جستجوی مقالات مرتبط با کلیدواژه « مثنوی مولوی » در نشریات گروه « ادبیات و زبان ها »

The target of research has been written by library method and analytical-comparative method and its aim is to study the symbolic And allegorical concepts of cow in epic, lyrical and mystical works (based on Ferdowsi'sShahnameh, Nezami’s Khamseh (The Quintuplet) and Rumi's Masnavi) and wants to answer these questions: What is the attitude towards cows in Avesta and Pahlavi texts? In what symbolic and allegorical terms is cow used in each of the studied works? Is there a correspondence between the symbolic and allegorical concept of cow in the studied works? Which concept has an epic theme, which one has a lyrical theme and which one has a mystical theme

In his Masnavi, through his "poetic", "mystical" and "educational" life and his numerous encounters with "language", Molavi has adopted different approaches and has different views about the understanding, essence, intention and purpose of language. is special In Masnavi, Molavi often adopted two "major approaches" in dealing with language: first, the "educational" approach, which reflects his religious, spiritual, and moral attitudes, and second, the "existential" and "ontological" approach, which reflects It gives his mystical, phenomenological, interpretive and interpretive attitude. In the present study, we will show that Maulavi's perception of language is often a "tool" for teaching "ethical" and "mystical" concepts, while there are glimpses of "existential" and "ontological" attitudes through the interpretation and hermeneutic approach. It has also appeared in his thinking and poetry. Based on this, some ontological affinities of Molavi with Heidegger, a prominent German philosopher, can be investigated and sought. Therefore, in the present research, we will show that Molvi and Heidegger have deep and fundamental differences with each other, despite some "verbal" and "apparent" similarities. From Heidegger's point of view, "language" is the house of existence, and it has philosophical dimensions, while in Molavi's view, language is often an "imperfect tool" and the "carrier" of "educational" concepts, and the "predominance" of the "educational" element Compared to philosophical dimensions, it causes "oscillation" between "educational" and "philosophical" dimensions in Maulavi's linguistic theories.

An Epistemological Analysis of Spiritual Awakening in Persian Mystical Literature and Satori in Zen Buddhism Narratives (Case Study: Rumi's Masnaviye-Maʾnavi and Stories of  The Gateless Barrier and One Hundred and One Zen Stories) Awakening means the annihilation of ignorance, and it is one of the most important concepts in Islamic mysticism, which Rumi has discussed and analyzed many times in the stories of Masnaviye Maʾnavi. The concept of Satori has the same meaning in Zen Buddhism texts, and understanding and experiencing it is central to meditation and spiritual journey. Hence, the goal of the present essay is to analyze awakening as reflected in Rumi's Masnaviye Maʾnavi as a prominent work of literature concerning Islamic-Iranian mysticism, alongside Satori narratives as presented in The Gateless Barrier and One Hundred and One Zen Stories, which are both famous texts in Zen mystical tradition. The demonstration of similarities and difference between these two philosophical traditions is done using a descriptive-analytical method. Upon analyzing the research data, it becomes evident that there is an overlap between features of awakening in Masnaviye Maʾnavi and Satori in Zen Buddhism; features such as being sudden, enlightening, and reproducibility, although the suddenness is reflected more in Satori narratives. Also, astonishment, which is a subfeature emerging from the audience's perspective, is reflected abundantly in Zen Buddhism texts, because of its irrationality and Incomprehensibility. Conversely, stories about wakefulness in Masnaviye Maʾnavi, which follow firm logical premises compared with Satori narratives, lack this feature.

