جستجوی مقالات مرتبط با کلیدواژه "jami" در نشریات گروه "ادبیات و زبان ها"

The romantic gaze and perspective of lovers, especially in the tale of Layla and Majnun, is a recurring theme in Persian poetry. This article compares the poetic themes of Attar and Jami with the visual representation in Jami’s “Haft Orang” manuscript. It examines the similarities and differences in their narratives, focusing on the climax of the lovers’ meeting. Attar emphasizes the union and Majnun’s well-being, while Jami provides more details about Layla and Majnun’s eye contact and Majnun’s loss of consciousness. The visual representation captures Majnun’s arrival at Layla’s tent but not their meeting gaze. The research method is descriptive-analytical, using library sources and manuscripts. Findings indicate both poets use the tale according to their poetic styles, with notable differences in form and content. In Attar’s text, the climax is the union of the lovers, focusing on Majnun’s well-being and his loss of consciousness. In contrast, Jami’s narrative includes more details about Layla recognizing Majnun, their eye contact, and Majnun losing consciousness. Attar’s narrative concludes with a sarcastic conversation emphasizing Majnun’s self-sacrifice, while Jami’s narrative describes the lovers’ meeting until dawn and then returns to the metaphor of returning to one’s previous state. The visual representation depicts Layla’s tent in a tranquil space, surrounded by flowers and rocks, with Majnun hidden among the flowers. The painting captures the moment Majnun arrives at Layla’s tent dressed as a shepherd, gazing at Layla, who is caressing a lamb

Ganjineh Raz is a book written by Owais ibn Ghiyath al-Din Rostamdari, the oldest manuscript of which was recorded by an inscriber halfway through the eleventh century A.H. This manuscript was probably contemporaneous with the author, who is not found in any bibliographical biographies (Tazkires). In this book, Rostamdari presents an exposition of sixteen scattered verses by Nizami which are taken from Makhzan-ol-Asrâr, Khosrow o Shirin, Haft Peykar and Sharafnameh. These verses of Khamsa are claimed by a follower of Jami to have been deemed meaningless by this poet. Rostamdari continues to present another exposition of seventy nine other verses of Khamsa which he believes to be of more complexity than these sixteen verses, and since Rostamdari is of Shiite faith, he brings the book to an end, out of blessedness and sacredness, by presenting yet another exposition of three odes by Nasir Khusraw, which include praise and glorification upon the great Imams and personages of Shiite faith.

This research was done in a descriptive-analytical way. Authors have carried out using the library and documentary tools. They have been carried out using the library research method, rely on three manuscripts of this book. in addition to recording the differences between the manuscripts and published versions and embark on a comparison of Rostamdari’s exposition of these sixteen verses with those of others.

Rostamdari’s explanations about verses 5, 6, 13 14 are illustrative and explain meanings clearly. In other verses, although his effort is appreciable, but he failed to understand the poet’s intention. Other editors have sometimes succeeded in description of meanings and sometimes they failed.

Rostamdari’s success in disambiguation of the verses is only relative and the explanations provided by contemporaries are sometimes unhelpful. the expositions have in some instances led to resolution and disambiguation and in some other instances the ambiguity remains unsolved.

Irony as a word means mockery, ridicule, derision, and the like. In Persian literature, there have been many names for all kinds of jokes, with different credits. In contemporary research in this field, irony is used as a word for all texts that are characterized by laughter. In fact, irony is a type of literature that magnifies evil and ugliness. In this descriptive-analytical research, the general and expanded meaning of irony, which includes concepts such as lampoon and facetiae, is used, and after examining the definition and scope of the concept of irony and specifically, situational irony, we will analyze this genre in the sixth chapter of Jami’s prose work called Baharestan in order to identify the various statuses that create irony in this text; Finally, we try to analyze why certain statuses are used more frequently. So, in this research, at the theoretical level, the most frequent statuses used to create the situational irony in the classical Persian literature have been discussed and then, at the applied level, the situational irony in a specific literary work has been analyzed using those theoretical tools. On one hand, the descriptive dimension of this paper is based on the explanations about irony, in general, and the situational irony and the statuses which make it, in particular. On the other hand, the analytical aspect of this research is based on the implementation of the aforesaid analysis in the sixth chapter of Jami’s Baharestan. The findings of this research show that Jami has used situational irony in more than half of the passages of the sixth chapter of Baharestan, and his most frequent use in creating situational irony has been the status of disagreeable characteristics. In this way, he has ironized both external undesirable traits, such as ugliness, and inner unsavory characteristics, such as oppression. In addition, Jami’s use of eight different situations out of the ten most frequent situations that create situational irony in classical Persian literature has displayed a high diversity in the aforementioned book.

