فهرست مطالب amir soltanmohamadi

One of the reasons for the double problems of correcting the Shahnameh is the need to examine multiple aspects of this text. These aspects include mythological, historical, linguistic and temporal-spatial dimensions. Basically, these problematic foundations are the cause of the error of researchers and proofreaders in correcting this work. In this research, one of the most reliable corrections of the Shahnameh, namely the correction of Jalal Khaleghi Mutlaq, is examined and some of the flaws of this text have been raised. By highlighting some of the corrections of this text and examining some of the selections of this text and comparing the forms of other versions, the author has revealed some flaws. Neglecting the course of the narration, the meaning of the verses, linguistic points, and cognitive copywriting points has caused wrong choices in this text. Apart from version reviews, other things such as explanation and reporting of bits have also been researched and their faults and shortcomings have been explained.

Zahak in the Shahnameh is an evil character who has produced one of the worst historical-mythical periods. In the Shahnameh, with the guidance of Iblis, he kills his father, carnivores, slaughters and destroys the world. The character of Iblis, with an extroverted interpretation of the myth, with the signs that it is, must be the mother of Zahak. In Shahnameh's account of human actions, he reflects a family plot with his son Zahak against his wife Mardas. In the mythical depiction of the mother of Zahak in the religious epistle Oudg, whose actions in Zoroastrian texts correspond to those of Iblis in the Shahnameh narrative. In the depiction of social history, the Zakah government system is a matriarchal system. In the ancient tribal mother-mother (the devil), the cultivation of the land was flourished by killing the old king (Mardas) and spilling his blood on agricultural fields (killing Mardas in the garden) and marrying a young hero (Zahak). On the historical front, Zahak is also reminiscent of the Western invasion of Iran. One example of a widespread Western invasion of Iran in the Western chronicles is the invasion of the kingdom of Nineus and Nineas with the mighty Queen Samiramis. There are many similarities between the actions of Samiramis and Ninias or Ninius with Iblis (Zahak's mother) and Zahak, which indicates the presence of the powerful female element in Zahak's court.

Khāqāni Sharvāni is one of the Persian poets who, compared to other poets, has made the most use of the capacities of language. One of his artistic techniques, in poetic illustration and theme making, is the use of gambling elements and terms related to the two games of ‘backgammon’ and ‘chess’. He used these terms so professionally that he can be considered as the most prominent Persian poet in this regard, both quantitatively and qualitatively. Despite many efforts by scholars and commentators of Khāghāni's Divān, most of these terms have not been properly understood and explained. In this study, based on the use of in-text and out-of-text evidence, some of these phrases and words have been reviewed and analyzed. Also the current study revealed new insights into the rules and quality of the old backgammon and chess games and at times an accurate and correct interpretation of the analyzed verses is provided. In the explanation of one case, a method of old writing style in scribing the manuscripts of Khāghāni's Divān, along with providing numerous evidences, have been identified and introduced.

Khaghani is one of the Persian language poets in the sixth century AH in Aran region. This Shervani poet does his best to make his poems and poetic images excellent. Although this is the style of all Aryan poets, Khaghani has a high position in this style. He uses a variety of sciences to create images in his poetry. This issue has caused difficulties in his poetry. These difficulties in his poetry have made it difficult for the commentators and correctors of his poetry. The complexities in his poetry are sometimes like riddles that require a lot of science and a lot of effort to solve. These poetic riddles sometimes remain unsolved. One of the tools that Khaghani uses to enrich his poetry is popular culture. Due to Khaghani's historical and geographical connection with popular culture, his poetry has been enriched by the tools of popular culture. One of the difficult aspects that is reflected in some of Khaghani's verses is related to popular culture. The aspect that will be discussed in this article is also related to the popular culture of Khaghani era. This is the "Bazich" or "Bazich Glass".

