hossein ali ghobadi

In the field of contemporary Iranian literature and cinema - more or less like the world art currents - genres generally live with their distinctive aspects. Especially the gap between realist and mystical approaches is quite tangible, but in recent decades we have seen events that break the boundaries of genres and some literary texts or films have moved to the inter-genre, which is one of the results of the intersubjective currents of thought in modern society, and in literary and artistic texts, competing concepts or themes are sometimes intertwined and reconciled. Naturally, such works find strong intertextual relations with the rich Iranian-Islamic heritage in the world of art and literature are at the forefront. Obviously, Majidi's film Khorshid has achieved such a feature with a significant change. Majidi succeeded in incorporating seemingly inconsistent genres of realism in mystical works, and with this combination of narcissism, he presented a film in the inter-genre, anti-traditional, unfamiliar, and innovative atmosphere. The purpose of this research is to explore the aspects of the emergence of this innovative inter-genre, which seems to be consistent with the foundations of the textual developments of recent decades. The research method is descriptive-analytical and its theoretical framework has been formed based on genre critique and genre studies. In summary, the perspective of the research results show the emergence of realist-mystical inter-genre features in Majid Majidi's film Khorshid Majidi, and he has succeeded in combining reality with holiness and love and representing his artistry and holism in this film.

Mystical experience, as a type of religious experience, has characteristics that each of the religious philosophers and mystics have listed characteristics according to their point of view. Walter Stacey is one of these renowned scholars who in the book Mysticism and Philosophy has seven basic characteristics including monotheistic vision or unifying consciousness, timelessness-impossibility, sense of objectivity or reality, sense of peace and tranquility, sense of holiness and sanctity and divinity, Has mentioned paradoxes, and inexpressibility for mystical experience. Divan-e Shams contains manifestations of Rumi's mystical experiences, including objective and subjective experiences. Rumi's objective experiences have manifested themselves in the form of mystical fables, mystical springs, transformations, mystical epics, and wonderful encounters In her psychic experiences, in which God really speaks in the language of Rumi, categories such as pride and warning, questioning and reproach, the need to recognize oneself, and enthusiasm and forgiveness can be seen. Analysis and explanation of the sonnets of each category requires knowledge of the theoretical foundations of mysticism, attention to the structure and meaning of the sonnet, as well as mastery of the poet's mental system. In this research, one of Rumi's mystical fables has been studied. In this narration, Rumi has used the code "thief" to express the manifestations of one of his objective experiences. The present study, while deciphering this poem using other lyric poems of Divan-e Shams, has discussed all the features considered by Stacey for mystical experience.

Shahnameh is one of the most important identity and historical works of Iranians that can be studied from different aspects of mythology, fiction, rhetoric and stylistics. What distinguishes Shahnameh from other works of all times is Ferdowsi"s personal style. In many books and articles, Khorasani style has been discussed, but Ferdowsi"s personal style has received less attention. In this study, in order to understand Ferdowsi"s style and understand his ability to create dialogues, two opposing human discourses, namely prayer and curse, which are manifestations of human emotions and feelings in different situations and situations and are rooted in human sadness and happiness, have been studied.

This research is theoretical and has been done in a descriptive-analytical manner. The study area and society are two stories by Rostam and Esfandiar and Kamus Keshani from Ferdowsi"s Shahnameh by Saeed Hamidian, which was published by Qatreh Publishing.

The prayer propositions in these two stories are 18 bits and the curse propositions are 19 bits. Thus, in the beginning, the content of prayer and cursing propositions is extracted and classified from the verses. The theme of the Shahnameh"s prayers is more seeking happiness and peace, overcoming enemies, longing for heaven and paradise, and curses include calling for the destruction of enemies, cosmic curses, and cursed glories. The real curse, which is the request to destroy the enemies, occurs in a state of rage and anger, and generally on the battlefield, but the curses of the universe and cursed glories appear in a state of sorrow. After examining the content of prayers and curses, the descriptive-analytical method of words, verbs, syntax and sentence arrangement patterns in both types of propositions are described.

Ferdowsi did not follow a specific pattern in the arrangement of sentence components, but by examining and analyzing the data, key and repeated phrases are found that Ferdowsi has used in drawing the two situations of prayer and curse. In the prayer propositions, the key and frequent phrases "without you", "being away from" and "bad luck" are seen, and in the cursed propositions, the phrase "may + ... + prayer verb + may + ... (Wind) »is repeated. Also, in this research, it has been determined that the irony in prayer and curse, as the most colorful literary array, causes more rhetoric of prayer and curse propositions.