In Persian literature, there are many works with the titles of " Majma 'al -Qasas", " Majma 'al-Nawadir "and so on. Valuable and influential works that, along with popularity and acceptance, have played a significant role in the formation and consolidation of stories and storytelling in Persian literature. Among the anecdotes of these books, there are less anecdotes created by the author himself, perhaps most of the authors took the anecdotes from previous sources or the works of his contemporaries and translated them according to the desired theme with artistic ability and in accordance with the common style of his time.Majma 'al-Nawadir is a collection of anecdotes, narrations and parables written by Faizullah ibn Zayn al-Abidin ibn Hussam Banbani, known as Sadr Jahan (d. 907 AH) during the reign of Mahmud Shah Bigara (863-917 AH). In this work, Banbani has used his contemporary or previous sources. One of these sources is Baharestan Jami (with 28 common anecdotes and narrations). The main source of these anecdotes in Arabic and Persian texts was also found in the previous studies of these two authors. Such as books of nathr aldur fi almuhazarati, Tazkerat al-Hamduniyah, muhazarat al'udaba'. Persian sources have a smaller share of this frequency. Despite the commonalities of these two works, Banbani did not pay attention to brevity and Jami to simplification. There are many differences in the expression of the concept of anecdotes.

Mastered both Persian and Arabic languages, Nour al-Din Abdul Rahman ibn Ahmad Jami, nicknamed as Khatam al-Shoara, is a powerful Iranian poet of the 9th century AH. It is enough about Jami's mastery of Arabic language that the Fava’ed al-Ziya'iyya in Sharh Al-Kafia, left of him, are known as Sharh-e Jami in Syntax. In addition to valuable works in verse and prose in Persian and Arabic languages and numerous Persian poems, he has been able to write the themes of Arabic literature well in Persian language and also left behind Molamma’ poems, which is one of the valuable fields tested by Persian-language poets. Playing a role in the development and evolution of Molamma’ in his era, Jami’s poems of Molamma’ are the continuation of the poetry of bilingual poets. There always has been a question about the Persian-language poets' Molamma’ that in terms of structure and content, what role did they play in the evolution of Molamma’ industry and what innovations did they add to it. With this same question on the mind, the investigation of Jami's Molamma’ consisting the analysis of its structure and themes for achieving the degree of variety and innovation of Jami in Molamma’ was chosen as the subject of this article. According to this research, through making innovations in terms of the structure, Jami has experimented with different types of Molamma’s and created various themes of poetry, description, and praise as the subject of these Molamma’ types, which can be considered as a technique in poetry writing.