The present study is a textual study that has been done on one of the difficult aspects ("Bazich" or "Bazich Glass"). This difficult aspect is reflected in a few verses of Khaghani's poems. This word has been examined in all the explanations related to Khaghani's court. Since the poems have been corrected incorrectly, the description of the poems also has its drawbacks. Apart from the explanations related to Khaghani's divan, an article has also been written about these verses. In this article, the face of "orange glass" is considered the correct form in the verses. They then provide reasons to prove the correctness that the authors of this article have criticized. In this article, different forms of the word in the versions are first examined and analyzed. After reviewing the old and correct versions, the authors have examined the publications related to Khaghani's Divan And have reviewed the method of recording them. In the next part of the article, the descriptions of Khaghani's court are criticized. In the next step, the authors have explained the correct aspect of the verses in Khaghani's Divan. Then, the desired aspect has been described according to textual and contextual examples in Khaghani verses.

In a few verses of his verses, Khaghani has used a word in his divan that is reflected in different ways in the versions of his divan. The word is reflected in the forms of "Bazich", "Naranj" and "Bazicheh" in his poems. Of course, sometimes the word glass also comes before these words. Some researchers have equated this aspect with "orange glass" and accordingly, they have explained the verses in question. While the face of "orange glass" in the verses used is not a copy. Among the funds used, of course, the strange side deserves more attention. Among the mentioned aspects, the face of the player or the glass of the player is naturally more strange and far from the mind. So the scribes have turned the strange face of the player into the familiar face of the orange and the toy. It is noteworthy that in the authoritative versions of London and Parliament, the player's face is reflected. According to research, the "Bazich" or "Bazich Glass" is a tool belonging to magicians and wizards. These wizards who used toy glass were called glass openers and their work was called "Bazich" or "Bazich Glass". The magicians filled the jars with water or rose water and placed them on their heads and danced. Sometimes they performed strange and wonderful movements with them. There are references to their dance and practices even in pre-Islamic sources. Sometimes objects and phenomena are pulled out of these glasses. It is because of the importance of space that Khaghani sometimes likens the sky to a "Bazich" or "Bazich Glass". Just as there are phenomena in "Bazich" or "Bazich Glass", so do the stars, the moon, and the sun appear in the sky. Also, the sky, like a "Bazich" or "Bazich Glass" from which unexpected phenomena came out, has been the place where fate and destiny descend. Sometimes in the poems it is likened to bubbles that move on the head of water, similar to the glass that was on the head of these magicians. This phenomenon is also reflected in military poetry but in military poetry it has also become easy. Meanwhile, the playful glass space is in perfect harmony with the military poems.

In Khaghani's poems, a word has become easy because of the difficulty in copying. Following this wrong choice, the descriptions provided are also wrong. The strange face of "Bazich" has become the face of "Naranj" and "Bazicheh". The absence of this aspect in the dictionary has made its correct reception depend on the clarification of the verse space in which this aspect is used. From the verses in which the toy glass is used, it is clear that the toy glass belongs to the magicians. A phenomenon of glass or crystal is therefore likened to a bubble. The magicians held the glass and danced with it. Sometimes they performed amazing deeds with it and surprised the viewers. Since the sky is also cunning and strange deeds are issued from it and according to mythology it is made of glass, this playful glass is compared to it. Sometimes this phenomenon is compared to a thin heart and in one case to camphor glass, which confirms that it is made of glass.

Khaghani is one of the most fanciful Persian poets. The difficulty of Khaghani's poems is related to fantasy, elegance, and its utilization of science. This perplexity led descriptions from the oldest times, such as Shadi Abadi on Khaqani's poetry to be written These efforts continued until the age of printing. The complexity of Khaqani's poetry has caused all the works written about him not to be free from defects. These defects are also included in Khaghani's poetry corrections, so that all versions and corrections are flawed. Among the corrections was Abdolrasouli’s correction which is also known as the Tehran edition. Moreover, Sajjadi, based on the London version and other copies in the book of Tehran, published Khaghani's poetry as well. Although Sajjadi published more Khagani's lyric poems than Abdolrasoli in certain cases, the version of Tehran (the corrected version by Abdulrasooli) is superior to other versions, especially to the London edition. However   Sajjadi in order to illustrate the new aspects of the Divan in his publication along with putting confidence on London version has marginalized the exact words of Tehran correction in many instances. In the present paper, the version of Tahran which is oftentimes regarded whimsical and unusual will be mentioned with regards to poetic and non-poetical reasons. 

