فصلنامه شعر پژوهی (بوستان ادب)
سال سیزدهم شماره 1 (پیاپی 47، بهار 1400)

Moulana’s attitude in mystical principles has a connection with the first mystical convention and   in minors with Bayazid- Bastami's mystical doctrines that todays are mostly recognized as Khorasan ideology. The parameters which have been spread in Bayazid's doctrines from the third century have been reflected completed in Moulana’s ideas making his method different from other mystical attitudes. Shams' attitude also in depiction of mystical principles is in accordance with the mystics of the first convention and in the minors with Jonayd's ideology. So, although the people of knowledge like Moulana and Shams reached a consensus on the principles in a frame of mystical convention, they are different in minors, considering their mystic attitude in the exposition of the method of epistemology and reaching the unification. The mystical state, consternation, the contrast articles, awareness and, vigilance are examples of minors which are the basic subjects of the difference between the mystic methods of Shams as well as Moulans's epistemology. These two matters are the parameters for recognizing Khorasan's and Bagdad's mystical ideology. Each of the cults of the two schools preferred one to the other and for proving their ideology have conflicted and brought different reasons.  

Background, Purpose In this essay the research methodology is analytical descriptive and is attributed to the authentic works of the first mystical convention, especially, Masnavi Manavi and Sham's pieces. In this analysis separately according to the mystical pattern of Shams and Moulana their ideas are going to be monitored considering the different aspects of mystical state plus consternation, namely, enunciation, prefaces, compartments and its results (total intellect, profanity(Shath), annihilation, eternity and unification) reaching the reason of the conflict, according to the forecited discussions. Also, it clarifies the main reason of Sham's first meeting with Moulana, using the results of the previous discussions by describing Shams's view toward the prophet Mohammad, Bayazid and Moulana. It should be said that the second meaning of the total intellect according to Moulana and describing the meeting of these two mystics on mystical state and awareness are new findings which have been analyzed for the first time in this study. Also, considering the searched background in the realm of comparative studies of Shams and Moulana no independent searching has been done before relating "The Analysis of Molavi's and Sham's Slants about Mystical State and Consternation".   The Debates and Analysis Bayazid and his cults acknowledge the domination of the mystic state to the awareness and they know it more completed comparing to the awareness. So, the mystic state and consternation are the main parameter of this mystical pattern which is the most important element of Moulana's attitude and he tries to extend it. On the other hand Shams' mystical pattern for describing mystical state and consternation has conformity with main parameters of Jonayd's ideology, that is, the preference of awareness to the mystic state. Accordingly, Shams in pieces tries to describe this important mystical method applying two features, namely, wrath and mercy. The wrath and the mercy which are the features of God are another interpretation of the awareness also the mystic state and actually the reason for the being of these two. The total mystic is an observant wayfarer who uses wrath and mercy in right context. Shams believes that Moulana is merely God's indulgence which this element causes his limitless inebriation. And the mystic who is just an epitome of kindness, is stayed in the diminution of the estate of the inebriation. But, the observant wayfarer uses the mystic state condition and takes the responsibility of guiding others for reaching the excellent inebriation, namely, the estate of awareness. Actually according to Shams Moulana advocates those who like mystic state such as Bayazid and Halaj, because Moulana is in the same level of inebriation which they are staying there, namely, the level of inebriation of the soul. In fact, it is common that Moulana starts to defend them impeccably but Shams achieved the level of leadership by reaching to the awareness and knows the diminution and its weakness adequately. So, Shams believes that approaching to the unification, the fact of the religion and epistemology are just possible by knowing the observant leader, the describer of all prophets and former religion, namely, the prophet Mohammad and being loyal to his ideology by applying the layout of the observant, sight and beseech. While the main intention of Shams for asking the level of superiority of the prophet Mohammad to Bayazid in the first meeting with Moulana is, directing him from the matter of inebriation, partiality for the people of mystic, namely, Bayazid to the level of awareness and recognition of the highest observant, namely, the prophet Mohammad, therefore, by knowing the prophet he (Moulana) achieves noble unification.  

The mystic state and the consternation are the main disagreement subjects in the mystic pattern of Shams and Moulana. Moulana believes that the mystic states and the consternation are the results of the love that finally come to the annihilation, eternity and the unification. According to him the people of mystic are the great ones that because of the infinite inebriation they miss themselves so much and they are in such a level of intuition, knowledge, annihilation, and unification with God which they connect the utterance of profanity (Shath) to God and are silent and disoriented themselves until they achieve the base of religion by the help of GOD that is the exact consternation and knowledge. But, in Sham's ideology their utterance of profanity (Shath) does not have any meaning except immanence, arrogance, frustration and insincerity. Also, in Sham's idea the consternation is equal to the knowledge but, the consternation which is originated from the real words of the observant and the wayfarer comes to such a level of information and cleverness that because of the excess knowledge and reaching to God cannot say any word or voice just because of being occupied by the beloved. This paper is sponsored by the chair of Moulavi Pazhohi (Studies concerning Moulavi) the title help by the Iran's National Science Foundation (INSF).

Abolqasem Halat (1919 – 1992) was one of the most hardworking and well known political satirist in contemporary era. He was at the top of his field considering diversity and multiplicity of his poems. Between his poetic works three exclusively satiric books named "Abol-eynak", "Shookh" and "bantam" were published in the time of Pahlavi dynasty. In these books, Halat portrayed the political and social corruption of his own era with a critical view and in a plain and sarcastic tone. In semantic square, discursive linguists use the term "state" which describes a situation that an agent is in, or the link between an agent and an object or emotional form. For example, if we say "Ali is sad", here "Ali" is the state agent, because we are telling about a state which he is in. Because of the wide array of satire and comedy in Persian language, we have to limit our observation to one poem from the book "bantam" by Abolqasem  Halat.  

review and goal The present study was written in descriptive-analytic form using data analysis as a tool for library research based on semio-semantics. In discursive analysis of satire in Abolqasem  Halat's works, we tried to avoid individual signifiers, macro-signifiers and micro-signifiers or a set of signifiers in order to reach behind signs where a relation between them and a discursive reading of them can be found. Results show that the poet changes terms of discourse and produces a stream of meanings by transitioning from semantic square to tension square. Discursive semio-semantic approach is a new development in the field of semio-semantics, highlighted in the recent years by linguists such as Greimas, Fantoni, Courtes and others. In Iran, Hamidreza Shaeiri have been pioneering this area and have published two books and a number of research papers in introduction of the theory of discursive semantics and its various aspects including "discursive semo-semantic analysis" (2002) and "an approach to semio-semantics" (2009).  

