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

The contemporary period in Iran's history can be seen in all aspects as a battleground between tradition and modernity. This conflict is also clearly seen in the field of literature. Some have considered tradition as a cause of deterioration and have risen against it, and some have completely adhered to tradition and have not embraced innovation. In the meantime, there have been those who, while adhering to some components of tradition, also considered modernity and novelty as a necessity and have taken steps in this direction. Hossein Manzavi, one of the neoclassical lyricists, has such a view; He has adapted Ghazal to Nima's theories and considers himself one of Nima's "phoenix in bloom". At the same time, he calls his ghazal Hafezvar (like Hafez' poetry) and acknowledges the influence of tradition in his ghazal. This duality can be seen especially in the field of theme and content, which is the subject of the present research. This approach has caused traditional topics and themes to be seen in his poetry alongside contemporary and new topics and individual experiences; Physical love and eroticism, aesthetics different from the beloved, and realism and relying on individual experiences can be considered as aspects of his modernization in the field of theme. In the current research, the dimensions of isolated traditionalism and modernism have been investigated in the subject and theme. The result of the present research shows the integration of modernism and traditionalism in different dimensions of theme, language, and poetic images in isolated poetry.

 Gul Mohammad Khan Zeib Magasi is one of the powerful Baloch poets who wrote beautiful poems in Persian language. In this research, the style of his poems has been examined in terms of language, literature, music and thought.

 Ethods: The present research was carried out using a descriptive-analytical method based on library sources, and its statistical population includes two books, Zeib Namah and Kharineh al-Ashaargol, Mohammad Khan Zeib Magasi.

 His poetry is simple in terms of language and in terms of vocabulary, 56% of the words in his poems are in Persian language, and the special dialect of Balochi can be seen in the use of some words. Some of his poems have epic language as well as mystic and Qalandari words. From a musical point of view, the poet has often experimented and invented new tunes, so there is a wide variety of prosody weights in his poetry. In terms of side music, about 37% of his sonnets have lines and he often uses repeated lines. The abundance of expressive arrays of similes and metaphors from a literary point of view is so great that 65% of his similes are sensory, and comparing the types of similes, we see the highest frequency of that simile and the lowest frequency of complete simile. Also, the metaphor of Makaniyyah has a higher frequency than that of Masraha. Innovative arrays such as hint, contrast, similitude, pun, phonetic arrangement and repetition are also frequent in his poetry. Comparing the types of repetition, the frequency of word repetition is about 55%, which is considered a high frequency. From the intellectual point of view, his poetry is mostly spiritual, mystical and romantic, and instructive components and social elements are also among the content elements of his poetry. In his overall view, he has many structural innovations, and intellectually, he is influenced by the mystical, Qalandari and romantic poetry of previous poets.

Gul Mohammad Khan Zeib Magasi"s poetry, while simple, is full of artistic uses of literary arts, and its innovative point is in the use of different weights and the invention of fresh bahor, all of which serve to express romantic, mystical and educational themes.

Masnavi Manavi written by Jalaleddin Mohammad Balkhi (Rumi) is one of the most prominent mystical works in Persian literature. This book has been and is influential; consequently, the readers' needs have been and are subject to many descriptions in different languages.

Assessing and analyzing the method and the content of descriptions of Masnavi are considered the most important study subjects in searching the works of Mowlavi Analyzing the affectivity of the available descriptions would demonstrate the significance and stance of such works in the field of writing description. The description of Mostafa Ibn Shaban Soruri on the subject here is considered one the most complete and the oldest in Asia Minor in Persian. Regarding the antiquity and the description language of Soruri, it is essential to specify the rate of its affectivity in the process of writing a description. The objective here is to find the extent of the oldest Persian descriptions of Masnavi by comparing Soruri's description with Javaherolasrar and Zavaherolanvar by Kharazmi.