Khaghani Shervani is one of the greatest and the most difficult poets of Persian language and literature among Persian poets. The reasons for the difficulty of Khaghani's poems is both the use of different sciences and the imagination. A commentary on Khaghani's poems has been written since ancient times. These old explanations express the difficulty and the importance of Khaghani's poetry. In the contemporary era, certain corrections have been made to Khaghani's Divan as well. One of these corrections is the correction of Abdolrasouli namely Tehran correction. He has used several versions for his correction. Later, Sajjadi and Mansour also corrected Khaghani's Divan. Evaluating items recorded in different versions shows that Abdulrasooli's correction portrays the most accurate correction. 

One of the editions of Khaghani's poems is the edition of Abdolrasouli namely Tehran version. This edition, which is one of the first scientific examples, has been made through several copies whose exact identities are not very clear. Abdolrasouli's printing has been somewhat marginalized after Saqjadi’s correction. According to the items mentioned in the Tehran version, it is clear that the Tehran edition has given correct items that are not in other versions. The importance of the Tehran version will be revealed by carefully examining the items recorded in Abdolrasouli's edition and comparing them with the items recorded in other copies. This research shows that the Abdolrasouli's version is very valuable and is necessary to read Khaghani's Divan and researchers of Khaghani's poems need other corrections in addition to Sajjadi.   

The research method in this research is analytical-descriptive. First, the items recorded in the Tehran printing press, which are different from other versions, have been identified. Subsequently, by examining and comparing the cases recorded in the Tehran version and other copies, additional research was performed. Finally, the research confirmed the importance and accuracy of the items recorded in the Tehran version. That is, by analyzing the cases in the manuscript through the ancillary sciences as well as the poetic and textual reasons, the reason for the accuracy of the case in the Tehran version was revealed. The semantic description and the analysis of the bit at the end of each entry was the final path of the research.   

Although after Abdolrasoli, Sajjadi published more Khagani's lyric poems than Abdolrasoli, in specific cases, the version of Tehran is superior to other versions, especially to the London edition. However,   Sajjadi,  in order to illustrate the new aspects of the Divan in his publication along with putting confidence on London version has marginalized the exact words of Tehran correction in many instances which is believed to be whimsical and unusual in particular cases, will be mentioned with poetic and non-poetical reasons. In this study, it was found that the  words noh xarās ‘nine mills’, volūgh ‘dogs drink water’, nadab ‘gage’, moqri-e Misr ‘egyptian quran reader’, zafar ‘victory’, morgh-e nāme-āvar ‘letter chicken’, shāye ‘fruit’, āyene ‘mirror’, anghā ‘phoenix’, bayān ‘expression’, deyhīm wa gargar ‘throne and crown’, golbām ‘morning sound’, Mašghūf  ‘very happy’, noghte-ye nūn ‘point of noon’, šīrxhār "infant", šekvā ‘complaint’ and bāghhā ‘gardens’ that are mentioned in the Tehran version are correct. In most versions and natures, the wrong aspects of noh havās ‘nine senses’, hozūr ‘presence’, diat ‘blood money’, masrū’ ‘epileptic’, sāye ‘shadow’, ābele ‘smallpox’, falak ‘the sky’, jenān ‘paradise’, takht ‘bed’, golbāng ‘loud’, maš’ūf  ‘happy’, xūn ‘blood’, rūzedār ‘fasting’, šokrī ‘thanksgiving’ and bā-dahā or bādhā ‘cleverly’ or ‘wines’ have been mentioned. Another result of the present study is highlighting the necessity of paying attention to the Tehran version while describing Khaghani's poems. However, this latter result does not support the complete correctness of the Tehran version, but it does indicate that the reading of Abdolrasouli's edition should also be considered in reading Khaghani's Divan.   

In order to more accurately understand Khaghani's poems, it is necessary to pay attention to all the copies of Khaghani's Divan. The Tehran edition (published by Abdolrasouli) is one of the editions that can make it easier to understand Khaghani's poetry. Using this version and comparing the disputed cases with other versions, it is observed that the Tehran version occasionally offers the most correct case.   

