masoud mahdian

Perfectionism, which has always been one of the important indicators of mystical-ethical literature; It is an effort to achieve human perfection. But along with the important factors of human perfectionism, it is important and necessary to examine and explain the obstacles that keep people away from the path of their highest goals. In such a way that many mystics have listed the knowledge of the limitations and obstacles of perfection as the most important principle to achieve it. In this article, the authors have devoted their efforts to examining this main question: "How is the ego explained as the most important factor preventing human perfection in Attar Nishaburi's Asrarnameh?" And "what is the relationship between the ego and other factors that prevent perfection?" The hypothesis of the authors is that the concept of "soul", which is one of the main factors preventing the perfection of a person, is introduced in Asrarnameh Attar as the cause of many moral vices. The findings of the article, using the descriptive and analytical method, showed that the concept of self in Asrarnameh Attar is the basis for the realization of moral vices such as envy and miserliness, greed and anger and malice, worldliness, etc. which ultimately prevents a person from achieving perfection. Therefore, the current article, while carefully examining the verses of Asrarnameh, explains the concept of ego, which is embedded in human nature as a deadly poison of morality and spirituality; to bring him to the lowest stage of humiliation.

In this research, Mostamili's opinion about the prerequisites, supplies, and signs of God's friendship will be investigated and deduced. The findings of the study using the analytical descriptive method and the use of library sources showed that, in Mostamili's opinion, it is not easy to claim friendship with God and to reach this position requires preparations and necessary preparations. Some of these tools and measures are self-knowledge and knowing the reason for the creation of man, how to be the best of creatures and to bow down to His angels, to try to know God, to remove obstacles, especially opposition to the ego, to find purity of heart and to be free from non-Holy friends, modesty, Being in the right presence and trying to know him. Mostamili further believes that with such signs one can get to know God's true friends. Friends who have indicators such as constant remembrance and obedience and worship of God, reliance and trust in His wisdom, indifference, not getting angry at God's calamities and tests, giving satisfaction to God's decrees, sacrificing life and property, children, and honor in His way, fear of awe, the presence of God, seeking the grace of the Prophet, supplicating and lamenting and expressing helplessness and need at night are in front of him.

The concept of self and its struggle with reason and spirit is one of the most important topics of mysticism and reaching the truth. The important issue is that the ego has indicators and functions that challenge the achievement of the truth and make a person regress. For this reason, mystics in their works, while explaining the threats and malfunctions of the ego, provide practical solutions for success in the conflict between reason and ego and have reached their true lover. This article tries to investigate the dysfunctions of the ego from the perspective of Molavi and Attar and the solutions of the article using the comparative method. The main question of this article is: "How did Rumi and Attar explain the bad functions of the Ego and what strategies were proposed to combat it?" The authors' hypothesis emphasizes the fact that Rumi and Attar draw the soul to predatory animals, inviting man to austerity and grooming the soul. The findings showed that the key concept of Rumi to fight against the ego and achieve the truth is "optional death" which three stages are necessary for its occurrence. The same concept is "Annihilation" in Attar's poems, in which the seeker must go through four stages to realize it.

Manuscripts are valuable works that explain an important part of a country's life in terms of history, identity, religion and culture. One of the important and historical manuscripts is Bital Ajam, which is one of the fictional texts of ancient India translated into Persian in India in the 13th century by Maharaja Madhu Kishan and his brother Indra Kishan Bahador. The purpose of this research is to investigate the characteristics of its literary style from the perspective of the science of expression. This research, first with the library method, then extraction, classification and statistical analysis of the arrays (simile, metaphor, allusion and irony) and finally by using the comparative method to frequency measurement of the structural methods of these arrays, has achieved their stylistic characteristics in this work. The impressive use of irony, many simile additions, the simile structure of the type of descriptive composition, sensory to sensory and intellectual to sensory similes, simple metaphors that are close to the mind, mechanistic metaphors of the type of descriptive composition, and the abundance allowed for detail and local interest are important literary features. This work is from the perspective of the science of expression. The findings showed that Bital Ajam is not just a purely fictional work in simple language, but the abundant use of literary arrays, especially, the high frequency of irony, simile, metaphor, anManuscripts are valuable works that explain an important part of a country's life in terms of history, identity, religion and culture. One of the important and historical manuscripts is Bital Ajam, which is one of the fictional texts of ancient India translated into Persian in India in the 13th century by Maharaja Madhu Kishan and his brother Indra Kishan Bahador. The purpose of this research is to investigate the characteristics of its literary style from the perspective of the science of expression. This research, first with the library method, then extraction, classification and statistical analysis of the arrays (simile, metaphor, allusion and irony) and finally by using the comparative method to frequency measurement of the structural methods of these arrays, has achieved their stylistic characteristics in this work. The impressive use of irony, many simile additions, the simile structure of the type of descriptive composition, sensory to sensory and intellectual to sensory similes, simple metaphors that are close to the mind, mechanistic metaphors of the type of descriptive composition, and the abundance allowed for detail and local interest are important literary features. This work is from the perspective of the science of expression. The findings showed that Bital Ajam is not just a purely fictional work in simple language, but the abundant use of literary arrays, especially, the high frequency of irony, simile, metaphor, and metaphor arrays, has turned it into a valuable literary work, and the main part is prose.d metaphor arrays, has turned it into a valuable literary work, and the main part is prose.