The results of this comprehension indicate that the description of Soruri has been affected by Javaherolasrar in terms of structure and content. An important part of Kharazmi's description is included in Soruri's description without any reference, while Soruri, in his foreword claimed that he perceived this work by discovering the spirit of Mowlavi.Keywords: Soruri's Description, Kharazmi, Javaherolasrar and Zavaherolanvar, Method, ContentIntroductionThe remarkable interest of Masnavi readers in comprehending it and the necessity to clarify its complexities initiated literary works like description, glossary, modification, translation, etc. in different contexts. The high volume of explanations of Masnavi from the past to the present indicates the level of interest in this book, and the necessity of proving the deficiency and weakness of its explanations. One of the significant research issues in the field of Masnavi studies is to recognize and analyze the procedure of writing descriptions. The comparison of Masnavi's descriptions in terms of method and content reveals the span of their overlap; next to assessments of advances, and shortcomings.The description of Masnavi by Moslehoddin Mostafa Ebn Shaban Soruri (1561) is identified as the oldest Persian description including both the Masnavi books. The two core questions here are: 1) Are all of these descriptions Soruri’s brainchild or they refer to other descriptions? and 2) If Soruri has resorted to others, how effective was it? Answering these questions necessitates considering analyzing and comparing the description of Soruri with othersThe objective here is to scrutinize and explain the method and content of Soruri's description by comparing it with the Javaherolasrar description (the oldest Masnavi description).Method and MaterialsThe method adopted here is analytic and descriptive based on library data. The focus here is on presenting a pattern to assess the different aspects of the descriptions of Soruri and Javaherolasrar Kharazmi. In the first section, the similarities and differences are compared and explained to clarify the verses; in the second section, the opinion of each commentator is analyzed in terms of compliance with the views of Mowlavi based on the model of the mystical tradition and in the third section, by assessing the preface of each book of Soruri's description, the acquired evidence indicate the outperformance of this description vs. Javaherolasrar.

Comparing the method in Soruri's description and Kharazmi's description indicates that primarily, many of the phrases and deductions of Kharazmi exactly resemble that of Soruri's description. Similar proses and verses are detected in both descriptions and that Soruri has taken advantage of Kharazmi’s descriptions is evident. Soruri applied the language of Kharazmi (books one to three) which is intricate. In other sections (book four and on), descriptions are written in simple prose. Soruri has summarized and simply described the verses not mentioned in the descriptions of Javaherolasrar.The content of the description of Kharazmi and Soruri is compared based on the mystical pattern of Mowlavi. Kharazmi has sometimes pointed out the viewpoints of Ibn Arabi in describing Masnavi. In some other cases, Soruri has made a connection between the first and second mystical traditions. Unlike Kharazmi, Soruri has mainly considered the lexical and rhetorical layers. To describe the mystical concepts, defined the outlooks of the second tradition of Kharazmi and sometimes described the first tradition. The foreword indicates that the commentator has consciously benefited from Javaherolasrar.The results of this study indicate that Soruri was affected by Kharazmi's description. There exist doubts about the independence of Soruri's opinion in Masnavi's clarification, thus, it cannot be considered an effective explanation. Direct affectivity from Kharazmi's description and not pointing out his name raises this notion that the rest of the materials not derived from Javaherolasrar may belong to others except Soruri.

Textbooks are an important part of education in determining the successful axes of a lesson unit, for this reason, it causes the analysis of textbooks to identify the strengths and strengthen them and the weaknesses. The present research is based on library data and the descriptive analysis method that was carried out in the research and the analysis of the available data on Colin Marsh's checklist indicates that the book needs changes in terms of artistic and visual attractions and attention to the role of ethnic Iranian culture identities, however, it has been compatible with the approach of the national curriculum in terms of education, but it has performed poorly in paying attention to the educational needs and daily life of learners. The 8th Arabic book in securing the document of fundamental change and the national curriculum needs more review by the authors, and in the overall analytical view, Marsh's checklist has been included and observed in the textbook.

