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

The research under the name: "Religious intellectual components influenced by Sufi literature" aims to compare the words of the people of knowledge and tariqat (in poetry) with religious intellectual components in contemporary Iran, such as: rationality, tolerance and Tolerance, pluralism, religious democracy, gender freedom and equality before the law and things like this - which are mainly the result of modernity and today"s world - have been matched and from this point of view, how and the extent of the productivity of religious intellectuals from the legacy of ancient Sufi literature present to the reader.

The search method in this research was analytical-descriptive. Based on this, by using library resources and taking notes from reliable scientific sources, the intended goals have been pursued.

Among the findings of this research, it is possible to mention: familiarity with the flow of religious intellectuals as well as their intellectual components - in three generations - in the contemporary era. Another thing is that the intellectual flow from the first generation that starts with Mohammad Taqi Shariati, Mehdi Bazargan and Seyyed Mahmoud Taleghani to the second and third generation namely Ali Shariati, Mohammad Mojtahedshabestari and Abdul Karim Soroush and several others, what intellectual (ideological) stages have they gone through and finally the generation How have the Soumis been able to adapt today"s intellectual components, which mainly originate from the Western world, with the thoughts and teachings of the people of the Iranian Tariqat and knowledge, and in a re-interpretation they offer to their society.

What was obtained from the above research is, in short, that: the current of religious intellectuals is the continuation of the path of religiosity and idealism that was formed after the arrival of Islam in Iran. The intellectualism of the current generation began with the appearance and presence of personalities such as Seyyed Jamal Asadabadi, Mohammad Abdo and Mohammad Bagher Sadr and was continued by Mohammad Taqi Shariati, Ayatollah Taleghani, Professor Morteza Motahari, and then Ali Shariati. With the emergence of Ali Shariati, Abdul Karim Soroush, Mohammad Mojtahdshabastri, Seyed Mustafa Mohagheg Damad, Gholamhossein Ebrahimdinani, etc., this movement experienced its third generation and despite all the differences of opinion and tastes that existed among these people, they were in agreement on several things, such as : Many articles of the declaration of human rights, ideological and political tolerance, pluralism, freedom and equality of rights of individuals and minorities, gender equality of men and women in the law, etc. Of course, Motahari, Taleghani, and Ebrahimi, moderate religious people, and others such as Soroush, Mojtahdshabastri, and Malikian, who are more avant-garde, have appeared.

Salman Sawoji and Hafez Shirazi are two great ghazal poets of the 8th century and are contemporary with each other. It is known that Hafez has used many poets" divans and has used countless terms, combinations and descriptions, even stanzas and verses almost completely from them in his sonnets. Therefore, Salman"s influence on Hafez is more logical and reasonable. In this article, an attempt has been made to compare the poems of these two poets on two intellectual and literary levels.

The type of research method in this research is descriptive-analytical.

At the intellectual level, both poets" mystical drink is destructive and romantic mysticism. There are also critical and social themes in the poetry of these two poets, which are mostly expressed as satire; But Salman does not have Hafez"s almost fixed and specific theory about Sufi and Sufism. At the literary level, the poems of Hafez and Salman are very similar. The most characteristic feature of Hafez"s style is the use of allusions and their types, which is also present in Salman"s poetry. Salman"s sonnets and odes are full of poetic and elaborate ideas, and some have considered Hafez"s style to be close to Salman"s style in this regard.

There are common intellectual and literary themes in the poetry of Hafez and Salman, and Hafez was influenced and benefited from Salman Sawoji in some intellectual and literary commonalities, and he accepted these themes; But as it is evident and certain, Hafez"s poetry is placed in a higher and higher order than Salman"s poetry (due to its artistic value).

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.

Comparative literature is a means of crossing political, ethnic and cultural boundaries, where subjective data find the opportunity to develop and break out of their confines paving the way for getting acquainted with similar works among other ethnic groups. Indeed, the result will be the discovery of commonalities, the study of each can not only reveal the effects and interactions, but also unveil the influence of external and contextual factors in the formation of similar works. Comparative symbolism is beneficial in this framework and can pinpoint the factors influencing the formation of each. Obviously, resorting to symbols is in fact avoiding clarification, which is done due to various reasons. One prominent reason is to multiply the induced image by the number of audiences, and this breadth and multiplicity of the created image is one of the main reasons for durability of symbols in literary works.

