual relationship between the speaker and the listener. Therefore, his poems have many different sentence moods and by analyzing these moods we can perceive their literary and artistic function. One of the sentence syntactic characteristics is “mood” that has a very important function in rhetorical analyzing literary contexts. The sentence mood indicates the interactive function of language and shows the rate of relationship between author and his audience. Accordingly, the sentence moods are the most effective principles of mobility and polyphony of the context. In declarative sentences the relationship between the author and the audience is one-sided and the sentences have less mobility. However, in interrogative and imperative sentences the audience interacts with the author and this interaction increases the context mobility. In this research the position of sentence mood in Nezami’s poetry is discussed with emphasis on Khosro and Shirin versified story.

Mysticism is the recognition and realization of the Truth with the heart, and the mystic is one who walks in this way to see God with his heart. Perhaps one of the best definitions of mysticism is: "Mysticism is nothing but an aesthetic and artistic view of theology" (Shafi'i Kadkani, 2002, 19). The best platform for the emergence of Sufi ecstasy is the field of literature, especially poetry: "Sufism is closely related to literature, including prose and order, as if the mysticism of the literary language, especially poetry, is more expressive in expressing mystical findings. A form of mystical language is a scientific or teaching language. In this language, a mystic tries to convey his findings to others in the language of order or teaching poetry, such as most of the poems in Mathnawi-e Ma'navi and Shabestari's The Secret Rose Garden " (Fanaei Eshkevari, 2013:56).Resistance literature is another literary variant influenced by the spirit of resistance and freedom of nations.  In our country, especially in the contemporary era, resistance literature has become more manifested by the literature of Holy Defense, which itself is a subcategory of resistance literature."Although there are differences among poems with themes of resistance in the period before the victory of the Islamic Revolution, the period of Holy Defense, and the postwar era, all of which are considered as periods of contemporary poetry, the common point among them is fighting against oppression, advocacy of justice, and call for resistance against the enemy" (Hejazi, 2008, 74).Eight years of Holy Defense for the Iranian people is a passion for epics, faith and mysticism, as warriors defended their religion and country with such a vision: "In the field of culture of Holy Defense, love and mysticism, valor and masculinity, courage and epic, sacrifice and devotion, faith in purpose and confidence in victory, and in one word, genuine human moral values emerged. The culture of Holy Defense is a collection of thoughts, beliefs, values, interests and attachments, common relations, and habits manifested during the Holy Defense. The areas of 'spoken', 'written', and 'behavioral' form this valuable and value-creating culture, and can naturally be transmitted to later generations" (Barzanoni, 2006,7).There are similarities between the literature of Holy Defense and mysticism, whether it is the literature of Holy Defense as epic literature, because it is the narrative of the warriors of Islam, and at the same time, our mystical literature also implies epic concepts: "A mystical front in our literature has exactly the epic form: the hero of mysticism is a hero who dreams of immortality (and immortalizes himself by joining the eternal God through fanna-fi-Allah); his enemy is a demon in the name of the soul, a pitched war between them. In this war, there is a talk of bloody roars and whales, love whales, sea of monotheism and other epic objects" (Shamisa, 2002, 46).The poetry of the Holy Defense, as its name implies, should have an epic color, and it may seem, in the first place, that this branch of literature is a subcategory of epic literature (although technically the Holy Defense literature is a subcategory of resistance literature) because it is about battle, courage, and preparation for sacrifice in the way of national ideals and values, but more carefully, the poetry of Holy Defense can be considered a subcategory of mystical literature. Iranian soldiers' view toward war was a spiritual one, and saw jihad in the way of God and being killed in war as equivalent to martyrdom, which is a high status. So, the poetry of Holy Defense, whichsuch literature, can also be mixed with mystical terms and interpretations.

Mystical terms and concepts are of great variety and illuminate the study of the poems of the Holy Defense, as well as how poets deal with them. One of the terms that has taken another color is the night. Mystics make use of natural phenomena to express their spiritual experiences, and night is of no exception. Mystical terms are not mono-semantics and sometimes accommodate fruitful meanings. Night is one of these terms, the multifacetedness of which becomes clear when taking a look at mystical texts, its. The night can be transcendent and precious, on the other hand it can be degraded and represent the darkness of existence and the symbol of the human soul. The purpose of this paper is to investigate and evaluate the 'night' used in the poetry of the Holy Defense with a mystical approach.     