From Jung's point of view, the process of individuation is a kind of maturation and psychological development during which the center of personality shifts from "I" to the "Self". Literature has a long-standing connection with the human psyche, and similar to dreams and myths, poetry and art are expressions of innermost human desires and aspirations. As a mystic thinker, with the purpose for human unity, Molavi tries to offers a refined model for an individuated person in the story of “Hosh-Roba Fortress”. In King Lear, Shakespeare too, portrays a man in a journey of inner progress. It can be said that both Molavi and Shakespeare portray the circular movement of self-discovery in the form of beautiful human pictures in these two works. In the present essay, an attempt is made to do a comparative analysis of the process of individuation in the story of "Hosh-Roba Fortress" and King Lear. The findings show that the journey of each one of the heroes is a symbolic representation of their psychological search for individuality during which the younger prince and King Lear go through a difficult path in their journey from the conscious to the unconscious, experience an encounter with the unconscious forces, reach the final integration with the anima archetype and establish a connection with the hero's’ consciousness in a way that, with the guidance of the wise old man, they put behind the inner shadows and outer personas and finally find their selves and, according to Rumi, “They are born again”.

The scope of this article is literature, mysticism and psychology with the focus of Masnavi Maulavi. With the emergence of literary and non-literary theories, including psychological theories, a multi-faceted relationship between different sciences has emerged; Among them, the interdisciplinary relationship between literature, psychology and mysticism. This incident caused literature to become an application-oriented reading. With the help of psychological theories, literature has increased its scientific and practical appeal in literary and mystical texts; Among the topics discussed in this article is the category of association. Association is one of the mental abilities and as an educational style, it has a special place in literary texts, especially in the mystical genre. In the associative learning style, learning is not predetermined. This style defines the teaching process in the course of teaching and happens unexpectedly. Its other features are the dynamics of the text structure, the richness of speech, diversity of thought, multi-layeredness, and psychotherapy. Another topic of the article is to examine the educational function of Masnavi's stories, as well as individual and collective unconscious knowledge based on association theory. The current research was conducted in a library method and shows how to achieve individual and collective unconscious knowledge based on the theory of Freud and Jung. Another topic of the article was the analysis of the personality structure and dimensions of Freud's mind and Jung's individuation process, relying on the educational and psychological dimension of dreams, centered on spiritual stories.

According to Qur'anic verse (Fater/35), man is a needy creature in his essence, and this neediness is his motive force towards doing things. Sometimes this necessity is not taken from the objective world; Rather, the mind gives credit to it by necessity. In this situation, man tries to meet his needs, which the objective world cannot meet. Human thought, with its creative power, validates perceptions that have no external correspondence; But they have foreign effects and maybe their effects are more than foreign objects. In other words, man is a self-aware being and performs his actions and behavior with thought; Based on this, in all work, it is necessary to falsify one or more credit perceptions. In this research, we will seek answers to these questions:-What is Allameh Tabatabai's opinion about credit perceptions? What is the presentation of credit perceptions in Mavlana's Masnavi?

The works of two scientists considered in this research were studied and the related materials were extracted, classified and then analyzed. Accordingly, this research is based on a library study and descriptive-analytical method.

Discuss:

From Allameh Tabatabai's point of view, "goodness" and "badness" or "goodness" and "ugliness" are matters of credit; But some works, such as justice, are compatible with the purpose of society; Based on this, their goodness is permanent, and some actions are in conflict with the purpose of society, such as "oppression", their ugliness is permanent, and some behaviors are based on different circumstances of "time", "personal circumstances", "place" and "society". They are variable and in other wordsthey are relative and not absolute (Tabatabai, 1992, vol. 5: 10, also Motahari, 1994, vol. 6: 431; Rawls, 2014: 445). Following the Qur'an, Movlavi considers "goodness of justice" and "ugliness of injustice" as the basis of all moral good and bad; This means that whatever is good and beautiful is from the category of justice and balance and maintaining the "middle ground" and whatever is ugly is from the category of oppression and unfair work; But we will find out in Movlavi's poem, sometimes he talks about relativity: the degree of goodness and badness of things is determined in relation to better or worse ones. Based on this, Movlavi sees the badness or goodness of things differently according to the circumstances; In such a way that a work is obedience and reward for the general people of Islam, in other circumstances it is considered as a sin for special people (Masnavi, 2008: 2816/2).

