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Many interpretations have been written on the Molana's  Masnavi since long time ago up to the present time. These comments have offered examples to show the complexities in Masnavi in line with their taste. Presenting an example, this article discusses the differences in the comments of commentators and concludes that in order to remove the complexities in Masnavi, it is necessary to take into account the coherence of words and that the key to the simplification of Masnavi should first be sought in Masnavi itself.

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About the beginning of the second century and after the installation of Baqdad, Baqdad mystical school was established by some of Sophies such as Maruf karkhi. This school was continued by Sari Saqati and finally was completed by Jonayd Baqdadi .The climax of this school was in the fourth century thanks to Jonayd's learnings and those of his students such as Shebli, Vaseti and Joreyri…

The most distinguishing characteristic of the disciples of this school was their absolute adherence to the appearance of the religion which was mainly caused by their reaction to unawareness school. They explained this school by discussing the alertness (consciousness) and unawareness. Jonayd himself was always on alert and was never unaware. Possessing this characteristic, he was always ready for obeying the religion's orders. There are other factors in addition to the above-mentioned causes for obeying the religion's orders.

In this article, first, we examine the domains in which Jonayd school caught on in the third, fourth and fifth centuries and then some disciples of this school will be briefly introduced. Then we will discuss why the founders of this school were committed to following the face rules of this school.

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By the crowning of Fatali Shah Ghajar, poetry found a better position and status compared with the previous periods of Zands and Afsharids. The Ghajar king who was a poet himself and whose pen name was khaghan began to support poets and with the formation and establishment of the new center of restoration movement in Tehran, many poets directed their steps from around the country toward the capital of Iran, Tehran. Khavari Shirazi is one of the poets who immigrated from Shiraz to Tehran and by relying on his inherent talent and practicing letter writing and historiography, and poem recitation in the literary circles of the capital, turned into one of the relatively known poets and writers of his era and left many complete poetical works embracing more than seven thousand couplets of different forma such as elegy, ode, compounds of stanzas , mathnavi, quatrain and poems stanzas. In this paper, after providing a brief study of poetry status in Afshar era , up to the end of Fatali shah's period , the  biography, the works, the Divan of the poetry and the compilation of the Divan and style of Khavari shirazi are analyzed in details.

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The characterization of appearance is one of the important elements in personification that includes the description of face, size, movement, effect and clothing. Clothing is an important element of personification in Nezami’s versified stories. Moreover, clothing is the original religious custom in the Sasani era, when the story of khosrow & Shirin happened and it is the symbol of abstinence in the Islamic period when the Hakim of Ganjeh composed this story. On the other hand, generally, there is no image of   nakedness in the traditions of Persian literature. Therefor, Nizami regarded these traditions and customs in characterization of clothing. In this paper, attempts are made to describe the pattern of clothing in Khosrow & Shirin of Nizami.

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The anonymous Persian poet, Seif-e-Esfarangi was probably born in the 6^th century (lunar year). His hometown according to the biographers' dictum, was Sfarang, one of the environs of Samarqand. With regard to this point, his poetry-book (divān) enjoys a special importance for the evaluation of the language of Māwarā-e-Nahr, just like those of Am'aq-e-Bokhāri, Mawlavi-e-Balkhi and Suzani-e- Samarqandi. Although it is needless to say that Seif is not leading in poetry. Seif has considered lots of his contemporaries and predecessors and has patterned their odes; Among these, one can note to Mas'ud-e- Sa'd, Amir Moe'zi, osmān-e- mokhtāri, Am'aq-e-Bokhāri, Sanāyi, Anvari, mojir and khāqāni, but the influence of khāqāni on Seif is more striking.

In this article, attempts are made to show some of the verbal and semantic similarities between the lines of Seif and khāqāni. These similarities could provide clues to the point that  Seif has viewed khāqān'is poetry-book.

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This study attempts to indicate that ‘exclusivity’ is not organized adequately in semantic books. In these books, there is not a clear- cut boundary between different kinds of literary exclusivity; moreover its categorizations are based on the reader^,s’ mastery over the speakers or the addressees’ intentions. After analyzing and categorizing the three groups cited in semantic books, the author concludes that the real non- claiming exclusive sentences should be analyzed in the realm of language studies, and unreal daiming sentences in the realm of literature. Furthermore, a change in the tone of reading or the stress in pronunciation determines the adjective and noun or the noun and adjective. In order to clarify exclusivity of ‘singularity, metamorphosis and identification’, accurate identification of the addressee is highly necessary. Finally, the position of exclusive sentences and implications is not clarified. It is suggested that when teaching or analyzing ‘exclusivity’, the five fields of discourse analysis, literature, knowing the addressee, sentence recognition and implicatures must be taken into account.

