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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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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?

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Khaqani is one of the most important poets in Persian literature. His artistic personality is a complex character; he has worked on various branches of art and elegy is one of the main of these branches. Khaqani has composed over sixty elegies that are considered his masterpieces. His personal elegies are the most famous and the most artistically composed Persian elegies. Seven of these elegies he wrote on the death of his son, Rashid al-Din, which show his extreme sorrow and grief. The colours have a particular psychological impact on the images of these elegies. Khaqani with three colours (red, black and yellow) has created themes and poetic images in these elegies. These three colors are not present in these elegies randomly or accidentally, but according to the new psychology his choices stem from his unconscious. The present research studies the influence of colours and their psychological function in Khaqani's personal elegies on the death of his son, Rashid al-Din.

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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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This research explains the principles governing major codes of "Hodhod" and "Simorgh" in the Attar's Mantiq al-Tayr, and codes of "The King of Birds" and the "Storyteller Bird" in the Avicenna's Risalat Al-Tayr. The significance of this study lies in its endeavor to abolish ambiguities regarding the meanings of these cods which due to personal and subjective trends of interpretation and commentary on these allegorical works is institutionalized. This study tackles the issue of necessary allegorical and coded writing styles when texts came to deal with epistemological concepts which was a result of conceptual conflicts that existed from fifth century to seventh century, and forced interpretations on texts’ meanings which were merely a reflection and satisfaction of expectations of critics of an age. This study is library research and is based on a thorough examination of the content of relevant literature on this subject, each in its pertinent context, followed by a co-examination of intersections between the texts and the contexts. This study concludes its premises through deep analysis and critically supported interpretations. The findings of this study reveal the contradictions that govern interpretations of the aforementioned concepts. Furthermore, findings of this study demonstrate the necessity of further investigation in this field


 

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The use of ambiguity and amphibology in speech, by arranging the setting for multiplicity of significations and delaying the process of meaning comprehension, leaves a significant impression on the creation of  artistic aspects of the literary work and to the extent that the speech is free of such expressive techniques, it turns into a single meaning proposition, and its artistic worth is diminished. In this paper, based on such a presupposition, we have revisited the poems of Hazin Lahiji (1103-1180 A.H.) and examined the multiplicity of significations in his poems at both lexical and textual levels. At the lexical level, some figures of speech such as amphibology and its types, coincidence, and derivative puns pass beyond the limits of significations of the couplet and open new horizons of meaning to the audience. This study confirms that 192 cases of amphibologies were used in his poem. At both the sentence and couplet levels we classified the types of ambiguities and multiplicity of significations and the causes of their emergence into three categories of linguistic, logical and tonal and in each category we investigated and analyzed the techniques used by the poet to create ambiguity and various significations.  
 

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Although many years have passed since its inception, the critical correction of Shahnameh, as one of the greatest literary and epic works of Iran and the world, has a long way to go. The vast volume of this great work and the wide variety of the issues presented in it, alongside its language antiquity, require that in order to reach as close as possible to the poet’s original creation, all the stories, verses and words of it be reviewed and reexamined and scholars with various specialties and approaches comment on its various aspects. From the grammatical pint of view, this article discusses some verses from different parts of Shahnameh. The commonality of these verses is in their optative verbs. In the first part, the pronoun-constructed verbs of Shahnameh are discussed. The second part introduces a rare verb construction in which the optative morpheme of the third person singular is ‘iyi’. The last part is about the optative form of bāyistan “have to, must” which requires an enclitic pronoun complement in some of its constructions. These parts were studied and analyzed by measuring the recordings of the manuscripts and by analyzing the previous readings. In the case of pronoun-constructed verbs, the form ending in ‘ti’ was suggested everywhere, and in the other two cases, based on the manuscript recordings and relying on grammatical points, the correctness of the readings presented before the publication by Khaleghi Motlagh, was emphasized.


 

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Haft-Xwân/Xâns of Rostam and Esfandiyâr are among the parts of Shahnameh, which have received a lot of public and special attention in the long history after the composition of this work. Contrary to the traditional spelling used for this series of battles of warriors in most manuscripts of the Shahnameh and most Persian works, some contemporary researchers with this argument that in these battles, the warrior goes through seven stages, believe that the correct form of this name should be without waw and it should be written in the form of Haft-Xân. Some have also considered the second part of this word (= Xwân) to be a table with this pretext that Esfandiyâr sits on feasts after every battle. This last opinion has been rightly criticized and rejected, but the first one has been approved by all the researchers. In this article, after measuring the validity of the evidence of this opinion and with the approach of historical linguistics, a different opinion, but compatible with the internal content of this series of battles, will be presented. In this interpretation, considering Haft-Xwân form to be original and presenting a new derivation for Xwân, the meaning of “battle and struggle” has been proposed for this word.