Meter should be considered the most important element and common points of poem. In fact, meter is nature and the innate of a poem which some are so enamored with meter that cannot imagine poem without it. This study is trying to compare the frequency of meter of odes of Naser Khosrow and Saadi's Sonnets to study the effect of meter on the content and format. In Saadi's Sonnets and odes of Naser Khosrow 18 common meters can be found. The total meters related to Saadi are 17 and total meters related to Nazer Khosrow are 6 meters which regarding the frequency of (2.63) is seen in specific meters of both Saadis' sonnets and Naser Khosrow odes.The number of Saadi's Sonnets are 2.5 times more than odes of Naser Khosrow. It in spite of can be deduced that the effect of meter is very impartial on the content and the potential meter in the poem, It can be found very weak relationship between the content and format of the sonnets and odes using of these meters considering various Factors must be analyzed that may influence this relationship.

Letters are one of the tools of communication between human beings that have been used for a long time. Letters in Persian sources are worth studying and researching in different ways. The main purpose and issue of the present dissertation, which has been compiled based on library sources and descriptive-analytical method, is to study and compare the structure and theme of different types of letters in the two mentioned works; Letter of Inquiry; Peace letter; Oath; Treaty; Advice letter; Description of spelling. In the Tarikh of Bayhaqi, letters fall into the following categories: signature; Private; Moshafehe; Charter; Fat'hnameh; Oath; Agreement; Mutual notice; Position; Expansion; Molattafeh.on a structuralist base letter, in Tarikh of Bayhaqi rarely beguin in the name of God. Letters donot tend to be complex, however, ,they uoe synonyms, figureo of word, Arabic comoundsd. Also, the sentences are short and independent and interconnected in terms of meaning, and the words, verbs and relations are repeated in successive sentences, and this has brought the prose closer to the colloquial language in some cases.

In this research, the Prophet's (PBUH) Merajname in Makhzan Al-Asrar of Nizami and Mazhar-al-Asrar of Abdibeyg have been examined and compared. Considering Abdibeyg's imitation and adaptation of Nizami, through this comparison, one can better understand the details of the words of the two poets, the art of description and the creation of themes, as well as the subtleties and beauties of their words. Therefore, both works have been compared and analyzed from the point of view of thematic structure and content, rhetorical elements and linguistic creations and composition. This research shows that in terms of content and theme, Mazhar al-Asrar is often influenced by Nizami's style of speech in Makhzan al-Asrar; In terms of rhetoric, the frequency of Nizami's metaphors is more, and on the other hand, the frequency of Abdibeyg's similes is more than that of Nizami. This shows that Nizami is metaphorical compared to Abdibeyg. In terms of linguistic creations and composition, Nizami acted much more innovatively than Abdibeyg and brought about 35 new combinations and expressions, and this is only 13 in Mazhar al-Asrar. The reason for this difference is due to the style of the two poets, Nizami is usually more innovative and creative than his imitators in terms of linguistic and pictorial creations. The current research was carried out in a descriptive-analytical manner and the purpose is to examine and compare the Merajnama Mazhar al-Asrar with the Makhzan al-Asrar at the rhetorical, linguistic and content levels, and to determine the extent of Abdibeyg's imitation and innovation, as well as Nizami influence on Abdibeyg, and the position of the words and art of this imitative poet.

Khosrownameh or Gol -o Hermez is one of the famous poems attributed to Attar, which, unlike other fake poems attributed to him, due to its poetic order and coherence, some linguistic features, and the relative mastery of the poet, has been praised by some in a way that they consider the poem as Attar's, and put besides his four main and definite poems, "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". On the contrary, some others have rejected this attribution by stating evidence. This article deals with the stylistic study of Khosrownameh in terms of structure, language and content. The research results show that the attribution of this poem to Attar is incorrect; beecause there are major differences between Khosrownamaeh, and  Attar's  main works, both in terms of form and structure, also in terms of language usages in both lexical and syntactic levels, and in terms of content and theme. On the other hand, the rejection of its attribution to Attar is strengthened by the manuscript issues and extratextual study of this poem and the discovery of some historical facts.

