رضا روحانی

Hossein Monzavi is a poet who has brought major changes in the field of Ghazal and is considered among the innovators of this field. An important part of his thoughts regarding God, man and the universe is hidden in the depths of isolated sonnets, but factors such as the lack of mysticism in the contemporary era and his unassumingness in the field of mysticism have created the impression that he is a purely romantic poet. The present essay, with the descriptive-analytical method and with the aim of formulating the spiritual thoughts reflected in the isolated sonnet, has investigated how he looked at mystical topics and has extracted and recorded the attitude of this poet about each of the examples of mysticism from among his sonnets. The findings of the research indicate that concepts such as the necessity of self-knowledge, freedom from attachments, tolerance of suffering, belief in the covenant of trust, the importance of leaving the world and sensuality, patience, gratitude, submission and satisfaction, belief in the unity of existence, the superiority of love to reason, in the sonnets. He is seen and his love oscillates between permission and truth. The high frequency of mystical concepts and its significant emotional impact show that these concepts are not only a means of thematization and expressive games and have taken an important part of the poet's mental concerns, but they are completely consistent with what he saw in the mystical tradition of Persian poetry. It can be, it is not; Therefore,

The revelation of the Holy Quran has been done in various linguistic, literary and methodological aspects. In this article, with a descriptive, analytical and hermeneutic method, an attempt has been made to deal with the theoretical dimensions and different meanings of the literary descent of the Qur'an, and to represent and briefly analyze the various methods and factors of this matter. The relations, similarities and differences between the language and literature with the language and literature of the Qur'an are among the introductions of the article, and the main differences are introduced in terms of the goals and motivations of each. In the second part, several meanings and dimensions of the descent or literary descent of the Qur'an, and some methods and categories that can be mentioned regarding the types and methods of the descent of the Qur'an are introduced, which can be deduced in the field of language and literature. Finally, by mentioning the factors against the literary reduction of the Qur'an, it has been emphasized and explained how paying attention to the set of these ratios and differences, and meanings and dimensions can prevent the audience from accepting wrong assumptions and the way to criticize those assumptions.

Throughout its periods of prosperity and adversity, Iranian Islamic culture has experienced significant ideological shifts under the influence of two prominent figures in Sufism and Islamic philosophy. The regions of Great Khorasan and ancient Transoxiana, which served as the cradle and hub for various major sects, such as Jabriyya, Mu'tazila, Ash'ara, Maturidiyya, Hashviyya, Moshbaha, Karramiyya, Murji'ah, and the Shia sects, became a battleground for religious conflicts and a diversity of theological perspectives, particularly up to the 4th and 5th centuries. These religious conflicts, which ignited a wide array of inter-sectarian and intra-sectarian disputes, gradually found expression in the thoughts and language of Iranian poets, giving rise to a rich tapestry of ideological beliefs in their poetry. Regrettably, the theological analyses of Persian literature to date have often been marred by generalizations and biases. In this article, the authors proposed the concept of "ideological stylistics with a theological approach" to circumvent generalizations and demonstrate the departure from sectarian belief norms in Persian poetry. From this vantage point, the concept of "sighting God" within Islamic sects has been dissected into more nuanced intellectual themes. By comparing the beliefs of various theological sects regarding this concept, the authors have unveiled the ideological interplay of symbolic and meaningful words in Hakim Nizami's poetry, revealing two grammatical and rhetorical layers. The theological stances of Hakim Nizami in the realm of "Sighting God in the Ascension" have been found to align with the beliefs of Abu Hasan al-Ash'ari.

