shahrzad niazi

Ibn Yimin Freiomidi is a renowned poet of the 8th century AH. His collected have been edited and published twice in Iran by Saeed Nafisi and Hosseinali Bastani Rad. The information provided about the manuscripts used by these two editors. Nafisi used 4 manuscripts in his edition, referring to two of them, one belonging to the Islamic Consultative Assembly Library and the other to the Isfahan Municipality Library. Bastani Rad also used five manuscripts in addition to Nafisi's edition, two of which belonged to the Majles and Saltanati libraries, and two of which were his own manuscripts. Although Bastani Rad's published edition is more complete than that of Nafisi, it is still possible to find poems by this poet in unrevised Persian manuscripts that do not appear in his collected poems. One of these manuscripts is the 3423 Arabic collection of poems in the French National Library, dated to the 9th century AH. It contains poems by 156 poets, including Ibn Yimin Freiomidi. Multiple scribes of this collection have recorded 475 verses by Ibn Yimin Freiomidi. This study compares these verses to the two published collections of Ibn Yimin Freiomidi's poems by Bastani Rad and Nafisi. This study show that in addition to the existence of 26 newly discovered verses by Ibn Yimin Freiomidi in this collection, it is possible to find new readings of this poet's poems that help to resolve semantic, metrical, and misreading problems in the published collections of his poems and to complete them.

The manuscripts from past centuries contain valuable historical and literary achievements, and their correction leads to the solution of many problems and ambiguities in both prose and verse texts. Jongs are one type of literary manuscript that are important sources for identifying poets, their lives, and their works. Identifying the poets of verses, gaining access to forgotten, lost, and new or old forms of known poems are also other advantages of research on literary jongs. Jong No. 3423 of the National Library of Paris is a jong mixed with prose notes and Persian and Arabic verses dating back to the 9th century AH that provides researchers with useful information about the poems of famous, anonymous, and unknown poets. More than one third of the Persian poems in this jong are newly discovered, and the new readings recorded in it resolve many of the ambiguous meanings and weighty disturbances of verses in literary works. In this research, in addition to a brief introduction to this manuscript, the Persian poems of the poet kings of this manuscript have been corrected and presented for the first time. By referring to tazkiras, literary histories, and poetic collections about their poets, the new readings and their newness have been investigated.

The three paintings related to the yellow, green and red Gonbads in the Haftpeykar’s collection of the illustrated manuscript of KhamsehNezami in the library of ShahidMotahari School are so similar to each other which are seen as photocopies of each other.The purpose of this research is to show the reason for the similarity of the illustrated. In the method of structuralist critique, the Haftpeykar narrative system has a single narrative unit that is repeated throughout the story, especially the seven Gonbads and this repetitive narrative unit carries the message of the story, which is the basis of BahramGour's test and spiritual evolution. Assuming that the repetition of the structure of the illustrateds is related to the repetition of the story representation in the single structure of the text of the poem, the components of these illustrated is compared to the structural features of the story and the relationship between the mentioned illustrates and the narrative concept of the system is investigated by a descriptive-analytical method to understand a similar concept in the structure of the illustrateds and the purpose of the painter of this design and concludes that the painter recognizing the message of the system, in order to convey the message of the system, designed similar drawings to emphasize the message of the story and To show the greatness of the Safavid court, he repeated the initial section in three drawings to depict the glory of the court.

Khosrow and Shirin of Nezami is one of the well-known Persian verses in lyrical literature. In this story, there are four women with various capitals. They, through the conflicts of the story, confront special situations and unavoidably apply their capital toward their benefits. This research is an interdisciplinary study using references and library documents. This descriptive-analytical study analyzes the cause and quiddity of the pendulum (variation) of the lovers’ dominance in the mentioned verses from the sociological viewpoint using Pierre Bourdieu’s theory of action. Based on this theory, we can analyze different patterns of productivity of each of the characters according to their capital types and show the role of the capital arena and the mental orientation of woman in their life. In this study, the quadruple capitals of Bourdieu which involve financial capital, cultural capital, social capital, and symbolic capital were analyzed in line with the four prominent women of the verse (Mahin Banoo, Shirin, Maryam, and Shekar). The findings show that women possessing different quadruple capitals are active in different fields and are present in dominant parts, but because of the unbalanced capitals and ineffective use of them, none of them except Shirin attain consistency.