This study follows a comparative descriptive approach to investigate the poems of two contemporary Iranian and Arab poets, namely Simin Behbahani and Nizar Qabbani, and the impressionability of each of these two poets in terms of use of symbol. It is obvious that symbols are used to avoid direct perspective was used to investigate the works of two contemporary Iranian and Arab poets, namely Simin Behbahani and Nizar Qabbani, in a library and descriptive manner, with the purpose of pinpointing the influence of symbols on these two poets.

Referring to the stories of the prophets is one of the motifs in most Persian literary textswhich is mentioned especially in mystical literature. Molana and Shams Tabrizi are two great mystics of Persian literature who were influential on each other's thoughts and ideas, and by promoting their thoughts and ideas, they caused prosperity and richness of mystical literature. Researchers have conducted numerous studies on the similarities and points of commonality between these two mystics, but no independent research has been conducted on the place and position of the prophets in the thought of these two. In this essay, the authors have tried to deal with the contradictions and differences of the special viewpoints of Rumi and Shams Tabrizi about the prophets and religious elders in a descriptive-analytical way and with a library method. By examining the works of Rumi and Shams, it can be concluded that Rumi has discussed the lives and stories of the prophets throughout the Masnavi as well as in the Fih Mafiyyah, so that through the story, in addition to attracting the audience and creating satisfaction and happiness, he has addressed his advice and difficulties. To make the way of conduct easy and comprehensible for those who are not able to directly understand these stages and levels are transformed in the form of stories. Shams Tabrizi has discussed the story of the prophets in his speech based on his own opinions and thoughts; But because his aim is not to teach and advise, like Rumi, he does not pay much attention to storytelling and sometimes to conclusions, and in the stories of the prophets, many times he has paid attention to one or at most two events in the life of a prophet.

The story of Yusuf and Zulaikha is a Hebrew story narrated in the Holy Quran in a Surah titled ‘Yusuf’. After Islam was introduced in Iran, many literary scholars focused their attention on it, and different narratives of it were written in the form of poems with various meters. Toghanshahi's Yusuf and Zulaikha and Jami's Yusuf and Zolaikha are among the most important stories of Yusuf and Zulaikha currently available to knowledge enthusiasts. They are two different narrations of this story. Mohammad Kazem Saheb Isfahani, also known as Masih al-Bayan, one of Alamgir's era poets, travels from Iran to India and, while employed as a physician in the royal hospital, due to his talent in poetry, composes and leaves behind several books. Sabahat Yousefi is one of his masnawis that he composed following Bahr Khafif meters. In this study, in addition to introducing this work, this narration will be compared with the narration of Yusuf and Zulaikhai attributed to Ferdowsi. The results showed that there is a clear difference between these two works in terms of the type of narration, language, meter, and literary themes. This study is fundamental in terms of type. The aforementioned text will be analyzed using the qualitative content analysis method.

The literature of popular culture, based on beliefs, thoughts, and desires, has featured many adaptations and revisions of mythical epic narratives. It has been used as a model to create new stories that afford insight into the general perception and perspectives on these tales. This study aims to undertake a comparative analysis of the characters, actions, and mythical epic motifs of the story “Kor-e Asb-e Siah” in Bakhtiari culture and the story of "Siavash" in Shahnameh using document analysis. The comparative investigation encompasses an examination of their social backgrounds, physical attributes, and actions of stepmom characters, horse characteristics, and seeking asylum in another land. The results demonstrated significant similarities between these two stories; the main protagonists are princes with indeterminate maternal lineage, possessing corporeal beauty and horses that share similar qualities such as color, intelligence, and the ability to jump high. Additionally, their stepmothers are seeking for a sexual desire, both ultimately taking refuge in another land, getting married, and building a city and palace for themselves. Nevertheless, there are divergences between these stories; the story of Siavash features more politically motivated character behavior, whereas “Kor-e Asb-e Siah” emphasizes on familial matters. Hence, it could be concluded that “Kor-e Asb-e Siah” in Bakhtiari culture is a creative retelling or adaptation of the story of Siavash.

