پژوهشنامه ادب غنایی
پیاپی 36 (بهار و تابستان 1400)

As a poet, Khaghani had a great desire for illustration, and in this regard, he has used a wide range of concrete and abstract elements. One of these widely used elements in constructing images of his odes includes using different animal species. In this analytical study, the position of animals in Khaghani's odes was investigated. Noteworthy that in general, he has provided 1,177 images based on the descriptive- functional form of 86 different animal species. Among them, in terms of frequency, the chicken, the horse, the dog, the lion, and the snake were respectively the most used animals. The poet's use of animal images is not in conventional and prefabricated. In fact, at times, the poet has provided so fresh and weird descriptions of animals like the lion, the dog, and the elephant that have greatly enhanced the themes of his poems. The main question of the research is to examine the relationship between the image of animals and the poet's emotions, moods and beliefs.

The factors and conditions that influence the poet's heart and soul in the creating poetry are of great importance in the creation of it; generally, poets, scholars and critics pay attention to these factors, and they are scientifically followed by theorists and new philosophers. However, the question remains that what causes the poetic atmosphere and mood? Sometimes this ability is only assumed as something innate and accessible to certain people, and some believe that, everyone can become a poet with practice and experience just like any other skill. According to Hakim Nezami's explicit comments on poetic techniques and its conditions, it is very interesting and valuable to deduce and clarify Hakim Nezami's views in this respect. IT seems necessary to collect and compile his valuable views which are neglected due to being scattered among the poet's words in a form of a coherent view to guide the followers of correct speech; while helping them to better know him and his artistic techniques.The presence or absence of coherent literary theory in the literary history of the Orient, especially in the field of ​​Ancient Persian Literature, is one of the issues that has always been dealt with briefly and without any scientific support.  Is it Possible to imagine all the beauty and variety that is evident in Persian Literature without any theoretical support? The span and variety of the issue dimensions in Nezami Ganjavi's poems compels us to examine one of them, namely, the factors of poetry creation in the poet's literary theory, and try to answer the following question: Does he have clear comments on the factors of poetry creation? And if so, how can they be classified, and what relations do they have to modern and contemporary literary theories?

On the one hand, the researcher investigated Kolliyat of Hakim Nezami including poems, using historical analysis, and on the other hand, to clarify the origins and basis of literary theories, this technique was investigated from Plato to Rolan Barthes and the contemporary philosophers and other eminent theorists. Finally, the poet's views on the creation of poetry were deduce

It is true that the creator of an artistic work is the one who can understand the factors of the outside world and discovers its secrets better than the others. However, his relation with outside world do not necessarily always follow the rules of wisdom. Sometimes the relationship with the outside world stimulate his mind and makes it aware of great forces which he himself might not be familiar with..From the formalists' point of view, generally art is not the purpose or the frame of an artistic work but a process through which perception is reduced or even disconnected. As such, critical investigations are also to achieve such influences (Keri, se, 1381: 33)Therefore, it should be considered a place for wisdom, along with the trance and the unconsciousness, in poetry creation space. Although, from a poetic structure point of view, Nezami sometimes comes close to the ideas that conform to formalism (Ismaili, R. K. 1394), this never leads to ignoring the place of reason in the creation of poetry and it makes him a generally rational poet.Bares believes that the place of wisdom and its use in the creation of poetry and art has a definite boundary. He says: If the creator of a literary work wants to use wisdom from the beginning, not only does it fail to empower other internal forcesbut also cripples them. The artist must know that the time of using instinct is before any reference to wisdom or logic (Bars, 1968: 104).In Nezami's perspective, wisdom is the head of human soul and can pave the way for all the difficult ways, including the ambiguous path of poetry creation, and any speech that does not correspond to this old man's logic would be worthless. In the mind of the wise poet, wisdom and art have a close relationship with each other that can serve as an introduction or complement on and to each other. This correspondence is of course inevitable and just as art requires wisdom, wisdom also requires art and artistry (Nizami, 1388: 51).Phenomenologists insist that the poetic image is "something empty". It is not an image drawn on a canvas or on a sheet of paper, it is merely a virtual, metaphorical, or ironical expression that cannot be seen. The original content of the poem is neither images, nor expression of thought and language (Ahmadi, 1370: 59). This view is far from what Nezami thinks of the close relationship between poetry and wisdom. Nezami remains a rationalist poet while employing images from the world of senses and what is beyond. Sometimes he has arguments on affairs which are really rational. And if it is not possible, his arguments become poetic. It is a sort of poetry that follows wisdom.

Although the criticism and literary theorizing were not dominant in the past of Iranian and Oriental literature; no written works have been compiled in this respect and they have not received much attention in the way that was common in ancient Greece and the West, It does not mean that Iranian poets and intellectuals did not have any theories in the field of literature and literary criticism. The reason is that direct and indirect cues of many of these great characters in the field of criticism and theorizing represent deep intellectual challenges in this regard.He was unrivaled in direct expressing of his views on literary theorizing and poetical techniques if not unique. He provides a logical framework for his poems and thoughts, and seeks to apply this thought frame to his poems and reveal it to others. In the context of the factors that influence the creation of poetry and a poetic atmosphere and mood, he mentions noticeable factors which are classified under the following topics: Divine Grace, Solitude and Loneliness, Poetic Atmosphere and Mood, Poet's Inspiration, Angel, and Fairy Impression, the Introduction of Magic, the Developing and Propagandizing of Religion, Wisdom, Heart-centrism  the Buyer of Speech, the Name and Reputation of the Poet and the Spreading of Science; the poet's deep look was revealed in this field by referring to his poems. It seems that the views which have been raised in the field from the past to the present are summed up in his own. The author's intention is to extract and classify all of Nezami Ganjavi,s comments and to formulate them by explaining his poetic theories so that these prose gems would be presented in a form of a poetic chain.

Although some texts in classifying of literary types are compiled under the genre of Epic literature, they are not empty of lyrical aspects. Perhaps, lyrical sections of these literary works have a key function in the whole story, such as, love stories in Ferdowsi’s Shahnameh that based on the researchers’ opinion have a special and different structure than non-epic stories. As far as our studies show, love stories in Zarrin Qabanameh haven’t been investigated from this aspect. In this survey with a descriptive-analytical approach, based on the library resources, the focus is on the comparison of peculiarities and structure in Zarrin Qabanameh attachments with the similar cases of Ferdowsi’s Shahnameh, that earlier had been under the observation of other researchers. One of the results of this survey signposts though love stories of Zarrin Qabanameh have similarities with love stories of Shahnameh, in most characteristics and structures are different from similar cases in Ferdowsi’s Shahnameh. The deep connection of structure and elements of love stories in Ferdowsi’s Shahnameh with Persia ancient history and myths, which is the general characteristic of Shahnameh has contributed to the increasing richness of the regarding stories. A point that despite similarities between these two literary works, is less vital in Zarrin Qabanameh.

