Often readers and even critics believe that the ideology and message of poems are more important than their structures. However, it's impossible to draw a distinction between ideology and structure as the structure of a poem is the primary element that influences the readership. Nima ,as the architect of the contemporary poetry relying on his own sharp and independent insights, revived the significance of the structure in Persian literature. Many enthusiastic readers and even critics of the field of cotemporary poetry have considered Nima as the poet of 'Ai Adamha'. This paper attempts to explore why Nima has been called Ai Adfamha poet. Obviously, the significance of the poem 'Ai Adamha' and similar poetic structures lies in their literary figures and expectations embedded in their novel forms than their frequent content and message. The repetition  of the dominant element of Ai Adamha in the structure of the poem has, in addition to strengthening the skeleton of the poem, enhanced the syntactic integrity, musical system, coherence, and creative opening and ending of the poem. This article attempts to analyze 'Ai Adamha' from a formalistic perspective and in doing so it paves the way for the readership to delve into the less frequently uncovered senses of the contemporary poetry.

In Sufi terminology, Shat'h is a series of aesthetic words expressed involuntarily by mystics during the mystical experiences. There have been multifarious interpretations and judgments concerning these paradoxes ranging from linguistic and epistemic interpretations to religious ones. The Sufis and their opponents have also voiced their diametrically opposing views on  this issue. The present study addresses the traditional Sufi doctrines as well as what has been suggested about the various aspects of  Shat'h including its ambiguity, its relationship to poetry, and its paradoxicality as argued by the contemporaries. The central issue of concern  is whether these aesthetic words carry more emotional or epistemic content. Another impetus behind this research is to probe whether the linguistic expression of these words is indeed a representation of a special form of life. A deep understanding of these words requires a certain affinity and empathy with this form of life without which it's hardly possible to see the hidden meanings of the words. Thus, it is argued that the justification of Shat'h is more importand than its explanation.

Khaje Yousof-e Hamedani is one of the great mystics of the fifth century. He is, also , considered as one of the pioneering founders of the mystical path of Naghsh Bandiye who enjoys a good reputation for many blessings and unique mental relations. In this paper, the author, based on the early documents, presents  detailed analysis of life, states , works, followers, and blessings of the great mystic.

Appolo in Egept and Sokhan in Iran were two influential literary journals in Arabic and Persian Literature , respectively. They are placed between classic and romantic poetry. This article aims at introducing these two journals and uncovers some resemblances between them. Appolo was the official organ of "Appolo Society" in Cairo and was edited by the great romantic poet, Abu Shady and Sokhan was published under the editorship of Parviz-e Natel-e Khanlary by some college graduates. The present author's account of the resemblances between these two journals zones at introducing a fresh atmosphere in poetry especially romanticism, improving allegoric and dramatic poetry, establishing modern aesthetics, adopting a temperate approach to European literature, and taking a nonpolitical position.  Finally, the paper briefs many letter men and poets in Arabic and Persian literature. 

This article revisits 'brag' and 'bragging' in the battle field in Ferdowsi's Shahname. To this end, in the first section, the denotative and idiomatic meanings of brag and bragging are examined and their historical background in ancient Greek, Arab and Iranian as well as the literature of the fourth and fifth centuries are briefly illustrated. The second section aims at exploring Ferdowsi's artistry in dealing with the techniques of bragging in the battle field by Shahname's champions and presents an evaluation of functions and the rhetorical values of bragging as utilized in ferdowsi's story-telling discourse.

A subject of great concern in Persian poetry of the Constitution Age is the concept of 'Nation'. The correct understanding and interpretation of the message of this age, to a great extent , depends on an understanding of its position. There is a sharp difference between what the poets of this age stated and those of their predecessors.  In this article, the concept of 'Nation' is examined under the two parts of Pre-Islam and Post-Islam. The Pre-Islam Iranian were well familiar with such concepts as nation, and race. However, quickly after their acceptance of Islam, their attitudes towards the concept of 'Nation' changed drastically. In general, the major meanings of 'Nation' comprise Islam world, Restoration world, place of birth, and nation world.   The results of this study reveal that the conceptualization of 'Nation' in the Constitution Age Poetry must be different, even though some traditional senses of the concept prevail. 'Nation' in its new sense subsumes  elements like a shift in the role of the government and people, racial and national dependencies, and Iranian identity with all its features.

