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

This research aims to analyze and investigate the two-way relationship between love and morality in the character of women of Khosrow's and Shirin Nizami's systems in a descriptive-analytical way and with a library method. By examining the poem of Khosrow and Shirin, we can conclude that this poem is based on the love between people and the topic of ethics and moral virtues has a high position in this story. According to the structure of the story, Nizami has written the story in a suitable format for indirectly projecting ideas and teaching moral issues to the readers.

Symbolism is a literary approach that uses symbols, including words, people, signs, places, or abstract ideas, to represent something beyond their literal and real meanings in the real world. The purpose of this article comparatively compares the similarities and differences between the concepts that related to the metaphorical and the mythological symbolism of the symbol of " Lion" in Shakespeare's "Othello" and "Hamlet" and great and lyrical work Nezami's "Khosrow and Shirin."
The present paper shows that the use of the mythical symbol of "lion" in the expression of both authors includes extensive and particular abstract concepts. In Shakespeare's Hamlet, this symbol has associated with the concepts such as madness, anger, revenge, hatred, and in "Khosrow and Shirin" with glory and grandeur. In the book "Othello" Shakespeare used the symbol of the lion in a different way as a social strategy.
An analytical and descriptive study of the symbol of the lion shows that the symbolism of the "lion" has helped writers persuade the reader to understand their mentality and accept fictional characters. In addition, we see that the authors have pursued common rhetorical goals in brevity and exaggeration; the symbol of the " Lion " beside its conventional meanings among different societies, in the works of these two writers, has its similarities in their use.

Humor has been a consistent presence in Persian literature since its inception, serving as a literary device for political and social critique, as well as a means to imbue works with a lighter tone. Nezami Ganjavi, a pioneer of satirical writing in the 6th century, utilized satirical techniques to not only critique the social, cultural, and moral milieu of his era, but also to infuse his narratives with an element of amusement. In his poem "Leyli and Majnun," the incorporation of humorous verses serves to alleviate the somber narrative and engage the audience. The rhetorical framework governing the work has provided a platform for humorous discourse and expression. Utilization of identification and simile as prevalent literary techniques within this framework has given rise to situational humor. Additionally, wordplay, a hallmark of the 6th-century (Arrani) style, has been extensively employed, contributing to verbal humor. Etiology and paradox, two other devices, have frequently contributed to tempering the story's solemn atmosphere. The humor in Nezami's works has been subtly interwoven within the layers of language, often evading immediate recognition, thus adding a touch of subtle irony to his verses. 

verse by Amir Khosro DehlaviAbstract:In the poem Shirin and Khosro by Amir Khosro Dehlavi (born: 651 AH, died: 725 AH), which was collected in imitation of Khosro and Shirin Nizami, there is a verse as follows:I am a subservient for your slaves to worshipThis verse in Shirin and Khosro, which was edited by Ghazanfar Aliyev and published by the Institute of Asian Nations in Moscow (1961) and also in Khamseh of Amir Khosro Dehlavi, which was revised by Amir Ahmad Ashrafi (1983), is the same as mentioned, means, in that verse, the above combination "Religion" is stated.In the present research, which was conducted in the field and in the library, this researcher faced the question of whether there was any revision in the above work or not? Because the key words of this verse such as "servant", "subservient" and "maid" do not have a precise semantic relationship with "ritual worship or religion".On the other hand, in the three manuscripts of Amir Khosrow's khumsa in the library of the Islamic Council, instead of religion-worship, low-level worship is mentioned to prove that it is a valid combination that Amir Khosrow borrowed from Nezami, but due to the low prevalence of this combination in Persian literature and the closeness of the writings of ritual and low in the manuscripts, it was corrected or distorted by the hand writers.