Attar-e Neishabouri is one of the poets whose works have been underestimated throughout the history, to the point that a large number of inappropriate poems have been attributed to him and being placed in the ranks of his four main works "Manṭiq-uṭ-Ṭayr", "Asrarnameh", "Elahinameh" and "Mosibatnameh". Among the works wrongly attributed to Attar, and the subject of discussion and research by many researchers of Persian literature, is Khosrownameh. The subject of this poem is the love story of two lovers named Khosro and Gol. The poem is written like some other romantic poems as Khosrow and Shirin of Nezami. This poem is written fluently, and in terms of style and poetic language, it has coherence, arrangement and the ability to induce the content to the reader, and by the way, this issue has caused some people to consider it as that of Attar without comprehensive investigation. In the present study, an attempt has been made to compare the Khosrownameh with Attar's main works both in terms of extratextual aspect (historical and manuscript issues) and from the stylistic aspect in the three fields of structure, language and content.

Theoretical framework :

In general, there are many differences of opinion regarding the attribution of Khosrownameh to Attar. Among the prominent scholars of Persian literature, Saeed Nafisi, without any doubts, recognizes Khosrownameh as Attar's, and believes this poem is one of the works of Attar's youth and middle life. Shafi'i Kadkani believes that the name of this poem is actually Gol and Hermez, that Hermez is another form of the Greek word "Hermes", and Khosrownameh is the original name of Attar's Elahinamah. According to others, such as Zarrinkoob, by composing a romantic poem such as Khosrownameh, despite the interpretability of some of its verses to mystical themes, at the end of Attar's life and after composing his four main poems, the poet's spiritual and mystical behavior cannot be justifiable. Other valid reasons have also been presented later by other researchers in rejecting the attribution of Khosrownameh to Attar,  including Ahmad Ezzatiporur in a research while criticizing the reasons of other researchers pointing to some extratextual evidence and clues, such as The names of some characters in it, and the belief that its author is a “Shia” have led to the conclusion that Khosrownameh is not from Attar. Among the other important researches that have been done regarding the attribution of Khosrownameh to Attar, is “the stylistic study of Khosrownameh to explain the correctness of its attribution to Attar e Neishaburi” by Teimur Malmir. In this research, it has been concluded that due to the frequency of commonalities between Khosrownameh and Attar's main works, its attribution to Attar is correct. In a research titled "Whose is Khosrownameh from?" from Akbar Nahvi, the conclusion is that this poem is undoubtedly not from Attar, and it was written in Isfahan near 600 AH, and its poet was Sheikh Attar Abu Abdullah Muhammad Mianaji (d. 619 AH). A number of other researchers have also presented their opinions regarding the correctness or incorrectness of the attribution of Khosrownameh to Attar e Neishabouri in various articles, but in none of these studies, the investigations have not been comprehensive, and have not led to correct conclusion.

In this research, an attempt has been made to investigate the attribution of Khosrownameh to Attar, both in terms of extratextual evidence, and in terms of intratextuality, i.e. stylistic issues using analytical-inferential methods.

In this research, the indisposition and correctness of the attribution of Khosrownameh to Attar has been investigated from two extratextual (historical and manuscript issues) and intratextual (stylistic) aspects. From extratextual analysis, it was concluded that the date of writing of the oldest manuscript of Khosrownameh is 696 AH, so it can be definitely said that this poem was written in the 7th century of hegira. Another important point that can be considered from a historical point of view in this poem is the praise of “Imam Hasan” and “Imam Hussain” (second and third “Imams” of Shia Muslims), and two Hanafi and Shafei imams by the poet, which shows that he was of the Shafei religion; and if he mentioned Imam Hanafi as well, it was because of observing the social and religious situation of Isfahan in the sixth century. Since in this era, most of the people of Isfahan were Shafi'i and Hanafi, and both clans were very strict in their beliefs and were constantly in conflict with each other. The comparison of Khosrownameh with Attar's four main works in terms of intratextual and stylistic issues indicates that, firstly, Khosrownameh was written with an almost coherent structure and with a slight difference from Attar's style in arranging the contents in his poems; With full knowledge of the ways of composing a long poem, the poet has divided and arranged the different contents of the work and has started his story. Secondly, due to the fact that Khosrownameh has the necessary eloquence and fluency to an acceptable extent, the lexical and syntactic level of the language in this poem is not much different from the lexical and syntactic level of Attar's poems, and only in a few cases we can carefully point out the differences. Thirdly, in terms of theme, this poem can be interpreted into mystical themes, so that from many of its verses, the influence of the poet from Thoughts of Ibn e Arabi, especially his most famous theory, "pantheism", is evident, while Attar puts "Oneness" in opposition to polytheism.

