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

The currect research has mainly attempted to focus on the meaning of the phrase "tearing a garment/clothes/shirt in good reputation," which is explicitly mentioned in two verses of Hafez's Diwan. Despite being considered as ambiguous by the commnetators, attempts have been made to compare the related verses by examining the background of this phrase in the poetry of poets prior to Hafez and its presence up to date in the poetry of poets following him. Taking into account the multidimensional aspect of Hafez's thought, which is a distinct and sublime literary technique in poetry, he is the one who explored the various semantic aspects of this phrase. As Suggested by the author of this article, this phrase refers to the story of the tearing of the Prophet over Yusuf's shirt, which is also mentioned in the Qur'an. In this Qur'anic and mythological story, the way the shirt was torn serves as proof of Yusuf's innocence and good reputation. Furthermore, integrating amphibology brings about the garment tearing from joy in Sama and selflessness that is not related to having a good reputation, as well as the story of Yusuf's shirt. The existing and authentic descriptions of Hafez's poems and the references to Hafez's researchers have been thoroughly studied and analyzed in this research. The verses in question have been analyzed in a descriptive-analytical manner, relying on library studies.

Despite the passage of a century since the beginning of the revival and correction of manuscripts, only a small part of the exquisite and valuable treasure of lyrical stories has been printed and made available to literary friends, and perhaps great poets and writers who still remain in the veil of obscurity and obscurity. Ahsan al-Manzomah's Masnavi is an unknown work by an unknown poet with the surname "Piri", which is considered among the romantic and lyrical Masnavis of the 13th century. This poem is a detailed story about Yusuf and Zuleikha, as well as Jacob's love and affection for his son Yusuf the Prophet, which is written in imitation of Yusuf and Zuleikha Jami. The story revolves around the three axes of richness, mysticism and education, and the singer uses richness to make the story attractive, and wherever he finds a suitable place, he gives advice, teaching and expressing mystical teachings, and discredits and It reminds the audience of the boredom and difficulty of the world. The authors' effort is to briefly review its stylistic and content features while introducing this work.

Intertextuality is one of the new topics in literary criticism that deals with the relationship and interaction between texts. According to this theory, any text makes sense with the texts before it and no text is independent and conscious or unconscious speakers have benefited from each other's literary and intellectual sources. Intertextuality was first proposed by Julia Kristova, and later Geragent, as one of the most influential researchers in the field, developed this theory by examining his studies. Genet called his collection of studies transmittent. He divided the transtextuality into five categories, which are: intertextuality, paratextuality, hypertextuality, supertextuality, hypertextuality. Each of these five categories examines a type of relationship between a text and others. Among which intertextuality received more attention. This study has analyzed the effectiveness of the "Unseen Witness" manuscript of Abdolrahman Jami's "Yousef and Zuleikha" Masnavi based on the intertextual approach. The fruits of this research show that although these two works are completely different in terms of subject matter, but they have a lot in common in terms of text, verbal structure and narrative. And the author of "The Unseen Witness" has been influenced by Jami's thoughts and ideas in "Haft Orang", especially his "Bosef and Zuleikha", and intertextual relations are explicitly, explicitly and implicitly.

A large part of artistic creativity, especially in classical texts, is merely the creation of poems that shows the power of creation, imagination, and storytelling of poets. In the present study, considering Seven Bodies, Eight Heavens by  Khosroudhalvi, Yusof and Zoleykha and Leyli and Majnoon of Jami.  The results show that confirmation of acceptance, cause and effect relationships, story-by-story creation, and surprise a ending  are the characteristics of the plot in the Seven Bodies. Conversely, the stories of the Eight Heavens have strong causal and effect relationships, and the plot of the stories is to plot something and ultimately decipher it. There is no insistence on creating a knot in the plot of Jami's stories. The central characters of these poems are women, among whom the women of the week are very witty, fearless and thoughtful, and in contrast, the women of the eight heavens are lustful, cunning and treacherous. Women in Jami Collection are also passive and obedient to the power of men (kings, ministers, fathers, etc.). The Collection is given to describe the nature and setting of a special story in a picture in which Amir Khosrow pays more attention to the description of women and their betrayals. Jami's poems are the boundary between these two poets, and Jami's setting is proportionate and very effective in inducing the concepts desired by the poet.