Abstract
Undoubtedly, Hafez Shirazi is one of the most famous poets of the Persian language. Despite the many worthy studies, still, some secrets and the causes and factors of this fame and popularity have not been discovered and explained. In the present study, one of the creative linguistic and semantic subtleties of Hafez's poetry has been examined using a descriptive-analytical method, and its dimensions and unsaid aspects have been discovered and represented. In this research, the author tries to interpret the word "an" (it) in Hafez's poetry and investigates the intentions of the poet for the use of "it" with the two approaches of formalism and interpretation. While referring to the uses of "it" in grammar (pronoun and adjective), the author, to the best of his knowledge, paid more attention to the idiomatic and mystical concepts of "it" in the language of mystics and especially Hafez's sonnets. The marked word "it" in Hafez's poetry can have different artistic and aesthetic meanings and functions that have not been studied before. One of the main results of the study is that the word "it" is used for different purposes in Hafez's poetry, and its meaning has been developed with the art of ambiguity and equivocation. In this way, the brevity and coherence of the poem have increased, and the meanings have been honored and magnified.
One of Hafez's rare and apparently small artistic creations in the field of individual style is the highlighting of the pronoun "it". In this regard, he has made significant artistic and meaning-creation aspects. This issue is so well known today that in literary discussions, whenever scholars talk about an indescribable and ambiguous phenomenon or subject, they talk about Hafez’s "it". In this study, some of the unspoken artistic-rhetorical dimensions of the word "it" as a pronoun, adjective, or noun in the whole of Hafez’s sonnets have been categorized and analyzed.
Despite the good efforts of some authors, few, if any, independent and complete study has been done regarding diverse artistic uses of the pronoun "an" in Hafez's poetry and some semantic and aesthetic aspects of this word have been neglected. This study examined "it" in all of Hafez's sonnets and tried to represent all the meanings and purposes of using "it" by Hafez. The research method in this study is descriptive-analytical, which was carried out with the intention of discovering, introducing, and investigating better and more artistic and rhetorical creativity and applications of the word "it". In this research, the Hafez version considered by the author is the Ghani-Qazvini version and in some cases the corrected version of Khanlari.
Research The results of this research show that "it" is one of the common and old words that have been taken into consideration in mystical poetry in general, and in Hafez's poetry in particular, and more implicit meanings have been given to it with a kind of defamiliarization. In other words, this word (an: it) has been marked in Hafez’s poetry due to its high frequency of repetition. As a "sign", this word has implicit meanings, i.e. figurative, ironic, and ambiguous.
In some of his poems, Hafez Shirazi has beautiful references to the artistic-rhetorical uses and functions of "it". Hafez used "it" as a tool and means of expressing unspeakable and often romantic situations and states. He gave "it" a special character in various verses, and used "it" in a high frequency. Hafez, by consciously choosing the word "it" (considering the brevity and ambiguity in the word), caused the audience to hesitate to try to discover its possible and multifaceted references by reflecting on the meaning of "it". This, in addition to defamiliarization and highlighting, has also caused the personalization of the message.
Discussion of Results and The general conclusions of this research are as follows:1) Examining ancient poetry and especially the elements of Hafez's special art and style, with new methods and approaches of literary criticism (such as discourse analysis and semiotics) along with ancient rhetorical issues still has a lot of room for discussion.
2) Some apparently unimportant and underused elements and words in the aesthetics of Hafez's poetry are sometimes of great importance, and accuracy in these cases can pave the way for new readings and the creation of multiple and new meanings of his poetry.
3) It is necessary to make a distinction between the usage and types of roles of the word "it" in Persian grammar and its roles in the grammar of mysticism, especially mystical poetry.
4) Compared to the poets before him, Hafez used the word "it" in more rhetorical, semantic, and mystical purposes and roles, and with all kinds of literary tricks (especially ambiguity, brevity, and coherence). He has distinguished and highlighted this word in his poetry style and expanded and multiplied its explicit and implicit meanings.
* Associate Professor, Department of Persian Language and Literature, Kashan University, Kashan, Iran (Corresponding Author Email: r.ruhani@kashanu.ac.ir)
2476-3268© The Author(s).Pulished by University of Isfahan                                                                           
This is an open access article under the CC BY-NC 4.0 License (https://creativecommons.org/licenses/by-nc/4.0).

Hafiz’s art is not restricted to his couplets in ghazal (romantic songs) or formal and spiritual depictions. Rather, those beautiful images are accompanied, in high harmony, by sublime semantic or spiritual concepts. The present study uses a semantic approach, or even esoteric hermeneutics, to discuss Hafiz’s religious and esoteric path, and to scrutinize the last couplet of the ghazal number 296 in his collection of ghazals (Ghani-Qazvini copy), to explore this issue and analyze and interpret its various dimensions. The finding of this study is that, in the couplet “O Hafiz! If you step in the path of the [Prophet’s] dynasty/ the endeavors of the sheriff of Najaf will accompany you”, Hafiz both refers – briefly and emphatically – to his personal and Shiite wayfaring, and restates the conditions for such a wayfaring, referring to its immediate and future results and benefits. Here, we investigate and analyze the importance of honesty and honest steps taken in the path of the Prophet’s Household, which are emphasized in the Quranic verses and traditions as well as the teachings of the mystics, and are associated with the concept of Shiism as well as the supportive, protective and guiding roles of Imam Ali in Hafiz’s honest wayfaring.

