جستجوی مقالات مرتبط با کلیدواژه « ramin » در نشریات گروه « علوم انسانی »

This study compares the stories of Veis and Ramin and Khosrow and Shirin. The basis for this study is Greimas theory and the characters’ communication model, which assists the study to systematically identify the characters’ contributions in the events, and their motivations, demands and wills in the story’s incidents and actions. The essential grounds for this comparison is the transition from a similar superstructure to the Narrative infrastructure differentiation in two stories. The results of this study is an indication of the plot for Weis and Ramin which narrates the struggle of love with the law and the royal throne. Last but not least, the victory of love but the story of Khosrow and Shirin is based on the conflict and then the compromise of royal power with morality and religion. These are the most important differences between the two stories: In the story of Khosrow and Shirin, unexpected events and destiny play a greater role Creating beautiful scenes has no role in the plot. In the story of vis and Ramin, the plot has a logical order. The role and action of the characters is important in completing the plot, and women play a more important role in the story.
Veis and Ramin and Khosrow and Shirin are referred to as famous and prominent love stories in Persian literature. The Story of Veis and Ramin, the lasting work of Fakhroddin Asad Gogāni, is the third Persian Masnavi in terms of antiquity and the first Persian love poem that has survived to this day. This story is one of the most natural and influential stories of celebration and love in Dari Persian language, the subject of which distinguishes it from other ancient romance novels. 
Fakhr Al-din Asad's fame for the provision of the arrangement method in this story dates back to the fourth century, however, since the subject of this story was, in many cases, far from the moral standards of the Islamic environment of Iran at that time, the fame and popularity of Fakhreddin's story diminished after Nezami Ganjei's Poetic stories and the poets who imitated him.  Nezami is one of the most famous poets who imitated the weight and composition of Veis and Ramin in composing the element of Romance in Masnavi. There are many indications that Nezami, after reading the story of "Veis and Ramin", has thought of like those of composing love poems and perhaps Fakhreddin's work was his inspiration in selecting Khosrow and Shirin. Nezami's ability to compose festive stories has made him a role model for others and, according to some scholars, Khosrow and Shirin, the second Masnavi of Nezami's “Five Treasures”, is the best and most famous love story of his poems.
The connection between these two stories, the influence of Veis and Ramin on Nezami in composing the story of Khosrow and Shirin, and the similarity of these two stories in subject, nature, weight, and narrative characteristics, has made it possible to compare these two works. The purpose of this comparison is to identify the differences between the two stories, in terms of the impact of the characters’ actions in the plot and the events of the story. This comparison is based on Grimas's narrative theory and the action pattern of the characters and helps to identify the similarities and differences in the narrative structure of Persian love stories.
This research is based on the description and analysis of the text, and the action pattern of the characters in Grimas theory. The analysis method is based on dividing the text into the components of the sequence and then identifying, analyzing, and describing the action pattern in each sequence.
Both the stories of Veis and Ramin and Khosrow and Shirin include a grand plot that narrates their love and struggle with rivals and deterrents, the constant joining and separation of two lovers, and finally overcoming all problems and the final and the creation of an eternal bond between the two lovers.
In the story of Veis and Ramin, Veis, Ramin and King Mubad are the main subjects in the story. The most important assistants for Veis and Ramin, are Veis himself, the old maid and, sometimes, the mothers of the two lovers. Furthermore, there exists some opposing powers like Power, custom and law, the Shah's mother and brother, and sometimes Veis's mother. The most powerful opponents of the two lovers are the power of the king, the law and custom of society, and then the king himself and the mutual love of Veis and, finally, Ramin is the most important obstacle for Shah Mubad to enjoy Veis's love.
In the story of Khosrow and Shirin, Khosrow and, sometimes, Shirin are the only subjects in the story, and it is only at the end of the story that "Shiruyeh" appears as another target. In this story, love is the main theme and at the beginning of the story, Shapur and the kingdom, are the motives for Khosrow's actions. Accident and destiny are the most important helpers and opponents of the characters in the story. Another opponent of the two lovers which abandons them from reaching each other is Khosrow's marriage to Maryam and Shirin's motivation to maintain chastity. Shirin's love for Khosrow is also the cause of Shiruyeh's failure.
The story of Veis and Ramin is the story of the victory of love over the law and the royal throne. This story has very few extra scenes and images, its plot is coherent and the events play an important role in complication, denouement, creating a crisis and bringing the story to an end.
The story of Khosrow and Shirin is the narration of the alliance and agreement of religious laws and social traditions with royal lust and domination. The plot of this story has very few events and there is no serious and effective tension and conflict in complication and denouement with the story and, finally, the characters are not threatened by a serious crisis. The story of Khosrow and Shirin includes a large number of beautiful but redundant scenes and images that make the story come to an end late. This story, Contrary to the story of “Veis and Ramin”, contains a large number of beautiful but redundant scenes and images that make the story end late.
In the story of Veis and Ramin, accident and destiny have no role in the story, except in the scene of Shah Mobad's death. The main actors in this story, are the characters and the formation of the plot depends on their actions and motivations. In this story, women have a more effective role than men as subjects or helpers and opponents; They are active actors, depending on the situation and events of the story, try different solutions to achieve their desires.
In the story of Nezami, Contrary to the story of Veis and Ramin, accident and destiny play an important role in creating and completing the plot; Accident and destiny are the most prominent assistants as well as opponents in the story and Shapur, except accident and destiny, is the only helper of the story. He, unlike the maid of Veis, is the only the executor of Khosrow's orders and his messenger.
In the story of Khosrow and Shirin, the number of characters, in all roles, is much less than the story of Fakhreddin Asad Gorgāni and, more importantly, the motives and actions of the characters in this story, unlike the story of Veis and Ramin, remain constant throughout the story. The story of Khosrow and Shirin is the Scene of action and superiority of the will of men, especially Khosrow, and Women in this story, unlike the story of Vis and Ramin, do not play an active role in the events of the story.
The results of this study confirm the validity of Forouzanfar and Mahjoub's opinion. They hold the idea that the story of Veis and Ramin has got a great influence is more beautiful and influential in terms of story structure and rules than Nezami's story and has had a great impact on the flow of Composing poetic stories in Persian literature.

