دکتر محمدرضا نجاریان

Fakhr al-Din Abu al-Fadl Hindushah ibn Sanjar ibn Abdullah Sahabi Kirani is a fascinating historical figure. He was from Kirani, a region in Nakhchivan, though the exact details of his life remain somewhat mysterious. Some scholars believe he was born around 645 AH, while his death is thought to have occurred around 730 AH. Hindushah was educated at the prestigious Al-Mustansiriyah School in Baghdad, and his family had strong ties to the ruling elite of the time. He worked as a secretary, playing a role in the courts of influential families like the Juwaynis, the Atabakan Sulghuri, and the Atabakan of Lorestan. Among his notable works are "Tajareb al-Salaf," "Mawarid al-Adab," "Sihah al-Ajam," and "Tuhfat al-Ushaq.""Tajareb al-Salaf," is a translation of "Al-Fakhri," also known as "Muniyat al-Fudala," which explores the histories of caliphs and ministers, written by Ibn Taqtaqi (660-709 AH). This translation was completed in 724 AH and includes some additions and omissions throughout. Hindushah chose to omit the first section of Ibn Taqtaqi's work, which focuses on the etiquette of kingship and governance, and instead dedicated that space to a detailed account of the life of the Prophet Muhammad (peace be upon him). The second part of the book dives into the history of the caliphs, ministers, and the conditions of that time. Here, Hindushah did not leave out any significant information, aside from some minor details, and he enriched the text with many additions, especially concerning the ministers from the Buyid and Seljuk dynasties. The book is structured in a clear way: it starts with the biography of the Prophet (peace be upon him), followed by the first government, which covers the five caliphs from Abu Bakr to Hasan ibn Ali (peace be upon him). Next, it discusses the Umayyad caliphs and then the Abbasid caliphs. It also touches on the rule of the Alawids in Egypt and the Maghreb, along with the Buyids and Seljuks. For each caliph's era, the book elaborates on the state of the ministry and provides biographies of their ministers. It wraps up with a discussion of the thirty-seventh Abbasid caliph, Al-Mustasim, and his ministers (Roghani, 1382 SH, p. 104).

In order to understand the concepts of prose of " Tajareb Al-Salaf "along with its historical, political and cultural information , it is necessary to determine the position of the verse in the text  and the spiritual devotion and close connection of the contents are obvious.This study is based on the descriptive analysis method by using library research. In this way, Arabic poems are categorized according to the periods of the history of Arabic literature and are analyzed according to the preceding phrase.

The poetry featured in "Tajareb al-Salaf" spans over various periods, particularly the Pre-Islamic, Meccan, and Abbasid eras, with a strong emphasis on the Abbasid period.  Among the Pre-Islamic poets, Hassan ibn Thabit mourns Umar’s death at the hands of "Abu Luluh." Umar ibn Abi Rabi'ah contrasts women's flirtation with men’s  duty to engage in jihad, using vivid similes. Mutammim ibn Nuwayrah illustrates the anxiety of revenge in his poetry, while Imam Ali (peace be upon him) reflects on the futility of worldly life.In the Abbasid period, various poets contribute to the literary landscape. Imam Ali's elegy poignantly captures his own state and that of his assassin, Ibn Muljam Muradi. Al-Farazdaq praises Suleiman ibn Abdul Malik, while Abdullah ibn Hammam mocks Marwan ibn al-Hakam after the downfall of Muawiya ibn Yazid.Ibn Sinan al-Khafaji, a Mamluk poet, expresses astonishment at contemporary events, particularly regarding 'Izz al-Din Abdul Hamid's interest in a young boy named 'Uthman. Abu al-Atahiya reflects on the fleeting nature of life during the death of the Abbasid caliph al-Mahdi, while Bashar ibn Burd comments on the murder of Ja'far ibn Yahya al-Barmaki.The blind poet "Abu Zakariya" contemplates the inevitability of death, and Marwan ibn Abi Hafsa praises Fadl ibn Yahya, the foster brother of Harun al-Rashid. Hindushah emphasizes the martyrdom of Imam Hussein (peace be upon him) as part of divine destiny, and the poems of al-Munajjim offer insights into the instability of fortune.The themes of deception and hypocrisy are prevalent, as illustrated by a line from al-Tahami reflecting Sultan Mas'ud's performative mourning. An Abbasid minister recites a poem by al-Mutanabbi during travel, while Hindushah critiques the poetry of Minister al-Mu'tafiq for its linguistic flaws. The verses of Al-Hallaj before his execution carry a mystical theme, emphasizing the drifting away from contentment due to worldly desires.Various other poets, such as Ibn Rumiyyah and Abu Faras al-Hamdani, discuss significant historical events, including the betrayal of al-Rashid and the vivid description of al-Ma'mun’s wedding ceremony. The verses of Ibn Anbari follow the account of Ibn Baqiya’s crucifixion, highlighting the complex interplay of fate and divine decree.