According to the theory of Roland Barthes, a twentieth-century French theorist and philosopher, about the difference between a work and a text. The main question of this article is whether Hafiz's sonnet is a text or a work?To get the answer, the seven chapters that Roland Barthes has stated in his theory of “From work to text”, has been studied on the basis of one of Hafez's sonnets. That's how it starts “If my hand reaches your hair again/ I will sacrifice many heads in your way like a ball”The lecture of this article goes beyond this example and uses the more general evidence of Hafez's sonnets. With the help of this method and Implementation of Roland Barthes theory on the mentioned sonnet, we could get this result that Hafez's sonnet is both, pluralistic and contradictory. It has both infinite meanings and is experienced in relation to the signifier. It isn’t a consumer goods and it has an element of pleasure. It has anti-classification riot power and symbolization. As a result, Hafez’s sonnets deserve to be known “text” not “work”.

The standards and the taste for art are being constantly changed and transformed. Anthologies, as a summary of the audience's views and taste, are a mirror and a reflection of the evolution of literary taste standards in any era. The process of formation and the direction and evolution of literary taste in each period can be well understood by analyzing works in different periods. In the present study, the literary taste was determined by examining Chahar Maghale and Lababal-Bab from a sociological point of view. The foundation, social context, and criteria for selection are important factors in directing the literary taste of the time from the perspective of the authors of these two anthologies. The mutual benefit of the masters of power and masters of art in immortalizing and preserving each other's names, the artist’s colleagues, personal acquaintance of young artists with famous writers and artists, and literary criticism are considered to be the most important literary metatextual features that shape artistic tastes from the point of view of the authors of these two anthologies. The balance and comparison of poets, observance of verbal and semantic proportions, and hyperbole are among the outstanding intratextual features of the criticism of taste in the discussed anthologies. The social class of the artist, the glory of power, perfectionism, and artifice, the metatextual value-creating criteria, improvisation and conciseness, and the use of literary devices are all among the examples of intratextual beauty in the studied anthologies.

The resurrection season is one of the important parts of Razi’s Mersad al-Ebad which begins with the mystical reading of one of the verses of the Holy Quran. The author considers resurrection as the return of human souls to God which happens with the journey of quadruple processions of souls in seven stages. According to the systematic structure that the author has for this journey, the present study aims to answer two research questions: 1) Does Razi follow a certain pattern in explaining his worldview about the resurrection?  2) Can the stages in Mersad al-Ebad be matched with the stages of Campbell’s hero’s journey? According to the findings of the study, the condition for the beginning of perfection is divine attraction. After starting the journey, in the second part, a person goes through the stages that Campbell calls the road of tests. In this part, as Najmuddin Razi believes, a person must go through four stages of Nafs Ammareh, Lawwameh, Molhameh, and Motmaenneh. At the end of this perfection process, the person becomes a resident of the promised paradise, i.e. the court of God’s attributes. The author has determined two different fates for the seeker. In his opinion, if a person is one of the seekers, after returning, he is responsible for guidance. Those who have behaved in the manner of those who are fascinated, after returning, will not be responsible for others. In the journey, these two ends are also mentioned.

The common symbolic theme in many myths, legends, and mystical books is the story of man's journey into himself, the result of which is the achievement of spiritual growth, perfection, and psychological integrity. The importance of this issue has caused many researchers, including Joseph Campbell, to investigate the pattern of this symbolic journey. "One myth" is one of the most famous and widely used theories in the field of myth criticism, which was proposed by him in 1949 in the book ‘The Hero with a Thousand Faces’. Jung examined in detail the archetype of the hero's journey and by examining a large number of legends and stories of the world, he showed that this archetype reveals itself in a new form at any time and place to guide man to his inner journey and self-knowledge. Since the main subject of mystical texts and writings is the journey of a person to know the truth of her existence and achieve perfection, the archetype of the hero's journey can be found openly or secretly in many of them. The meaning of religion is that some of the works such as Mantegh al-Tayr by Attar Nishabury, Altavahhom Harith al-Masabi, and many of Masnavi’s stories clearly have this pattern, and sometimes hidden manifestations of it can be found in some works such as Mersad al-Ebad by Razi. Mersad al-Ebad is one of the masterpieces of mystical Persian prose texts. In this work, the author has raised a discussion under the title of resurrection, which can be found in the structure of the hero's journey by studying it closely. More importantly, the author has an interpretative and symbolic view of resurrection and in explaining it, he used symbolic numbers such as four and seven and defined stages for it. According to this hypothesis, the present study aims to investigate the author's approach to the issue of resurrection based on the archetype of the hero's journey. The two research questions are: 1) Does Razi follow a certain pattern in explaining his worldview about the resurrection? 2) Do the stages of resurrection in Mursad al-Abad match the ancient stages of Campbell’s hero's journey?

