فهرست مطالب محمود فتوحی رودمعجنی

This research is based on the poems of two manuscripts of 1059 A.H. and 1083 A.H. Diwan Saeb Tabrizi states that Saeb's poetic style has gone through changes after returning from India, so that two different styles can be identified in his poems. This research, with the rhetorical stylistics of two manuscript poems, outlines the evolution of Saeb's style and shows that the rhetorical characteristics of Saeb's poetry have changed in these two styles and have shifted from metaphorical expression to subtle imagination and allegorical expression. Then, it deals with the characteristics that reveal the individuality of Saeb's style and finally, it examines the effective factors in changing the style of Saeb's poetry and emphasizes on the stylistic evolution of Saeb's poetry has emerged in line with the change of his ontological attitude..

Saeb Tabrizi gradually changed his poetry style after returning from India (1042 AH) and moved from metaphor to subtlety and simile expression. The proof of this claim is the difference in the style of his poems in two manuscripts of 1059 AH. and 1083 A.H. which are related to two periods of Saeb Tabrizi's youth and old age. Manuscript 1059 AH. It covers the poems of Saeb's youth and his days in India (10341042 AH); But the manuscript of 1083 A.H. It mostly includes his late poems of his middle age and old age. This manuscript also has the signature of Saeb himself, whose signature confirms the authenticity of the manuscript. From the comparison of the ghazals of these two manuscripts, which contain poems from two periods of Saeb's life, it can be seen that the style of Saeb's poetry has evolved in such a way that two different styles can be seen in his poems.
The research is to prove this claim that "Saeb style from the manuscript of 1059 A.H. until 1083 A.H. has turned from metaphor to subtlety" so that it tries to answer these questions with the method of rhetorical adaptation: from the manuscript of 1059 AH. until the manuscript of 1083 A.H. What difference has the use of rhetorical arts made? What is the dominant rhetorical device in each manuscript? What have been the possible effective factors in changing Saeb's style? Which manuscript of Saeb represent his individuality and creativity?

In this research, Saeb's poem has been analyzed rhetorically from two perspectives; First, with a formalistic approach, we have measured the frequency of the highfrequency devices of Saeb's poetry in each manuscript and shown the change in the frequency of rhetorical devices in the form of a diagram. In this statistical analysis, the number of verses in the manuscript of 1059 AH. (three thousand verses) considered as the basis and the same number from the manuscript of 1083 AH. have been chosen with the "systematic random sampling" method.
Therefore, we have chosen, with 2500 verses intervals, 6 samples of 500 verses from the 1083 AH manuscript. In the second approach, we have examined Saeb's frequent and especially innovative images from a cognitive perspective in order to find out the rhetorical and aesthetic foundations of his poetry. In this approach, we have considered all the verses of two manuscripts. In the qualitative and statistical analysis of this research, we have used MAXQDA Analytics data analysis software.