The result of this research showed that from Allameh Tabatabai's point of view, "good" and "bad" or "good" and "ugly" are credit matters; But some works, such as justice, are compatible with the purpose of society. Based on this, their goodness is permanent, and some actions are in conflict with the purpose of society, such as "oppression", their ugliness is permanent, and some behaviors are based on different circumstances of "time", "personal circumstances", "place" and "society" so they are variable and in other words, they are relative and not absolute. Based on this, from his point of view, goodness in relation to "courage", "justice", "chastity" and "wisdom" and evil in relation to "fear", "cruelty", "immorality", and "ignorance" are absolute. And it will not change under any circumstances.Rumi is more strict in distinguishing between good and bad things; But sometimes he brings up relativity, and sometimes he sees it as dependent on the type of influence on a person's existence from a mystical point of view. Therefore, it can be said that he does not follow a certain rule; Rather, he has said the ideas that were correct in his opinion, and in fact, he is considered one of the theorists in this field.

Love is one of the central concepts in Hindu and Islamic mystical works. In theteachings of Bhagavad Gita, as the highest source of Hindu mystical inspiration,Bhakti means a loving relationship and is emphasized on devotion and sinceritywith God as the easiest path of salvation. In Mathnavi of Rumi, as a prominentmystical works of Islam , love is one of the highest states and the most importantprinciples of Sufism. The concept of love is also closely related to the concept ofknowledge. This paper compares this concept in the mystical tradition of Islamand Hinduism. A conception of God and his knowledge, the relationship between His love and knowledge, the ultimate end of the path of Bhakti or the lovely states and the effects of love on the lover personality , have been studied in the Bhagavad Gita and Mathnavi of Rumi. The results of the research indicate that in Hindu mysticism, divine knowledge is the product of love, and in Islamic mysticism, it is its origin. The goal of both of these is salvation (the union or nearness of the lover and the beloved) and its existential effect is the moral transformation of the lover.

The abstract concepts and experiences in the mystical understanding and cognition field has led the rhetorician mystics to seek help from the concrete and objective concepts of "words" to understand and express the intangible world of "present". This skill of the rhetorician mystics can be proposed and investigated in the framework of the theory of conceptual metaphor. According to what is proposed in this theory, metaphor is not just a lingual method for creating beauty, but a method for thinking and understanding the universe. The present study will examine the ontological metaphors, one of the conceptual metaphors, with the origin of water domain (such as sea, water, rain, and...), in framework of conceptual metaphor in Masnavi Manavi, and to answer the question that: in the Masnavi, the origin of water domain and its related words are used to express which areas of the destination? To answer this question, the authors have first investigated the text in question and extracted the evidence related to the present study, and then analyzed the research data in a descriptive-analytical method. The result of the research shows that Maulavi has presented many and varied abstractions such as the mercy, soul, intellect, and heart and sometimes by using words related to water has tried to explain the different attitudes and perceptions of these abstract matters.

Many Persian literary narratives have their origin in the past of Persian literature, the sources of which have been identified in contemporary area. In the present study, the common anecdotes of Sanai's Hadiqat and Rumi's Mathnawi have been investigated through library method by study of books, articles and related researches, text analysis and through comparative approach so that the anecdotes with a common theme and different structure can be compared and the differences highlighted. According to studies, the use of storytelling techniques in Rumi's anecdotes is more visible, because his use of superstructure elements of the story, especially perspective, character and dialogue is much more, and in contrast, the element of time and place has been rarely used; while in Hadiqat, these two elements are highly used. One of the main manipulation of Rumi in references is making dynamic the static characters as well as adding various types of dialogue and different characters.

