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Mirror is a well- known symbol with deep roots in the world of literature. In Socrates' art, mirror reflects the real world. This distinctive feature of mirror has prevailed through history. This article attempts to trace and scrutinize the symbolic presence of mirror up to Rumi's age. Our discussion incorporatates a subsection on chang, the famous musical instrument, and closes with a hint on the equal and associating role of mirror and chang in Rumi's language.

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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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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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Using indirect explanation and symbolism has a long history in Persian literature. Classic poets have used many symbols to explain mystical concepts. In contemporary periods, however, the insight of the poets is deeper than that of traditional poets as they pay more attention to political and social issues. Accordingly, the symbols have changed so that in contemporary poetry they are used for expressing political and social thoughts. Political and social symbolism is a new phenomenon in Persian poetry that begins with Nima and is developed by his followers, especially Ahmad Shamlu. Shamlu was not interested in explicit words, so in order to disseminate the clusters of meaning in his poems he used symbols and symbolism. In his deep and significant symbolism Shamluhas attempted to change the repeated and old symbols of classic poetry and to give them new meaning. This comparative study attempts to look at the different meanings of symbols in Shamlu’s poetry and to explain how the poet has used them.

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The flags of the Kings and Heroes in Shahnameh and other epic texts are of important symbolic and ritual significance. The Symbolic signs and their characteristics on flags are important in the analysis of their owners’ personal, public and psychological characteristics. This archetypal approach to signs reflects Ferdowsi’s intention in expressing the function of some epic instruments, such as weapons, flags, horses and tents. In Shahnameh the matching of these signs and their implied cultural significance reflect their semiotic an archetypical power. So each of these signs and images like sun, moon, stars and animals—dragon, lion, wolf, tiger, and eagle—and colors such as black and purple show the complex texture of anthropological feature. This research is both descriptive and analytical and the researchers have consulted different dictionaries of symbols and highlighted the function of each image in its epic space considering the change of its meaning in time

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The novel Malekan-e- Azab is the latest published work by Abu Torab-e Khosravi. The significance which is always assumed by Khosravi for words and writing is conspicuously seen in this novel as well; however, the author’s attempt to develop novel atmosphere and techniques has added a new dimension of complexity. To fully appreciate this complication and to gain an understanding of the discourse, we will investigate the deep structure of the novel and its affinity with the author’s technique, drawing on non-narrative elements, the implication of the signs and the binary contrast involved in the process of signification. The theme of the novel is a battle against Time. The technique of narration is multi-dimensional which is compatible with its deep structure. Given the significance of the association between words and creativity, the author has endeavored to develop a close connection between words and creativity and writing. In doing so, the author provides a circular portrayal of the characters. The realization of the characters by words and literary elements has induced a vivid image of the narrator by exploiting new indexicals which are constituted by the characters. The author’s novel technique to battle against Time is metamorphosis; the characters are realized as narrative indexicals and lead their lively life throughout the narrative. The symbolic elements of the narrative are closely interweaved with the circular structure of the characters and are so formulated to develop the deep structure of the narrative within a transformational framework.

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There are some words and phrases in Hāfez’s Diwān (Book of Poems) which merit careful attention as this brings us closer to the world of his poetry and thought. One of these words is “Jām” (“cup”) and its synonyms. The frequency of this word and its synonyms is indicative of its significance in the mind of the poet. To investigate Jām in Hāfez’s Diwān, the importance of Jām in Persian literature and Hāfez’s Diwān, and the opinions of the old and contemporary exegetes regarding the meaning and function of Jām in Hāfez’s Diwān were explained in this paper. The body of the paper contains two distinct parts: the first part deals with Jām in the tradition of poetry prior to Hafez. There are three kinds of Jām or “Mey” (wine): earthly, mystical, and Khayyamian. The second part is concerned with the display of the artistic skills of Hāfez in dealing with Jām in the following subheadings: 1. The repetition and foregrounding of the word Jām and making it a symbolic motif, 2. Creating opposition by Jām and using it as a tool for political and social struggle, 3. Mixing the various and opposing meanings and functions of Jām, and 4. Making paradoxical expression with Jām to create masterpiece couplets. The conclusion of this descriptive-analytical research is that Hafez intentionally repeated Jām to make it prominent and symbolic and mixed its Islamic and Iranian senses to create a prism of which any reader based on their background knowledge and experience could get various meanings.    
 

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Abstract
Bidel uses poetry to express his mentality. Looking at the natural phenomena and describing the elements of nature, the course of his radical thoughts is outflowing. Because his mind is filled with mystic meanings and concepts when he looks at things, everything will take the color and smell of mysticism, and flow into his language. He considers ‘art’ to have perfection and ethical virtues and by its help, he expresses the capabilities of man and the nature around him.
With an analytical lens, we intend to look at the place of “Mountain” in Bidel's Masnava "Tur Marafat". We are going to discover and examine the images in which the natural element of the mountain is artistically linked with mystical concepts and meanings. The research method in this paper is documentary, library facilities using content analysis, and data classification. In this research, through the discovery and classification of images, we will reach the significance of the ‘mountain’ icon in the "Tur Marafat" of Bidel, and get mystical hidden meanings in that. Also, the cohesion and integrity of the text will become apparent through the matching of the mountain icon with a motif. We will see that the hidden concepts behind the symbols of water, fire, and soil, in a coherent set, would show the mystical transcendental movement from Bidel’s perspective from the lowest to the highest place, and would have a conceptual relation to the ‘mountain’.