Simile is one of the main forms of imagination in any literature serving other forms of imagination because the principle in such images is of “the sameness” kind. Likewise, this figure is used in different forms of imagination such as metaphor, variety, expansion and freshness in the poems by Sepehri. This paper examines various views on the quantity and quality of his images, having or not having frames and classifies the allegories employed by him through reviewing a corpus of his well-known samples. The paper is based on different types of simile in terms of bases, sensibility and wisdom of the parties, variety of the parties, etc. in order to categorize the samples. Nevertheless, in his review of the samples, the author has not limited himself to the traditional views but has also studied the new European schools of thought. One way to recognize the ideas of poets and uncover the corners of their minds is to explore the images in their poems. Accordingly, the present research has tried to examine the underlying thoughts of the poet as well as his attitudes.

The noble principle of «saint–ship» is one of the most important aspects of Islamic Sufism.The prose and poetic books written by suphies emphasized that a disciple needs to follow the guidance and instructions of a wise sheikh in order to have the frightening valleys and dark ways behind him. Meanwhile it is impossible to ignore the key role of the most important Sufism prose books such as Att’aarrof, Kashf–ul–Mahjub and Mesbah-ul-Hedaya. Att’aarof is one of the primary works of Sufism which reinforced the beliefs of sufists in the very beginning of the fourth century very briefly but in as exact a way as possible and with good reasoning – this was the golden age in which Sufism was approaching its scientific and technical ultimate; Kashf-ul-Mahjub followed by Sharh-e-T’aarrof by Mostamali Bokhari is the first book written in Persian on Sufism which is considered as a work of great importance among sufist books. Also Hojviri in a complete and detailed way addresses the issues including the issue of «saint–ship» which was typical of the tassavof discussions then. Misbah-ul-Hidaya is also unique in terms of Sufism and morality among Persian works of 7th century. Examining the ideas of 3 authors regarding «saint-ship» can, to a large extent, represent the common ideas in this field during different eras, that is, fourth, fifth and seventh centuries. Studying these books can yield a good sample representing the general ideas about the issue of «saint-ship» in Islamic Sufism, since these 3 books have certainly taken advantage of their previous or contemporary works and had also influenced the works after themselves

Magic Realism is a modern fiction style. Although it  invokes  a  South  American's  name  and  Gabriel  Garsia  Markez, specially, it  is  typical of  the third  world  nations. In fictions of this style, reality and fantasy tie together but in the manner that reality dominates fantasy rather than the other way around. Among Persian novelists, Qolamhossein Saedi is inclined to this style in his fictions. It is possible to divide Saedi 's fictions  into  two  groups: The  first  one, fictions  that  have  been written  in  Magic  Realism  style. The second one, fictions in which only traces of Magic Realism can be found. In this article, both  groups  of fictions and the rational why Saedi followed this style will be  discussed.  

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.

Iranian scholars like Allame Ghazvini, Foruzanfar, Khazaeli, among others, have attempted to look for the main motifs of Sa'di's ideas within the old Arabic poetry. In a detailed study, Hossein-ali Mahfuz claims that the main themes of sa'di thought should be sought in the poetry of Arab poets like Motanabbi. It is understood here that the role of the Iranian ancient culture and literature has been ignored. In the meantime, defenders of Sa'di   have tried to account for the claim mentioned above by appealing to factors like the accidental occurrence of a thought to two different poets unknown to one another, competition at composing a single theme, and by mentioning humane and lofty intentions in Sa'di's texts. Adopting a different approach, the present article attempts to go further back beyond the Abbasids to the Old Iranian culture and literature in the quest for the origins of Sa'di's thought. It will investigate thirty such texts not mentioned in the studies available. These are presented as samples, to demonstrate that our researchers, instead of looking into old Arabic texts, should search Sa'di's thoughts in the ancient Iranian culture.

