محمد انصاری پویا

The Symbols are applied to all knowledge scopes; mythology, sociology, art and soon. Generally, the symbol is a world or an expression applied in its unreal meaning, which is parallel to image. In literature, the symbol is a verbal image to imagine abstract ideas, personal experiences and supernatural meanings that is imaginative, moving, multi meaning, ambiguous, and interpretable. Transcendental symbol is a sort of literary symbols. Transcendental symbols are types of liferary symbols as if they contain literany images along with their specific characteristics.
The idea in which there is a metaphysical world other than our world, at least belongs to the age of Plato, who called such a metaphysical world the ideal world. So, he calls our ekisting world as a shadow of the "ideal" world. Such symbols ambiguously represent the connection of shining radiation of soul with divine light. The poet provides his transcendental symbol and comes across the ideal world through the reality which is a world that human wishes to touch.
and all universal phenomena are solely the incomplete representation of such a world.
various types of such symbols are used in dehlavi's sonnets. He has used this imagination. and his thoughts through transcendental symbols for special personal and historical conditions and he tries to use symbols as near to these own personal realities and this imaginative world as possible. Actually transcendental symbols are not perceivable by enaryone. The concept of these symboly is highly related to their application area. such symbols get more concept in connection with the subject of their emergence. we are going to investigate the background of transcendental symbols in Dehlavi's sonnets in this research so that to study the connection of transcendental symbol with poet's thoughts, historical conditions and sacial canditing and we are going to clarify how transendental symbol works.
So, the following questions are answered,
A) what kind of transcondtal symbols is in Bidel's sonnets?
B) what is the relationship between personal Thought and transcendental
Symbols?
c) what is the relationship between social and historical
backgrounds and transcendental symbols?

This study is a sont of qualitative studies and tries to opent newharixons to these who are interested in literature and those liferary readers by the use of content analysis method and by
the aim of study and analysis of Transcendental symbols.

Transcendental symbols have an important factor of symbolic language which refers to something of unknown and abstract world. The reality and the metaphysical world and the mysteries searched beyond the transcendental symbols are not percievable mentaly and consciously. In trant scendental view, pure knowledge is known through insight, so the superiority of insight on knowledge is a transcendental notif Transcendentalist tends to develop his thoughts and his inner perceptions on subjective appearances of the tangible world. Eeach a phenomonon in nature represents specific aspect of supreme truth and because the aspect is also inside humanbeing, hence it causes enthusiasm to return to the world of idea Transcendental symbols have substantial communication with plato's opinions. Iranian gnasticism is also influenced by such opinions, so we can give another neme to transcendental symbols as gnostic symbols but this sublime view might have not any connection with Iranien classical sufism sometimes the transcendentalist is a gnostic who finds the trath by religion and rule of life "The tendency towards the nature is accompanied with introversion" (radfar, 1389:59). The world of divinity decends to natural and worldly phenomena and is searched in natural aspects. The main foundation of Bidel throughout his poetical work and sonnets is the thought of the unity of existence, hence, symbols like Sun" "light", and "sea" are frequently used.
"Sun" is a transcendental symbol and contains a spiritual and divine concept. Based on the priciple of opposition, those positive and glorious aspects which are opposed to negative and demeaned aspects of dusty ground can be connected to the vast sea denotations.
One of the most frequent symbols in Biddle's sonnets is the "mirror" symbol, which is "a symbol for the divine thought and reflects the manifestation, the manifestation that he has created in his own form." This manifestation, similarity and difference in the mirror is the source of Azra'ili's descent, and Claire is the end of a very high spiritual experience "(Shavalieh, 2009, vol. 1: 399)" The mirror "is truth and self-knowledge. The supernatural reflection, the clear and shining surface of the divine truth, is the mirror of the symbol of man's knowledge of himself. In Biddle's thought, the Imam is the mirror in which you see yourself, because you are his mirror, the world is the mirror of God and man is the mirror of the world. So he will understand the inside of the mirror, that is, the inside of the enlightened truth and intellect. Another common transcendental symbol in Biddle Dehlavi's sonnets is "Homa". «Homa: Homayoun. Homay, meaning auspicious and blessed. Hu-mayā and hu-mâyâ are used in the same sense in Avesta, next to humâk, the word is basically an adjective eagle. In the culture of Shahnameh, Wolff has translated Homay into adler (eagle) ”(Burkhart, 1997: 6 236) Sentence: Farr and Bliss have thought that this has increased the symbolic ability of this motif. Homa, first of all, like any other bird, instills the idea of flight in the poet's mind. The attribute of Homa's ambition is a manifestation of the supremacy of the poet's subconscious mind, which is a symbol of flight combined with transcendental concepts. Huma is a transcendent symbol and speaks of Biddle's independence and longevity.