The value and position of the night in Islamic culture is definitely derived from the teachings of the Qur'an and the prophetic tradition, and since mysticism is not separate from Islam, in order to better determine the spiritual position of the night, we have investigated it from the perspective of Quranic verses and hadiths, and then from the perspective of mysticism to evaluate the attitude of the poets of the Holy Defense with a mystical approach to the night by specifying the spiritual characteristics of the night. Night and its value in the Qur'an .The night is very important in the Islamic religion, because God has sworn to it in the Qura'n and assigned a separate Surah (Al-Layl) to it. In contrast to the day, which is special for working and trying to live a worldly life, the night is a good time for peace and stillness, and as a result, a better heart-focused attention towards God. This is why it is recommended in the Qur'an that: " Stand vigil through the night, except for a little [of it], a half, or reduce a little from that (Qura'n, 73:2-3 ).The special emphasis of the Qur'an on performing worship and night prayers has increased the importance of the night for Muslims, especially since worship in the night is a sign of the truth of the faith of the servants: "Indeed the watch of the night is firmer in tread and more upright in respect to speech, for indeed during the day you have drawn-out engagements" (Al-Muzzammil: 73: 6-7). In the Qur'an, God has mentioned thirty nights completed with ten other nights, which is a total of forty nights of prophetic solitude with God: " We made an appointment with Moses for thirty nights, and completed them with ten [more]; thus the tryst of his Lord was completed in forty nights" (A'raf, 7:142).The night is so high in position that the Qur'an was revealed at that time: " Indeed we sent it down on the night of ordainment " (Qadr, 97:1). The existence of the nights of ordainment for man is a blessing that makes man hopeful for both the erasure of previous sins and the determination of a good fate.-Night in Hadiths The night is also mentioned frequently in the hadiths of the Prophet (s) and the Infallible Imams (a), and as quoted by Muhammad (PBUH), this mentioning is influenced by the recommendations of the angel of the revelation: "Jibrail recommending me to worship during the night made me believe that the  good people of my Ummah would never sleep, but only a part of the night " (Ibn Babiway, 1988, 13). In emphasizing the importance of the night, the Prophet (S) goes so far as to draw a line around certain people and distinguish them from other people and gives them a special title: 'The Companions of Layl (night)', who are the noblest Muslims: "The noblest people of the Ummah are the bearers of the Qur'an and those who are familiar with the night"  (Allama Majlisi, Vol 110, 230).Imam Hasan al-Askari (a) says about night in a mystical expression that he considers night as the path to truth and proximity, and thus, the night is a shortcut that brings man to his great goal as soon as possible, which is the proximity to Allah. Indeed, the proximity to Allah and reaching the position of proximity to God  is a journey which cannot take place except by staying up during the night" be 2. The Verse 103 It doesn't arrive). (Allama Majlisi, vol. 75, 380).-Interpretations of The Night in Mysticism Night is one of the multifaceted terms in mysticism. From a point of view close to the view of the Qur'an and hadith, the night has a great status that has secrets in itself.In the heart of the night, God reveals his friends and lovers, because lovers visit friends and enjoy proximity to God in the solitude of the night, away from the sight of aghyaar:"When night comes, the special friends of God will be praying: their hearts in prayer, their hearts in need, their lives in secret... When it is time for dawn, it is commanded that these doors of the victory will be opened and the skirts of the holy throne will be thrown over and those closest to Him should be extinguished by the command of the glory. Then, Jabbar-e Kaenat, with his pride, says: Every friend came with their friend in private, where are my friends?" (Meybodi, 1982, 3710)But night is a multifaceted phenomenon in mysticism. The night can also be the bedrock of pure mystical moods and the joy of worship and make proximity to God possible, it can also represent the dark part of existence and take on a negative semantic burden. The night, in the words of mystics, sometimes refers to God, for example, Shaykh Mahmud Shabestari, with the term 'bright night', refers to the right to transcendence: "The meaning of the bright night in the words of Shabestari is the 'essence of ahadith', "which is likened to the night in colorlessness and indiscriminateness, because as there is nothing to be understood in the night, in this stage of nature, which is the stage of the demise of manifestations, there is no perception, for the inconsiderate nature of proportion and constraints is all vanishing. But, it is bright because the right of the Truth is bright in Himself and everything is takes light from Him" (Sajjadi, 2004, 497).Night is sometimes a symbol of the high levels of existence: "Also, mystics, since they often look at the truth and the heart of affairs, consider the night to have esoteric and spiritual meanings and characteristics, which are mostly interpretations; for example, ibn 'Arabi interprets Layl as intellect and clergy and lunch as a appearance and tangible, and believes that it is necessary to bring man to the limits of existence. And his senses are aroused" (Asadollahi & Fathi, 2015, 12,13).The night is an allegory for 'possible' because of its darkness, and from this perspective, its semantic burden is reduced: "The darkness of the dark night is a possiblity because the possibilities are 'zill' and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 497). Also, the night in the interpretation of the wisdom of Illumination is the stage of absence and 'the position of the standing property': "The standing property are also inferred as the darkness of the night. As the night of humanity implies, is the position of the standing property. The darkness of the night is the darkness of the possibilities because the possibilities are subtle and the diagram of plurality and manifestations of the truth" (Sajjadi, 2004, 496).A corporeal thing is in the position of darkness and appears to Incorporeal things as a defect. The materialistic world is Absolute darkness: "Sohrevardi considers the materialistic world to be a shadow of a black stain on Gabriel's left feather because of its inherent darkness" (Amini Lari, 2010, 3).Sometimes night, blackness, and darkness and the day and light are interdependent, which refer s to spiritual conditions. In this definition, the night represents ghabz and obstruction: "This bright day is the sign of the covenant of the heart, and that dark night is the example of a resentment. O you! who are calm in the daylight of the state, do not feel safe that the darkness of the night is a suffering. That's why the states are sometimes ghabz or bast" (Sajjadi, 2004, 497).In a summary of the mystical categories mentioned, the night is seen from the perspective of time capacity, place of solitude, secret and romantic need, joiner with true lover and mystery or discover secrets. The night, due to darkness and anti-light, represents the ego and the dark side of the existence of man, the possible and the universe of matter, as well as the stage of non-existence. From a more specialized mystical point of view, the night represents the essence of ahadith as well as the highest levels of existence.