The purpose of this article and its main question is to study the stylistic features of the poem "Merat Al-Mahboob" or Yousef and Zulaikha Fakheri Fasaei. Considering the poet's influence on theological teachings and the use of interpretations and religious aspects of the work, this work can be considered first influenced by the Qur'an and then the narrations, Torah and followers of the previous poems of Yusuf and Zulaikha such as Ferdowsi, Jami, Khavari Shirazi, and Azar Bigdeli. In this article, the stylistic features of the work in linguistic aspects, including the three levels of "lexical, phonetic and syntactic" as well as the literary and intellectual level are examined and its proximity to the style of the return period and the intermediate period (constitutionalism) is examined. . Also, the stylistic features of the poet, which are specific to him, are considered and the local language of the poet is also mentioned.

This research has been done with library studies, filing and using analytical-descriptive method.

Fakheri's style of expression in his poems is influenced by the period of return and his language has an acceptable stability. His order is not devoid of the simplicity of the language of the constitutional period (intermediate), and colloquial words are also seen in it.

Fakheri has a personal style, the poet is very interested in some words and repeats them regularly. Has created him among these poets. In general, Fakheri style is a combination of the style of the period of literary return and the period of constitutionalism (intermediate) and his language has the antiquity of Khorasani style and at the same time simplicity and mentality and slang words.

Rashid al-din Maybodi, mystic of Sixth century and the author of Kashf al-asrar, and Mohammad bin-Gahlouy in India, mystic of thirteenth century, have the common mystical views. Gahlouy having mystical views has described Masnavi Yousef and Zoleikha written by Jami . One of the subjects is love and Hijran and joiner that has outstanding condition in the mystical thought realm of Maybodi and Gahlouy. The study aims to revive one of thirteenth century written reserves and also to compare it with one of the mystical commentaries of sixth century. In this paper, it has been attempted to compare mystical teachings of Maybodi with Gahlouy,s views and survey their common aspects by using analytical- descriptive method. The result of this research is that there are many mystical teachings of Maybodi as traditional form in Islamic mystic of Gahlouy.

One of the oldest and most widespread motifs of the romantic stories of the world is the love of the stepmother to her husband's son. In Persian literature, besides the most well-known Iranian story, Siavash and Soudabeh in Shahnama (Book of the Kings), the story of Joseph and Zoleikha, rooted in Quran, gave rise to stories and poems, the most artistic one being Mohabatnameh, in the Fifth Awrang of Haft Awrang ( Seven Thrones) , composed by Abdurrahman Jami. There are similar motifs in the narrative works of other nations, namely that found in the Far East, in the Tibetan literature, i.e. the story of Monk Virukana and Queen Shepungza. Generally speaking, the study shows that these stories mainly focus on the principle of sin-salvation clash, and that both main characters (the unfaithful woman and the pious man), have to go through four stages: sin, Punishment, free from sin, and salvation, in order to dispose of sin and attain salvation. Drawing on the mythical analysis, the study has also shown that the sinful woman in these narratives represents ancient and obsolete beliefs whereas the pious man is the manifestation of the new order in societies, launching a new discipline. This old- new confrontation is manifested in the guise of sin-salvation clash in these stories.

