فهرست مطالب hamid reza kharazmi

One factor contributing to the permanence of literary works and texts is the thought underlying these works. In Persian literature, poets and writers have not only composed poems and created literary works, but also introduced theological, moral, philosophical, mystical, and other thoughts into literary works. Mawlānā Jalāl al-Dīn Muḥammad Rūmī is one of the poets of the 7th century AH with mystical thoughts and Abū al-ʿAlāʾ al-Maʿarrī is one of the poets of the 5th century AH with religious and philosophical ideas. Following the American school, the present study sought to perform a comparative analysis of the similarities and differences in the views of two Eastern poets with the same religion but with different ideas about the contradictory issues of existence related to life and death and the world and the hereafter. The results indicated that Mawlānā follows a mystical and philosophical approach to the phenomena with his enlightening lens, but Abū al-ʿAlāʾ follows a poetic philosophy and a skeptical and pessimistic view of these paradoxical concepts.

Some of the verses penned by Persian poets allude to specific mythological rituals, which can only be fully understood by examining the fundamental aspects of these ceremonies. In this research, we aim to explore the historical origins of the rite mentioned in the second stanza of a verse by Manochehri, a renowned ode poet from the 5th century AH. The verse in question is: "The vibrant capercaillie concealed in the farmland, like the bride submerged in the abyss of the China Sea." To achieve this objective, the authors of this study have employed mythological theories and referenced various myths through a descriptive-analytical approach. The findings of our research indicate that, during a particular period in China, young girls were offered as sacrifices in rivers, adorned with decorative attire and makeup, for reasons such as bestowing life and averting floods.

Epics are literary works on the heroes of a nation and show their ideals in the best possible way. A Shahnameh, attributed to Moharrami, is an epic written in a style similar to that of Ferdowsi's Shahnameh. This study tried to see where and when the Shahnameh attributed to Moharrami was written, what textual features it has, and in what aspects the Shahnameh has followed Ferdowsi's Shahnameh. This study adopted as descriptive-analytical method and used library resources. The comparative study focused on the text of the Shahnameh attributed to Moharrami and introduced it. It then examined its impact from Ferdowsi’s Shahnameh. Finally, the rhetoric and aesthetic issues of the work were explored. Malek al-Shoara Bahar mentions “Moharrami” or “Mojremi andKashf al-Zhonoun mentions the name of a poet called Moharrami. Moharrami holds the linguistic and literary traditions of Khorasan in his descriptions and praises. Many issues clearly show that the poet has directly followed Ferdowsi. Among the issues are: Enormous use of the characters and heroes, the use of words and expressions specific to Shahnameh, and following Ferdowsi’s style in his description of the scenes and characters.

The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled ‘Yusuf’. After Islam was introduced in Iran, many literary scholars focused their attention on it, and different narratives of it were written in the form of poems with various meters. Toghanshahi's Yusuf and Zulaikha and Jami's Yusuf and Zolaikha are among the most important stories of Yusuf and Zulaikha currently available to knowledge enthusiasts. They are two different narrations of this story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis that he composed following Bahr Khafif meters. In this study, in addition to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results showed that there is a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. The aforementioned text will be analyzed using the qualitative content analysis method.

Resistance literature is an important genre of literature that includes poetry, fiction, drama, and so on. Resistance literature communicates themes on human reactions to circumstances arising in their sociopolitical life, prompting them to take a stand.The present study aims to introduce and evaluate components in the history of Kerman literature during the Qajar era, concurrent with the start of the Constitutional Revolution, based on the concepts and definitions of resistance literature and centered on the thoughts and ideas of Mirza Agha Khan Kermani as one of its most famous advocates. Given his life and works, he can be called a poet, author, historian, intellectual, militant, and a political, social, and literary critic and journalist. Thus, he is a prominent literary, political, and social polymath.Mirza Agha Khan’s main line of thought and method in his numerous works express a particular policy line, struggle, and resistance on the path of great ideals such as freedom, raising awareness, anti-authoritarianism, nationalism, and political, social, and literary commitment. Although certain criticism can be directed at some of his thoughts, ideas, and method of expression, the significance of his honest articulation and militant spirit based on his perception of the cultural, social, and political conditions that his time required of him cannot be disregarded. In this context, he can be placed among the prominent authors of resistance literature in the contemporary era.A range of concepts and components pertaining to resistance literature can be found in the works of Mirza Agha Khan Kermani. Of these, the three components of committed literature, nationalism, and anti-authoritarianism feature on the higher echelonsinhis works as the most significant components of resistance. Hence, the main research question is asked as follows:What are the components of resistance literature in the works of Mirza Agha Khan Kermani?To answer the main question, three secondary questions also arise, as follows:How didcommitted literature emerge in the works of Mirza Agha Khan Kermani?What position does nationalism hold in the works of Mirza Agha Khan Kermani?What position does anti-authoritarianism hold in the works of Mirza Agha Khan Kermani?

The descriptive-analytical method has been used to conduct this theoretical research. Data was collected using the library research method and analyzed qualitatively. The entire collection of poetry and prose by Mirza Agha Khan Kermani used in this research is available in print and manuscript.

