Investigating and comparing the spiritual aesthetics of Golestan with Baharestan, Parishan and Kharabat

Some literary texts are formed in relation to other texts, and in this sense, texts in their world have various intra-textual and intertextual relations. In the meantime, usually one of the texts is ahead of the others in terms of time. After Saadi, Golestan and his style of expression, themes, compositions and images were given general and special attention, and his simplicity, clarity of expression and kindness of speech caused him to become a role model among writers and various works based on It is created as Baharestan Jami in the ninth century, Parishan Qaani in the twelfth century and the poor ruins of Shirazi in the thirteenth century are examples of such examples. The present study, in a descriptive-analytical and statistical manner and based on library studies, seeks to study Golestan, Baharestan, Parishan and Kharabat from the rhetorical point of view and from the perspective of spiritual industries (simile, metaphor, metaphor and irony) and show that What is the basis of Golestan in terms of judging the use of the spiritual industries of the other three? Findings show that some features were applicable in all four works, including the predominance of sensory similes compared to the rational and less permissible existence, but some features are considered a special feature between Golestan and others, such as Baharestan in balanced image resolution and volume And disturbances in shared images.