Semio-semantics is based on emotional cognition. Greimas defines emotional cognition in his book "the imperfection" (1987) as the result of an escape from reality. Meaning that confrontation with one thing causes the reality of that thing to hide behind a curtain and this creates a diverted –not real- meaning. Semio-semantics insists that discourse is a process that causes diversion of meaning and defines a new application for narrative. When we use the term "Semiotics" or "Semiology" without any prefixes or suffixes, we refer to the science of studying, identifying and classifying signifiers and finally placing the signified next to them. Also, "Semantics" alone means finding small and big units of meaning and examining its implications. But "Semio-Semantics" or "Semantics" refers to the process in which both signifiers and their implicated meanings are examined. In this approach, by placing the signifier in a system of processes (or discourse), meaning is acquired. A meaning that is not fixed and static.  Greimas invented the concept of semiotic square (Shaeiri and vafaei 2009: 127). According to Joseph Courtes, semantic square is a visual and clear representation of a semantic element (ibid: 126). What makes this representation possible is an extensive study of processes of linguistic dynamics. Semantic square is based on "conceptual" connection and in semantics, concepts are two words in a contradictory relation. According to Greimas, if two words are in a contradictory relation, then presence of one is followed by the presence of other and also, absence of one is followed by the absence of other. In the structure of satire, subject is not initially moving on its predetermined path but is facing a chaotic world in which meanings are attributed to it and in this path towards object, abnormalities of social, political and cultural life in its surroundings create dynamic and ever-changing meanings in the narrative. In the satiric narrative, a predetermined element (like a change in economic or cultural situation) is introduced to the routine everyday life of the subject's action and creates the semantic signifier of "laughter" in the narrative structure.   

Satiric discourse in Halat's poems creates an "open semantic system". Occurrence of meaning which is criticism of modern human is not stopped and finished but is dynamic and changing and causes the poem not to be merely a place of semantic analysis but be the subject of another analysis which is "repulsion of human abnormalities". In this poem, cognitive aspect of satire is one of "state": a cognition that determines the conditions of reader's appearance in front of the subject and portrays reader's relationship with modern world in a critical and satiric way. Halat, as a wordsmith, sensitizes the reader through discourse to his own values so that he could pave the way for the reader's persuasion. Applying the theory of semantic square to the poem, earth as a signifier of destruction with full glory and influence is placed in contradiction to moon in all the discursive units and elements. In another word, in a single semantic whole, we have units which are in front of each other in a binary way and create meaning in the semantic process of tension square (not semantic square). The contradictory relation between the general and the particular consists of: Agent (modern human) and poet as the social reformer, earth and moon, peace and destruction. Keywords:  Semantic square, satire, Abolqasem  Halat, Sign-semantics, contemporary poetry.     

In educational literature, dialogue is simple, explicit, short, direct, borderless, and merely in the service of propagating the message. Because the story begins without the premise that is common in today's short stories, the dialogue begins without the premise and progresses rapidly. In such stories, instead of the type of dialogue and speech being a function of the characters' narrative character and the characters speaking according to their character and social status and thus the type of dialogue is chosen, the characters are subject to the type of dialogue and the type of dialogue is subject to the message of the story. The character enters the story simply because it is presented as a statue of the poet's thought and imagination, so that the audience uses the power of self-visualization and cognition of the social base of narrative patterns to achieve the poet's intent that most mystical misunderstandings and experiences are out of reach. He is a clergyman, easier to understand. According to the necessity of this method of expression in educational dialogues, most of the speech and the turn of the dialogue is from the character from whom the message of the story is quoted.  The tool of dialogue is language. The author approaches his artistic goal through the indirect language of dialogue (v. Najafi, 1380: 35-38). Therefore, the role and function of language in conversation and their connection is very important.

background and purpose The research method in this research is descriptive-analytical using library sources. Books and researches about Attar's thoughts and works such as: The Voice of Simorgh Wing (Seday-e Ball-e Simorgh), the sources of stories and allegories of Attar's Masnavi, the meeting with Simorgh and the fictional elements of the story of the pious woman have been written in Attar's Elahinameh; However, in none of the mentioned works and similar ones, there has been any discussion about the element of dialogue, especially the type of dialogues from the perspective of the multiplicity and variety of characters and the type of language function in anecdotes. For Attar, the story is a means, not an end. Therefore, in most anecdotes, the story ends in the shortest possible time, and most of the anecdote is devoted to the often mystical and moral conclusion. According to this introduction, the main questions of this research are what language skills Attar has used as a storytelling artist; What are the different forms of dialogue in terms of the multiplicity and variety of characters? How he left a message in the shortest possible time; To which strata did he pay attention and how did he harmonize the character of the characters with their speech? The authors therefore intend to examine the quality and quantity of the suggested issues.

The themes of Attar's anecdotes can be summarized as follows: the words of mystics and elders that are mentioned in a story and are drawn from it; Mystical description of historical figures such as Sultan Mahmud of Ghaznavi; Deciphering the romantic situation of lovers such as Lily and Majnoon, Sheikh Sanaan, etc .; Mystical thematization about objects and animals and mystical explanation of famous myths (cf. Ashrafzadeh, 1373: 34-39). Such themes have been Attar's pendants for expressing mystical purposes and miracles and psychological experiences. Attar has been familiar with the situation and thoughts of various sections of society. The characters of his stories have been selected from various strata of society, including prophets, kings, ministers, caliphs, mystics, lunatics, Zahedan, preachers, beggars, nobles and craftsmen (cf. Zarrinkoob, 1380: 105 and Sanatinia, 1369: 15 And 16). One of the most important parts of the story is expressing the characteristics of the characters, and this is achieved through dialogue. Attar has used the capacity of identifying and informing the dialogue to recognize the characters of the story in a desirable way. The dialogue in Asrarnameh takes place in four ways: direct, indirect, internal and theatrical. In Asrarnameh anecdotes, the three functions of referral, emotion and encouraging have the largest share of all types of language maps. In fact, anecdotes consist of two main parts and the result. In the main part of the story, the characters of the story play a role, and most of the sentences of the story are news and are likely to be true and false, and indicate external meanings; Thus language finds referral function; But in the second part, after the end of the anecdote, in which the narrator expresses mystical and moral meanings as the result of the story and invites the audience to understand the concepts and persuade them to act on them, the persuasive function has the greatest share. The change in the function of language in the conclusion of the story is very limited, and the motivational function is generally very pronounced.   Bilateral dialogues account for the largest share of all types of conversations in the Secretariat. Of the one hundred anecdotes of the Asrarnameh, in the fortieth anecdote there is two sided dialogue. The conversations of these anecdotes are varied from the point of view of the parties to the conversation. The characters of the dialogue are in the thirty stories of two human beings, in one story two animals, in three stories one man and one animal, in two stories man and God and in one story man and angel. The language of the stories is simple and fluent. In educational anecdotes, the poet intends to teach mystical concepts and encourage the audience to learn it; Therefore, simple language is an important tool for the poet to achieve his goal. 