The examination of Arabic verses in "Tajareb al-Salaf" reveals both minor and significant differences from the original collection, with instances of incorrect poet identification. The verses serve various grammatical roles, reflecting a wealth of historical and literary information that has transitioned into Persian literature. This includes shifts in the Abbasid caliphate and the actions of both capable and incompetent ministers, alongside contributions from notable poets.Cultural, religious, and political issues are also addressed, including critiques of the Abbasid rulers and discussions on the alteration of the Quran. Themes of instability, moral lessons, and significant historical events are woven throughout the poetry. Important odes commemorate the martyrdom of Imam Ali (peace be upon him) and Imam Hussein (peace be upon him), while the analysis highlights grammatical and syntactical errors, literary criticism, and the application of poetry beyond its intended context. Overall, "Tajareb al-Salaf" serves as a crucial text for understanding the interplay of history, literature, and spirituality in Arabic poetry, offering insights into the cultural and political landscape of its time.

Al-Faraj Ba`Da al-Shiddah (Deliverance Follows Adversity) is a book written in Arabic by Al-Qazi Al-Muhassin ibn Ali Al-Tanuhkhi in the 4th century Hijri. He was known for his strong memory. His son has narrated: “Besides memorizing Jahiliyyah (pre-Islamic) and post-Islamic poems, he memorized jurisprudential issues, hadith, theology, logic, geometry, traditional astronomy, and seven hundred odes by Abu Tamam and Bahtri”. This book was translated into Persian for the first time by Mohammad Awfi, but there is no copy of that translation, except for the anecdotes that he narrated from this book in Jawami ul-Hikayat. Afterward, the book was translated into Persian by Hossein Ibn Ahmad Dehestani in the 7th century to which he added some Persian poems and the conclusion to the anecdotes. Al-Faraj Ba`da al-Shiddah contains anecdotes of miserable people who were released and escaped from difficulties. The purpose of the author in this book, which is full of historical and instructive anecdotes, is to portray the society of his time and its evil traits and also narrate the stories of humane and moral behavior of the characters in his stories and the effect of those behaviors in freeing people from problems. Before al-Qadi al-Tanuhkhi, Madaini compiled a book in five or six pages and narrated the stories of people who were caught by grief and sorrow but then were released from hardship and difficulties and named it “al-Faraj Ba`Da al-Shiddah and al-Zaiq”. Later, al-Tanuhkhi added some parts to this book and compiled it into 14 chapters, each with a different title but with the themes highlighted in al-Faraj Ba`Da al-Shiddah. 

To understand the themes in the book al-Faraj Ba`Da al-Shiddah, it is necessary to analyze the Arabic poems in the book, excluding the Arabic poems added by the translator. To do so, it is necessary to determine the era of the poet after correcting the poems while checking the reliability of the translation, their syntactical, rhetorical, and Islamic-Arabic cultural connections with the Persian text, and the entry of various information into the Persian prose to specify the literary genres used in the text of the book. 