Imagery is one of the prominent elements and components in the field of aesthetics of literary works. The aim of the research Is to discuss images in lyrical literature, based on which three poems were studied and imaginary elements were extracted and then classified and compared into four image elements. These four elements are: abstract element, elemental element, element of nature and astronomy. Exploring the imagination of each poet helps the audience to better understand his view of his surroundings and to be able to connect with his poetry.One of the remarkable topics in lyrical literature is the topic of love, which in every period the poet tries to portray this topic in his poetry in accordance with his words and the relationship between the lover and the beloved and their connection and separation according to the circumstances. In this article, each of the poets in the field of imagery in all three poems has assigned the highest amount to the element of nature, which in Weiss and Ramin is more than similes, in Khosrow and Shirin the metaphor of Masrah and in Gol and Nowruz. We had both elements of fantasy.Also, all three poets have used the least abstract elements, which was in the form of a metaphor. In terms of the use of abstract elements, the three poets have tried to sensitize mental matters and give them life. Weiss and Ramin, as the first poem, has been a model for other poems.

In this article, we have tried to take a look at the poet's allegory in this poem, especially the close relationship between Fakhruddin Asad Gorgani's style and two important themes, unconscious and self-conscious, can better show the poet's artistic level in adapting and paying attention to allegory. Since Weiss and Ramin's system has not been examined and considered from the point of view of allegory, the research method in this research is analytical and descriptive in the form of a library after collecting the available sources (articles and books) and commenting on them as well as After sampling, it has been done in an analytical way. Allegory in Weiss and Ramin's lyrical system is about 90% of the type of parable and 10% allegorical allegory. The most important achievement in this article is that all the parables in Weiss and Ramin belong to Sending proverbs and folk wisdom in a concise and concise language is expressive, which, of course, shows the wisdom of Wonders, literary concepts and artistic beauty in the best possible way.

One of the points that has not been paid attention to in the subject of rhyme and line is what is the difference between the use of rhyme and line in different literary genres and whether the poet in different literary types (epic, lyrical and didactic) uses Has he commented on the difference in its literary type from the rhyme and the line or not? Although important works such as al-Mujajm Shams Qais Razi and al-Khawaja Nasir al-Din Tusi"s poetry standards and other prominent works in this field are important as the initiators of these sciences, none of these works have mentioned the important relationship between rhyme, row and their use in a specific literary type. and the main focus of these works has always been on rhyme and line as a means of creating music. This research has investigated, analyzed and compared 1279 verses from the two love poems of Weiss and Ramin with the love story of Bijan and Manijeh in the discussion of rhyme and line. The purpose of this research is to show the behavior of these two poets with rhyme and line and their use in lyrical and epic genres.