The present study aimed to investigate the promotion of life as a tool to promote inner and lasting happiness based on the teachings of Rumi.

The present study is a documentary and library study that has been done in a descriptive-analytical manner and based on the books of Masnavi Manavi.

It indicates that from Rumi's point of view, the soul is an internal phenomenon, hierarchically, of the nature of consciousness and awareness, and also the soul is the source of happiness. Superior level awareness and genuine soul can promote genuine happiness.

According to positivist psychology and the results of related research, external joys resulting from material success are temporary and unstable, so it seems to pay attention to teachings based on internal and spiritual dimensions such as mysticism and Sufism in The cultural tradition of Islam seems to be necessary for the promotion of happiness as well as its stabilization and stability. Man is hierarchical, in proportion to the upliftment of the soul, the genuine inner joy increases.

The relationship between literature and society, is bidirectional link, to certify the nature and fate of the literary genre of the novel effect on the literary genres and literary forms.  Novel is tied to the society more than other literary forms. Theme and characterization have the greatest role in the reflection of the society situations; therefore, in this article we have tried to analyze the reflection of World War II on theme and characterization. In this paper, the novel Almasabih Alzorq by the famous contemporary Syrian novelist, Hanna Mine and Savashoon by the famous Iranian novelist, Simin Daneshvar from the perspective of the impact of colonialism on both Iranian and Syrian societies have been reviewed. We have tried to analyze these two novels by using the theory of discourse analysis by Fairclough. The similarities and differences between these two novels were evaluated and examined. This led to the conclusion that both novels bear more similarities rather than differences in the colonialism attack and its reflections on Iran and Syria.

One goal of comparative studies of literature is to search for the human “truth” that has appeared as archetypes in the literature of all nations and all times. In this paper، the author draws an archetypal comparison of romantic love in the French story of «Tristan and Iseult» and the Iranian epic romance «Samak-e-‘Ayyar». It starts with explaining the Jungian concepts of mother and father archetypes، anima and animus، conscious and unconscious، as well as collective conscious and unconscious. Since individuation process in the Jungian psychology has to do with the connection between the conscious and unconscious، the tale romantic love could be seen as individuation process in which each lover seeks to connect to his/her anima (feminine unconscious) and animus (masculine unconscious)، based on his/her gender. After providing a synopsis of each story، the author explains the archetypal roles and symbolic meanings of kings، queens، heroes، witches، and princesses in each story using Marie-Louise Von Franz’s methodology for the interpretations of fairy tales. It then compares romantic love in each story by analyzing its characters، functions، and events، and explaining its similarities and differences. Since archetypal literary analysis reveals the attitude، outlook، and behaviors of the people that the myths are originated among them، this comparative study aims to answer to a rather broad question: How is it that in the French story of the 12th century، romantic love ends with death and tragedy; however، in the pre-Islamic Iranian tale، it ends with the union of lovers?

Music and Sama are amongst the most discussed elements in the history of Islamic mysticism and sufism. Rumi’s standing on this subject was close to the intoxicated sufis. He favoured it، promoted it and believed it to be one of the main pillars of the mystic path and journey to Allah. In the cultural sphere of the 19th-century Europe، Nietzsche، influenced by the East، and having a unique way of looking at the concept of excellence and human movement towards evolution، in order to save the alienated human kind who due to the weakness of the church has forgotten the God، brings in music as a principle in human evolution and salvation، which is very close to the Rumi’s idea of music. The two thinkers share paradigms of thought in a) familiarity، identification and the origins of thought، b) the relation of music to the eternal song of the universe، c) music as a way to catharsis and soul purification، d) the relation between music and language، and e) the relation of music to passion and ecstasy and the Nietzschean idea of affirmation. All these lead us to the conclusion that the two thinkers had very close، and sometimes، matching ideas about the origin، existence، function، and effects of music، yielding to a substantive connection.