The characters in Attar's Asrarnameh anecdotes have considerable variety. This diversity includes the Creator of the universe, angels, humans (of different classes), and animals. This colorfulness of the characters removes the dust of boredom from the reader. Character dialogues are the essence of anecdotes. In two sided dialogues, the characters are two human beings, two animals, a human being with an animal, a human being with God, and a human being with an angel. Among them, the two-way dialogue between two human beings plays a role more than other characters in anecdotes. One of the important points in all conversations is that one of the characters in the story represents the poet's thoughts, and ultimately the victory is from that character; thus, in educational anecdotes, the monograph secret dominates. Attar uses anecdote as a tool to achieve his goal, which is the expression of educational and mystical content and concepts, and conveys his message to the reader and explains this content and encourages him to do it for him; thus, in most dialogues of anecdotes, the message is about the context and the language has a referential role. After the referential function, the emotional and persuasive role is in the next stage and to advance its educational goals, it has used the methods of direct, indirect, internal and theatrical conversations and to benefit from these, it has used the form of anecdote.

Romantic -poem is one of the most prevalent types of Persian lyric poetry. This literary field's development in the Safavid era is very significant, especially in the subcontinent. Lyric poetry's increasing popularity in this era led to numerous romantic stories by diverse poets (whether innovative or imitative) in various forms. Mughal court's great interest and encouragement in Persian poetry, poetic stories, and the translation of Indian stories and legends into Persian attracted numerous poets from all over Iran. Furthermore, many Indian poets turned to Persian poetic stories at the behest of Mughal kings and courtiers. In this way, poem writing became a tradition during this period. In other words, each poet achieved their mission with a romantic poetic story. Although many of these works' manuscripts have been lost over time, a considerable share of these poems is preserved in the form of manuscripts, lithographs, and movable type printing in the Central Library of Astan Quds Razavi.,  The author has collected  several romantic poems from the Safavid era of Iran and the subcontinent through visiting this library. In this research, twenty  poems have been studied and analyzed and then compared with each other.

This research has been done by the descriptive-analytical method (text research) .  Moreover, the data collection method is the use of library tools.  Literature Review Among the essential studies that have been done in this field, the following studies can be mentioned:Seddighi (1998) has classified and introduced the  subcontinent's poetic stories’s types in the Timurid era. Babasafari (2013) has introduced 1389 romantic stories, including Persian poetry and prose from pre-Islamic to the contemporary period, which holds  considerable storied poems relating to the Safavid era. Zolfaghari (2013) has addressed the classification, typology, morphology, and introduction of romantic  poems and their themes. Notwithstanding the significance of these studies in lyrical literature, the Safavid era's romantic  poems, especially the works related to the subcontinent, have not been comprehensively analyzed compared  to any of the introduced works.  Through avoiding repetition, this paper has reviewed works that have not been analyzed and reviewed so far or those of which only little details have been mentioned in catalogs and bibliographies. 1-3- Research Objectives Introducing and reviewing the Safavid era's romantic poems. Understanding the causes and factors of the wide acceptance of Iran and the subcontinent's Persian poets of this literary genre. Study and comparison of stylistic and linguistic features of poems written in Iran and the Indian subcontinent.

The Differences between the Poems 2-1-1-  Differences in Volume and Size (Number of Verses) The number of verses of Iran's poems is more than the number of verses of poems written in the subcontinent. Out of a total of six poems written in Iran, Shirin and Farhad by Mir Aghil Kowsari (1331) includes 3770 verses, Naz and Niaz by Vahid Qazvini includes 3200 verses, Sam and Bahram by Fayyaz Lahiji includes 3048 verses, Majnoon and Leily by Navidi Shirazi includes 3000 verses, Mehr and Vafa by Shouri Kashani includes 1432 verses and Salaman and Absal Navidi Shirazi  contains 860 verses. However, the most extended  poem out of fourteen works in the subcontinent is Candles and Butterflies (Padmavat and Ratan), with 2333 verses. The number of verses in other poems differs from 156 to 1500 verses. 2-1-2-  Differences in  Poems’ Preface or Introductions Regardless of the independent poem of Kamdi and Madan and the incomplete poem of Khosrow and Shirin by Shahpour Tehrani, fifteen of the other eighteen works have started with monotheism, praise, prayers, and the Prophet's admiration. However, among the fourteen compositions of the subcontinent, only the preface of one poem (Nahid and Akhtar) is adorned with the praises, supplications, and Holy Prophet's (PBUH) admiration as well as Imams' (AS) admiration.  The preface of one poem (The Passion of Imagination) is also adorned with Ascension. Meanwhile, the openings of four poems out of the six works in the geographical area of Iran are adorned with praise, monotheism, prayers, Holy Prophet's (PBUH) admiration, Ascension, and Imam Ali's (AS) and Imams' (AS) admiration. This indicates the type of society's religious beliefs in the Safavid era of Iran. 2-1-3-  Differences in the Story's Final Elements " A woman’s self-immolation," " lovers’s resurrection," and "attaining eternal life" are common themes of Indian and subcontinental stories which do not exist in Iranian stories. In  Kamdi and Madan, lovers die due to the news of a false death out of experiments and come back to life after death or unconsciousness. Moreover, Hir and Ranjha come to life by drinking the elixir of life from the hands of the old man in green (Khidr prophet) and attain eternal life. 2-2- The Commonalities of the Poems 2-2-1-  Common Motifs Common motifs of this era's most romantic poems are the commonality in the commencement of love or the beginning elements (falling in love by seeing face image, hearing the beloved's description, seeing the beloved's face), lovers' royal lineage, king's death, helper, mediator (nanny/parrot), travel, sea crossing, hunting, desert wandering, intrigue, lovers' secret meetings, lovers' prayers, the tact of those around, love letters, experiments, love parties, wars, lovers' sudden death, failed love, and death after joining. 2-2-2-  Application of Simile Several types of imagination forms, including simile, metaphor, personification, metonymy, and irony, have been utilized in the studied poems with variable proportions. However, simile (according to its frequency) is the most significant literary element of this era's romantic poems. The similes' roots are in nature and the world around the poet and are often of the sensory simile type.