Review of the Literature:

Mystical studies have made it possible for researchers to investigate and analyze many of these works with a semiotic and archetypal approach and reveal some of their hidden layers with their symbolic content and symbolic and mysterious language. The attractiveness of this type of analysis and the pleasure of discovering the hidden layers of the text has caused the emergence of relatively significant studies with this approach in the field of mystical literature. In some of these studies, the archetype of the hero has been completely investigated in one work. Among them, we can mention ‘Analysis of a fictional story based on Jung's psychological views’ (Esmaili & Bahrami Rahnama, 2017), ‘Deciphering the process of individuality in Attar's Divine Book by relying on Jung's archetypes (Ahmadi & Haghighi, 2019). Some articles have also examined some of the archetypes in mystical works and writings; for example, ‘Comparison of Jung's Archetypes with Abu Sa'id's Mystical Way’ (Aegean & Arab, 2016), ‘criticism and analysis of the archetype of the shadow with respect to the concept of self in mysticism’ (Rozhatian, Mir Bagheri Fard, & Mani, 2013), ‘examination of the ancient pattern of shadow and its adaptation to the soul in Attar's masnavis’ (Qashqaei, 2013), ‘the course of the conceptual evolution of the word self in al-Tayr logic based on individuality’ (Gholampour Ahangarkalai, Tavossi, & Ojag Alizadeh, 2018), ‘the use of archetypes of color in spiritual masnavi based on Jung's theory’ Asadi, Eshghi, & Amir Ahmadi, 2018). In addition to the mentioned studies, many other ones have been written in this field, and mentioning all of them will make the article long. According to this review, the analysis of the topic of resurrection in Mursad al-Abad based on the old model of the hero's journey, both because of the choice of topic and the type of approach, is new and contains different content.

The archetype criticism has defined two types of self-care for the hero. In the first type, the focus is only on the universal world and the hero faces any kind of danger in the battle and shows heroic deeds. In the second type, the hero, at the same time performing his bravery and heroism, undergoes internal change and transformation, and after going through symbolic stages, he achieves spiritual maturity and spiritual perfection. Cambell's emphasis is on the analysis of the archetype of the hero, focusing on the second self-work, that is, spiritual transformation. According to him, the hero begins his journey from the everyday environment until an inner call reaches him and after that, he must step into a mysterious world that is full of unusual events. Campbell has assigned three stages to this self-care: departure (separation), arrival, and return. Departure includes calling the call, rejecting or accepting it, seeking help from the beyond, crossing the first threshold, and going to the whale's palate. The journey also includes the road of tests, the meeting with God, the temptress, reconciliation and unity with the Father, the Gods, and the final blessing. The return also includes stages such as refusal to return, magical escape, rescue from outside, crossing the threshold of return, master of two worlds, and free in life (cf. Campbell, 2004, p. 59-250). In this study, among the above-mentioned steps, we examine the cases that can be adapted to the Maad chapter of Mersad al-Ebad.

