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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

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Longing is one of mystical states that appeares in the absence of the beloved and must vanish at meeting the beloved. In mystical texts, longing at the joining moment is elaborated on. Some mystics believe that after joining and at the presence of the beloved, longing increases and converts to a state of desire. The continuity of longing or converting caused by the presence of the beloved, in turn, lead to an unending journey to God. The beloved has a myriad of manifestations and the lover in each stage reaches one of  the beauties of the beloved. So, the lover has reached one manifestation of the beloved’s beauty and is still striving for understanding and uncovering the other aspects. The beloved’s unconditional enthusiasm and presence is stimulated by the lover’s continuous need to love the beloved. Once the journey to God is over, another journey in God starts. This journey never ends because of the the beloved’s unlimited beauty and glory; hence, the lover remains longing and loving the beloved forever.  

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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.       

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Mantiqu't-Tair, a description of human love for self-scrutiny and meeting with God, is the most significant mystical work of Attar in the form of allegory of birds in search of Simurgh or phoenix. The contradictory presence of the author as a mystic and a historian at the beginning of the book is astonishing. Although the introduction is short and distinct from the mystical text, it is of great importance owing to the interaction of mysticism and history. The historian tries to discover the truth based on the valid documentations and through a retrospective look into the past and carefully analyzing the accuracy of historical quotes and reviews whereas the mystic avoids politics and analysis. In general, history is independent of mysticism but it is the best support for the mystic. Attar is a creative mystic in the sense of innovating mystical symbols and sometimes creating historical characters out of mystical symbols, while he is oblivious to the judgment of history. Symbolizing the historical figures and disregarding the historical documentations, in addition to invalidating his judgment of the individuals, have other outcomes, including a crisis of reasoning and a rejection of mystical principles that Attar himself adheres to. This study is conducted to prove this claim in the introduction of Mantiqu't-Tair.

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Gnostic prose works cover a wide range of subjects, contents, styles, structures, languages, and manners of expression. They might, therefore, be all categorized under one single literary genre. Applying the general term "gnostic prose works" to these oeuvres hinders our understanding of their true nature. Despite that many gnostic prose works belong to Gnosticism, they have special characteristics that make these works different from other gnostic texts. The present study has been done comparatively and analytically and with the help of library sources such as books and pamphlets on central topics, such as "Love". While examining the common characteristics, this subset was introduced as another literary genre like theosophical and lyrical prose texts. The purpose of this study is not to divide Sufism into theosophical and romantic, but it intends to study theosophical works according to their ways of expression, structure, language, figures of thought and subject to exhibit their real identities. The study indicates that they are closely comparable on three grounds: 1. In being prose and related issues (mixing oral and written tradition and interpretation), 2. In being Gnostic and in issues related to epistemology, ontology, irregularity, love, beauty, and influence from earlier works, 3. In being romantic and poetical in expression regarding questions related to musicality, imagery, and poetic logic.
 

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Sufi and mystic poets employ linguistic evidence, especially expressions regarding animals, to represent mystic concepts. In this study, to explore and clarify the meanings Mulana intended to convey as the field of destination, we will examine the linguistic expression “the Lion” as the field of origination in ghazals of Divan Kabir by using the conceptual theories of metaphor introduced by George Lakoff and Mark Johnsen. Studies have shown that Mulana, by utilizing linguistic economy and provoking multiple mental images with the use of a single expression (lion), has successfully exhibited a vital and variegated spectrum of his mystic thoughts.  According to the frequency explored in this article, the expression ‘lion’ in the mystic conceptual system of Mulana enjoys a positive meaning; heart and love are more significant in comparison to reason; the crucial concept of “complete man” against human ego and “beloved” are used to represent the absolute superiority of God through visual representation of “the lion”. All in all, employing the expression of the lion to point to sublime meanings and concepts central to mysticism is an indication of Mulana’s idealistic spirit, his sanguinity and sublimated nature. In this piece of research, which is carried out through a descriptive-analytical method, after an introductory note on conceptual metaphor, origination of animal metaphors, and Mulana’s metaphoric language, the writers provide different verses as an example of different kinds of destination fields. Determining the conceptual framework, field of origination or emotive field, application of various meanings’ general and local inscription in each category would be the next step. Finally, the frequency of the fields of destination and their conceptual generalizations will be presented in a table and the data will be explicated.   
 

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Firdowsi's Shahnameh, the poetic mythological epic of Iran, is created on the base of opposite forces of the world, namely Iran and Aniran and the battles of their people, because the design of the mythological history of Iran is also basically created on the intercourse of opposites .One of the most comprehensive philosophical views on history is  Friedrich Hegel's attitude. In this view, the nature and purpose of history is the same as nature of the human, and the nature of the human is the attainment of consciousness and freedom. This freedom can only be realized gradually and dialectically; hence, in the Hegelian philosophy the war is a way to dialectical furtherance of history and the inception of the struggle between human beings, as gods and servants, has been introduced as the basis for achieving self-consciousness. The battle between human beings in Firdowsi's Shahnameh resembles the dialectical relation of "Gods and Servants" in Hegel's philosophy. In the mythological part of Shahnameh, the achievement of self-consciousness is only through the battle of the two sides of the opposition, as gods and servants in the battles between Jamshid and Zahak, Zahak and Kaveh (and then Fereydoun), the sons of Fereydoun, and the subsequent martyrdom of Iraj and his reprisal by Manuchehr. This essay, with an analytical-descriptive approach, will analyze the philosophy of the history of Firdowsi's Shahnameh, emphasizing  the relation between "gods and servants", and concludes that in this work all conflicts will achieve a resolution that can be identified as the moments of Hegelian dialectic, and in fact, the path to self-awareness and freedom, and this is the same as the possibility of reading  philosophy of mythical history of Iran in Firdowsi's Shahnameh based on Hegelian philosophy of history.
 