Anatomy of rhetorical-lingual techniques of Masnavi satire narrationsZahra RajabiAssistant Professor, Persian Language and Literature Department Arak University of Arak, [email protected] IntroductionHumor and Satire is one of the ancient literary genres that in the last two centuries, with the development of literary criticism studies, the discussion of humor has been raised as a complex and polyhedral sociological, psychoanalytic, epistemological, and linguistic matter. Arthur Asa Berger, a prominent contemporary professor of communication science, from an interdisciplinary perspective regarded humor as a communicative issue which depends on usage of multifaceted literary, logical, identity, and action of routine language. In addition, he has presented a global and general model for humor function based on lingual-semantic structure which includes 45 lingual-rhetorical techniques, and has called it "humorous anatomy". In the present study, humorous narratives of 6 books of Rumi's Masnavi have been studied and analyzed based on Berger's view point.Research method, background and purposeThis research has been done in a descriptive-analytical manner using library tools. Thus, after referring to relevant theoretical resources, the words humor and satire were defined and their position was expressed in mystical texts. Then, Burger's anatomical theory was introduced and after that, humorous narratives which have been extracted from 6 books of Masnavi studied and analyzed based on Burger's point of view. So far, Berger theory has not been used in Persian satire research, but many studies have been done in Western research for example, in the study "Developing a Typology of Humor in Audiovisual Media" (Buijzen & Valkenburg, 2009), 319 humor commercials have been examined on this basis, and it concluded that of 41 techniques available in the advertisements, 7 techniques were the most used. Mardiana et al. (2016) have examined burger techniques in a comedy television series and concluded language tricks and use of stories with logical techniques are the cause of laughter in this TV series. Therefore, the aim of the present study is investigating the anatomy of 76 humorous narratives of Rumi's Masnavi, one of the greatest works of Persian literature, in order to introduce Berger's theory in Persian satire research to know the most important lingual-semantic techniques used in Masnavi humor; and of four technique types of language, logic, identity and action, which one has the greatest effect on lingual-rhetorical structure of Masnavi humor narratives.

Terms such as comedy, satire and humor have different definitions. Since humor means anything that intentionally or unintentionally causes laughter in the audience, and somehow encompasses all other forms of this genre, such as comedy, jokes, humor, etc., Burger also has chosen the word humor for his theory. Looking for a global model for any humorous speech, he found that laugher is created at the linguistic-semantic level and is mostly the result of purposeful use of rhetorical tools. Burger, like Propp, who was looking for constructive functions of popular narrative textsp, concluded that there were 45 fixed linguistic-rhetorical techniques in various humorous texts that in different combinations made audience laugh.  He categorized these 45 techniques into four groups: language, logic, nature (identity), and action. There are 76 short and long humorous narratives in 6 books of Rumi's Masnavi, in which 409 different techniques have been used. Studying the variety and number of these techniques shows that Rumi used less humorous narratives at the beginning of composing Masnavi especially in the first two books but with more artistic processing and technical variety which indicates the spontaneity and interest of the audiences present in Rumi's lesson sessions. The number of humorous narratives in the second book is more than the first, third and fourth books which may be due to the interruption and delay had occurred between composing the first and second books of Masnavi. On this basis, there is state of stability and balance in the third and fourth books; While in the last two books, which were certainly composed long after the beginning of the Masnavi's lesson sessions and his audiences probably might have lost some of their motivation, Rumi has been persuaded that during his speeches and lessons to use more humorous narrations as a tool to attract the audience's attention and create successive variations in his speeches. Although the number of humorous narrations in the last two books is too higher, in average number of techniques used in them are much less also in terms of frequency, 19 repetitive techniques in Masnavi's humor are: Stereotypes, Ignorance, Repetition, Satire, Irony, Embarrassment, Absurdity, Allusion, Analogy, Before/After, Bombast, Eccentricity, Exaggeration, Repartee, Slapstick, Disappointment, Reversal, Impersonation.In terms of categorization, the techniques relevant to logic category, such as Absurdity, Coincidence, Analogy, Reversal, Comparison, etc, that understanding of their working are related to the aspect of logical and argumentative thinking, have the greatest share in the structure of Masnavi's humor. In the next level, other language techniques such as Irony, Bombast, Embarrassment, Allusion, Facetiousness, Satire, Repartee, etc, Which are mostly related to the humorous aspects of everyday language using common and understandable rhetorical skills among people.