As much as poets have tried to elevate their words, prose writers have also tried to elevate their works by using various rhetorical aspects.The simile has been the first imagery since the beginning of the development of Persian language and literature. Every poet wanted to make his words more imaginative, sublime and fresh than predecessors, and in order to achieve such a thing, he had to redefy trite similes. Metaphor in every poet's poetry is the result of exaltation and perfect simile of poets before him. Considering the passage of several centuries in the literary life of the Persian language and literature and passing through the stage of growth and development, Saadi and Jami should have either used new similes or changed the similes of the predecessors to create a fresh and new image in order to elevate their literary works. and accompanied by metamorphosis. Considering the fact that Saadi's words for commoners and elites have often been far from ambiguity, it is expected that he and his followers have tried more to change the words of the predecessors and less to create fresh similes. In this research, we have tried to answer the question that what devices did Saadi use in the fifth chapter of Golestan and Jami in the sixth shrine of Baharestan to redefy their similes? For this purpose, by analytical-descriptive method and based on the obtained evidence, we have shown that Saadi and Jami use the devices of conditional simile, preferential simile and conditional simile, conceit simile, metonymical simile, allegorical simile, equivalent simile and asymmetrical simile, similes and additional imagery, negleational similes, the use of vehicle, and rare words of comparison have been used to redefy similes and eliminate trite. equivalent simile, especially in rhythmic prose, can be used as a device with which the poet, like the asymmetrical simile, can redefy the simile and provide an opportunity for homophony. Although Jami intended to follow Saadi's style, he was not always successful. When sensitive simile becomes rational simile, or vehicle becomes unusual, Saadi's words are always firm and unambiguous ; But Jami's words become ambiguous. Saadi is also sometimes helpless in finding a clear point of resemblance for allegorical simile or preferential simile of reference type. The process of forming  imagery usually begins with simile and the poet has to leave one of Sides of comparison in order to defamiliarization. Metaphor is the result of defamiliarization, de-familiarity with trite metaphor. negleational simile is a metaphor for familiarity, de-familiarization and a platform for creating metaphors. The negleational simile is a vehicle for defamiliarization  and a platform for the creation of metaphor. In order to keep their words out of ambiguity, Saadi and Jami have tried not to use often far-fetched or pristine metaphors, and instead have become for defamiliarization with the metaphors of the predecessors.

"Authorities of Sheykh al-Islam Hazrat_e Khajeh Abdullah Ansari Heravi" is one of the works that are believed to belong to Abdul Rahman Jami. Some of the sentences and phrases in this book are either exactly the same as Jami’s Nafahat Al-Ons and Ansari’s Tabaqat al-Sufiyyeh or they are included in this book with slight changes. So far, three revisions have been made of this work, and despite the efforts of Arberry, Fekri Saljuqi and Bashir, there are still flaws and defects in the revision or corrections and annotations. This research has been done with the method of document research, and we have tried to introduce it, while pointing to the intellectual, linguistic and literary components and stylistic features of the work, by expressing some of the flaws and problems in the corrections made, to remind the necessity of correcting it again. The evidence obtained shows that, firstly, the forms of the text are summarized under the five general components of errors in punctuation and editing, errors in printing, misreading of versions, errors in the text, and omission of an important word or term from the text. Secondly, from the point of view of stylistic features, according to the evidence obtained, this text is based on several general components. In terms of intellectual characteristics, some of the most prominent and central ideas of Sufism, such as the mention of the hypocrisy of mysticism and the superiority of Spiritual Way over Divine Law, are clearly seen in this text. In terms of language characteristics, considering that the author considers his mission not to sell favors and prioritize how to say over what to say, but to be easy to get the meaning and convey the message, we are dealing with a simple and authentic text. Considering this issue, in terms of literary characteristics, the author has tried to use simple verbal and spiritual arrays as much as possible so that this work can be understood by most of the audience.

Nuruddin Abdulrahman Jami is the most famous poet and mystic of the 9th century. Among the 45 works left by him, the Masnavi of Tuhfah-al-Ahrar is distinguished by having allegorical-didactic themes This book is a manifesto containing the moral instructions and advice of a father for his young son. The main question is what issues Jami has expressed in this area and to what extent? Therefore, the purpose of this research is to explain and examine educational themes such as: emphasis on knowledge, paying attention to the principles and branches of religion, contentment, fighting against lust, discrediting the world, remembering death, condemning temptation, avoiding criticism, avoiding the company of lowly people, paying attention to Justice and fairness, following the elders and Isکه It has been viewed less from the point of view of allegory. Among the various allegorical-didactic bases, attention to religion, avoiding drunkenness, and remembrance of death have a higher frequency. The current research investigates these teachings with descriptive and analytical method, the method of collecting information is documentary and library . The statistical community includes verses of Tohfa-ul-Ahrar Jami. Statistical examples are verses from Tohfa-ul-Ahrar, which, in addition to educational principles, are based on the art of allegory, according to the books of literary techniques and industries.