By examining the selected poetic evidences of the Holy Defense in this paper, the night with a mystical approach in these poems has various interpretations that this diversity of perceptions can be close to the multidimensionality of the night in mysticism.From one perspective, the night is at odds with light, which can represent blasphemy and falsehood, as well as sensuality and sensuality. The night is the time for the red death, which in the poetry of the Holy Defense is equivalent to martyrdom.The night itself has no credibility or value, but it is the people who pay the price for it by their behavior or devalue it.As can be seen and the evidence quoted in this article, the night in the poetry of the Holy Defense is consistent with its mystical interpretations, but in the poetry of the Holy Defense of mystical terms and interpretations such as the essence of ahadith, rationality and clergy, and the position of the lords of the fixedness is not a sign.Two things that are specific to the poetry of the Holy Defense and are new in mysticism, are the occurrence of red death or martyrdom at night and the last night or the night of the operation.

Both the principles and the practices of Islamic mysticism were influenced by other religious groups. The practices of Sufism were influenced particularly by Fotowwa (an Iranian association also known as "Ayyaran" or "Jawan-Mardan"). In this article, the authors focus on one of Sufists' traditions based on which it is frowned upon to speak while eating. Some considered it to be based on a Hadith while others believed that it was against Islamic codes. It is attributed to Abu-Saeed Abul-Khair's Khanqah as well. However it seems that the tradition has its roots in an ancient Iranian etiquette which was passed on to Sufism probably through the practices of Fotowwa. Documents on the customs of Sufists and Fotowwa together with Zoroastrian codes and myths help us trace the origin of this tradition and have a better underestanding of the formation of Khanqah's customs and decorums.

Reading the works of some Persian poets and writers such as Khaqani, Nezami, Beihaqi, etc. we face a rare usage of the word "sneezing" (عطسه) in a particular sense which is related to the concepts of reproduction and father son ralationship. In the explanatory notes on these works there is no comprehensive explanation elaborating on the reason for the poet or the writer’s usage of the word "sneezing" in this sense. Most of the scholars refered to some Islamic mtyhs but none of the myths make the relationship between sneezing and reproduction clear enough. The fact that the word is used in the same sense in English and French idioms and expressions (both comparing a child who looks exactly like his father to the father’s spit), raises the question as to whether there is any ancient myth which can be considered as the origin of this particuar usage of "sneezing" in different languages? According to the studies of Horn (2004) and Gadalla (2018), who traced respectively the origin of the English and French idioms, the ralationship between Sneezing and reproduction has its roots in an ancient Egyptian myth. The goal of this study is to show how the ancient myth has transformed to appear as a metaphor in Persian literature.