 The Safavid era's romantic poem study and analysis indicate that most romantic poetical stories (about seventy percent) were written in the subcontinent.  Due to the shared cultural backgrounds and motifs of Iran and the subcontinent, these two regions’ poems are alike in general structure, lexical features, type of similes, and some narrative motifs. However, there are significant differences in volume and size, preface and introductions, cultural roots, and selection of characters in the story. Iranian poets have created their stories or poems with a complete structure, broader development, stress on the type of characters, and places beyond the realm of authorship. However, in choosing the heroes and describing the story's scenes, most of the subcontinental storytellers (according to Indian traditions) have depended on characters and places limited to the subcontinent and have acted with the utmost brevity and conciseness. Furthermore, many Indian poems are different from Iranian poems in terms of the final elements of the story. " A woman’s self-immolation," " lovers’ resurrection," and "attaining eternal life" are common motifs of Indian and subcontinental stories that do not exist in Iranian poems.

Every work of art is a combination of structure and beauty. Aesthetic values ​​are in the role of the building blocks of a work of art, and a principled and purposeful structure can be used to apply them. The arrangement of aesthetic values ​​depends on the structure of the work; That is, a proper structure contributes to the relationship between aesthetic values. Narratology, as a science, strives to achieve clear narrative patterns. Propp and Garms are theorists who have defined narrative based on the actions of actors. The role model is one of the most important tools that provides semantic cues to critics. With the help of this model of action, it is possible to understand the presence or absence of internal coherence between narrative elements. Pirang is another important theoretical issue in the field of semantics and narratology with a constructivist approach and the most important part of a narrative and it can be considered as one of the most important elements related to the model of actors on which the coherence of the narrative structure depends. Weiss and Ramin is a Persian lyric poem that has always had a high place in Persian literature. In the present study, we have tried to establish this position by using Garms theory and by prescribing scientific frameworks.

Precedent, research goal This research is a descriptive-analytical method and the sources used in it are library documents. Babak Ahmadi (1991) in the book Structure and Interpretation of the text and (2017) the book from visual signs to the text took a big step in introducing the development of new approaches to narratology. Ahmad Okhot (1992) also tried to prove the compatibility of Persian literature with them by introducing the theories related to narratology by writing the book Grammar of the Story. Other authors such as Hamid Reza Shairi (2002) with the book Basics of Modern Semantics, Ali Abbasi (2016) with the book Applied Narrative and Mohammad Hadi Mohammadi and Ali Abbasi (2002) with the book Samad Structure of a myth in introducing this scientific approach and localization of this Theories have made a significant contribution. The purpose of this study is to prove the coherence of the plot and the narrative of Weiss and Ramin based on the structuralism of Propp and Garms.

This narrative consists of four action models, each of which is based on a plot. The first and second action models work in parallel in a contradictory relationship to achieve a goal and form an independent story. Following these plots, a new story begins with two other action models, both of which (in conjunction with Weiss and in conjunction with Ramin) operate in parallel; But the relationship between them is interactive and they advance the narrative to achieve a common goal. The plot on which these two narratives are based is the same. In Weiss and Ramin's narrative, we are faced with two types of plots: linear plots that follow each other and parallel plots that tell the story at the same time. These plots themselves fall into two groups of confrontation and interaction. In Weiss and Ramin, it can be seen that a fictional character is placed in the position of two actors. Sometimes these two positions of action have an interactive relationship with each other and move towards a goal; In the first plot, the target (viro) acts in the position of the actor, and in the second plot, the midwife appears in the position of the actor and the actor. This shows the importance of these fictional characters in the narrative; Because they take on the narration of an important part of the story and by being in two positions, they bring the most help to the active actor to reach the goal. In some cases, the actions of the actors change; That is, from the front of helping the active actor, they are transferred to the opposite front. As in action model First, the actor (city) has become a deterrent actor, and in action model second we see this change in city action. Given the material motivation of the city for this change of action, the most important feedback received from the analysis of his position in these models of action is the realization of his shaky personality and the sudden change of direction of the narrative. By summarizing the initial and final parts and devoting as much volume as possible to the middle part, the author has created a fit and a principle of uniformity that causes order and coherence in the story of Weiss and Ramin.

Weiss and Ramin's lyrical system is a narrative based on Grimas structuralist theory that has a complete structural pattern and narrative; Because in addition to having three initial, middle and final parts, the element of change is also seen in it. Also, based on the type of text that was chosen (narration), there is a kind of semantic coherence in it and no part of the anecdote is ineffective in advancing the flow of narration. This is a privilege that many literary works lack. Another feature of the story of Weiss and Ramin is the multiplicity of narrative syntax and plot in this work, which shows the complexity of the narrative. There is more than one plot in a long narrative of tricks that prevent the audience from getting bored and accompany him with the narrator. Despite the various narrative patterns in Weiss and Ramin, Weiss is a fixed point around which other elements revolve, which contributes to the coherence of the text. The result of the above results is the proof of the high position of Weiss and Ramin's system on the basis of a lawful and scientific system that responds to linguistic theories after nine centuries and has the ability to make the audience have a better reading based on scientific theories. 

Introduction and preface: 

Critical discourse analysis includes theories and methods for the empirical study of the relationship between discourse and social change. Critical discourse analysts believe that literary texts, like other texts, are relevant; Therefore, they can be analyzed with a critical attitude and approach. In this research, the sentences, phrases and structures containing discourse-oriented components in the story "Ahl-e-Saba and the rebellion of blessings upon them" from the third book of Masnavi have been studied and analyzed with a descriptive-analytical approach. The results of this study show that Rumi, in addition to using his extensive knowledge in formal sciences, mysticism and Persian and Arabic literature, also used the reproduction of discourse order to expand his spiritual dominance over his followers and his success is such that the discourse of power in Masnavi is completely natural. And it manifests itself in full harmony with mystical ideas and provides the necessary ground for changing the mystical discourse at the hands of Rumi's successors. With the help of word contrast, syntactic structure, and the legitimacy of his own discourse, he seeks to establish and extend domination over his followers.