Mystical ethics is a set of epistemological models that their results and functions are manifestations of God’s attributes in the mystic and their aim is perfecting and bringing man from the lowest level of his existence to the highest level of perfection. This can be achieved through following the path of God and dwelling in spiritual homes and by abstaining from vices and adornment with virtues and through austerity and effort. Attention to this rich and prolific spiritual concept is very prominent in Jami’s Masnavi of Haft Awrang. Based on a descriptive-analytical method the aim of this study is first to define mystical ethics and then to extract and express some of the themes of mystical ethics in the Masnavi of Haft Awrang, which are proposed in three areas of “Man’s relationship with God”, “Man’s relationship with himself” and “Man’s relationship with other men” and within five domains of “ideological-epistemological”, “emotional-affective”, “voluntary”, “action” and “speech”. By studying this Masnavi, we find that Jami tried to encourage his audience to observe mystical ethics based on serving God. Thus, the themes used in this Masnavi mainly revolve around the area of man’s relationship with God.

The glorification of creatures is one of the important topics discussed in the Holy Qur'an, Shia and Sunni interpretations, narrative hadiths, and most mystical works. The importance of this issue is such that it has a wide reflection in Persian poetry and literature, and many famous poets of Persian literature have addressed it in their works. Of course, there are many differences in the opinions about the nature of this glorification (tasbih) and the way to listen to it in Islamic, literary, and mystical texts and sources. Nooruddin Abdul Rahman Jami was one of the great poets of the 9th century and one of the close followers of the school of Ibn Arabi. He was influenced by religious teachings, the teachings of Ibn Arabi, and following the example of the poets before him, and tried to explain the issue of glorification in his works, especially in Haft Orang. In the present study, an attempt has been made to analyze this view using the descriptive-analytical method, while expressing the views of commentators, theologians, and mystics. It can be said that he has divided the glorification of beings into verbal and non-verbal aspects. The glorification of beings can be understood only by senses and imagination, and the companions of discovery can hear this glorification with the help of the senses. But, non-verbal glorification is understandable by the inner ear of the senses. In fact, Jami’s prominent difference from his predecessors is in the analysis and explanation of the mysteries of how creatures glorify, apart from the type and method of reasoning of creatures with the power of imagination.

The glorification (tasbih) of creatures is one of the important topics in Islamic sources, which has also had a wide reflection in Persian poetry and literature. Of course, there are different opinions in Islamic, literary, and mystical texts and sources about the nature of glorification and how to listen to it. It is one of the most important and challenging religious, mystical, and literary topics because what and how to perform glorification and whether it is in the verbal language remain unknown. Jami is one of the poets and mystics who have had a special look at this category.
Jami Khatam, one of the great poets of Persian poetry in the Iraqi style, in addition to the variety of Persian poetry and prose formats, has also followed his predecessors in terms of content and theme. He is one of the most prolific writers and his works in both literary and mystical sections include Divan Poems, Haft Orang, Nafahat Elans, Naqd al-Nusus fi Sharrah Naqsh al-Fusus, Lawaih, Rayy al-Ma'at, Evidence of Prophethood, etc. (Afsahzad, 1999, p. 35; Danesh Pajoh & Mokhtarpour Ghahroudi, 2008, p. 12-45; Modaberi, 1990, p. 7-8; Safa, 1989, p. 347-348 ). In his works, especially in Haft Orang, he tried to answer the mysteries of the glorification of beings using his religious and mystical teachings, along with the thoughts of Muhyiddin Ibn Arabi.
In this regard, the present study aims to investigate the glorification of beings and their intelligence in Jami’s Haft Orang. The three research questions posed in the study are as follows:What is the nature and essence of the glorification of creatures and the way to listen to it in Islamic, literary, and mystical texts and sources?
What was the quality of the glorification of creatures, especially their verbal glorification in Jami's works? And what is his view on this matter?
In his works, especially Haft Orang, how has Jami responded to the mysteries of the glorification of creatures by using his religious and mystical aphorisms?