This article intends to examine the processes of change in poetic images from simplicity to exaggeration. In so doing, the author , upon meticulous examination of the old sources, discusses the occupation of the society's mentality in Saadi's well-known poem KAZ SANG NALE KHIZAD ROOZ-E VEDA-E YARAN (The stone will moan upon the friends' farewell) and presents the evolutionary process of a poetic image across time. Perhaps, the earliest mental script of the Iranian society for FARYAD AZ JODAEI (yelling out at separation) should be traced back in an ancient proverb of the Sasanids age which associates the concept with tearing the canvas dress. This image has been recorded in literary and poetic texts of the fourth century. Several years later, the poets implied the same sense through the image of breaking the wood. Eventually, Saadi exaggerates the image and expresses it through stone's moaning.

Economic evaluation of various societies is a way to better understand the governments and people's life. A review of the economic system of societies in the very far past- through their famous literature records- will reveal their industry, sub-divisions and active associations in the related fields, and also some hidden layers of their past. This paper considers environmental and meteorological conditions of Shahname and tribe battles, along with the necessity of governmental attention to people's life, to discuss activities such as agriculture, veterinary, weaving, blacksmithing, shipbuilding, and their rate of development.

Sadi is one of the few Persian poets whose fame and eternal presence in the Persian culture rests mostly on the effect of his works. This study is an effort to investigate the relationship between his didactic, rhetorical, religious and ethical poems and the principles of the Ash'ari school of rhetorical thought. To this end, we will define the discipline of rhetoric and mention its characteristic features as well as the reasons for its emergence and development, and also the probable weaknesses and failure of the Mo'tazele and Ashare. The two dominant schools of rhetoric in the Islamic civilization will be given special treatment. However, in the final section of the project, entitled "Sa'di's school of Rhetoric" the historical background and the reasons for Sa'dis tendency toward Ash'ari school will be explained.  Finally evidence for this tendency and reflections of his Ash'ari thought samples will be extracted from his poems and will be classified and explained under the common rhetorical topics such as "divine sight", "divine justice", and "determinism and free will

Varaqeh-o- Golshah is a beautiful and charming story, which Ayyuqi has put into verse.

The analysis of the components and the elements composing a story paves the way for the story to be known much better and reveals its merits and demerits. We have, therefore, had a structuralist look at the plot of the story as one of its basic elements.

In the story Varaqeh, the protagonist, aims at marrying Golshah. To this end he faces the resistance of the opponent forces; so the conditions of his own balanced life and those of his tribe are disturbed. But later on the protagonist succeeds to overcome his opponents with the helpful forces and achieves his aim. He also succeeds to restore the balanced and organized conditions – which are the result of the story’s events – to his life and that of his tribe.

The events that happen in the story form four Sequences in its plot. In this writing, as mentioned, the plots of the story and its consisting components have been analyzed from the viewpoint of structuralism.

This study explores dialogue, a dominant style in both traditional and contemporary poetry / prose  narrative literature, in Shahname as a classical  masterpiece. To this end, initially, the concept and terminology of dialogue is scrutinized from the viewpoint of narration and its position and functions are discussed. Then, a reasonably large number of various dialogues are extracted from Shahname and examined in terms of their different features, including their in/directness and the partners. Finally, to analyze the role of this literary element, a subset of the distinguished dialogues basically concerned with champions are analyzed further for their content and topic and how they correspond with the conditions and setting factors. It is concluded that the literary element under study is basically represented in the heroic section and the dominant theme is boastfulness.

Maolavi known as Rumi, in a lyrical poem discussed in this essay, expresses some of his mystical points of view, not explicitly, but through the poem’s structure. This poem has an organic form and in its structure there is a sign that indicates "wind" in its own absence has become a symbol. This poem because of its special structure can show a part of stylistic distinctness of Rumi in poetry.

Revival of written works in a society is a way for a better understanding of the society’s culture and civilization. The knowledge of criticism and correction of the texts helps to study the past written works by removing the dust of distortion and time that sits on such works. Saeed Nafisi is a researcher who has entered into this area and corrected some texts in a critical manner for the first time. Most of his efforts were concentrated on reviving verse type texts.

Considering the criteria required in correcting texts, this paper has dealt with his critical methods and views by studying 10 texts corrected by him, including 6 verse type works (Divan-e Anvari, Divan-e Attar, Divan-e Amaaq, Divan-e Rashidoddin-e Vatvat, Robaiyate Baba Afzal, Kkoliat-e Araqi) and four prose type works (Tarikh-e Beyhaqi, Goshayesh and Rahayesh, Lobab-al Albab, Reslaeye Fereydone Sepahsalar).