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Islamic mysticism and Sufism are among important mental and cultural issues which have influenced Islamic – Iranian culture and Persian language and literature profusely. So the various dimensions of this mental and practical school must be revisited. One way to approach the subject and the end of this school as well as the history and content and changes is to examine the definitions which the pioneers and leading Sufis have provided. In this article, we have a critical look at these definitions in order to know this mental- practical school better and to clarify its hidden dimensions of that. To this end, in addition to referring to the leaders and followers of Sufism, their mental and practical framework will be illustrated.

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One of the dynamic branches of contemporary literary criticism is psychological criticism which, in turn, has several subdivisions. One such subdivision is based on Carl Gustav Jung's viewpoint. Hermann Hesse's works can be well criticized and analyzed through Jung's psychological point of view because his ideas and thoughts are in many ways similar to those of Jung. They were in close contact and communicated with each other. Both of them were interested in symbols and icons, as well as commenting and analyzing them. Hesse was as introvert as Jung was; he paid attention to psychological facts and social aspects are meager in his works. Hesse and Jung liked East mysticism including Indian Gnosticism. India was a link which joined Jung and Hesse. Indians live in the world of symbols; influencing on symbols, being influenced by them, although they didn't like to comment on them. Symbols are favorite subjects for Jung and Hesse and their dominance in Hesse's works provide an appropriate field for a critical analysis from Jung's point of view. An investigation of symbols and archetypical criticism of literary works, especially those works arising from the soul, is a suitable method for exploring the hidden meaning in exterior and surface-structural layers. These analyses may reveal common facts in human soul as well. In this article, the researchers attempt to criticize the Hermann Hesse's "Siddhartha"story based on archetypical approach.Archetypes such as dream, journey, hero, water, river and passing it ,anima, tree and old wiseman are within important symbols which are assembled harmoniously in  this  story. They represent human effort in his individual and self-realization process. These symbols will be examined in details here in this article.

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Ferdowsi's Shahname, our national and ethnic narration, is a valuable mélange of myth, epic and history. Some critics have tried to divide Shahname into three distinct mythical, epical and historical parts but these three parts are so integrated that it has been impossible to distinguish them or to draw a borderline between them. For example, those stories which have been considered as historical part of Shahname by some of the critics are mixed with the stories which have roots in mythical thinking, symbolic concepts and national archetypes, yet having a tinge of myth. One of these stories is the story of Karam Haftvad. This mere mythical story is one of the most complex stories of Shahname which can be analyzed from different points of view. So many of the critics have tried to consider this story parallel to the historical realities and to find time, place and justification for it but they have hardly been successful simply because although the mythical plot of the story has been inspired by a reality, it needs mythological analysis to find this implicit reality. "What is Karam Haftvad's myth saying?" and "where has it been inspired by?" are the questions which this article tries to analyze relying on Carl Gustavo Jung's theory.

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The book Javame Ahkam Alnojoom written by Abu Al-Hasan Ali Ibn Zayd Beihaqi is truly considered as a masterpiece on astronomy written in 6th century.  The prose of this book duplicates a good part of the Morsel prose in terms of lexical and stylistic features of the 6th century. This book has unique stylistic features including variety of iterations, various removals, specific application of phrases and words, writing features, specific application of pronouns and arrangement of components as examined in this paper. In this book, in addition to using old Persian words, difficult Arabic words have also been utilized, At times, even some rather low frequent words which are not included in dictionaries appear in this book

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Quranic tales have always been used by Persian poets in order to create beautiful and unique themes and images. One of these tales is the tale of Adam and Eve and their Fall from Heaven due to eating the Forbidden Fruit. Following most Islamic commentaries, wheat has been considered as this fruit in classic Persian poetry, but the reading of contemporary poets of this tale is different. Sometimes, their reading is similar to classic poets but in other times, following the Old Testament, they consider the apple or the tree of Knowledge of Good and Evil as this fruit, and still in other times they have a mixed reading of Islamic and Jewish traditions. Also, some contemporary poets have proposed a symbolic reading of this tale. This article, initially provides a history of the tale of Forbidden Tree in the Quran, Old Testament and their commentaries. Then, this issue is investigated in the poems of twenty outstanding contemporary poets (from Nima to the present time) and their poems are compared with Quranic and Biblical narratives. The results show that those contemporary poets which have traditional views, have paid attention to Islamic narratives whereas modern poets have often used Biblical narratives

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The authors of modern stories for the deliverance from the deformity of the new civilization attend the inner world, which is more expanded than the external world. They disregard specific philosophies in art and life and try to display the subjective and psychological personalities. Moreover, instead of revealing social objective challenges of the characters, they aim at displaying the contents of the mind’s inner world. However, to describe the inner world and the mind with the same writing methods used formerly is not possible. Modern writers in order to show the twisted layers of the mind and its world have tried to introduce new ways of narration and story writing. Of course, using such methods may cause some complexity in the novel, but the writer does that deliberately to bring the structure of his novel close to the structure of the mind.This article is a library research highlighting the nature of the mind and presenting one of the first Persian modern subjective novelsShazdeEhtejab by HushangGolshiri. It attempts to discuss how this novel shows the hidden world of the characters and investigates in depth the basic techniques that reveal the mind and the innerworld of the characters.