 3.1. Committed literature Apart from his sociopolitical personality and persistent struggles against Qajar rule, Mirza Agha Khan Kermani is also a poet and literary critic. Ketab-e Rezvan (Rezvan's Book) and the verse epic Nāmeh-ye Bāstān [Letter of Antiquity] provided him with an exclusive literary status among the authors and poets of the constitutional era. The mission of the pen from the viewpoint of Mirza Agha Khan goes beyond morality and self-refinement. Inspired by Seyed Jamal Eddin Asadabadi who sees underdeveloped countries as being more in need of their penmen, Mirza Agha Khan names the inability to provide their primary needs as one of the reasons for their underdevelopment. He believes that literature is on a mission and must share in the happiness and dejection of nations. He conducts a comparison on this subject between the West and Iran and states that Westerners have perfected poetry while Iranians have used it as a tool for begging, exaggeration, idle talk, and nonsensical panegyrics and satire. 3.2. Patriotism and nationalism Another important aspect in the dialectic of Mirza Agha Khan Kermani is patriotism and nationalism. This is a significant manifestation of committed literature in his works. His boundless love for Iran and everything Iranian, as well as his abhorrence for anything that, in his view, endangers the homeland can be seen in every aspect of his thinking. Mirza Agha Khan can be seen as a passionate nationalist who endeavors to revive Iran’s lost glory based on surviving documents from its past. By relying on the new ideas of his time about factors leading to progress and the backwardness of a nation, he sought a culprit to justify the deplorable state of Iran in those days. His love for Iran is so strong that he has managed to exaggerate the causes of its backwardness and its culprits. But none of this can negate his pure compassion and interest in Iran and Iranians. 3.3. Anti-authoritarianism Mirza Agha Khan has defined words and concepts such as “despot”, “revolution”, and “patriot” in his works to mention the concepts of oppression, authoritarianism, and tyrant. Although these definitions are similar to those at the beginning of the book Maktubat by Mirza Fatali Akhundzadeh, they are still a sign of his attention and familiarity with such topics. The main criticism by Mirza Agha Khan of authoritarian regimes is that kings do not know the real meaning of governance and are oblivious to global developments in this respect. He believes that the perception of Iranian rulers of the politics of their day is superficial and unrealistic.

Committed literature, nationalism, and anti-authoritarianism are some of the most important aspects of resistance literature which can be seen in the works of Mirza Agha Khan Kermani. Aside from being one of the main designers of constitutional literature in Iran as a progressive and critical literature bearing the exclusive features of resistance literature, Mirza Agha Khan Kermani has always believed in the mission of the pen and literature in raising awareness in society and has used his pen as a tool for militancy. By considering the differences between the patriotism and nationalism found in the works of Mirza Agha Khan Kermani, it must also be noted that he was in love with Iran and everything Iranian. He is among the first architects of Iranian identity and nationality in the new era and his nationalism is evident in his various works. Anti-authoritarianism must be considered the most important component of resistance in the works of Mirza Agha Khan Kermani. His attention to words and expressions such as despot, revolution, and patriot indicate his familiarity and sensitivity towards these topics. In his view, all the Iranian governments from the beginning of history, even the governments of ancient Iran, were despots and authoritarians, and none have ever thought that there exists another way to govern apart from
this method.

The most beautiful and yet less known poets of the Safavid era, who has been confused with another speaker in some sources. His works include the divan and a collection of masnavis under the titles of Malahat Ahmadi, Sabahat Yousefi, Aine-Khane and Pari-Khane. His divan has been edited and printed by one of the researchers in the past years, but the masnavis of Sahib have not been edited and published yet. In this article, Malahat Ahmadi's Masnavi, which is one of the ritual poems of Persian literature in the Safavid era, is discussed from the point of view of textology. Melahat Ahmadi is written in Bahr Khafif; The entire work is devoted to the praise of the Holy Prophet of Islam (PBUH). In many places, the poet refers to the Prophet's favors for himself, of course, many verses are also addressed to the Prophet, in which the poet asks for his favors and intercession for himself. In addition to the text, many short and long anecdotes, which sometimes have the flavor of reality, have also been narrated. The style of the work is largely influenced by Hadeegh Sana'i, the language of the work is relatively fluent and stable, and in some positions, the tone and color of the lyrics are woven into the poem.

Myths are the narrators of the man’s first stories and in the later stage where man moves from the primordial thoughts towards a newer life is no longer faced with the primal questions instead answers his new needs with myth.  In epic we encounter more logical narratives of the stories.  Ferdowsi’s Shahnameh as a written heritage of Persian myths in a newer epic genre is a retelling of the narratives which in the other epic and mythological books were orally communicated.  After logical expression of the history of heroes such as Kyomarth, Hoshang, Tahmores, and Jamshid, there is a gap in the reign of Ahurian and Zahhak comes into power, and later with the coming of Feraydun, Zahhak is overthroned.  In the thousand years of Zahhak’s demonic soveriengty, the fate of Jamshid’s  and  Feraydun’s dynasty and their relationship is not clear.  On the basis of other epic and historical sources in particular Kushnameh,  the purpose of this article is to retell this narrative.  The outcome of this research is that after wondering in India and Zabolestan, Jamshid marries Khaqan’s daughter and the King of Zabol’s daughter.  From one branch, Rostam’s clan is born and from the other Feraydun’s clan.  The method of the research is descriptive analytic one.