The research method in this study is descriptive and analytical, which was done in a library form by studying sources, taking notes and classifying the materials.

The special place of rhyme and line in the structure of verse helps to understand and analyze it in the history of various developments of Persian poetry, and by examining these influential elements in verse, we can get valuable results in the analysis of verses and the poet"s style of verse making. He achieved in his type and literary style.

In this research, by extracting the rhymes and rows of verses of these two love stories, we showed that Ferdowsi, unlike Fakhruddin Asad Gorgani, uses rhymes and nominal rows in his verses, and deliberately moves his syntax away from standard syntax, and although a story He narrates a romance, but in no part of his work, he does not leave the epic genre and the unnatural language, while on the other hand, Gorgani is loyal to the natural language by using more current rhymes.

Formalism is one of the schools of literary criticism that pays attention to the form of the literary work and played a major role in the creation of the theory of structuralism. The best field for formalist theories and structuralism is folk, folkloric and indigenous stories. According to the formalist point of view, all of these stories, while having variable characters, have specific and specific functions and actions. Weiss and Ramin's poem is also a romantic genre with variable characters and specific actions. In this article, an attempt is made to examine the motifs of Weiss and Ramin's story, based on Vladimir Propp's structural model, in order to understand the similarity of the actions of the characters of romantic stories in different forms of the story.

The research method in this article is descriptive-analytical and gathering information through studying, scanning and sampling library documents and databases.

Weiss and Ramin's system has ten suspensions, three climaxes and seventeen functions. The characters are divided into main and secondary categories, where Weiss and Ramin are among the main characters and Mobed, Shiro, Daye, Viro, Zard and Gol are among the secondary characters. From the perspective of prop division, there are seven roles in this system, which are divided into two groups of active and passive characters. Weiss and Ramin are among active actors, and Mobed and Gol are among passive, victim and productive actors.

Based on Vladimir Propp's model of structuralism, it can be concluded that in lyrical stories, even with the existence of different forms and multiplicity of characters, self-work, function and actions are limited and specific.

One of the main aspects of Veis and Ramin poem is its attempt at reviving ancient Iranian culture, what we can also observe in the story of Samak-e- Ayar an Iranian story written in the time of Seljuk Empire. The two works borrow certain cultural elements such as the type of governing, drinking custom, war, swearing, entertainment, hunting, among others from the pre-Islamic era. There are some mentions of Veis and Ramin in the story of Samak Ayyar which shows that the author was aware of this former work. However, Samak-e- Ayyar is considered an epic work and thus far, no intertextual analysis of these two works has been done. As Veis and Ramin is written in poetry, and Samak-e-Ayar in prose, the former lyrical and the latter epic, this study aims to provide an intertextual reading of the two works. The findings suggest seven intertextual elements: the folkloric origin, common reference to sun-king, the negative role of nurse maid, letter writing, role playing of women, the role of music and different types of swears.

There have been many discussions about the origins of the story of Weiss and Ramin for a long time. Some researchers do not believe that this story belongs to a specific time and place and refer to it as "fictional". Others have given it a historical identity and attributed its origin to the Sassanid, Parthian, or other historical periods. Based on Minorski's research, the attribution of this story to the Parthian era is more likely than other periods. In the current research, an attempt has been made to present new evidence and references about the Parthian origin of the story by analyzing historical and literary sources from a new perspective, in addition to Minoruski’s evidence. Furthermore, more evidence has been provided in support of some of his views. The method used in this research is to avoid generalization and try to get clear details related to the Parthian origins of the story. First, the background, various hypotheses, and theories about the origins of this story are mentioned; then, by studying the history and sources related to the Parthian era, it is shown that the events of this era are reflected in Weiss and Ramin. In this regard, new evidence from the Parthian period in connection with the geographical territory, narrative, epic and oral traditions, rituals, entertainment and games, the importance of horses, riding and shooting, the structure of the army, and the like are examined and analyzed.