Various celebrations have been held in Iran since ancient times; Among them are the celebrations that were held in each month, on the occasion of the symmetry of the name of the day with the name of the month, and each of them was accompanied by special customs. Many of these celebrations are forgotten today and are no longer held, but their traces and reflections can be found in the works of the past and classical poets; Among the poets of the Azerbaijani school. Accordingly, this study reflects the Iranian celebrations and related rituals in the poetry of the poets of the Azerbaijani school (with emphasis on Mujir al-Din Bilqani, Nezami, Khaghani and Falak Shervani). According to the findings of this study, among the ancient Iranian celebrations, only four ancient celebrations of Nowruz, Mehregan, Sedeh and Yalda are reflected in the poems of Azerbaijani poets and other ancient celebrations such as: Abangan, Bahmangan, Esfandgan, Tirgan and… have not been reflected in the poems of these poets. Among these four celebrations, Nowruz celebration had the most reflection in the poems of Azerbaijani school poets and Century celebration had the least reflection among their poems. In total, Nowruz celebration has been repeated 71 times in the poems of these poets and only five times the celebration of the century has been mentioned. The reason for this is the great importance of Nowruz as the most important national holiday among Iranians. This research is a theoretical and library research.

During the 6th century, Nizami was a well-known poet who had a significant impact on the emergence of the Persian sonnet, especially in its romantic variation. Although Nizami gained widespread fame and admiration, many of his sonnets have been disregarded. Comparable to other Persian poets, Nizami composed sonnets on specific occasions in addition to his celebrated poems, which frequently delved into subjects like love, being, and inebriation. Many articles have been written about Nizami's poems, but his sonnets have not received as much attention from scholars. Some researchers may believe that his sonnets are not as worthy of analysis compared to his Khamseh, or they might not consider them significant enough in terms of form and content. However, Nizami has exhibited his extraordinary artistic talent in crafting sonnets, much like his exceptional Masnavis. His careful word selection, artistic imagery, and suitable concepts have resulted in delightful and captivating poems that have garnered praise from prominent figures in Persian literature. The concept of intertextuality, which explores how different writers' works influence each other's ideas and perspectives, is currently a popular topic among scholars.

 Given the similarities in intellectual and language style between Nizami and Hafez's poetry, it is worth investigating the connection between their sonnets and other literary works. By examining Hafez's poetry, especially his sonnets, it is evident that Nizami's sonnets have influenced Hafez's literary style in various linguistic categories. Intertextuality plays a crucial role in the formation of texts, and it often creates a variety of voices and dynamics in a text. No text can be completely independent of intertextuality. Therefore, poets and writers can draw inspiration not only from previous works but also from their future works. This inspiration can manifest in different forms, such as structure, framework, external structure, word choice, sentence structure, or even descriptions. Despite Hafez's exceptional poetic skills, he still incorporated the words and ideas of his predecessors into his work, and Nizami was one of the poets who significantly influenced Hafez's work. By examining Hafez's poetry, we can comprehend how Nizami influenced both the extratextual and intratextual components of Hafez's work.

"Extratextual communication" refers to the external relationship between texts. By comparing texts, we can identify these connections that exist outside of the texts themselves. This type of connection is the impact that one text has on another in terms of structure. This can be observed in the sonnets of Hafez and Nizami, where the influence of Nizami on Hafez's sonnets is evident due to the strong connection between them. While it's possible that Hafez was influenced by other writers, it's essential to identify the most impactful factors that played a role in shaping his work. This type of similarity is primarily found in the musical dimension of poetry, such as weight. However, sometimes the thematic content of the verses can also play a role alongside the musical and phonetic aspects. The following are some examples of intertextual signs that can be observed in both the internal and external aspects of certain verses written by the two poets: the use of the same weight and rhythm, the same format and rhymes, common vocabulary and combinations, similar similes, and common themes.The term "intratextual communication" refers to the relationship between different parts of a text. In this context, it pertains to the influence that certain words and their meanings have on each other within a text. Sometimes this influence is accompanied by musical harmony, while other times it is not. Here are some examples of intertextual signs that can be observed within the inner aspect of the verses written by two poets: the use of similar allusions, common images, shared similes, comparable interpretations and descriptions, and debates.

A thorough analysis of Nizami and Hafez's sonnets illustrates the degree to which Nizami's poetry served as a source of inspiration for Hafez. Hafez ingeniously utilized Nizami's poems to craft even more exceptional and articulate verses, showcasing his own creative prowess. The study's findings indicate that: 1- The interaction and correspondence between the texts of these two poets is not only based on linguistic and semantic aspects, but also due to the similarity of cultural context and shared stylistic features, which can be observed in both intra-textual and extra-textual communication. 2- Hafez was influenced by Nizami's sonnets in terms of their weight, rhyme, line structure, and other musical components. 3. There are evident connections in the field of intra-textual communication (infrastructure) between these two poets, including themes such as love, ruins, etc., which were influenced by the prevalent lyrical literary traditions of their time. 4. In some instances, Hafez incorporated Nizami's verses into his own work with little to no modification.