The main device in the poems of 1059 A.H. is a metaphor. The frequency of metaphor in youth poems is almost four times that of manuscript poems of 1083 AH. Metaphorical expression prevails in the poetry of Saeb's youth, but his later poems move away from metaphorical language to simile expression. Another feature that in the poems of 1059 A.H. stands out is the compact and concise language; Three factors can be considered for it: metaphorical expression, brief form of devices, image density.
Saeb's movement towards subtlety)Nazokkhiyali(: Saeb in his poems of India says that he has precise imagination. It seems that this is the result of his trip to India. Saeb's attention has been drawn to his subtlety. After this, the concern of finding meanings and thin words and thinking about detail matters of existence became the "focus" of Saeb's attention.
From the comparison of Hind's poems with his later poems in the 1083 AH version, it can be clearly seen that subtlety and detail view are more important in Saeb's opinion. The course of this change can be seen in four basic differences: the increase in the frequency of subtle imaginations; exaggeration of expression; Creating and using new images; Expanding the scope of subtlety.
A comparative study of Saeb's youth poems with his later works leads us to other new features in Saeb's poetry. The characteristics that are found in the manuscript poems of 1059 A.H. They do not show much, but in the poems of 1083 A.H. They are among the stylistic components of his poetry and show the individuality of Saeb's style. These indicators include: exaggerated expression, comprehension subtle, predominance of sensory mentality over abstract mentality, simile.
The similarity of the poetry of Saeb's youth in a new style (Tarzetaze): In the days of Saeb's youth, a new style of narration is widely found throughout the territory of the Persian language, which was popular in some literary centers, especially in India, since the late 10th century. Literary sources and literary history of the 11th century generally called this style "new style"(Tarzetaze) and referred to the poets who follow it as "Tazehgoyan" and considered poets like `Orafi Shirazi and Taleb Amoli to be the leaders of this new style.
Saeb also wrote in the manuscript verses of 1059 AH. he uses the words "style" (Tarz) and "new style" specifically about a poetic style that was spread in the realm of Persian literature in the 11th century and its leaders were `Orafi and Taleb. Saeb's attention to `Orafi and Taleb and their new style is only due to his explicit references in his poems of 1059 AH. It is not limited just in his speeches, but it is well expressed in his poetic style. As we have seen, in the manuscript poems of 1059 A.H. Metaphorical expression prevailed and abstract images were also more frequent. In his youth, Saeb, influenced by the new style, which is the style of metaphor, pays more attention to metaphors and the use of dense and concise poetic images, therefore, the language of his poetry is compact and metaphorical.

Saeb's youth and his stay in India are parallel to the spread of the new style in the Persian language. The style which `Orafi and Taleb were famous, and its most obvious feature is metaphorism. Therefore, in the poems of his youth, Saeb talked about a new way and wrote poetry in that way.
To avoid using the title "Indian style", some researchers have called the poetry of the 10th to 12th century A.H with the name of “new style”. Another group has divided the poetry of the Safavid era into Iranian and Indian branches and the Iranian branch was called the new style (Tarzetaze) and the Indian one was called the imaginative style (Doorkhiyali). But the writers and poets of the Safavid era, including Saeb, called the special and common style in the second half of the 10th century and the first half of the 11th century with this title. In this period, of the Voqu style was declining. Then, various styles and substyles began.
Although manuscript 1059 AH. Demonstrates that Saeb following the new style of `Orafi and Taleb and includes the poems of Saeb's new style, it also mentions the appearing of another style called Nazokkhiyal style. In the poems of India, Saeb mentioned the change of his style and talks about his familiarity with new principles such as detail and subtlemindedness. Also, Saeb's youth poems, in manuscripts, 1059 AH. indicates a change in the flow of poetry in the literature of the Safavid era and a style, is known as the subtle one, appeared.
 The style of the poet and his expression represent his attitude; Therefore, the change of Saeb's way of expression from a new way to a subtle way should be considered along with the evolution of the poet's attitude and worldview. The expansion of the world of Saeb's poetry and his attention to new concepts in the poems of 1083 AH. shows that Saeb's worldview has changed after his youth, and his view has turned to deeper issues and topics and various areas of human existence. The ideological transformations and new aesthetic foundations of the poet also require a different way of expression; Some of the characteristics of Saeb's personality, which were more or less visible in his new style of poetry, such as simile expression and objective mentality, were a suitable situation for changing the poetic style and expressing new thoughts; Therefore, these preparations and the way of expression come from the margin to the center of Saeb's style and form the basis of his style, and on the other hand, some new features such as comprehension subtle, which did not appear much in his new style of poetry and the transformation of Saeb's aesthetic foundations and ontological attitude are appeared in Nazokkhiyal's poetry as the same time.

This article evaluates the possibility of theorising “poetry as a foundational pillar” – Amoud al-Shear – in accordance with Arabic rhetoric and literary criticism. This metaphorical name regards poetry as a pillar of literature and culture. Arabic scholars consider Amoud al-Shear as a theory which supposes poetry as a foundational pillar of language, literature, and culture. This study aims to answer the following questions: does Amoud al-Shear have the characteristics and functions of a literary theory? What are its intellectual and cultural origins? And what impact did it leave on the corpus of Arabic language and literature? In order to analyse the theorisation of Amoud al-Shear, the study employs six assessment criteria of theory and examines its credibility and efficiency in light of historical evidence. This study relates the theory of eloquence in the Persian language to the Amoud al-Shear theory.