The study of genres is one of the important subjects in the field of literary critique and theories, which gained importance again in contemporary literature following the upswing of critique field. The advancement of discussions related to literary genres also faced challenges. The genres came in to existence for different reasons. For example they sometimes form sub-genres of the same type inside themselves or form them independently; they may also live inside the dominant genre as a recessive genre, associate with other (genres) or form kinship relationships. Coming in to existence, Sub -genres also pass the same way. By mixing genres and sub-genres,they sometimes generate genres and small genres in different manners . The small genres also put the same effort for their survival. In such a situation, some subgenres and small genres fade and sometimes they may revive (so-called resurrect) in other situations. These relationships and the progress of genres from the beginning to the end-which can be called struggle for survival in genres-can, solve problems like the ingenuousness of genres, the impossibility of including subgenres under a specific genre and the mixture of genres, subgenres and small genres.

Many of Hafez’s poems have complex themes that, in addition to knowing literary points, they need to be carefully looked at in the finer points of the poetry of the past. In this regard, two verses of Hafez's lyric poems still do not have a proper description due to the inaccuracy in the mentioned principles. The word ‘tears’, as one of the main elements of the verse, has been put forward in both verses with thematization and illustration, the meaning of which has not been properly understood and presented due to the inaccuracy of the commentators. The first verse is: ‘O Admonisher! Make little talk; come back (and be not my prohibitor of love’s path). For, the man of my eye/ Plucked, from off my head, and, in thanks (for the acquisition of love), consumed’. The Persian word ‘madjara’ in this verse means tears and a leader. The second verse does not have the controversy of the first verse. Apparently, the reason for this lack of attention is the lack of understanding of a subtle point that Hafez has made, and the commentators have negligibly described it. The verse is: You took sleep from the eyes of your lovers/ but you cursed them with the rejection of their imagination, and cast their sins into their tears. In this verse, the Persian phrase ‘Shabrovane kheile khab’ (bandits sleep) refers to tears and cries the lover sends to the beloved due to his imagination. The reason for the problems of the commentators in both of the mentioned verses, in addition to not realizing Hafez’s subtlety in the themes, could also be the negligence of the grammatical points.

Shahnameh is a unique text that has been challenged by scholars in the field of Shahnameh due to the fact that the text and vocabulary of the text are old, as well as its rare words. In the part of Shahnameh, which is related to Zal's performance against Manuchehr, a bit has come in this sense. Zal threw a beam when the horse was running, and that shot struck the lion's tree and penetrated it. Of course, in some of Shahnameh's books, instead of the lactating tree, the lion's sword has come. Those who brought this term and the commentators of Ferdowsi's poetry who took milk in the sense of a wild animal have not been aware of one point. The point is that the ancient Persian poets of livestock did not rhymes in the meaning of the wildlife, because their pronunciation varies in the word "ya".Nardshir is here in the sense of lumbering trees that comes out of gum and sap. The similarity of the milk in the meaning of the jungle animal and drinking liquid milk caused this mistake in the versions. In the story of Siavash, the word Nordshir is distorted to the green tree.

Khāqāni Shirwāni, is one of the best poets who created a new form and style in Persian literature by his unique features. Some of the features are utilizing the maximum of linguistic and literary capacities, having complete knowledge of all kinds of sciences of his age and using them artistically in a poem, exact descriptions, new kinds of imagination, and making delicate links and relations. These special features have, of course, added to the complexity and difficulty of his poems. For this reason, the appearance of all the hidden points and the literary and technical beauty of his poetry requires the reader's diligence and endeavor. Due to this fact, various interpretations have been written on his Divan (collection). Nevertheless, problems in his poems have not been solved yet. One of his odes, which has difficult couplets, is the one in the praise of Khāqān-e Akbar Manoochehr Shirvānshāh, and the closure of Bāqlāni dam by use of ‘Sobh’ in each couplet. In this study, while investigating and criticizing all the previous interpretations, we have decided to take another step towards eliminating the poetry complexities and clarifying Khāqāni's words by studying and analyzing nine difficult couplets of this ode.

