The great scholar Dehkhoda is one of the most outstanding characters of culture and literature of Iran who besides his contributions to political fields played an important role in journalism, research, editing, writing, and versification. He belongs to the time of abundant ups and downs in which Iranian society had passed important events such as Constitutionalism movement, the first and second world wars, Rezakhan’s despotism and nationalization of oil industry. He is indeed a knowledgeable researcher on political issues and a writer whose political talent had influenced the events of his age or was influenced by them. Some of these events left hesitating reflections on his versifications and a closer investigation of them  may explain the importance of the events and Dehkhoda's ideas. In this article, beside brief explanation on Dehkhoda’s life, works, cultural services and poetical power, attempts were made to illustrate the reflection of these events on his versification using a descriptive–analytic method. Obviously, the criticism of functional evaluation of those people named for different excuses is not the aim of this article and claims its own proper opportunity. Result of this research offer a  new understanding about Dehkhoda in the politics field and give clues to the significant events that engaged his mind, as confirmed through the forthcoming events.

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.

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.

"One Thousand and One Nights", like many other literary works of the world, is a mirror which reflects the archetypes that are the product of different mankind’s repeated experiences left at his unconscious. The psychoanalytic study of myths which are a repository of mankind's aspirations and thoughts shows the presence of “collective unconscious” as denoted by Jung, revealed in archetypes.  This study aims to analyze one of the stories of the book "One Thousand and One Nights", named "Jozar", in the light of Jung's findings in the realm of psychology of myth. The findings show that in this story there are some other secondary archetypes other than the major archetypes such as Anima, Animus, Wise old man, Shadow and Mother. The archetypes are classified into three categories: Archetypal situations, characters, and symbols. In this study, different types of archetypal situations are journey, visiting the self, and visiting anima. Different archetypal characters include The wise old man, Anima, Animus, Shadow, and Mother. The archetypal symbols analyzed involve numbers, animals, objects, etc. The present study confirms the high potentials of "One Thousand and One Nights" to be studied as mankind's common collective psyche along with history which includes stories and legends as well. 

In the novel Savushun, the subjects and social, historical, and epic aspects are expressed with a poetic language in the form of a fiction. The epic aspect of the novel is so strong that qualifies it to be in the rank of epic artifacts. The manifestation of national spirit, the existence of an abstract value, representing the public beliefs, necessity of kindness and enmity, the existence of an undefeatable person or a superman, and sharing borders with history are elements of epics, which are present in this novel. The author intends to show, through such a hero, the undefeatable nature of Iran at the time of industrial and military invasion of the west, neutrality of the press, internal turmoil, dependence of the government, ignorance of people and the clergy and the opportunist nature of the parties which pave the way for threatening the country΄s independence. The purpose of the present paper is to indicate similarities of this novel with other epic works and to examine the features of epics in the novel and finally to explain its epic aspects.       

The word "fancy" was one of the most frequently used expressions of the theologians before the 8^th century and was not among the common expressions in the texts of Sufism in this period. Ebn-e-Arabi was the first to borrow the term from Ebn-e-Sina and Sohrevardi in order to describe his specific thoughts on the universe and the human relation with God. He uses the term to refer to whatever beyond God and the phenomena which do not have more than imaginary existence. He also uses the term for the Limbo world which is the intermediary between the World of Nature and the Heavenly World. Prior to him,  however, the word "fancy" was used exclusively in the texts of Sufism and was realized through fantasizing like dream trips, legendary events, heavenly creatures' observations, mental mastery over future and distant happenings, and callings of the spirits and individuals all of which make the source of a lot of  Sofistic narratives and miracles.

Language is a collection of conventional symbols. Although these symbols do not  have any natural connection with what they their purport, their constant usage has made rendered them natural symbols. So the authors of literary work, in order to attract their listeners, resort to this strategy and change the ordinary form of language. This change can be implemented in the structure of sentences or words; like manipulating sentence structures; deleting part of the phrase or repeating the other parts or making changes in meaningful bases of the word such as applying them in an unusual and awkward position. Sometimes, changes are materialized ignoring the principles of language use. Irony is also one of the noticeable language devices. Irony makes natural language structures unnatural by making changes in the field of implications. Predominating via use of irony is done by displacing the known structures and changing valuable bases of words.  So the message is narrated by a part of the text which is not implicitly said. In other words, the author relies on the listener psychic suggestions.  In Farsi eloquence, the word ”irony” is not applied, but its definition is vastly used in Farsi language; although this usage is sometimes like the usage of other Farsi figures. All in all, it is known as a single type and different from the other eloquent figures.  Since, in Farsi writings, these differences and similarities have not been examined yet. Accordingly, this paper addresses the similarities and differences of irony with other eloquent figures. Irony can enter Farsi eloquence with the same subject; of course not as an imported array because ironic words and methods have already been common in Farsi literature. In most cases, however, no title is determined for it. So, it is argued that irony is a kind of dichotomy in word and meaning or face and content which is based on opposition or antithesis and is built on an unexpected and sometimes ridiculous form. 