Based on dialogism and according to the concept of otherness in Bakhtin's theories, the originality of a novel lies in its Heteroglossia; thus, the language of novel has not only a dialogic interaction with other languages that have originated in diverse social ideologies; but also an intertextual relationship with the language of other texts that have found their way into the novel. Therefore, female authors in their feminine writing create a double-voiced discourse and expose a feminine voice through Heteroglossia. The present paper investigates the manifestations of dialogism in I’ll turn off the lights by Zoya Pirzad and Memory in the Flesh by Ahlam Mosteghanemi with a descriptive-analytic approach based on the American school of comparative literature. Despite differences in their narrative strategies, these two authors, in their feminine writing, pay much attention to the issue of language and its place in the novel and based on their own stylistic features, represent various forms of other languages in their novels differently; thence, the double-voiced discourse represents the view of feminine authors at three different levels. While Pirzad pays much attention to the linguistic failure of hegemony in literature and the creation of a heterogeneous world of language, Mosteghanemi casts a critical look at the issue of gender.

Of the various literary works، which have come to exist during the centuries and civilizations، few are capable of remaining in the universal history of literature and culture. Also among these few، only finger trip has become immortal on the people''s mind and memory. One might conclude that having joint humanistic concerns is a cause for the immortality of any work of art or literature. The more a literary work deals with commons، questions، subjectivities and human pains، more people will find their own feelings and «their heart word» in it. Undoubtedly، «Saadi’s Golestan» can be considered one of such works. The present study reconsiders Saadi’s Golestan in terms of anxieties and concerns that contemporary human beings are encountered with. Since Saadi’s strategies and techniques are based on his humanitarian experiences، wisdom and high qualities of genius، intellect and attention to readers، in many situations، it appears to be a solution for the contemporary human problems، and this is the secret to the Golestan’s durability. The research، using descriptive–analytic method and through an inter-textual and induction approach، tries to explain Saadi''s humanitarian views and his strategies and techniques to respond to the contemporary human pains and challenges. According to the outcomes of the research، a great part of Saadi''s sayings in Golestan is based on his humanistic views and his solutions to the social and spiritual (existential) anxieties and crises. Therefore، his teachings، surpassing the place and time، often can be a healing to the contemporary human''s sufferings and a solution for his ongoing challenges.

This study uses the theories of thinkers such as Wuthnow, Collins, Bakhtin, and Moadel, and three level method of Fairclugh, has analyzed political discourse of Tangseer written by Sadiq chubak. The question of present study is that how Tangseer can be considered in the order of political discourse, as a discourse?, and how has formed the content of this discourse? In this regard, after analysis of description, and interpretation levels of Tangseer’s political discourse and with emphasis on five hypotheses, affecting factors on its content has been studied. The most important findings of this study suggest that according to horizon of 1960’s first years, struggle with dominant discourse, has been on the agenda of the author. This literary work, is not only in dialogical opposition of dominant discourse, but also has formed in dialogue with the other discourses in that time. dominant ideological world at that time, and interests of groups & competing discourses, has made content of Tangseer as special. therefore, it has been effected at least of chubak’ cultural capital, and Unlike most of his works, it is a commitment and political work.

28 Mordad 1332 AH (19 August 1953) coup is numerated as a turning point from a mythological aspect in the contemporary fictional literature of Iran that made the writers of the period use myth in their stories. In this period، writers distanced themselves from obvious and realistic expression and began to use symbolic and ambiguous expression. As myth can be recreated in different situations due to its vast scope and fluidity، and for its aesthetical aspects، writers by referring to it intended to make their stories rich and perpetual. Moreover، with such horrible atmosphere in the society، that group of writers who wanted to avoid obvious expression embarked on myth. Malakout by Bahram Sadeghi and Yakolia va Tanhaei ‘Ou written by Taqi Modarresi are the major works that represented the trend of using myths in the years following the coup. In these two stories، the gloomy and hopeless atmosphere after the coup has been reflected by recreating the mythological and religious characters، settings and narrations of the ancient time. The present article، by using descriptive-analytic method and mythological and intertextual criticism، analyses the mythological literariness and quality of reflecting myth in these two literary works which have been affected by the 28 Mordad coup.

An important subject in the field of linguistics is the impact of one thought system on the community of lingual symbols. The relationship between mind and language conventions has long been of interest to linguists. The importance of this relationship becomes more prominent in comparative approaches where, through comparative study and analysis of the main schemas of the ideas of several thinkers or artists, the researcher traces the consistent and common use of linguistic symbols.In the hermeneutic analysis of the works of Mowlana Jalal ad-Din Mohammad Rumi, the interpretation of symbols, analogy and codes governing his mind and language is a major research interest. One of the most important branches among these researches concerns the kinship of Mowlana’s language codes with other thinkers and artists.On the other hand, Nietzsche, as a transcendental thinker, tries to use a symbolic language in explaining his thinking system. Due to his familiarity with the culture and literature of the East and the essential sameness of some of his principles with Mowlana’s transcendental approaches about the existence, morality, art, etc., Nietzsche achieves a set of symbols common with Rumi, which forms a shared language between the two thinkers.