One of the prophetic biographers is Abdul Aziz, nicknamed Mohy Al-Hesari, who lived at the beginning of the ninth century and is not mentioned in any of the references. He is the author of the historical book Motamem al-siar fi Fazilateh Khair Albashar. The author, in addition to describing the outward and spiritual attributes of the Prophet, has accurately described the events of the beginning of Islam from the first year until the caliphate of Imam Ali. In this regard, the present study aims to investigate the biography of the Prophet in this work. In the introduction, Mohy Al-Hesari states that he wrote his work in twelve days, so the book is divided into twelve chapters. Each chapter contains an Arabic sermon and its Persian translation. A copy of this work is kept in Nour Othman Library No. 2854. The findings of the present study indicate that this work is important in terms of the subject matter as well as lexical features and lexical information. It is also an interpretive, historical, moral, and doctrinal work that has been cited in various sources along with their critiques. The antiquity of the work and its uniqueness have also added to its importance.

Nizami’s Khamseh is the poems has been repeatedly copied in the illustrated and non-illustrated forms during the time. Illustrated manuscripts have in addition poems, the meaning concepts of illustration and it is because of being relation among poems and its illustrations. This paper, introduce illustrations of Haft Peikar of Nizami’s Khamseh’s manuscripts by Descriptive-analytical method. They are as following, university of Tehran’s manuscript- code 5179, Shahid Motahhari’s -code 400, America Library of Congress, Kakh Golestan -code 1951, Islamic Consultative Assembly-code 930, National library-code5-15275 of N. L. digital, National library-code 3058256 of N. L. digital. Due to the relation between illustration and poems, being aware of the number as well as the subject of illustrations and the main focus of their narrative, is important for later research in this field. The paper says that in the above manuscripts, Bahram Gour is the main focus of the narrative and most frequently revolves around his presence in seven domes while the painter is not completely bound to the text.

Political and social transitions after the revolution and the imposed war leaded the atmosphere of the society to a trend towards a sort of literature of endurance and perseverance called holy defense literature and holy defense as a great event in the history of Islamic revolution caused deep transformation in literature of Iran specially literature of perseverance. Undoubtedly literature of holy defense as a branch of the literature of perseverance has distinctive characteristics that separates it as a special type of literature from the other types. Survey and analysis of the poems of this type from various points of view has particular importance. One of the fields of survey is the presence of the prominent characters of the holy defense in poems of the poets that are introduced as the emblem and symbol in literal texts. In this study the poems of Isfahanian poets were selected. Isfahan is a city which played an important role in war and play of its citizens and the bravery of its commanders is not covert to anyone. The poets of Isfahan also enjoyed from this spiritual prop and created prominent artworks. Great martyrs as the significant emblems of the holy defense have significant effect in poems of perseverance and Isfahanian responsible poets express their thoughts through naming the innocent chivalrous emblems in their poems and retell their dramatic direct and indirect effects. Emblems are the people that because of their specific moral, cultural and social characteristics deserve to be the model by other people. Thus, seeking these moral treasures among the literal texts and poems is a big opportunity to know the effects of these emblems in individual and social aspects to display their role and influence in literature more than before. Therefore, this study which has been done in a descriptive-analytical way is supposed to survey and analyze their most important effects and reflects their practical role in developing human character and prosperity and the society identification. Through Studying these poems among the works which they have collected the holy defense poems of Isfahan and the available collections in this field, the main impacts and transformation that these precious emblems had on poetry and the holy defense literature of Isfahan and even Iran, we can infer these results Generally the impacts are classified into 8 groups: 1. Cohesion and replication with the national, religious and historical emblems 2. Keeping and reviving the religious national and historical identification 3. To motivate and stimulate the emotions 4. To keep the homeland, Independence and national honors. 5. Showing the emblems as national honor 6. The effect of religious emblems on beliefs and behaviors of holy defense symbols of Isfahan. 7. The youth emulation of emblems, warning and informing them 8. Bond with romantic mysticism.

The premise of lover and lover dominance over each other is the result of a sociological approach of theorists such as George Lukach, Pierre Bourdieu and Theodore Adorno in the category of love. In this paper, through reading the relevant sociological elements with love, we can address the status of domination, its causes and consequences in the love of Leily u Majnun Neziganjoy. The research method is descriptive-analytical, the research revealed that love was carried out by the conflict of dokodak otherness until adolescence and youth, in a geographical way that the objects, minds, habits and social base dominated the behavioral hierarchy of lovers, not their will. Unity of pluralism and domination has permeated the thinking of lovers and social solidarity with Leily and Majnun has not been able to cope with the system of tarigi. The sociology of their behavior showed that the male dominance, as an addition and variable, has occasionally dominated Leily, but the force of mistress has often disturbed the balance of domination in Lily's favor, and ultimately the objects and minds of society have entered another active and class variable, ibn Salam, into the story so that failed love, which is desired by the minds of the Stonak society and more influential in the space of the story.