In the Resurrection season of Mersad al-Ebad, Razi divides the spirits into four stages (rows). The first phase is the souls of prophets and special saints who are in a position of immediacy and ‘Matmaennegy’. The second row is ‘Molhamegy’. The residents of ‘Lavamgy’ are in the third row, and in the fourth row are the souls of disbelievers and hypocrites who live in ‘Amargy’. According to the author, all souls in their symbolic resurrection should start their journey from the level of Amargi. This movement has a narrative infrastructure in which the triple stages of departure, appreciation, and return of Campbell's model can be clearly found. In the stage of departure, the call is the main and preliminary condition for the beginning of the journey that Razi considers to be dependent on divine attraction, which if it does not happen, a person cannot enter the path of self-knowledge. After sending the invitation, depending on whether the person accepts or rejects it, it may be placed in the category of Ashqiya or Soada. In the Tashraf stage, which is the most detailed part of the archetype of the hero's journey, Razi defines and explains the four main stages, which are, respectively: Amaregy, Lawwemgy, Molhamegy, and Ammaregy. According to him, all four spirits must go through these four stages on their way to perfection and return (resurrection). According to Razi, the passing of the soul from Amaregy, Lawwemgy, Molhamegy, and Ammaregy takes place in seven stages. These Haftkhans, respectively, include: passing through the qualities of earth, water, air, fire, the heavens and heavenly bodies, the kingdom of stars and stars, and finally the heart. Passing through this Haftkhan places a person in the highest rank and known position. After going through this difficult path, one enters the promised paradise. After that, the stage of return takes place, and in this return, if a person is one of those who are fascinated, he does not have a mission to guide, but if he is in the group of seekers, he will be a guide to others on the path of knowledge.

Kharazmi and Jami are great poets and mystics of the ninth century AH. They are also among the early commentators of Rumi's Masnavi. The interpretive allusions and mystical considerations of these two commentaries have been considered by many post-Rumi scholars. There are works about the states, works and life of these commentators, but there is no research yet on their methods to describe the Ney-nameh (eighteen verses at the beginning of Masnavi). This issue is undertaken in this research through the analytical recognition of the differences and commonalities and the methods of explaining the Ney-name from the perspective of Kharazmi and Jami. Both commentators are found to have made hermeneutic interpretation, and sometimes an eclectic method instead of discovering the theory of the author of Masnavi. They seek to discover, extract, and explain the mysticism of the epistle, which the text has the capacity for, but they have no reason for their explanations. Thus, they have made it difficult for the general audience of Masnavi to understand the concepts and meanings of the letter.

One of the wide-ranging topics in the field of Quranic sciences and Quranic revelation is the discussion of the language and expression of the Quran. The present article deals with theoretical-critical aspects of the language of revelation and the meanings of ejaculation and revelation in the Holy Quran. The author's claim is to show briefly and possibly explain that according to new topics in linguistic and literary sciences, new topics and issues and dimensions can be proposed regarding the language of the Qur'an, which still or always require the necessary lexical attention. It is interpretive and theoretical. The author, with a narrative and rational method, as well as a hermeneutic and interpretive approach, deals with issues and problems and inferred from arguments and evidences. Deals with, and then in two main sections, examines the issues, meanings and different dimensions of the revelation and linguistic decline of the Qur'an verbally, semantically and theoretically, and tries to make the audience think about this by proposing theoretical and interpretive discussions. Conclude that the traditional theory of linguistic revelation, provided it is analyzed, interpreted, correct by default, and new approaches, can be accepted and used to understand new issues and remove new doubts.

The political system of traditional Iranian society prior to constitutional era often had an authoritarian structure. In such a society, the king and his agents relied on the throne of power and monarchy without any law or rule, and abuse people to satisfy their desires.  All of these governments, therefore, at the beginning of their formation have sought to consolidate their credibility and legitimacy. In this study, the authors utilized content analysis method to examine the roots of authoritarian growth and its effective backgrounds and factors in Persian panegyrics of five Persian-speaking poets,i.e., Rudaki, Onsori, Farrokhi, Moezzi, Anvari, in the three periods of Samanids, Ghaznavids and Seljuks . The findings showed how the center of power and government has been connected with all social, religious, jurisprudential, theological, interpretive, hadith, and literary mechanisms and institutions. In addition, the finding revealed that the center of power has also used all the ancient and Islamic elements and some social and superstitious beliefs of the society for political acceptance and legitimacy, and finally for covering governments’ despotism and authoritarianism. In this analysis, the role of ideological elements, such as believing in the selection of the Sultan by God and his position as the God’s shadow on earth, the Sultan's role as the actor of fate, his divine approval and victory, luck and his goodness are among other influential factors.