Political poetry underwent considerable changes in both the format and the theme after the onset of the constitutionalism movement. While poetry and being a poet were commodities belonging to the educated persons until before constitutionalism. They made a lot of efforts in this period to get close to the language of the alleys and streets. In this era, political poetry seeks to express the people’s concerns and it becomes sublime with poets becoming the people’s tongue against superstition and despotism. Both prose and poetry experience subtle changes in this period. To be more exact, the constitutionalism’s literature is formed and enlivened in the course of the battle with the old literature and, due to the same reason, it is novel and it violates the tradition in terms of both form and content. The constitutionalist thinkers insist on pulling words out of the magnificent aristocratic palaces and making them serve the people of alleys and bazars. The goals of the poems in this period are awakening the people and inciting the national and patriotic feelings and promoting the individual and social freedoms and denial of the superstitions and loose and improper thoughts, fighting with the foreigners and westernism, harshly and mercilessly criticizing the disorders and familiarizing the people with their human limits and rights. It was with the constitutionalism’s revolution that the newspapers along with the preaching, discussion and lecture sessions became the primary medium for the conversations and expressing of the revolutionary notions and opinions, and a “public arena” that had been never seen before came about. More importantly, insolence, insult, and frivolity lost their private, fanciful, and exceptional aspects and became completely political and one of the most important and most effective means of the political fight. Such a thing was unprecedented in the political and literary history of the country. Two essential dimensions are seen in the constitutionalism’s literature: one is the criticizing of the past literature and the other is the positing of a novel literature. Zain Al-Abedin Maraghe’ei has the following words in this regard: “these days are not the time in which the masters of pen and thoughts spend their time on simple things, chimerical myths and senseless nonsense like their antecedents for nothing but fiction would result thereof. The present article tries introducing the prominent political figures of the constitutionalism era

The present text is the introduction of Bital Bachisi Sanskrit and the identification of two anonymous Persian translations of this work. This study, by examining the list of manuscripts and the introduction of Urdu and English translations of the work and using library sources, in addition to examining the ancient background of this Sanskrit work and the name of the original author, has gained knowledge of two Persian manuscripts. The history of Bital Bachisi Sanskrit goes back to ancient India and even the Pahlavi language. This book is the ninth part of the twelfth book of the Hindu antiquity, Kata Sarit Sagara, compiled in the 11th century by Somadua at the request of Suryabati, Queen of Kashmir, to entertain her granddaughter. Kata Sarit Sagara, a summary of Varihat Kata, a sixth-century AD poem by Gonadieh. Gonadieh used the language of Paisachi, which originates in the Pahlavi language, to compose this poem. Bital stories were first translated into Persian by Mullah Ahmad in the years (823/875 - 1420/1470). Tohfatol-Majales and Bital Ajam are two Persian translations of this work, the first of which was translated by Raj karn in 1103 AH and the second by Madhu Kishan before 1245 AH. The introduction of this ancient work and its Persian translations as representatives of Persian translations of Sanskrit works and examples of fiction prose style of the twelfth and thirteenth centuries AH is important.

Complaint is one of the sub-literary themes and types, which means heartache and complaining about the painful and agonizing events of life and recounting the pain, despair and gloom of its speaker. The important issue is that basically complaints are diverse in terms of subject and content, and many factors such as the sensitivities and mental conditions of the poet himself, as well as the social and political factors governing his life environment, affect the variety of themes and concepts in the complaints. In this article authors try to answer this question: "What are the most important complaint themes of the Rumi in Masnavi-ye-Ma'navi?" The hypothesis of the article indicates the existence of three macro themes, cultural, political and religious. The findings of this article by using a descriptive and analytical method showed that cultural complaints include: complaints about the envious, cunning and arrogant, artless imitators, skeptics, ungrateful, cloak-wearers and hypocrites. Complaints with political themes include: complaints against tyrannical rulers, oppressive governments, power seekers, and finally, Complaints with religious themes include: complaints against religious and false claimants, lovers of the world, irreligious people, and religion sellers.