Abu Ali Muhassin ibn Abul Qasim Ali Tanuhkhi (327-384 AH) was a literary judge and writer of the 4th century AH and the author of al-Nashwaar al-Mahadera, Akhbar al-Mahakara, and -Faraj Ba`Da al-Shiddah. He was born in Basra in 327 AH and grew up there in his literary and hadithologist family and then in Ahvaz. All his instructors during his childhood or adolescence were celebrated scholars, and Abu Bakr Soli is undoubtedly the most eminent one. It is obvious that in the family of a great judge like Abul Qasim Tanuhkhi, religious education was ahead of literary education.
Al-Faraj Ba`Da al-Shiddah (Deliverance Follows Adversity) is a book written in Arabic by Al-Qadi Al-Muhassin ibn Ali Al-Tanuhkhi in the 4th century Hijri. To make his prose better understood and beautified, Tanuhkhi has narrated poems from himself or others that contain some religious, literary, historical, and scientific information. These poems are sometimes expressed by the author himself and sometimes by the characters of the stories. This book was translated into Persian for the first time by Mohammad Awfi, but there is no copy of that translation, except for the anecdotes that he narrated from this book in Jawami ul-Hikayat. Afterward, the book was translated into Persian by Hossein Ibn Ahmad Dehestani in the 7th century under the name of Wazir Ezzeddin Taher bin Zangi Faryoumdi. He also added Persian poems to it and at the end of each story, he narrated the main themes and conclusions. The book contains 13 chapters and narrates anecdotes of miserable people who were released and escaped from difficulties. The purpose of the author in this book, which is full of historical and instructive anecdotes, is to portray the society of his time and its evil traits and also narrate the stories of humane and moral behavior of the characters in his stories and the effect of those behaviors in freeing people from problems. Before al-Qadi al-Tanuhkhi, Madaini compiled a book in five or six pages and narrated the stories of people who were caught by grief and sorrow but then were released from hardship and difficulties and named it “al-Faraj Ba`Da al-Shiddah and al-Zaiq”.
One of the famous anecdotes is related to Abdullah bin Tahir bin Al-Hussein bin Musab bin Zuriq al-Khaza’i, the emir of Khorasan during the Abbasid era. He wrote an ode in praise of his family, Tahir, Hussain, and Musab. He exaggerates that no one is higher in honor than them. Moreover, they had no rival in fighting and conquering the enemies and dominating Baghdad with a violent army:I am the one who you know me and my ancestors
Who are the virtuous of the world and the lords of the land
My grandfather is Musab, a lord from the Prophet’s household
A great man is known for his nobleness and virtues
Hussain was also a lord at that time;
When there was no peace and stability in the land
Abdullah went to Egypt on behalf of Ma’mun in 210 AH. On the way, he restored peace to Damascus and its neighboring areas and defeated his enemy, Muhammad bin Yazid Umayyad. Before that, this person insulted Abdullah by writing an ode praising Tahir, and now he apologized, by referring to one of the verses of Abdullah’s ode, which admired his father’s magnanimity. He stated his Arab bias towards Tahir Ajam as the reason for his action and asked for forgiveness. Abdullah also renounced his sins.

In Al-Faraj Ba`Da al-Shiddah, al-Qazi Tanuhkhi has written some poems in Arabic, which are sometimes narrated by the author and sometimes by the characters in the stories. Except for the poems of Hossein bin Asad Dehestani, most of the poems belong to the Abbasid period, such as al-Qazi Tanuhkhi, Bahtri, Da’abl Khaza’i, Abu al-Atahiya, Imam al-Shafa’i, Rateji, Attabi, Fazl bin Rabi’, Ibrahim bin Al-Mahdi, al-Husain bin al-Dahhak Abdullah bin Tahir, Abu al-Abbas bin Nawaleh, and Muhammad bin Yazid. A few poems belong to the Umayyad period, praising Hammad al-Rawieh, Ashi Hamdan, Abu al-Aswad al-Dauli, Ali bin Abi Talib, and Yazid bin Dabba al-Thaqafi. Some errors can be seen in the translation of poems and Arabic translations, and sometimes the poet’s name, such as Rathi, has been reported by mistake. Poetic translations are also not free from errors. Arabic poems are often used as substitutes for the phrase “these verses” and the like, and sometimes as direct quotations. Some verses are the emphasis and repetition of the meaning of the prose phrases repeated before. Moreover, sometimes the answer or rejection of the poem is related to previous verses. The themes expressed in the poems in al-Faraj Ba`da al-Shiddah include the conspiracies of the courtiers, the hardships of captivity, the divine decree and the instability of the times, the effect of music, the migration of the beloved, the good fortune, the duties of a friend, the recommendation of patience like the patience of Job, avoiding desperation and despondency, expediency, praise of the Prophet’s household and Arabism, and the innumerable cruelty of Bani Umayyad and Ibn Ziyad to the offspring of the Holy Prophet (PBUH). The poems in the book illustrate many Arabic customs and traditions reflecting religious, romantic issues, etc., including themes from the verses and traditions such as the themes of verse 26 of Ale Imran and the prayer of Joshan Kabir, Rami al-Jamarat [Stoning of the Devil], Ihram from the Shajra Mosque, the hereditary nature of the caliphate, and reference to romantic relationships and courtesies in the palaces of the Abbasid caliphs.

This article examines a specific category of individualistic tendencies - called social dilemma - during Golestan Saadi's individual teachings. Social dilemma is a category of individualistic tendencies that refers to a specific type of conflict between individual and collective utility; In a way where individual benefit is very impressive, but if most people ignore the collective benefit and behave selfishly, a social disaster will occur. Especially, if the choice of those people has a significant impact on the fate of the whole society according to their position and role in the society. Saadi has used the category of social dilemma to explain some individual teachings in Golestan stories; So that, clearly, the audience of his teaching is aware of being at a social crossroads and advised them to choose the collective benefit - due to the great impact of their decision on the fate of the society. In this article, after classifying the audience of Saadi in his teachings, extracting the teachings and examining the anecdotes in which a social dilemma can be seen, Saadi's address in each anecdote has been analyzed by mentioning the social dilemma in front of them.

