محمدحسن ارجمندی فر

The story of Yusuf, the messenger of God, has been narrated in Holy Quran completely. God has entitled this story as "احسن القصص" which means the best story of all. A part of this story is related to the event in which Yusuf and the Egyptian women faced with each other (completely narrated in the 31th verse of Yusuf sura). In this part which has been narrated in Persian literature for years, we have often talked about orange or Bergamot orange. However, by observing nearly 63 translations of Quran, we can clearly see that only 5percent of the translators have translated this word as Bergamot orange and 95 percent of them have translated it as a kind of cushion or food. in this field, we can regard the theories below. 1. Due to the logic and the techniques of Quran`s storytelling, the best equivalent for the Arabic word " متکا" which has been written in the 31 verse of Yusuf sura in Quran, is Bergamot orange. 2. By surveying this verse we can figure out another verbal miracle of the Holy Quran in which God mentions the simultaneity of Yusuf`s lifetime and the importation of the Bergamot orange to Egypt . 3. The fact that Zuleikha suggested the Egyptian women in the meeting to eat Bergamot orange signifies the costliness and novelty of this fruit and it also shows her deceitfulness. 4. In Yusuf`s lifetime there was no orange and they only ate Bergamot orange

This research has been conducted in a descriptive-analytical manner based on library studies.With an introduction regarding the role of the unity of poetic elements, referred to with terms such as unity, coherence, and vertical axis, we will gradually accompany the formation of a ghazal to propose a method for the unity of elements in Persian poetry.This approach will help us answer the question (hypothesis) of whether maintaining the unity of poetic elements contributes to the flourishing of poetry, using the eight criteria outlined in this study.

Arūz (prosody) is -one of the oldest and most common methods of measuring and classifying the weight of poetry - from the second century (A.H.) until today, has been the measure and standard of measuring the weight of Persian and Arabic poetry. A style book that many consider to be the origin of the Arabic language and its creator is an Arab scientist named Khalil Ibn Ahmad Farahidi. By examining the historical course of Persian poetry, this research seeks to find the linguistic and geographical origin of prosody.

The present research is a theoretical study that was conducted in the style of a library research, and to identify the origin of Arūz, the historical and literary path of Persian poetry was followed from before the era of Christ (PBUH), when Persian syllabic poetry was written in a quantitatively weighted form. The path of evolution of syllabic style to the emergence of prosodic style has been followed in order to determine the geographical and linguistic origin of Arūz. Regarding the background of the research, no focused work has been done in this regard and it has been mentioned sporadically.

The history of several thousand years of Persian poetry is indicative of the fact that Iranians used to sing poetry in a syllabic style with little weight, they had their own weights, and the prosody style is an evolved form of Persian syllabic poetry.

So Arūz is not a one-time event that was formed over centuries and Khalil Ibn Ahmad only systematized it. Being aware of the fact that the Arabs had no history in the art of music and borrowed and learned it from the Iranians after Islam, as well as the high influence of Arūz on music, requires Khalil Ibn Ahmad to be Iranian or to have learned it from the Iranians. In the 6th century, Yaqut al-Hamwi removes this ambiguity when he clearly points out that Khalil ibn Ahmad is an Iranian and a Persian speaker in his book Mujam al-Adba. Because in the second century (A.H.), the language of science and government in the Middle East region was Arabic, Khalil Ibn Ahmad proposed this method in Arabic. Therefore, the origin of Prozod can be considered Iran and the Persian language, as an Iranian person wearing Arabic clothes.