This article investigates the possibility of theorising “Amud al-Shear” – or the pillar of poetry – as a literary and cultural theory. It examines this issue in light of the criteria and the six principles of theory. One can classify the contents of Islamic rhetoric and Arabic literary criticism in three major categories: rhetorical features of speech, rhetorical contemplations, and reference theories. Various literary theories, such as word-order theory (inimitability of the Quran) and “the pillar of poetry,” have been proposed in the history of Iranian and Islamic rhetoric. The question is whether these conceptualisations possess the characteristics of a theory. To answer this question, the author investigates the possibility of theorising “ Amud al-Shear” in light of the criteria of a theory. The “Amud al-Shear” concept is associated with the study of poetry and its various elements, including structure, meaning, and aesthetics.

The research is a case study which uses a speculative analytical method. Such a methodology is not based on mere information and citations but concentrates on a methodical contemplation and systematic development of the data provided by the corpora.

The theoretical framework of the research is in accordance with the author's elaboration and investigation of the criteria and the six principles of a theory. As such, there is no formulated or already known theory to be utilised in the article.

To answer the above-mentioned questions, this study employs the criteria for evaluating a theory. The evaluation, critique, or refutation of a theory is based on six criteria and is discussed as follows:4.1 Explanatory
A theory should provide a clear, precise, and transparent description of its subject. “Amud al-Shear” has brilliantly explained the state of Arabic poetry until the third century. This theory sought to protect Arabic poetry (eloquence) from the onslaught of numerous Arabic dialects which entered the Islamic world and aimed to create an understandable poetry that is eloquent, fluent, proportionate, harmonious, and rich in meaning for people all over the Islamic world, from Transoxiana to Egypt.
4.2 Dialectical Approach
A dialectical approach sets these theories apart from other rival theories. The idea of "the pillar of poetry" emerged from the conflict between ancient poets and neoclassicists in Arabic poetry during the third century A. H. (Abbasid era). At that time, new Muslim nations and tribes entered Arab civilisation, and new Arabic poetry moved towards modernisation. As a result, poets distanced themselves from the ancient Arabic discourse and the atmosphere of the desert.
4.3 Durability and Consistency
The conceptualisation of “Amud al-Shear” established a solid framework for Arabic literature such as morphology, grammar, rhetoric, literary criticism, and Arabic literary history, and has also organised and led the creation of poetry and the understanding of Arabic literature for centuries throughout the Islamic world. This concept has retained its effects on Arabic literature, even ten centuries after the death of its founder, Mazrouqi Isfahani.
4.4 The Scope of the Subject
The scope of the application and impact of "the pillar of poetry" does not cover modern and contemporary Arabic poetry, nor is there any mention of this theory in the history of world literature and literary criticism in relation to other languages and nations. However, the theory of eloquence in Persian literature has a close relationship with the concept of “Amud al-Shear,” and the roots of the theory of eloquence in Persian literature can be traced in Arabic rhetoric and literary criticism.
4.5 Prediction
The “Amud al-Shear” theory predicted that the Arabic language and literary taste would transform due to the linguistic and cultural interconnectedness of various Muslims who wrote poems in Arabic. The change in language and taste threatened the foundation of the system of thought, knowledge, and language. This prediction was relatively accurate.
4.6 Problem-solving
A theory should solve the problem of its subject, which in this case was chaos, fragmentation, and variation of literary tradition and the distortion of Arabic language. The concept of “Amud al-Shear” could safeguard the foundation of Arabic culture, namely poetry, which was called "Diwan al-Arab," for twelve centuries (until modern times) and provide a solution for slowing down the distortion and rapid changes in Arabic language and culture by returning to the original form of poetry, clarity, and elegance. Although it was an effective solution for a long time, it could not withstand modernisation.
4.7 Impartiality
A credible theory is the result of impartial observation and contemplation. However, “Amud al-Shear” is not impartial; it is a prescriptive theory. It was established to monitor, protect, and improve Arabic poetry. This theory prevented the entry of foreign vocabulary.
4.8 Origins of the Pillar of Poetry
First theorised in the fourth century in central Iran, the pillar of poetry became favoured in Iranian courts such as those in Isfahan, Rey, Nishabur, and Shiraz. About ten Iranian scholars played a significant role in the formation and popularity of the “Amud al-Shear” theory. The purpose of the theory, which was protecting the principles of Arabic poetry, also continued in Persian literature through Persian eloquence theory. Persian poets investigated all the principles of "the pillar of poetry” theory. For eleven centuries, Persian verse and prose – the language of the courts and the Persian standard language –protected a cultural and aesthetic system called “the old poetry system,” which rose to prominence by a Persian literary movement called "the return” in the 19th century. At the beginning of the 20th century, under the Reza Shah regime, the theory became anthologised and played a significant role in promoting cultural achievements and refining the Persian language by the first academics of Persian literature. The Persian language and literature education system still borrows its models and principles from the foundations of the theory of eloquence and the pillar of poetry.