Studying the interplay between international literature is in the field of comparative literature effect in this field and its contribution in this area includes the enrichment of national language and literature and understanding and friendship of nations. The impact of Iranian language, culture and ivilization on native language and literature is one of the areas of research topics in comparative literature.“Yusuf and Zulika” is a Qur'anic story which has had a great infuence on the lyrical literature.In this research,the structure of story and the processing methods of two writers with different languages and cultures have been probed and explained using a comparative-analytic approach.“Yusuf and Zuleika” by Nurmohammad Andalib,the 12th century poet,writer, and translator has been compared with Abdulrahman Jami’s“Yusuf and Zuleika”(9thcentury)so that the similarities and differences of these two works in Turkmen and Persian would be examined.The overall results of this research are as follows:we could see characters of anciant stories.unlike Jami’s narration, Andalib’s work has more metaphysical factor. the central theme of the story is the love of“Yusuf and Zulika”he tries to implicitly press his theosophicad in sight of the story. In Andalib's narrative, Yusuf is the main character of the story, and the proximity of the story is evident to what was mentioned in Sura Yusuf. Andalib trie to narrate the story.

Description is a kind of tool for highlighting in the literary text and stimulating the emotions of audience. From the onset of Persian poetry until now, poets have used this important element in all poetic forms and narrative poems. Narration is a way of presenting events or occurrences, and it has been examined in the narrative analysis of factors involved in narration, that is, the time and components of narration. This paper analyzed the functions of description in the narration, in the Yusuf and Zulaikha poem of Jami. For this purpose, descriptions that are used in this poem are determined first, and then during the next stage, the function of these descriptions in Yusuf and Zulaikha poem of Jami are considered and analyzed with the emphasis on the Tomaszewski and Genette’s approach. Jami’s Yusuf and Zulaikha poem is a narrative text in which two main structures of narrative and descriptiveness are recognizable. The narrative consists of two dimensions, the time of story and the time of speech, but the description is only consists of speech dimension. Descriptions that had been used in this poem are placed in the free and static categories and from this point, the function of description with respect to the narrative text dimension is to create a negative momentum in narrative. On the other hand, every narration has its own components. It is a tool for developing and highlighting these components, and from this perspective, it has the function of characterization and spatialization.

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

One of the reasons for the formation of mystical language is an interpretive approach in Qur'an. because expressed much of the concepts in the form of stories in Qur'an. one of these stories is the story of prophet Yusuf. according to Qur'an, Yusuf Surah, Joseph's life is full of bitter and sweet events . Rumi has spiritual harvest various events in the life of Joseph and he has used many of the events and characters in code and allegory in Masnavi. is tried in this research that discover and express these mystical interpretations of symbols and allegories and For this purpose first the story of Joseph in Qur'an were studied and then was written main text based on historical events. Joseph in Masnavi is symbol of a spirit that be caught in the dark well of body then it comes out from this well with God's grace sling and goes toward egypt perfection. dreams and their interpretations are referring to the mystical intuition of Joseph mystic and the perfect man, in Rumi 's opinion dream is a window to the world of intuition and inspiration that liberates the soul from the prison of body and the world. and Zulaykha is symbol of a wayfarer that arrives to true love from virtual love bridge and arrives to the fountainhead of truth from the manifestation of the beauty of God that is Joseph as a perfect human.