In the case of the crisis of identity، one of the obvious emblems of the objecting new wave in cinema before the Islamic revolution is to express the national identity. In this study the problem is to recognize the components of national identity in Bahram Beyzaie works. introducing the concept of identity، it’s dimensions and components the ingredients of identity is searched in three main films of Beyzaie named as: Ragbar، Qaribeh va Meh، Cherike-ye Tara. Content analysis and extrovert analysis is used in this way. The facts exposed in study are social، cultural، political and geographical facts. the historical national identity is the most central instances taken into account. The results show that Beyzaie prefers to detect the cultural and historical identity On to the other aspects such as political or geographical identities. It seems that he believes in attaining a modern identity through the intellectual implements of tradition. After analyzing Bahram Beizay’s movies this conclusion comes to us that identity belongs to meaning and meaning is a percept that can be made، this is the effort he puts in his movies. This research is done on 3 of Bahram Beizay’d movies made in the years 50،53 and 57، the purpose of this paper is identifying the dimensions and components of national identity in his works. In this research this has come to view that in all three films “the problem of identity”، are of the repetitive elements and the main meaning of Beizay’s movies is the identity crisis. But the quantity and type of this tendency is various in different times. In Fact heroes in his films tent to understand their identity as the time passes and in the last movie، which was mad in 1357 in time with the victory of Iran’s Islamic revolution، the heroin Tara achieves a full and perfect identity. In the film Ragbar the director pays most of his attention to the cultural and political dimensions of national identity and the geographical، historical and social dimensions are of less importance. The director declares his dissatisfaction to the political system and the ruling power of the country but he also shows his attachments to culture، society and geography. In the movie Gharibeo meh the director shows nothing but a small amount of attention to national and political identity and only social and historical identity are of importance to him. In this movie the director has a critical point of view to historical identity and the worry of finding a social identity is highly apparent in the movie. In the movie Charike Tara Attentions was paid to all the dimensions of national identity except the political one. In this movie attachment to historical identity is more that before and also cultural and geographical identity is of importance. In an overall deduction، it seems that the director after his primary protests to imposed political identity in the movie Ragbar decides to pay no more unnecessary attention to the ruling system، and instead shows the importance of the cultural identity to his audience and encouraging them to search for their historical identity. The director knows the reason for crisis in other aspects of identity to be because of the society not being award of their own historical and cultural identity. In his movies he knows self awareness، the feel of belonging and being attached to values، beliefs، signs and national myths and knowledge of Iran’s geography and cultural heritage to be of great importance and the way to salvation

The most important features of the public myths are sanctity and eternity in the form of narrative which are presented through a nice language. Myth in literature has been manifested in two different ways. In its first form it is partially narrative and in its second form it emerges by the intuitive knowledge of the poets. The creative minds of the great literary figures interact with their wisdom and produce the stories. After great poets like Ferdowsi, Moulavi and Hafez, such kind of myth in Persian language has been less produced. In this study the reasons behind such reduction has been investigated. A descriptive and discourse approach within a theoretical framework has been used in this study. Also cultural, political and social reasons of this reduction have been reviewed. These reasons mainly can be due to Mongal invasion, the Safavid religious disputes, lack of cultural and scientific centers and finally the immigration of noble people to India. It is worth mentioning that the effects of myth on other aspects of human life like culture, art, architecture and painting can be traced which shows the transferable nature of myth.

One of the effective scientific and academic attempts is to review the works which are، in a way، compatible with academic courses and topics. Book review is a must for the dynamic scientific community، and is also a clear example of the effectiveness of literary criticism. Such reviews reveal the capacities، strengths and weaknesses of a certain work and، thereby، refresh the scientific atmosphere. The present paper is a review of the second edition of the book Metamorphosis in Myth by Dr. Mansour Rastgar Fasa’i، published by the Institute for Humanities and Cultural Studies Publication in 2009. In the first section of the paper، the book is introduced، and some of its capacities and strengths are discussed. The second section deals with its weaknesses. Some suggestions are presented to improve the structure and content of the book and to enrich its approaches، presumptions and discussions.

