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Many interpretations have been written on the Molana's  Masnavi since long time ago up to the present time. These comments have offered examples to show the complexities in Masnavi in line with their taste. Presenting an example, this article discusses the differences in the comments of commentators and concludes that in order to remove the complexities in Masnavi, it is necessary to take into account the coherence of words and that the key to the simplification of Masnavi should first be sought in Masnavi itself.

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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.

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Simin Behbahani is one of the contemporary ingenious and efficacious poets. In her New-Sonnets (Nou-Ghazal), the frequency and variety of allusions are too many, so that the allusion is one of the most striking features of her poetic style. Accurate understanding of semantic capacities and structural concinnities of the word, which has allusive theme, depends on being familiar with meaning and concept of allusions on one side, and knowing the structure of allusions and methods of applying them on the other. Because of the importance and necessity of studying the methods and techniques making depth, affection, and intellectual, cultural and semantic development of allusions in order to better identify and understand the capabilities, elegances and semantic and structural measures of New-Sonnets of Simin Behbahani and the role of these factors in the creation of literary enjoyment, the main goal of this paper is to analyze the structure of allusion and also sorts of using it on the vertical axis of imaginations in New-Sonnets of Simin Behbahani. The results show that allusions used in poems of Simin Behbahani, have varieties in construction from single and complex words to the spread and vast allusions on the entirety of the vertical axis of Sonnets. Overall, in new-Sonnets of Simin Behbahani, the allusions are represented on the vertical axis in different kinds and methods such as parallel allusions, integrative allusions, comparison allusions, Molammah, structural allusions, debate allusions or allusive debate, incarnative allusions, etc. some of these methods especially in the vertical axis, are rare or unprecedented.
 
 

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Purpose:
This article seeks to critique the elitism found in the thoughts of Iranian intellectuals of the 1950s and 1960s. To do so, it analyzes and carries out a deconstructionist reading of Jalal Al-e-Ahmad's story titled Farewell from the collection Three Strings. The book contains 13 stories of Al-e-Ahmad and was published in 1948.
Methodology: This reading is made possible with an emphasis on the French philosopher Jacques Derrida's perspective and applies the eight-step strategy of David Boje as a critical postmodern analysis strategy regarding the narrative. David Boje's method includes duality search, reinterpreting the hierarchy, rebel voices, the other side of the story, denying the plot, finding the exception, stating what is between the lines, and resituating. The article follows each of these steps in order to bring about the deconstructionist reading of the story.
Findings:
After using the 8-step strategy of Boje, eight dualities were found: beauty vs. ugliness, core vs. periphery, naked vs. clothed, enlightenment vs. gluttony, rational vs. superstitious, quiet vs. garrulous, boy vs. girl, and activity vs. passivity. Each of these dualities has a hierarchal dominant/subordinate structure, and the narrator narrates the story in a way he is in the dominant position. Then the hierarchy in each duality was reinterpreted in a way that the rebels found their voice and the other side of the story appeared. The romantic plot of the story was replaced by a tragic one, exceptions were found, and between the lines was read. After doing all the 7 steps, the new narrative was made possible.
Conclusion:
The article concludes that by using David Boje’s strategy and by adopting Jacques Derrida’s deconstructionist approach to read Jalal Al-e-Ahamd’s story titled Farewell, a new narrative was brought about that makes possible the critique of the elitist views of Iranian intellectuals during the 1950s and 1960s decades. It is important to note that it is necessary to go beyond the person of Al-e-Ahmad and to get closer to the subject of Al-e-Ahmad as an Iranian intellectual; a subject that has been made possible in a particular context and has produced works. According to the narrative produced by the deconstructionist reading of the story, it is concluded that the intellectual subject reproduces the hierarchical relationships, puts itself in a superior position, relies on modern reason, and without considering and understanding the existential relations of the subaltern, seeks to represent them and aims to act to accomplish what it calls an intellectual mission.