Lyric poetry, which expresses human sentiments through a sensational dialect, manifests in Persian literature in a variety of forms and instances and embraces many subjects and themes as love, praise, description, lamentation, complain, etc. Numerous lyrical stories have occurred in the history of Persian literature, some with Iranian origins and some stemmed from Semitic or Islamic culture. The poems of Bijan-o-Manijeh and Weys-o-Ramin are examples of the first group that are rooted in Parthian era (Khaleghi Motlagh, 1980, p. 284-289), while Wargha-o-Golshah, Leily-o-Majnoon and Yusuf-o-Zuleikha represent the second group. The last example, Yusuf-o-Zuleikha, is a well-known lyrical story that comes from the Book of Genesis in The Bible. It is also narrated in the Yusuf Surah in the Holly Quran and has often been poeticized in Persian literature. Nazem Heravi is an 11th century (AH) poet whose Yusuf-o-Zuleikha, with more than five thousand couplets, is one of the best instances of the poetic story in the Persian literature. This study aims at introduction, criticism and analysis of Heravi’s Yusuf-o-Zuleikha. To this end, first Nazem Heravi and his works are discussed according to ancient references. Then his narration and the references of its components are reported and finally elements of his poem and his poetic art are discussed. The main study questions include: Who is Nazem Heravi and how important is his Yusuf o Zuleikha?
What are the origins and history of the sources of his narrative components?
How important are his elements of poetry and poetic art in Yusuf-o-Zuleikha?  
This study will be conducted via descriptive and analytic method on the basis of library resources. In every section attempts will be made that the study be on the basis of ancient and first hand sources and references and the findings will be presented as clearly as possible.
Molla Farokh Hosain Heravi, wrote under pseudonym of Nazem. His father, Shah Reza Sabzvari, was also a famous Indian style poet in 11th century (AH). Apparently Nazem was born in 1016 (AH) (Safa, 2007, p: 1267). Since his father was from Sabzavar, he is said to be born in this city too (Bahari Sistani, (n. d.), p: 398). Nazem Heravi’s teacher was Fasihi Heravi (Saba, 1964, p: 797). After learning common sciences of his time, Nazem joined Hasan Khan Shamlou,s members of court. Shamlou was designated, after his father, as commander in chief of Khorasan (see Eskandar beig Torkaman, 2003, p: 942, 1084). Nazem served him and his son who was also appointed as his father’s successor by Shah Safi in 1959 (AH) (Bigdeli, 1993, p. 1047). He eulogized his masters and was respected in life. Nazem was a Shiite poet and has often showed his devotion to the Prophet’s family (Nazem Heravi, 1995, p, 405, 415, 424; ibid, p, 14). In some references, some of his personality traits like kindness and good will has been praised (Nasrabadi, 1938, p, 330; also see Nazem Heravi, 1943, p, 190, 191). Although historians disagree on the year of his death, 1081 (AH) is most probable last year of his life (Khayampour, 1989, p, 916; Nazem Heravi, 1995, p 52). Some of his works include Poetical Works, Monshaat (collection of official correspondences), and Yusuf-o-Zuleikha among which the last one is the most famous. A detailed account of this story has been narrated in a historical style in Torat (Bible, 2004, Genesis: 51 – 102). Also we can find this story with a little of brevity in Holy Quran. This story has also been explained and interpreted with some details in the books of Qusas-Al-Anbia (The Story of Prophets) which sometimes refer to the Torat and its interpretations (Khayampour, 1958, p, 418, 421). However, there are some differences between the Quranic rendition of the story and its biblical version. Other than the afore mentioned references, there are some Persian interpretations and references from the category of Isra’iliyyat, that has influencedPersian renditions of the story including that of Nazem Heravi’s. In Nazem Heravi’s Yusuf-o-Zuleikhasome main parts of the story are omitted. In fact Nazem’s Yusuf-o-Zuleikha does not cover the incidence of famine; the departure of Jacob’s sons to Egypt and the adventures of this journey as Benjamin's stay with Joseph; the return of the brothers and the cure of Jacob's blind eyes at sniffing the shirt and forgiving the brothers for their sins, which are all the parts of the story in the Holy Qur'an and the Bible (see: Holy, 1383: 82 –94). Apart from his facinating narration which partly strengthens the content and affections of this text, other poetical elements are also specially prominent and contribute to the success of hisYusuf-o-Zuleikha. Another specific formal feature of this poet is the presence of Saki-Nameh in it.
The story of Joseph and Zuleikha is one of the most famous lyrical stories of Sami literature that has been narrated in the Book of Genesis of Bible and in one of the Surahs of Holy Qur'an, and has been entered to the Persian literature due to various fascinating elements from a long time ago. A number of Persian poets such as Shamsi, Khajeh Massoud Qomi and Jami have poetized it. One of the narrators of the story is Nazem Heravi, a prominent Indian style poet of 11th century (AH), whose work merits high values in terms of narrative, linguistic and rhetorical aspects. From the narrative point of view Nazem Heravi’s cast of Yusuf-o-Zuleikha, compared to Quranic or Biblical narration, has a number of additions and omissions which are due to the differences in references and sources before his time. Despite commonalities in many aspects, the narrations of this story in the Bible and Quran, are also different that has led to some of the discrepancies mentioned above. Another reason for the additions and omissions, is that the details of the story has been reported differently in different interpretations and books of Qusas-Al-Anbia which have been