Conclusions & Suggestions:

Based on the examination and comparison of Khosrownamah with the main works of Attar from two very important extratextual and intratextual aspects, the conclusion was reached that firstly, according to the date of the oldest manuscript, this poem was written in the 7th century of hegira, and secondly, despite having eloquence and coherence, in terms of structure, syntax, vocabulary, content, and theme is different from Attar's main poems.

The Couplets is a semi-traditional form that was invented by modernists during the constitutional period with the aim of transforming the poetic form and was among the common forms until the Islamic Revolution. n this article, with the aim of analyzing the effect of Couplets in the transformation of classical poetry into new Nimaei poetry, the stylistics of Couplets of prominent poets of this form has been examined on three linguistic, literary and intellectual levels.

The collection of article information was done in a library manner and it was written with a descriptive and analytical approach. The analysis of the research has been written by reflecting on the collection of poems of poets who wrote Couplets and then turned to new Nimaei poetry or are among the poets of two streams. are cited among others. The poems of Nima Yoshij, Nader Naderpour, Fereydon Tavallali, Forough Farrokhzad and Fereydon Moshiri.

The Couplets form was started by the modernists as a reason for the transformation of traditionalism in the constitutional period. The analysis of Couplets after them shows that the fields of evolution of classical poetry that reached the theory of new poetry have also passed through this form. Most of the poets of new poetry, including Nima himself, have used this form at the beginning of a poem and by leaving it aside, they wrote new poetry. Abandoning classical rhyming, avoiding language problems and using difficult words, shortening sentences, paying attention to the audience and observing grammatical principles at the linguistic level, objective imagery, the use of modern elements in poetic images and images free of problems at the literary level, logical communication Language and content, realism in the content, matching the content with the issues of the society in the social and romantic theme at the intellectual level are the features of Couplets simplistic writing that has created the grounds for the transformation of classical poetry into new Nimaei poetry.

The Couplets form, which was started by the modernists during the constitutional period, is a form that has the features of simplification, the development of the simplicity of rhyme, language, images, the development of the lyrical and social content of the new Nimaei poetry.

Thematic creation is the creation or discovery of a new relationship and connection between a mental thing and an objective thing, which apparently has no connection. The "theme" and the creation of the theme are the main elements of the Indian style. This  style, due to its linguistic capacities and artistic applications, tries to create a semantic connection between a subjective and an objective thing and separate the ode from vulgarity; In this style, the poet has no choice but to create art and prevent repetition. The theme has been known and used as a prominent technical term in Persian poetry since the middle of the tenth century. The present study, with a descriptive-analytical method, while clarifying the nature of the theme and thematicization, examines the thematic-creation techniques in Tarshizi's emergent euologies. An emerging effort in praise poems has always been to discover and create a new connection between phenomena along the verse in the axis of vocabulary, one of the words as one of the main aspects of imagery and often has the additional role of synecdoche as a pillar of thematization, in order to create a network of themes and clusters of imagination.

Salman Herati is one of the prominent contemporary poets who, by using simple language and creating pure and fresh compositions, was able to express many of his social and political, ritual, religious and idealistic concerns in his poems. He has never sacrificed the content and theme of his poems to the surface and external layers of the poem (rhyme and weight...), but his poems are always in terms of literary creations, melody, simple and clear language, careful choice of words, beautiful descriptions, imagination. Strong, the harmony of image and emotion, artistic and story techniques, the use of historical and mythological elements, and having a deep meaning and concept, have been worthy of attention. In this article, which is written in an analytical-descriptive way, attention is paid to the most significant content and conceptual expressions from the perspective of intellectual aesthetics in Salman Herati's poems. The obtained results show that Salman is interested in concepts and approaches such as idealism and libertarianism, ritual and religious attitudes, martyrdom and martyrdom, patriotism, revolution, manifestations of resistance and stability, nature, resurrection and death, love. , justice and anti-colonialism and some social components such as philanthropy have paid special attention, and among these things, religious and ritual themes as well as politeness have shown more special attention.