Review of the Literature:

A review of the literature reminds us that the issue of the glorification of creatures is one of the most challenging religious, mystical, and literary topics. However, there are some studies in this regard. For Example, Aram (2011) investigated cosmic consciousness and glorification in the Qur'anic and literary views. In another study, Mohammadi Sheikhi and Fereidunpour (2016) examined the generality of the true glorification of creatures in the epistemological geometry of religious thought. Moreover, Seraj and Mansouri (2017) provided a philosophical explanation of the issue of the glorification of beings from Mullah Sadra's point of view. They have established three arguments for the generality of the glorification of creatures in the universe based on their knowledge, awareness, and their own special language. The issue of glorification can be examined from different perspectives, including the interpretations of the Holy Quran, theologians, philosophers, and researchers of natural sciences, mystics, and mystical works. To the best of the authors’ knowledge, there are few, if any, studies investigating the glorification of creatures in Jami’s works. Jami, following his contemporaries and poets before him and also influenced by the school of Ibn Arabi, considered all creatures, including plants, inanimate objects, and animals, without exception, to glorify God Almighty. According to Jami, only the Lord of Revelation understands the glorification. He did not consider the speech of inanimate objects, plants, and animals to be necessary for speech and says: Just as God Almighty is able to speak without words and expressions, He has granted such speech to all the creatures of existence, including inanimate objects, plants, and animals. Jami believes in both kinds of glorification (i.e. verbal and non-verbal) of beings, as he mentions them in Haft Orang. 

In this descriptive-analytical research, an attempt has been made to analyze Jami's different views on the issue of the glorification of creatures and its types in Haft Orang, as well as the quality of this glorification from his point of view, while expressing the perspectives of commentators, theologians, and mystics.

The verbal glorification of beings is one of the most important issues that have been discussed in Islamic works, as well as authentic mystical and literary sources. Jami, one of the great poets of the 9th century, also paid special attention to this issue and in his Haft Orang by referring to the principle of "All things are incomparable and non-comparable". He considered all beings to be connected to the divine essence; there should be no similarity between God and creatures. Therefore, the necessity of attributing the creatures to the source of the absolute consciousness of existence, that is, the Almighty God, has led to the consciousness of the creatures. By knowing their consciousness, it can be concluded that they are perfect. Jami, in Haft Orang, influenced by the teachings of the school of Ibn Arabi, considers all possibilities in the system of existence to be glorified and masculine, and he believes that this glorification is realized in a real way and with the language of ‘Qal’. But not everyone is able to understand these conversations.
In analyzing and explaining the glorification of beings, Jami followed the examples of mystical poets before him and tried to depict the verbal glorification of beings after their creation in Haft Orang. But in order to distinguish his opinion from others, after dividing the glorification of beings into two verbal and non-verbal forms, he admitted that glorification without words or formation (presence) is acceptable by any common sense. Moreover, he divides verbal glorification into two categories. In the first category, only special people (discoverers of the nature of the universe) are able to understand this glorification through reasoning and analogy. In the second category, it is understandable through imagination and with the help of the inner senses. In other words, the only prominent difference in Jami’s view, despite his pure imitation in the analysis and explanation of the glorification of beings, is the glorification of beings with the power of imagination. Otherwise, one can easily trace the thoughts of Ibn Arabi and great poets such as Molavi, Attar, and Sana'i in Jami’s works.

The image is the relationship between the outer world and the inner world of the poet and the artist. An image in poetry is an equation between two phenomena, for example between likeness and likeness, the purpose of which is to prove beauty or proportion. Allusion is one of the rhetorical techniques that is used for the effect of words and is based on analogy and proportion Jami is one of the leaders of Iraqi style poetry who has made significant use of allusion. He uses simile, metaphor, allusion, irony, etc. He has created beautiful images in poetry, especially in ghazal, using allusions. The most prominent allusions of Jami in Ghazal are: Qur'anic allusions and allusions and the story of prophets, historical-story allusions and mythological allusions and allusions. Using descriptive-analytical method, the authors examined Jami's semantic and visual attitude in sonic allusions.To express his thought, Jami has used important mystical concepts such as "unity of existence, manifestation, poverty, annihilation, etc." and also using literary industries such as:"simile, metaphor, ambiguity and irony, etc.".