According to Dehkhoda dictionary, “Hekmat” means knowledge, insight and cognition, and a person is called a sage who has mastered the knowledge and information of his day, and idiomatically it means philosophy and mysticism, and that is knowing what a perfect human being must be.Most ethicists have considered two branches for wisdom, namely theoretical wisdom and practical wisdom. According to Aristotle: Practical wisdom means that we are aware of the duties and responsibilities of human. It means that we pay attention to our duties and responsibilities from the point of view of reason and intellect. Practical wisdom deals with the power of reason and the power of will and is limited to human. Practical wisdom is a set of do's and don'ts. Do's and don'ts are also related to human beings, which are divided into two categories: 1. They are personal; This means that one should observe the do's and don'tsabout oneself or it is related to society, which is of two types: 1- The science of housekeeping related to small community (family) 2- Civil policy (related to large community or country)According to Avecina, the purpose of theoretical wisdom is to perfect the power of thought and thinking and the ability to reflect on the facts and discover them, so that the level of actual intellect is realized for the soul. In such a way that perceptions and affirmations are obtained about involuntary matters, that is, matters whose nature is not our voluntary actions. While the first goal of practical wisdom is to perfect the power of thought and thinking by obtaining ideas and affirmations about human voluntary actions. But the secondary and ultimate goal of practical wisdom is the perfection of practical power due to a series of moral properties.Nasir al-Din al-Tusi, in the introduction to Nasirean Ethics, considers wisdom as the knowledge of knowing things as they are and rising to do things as it should be referred to as much as one can until the soul reaches the perfection it realizes. He calls the kind of knowledge and wisdom that is the perception of the truths of beings and the acknowledgment of its rules and entitlements as much as human power, the existence of which does not depend on human will, and like Farabi, enumerates the three main divisions for it and also deals with the details of science.He considers practical wisdom: "Knowing the interests of the deeds and artificial actions of the human species in a way that is beneficial to their living system and appropriate to achieve perfection."The works of Sanai and Rumi as two important judgmental-ethical sources, have the capacity and ability of research and judgmental research compared to our other literary works. Accordingly, in the present article, while compiling the necessary preliminaries of  wisdom and ethics, the authors have sought to answer these questions: 1- On what basis was the ethical system of each of the mystical poets? 2- What is the place of practical wisdom in Hadith and Masnavi? 3- Are the designs of these humanizing ethical categories in the poems of these two poets exactly the same?

Comparative analysis method and library tools have been used to study the subject of practical wisdom in Hadiqa of Sanai and Masnavi Manavi.

The new method of teaching ethical issues and its literary expression in Sana'i works, especially Hadiqah al-Haqiqah [The Walled Garden of Truth], shows their high value in the method of expressing practical wisdom in simple language. Practical wisdom is a set of tasks existence of which depends on human possession and knowing the interests of the voluntary movements and artificial actions of the human species to achieve perfection. Practical wisdom is divided into three sections: ethical refinement, housekeeping, and civil policy, which are rooted in the views of Aristotle and Islamic scholars. Ethics is a branch of practical wisdom, and the purpose of this science is to know the virtues and vices that can be acquired through voluntary actions for human beings.Rumi's Masnavi, as an ethical-mystical work, has the ability to extract a special ethical system. In the subject of ethics and practical wisdom, Rumi's Masnavi has a prominent position and the enthusiasts of this valuable work, in addition to enjoying art, also benefit from its excellent teachings. Rumi's wisdom is a divine wisdom in which human can attain true knowledge. Given the value and position of practical wisdom in the upbringing, guidance and perfection of human, the mystic and wise poet like Rumi uses wise and parable themes masterfully and in the most beautiful way possible in Masnavi, and with the inspiration and establishment of religious sources, such as the Holy Quran and the words of the Infallibles (AS), he seeks to works on the advice of the people and the growth of their human dignity. Rumi often takes his preconceptions from mysticism. He believes that there is an inseparable link between mysticism and the understanding of religious wisdom.

Mystical and wise poets such as Rumi and Sanai, use wise and proverb themes in their works masterfully and in the most beautiful way possible, and inspired by religious sources, such as the Holy Quran and the words of the Infallibles (AS), they seek to advise the people and nurture and promote their human dignity in this privileged way.A comparative study of four examples of practical wisdom in the works of Sanai and Masnavi of Rumi shows that Sanai and Rumi, both in expressing theological and ethical teachings, have been influenced by Sharia and mysticism. The difference is that the ethical points in the Divan of Sanai have been used in panegyrics, and it is one of the praiseworthy ethical virtues, and there is a lot of exaggeration in them. Therefore, they may not be mentioned for their instructive aspect and positive impact on the audience, especially today’s audience. But in Hadiqa and Masnavi, which are two purely mystical works, the approach is spiritual and all ethical virtues find meaning in the direction of spiritual excellence, perfection, closeness, disappearance and annihilation. The wisdom of both mystic poets is wise, divine and Qur'anic, although they may have a glimpse of neo-platonic wisdom. Examples of practical wisdom in Sanai's works are more evident in the behavior of different sections of society, from judges to lawyers, ministers and kings, and sometimes in the biographies of religious leaders, and have more material and earthly aspects, but these in Masnavi can also have material and spiritual aspects, in Rumi's view, as much as he is the commander of the army of a brave king, harmless mystics such as Daqouqi, Shebli, and Junaid can also be brave and heroic in the privacy of their dervishes.In many of Hakim Sanai's advices and praises in Divan and Hadiqah, the purpose is to be close to the center of power and receive rewards and sometimes to promote the policy of reforming, educating and spreading ethics, but Rumi is a mystic who avoids the core of force and is dissatisfied with praise and flattery. And his ethical advice is based on Quranic and prophetic ethics.

Panegyric means praising admirable qualities of the praised which poet praises his moral and behavioral qualities during the praise odes. Praise poetry, due to its major influence and significant contribution to Persian literature, should be considered a special type of literature and along with epic, lyric and drama, it should be regarded as a type of literature. In the literary type of panegyric, personality of the praised is in position of the hero, and various subjects related to his virtues become means of the poet to praise the hero of this type of literature. Exaggeration is one of the salient features of the literary genre of panegyric, in which the panegyrists were obliged to "show the hero more than he is and to mythologize the so-called figure." (Shamisa, 2007: 254) In the literary type of panegyric, the panegyrist attempts to manifest the characteristics of the praised to the highest level of perfection by using the form of ode and by means of exaggeration, so that the praised turns into a superhuman character. Among the praised qualities, the component of justice has been one of the things that all panegyrists have used as a pretext to praise the praised. The main questions of the present research in this regard are: 1- How has the theme of justice evolved in terms of superstructure and infrastructure? What have been the tools and elements of the panegyrists regarding the theme of justice? In what context have been the innovations of panegyrists regarding the infrastructure of the theme of justice?

 Methodology of research:

The research of the present article has been done analytically and descriptively and the relevant information has been collected in a library manner; Thus, the praise poems of ten panegyrists (Rudaki, Farrokhi, Ansari, Manouchehri, Ghatran, Massoud Sa’d, Abol-faraj, Moezzi, Anvari and Khaghani) have been the subject of research from the beginning to the end of the sixth century. During the research process, in the first stage, the evidence related to the component of justice is extracted from the two poets and in the next step, it is examined in two general categories, under the headings of superstructure analysis and infrastructure analysis.

3-1- Superstructure analysis of the theme of justice The main feature of the theme of justice in the Samanid and Ghaznavid eras is the use of tangible and material images. Most of these images are superficial and have only a confirmative aspect. The poet's imagination does not go beyond the outer shell and superficial relations of phenomena. "The meaning of the words of this type of image does not exceed the literal meanings and stops at the level of apparent and approximate meaning or only in description and expression." (Fotouhi, 2009: 59) In the Seljuk era, the poet's imagination is not limited to the superficial shell of objects, and dealing with superficial images does not satisfy his sense of modernity. The main innovation in the theme of justice is limited to images that are obtained from two tangible and sensible components, such as: miracle of justice, wine of justice, wheel of justice, sword of justice, water of justice, sleeve of justice, flower of justice, smell of justice, spy equity, breeze of equity, mount of justice, Seedlings of justice , Government of justice, Dress of Justice, etc. The ingredients of the theme of justice, in the Rudaki and Ghaznavid periods, are generally provided from the material elements of nature and are used quite simply and without any obligation during the poem. Things like: runnels and flowers, animals and birds and other landscapes and everything else that the poet has been dealing with every day and has been concrete and tangible to him.What is more prominent in the Seljuk era than any other subject in the superstructure of the theme of justice is related to the extraction and implementation of components and elements of religious stories and narrations, the most important of which are: the story of Prophet Moses and the miracle of his staff,the blindness of Prophet Jacob and the shirt of Prophet Joseph, the story of The Prophet's journey from Mecca to Medina and his hiding in the cave of Hara, the story of Noah's flood and the landing of the ark on Mount Judi, the pregnancy of Prophet Maryam , etc. 3-2-Infrastructure analysis of the theme of justiceThe panegyrists have resorted to people who have been famous in justice in all the periods discussed in the present article, in order to highlight the praised justice and to find an objective and external reward for it. In the meantime, Anushirvan Sassanid and the second caliph in terms of frequency and repetition, have been repeatedly referred to as a symbol of justice. Apart from this, from the point of view of poets praising predators and birds of prey, they were like transgressors that the praised justice cut off their aggression and forced them to give up their hunting instinct and wild temperament in order to live at peace with other animals.One of the obvious examples of the effect of praised justice in the Seljuk era is the creation of harmony and reconciliation between opposing and heterogeneous natures. Examples of this are related to the compatibility between water and fire, the equality of rose and of wine with fire and water, and the acquainting of four opposite natures in the human body with each other, as well as the deprivation of properties and phenomena, so that despite praised justice, wine has the property of hangover and the moon has lost the ability to wear linen