Educational literature is one of the most important types of literature in the literature of different nations, especially in Iran. The master teacher of education and training in Persian literature is Saadi, whose value is not hidden from anyone; Therefore, this research aims to analyze the story of "Saadi's dispute with the moddai" based on the formal and content indicators of educational literature by using the library study method and in an analytical-descriptive way.The results of the studies show that features such as parables, high frequency of interrogative sentences, high frequency of imperative and prohibitive sentences, syntactic avoidance and shifting of sentence elements, dramatization of the topic, argumentation and interpretation of speech, words, combinations and interpretations of educational literature, simple and expressive image , the use of literary works of art in the direction of education, emphasis on the role of simile, simplicity and expressiveness of language and expression, audience and reader-centeredness, and being explicit are the most important formal characteristics and referring to Quranic verses, hadiths and traditions, predestination perspective, Rationalism and wisdom, monotonous approach (masculine approach), mention of moral teachings in the form of advice and admonition, being instructive and edifying, realism and avoiding fantasy are among the content features of Saadi's story. As a result of Anke's words, the story "Saadi's fight with the moddai" is one of the best educational stories in the field of educational literature

Mystical poems emerge through a special language and a stable structure in form and meaning and accuracy in that determines the success of poets in their creative access to its field. Mahvi, a famous Kurdish poet, used mystical themes in his poems to create his own poetic imagination and to present his spiritual findings. The main purpose of the present study is to analyze obliterated poems from the perspective of creating mystical concepts, developing Sufi concepts for thematic creation through mystical language, and the extent of the poet's creativity in entering the field of Sufi poetic aesthetics. The article evaluates the form and content of some of the most prominent poetic images in mystical poems in an analytical manner. The results show that the poet had a correct understanding of mystical themes and knowledge of the realm of Sufi poetry in expressing the meanings and concepts of his poems and emphasizing symbolism and using his teachings, he creates relatively original images in his mystical poems But due to the inability to use the capabilities of the language of mysticism and not entering this field, it is not able to create its own symbols; the mystery of his words often remains in the realm of metaphor. Although we find some new meanings in his Kurdish poems in the whole of his divan, the linguistic and spiritual aspects of his mystical perceptions are less connected to the infinite space of symbolism for the creation of mystical experiences.

Research in the field of children's literature with the premise of the audience - children has unique characteristics that are due to its different nature which can affect the research in this field. Understanding these features requires paying attention to the effects of children's expressions in the field of knowledge and then researching children's literature. Writers and critics of children's literature should pay special attention to linguistic features and the ability to understand their audience. This statement confirms the importance of the "audience-centered" theory among the three literary theories, namely "author-centered", "text-centered" and "audience-centered". By examining the characteristics of the linguistic elements and the content of children's works and matching them with the characteristics of the audience, and from the point of view of revising the function of literary criticism approaches based on the aforementioned three literary theories, the researcher seeks to find an answer that shows , the "audience-oriented" theory is especially important among the three literary theories in children's literature and this theory can be a criterion for the researcher to criticize children's literature by using it. In this research, the function of literary criticism approaches in children's literature has been investigated and analyzed by descriptive-analytical method and using library data. The results of this research prove the importance of the "audience-centered" theory, and the adaptation and examination of the works produced by children based on the above literary theory will determine and introduce the appropriate criteria of criticism for the authors of this field.