Science and learning science are among the most important and pivotal concerns of Jalaluddin Mohammad Balkhi, the great mystic and thinker of the seventh century, who in his works attempted to present and accurately critique science and men of science as well as their blights and teleological purposes. Rumi divides human sciences and scholars into two categories of real and religious, and imitative and mundane. Still, in his view, the most essential discussion is studying the blights, teleological purposes, motives, and moral duties of all kinds of science and episteme that one acquires in this world or imparts with knowledge-seekers and pupils. In this study, adopting content analysis method and logical-methodological and hermeneutic approach, Rumi's theoretical and critical approaches to science and science studies have been categorized under four themes of critical and pathological; functional and teleological; psychological and motivational; and ethical and conscience-related qualities. The first significance of the study is showing that Rumi's discussions in the field of science and science studies require further academic and epistemological investigations, perhaps more than his other discussions. The second implication is that the potential or actual, logical, critical or ethical functions of this kind of science studies become clear. The third important ethical-epistemological function of this approach is that it warns the scholars against the blights and complications caused by learning science, considering the harms, motives and duties of each.

Rumi is the master of the great Masnavi is free-thinking mystics who has made and introduced peace and tolerance with other thinkers as one of his intellectual and behavioral foundations. In his works, in various languages and ways, he has exhorted and promoted this idea, and has called upon all to follow this individual and social conduct. Like many of his other views, Rumi's tolerance thinking has been criticized and denied. In the present study, the critiques about  this Rumi's idea have been investigated with an analytical-critical approach and using scientific methods of text and citation analysis. The purpose of this assessment, in addition to presenting and critiquing the views of the disbelievers in the present age, is to arrive at a clearer and more realistic understanding of this way of Rumi's thinking. According to the studies, it is understood that the peaceful coexistence of the followers of different religions in the society (social pluralism) in Rumi's thinking, following the sources and foundations of Islam, has a special place. But religious pluralism, in spite of some similarities and homogeneities, is not about Rumi's acceptance and approval. It is also clear from the analysis and citation of the Rumi's anecdotes that in fact the pluralist reading of the Rumi is a flawed understanding that some intellectuals or critics have mistakenly or fallaciously acquired in the thoughts and ideas and inappropriate citations of Masnabi's quotes and anecdotes.

The relationship between rhetoric and poetry has been the subject of experts’ controversy since the beginning of the controversy, and this controversy has continued to this day without reaching a definite conclusion. The root of such controversy lies in Aristotle's two treatises on rhetoric and poetry. In these two treatises, the general boundaries between these two techniques are drawn and their minor boundaries remain invisible.
In this descriptive-analytical method, while examining the commonalities and differences between the two rhetoric and poetry techniques, the present article tries to study the separation of their specific rhetorical techniques based on the two treatises of rhetoric and Aristotle's poetry. This article concludes that the art of rhetoric and the art of poetry, in addition to the commonalities and differences in generalities, components, materials, types, theologians, audiences, and styles, have more to do with the use of rhetorical techniques than the sharing of materials and differences; That is, the working materials of these two techniques
Are generally common, and the purpose of using these materials in them is different.

“Misbah ul-Hidaya and Miftah ul-Kifaya” is one of the most famous works of Izzuddin Mahmood Bin Ali Kashani, the sixth century (AH) mystic. The author of this book first describes the religious beliefs and then elaborates on mystical customs and Sufism. References to Persian and Arabic poetry, and using verses of the Quran, Hadiths, and employing rhetorical figures are among the stylistic features of this book which attest to the flair of the author. Each text begins with a short introduction and then proceeds to a detailed description while making references to Hadiths and verses of the Quran. One of the positive points of this book is the cohesive approach the author adopts to maintain the relevance of the materials contained in the book with the main subject. Regarding the literary, sociological, historical, and mystical importance of this book, the present article has used a qualitative method to do methodological criticism on this book. Methodological criticism provides the researcher with studying the author’s method along with doing a more precise content analysis.

Analysis science of method or methodology is used in different meanings and purposes and in different sciences by the researchers. One of the meanings is recognition science of researchapproaches in different sciences. The subject which is more intended in this article is the meaning of methodology that means presentation ofGhashirie's method (way, approach, attitude), and description, classification and analysis of his methods in collection and analysis and defense of data and claims in the book "Ghashirie's Thesis".

