https://jllr.usb.ac.ir/ Journal of Lyrical Literature Researches en daily 1 Mon, 10 Mar 2025 00:00:00 +0330 Mon, 10 Mar 2025 00:00:00 +0330 https://jllr.usb.ac.ir/article_8996.html The basis of humor is to create a situation or a set of unexpected situations for the audience. Situational humor is an excellent and deep humor with the image of people's situations, events and actions. This type of humor is based on images, ideas and concepts and a mixture of behavior, situation, scene and speech, which can be achieved by understanding the space and architecture of the work.Atar Neishabouri is one of the poets who has reflected the sufferings and social anomalies of his era by creating humorous situations in his stories. The current research, which is written in a descriptive-analytical method, examines the types of humorous situations in Attar's works and seeks to answer the question of the elements that caused the creation of humorous situations in Attar's masnavis.What are the factors and situations in Attar's masnavis that cause humor? Based on the investigations carried out in the Masnavis of Asrarnameh, Elahi Nameh, Plahab Nameh and Logic of Al-Tair, it was revealed; The presence of factors such as characterization, words and speech, design, time and place in these works have often created humorous situations https://jllr.usb.ac.ir/article_9060.html In epistemology, human cognitions are accompanied by limitations and errors. The error possibility in understanding the truth is one of the cases that justify the truth of tolerance. This study examines tolerance from its epistemological aspect using an analytical method based on the traditional hermeneutic views of Ayn al-Qud'at al-Hamadani. In this paper, we seek to answer the fundamental question of how Ayn al-Qud'at al-Hamadani justified epistemic tolerance in his traditional hermeneutic perspective. The findings indicate that, in Ayn al-Qud'at's thought, individuals are at different levels of epistemology. Even for a complete mystic in a state beyond reason knowing the truth is impossible, let alone for those stuck in the state of reason. On the other hand, the transmission of knowledge is also not possible, except through similar words; its understanding is also different due to linguistic limitations and restrictions in audience understanding. Therefore, this possibility of error and the existence of limitations in knowing the truth can be considered the most important factor justifying tolerance; it results in "cognitive humility", which manifests itself for the mystic as "astonishment", and for the non-mystic, in "interpretation", which paves the way towards changeability, which is the product of admitting epistemic impotence. https://jllr.usb.ac.ir/article_9093.html Carl Rogers, a humanistic psychologist, proposed five key components in his theory to define the concept of the fully functioning person, emphasizing individuals’ experiential fields. This study, employing Rogers’ framework, critically analyzes Nader Ebrahimi’s novel *A Quiet Love* through a descriptive-analytical approach, addressing the question: How does love in *A Quiet Love* correspond with Rogers’ concept of the fully functioning person? The findings indicate that openness to experience plays a crucial role in maintaining the freshness of love in the novel. Love is inherently tied to the organismic nature of individuals, reflecting innate human emotions. The novel highlights a strong inclination toward freedom, particularly in the beloved’s actions, emphasizing that love must unfold within a framework of respect for individual differences. The romantic perspective on life’s simple and ordinary moments, in line with Rogers’ model, signifies a life-affirming approach to love within the narrative of the Iranian couple. Furthermore, creativity, regarded as the most mature behavioral characteristic in the fully functioning person, manifests in various ways in their romantic relationship. Ultimately, love in *A Quiet Love* exhibits a meaningful connection with humanistic thought, https://jllr.usb.ac.ir/article_9147.html Beloved in Persian literature often has an Iranian identity and the signs of the beauty of his body are derived from Iranian aesthetic. other types of beloveds in the geography of Persian literature are non-Iranian which may be Arabic, Indian, Turkish, or Frankish. these are interpreted as other. Part of the process of our understanding of the "other" in relation to "ourselves" is the result of body awareness and bodily perceptions whether a natural body or a cultural body. many researches whose subject is the examination of the image of the beloved in Persian literature none of them have addressed what and how it is a type of love. The main question was who is Frankish beloved? And how is it represented in Persian literature? This question brings other questions that we will address in the article. The findings show that the image of a Frankish beloved is not different from an Iranian beloved and the same codes and signs