As Horn (2004), Gadalla (2018) and Frayer (2013) showed separatedly in their studies, the relationship between sneezing and fertility can be traced in different languages and cultures. Horn (2004) showed its examples in Italian, German, Portuguese, Greek, etc. He believed that it had originated from an ancient Egyptian myth according to which the God "Shu" begot his heir by sneezing and that is why his son was called "Tefnut" meaning "sneeze". The results of Gadalla's studies on the origin of the French expression corroborates this assumption. Frayer (2013) explained that saliva played a significant role in many ancient myths depicting the scene of the very first creation. As he put it in his article, saliva, just like dust and clay, was an essential component of the creation. In this respect, breath, spit as well as sneeze are three main images of creation and reproduction in myths since all the three contain saliva. In each language and culture, one of these three images dominated the other two. In ancient Greece, sneezing was considered sacred and divine. Aristotle believed that sneezing is related to soul as it comes out from head where soul is located in. Some African, American, Asian, and European superstitions stemmed from the belief that there is a relationship between sneezing and soul too. In Christian culture, the image of spitting was repeated in myths and the stories of the wonderworks of Jesus. In Islamic culture, although breath is the dominant image in creation scenes since according to The Holy Quran, God breathed out his soul to give life to Adam sneezing is considered sacred as well. It is believed that Adam sneezed following God's breath. It is also believed that cat was born when lion sneezed in Noah's ark, so there is a hint of relationship between sneeze, soul and creation/reproduction in Islamic culture, too. This relationship is highlighted particularely in Khagani's odes in 12th century. He repeatedely used "sneeze" as a metaphor for "child", "outcome" or "concequence" in his works.

In this study, it was tried to find what the Persian metaphors using the image of "sneezing" to indicate "reproduction" have in common with the other idioms and expressions using the related images in the same way in other languages. Horn (2004) and Gadalla's (2018) studies had already brought it in light that such images have the same origin. Frayer showed also how the original metaphor showing parent's saliva as the ressource of reproductive power has ramified into three main metaphors (sneeze, breath, spit) in different cultures and literatures. Since the images used in Islamic culture and literature were ignored in the previous studies, examples from both Persian and Arabic texts were analayzed to find out to which branch they belong. They then were compared with those belonging to other branches.

According to an ancient Egyptian myth , saliva is related to fertility. As breath, spit and sneeze, all contain saliva, they were used as the metaphors of "reproduction" in different cultures and some French, English, Italian, German, Portuguese, Greek expressions reflect the relationship between these three images and fertility. Having analyzed the images related to the metaphor cited above in Islamic culrure, we concluded that such relationship between the word "breath"/"sneeze" and reproduction exists in the latter culture, too.

In Islamic culture and Persian literature, the absolute dominant image among "breath", "spit" and "sneeze" (the three images related to fertility in different languages) is "breath". Evidently, the dominance of this image in Islamic literature is the natural corollary of the use of this image in the creation scene described by The Holy Quran, The image of "sneeze" also appears in some Islamic myths and Persian verses, specially in Khaqani's odes, to indicate "reproduction".

Shortly after the Ghoshirieh treatise was written, it was firstly translated in Persian by Abu Ali bin Ahmad Osmani for the use of Farsi language speakers, and after a while the translation was modified or provided with another translation. With the help of the Arabic text and based on the manuscripts of Süleymaniye Library_Lala İsmail and British Museum,  Badiozzaman Forouzanfar corrected this book for the first time in 1966. The educational aspects of the book and the emergence of some inadvertences prompted others to provide a further correction of the Arabic original and its Persian translation. Just like and after Mohebbati, Rowzatian and Mirbaqerifard believe that Forouzanfar has made a methodological mistake in his work by comparing two versions of a translation, both of which have been conducted by one translator. Based on the manuscript in the Hagia Sophia museum and by checking it with the manuscript available in the British museum, they have corrected the Ghoshirieh treatise. Low-false suitable typography and several indexes are the main advantages of this manuscript. The week aspect of its suspicions, neglecting the introduction of the sources of Arabic distiches and the Arabic text of the work are among the disadvantages of the manuscript besides neglecting its comparison with the Forouzanfar's manuscript.