The result of the research shows that the subject of justice is one of the noteworthy components in praise of the praised and all panegyrists have considered it in their praises. The analysis of the construction of the theme of justice in the Samanid and Ghaznavid eras shows that the raw materials of theme making about praised justice were obtained from the material elements and the surrounding nature, their main rhetorical tools have been detailed and tangible to tangible similes. In the analysis of the infrastructure of the theme of justice in this period, innovation and exaggeration in relation to the theme of praised justice, in the first step, is related to the equality and superiority of praised justice in comparison with historical figures. Secondly, it is flexible to the effect of praised justice on the level of animals, which has put aside their wild instincts and temperaments, as well as the effect of praiseworthy justice on society.In the Seljuk era, the subject of justice gradually turns from simplicity to complexity,the panegyrist does not spare any effort to deal with the superstructure of the theme of justice, detailed and tangible similes replace compact and sensible images, to the extent that the issue of the conflict of images in themes arises. In order to find a pristine and original theme, the poet goes through all the fields and whatever helps him to invent the theme, falls into the circle of raw materials and elements of his theme making.In infrastructure of the theme of justice in the Seljuk era, panegyrists, while considering the themes of poets before them (comparison of praised justice in comparison with historical figures, the manifestation of praised justice among animals and the impact of praised justice in society) were also not unaware of innovation and creation in this field. Among the innovations and exaggerations of the poets of this era about the praised justice, we can mention the creation of an inverse relationship between the hunt and the hunter, the creation of a bond between opposing natures and the deprivation of properties and relations between objects and phenomena and landscapes.

 The effect of One thousand and One Nights on English literature, especially in Romantic period, can be regarded as magical. There are few writers or poets who have not been enchanted by this great work. The British poets of the Romantic period were influenced by this literary work and they did their best to create original works through One Thousand’s inspiring spirit. William Wordsworth, S. T. Coleridge, Lord Byron, and Robert Southey are outstanding poets in their poems parts of One Thousand is mirrored. The impact of this work on each of these poets and the way each of them reacted to it has particular features.This research studies the effect of magical exoticism of One Thousand in Southey’s verse romance Thalaba the Destroyer (1801) from the perspective of Edward Said’s orientalism. A prominent feature of the period, in which Southey wrote his work, was the cooperation of orientalism and colonialism. This colonial context is not only reflected in Southey’s work, but also colonialism is the strategy and orientalism the tool by which Southey encounters One Thousand. Ignoring the fact that magic is a universal literary topic and appears in one or another way in the superstition corpus of every nation, Southey by emphasizing magical exoticism in his work attempts to show its origins in One Thousand to depict west in contrast to the east. This study aims to answer the following questions: 1. How does magical exoticism emerge in Southey’s work and how has it been influenced by One Thousand’s text? 2. How does Southey base the employed magical exoticism in Thalaba on orientalist knowledge, and consequently, how are East/ Islam and West/ Christianity characterized? 

 The present research is based on American School of comparative literature. The approach of this study if that of Francois Youst in regard with exotic trend and its various types. Studing a particular type of exoticism, that is magical exoticism, the exotic affinities between One Thousand and Thalaba in colonial context are investigated. The findings are assessed based on Said’s theory of orientalism.

 Exotic representations deal less with the expression of ‘truth’ and ‘reality’ of strange cultures, especially if such representations are placed within colonialist discourse. In his famous Orientalism (2004), Said explains the function of orientalism in details and shows how the knowledge of orientalism and imperial power have supported one another in the period of colonialism. The study of the internal world of Thalaba shows that the discourse of orientalism and colonialism have been active in various ways. One Thousand is limited doubly in Southey’s work. The first layer of limitation is related to the representation of One Thousand in Southey’s romance. The second layer is formed by footnotes, which they possess no literary qualities but are used to confirm the truth of events in Thalaba. Being inspired by the magical exoticism of One Thousand, Southey finds it possible to move along the colonial aims in Thalaba and it also indicateshis stance towards this eastern literary work. Establishing a sharp distinction between sorcery and faith in God, this poet implicitly depicts the position of magic in the western culture. In fact, Southey introduces East as the origin of sorcery and divine faith is as a major feature of the West. This is no illogical claim that the system of sorcery in west has further affinity with the same system of sorcery in One Thousand than in Southey’s work. Such attempts are performed paralleled with orientalism for making unreal dualities which Said reveals in his work. Choosing the near east as the milieu of Thalaba, the magical representation of One Thousand in Southey’s work, Southey’s confession that sorcery in One Thousand has inspired him all show that he considers magic as an eastern phenomenon and this is used to promote Southey’s imperial agenda” (Bolton, 2007: 199). The second form of limitation and appropriation of One Thousand in Thalaba is made possible by lengthy footnotes. These footnotes clearly assert the major role of orientalism in the representation of the eastern literature. “The exotic context can justify the events of the story or the innate intellectual principles” (Youst, 2017: 191). The ‘principle’ that Southey seeks to justify is related to the representation of magical exoticism in One Thousand: East is the land of magical powers and, in contrast, west is the cradle of faith in God.

 “One Thousand” has been the source of inspiration for many western literary works and western writers, based on the type of the relation they had with it, have tried to show its effect in a creative form. Magical exoticism is the central topic in Southey’s romance. Far from the imagery of magical exoticism in One Thousand, Southey depicts the duality of sorcery and faith in God and therefore denies magic through resorting to divine faith. To take such a position towards One Thousand, Southey makes use of the discourse of orientalism in order to present magical exoticism as an essentially eastern phenomenon, meanwhile this work is employed to make Thalaba more alluring. The cooperation of Southey with the discourse of colonialism is vivid in his work’s lengthy footnotes. Taking advantage of magical exoticism in One Thousand for the creation of Thalaba and adding orientalist footnotes to it, imposes a double limitation on One Thousand. The first layer of this limitation is formed by Southey’s representation of One Thousand by which Southey rejects sorcery and so assumes his eastern source as superstition. The second layer refers to the orientalist function of the text’s footnotes that exerts power on One Thousand and appropriates it, and thereby, tries to prove that west, unlike east, is the cradle of intellectualism and divine faith.