A comprehensive understanding of the multi-faceted aspect of the word - as the cornerstone of the text - holds particular significance in the translation of the Holy Quran. Especially when faced with "polysemous words," the translator must be aware of all these meanings to select the essential meaning based on the text's context. However, considering the possibility of the word being "foreign and alien" is crucial, an approach often overlooked in the Persian translation of the term "متکا" in Surah Yusuf, verse 31. In a part of this verse which narrates the confrontation of the Egyptian women with Yusuf which was an invitation by the Emir of Egypt’s wife, it is mentioned that "واعتدت لهن متکا" meaning Zulaykh gave them متکا meaning repast and then furthers that she gave them a knife. While the literature depicts the presence of oranges or citrus fruits in the hands of Egyptian women in the story of Yusuf in the Persian poetry and prose of Persian since the time of Rudaki until now, Persian translations commonly neglect this. A survey of 63 Persian translations of this verse revealed only 5% (3 translators) translated the term as "ترنج" (Citrus), while 95% (60 translators) translated it as a seat, gathering place, fruit, or a type of food. A review of 168 Arabic books on interpretation, hadith, and dictionaries showed that 101 considered "متکا" a Hebrew word, interpreting it as "ترنج" (Citrus) or orange. Therefore, the best equivalent for "متکا" in this verse is "ترنج" or orange, emphasizing the need to expand the semantic scope of polysemous words to identify non-Arabic words in the Holy Quran and highlighting the importance of aligning Persian translations with the text's context and logic.

One of the well-founded romances of Ferdowsi's Shahnameh is the story of Zal and Rudabeh. A work that has beautifully mixed epic and love and narrated it in the language of poetry. Similar to this story in European folk literature, there is a story called Rapunzel, which has significant similarities with the story of Zal and Rudabeh. The purpose of this research is to compare the two stories and examine whether the story of Rapunzel is adapted from the story of Zal and Rudabeh or not.

Based on the theory of narratology, this research compares the story of Rapunzel and the story of Zal and Rudabeh. After the paleontology of the stories, it was found that the story of Rapunzel was printed in Italy a century before the introduction and arrival of the Shahnameh to Europe and existed in the folk literature of the people of the Danube coast; Therefore, the hypothesis that Rapunzel is adapted from the Shahnameh is rejected.

In the discourse analysis of these stories, common elements and symbols were found such as the originality of love, tower and height, mountain, hair and hair, and child, which points to the archetypes and common cultural views of the origins of both stories.

In both stories, love is introduced as the path to excellence and is a process that opens its way to union and finally, victory is with love. On the other hand, wisdom and love are introduced as the wings of flying and excellence, that wisdom without love and love without wisdom have no meaning. "Highness" which appears in the image of the tower in both stories, indicates the inner desire of man to move forward and what can provide the ground for this exaltation is the hair of Faroheshta Yar, and finally, having children refers to the continuation of romantic nature and immortality, which in The story of Zal and Simorgh leads to the birth of Rastam, and the story of Rapunzel leads to the birth of twins. In general, although these stories do not have the same narrative process, in terms of discourse and the message of the work, many common aspects can be counted in them, which shows that this similarity is not accidental.

The study of imperative verbs in Hafez`s poems started with looking for imperative verbs in his poems by considering five different grammatical aspects and 1835 affirmative and negative imperative verbs have been found through 495 poems of Hafez .It has been concluded that almost 80percent of those verbs are affirmative imperative and 20percent are negative imperative. It has also been concluded that two third of those verbs are simple verbs and the rest are compound verbs. In the analyzation of structure of those verbs It has been clarified that the early majority of them belong to the group of imperative verbs without verbal prefix and the second majority belongs to imperative verbs with affirmative imperative maker prefix and negative imperative maker prefix. In this study we have undrestood that If we want to categorize imperative verbs into different groups by considering their intentions, we can claim that affirmative imperative verbs can be assorted it has been concluded that the intentions of the majority of affirmative imperative verbs consist of "permission" and "encouragement" and the intentions of the majority of negative imperative verbs include "threatening" and "guiding" .All in all, Hafez should be known as a guide in the aspect of using imperative verbs. If we want to take a look at his poems from the fifth aspect which is the addressor`s view we can recognize that About 90 percent of the addressors in Hafez`s poems are "singular second-person" .The other noticeable point that has been found out in this study is that grammar teachers categorize the addressors of imperative verbs into three groups including "singular second-person","plural second-person" and "plural first-person.