Although proverbs possess clear, logical and semantic structures, the use of some rhetorical elements has, in addition to making the proverbs more beautiful and effective, given depth and strength to their concepts and made them more reflective.  One of these elements is the "symbol". In this article, we will illustrate the symbolic role of animals in proverbs. The purpose of this study is to analyze the quality and quantity of applying animal symbols in proverbs and the number of animal symbols used in making proverbs. The main body of the paper presents the statistical charts and analysis of examples of proverbs listing the various animal names in the subgroups of domestic animals, non-domestic animals, birds and insects.The present study is a library research and has been conducted based on a descriptive-analytical approach while implementing statistical methods by studying 6047 proverbs used in the Bahmanyari Story Book. In the end, it was found that, quantitatively, maximum animal symbols  used include domestic animals with a percentage of 48.6 and the lowest frequency of animal symbols belong to the birds' group with a percentage of 8.7. The major reasons for using animal symbols in proverbs may be pointed out as making abstract concepts objective and more tangible, making proverbs attractive, brevity of speech, and avoiding direct vulgar and sarcastic address

Nizami’s narration of Khosrow and Shirin is noteworthy for several points including the way these two characters meet each other, their tragic destinies despite the joyfulness of Persian romances, and the active role of Shirin. Therefore, to study the formation of the story and the tragic destinies of its characters, the article analyzes the structure of its narrative. The narration of Khosrow and Shirin begins with a complete sequence. This sequence forms two other major sequences, which are Khosrow’s efforts to gain the four desirables (Shirin, Royal throne, Shabdiz, and Barbad) and Shirin’s efforts to gain Khosrow. The sequences of the narrative are cycles of the change of situation from the stable to the unstable; actions and reactions of the auxiliary and opposing forces have a vital role in changing the situation. Each sequence begins with a change from a balanced state to an unbalanced one and ends with the possibility of transformation and, ultimately, the materialization of transformation. At the end of the narrative, because of the narrator’s belief that worldly blessings are unstable, these desirable transformations are lost and there is no sign of permanent achievement whatsoever.

The ultimate goal and the destination of the mystical path in Islam is Fana, and in Buddhism is Nirvana. Reaching to both destinations is through elimination of desires. There are so many similarities between Fana and Nirvana that sometimes they are considered as identical concepts. Fana and Nirvana are mystical experiences and can also be studied through the lens of theories on mystical experiences. One of these theories is Constructivism, which believes mystical experiences are processed through and organized by beliefs and expectations that the mystic brings to the experience. In the Constructivist view, the mystic goes through mystical experience, while he is contextualized with the established doctrines and concepts of his religion, and since established doctrines and concepts of various religions are profoundly different, mystical experiences could not be the same. In this article, we attempt to study Fana and Nirvana through the lens of Constructivism. We argue that the difference between these two faiths is drawing their mystics’ mystical path genuinely different inasmuch as these paths would not end up in the same destination, and thus, Fanā and Nirvana are profoundly different. This article begins with a brief explanation of mystical experience and a short introduction on Constructivism and Essentialism; then continues by describing some principal doctrines on Fanā and Nirvana and recommended instructions to reach them, and finally ends with a comparison of these teachings and conclusion of the argument.

Wise words and teachings play the role of education in moral growth and since a long time ago the discussion over wisdom and the themes related to that has occupied a significant status among scholars and thinkers. Nasirean Ethics is one of the most important books on wisdom whose topics are related to practical wisdom which its compilation terminated in 633 A.H by Khaje Nasir al-Din al- Tusi. It is compiled in three chapters: moral refinement, family management, and politics. Saadi whose appellation was “the most eloquent rhetorician” and whose rhetoric was undoubtedly beyond question represented, through either direct or indirect influence, the three aforementioned wise themes of this work ( Nasirean Ethics) in the form of adages in eight chapters of his Golestan. In this study, through a prologue and three speeches, an attempt is made to investigate the extent and the manner of reflecting these themes and constituents in Golestan Saadi which is a didactic work. Finding these common themes and understanding them significantly help the reading and perceiving the wise words of Saadi in Golestan. This investigation indicates that Saadi has used the moral virtues in the major part of Golestan.