of body beauty that an Iranian beloved has are also used for a Persian Beloved. In addition, the most common form of love interest is in the branch of poetry and especially the sub-genre of the romantic lyric. https://jllr.usb.ac.ir/article_9188.html Comparative literature is of utmost importance in understanding the various perspectives cultured by different societies and literatures on love. In this vein, using the content analysis method while building its basis on the American School of Comparative Literature, the present research studies and contrasts the concept of love in two short stories: The Miller's Tale, written by Geoffrey Chaucer (1343-1400), and The Cuckoo Clock, written by Mikhail Naimy (1889-1988). The research finds that love is transformative in both stories. In The Miller's Tale, that transformation may be best characterized by the ideas of deception and betrayal, influenced by class systems and social status. In contrast, in The Cuckoo Clock, this transformation results from the encounters brought in by modernity and cultural conflicts between the East and the West. Both authors symbolize the multiple dimensions of love: while the mill in The Miller's Tale symbolizes trickery and deceit, the cuckoo clock in The Cuckoo Clock symbolizes the seductive potential of modernity and a shift in traditional values. While love is traditionally viewed with a humorous, realistic tint in Western literature (as exemplified by Chaucer), Arabic literature (where Naimy shines) has maintained a traditionally idealistic, philosophical interpretation. https://jllr.usb.ac.ir/article_9189.html Nima Yooshij’s poem Afsaneh, as one of the early examples of transformation in modern Persian poetry, employs a symbolic and psychological structure to express the inner experiences of the human psyche. This study, drawing on Carl Gustav Jung’s analytical psychology, explores the representation of the hero’s psychological journey and inner transformation in the poem. The central research question examines how Jungian archetypes-such as the Hero and the Anima-reflect the stages of the hero’s psychological journey and contribute to his path toward self-awareness. The research method is descriptive-analytical, with a focus on the concepts of the collective unconscious and Jungian symbolism. Findings indicate that the hero, through encounters with emotional and social challenges, moves toward the integration of opposing aspects of the psyche. Along this path, Jungian archetypes serve as guiding forces, and the poem’s structure mirrors the phases of the hero’s inner journey. By analyzing Afsaneh through the lens of Jungian theory, this study offers a fresh understanding of the psychological dimensions in the works of Nima Yooshij and highlights their role in articulating the evolution of modern Persian poetry. https://jllr.usb.ac.ir/article_9217.html This research examines the poem with a semiotic approach and based on Pierre Giraud's theory of aesthetic codes. Its main goal is to discover the code system governing poetry and explain the representation of concepts such as national identity, betrayal of the homeland, and the reconstruction of collective relations. The research method of the article is descriptive-analytical and was carried out by carefully analyzing the text of the poem and its adaptation to Giraud's code theory. The semiotic analysis of the poem shows that Danqol's poem cannot be considered simply a literary work, but rather a reflection of the sufferings, desires, and romantic social ideals in contemporary Arab poetry. By artistically combining linguistic and symbolic elements, the poet leads the audience to think about individual and collective responsibility towards the homeland and history. In addition to its literary value, this poem is considered a telling document of the identity crisis and national concerns in the contemporary Arab world. The results of the research show that Danqol, by utilizing linguistic codes, semantic contrasts (such as death/life, betrayal/loyalty), and symbolic archetypes (mother,, wise old man), presents a multilayered picture of the social and psychological situation of Egypt after the defeat of 1967 https://jllr.usb.ac.ir/article_9218.html The study and analysis of literary works based on global theories not only help in better understanding narrative structures but also contribute to a deeper comprehension of the text. One of the leading structuralist theorists in the field of narration is Algirdas Julien Greimas. His theories, due to their unique divisions and flexibility, have gained wide acceptance among researchers. This essay adopts a descriptive-analytical approach to evaluate and analyze the structure of the main plot of the narrative Bahrām Gūr in the Black Pavilion from Nezami’s Haft-Peykar, based on Greimas' key concepts (binary oppositions, narrative chains, and the actor model). It also examines the protagonists and how the structures forming the events are created. According to the findings, the story begins