Focusing on mentality, mental processes, mental conflicts, the reflection of characters as inner voices, and inner monologues are among the most significant elements in the modern fiction. The lyric or poetic short story is a subdivision of the modernist fiction. Based on Eileen Baldeshwiler’s theory, in “The Lyric Short Story”, the characters’ minds and their inner worlds are highlighted and the author’s goal is to directly depict the main character’s thoughts and feelings as well as his/her mental states and emotional ups and downs as regards a specific issue in a lyric language. In the stories authored by Shamim-e Bahar, readers usually confront modern mental narrations of unfulfilled loves as well as loving, but disappointed and lonely heroes. The story “The Cloud Feels like Raining” is a poetic self-narration of the narrator’s mental and emotional flux, and is also the epitome of a modern lyric short story. In the present study, this question was answered: What elements and factors have characterized the short story “The Cloud Feels like Raining” as a modern lyric story?

This is a library and descriptive research which was conducted by using the content analysis method after the data had been collected and classified. The statistical sample was the short story “The Cloud Feels like Raining” authored by Shamim-e Bahar. The purpose of the study was to analyze this story from the viewpoint of Eileen Baldeshwiler’s theory of “The Lyric Short Story”. Finding numerous similarities between the narrative structure and the modernist techniques in the short story “The Cloud Feels like Raining” and what Baldeshwiler has explained in her theory of “The Lyric Short Story”, persuaded us to analyze the aforementioned story from the viewpoint of this theory.

The term “The Lyric Short Story” was first coined in 1921 by Conrad Aiken, the American author and critic, and was used in a critique of a story collection authored by Katherine Mansfield, the well-known New Zealand author. In 1969, a critic named Eileen Baldeshwiler expanded the relevant theory in the paper “The Lyric Short Story: The Sketch of a History”. Baldeshwiler generally classifies narratives into epic and lyric narratives. Based on her viewpoints, novels are compatible with the epic narrative and short stories are compatible with the lyric narrative in which, the characters’ mental states and emotional flux are highlighted. In the lyric short story, the author’s goal is to directly depict the main character’s thoughts and his/her knowledge of them, not the external actions and events. Furthermore, in such stories the narration of the events is mostly destined to reveal and depict the character’s inner feelings and emotions. (Payandeh, 2012, p. 64)Modernism in the short story is mainly synonymous with poeticizing and lyricizing. Shamim-e Bahar is among the modernist fiction authors of the 1960s in Iran. He has authored seven stories which are mostly innovative and have a lyric mode and a poetic tone. According to Mir-Abedini (2017, p. 714), “Being committed to applying the ideas of the modern literary criticism to the analysis of Persian fiction, Bahar shows in his love stories that he has learned authoring techniques from Hemingway, Salinger, and Nabokov.” Depicting man’s loneliness, the lyric tone, focusing on mentality, and expressing the main character’s thoughts, feelings, and emotional flux are among the elements which have marked the story “The Cloud Feels like Raining” as a modernist story. Using the first-person narrator, the profound and complicated characterization, disrupting the linear time, using the narration technique of inner monologue, the discontinuity of the narrative, symbolism, and changing the common plot are among the modernist techniques used in this story. The lyric and poetic tone, the succinct and sometimes metaphorical prose, and the narration of an unfulfilled love are other features which further characterize this story as a lyric short story. According to Payandeh (2012, p. 35), “The most significant and the most fundamental difference between modernist and realist stories is the tendency of modernist short stories towards poeticizing, hence their being called ‘poetic/lyric stories’.”

Shamim-e Bahar is among the modernist authors of the 1960s and 1970s in Iran who has created modern stories by using modernist techniques such as subjectivism, ambiguity and complicatedness in narration. In the modernist story “The Cloud Feels like Raining”, he explores and depicts the inner world and the mental states of a lonely and sorrowful person who suffers from an unfulfilled love. Involved in an inner struggle with himself and unable to interact with others, he finally finds a different perspective to his love and in Baldeshwiler’s words he travels along an emotional curve. The main character’s emotional agitation and inner world are highlighted through narrating the external events and frequent associations. The discontinuous narration of events, the uncommon plot, the inner monologues, the narrator’s emotional flux, the symbolism, the lyric, poetic and succinct prose, and highlighting the narrator’s emotional loneliness through depicting specific images and places, are among the techniques used in the story “The Cloud Feels like Raining” to turn it into a lyric narrative and what Eileen Baldeshwiler describes as a lyric or poetic short story.

The cohesion comes from "Sajama" stem. We read about the meaning of "Sajama" stem in Lesan Ol- Arab as:  "Sajamt ol-eino al-Damo va sajamto al- sahabato tasjema sajman, sojooman, (ebn manzoor, 2005:1762). Means that: tears falls from eye and rain from cloud. Falling rain or tears or rain continuing are like putting the meaning s in a special frame which is text, because the continuity of water drops will make river or sea and the result of meaning gathering will make text or poem or literal piece. So, the word coherence represents a kind of adhesion in parts of a complex together to make a unit. From Holiday and Roghayye Hassan point of view, the concept of coherence is a semantic concept. In order to makes it clearer it can be said that: the semantic concept emphasizes that the coherence makes semantic connection among the components of a text by cohesion signals (Holiday and Hassan, 1976:4). "Sa'd Maslouh" also informs that the coherence is a semantic connection among a complex of concepts in a text (1991:154)."Mohammad Khatabi" says that the concept of coherence is higher than its implying concept and it relates to other levels like syntax, word, sound and writing. From this point of view" the concept of coherence can be analyzed from 3 levels: 1- semantic 2- verbal 3- vocal and writing"(1992: 15). So Mohammad Khatabi not also emphasizes on implying and semantically concept of coherence but also he pays attention to vocalic part of it. The vocalic coherence also contains all the elements which cause the language is presented with intonation, harmony and balance in rhythm and rhyme (Nazari, 1389:18). According to most of linguists, vocals are the reasons of text cohesion which have the important role in making a consistent text. In this article we want to answer the questions as said in below by studying and analyzing the declarative beauties and vocal structures of "Feragh" poem, questions like:  what are the most important vocal bases in Baeye poem of Motenabbi? Why does the text in Al-Faraq's poem benefit more from clear sounds? How much balance is between the concept and meaning with the syntactic structures in Motenabbi poem?

In this study the writers studied the vocalic coherence in Motenabbi "Feragh" poem by descriptive- analytic method and also by discovering the vocalic bases of the poem, have determined the concord of syntactic structure with concept and meaning of verses in Motenabbi poem.

Motenabbi is an Arab poet who is one of the best poets of his period and now because of choosing  words and sound, and has a utilizes from all the capacities of sentences like words, letters, sounds and vocals in other to raise the semantic and aesthetic level in poem. He had engaged in his poem to arrange vocals so that with repeating vocals, sounds and short vowels which represent their semantic and hidden imply he tried to make more internal and external lyric in text. In Motenabbi poem aesthetic repetition has creative appearances. The poet has paid attention to these specification and also artistic repetitions in rhythmic realm of his poem and also has used sounds and writings to create words harmony. In addition he made balance in horizontal level of the poem by" Hampa Ghazi" or "Raddo Ajz Alal Sadr". The poet also has used the connected syntactic bases by dominating he has in writing poem. The balance is somehow kind of hidden repetition and has an important role in making textual coherence. Motenabbi has made glorious rhythm in verses number 16, 31, 33 by utilizing syntactic balance. Syntactic balance in these verses can be seen in 2 ways of verbal and synthetic, because the movements of the words in first hemistich are like the second hemistich also the words of two hemistiches have harmony together in the case of association. In addition when the sounds are together a spectrum of sound appear which the y descend or ascend or sometimes have horizontal line according to the meaning and concept they want to present.  From some of the language compounds of the poem we can feel reproach of Seif Al-Dovle and the inner anger of the poet. In these combinations Motenabbi has used long vowels and the sound's curve line has ascendant excursion. Look at this verse: " Fala lam takon fi mesra la serto nahvaha / feeghalbel mashvegh el-mosstaham el- matim"(Motenabbi, 1983: 461).Motenabbi mentioned that Kafur has physical existence in Egypt and showed that he is so interested to see Kafur just by the imperfect verb " Takon" so that there is a heart other than his, therefore forms which are used to explain heart are past participle (al-Mashvegh, al-Mostaham, al-Motayyam) not gerund. Close junctures like (Lav, Lam, and Takon) - which denoted to hopelessness from life and Motenabbi's reluctance to see Kafur- are representing descendant in this verse. Also Motenabbi keeps the vocal curve line in horizontal by using particles like" Lav" and for accepting the excuse of Seif al-Dovle. He has used particles like "Lav" which represent refusing conditional answer and says: Falav kana ma bi men habiben maghnaen / Azarto VA laken men habiben moamamen"(same: 459)