 The present study intends to look at the discourse of power in the story of "the people of Saba and the rebellion of blessings on them" in the third book of Masnavi, with a view free from prejudice and by acknowledging the high mystical thoughts of Rumi in Masnavi and based on the views of the critics of critical discourse analysis theory. Examine and show how Rumi uses authoritarian discourse to legitimize himself in the face of his followers. Finally, ideology and power relations are represented and introduced in the text through the study of language and text superstructure. The approach of discourse analysis and critical discourse analysis in the study of humanities texts can be clearly traced in the works of Fairclough and Roger Fowler. In recent years, this approach has flourished in Iran. For example, the book Critical Discourse Analysis by Ferdows Aghagolzadeh (2007) is a handful of this. The present study is based on a descriptive-analytical approach and is based on library resources. After raising the issue and defining the general framework of the research, the authors have carefully collected the relevant materials; Then, by referring to the book Masnavi Manavi, they extracted the data related to the research objectives and in accordance with the research approach, analyzed the poems, sentences, phrases and structures containing discourse-oriented components.

Critical analysis studies the discourse of the text in relation to its situational, cultural, social, political and historical contexts and considers meaning as a product of cultural and social conditions. Power relations are the key concept in critical discourse analysis. The Sufi discourse in its interior shows a level of superiority and inferiority around which in the center of gravity the sheikh, pir, murad or pole as the center of power and the disciples and disciples as the circles connected to the center, are formed.Social rivalry is the process by which a discourse designs the "other" or "enemy" for itself; Because the existence of another threatening discourse, the formation of discourse identity and demarcation of values. The two main "rival discourses" in Masnavi are the discourses of philosophy and Etzal. In "The Story of the People of Saba" and related allegories, Rumi introduces his rival discourse through "rejection and negation". Rumi mentions his own discourse with words such as "Jesus' monastery" or "Reader of the heart" and refers to Jesus (pbuh), who is an allegory of the elder and the guide, with attributes such as savior of the jinn, his goodness and healer. Rumi, on the other hand, refers to dissenting discourse or those outside it with the following attributes: ungrateful, dog, rebellious, rebellious, unfaithful, donkey, raw, and child. In any discourse, words carry an ideological burden and carry certain values.In a discourse, "sentence arrangement has many functions, including ideological functions" (Wendike, 1394: 77). The syntactic structures of this story and other allegories also refer to the ideology of mystical discourse. One example is the extensive use of grammatical structure. This grammatical structure shows the upstream view of the speaker. This structure is often seen in this story.The "Story of the Sabaeans" is itself a story whose narrative purpose is an interpretive interpretation in the direction of mystical "judgment". Interpretation can be considered the most important tool for legitimizing mystical discourse. Mystics believe that "the interpretation of the text of appearance restores the original and true meaning that the similes of the text of appearance are encoded" (Carbon, 1387: 127). In this way, at the beginning of the story, Rumi likens the reader or any non-indigenous discourse to a mountain that has no understanding of the sound it reflects. He thus demonstrates the superiority of his own discourse and places it in an upward position, stating that it is the only mystical discourse that leads the way and opens the door to interpretation, and that the reader's mind for the final conclusion of this anecdote that serves the purpose. It is his discourse, he prepares.

On the horizon of Iranian mystic thought, Rumi uses mystical poetry and the familiar genre of narrative artistically to take over the actions of power and use its forces for the benefit of his ideological goals; That is, he used the expansion of spiritual dominion over the disciples. Rumi's special language with a considerable volume of intra-religious and ideological words with a spice of tangible allegories and objective similes, has highlighted the role of language and its artistic tricks in advancing this goal of Rumi. In the story of the people of Saba, he identifies his rival discourse through rejection and negation. Rumi, by disguising his ideology in words, phrases and using linguistic tricks, has included the discourse of submission of the disciple to the old man in his anecdotes. Examining the traces of this discourse and re-reading the story of the people of Saba in Masnavi based on this kind of analysis shows that Rumi, like other elders, considers the character of Pir and Murad as the main element of the discourse of Murid and Moradi. On the opposite side of the object is the position of the disciple. The character of the disciple is passive, submissive, obedient and submissive throughout Masnavi. In this story, Rumi uses various methods such as the use of allegories, names and titles, the use of verbs and the interpretation of verses and hadiths in order to establish the superior discourse of the intended and the old against the discourse of the inferior disciple.
 
 

Dialogism is a two-way exchange of ideas in which one party supports a particular action, practice, procedure, hypothesis, or theory, while the other is opposed with it and tries to overcome the others by argumentation. Parvin Etesami is considered as one major great poet in this genre of speech that has expressed her moral and social claims and advice through dialogism via allegory. The aim of this study was to identify Parvin's reasoning style in debates using Tolmen's theory. Sample argumentations were analyzed from three aspects including a. identification of arguments; b. identifying the claims and their rationales and c. the indicators of certainty. From among the thirty-two arguments (rational position) as identified in Parvin's poems, the positions of history and experience; the need for caution and prevention of danger and threat; the control of sensual desires; affordability and provision of definitions had the highest frequency. The arguments had formed the basis for claims and recommendations in areas such as chronology, cosmology, aesthetics, jurisprudence, risk caution, combating government and administrative corruption, denial of superficiality, fighting with oppression, identifying the challenges of poverty, rationalism, perfectionism, kinship rituals and companionship customs. Another finding of this research is the high frequency of certainty tokens such as "should", "should not", "nothing" and "never" in the poet's reasoning style.

  Method and Aims of the Study

     In this library research, data analysis was conducted with "inductive" techniques with the aim of examining the components of Parvin Etesami's reasoning style in the design and context of rational arguments, and the persuasion of the audience. Studies in this field include the relationship between dialogism and logic and its use as a logical argument to prove the claim and persuasion of the other party. Some instance include Vashghani Farahani and Mehri in which case, they brought “Stylistic features in Parvin Etesami's debates” or  Ebrahim Tabar’s study titled "A Stylistic Study and Analysis of Parvin's Drunk and Conscious dialogism with Rumi's Drunk and Wise Man";  Expression of dialogism and its relation with rationalism by Zakeri and Samsami titled "Sparks of dialogism in Persian Literature (rhymes)"; expressing the most official method of discussion and reasoning, as in Mohebbi’s study titled "Debate in Persian Literature"; "Sociological analysis and analysis of Parvin's poems and debates through political and social ideas", Majdaldin and ModirShaneshchi, and "Manifestation of the two principles of imitation of ancestry and ethics in Parvin's poems" by KordNowdeh. According to above-mentioned ideas, in this article, an attempt has been made to study the method of reasoning in debate based on Parvin Etesami’s works as mapped on Toliman's theory.