with an initial balanced state (the king's happiness in the palace), shifts to an unbalanced state due to the king's curiosity about the people in black clothing, and concludes with a final balanced state after the king uncovers the mystery. The main actors in Greimas' action model are identified as follows: Sender: the king’s curiosity, Receiver: the king, Subject: the king, Object: the discovery of the mystery, Helper: the butcher and the strong rooster, Opponent: the enchanted townspeople. https://jllr.usb.ac.ir/article_9488.html According to Sternberg In his opinion, passion, intimacy, and commitment are the main pillars of the triangle of love, and the combination of these three pillars forms the types of love. In this research, which is a descriptive-analytical study the data collection has been carried out in the form of library studies, and dedicated to the components of love in Khaju Kermani's Homay and Homayun based on Robert Sternberg's views. In this article, after a brief explanation of Sternberg's three pyramids of love, we have cited examples from Khaju Kermani in Homay and Homayun in order to find out the nature of love in Homay and Homayun based on Sternberg's components of love and to find out what the pattern of relationships between the characters in the story's lyrical system of Homay and Homayun is like according to Sternberg's theory of the triangle of love. The results study show that the patterns in relationships of the characters in the story correspond to the components of Sternberg's love triangle. In the romantic relationships of the important characters in the story , all the components of Sternberg's triangle of love are present, and each of the romantic relationships is durable and stable. https://jllr.usb.ac.ir/article_9476.html In Foucault's intellectual system, power is considered a network of relations that is constantly expanding and spreading throughout all social domains. The present study, using the method of qualitative content analysis based on documents and relying on Michel Foucault's view on the subject of power, seeks to find manifestations and examples of power in the personal relationships of the characters in the Vis and Ramin narrative by Fakhruddin As'ad Gurgani. In this analysis, the central components related to the discussion are structured as follows: strategy of power, manifestations of the exercise and emergence of power, the relationship of power with freedom, resistance and transgression, institutions and guiding forces with the stabilizing force of power. Based on the results of the discussion, the mentioned narrative has a special correspondence and affinity with Foucault's ideas. It was also argued how the characters of this narrative, regardless of their hierarchical position, are in a broad network in the path of exercising power; in such a way that power can be seen as a guiding component in all levels of people's behavior and speech in this story. Resistance and transgression strategically display specific ways of responses and reactions, https://jllr.usb.ac.ir/article_9477.html The Vis and Ramin epic, penned by Fakhruddin As'ad Gurgani, exemplifies classic Persian romantic narrative literature, depicting human relationships, emotions, and decisions amidst a backdrop of instability and unpredictable transformations. This research analyzes the nonlinear structure of this narrative using Edward Lorenz's Chaos Theory. Nonlinear structure refers to a narrative where events do not unfold sequentially or predictably, and minor actions, such as a glance or a simple decision, can lead to profound and far reaching consequences in the story's progression. Chaos Theory, initially applied in physics and meteorology to analyze unstable systems, was later adopted in the humanities to explain evolving patterns within social and cultural systems. In this article, the theory is employed as an analytical tool to understand the chaotic dynamics in romantic narrative literature. This study, utilizing a qualitative analytical approach, identifies and analyzes five key components of Chaos Theory sensitivity to initial conditions, self organization, the edge of chaos, fractal behavior, and strange attractors within the narrative of Vis and Ramin. The findings indicate that love, decision making, and emotional responses operate in a complex and chaotic manner within this epic. https://jllr.usb.ac.ir/article_9486.html Wine, as a central motif in Hafez’s poetry, has been chosen as the focus of this research due to its fluid, multifaceted nature, which cannot be reduced to a single fixed meaning. Accordingly, concepts derived from the thought of Gilles Deleuze—such as difference and repetition, becoming, deterritorialization, and others—are examined in relation to the multifaceted concept of “wine” in Hafez’s verses. In this article, the authors propose a novel reading of the position of “wine” in Hafez’s ghazals by employing Deleuzian philosophical concepts, moving beyond the traditional vertical structure of the ghazal