sources of dissimilarity in the various versions of this story including Nazem’s poet. In this study it was shown that many fascinating parts of the story were drown from sources like Tabari’s Interpretation, Surabadi’s Interpretation, Abu al-Fotuh Razi’s Interpretation, Farahi Heravi’s Hadaegh-ol-Haghaegh, Tabarsi’s Majma-ol-Bayan, Tusi’s Alastin Aljame-ol-Lataef Albasatin and the poetical versions of this story before Nazem Heravi. Linguistic and rhetorical dimensions of Nazem’s Yusuf-o-Zuleikha are also important. The most prominent linguistic feature is the poet’s special emphasis on composition of words. Proximity to colloquial language, the width of vocabulary and special attention to the proverbs and sayings are other features of this poem. From the imagination point of view, the abundance of images, the innovation in the images, the links between the images and verbs, the profusion of abstract elements, and the wealth of metaphors, similes and personifications are among special characteristics of this poem. Nazem Heravi’s Yusuf-o-Zuleikha is among the most successful and outstanding poetry of Joseph and Zuleikha in the history of Persian literature, both in terms of narrative element and its origins and in terms of poetry elements such as language, imagination and affection.
Holy Quran.
Abolfotuh Razi, H. Roz ol-Jenan wa Rouh ol-Janan fi Tafsir el-Quran, 11th Volume, Mashhad: Astan e Ghods e Razavi, 1988.
Azad Belgrami, Gh. Sarv-e Azad, by Zohreh Namdar, Tehran: Enteshar, Co. 2013.
Azar Bigdeli, L. Atashkadeh,Corrected by: Sadat Naseri, H. Tehran: Amirkabir, 1959.
Babasafari, A. The Dictionary of Romantic Stories in Persian Literature, Tehran: Reaserch Center of Humanity and Cultural Studies, 2013.
Bahador, M. Tazkarah ye Shame Anjoman, Corrected by: Kahdui, M. Yazd: University of Yazd, 2007.
Bigdeli, Gh. Tarikh-e Bigdeli-Shamlou, First and Second Volumes, with cooperation of Bigdeli, M. Teharan: Fathi, 1993.
Derayati, M. The Directory of Iran Manuscripts (Dena), 11th Volume, Tehran: The Library of the Parliament, 2010.
Eskandar beig Torkaman & Movarekh, M. Zeil-e Tarikh Alam Aray Abasi, Corrected by: Khansari, S. Tehran: Eslamiye Printing House, 1938.
Eskandar beig Torkaman, Tarikh Alam Aray Abasi, 3rd Volume, inspector: Afshar I. Tehran: Amirkabir, 2003.
Farahi Heravi, M. Hadaegh-ol-Haghaegh Interpretation, (yusuf Surah),2nd Print, by Sajadi, J. Tehran: Tehran University, 2005.
Ferdowsi, A. Interpretation of Yusuf Surah or Yusuf and Zuleikha, Tehran: Islamieh Library, (n. d.).
Ghani, M. Tazkara tol-Shoara, by Shervani, M. Aligrah: Anistitute Print’s, 1916.
Goupamvi, M. Natayej al- afkar, by Khaze, A. Mumbai: Soltani Publication, 1957.
Hajati, M. Yusuf-o-Zuleikha Poets in Persian Litrature, Mashad: Shamlou, 2008.
Hoseini, M. Tazkareh ye Hoseini, Lucknow: Nolkshore Print’s, 1875.
Jami, A. Masnavi-e Yusuf va Zuleikha, by Nikoubakht, N. Tehran: Avay-e Nour, 1998.
Kakourvi, M. Tour-e Maani, Corrected by: Nemani, R. New Delhi: The Center of Cultural Advice for Persian Studies IRIB, 2006.
Khaleghi Motlagh, J. Bijan-o-Manijeh and Weys-o-Ramin, Iran-Shenasi, No. 6, p, 273-298, 1990.
Khayampour, A. Farhang-e Sokhanvaran, Second Volume, Tehran: Talayeh, 1988.
------------------, Yusuf-o-Zuleikh, Litraure Department of Tabriz University, 10th Year, No. 3, p, 221-228, No. 4, p, 418-433, 1958, & 11th Year, No. 1, p 39-68, 1959.
Loudi, Sh. Merat ol-Khial, Mumbai: 1946.
Mayel Heravi, N. Nazem Heravi and his Works, Magazine of Vahid, No, 234, 235, p, 61-65, 1976.
Meybodi, A. Kashf ol-Asrar wa Oddat ol-Abrar, 5th Volume, 2nd print, by Hekmat, A, Tehran: Amirkabir, 1978.
Mosleh, Sh. Nazem Heravi: the Famous Poet of 11th Century, Tehran: Samt, Center for Research and Development of Humanities and the Academy of Sciences of Afghanistan, 2011.
Nasrabadi, M. Tazkareh-ye Nasrabadi, Corrected by: Dastgerdi, V. Tehran: Armaghan Publications, 1938.
Nazem Heravi, M. F. H. The Collection of Poetry, Corrected by: Ghahraman, M. Mashahd: Astan, Qods Razavi Publication Institute, 1995.
------------------, Yusuf-o-Zuleikha, Lithography, by Hosein Taslim, M.Lucknow: Nolkshore Print’s, 1869.
------------------, Yusuf-o-Zuleikha, Lithography, by Mehman Khan ebn Mozafar Khan Toureh, Tashkand: Poursof Print’s, 1904.
Neishabouri, A. Qusas-Al-Anbia, by Yaghmaei, H. Tehran: Scientific & Cultural, 2007.
Nikouhemat, A. A Tour in Yusuf-o-Zuleikha Masnavis, Magazine of Vahid, No. 127, p, 305-309, 1974.
Qomi, Kh, M. Yusuf and Zuleikha, Corrected by: Al-e-Davoud, A. Tehran: Fredos, 2004.
Saba, M. Tazkareh ye Rouz-e Roshan, Corrected by: Roknzade Adamiat, M. Tehran: Razi Library, 1964.
Safa, Z. The History of Literature in Iran, 5th Volume, 4th Edition, Tehran: Fredos, 2007.
Sarkhosh, M. Kalamat ol- Shoara, Corrected by: Lahori, S. Lahore: Penjab University, 1942.
Shafiei Kadkani, M. Persian Poetry, From Jami to the Present, Translated by: Asil, H. Tehran: Nashr Nei, 1999.
------------------, The Images of Imagination in Persian Poetry, Tehran: Agah Publications, 2001.
------------------, The Music of Poetry, Tehran: Agah Publications, 2000.
Shamlou, V. Ghesas ol-Khaghani, Manuscript NO. 3986, Tehran: The Library of the Parliament, (n. d.).
Sourabadi, A. Tafsir-e Sourabadi, second Volume, Corrected by: Saaedi Sirjani, A. Tehran: Farhang Nashr e No, 2001.
Sistani, Sh. Tazkarah-ye Kheyr ol-Bayan, Pictorial Version of India, Lucknow: Nolkshore Print’s, (n. d.).   Tabari, M. Translation of Tabari’s Interpretation, 3rd Volume, 3rd Print, Corrected by: Yaghmaei, H. Tehran: Tous, 1988.
Tabarsi, A. Majmaol Bayan fi Tafsir el-Ghoran, 6th and 7th Volumes, Translation of the Verses, researched and written by: Karami, A. Tehran: Islamic Culture Ministry, 2001.
The Bible, Glen, W. & Morten, H. Translated by: Hamedani, F. Tehran: Asatir, 2004.
Tousi, A. The Story of Yusuf (Alastin Aljame-ol-Lataef Albasatin), 4th Print, by Roshan, M. Tehran: Scientific and Cultural Publications, 2003.