The concept of comparison in our cognitive system can appear in the form of various constructions. One of the constructions that can be used to establish a comparison relationship between two (or more) referential nominal are "similative constructions". In such constructions, a referential phrase, which is called a standard, has a superior characteristic/attribute, and another referential phrase is compared to it (standard) due to having the same characteristic/attribute. In the present research, based on the opinions and methodology of Haspelmet and Bachholtz (1998), we analyzed the data of Persian language. These data are 739 samples, mainly from contemporary stories and screenplays. The findings confirm that the speakers generally use two morphological and syntactic strategies to encode the concept of similarity in the language. In the morphological construction strategy, we can consider three types of simile constructions with similative particle, similative predicate and Essive case. At the level of syntax, there are phrases and clauses that appear as adjunct and add the concept of similarity to the whole structure, they include disjunct constructions, role phrases, similative clause, simile clause, and accord clause. In addition, in this research, two types of equative constructions were identified in Persian language, which were neglected in other researches.

Some believe that Mulavi's influence on Attar is so great that they consider Masnavi to be completely influenced by Attar's works in terms of form, format, and anecdotes. For this reason, this study seeks to introduce the attraction and rapture and show the common features of these two mystics in this regard. In the mystics' thought, attraction is a special gift given to man by God. Although in mystical thought, mystics invite people to a continuous effort to reach spiritual perfection, in their views, effort without grace (providence) is fruitless. Many eminent and influential Sufis have given originality and importance to the effort and struggle of the seeker and considered rapture and grace as secondary. Some other great mystics such as Molana and Attar consider attraction as the principle and believe that if there is no attraction, the seeker's effort will not lead anywhere. The obtained results indicate that Mulavi and Attar have a greater desire for rapture in order to complete the mystic's religion and sharia and to reach God. They have many features in common in this respect. And in their view, the seeker's efforts are necessary only to the extent that they let the light of rapture shine on the seeker and the seeker reaches the goal.

Comparison is a fundamental aspect of human cognition that is expressed in various ways across languages. However, it cannot be solely described by individual words or morphemes; rather, its existence depends on underlying schematic structures. Heine (1997) notes that the domain of comparison encompasses different conceptual and linguistic forms, with the "superior comparative" serving as a prototypical example in languages worldwide. It is worth noting that both "superior comparative" and "superlative" constructions share common underlying structures. This study hypothesizes that Persian exhibits a greater variety of language-specific superlative constructions compared to English, attributed to typological features such as the "Ezafe construction," "free word order," as well as other morpho-syntactic elements including constructional idioms, specific lexical items, and phrasal/complex predicates unique to Persian.This study aims to address the following questions: 1) What schemas and morpho-syntactic mechanisms do Persian and English employ to express the superlative comparison notion? 2) Do all constructive components of superlative comparison in Persian and English require obligatory or optional formal expression? 3) To what extent can Stassen's typological classification (1985) and Heine's cognitive approach (1997) explain the superlative comparative constructions in these two languages? 4) How similar or different are the dedicated grammaticalized constructions employed by Persian and English to express the superlative comparison notion?

One of the intellectual characteristics of Molavi"s poetry is the use of Quranic concepts, including the use of Quranic characters. Molavi does not merely adopt a suggestive view in using the Quranic declaration; Rather, he interprets the elements of the Qur"anic stories, especially the character of the prophets, with a hermeneutic view. Rumi acts creatively in this process and creates rhetorical images from his interpretations.

The authors of this research, by describing and analyzing the data, after stating the generalities, analyze the types of intensive interpretative similes arising from the Quranic story of Jesus (PBUH) in order to determine the meaningful relationship of the frequencies.

In this research, the most frequent type of simile is the compressed (eloquent) additional simile, in which Rumi first interprets a story or a verse of the Qur"an based on the rule of running and applying and reaching the interior; Then, according to his rhetorical style, he creates original images such as Jesus of the Spirit, Mary of Love, the cradle of mold, the antichrist of grief, Mary of straw, etc., and this shows that Molavi looks at the stories and characters of the Qur"an with an internal and cognitive approach and a new look at It has the character of prophets including Jesus (pbuh).