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Paradox is one of the literary techniques in the poetry of the Safavid poets. Hazin-e Lahiji, like so many other poets of that age, employed this technique in his pursuit and showed that "unfamiliar meaning". Paradox is used in the poetry of Hazin-e Lahiji for the purpose of defamiliarization and exoticism. The poet in order to create new implications and subtle and insightful points and also to express mystical notions, Love, free thoughts and ethical arguments has used this literary figure. This article is comprised of some parts. At the beginning and in the theoretical section and literature review, Paradox is defined and its difference from other literary terms, and the state of this literary trope in literature and literary glossaries in the past and present have been discussed. In the practical part, the different kinds of paradox, such as verbal and semantic paradoxes, descriptive and relational compounds have been explained and the features of paradoxes in Hazin’s poetry and synesthesia as a kind of paradox have been discussed.
 

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Analysis of human social behavior and interaction with others is a fundamental issue in social psychology. Since literary works and anecdotes are reflections of interpersonal actions and reactions of the existing realities in human societies, it is possible to analyze social behaviors and interactions in different societies through the analysis of the relationships between characters and their dialogues. Using descriptive-analytical method and the desk research approach, the present study analyzed Jami’s Haft Awrang, a book replete with anecdotes and allegories. We utilized the theories proposed by social psychology theorists such as Otto Klineberg, Elliott Aronson, and Baron. The findings of the study revealed that the five components of mass communication and persuasion, conformity, attraction, aggression, and prejudice are more outstanding than other components in Jami’s Haft Awrang. Consequently, we can say that the structure of many social psychology components corresponds to the traditional concepts and frameworks of anecdotes, and the social beliefs and intellectual forms of society play an obvious role in the emergence of each component.


 

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Linguistic politeness is a phenomenon that is usually observed in everyday human interaction and shows how to use language to manage the interpersonal relationships of speakers. Qabousnameh is one of the most important texts of Persian didactic literature, which Onsor Al-Ma’āli wrote in forty-four chapters, with the aim of educating his son, Gilanshah, and his learning about social etiquette, knowledge, and techniques necessary for life, government, statehood, etc. Iranians have long cherished this book because of its didactic value and have used its anecdotes for educating their children. In this article the representation of linguistic politeness in Qabousnameh was studied using the politeness theory of Brown and Levinson. The findings showed that politeness was conceptualized as a social and cultural phenomenon in Qaboosnameh, which is the result of constructive interaction of individuals with mental, expressive and behavioral dimensions: in the mental dimension, consideration of audience and measuring the contextual situation and reflection on speech and its various meanings and effects; in the linguistic and expressive dimension, the standards of eloquence and the etiquette of speech; and in the behavioral dimension, the significant or influential negative and positive speech acts in language politeness were introduced and explained. In this paper, out of many cases that were studied in Qabousnameh, 27 examples were presented using the descriptive-analytical method and the pragmatic approach to the Brown and Levinson theory. According to the author of Qabousnameh, speech acts of the parties to the dialogue can save or threaten the face of the speaker and the audience; therefore, he proposed strategies to save or promote the face of the parties. Qabousnameh can be considered as one of the oldest texts in Persian literature, which mentions body language and the need for its proper use in linguistic interaction and interpersonal relationships.

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 The present research, with an interdisciplinary approach, examines the role of architectural elements in the surreal stories of the blind owl and the prince of Ihtjab. Each of the architectural elements has its own specific definition and function, which shape the physical space and, in other words, create a space limited to time and place. But the content of these elements with their implicit meaning can create spaces that are not limited to time and place. Since the purpose of this research is to investigate the effect of architectural elements in creating the atmosphere of a surreal story; First, the architectural elements in the stories have been extracted, and based on comparative studies, their meaning beyond their physical aspect has been examined with the analytical-descriptive method, and finally their role in creating the surreal atmosphere of this story. It has been revealed. The Blind Owl can be considered the most important work of Sadegh Hedayat; In this story, architectural elements, including the storyteller's house and the mentioned buildings, have played a very important role in creating the atmosphere. In the story of Shahzad Ehtjab, the narrator of the story remembers in his personal room on the last night of his life, the surreal atmosphere of the story is formed by the room and the elements in it. With a deeper investigation, it can be said that the architectural elements in the room play an essential role in expressing the narrator's personal situations, recognizing the weaknesses and fears of the narrator.