In the present article, the dialogic poems were analyzed in terms of three aspects including identification of arguments, identifying the claims and their rationales and finally the indicators of certainty. In all, thirty two arguments based on rational positions were identified in the poems, within which the arguments associated with cleanliness as a necessity, concentration on beauty, the balance between supply and demand, kinship interest with and obliteration by the stronger companions based on their ideas and descriptions, definitions and existing nomenclature in the literature were finally identified and extracted. In terms of frequency, history and experience, the need for caution and risk prevention, control of sensual desires and affordability had the highest frequency. Arguments for necessity and urgency, and efficiency and productivity were in the second place, and positions of honesty, coping with abuse, decompression, sequence of difficulty, and inefficiency in the third place. Rational positions, kinship interest, destiny, philanthropy, reality, responsibility, culture, work-life balance, consensus, concentration on beauty, the effects of companionship, and prohibited tendencies towards extremes were also detected. On the other hand, the above-mentioned arguments had triggered various claims such as cooperation, punctuality, maternal love and endeavor, truth seeking, denial of racism, unity, gaining experience, governmental ethics, anti-government corruption, anti-crime movements, hopefulness, challenging the poverty, rationalism, and perfectionism.  Certainty-enhancing indicators such as "should", "never", "always", "times", "unless (except)" were also frequent in her argumentative style.

Poetry is due to new combinations of thought and process of metaphorical innovative metaphors that can nourish both the imagination and the salience of the word. Contemporary poets in the field of metaphorical language have taken different approaches to confront the mind of the reader with unexpected challenges, including challenging images that have complicated contemporary poetry in the complexity of the word image network. It's metaphorical or paradoxical. The findings of this study show what role these metaphorical contradictions play in arousing the mind of the reader into thought and inquiry. The author of the descriptive-analytical method, citing the examples of contemporary poets, has come to the conclusion that, first, how have contemporary poets combined metaphorical images with the paradox? The author also strives to make the reader more aware of this literary trick in modern metaphorical imagery of contemporary poetry, and to enrich his mind with the most technical artistic highlighting, which is the most artistic tool of imagination (metaphor) with the most ambiguous poetic image (paradox).

Popular literature is called the oldest type of literature in human society even dating back to before the emergence of inscription and writing (Kafi & Ameri, 2014: 2). It can be argued that the inherent sincerity of these works and the pure and liberating spirit embedded in the elements popular literature have usually attracted great and thoughtful poets and writers. Ahmad Shamloo has also shown interest in elements of popular literature at some point in his poetic career. Shamloo's connection with popular literature, especially Koocheh as a research encyclopedia, shows the importance of suspension as will be discussed in this paper. Accordingly, this study aims to find out how this connection is represented in Shamloo's poetry and consequently making his poetry, strong, emotional, and welcome by the public.

methodology It seems that the praise of personalities such as Jamalzadeh and Sadegh Hedayat of a particular genre of popular literature along with works in recognizing the nature of popular literature and its elements such as The folk culture of the Iranian people by Sadegh Hedayat (1963) and The collection of articles of Iranian folk literature by Mohammad Jafar Mahjoub (2018) has attracted the interest of literary scholars. Besides, considering the fame of Ahmad Shamloo's conversational poems, tracing the elements of popular literature in the poems of this poet also attracted the attention of critics to the extent that the book Shamloo’s biography: Almost everything about Shamloo by Mohammad Ali Ronagh (2009) with that sub-title almost provided a full description of Shamloo and his works. However, not attention has been paid to the “application of elements of popular literature in Shamloo poetry" in this bibliography. The article “A Look at Ahmad Shamloo's Songs” by Siamak Bahrampour (2009) has also examined his three poems written in a colloquial language. It is clear that none of these works have pursued our goal in this article, namely the impact of popular literature on the linguistic development of Shamloo.

Shamloo is considered one of the most famous figures of contemporary literature and is often ranked second after Nima as an important figure of modern poetry. In Shamloo's view, “the roots of many world-famous works are popular literature, music, public art” (Shamloo, 1996: 26). The elements of popular literature have a special intimacy and sincerity, and the original and capable poets including Shamloo use these elements in their poetry to increase the attractiveness of their works, including Shamloo. However, the application of the elements of popular literature in poetry can be examined in terms of several meta-structures including language, words, idioms, tone, and onomatopoeia, as will be detailed as follows:3.1 Use of colloquial language In Shamloo's poetry, eight poems have been written based on colloquial language including fairy, the story of a man without lips or Hossein Gholi, and the daughters of Nenhdarya which are long and detailed poetic works:“I am the spring in the earth/I am the ground in the tree / I am the tree in the spring The coquetry of the fingers of your rains turns me into a garden. And I am lost in the middle of the forest” (Ibid: 455). A survey of the poems written by Shamloo in informal languages shows that there two poems written in macaronic verses and conversational language. These two poems are interestingly different from other poems. Both poems are based on parasitic dialogue; except that the poem "Pare 4 Shabaneh" is longer. 3.2 Reasons to use colloquial language There are different reasons for using the colloquial language including differentiation, time requirements, and the need of society, and the poet's connection with popular literature. 3.3 Use of popular and folk words and terms Shamloo's trick in the language is to create a hidden harmony in the discourse and to reconcile strange words with each other to create a chain of speech to provide a special context that is interpreted as "inbreeding with words" as a positive feature in his poetry (Hoghoughi, 1989: 44). The use of popular words and expressions in Shamloo poetry can be categorized to come up with a better understanding of this technique. These include the use of words from specific dialects, the use of modified forms of words, the use of words that are rhyming and often meaningless, and the use of colloquial words. 3.4 Reasons for using popular words and terms Extending the use of words to have a rich collection of words at disposal, creating a more tangible sense of colloquial words, and inducing music 3.5 Use of onomatopoeia Onomatopoeia is considered to be the first components and elements of language that are derived from the imitation of nature, and because the relationship between the signifier and signified is simple and they are not governed by a special grammatical rule, they are closer to popular literature and its elements than formal literature. In Shamloo's poetry, there are several examples of onomatopoeia, some of which are composed by the poet: bloop, dribble, drip, drizzle, splash, sprinkle, squirt, etc. 3.6 Reasons for using onomatopoeia Some reasons for using onomatopoeia include objectivity and understanding of natural music. 3.7 Using popular beliefs and myths The popular beliefs, anecdotes, and myths have been used by poems and writers for a long time as they helped them convey their meanings concisely and poetically using people’s background knowledge.  Envoutment “Destiny has buried a magic spell of you in the blood/ and you have no escape from defeat and death” (Shamloo, 2002: 872). Envoutment is a French term in witchcraft and Envoutment". The client surrenders a piece of nail, hair, or eyelash that he has seized from the conspirator to apply magic to it. Solomon’s Bagpipes, Shabgir, the legend of Sinbad, and Ashti Konan (reconciliation) alley are among other popular beliefs. 3.8 Reasons using popular beliefs and myths Creating brevity and compression in speech and a pleasant feeling of mental activity in the audience. 3.9 The use of other elements of popular literature The use of proverbs, folk songs, folk tales, and famous figures of popular literature are other strategies used by Shamloo. 3.10 Reasons for using proverbs, songs, and characters of popular literature Stimulating the audience's sense of nostalgia, the act of awareness and reconstruction of real but forgotten scenes of life.