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In addition to possessing some rhetorical and linguistic characteristics, question is one of the elements in generating creative thinking. More notable objectives of asking questions in creative thinking are as follows: indirect control of audience, obtaining information from him, evaluating and testing him, provocation of the thought in audience, guiding the thoughts in a specific direction and understanding the idea of audience. The question is less likely to be asked in a non-dialogue context, but asking question is the most significant element in moving the conversation forward in a dialogue context. The aim of the present study is to investigate the methods of guiding thought through asking question in Nasir Khosrow’s poetry. By applying educational and linguistic pragmatics and considering a semantic approach, questions are divided into rhetorical and philosophical categories, consisting of analogy, induction, and deduction. Finally, by referring to rhetorical questions as close-ended or convergent and considering philosophical questions as open-ended or divergent ones, it was concluded that Nasir-Khosrow used questions to create “positive self-consciousness" in his audience. It means that by considering individual differences in his readers, he does not disvalue and nullifies their previous beliefs, but by highlighting the significance of dialogue, he makes the audience reconsider it or think about other aspects of it.

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 Bloomfield claimed the first connotation is an independent notion in linguistics. By this term, linguists invite us to have an innovative approach to meaning. According to this approach, words as utterances could be nourished by several levels of secondary signification. How lexis of a text could be interpreted has been studied through the lens of several theories,most notably: semiotics, poetics, semantics and discourse analysis. This article approached this issue from a rhetoric-semantic perspective.Methodology in this article is primarily hermeneutics and is concerned with an analysis of connotations in the field of semantics, and exploration of the meanings of interrogative statements. Through these two approaches, the author projects an analytical model to actualize a deeper study of the latent aspect of meaning or associations of utterances in the context of literature. This model includes four features which consist of semantic, lexical, phonetic and syntactic elements. First, this article concludes that connotative significance must be considered the same as the imageries of a text; Second, it shows how to analyze the significations of the text for the purpose of distinguishing the stylistic and semantic differences of two texts or authors.
 

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Carl Gustav Jung, the   founder   of   the   analytical   psychology   in the twentieth century   believes    that   under   the   appearance   of   human   consciousness   exists   an eternal collective unconscious   which is   part   of   the   hereditary   psychological   factor   common in the entire human race. He successfully introduced   the common archetypes in the mythology of   the different   nations and opened up a new trend in psychology.  This article intends to study "Gol-o-Norooz" in light of Jung’s archetype of individuation.  Attention to archetypes for decoding "Gol-o-Norooz" is necessary because this collection is entirely explainable based on these archetypal symbols. Norooz   is   a symbol of   Piroozshah’s unconscious   forces and Piroozshah is in turn the activated representative of his own archetype. After many dangerous   voyages, he finally reached his beloved, and by the birth of his children the cycle of individuation is completed.
 

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One of the approaches to the criticism of fiction that has changed a lot from a linguistic point of view is Roger Fowler’s linguistic theory. This theory is a mixture of Chomsky’s transformational grammar and Halliday’s functional linguistics theories. The story of Golshiri’s “Khaneh-ye-Roshanan” was written in the mode of stream of consciousness, and Fowler believed that in such stories, the surface structure helps to understand the deep structure. The present paper analyzed the story of “Khaneh-ye-Roshanan” based on Fowler’s linguistic approach using the descriptive-analytical method along with library research tools. The results of the study indicate that the types of transformations and the mode of stream of consciousness in this work cause shifts in syntactic structure of sentences, non-compliance with grammatical rules, repetition of pronoun references, creation of rhythm and music in speech, application of associative contrasts, repetitions based on emphasis, confusion in the readers’ minds, and creation of suspension and postponement in speech. The main characters of this work, the actor and alternating narrators, are all passive and sensory-perceptive. It is as if they should not utter a word against the dominant ideology of the text, which would disrupt its monotonous atmosphere. In this work, like the rest of his works, Golshiri wanted to delve into the problems of society and to dominate his interventionist judgments in the text. In terms of looking at the text, the author sometimes dealt with the text from an external perspective and did not consider himself to be able to understand the perceptions of the characters in the story, while he sometimes explored the text from an internal perspective and assimilated his cognitive tendencies into the text. In terms of representation of speech and thought, both direct and indirect speech were used in this work. Both methods could reveal as much as possible the internal and verbal secrets of the main and secondary characters.