In this article, the origin, nature and function of transcendental symbols in Biddle Dehlavi's lyric poems were examined. Due to the ambiguity created by the transcendental symbols in the poem, an attempt was made to remove as much ambiguity from Bidel Dehlavi's poem as possible by interpreting these symbols. In addition to the content analysis of transcendental symbols, the aesthetics of these symbols was also one of the objectives of this study that was considered. Also the common transcendental symbols in Biddle's sonnets, according to their frequency; Elements of nature, birds and objects were classified into three groups. The results of the research indicate that transcendental thoughts in Biddle Dehlavi's lyric poems, many images appear in a contradictory situation with each other. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Feeling lonely and trapped in the prison of the perceptible world and its problems, causes him anxiety and intensifies his desire for transcendence. This causes the poet to cultivate the dream of having wings and feathers in his imagination and the light of the morning is clear to get rid of this narrow field. Wings, feathers and flight embody Biddle's imagination. The wing symbolizes spirituality, the power of imagination and spiritual ascent. The two birds of Homa and Simorgh, through their wings, find the ability to fly and purify their souls from the ugliness of the earthly world in order to open their way to the wide world. Simorgh with its spiritual and sacred aspect, when Biddle speaks of solitude and withdrawal from the ugliness of the earth, along with Homa and Shahbaz, all three are considered transcendent symbols and the story of eagerness to ascend. They do.

 In the view of Biddle Dehlavi and Sohrab Sepehri, there is an absolute truth and all natural phenomena of the material world are the manifestation of the same truth. The spiritual world and the supreme truth that the poet wants to achieve; It is expressed in the form of transcendental symbols. Since the extensive use of these symbols by Biddle Dehlavi and Sohrab Sepehri has made their poetry difficult to understand; The present article aims to remove some of the ambiguities in the poetry of these two poets, the transcendental symbols in Biddle"s lyric poetry collection and the collection of Sepehri poems that have a transcendental aspect; Examines. In addition to content analysis, the aesthetics of these symbols is also one of the goals of the present study.

 This research is based on descriptive-analytical method.

 The transcendental symbols in Biddle"s lyric poems and Sepehri"s poetry are rooted in nature. In this way, nature and its manifestations lead to the absolute truth (God) and lead us to theology.

 Biddle"s transcendental ideas in the Divan of Ghazals are such that many images are created in contradictory situations. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Sepehri, on the other hand, has an inner view of God, just as God placed himself among the romantics as a heart and inner need, and they turned to religion from an artistic point of view. Is approaching.

Analyzing the literary works based on the modern views leads to understand their unknown sides. The story of Zal-va-Roudabeh which is a unique combination of love and saga, has not been analyzed with the psychoanalytic approach yet. Such an analysis may open a new window to the eyes of the audience. In this article, first, the theory of Jung and its archetypes will be briefly introduced. second, regarding the theory, some of the most frequent archetypes of the story of Zal-va- Roudabeh will be sought and analyzed. The results demonstrate that Zal, earns a kind of divine wisdom and he is released from the heaviness of the matter to be the father of the most eminent hero of Shahname, Rostam, and finally reaches to individuation. Reaching this stage, everything is provided for a divine marriage and the result is the world's hero, Rostam.

Iqbal has benefited different expression elements such as simile inhisMasnavi-e-Asrar-e-khodi (selfsecrets) to state advisory contents and meanings. In this research it has been attempted to indicate similes structuresand their components in Masnavi-e-Asrar-e-khodi، using the statistical population. Structurally speaking، This research has been conducted on the basis ofintroducing and analyzing different kinds of similes، from the perspectives of used elements، beingintuitive or rational (the parties)، complexity of the similes'' structure، singularity or plurality of the parties، point of similarity and its form in Asrar-e-khodiand the method is the description and analysis of data، From the rhetoric point of view. In the end، the place of different simile types in Iqbal''sAsrar-e-khodiis demonstratedaccording to the statistical tables. The results prove that simile inIqbal''sAsrar-e-khodi is among the important expression elements to state his thoughtsand has been used through various forms.