The archetype of "the World" is one of the oldest images existed in the poetry of some poets since the beginning of Persian poetry and it has been reflected until the end of the eighth century AH. The image that Naser Khosrow has depicted in his relationship with the world contained unappealing traits such as incompatibility, enmity, hatred, and so on. Naser Khosro is amongst the poets having a didactic viewpoint with the aim of warning man's attachment to the universe, its pests and dangers. He has frequently used this archetype in his poetry and focused on "commanding to the virtues" and "Prohibition the vices." He has also indicated the negative traits of the world and in shaping the structure of one's imagination and educational thinking system. This article aims at applying Gilbert Doran’s theoretical views (the famous French theorist and anthropologist) of the imaginative structure in Naser Khosro's Divan. The research intends to indicate that there is a direct and close relationship among issues such as the concept of time, death, and the poet’s reaction to controlling time. The creation of didactic images by the poet is basically a struggle to control time and get rid of death and its resulting fear. The frequency of such images in Naser Khosro’s Divan approve that fear of time passage has penetrated the poet's mind, led him to create images which have often been in the form of advice; the point that has been overlooked in the theory of the age. This article intends to explain and analyze the female gender in the formation of archetype of "the world" the universe.

Folk stories have a long history dating back to pre-Islamic times. These stories contain many valuable sources and topics of moral, social, educational, counseling, etc., so research in them is necessary. The art of storytelling reached its peak in the Safavid era. One of the popular stories of this period is Mahboob al-Gholoob, which was written by Mirza Barkhordar bin Turkman Farahi. This article has been done by descriptive – analytical methods. The verses that come through this story are examined in terms of subject matter and function. In terms of subject, moral, social and educational verses with 41.80% in the first rank, descriptive verses and currently with 20.16% in the second rank, rulings and advice verses with 16.41% in the third rank and romantic verses that have a great connection with descriptive verses They are in the fourth place with 14.17%. In terms of function, supplementary verses are in the first place with 52.23%, descriptive verses are in the second place with 20.16%, emphatic verses are in the third place with 17.16% and confirmation verses are in the fourth place with 10.46%. In this book, in addition to Mirza's poems, the verses of other poets have also been used. According to statistics, 24.63% of the verses in this book are proverbs. Due to his secretarial profession, Mirza Barkhordar Farahi has used Arabic words, long words, long phrases and nested anecdotes in the form of Kelileh va Demneh.

Marzbannameh ,one of the most valuable works of classical texts, Includes stories and tales that in addition to its educational and moral value, the reflection of our ancient Iranian culture and civilization. The expensive and instructive tips of this book can be from the child to the ages of all classes of society but Technical prose and to a certain extent its artifacts are a major obstacle to achieving those concepts Which has drawn the attention of the replayers to this book. In this research, three rewritten works by Mehdi Azarzadi, Maryam Lotfali and Abdolmajid Najafi have been investigated and while measuring these works, we tried to evaluate their story elements and the origins of a creative rewrite As a result, it's a good idea to rewrite this awesome book. In these works sometimes the rewriters have been able to amplify narratives and personalities. They also changed the tune to the audience. There is no particular change in the angle of view and inside - except in rare cases. From these rewriters, Maryam Lotfali's text with the least creativity is most similar to the original text And the text of Mehdi Azarzadi and Abdolmajid Najafi have been more successful in updating the story in order of importance.