The theory of "the pillar of poetry" is believed to have several characteristic features, some of which are new lines of thought, impartiality, and universality. However, this article seriously doubts the universality of this theory since it played no role in creating literary tendencies and the modernisation of Persian and Arabic civilisations. It has not opened up much new ground for literature and literary thought. However, it has been employed in preserving literary and cultural traditions. The rather impartial theory of “Amud al-Shear" was designed to prove the miraculous nature of the Quran. The theory also defended the classical Arabic and Persian poetic structures and prevented drastic changes in the language and taste of Arabic and Persian speakers. Furthermore, it played a significant role in preserving the Islamic tradition and the continuity of Arabic and Persian literatures. Although it has some limitations and has not contributed to creativity and innovation in literature, it has been successful in preserving the classical structures of Arabic and Persian literatures, and the fact that Arabic and Persian texts from centuries ago are still understandable today is a testament to its success.

Poetry and philosophy: two producers of making truth.

The 10th century A.H. is the beginning of the formation of the literary currents of Qur'an poetic interpretation.This current has continued until now and was more popular in the Qajar era. Some of these works claim directly or indirectly miracles like the Quran. The basis of this claim is Persian prosody order. This poetic interpretation is subordinate to the Qur'an. The aforementioned claim is examined by studying the prominent poetic interpretations of the Qur'an, especially the Tafsir Safi (1308 A.H) ; which includes the entire Qur’an; the study seeks answers to these questions: what was the motive behind the claim of the miracle of poetry in the field of interpretation or what factors provided the basis for such a claim? Has this practice led to the expansion of the Sufi interpretation tradition or is it just a claim? How is it possible to receive revelation or inspiration while interpreting? Since the principle of interpretation is within the framework of a sacred text, how can that text be a source of religious experience and a field for the mystic to receive revelatory inspirations?

Are conceptual metaphors in poetry, the same metaphors we live by? This article wants to answer this question. In order to find an answer, the relation between conceptual metaphor and general culture is explained, and the position of conceptual metaphors in the ordinary cognitive system of society is defined. We introduce repetitive structures which determine application forms of different general conceptual metaphors (cultural). After this introduction, we focus on metaphors in literature. We realized that poets and other people in society have the same cognitive sources. Poet's cognitive system like others is a consequence of society and culture but cultural metaphors appeared differently in his or her poems. Before explaining the quality of its emergence, we describe two main kinds of metaphors (conceptual/image or non-conceptual metaphors) and show their differences. Basically, image metaphors have objective and concrete vehicles and tenors. On the other hand, the tenors of conceptual metaphors are subjective and abstract. In the next part, we draw the borderline of cultural metaphor and poet's innovative metaphor, and passing this line, we introduce methods that make metaphors poetic. There are four main methods that can be used separately or compound: Substitution, organic collectivization, expound, and critical attitude. In the end, we try to understand individuality in art by the form of metaphor application.  The relation between the rate of individuality and using conceptual metaphors is based on how different and novel can a metaphor been used in a poem compared with its ordinary usage. Results showed that direct automatic expression and creation respectively could show the maximum and minimum of individuality in art. We choose famous classics poems besides modern contemporary poems to show that the poetical expression of metaphors does not belong to a certain group of poets or a special period of time.

