Article writing is Arabic in origin; however due to the influence of Arabic on Persian, even after a century and half from the creation of Hamedani's Badi Alzaman Maghamat and half of a century from Abolghasem Hariri Magamat, the Iranian scholar, Qazi Hamid Aldin Balkh also followed the Arabic Magamat, especially Hariris Magamat to produce his literary work. This is the first and only book in Persian on article writing. It is one of the outstanding examples of artistic prose that has affected the artistic and elaborate texts of later centuries. However, it has not received the attention it deserves. Lack of Iranian attention to article writing may be due to its Arabic origin and the smaller number of pure Persian words compared to Arabic ones, caused limitations for the authors of such literary works. The present paper tries to employ descriptive and analytical methods to refer to the vocal and content similarities between Hamidi Maghamat and Harriri Maghamat. The results indicate the extent of influence and adaptation of Arabic article writing, in terms of content and words, as well as his pioneering skill in this type of writing in rhyming and artistic Persian prose.

Maqama refers to a type of technical and riming prose such as narrative, humorous writing and literary notes. Many studies have been conducted into the technical prose and writing style of maqama, however, the Arab and Persian critics and researchers have not paid any attention to the speech acts of this genre. “Fel-sakbaj” is written by Ghazy Hamid-o-din Balkhi. Noticeable similarities between “Fel-sakbaj” and “Almozyrye” have led some people to introduce “Fel-sakbaj” as a translation of “Almozyrye”. The purpose of this paper is to reject this theory. To this end, “Fel-sakbaj” and “Almozyrye”, were analyzed based on speech acts theory. the results of the study indicated that “Fel-sakbaj” is not pure imitation of “Almozyrye” and also it is broader than “Almozyrye” and speech acts of “Fel-sakbaj” is more variable than “Almozyrye”. Because of these features, Ghazy Hamid-o-din Balkhi has been able to give more dynamic narrative to Persian-speaking audiences.

Maqamat-i Hamidi written by Hamideddin Abubakr Mohammad bin Omar bin Ali Balkhi is one of the masterpieces in the Persian prose that challenges the styles of Arabic Maghamah texts by Badiozaman Hamedani and Abolqassem Hariri. This work that is written with the style of Persian prose is filled with a large number of beautiful and delicate Arabic poems and phrases, whose sources have remained unexplored so far. This paper studies the Arabic verses and phrases in Maqamat-i Hamidi and attempts to determine their sources and references as much as possible.

The present study investigated the book Maqamat-e Hamidi by Hamid al-Din Balkhi in order to find the possible signs of the native ideas of the translation technique. The history of translation studies is divided into three periods: pre-linguistic (literal), linguistic (linguistic), and post-linguistic (cultural). Given the recent period (linguistic or cultural), it is now thought that cultures translate according to their needs. Given that the findings of the present study trace the existence of this idea in the preface of Maqamat-e Hamidi, it should be noted that Hamid al-Din Balkhi referred to multilingual and cultural issues in translation centuries before current scholars. In the post-linguistic stage, cultural expectation determines which text to be translated, why, and how and these elements moved the translation activity from lexical, meta-lexical, and textual levels to rewriting and recreating the translator’s ideas. In order to implement the idea of a translator-author, Hamidi, based on the principles of comparative literature, rewrote and recreated the Maqamat of Hamedani and Hariri’s ideas in Persian based on the principles of comparative literature. The present study is descriptive-analytical in terms of the method and nature, respectively. The results of the study showed that Hamidi in the introduction of his Maqamat has proposed the idea of discarding faithful translations in order to satisfy the users of the target language and to strengthen the language and literature of the target community. In this way, he paved the ground to rewrite and reproduce the source texts in the target language. It should be noted that the introduction of Maqamat-e Hamidi is based on the fundamental idea that the components of a literary polysystem are in constant competition for a dominant position in language and literature. Therefore, this system is always witnessing constant challenges and tensions between the center and its peripheral environment. In other words, literary genres that are located in the periphery of this literary polysystem are constantly trying to reach a dominant position in the center of the polysystem and other literary genres that are in the center of this system (in the face of rival species) are trying to establish their dominance. On this basis, so-called less valid genres such as translated literature can be considered effective factors in the dynamics of the literary system. Translated literature can help to invent new literary techniques in the target community and this is one of the main reasons for recreating Maqamat in Persian. Finally, it is necessary to ask a key question and answer it: What were the decisions made by Hamidi in rewriting and recreating Arabic Maqamat in Persian? His decisions and actions can be classified into the following categories: 1) Innovation in choosing the title of Maqamat; 2) innovation at the beginning and end of Maqamat; 3) innovation in the illustration of the narrator and the hero of Maqamat; 4) innovation in the journey of the hero of Maqamat; 5) innovation in the structure of Maqamat with extensive use of debates and arguments; and 6) innovation in the content of Maqamat.