In an illustrated manuscript, symbols are usually used to transfer concepts from a literary text to an image. This research deals with how the cryptic and hidden concepts of Haftpeykar’s story are reflected on the illustrated manuscript kept in Shahid Motahari University, based on the analytical-descriptive method. The results show that symbols are used in the illustrated manuscript based on the symbolic meanings of the text of the poem. In other words, symbols have been selected to convey the main message of the story, but they do not follow just the literary text but the choice of symbols in the illustrated manuscript is also related to the cultural proportions of their time. The research method in this study is documentary and analytical and the data are collected using a library research method.In mystical literature, deep meanings are expressed using symbols. The symbol displays the theme of the imagination artistically, because it is interpretable. Since Iranian painting has a long history with Persian poetry and literature, over time it merged with Old Iranian wisdom and Islamic mysticism in a way that literary texts became the basis for the creativity of Iranian painters. Nizami’s Haftpeykar is the most mysterious collection of his five versified stories. Haftpeykar’s message is spiritual excellence. Every Gonbad’s story contains a teaching for Bahram Goor to enlighten his soul. The miniature (attached image) narrates a section of the story in which the protagonist, after discovering the secret of the black-wearing people of the city, meets Lady Parizadegan.According to the results, in the miniatures of the “Black Gonbad” story of Haftpeykar from Nizami’s Khamseh (5 poetries or treasures) kept in Shahid Motahari University, symbols are divided into three categories regarding the text. The first group consists of symbols that are used exactly in the text of the poem and symbolic concepts are expressed with their help. The second group contains the symbols that do not appear in the text of the poem, but the miniature is used to convey the symbolic meanings of the story. Finally, the third category includes the symbols that are not a reflection of meanings of the text of the poem but they are influenced by factors outside the text and work to express concepts beyond the text of the poem.

Folk tales , It is full of adventures that have a proper narrative and story structure and Most of the dramatic elements are also suitable for converting to film and animation.In this study, using content analysis method, the narrative elements contained in folk tales and selected text means “Mashdi Galin Khanom” are shown.There are certain types of characters in these stories and Elements such as : conflict, parley, crisis, knot, suspension and imagery, Conflict, Conversation, The crisis, Knotty, Suspension and fantasy spaces, in these tales have an important effect and provides a good context for the adaptation of the script; In addition, it has been discussed in a magic and fantasy theme and its value for dynamic visualization; We find that fantasy elements are abundant in these stories that make the screenwriter better use of this particular kind.It is possible to communicate between animation and Iranian culture by adapting these stories filled with ancient Iranian culture

Due to having dramatic and story appeals, many dramas, operas, and screenplays were adapted from the tale of Rostam and Sohrab so far.  This tale is one of the most prominent and controversial stories in Shahnameh in which destiny brings father and son in two opposing sides.  One such adaptation is the animation of Rostam and Sohrab produced by Kianoush Dalvand in 1392. Since production of animation in our country is quite new and needs substructures according to the writers of this article the most important of which is screenplay hence the purpose of this article is to compare and contrast the screenplay of this animation with the criteria proposed in Richard Krevolin’s book “How to adapt anything into a screenplay” which is the most important reference in writing screenplay adaptations. This comparison further provides aid to systematic writing and finds errors in the screenplay adaptations produced from the masterpieces of Persian land’s literature. From this perspective and with the comparison of the genuine story with its animation copy it was concluded that the Shahnameh text lends itself well with the structure and content proposed by Krevolin, yet the animated screenplay adaptation has certain discrepancies such as not dealing with the genre of adaptation, not considering the spirit of the tale, sudden change in the story’s end without providing the foregrounds, changing the tale’s theme, and not introducing the tale’s author.  Furthermore, alterations made in the tale caused the work to get out of its main genre which is tragic epic, and thereby induced distortion in such popular tale.

Abnormality is one of the most effective methods of language prominence and familiarity in poetry that poets have always used. The evolution and literature of the language of poetry is realized by transcending the rules of standard language and benefiting from unconventional constructions, and due to the repetition of a prominent feature in the poetic expression, it also becomes a stylistic recognition and identity. One of the types of abnormalities with which the poet achieves the creation and creativity of the literary work is the grammatical abnormality, which has become a recurring feature of his poems in Farrokhi's poetry. Therefore, what is examined in this study; Explaining the role of abnormality in Farokhi's poetry by studying the text and analyzing the content using a qualitative-descriptive framework in Farokhi's poems. The achievement of the article shows that it is important that, firstly, highlighting in the grammatical field of language with the way sentences are arranged, disrupting the directional order of words in the axis of companionship and also his creative insight into language acquisition and mechanisms, transcendental movement of Farrokhi poetic language two show that among the grammatical aberrations examined, the most prominent ones have occurred in the field of verbs.