In the view of Sufis, Moamelat refers to the practices and manners they adhere to during their spiritual journey and conduct (Soluk). The purpose of this study is to provide an answer to this question: in what terms are Moamelat used and what is the reason for the difference in Sofia’s view of the term? Thus, available books on promoting Sufism perspectives and follower training were reviewed and it became clear that the concept of Moamelat and its singular form, Moamela and Moamelat, have been rendered differently by Sufis based on text concept and have been used as conducts, worships, manners, customs, and so on. Furthermore, each author sees distinctions and parallels in the structuring of conduct. The data were evaluated qualitatively in this study using comparative and descriptive methodologies. From the point of view of mystical thinkers and writers, there is no theoretical commonality about Moamelat and this difference is due to the fact that this debate is a matter of taste and also the lack of a reliable resource in the Qur'an and Hadith and therefore, each of the Sufi elders has used a special method to train the disciples according to their current situation.

Mirza Mohammad Shafi Shirazi alias Vesal in the thirteenth century AH, a Muslim poet and a devout Shiite, is one of the lovers of the Ahl al-Bayt and one of the poets who in composing his poems on the verses of the Qur'an, narrations, hadiths and religious events and masterfully He has used his religious knowledge in his poetry with a fluent and eloquent nature. In this research, an attempt has been made to show the types of influences from the Quran and Hadith in the Divan of Vesal Shirazi. One of the important aspects of this research is that the methods of reflecting the hadiths and verses of the Qur'an in Wisal Divan have been highlighted and classified among a multitude of praiseworthy and descriptive poems. It also includes showing the reflection of religious beliefs in the court and the application of Quranic verses and hadiths and analyzes their frequency. The frequency of being influenced by the Qur'an and Hadith in Vesal's Divan in terms of poetic format is firstly assigned to his poems and then to his Masnavi, and in Vesal's sonnets, despite the high number, less influence is observed in this format; Also, Vesal has been influenced by the Qur'an and hadiths, who has taken advantage of this whenever he has a suitable opportunity and has done so in various ways; These include a special insistence on borrowing the words of the verses of the Qur'an, comparing them with verses and hadiths, and turning the audience's mind to the verses. The method considered in this research is a library method based on analysis and description of quantitative and qualitative content.

The religious epics are historical epics that narrate on literary levels the lives of religious leaders, rituals and events, and the conflicts between religions. Islam and Shiism provide valuable sources of inspiration for Persian poets in writing religious epics. A great number of these works deal with the past wars that, since the advent of Islam, have been associated with the confrontation between Right and Wrong, and have been intended to demonstrate Islamic values and moral norms. The Shiite epics are mostly centered around Imam Ali and Imam Hussein.These epics are known as Alinameh and Hosseiniehnameh, respectively. Among the most valuable and magnificent religious epic poems, we mention Delgoshanameh by Arjmand Kashmiri, dealing with the Mukhtar Uprising, which has not been analyzed, corrected, studied and recognized thoroughly yet. According to some sources, this work is credited to Azad Belgrami, but after examining the earlier and later sources, the attribution is found to be incorrect, and the work belongs to Arjmand Kashmiri. Delgoshanameh recounts Mukhtar's story in a precise and detailed manner. 

The authors of this research looked at the textual aspects of Delgoshanameh, which is one of the lesser-known works in this field. There are various points to be observed in attributing the work to two poets (Azad Kashmiri and Azad Belgrami), secondly, the poet's condition should be examined as thoroughly as possible, and thirdly, concerning the work and its extant versions, the text's content and linguistic features, as well as its most important aesthetic features, should be scrutinized and analyzed. The current study was conducted using the bibliographic approach and was based on qualitative content analysis and description. The literature review can be summarized as follows:Aidenloo (2007) quoted a verse from Azad Kashmiri on Zulfiqar in his article “Zulfiqar, from history to myth (narrative characteristics of Zulfiqar in Iranian culture and literature)”. While introducing poetry books of Persian Mokhtarnamehs ( Poetry that chronicles the story of Mukhtar's uprising is sometimes published under the general title “Mukhtarname”), Qaffari (2019) mentioned Delgoshanameh and briefly debated the accuracy of attributing the work to Azad in his piece "A Look at Mukhtarnamehs”. Abdollahi (2011) briefly referred to Delgoshanameh in the articles “Supplementary version of Heydari’s attack or a single work” (2011) and “Introduction of epopee of battles”(2012). 

Mirza Arjmand Mohammad Khalaf Abu al-Qasim ibn Abd al-Ghani Beyg Azad Kashmiri (1722 AD) was the son of "Qabul" Kashmiri who taught him the fundamentals of science and literature. In memoirs and books on literary history, little is known about him. His Iranian and Tehrani origin is confirmed in the work's concluding stanza. His pseudonym was “Azad” at first, but he eventually altered it to “Jonoun”. They erred in assigning Delgoshanameh to Azad Belgrami due to the resemblance of the pseudonym between Mir Gholam Ali Belgrami and Mirza Arjmand Mohammad Khalaf Abolghasem Abdul Ghani Beyg, both of whom had “Azad” nicknames, from ancient recollections to certain current sources. Delgoshanameh was written in 1709 and has around 16,500 verses. Delgoshanameh is composed in the form of Bahre Moteqareb. This collection begins with Tahmidiyeh) a preface relating to praising god) following Ferdowsi's Shahnameh and the prevalent style of Persian Mathnavi. Around 1709, Azad began writing the collection, which recounts the events of the Mukhtar Uprising, and finished it in six years. With the highest fidelity and attention to detail, Arjmand attempted to portray the most exact and full sequence of this significant Shiite event for the readers. Due to the theological and historical aspects of the narration, as well as the Shiite philosophy that pervades the work, the poet expressed his deep spiritual anguish over the Ahl Bayt's (prophetic household) sufferings in a language full of sorrow. The speech's epic and heroic tone, particularly in the disputes between the heroes and the descriptions of the battlefields, is reminiscent of Ferdowsi's Shahnameh's glorious descriptions and tone. The regretful and heartfelt prayers of Arjmand Kashmiri, which are described in the opening and at the end of the book, are one of the special and noticeable elements of the Shiite Mathnavi of Mokhtarnameh. Arjmand Kashmiri dedicated verses to advise and words of wisdom while recounting in the framework of Shahnameh and in the style of Ferdowsi’s speech. However, Arjmand’s approach in these words of wisdom, which is different from Ferdowsi's brievity, is verbosity, an example of which is quoted below. More than 10 unique and verbose saqinamehs have been written in Delgoshanameh. After all, the inclusion of this type in the story's narration resulted in some spiritual positions. In terms of style, it is important to mention that the work's language is relatively beautiful and strong. There are many allusions and references to the story and the Qur'an and narration in the book due to the religious context and the excellence of the story. 