In terms of meaning, rhetoric, and literature, the term "Esteghaseh" refers to requesting intercession. In ancient Arab literature, a type of poetry with the theme of supplication called "Esteghaseh" emerged, employing two spiritual and material instruments: "trusting" and "bonding," to seek a change in the target society's circumstances. The literary themes of Esteghaseh convey the social responsibility and artistic commitment of the poets, according to research by literature and literary history scholars. To gain a deeper understanding of why this type of poetry is written, it is evident that theories examining society's knowledge and specific people at the time will be useful. In this descriptive and analytical study, an attempt was made to utilize Pierre Bourdieu's sociological perspective. According to this theory, social commitment, action, and reaction reflect society's character. The sociological analysis of this crucial issue will disclose the impact of dominant social structures on the submissive class in society.Some verses on the subject of Esteghaseh led to uninformed behavior in the social structure during the age of ignorance and resistance to compulsions issued by the ruling class. Therefore, during Muslim rule in Andalusia, factors such as constant economic and political conflicts, moral corruption among rulers, attacks, and catastrophes resulting from crusades led to the development of this type of poetry and its evolution into an independent art form. Additionally, investigating why praise does not last as well as gradual disobedience and complaint against ruling laws with time can be done by taking into account praise for ruling class along with requests for help in this type of literature.

Each work has a special language according to its subject and structure. The language of some works is simple and easy to understand due to the emotion and imagination used in the work, and some require a lot of reflection and attention due to some words and terms. Arabic books for the second year of high school are one of the most important and accessible educational resources in the field of learning Arabic and, accordingly, familiarity with religious and Quranic concepts, hadiths, etc. for learners. The present research is based on the library and descriptive method in order to review the Arabic books of the second secondary school from the linguistic point of view. The analysis of the discussed Arabic books shows that the authors have chosen the subjects of the textbooks with special linguistic accuracy and elegance, and according to the students' academic level and their situation, they have categorized the texts based on linguistic dimensions.

One of the main ambiguities in Khayyam's research record is the attribution or non-attribution of quatrains to this Neyshabour philosopher. According to the opponents of attributing the quatrains to Khayyam, to equate their poet with Khayyam, a religious philosopher, is a community of contradictions and impossibilities. The result of such a belief is the claim of the existence of two Khayyams and the creation of a confrontation (rational philosopher and twentieth-century poet) between them; On one side is a wise philosopher who is immersed in philosophical concepts for the rest of his life, and on the other side is a poet who has no desire except luxury.But this confrontation does not resist dealing with Khayyam's works and the surviving reports about Khayyam Tab, because not only in Khayyam's works and the reports of his contemporaries, points such as being in the House of Ishrat and referring to the disinterestedness of creation have been seen. It may contaminate the ideal image of the rationalist religious philosopher, but there is also a rationality in the content and structure of the quatrains that makes it impossible to attribute them to a twentieth-century poet. The existence of these contradictions on both sides of the above-mentioned confrontation destroys the constructed confrontation from within and increases the possibility of attributing the quatrains to Khayyam by denying the fictitious poets.

Mirza Mohammad Nami Kermanshahi is one of the renowned poets of the 13th Century. In this essay, an attempt has been made to answer the question: What has caused the presence of figures of speech in his style? The study of style and content in the poet’s divan from the three intellectual, lingual, and literary aspects based on the existing scripts was the methodology of the essay.

An analytical-descriptive method has been used in writing this essay.

By reviewing Nami Kermanshahi’s divan, we can point out these prominent poetic features in his style. 1-Significant Lingual Features: A) Phonetic Features The lack of metric variety, metric slips, a greater frequency of poems without Radif than those with Radif in all used forms except for Ghazal, and a tendency to use literal figures of speech. B) Lexical Features: Frequency of Arabic words, exploitation of colloquial words, formation of words and composition, exploitation of modern words. C) Syntactic Features Subject-verb disagreement, ancient verbs, two prepositions for one complement, noun-adjective agreement. 2-Significant Literary Features: Types of alliteration, types of repetition, schemes of balance, paradox, allegory, allusion, simile, metaphor, trope, and irony. 3-Significant intellectual features: The concepts and teachings of Quran and Hadith, moderate mysticism, eulogy, lamentation and description, astronomical expressions and beliefs, music-related expressions, academic interpretations, diseases.

Five manuscripts of his divan have been identified that were the source material of this essay. His divan includes qaside, ghazals, qet’e, Chronograms, rubáiyát, two masnavis, and one tarji’band. The exploitation of figures of speech and the creation of vivid and poetic images are among the general features of his poems. Except for a few cases, he does not pay much attention to rhyme, especiallly the long ones. His fondness for the members of Ahl al-Bayt is visible in most of his poems.