The universal female archetype is one of the oldest images which are emerged in primitive Persian poem of some poets of which Roudaki, Ferdousi, Manouchehri, Naserkhosro and Khaghani are highly mentioned and had been existed until 8th century. Naserkhosro is one the poets who used this archetype abundantly in his poems and mainly indicated the contributed negative traits between the female and the universe, as well and applied them in his own imaginable structure. These main traits are mentioned as: the glories, the oldness, the evil behavior, magic, being not loyal, unkindness, cruelty, wilderness, lying, being deceived, evilness, the husband-killing, being harlot, and ambiguity,. This article analyzes the universal female in Naserkhoro Ghobadiani’s poem and indicates its effect on the changes and evolutions, the qualities and quantities of the image-making in these poems by Khorasani’s style and also, proposes the effect of this imaginable structure in the poetic procedure and the thought of this scientist. The proposed study illustrates that the universal female before Naserkhosro, time escape and death frightening lead to the emergence of the archetype.

The historical, social, and literary significance of folk tales is a generally accepted notion. Since these stories are oral narratives that were later written, they are important in terms of narrative prose and textual structure. The Safavid period is also noteworthy in terms of profiling many of these stories. So far as the style is concerned, the combination of order and prose is one of the characteristics of fictional prose of this period. There are many poems in fiction that can be studied. However, in this study, among the popular stories of the Safavid era, the story of Bustan-i Khayal (Garden of Imagination) is selected as one of the largest and most famous folk tales with a collection of historical tales and stories of demons and fairies, written by Mir Mohammad Taqi Al-Jaafari Al-Husseini nicknamed "Khayal", and also known as Khayal Ahmadabadi. The storyteller lived in the twelfth century AH in the Indian subcontinent. The purpose of this study is to analyze the scattered poems in the story of Bustan-i Khayal, following these

The description of the jumbo's contribution to the work of Muhammad bin Ghulam ibn Muhammad gohlawi is from the writers of the Indian subcontinent, was the beginning of the thirteenth century AH.  Although it is a Persian work, it is important because of the knowledge and information of the mystical.  In the description of the jama's book, the essence and spirit of the teachings of Sufism are reflected.  What is inferred from this edition is not merely encouraging people to be isolated and away from society and civilization, but rather, in the organization of human life and in the context of human civilization in human society.  He opens a broader horizon in the name of service and compassion for the creation of men.  Thoughts of Gohlawi have come from a cup.  In the Preface to the Companionship, he states that the heart is the source of love, and the reason that is lacking in love is a dead body and the world and everything in it is created from the influence of love.  The purpose of this study was to explain the position and emphasis on the importance of recognizing the publication of the Jami Prize in Persian literature, first briefly introducing this work and its subject, then seeking the mystical and social ideas of Muhammad ibn Ghulam  Gohlavi and retrieving these ideas in various fields and areas.

Supervision, as a key element of modern social systems, is a concept that transforms the citizen into a subordinate state. This citizenship acts not as a system that must always be controlled, but as a structure that transforms citizens into self-governing subjects. Demonstrating this destructive aspect of modern social systems has always been the known as task of sociologists. The present paper aims to demonstrate the implicit implication of the above dual texts and their similarities and differences with the content analysis method. The result of both studies is that both novels are critical of totalitarianism arising from the tool rationality that consciously or unconsciously incorporates the components of subjugation, supervision and care of acute rational systems and portrays it as a modern ruined disaster.

udgment has always been one of the most important concerns of human societies and with regard to the outstanding role of the judges in every society, this subject has been widely reflected in Persian literature. While the manners of the judges have been lost in history books, the poets and men of letters have always tried to assert the existing fraudulent leak frankly or through symbols or allusions and this can double the importance of their literary works. The purpose of this paper is to examine the manners of judgment in the stories of the two literary men of Persian literature in the seventh century. On the one hand, the attitude and the kind of reaction of the poets and literary poets of that period against the distortion of the judiciary manners should be clarified. On the other hand, the ethical features and manners of the judges of justice should be considered with regard to their particular period. This study has been conducted through library research method and the result shows the tragic history since Mongol invasion of Iran caused a decline in the Judiciary system that made poets and men of letters call for justice to fight by a verbal weapon and the scandal would disgrace those judges in history. The results also showed that the manners of the judges from Sa'di and Molavi's views include high ethical and professional traits, such as justice and fairness, science and knowledge, asceticism and piety, virtue and vigilance, and religious and legal observance. The main difference lie in the fact that Sa’adi has focused more on the existing conditions and the reality of the judiciary status and the convicted sentences. Molavi, however, has concentrated more on individual and idealistic ethics.