Khaghani Shervani is a poet who is not exaggerating if he is considered the most fanciful poet of Persian language. Failure to take into account the deep levels of his poetry in terms of structure and meaning makes us primarily aware of his meaning and purpose. And secondly, we would not understand the delicacy of the poetry that he desired. Khaghani's use of a variety of common sciences in his time is one of the reasons for his poetry's complexity. In one of Khāqani's idols, in the exhortation of Shervanshah, there are several poems written in the descriptions of Khaghani's poetry that have not been accurately stated. The reason for these misconceptions is that researchers do not receive the correct meaning of the combinations, such as Breaking Bridge, Change Jore, Eghde Joman, Row, Zebreghan, and High Curtain and do not pay attention to the components of poetry, so present an incomplete description of the poetry. In this article, we have tried to mention the meaning of the verses, along with aesthetic points in Khaghani's poetry which are important in understanding his poem.

Rouhani's travelogues are examples of literary works in which the author travels to another world as a result of a dream, dream or ascension, and expresses the results of her observations after returning from this journey. This type of work is considered one of the oldest literary genres and there are examples in religious works related to Zoroastrian and Jewish religions. This example of works, like other works, in addition to having literary and rhetorical effects, has other significant manifestations and effects. In addition to rhetorical and literary functions, the functions of these works can be divided into four categories. These four categories include the following:1) mystical functions; 2) religious functions; 3) socio-political functions and 4) psychological functions. Regarding the mystical function of these works, it should be said that these works are the product of an inner and psychic process reflected in the form of a literary work. In the process, the spiritual traveler must clear her sensual dust and reach the level of "emptying," that is, emptying herself of the ungodly. This discharge is sometimes in the form of crying and drinking wine, which are symbols of emptying. This evacuation prepares her to ascend to the higher world. After the first stage, the spiritual traveler fills the empty container of her existence with the truths of the higher world in the same spiritual world and reaches the "beauty" world. After this stage, the spiritual seeker finds the necessary conditions to understand the true lover, and the beloved appears to her, and sometimes the seeker remains in the place of annihilation and does not return to the world of the body. However, regarding the religious function of these works, it should be said that most of these works are written at a time when the religious items that the spiritual traveler believes in have become worthless. For this reason, the authors try to revive and propagate their religious foundations; a religion whose principles are not observed in the author's intended society. Another thing that is religiously evident in these works is the Evangelism and warning of the readers of these works. Describing hell and the torments in it is to frighten those who do not observe religious matters. Mentioning the atmosphere of the heaven and its joys is also good news for those who believe in religion and its principles. The socio-political functions of these works are also noteworthy. In many of these works, the authors critique the social, political, cultural foundations, and customs of their society and consider the causes of society's misery in the same mentioned factors. Sometimes the factors of power and government are criticized. In general, political suffocation is one of the main reasons for the emergence of spiritual travelogues. Mentioning the corruption of government elements and criticizing and punishing them in these works is sometimes reflected. Another important function of these works is the psychological functions. The traveler uses psychological mechanisms to get out of this closed space due to the closed social or political space. She uses both "escape" and "displacement" mechanisms to separate her closed space. On the other hand, these works indicate that the authors of these works seek their suppressed desires and aspirations in dreams or spiritual journeys. In the end, it should be said that the study of aspects other than the literary aspects in these works can be examined and useful.

Khaqani’s poetry is replete with references to the sciences of his time. This causes his poetry to be impossible to understand without comprehending the variety of sciences (medicine, astronomy, history, mythology, geography etc.) which he makes reference to. One of Khaqani’s techniques to enrich his poetry is using Koranic verses and Hadith. In his time, the first sciences that children learned at school were religious sciences including the Koran and Hadith. Undoubtedly, these teachings influenced their mentality, language, and art. So, there were few poets whose works did not reflect these teachings. In Khaqani’s poetry, because he adorns each line of his poems with religious images and themes which are in line with his writing style, this reflection is highlighted. In some cases the scribes or correctors’ negligence has caused Khaqani’s divan to be distorted. In this article, some cases in which the scribes or correctors have been ignorant of the religious context of Khaqani’s poetry are studied.