to analyze the verses horizontally based on the ideas of the “rhizome” and “multiplicity.” This study demonstrates that a Deleuzian reading establishes a connection between classical Persian literature and postmodern philosophy, while also emphasizing the intertextual and polyphonic capacity of Hafez’s poetry. The central issue of this research is the necessity of adopting a new approach, grounded in Deleuzian philosophy, for a multi-layered interpretation of “wine.” The study adopts a descriptive-analytical approach, presenting Khwaja Hafez as a poet who employs rhizomatic thought to transcend the conventional dualities of traditional thought. https://jllr.usb.ac.ir/article_8504.html The school of expressionism started in the art of painting in the early 20th century, and because of its attention to human suffering, it influenced literature, music, theater and cinema in a short time. Expressionists believed that emotional and inner human experiences are superior to external realities and that knowing the truth of existence and understanding the nature of existence is essential. Expressionists' efforts to interpret the nature of existence led them to subjectivism and mystical intuition. They considered the secret of human happiness to be the transformation of traditional values and rotten manifestations ruling the society. Expressionists gained many fans all over the world, and following their example, outstanding works emerged. The poem of the inscription of the Third Brotherhood is an example of these works in which the components of the expressionism school can be examined. The main question of the article is: What are the most important expressionist elements of inscription poetry? Cinematic structure, abstract atmosphere, the presence of characters who have lost their identity, trying to change the existing situation and the feeling of despair and emptiness are the most important expressionist components of the inscription, relying on them, it can be called a modern poem and considered an expressionist. The purpose of the article is to analyze and identify the structural, linguistic and content elements of the inscription poem based on the school of expressionism. The article review method is descriptive-analytical. IntroductionThe subject of the article is "Examination of the effects of expressionism in the poem of the inscription of the Third Brotherhood", which is one of the prominent and modern poems of contemporary Persian literature. The purpose of this article is to analyze and identify the structural, linguistic and content elements of the inscription poem based on the school of expressionism and to identify its expressive and influential aspects that by discovering and knowing these expressionist layers, the readers of the poem can understand deep and hidden concepts. and discover the poet's expressionistic thoughts and beliefs. The questions that the authors answer in this article are:What are the most important expressionist elements of inscription poetry? And what is the method of Akhwan to objectify internal concepts and influence the audience? Research methodThe research method is descriptive-analytical and library based on taking notes from written sources. In this method, the writers have analyzed and examined the expressionist components while studying and taking notes of the desired material by mentioning some examples in the inscription poetry. DiscussionThe school of expressionism was created in the early 20th century by German painters and in a short time it influenced literature, music and cinema due to its deep attention to human beings and the expression of their sufferings. According to expressionists, the experiences of human inner emotions are superior to external realities, and knowing the truth of existence and the nature of existence is important and necessary. They knew the secret of human happiness in changing the rotten values and manifestations ruling the society. Turning away from reality and emphasizing human feelings and emotions is one of the basic issues in the school of expressionism. According to these definitions, "any kind of deliberate distortion and deformation of reality in new literature can be considered as examples of the expressionist method." (Dad, 1371: 52). Some Iranian artists in the contemporary period, while familiarizing themselves with western culture and literature, became inclined towards the school of expressionism and created outstanding works under its influence. The inscription poem is an example of these works in which the components of the expressionism school can be examined. This article deals with the analysis and analysis of the inscription poem based on expressionist principles from three aspects of structure, language and content, and the most important issues that this article deals with are around these aspects.With its dramatic structure, expressionist concepts, and serious and exciting language, the inscription poem is an outstanding example of modern Persian literature