Delgoshanameh is written by Mirza Arjmand Azad Kashmiri that has been mistakenly credited to Gholam Ali Azad Belgrami for the first time in the Rio list. The Bankypour Library Manuscript List is the oldest source that warns of this erroneous attribution. Six manuscripts of Delgoshanameh can be found in Iranian and international libraries. Only the copy in the National Library of Iran contains the complete text of the work and is of aesthetic worth among all the copies available in Iran. In Iran, other copies are incomplete.Delgoshanameh's historical narrative is founded on Atta Ibn Hussam Waez's Mokhtarnameh in prose in most of the collection’s stances. Mukhtar's religious story has been portrayed in an epic tone by Arjmand Kashmiri. Battle scenes, dialogues, heroics, mass battles, and hand-to-hand fighting rites are all described in detail. Sometimes, between the narration, there are some pieces of advice which are relatively verbose. Shahnameh's effect on the work is undeniable. In Delgoshanameh, there are numerous saqinamehs.Saqinamehs appear at the opening of stories and at the triumphant conclusion of Imam Hussein's (AS) punitive forces. Saqinamehs are partly similar to Tajdid-e-Motale Qasayed and give a lyrical taste to the narration. 
 
 

Sheikh Ahmad Ehsaei's successor and the major leader of the sect's Mystical-ideological school is Mohammad Karimkhan-e-Kermani, the leader of the Sheykhiyeh sect in Kerman. One of his works is a Masnavi with over 1,900 verses based on the Masnavi-e-Ma'navi. The authors' goal is to analyze and critique the above-mentioned work from the poet's mystical perspective and school of thought. Document analysis, descriptive and qualitative content analysis are used in this study. This work is described as a remembrance of Shiite theories that have been presented critically and definitively. In most cases, the language is both old and literary. Mohammad Karimkhan-e-Kermani has always regarded Molavi as his own model, composing several verses similar to Masnavi's verses. The work's narrative structure is based on main and secondary anecdotes, similar to the Masnavi-e-Ma'navi. The messages of the stories have been expressed directly in the majority of the stories.

Mir-e --Kermani and his style of lyric composing (ghazel): Mir-e-Kermani is one of the contemporary poets of Xaju-ye-Kermani that Suxan publication has published the complete collection of his poetical works recently based on the manuscript of Sa'id Nafisi. Although his poems are conceptual and interesting, he is unknown and this necessitates to be introduced thoroughly. In this library article presented through descriptive-analytic method, this poet has been introduced and his lyrics were studied from phonetic, linguistic, intellectual and literary perspectives. Investigating the different aspects of his lyric indicated that his lyrics without monorhymes were more compared to his contemporaries, but the noun monorhymes are considerable in his poem. There are so many literal arrays including pun and balance in his poem. The language of lyric is fluent, but figures of speech and paying attention to interesting words makes the poems artificial. Mir's lyric motif is romantic and the poet mostly uses lovely description particularly for the beloved. The simile has been used frequently among imaginary images but metaphor was seen less than simile and novel metaphors are rarely used. Allusion and metaphor, the devices of brevity were used rarely. Generally, the poet has mostly focused on themes.

Al-Sahifa al-Qaseriyya is composed by Gholamreza Qaser-Kermani, a poet of the Qajar Era, in five chapters. This descriptive-analytical study aimed at giving an accurate description of Al-Sahifa al-Qaseriyya. For this purpose, the unique language and stylistic features are introduced and the importance of this work among religious epics is highlighted. The findings point to the work's novelty in the composed contexts and themes, particularly in expressing the sufferings inflicted on children in the Ashura incident, including Moslem's children. The poet describes the detailed incidents related to their martyrdom to expose the vicious nature of the enemy and attract the attention of the readers. The tone employed in this epic is similar to the tragedy whereby the readers can imagine the horrific Ashoura incident more clearly. Linguistically speaking, it is influenced by the literary return style and Ferdowsi's poetic expression. In the intellectual view, it expresses individual deep sorrows and concerns of the poet. He describes the events based on his language style, deriving from his deeply religious beliefs. In this study, the qualitative content analysis method is used. 