The present study has two main conclusions first, introduce the Burger's anatomical theory and a new approach in Persian humor research, based on context-based and linguistic-rhetorical structural techniques. And second, indication the mechanism of Rumi's Masnavi humor. The results showed that what causes laught in Rumi's audience depends on the linguistic-rhetorical structure of these humors and the distinguished usage of these four categories of techniques by Rumi. His specific style is the use of techniques that depend on the reasoning aspect of language and mental operations. From a linguistic point of view, more emphasis is put on simple and conventional techniques such as Exaggeration, Bombast and Repartee. However, it was found that in immoral humorous narrations on the contrary irony and allusion, which are usually used for indirect reference, is applied more.

The emergence of epistemological relativism in the form of social anomies and issues such as emotional and identity abnormities and crises, psychological fluctuations and disappointments are derived from the current of modernity and the governance of the positivist paradigm. Examples of these cases as vital issues of human life are seen in the “Tuesdays with Murrie” and “Masnavi Molavi”. The novel of “Tuesdays with Murrie, one of the most remarkable Western works, emphasises humanity's permanent problem in materialism and neglects the self-knowledge trap (love and affection, death, spirituality and consciousness, etc.). These subjects have been emphasised in other ways in the collection of Molavi’s works, specifically, the Masnavi Ma’navi. With an analytical-comparative method, the present study aimed to analyse the content of these two works, based on the American school, and provide desirable solutions to get out of the governing situation on human life. The results indicated that the dominant aspect of both works is proposing the crisis of human problems in the material world trap. The distinction between them is in Molavi’s emphasis on going beyond material factors and relying on the ontology of Islamic mysticism.

Discussions about art criticism, philosophy of arts and esthetics are most often present in the works of non-Iranian thinkers and scholars. In some ancient Iranian texts and sources, one can find articles and discussions about the work of art, the artist and the audience. One of these sources is the spiritual Masnavi of Maulana Jalaluddin Mohammad Balkhi. In this book, there are scattered and incoherent verses from which topics related to works of art and art can be extracted. The purpose of the present article is to analyze certain parts of Masnavi Manavi in order to explain the philosophical basics of art criticism. In this article, which has been done based on a qualitative content analysis method, first the verses related to art and artistry have been extracted from Masnavi and then encoded and analyzed. The method of data collection was library and its tool has been identification. The research community is the Masnavi verses of which have been sampled purposefully. The results of this article show that the artist is also considered as the source of the work of art, too. In creating the work, the artist deals with two stages of inbound and outbound creation. In the stage of receiving (inner radiance), he must polish his heart to receive the designs, and in the stage of creation (outer radiance), he must be trained and be fully acquainted with materials. The artist must be creative; that is, he should have a personal style and avoid imitation.

The discussion of the law of causality is one of the oldest human issues, causality is a kind of relationship between cause and effect. Aristotle has divided the cause into four causes. One of them is the causal cause, which whenever the sages and theologians talk about the cause in the discussion of the law of causality, they mean the causal cause. In Masnavi, Rumi has used cause and effect instead of cause and cause instead of effect. Rumi sometimes uses the term effect instead of effect and the term tradition instead of habit. The Ash'arites reject the law of causality and believe in Aadatollah instead. Some have considered Rumi a Ash'arite and therefore called him a denier of the principle of causality, while Rumi does not deny the law of causality; Rather, while he calls the world the world of causes, he considers the set of apparent and hidden causes in the possession of the causal cause, which acts as it wishes. Rumi considers the Qur'an, the prophets, special servants, and Shams as possessing causes that have the power to destroy causes. At times, he considers himself a sophist and sometimes to some extent approaches the Shiite thought "Amr Bayn Al-Amrin" and sometimes to the Mu'tazilite method; Of course, not explicitly and simply in the discussion of the law of causation, Rumi does not simply fit into these boundaries. Several reasons have been stated that show Rumi's belief in the law of causation.