 The result of this study is that Motenabbi by using the grammar of Arabic language for sounds, words has made coherence in text. One of these grammars is using sounds which have the same pronunciations. Another indicator which can be seen in this text is sounds distribution based on easiness in speech. For balance in the poem we should say that all Tafeile are not safe and also have Zehaf Ghabz which shows the sorrows of the poet because of steering from Seif Al-Dovle court and his anger from poet's associates which cause this separation. The other point is that safe Tafeile in comparison with Maghboz Tafeile have captured the poem with a very low difference, this shows the spiritual and internal fluctuations of Motenabbi. Other skills of Motenabbi in creating this literary work is using extended sounds and short vowels beside each other which make descendant and ascendant intonation when the pronounce and this helps poets in meaning transferring. Single sounds and tones in this poem are more regular and appeared in letters like"R","L","M" and "N" and all of them have their own characteristics when they combine together therefore make coherence and absorb the attention of the reads. Motenabbi has so much skill in language and for creating ornamentation in his speech he has used syntactic bases. It's adorable to have such a language and literature with meaning and concept. His language domination caused him to have deep view into phenomenon's and connections among them and use facilities for expressing thoughts and emotions in creating more poems.

  The presence of myths is visible in the literature of every nation. In the meantime, Arabs and especially its poets were familiar with mythical figures. Mentioning the names of mythical heroes with their legendary features in the poetry of Jahili (pre-Islam) period indicates this familiarity. After literary resurrection and establishing connection with Western culture and civilization, using myths was reformed which dates back to mid-twentieth century. In this period Arab poets have used myth for expressing concepts and applied it as a useful means in poetical illustration. 

  Arab contemporary poets aimed to benefit from extraordinary power and capabilities of myth for their goals and wishes. For the realization of their goals the heroes and mythical figures are revived in order to objectify their ideas, emotions, and passions and in this way poetical experience is mingled with mythical concepts.    Among all the myths, the religious ones have also appeared in poems of Arab poets. The figures of prophets including Mohammad (pbuh), Jesus (AS), Moses (AS), and Job (AS) have been frequently used in the poetry of contemporary poets. The poets by benefiting from these figures and their related issues tried to induce their concerned concepts.   Among the prophet figures that can be found in Yusuf al-Khal’s poetry are Abraham (AS), Job (AS), Adam (AS), and Jesus (AS). Jesus (AS) is one of the most frequently used figures among these figures. Considering the unbalanced circumstances of Arab society, Yusuf al-Khal wishes for a savior of mankind to set up a global resurrection. He wishes for a great resurrection which brings a better life for the Arab nation. By using the symbols of this religious myth he protests against political failures, unorganized conditions of Arabs, and the presence of terror atmosphere. So, in this article we study the different aspects of Jesus Christ (AS)’s personality in Yusuf al-Khal’s divan. The main research question is: in what aspects the mythical function of Jesus (AS) character is represented in poet’s divan?

Since myth and mythical function in Arab contemporary poetry is transformed from a simple, ordinary function to an influential function with predetermined goals, the goal of this research is to extract and express myth function in one of the greatest contemporary Arab mythographer’s divan that is Yusuf al-Khal and to study its contemporary social function. The extended and different function of myth in al-Khal’s divan shows the necessity of this research.   

In this research by using descriptive-analytic method first, poet’s divan was carefully studied and the examples of myth function were extracted and finally analyzed and studied.       

  In a section of ‘Al-Ustura fi al-She’r-e-al-Arabi al-Mo’ser’ book by Yusuf al-Halavi the myth in Yusuf al-Khal poetry is dealt with that is not specifically about Jesus (AS). Also, As’ad Razogh in ‘Al-Sho’ara-e-Al-Tamozion: Al-Ustura fi al-She’r-e-al-Arabi al-Mo’ser’ published in 1996 studies the style of myth usage in poetry of five Arab contemporary poets including Khalil Havi, Sayab, Adonis, and Jabra Ibrahim Jabra. In one of the chapters he has dealt with some of mythical odes of Yusuf al-Khal including ‘Al-Bae’r al-Mahjoureh’ however, it doesn’t include other odes concerning Jesus (AS) myth. In the article “Myth in the Arab Contemporary Tamouzi Poets’ Poem” (Akbarizadeh, 1393: 27-46) which is published in Lyrical Literature No.23 myth in three Arab poets including Adonis, Sayab, and Bayati are dealt with but no mention has been made to al-Khal divan.   In this field, the most important article is “Al-Masih va al-Romoz al-Masihiyah fi Divan Yusuf al-Khal” (Roshanfekr, 2014: 61-90) published in Al-Loghat al-Arabiyah va Adaboha No.1 magazine. Reading present article and comparing it with mentioned article shows the similar and different aspects clearly, because the goal of present article is to illustrate mythical aspect of Jesus (AS) character in the form of (4) a mythical symbol. It is a method which the mentioned article does not have and instead it generally have dealt with Jesus (AS) character in divan and have not emphasized on the mythical and symbolic aspect of Jesus (AS). 

Qeysar Aminpour, born on Apr. 23 1959, in Gotvand, which is a town of Shushtar, Khuzestan province. He spent his high school years in Khuzestan and then went to the University of Tehran in 1978 to study veterinary medicine, but he did not find the field suitable for him and dropped out. He studied Persian language and literature since 1984 and finally graduated with a doctorate in 1997 and began teaching at the university. He combined and upgraded the Nimai style with the advantages of the traditional style. Aminpour died in 2007 (in Tehran). Valuable works have been left in his memory (Eghtesadnia, 2007: 138-149). Among Aminpour's extra-textual remarks, there is no mention of the narrative nature of (many) of his poems, but many of his poems, like those of his master Nimayoshij, rely on narration. Paying attention to the characteristics of Aminpour's style (Fotouhi Rudmajani, 1387: 104-105) and comparing them with the prominent features of Nima style which also appeared in his own analysis (Nosrati, 1397: 212-228), confirms many similarities in the form and content areas of this There are two. Aminpour inherited narrative functions in poetry from Nima and then personalized it with additional arrangements. Studying the structural components of the narrative in Aminpour's poetry will make it clear that the narrative is not very obvious in his poetry, so this can be considered as one of the characteristics of this poet's personal style in using the narrative. In the present study, researchers try to show how QeysarAminpour uses narration, especially hidden narration, and its functions and elements in order to increase the impact of poetry on the audience, based on narrative theories that pay more attention to the structure of narration and introduce its elements. . In other words, the main question is how the "hidden narrative" is formed in QeysarAminpour's poetry and what are its characteristics? The present study seeks to discover the characteristics that poets, as a kind of stylistic feature, introduce into the function of narrative in poetry. On the one hand, this reveals the evolution of literary arrays and expressive techniques in poetry, and on the other hand, it explains the process of merging literary genres and their techniques. Trying to discover more details of these matters, in addition to helping literary scholars, including students of Persian language and literature, to carefully expand the field of literary criticism in such components, also helps those interested in literature, especially ordinary readers of contemporary poetry. In order to better understand the background of QeysarAminpour's success in the field of poetry, to know more about the factors that make him enjoy poetry and to provide a basis for a more complete understanding of the texts he reads.

