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Maolavi known as Rumi, in a lyrical poem discussed in this essay, expresses some of his mystical points of view, not explicitly, but through the poem’s structure. This poem has an organic form and in its structure there is a sign that indicates "wind" in its own absence has become a symbol. This poem because of its special structure can show a part of stylistic distinctness of Rumi in poetry.

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Khaghani is one of the greatest Qasida composers in the Persian literature in the sixth century. One of the main stylistic features of this era – which is more seen in the poets of Azarbayejan- is extensive use of the terms and beliefs of different sciences in their time, including astronomy. Khaghani who was a master in astronomy has used the details of this science in creating poetic images. Sometimes he combines astronomical terms and beliefs with mythological and religious beliefs along with different types of semantic and verbal parallels and various figures of speech and thought in a way that astonishes the reader. This article aims at analyzing different ways that Khaghani’s metaphoric mind has used by means of astronomical terms and beliefs to show his wonderful power in creating new and invented images in his poems

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In some instances of comparative literature research, it is not precisely possible to accredit a literary work to a specific nation or ethnic group. The reason, it seems, lies in the lack of a precise definitions of national literature which in turn is due to the imprecision of the standards set for national literature. Whereas one camp, mainly the disciples of the French school of comparative literature, view language the sole, or at least the strongest criterion for setting the domain of international and national literature, the other camp, mainly the proponents of the American school of comparative literature, casting doubts upon the validity and the efficacy of the linguistic criterion, go for a political identity criterion. Of course, along these two criteria, sometimes other criteria such as historical continuity, shared cultural identity, religious and theological borders, political ideologies and even geographical (co-territorial) borders are also posed.   

To investigate this problem more profoundly, the present authors, criticizing the above-mentioned standards and criteria and displaying their inadequacy and imprecision, have made an attempt to propose cultural components and the cultural discourse dominating the work as a promising standard. 

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Modernist novel and short story have played a significant role in modern retouching of mythical narratives and in their recreation in the contemporary narrative literature. One of the major reasons for the particular attention of these novels and short stories to mythical roots is the necessity that the recent authors feel due to alterations in social conditions as well as the fundamental transformations in human’s intellect and attitude. The disorder in today’s chaotic world, the discourses of which are full of contradictions, irregularities, and rule aversion has intrigued today’s man in incoherent, nonlinear and discontinuous narratives abundant with temporal disorders, a characteristic which has a rich background in mythical narratives. A prominent writer in contemporary Persian literature is Shahriyar Mandanipour, the works of whom can resemble mythical narratives in terms of both the structure and the processing of some elements of story, specially the element of time. This study attempts to demonstrate that just like in some mythical narratives, in some of the stories by Mandanipour, 1- time is qualitative and mental not quantitative and objective; 2- time takes its validity from the narrated event or phenomenon; and 3- time is circular and cyclic not linear and straight. Of course, confirming these resemblances does not necessarily imply that Shahriar Mandanipour has consciously been influenced by mythical narratives

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Narratology, which is the one of the achievements of structuralism in literature, helps the critic to analyze various stories at two levels of story and discourse by studying the role of functions and actions .At the story level, the critic can discover similar narratives in terms of episodes, characters and settings by ignoring the historical, cultural and social differences. With this in mind, The Shahnameh Stories "Zal and Rudabeh", "Bijan and Manijeh" and the "Romeo and Juliet" play by Shakespeare is worthy of comparison and evaluation. All three stories narrate the love of lovers from two feuding families who face many obstacles in their way to :union:. With this level of analysis, we can find out what actions and functions cause the fate of the heroes of these stories. At the discourse level of narrative, Ferdowsi and Shakespeare's status as the narrator can be specified and their orientation and worldview can be sought in text through analyzing the  language in the context. Through discourse analysis and the narrative codes, the underlying beliefs, traditions and culture can be perceived in the aforementioned narratives.

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By looking at Afghanistan novel writing and its ups and downs, some realities about intellectual and literary developments of this society become clear for the audience that require extensive research. One of these realities is Modernism and Postmodernism in the fictional literature of Afghanistan which links the Afghan novelists' society with the contemporary fiction writing society and illustrates the life aspects of an Afghan, especially the life of intellectuals in this country. This article is an attempt to reflect the important Modernist and postmodernist trends of novel writers in Afghanistan through a descriptive-analytical approach by exploring the contemporary novels in Afghanistan after the coup of 7th of Sur (April), 1357. The results suggest that we cannot speak of institutionalization of modernist and postmodernist novel writing in the fictional literature of Afghanistan, but there is an increasing growth of elements and components such as identity crisis of fictional characters, consequences of war and migration of  Afghan men and women, attempts to deconstruct the opposition of man / woman in Afghanistan’s male-dominated writing system, representation of intensive confrontation between traditionalism and modernism, etc. This indicates the emergence of new literary styles in fictional literature in Afghanistan, Quasi-modernist and sometimes Quasi-postmodern styles, which often have been adapted by emigrant intellectuals, following and imitating the western techniques of fiction writing.