In Literary Terms, Irony is a way of Speaking which could be Equivalent to Satire, Metaphor, Opposition, Image, Jest and ect. In other Words, Sarcasm or Implying Something unreal that Teases your Audience or makes them Bewildered could be Called Irony. This Concept began in Greece a long Time ago and then came into its Literalized and Reinforced Concept in Europe. Rumi’s Masnavi is an Ironic Works which to Understand it, the Ironical Parts Need to be Recognized and new Concepts Need to be Achieved. In the Article Ahead, after Defining Irony and an Introductory Statement of that, Classifying all Types of Irony and its Elements to Comprehend Irony has been Accomplished and at the end, the Function of Irony in the Stories of Rumi’s Masnavi has Surveyed and Brought in. In this Article the Basis of the Text Considered to Prove Irony in Masnavi was two Stories: “Parrot and Merchant” and “Grocery and Parrot”. Reading this Article came the Reader into the Conclusion that Masnavi Includes Involute and deep Layers which we can Pass them and find out more Precise Concept of Masnavi. At the end of this Article, it is Concluded that Masnavi Contains Nested and deep Layers that can be Traversed Through Irony and more Precise Concepts can be Understood.

One of the important topics in the field of Rumi-related research is the critique and analysis of Masnavi commentaries. Khwarazmi's commentary, Jawahir al-Asrar, after Ahmad Rumi’s commentary (720), is the oldest commentary written on Masnavi in Persian language in Iran, which has influenced many commentators in the later periods. Although the commentator could not have used other commentaries and most likely, he did not have access to Romi commentary, the influence of the ideas of great Persian and Arab mystics and poets on him can be seen. Therefore, the researchers, through using descriptive-analytical research method as well as library resources, have tried to determine which of the primary sources of mystical prose has had greater impact on the structure and content of Jawahir al-Asrar and the extent to which it owes them. The results of this research help commentators and Masnavi researchers to better understand the meanings and concepts of this commentary. Furthermore, the findings will make them aware of the initiatives, innovations, or imitations in this commentary by examining the extent to which this commentary was influenced by other mystical prose texts such as Mersad al-Ebad, Tazkerat al-Awliya, Mishkat al-Anwar, Fusus al-Hakam, to mention some. It is worth mentioning that despite the great significance of this commentary and the new insights offered by it, it could not be called a compilation or composition since it is a report, writing out, or artistic collection of other ancient and primary prose mystical sources preceding it; which the commentator has often used with or without citing the sources and has included them in his commentary.

One of the issues that is evident in all literary works is the verbal communication through which different thoughts and emotions are exchanged and transferred. According to the nature of literary works, it should be noted that this phenomenon manifests in different forms and with different quantities. In the present study, in which the applied method is descriptive – analytical by enjoying library resources, an attempt is made to explore different types of verbal communication in Rumi's "Masnavi" and Sanai's " Hadiqat" and the different purposes that exist beyond these verbal connections. The results of this study indicate that Rumi, expresses intentions such as expressing love, praying his words, presenting mystical and theological concepts and teachings through these verbal connections, following the saints of God and storytelling, and Sanai's purpose in applying these connections is to interpret Verses (of Holy Quran) and hadiths as well as providing subtle moral and mystical points.