Modern fantasies are the continuation of myths and folk tales being directly or indirectly influenced and inspired by the characters and elements used in these genres. Characters from another world, which seem to us impossible, stepping into the real world of the people and their behaviours, like mythological characters, seem implausible and far from our access. The characteristics and actions of fantastic characters reflect our own dreams and desires, exactly like as the ancient myths and epics which have reflected our ancestors` concerns and wishes and answered their questions.In the novel Eyeglasses for the Dragon, by mohammadhadi mohammadi the author attempts to draw the attention of the new generation to the significance of legends, epics, folk tales, etc. In this article, an attempt has been made to compare the similarities and differences between the dragon in this novel and mythological-epic dragons (particularly the ones in the Shahnameh) and consequently answer this important question: if the purpose of the fantasy is drawing the attention of the young generation to fairy tales and the element of the dragon is supposed to appear in the fairy tale, why has the dragon not been mentioned even once in the whole novel despite the presence of the two story tellers in the novel, i.e. Bibi Torang and Naneh Ejdeha?

Qalandariya is a distinct group with specific subcultures, and isolation within the society is one of them. To determine how the subculture gets acctualized is the goal of the present study in interdisciplinary field of Sufist literature and cultural sociology. This investigation bases on library studies. It applies descriptive analytical method and content analysis approach. The text corpus includes Persian quatrains due to the significance of this form to Sufism. The time zone is from the beginning to the 8th century (A.H.). The subject is limited to the field of cultural sociology, excluding the religious elements. The findings show that Qalandars achive their summoned seclusion despite being among the people by their deviant sub-cultures. The mentioned sub-culture gets determined by comparing it to the dominant culture of the main society, including the culture of the non-Qalandari Sufi community. Regarding sociology of literature, the most critival subcultures that contribute to the deviation of Qalandars’ life from the customs and social habits of the people are as follow: their different and incomprehensible language for the ordinary people and its mixing with profanation, reticence and extreme silence, their infamy and reproaching while trying to be inoffensive, gladdening to people and even preferring being exposed to oppression than being tyrant, celibacy and turning their back on the culture of marriage, family formation, and intercommunicate with relatives, constent trips and permanent displacement and wandering aimlessly in markets and different places, crazy life and especially sudden shouting for no reason, mysterious behaviour with slyness and cleverness, begging despite claiming to be ignorant to others wealth, reckless consumption of cannabis and opium.

Sa’di is a prominent ghazal-writer whose poetry has unique and distinctive stylistic characteristics. He is one of the outstanding poets in writing love ghazals. Sa’di writes his poems with absolute simplicity and distinctive eloquence. These characteristics have made him a pre-eminent poet in Persian literature. Also, he has influenced many poets such as Nasser Bokharaei, Khajouy-e Kermani, and Homam-e Tabrizi. The present study uses a descriptive-analytical method to demonstrate how Bokharaei is influenced by Sa’di by the use of similar aspects in axes such as external and marginal music, language, literary devices, literary aspects and content.

This study uses descriptive-analytical methodology and library research to analyze and interpret Sa’di’s influences on Bokharaei in the above-stated axes.

The findings of this research show that Sa’di’s and Bokharaei’s ghazals have common and similar aspects in four axes of external and marginal music, language and literary devices, literary aspects and content: in the first axis, elements such as rhythm and rhyme (in sixteen ghazals); in the second axis, the similarity of descriptive combinations and their relationship with the common love theme; in the third, literary axis, the similarity between similes and metaphors; and in the fourth, thematic axis, the similar love themes (specially the beauty of the beloved), and mystical themes and Saqi-nameh. These similarities attest to the influences of Sa’di on Bokharaei.

Bokharaei not only follows Sa’di in writing ghazals, but also regards Sa’di’s simplicity and fluency in his ghazals as a model for writing his own ghazals. It should be noted that Sa’di’s ghazals are sweeter and subtler compared to Bokharaei’s; however, the simplicity and fluency of Bokharaei’s ghazals reminds one of Sa’di’s ghazals. As a consequence, Bokharaei has managed to make his poetry enduring and eternal.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. This article intends to answer the question of how the two oppositions of power and love are formed in the story of "Khosrow and Shirin" by using descriptive-analytical method and also considering the combination of structuralists’ views. The results of the research show that each of the codes of power and love in the story of Khosrow and Shirin seeks their appropriate words on the axis of syntagmatic. The story begins with the balance of the codes of power and its signs, but by the formation of the codes of love, each of these codes attempts to strengthen its system of signs and rejects the codes of opposition.

