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One of the most distinctive features of Rumi’s narratives in Mathnavi is blending the stories with each other. The narrator in the midst of the story digresses to another story, links to each other two sequential stories, or sometimes narrates two stories simultaneously. Discussing the technical features of “intersectional narration” and its history and theories the researcher in this paper explains the distinctive features of the form of narration in Mathnavi.

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This article attempts to introduce Mohammad Ibn-Fadl, one of the little known mystics of Malamat in the third century (A.H.).  To this end, the author uses old sources in his historical method of analysis, providing information about his name, hometown, family, date of death, religion and jurisprudence, works, companions, narrators and travels. An older source of a story about him, as narrated in Mowlavi, s Mathnavi without direct reference to him, is also introduced.

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Despairing of God’s absolution is the most essential trait in Satan that has long been taken into consideration. In Masnavi and Shams Sonnets, Satan is regarded as an outcast, damned and hopeless character, but on special occasions, Rumi reveals hope to frustrated individuals and looks at creation story from a different perspective. This perspective is in line with tradition of defending Satan in our mystical culture, the tradition that is in contrast with traditional mystical approach to Satan, a narrow and obsolete but outstanding and thoughtful tradition. Although hinting at Satan’s hopefulness has been noticed in a few studies prior to Rumi, his eloquence and perspective in this area is unique, a perspective originated from his worldview. Noteworthy to say, even in the legacy of those mystics defending Satan there is not as much emphasis on this issues as Rumi’s and Satan mostly appears in the role of a tragic lover.

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Many noteworthy studies have been done to examine the discursive relationship between gender and metaphor in the context of politics, media and literature. In this research, however, I try to investigate the relationship between gender and metaphor specifically in poetical discourse. The main questions of this research are as follows: What is the role of gender in the production and selection of metaphors in the poems by Shamloo and Moshiri? And also can we claim that metaphor is an instrument for representation of sexism in given poems? Research data are extracted from poems by Shamloo and Moshiri and they are analyzed based on Charteris-Black’s discourse theory of metaphor. The results of research indicate that there are manifestations of sexism in these poems, but the degree of sexism in the poems of Shamloo is higher than Moshiri’s. The reason is that the semantic domain of war on conceptual metaphors in Shamloo’s poems is more than Moshiri’s. Therefore, the results of the research indicate that the production and selection of metaphors in poems are decided by gender, attitude and thought of poets, as well as their feelings and social atmosphere. Indeed, gender plays an important role in production and selection of metaphors in poems.