The issue of the sovereignty of Sheikh Safi al-Din Ardabili, the ancestor of the Safavids, is one of the most controversial issues in Safavid history. The major document for recognizing the genealogy of the Safavids is the book called Safwat al-Safa, which was written by Ibn Bazzaz Ardabili (authored in 759 AH) in his translation of Sheikh Safi-al-Din’s life, sayings, and virtues, but has been subjected to many encroachments from the very beginning. To resolve the disputes related to Sheikh Safi al-Din’s sovereignty, the authors of this article decided to clarify the situations of the mentioned Sheikh’s sovereignty and the Safavid dynasty via their genealogy and scriptological assessments of the different manuscripts of Safwat al-Safa, thus reflecting the mentioned changes in the Safavid sources. Our scriptological studies were indicative of the traces of Sheikh Safi al-Din's sovereignty in a manuscript so similar to that of the authors. There were seen gradual and step-by-step efforts of Safavid religious leaders to emphasize his sovereignty and attribute it to Husseini sovereignty in the pre-Safavid manuscripts, as well as Mir abol-Fath's conscious and sudden efforts to complete his claim of Sheikh Safi al-Din's sovereignty by attributing his ancestors and descendents to Husseini sovereignty and ascribing Sheikh Zahed Gilani, his master and father-in-law, to the household of sovereignty in Safavid manuscripts. Hence, the aim of Safavid religious leaders was to prove Sheikh Safi al-Din’s sovereignty and supremacy of Safavid religious path over those of other sheikhs and mystical sects by attributing his sovereignty to Husseini sovereignty, while Mir abol-Fath's purpose was to prove attributions of Sheikh Safi al-Din to Husseini sovereignty and Safavid rulers to Sheikh Safi al-Din, thus introducing them as followers of the infallible Imams’ paths throughout the current era of the last Imam’s absence so as to rule Iran and gain political legitimacy. The historians’ discrepant and contradictory attitudes about Sheikh Safi al-Din’s sovereignty were found to have been reflected in the historical sources. Accordingly, historical sources are divided into the three categories of silent, hesitant, and affirmative sources.

The main goals of stylistics are discovering individual aspects, stylistic similarities, and individualities in different works. But can these goals be reached by cognitive stylistic? This research demonstrates by logical argument and poetry examples that cognitive stylistic cannot be used to discover literary distinguished and stylization aspects. In the stylistic domain, this perspective can be used to discover general, periodic, or discourse styles. For this purpose, we showed that discovering individuality and stylistic distinctions are the basis of stylistic studies. Then we define cognitive stylistic as a branch of stylistic. In the next part of the article, it is determined that literary works are accepted generally when they place in general culture cycle which is the birthplace of repetitive cultural metaphors. After that, as a practical proof for the research claim, we analyzed some works of post-Nima mainstream leaders and classical Persian poetry. Results showed that cognitive systems manifested in these poets' works are similar. Finally, we concluded that cognitive stylistic cannot be considered as a reliable research perspective to discover cognitive individuality.

In the 16th century (11the AH), the ideas of Shiite philosopher, Mullā Sadrā (1572-1640 AD / 979-1050 AH) brought about fundamental changes in Islamic ontology, especially some of his innovative ideas on the originality of existence, and Substantial Motion. Simultaneously with these changes, the imaginative style of Persian poetry (indo-Persian poetry) underwent changes, with a dynamic view to existence and substance of nature. The article is actually a comparative study on philosophy and poetry, which deals with the "Substantial Motion of nature" as a common theme in poetry of Saeb Tabrizi (1006-1087 AH), the Persian poet of the 16th century, and Mulla Sadra's transcendental wisdom, and tries to show the similarity between Sadra's philosophical thought and Saeb's poetic attitude to movement in essence of nature.