poetry. In terms of structure, unlike expressionist plays that are a combination of different parts, this poem is made of only one episode (Episod) or part, and all the events and actions of the characters are formed in this part. Unlike the meaningless and expressionist plays, the plot of the inscription poem is coherent and the events take place in a natural way. "In the narration of the inscription, the scene is used less and the narration is based more on the use of language. The language of the play, apart from conveying its literal meaning, also has a dramatic load. (Alavizadeh and Vahadanifar, 2016: 27).Group characters are present in the structure of the inscription poem, and the main character of the poem is the narrator, who is unknown and hidden. The reader of the poem does not see his face and does not know him. In fact, this character is the poet himself, who narrates the events for the reader with a visual language. Another structural feature of inscription poetry is the opposition of poetic elements, which makes it close to expressionist works. Contrasting elements in this poem not only affect the audience emotionally, but also play a complementary and finishing role in the structure of the poem. Elements such as darkness, failure, despair, frustration and captivity, along with their opposite elements, make the expressionistic color of the poem brighter.In terms of language, the inscription poem has a symbolic and metaphorical language and sometimes the language of the poem becomes emotional and tense and becomes compressed. The shortness of the sentences and the compactness of the language leave no room for creating beauty, and the Third Brotherhood tries to show its inner and mental concepts with the simplest sentences and images.Invitation to change and protest, fear and anxiety, sense of emptiness and futile expectation are among the most important thoughts of inscription poetry. The events of the story in the inscription poem end with the despair and disappointment of the characters. "The despair of the Brotherhood in this poem is beyond individual or social despair and is a kind of philosophical despair and an expression of the tragic fate of man in the repetition and sequence of failures." (Hafizi, 1389: 11). The feeling of disappointment, futility and the collapse of all beliefs and expectations which are expressionist propositions is visible at the end of the inscription poem. The characters of the inscription's poem come to the conclusion with their collective action that there is no possibility of salvation and liberation and their concern to understand the great secret of existence was just an idea and an illusion that only limited their understanding of worldly life. has completed "Helplessness and loss of meaning are at the end of this process because the point of helplessness is the end of all efforts leading to failure in the search for meaning." (Talebian and others, 1398: 176)The expressionist structure, serious and tense language, and expressionist ideas have made the poem of the inscription a masterpiece that attracts the reader and pulls him to the end of the story. ConclusionThe poem of the inscription is a short play with bitter and tragic hints at the end of the narrative, which depicts the life of contemporary man over the centuries. This poem is the narrator of the helplessness and futile expectation of humanity, which is caught in pessimism, despair and disappointment due to failures and failures. The main focus of the inscription poem is to pay attention to the human being and express his pains and sufferings in the modern era and in the traditional society. The quality of the depiction in the inscription depends on the quality of the expressionistic representation of pain and suffering. The Third Brotherhood tries to show the suffering and pain of the society and its deep pessimism about the vague future of man due to the loss of values ​​at the highest level. The addressee of the inscription's poem is the human social conscience, which understands the pain and deprivation of the society well from the poem. In terms of structure, this poem is a combination of dramatic and narrative elements that the poet objectifies his modern thoughts and beliefs in just one scene. The characters of the inscription represent the people who are trying to get rid of the burdensome traditions of the society. Their present and day is the present and day of modern man who has lost meaning and absurdity, and as if this absurdity is the result of the loss and weakening of the fundamental narratives and beliefs in previous periods; Beliefs that the classical man clings to and saves himself from predestination, doubt, despair and emptiness. The language of the poem is narrative and the poet embodies that moment of experience and hidden reality by using symbolic and mythological words. Despair and disappointment are among the obvious and expressionistic themes of the inscription, which have always remained hidden in the existence of the poet