This article is a comparative study of the hero’s journey in the myth of Gilgamesh and thefilm named The Deer. Mythologists use different morphological patterns for applying to various literary and cinematic texts.This study aims to investigate to what extent this pattern of the hero’s journey could be found in two works, one literary and the other cinematic. It seems that the film The Deer is similar to the myth of Gilgamesh in its content. In the absence of mythological studies on Persian new wave cinema, the main idea is to use Campbell’s model in an archetypal approach.According to the archetypal approach, three phases are recognized in the hero’s journey as “departure”, “initiation”, and “return”. The present study will analyze these three phases and will conclude that Campbell’s model is well applicable to both works while the film named The Deer shows more resemblance to Campbell’s model than the myth of Gilgamesh.

Modernism and postmodernism provided a unique opportunity for coming back to the world of mythology and restoring them for the aesthetic purposes in art and literature. This article is an attempt to find out the reasons for such an interest in modern and postmodern novels. The results indicate that the reasons for this interest might be different for modernists and postmodernists because, while the former looked for the intertextual and interdiscursive capacities of the novels, the latter, due to the narrative and structural possibilities of myths, made use of them for better depicting their change of literary text as well as their need to spirituality, reexamining the reality, and satisfying the commands of the social and critical institutions.

The Iranian new wave filmmakers pay attention and focus on the social changes in years before the Islamic Revolution in 1357 (1979).In these years due to the economical and social changes and the government’s attempt for modernizing the traditional social system and social uplifting has spread and this caused criticism by the Iranian new wave filmmaker of that era. Social approach and mobility was main theme in new wave cinema of Iran in the years before of revolution. Therfore In this article subject of heroes social mobility in four films which are: reza motori(by masoud kimiaia 1960) khoda hafez rafigh(by amir nadery 1971)sobhe roze choharom (by kamran shirdel 1971)have been selected for sociological studying and analysis. These four films (movies) are classified in critic social genre and their heroes belonged to social lower class Without a respectable job and made a living by robbery.Events of these films are about gaining substantial amount of money, by variant means. Heroes want to promote their social status by earning money, But social conflict and opposition of other persons cause the death of these heroes. This article focuses on sociological approach understanding special group of Iranian filmmaker who wander the clashes between traditional and modern cultur and gain impacton the social development which cause the death of heroes in these four movies (films).Hence this article has analyzed the approach of filmmaker in representation of death of heroes, particularly according to social mobility at large industrial cities as manifestation against the command of the government. Police as symbolic power for protecting society from the first situation that is arresting the outlaw heroes and eventually kills them in these four films. This means suppression of dominant classes is gradually transformed into sympathy and inattention and then, power of killing. For content analysis two modes of interior and exterior criticism has been used. With regards to interior criticism, signs signify a hero on his own and his unsuccessful life, beside heed lessons of so upper class society and according to exterior criticism in a closed society the lower classes couldn’t make any progressive action for a better living. Conclusion of this research proves the hopeless opinion of filmmakers about these four films and about life and society.There isn’t any expectancy to a worthy living by an individual at social level. Death of heroes to be caused by their unbalance life, their environment is full of pain, suffering, poverty, wandering and social pathogenesis.Heroes of these films try to steal enormous amount of money, but their efforts are futile and in vain. Action of heroes weren’t admitted and approved by norms and values of middle class society. Governmental obligatory of social progress and modernization didn’t comply with democracy and justice. Black atmosphere in these four films (movies) prepare rude behaviors and cruel persons or the result of any possibility for a positive ordinary life.In these four films, heroes being in the closed circle, lonely, illness and defeat deciding in the kinds of death they face at the end of the movie. In this period. Distribution of wealth was unjustified and caused to increase the gap between classes in modern society of Iran, and this, borders of cities lead to social protest.

Intertextuality of two text: Comparative analysis between king Lear and Feridoon Comparative study which has opened to investigation the text could illuminate the relationship between cultures and shows the originality and richness of one literature alongside with range of its stubbornness of our or other culture. Comparative analysis between Feridoon’s tragedy and King Lear shows the interlocking relationship and arrangement between two texts in different and completely dissimilar culture and different historical context with two kind of language. Although mapping out the conscious or unconscious trace and impact of this texts over each other is completely impossible but the high level of intersexuality between the two texts is obvious so that this relationship could not be ignored. “similarity of plot”, “being tragically”, “impulses”, “familiarity of two text”, “dividing of kingdom”, “presence of destiny”, “parallel of characters”, “conflict”, “prediction”, “chorus” could be accepted as issues which are convinced common points between the two text. The analysis and survey toward understanding the equivalent between the two texts by helping of comparative literature is the fundamental question which has been followed by this paper.