The personal credibility and authority of the historian are one of the major subjects in Historiography. It's important since the greater the personal credit of historians, the greater would be the degree of persuasion of the audience. In this article, we analyze the degree of historian influence on audience persuasion and rhetorical methods and verbal devices used for historiography credit which makes the text more believable to the audience. In this article, applying the Neo- Aristotelian criticism method, we want to demonstrate the historian Ethos and strategies used by him to increase his credit. For this purpose, we choose Futuḥāt-i shāhī Cornicle by Amīnī Haravī, since it was one of the first and impressive histories of Safavi's government formation and its ideology because the role and personal credibility of historian and his persuasive of methods are very important.

In this speech, it will be shown why and how the internal social conditions and foreign political situation forced Shah Abbas to combine two national and religious identities and create a single national-religious identity. In this regard, the story of Hossein Kord Shabestari, which is the most telling text on the political and social issues of the Safavid era, was selected as a case study and in this story, the political, cultural and social conditions of the Safavid era were examined. The role of this story in two important aspects of the Iranian identity in this era, namely nationality and religion, was also discussed. In order to achieve the above goals, the story of Hossein Kord, in four areas of constructing the concept of homeland, focusing on the name of Iran as a specific geographical area, religious border and local heroes, will be examined by content analysis. The results of this study show that Iran in the era of Shah Abbas, from a concept, has become a geographical reality with clear internal and external borders and the achievement of this geographical fact has led to the formation of a national-religious identity.

Entertainment is one of the most well-known purposes of a story. In this article, it will be shown that in addition to entertainment, stories played an important role in the political and social goals and conditions of the Safavid era. To this end, the proverbial tales of the Safavid era have been content analyzed. The first major goal in the story of this period is to "propagate the ideological foundations"; the critics of this period aim to promote religious discourse among the masses by propagating the prevailing political ideology. Another purpose of the stories is related to the "political and social" issues in two areas: "Naql, in the role of stabilizing / shaping Iranian identity" and "Naql, in the role of socio-political preacher". It could also be mentioned that the stories have "psychoanalytic" themes, full of fantasies to raise people's health through the imagination or forgetfulness. Another aim of the proverbial tale of the Safavid era is "fun and entertainment." Based on the statistics extracted from the stories, it is revealed which of the purposes of the story in this period were more important than the other goals and why.

Wus'at-i- Mashrab of the Safavid literature (Indian style) is a social, cultural and political thought. This idea was made by immigrant poets who were considered educated in society. The frequency and distribution of the term in poetic collections, historical sources and poetic and Sufi Tazkiras (treatises) prompted us to explain and analyze this term. The purpose of this article is to show its various dimensions and to explore the context of the idea's formation and development. On this basis, the poets of the Safavid era have built the popular idea into a unified system whose central idea is to ignore the distinctions and differences that have caused divisions in society. This article is categorized into seven sections by extracting definitions, characteristics, metaphors, and functions of its dimensions: non-sectarianism, opposition to religion, its relation with mysticism,Mashrab and love, seeking for pleasure, Mashrab as ethical form of life and ontological aspect of Mashrab.

Biographers' reports on the life and art of their contemporaries constitute and reconstruct the main part of our literary historical knowledge. However, the reality is that the reports of contemporaries about the personality of co-author and artworks are not coherent and that there are many conflicts and contradictions in those reports. There are also many conflicts and contradictions in those reports even from that time on, and it has been constantly changed and transformed. The diversity of opinions among critics can be a worrying issue for a literary historian, which makes it difficult for him to work. Another problem is that this multiplicity of opinions about Mohtasham vanishes in one or two centuries after the death of the poet, and a unified narrative about his character and his poetry governs Persian biographies (Tadhkiras). In fact, the historian faces two major problems: first, the fluidity of opinions and contradictions in the poet's contemporary reports; secondly, the certainty of the literary historians' opinions about Mohtasham. But what makes Mohtasham famous? Does it contain all aspects of his personality and art? Or is it a historical and discursive selection of his works?

The present authors' points of view is based upon Hermeneutical literary history. In this theory, the literary works are historical. The work has a dialogue with audience via history. In this dialogue, the meanings of works get pluralized. The work has a dialogue with its contemporaries. They interpreted their contemporaries' works upon horizon.