Modernist novel and short story have played a significant role in modern retouching of mythical narratives and in their recreation in the contemporary narrative literature. One of the major reasons for the particular attention of these novels and short stories to mythical roots is the necessity that the recent authors feel due to alterations in social conditions as well as the fundamental transformations in human’s intellect and attitude. The disorder in today’s chaotic world, the discourses of which are full of contradictions, irregularities, and rule aversion has intrigued today’s man in incoherent, nonlinear and discontinuous narratives abundant with temporal disorders, a characteristic which has a rich background in mythical narratives. A prominent writer in contemporary Persian literature is Shahriyar Mandanipour, the works of whom can resemble mythical narratives in terms of both the structure and the processing of some elements of story, specially the element of time. This study attempts to demonstrate that just like in some mythical narratives, in some of the stories by Mandanipour, 1- time is qualitative and mental not quantitative and objective; 2- time takes its validity from the narrated event or phenomenon; and 3- time is circular and cyclic not linear and straight. Of course, confirming these resemblances does not necessarily imply that Shahriar Mandanipour has consciously been influenced by mythical narratives

The pertinence of a poet’s imagination in ordinary concepts of life and their relationship with nature is due to his or her insights and knowledge of natural phenomena as well as the outside world. In the collection of works of every poet, all various types of imagery being attributable to figures of speech (i.e., metaphor, simile, synecdoche, and irony) represent moments that deal with the poet’s inner world; in fact, they are the reflections of the poet’s soul, personality, and inner characteristics. The current study was an attempt to scrutinize figures of speech and their frequency of use in Aminpour’s and Monzavi’s poems to find out the poets’ thoughts, emotions, and ideology towards the world and life. The common shared imageries or the central poetical imageries of these two poets were around love and the issues surrounding it. Although, more or less, a reflection of the society and the social issues could be seen in their writings, their subject was mostly about love. Their poetical imageries were vivid, dynamic, and visual. Although even little imitations could be discernible in their poems, their imageries and figures of speech domains were not just limited to the imageries of traditional poetry, but innovations could be observed in their poems. Similes were mostly intense and intuitive-intangible, and metaphor and simile were used more frequently than the other figures of speech.

In contemporary Poetry, especially in Gheisar's poems, various political, social and economic factors are included. Moreover, the content of these poems is closely related to revolution, war, martyrdom, and the regret of being left from martyrs' convey. However, there is a pressing need to investigate literary factors from a formalistic and objective stand point. One of the formalistic aspects in analyzing poems and literary texts in general is foregrounding which includes deviation from norms and establishing norms. Deviation from norms, as a new perspective in literature and poetry, is among the most substantial aspects of contemporary Poetry. Putting These techniques into practice, the degree of a poet's success becomes clear in developing a deep sense of freshness, more coherence and systematization in a poem, as well as reinforcing the musical dimension and leaving deeper impression. This paper attempts to answer the question whether Gheisar as a poet and artist has indeed created a piece of art in his poems in terms of deviation from norms. If so, in what dimensions has he used this artistic technique more frequently?  A follow-up question is an evaluation of his work from this perspective. Since Gheisar's poems can be discussed adequately from this perspective, in terms of deviation form norms, their style, dialect, terminology, syntax, written format, semantics, temporal and phonetic aspects are also investigated.

The studies of language categorization demonstrate that there is no direct relationship between the rhetorical and semantic-intentional categories. A major part of the difficulties in literary concepts go back to the lack of knowledge of secondary meanings of the semantic-intentional categories of the sentences. The purpose of the present research is to explore the semantic-intentional aspects of the interrogative sentences in Shams' Ghazals. The method of this research is descriptive and the data were analyzed based on the discourse analysis approach and according to library and document analysis method. The corpus includes 264 Ghazals selected randomly according to Cochran formula. The results show that Moulawi employed 27 functions out of 35 secondary functions under discussion in this research. The statistical analyses demonstrated that the most frequent secondary functions include the following: wonder, forbiddance, negative interrogation, blaming,

negation, expressive interrogation. The application or nonapplication of a number of the functions is in close association with their affinity or lack of affinity with Molana’s worldview, which has been fully investigated in the paper

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.