In general, library studies provide the essential data of this paper. These data are then analyzed, described, and sometimes compared. The process of the research is such that after reviewing some basic concepts, the main discussion about the "aesthetics of hidden narration" and how it forms by the help of elements such as plot, subject, theme, setting, scene, atmosphere, point of view, character, dialogue, and tone. Then, how the element of time is involved in the formation of a hidden narration in Aminpour's poetry will be studied. This element is examined by analyzing "order", "continuity" and "frequency", which are the favorite components of Gerard Genet.

From a narratological point of view, Aminpour's poetry can be classified into three general categories. Some of them (despite maintaining vertical axis communication) do not contain narration at all. For example, the poem "Ney-Nameh" (Fife-Story), from the beginning to the end, is a description of a fife from some poetic view (Aminpour, 1998: 162-165); In a way that reminds the reader of "Rumi's Ney-Nameh" (Rumi, 2009: 11-12). The second category of Aminpour's poems contains an obvious narration; That is, the poet tells a story with his poem that has its beginning, middle and ending, and the structural elements of the narrative are clearly in it. The narrations in these poems are sometimes so structured that they can be rewritten as a short prose story, and even the usual critical papers of the story can also be written about them: Last night, again, I dreamt of myself. I flew in the sky. And I passed through the clouds. And in the morning, when I woke up, I saw a handful of feathers in my bed, a handful of feathers, warm and outspread. Below of my pillow, was something breathing. And then with an unbelievable gape, I coddled my tired shoulders. On my shoulders, as I felt something lost away, something like wings (Aminpour, 1998: 130-131).The third category of poems contains what the present research cares about. These are narrations that examples of which can be seen in Aminpour's Haikus. In these poems, the stories that are narrated and the elements of the narration, to varying degrees, are hidden behind the poetic components, such as "I was invited to a birthday party/ why did I end up to a lamentation?" (Aminpour, 2008: 22). In the following, we will analyze such poems.

Narration in Qeysar Aminpour's poetry has found much more advanced functions than in the period before him. In ancient Persian poetry, the narrations used in epic, lyrical, and didactic-mystical works was very close to the same prose stories. This general characteristic continued until Nimayoshij's poetry. In Aminpour's poetry, the most specialized functions that are expected from the narration and its elements have emerged. Out of these are characterization by direct description or through the dialogue of characters or describing the events by them or by the narrator, change the perspective of the narration, changing the point of view, changing the importance of the elements in order to maintain and increase the impact. Examination of the element of time-based on Genet's theories shows that Aminpour has considerable mastery over the possibilities provided by the components of the order, duration, and frequency. The narration is solved in the context of Aminpour's poetry and the poetic features of his text. In other words, the clarity of the narrative elements in prose stories is not observed in Aminpour's narrated poetry, so that the title "Story-Telling through Verses" which we mostly mean by narrative poetry does not seem appropriate for many of his works, but the reader is confronted with "poetry containing narration". The plot and structural components of the plot, along with other elements of the narration, including the subject, theme, context, scene, atmosphere, setting, point of view, character, dialogue, tone, and time, are all used by him in such a way that the original narration can be called a "hidden narration"; Because the structure of the narrative and its elements are so hidden or semi-obvious that their presence can only be revealed through careful analysis of the text. This feature serves to increase the impact of poetry on the readers; because the readers of the poem, just as they discover the meaning and conceptual relations themselves and enjoy these successive discoveries, realize the presence of a kind of narration in Aminpour's poetry.

Literally, association means two-sided or multi-sided call which is accompanied by action and reaction, while psychologically it infers to a psychological relation among concepts, events or mental states mostly originating from special experiences. In other words, association is “the mental correlation among two or further imagines or memories in a manner that the presence of either leads to the induction of another” (Staly and Bras, 257: 1369). The artistic language as the most prominent literary tool, owes its own elevation to association and its four rules i.e. “similarity, proximity, conflict, as well as cause and effect” (Safavi, 27: 1383). Indian poet fashion is among literary districts where a wider field is there for this artistic technique in as much as “the words applied in the Indian-fashioned poetry easily fly out from their nests of cliché images, where they freely, mysteriously and fully ambiguously fly in the free and dreamlike association of poets’ minds land in the nest of their neighbors to represent novel and unusual images” (Vafaie and Kamali Baniani, 365: 1394). During this era, unlimited struggles have been made to create new clusters of novel elements in addition to the extension of association district and the network of images attempted taking advantage of the elements prevalent among the poets from previous era (Shafii Kadkani, 71: 1366). Saeb, due to his unbound fiction in the usage of elements, can be regarded as the most leading pioneer in this area, and “razor” is of the elements that has notably been applied as a most frequent and canonical element in his lyrics association networks in both approaches of the extension of old networks as well as in the creation of novel networks. In other words, instead of the element itself, two dependent combinations i.e. “razor” and “” as margins and its new affiliates have been his focus in the creation of images in the expression of the concepts. Additionally, the poet has added intact clusters to the bushes of poetry fiction via the application of the element itself as the axis of novel association networks formed based on the new elements that have found their way to Indian-fashioned lyric district. Here in this article, the authors have studied the creation and development of fiction networks considering razor and its affiliates as the major theme, and have paid to the role of this element in converting paired words and the expression of its relation to other elements within this networks.

A descriptive-analysis and content-analysis method was applied in the investigation of the subject of this research and its edition. The theoretical reason of the research are based on the valid resources in the field of poetry techniques, stylistics, poetic schools, as well as the first class works in the district of concepts and expression. Relied on these sources, the theoretical bases and the outlines of the subject have been illustrated. Then, the evidence according to these bases of provable consistence with the subject of the research were extracted out as target source from Saeb’s Court and investigated. In this way, the elements either of most frequent association with the razor element, or applied as counterparts for it in paired words have been identified. Based on the concepts of the goal, these elements have been studied following 5 titles of association networks and 4 titles of paired words.

“The analogy between the allegories and the style of Saeb’s equations is rooted in the association of meanings, which Elliott also refers to the association of meanings, and believes that the only way to express emotions in an artistic manner is to find the association of meanings (Maleki, 2006: 97). Similar to all the elements in this context, the razor element and its elements have been associated with Saeb’s mind and have played a role as the dominant element of the core or prominent side in various networks of his imagination. In such a way that even the thinnest thread of the razor connection and its dependencies with other elementsis not hidden from his far-sighted and narrow-minded vision. In the five networks analyzedin the present article, water and hydration of the razor have allowed him to establish a broad range of connections between this element and the aquatic elements of nature such as wave, sea, flood, etc., and on the other hand attributing the razor to the beloved. And the desire of lovers for eternal life, by being killed by this razor and benefiting from its water and water supply, is an excuse to connect it with elements such as Khezr, the water of life, Jesus, etc. as symbols of life and life conferring. The trait of razor that brings confusion and absolute destruction to lovers by killing them, in another network based on the concept of confusion, has become the link between the elements such as sacrifice, sacrifice’s eye, Besmel (the sacrifice decapitated reciting the name of God), Martyr, etc. Also, obtaining ink and originality for the razor by enduring twisting, heat and other severe construction steps, sparks linking this element with ingredients such as chain, hair, chains, etc. and creating a network based on twisting concepts, austerity, the silence and originality of the essence of the razor is clear in the poet's mind. Another network in which the connection of elements is out of the realm of concept and is formed on the basis of proximity is a network in which the razor is associated with elements such as sutures, wounds, needles, strings, and ointments, and another opportunity for the poet to imagine. He has created allegories and rhetoric and other rhetorical industries. Another use of the razor is to create allegories and themes by relating it to certain elements, in pairs and in the form of a pair of words, which is the most common quadruple, that is, the words "razor and needle", "razor and whetstone", "razor and displaced chicken" and " razor and Hunting the shrine " have been investigated.