The research in Saadi's Arabic poetry is not at par with the Persian poems of this famous Iranian poet, either in terms of quality or quantity, this is more obvious in the correction and description of the text of these poems. The book of review of “Saadi's Arabic Poems Based on Applied Criticism” was published for the first time in 2015 by Shahid Madani University of Azerbaijan publisher. Amir Muqaddam Mottaghi, the author of the book, has tried, in his research, to evaluate Saadi's Arabic poems based on a research theory called applied criticism. He introduces this criticism as one of the types of practical criticism based on the effect on the reader. His book was published in 2017. The author has collected the contents of the book in three chapters. First, the theoretical framework of the discussion, then Saadi's life and works, and at the end, the review of Saadi's Arabic poems has been compiled on the basis of practical criticism. In this article, an effort is made to describe, analyze and criticize the mentioned book in the four axes of research structure, Saadiology, documentation of information and in-text references, errors, and content deficiencies. The insufficient and disorganized research method, the author's incorrect research theory, and the author's disregard for the principle of reference in the research have distracted the author from compiling a scientific and academic book that will resemble Saadi's Arabic poetry for the audience.

Resalat–ol-Toyour, written by Najm-od-din Razi (573-654 H.Q.) has a mystical, allegorical prose and is among the technical prose and metaphorical texts in sixth century. To render the events tangible and to report them from the best perspective, the author uses literary techniques such as simile and undermines them with mystical and allegorical content of his stories. The similes intensify the beauty of the text and the pleasure of the audience. The technique is skillfully extended all through the text. Most of his similes/imageries include extended, detailed, allusive and descriptive ones. He benefited from best types of imageries to express his ideas innovatively. He has made use of Qura’nic Ayyahs, the stories of the prophets, allusion, making abstract concepts tangible through terms of astronomy, war, court and geography. Embellishing this type of expression with other techniques such as symmetry, conflict, exaggeration, allusions, mental imagery, and metaphor, he has managed to improve language and imagination.

'Creativity' in comparative literature is the difference between imitating and being influenced, and the creative author is said to be inspired by the others’ work, and nurture what they borrowed from another in the social and cultural construction of their society in a new way. The similarity in layout and plot of these two novels “Shohare Ahoo Khanoom” (1961) by Ali Mohammad Afghani and “Sister Carrie” (1900) by Theodore Dreiser, makes it possible to compare these two works in comparative literature. This article argues that Afghani in writing the novel “Shohare Ahoo Khanoom”, has been directly affected by Dreiser’s first work and has domesticated this American novel’s plot and narration in the cultural and social context of Iran. Despite the common points observed in the narrative plot and characterization method of these two novels, especially the two characters, “Homa” and “Carrie”, there are also some differences in these two works that are more related to the differences in the social and cultural conditions of their authors.

One of the topics of interest to structuralists is paying attention to binary opposition. They know the foundation of existence and its cognition as the realization of these oppositions . Most of artworks are based on contrast and opposition; Bad versus good, heaven versus earth, youth versus aging, existence versus non-existence, etc. These two poles have never existed independently and are based on the opposition of two poles. Neighboring confrontations are a term associated with the science of syntactic meanings. The term, which is a combination of the two, is one of the hidden arts in Nezamy poetry. In this article, based on the theory of syntactic meanings, an attempt has been made to study and analyze various constructions and its various patterns; These patterns include: adjoining adverbs in a sentence with the same grammatical identity, adjoining adverbs with dissimilar grammatical identities, inflectional and non-adverbial antonyms, implicit adjoining adverbs, music of adjoining adverbs, and so on.The combination of these patterns with other rhetorical and aesthetic elements adds to their semantic capacity and rhetorical goodness. Such diversity has made military poetry more dynamic in terms of rhetoric, language and meaning. The high frequency of these confrontations has led to a stylistic feature in Nezamy poetry. In this research, all-round confrontations of introduction and syntactic structure of the verses that include this art have been analyzed in two poems: Khosrow, Shirin, Lily and Majnoon Nezamy.