Like literature, architecture has a bond with symbols, mysteries, metaphors, mystical concepts, socio-cultural mentalities and etc. and like literature is considered one of the most outstanding displays of the culture and thoughts of nations in different periods. In fact, words, elements and idioms in architecture are considered as one of the inspiring, artistic and array making tools for poets and writers. Extracting, studying and assessing buildings that are mentioned in poetry and writings of Persian literature, helps to know the architectural styles of different periods and to illustrate the ambiguous parts of Islamic and Persian history of architecture to a large extent. The period under study in this article is the Timurid period which it's most important characteristic in its architecture, is related to the decoration of its buildings and in this view this period is considered to be one of the most important periods of Islamic architecture. On one hand results of this research are an indicator of the usage of decorations like “Muqarnas, plastering, engraving, calligraphy and inscription, goldsmithing, woodcarving and shamseh” in architecture in Timurid period, and on the other hand are an illustrator of the manner and amount of usage of these decorations in the creation of literary arrays in poetry of this period. This article is prepared using the library and interpretation and analyzation method. Surely literature is one of the most important resources of discovery and extraction of kinds of decoration used in architecture in different periods. and architectural decorations are also considered one of the most beautifying tools in literary texts. So, study of important works of poetry and writing remaining from the Timurid period, especially Jami's poetry is very important in this view.

Sufism in the specific sense means finding the truths of things through discovery and intuition. In fact, cognitive mysticism depends on the spiritual state and is not described, and is directly related to the Absolute Being and is manifested first in the human soul and human essence, and secondly in human actions and behavior. The use of representations and symbols to express delicate and complex Sufi concepts was common among the Persian mystics and poets in the early periods of Islamic mysticism, in particular Maulana Abdul Rahman al-Jami, as one of the last great poets of that period. The appearance of “water” had a clear and high place in the mystical stories and tales of these great people as it was used as a symbol of “knowledge”. The influence of this issue is quite noticeable not only on the poets of his time but also on the poets of our time. We aim in this research to study the impact and reflection of this thinking on the thought and poems of the contemporary poet Sohrab Sepehri as one of the most creative Sufi poets. In the poem "The Message of the Fish", Sohrab reproduces the word "water", which is the symbol of "knowledge", in Islamic mysticism in the best possible way and beautifully. Since Sohrab's Sufi thought, in addition to Iranian Islamic mysticism, is influenced by other schools of thought, especially Buddhist mysticism, this interest will be very important and worth considering.

Analysis of human social behavior and interaction with others is a fundamental issue in social psychology. Since literary works and anecdotes are reflections of interpersonal actions and reactions of the existing realities in human societies, it is possible to analyze social behaviors and interactions in different societies through the analysis of the relationships between characters and their dialogues. Using descriptive-analytical method and the desk research approach, the present study analyzed Jami’s Haft Awrang, a book replete with anecdotes and allegories. We utilized the theories proposed by social psychology theorists such as Otto Klineberg, Elliott Aronson, and Baron. The findings of the study revealed that the five components of mass communication and persuasion, conformity, attraction, aggression, and prejudice are more outstanding than other components in Jami’s Haft Awrang. Consequently, we can say that the structure of many social psychology components corresponds to the traditional concepts and frameworks of anecdotes, and the social beliefs and intellectual forms of society play an obvious role in the emergence of each component.

From the past until now, the position and image of women in Persian literature has not been the same and in different historical periods, manifestations of feminism and misogyny can be seen in literary works. Jami, as one of the poets of the Timurid period, has introduced different manifestations of women in his poems. In this research, with a descriptive-analytical method, the contradictory view of Jami's view about the appearance of women in the two Masnavi of Lily and Majnoon and Salaman and Absal is investigated. The purpose of this article is to analyze femininity (Lily and Majnoon) and misogyny (Salaman and Absal) in Jami's poems. Examining the image of women in these two Masnavi shows two opposing views in Jami's works, as in Lily and Majnoon it presents a positive image of the characteristics of women such as the manifestation of the divine spirit, wisdom, loyalty, chastity, etc., and in Salaman and Absal, the woman. He has introduced a deceitful being, imperfect of intellect, a means of seeking men, unfaithful, an infidel of blessings, ill-tempered and ignorant. Although sometimes in Lily and Majnoon we rarely see misogyny from the language of slanderers against Lily; This can be both the political, social and cultural context of the Jami period and his personal views on misogyny and the glorification of storytelling and symbolism.