Social Realism belonging to the domain of art and literature is a type of political aesthesiam affirming the mechanical unity of idealogic and static principles. The post-revolution theoretical discussions of this literary school in Octobr 1917 were inspired by the ideas of Karl Marx, Friedri Engels and Veladimir IIych Lenin. The Mother by Maxim Gorki is the masterpiece written in this era. The basic principles of Social Realism, emphasizing the realistic reflections in the social domain of artistic productions and philanthropy were approved in Moscow, Augest- September 1934. Although this congress was a literary one, but its principles were generalized to other domains of art, i.e. painting, music and cinema etc. Social Realism was rather concerned with making changes in the of literary works.This is why some themes such as fighting capitalism, historical optimism, war, revolution, informed history-orientasion, labourer, revoluton leaders and red army were taken up by literature and art field.      

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.

This article presents a critical study of two groups of Hafiz’s poetry commentators who have introduced   him as Malamati or as a poet inclined to the customs of Malamat. Due to the wide time gap between the mallamat epoch and the time Hafiz lived, the first group’s emphasis on Hafiz as being a Malamati is doubtful. This article seeks to refute the claim made by the second group that Hafiz was inclined to mallamati thoughts by adhering to their doctrines. The same group has charecrterised gafiz's Erfan as a Malamt one.To this end; this article discusses seven cases of agreement and disagreement between Hafiz’s poetry and Malamatis’ opinions in order to highlight contradictory interpretations in his poetry and the lack of such   interpretations in the discourse of Malamati proponents. Then, this study has attempted to find a reason compatible with his linguistic logic and poetic construction for agreements and disagreements between Hafiz’s poetry and Malamatis’ opinions. Eventually, according to the reasons presented, it is concluded that Hafiz is by no means a propagandist for any official or unofficial thought. He is a freethinking poet who doesn’t fit any sort of mystical or nonmystical doctrines, and his art is of the highest value to him. Nevertheless, his poetry’s interpretability and, on the other hand, commentators’ efforts to present a response more compatible with the current expectations have led to attributing the title Malamat to him.

According to the contemplations advanced by Russian formalists as well as scholars such as Lui Shtrus with regards to the concept of construct and its attributes, any change in the construct will influence all constituents of the construct.  These transformations are concerned with the structures of construct in each cycle. As the structures of construct are perfect, the other structures cannot be in a state of complete decline. Looking at the cultural history of Iran from the same perspective, one can see that the structures of construct were perfect in the 4th century. Thus, all smaller structures such as poetry, prose, music, mysticism, medicine and architecture enjoyed a prominent position. The wisdom liberty in poets and mu'tazilites's discussions is the main reason behind the prominence and grandeur of Iranian culture and its macro scale structure in Ferdowsi and Biruni age. The dominance of Ashaari doctrines over the Iranian culture led to the decline of wisdom with the structures of constructs secured by certainty giving way to skepticism arguments and logical propositions replaced by speculative propositions

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.

Del (heart) is one of the recurrent themes in Nezami-e-Ganjavi’s Makhzan-al-asrar. This paper addresses the concept and its true nature as well as its ranks. One may hypothesize that the poet has his own technical interpretation of Del spreading all through his ideas and thoughts and reflected in various sections of the collection. To answer the research questions posed in this research, content analysis method was utilized

As the title indicates, the main purpose of this paper is to consider how the early mystics dealt with the essential concept of reason. To this end, we have examined forty works either written on or including the ideas of the mystics living in the first five centuries of the Islamic era. The findings are then placed in ten main categories: Reason and one’s knowledge of god; Reason and the Koran; Reason and Riligion; Reason and Ethics; Reason, this world, and hereafter; Reason and Mystical Hierarchies; Reason and Mystical states; Reason and Love; Reason and soul. Each category has then received its due attention. The paper intends to delineate how these mystics discuss divergent issues related to knowledge, this world, the hereafter and mysticism with reference to reason. Also, attempts are made to shed lights on the relationship between them. It must be admitted that these mystics had a limited view of reason; however, the very reference to reason in their arguments points to their concern about this concept. In fact, in their delineating of the limitations of reason in different realms of knowledge, they have resorted to the same notion (i.e reason). Although our main concern here is issues related to reason in one way or another, one can note the extent and diversity of knowledge theses mystics have touched upon in their   works.