Imagination is the essence and the main substance and constant element of poetry and it is something that comes from the power of imagination. Imagination is the measure of artistic value and validity of poetry. If we accept that poetry is the entanglement of thought, emotion and imagination in a melodious language, and that imagination is the main element of poetry, then we will realize the importance of imagination in the field of poetry. One of the most beautiful elements of imagination is metaphor, which has many types but In this article, it is tried to be investigated in general under the title of Masraha metaphor and Makaniyeh metaphor and to determine the amount of imagery with this element in the poems. To express his feelings, the poet chooses the most general element of imagination, i.e. metaphor. Based on this, three romantic poems which are similar in terms of theme, situation and romantic images have been chosen to examine the element of metaphor in them in order to know that in these poems, in different situations that occur in the story, To what extent have the poets decided to use the element of metaphor to convey their meaning? In this research, three love poems have been studied in a descriptive-analytical way, and the evolution of the images of fantasy from the 4th century to the 8th century has been examined. Also, a statistical chart of imaginary elements has been prepared,

Myths are narrative patterns that spread in different ways according to the conditions of the society in different eras; Therefore, in addition to epic and religious texts, its works can also be seen in Ghanaian poems. The poem Weiss and Ramin by Fakhreddin Asad Gorgani is full of mythological elements. In this research, the author tries to investigate the themes and mythological incidents related to the beloved in the descriptive-analytical way and the library tool, considering the features of adaptability, repetition and adding meaning in the process of the story, and to answer the question which of the themes Mythological characters have been able to appear in Weiss and Ramin, related to the beloved? And how have these themes been transformed according to the content and special structure of Weiss and Ramin's system? The results of the research indicate that in the narration and plot of the story of Weiss and Ramin or the pattern of events, there are mythological events and incidents such as ascension, descent, magic, virginity, the test of honor and marriage, and concepts that are connected with mythological beliefs and rituals and in the formation Events have played an effective role; Is mentioned.

Prayers are known as a subject and literary genre in Persian literature as a means of expressing the ideas and principles of the poet.Lirical literature has been one of the most important of Persian literature throughout the histiry of literature.In all heavenly religions, prayer is one of the most spiritual moments in a person life. Poets were no exception to this rule, but the tenderness of their feelings and the tenderness of their souls make us witness pleasant prayers during their works, which can be considered as the most delicate and beautiful part of their works.This issue is especially evident in the poets of lyrical literature, because prayers and themes containing prayers and supplications are one of the main subsets of this type of literature.in this article it has been tride to be known more by investigating the subjects of the book of Vis and Ramin Fakhredin Asad Gorgani and Khosrow and Shirin Hakim Nezami Ganjavi and the similarities of them.

From a holistic and teleological point of view, the principle of poetic justice - derived from the idea of natural law - forms the basic structure of most of the old stories and love poetries. As a matter of fact, the pleasure of the story is rooted in the artistic expression of this law. One of the purest classic, romantic works, that complements these two features, is the verified love story of Weiss and Ramin. Therefore, in this article, while avoiding reductionist one-sidedness, this claim is to be examined, using two morphological and phenomenological approaches - which incidentally confirm each other in convergent paths in this story.

Morphology of the main movements based on love The morphological analysis of the work, which emphasizes the spesific role of different types of love, the structure of movements, and the way events are embeded in the organized body of the story, indicates its central idea of ​​the victorious end of human emotions and destruction and decline of evil and inhuman desires. This idea in this approach is in line with the nature and general purpose of the stories. The morphology of folk tales can be considered a big step in proving the institutionalization of the doctrine of natural law and Poetic justice in stories because we see that in Weiss and Ramin, according to the morphological rule, the story begins with the illicit (irrational) love of Moobad to Shahroo (in the place of evil or initial deficiency) and expands. So the signs of permissible love (rational) between Weiss and Ramin in the story gradually appears and evolves. 2-2. Phenomenology of other events and behaviors Interpreting each of the events and behaviors according to its relation to other events and to the whole story, regardless of the presuppositions and effects of previous experiences, shows that Weiss and Ramin story expresses the lived experiences of the characters in facing the system of punishment and reward with a demanding time and place requirements. Generally, in this story, two categories, consistent or inconsistent with the evolutionary and justice-oriented end of the story, can be examined. Factors contradictory and inconsistent with natural law (evil wills, false beliefs, traditions, etc.) remain suppressed or unfulfilled. On the contrary, factors in line with natural law (natural and supernatural events, enlightened thoughts, etc.) destroy those disparate factors or prepare the ground for the manifestation of this law.

