ahmad reza yalameha

The present study deals with the moral criticism of the Book of Tohfa (8th century Hijri) based on the school of moral utilitarianism. Tohfa has ten chapters and several allegorical and historical stories mixed with prose and poetry. The author of the book is unknown, but it is likely that its author is Mirza Sharafuddin Fadlullah Ibn Abdullah Qazwini (around 640-740). Tohfa is an educational work in cities politics that can be analyzed based on moral theories. One of these schools is moral utilitarianism. Utilitarianism believes in a normative moral system that considers the originality of pleasure as the criterion of the moral character of an action. From the point of view of this school, values deserve to be preserved and promoted as long as they can be interpreted and translated into the interests of individual well-being and collective pleasure, but the benefit of the individual is always preferred over that of the public. The present study, by using a descriptive-analytical method, tries to answer the question of which type of moral utilitarianism has a high frequency in Tohfa? Findings indicate that the most moral benefit considered in this literary text is the collective benefit and the interests of the public. The author of Tohfa, under the influence of Islamic moral teachings, conveys direct and indirect recommendations to the readers in more than 55 anecdotes and allegories which have religious and educational values in addition to creating literary pleasure for the audience.

Description and problem statement Kelileh and Demneh is one of the significant and valuable literary works. This book was written from Sanskrit into Pahlavi during the Sassanid era and Abdullah ibn Muqaffa translated it from Pahlavi into Arabic. In the era of Nasr ibn Ahmad Samani, Abolfazl Mohammad Balami translated it into Persian prose. Rudaki, the famous poet, wrote it in poetry and the book we have today has been gathered by Abu al-Ma'ali Nasrullah ibn Muhammad Abdul Hamid, who translated it from Ibn Muqaffa’s Kelileh in the middle of the sixth century AH, during the reign of Bahram Shah of Ghaznavi.Nasrullah Munshi’s translation is a dynamic translation to which the translator has added many additions such as Quranic verses, hadiths, Arabic and Persian verses, proverbs and he has made every effort to translate and rewrite the effect of the original text on the translated text. Instead of being faithful to Ibn Muqaffa's original text, the Munshi's concern is more focused on the reader's reaction while reading the text of his translation and conveying the general message of the original text. Bukhari's translation is very close to Ibn Muqaffa's Arabic original and faithful to the source text and the translator does not use omissions and additions as much as possible, unless the constraints of language and differences between the origin and destination culture compel her to do so, because his king has ordered him to translate the original text and be faithful to it.Kelileh and Demneh is one of the important books that has been considered from long ago and various translations of it are available. Also because of the importance of this book in both Arabic and Persian languages and the existence of common and different points in the three works; In this research, we intend to consider one of the common chapters of these three translations; That is, we examine the chapter of "interrogation of Demneh's work" from the perspective of imaginary images and answer these questions:How much is the frequency of each of the imaginary images in these three translations? And in this regard, what is the tangible difference between the three works?

No independent work has been done on the study and comparison of imaginary images in chapter of "interrogation of Demneh’s work" in Kelileh and Demneh by Nasrullah Munshi with the Arabic translation of Ibn Muqaffa; However, in comparative comparison of these two translations, articles have been written, including:“Investigation of some differences between Nasrullah Munshi’s Kelileh and Demneh with Ibn Muqaffa’s Arabic translation and Bidpay stories Panjakian”, Ali Heidari, Journal of Human Sciences, Al-Zahra University, Winter and spring 2007 and 2008, No. 68 and 69, pp. 61-45.“Comparative Study of Expressive Tricks about Lion and Cow in Arabic and Persian versions of Kelileh and Demneh”, KeyRokh Ahmadi et al, Journal of Comparative Literature Studies, Summer 2012, No. 22, pp. 64-47.“Study of the Elements of the Story in Persian and Arabic versions of Kelileh and Demneh (chapter: Lion and Cow), written by Farnaz Taghizadeh and Tayebeh Amirian, Journal of Literary Criticism and Stylistics Research, Spring 2011, Volume 1, No. 3, pp. 131-103.