One of the cases of the use of Contradiction and Paradox in literary works is the description of the lover and the beloved, Because the power of love is beyond what can flow in the normal speech of the language. To describe the concept of love poets and writers go beyond ordinary language to better express the state of the lover and the beloved. In this research, an attempt has been made to answer this question by using critical discourse analysis and Fairclough's three-dimensional model, what is the role and position of Contradiction and Paradox in expressing the state of the lover and the beloved .The result of the research is that Contradiction and Paradox are evident at all levels of Fairclough's theory. The use of Contradiction and Paradox to express the state of the lover is more than the beloved. The gender difference makes the poet use different methods of contradiction and paradox to describe the lover and the beloved. The male sex has more power than the female, and the poet uses a more obvious contrast, But because revealing the issues of love for the female gender is against the custom, he uses contrast

Rhetorical forms are important elements of semantics that, in addition to linguistic functions, have a tremendous effect on the outcome of meaning. Ferdowsi and Nezami are so intertwined with word and meaning that on the one hand in linguistic richness and on the other hand reinforcement of meaning is very important. Irony is one of the forms of expression and artistic style of speech and usually has a high frequency in the poetry of poets, and military and Ferdowsi speech and poetry are no exception to this rule. The purpose of writing this article is a comparative study of irony in Khosrow and Shirin Ferdowsi and Nezami. The research method is descriptive-quantitative. The results showed that the number of allusions in Khosrow and Shirin Nezami is far more than the allusions of Khosrow and Shirin Ferdowsi. The irony is more than the verb in the military work and Ferdowsi has used the irony of the name and adjective more in this. The reflection and frequency of cryptic allusions, implication and elaboration are low in both works, its percentage is very low in Khosrow and Shirin Nezami, but no frequency was found in Khosrow and Shirin Ferdowsi.

Musical Terms Ambiguity Techniques in Assar-e-Tabrizi in Comparison with Nezami andHafizAbstractBeing correlatives, poetry and music have always had an ancient affinity standing the question of time, even though over the course of centuries each has evolved into an independent field. In some poets, ambiguity stands out as a literary device and due to the use of ambiguous words and sentences attracts the special attention of many others to the point of dictating itself as a signature feature of style, and still more so when it blends with music to take the reader by wonder and surprise. Assar-e-Tabrizi is a poet, beside a few others, to have achieved perfection in using the technique. In this study, all the lines in Assar's couplet, The Sun and Jupiter(Mehr Va Moshtari) and the poems of Khosrow and Shirin composed by Nezami, were carefully examined in search of instances of musical ambiguity to be compared and contrasted with the sonnets by Hafiz, that is the three poets were contrasted. Findings show that Assar and Hafiz have a lot in common when it comes to musical ambiguity, with Assar making a few innovative moves absent in Hafiz, the term "Shahnaz" being one such move. In fact, the claim can be legitimately made that concerning ambiguity and in particular, musical ambiguity, Assar is as great and distinguished a poet as Hafiz and he has used these literary items more than Nezami.Keywords: ambiguity, Assar, Hafez, musical terms, Nezami

Saqinameh is one of the literary types that many poets have experimented in saying this type throughout the history of Persian literature. Nezami and Hafez are the most famous narrators of Saqinameh, and other Saqinameh speakers have all adopted these two models in writing this type of poetry, as generally those who have recited their Saqinameh as part of their poems have been influenced by Nezami, and those who have written Saqinameh independently or with social issues and dominant Khayami thinking have been influenced by Hafez. Of course, Hafez himself is influenced by Nezami in this poetic style. Hafez had a very Nezami opinion both in the construction and in the content and meanings of Saqinameh and Moghaninameh. In this article, we have compared Saqinameh and Moghaninameh of Hafez with Nezami in a precise way and free from generalizations.One of the important results of this research is that Hafez's effectiveness of Nezami's Saqinameh, contrary to everyone's opinion, and as shown by similes, metaphors and paradoxical concepts related to May and its essentials in all of Hafez's sonnets, is seen more in his sonnets than in his Saqinameh; Another thing is that, contrary to the generalization of some writers, Hafez was influenced by Khaju in past compositions and memory and by Eraqi in regard to the mystical concepts and independence of his Saqinameh, and between Hafez and Nezami's Saqinameh, despite many similarities, there are also differences that this writing style Analytical and descriptive has also dealt with these cases.