Every story is made up of parts that make up the body of that story, and the criticism of the authors' art of storytelling is expressed by examining and analyzing these elements. This article is devoted to the investigation of story elements in the novel "The Postman" by Chista Yathrebi. The selection criterion was the audience's attention and acceptance of this novel. The purpose of this research is to criticize and analyze the elements of the story and the quality of its use in this romantic novel in order to answer this question: "what are the most obvious story elements in the novel ‘The Postman’?" For this purpose, by using library-documentary manner, descriptive-analytical method, structural elements, after stating the general plan of the research, the literature review, and after explaining the types of stories, the important elements of this novel was investigated. The most important finding of this research is that the plot of the stories follows a certain cause and effect order and often has a simple and elementary plot. The characters are more human and static. The romantic and often true-like theme is present in the stories. The point of view used to narrate the stories is the first person point of view and the conversations are very effective in the process of the story. The author often mentions the scene in the manner of summarizing and shortening it.

The poet, with a deep understanding of his worldly life and with a bag of knowledge from the past before him and using the interpretive dimension of language, introduces ambiguity in his poem and introduces it as an internal matter of the poem and causes the audience of the poem to enjoy the art. . The findings of the present research show that the use of linguistic, rhetorical and semantic ambiguity in Hafez's poetry and his continuous use of the interpretive language have made his poetry more complex, in such a way that one cannot expect linguistic or rhetorical ambiguity from a verse or a sonnet. And it had no meaning. In particular, Hafez is a poet who has gathered the precious heritage of Persian literature in himself and in a way, as the inheritor of the classical literary tradition of Persian poetry, on the one hand, by using genius and linguistic factors, a multi-layered, geometric, ambiguous and interpretable image of concepts. and the themes of Persian poetry, and on the other hand, using rhetorical and semantic factors, he presented new formulations of the inner elements of poetry as well as the vital elements of his era, which resulted in the expansion of the field of interpretation of the language of poetry in the era of the poet, which actually The ambiguity in the poem arose.

Poetry has several components, and the elements that make up poetry, both in external mechanisms and in internal mechanisms, depending on several elements, one of which is the image. With the help of words, the poet can bring formal concepts from the outside to the page of the paper. So illustration means that the poet can convey his desired images with the help of words and phrases, either objectively and accurately, or surrealistically. This feature reflects contemporary developments in avant-garde art, especially Cubism. In this article, the main purpose of the authors is to study literary imagery in the field of poetic imagination in the works of Mohammad Taghi Bahar, the king of poets. The fundamental issue of this article that the authors seek to answer in the class quality of the poetic images of the poet's spring from the point of view of his imagination and perceptual levels, the passage from the levels of poetic imagination to the deeper layers of his fantasies and illustrations. In this regard, after introducing different layers of the image in the two areas of surface image and image, it is concluded that the complexity of the image network in Bahar's poetry is directly related to his mental network, so that different levels of these images gradually become his stylistic features. The research method is descriptive analysis and the method of data collection is the library.

In the midst of the Constitutional Revolution, the promotion of ideas such as freedom, oppression, respect for the rights of the people, accountability of officials, and the establishment of parliament was considered to be one of the most important demands of various sections of society. In the meantime, the poets of the constitutional era, with their political literature, became one of the most important sources of people's excitement, awakening, and oppression. In this article, the authors have tried to study and analyze the poems of Adīb-al-Mamālek Farahani, Vahid Dastgerdi, and Malek osh-Sho'arā Bahār by using a descriptive-analytical method. The hypothesis that the authors have examined in their poetry emphasizes that first, the most important political component of Vahid's poetry is patriotism. Second, the most important political component of Bahar's poetry is criticism of the general state of society, and finally, the most important political components of Adīb 's poetry are pieces of advice to rulers accompanied by criticism. Findings of the article show that political thoughts of these three poets revolve around the seven axes of homeland, unity, constitutionalism and parliament, anti-authoritarianism, denial of colonialism, freedom, and justice.

Objection is viewed as the main theme of Persian literature which addresses different topics, including complaining about the world, mischance, illness, prejudice of enviers, injustice, cruelty, inhumanity, debauchery, etc. This type of literature has a very important place in the works of many Persian poets, and it helps to fully understand their personalities and various moods, their expectation of an ideal society, and even their strong or weak points simply because poets have composed poetry of this type from the bottom of their heart which shows their real feelings. Obviously, dissatisfaction with their current situation serves as the incentive and cause of objections. The current descriptive-analytical research has focused on the themes of objection in the Mathnavi by Rumi. Complaining about enviers and false believers, as well as making objections to infidels, insincere wise men, criminals, and the greedy, all represent individual and social themes of objection in the Mathnavi by Rumi. The higher number of social objections than personal ones in the Mathnavi by Rumi proves his social concerns.