Twenty one Maqamas of Ghazi Hamid al-Din Balkhi’s (died in 559 A.H) work, by the name of Maqamat-e Hamidi (written in 551 A.H), are studied in present article. The study of 6th and 14th Maqamas is postponed because of obvious distinctions of plot structure with the other Maqamas. Each of Maqamas’ plot structure includes 10 functions and develops by increasing or decreasing of the functions. Indeed, the main purpose of this article is to offer a consistent definition of the genre (Maqama) rules in Persian literature. The present approach has been taken from the attitude of Vladimir Propp (1895-1970 A.D.) at Morphology of Fairy-tales (1928 A.D.) and notions of Narrative prose sciences.

Maghamate Hamise is a literary master piece written in prose by Ghazi Hamidudin in the Twelfth century. Maghame is a well-known genre of narrative and story-telling. The Persian maghame was adapted with some modifications from the Arabic maghame. The invention of the genre and the common themes of maghame was attributed to Badi-e-Zaman Hamadani. There are four editions of the manuscript of this maghame. Among them Dr Reza Anzabinejad’s edition of Maghamate Hamidi is the best due to its observance of critical editing rules. However، due to the editor’s negligence of stylistic rules and some editorial errors many extracts of the book seems to be confusing. In this article by highlighting some of the confusing extracts the writers emphasize the necessity for providing a new edition of Maghamate Hamidi.

"Maqamate Hariri" and "Maqamate Hamidi" are technical proses in Arabic and Persian literature. The present article studies the Samarkand Story in both works from structural, perspective, infrastructure, voices, time and place, description, dialogues, personification, characters and intertextual point of view as well as expressing the similarities and the differences. The Samarkand story in "Maqamate Hariri" is about an old man who advises people during the day but he ignores them all and does something different during the night. In "Maqamate Hariris" an old man is described who talks about Samarkand's people miserliness pettishly but he changes his mind and praises Samarkand and its people just in time. The similarities show that Ghazi Hamideddin had enjoyed "Maqamate Hariri" in his literary work.

In the definition of the Maqᾱmᾱt, it is one kind of an ancient stories that is associated with prose, mixed with poetry about a hero which appears anonymously in the story and causes events and, as it is known at the end of the story, disappears. So that it will be appears again in another form in the next Maqᾱmᾱt .Writing Maqᾱmᾱt in Prose Persian for first time Emerged With Maqᾱmᾱt of Judge Ḥamid al-Din Abū Bakr Muḥammad Ibn Omar ibn Ali Balkhi From the masterpieces of Persian prose texts in the sixth century. Maqamat-i-Hamidi is one of the masterpieces in the Persian prose that challenges the styles of Arabic Maqᾱmah texts. This work that is written with the style of Persian prose is filled with a large number of beautiful and delicate Arabic poems and phrases, whose sources have remained unexplored so far. This work Composed from an introduction, Twenty three Maqᾱmah And an end. Writing Maqᾱmᾱt which relies on narrative structure in Persian language with differences from the writing style imitates of Arab Maqᾱmᾱt-i-Badiʿ-e-Zamᾱn Hamedᾱni and Abulqasim Ḥariri. This book is written in the style of prose Persian artifacts relevant what is in the face which uses verbal and spiritual arrays and misleading vocabulary And proof to the verses, hadiths, poems and the Arabic dialect And in terms of content which reflects the social situation of the writer's time. The main question is the research whether Hamidi Initiative to using Arabic poetry and expressions or it has adapted the words of the speakers before them? Since so far no comprehensive research About inventive or imitation of Arabic poems and phrases, been tried in this paper, With the search method in the source and available resources, The cases that Hamidi used Arabic texts is expressed. This paper studies the Arabic verses and phrases in Maqᾱmᾱt-i-Ḥamidi and attempts to determine their sources and references as much as possible.