Despite much research about pure-writing, no satisfying one about its history and theories has been conducted to date. The present paper aims to study the historical background of this writing method and its theoretical bases up to the constitutional era.  This study shows that, contrary to what it seems, pure-writing is not a new method and its history dates back to the fifth century AH. Referring to remains of past periods, the article emphasizes that this kind of writing got increasing attention since the second half of the thirteenth century AH, under the influence of widespread Dasatiri terms especially the nationalism movement. This paper addresses the following questions: 1- Was pure-writing based on any particular theory of Shu'ubiyya in the previous periods? 2- Was there any relationship between pure-writing and nationalism? 3- If there were such a relationship, did all nationalist movements propagate pure-writing or just a some particular ones insisted on it?

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.

Magic tales are considered as one of the most significant types of oral
literature. These tales, specified by number 300-749 in the ATU
international list of folktales, remind us the time when every single
object or phenomenon possessed a magical and metaphysical power in the mind of the primitive man and exceeded man’s power.
Those men believed that at the time of troubles, magical powers would come to assist them and would save them from dangers. Through content analysis of magical tales, we may find clues to the roots of the thoughts of primitive man such including animation and personification of
objects, the ability to speak to plants and animals, metamorphosis, etc.
 

This paper presents a new description of "Tabriz" in one verse of  Mathnavi, Volume 6. The story begins with the journey of a poor man (Darvish) to Tabriz working for a loan from an official. Molana composes the poem from the point of view of this man about "Tabriz" and its residents. The poem reads : God`s empyrean mercy awarded to "Tabriz", the heaven on the earth, and whole residents.  In this paper, attempts are made to examine this claim of Molana based on historical documents and religious scholars’ views through adopting a library investigation mode of research. Interpretations are based of direct meanings of words.

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.

Khaghani is one of the greatest Qasida composers in the Persian literature in the sixth century. One of the main stylistic features of this era – which is more seen in the poets of Azarbayejan- is extensive use of the terms and beliefs of different sciences in their time, including astronomy. Khaghani who was a master in astronomy has used the details of this science in creating poetic images. Sometimes he combines astronomical terms and beliefs with mythological and religious beliefs along with different types of semantic and verbal parallels and various figures of speech and thought in a way that astonishes the reader. This article aims at analyzing different ways that Khaghani’s metaphoric mind has used by means of astronomical terms and beliefs to show his wonderful power in creating new and invented images in his poems

Identical Rhyme is one of the important factors which plays a great role in turning up the lateral music of poetry. The fact that it is placed after rhyme containing verbal and semantic unity, has been the common denominator of all the definitions given for this very concept from the beginning to the present time. Deviating from these concepts, and employing linguistic capacities such as figurative, ironic and new metaphoric meanings in the context of discourse, Khaghani Shervani (515-595 after Hijrat), has challenged all the existing definitions in this respect and more specifically in the field of semantic unity in a way that he has presented 116 different meanings for "Identical Rhyme" only in a long (145-couplet ballad). In the present study, after demonstrating Khaghani's artistic capability in this field, we have made an attempt to revise the definition of Identical Rhyme as well. To achieve this purpose, all types of nominal, verbal and adverbial Identical Rhymes and the like, as reflected in Khaghani qasaed (odes ) were scrutinized.

Dominance is one of the most vital and creative key terms which bounds up with the linguistic approach to formalism. According to critics’ definitions, “Dominance” has the potential to govern the elements of structure.  It is palpable to that the consistency of structure and coherence is indebted to “Dominance” so that we can argue that  comprehensiveness of this element is a kind of guaranty for understanding the elegancy of form and structure of poems. This dominance rules over other elements of language poetry and locates them in the right position. We can maintain that  “dominance” emerges in the exterior aspects of structure through symbols, repetition of lines, and mottos, proverbs, and other kinds of repetition. Furthermore, “Dominance” has some crucial functions which are extremely imperative for recognizing external aspect of pomes. To enrich the orchestration, making a skeleton for structure, monotone, fragmentation of structure, open end ness of poem, reasonable the verse and another important function. In this article, the functions of Dominance which is an essential element in the surface of contemporary poetry in Iran, will be fully discussed.