After the advent and subsequently spread of national epics used to represent the narratives of Iranians in terms of heroism, it took only half a century after Ferdowsi's Shahnameh that religious epics emerged (Razmjou, 2002). To provide contexts for restoring natural pride, Ferdowsi played the main role in adding interest into speechwriting, causing others to test themselves in composing such poems due to the tone attractiveness, epic themes, and contents. The first step after Ferdowsi was the composition of religious epics originating from early Islamic battles (Razmjou, 2002) and Shiite thoughts shared by Iranians. Of the common epic heroes in religious anecdotes, one can refer to Hamzeh, Ali, and Imam Hossein. The prevalence of religious epics reached its peak during the Safavid period (Rastegar-Fesaei, 2008). Following the Literary return tradition, and enduring love and respect for religious figures during the Qajar period, a Kerman-based poet, a devout educated man in Najaf, embarked on composing this Sahifiyya.   

This is the first research that particularly aims to focus on textual criticism and the introduction of this work. The qualitative content analysis is used  along with using library resources.

Qolamreza Qaseri Kermani is a poet  born in Joupar, Kerman. He narrates his own life story in the first chapter. He first studied in Kerman, then in Najaf, Iraq. Then he returned to his hometown at about the age of forty where he taught and  preached. In his forties, Qaseri composed Al-Sahifa al-Qaseriyya in five chapters in the form of Mathnawi using Ferdowsi’s Shahname’s meter. Chapter Two recounts the martyrdom and fate of five children especially Moslem's children, Abdollah Ibn Hassan, and Ali-Asqar in the Battle of Karbala. The third chapter refers to Imam Hosayn’s suffering  at the hands of enemies in the Ashoura incident and the horrific scene depicting the way the master of martyrs was slaughtered. In the next chapter, a group of Christians and Jews protesting against Yazid for the beheading of Imam Hussein and for non-Muslims' speeches about Imam Hosayn's admirable personality traits are portrayed. Chapter Four describes the virtue of scholars and theologians as well as their excellence by telling the anecdotes related to Muhammad the Prophet and the other Shiite imams. Also, the poet’s liturgical poems are presented in the last chapter. In this book, he is strongly influenced by Ferdowsi’s poetic language of Shahnameh. However, the tone of his work compared to Shahnameh is more tranquilized and closer to mourning. Because this book is written to show the legitimacy of Ashoura and express the martyred children's conditions in the hands of Yazidis, it is novel in terms of the epic text. In terms of narrating epic episodes of the battle, this work does not have anything new to say. In the description of scenes, in the unnecessary cases, it does not turn to the expression. The poet is more skilled at narrating terrible scenes of what happened to children in the battle of Karbala and the way non-Muslims defended Imam Hossain’s rights, resulting in their faith in Imam and hatred of Yazid. The poet’s speech tone is influenced by Nezami’s liturgical poems when he composes liturgy; he is a follower of Saadi in his preaching. However, he is poor at keeping up with Ferdowsi in terms of epic tone. Words of advice and aphorisms at the end of anecdotes and terrible scenes of children in the Ashoura incident are strongly influenced by Ferdowsi's sayings. The moderation and coherence of the text  are also insignificant compared to Shahnameh’s.

After Renaissance in Europe and the following period of scientific and social prosperity, socialism ultimately reached its peak in Russia with the revolution of October 1917.  This event has greatly affected the countries of the world, especially the Communist Soviet neighbors, such as Iran. The Cloudy Years by Ali-Ashraf-Darvishian and Maxim Gorky’s trilogy are narratives of the lives of these socialist writers which disclose the inherent contradictions between socialist ideas and the present state of their societies. In this study, according to the goals and principles of socialism, and based on the American School of Comparative Literature, the similarities and differences between socialist thinking in Iranian and Russian societies will be addressed and analyzed.  It is shown that these acclaimed works, while taking into consideration the severities and weaknesses and cultural differences, express criticism and denunciation of private ownership of local capitalists, social hostility caused by class differences, modern feudalism, tyranny and violence imposed upon villagers, and the destruction of women's social status as against men. Through these observations the influence of Russian Revolution on the context of ideas in the Iranian society is revealed.

Addressing women and issues related to them has always been one of the most important issues studied in human societies. The popular culture of every nation, especially stories and myths, is one of the best ways in which one can see the trace of the beliefs, customs and traditions of the people of the present-day societies, And by virtue of which traditional patriarchal thoughts can be rooted in old societies in relation to women; Therefore, in the present research, the role and place of women in the myths of Kerman in four books (Myths of Kerman, Myths of Sirjan, Stories and Myths of Zarand and Culture of Kerman) Is located This research is based on an existentialist feminist and Marxist feminist approach to descriptive-analytical approach and using library resources.

Genesis of Mehr in myths and development it to Jamshid on epicOne of the general theory about the heroes is that are developed over time and with the men who live in different terms of historical and geographical conditions to acquire its own form. One of the intellectual pillars of Iranian and Indian Aryans, the tendency has been that natural events .The question now is that with the passage of time stamped with the legend,  what transformation will be created and the epic, love the look and have taken?The author has tried according to the patterns of mythic and epic proper answer to this question.Alpha Mhrparsty as a phenomenon in the minds of certain functions of this family has taken various courses. West puts up Mhrprsty with the Persian conquest, and then accept the new face of solar deities, some functions of the human form - Godchr('39')s own evolution continues. Structures Mithra in Iran, according to their previous form and the transformation that occurred in the phenomena ,combined with the newer, In a more recent phenomenon, combined with new paradigm in the face of the title character reveals the name of Jamshid. In this paper, research and analytical way, the genesis and evolution of