In the process of escaping the vulgarity of the use of elements in the art of poetry, in terms of creating new images and expressing unprecedented themes, Saeb, like other poets of the Indian style and more than most of them, has changed the borders and norms of various aspects such as logical relationships, co-ordination rules, image-making capacities, etc. This work of art requires the expansion and modernization of ancient visual and semantic networks and the creation of pristine networks in poetry, which factors such as the prevailing political situation and the change of poetry and poetic base from court to alley and market and boiling with popular culture, has helped the poet in achieving this goal. Thus, in this period, in addition to the penetration of some new elements and terms into the prohibition fence of classical lyric poetry, the root elements have also undergone a fundamental change, and with the expansion and reconstruction of art, they become the canonical point of association network.The razor element, has experienced both aspects of this method in Saeb's sonnet, so that at first, by changing the centrality of the poet's focus from the essence of the razor element to its two dependents, namely "razor ink" and "razor water" and connecting a range of other elements, as reminiscent of each others imaginary clusters, pristine and imaginative networks have shaped in his poetry, and on the other hand, in the dimension of expansion and modernization, the razor because of its mix with the elements introduced to the poetry from the public culture, has used as the most common art tool, and its application is so great.Some aspects of the razor that have manipulated by the imagination of the poet, have been discussed in this study. In most cases, the razor is quite different from those used in previous periods and shows the need for study in this case as well as in other popular and favorite elements of the poet to explain the intellectual system and deep understanding of his poetry

 The covenant of Alast or the world of dharr (pre-existence) is a concept with Quranic roots. Verse 172 of Surah A'raf mentions that God made a covenant with the sons of Adam to acknowledge his oneness. Islamic scholars consider the realm of this knowledge to be the world of pre-existence. In the above verse, the word “dhoriyah” is used, but there is disagreement among theologians, commentators, mystics and other Islamic thinkers about its interpretation. Some have presented a metaphorical interpretation of the verse and given it an allegorical aspect. Some others have considered this covenant as a real issue and presented different views on the interpretation of the covenant and its abode. (Javadie Amoli, 1384 and Tabarsi, 1372). Hafez, who is considered a great mystic, has expressed mystical concepts in code language and mentioned them in his lyric poems with words and expressions such as the covenant of Alast, the eternal covenant, the eternal rule, the compass of fate, and so on. Hafez considers the realm of the covenant as the eternal hexeity of human beings in the eternal divine knowledge, but according to Allameh, the realm of the covenant is the celestial existence of human, which is in a higher rank than his material existence. This study investigates Hafez's theory on the origin of the Covenant or Alast and compares it with the theory of Allameh Tabatabai in this regard. The following questions are answered in this research: 1- What is the relationship between Allameh's theory and the mystics’ theory of the covenant of Alast, which is frequently mentioned in Hafiz's sonnets? 2- What are the commonalities and differences between these two theories? 3- What is the role of mystics’ principles in explaining Hafez’s theory of the covenant of Alast?

The present study has been carried out through descriptive-analytical method, and is based on interpretive and mystical texts and the library method. After being extracted from the main sources, comments have been arranged and explained, and the concepts and words that refer to the Covenant of Alast in Hafez's sonnets have been compared to the theories of mystics extracted from mystical books.

There are several meanings for the word “dharr” in dictionaries. According to most of the lexicographers, this word refers to tiny creatures (Farahidi, 1988). Some have refrained from explaining the concept of the world of pre-existence and have asked the scholars of Shari'a to deal with it. But those who have sought to interpret and explain it are divided into two groups.A- one group believe that there has been no covenant, and the Qur'anic verse has an allegorical aspect. Human beings are innately theists and theology is considered a part of human nature . This is an evident issue which is interpreted as the Covenant of Alast (Javadi-Amoli , 2005). According to the second group, the world of pre-existence indicates a real matter. God has not spoken to man in the language of allegory and metaphor, but in the language of creation and existence. However, several ideas have been put forward in the interpretation of this existential issue and its abode1- This covenant has been made in the world of nature. When God created Adam, he produced from his back the specks of all human beings who were to live on the earth from the beginning of creation to the end of the world. God then joined the souls of all human beings to those specks, made the covenant with them and then returned the specks to Adam's back. This is known as the theory of extraction (Majlisi, 1982).2- This covenant is real. God has offered two proofs or reasons to guide man. The outward proofs are the divine prophets and the inward proof is the human intellect. These two proofs are in harmony and are presented by God for making a covenant with human beings about their monotheism and his lordship in the language of creation. In fact, the realm of the covenant is the abode of revelation and human intellect, which is related to the world of nature (Javadi, 2005).3- Based on Allameh's theory, human existence has two aspects and directions: a celestial aspect beyond time and space, and another aspect belonging to the world of nature. These two aspects are not separate from each other, but in terms of rank, the celestial aspect has priority over the worldly aspect. The covenant is related to the celestial aspect of man (Tabatabai, 1999).4- Hafiz has mentioned this covenant using the words “the Covenant of Alast”, “the eternal rule”, etc., and in mystical texts too, this covenant has been mentioned in these terms. According to mystics, the realm of this covenant is related to the world of divinity, the eternal knowledge of the Almighty and the station of eternal hexeity. Hafiz, who belongs to this group, considers the realm of the covenant to be the abode of eternal hexeity in his sonnets) (Ibn Arabi, no date and Ferghani, 2000). The compatibility of these opinions with the narrations of the Infallibles shows that Hafez's view overlaps with the hadiths about the realm of the Covenant of Alast.According to the above evidences, the logical-rational argument for Hafiz Shirazi's theory on the realm of the Covenant of Alast is as follows:1- At the beginning of this section, it became clear that the terms “the Covenant of Alast”, “the Eternal Covenant”, “thecompass of fait”, etc., which are mentioned in Hafiz's sonnets, have one thing in common, and that is the certainty of human destiny in divine knowledge.1-Mystics argue that human destiny in determined by the divine essential knowledge and the station of eternal hexeity, and interpret it in terms “the word of Alast”,” the covenant of Alast”, “the compass of fate”, and so on. Therefore, by the origin of the covenant of Alastand the other terms Hafiz means the world of pre-existence, the rank of the essential knowledge of God and the station of eternal hexeity, whose realm is the world of divinity.

Allameh Tabatabai considers the abode of the covenant to be the celestial aspect of human, which has priority over his material and worldly existence. It is true that this priority has no temporal aspect, but it is related to the world of creation and is outside the Divine Essence. According to Hafiz, the realm of the covenant of Alast is the eternal hexeity and the station of the essential knowledge. Since this abode is neither temporal nor spatial, these two theories interact in two ways.1- Both theories consider the realm of the Covenant to be outside the world of nature and outside the limits of place and time, and deny the existence of a similar world before this world.2- Both believe that the taking of the covenant is not an allegory but an expression of reality, and the testimony and the acceptance of the testimony is a real issue, not a metaphor, but disagree on the abode of the covenant.A- According to Hafiz, the abode of the covenant is the abode of the Essential Divine knowledge and the station of eternal hexeity, which is related to the time before the creation of beings.B- According to Allameh's ideas, human beings have two aspects or two existential abodes. These two abodes are not separate from each other but are united. They are together but are not the same. One is the abode of the visible realm and the other is the abode of celestial world. The celestial world had priority over the visible realm, but this priority is not temporal. In the celestial world, that is beyond time, human has observed God as the lord and himself as the servant, and truth is clear in that abode. This abode is different from the station of eternal hexeity and eternal knowledge, which is related to the essence of the Supreme Being. Therefore, Allameh's theory is different from Hafiz's theory and belongs to the world of creation, while Hafiz's theory belongs to the world of divinity and before the creation of the universe. Hence, Hafiz's view overlaps with the narrations of the Infallibles.