In order to answer the research questions, we first extracted a set of reports about Mohtasham from his contemporary biographers and described the multiplicity and non-occurrence of the reports. Then we showed the process of overcoming and defining some opinions in terms of the chronological era. Our attitude in this paper is based on the method of the history of hermeneutic literature.

Before examining the reports of Mohtasham’s contemporaries and the subsequent biographers, it is necessary to specify the period of the biographies which were with Mohtasham at the same time. If we decrease the contemporary period of time to his own lifetime (1529-1588/935-996) and his generation, we should dedicate all the time (contemporary period of time) to Mohtasham by the year 1602/1010 AH. But if we extend this time to the lives of those who realized Mohtasham’s presence, it includes at least 30 years after the death of Mohtasham, and those who wrote their works from Seventh decade of 15th/10th century to the third decade of the 16th/11th century (about Years 1553 to 1621/ 960 to 1030 AH) will be considered as his contemporaries. One of the presuppositions related to the information of contemporary biographies is to find a true and definite narrative about his poet and poetry. Such a presupposition is based on the coincidence of the reports with the literary event and is usually based on biographer’s observations but with no go-betweens. The more the poet's reputation is, the more the difference in the views of contemporaries toward him is. This point is certain about Mohtasham Kashani. Different causes have been involved in the emergence of controversy among contemporaries, which we interpret them as constitutive variables of ‘contemporaneity blindness’. The three variables of time, environment, and social relationships presented in this section have led to the emergence of differences, contradictions, and ultimately the multiplicity of contemporary biographers' opinions. The two sides of contemporaneity are multiple and non-deterministic due to the fact that they are influenced by the time, place, relationship, and discursive contradictions caused by these variables and present a changeable and multifaceted image of the poet and his poetry. This kind of plurality and alterability of the two sides of contemporaneity has turned the reports of the contemporary biographers into a complex of disproportionate, weak and sparse opinions about the poet (Mohtasham). These three variables will affect both sides of contemporaneity, both the historian’s opinions and literary critics as well as the subject of literary history (i.e. literary event). We can say that contemporaneity blindness is, in fact, the outcome of instability subject and object (biographer and poet). This is the case that cause the contemporaries not to have a true and clear belief of their understanding. As far as we are from the time of Mohtasham, the biographers bring about a single narrative of his life and also his art. They select specific issues from the contradictory opinions of his contemporaries. Soon, all reports, descriptions and indices related to the poet would be considered definite and is spread in all biographies with different words and phrases and that limited selection gradually emerges in the center of the biography of the poet.

The narrative of the Safā's history of literature from Mohtasham also stayed in the tradition of biography writing (writing of Tadhkira), the narrative of Golčin Maʿāni in the book of the Maktab-e woquʿ dar šeʿr-e fārsi, and various reports are collected about MOḤTAŠAM. The narrative that the commentators of Mohtasham’ Divan have made in the introduction is also the same. None of these three current studies has questioned the process of evolution of reports, the focus of opinions and selections during his lifetime and in the history of his audience and has not explained the origin, habitat, and credibility of the data and judgments of their sources.This article showed how and under what circumstances the index of Mohtasham's reputation was shaped. Traditional literary histories are mostly introduced, analyzed and evaluated by poets and their works based on their popularity indices. In criticizing the history of literature, this question has a significant role in how the reputation index is formed. The audience-focused literary history will give a clear picture of the presence and the life history of Mohtasham. Mohtasham has a multidimensional personality in reality; however, he is downgraded in the history of literature. Some of his artistic outcomes include the invention of the method of ‘Vasoukht’ and ‘Woqu’, the openness of male love, the eulogy of monarchy and power, the Shi'ite elegy, the Quatrain (Robaei), the history maker material (Madde Tarikh), the plotter, and he was outstanding in each of these aspects in his time. But among these, he became famous for his elegy. It is worth noting that the determination of the poet's index of reputation in literary history is necessarily reductive, indicating that any discourse reduces the dimensions of artist's creativity to only one dimension that is consistent with the horizon of expectations of that discourse. Although Mohtasham has a high position in a religious group due to his elegies, this discursive growth has diminished two aspects of the poetry: One is the reduction of his works to the elegy and the other one is the reduction of his audience and leading them to a belief group. Of the two aspects of his art, which has been highlighted at least in the history of the biographies, the elegy and the Ghazal (Woqu), only the elegy in his biography has been focused, whereas his creative individuality has been marginalized in the way of inventing and shaping the theory of Woqu/Vasoukht. His creativity in terms of ‘Qasida’ and ‘Robaei’, particularly in his two works,  treatises of Jalaliyah and the story of lovers.The true report of the poet's personality and individuality and artistic rank should be sought not only in the reports of one or more reliable sources along with him, but also in the process of his movement. The literary historian should represent the process of movement of the poet throughout his life as well as the movement related to his works in literary history with a precise timetable. How did the poet live in different ages? What had he been thinking about? What are the aspects of change in his life? Which works belong to what period of his life? On the other hand, the history of the reactions of the audience of his works must also be written separately, in different times, such as in geographic regions, what reactions have appeared in different discourses in relation to his works? His fame index has changed throughout history after his life. What was the basis for those changes? This is a report from Mohtasham Kashani, which parallels the reports of the content and values of his works and gives us a reliable knowledge of him. Mohtasham and his works are considered as a 'literary event', which is a live and eloquent event. The changing position of Mohtasham Kashani depends on the various responses that his works have received.. Finally, the reason for the survival of the literary event are determined by all disagreements.