After setting fire of Persian lands, Macedoni Eskandar who in the mind and language of Iranians enjoyed a bad reputation and possessed negative characteristics, after coming of Islam in Iran suddenly finds an auspicious face and is identified as Du’l-Qarnayn from then on according to Kahf Sura verses 83-98 Iranians write many books about him both in prose and verse. Each book according to the references referred to dealt with different aspects of his life. The book of Eskandar Nameh, composed by Naseri Kermani paid attention to some angles of his life. This article familiarizes the reader with the text and deals with the style of Naseri’s composition of poetry. Like many Nezami’s imitators, Naseri had been immensely under the influence of Nezami Ganjavi in composition of his book as far as diction and imageries are concerned and in spite of epic works had used Khafif meter in his composition. In comparison with other Eskandar Namehs new points are encountered such as the fire that consumed Persepolis set by Eskandar had something to do with temptation on the behalf of a beloved.

Due to the great importance of the national aspect of the Shahnameh that makes it an instrument to introduce the national identities and idealistic history combined with the interesting narration of the storytellers and the conveyors of national epics, the real history is forgotten little by little or is under the influence of the narration. From the very beginning, it was of great importance and interest to the scholars to compare epic and legendary characters with Semitic Non-Iranian individuals. With the formation of new sciences such as archeology, new discoveries, and the rise of printing industry and translation, especially after the establishment of Dar ul Funan and the introduction of kings such as Cyrus the Great, Darius, and Ardashir et al. history writers again began to find capabilities between epic characters and real individuals. One starting point of this issue, was Mirza Agha-Khan-e Kermani who lived in Turkey during the reign of Nasser al-Din Shah Qajar. He started composing Nam-e-Bastan after being prisoned by the government of Trabzon. In this book, using the translated Greek documents, the poet believes completely in the epical characters as the real historical characters along with an ambitious viewpoint and the historical understanding. This study is based on the analytical and descriptive methodologies. This research is conducted using library researching and comparative analysis of epic characters of the Shahnameh and the book of Name-Bastan by Mirza Agha-khan Kermani. In this study, the researcher is going to answer the following questions.
What were the viewpoints of the poets about the epic and historical characters?
On what basis did Mirza- Agha khan Kermani searched for the compatibility of epic & historical individuals?
What were the reflections that influenced Mirza Agha- khan to find any compatibility between the historical and epic characters? Analyzing the viewpoints of Iranian and Non-Iranian scholars, three views regarding epopees were encountered. First, those who believe only in the stoical aspect of such characters and know that most of Shahname`s heroes are the same as Persian notions of God, who, by facing epical aspects, become like human beings but they can usually function more than normal humans. Accordingly, the role models upon which the epopees has established, are metamorphic role models in which a folk or nation has believed, based on their ideals and we can only investigate them based on historical aspects that how ideals have been formed rather than finding a real historical reason. Another idea about the epic characters is that half of them are narrative and another half, which refers to Kayanians, are historical ones. Another approach denotes the historic aspects of the epic characters in cover of the fictional elements. Using the new developments and ideas in Iran, which initiated by Fath Ali Shah’s reign and the acquaintance with new civilizations, some people became familiar with translations, manuscripts, and book, which opened a new horizon to them. This group endeavored to invigorate the national history with the existing ideologies in epopees. Mirza Abdol Hossein known as Mirza Agha-Khan, who was born and educated in the city of Kerman, departed Kerman to Isfahan due to some disputes with Nasser-o-Doleh, the local ruler, and after a while he moved to Tehran, while the next residency of this intellectual and liberal man was Turkey, where in company with other Iranian comrades especially Seyed Jamaledin Asad Abadi, he attended a Ten-member council, looking forward to the Islamic nations unity plan. After Nasser al-Din Shah’s assassination and the exposure of some clues connecting this group to Mirza Reza Kermani and after the compromise between Iran and Ottoman, Agha Khan and two of his closest friends surrendered to Mohammad Ali Shah, who was the crown prince of the time who with the utmost brutality ordered them to be beheaded and skinned their head filling them with straw and sending them to Tehran.
Many publications and compilations have been assigned to him. One of the most precious of which is Name-y-e Bastan that versifies one historical era of ancient Iran in the format and meter of Ferdowsi’s Shahnameh following Toos nobleman.
Agha Khan has composed Name-y-e Bastan in eleven dynasties, including the true history of ancient Iran, benefiting from the antiquities and old scripts discovered by the archeologists.
Abadian, 2. Ajamian( or Jamshidian) 3. Babushkin or Zahhakyan or Babylon Nimrodian 4. Abtin and Fereydoun and descendants 5. Pahlevani age such as Sam and Gershasp, Nariman, Rustam 6. Akminian 7. Median or Mede 8. The Persian Empires like Cyrus 9. Salafikian or Selukian 10. Parthians 11. Sassanid.
Before dealing with the main topics from the aforementioned dynasties, it first begins with veneration of God, goddess, and angels, concerning Dark Age, the disappearance of Iran history, mentioning the historian’s mistakes, the motive for versifying the book and the veneration of the nation of Ariana or the Aryans. Then, it goes through the aforementioned dynasties matching the names of people and places of Shahnameh. According to Agha Khan, there is not much information about Coldoman other than a person in the name of Abad, who was the chief whom the Coldoman called Abt and Yapt. In the History of the Prophets and Kings, Yaft is known as Noah’s son. Ajamian
The poet believed that Ajamians are the same as Ajams or the children of Jam. According to the poet, the history of sultans of this class has completely been disappeared, and what is known in the story of the storytellers cannot be trusted. Zahakyan or Chaldanian
Zahak, according to the poet, "this class is believed to be the same among Babylonians and Chaldeans, and they are collectively referred to as the clans of the Umayqis, the Rā'is, who invaded Egypt, Babylonia, Ottoman, and Iran three thousand years before the immigration, and these countries rulled them for many years. It was until the time of the Bolus and Ninus, who drove them from Ahtria, Babylonia and Iran, and the Aturian kingdom was re-formed.” According to the poet, the reason of calling Coldomans the Dragons is because they wore dresses in the form of a snake on their shoulders. He does not know Zohak as the name of a particular person, but it is changed to Azedhak that is Azedhanan who were named as the name of a greed. Abtin and Fereydun and his Children
Fereydun formed a government that is called the Abtinion. The first of these dynasty is Fereydun ibne Ashkanian, which is the second Zartosht, since in Pars, the crypt of Fereydun and Zartosht position are considered one (Agha Khan 2015, p. 20). The reason to be called a prophet is that according to the ancient works he is the tenth prophet and some have called him Okashrach. The poet goes on to say that he expelled Kadanian from Iran, extinguished the Nemertea of Babel, and made friends with the rulers of Asurieh and the daughter of Asur, first Panipal took the King of Asurieh as a spouse. Assir is the same as Assur. Age of Pahlevanian
The poet says that Sam is one of the descenders of Manuchehr. From the poet`s point of view, Zal, Za and Zavareh are the same person who is the ruler of Sistan persevering against the indignity of the foreign tribes. After the murder of Fariborz, Siaksar sat down to the throne. According to the poet, Kiarash is compared with Siaxar. The rulers of the Achaemenids or PARS
Dragons or Astiages, made their daughter marry a person in the name of Akminian, Kambuzia or Kavoos, who was the ruler of Pasargadae. Kambozia is the same person as for Cambyses the first. The two historical persons mentioned by the poet can be Cambyses the first, Father of Cyrus and the son of Cyrus who is Cambyses II. The epic character of Kavoos is more compatible with Cambyses II. The name of the daughter of the Dragon was Faramiz or Mandana. Faramiz is the same person as Farangis in Shahnameh. Faramiz gave birth to Cyrus. Farangis in Shahname is the name of the mother of Keikhosrow. Cyrus or Kourosh is compared with Keykhosrow. Despite the diverse dialogues about Shahnameh’s characters and different tribes, there are several theories related to this field. First, is the narrative nature of these characters. Second, their semi-historic and semi-storical nature and, third, their historic characters. Only the third theory was accepted by Agha khan. In expression of Shahnameh’s primary characters, Agha Khan was severely influenced by Desatirian thoughts, but in accordance with other stories, he was helped by archaeological discoveries, Greek and Roman historical works, specially RigVeda and other epics. He presented several hypotheses about Shahnameh’s names.
Using person names instead of the tribes such as Cita tribes that resided next to the Saihoon river which are considered to be referring to Afrasiab son, Shide.
The historic war names in the Shahnameh are supposed as the person names, same as Feroretish the son of Diaeco who was the mad king that Ashoorians killed.
The names of the kings and their sons which are mistakenly introduced in Shahnameh, such as Fariborz who was a king but was introduced in the Shahnameh as the king’s son, supposedly Fariborz is the converted name of Fravart.
If a name was written in two forms, they are considered as two different persons.
Two king with the same name and in the same time are supposed one.
Occasionally, Ferdowsi mentioned king as a king’s son, for example, Toos was a king but has been introduced as the king’s son.
In some instances, names of characters are taken from names of places, for example, Macedonia that is Katayoon and Dariush that is Esfandiar.
Tribes are also occasionally supposed as persons, for example, Lydies whose capital was Sared was referred to as Aolad in Sari during Kavoos’s time in Shahnameh.