In narrative poems, poets use the structure and elements of narration in order to create an attractive and attractive narrative. A narrative can be considered as a representation of an event or a series of events. Narratology as a science that analyzes the narrative structures of a narrative as a report of facts in an artistic form. The study of narratology of classical texts, especially narrative and story poems, is a new horizon in front of the audience. Based on this, the main goal of the upcoming article is to use Roland Barthes' narratology theories to analyze and analyze Nezami’s works as one of the story treasures of Persian language and literature.

The research method in this thesis is descriptive-analytical with the main narratological approach.

In the narrative pattern in the story structure of Khosrow and Shirin, Leyli and Majnoon, and Haft peykar from a balanced to an unbalanced situation, we are faced with various main and secondary developments, mutual actors, and many mediating profiles and functions. In all the stories, a complete transformation has occurred in the narrative and the main and secondary achievements of the story have appeared in the way of internalization and chain.

The research results indicate that the structural pattern of Khosrow and Shirin's narrative begins with the change of balanced to unbalanced conditions with a complete follow-up. The main story of Khosrow's and Shirin's love for each other, which includes the secondary stories of Khosrow's love for Maryam, sugar, royalty, and Farhad's love for Shirin. The mutual actors of the story, including the confrontation between Farhad and Khosrow, and Maryam and Shirin, in the end, the final whirlwind of developments, namely the death of Khosrow, the loss of the monarchy, and the death of Shirin, ends. The main development of the story of Leyli and Majnoon is the love of these two lovers for each other, which, along with secondary developments such as the beginning of the madness and madness of "Qais", the marriage of Laili with Ibn Salam, the death of Ebn-esalam, the proposal of the father of Qais to Leyli is the main core of the death of the two characters and the main actor. ends The contrast between Lili's love for Majnoon and her indifference towards Ibn Salam is one of the main action levels of this story. In the Haft Peykar series, the main achievements such as Bahram's accession to the throne, finding a room with seven figures of beauties, and bringing seven princesses from the seven regions of the world to Iran are depicted.

Sacred stories which rooted in man's beliefs subconsciously affect his way tells stories. One of these stories is the story of Adam, which is described in detail in the Abrahamic religions, especially Islam. This story has affected the mind of Nezami; so that he has composed the story of the black cloth king of Haft Peikar poem. In this research, we decided to study and compare the common motifs and similar characters of the two stories of the black cloth king in Haft Peikar of Nezami and the story of Adam in religious and literary narrations by descriptive-analytical method. After examining these two narrations, we 1- Similar place 2- Pleasure or sin 3- Tree 4- Fate. The similar characters in the two stories are: 1- God and Torktaz: They have brought the heroes closer to themselves without any acquaintance. 2- Butcher and Azrael: They are the two people who have severed the connection between the hero and the material world and have accustomed him to a world full of pleasure for a while. 3- King and Adam: These two have eight common features: Getting away from their homeland, following the passion, ascension and so on.

History of Iran is full of rich literary resources that it has noticed different dimensions among combat and festivity. Among these books are Eskandarnameh's manuscript and Ferdowsi's Shahnameh and one of these subjects that according to being epic important parts of these large books has in it an impressive presence, is ceremonies and techniques and combat instruments. Therefore prepared research that is in looking to review adapting the use of war instruments in Eskandarnameh's manuscript and Ferdowsi's Shahnameh. (a case example of Bysanghari's Shahnameh and Nezami's Khamseh with Antarat Ibn Shaddad Arab poet and warrior. After expanding conceptual space about research subject, they will study the subject of war instruments and their application. According to thematic documentation provided in this research, research method, descriptive - analytical and information gathering method in this article is a library. Findings of this article show that in Ferdowsi's Shahnameh like other poets benefits of the application of war instruments and tools, and in this regard, it combines courage and bravery with love and affection. According to Eskandarnameh and other Nezami's works this truth is clear to us that Nezami has had perfect acquaintance with kinds of martial, festive instruments and weapons of war. Antarat-Ibn-shadad is the best poets of the age of ignorance and one of the composers of “Moalaghat”. His poems have significant beauty and elegance. Therefore, his poems are in three levels of semantic, syntax and harmonics