Hafez's court is full of difficult poems and Qaisari's book is a solid reason for this claim. In this article, the author has criticized the old descriptions, which has been a good description for that expression. Firstly, there are defects in other descriptions. These deficiencies include not paying attention to the general atmosphere of the ghazal, the imperfect description, ignoring Hafez's intellectual philosophy, neglecting grammatical points and copying. The main point in the commentary is the attention to the composition of the bowl of the battalion (who is losing the cup of wine) and this persecution (the hard times of the era of Amir al-Mu'baz al-Din). In the first sentences, they mean "begging" or "aging", and this means "restraint". But these perceptions are not consistent with the intellectual atmosphere of Hafez. But in the eyes of the keeper of the bowl, he is the one who wipes out the cup of wine during the reign of Amir Mobarzaddin, and he is cursed for this scourge and suffering from disaster. But in the eyes of the keeper of the bowl, he is the one who wipes out the cup of wine during the reign of Amir Mobarzaddin, and he is cursed for this scourge and suffering from disaster. Hafez hopes that with the improvement of the situation of people who empty the wine cup, they will suffer from the change of circumstances, and drinking water will be able to re-drink wine again.

Some years ago, Bastani Parizi, in two issues of Hafizology (number eighth and ninth) introduced one of the virtuosic Hafiziologists (Majdzade Sahba) and his work on Hafez (a few words on Hafez and his poems) that both are ignored in research circles. Majdzade Sahba, the son of Majd al-Din Kermani (one of the elders of the Constitutional Revolution), has had a copy of Hafez’s collection and used it in his work. This version, based on Majdzade and other great figures like Bastani Parizi, Abbas Eghbal, Ghasem Ghani, and the ex-head of Isfahan archeology, is an exclusive one in having verses and aspects which were not in other versions of Hafez’s collections. Unfortunately, the fate of this current version is unavailable, but there are indications of this version in Majdzade’s work on Hafez, and Ghasem Ghani referred to one of them. But, there are remaining issues, some are unique and are in line with Hafez’s style and thought. The study of some aspects in this work, which to the best of the researcher’s knowledge, is based on the compatibility with other famous manuscripts and Hafez's stylistic reasons, which indicate the value of the remaining verses of this version.

Opacity one of the literary arenas is considered by poets who are interested in poetry. Its different forms, such as proportions, contrasts, and variations of the early poetry periods, have attracted literary critics and poets. Poets have had a great deal to take advantage of this beautiful array and evolve it. Particularly poets who have also been focused on poetic beauties alongside the meaning of poetry. Examples of using this array were evident in the Azerbaijani style, and later in more detail in the Iraqi style. Nezami and Khaghani are poets who have used this array and its many types. Later in the Iraqi style, which was presented with imagination alongside meaning, this array was also used by many poets. Hafez, through the use of the past poetry tradition, has fertilized his poem both in Arabic and in Persian. In the context of illustration, he has also benefited from the past poetry tradition. He has brought the best meaning alongside the best of the poetic images. And created the best examples of Persian poetry. It is one of the artifacts Hafiz has used in his image. In addition to Hafez's attention to the array of archetypes, Hafez's social and cultural atmosphere has not been affected by the use of ambiguity. In a society protected by hypocrisy if it has the equivalent of an array, it is undoubtedly absurd. In addition, the words have two meanings and in fact two faces. Among the cases Hafez has used, the opacity symmetry is most applicable. But there is a kind of opacity that hobbyists have not paid much attention to. This is an excuse to read. The reason for the lack of attention to this idea is due to the weariness of this collection and other printing facilities and contemporary writing conditions. In the past, they transcribed poetry books to replicate them. Although each episode had a variety of linear features, it was not significant at all in the written terms. This writing culture has made some poets, using this same feature, use words that have different meanings displaced in such a way that two different forms of reading can be read. Hafez also occasionally uses the same method to write words without a point and put that word in a condition that can be read in two forms. This kind of exploitation of the guard has made some of the scribers one of these variants real. But with care in the context of poetry, we find that Hafiz has placed signs for each face, and this shows that Hafez has used both words for the meaning of his poem. As a result, it is not necessary to discuss some of the arguments that are used to select some of the faces, since Hafez has taken into consideration both the array of both. But the new line-up does not have the capability to provide both forms of the word, and therefore, in some prints, only one word form is entered. Consequently, in the case of controversial examples, such as prepared (Mohaya) and well-off (Mohana), Nest (Ashyane) and Threshold (Astane), My awareness (Khebratam) and my astonishment (Heyratam) Luxury (Tajamol) and tolerance (Tahamol) Black (Siahi) and brave(Sepahi), crooked (kaj) and deaf (kar) Mole (khal) and status (Hal) And so on Hafez has been considered in both forms.