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

Seven ordeals is one of the important topics in Persian myth. The movements in seven ordeals do not have a historical nature so that they cannot be generalized to historical movements. As myths are derived from mankind’s active mind, seven ordeals are also the result of mental needs of people and a society and are derived from the historical challenges of a nation. Seven ordeals can be considered as the outcome of the imagination and fantasy of a nation who are threatened. It can be said that seven ordeals have goals consistent with divine regulation and epic moral values.  In Ferdowsi’s Shahnameh, interactions among the heroes and champions have been depicted in a very fascinating way. These heroes face various exams during their adventurous lives. These exams can be referred to as ordeals. Sometimes, these ordeals develop and some other characteristics have been added to them and have been made into a complete story. These stories are referred to as seven ordeals. It is just here that myth enters the realm of story. Our aim is here to investigate the key points and common elements of exams, ordeals, seven ordeals and seven ordeals of Shahnameh’s heroes and other epics. This is carried out on the basis of a structuralist, comparative mythology. 

A part of Khaghani's Divan includes his Arabic poems where one can be find a large number of errors which have not already been studied and discussed. In this paper, attempts are made to illustrate some of these errors and correct them. In so doing, the present researchers have studied these errors stemming from misreading (Tashif), distorting and miswriting, and considering Khaghani's other poems and Arab poets, the syntagmatic (metonymic) level of poems, Khaghani's poetical style, figures of speech, copies, meanings, etc,  we have suggested the correct forms. These errors are so frequent; hence, it is highly necessary to correct them. Due to Khaghani's great status, his artistic skills and his powerful rhetoric in Persian and Arabic languages, it is highly necessary to study these poems more closely and precisely again.

Saadi is undoubtedly the master of lyric poem in Persian literature. His Melodious and impressive speech in comparison with other poets' sonnets, is related to many cultural, linguistic, expressive, pictorial factors. Although many elegant points concerning his poems have already been investigated by Henri Masse, Gh.Yousefi, A.dashti, M.Ebadiyan, S.Hamidiyan, T. Poornamdariyan, Z.Movahhed etc., there are still many details about the unique techniques in his sonnets which await further research in order to understand the secret of his beautiful speech and extraordinary impulse. In this article, we have addressed ''addressing'' as a determining factor. The determinative appearance of this factor in Saadi's sonnets has a great role in motivational aspect of his poems. Following a quick introduction of addressing, we present the factors that amplify this sense in saadi's sonnets. He has made the addressing factors in his poems by utilizing artistic techniques and making a presence feeling. It is concluded that the most important effect of "presence feeling" and the "addressing factor" is the audience's excitation. Finally, the addressed factors of saadi's speech are analyzed and presented. In this research, we have used the document analysis method and in the last section we present the distribution of data and statistics of the addressed factors.

Najdi is one of the outstanding contemporary writers due to his specific style. He has a different attitude towards human life and cultural elements of Iran, which makes his stories a good subject for discussion and research. In this article, two stories of Najdi are analyzed in the light of Deconstruction: “The Day of Asb-rizi” and “The Night of Killing Sohrab”. Deconstruction is mostly based on Derrida’s theory. It originated and was initially used in Philosophy and then it spread to literary criticism. The aim of Deconstruction is to find the binary oppositions, to analyze them in order to reveal the contradictory points and to deny the accepted assumptions. The results of this process is to doubt those beliefs that have been considered as axiomatic up to that time. In Najdi’s stories, the binary oppositions include man/animal, man/nature and man and civilization. In “The Day of Asb-rizi”, the opposition between man and animal, and, freedom and slavery causes some contradictions in the major themes of the story. In “The Night of Killing Sohrab”, the binary opposition is that of harsh patriarchal world/ innocent childish world, or, experience/inexperience.

The ancient  translations and interpretations of the  Holy Qur'an are among the less recognized capitals of the great treasures of the Persian language, consisting of the various  words of  the different  domains and  periods of this language and  can be a rich  treasure house in order to develop the  Persian language. Terjemah  Tafsir  Tabari is one of the oldest and richest translations and interpretations which has been provided on the basis  of  the book  of  Tafsir  Tabari  and is of particular importance both from the point of  view of the Persian language history and in terms of  the  history of religious texts. However, the edition which is available has some problems considering the regulations of the correction technique and conditions of the Persian language dialectology. In this article, attempts are made to refer to some typical cases and the necessity for re-correction of this valuable book based on another copy is highlighted. 

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

Dependency nominal phrases are among the main kinds of nominal phrases. These phrases have spread in kinds and types. In this paper, we investigate these kinds of phrases in the whole text of Tarikh-e-Balámi from the historical grammar perspective. This work is indeed one of the first remained Dari Persian manuscripts. More specifically, we study issues that have historical aspects or are semantical and considered as stylistic features. The method adopted in this study is based on the definitions and divisions that late professor Farshidvard who wrote extensively on these nominal groups. Also, we use other grammar books, whenever they are relevant to our discussion. The main goal of this article is providing an accurate historical recognition of dependency nominal phrases that are subtle issues in syntax and are considered as frequently used syntactic groups in discourse. It is assumed that the scientific investigation of grammatical subjects in a specific text may enrich the historical grammar and also may shed lights on old texts.