The institutionalization of the role of education and training in the development and development of the young and younger generation and its link with educational literature forms a large part of the contemporary system of today. The purpose of this literature is to educate and improve the moral character of human beings in order to achieve prosperity and prosperity in the world. And the Hereafter. In his Masnavi, Maulana expresses the foundations of education and training in his own way. He brings together morality and mysticism, and by applying the holy Qur'an and Hadiths, he brings religious colors to his teachings. Rumi uses the method of parable in the moral debates, so that anyone can use it in order to use it. The study of Molavi's educational ideas reveals his comprehensive and humanistic view of education and education; in fact, his views point to many of today's educational methods. As a result of the present study, Mowlavi looked at the extraction and analysis of moral and educational implications.

One of the major subjects in Mysticism is its path to gain Mystical knowledge and certitude; a path which is different to that of science and philosophy. In fact, using unveiling, Semi Dream (Vaghe'eh), intuition and generally mystical experiences and the manner of intuition in gaining Mystical knowledge, are the most basic subjects in mystical studies.  For better understanding the nature of unveiling (kashf), finding the manner of the perception of these experiences is more important than anything else. Scrutinizing human perception especially Mystical perceptions like unveiling (kashf) requires an opportunity for studying history of thought in Philosophy and Mystism, since Plato till now. But when the viewpoints of Sofia, philosophers and thinkers meet, it suggests that mystic creates the context of realization of unveiling (kashf) with spiritual struggle (mujahidah), endeavor (riyadah) and dhikr in an intermediary world, called Mundus Imaginalis. The heart of the mystic is the part for perceiving these experiences that makes the experience of unveiling (kashf) possible by gaining insight (Basirah) and applying a power, called active imagination and spiritual energy (himmat).

The present research aims to analyze the poems of Mohammad Ali Bahmani within the framework of structural stylistics theory. This approach is based on one main idea: In order to examine the stylistic characteristics of a poem, all the omponents of the poem have to be analyzed with respect to overall elements. The is a descriptive analytical study which relies on library method for data collection. The first step involves describing the structuralism stylistics theory and the history of studies conducted in this area. The next step includes structural analysis of Mohammad Ali Behmni's poetry and foregrounding techniques. The findings of the research indicate that the use of sounds (vowels and consonants) is very influential and helps the poems to stand out. The language of his poems is simple and intimate and comes from the poet's emotions.

The present Afghanistan is the main origin of Persian poetry and literature that has been shined in the history of Persian literature. Sheykh Seyyed Soleyman Balkhi and his son, Sheykh Seyyed Abdolqader Balkhi are from the 13th century wise men and poets who lived in Kunduz and then they migrated from Balkh to Baghdad with the intention of going to Hajj due to the bad circumstances at that time, but in Baghdad, they gave up going to Hajj and moved first to Konya and then to Istanbul. Abdolqader Balkhi spent his primary education with his father and he also was taught by Seyyed Bakir Reshad in Turkey, and succeeded him in the spiritual order and sects of Naqshbandiyyah and Hamzaviyyah. In addition to spiritual guidance, he has written poetries in Persian, Turkish and Chagatai languages, some of which have been published, and some others have been remained handwritten. His works consists of Yanabi’al-Hikam, Konuz al-‘Arefin, Golshan-e Asrar, Asrar al-Tawhid, Shams-e Rakhshan, the Divan, Sonuhat-e Elahiyyah, va Elhamat-e Rabbaniyyah.

Determining the origin of poetry has always been one of the oldest issues of literary criticism. This debate began firstly in Greece where, based on existing sources, Plato and Aristotle presented their theories about it. It has also been taken into consideration in the Arab literature. During Jāhilīyah period, the Arabs believed in "subsidiary"(Tābi'ah). This belief also existed in Ancient Persia, and it remains intact even after the arrival of Islam into Iran. Moreover, it is also reflected in the poetry of mystics, in a way that the mystic poets' references to this issue can be divided in two categories of intermediate and immediate inspirations. The poets also tended to religious personalities, using Gabriel and other characters instead of inspiring Satan for instant, in choosing subsidiaries (Tābi'ahs),with regard to the social context of Persian literature and the influence of religious thoughts in Iranian society. The contrast between poetry and sharia has always been influential in choosing religious figures as inspiration for poetry in Islamic period; however, mystic poets did not believe in just spiritual nature of poetry and considered their own efforts important to compose poems. Their point of view about the attempting scope of the poetry can be explored through a careful focusing on the verbs they have used in their poems.