Summery: Khaqani Shirwani is one of the biggest and the most especial poets of Persian language. One of his specialties is the complication and intricacy of his poems. The proof for difficulty of his poems is the existence of many earlier interpretations like Shadi Abdi and Maamoori and later well-known interpretations. To understand Khaqani Shirvani poems one shall need complete dominance on antique sciences (Astronomy, medicine, history and mythology, Quran and Hadis), art of rhetoric, and sociology of the work which obliviousness of these could mislead the readers. In this article couplets that from the opinions of authors have been misinterpreted because of the aforementioned reasons are reanalyzed and finally for each couplet the meaning which seems right based on the intertextual, extratextual, and paratextual reasons is given. Also in the end is focused on the pronunciation of a geographical word (Abhar) which until now has stayed out of attention.

The discussion of literary genres has been widely raised in literary circles in all of the world and has experienced significant changes since the opening day when Aristotle introduced it firstly. In our literary circles, however, a very superficial attention has been paid to it, in a way that this surface attention has prevented new discussions in this regard; what has incompletely and primitively entered our literary debates on this subject, without being equated with Persian literary language, however, we sometimes find something out of that from which the samples and the components are incomplete as a consequence. Proposing new examples of literary genres, it has been tried in present paper to illustrate some of the defects and to prove that the inclusion of literary works in Aristotle's classification of genres is not accurate and needs to be seriously reviewed. The fluidity of sub-genres, their independence, and the dominant or non-dominant genres etc. are among the topics have being discussed at the current level of this study. Although, the criticisms will be received in this regard and the discussions can be followed-up.