According to the Islamic mysticism, the death is the main path to the truth recognition and connection to it.Death frees the soul from the cage of the body and gives meaning to life and defines his/her purpose; Hence, death is the fruit of life.This kind of thought is also in some myths. Rumi is one of the mystics who has used mythological ideas in drawing the image of death.The current paper explored the death metaphors in Rumi's Masnavi using the conceptual metaphor method and theory to figure out the relationship between Rumi's thought about death and mythical ideas as well as the role of mythical beliefs in defining the path of mystical conduct.We found that Rumi, like most mystics, has recognized and dealt (especially the death of immortality) in the context of the "journey back and up to the Principle / God / Truth" and through this, has opened the path of mystical conduct and has introduced death as a method of the truth recognition and mysticism attainment with shown its key role in the process of receiving divine knowledge and mystical conduct.The basis of this metaphor is the principle of the duality of soul and body in the belief in the duality of the ancient Iranians, which spread in the region of West Asia and North Africa and southern Europe until it emerged from Plato's "The theory of Forms".

The authors used a descriptive-analytical and statistical method based on Cohesion Theory of Halliday and Hassan (1985). they aimed to compare the application frequency of grammatical and lexical cohesion factors and the degree of cohesion and coherence in an eight-couplet poem from the first book of Rumi's Masnavi and its English translation and answer the following questions:1. According to the cohesion theory of Halliday and Hasan, what is the degree of cohesion and coherence in this poem of Rumi’s Masnavi and its translation? how are the cohesion factors distributed?2. considering the comparative analysis of the frequency of cohesion and coherence in the source and target texts, to what extent has the translator been successful in transferring the concepts?based on Halliday’s model, the frequency of lexical and grammatical cohesion factors and percentage of cohesion and coherence in the poems were calculated. Considering Halliday’s Approach of Equivalence in Translation, closeness of cohesion (94.6% , 96.4%) and coherence percentages (92.8% , 91%) in two texts as well as similarity of the distribution of cohesion factors, which were very close together, except in equivalence and synonymy factors, can demonstrate the translator success in reproducing style and meaning of the source text.

Metaphor is an integral part of the thought process in humans, and anger is also one of the most powerful emotions in humans that has many positive and negative consequences. Molavi, a thoughtful poet with good taste and expression, explains the various dimensions of anger to the audience in the spiritual Masnavi. This article answers these questions to investigate anger in Rumi's Masnavi based on Lakoff's conceptual metaphor theory: What images are formed around the axis of anger? What are the conceptual metaphors of anger in Rumi's Masnavi? How are the reasons for anger and its solutions explained in Rumi's Masnavi? What are the consequences of anger and its symptoms? The research method is content analysis through which the whole of Rumi's Masnavi has been examined with the subject of anger. The main discussion has four axes in which conceptual metaphors are analyzed in relation to the physiology of anger, the image of anger, the causes of anger, its treatment methods, and the results of anger in Rumi's Masnavi.

Minimalism an art style that is the basis of your work Based on simplicity of expression and themes devoid of philosophical complexity  or quasi-philosophical  has established. The authors of this style believe  that saving in words and shorthand, It causes beauty and increases the effect of words and rhetoric. The best examples of minimalism in classical Iranian literature for example, in the book of Rumi's Masnavi and its allegorical stories can be found. What can be said is whether the minimalist stories of Rumi's Masnavi can be fruitful and used in the field of education? The research method in this research is descriptive-analytical. The purpose of this study is to investigate the minimalism style of Masnavi allegorical stories in the field of children's education.The results show that by examining the Masnavi stories, many of the features and characteristics of minimal stories can be seen in them and on the other hand, due to the educational nature of Rumi's Masnavi book and given the cognitive limitations of children, minimalist Masnavi Stories is the best platform for expressing the educational , moral and social teachings of children and adolescents. Because long words and stories are not suitable for children and teenagers and does not fit into their capacity and it reduces its educational aspects. In children's literature that tends to simplify and make the stories real for objectification of the story space with the child's mentality, inevitably, short writing is essential and writers in this field are interested in using minimalist expression to convey their educational and training concepts to children. In this study, the author uses elements that are used to a minimum has been studied in Masnavi and also educational messages has found and analyzed stories that have common elements.