Comparative Literature Comparative literature is a field in a wider range than the national literature of a country; It is a critique measuring the quality of a literary work on a scale higher than one climate; It is a step forward, towards a higher step, towards the perfection of the unity of human thoughts. The necessity of this young knowledge in the field of general literature and the relationship between the literature of different countries requires that literary researchers in this field compare them according to the importance of topics and the position of writers and poets and according to the similarities or differences between two texts from two languages or two characters from two literatures.2.2. Imaginary Images Kelileh and Demneh are prominent examples of Persian technical prose. The use of verbal and spiritual industries and fantasy forms such as simile, metaphor, irony and trope are the stylistic features of this book. In the meantime, simile as the most effective tool of imagination has a major role in the imageries of this book.Simile is one of the most important categories of rhetoric and one of the main elements of imagery and "the participation of two things in the description of attributes by special words." (Rajaei, 244:1372). There are different types of similes in the three translations of Kelileh and Demneh. In Nasrullah Munshi's translation, 188 similes were found, of which, singular to singular simile has the highest frequency (19.3%). Only 23 types of similes were found in Ibn Muqaffa's Kelileh and Demneh and allegorical simile has the highest frequency (26.08%) and in Mohammad Bukhari's Bidpay stories, the singular to singular simile has the highest frequency (26.08%).Metaphor is one of the rhetorical tools and in the word it is the source of use; it means to borrow, and in literary terms it means to borrow one word instead of another; because the poet in metaphor uses a word because of similarity instead of another word (Shamisa, 1991: 153). Metaphor and its variants can be seen in all three translations, but its frequency has been much more in Munshi's translation. In Nasrullah Munshi's translation, 87 types of metaphors have been used. The latent metaphor has the highest frequency (32.2%). In the Arabic translation of Kelileh and Demneh, 14 metaphors were found, of which the absolute explicit metaphor has the highest frequency (57.1%). Bukhari has also used absolute explicit metaphor (42.1%) among the types of metaphors in Bidpay stories. An irony is a word that has two meanings that are near and far and these two meanings are necessary and obligatory for each other; "So the speaker combines and uses the sentence in such a way that the listener's mind is transferred from the near to the far meaning." (Homayi, 1354: 255). Of the types of irony used in translations, 147 are found in the Munshi's translation. The irony to verb has the highest frequency (55.7%). The same thing can be seen in Ibn Muqaffa's translation; that is, the irony to verb has the highest frequency (50%). But in Bukhari’s translation, the noun irony is higher (24.4%).2.3. TropeThe priority of using different types of trope in the translation of Nasrullah Munshi is trope to interest of detail and proximity (each 19.1%) and in the translation of ibn Muqaffa is trope to interest of capacity (33.3%), and in Bidpay stories, the variety of trope, like its Arabic translation, is 6 types and, its frequency is more.

The result of examining imaginary images in chapter of "interrogation of Demneh's work" in two Persian translations of Nasrullah Munshi and Mohammad Bukhari and the Arabic translation of Ibn Muqaffa is as follows:In all three translations, imaginary images such as simile, metaphor, irony and trope are seen. The imaginary images used in the three translations are for the enlightenment of the reader and are far from ambiguity and complexity. All three translators have used all the imaginary images (simile, metaphor, irony, and trope) to express moral and educational issues. They are well aware that it is not enjoyable to iterate meanings in an ordinary language, therefore, with the help of imaginary images, they have made their word beautiful and charming and its effect for the reader will be more.Of the 660 items found in the chapter of "Interrogation of Demneh’s work", 431 were found in Nasrullah Munshi’s translation, 91 in the Arabic translation of Ibn Muqaffa, and 138 items were found in the Mohammad Bukhari’s Bidpay stories. The frequency of using imaginary elements in Nasrullah Munshi’s Kelileh and Demneh is as follows: simile (31.6%), irony (21.2%), metaphor (16.6%) and trope (13.02%) and this order in Ibn Muqaffa’s Kelileh and Demneh as follows: Irony (6.8%), simile (4.4%), trope (3.4%) and metaphor (2.6%). This order in Mohammad Bukhari’s Bidpay stories is as follows: irony (32.6%), metaphor (27.5%) and trope (23.2%) and simile (16.6%); Therefore, the variety of using different types of imaginary elements in Nasrullah Munshi's translation is higher than other translations.Less simple sentences can be found in the structure of Nasrullah Munshi's sentences. He has adorned most of the sentences with various imaginary images. Unlike him, Ibn Muqaffa and Muhammad Bukhari have used more simple and clear sentences and have been less inclined to adorn sentences. In his translation, Nasrullah Munshi has made more efforts to make the anecdotes better and more beautiful and to make them more readable.Muqaffa, Abdullah Bukhari, Bidpay Stories  .

Zahir Kermani's Masnavi is one of the precious literary works of the twelfth century AH, which is full of didactic teachings that have not been published yet. This collection is replete with didactic themes and meanings that the poet has used according to his excitation and zeal. Wherever he has the opportunity, he has given advice to the audience. In the present study, the researcher decided to discuss the educational and moral themes and backgrounds in this lyrical collection for the first time by using the documentary-library method of analysis. The most important question in this research is whether the traces of the poet's religious thoughts and beliefs are evident in this work and whether in addition to individual ethics, social ethics is also considered in this work. The research results show that the poet in Shiite school of thought and the source of his thoughts derives from the Shiite school, the verses and hadiths of the Ahl al-Bayt of infallibility and purity. These thoughts are clearly reflected in his poems.

