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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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Irony is one of the important and at the same time complex terms in rhetoric, philosophy and literary criticism that Persian texts have employed its potentialities under various headings such as satire, asterism, etc. In the meantime, one of the rhetorical basesofMasnavi isMawlawi's artistic and skillful use of humor and its various types. Mawlawi's specific skill in recognizing his  audience  and his dedication to explicate grand concepts of religion, mysticism and morality led him tochoosehumor as an indirect way of expression because of its high functionality, and great power to attract and persuade the audience.This paves the way for different types of irony to appear in the entire Masnavi, especially in its Fifth Book. Among different types of ironythat are present in Masnaviare verbal, situational and dramatic ironies. In this article, which is library-based and is done through descriptive-analytic method, the authors will investigate different modes of irony in Mawlawi’sMasnavi. It concludes that because of Masnavi’s allegorical and diegetic character, dramatic irony has a special standing in Masnavi.

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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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Interpretations are of the most fundamental principles of mysticism (Sufis). Masters of taste with their scientific and intuitive power go beyond the surface structures and present real and unfathomable meanings of the Quran and Hadith in ways that may not cross the mind of ordinary people. Masnavi Manavi is one the works that has an interpretation look toward the Quran and Hadith. Delving into this great work reveals that Mawlānā, in many cases, goes beyond the surface structures of Hadith and attaches a profound meaning to them. Sultan Walad, Mawlānā’s son and follower, in his Masnavies adopted an interpretative view toward Hadith. Though he has innovative views about the interpretations of the Quran and Hadith, in most of the cases he was influenced by his father’s work.
The authors in this study investigate Mawlānā’s interpretive approach in Masnavi Manavi and reveal how they affected Sultan Walad’s Masnavies. The results show that Mawlānā and Sultan Walad rejected superficial thinking and reliance on the surface of religious works. They believed that because of the fact that they overcome their humanistic desires and self-love, the true Allah lovers are infallible in their speech because Allah reveals to them the truth. And they can express the profound meaning of religion through their intuitive powers and based on their mystic experience.
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Teaching monotheistic topics and trying to understand the ambiguous concepts of epistemology have always been the concern of thinkers. Despite the commonalities in monotheistic teachings, access to rich concepts is not possible for everyone, and there may be contradictions in the understanding of meanings. Hadiqah al-Haqiqah and Masnavi are among the instructive texts that have used figures of speech to express monotheistic concepts. In this article, the teaching style of Sanai and Rumi based on the method of using Monotheistic Images and Corbin’s hermeneutics approach is studied.  The monotheistic language of Masnavi and Hadiqah al-Haqiqah is almost the same. Sanai has expressed monotheism in a general way and at a high level, while Rumi has gone into more details about monotheistic concepts. Hadiqah al-Haqiqah images are mostly designed on the horizontal axis, whereas in Rumi’s Masnavi, many images can also be found on the vertical axis. Rumi has sometimes used Sanai symbols and in many cases has taught monotheistic concepts with completely innovative symbols. The monotheistic images of both mystics are a combination of philosophical teachings and mystical intuitive symbols in Corbin’s hermeneutics. Benefitting from the graphic form of the letters (alphabetical symbolism) and the metaphor of the letters are common to both works.
 
 

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A large part of the impressiveness of Rumi’s words is related to his manner of expression and syntax of his words, most of which are still hidden. To discover these beauties, there is no other way than a detailed analysis of his discourse. In the present study, the authors analyzed one of the factors of text coherence by examining the frequency and syntactic function of simple and compound sentences in Masnavi. This research is based on 1372 verses of the first book of Masnavi and uses statistical methods of structural analysis and classification of sentences. From this study, remarkable results were obtained regarding the close relationship between the content of the text and its sentence structure. The results indicated that the frequency of compound sentences is more than simple sentences, and among different types of compound sentences, those consisting of “main clause + subordinate clause” pattern have a higher frequency. This style of Masnavi wording contributes to the coherence of the text and paves the way for Masnavi to make good teaching material. Additionally, it was found that Rumi actively participated his audience in receiving the meaning of the compound sentences. He sometimes removed the conjunction from the structure of the sentence and allowed the reader to select the appropriate conjunction based on the selection of each of the main or subordinate clauses. In the complex compound sentences, a sentence has both main or subordinate roles at the same time, which means that based on its preceding or following sentence, the role of the sentence changes.