Plot is one of the most fundamental elements of the story that forms its general plant. It is inevitable not to recognize the effective factors on plot's consistency and cohesion and its acquaintance with contemporary story elements if one wants to find out about the elements of story works. The most crucial function of plot is analysis of the cause and effect network in the course of the story. The more this network penetrates in the context of the story and promotes it, the more coherent the story plan will be. Recognition of this determinate factor in old stories which are now clichés for some reasons and their analysis and conformity with contemporary story elements can cause to be addressed more. In this study, two story texts one Yousef and zoleikha by Jami and the other one khosro and shirin by Nizami have been critically studied. After collating the promote elements of the story plan, it was determined that the plot of "Yousef and zoleihka,s" story was more coherent because it included vast network of causes and effects and a big frequency of accidents and story actions while the story of khosro and shirin had an incoherent plot. It was recognized that it was due to the load of conversation element, excess of accidental events, existence of unreal happenings which has declined the authenticity level of the story to the lowest level. It was also due to the huge amount of over plus verses which are irrelevant to the story text, lack of indetermination in the story and some other factors which are discussed elaborately. What moves the story plan of "Khosro and Shirin" forward, is the conversation element and accidental events while the story of "Youseof and Zoleikha"is more coherent because of the lack of determination and more active role of components in the content of the story and existence of events and actions in it which are the result of previous happenings.