Conterminous opposition is a term associated with the science of syntactic semantics. The term is the accompaniment of two reciprocal elements and also it is one of the hidden arts in Nezami’s poetry. In this article, based on the theory of syntax, an attempt has been made to study and analyze its various constructions and various patterns. Of these oppositional patterns the following items have been presented: Conterminous oppositions in a sentence with the same grammatical identity, conterminous oppositions with heterogeneous grammatical identities, inflectional and non-inflectional contrast, the study of proximity magic that repeats words based on contradiction, paradox equivocality, opposition, incremental pun, dynamic pun, and also music of the conterminous oppositions. The structure of literary images using oppositions, the union of them, and their difference are intellectually very important in poetry. The association of these patterns with other rhetorical and aesthetic elements increases their semantic capacity and rhetorical beauty. This diversity has made Nezami’s poetry more dynamic in terms of rhetoric, language, and meaning. Avoiding binary opposition, which is in three forms of subversion of values, a negation of oppositions, and addition of them is one of the most important opposition in Nezami’s poetry to express the desired meaning. In this research, conterminous oppositions are introduced and syntactic structure, especially the rhetorical structure of the verses that include this art, have been analyzed aesthetically in the two poems of Khosrow and Shirin, Lily and Majnoon of Nezami.

Study of the style of structure of the noun phrases and their evolutionIn the poems of Nasrallah MardanyOne of the important topics to be considered in stylistics and grammar is the recognition of the noun phrase. In order to understand the poets' personal style, along with other factors, the structure and style of the noun phrase used in their poetry must be well evaluated As Nasrollah Mardani is one of the few poets in the composition of images among the poets of the revolution, the importance of research in this topic becomes apparent. This article has been compiled in a descriptive way and statistical analysis. In order to examine the structure of the noun phrase of poems of Mardani , all noun phrase were Countinged and reviewed in three sections, pentamerous ,quadripartite, and triplex, and their number and variety are shown in the relevant tables. The findings of the study show that Mardani have used actual and potential Persian language abilities to construct noun phrase.His views have gradually changed over time and, as a result, the number of the noun phrase has declined in his later poems. Bringing the adjective at the beginning of the noun phrase with the extra fraction, making the noun phrase without the noun, use the Enlightening, Unlike the rule and Creating phonetic proportions are the most important Mardani anomalies in the construction of the noun phrase.

In the current article, the authors tried to evaluate some aspects of alternative history narration in the historical novel, Shah-e bi Shin, written by Mohammad Kazem Mazinani. Alternative history narration is an emerging genre in Persian literature, which could lead to the creation of attractive, compelling stories, somehow opposed to the historical imaginations of audiences. Alternative history finds a new timeline for historical narrating, using ingredients like having an appropriate scenario and finding a point of divergence (POD). Alternation of historical narration includes alternation in fictional events and fictional persons. The research background belongs to the historical novel, Shah-e bi Shin, limited to literary meetings and interviews, and no detailed research has been done, except for two short articles by Majid Estiri and Maryam Goudarzi. Alternative history is a new subject in fiction literature and is sometimes confused with historical metanarrative style and post-modernism. Shah-e Bi Shin narrates a real story of the Pahlavi period about a historical character, Mohammad Reza-Shah. This narrative allows writers who are interested in adding historical novels of alternative history to Iranian fiction literature, to use examples of alternate history that happened from the story character’s viewpoint. Shah-e Bi Shin, including components of alternation history narrating in branches of birth, death, lifestyle, and finally, the metamorphosis of character helps break the boundary between imagination and reality. In this research, we tried to draw the audience's attention to create new and intact narratives using historical events, besides introducing alternative historical genres and discovering novel power and imaginary narrations in Shah-e Bi Shin the historical novel. Alternation history has rooted in the historical imagination, for it can reach more readable and idealistic works of true history. This literary art seeks historical “what if”s, to show a new history to the story and its audiences. Shah-e Bi Shin novel has been narrated from Mohamad Reza Shah’s view. So, it consists of life details, personality, and behaviors of this historical character; a defeated character who always seeks in his mind the answer of “what if”s that could change the destiny and history of his land. This component makes us look for more components of this idea, and investigate historical alternate examples in this novel from the language of Mohammad Reza Shah and his surroundings. The alternation of historical events in this novel ends with the events that belong before Shah’s exodus from Iran. Events like coup defeat, Mohammad Reza Shah and Soraya’s unsuccessful escape, Shah’s assassination in university, and finally, leaving the homeland which was among the worst choices he has made, in Mohammad Reza’s view. Alternation of the historical character of this novel almost refers to Mohammad Reza, himself. These events occurred during the period from his birth to his death that happened outside Iran. During this period, he was complaining about everything and imagining other events and occurrences, in his mind, which if they had happened, would have changed his life and the history of his homeland. The novel’s atmosphere is a reflection of Mohammad Reza's childhood and such a stifling atmosphere continues after he had just survived an illness. He was upset about his birth all over the novel. That feeling of dissatisfaction spread to his destiny. He did not like this life and wishes he were a farmer or a lawyer in one of the American cities and had a normal life rather than being a country king and deprived of those works he did like to do. Mohammad Reza was so dissatisfied with this destiny, as he likes to come to a personal metamorphosis. This can help the imagination of alternative historical genres and create a story with a surrealistic atmosphere. Death and death types are other designs and deviation points which help to break down the timeline of the story. Modification in his death type or death time could cause other historical events and movements, and create a new history for novel and story audiences. Statistically analyzing the representations of alternate historical narration in this novel, we found a high frequency of alternate characters compared with alternate events (63 to 37%). Also among representations of alternative characters, statistical data that belong to birth change has the most, and personal metamorphosis has the least quantity.