Rumi mixes the story of Jesus (pbuh) which is an external matter with his mentalities and tastes and interprets it with a mystical perspective and he has opened this chapter to the audience that everyone can use images and combinations according to their understanding and attitude. To create poetry and rhetoric in the shade of interpretation. In this article, the authors have explained the forms of intensive simile in terms of the type of interpretation, creativity, and imitativeness, as well as sensory and intellectuality.

Comparative literature, in its French sense, provides the possibility to understand the similarities or differences between literary works. Gothic literature, as one of the ways of writing stories, is a genre that has emerged in the 18th</sup> century. It mainly focused on creating fear and terror, illusory and melancholic atmospheres based on neurotic characters. Horace Walpole wrote the first Gothic novel, "The Castle of Otranto" in 1764, and many writers followed his lead. Persian Contemporary fiction writing was also influenced by this genre and many works were written in this field. Despite this influence, there is a gap in the comparative study of this genre in the works of European and Iranian authors. This research, using the analytical-comparative procedure, has examined those works that have more affinity and consistency with the characteristics and components of Gothic literature. Furthermore, following the principles of French school of thought, it has examined, analyzed, and compared their commonalities and differences. The findings of the research show that Iranian writers did not emphasize the direct use of the principles of this school of thought. The existence of any similarities between the works of these writers and European Gothic writers is mostly the product of the indirect influence of these writers from Gothic stories in world literature. Based on this, it should be said that Iranian story writers were influenced by this school in three ways comprising imitation, metamorphosis, and innovation.

The present paper aims to investigate the superlative comparison schemas and to capture the way this grammatical notion is encoded linguistically in Persian based on Heine’s (1997) cognitive approach. To this end, all comparative constructions involving the notion of superlative comparison were collected as our data through a comprehensive search of the Colloquial Persian Dictionary by Najafi (2008). The research hypothesis is that Heine’s proposed model cannot account for the Persian data. The results of the study showed that in Persian, five more schemas, namely the Linking, the Possession, the Equation, the Body part, the Idiomatic schemas and three more subschemas, as well as some schema blends encoded the superlative notion, in addition to the eight schemas listed in Heine’s. Furthermore, it seemed that some schemas (subschemas), especially the Linking schema, were specific to Persian and they had not been documented in Heine's approach. Moreover, the formal expression of the degree marker, the marker of standard, and the standard was not obligatory and, in such cases, the superlative comparative meaning was encoded by an element that combined the meaning of these elements together in some way or other. Finally, our hypothesis was confirmed and the study ended with a suggestion to modify Hein's schema list to account for the Persian data.

The myth of Kaveh the Blacksmith in Shahnameh has specific signs, practices and actions which make the functions of the myth of this character. Given the overall similarity of the tale of Zahhak and Fereydun-in which Kaveh the Blacksmith has played a crucial role-to the historical narration of Babylon conquer written by Herodotus, Xenophon and Ctesias in the history of the Achaemenid Empire, reminds us of signs, practices and actions of Gobryas (Ug-ba-ru) who was the Cyrus the Achaemenid’s confederate.This thesis aims to examine and compare Kaveh the Blacksmith’s most important functions in narration of Shahnameh since his appearance in the tale of Zahhak and Fereydun with Gobryas (Ug-ba-ru), the Cyrus the Achaemenid’s confederate during Babylon’s conquer based upon available historical documents and reports. The present research is of analytic-comparative nature on the basis of library data which tries to demonstrate a similarity between the character functions in the myth and an evidence in the history. This comparison may result in a redefinition of Kaveh the Blacksmith’s character and of some of his functions in Shahnameh.For instance, regarding the historical and religious sources, one may examine his being a blacksmith as his title instead of his occupation. Furthermore, this analogy may help doubt the idea that Kaveh the Blacksmith is considered as popular and supplementary, suggested by some mythologists including Arthur Christensen, Mehrdad Bahar and Zabihollah Safa.