Semiotics, as an emerging science, studies the signs in nature and examines their effects on the natural, social, and cultural relations between the humans.  This nascent  knowledge  can  be  analyzed  and  studied  using  sciences  related  to  the signs and the process of communication. Body language is one of the sciences that deals with communication between humans without establishing words and only through body movements.  In  this  study, we  examine  a  number  of verses of  Haft  Peykar,  which  is  a  symbolic  work full  of  signs.  Haft Peykar is Nezami’s masterpiece in which he uses body language and semiotics. According to the  results  obtained,  Nezami’s  Haft  Peykar  often  deals  with the general movements  and  postures  of  the  body  which  are  a  kind  of  code related  to  the period of composing the work and the habits of the people of that time. Studies show  that  nonverbal  communication  and  semiotics,  as  two separate  bodies  of knowledge,  can  influence  each  other  with  many differences.  In  addition,  by making  a  connection  between a  literary  subject and  two  social  sciences,  it  is possible to better understand the concept of a literary work.

The present study is a comprehensive study of Qais ibn Amer, the main character of Layla and Majnoon of Nezami who, due to his unusual and irrational behaviors, led us to investigate his character with the help of personality theory of Raymond Cattle. This theory tries to describe the traits of a person that guide his behavior. “Perhaps the most distinctive feature of the theory of traits is its emphasis on the traits that make up a person's personality”. “The theory of traits emphasizes that the personality of each person can be described according to his traits” (Shojaei, 2010, p. 130). Cattell considered the adjective as a psychological structure that is inferred from observing a specific human behavior and is responsible for the order and continuity of this behavior” (Shamloo, 2003, p. 174). According to the above explanations, it should be said that “the main axis of Cattell's theory is the distinction that is made between two types of formal traits and basic or deep traits. Formal attributes are obvious and superficial and their duration is very short, and deep attributes are the source of formal attributes and the real causes of human behavior. These traits are enduring and are more important to Cattell and they are in two categories: natural traits that are inherited and environmental traits that are obtained through learning and education and are the result of the environment” (Karimi, 2005, p. 150-151). “Cattell divides traits into three categories based on how they manifest themselves as dynamic traits, traits that move a person toward a goal; ability traits, traits that show a person's talent, ability and ability to achieve a goal; and mood traits, traits that show characteristics such as energy, emotional response, speed of reaction and speed and motivational strength” (Shamloo, 2003, p. 74). He considers human reactions to be due to two deep and dynamic attributes, which play a motivating role.


This research has been done by analytical-descriptive method. In this way, we have first studied the basics of Cattell's theory from books related to the subject of research, then we have extracted the evidence of each of the main topics from Layla and Majnoon and we have examined each of them in detail. Finally, with a logical conclusion, we psychologically analyzed the personality of Qais ibn Amer for the audience.