Mahmoud Kianoush, known as the Father of children's poetry in Iran, is one of the contemporary poets who composes simple and straightforward poems. Kianoush's poetry is the reflection of his thoughts and contemplation on the innate relationship between human and nature. Kianoush is a poet whose mind is abundant with people's issues. Among his works, there are 8 books which are specifically written as poems for children and young adults: The Language of Things, Indian Green Parrot, Gold Tip- Silver Wing, Garden of Stars, World's Children, Seven-Colored Arch, the Sun of our House, and Poem by Poem. Considering literary status, Kianoush's poetry can be considered among the most eminent kinds of poetry. The figures of his poetry include imagery especially simile, metaphor, and personification. Soleiman al-Issa is one of the outstanding Syrian poets whose predominant themes are motherland and ethnic sentiments. He has dedicated a major part of his odes (poems) to children especially to suffering Arab children. In his odes, Soleiman al-Issa uses some types of imagery which are easily understood by children. The variety of nominal, verbal, explicit, and implicit metaphors are especially noticed in his poetry.  Also, he uses Personification which creates synesthesia and enlivens his poems. Focusing on metaphors, the present study aims to analyze and investigate children's poetry composed by the two Persian and Arab poets, Mahmoud Kianoush and Soleiman al-Issa.

One of the aspects of literary activities of Saadi, the great poet of 7th century, is related to ghaside. Many years ago, when Saadi steps into poetry arena, odd has been reached perfection, and other poets with his same language were progressing. Saadi's poetry life is associated with the cadence of elegy and his tendency is more to lyrics. In this research we are going to show Saadi's art in this little arena. We look up his adds according to linguistic Persian concern. He speaks as a brevity language. At the same time his words are clear and without ambiguity. Subtle language is as a result of Iraqi style. In which the oldness of inflexions and syntax has been seen less in old coordinates complicated of odds language. Saadi enlists soft words in his odds and he doesn't have any tendency in abbreviation language. Mystical themes with its words and terms has been seen same as singular or merged in his odds. Sometimes we find colloquial language and words in his literatures. Syntactic techniques which cause eloquericy in his lyric poems has been seen in his odd and meter of his poems has become soft and consistent. Consonants and vowels in his odds can pronounced easily and nothing will be diminished in his poems. In this opportunity we look up Saadi's odds in 3 levels of phonetics, lexical and syntactic based on descriptive and analytic method and with the use of statistical table that we try to clear the subject

Salman Savoji is one of the prominent poets of 8th A.H. century whose poems represent various religious, mystical and social thoughts. Although he used to praise the kings and took financial profits from his poems, this feature never caused him to abandon the spiritual dimensions. The present article, based on library studies and descriptive-analytical method, tries to analysis the libertinistic (rendi) and bohemianistic (qalandari) themes in the ghazals of Salman Savoji. After giving an introduction to Malamatiyya school and theologies of libertinistism (rendi) and bohemianistism (qalandari), we consider these themes in the poems of Salman Savoji. Considering his poems shows that he is one of the most prominent figures of the real mysticism and avoids the ways of people of the cloak (the followers of formal mysticism). He challenges the principles of sufi monastery system and attacks their taboos by highlighting their corrupted values. Salaman is aware of the concept of diffusion of Love in the Divine order, and considers it as a Divine doposit; he abandons his name and fame, leaves mosque and monastery and takes refuge in the vintner's house. According to Salman Savoji, the perfect man is a bohemian libertine (rend) who turns her/his back on the exterior of the sacred Law and resides in cloister of Magians. He believes that the only way to salvation is bohemianistism (qalandari); In this path, the mystic cleans the cloak of hypocrisy with Divine wine and puts aside pragmatism.