The concept of comparison is expressed in the form of various linguistic constructions. Among the different types of comparative constructions, we can mention similative and equative constructions. In these constructions, two referential phrases, which are called comparee and standard, are compared with each other in terms of a shared characteristic (parameter). Equatives express equal extents and similatives express equal manners. In the present essay, we attempted to discuss and investigate the similative and equative constructions in Lori Silakhori. The findings confirm that the speakers mainly use 3 types of strategies to express the concept of similarity and 8 types of strategies to encode the concept of equality in Lori Silakhori. Also, the data show that there is a tendency to remove the parameter in both constructions, especially similative construction. In addition, due to the free nature of lexical order in Lori Silakhuri, it is not possible to introduce a fixed order for the elements in similative and equative constructions.

The city is an open area whose repeating linguistic characteristics contribute to creating meaning and expanding contemporary poetic images. With its diverse functions, the city displays a true image of man’s life and identity, generally defines the human self, and characterizes its link with the internal and external challenges of the motherland. Samih Al-Ghasem attached great significance to the cities of Al-Ghuds and Haifa and believed the two cities had a specific linguistic position because the two, in his poetry, embrace various images and perspectives which describe the reality trend of life, as being occupied by the Zionists, and show the poet’s emotional equilibrium with the sensitive events that unfold inside their borders, thereby forming a spirit of resistance and national concerns towards them. The research has selected two occupied cities of Haifa and Al-Ghuds from among various cities that Samih Al-Ghasem has intended in his poetry. The research also uses a descriptive-analytical approach to compare the most important cognitive concepts those two cities have in common. Thus, a summary of research results suggests that the comparison of the two cities in the poetry of Samih Al-Ghasem reveals specific and general features. The general features indicate common cognitive relations between the two cities that can be divided into three subjects of addressing tragic scenes of children, displaying concerns for originality and identity, and the crisis of negligence and indifference to current developments. However, its specific features include the partial realist description of scenes of destruction of Al-Ghuds and displacement of its residents, in addition to optimistic and pessimistic perspectives of the current status; meantime, as for Haifa, the poet mostly looks to the Israeli’s hostile measures, describing them with the ugliest attributes.This research uses a descriptive-analytical method to answer the following three questions: What is the position of Al-Ghuds and Haifa in the poetry of Samih Al-Ghasem in terms of the way words effectively contribute to diverse themes?Given the examples, how would Samih Al-Ghasem describe the cognitive dimensions of Al-Ghuds and Haifa? andHow are the two cities' most notable and common conceptual contexts described by Samih Al-Ghasem from a functional perspective?While recalling the cities in contemporary Palestinian Poetry, it has dedicated a special place to the use of vocabulary and symbols through it that identifies further affiliations and desires of the poet and reflects social and inherent concerns and anxieties of the poet; since the cities in Palestinian poetry became the dramatic scene where the essence of images, themes and new literary codes in the furnace of events are revealed that in  contemporary critical study based on sign processes and indications. Therefore, Palestinian cities for their great poets such as Samih al-Qasim, are considered as a gift and good source in order to draw new images and add aesthetic background in his idea of resistance in such a way that their major use of the vocabulary suggests the inspiring East where the nature and national identity of a poet, while realistic view and emotional stances, are tied together. Our study was focused on the cities that Samih al-Qasim’s poetry has paid attention. The current study has chosen two cities of Jerusalem and Haifa on a selective basis. Although the overall theme of poems places these cities among the common National and patriotic issues, each of them has a unique innovative signs than the other that can be distinguished. One of the instances is the painful realistic feature appeared most in Jerusalem, and the other is the ethical signs dedicated to city of Haifa while optimistic and pessimistic view to the city of Haifa. Therefore, this study aims to analyze call of Jerusalem and Haifa in both Samih Al-Qasim's poetry in terms of statistics and content to show hidden images and indication based on the descriptive - analytical method for analysis of literary text and to decode the signs and indications.