In the present paper, the analysis of the background and sociological reasons of the defeat of the Sasanian 's emperor  has been examined by Ferdowsi's Shahname. Some of these factors have been pointed out by historiographers, like war for power by the Sasanian 's emperor. But Ferdowsi has new viewpoints about these problems like women’s reign. Some of the reasons have been recognized by Ferdowsi like national origin and women's reign. Although the selection of the starting point of the discussion very difficult but for some reasons, which are mentioned in the text of the research, Khosrow Parviz's reign is the starting point of this discussion.

This article presents a new aspect of the poems of Soltan Valad, Jalaleddin Mohammad Moulawi's senior son.  In his poetry, one may spot a new prosodic feature which is drastically different from all classical Persian poems. This difference is so significant that one can hardly attribute it to such typical errors made by scribes, typists or publishers. After highlighting this feature, the author presents two possible factors underlying this difference: The contrasts in the phonological system of the Persian words due to proximity with the Greek and Turkish languages in Qunieh, and the impact of the music dominating the House of Dervishes and the style of the story tellers and writers of that age.

Unlike ancient rhetoricians who rejected ambiguity altogether, modern theorists consider it as a value. This article, initially, presents a historical survey as well as the modern approaches to ambiguity and highlights the modern aesthetic tendency toward ambiguity and polysemy. After the early years of 20^th century, ambiguity was considered as the essential essence of literary texts by literary critics and theorists. Second, the article discusses the value of ambiguity in literary works and draws a borderline between difficulty and polysemy (i.e. pluralization and multiple meaning). Then, it introduces some kinds of ambiguity and elaborates on their distinct features. Meanwhile, this article pinpoints the basic deference between language and literature through emphasizing the value and function of ambiguity.  The main purpose of the article, then, is to emphasis that "ambiguity as inherent nature of literature" and stresses the principle saying: "the artistic value of a literary work and the secret of its eternality depend on the amount of its ambiguity". If one ignores the ambiguity in literary texts, he would lose its spirit and essential essence. Ambiguity causes an interaction between   reader and text and fosters the ability of meaning creation by readers.  Through persuading the readers to react to the content of text, ambiguity provides the opportunities for generations to engage in different dialogues with text across time and history.

This article examines a letter from Beyhagi s history, based on pragmatic theories. Based on this approach, the context of situation, diexis, including: social, personal, time and spatial diexis are analyzed in the text. In other words, the communicative competence of the writer or his linguistic knowledge and his application of rules in different situations are taken into consideration. Since the communicative competence of the writer is interrelated with his attitude and motivation and in so far as the description of language functions in a text can illustrate some of the linguistic features, not explicitly cited in the text, such analyses may play an important role in our literature. To this end, the segmental elements like words, and sentences as well as  some supra segmental features like stress and intonation are analyzed in the text. 

order to communicate with the celestial world. Also, it is a unique means to introduce and suggest many key thoughts of Sufism. Dreams are normally stated in a narrative style. All dreams of Sufi literature depict narrative themes. This paper examines the qualities of dream narration and the role of the two substantial elements: narrator and addressee in forming the narrative style of dream.

Nezami Ganjavi enjoys a worldwide reputation as a great poet. His story-telling is based on reality. Together with his indescribable imagination, this feature has made him a distinguished poet in the realm of humanism and psychiatry. It seems that his genius is best depicted in Haft Peykar (Seven Planets) especially in his seven tales containing the inner layer as well as the outside elements of the story. One can go from the surface structure of his poems to the deep structure of his human character and, hence, discover the hidden aspects of his human character. A remarkable story in Haft-Peykar is the story of "Khair" and "shar". The theme of this story is a debate between two young people called Kheir (good) and Shar (evil/bad). This story can be interpreted in terms of psychology of the young. According to this classic psychological theory, the hidden aspects have a special status in manُ s spirit.These aspects sometimes manifest themselvessymbolically in humanُ's consciousness. In this story, good symbolizes humanُ s consciousness and bad/evil is the symbol of shadow and humanُ s subconscious. These two aspects finally reach a unity after a long debate with each other. The numerous archetypes such as anima, shadow, rebirth, journey, water and tree play significant roles in this struggle. The present paper is an attempt to shed some lights on these aspects.

Due to the significance of heart in mystical poem, in general, and in Mathnavi Maanavi, in particular, this article attempts to investigate the position and status of heart and probe the challenging question as to which heart deserves accommodation of the position of the Real. To this end, initially, the lexical origin and behavior of "heart" as well as its reason of appellation is provided and discussed. Then, the unique characteristics of Celestial hearts are presented and the barriers between the heart and the Divine Kingdom are discussed.