The most important findings of this article are summarized as follows:- Shamloo's approach to the elements of popular literature and their application in his poetry is the result of an intellectual transformation in which language, in his view, changed nature from a means of conveying a message to a sacred temple. -Shamloo’s linguistic approach which is visible in his poetry has caused him to focus more on the elements of popular language and their abilities, words, and idioms. For this reason, semantic elements such as beliefs, myths, as well as theological and doctrinal points hidden in popular literature as represented in Shamloo’s poetry. -    The natural and uncomplicated state of popular language along with its more natural music is one of the important reasons for using popular elements in Shamloo’s poetry. -  In his unique poetic style, he even uses the parables and anecdotes of popular literature in favor of his political point of view and the context of some elements seeks his ideals and interprets them in line with his value point of view. - Research in popular literature has given him a great deal of knowledge of the minutes and functions of the elements of popular literature, and in the light of this awareness, he has used them with the necessary care in speech. - Despite Shamloo’s inclination towards popular literature and the use of its elements, his poetry never seems vulgar, commonplace, and popular. Keywords: Folk Literature, Shamloo, Contemporary Poetry, Fairies   

"Naqde Niazi" is a brief description of two verses and one Qazal by Divan-e-Hafiz that Allameh has written in response to eagers and questioners toward  poetry of Hafiz. Naqde Niazi was written in the style of the Teimourid era with artificial language, replete with similes along with verses and poetic evidences, signs and narrations. The description of Latifeye Gheibi was written by Shah Mohammad Darabi in the twelfth century and during the Safavid era and in response to the objections raised by the opponents to some of Hafiz's poems. In this description, rather than paying attention to the mystical analyzes of Divan-e-Hafiz, emphasis is placed on theological and Shiite understanding along with some mystical concepts. Given that focusing on the reasons of the continuity and cognitive and perceptual changes existed in the audience of a work in the theory of reception by Jauss, in this article, it  has been attempted to compare Naqde Niazi written in the ninth century as the first and closest description after solmization of  Divan-e-Hafiz, with the second description on  Hafiz's Qazals, which were written in Iran with Persian language and in terms of historically, has the shortest interval (3 centuries) with the Naqde Niazi, so that the reading changes over time, among the closest descriptions can be examined.

Background and the Purpose of the Research However, so far, it has not been a collective study to examine the Davani's Naqde Niazi and Darabi's Latifeye Gheibi, and also it has not done a research in the field of comparison between Naqde Niazi and Latifeye Gheibi based on the theory of reception; sporadic studies exist on each of these two descriptions. Bahador Bagheri (1387) has introduced Naqde Niazi by Jalaluddin Davani Kazeruniy in Hafiz's culture of descriptions. He considers the style of Naqde Niazi as an imitation of the style of illuminatus and sages in the past. Seyyed Massoud Razavi (1388), in a short essay named "Sholeye Edrak" has collected studies about Shah Mohammad Darabi and his description and has considered him as one of the scholars and mystics of the Safavid era. According to the theory of reception, this study seeks and attempts to answer the following questions: 1- What was the paradigm and horizon of expectations at the time of writing Naqde Niazi and from what point of view has Naghd-e-Niyazi described Hafiz? 2-  What was the paradigm and horizon of expectations at the time of writing Latifeye Gheibi and from what point of view has Darabi described Hafiz? 3-  What are differences between these two descriptions from point of view of theory of reception and according to the time interval (three centuries) and cognitive changes in the society?     

In the aesthetic theory of reception, it was emphasized that the concept of a literary work is not necessarily comprehensible at the time of publication or outside of the publication time, rather it can be understood during history and on the basis of the different experiences resulted from reading the text. The history of real literature is the history of continuous perceptions of a text. This theory has two basic components of paradigm and horizon of expectations. Jauss uses the concept of "paradigm" in describing the major categories that effect on the readers' perceptions and horizon of expectations in each era. The main point in clarifying the horizon of expectations in the flexibility of the text during different periods and the transformation of its questions and answers is the time period. In Jauss' words, "the horizon of expectations is in fact the perspective and the ultimate reader's attitude and other members of society, and its bounds is linked with the paradigms of the same era" (Jauss, 135: 1998); Therefore, given that the theory of reception emphasizes the mechanism between literary texts and readers, the horizon of expectations is worth to be examined at two levels: The literary horizon of expectations "is the result of the impact and action of the text on its audience and is determinant of the literary expectations of the audiences in the text" (Namvar Motlagh, 107:1387). The social horizon of expectations is mainly a reflection of the intellectual frameworks of the audience rather than the author. This intellectual framework is influenced by the society and the period in which the audience lives in it.  The social paradigm of the ninth century because of the absence of a powerful central government and sufficient security has inclined to be an introvert, which concentrates on the importance of the relationship instead of law and dictatorial structure in Iran and focuses on the importance of indirect expression and the tendency to censorship. Therefore, the expression of social corruptions and mystical concepts in the form of encrypted words can be considered as the most important indexes of horizon of expectations in the Davani's era. The formation of the Safavid's state played an effective role in changing the paradigm of society, which altered structure of the paradigm in society paved the way for inclining to the integration of religion with politics (in the Teimourid and Mongol periods) rather than to separation of religion and politics. Expectation toward attention to imams and appealing to them are considered as important changes in horizons of this era. Comparison of these two works demonstrates; since the mysticism in the Teimurid era had imitative and tasteless manners, Davani's description has been written in the same way as well. Davani has received all the words in an encrypted manner and in the interpretation of the sacred image and the heavenly creeds. While in the Safavid era, Darabi was affected by the paradigm of grounding and consequently paying attention to natural sensations versus the unseen evidences, has understood poems and verses pragmatically and even he has considered the dignity of descending for some verses. Darabi was influenced by the Shiite paradigm in the Safavid's era he also has gotten Shiite verbal reception of many verses, which was a novel phenomenon in the history of description about Hafiz.  The change of Iranian paradigms from the probing about the perfect man in heaven in the ninth century toward the discovery of the perfect man on earth among the Shiite imams in the twelfth century is obvious in two descriptions of Davani and Darabi; While Naqde Niazi was written in the ninth century, coincident with the alien Teimourid government, as the first description about Divan-e-Hafiz, with index of Modaresy's mystical horizon of expectations. The horizon of expectations of Darabi's era changed significantly due to the significant alternations that occurred in the paradigms of Iran with the advent of the Safavid's Shiite government. Keywords: paradigm, Shiite, changing of horizons of expectations, Hafiz's descriptions, mysticism, theory of reception
 