The science of psychology helps us to better understand people's personalities, and this is very effective in improving the emotional relationships between different people in various fiction books. One of these people is Qais ibn Amer, the character of Layla and Majnoon of Nezami who has certain moral characteristics. To advance this, we used Cattell's theory. By studying the story of Layla and Majnoon and using the above theory, we found Majnoon as a quiet and withdrawn person who does not show any sign of being social throughout the story. He was an anti-social person who, from an early age to a time when he was studying at school, became attached to Lily, which provided more space for Majnoon to withdraw from society. Also, according to the content of the story and the study of Majnoon's character, we found that the components making Majnoon an intelligent human being do not exist during the story, and this is mostly due to the love that gripped him at the very beginning of his intellectual maturity. He has completely unnatural reactions to behaviors and issues and problems. An example of this trait is found in Majnoon's character when his father argues with Layla about his love and starts advising Majnoon about it, but Majnoon forgets his father's words in an unusual behavior, this forgetfulness in such for a short time, it seems abnormal and indicates a disorder in majnoon intelligence. In most cases, he cannot control his emotions in terms of stability and excitement, and cries when he hears the slightest news. The character we are studying is a domineering person, and not only he does not have any objections to those who have dominated him, but also the person himself strengthens his ability in him, and this factor causes the person to give up the effort. Majnoon is also morally carefree. This carelessness is more related to social issues and customs, because love has dominated him in such a way that he completely withdraws from the surrounding events and is careless about them, but he is expedient towards a human being and his actions are more based on benevolence and he does it out of charity. An example of this type of behavior can be seen in freeing a deer from the hunter. Majnoon, seeing a rope around the neck of the hunter, takes pity on him and buys the deer from the hunter in front of his horse out of benevolence and charity. In terms of personality, Majnoon has an arrogant personality that insists on his affairs and desires, in which he not only is not afraid of anyone, but also acts very boldly and courageously. A clear example of this can be seen in the story when Majnoon's father takes her to the Kaaba's house so that he may give up Layla’s love, but Majnoon stubbornly asks God not only to take Layla’s love away from him for the rest of his life, but to take it from him and add it to Layla’s life. In addition to the above, it should be said that Majnoon does not have a skeptical personality, but his behavior indicates a gullible human being who easily believes in the behavior of others and stands by these beliefs. While being gullible, he is very frank and openly declares his desire, and in this regard, he is not afraid of anyone, which shows that he is fearless, and in most issues, he is not afraid of dangers and problems, and with open arms they are welcomed. However, he relies more on others in his actions and promotes his behavior and actions by relying on others. Behaviorally, he has a very disturbed and anxious personality, and examples of this behavior are evident throughout the story. A person who exhibits disturbed behavior does not have a patient personality, and most of his reactions are of the unpleasant type, which eventually leads to hasty and far-fetched behaviors. It should also be noted that Majnoon is a fearful and worried person, and his fears and worries in life are more related to the love he has been caught in since school, and this has caused him to run away from the facts and fantasize more than his companion in a way that he walks around the animals and talks to them.


Based on the above evidence, it can be said that Qais ibn Amer has many abnormal traits that take his behaviors away from positive traits and normal behavior and lead him to behaviors that are due to the depth of his emotions and these factors. It has caused the traits that can motivate him to advance to the goals not to be placed in the personality of this person enough and as a result he cannot act to get Layla himself and he is dependent on others to do so. Therefore, it can be said that this factor has caused the ability traits in this person to be completely weakened and open the way for mood traits leading to behaviors such as emotionality and unhappiness, and fear and worry in life and even anxiety and distress created in him and chain-linked these actions and behaviors as the result of the same acquired motivations that environmental conditions have caused it. Therefore, it can be noted that the frequency of negative and unusual actions of Qais is very high and leads him from an ordinary human being to a person with low intellect, which by analyzing and examining those behaviors based on Cattell theory, we see that Qais ibn Amer has a personality which was with dementia that this was inherently institutionalized in his behavior.

Literary types are one of the theories of literary sciences and include topics that are presented in the form of prose and prose with special technical characteristics. The main subject of literary types in a new way is the classification of literary works in terms of material and form. Accordingly, literary texts are placed in four categories of epic, dramatic, lyrical and educational literature. The classification of literary texts in this way, following the theory of Darwinism, first originated in Greek thought and was proposed by the likes of Plato and Aristotle. The division of literary works in classical Iranian literature has not been unprecedented; But what was considered in the past was the classification of literary texts based on appearance. The purpose of this article is to "study and analyze literary genres in Nezami works" by classifying the literary genres that are scattered in the works of poets. The main purpose of the present study is to determine the literary genres and sub-categories of each, as well as the influence of political, social and cultural situations on their application.

Library resources were used to get acquainted with the basics of literary types as well as descriptions of Nezami status and works. Then, by studying the works of the poet, the evidences of literary genres were extracted and after introducing each of the genres, they were examined and analyzed using the text analysis method.

In addition to the main literary genres, its sub-categories have been used in the works of this poet with great breadth and variety, which are: apologies, demand and request, Saqinameh, complaints, city of chaos, rejections, praise, elegy, Me’rajname, Mofakhere.

If we consider the types of lyrical-educational literature, epic-educational-, and educational-educational literature as subsets of educational literature, five Nezami treasures can be considered as successful examples of educational-lyrical, and educational-epic literary types. The existence of numerous subsets of literary genres in Nezami works is a sign of his breadth of vision and thought, as well as his poetic power.