Masnavi Almaanavieh Alkhafieh written by Sheikh Ibrahim Ibne Mohammad Golshani Bardaii (830-940 HL), has been composed as an imitation of Matsnavi Molana. It contains plenty of mystical, ethical, incorporeal matters, explications and interpretations. In this paper, it is attempted to analyze the effect of ethical Vices on the disorders of wisdom system by using the three stories Balaam-Baaura, Barsissa, Hāroot and Māroot in this literary work. Although these three stories constitute about seven thousand line of this thirty-six-thousand-line work, Golshani Bardaii has expressed the essence of his thoughts and wisdom through these stories and examples. The aim of this research is to study the obstacles of the spiritual journey, the slippage the gnostic might confronted with, the temptation of the flesh, and ethical vices penetrating the human being's soul that results in the inverse reflection of the truth, impurity of the soul, committing guilt, enormous mystical unforgiveable crimes, and finally metamorphosis. Through mentioning the text evidences and by using textual extracts and tables, the authors have expressed the viewpoint of Golshani Bardaii on how one may follow negligence, pursuing whim-wham passions, the way gnostic might be led to aberration, and the practical realism of devotee. In this paper, direct effect of passion, desire, adultery, fame seeking, ignorance, stupidity, rationality and insight have been illustrated. Seeking for fame and whoremongery have been mentioned to be the biggest calamity which lead to inversion of reality and are considered as the objective evidence of pursuing sensuality and carnality

The works of the past are a valuable legacy to contemporaries and future generations. Cultural and literary works, with their epistemic foundations, are the spiritual food of thought and art, and the reason is that they are a bridge between the past and the present and increase our knowledge and knowledge. The Safavid age was not without its benefit Zahir Kermani (1162 AH), whose name is not mentioned, is one of the Shiite followers of the Iranian religion. His iconic Mathnawi, which is 8743 bits in Ramallah, is one of the 12th-century unknown works, the only copy of which is in the Nastaliq line, containing 265 pages, number 9530, in the Library of Tehran.s. This edition includes poetic allegorical stories expressing mystical, moral, religious, romantic, and so on. He has been proficient in a variety of literal and spiritual industries, and with his educational poems has paved the way for ethics for a real and real life. His verses come from the verses, hadiths and lives of the Imams and the elders. It is, therefore, necessary to study carefully and deliberately in the face of today's glorious life the precious word of the exalted, so that it may be a glimpse of the life and experiences of the past over the moral, social and cultural pains which the souls of every free man It annoys.

Shahanshah Nameh is a kind of heroic poem which belongs to the genre of epic. Epics are mainly composed of poems describing their heroes’ actions and honors, as well as ethnic and individual grandeur. Shahanshah Nameh-e Soleimani is a literary epic that contains twenty-one thousand verses written in imitation of Ferdowsi’s Shahnameh in the form of Masnavi and in Bahr-e Moteqarib (the Convergent Prosodic Meter). It was composed to provide a rich description of the travels and conquests of Sultan Soleiman Qanuni. Since literature is sometimes equated exaggeratedly with description, this article is an attempt to examine the specific and distinct descriptions (in terms of frequency, type, subject, and function) used in this understudied poem. Our findings indicate that description is one of the important tools and techniques of storytelling in this poetic work. The minimum unit used for description is a clause or phrase and the maximum unit is a compound sentence. These descriptions can be classified into subjective, objective, and pictorial ones focusing on subjects like battlefields, heroes, warfare, seasons, natural elements, the beauty of maidens and young people, winter, etc.As far as function is concerned, these descriptions are employed for both poetic (creating emotions, fantasies, and feelings) and narrative ones. To create imagery, the poet has used figures of speech including hyperbole, metaphor, simile, irony, and personification.

Haft Lashkar in the form of Masnavi is an epic tale which was composed in the twelveth and thirteenth centuries.  Since its first and last pages had been omitted, there is no information available about its author, yet it is assumed that its composer could have come from the Indian subcontinent.  In view of its’ stylistics features and according to manuscripts studies criteria this work enjoys the characteristics of the style common in the Safavid era.  This Masnavi is a verse narrative of a tale which appeared in the naqqali scrolls under the name of Haft Lashkar.  The most considerable part of this Masnavi is devoted to the tale of Borzu and his son Tamur or Taymur who intends to place Borzu on the throne instead of Kaykhosrow.  It appears that in composing this Masnavi, its composer had looked up to Shahnameh to a great extent but the poems are weak and unstable and at times meter is not respected. The composer employs feast and epic in feast and combat scenes. Applying documentary and library approach to the only copy left from the Haft Lashkar Masnavi, this research aims to assess it in terms of stylistics which involves examination of the every aspect of the language, its content and usage of literary devices.