Shams and Molavi, two of our great mystical-literary figures, have had a profound effect on each other. The two, along with each other's evolution and spiritual exaltation, as well as the unique reputation they have found in this way, by publishing and describing the works and thoughts of each other, added to the excellence, glory and reputation of Islamic literature and mysticism. Although many scholars have studied their similarities and commonalities, there are differences and even contradictions in their way of life and their behavior. The present research has been developed to prove this claim. In this study, we tried to check the Shams and Molavi’s differences and contrasts with a comparative method. We showed their personality contrasts and differences, different aspects of their life, the style of training, speech and behavior. Based on this study, we could understand the reasons behind these differences and contrasts in their opinion and behavior to justify their positions, states, and articles. The present research has been categorized and presented in three sections including: 1) the differences or contrasts in the individual and social life; 2) moral and personality contrasts; and 3) mystical contradictions and differences.

Criticism of science and essential and practical lessons and literary disciplines. About the science and the principles and theories and different schools in recent decades is suitable books written or translated by. One of the books in 1390, entitled "Principles and classification of literary criticism" by the efforts doctor Mahmoud Fazilat that was first published in publications pilgrims. This article introduces the book to review procedural and substantive books and shows that, unlike in the present book as a good example of that is probably true, research ethics in writing and composing and editing are not met, and the author in reference to a resources and quotation, in most cases does not respect the integrity and commitment does not fit, so book now to get to a textbook or a model of literary criticism is appropriate that the textbook is a long way off, and in need of fundamental revision and rewriting is.

Mir Jalāloddin Kazzāzi is one of the professors of Persian Language and Literature who has presented his reflections and meticulousness on Hāfez’s poems in the form of a series of books which include explanations about and reports of Hāfez’s sonnets based on aesthetics. The author of the present paper is going to introduce and criticize the first volume of this series called Deir-e Mughān which is a report of the first twenty sonnets of Hāfez’s Divān (collection of poems). According to the author, despite all the efforts made by the book writer to provide a comprehensive report of Hāfez’s literal and figurative arts in the poems, there are still some shortcomings and probably mistakes in the procedure or content of the report. Therefore, having talked about the features and strong points of the book, he points out the deficiencies and briefly explains about his own suggestions with regard to the meaning. In the last part of the article, the author studies the first and fifth sonnets in details, and then with regard to the other sonnets he mentions the report problems or recommend some complementary suggestions in the same order as the pages of the book.

The poems of Hafiz, the noble and unique Shirazi poet, since the time of being composed, have been under the attention of the experts, and this attention that still continuous both in popular and specialized circles, has been increased in our time so that numerous commentaries have been written to define and represent the subtleties and wisdoms of these sonnets. The two books, At the Threshold of the True Love, and A Step into the Infinitude, written by Mir Jalaluddin Kazazi, and published by SAMT, are often used as university textbooks of "Hafiz course" for the students of Persian Language and Literature. In sum, there are reports in both of them about 41 selected sonnets from the Diwan of Hafiz. The books have been compiled on three bases: morphology, aesthetics, and ideology. Though it is obvious that the commentator has made a great attempt and provided a rich report, the author of this paper has found some deficiencies and mistakes while reading the mentioned books. These imperfections deal with compilation methodology and content of report – especially in relation to the figures of speech and meaning of the verses. Some of the methodological and aesthetic imperfections are introduced concisely in this paper. This study explains that these two books are mostly aesthetic reports on a number of selected poems of Hafiz and represent neither a proper exegesis nor an all-out report of the poet's works and ideas.

In spite of their eminent and expected conformity in attitudes and their obvious influence on each other, Shams Tabrizi and Jalal al-Din Rūmi are found to have some differences of opinions on several issues. These disagreements appear to be either overt or covert. Yet, the covert disagreements are assumed to be discoverable. Employing comparative method, the current study sought to extract some of the aforementioned disagreements from the authors’ works and words. Then, the main instances are examined to get more recognition of these outstanding characters of mystical romance area. In an attempt to be more systematic, the article presents three classifications which cooperates the reader to get more knowledge on poets’ disagreements on various aspects. The obtained results indicate that Shams and Rūmi are somehow different when considering their (1) thoughts (three cases), (2) exegeses of verses of Quran and narratives (five cases), and (3) judgements about prophets and mystics (three prophets and seven mystics). Hence, the scholars of this field are proposed to consider these instances and other similar examples when investigating Shams andRūmi’s lives and thoughts.