The results of a morphological study of the structure of the story, and also the phenomenological look at cognitive content of the emotions of love and other natural or supernatural events - affecting the story and how to understand their meanings in the lived experiences of the characters - show its justice-oriented system. In this relation, to better explain and analyze the phenomena of love - which are collected in this story - some philosophical perspectives have also been used. Generally, this is a valuable work that has a special place among Persian language romances. It acquaints the thoughtful reader with concepts such as love and lust, belief and rationality, and the role of the human will against the principle of natural law. This is achieved by looking at the whole and considering its totality and ultimate goal instead of a superficial and cross-sectional view.

The love poems of "Wis and Ramin" by Fakhreddin Asad Gorgani and "Khosrow and Shirin" Nezami are Undoubtedly, they are among the most prominent works of lyrical poetry. The dimensions of romantic relationships between the characters of the story also provide a good basis for studying the subject of love and its types with psychological theories. One of these topics is John Lee's theory of love. He has studied the three main love styles of Eros, Ludos, Storg, secondary mania styles, agape, pragma and also compared it with the main colors. The purpose of this study is to study the love of Eros in these two love poems using John Lee's theory of love. So the main question is to answer the question of what color of love in these stories corresponds to what color of love in John Lee's theory and what are the most important components of Eros love that is the main factor of beauty and charm in these stories? The result of this research shows that by examining this issue descriptively-analytically in both stories, an important love component (Eros) is identified related to the behavior of the characters in the story. This component includes a number of actions and motivations that are consistent with John Lee's view in red.

Wiss and ramin's poem is a romantic love story by fakhroddin asad gorgani, a fifth-century poet in which the issue of love and marriage is based on pre-Islamic social structures. Apart from the forbidden love and the roots of its formation in this story, it can be seen as a manifestation of the superiority of power and how the formation of resistance to the dominant discourse of power. In this research, by descriptive-analytical method, we have examined the relationship between the exercise of power by government and capital on the one hand and human love and emotions on the other. Research results shows that the reaction of the characters in this story to power is different. "Shahro" surrenders to the power of capital. Viro's reaction is to resist the power of the government, but eventually surrender. Wiss uses the power of love to wage a fateful war that has been unintentionally imposed on him, and he is on an evolutionary path.

Romantic poems have a high position and importance in the field of lyrical literature, and dealing with old stories from the perspective of new knowledge is one of the necessities of evolution in the field of Persian language and literature.The story of Weiss and Ramin is one of the ancient Persian stories that was written by Fakhruddin Asad Gorgani in the fifth century of Hijri. Nizami, an Iranian poet, wrote romantic stories that were examined and compared with Weiss and Ramin in this research. This review shows that Weiss and Ramin and Nizami works have many lyrical scenes due to their fictional and romantic nature. Weiss and Ramin has superficial description scenes and the expression of romantic feelings lacks spirituality. In Khosrow and Shirin, which is the most beautiful Nizami poem, the beauty of the mistresses has a lot of expression and the element of affection has a high frequency. In examining the lyrical elements of Weiss, Ramin, Khosrow and Shirin, we come across the point of view that the whole story as a romantic theme belongs to the category of lyrical literature, and the poet has used many emotional and imaginative elements during his description of the scene, which are accompanied by images of fantasy. It causes suspense and stagnation of the story and describes the current state of the characters. And the many descriptions in the biography of the lover and the beloved, their conversations and the description of the scene, constitute the lyrical elements.

When it comes to dealing with the concept of love and romantic relationships in Persian literature, the elements of death and loneliness also come into view. Being somehow masochistic, passionately in need of love and in pain and suffering, the lover"s character in Persian literature often feels lonely and dies from the sorrow of love at the end of the story; either committing suicide or being killed. These two items also play a key role in story development of romantic epic poems, by some means paving the way for the manifestation of poetic imagery. The present research examines the elements of death and loneliness in three main well known romantic epic poems in Persian literature: Vis and Ramin by Fakhruddin As"ad Gurgani, Khosrow and Shirin and Leili and Majnoon by Nizami Ganjavi. It aims to analyze and describe the abovementioned elements in these poems with the consideration of psychological, fictional, cultural, literal points and the like.

This research uses a library-based descriptive-analytical method.

In Persian romantic epic poems, "love" provides a foundation for different dimensions of the element of "death" and "loneliness". In fact, these two elements are directly related to the ups and downs of romantic relationships.