Salarnameh is an epic book based on the style of Ferdowsi's Shahnameh, in which the history of Iran has been depicted from the beginning until the reign of Mozaffar al-Din Shah Qajar. The book consists of two parts: the first part from the beginning of Iranian history to the end of the Yazdgerd Sassanid’s kingdom was written by the intellectual and libertarian Kermani poet ‘Mirza Aqa Khan’ under the title of the Ancient Letter. Shortly after the creation of this work and the death of Mirza Aqa Khan, Mullah Ahmad Hafez Aghili Kermani continued the work until the time of Mozaffar al-Din Shah and changed the name of the book into Salarnameh. The author of this paper reviewed the textual content of three versions of this book (currently only available in three versions). In view of the poet's new look at past events and expressing it in the epic style, based on Ferdowsi, he introduced a comprehensive framework of Iranian history from the earliest to the Qajar era, with the language of poetry. The Aqa Khan’s poetic language is far from literary and explicit but monotonous; however, Mullah Ahmad Hafez has tried to use the elements of rhetoric, especially simile and equivocalness in the text. Compared to the ancient language, poetry is not uniform. From the historical point of view, the Aqa Khan's ideas have been discussed since the earliest times of Iran as a true history, and the ambiguity that was observed at that time due to the lack of historical documents has been influenced by the books of descendants, but in the later periods of history, especially the Medes, the Achaemenids, the Parthians, Seljuks, and Sassanids, with archaeological discoveries and the translation of the old lines, a perfect date for poetry was provided.