Molana Jalal-Al-Din is one of the mystics who never ceased his quest for Allah during his life and successfully reached the heights of wisdom by consistency in the mystic way. Molana grew up under the supervision of a wise and enlightened father who was in companionship of great people and benefited a lot from spiritual powers. When his father died, Borhan Mohaghegh took the responsibility of his guidance and elevated the young Molana in mystic science and made him one of the saints who was in love with Allah. After Borhan Mohaghegh guidance, Shams-e-Tabrizi promoted him to the highest levels of devotion to Allah.In addition, there was an appropriate and suitable condition for Soltan Valad, to grow spiritually. He was an invaluable and experienced father who help him pave the way in spiritual growth and help him pass the hard and uneventful mystic path. He considered his father as an everlasting wise and insightful man and believed that the other saints sacredness is because of his father leadership or Velayat (Soltan Valad, 1363:497).The same as his father, Soltan Valad had a close companionship with the ancestors of Molavi's way and apperceived the presence of Pir-e-Termez and even remembered his words about the mystic way and made use of them in his teaching. Moreover, he was one of the companions of Shams-e-Tabrizi and received lots of guidance from him (Vaseghi et al, 1393:184-189). He respected all the fellows and followers of Molana and sought their assistance along his mystic way. Even when he was selected as the leader of the Molana's way, he never ignored the great men like Karim-al-din Baktmar and was constantly proud of his companionship (Soltan Valad, 1363:610).Sultan Valad trained by the instructions of the pioneers of the Molavi's way specially Molavi, unravel the secrets of magnificent thoughts of his father by creating works such as Masnavies (Ebteda Name, Robab Name and Enteha Name) and the Divan of Poems and Maaref. As such he provided the researchers with a new explanation of his father's mystic experiences with new interpretations. The survey of his works indicates that SultanValad not only rendered Molana's thoughts, he had also attained some experiences and revelations in the practical mystics. Nevertheless, Molana's greatness and his great works kept SultanValad in isolation and that is why his works did not receive the attention they really deserved from the scholars.

This study is a basic research done in the library using the descriptive-analytical method. First, the issue of mystic way was scrutinized through the study of the Masnavi Manaavi and the Masnavis of Soltan Valad and then Molana's and Soltan Valad's viewpoints about the issue of mystic were studied and analyzed. Beside the common conceptions between the father and the son who were both the followers of Molavieh way, Soltan Valad's novel explanations and interpretations of his father's words and his new visions were studied.

In the mystic viewpoint, in order to reach the truth of one's existence and attaining integrity, a person has no other option but entering the mystic way. The mystic way is to move toward the sanctuary of Allah, the movement in which there is no shortcoming or flaw form the lover and what is important is to reach the Allah sources of unity. The real mystics avoid all sources of evil and bad deeds and devote all their mankind characteristics for the sake of divine characteristics (Nasafi, 1381: 103). Nasafi, the author of Zobdato-al-Haghayegh believes that: “mystic way is to move away from the devil words to the divine words, from the devil deeds to the divine deeds, from the devil moral to the divine moral and forgetting yourself and become unite with Allah” (Nasafi, 1381: 103).The mystic way is a spiritual movement which leads to self-realization and this way he can recognize the unique Allah (Abarghohi,1364:95). Attar Neishabori considers mystic way as a necessary condition for self-realization and believes that if the mystic knows himself well and gets to know this fact quiet well, he can see his level beyond the angles and the saints and thus he can reach high spiritual positions (Attar, 1388:198). The mystic way is to select a voluntary death. The true men who resort to the magnificent Allah refuge would attain a wondrous truth and reach the infinite secrets beyond the material world (Semnani, 1366:68). Molasadra considers the real mystic as someone who tries to look for Allah through his heart and does what is appropriate for a follower by following the rules of Quran and the Prophet and Ahlul-Beit (AS) (Mola Sadra Shirazi, 1360:80).After finishing the mystic period, the mystics are divided into two groups: some are the members of companionship and live among the ordinary people and the others choose to be secluded (Nasafi, 1386:121).There are many words and thoughts about the mystic way in the Masnavi Maanavi which Soltan Valad has been affected by and has talked about in his Masnavis and has provided some unique interpretation for them.

 From the investigation of the mystic way in Masnavi Maanavi and Soltan Valad's Masnavies, it can be concluded that these two followers of the Molavieh way have many common viewpoints and that Soltan-Valad has been affected by his father's thoughts and viewpoints and has also used his experiences and his mystic revelations to give new view points and interpretations. Molana hears the return to the real homeland from the panpipes (Ney) and Soltan Valad based on Molana's thoughts, thinks of lyre (Robab) as the secret to return to the spiritual worlds and believes that if Ney only conveys one message, there are many hidden groans in the Robab and therefore it better describes parting. Rabab, which is the sign of true lovers, reluctantly calls on Allah to taste the joinery. Robab also speaks of the unseen worlds and illustrates the endlessness of these heavenly worlds.Molana refers to the homeland in the hadith "loving the homeland is from to Allah" as divine temple. Sultanvalad while confirming Molana's belief, believes that when the man joins his real land, he changes from a lover to a beloved and will be united with Allah the way Halaj did. Molana and Soltan Valad both believe that every little component will finally return to its totality and will join its type. Therefore, the human should know his real nature by knowing himself and if he is among the true believers, he should not stay in the materialistic world. According to Sultanvald, all senses and forms have been originated from Allah, so they must return to their origin. He believes that the message of all the Qur'an's revelation is to return to the true homeland.In Masnavi Maanavi, Molana enquires the mystics to release their souls from the lust and whims by avoiding the material world and this way arrive at the devotion stage and perceive the spiritual affairs by their hearts. Soltan Valad believes that quitting the material world means the negation of everything except Allah. With the interpretation of the hadith "believers do not affect by the same vice twice" he affirms that the human should not be trapped by the materialistic world and dreams because he has been deceived by it several times.Molan insists on the necessity of having a spiritual company in the mystic way and believes that the lonely mystic will lead to deviation. Soltan Valad asks the mystics to accompany the real mystics and if they cannot find a spiritual leader they can seek a spiritual company. He also believes that if the seeker does not reach his goals with one disciple, he must hire a new disciple to achieve his transcendent goal. Of course, this disciple must have a luminous alliance with the former disciple, and both think of a common goal.In Masnavi Maanavi, Aref-e-Balkhi asks the mystics not to be satisfied at any level of mystic stages and never feel they have reached perfection. This concept is repeated in Soltan Valad's Masnavis as well. SultanValad also affirms with the interpretation of the hadith " everyone who spend two days the same, he is a loser" that the mystics should always be improving and if they don't see any improvement in themselves, they must have been stuck in the mystic way. So it is on the seeker that like Prophet Moses (pbuh), find somebody like Khezer (pbuh) to follow. SultanVald confesses that by Moses and Khazr (AS), he means Molana and Shams, because Molana, despite the high spiritual level, returned to Shams. In Molana and Soltan Valad's doctrine, the level of mystics are different. In Valad,s idea, the saints who have reached the beloved state are superior than the other. He believes that Shams Tabrizi, who was a real lover of Allah, also led Molana to this stage. Before Shams arrived, Molana classified at the second stage of believers.Molana believes that mystic is of two types: moving to Allah and moving in Allah (Allah's characteristics). Moving to Allah is finite but moving in Allah is infinite. According to Mohaghegh Termezi , Soltan Valad has also believe in the same division for the mystics: Moving to Allah and moving in Allah. Based on his ideas moving toward Allah is low rank level but delving into Allah names and attributes will reach the seeker to Allah. According to SultanValad, the seeker in moving in Allah and in the realm of closeness, every moment sees a new power and a new world, and there is no end to the wonders of this stage.