The term "verse" in the Persian Dari literature refers to two meanings: one's poetry rhyme and another is syntactic. This essay describes the concept of order as aesthetic quality in syntax and separates it from the term "verse" meaning "poetry rhyme". First, it introduces the theory of order and descent; then, by explaining the two concepts of the basic order (constructive syntax) and the artistic order (constructive syntax), it tries to discuss the role of syntactic reciprocity in the process of artistic writing and the formation of literacy, and the value Reveal a recipe in literary language. Artistic dehumanization is achieved through the manipulation of a synonym for updating information. In this paper, the concept, syntactic dynamism is also considered as an aesthetic process in reading poetry.

Pain and suffering as a philosophical, religious and psychological subject is man’s twin. This topic has found its way to mythologies and legends under the title of good and evil and has been the focus of attention and a philosophical and theological challenge. In the literature and mystical texts, the concept of pain and suffering is beyond mere argument and explanation and is more intuitive. Hence, the mystic presents intellectual concepts as tangible entities. In this way, he eases the understanding of those concepts for the ordinary mind while trying to emotionally persuade the audience. Building upon one of the challenging anecdotes of Masnavi (The Dialogue of the Sufi and the Judge), the present paper seeks to investigate Mowlavi’s mystical approach to the concept of pain and suffering. Mowlavi’s allegorical viewpoint about the presentation of pain and suffering shows that pain and suffering have been connected to joy and pleasure on the one hand, and cognition, spiritual perfection and providence on the other hand. Through these stories, Mowlavi has had an eye on the nature of pain and suffering, their sources and the ways to dispense with grief and has made it believable by means of proper allegories.

Coleman Barks’ translations of Rumi’s works have played the largest role in Rumi’s popularity, especially among American public audience. Thus, it is very important to study how Rumi’s works are represented in the target language and culture. In this regard, the translator’s approach toward the universe of discourse of a literary work in relation to the universe of discourse of the target audience is an important factor in the representation and reception/rejection of that work in the target community. Therefore, the present research examines how the universe of discourse elements of the Masnavi’s poems are translated and how this has affected the poetic elements. The analysis of Barks’ translation of a poem from the first book of the Masnavi reveals that Barks has either omitted a great portion of universe of discourse elements of the original poem or removed them from their Quranic, Islamic and mystical context. In some cases, he has even changed the universe of discourse completely by conflating the poem with concepts of Taoism. Barks’ approach toward the universe of discourse elements has led to the omission of some poetic elements and the change of content of some others. Barks’ approach can be interpreted in terms of adapting the universe of discourse elements of the original poem to the New Age thinking and the spiritual needs of a wide range of American audience.