The dimensions of loneliness in these works include "loneliness as a result of the separation from the beloved", "loneliness as result of betrayal by one side of a romantic relationship", "voluntary loneliness and solitude as a result of failure in reaching the beloved", "preferring loneliness to unlawfully reaching the beloved" and "loneliness because of unrequited love". The dimensions and causes of death in these works can also be summarized into "wishing for death because of separation or failure", "committing suicide for the sake of love or the beloved"s death", "death from the conspiracy of the opponent in a love triangle" and "death from old age".

There exists meagre, unclear, and ambiguous information on a wide range of issues concerning the history of Iran throughout the Parthian period. Research on family structure and kinship marriage in this period also suffers from such a paucity. Some sources such as Avoraman Parchment, Bobylonian documents (i.e.,cuneiform tablets), and also Greek and Roman sources make us acquainted with a number of Royal Family women in Parthian period. Besides, such sources shed some lights on how kinship marriages were practiced among royal kings and queens. However, different, and sometimes, contradictory interpretations drawn from such sources give rise to different results and explications regarding kinship marriages in the aforementioned period. The present inquiry mainly seeks to delve into and analyze kinship marriages, in particular, incest ones in Parthian period. According to the findings, in the period under investigation, in an attempt to maintain the old Iranian traditions and attach importance to the preservation and continuity of the House, generation purity, and endogamy marriages as well, kinship marriages, especially, incest ones were the common practice among the members of Parthian Royal House. There is no valid information about the popularity and manner of such marriages among the common people. The love story of Vis and Ramin and the epic scripts of Ayadgar-i Zariran, as the scripts whose Parthian roots have been confirmed, offer some evidence to support the initial claim of the paper.

Attention and accuracy in the spiritual and psychological dimensions of the characters of the story and the use of psychological theories has always been one of the methods of literary researchers to analyze the characters and show the power and skill of the creators of the works as accurately as possible. In this research, an attempt has been made to study the personality of Wis in the system of Wis and Ramin Fakhreddin Asad Gorgani, using the "theory of choice" of William Glasser, a contemporary psychologist, in a descriptive and analytical manner. According to the theory of choice, the root of all one's behaviors comes from within and to satisfy one's five needs (the need for love, survival, power, recreation, and independence). Thus, the main question of the research is that under what influence did Wis make bold choices? In other words, which of Wis's basic needs were higher than the other needs that led him to engage in such behaviors? The findings show that among all the needs, the need for survival, the need for love and intimacy, and the need for freedom are higher in him than the other needs, respectively. After these needs is the need for power and then the need for entertainment.

The lyrical poem "Weiss and Ramin" belongs to pre-Islamic times and was composed in the Islamic period. Although this system is full of elements and references to pre-Islamic Iranian culture and religion; But Fakhreddin Asad Gorgani, due to being a Muslim, has referred to Qur'anic allusions and moral-Islamic themes in this poem. In fact, this kind of attitude of Fakhreddin arises from his religious beliefs. In this article, the elements, themes and Islamic allusions in this fictional system are analyzed and explained. This research is an attempt to show the place of Islam in the lyrical system of Weiss and Ramin.

This research was conducted by descriptive-analytical method and content analysis and in order to collect information from the library method used.

Items such as praising God with the attributes discussed in Islamic sects, the narration of the Holy Prophet (PBUH), Quranic teachings, sacrificing cows and the like are some of the references related to the religion of Islam in this system.

The intellectual and moral system in Weiss and Ramin's system is based on religious beliefs. This poem contains Islamic references due to its composition in the Islamic period and due to the subject and root of the story, it contains the teachings and teachings and beliefs of ancient Iran, especially Zoroastrianism. Fakhreddin, who in the introduction of his work and in the section "Praise of God" by referring to issues such as denying the vision of God and rejecting the belief of the similes, proves to be a Mu'tazilite to some extent, although he has been forced to express Mazdisna religious topics and allusions. Due to his being a Muslim, there are many references to the principles of Islam in his work.

Vis and Rāmin, by Fakhruddin Aschr('39')ad Gorgani, is one of the first love poems in Persian literature that has been morally rejected in the history of Persian literature as it is the first story of marital infidelity in both ancient and Islamic Iran. Regardless of the poem’s content, one cannot deny its literary, social, and cultural values as well as its unique status among the ancient works of Persian literature. Although the poem has immoral content, there are reasons behind the immoral actions of the characters in the story that need due attention to some points for the analysis of the poem from a moral criticism perspective. They comprise knowledge about the poet and the society, religious beliefs affecting the actions of the characters, and the four main themes of the poem: “pleasure”, “fatalism”, “conflict between seniority and youth” and “love”. Vis and Rāmin can be considered as a literary example of art for art’s sake doctrine and morally as an example of the moral relativity of the characters in the story.