The letters and collections of the remaining letters of various historical periods are considered to be important Persian prose types and are considered important and worthy in different aspects. These letters are the influences of writers and literary writers who have enjoyed a great reputation throughout the history of Persian literature.
The most important periods in Persian history and literature are the Safavid era, where poetry and literacy spread among the middle classes of society. In this age, many poets and writers are the main characteristics of literature. Among the areas of writing in this era is the field of writing and science of writing. Secretary Mode is at this time a general public, and this is evident from the works written in this era.
The Nowras-e Chaman is a member of the editorial group that contains the author's letters and is written in secretive and dispassionate manner.
The writer of the work is an almost unknown Scribe known as "Muhammad the Messiah Ezari" and is required to work in the reign of Shah Abbas II Safavid. In the case of his life and works, as well as the events of his life, there was nothing in the historical and literary books, except what was mentioned in the exordium of the Nowras-e Chaman. Ezari then came to a minister named Avaz Beig. This is the same minister who chooses Mohammad Masih Ezari for a secretary's job.
The purpose of exasperation is to publish the work of the author. By searching for manuscript directories and virtual resources, we find that there are two linear versions of the effect. The complete version of the book is in the library of the Islamic Consultative Assembly. Another version is available at the Central Library of the University of Isfahan. The important point is that the name of the author comes from the copy of Isfahan, and in the version of the parliament, the name of the author of the work is not visible.
Nowras-e Chaman has been classified in five phases and has been structured precisely and systematically.
First chapter: What the secretaries should know about the customs of this science. This chapter focuses on the rhetorical rhetoric, beliefs and observance of it, namely, equality in theology, and in particular in the writing of letters.
Second chapter: Understanding the types of letters to kings and ministers and scholars. This chapter is set in ten chapters, each of which consists of partial sections called "type".
Third chapter: the nature of time and substance and the types of correspondence and contacts. This book contains a general manual and practical examples for all people who help them to write short texts on different subjects and with different audiences.
Chapter Four: In the Time and Time Complaint and Condolences. Congratulations and examples of similar and relatively long and diverse oversights in various topics addressed to specific businesses are mentioned.
Chapter Five: Commandments, Contradictions and Contracts and Decisions. Mohammad Masih Ezari is concerned about the precise division of the structures of Tarassol. Most of the books are official and governmental.
The style of the prose is technically desirable and desirable to be artifact, and is somehow the same as the common style among the court scribes, and in particular the Teymurid prose. Arabic writing has a great influence on the book's prose. The author also has a successful approach to composing. Innovative industries such as paronomasia, rhyme and Braat Estehlal have had a great impact on prose. Verbiage is also one of the main features of the book's prose, and its uses are synonyms. New similes and similar addictions also have a high frequency.

Talisman and breaking talisman in popular caulture of Jabālbārez
Popular culture include beliefs, customs and rituals that are common among the group of people. And has a place in everyday life. Engaging in culture as a factor to connect people that as an essential factor to influence on the character, cohesion and social solidarity, development, evolution and political change. One can not ignore the role of popular culture in finding to find personal attitudes and tastes. Talisman and breaking talisman is one aspect of popular culture. Talisman is the use of some ambiguous and strange shapes, lines and roles. The wizard writes these shapes and line on pelt and paper for a particular purpose Jabal barez area located in Jiroft of Kerman province, has an intact popular culture for its impracticable ways and special condition. Talisman and breaking talisman is very in this area. The research is fundamental that the authors have collected the data with field work method

Outlook, as the human view to world and himself/herself, provides answers to the fundamental questions of man about the world, the creation of world, the situation of creatures in the world, the position of man in the world, the afterlife world and the end of existence. Plotinus, one of the thinkers of the 2th century, has opened a new way in philosophy. Mulānā Jalāl-al Din Rumī, the Persian poet and mystic of the 12th century, based on his mystical outlook, has a special view regarding being and world. The main question of the present article is about how these two thinkers view existence and being. For answering the question, at first, we analyze their ideas about world-view and then study the similarities and differences of them.

According to the association of ideas and thoughts, ideas, concepts, feelings and words that have the ability to call each other, based on the law of similarity, proximity, conflict and remind each other. What comes through association to the artist, he is rooted in the individual and collective unconscious. Congeries is the use of two or more words together to form fit. Congeries is part of the beauty literally. Association in the field of psychology. These two terrms are related together. This research try to answer that how is this two relative. To achieve this the evolution of these two is explored. And various approaches to them during different times, along with an analysis of the trends identified then the similarities and differences between is expressed, And the result is some things fit together from literary traditions, and others come from association. This fundamental research and many of the details of the study were collected through library and all of these cases, after sorting, the analysis is presented.

Scapegoatig means the indirect transfer of evil and its disposal for a specific or indefinite period of time. Human had variety philosophies to fight against evil، and has employed common tools such as human، animal، objects، etc. Fore this purpose، the present work attempts to explore different ways of scapegoat by referring to the Sahname of Ferdowsi. To this end، after giving a brief introduction about scapegoating، the reasons of humans resort to scapegoating as well as types of scapegoating in Shahname have been studied. Accordingly، there are two forms of scapegoating (direct and in direct)، one in Zahhak’s story، and the other in the story of Rostam and Esphandiyar. The present foundamental research is based on library research method، and has used descriptive analysis method.