According to Gérard Genette, analepse is one of the new techniques which is utilized for presenting the events of the narrative and anachronism that the poet uses to establish the relationship between events and characters with the past when the narrative revolves around a particular subject or stops. The analepse technique in contemporary narrative poetry, along with saving the narrative from monotony and linearity, assists the clarification of the depth for semantic changes in the narrative and the changes made in the psychological and social states of the characters. In their narrative poems, Farouk Gouida and Reza Baraheni avoid the linear system of time and ascribe great importance to the features of the past in numerous fields such as strengthening the context of some of the events and comprehensible moments of the narrative and clarifying the ambiguous angles in it. By means of a descriptive-analytical approach, based on the American school of comparative literature principles, the current study aims at implementing the impacts of analepse from the Gérard Genette’s perspective in the poetry of Farouk Gouida and Reza Baraheni. As the results have indicated, the analepse technique in the poetry of Farouk Gouida and Reza Baraheni is directly related to the intensity of pain and sorrow that these two poets faced in the past. Furthermore, it assists them to know the origins of the problem and offer similar conditions for it in the past. Analepse in Farouk Gouida's poetry, with its general, internal, and external types, has emerged to fill the semantic gaps and complete the shortcomings of the present. However, in Reza Baraheni's poetry, it occasionally tends to change the meaning of the event within a subject belonging to the narrative and is accompanied by the insistence on repeated returns.

Humor has a long history in Persian literature and examples of it can be seen not only in ancient texts but also in contemporary Persian works. In order to arouse the audience's emotions and influence their minds and psyches, the satirist must transform the world around him as it is and become unreal. For this reason, he tries to express his mental concepts indirectly so that "his main message can be heard unspoken, said and unheard." Caricaturist is a humorous and short text that has a new and different look at the surrounding phenomena and relations between objects and beings, so in this study, the language of humor and comparison in caricatures of the 90s is examined and analyzed. The result of this research, which was done in a descriptive and analytical way, shows that the satirical language of the 90s cartoonists is a creative and artistic language, and the authors of the works of this decade have been able to express the realities of society by using, brevity, all kinds of language games, avoiding norms and using poetic language to depict.

Heteroglossia is one of the most common critical methods in demonstrating the creativity of a conversational style in relation to another language and consciousness. According to Mikhail Bakhtin, heteroglossia is realized in linguistic intertwining with more than one voice in different linguistic units, in which the other can play an essential role in showing the intrinsic and social characteristics of the narrator. Narrative dialogue in the poetry of Farouk Gouida and Reza Braheni is often based on heteroglossia in the face of different values and ideas, which in addition to its great importance in freeing the narrative from the narrator's dominance and avoiding the monotony of one-sided expression, In terms of form and content, it has become a useful technique to attract the viewer's attention and convey different views on narrative events. This study, by adopting a descriptive-analytical method in its study, intends to implement patterns of heteroglossia in the poetry of Farouk Gouida and Reza Braheni from the point of view of Mikhail Bakhtin and based on the principles of the American school of comparative literature. Summary of research results in selected samples of their poetic texts indicates that heteroglossia is distinct in Farouk Gouida's poetry based on its functions in the types of hybridization, stylization, and pure dialogue with the dynamics of the languages that they represent public opinion to prepare the conditions for the poet to accept his desired ideologies and ideas. Therefore, the discourses of Farouk Gouida have a greater geographical scope compared to the common discourses in Reza Braheni's poetry, because heteroglossia in Braheni's poetry is often characterized by conscious individual hybridization or high emotional interaction with characters.

This article entitled a “comparison between Molla Ahmad Naraqi's Taqdis Masnavi and Molavi's Masnavi” examines and analyzes mystic, ethical and Kalamic statues of these two works, from the perspective of common forms and content. In this resreach anecdotes, themes, thoughts and common views of the two works were extracted and then analyzed. Common mystical stations are detected in most themes. Despite the commonalities in presenting the beliefs, Hadithes and Verses used in the two works, there are differences between them in some cases. In Taqdis Masnavi, despite being inspired by Rumi's Masnavi, there are allegorical stories that do not exist in Masnavi. Mullah Ahmad Naraqi’s Kalam is taken from the basic principles and sub-principles of Shiite mysticism, which is combined with practical mysticism and conduct, and clearly stated within the framework of the principles of Sharia and also mystically expressed in a restrained way. Although Kalam does not have the same steadfastness and mastery as in the Masnavi, but it has a high position among Shiite poem and Persian language and literature and is far from any advocacy of a superstitious sect or false thought.