Love is the main concept in "Khamsa of Nezami "to the extent that he considered love to be the essence of life and equated life without love to depression and death. Love in "Khamsa of Nezami" is the main pillar of creating the poetic stories. In this research, we have tried to evaluate the origin of mystical love in Persian literature by comparing the theme of love in Nezami's poems and poets before him. This article is done in a descriptive-analytical way, and the main question is, what role did Nezami play in creating the category of "mystical love" in Persian literature? The findings show that before Nezami, what was mentioned as "love" in literary texts, was generally introduced with regard to physical affairs and the description of the love affair between the lover and the beloved in the conditions of war and celebration. Nezami marked the main transformation in changing the view of physical love that It has been transformed into a mystical concept in Persian literature.

The critique of the archetype of literary texts is a valuable critique from an anthropological and epistemological point of view because it shows the depth of the poet or writer's thought. Nezami, the great Iranian poet, is one of the few storytellers who reflects on the psychological characteristics of the characters in his story and explains their stagnation and dynamism in connection with "Anima and Animos". In this article, the main characters of the two stories, Khosrow and Shirin and Lily and Majnoon, using Jung's archetypal theory, which is part of his theory of individuality, to examine the influence of men's feminine nature and women's masculine nature on their psyche has been. The relevant information is obtained using the library method and then described using the analytical method. These two stories show that Nezami, without being aware of Jung's theories, simultaneously emphasized the role of women in transforming men's personalities. This study shows that the women of the story, Shirin and Lily, of course, with the significant differences that can be seen in them, have been able to transform their men in such a way that at the end of the story, they become different human beings than at the beginning, have been become.

Hakim Nezami -Ganjavi, the greatest storyteller of Iran, has been indebted to the works of his predecessors in creating his unique masterpiece. As this valuable work is the result of "his connection and intellectual interaction with a large number of oral and written sources, historical and fictional texts, myths and legends". One way to access the "scope of study" and "breadth of thoughts" of the poet is to discover and identify the sources and sources of anecdotes and allegories that have been put in order.

Researchers have studied some of Khamseh Nezami"s stories in a descriptive-analytical manner and have obtained the poet"s benefit from previous texts according to their differences and commonalities.

Every valuable and unique work is undoubtedly the result of the owner"s intellectual connection and interaction with previous sources, which presents meanings with new words and beautiful, creative and artistic clothes. Khamseh Hakim Nezami, who is no exception to this rule, has adorned many of the stories and anecdotes of the previous texts in his own style and context and has arranged them with a little manipulation.

This research aims to obtain the sources and sources of military anecdotes - at least in the repository of secrets - as much as possible and pave the way for further studies; This research aims to obtain the sources of military anecdotes - at least in the repository of secrets - as much as possible and pave the way for further studies; One of the most important findings of this research is the direct military influence of some stories and allegories such as: "Biblical Bible", "Nahj al-Balaghah", "Blohar and Boudasaf", Udaneh Varga"s commentary, Jaini narrations,"Lectures of Literature and Conversations of Poets"Aqd al-"Ali al-Muqqaf al-"Ali", ", "Generalities of the Persian Works of Khayyam Neyshabouri", He also mentioned the indirect influence of "famous men", "Akhbar al-Nisa "", "Ferdows al-Hikma", "Al-Mull wa al-Nahl", "Siyasnameh", "Tabqat al-Sufiya", "Kashfat al-Mahjoub" and so on. the poet"s influence on "Sanai Hadigeh" and "al-Ahya al-olom" is significant and noteworthy.

The weekly story system is the fourth work of Hakim Nezami Ganjavi, a talented poet of the sixth century AH. The main subject of this work is the life story of Bahram Gore, from his birth to his disappearance, along with the various stories that are included in it, and among these stories are seven legends that are told in the language of the seven princesses. In this research, with the aim of showing military skills in storytelling, the issue of "narrative speed" in this collection of poetic stories has been investigated.

This research has been done in a descriptive-analytical manner.

The study of the speed of narration is to show how long the events and actions of the story occur in a literary work and how much of the story is assigned to them according to each time period.

The speed of narration is moderate in the whole system and the components of increasing and decreasing the speed of narration are used in a balanced way. Although a number of slowing factors are more in some stories and less in others, due to the artistic aspects and poetic language of this lyrical system, the artistic pleasure of reducing and increasing the speed of narration has helped to balance and moderate the story.