Every work of art is a combination of structure and beauty. Aesthetic values ​​are in the role of the building blocks of a work of art, and a principled and purposeful structure can be used to apply them. The arrangement of aesthetic values ​​depends on the structure of the work; That is, a proper structure contributes to the relationship between aesthetic values. Narratology, as a science, strives to achieve clear narrative patterns. Propp and Garms are theorists who have defined narrative based on the actions of actors. The role model is one of the most important tools that provides semantic cues to critics. With the help of this model of action, it is possible to understand the presence or absence of internal coherence between narrative elements. Pirang is another important theoretical issue in the field of semantics and narratology with a constructivist approach and the most important part of a narrative and it can be considered as one of the most important elements related to the model of actors on which the coherence of the narrative structure depends. Weiss and Ramin is a Persian lyric poem that has always had a high place in Persian literature. In the present study, we have tried to establish this position by using Garms theory and by prescribing scientific frameworks.

Precedent, research goal This research is a descriptive-analytical method and the sources used in it are library documents. Babak Ahmadi (1991) in the book Structure and Interpretation of the text and (2017) the book from visual signs to the text took a big step in introducing the development of new approaches to narratology. Ahmad Okhot (1992) also tried to prove the compatibility of Persian literature with them by introducing the theories related to narratology by writing the book Grammar of the Story. Other authors such as Hamid Reza Shairi (2002) with the book Basics of Modern Semantics, Ali Abbasi (2016) with the book Applied Narrative and Mohammad Hadi Mohammadi and Ali Abbasi (2002) with the book Samad Structure of a myth in introducing this scientific approach and localization of this Theories have made a significant contribution. The purpose of this study is to prove the coherence of the plot and the narrative of Weiss and Ramin based on the structuralism of Propp and Garms.

This narrative consists of four action models, each of which is based on a plot. The first and second action models work in parallel in a contradictory relationship to achieve a goal and form an independent story. Following these plots, a new story begins with two other action models, both of which (in conjunction with Weiss and in conjunction with Ramin) operate in parallel; But the relationship between them is interactive and they advance the narrative to achieve a common goal. The plot on which these two narratives are based is the same. In Weiss and Ramin's narrative, we are faced with two types of plots: linear plots that follow each other and parallel plots that tell the story at the same time. These plots themselves fall into two groups of confrontation and interaction. In Weiss and Ramin, it can be seen that a fictional character is placed in the position of two actors. Sometimes these two positions of action have an interactive relationship with each other and move towards a goal; In the first plot, the target (viro) acts in the position of the actor, and in the second plot, the midwife appears in the position of the actor and the actor. This shows the importance of these fictional characters in the narrative; Because they take on the narration of an important part of the story and by being in two positions, they bring the most help to the active actor to reach the goal. In some cases, the actions of the actors change; That is, from the front of helping the active actor, they are transferred to the opposite front. As in action model First, the actor (city) has become a deterrent actor, and in action model second we see this change in city action. Given the material motivation of the city for this change of action, the most important feedback received from the analysis of his position in these models of action is the realization of his shaky personality and the sudden change of direction of the narrative. By summarizing the initial and final parts and devoting as much volume as possible to the middle part, the author has created a fit and a principle of uniformity that causes order and coherence in the story of Weiss and Ramin.

Weiss and Ramin's lyrical system is a narrative based on Grimas structuralist theory that has a complete structural pattern and narrative; Because in addition to having three initial, middle and final parts, the element of change is also seen in it. Also, based on the type of text that was chosen (narration), there is a kind of semantic coherence in it and no part of the anecdote is ineffective in advancing the flow of narration. This is a privilege that many literary works lack. Another feature of the story of Weiss and Ramin is the multiplicity of narrative syntax and plot in this work, which shows the complexity of the narrative. There is more than one plot in a long narrative of tricks that prevent the audience from getting bored and accompany him with the narrator. Despite the various narrative patterns in Weiss and Ramin, Weiss is a fixed point around which other elements revolve, which contributes to the coherence of the text. The result of the above results is the proof of the high position of Weiss and Ramin's system on the basis of a lawful and scientific system that responds to linguistic theories after nine centuries and has the ability to make the audience have a better reading based on scientific theories.