Rumi's life is full of strange events from his birthday to his death. He has faced a challenging life from the very beginning of his birthday and his childhood days. His father's presence in Vakhsh, his family's journey to Samarkand, and finally his long journey to Konya during his childhood all represent a life of adventures. His presence in Konya and his father’s death brought a new page to his life. He went to Aleppo and Damascus in the pursuit of science. On the days when he was teaching science to his students, Shams Tabrizi, came to Konya, and his entrance made the greatest event in the history of literature. Shams’ presence in Konya was also overcrowded. Shams' absence in Rumi's life brought him to another point of life which lasted long to be restored before the final days of his life. Some aspects of his life between his birth and his life are unobtrusive and vague. Hence, in this paper, we will study the cause of the Bahá'u'llad's migration to Konya, the birthplace of Maulana, the birth of Rumi and the cause of the permanent migration of Shams Tabrizi. In this research, library resources have been used. These resources are divided into two categories of old resources and new resources. Old sources are like Ma'arif, Shams's articles, Sepahsalar's treatise, and Managheib-Alarefin. The new references were books that either directly or indirectly were related to Rumi's life. In these sources, parts of Rumi's life were re-examined. The contradictory and suspicious cases were extracted from the second-generation sources And by criticizing authoritative sources such as Ma'arif, Shams' articles, the works of Rumi and his son were devoted to the vague parts of Rumi's life. In this section, first, Rumi's father personality and his reason for moving to Konya, second, Rumi’s birthplace, third, Rumi birthday, and finally, how Shams went missing are discussed.
Unlike what was written in ancient sources, Mowlana's father, Baha-valad, was not a great man who could be envied by Fakhr Razi and Sultan Muhammad. He was also incapable of writing and understanding the rules of Arabic (Foruzanfar, 1948). Many of the extraordinary behaviors attributed to Mowlana's father date back to the time after his death and also after Rumi's death. Mulawieh dynasty attributes miracles to him to validate the given reputation to Maulana’s family and his father. However, in Maaref which is Rumi's fathers’ book, miracles like that never exist. People call him Baha while he calls himself an unknown and anonymous man (Bahávalad, 1948). Later, however, Moulavies Sect attributes miracles to him And gave him the title of Sultan El-Alma This historical distortion has caused distortions even in the book of Maaref. One of the reasons why Maulana's father travels to the West is his obscurity. He goes from East to West to get a better position. His trip to the small town of Vakhsh also seems to be another main reason, however, he does not find there as a suitable place due to the presence of the rivals. Another reason for this movement is Living space in the East of Iran. He often misses Sultan Muhammad's teachings as Sultan Muhammad acts contrary to the traditions and beliefs of the Abbasid caliphs (ibid, Vol. 1). Therefore, since the journey of Mowlana's father was much earlier than Mongol invasion, Mongol’s invasion could not be the major reason of this movement to the West. The pilgrimage of God's house can not be the reason for the journey to the west and then the Konya. Because in the pilgrimage of God, the companionship of women and children was unusual.
Regarding Maulana’s birthplace, after discovering Maaref, some sources, such as Meyer, said that Maulana’s birth happened in the small town of Vakhsh, not in Balkh (Mayer, 2003,Shimmel, 1999, Lewis, 2006). First of all, it should be said that the presence of Mowlana's father between 600 and 607 AH was not due to the presence of Mowlana and his birth in Vakhsh as his father had already traveled to Vakhsh. According to the text of Maaref, he had formed another family in Vakhsh at the time. In addition, an anecdote which is related to the year 607 HH is fabricated and not consistent with the text of Maaref. Meanwhile, Rumi and his son, who are reliable sources, regard their origins as Balkh, thus, there is no need to conceal the truth in this matter.
Another important issue is Mowlana’s birthday. In some of the old sources, Rumi's birthday, is mentioned sixth Rabi'Alaval, 604 (Aflaki, 1983). In a new source, Rumi’s birth date is 580 AH. (Moawad, 1995). The first date for the birth of Rumi is fake and unrealistic. The absence of this fake birthday in works such as education, Mowlana's works, the works of his son, and even Kanab Sepahsalar increase distaste for this birthdayMentioning the mythical events and other mistakes in the book of Manafeb al-Arifin makes it impossible to trust the date he mentioned. But in the second comment on the birth date of Rumi, the year is also 580 AH That is Gopinarly's comment Gopinarly's reasons are weak and based on several poems that are not valid in literary history research Meanwhile, Golpinari has neglected sources he considers valid, resources like the works of Rumi's sonWith this description, the only thing that can be said about the birthday of Rumi is that he was born in the early Seventh and perhaps in the year 604.
The last point is about the absence of Shams and his tomb. Some people believe that Shams was killed in Konya and his body was thrown into a well and then buried at Ghohartatsh school (Golpinarli, 1984, Shimmel, 1987). The Gopinari's reasons are related to poems that do not have valid research And the source that Golpinari regards as inappropriate for investigating Rumi. Meanwhile, his arguments are in contradiction with the reliable sources. Therefore, it should be said that Shams, as Mowlana's son states and is also mentioned in Shams's articles, has left Konya due to its poor condition. His grave is in Khoy, not Konya. According to original sources, such as Moulana’s father and his son’s sayings, his works were born in Balkh at the beginning of the sixth century. Mowlana's father was an unknown man who made many trips to find settlement. His last trip to Konya was due to a better position and to avoid the inappropriate atmosphere created by Sultan Muhammad. After his father’s death in Konya and the learning of science, Maulana met Shams who made a fundamental change to his life. Due to the inappropriate conditions, Shams left Konya. With the effort of Rumi, Shams returned to the Konya, but the inappropriate space of the Konya made him leave the Konya again .and never returns to Konya. Therefore, the story of his murder and his burial in Konya is not valid.

One of the most significant and beauteous topics in Islamic Mysticism is “Jala “ and “Estejla “ and their perfection. With Ibn Araby brilliance, despite his conciseness, these two terms had been studying by the gnostics, God is the knower of own and sees himself in himself without any requirement to the others, and[while] be immersed in his perfection of glory. However since he is absolute perfection and constantly emanation, the universe is theophany of him and he has outwardness in objects. The outwardness of God in things is named “Jala”. as that, God sees himself in himself, he tends also to see himself in others, therefore he creats universe until he observes himself in manifestations, that is named “Estejla” . Estejla completely is appeared in anthropos teleios(perfect man) abode. After Ibn Araby the first mystic that deal with and explain this topic, was “Ibn fnary”. He investigated them in several part of “Mesbah Al‟ons”. Imam Khomeiny wrote several valuable interpretation in detail and explain Ibn fenary „s viewpoints in his book. So, because of importance of Imam‟s special look and interpretation, this article has been formed.