In expressing thoughts and feelings, the poet's specific method makes her works distinguished in terms of structure and content. Female poets in the present age have their own language to express different issues, which is distinct from the other. Contemporary post-revolutionary female poets have poems in classical, neoclassical, and Nimayi styles that can be analyzed using a stylistic approach based on different layers of style. It is necessary to examine the stylistic components of attracting the audience's attention to the text and revealing the hidden layers of the text. In Fotuhi's view, style and structure of poetry can be examined in five linguistic layers: phonetic, lexical, syntactic, rhetorical, and ideological. In this article, the authors have attempted to examine poems by four contemporary female poets (Saffarzadeh, Rake’i, Kashani, and Vahidi) that coincided with the events of the Islamic Revolution, emphasizing the structure and content of their post-revolutionary poems with a layered stylistic approach and content analysis method. Statistical and analytical survey of the poems of these poets shows that all four poets have noticed the music of poetry in the phonetic layer in a different way. By comparing the lexical layer components, it can be said that the use of sensory and specific words, repetition of words and unmarked words in the poems of Saffarzadeh are more frequent than others and these components in Kashani poetry are less than the rest. Rakki has used more abstract vocabulary than others and Kashani in the use of abstract vocabulary is in second place after Rake’i. There is a significant difference in the use of words between these poets which minimizes their common way in this layer. By examining the syntactic layer, it was found that the use of imperative and preventive verbs in Kashani poetry, precedence of verbs in Rake’i poetry, and beginning with "and" in Saffarzadeh poetry have the highest frequency. And Vahidi's poetry in the syntactic layer is not simple and worth mentioning. By examining the rhetorical layer, many commonalities among these poets have been seen. Apart from Kashani, in the simile component, the rest are equally emerged in this layer. By examining the layer of ideology, other than the subject of martyrdom, the personality of the leader of the revolution and social disruption that are of high-frequency, the other themes and components are almost identical in frequency. There are common concepts and themes in the subject of resistance, endurance, and defense literature that in the works of all poets have a high frequency. Generally speaking, Saffarzadeh with the structure of modern poetry, Kashani and Vahidi with a classical poetry, and Rake’i in both types have created works. Women's Poems in Rake'i poetry has a more intense appearance. Modern and simple words, avoidance of complexity, expression of social practices, special attention to epic and nationalism, martyrdom and martyr, cruelty and so on are characteristics that are common in these poets' poems.

The mystics and narrators have expressed texts in the expression of their views and views on the order and prose in the field of interpretation, education, and mysticism. These texts have a literary and mystical value, and their extent and features have led researchers to consider it as mystical and literary works. Obviously, Jami is one of the greatest mystics in the world of mysticism and creation. Mohammad Bin Gholam Gholami Sharif Youssef and Zalaykha Jamie have used the thoughts of the Cup. The manuscript of the description of Masnavi "Yousef and Zulikha Jami" or "Jubilee of Love" by Mohammad bin Gholam bin Mohammad Ghelvyy from the Persian dialects of the Indian subcontinent in the twelfth and early thirteenth centuries, although considered second hand Persian, is definitely The reason for knowledge and information and familiarity with the word, command, and meanings and expressions, will be the way for researchers to explain the difficulties of the poetry of "Yusef and Zalaykha Jamie". He plays an important role in describing and conveying the messages of Youssef and Zulaykha Jami, which he liked in the book's title. This research is an attempt to understand the syntax of the mystic language of these two mystics, in which the mystical thoughts can be found in this paper.

The emergence of Sufism and theosophy, and the arrival of mystical experiences and mystical education to the realm of language leads to the promotion of a specific language called mystical language. This language is divided into two types of language of explication and the language of implication. A mystic through his evolution achieves the thoughts, truths and experiences that their expression in the form of words, because of the nature of these kinds of knowledge, is not simply possible. But mystics utilizing the whole language capacities have transferred their own mystical perceptions with others in the limited shape of word and speech. Einal- Qozat Hamedani, the great mystic of the sixth century, as one of the leaders of the Islamic theosophy expresses his new interpretations and mystical enthusiasm through the precious works in this field. In this study we have attempted to analyse the points of view of this great mystic on language and discourse and then linguistically examine his works. The findings of the analysis show that Qazi Hamedani has benefited all the language capacities-the language of explication and implication and ideas to express his mystical experiences.