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Persian is a language that accepts combination.This tendency has made some of the poets and authors try to create new combinations. Nizami of Ganje is one of the poets in whose works hundreds of these new combinations are seen. On the one hand because of his high intelligence and talent and on the other hand because the people of his time looked for new subjects and new expressions, and also due to the natural evolvement of language, he has paid special attention to this issue. Although Nizami does not limit himself to certain combinations, on the whole the frequency of allusive combinations is high in his works. One of these combinations is that of"kabkshekastan", which the narrator of Ganje has used in Khosro and Shirin and Sharafname three times. The meanings written for this allusive combination in dictionaries are as follows: "to flirt", "to efface the track" and "to hide secrets". Although on the construction of this combination no explanation has been given, we may offer a few conjectures. What we attempt to explain in this research concerns this combination and its meaning in dictionaries. The research is an endeavor to find out how much these meanings are reliable and if there is another possible meaning for this term.

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This paper is an analysis of archetypal elements in Mahan story in Haft Paykar (“The Seven Beauties”) based on Joseph Campbell's Monomyth Theory. Greed is the reason why Mahan starts his journey and duly leaves heaven where he lived without being aware of its value. His journey starts from a palm grove, which is a sign of his spiritual ascension. Since he does not have insight yet, he sees the leaders on his journey as monsters thatmake him suffer during the night but when the night endsthey changeinto light as a manifestation of God’s face.  Mahan meets Anima after passing the thousand step well (the whale’s belly) which brings himawareness, and after gaining awareness he meets his guide who is the Khidr. Their meeting is a rebirth for him and a return to heaven, and the reward and bless he acquiresthrough his journey is an eternal life in heaven.

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Nizami Ganjavi is a well-known literary figure in Iranian cultural history whose influence has not been diminished in contemporary era. The scene of “Shirin bathing in a fountain” is one of the most prominent scenes of Khosrow and Shirin poem which has been the focus of attention for many modern poets. Following a content analysis approach, this study attempts to explain why such a scene has been so rich and influential in contemporary poetry. The scene has been impressive in two ways: In the first, and the most important type, the whole poem is dedicated to this scene, and in the other type, the poets have only partially referred to the scene. In this paper, it is argued that the scene of Shirin bathing in a fountain is a romantic theme and since some poets were influenced by romanticism – at some points in their professional career – they were fascinated by this scene. Rebellion, violation of moral boundaries, attention to local legends, mythological manifestation of a woman/the beloved one, metaphorism, dynamism and maturity of the scene and its vivid expression, the vague location and time of the event as well as the naturalism of the scene have been parameters of the romantic poems and images most of which are represented in the studied scene. Another attraction of the scene is its eroticism. This classical image has the potential to arouse sensual attraction and to reflect both physical and feminine tensions of our time and to give an indigenous identity to modern poetry.  


 

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In the play Farhad and Shirin, the Azerbaijani poet and writer Samad Vurgun has recounted the poem of Khosrow and Shirin in a way contrary to Nizami Ganjavi's intentions. In his work, he tried to create a self and the other divide. Iranians are portrayed as a threatening enemy of the lands beyond Aras and an intractable enmity between the two sides is imagined. In agreement with the communist politicians, Vurgun sought to prepare an independent identity for the newly established Republic of Azerbaijan; in a way that did not overlap with Iranian and Ottoman cultural commonalities. The current research, which is carried out in a descriptive-analytical way, tries to answer the question, how did Vurgun describe the self and the other and what methods did he employ to determine and embody the cultural identity of the Caucasus? The author of this play described Iranians as people with negative aspects such as raping, kidnapping, killing parents, lying, etc. and instead, attributed all the positive qualities to the people of Barda District. On the other hand, the introduction of Shirin and Farhad as lovers from Azerbaijan and the creation of a character named Azarbaba have been part of the strategies to promote the new identity of the Caucasus.