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Dr. Noon Loves His Wife More than Mussadiqis a modern political novel written by ShahramRahimian. Focusing on psychological complications of politicians, the novelgivesa different view of 1953 coup d'état in Iran. In this study, relying on Bakhtin’s definition of polyphony,we will draw out its examples from the novel and analyze its functionsthrough a descriptive-analytic method. The question to answer in this article is what features polyphony has and howit is realized inthis text. Therefore this article stresses different features of polyphony such asabrupt shift in perspective, polyglossia among the social classes, the presence of various and opposite characteristics in one fictional character, heteroglossia, and intertextuality. Then, these will be investigated in the novel to support the claim that by providing the reader with varied tools, polyphonic novels lead the audience to a new understanding of the text.

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One of the most important issues in narratologicalstudy of Masnavi is methods of reading and interpreting the allegories. The relationship between this subject and narration is best revealed when we attend to the relationship between interpretations and storylines, regardless of the content of those interpretations. The main aim of this paper is to investigate the methods by which Mawlawiinterpreted the allegories narrated in Masnavi. It can be said that presenting the interpretations on the syntagmatic axis is the most important property of Masnavi. To interpret these stories, Mawlawi reads these as separated storylines, then, presents an interpretation corresponding to each of them. Multiplicity of these storylines is the result of two factors: Multiplicity of characters and Multiplicity of sequences. In this process, the value of main storylines is equal to subsidiary ones. Therefore, sometimes, the motivation (initial interpretation) of telling an allegory is not proportionate to the final and medial ones. The validity of the storylines for presenting the interpretations is both a factor for polysemy of allegories of Masnavi, and a presenter of a narratological explanation for association in Masnavi.

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The "Mour" is an elegiac dirge in Laki – an ancient language still spoken in regions as diverse as Lorestan, Hamadan, Ilam, and Kermanshah. Sung in an elegiac non-rhythmic tune and just in one distich in memory of a dead person, these wistful melodies have a rather long history. The purpose of this article, which is descriptive-analytical and library-based, is to explore the relationship between the distiches of Mour and the socioeconomic status of Laki-speaking men. In this regard, it has been pointed out that in Mour dirges, men’s bravery, magnanimity and hospitality, as well as their economic and social status, physical strength, etc. are often described. The frequency of these descriptions indicate the position of epic, elegy, and narrative in verses of Laki poetry that often in just one distich capture the most outstanding feature of warriors, thanes, tribal sheriffs, farmers and herdsmen.

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The two ancient civilizations of Iran and India, due to their long-standing cultural, political and economic relations, have had a relative cognition of each other's identity, which has, over time, become more logical, complete, and at times symbolic. Undoubtedly, in order to understand the history of Iran and India in ancient times and how these two nations interacted, we must inevitably find the historical image of India in Iranian culture. The study of myth, epic literature and versifications helps us to reach historical realities. Shahnameh can represent Iranian and Indian history and culture. In this research, we seek to answer the main question by using descriptive-analytical method and library resources. To a large extent, Firdowsi has remained faithful to historical sources and Pahlavi texts in Shahnameh. The text shows that Firdowsi has followed the sources that have been used and there is no significant difference between them especially those of the Sassanid era, such as Karnameh Ardeshir Babakan, A Relic from Zariran and Kodaynamak and Shahnameh. 
 

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Happiness as the goal and end of human life has been continuously considered throughout history. The concept of happiness as one of the basic human needs is understood and inferred in different ways. Most people consider happiness to be equal to pleasure, and some consider happiness to be the same as thoughtful life; In Sufism, happiness is the result of great spiritual expansion. The important point is that there is a common factor in all the definitions of happiness, and that is the feeling of satisfaction and contentment; Therefore, the feeling of mental comfort has a direct relationship with happiness. Jalaluddin Mohammad Mowlavi (604-672 A.H.) is one of the mystics whose words radiate joy. He considers Sufism as a way to receive the joy of the heart when sad factors come down, and he puts forward the components that lead a person to live happily ever after. Epicurus (341-270 B.C), the philosopher of the Hellenistic era of ancient Greece, who is known as the "philosopher of happiness", also presents a practical method that leads to happiness and happiness by considering sustainable pleasure as the ultimate human good. to be Now, the question is, what kind of pleasure is the pleasure of Epicurus, and does happiness from Epicurus' point of view and happiness from Mowlavi's point of view have common aspects or not?

Method: In this article, an attempt has been made to check whether there is a connection between Epicurean hedonism and hedonism from Mowlavi's point of view by means of library study and data comparison and analysis.

Findings and results: By carefully studying Epicurus' opinions and thoughts and his practical life, we can come to the conclusion that the pleasure from Epicurus' point of view is not only material and fleeting pleasures, but also like other moral theorists. The ancients expressed the goal as eudaimonia or happiness. The goal of his philosophy is to reach a stable state. In this way, man tries to achieve ataraxia by creating limits for his temporary and unstable pleasures. On the other hand, the practical philosophy of Epicurus expresses the components that have aspects in common with some views of Muslim mystics, including Mowlavi.