love and affection for the most basic theoretical and practical discussions mysticism. In fact is the manifestation of love that all of creation and to create and to be in the path to His creatures the same right to love that is motion and the perfection of and times a To, to the right. Love discussion in Persian literature has the scope of the. Love the story and Majnun including the lyric poem in the Persian text of a long welcomed by writers and poets and Persian language Persian language is also the story of the Yousef and Zoleykha of the story in which Persian literatureimpact wide. contemplation and meditation in every one of these stories is the story of love and Majnun "and" Yousef and Zoleykha "every one life and spiritual bodies to man again and mirror the blight has been polished to within the. A Jami in defining love has reached the conclusion that it is love and it lands a heart which is the love of the body of life. He believes that the world and everything in it from the whiff of love. love has been created as a gem elixir He knows that it is joy and freshness men and love to encourage.

Today, the worth and importance of manuscripts are really obvious for men of letters. These noteworthy works are linkage between prior language and culture and present language and culture that transfer rich past experiences to subsequent fosters. So, correction and revival of these works possess special worth and importance. One of this which will be introduced in this article is the manuscript of a poem named "Yusof and Zoleykha" by "Molla Mehdi Golpaygani" known as “Shole “who lived in second half of 12 th century. Shole was a masnavisora, who has had a special consideration to "Nezami Ganjavi" and also impressed by him, he composed a pentameter. One of his quintuple poems is "Yusof and Zoleykha", as mentioned above containing over 4700 verses from which there are only six manuscripts. In this poem, he, before proceeding with genuine of the subject, has spoken of monotheism, creation of world, creation of human, praise of prophet and adoration of Shitte Imams in the form of mystical and religious poems. The writer seeks to reveal The teue feature of This unknown poet