Specialists of Discourse Analysis support their formal and lexical studies of literary texts with socio-cultural elements. Norman Fairclough analyses the texts in three levels of description, interpretation and determination. This method is very beneficial in discovering the writers’ perspectives as well as their socio-political approaches. This article, following Fairclough’s method, reads “Wandering-State Island” by Simin Dāneshvar in order to show how the elements of identity, freedom, colonialism, wandering-state of modern man, tradition and modernity, and religion are significant when considering the different layers of the novel; meanwhile the cohesive combination of these elements form the dominant discourse of Dāneshvar’s novel which relates it to her other novels.

Literature of resistance has both human and world face. Efforts by a generation of fighters for liberation of land, religion, culture and traditions from the shackles of aggressors to national privacy and human values are done, which everyone can draw poetic and literary expression. Events such as occupied Palestine and Iraq’s attack on Iran caused the creation of unique works of the resistance literature of nations. Works of the poet of Palestinian resistance, “Smyah Alqasem”, poets of Iranian’s Sacred Defense, “Hosseini Hassan” and “Kaiser Amin Pour” are valuable legacy in the realm of the resistance poetry of the two territories.The present study is to investigate homology and differences in the poetry of resistance by relying on the works of two poets of the country. Research findings showed that sense of belonging to the land, disposal of foreign invasion and occupation are among the main factors in the incidence of resistance elements of Samyh, Husseini and Aminpour poetry. Land, war victims, rebellion against the aggressor, religious and ethnic motivations of struggle, martyrdom, the enemy, oriented ideals and values to override objections by flow resistance are the main themes of the poets.

The emergence of mythology in the contemporary Persian novels, as the dominant literary discourse, is an epoch making movement. Based upon their vision and socio- political situation, many of the contemporary authors have used mythology in order to achieve two main goals: one, to present an interpretation of the world around, and the other, to enhance the esthetic and attractive values which they are to present in their works.According to the findings of the research, novelists within the 1340’s and 1350’s showed most concern toward restructuring and reproducing myth ever. A main reason was the authors’ nostalgias caused by the events such as the defeat of folk movement and the coup of Mordad 28th which mad long and deep impression on them. The most tendencies to myths in post-revolution period can be seen in 1370’s and 1380’s. However, the authors’ motivations differ from those of the pre-revolution period. A vast number of writers follow modernist and postmodernist movements and aesthetical tastes; some try to strengthen and revive national features, turn back to their traditional origins rather than pure imitating the West.The present research seeks to study and analyze how the mythological theme and narratives have been reflected, reproduced in the contemporary Iranian novels from mordad 28th 1332 to 1387.

Since love forms the core intellection and wisdom system of Mowlavi, all ideas and addresses expressed in Moulawi's works is made based on love. For this reason, analysis of the connection between the inner and outer world in Massnavi is also done regarding the attitude that Mowlavi- as the creator of the work- had on love. According to this approach, love for Moulawi is like the purgatory world between the inner and outer world. In this respect according to Mowlavi, issues interpreted in terms and expressions such as the correspondence of countries ad people, intuition and the unseen, appearance and interior, abstract and concrete, territory and heavenly kingdom, earth and sky, body and soul etc all depend on love and one of its manifestations. Based on this view, love and God's fondness and love for recognition has become the motivation for a movement due to which everything has become absolutely concrete from abstract – finite has raised from the infinite, form from inform, and eternity from preexistence- and therefore maybe it could be claimed that the entire creation has appeared in this manner. This research intends to discover some manifestations of such belief in Massnavi written by Moulawi and further on elaborate it. The research method is descriptive- analytic, and by considering the title and the demands of the study, it has utilized the hermeneutics approach for the interpretation and paraphrase parts of Massnavi's text. In brief the outcome of the study shows that in line with the common belief of mystics who claims that humankind is the mirror of truth and God's representative, Mowlavi believes that love in mankind is like a purgatory which draws thought towards the domain of manifestation and expression. Therefore from an ontological point of view, love is like a mirror which reflects the beings of the other world within appeals and representations of this world.