and sometimes take on a philosophical color. Due to its narrative structure and desperate, heavy and serious concepts, the poem of the inscription affects the reader and awakens the feeling of kinship in him. Dramatic structure, the presence of unknown and lost characters, the possession of technical, dramatic elements and expressionist ideas and themes are the most important features, relying on them, the inscription's poetry can be interpreted. considered a modern and expressionist poem. ReferencesAali Abbas Abad, Y. (2018). Manouchehr Atashi's poem and the place of myth in it, Journal of Lyrical Literature Researches, Vol. 6, No. 11. pp.131-152.Akhavan sales, M. (2019). Az in Avesta, fifth edition, Tehran: Morvarid.Alavizadeh, F. Vahdani Far, O. (2017). The Dramatic Capability of the Poetry of the Akhavan sales Inscription, Contemporary Persian Literature Journal, Vol. 7, No. 3. pp. 19-41.Dad, S. (2000). Dictionary of Literary Terms, Tehran: Morvarid.Dandis, D. (2017). Basics of Visual Literacy, translated by: Masoud Sepehr, Edition 49, Tehran: Soroush.Fotuhi Roud Majani, M. (2010). The Rhetoric of Image, 2nd edition, Tehran: Sokhan.Hafizi, M. (2010). review and analysis of the poetry and prose of Mahdi Akhwan sales, Persian Language and Literature interpretation and Analysis Quarterly, Vol. 5, No. 3. pp. 99-117.Hosseini Mehr, N. (2014). Expressionism, Dadaism, Postmodernism, Tehran: Negah.Ibramz, M. (2005). Descriptive Dictionary of Literary Terms, translated by: Saeed Sabzian, Tehran: Rahnama.Izadi Odlo, A. (2008). Messengers of Nihilism, Cultural Universe Journal, Vol. 23, No. 263. pp. 34-37.Mirsadeghi, J. (2015). Elements of Story, 9th edition, Tehran: Sokhan.Nazerzadeh Kermani, F. (2019). propositionalism in dramatic literature, 5th edition, Tehran: Soroush.Palisban, F. (2014). Expressionism and its influence on German literature, Chista Journal, Vol. 29, No. 200, pp. 778-780.Seyed Hosseini, R. (2006). Schools of Literature, Volume 2. 13th edition, Tehran: Negah.Shamisa, S. (2015). literary schools, 7th edition. Tehran: Ghatreh.Shaygan, D. (2008). Asia against the West, Tehran: Amirkabir.Shepard, A. (1996). Fundamentals of Philosophy of Art, translated by: Ali Ramin, Tehran: Scientific and Cultural.Talebian, Y., Vafayi, A., Abdollahiyan, H., Baqeri, A.A. (2019). The components of meaninglessness in the poem of Mahdi Akhava sales inscription, Poetry Research Journal, Vol. 11, No. 2. pp. 163-182.Wahabi Daryakenari, R. Nik Manesh, M. (2017). Narrative components in three long poems of Akhavan sales with an emphasis on Gerard Genet's point of view, Lyric Literature Research Journal, Vol. 15, No. 28. pp. 187-207.Zamaniyan, M. (2013). Expressionism in Literature, Monthly Book of Literature and Philosophy, No. 54 and 55, pp. 34-39. https://jllr.usb.ac.ir/article_8452.html Abstract:Besides writing lyrics, Shahryar has had other genres of poem including couplets and so on. Shahryar’s special couplets are specified by description and using free and pure images. From the subject and content point of view, his poems represent his external aspects of his life and also his interests and social, cultural and historical aspects, as well as his internal aspect of his personal life. The couplet of “Afsaneye Shab” with 1622 lines in 40 titles and various subjects is the longest couplet of Shahryar and is one of the most outstanding contemporary poets of Iran. This poem is some cuts of different parts of life mixed with some national historical and religious events of Iran, which is sometimes mixed with the poet’s life and his personal interests and memories in the form of stream of consciousness. Interestingly, all imaginary and real events of this poem have happened at night, which Shahryar has described it in a new method via using some aspects of spoken language presented in the greatest images of natural events and perspectives at night Introduction "Afsaneh Shab" is one of the long and outstanding masnavis in contemporary Persian poetry and the most important masnavi of Shahriar, which has been the focus of interest of the poet himself. In my opinion, this poem, along with “Hozain Del” (Delusions of the Heart) and “Haydar Baba”, have formed a trilogy that well show the central idea in Shahriar's poetic and intellectual trajectory. The first question in the current research is Shahriar, lyricist master, was also successful in writing masnavis. Moreover, what are the characteristics of “Afsaneh Shab” that make it one of the leading contemporary Masnavis? In this article, while taking a quick look at Shahriar's masnavi writing, the structural-content analysis of this masnavi has been done by applying structuralism approach. Accurate and comprehensive understanding of the character and art of any poet is possible only by studying and examining all his poetic achievements. This article tries to better understand the poetry of Shahriar, who is famous for his lyrical poetry, by reviewing his masnavi writing career, to examine and analyze this outstanding masnavi in ​​terms