The Timurid period is a period in the history of Iran in which women do not have a favorable position. Jami, one of the prominent poets of this century in Haft Aurang, has a dual and often negative approach to women in referring to the women of his Masnavi; In contrast, the situation has changed during the constitutional period. In the Malek osh-Sho'arā Bahār’s poets, this change of attitude and improvement of the position of women can be clearly seen. This can be related both to the political and social conditions of the poet's age and to his personal view of women. Analytical-descriptive study shows that Jami in Leili and Majnoon presents a positive image of female characteristics such as beauty, loyalty, intellect, etc. introduced as a liar and lustful. This dual approach is also observed in the Malek osh-Sho'arā Bahār’s poetries, with the difference that a positive attitude towards women is more prominent. Woman is not only mentioned as a mistress, but also the rationality, personality and humanity of women In Malek osh-Sho'arā Bahār’s poems.

This article seeks to explain the political views of two famous mystics holding different mystical views than those of Khanghah-Sufis, Jami (9th century AH) and Najm al- Din Razi (7th century AH), through the study of their anecdotes, Haft Aurang and Mursad al-Ebad. Although entering the realm of politics and affiliation with the court has long been a point of contention for intellectuals and mystics, mystics like Abd al-Rahman Jami and Najm al- Din Najmuddin Razi have provided advice for improving the state of the society. The political aspirations of these two mystics can be examined from four perspectives: how the king was elected, the religiosity and policies of the king, how the oppressed of the society were organized, and criticism levelled at the government's policy for earning money. This descriptive study, by citing representative examples from Hafte Aurang stories and quoting the teachings of Najm al- Din Najmuddin Razi, seeks to examine the political ideals of these two mystics, who lived in two different social conditions, so that the differences between the roles played by them and the reasons for their involvement in the political activities could be determined. The results of this study show that due to different social conditions in these two eras, there are fundamental differences in the political thoughts of these two mystics of the 7th and 9th centuries AH.

The nineteenth - century mystic poet Jami used two hundred anecdotes and allegories to express ethical, educational, and mystical themes in Haft Ourang.Of these, there are eleven anecdotes in the AttarMosibat-nameh. One way of measuring the power of the poets' creativity and style is to compare and contrast their fictional allegories. In this study, have compared and compared eleven common stories of the Haft Ourangs and the Mosibat - nameh based on personality traits. Attar sometimes criticizes Wonders, sometimes by expressing moral delicacies, from the language of the insane to the instruction of kings and tyrants ruling the people, using his personality and personality in the anecdote to explain his creativity.  He has used the intentions of his thoughts. The results show Attar's superiority, power and creativity because he has made the most use of the personality element as a fundamental tool in explaining his intentions and thoughts.

Cryptography and the use of code in narration are among the common methods of the writers for indirect conveying the message. In cryptographic texts, the text is meaningful both at the level of the appearance of the word and at the secondary level of signification. From this point of view, narratives that have a similar narrative structure will naturally have similarities at the level of meaning and signification. "Salaman and Absal", "Sheikh Sanaan and the Christian Girl "and "King and Maid" all have symbolic narratives, and we find many similarities by comparing the signification of these three stories. The story of Salaman and Absal is a narrative of the man's strange identity in the material world and his evolutionary path in the ascending and descending circular path. This circular movement is also seen in the story of Sheikh Sanaan and the King and the Maid. In all three stories, after virtual love of the seeker, he reaches the life of goodness and spiritual growth. The deterministic nature of this movement is represented in all three stories. In these stories, there is potential perfection at the beginning; however there is a veil between the right and the hero from old times, which is removed by passing through homes.

Any text linkes to the mind of the audience and the world by paratextualites. Nafahat ol-ons is including Jami's prose works which has the ability to be survey paratextuality. In this research, Nafahat ol-ons's paratextualites were identified and divided into two categories according to the genette's theory and investigated. The outer and inner elements of paratextualite in Nafahat ol-ons have been formed proportionally and fit with main text. On one side, each of these paratextualites deep down the audience's understanding and realizing and on the other side guide the audience how to use this work. Different people have created this elements, including author, scribe, publisher, editor and andandother critics, researchers and writers that of all these, author and editor have a great role in thetext readings. Also critics, researchers and writers have presented other paratextualites in various formats, have provided the possible of more communication with the text and its advertising and criticism. The maximum number and most important outer paratextualites of Nafahat ol-ons related to the time that this book was written.