In Persian literature, one of the most considerable reasons in manuscript editing is the treasures of words which stored in these tradition books. Emphasizing for having enough knowledge in facing by these texts is related to the importance of how an encounter with them. In most of these manuscripts because of the mistakes, lack of knowledge, and deliberate preference of the scribers for altering the unknown words, some of these words have changed or forgotten forever. Precision on old manuscripts gives the ability to researcher for finding ancient words that survived from changing by scribers. This article surveys about a word that changed during long time and new face of changed word has accepted by literature society and they have tried to find a reliable meaning for new created word by notice in text pattern and new meaning has entered in dictionaries by new face and original word has forgotten.

SamName is one of the heroic poems about the courage of Sam Nariman, which was written in imitation of Ferdowsi's Shahname. Knowing the composer of this poem and also the period of its composition is one of the complex topics of Iranian epic literature. In some recent sources, SamName has been attributed to Khajooie Kermani, the famous poet of the eighth century, and the attention to this point and the mention of Khajou in a number verses of this poem, the authenticity of which is doubtful, has caused some scholars to consider the SamName as the poem of this poet. However, a number of other scholars have rejected this attribution. Recently, by examining the manuscript versions of the ShabrangName and based on the phrase at the end of one of its manuscripts, a researcher has hypothesized that SamName is the poem of an anonymous poet named Khajou Shahname Khan Korati. In this paper, we first examine the different opinions and theories of researchers about the narrator of the system, then by providing the final verses of one of the manuscripts of this poem, we that the poet of SamName as Khajou Shahname Khan, , he composed this poem around the tenth century.

The research method in this paper is library and fiching (indexing). Among orientalists, Spiegel was the first one who considered the SamName as the composition of Khajou. After him, Jules Moll referred to the SamName, in the introduction of Shahname, without mentioning its composer and only wrote that its source goes back to the stories of the Sassanid period. Shortly afterward, Herman Ateh considered it a kind of forgery and change of Homay and Homayoun prepared by Khajoui Kermani, without mentioning the composer of SamName, Jan Ripka also called the SamName shameless plagiarism of  Homay and Homayoun and argue that it belongs to the Timurid period. In Iran, Bahman Sarkarati was the first one who hypothesized that perhaps a poet named Khajou, and not the famous Khajavi Kermani, composed the system with little literacy. Shortly later, Mahmoud Abedi wrote in an article that the composer of SamName is apparently someone from the class of narrators, storytellers, and familiar with the Shahname and Garshasbname, which is attached to verbal folklore stories. After rejecting the attribution of the system to Khajoo, Vahid Royani, the editor of the SamName, considered it a combination of  Homay and Homayoun with some folk tales, which probably happened from the tenth century onwards. By investigating these disagreements, the aim of this study is to introduce the true poet of the SamName and to clarify one of the ambiguities of Iranian epic literature.

In a number of manuscripts of SamName, Khajoo has been introduced as the composer of SamName. Examining these verses, we can find that these poems are taken from Homay and Homayoun of Khajavi Kermani, which entered into some manuscripts of SamName. Therefore, they cannot be cited when investigating the poet of  SamName, because it is not the composition of the poet of the SamName on the one hand, and also in is not mentioned in most manuscripts of this poem on the other hand. However, most of the people who considered the SamName to be a poem of Khajou, have cited these verses. One of the noteworthy evidences associated with the composer of SamName is the phrases appeared at the end of one of the manuscripts of Faramarzname, which Shabrangname has been written before that. In this version, a poet named "Maulana Khajoui Shahname Khan Karati" is mentioned. Based on this phrase and by examining and matching the manuscripts of Shebrangname, Abolfazl Khatibi guesses that Khajavi Shahname Khan Karati was an anonymous poet who plagiarized the two poems of small Faramarzname and Shebrangname. This researcher also writes about the Samname that until convincing evidence is found, it can be assumed that around the tenth century AH, a poet named Khajoui Shahname Khan Karati, which it is obvious from his title is Shahname Khan, and attached to epic poems, has composed SamName as a combination of Homay and Homayoun of Khajoui Kermani, by changing the name of Homay to Sam and Homayoun to Paridokht, in addition to creating some other poems about Sam and Paridokht, which were popular among the people at that time. Although Khatibi could not provide evidence to prove his conjecture, the author eventually obtained a manuscript of the poem that confirmed the researcher's conjecture.

At the end of the manuscript of this poem dated 1129 AH, registered in the National Library of Tabriz, the poet mentions his name and title, Khajoui Shahname Khan, and he is undoubtedly the same Khajoui Shahname Khan Karati that Khatibi has mentioned in his article. Apart from the art of reading Shahname, Khajoui Karati was also a poet, and he may have read the poems of SamName to the people. Khajoui Karati did not study in the presence of any teacher and what he had learned was due to his attachment to reading and learning, and apparently, this has caused loose verses in his poem and perhaps the inclusion of Homay and Homayoun verses in his system, or changing some of its verses was due to his little illiteracy and lack of knowledge of the principles of poetry.