In narratives and fictional poems of Persian literature, warrior and independent women are mentioned, who lived together as a group and away from men, and took control of their own lives. These women are seen in most of the Eskandarnamehs. There is a brief reference to it in the Samnameh. This article attempts to investigate the story of Women's Town (Shahr-e zanan), which is a recurring theme in fictional literature, in various texts along with the Samnameh. For this purpose, it attempts to study the manifestation and appearance of this city among the works in question and analyze the features, foundations and themes presented in them and compare these cases with the features and themes explained in the Samnameh and clarify their similiarities and differences or the similarities or differences in the origin of these narrations. Ultimately, what follows can be summarized as follows: In Women's Town of other texts (Eskandarnamehs), there is no lustful desire on the side of the hero of the story, but in the Women's Town of Samnameh the lustful desires of the women and fairies of this city are exaggerated. The origins and roots of this story can be traced back to more than the Eskandarnamehs and Amazons in the Greek and Roman mythology. And consequently, the foundation of this story was traced in Iranian mythology, or eventually considered as a combination of Iranian and Greek mythology; both of which are debatable.

With the acceptance of the Islamic faith by the Iranians, a huge wave of Islamic and Semitic beliefs and myths followed by mystical elements, affects the epic literature of our homeland. These factors cover a wide range of changes, from structural changes to content changes, to the extent that the change in the ideology of the author of the work affects the storytelling process, the actions and behavior of the heroes of the story, the interaction between the characters of the story and even in determining the hero's destiny and many other issues. By analyzing the effects of the element of religion in Samnameh, that Islamic and Quranic thoughts and themes in the system are highly frequent, to the extent that the mastership of the epic hero, and consequently of his companions, are in promoting monotheistic and, sometimes, explicitly Islamic beliefs and national goals will be prioritized. Also, the themes and mystical and mystical thinking, in the shadow of the religion of Islam, are also reflected in this work, which has become evident in the sections of Khaju Kermani. In this study, we have decided to examine the main effects of religion in the epic of Samnameh and from this perspective, in addition to achieving the above-mentioned goals, which are the basis of our research, we endorse the epic of samnameh written in different periods of history.

Bibee Monajemeh was a famous woman and a Persian astronomer in the sixth century (AH). She lived in Neishaboor, Iran. Her father is Kamaloddin Semnani, head of the Shafeeyeh of Neishaboor and acted as the astronomer of Sultan Muhammad Kharazmshah. Because of her skill in astronomy; she had a high position in the King royal family. However, there is an issue over the name of Bibee Monajemeh confused with Bijeh Monajemeh.
Bije Monajemeh was Maulana Aladdin Kermani’s daughter as one of the women in the ninth century. She was a scholar, poet and astrologer of the early ninth century (AH). Her pseudonym was Mah (moon) of Kerman. She was also living at the time of Jami, Amiralishir Navaee and Sultan Hussein Baighara. In the present study an attempt has been made to clarify the life and the historical and literary character of Bijeh Monajemeh.

Ahmad Azizi can be introduced as a mystic and a revolutionary Shiite philosopher. A sort of red and revolutionary Shiism expressed in the language of mysticism and Islamic philosophy. Azizi has the passion and happiness of Mowlana and that could be the reason why he reveals his love of Mowlana more distinctly than others. His love of music is the result of his passion most manifest in the language of music. Another feature of Azizi’s mysticism is his being a naturalist which is indicative of Sohrab's influence on him. The principle of Unity of Existence can be observed in the ideas of Azizi; this principle is based on the independence and separation of things from each other, and states that this world is an illusion and all things manifestations of one reality. The first person who introduced this principle into theoretical discussions was Sheikh Akbar Mohi-o-Din Arabi, the founder of the school of Unity of Existence.
This study thematically examines the poetry of Azizi. The themes include Mahdaviyat, Ashoura, love of the Imams, martyrdom, velayat, mysticism, Sufism, life and death.

“Bound and limitation” is one of the subjects of the rhetoric also called "allocation" and "dedication". As a term it is a proof for a statement, and disapproving whatever except that. This technique has two sides, i.e. the restricted, and the restriction. There are four types of restriction in Arabic and Persian: 1. Use of negation and exception words in which the restriction comes after the negation or exception words 2. The use of ÇäøãÇ in the beginning of the sentence 3. Adverting by means of such words as Èá, á˜ä, and áÇ 4. Prioritizing final position. In Farsi, the most important limitation techniques include words like ÌÒ¡ ãÑ¡ ÇáÇ¡ ÈÓ æ ÝÞØ, prioritization, bringing pronoun with the linking verb “be” ( ÇÓÊä), intonation, allocation suffixes and prefixes. Since the Omission in Arabic and Persian texts and compliance with requirements of the rhetoric and eloquence had been used, In this study, limitation was compared statistically analyzed in 16 books of rhetoric in Arabic and Persian.