The original Manuscript of Mar'at- ol khial by Mikraj Multani – one of 12th century writers of Indian subcontinent – is among Persian technical prose works; however, like most other manuscripts, has not been reviewed so far. The writer's domination on Persian and Arabic languages as well as including verbal and spiritual ornaments in it are some of its merits. In this search, it is tried to analyze the work outstanding stylish properties by reading it critically and methodologically. The results show that the work has been written in a symphonic technical way. In its literal formation, making similes and musical correspondence and also attending to the selection and arrangement of such words have been very affective. Among the exquisite arrays which have an affective role in making the words music in this book, we can address to the rime, balance, harmonization, redundancy, and unisoudness.

Manuscripts are considered as one of the precious works of every nation. One of these valuable and eminent books is the exclusive work of the versified medicine written by Hakim AbdolKarim Aaraj known as "Ajzi", registered under no. 757 in the national library in Sepahsalar Institute with Nastaliq font. The aim for knowing this work is becoming familiar with the medical concepts of the 8th century (H), diseases and their treatments. It is also a comparison of the significance and position of this work with earlier works.

This research was conducted by using the desk study method. In this study, after reviewing and extracting the features of the poetic medicine book "Ajzi versified medicine", it is analyzed by the content analysis method. Then, it is compiled by using scientific corrections and according to modern writing principles. The mentioned diseases in this work can be observed in a table by the end of this article. He then studies the quantitative and qualitative aspects of this poem with one of the most important medical poems before this work.

"Versified medicine" is one of the unknown works about the traditional medicine. This work has not still been corrected and introduced. One of the features of this poetic book is transferring the medical concepts in simple and concise form. This work includes the general points and introductions about the medical science, explaining the instructions for single spices, nutrition instructions, introducing 135 diseases from head to foot and their treatments, explaining different types of fever and their treatments, different types of stings and useful points for the physicians. Medical ethics is also well-mentioned in this poem.

The exclusive book of "Versified medicine" includes the medical information of the 8th century (H). The physician has primarily described the diseases and their symptoms. Then, the treatments, methods of preparing different types of medicines and ointments, as well as required actions for treating each disease are explained. In addition to his experiences, the chiropractor has used past authoritative medical effects to treat diseases and to cure a variety of medications. This poem, in comparison with the similar poem before, is noteworthy in terms of the quantity and quality of expression of medical terms and concepts. Identifying and introducing this book are among the required approach for benefiting from the scientific-literature capitals.

Alger Das Julien Gremas Successful theorist in the field of narration And functionality is a narrative In order to examine different types of By providing definite patterns,He has done a lot of work These efforts have caused that He introduces the action model, the chains of narrative and the semantics of his semantics.In this study, we try to The structure of the story of "Firouz and Shahnaz"The work of Mohammad Sadegh Nazem, famous for Sadegha, Persian poet and singer of the 11th century AH in the Indian subcontinent,Based on the theory of Gremas. In addition to identifying the actors and the model of the system of validity,The narrative chain and the semantics of this story, and its degree of conformance to the model, are also analyzed.The result of this research The result of this research is descriptive and based on library studies.This is the story of "Firouz and Shahnaz", despite the apparent simplicity It has a structural and full validity And in the form of the theory of action, the verb chains and the semantic square of Gremas can be evaluated.

The main purpose of using allegory is to illustrate the subject to the audience. An allegory that has not been investigated so far is the allegory of fish searching for the sea, which is important in terms of the analogy of the travel of birds to find the king. The allegory of fish is in search of the sea in a romantic masnavi named Ferdowsi Imam. This is Masnavi's self-portrait of a poet named Razi. At present, the authors of this speech tried to correct this allegory in other Persian works. The results of the study showed that the allegory of fish in search of the sea has been used repeatedly in various works and the aim of most authors is to insert this allegory into mystical concepts, in particular the unity of existence. Most of these authors are from the students of Ibn Arabi's school. This allegory is also used by the Sacred Sect to express their religious beliefs. The phrase, which was at the end of the Safavid era, narrates this parable in a romantic narrative.

Vafaye Farahani is one of the poets of the twelfth century, who has left many works. One of his unfamiliar works is his Divan, which includes various aspects of advisory, mystical, educational, and moral themes. The examination of this poet’s Divan shows that he has paid special attention to the traditional poets of Persian literature and had been most impressed by Saadi's poets. His acquaintance with mystical themes and indications is like Sa’di's acquaintance with mystical contents, themes, and teachings. However, Sa'di cannot be considered a mystic poet. Love has emerged as the most striking mystical theme in the Divan of Vafaye Farahani with loving and romantic appearances. This research seeks to highlight the effectiveness, samples and various types of these indications in the Divan of Vafaye Farahani, an unknown poet of the return period.