of structure and content, and to open a new window to Shahriar's poetic world to the readers of Persian poetry. Research method This research was carried out in a descriptive-analytical way, using library sources and reading books and articles related to the subject, including Divan Shahriar, in such a way that after reviewing the works of this poet, his “Afsaneh Shab” will be investigated and discussed using the approach of structuralism, and after explaining its structure, the data of the poem under literary components (narrative, description, simile, irony, diagnosis and hint) and linguistic components (syntax and vocabulary), structural-content of the poem will be analyzed by quoting sufficient evidence from the text of the poem. Structuralism believes in creating a coalition between the components of a whole and seeks to examine the special role of each component in relation to the whole structure (organization). My method and approach in examining “Afsaneh Shab” is the application of structuralist criticism in a descriptive-analytical way. In the poem “Afsaneh Shab”, the masnawi form, Bahr Ramel Mesdes Makhboun, which is suitable for telling the story, is also suitable for the subject of the poem, which narrates the historical events and the narrator-poet's memories. On the one hand, the simple language and the use of syllabic constructions and the use of description, irony, allusion, simple and sensual similes, and direct and indirect internal monologues on the other hand are in harmony with the overall structure of the poem, and in this way, it is clear that it seems that irregular components of the long poems have a coherent and systematic structure. Discussion In Shahriar's work, twelve masnavis (a total of 2557 couplets) are recorded in the following order: “Afsaneh Shab”, “Sher o hekmat” (Poetry and Wisdom), “Ghoroob Neishabur”  “Neishabur Sunset”, “Dar Neishabur” (In Neishabur), “Ziarate Kamal al-Mulk” (Kamal al-Mulk's Pilgrimage), “Roohe Parvaneh” (Butterfly's Spirit), “Sedaye Khoda” (God's Voice), “Rumi dar Khanqah Shams” (Rumi in the Shams Khanqah), Gul and Bulbul Islam (Rose and Nightingale of Islam”, Janemadar (mother's spirit), “tarejanan” (The Tar of Love) and “Shabikhone Eshgh” (The Incursion of Love”. Shafi'i Kadkani, in a general comment about contemporary Persian masnavis, considers only Shahryar and two other poets, Hamidi Shirazi and Khanleri, to be the writers of "several good and excellent masnavis" (Shafii Kadkani, 1368: 217). Shahriar's masnavis make up, in every aspect, a full and complete divan. Masnavi provided a field for him to practice poetry without the restrictions of sonnets and rhyme limits of odes. Therefore, his masnavis are more about the events of his life and show the interaction of the poet with others. These "others" are sometimes mountains, forests, and seas, sometimes the night, the village, and the people of the village, and sometimes history, myths, events, and real, historical, and mythical people. Thus, it can be said that the external aspects of Shahriar's poetic life are more reflected in some of his masnavis and the internal aspects of his life in his ghazals. On the other hand, Shahriar's novelties have found more opportunity and opportunity to appear in his masnavis. "Afsaneh Shab" is the most important masnavi of Shahriar and one of the long and outstanding masnavis of contemporary Persian poetry. The structure of this poem while being long and detailed and despite the seemingly different parts and mixing of various topics, is coherent firstly in designing the topics related to Iran (both historical Iran and contemporary Iran) and secondly, in the fact that it is "nocturnal" and "Iranian elements" along with "night elements" as a string or rather like a single color have given all these components and parts a shape which has related them to each other. From the point of view of structuralism, the narrative framework of “Afsaneh Shab” can be justified and analyzed; "At the root of the idea of ​​structuralism, there is the idea of ​​"system": a complete and self-regulating existence that adapts to new conditions by changing its characteristics while maintaining its systematic structure" (Scholes, 2019: 27). The presence of an active narrator, who is the poet himself, is also undeniable in creating structural coherence between the different parts of the poem. From the structural point of view and the compatibility of some materials and materials of the poem with its content, considering the main theme of the poem which is generally nostalgic for the narrator and the reader, "the context of night" was chosen perfectly. It can be said that regardless of the order and sequence of the existing parts, Afsaneh Shab has three important and main parts from the point of view of content and subject: the first part, the part that is mainly related to Shahriar's poetic and romantic worlds and escapes from memories. The poet's childhood, adolescence and youth and the requirements of such times have been described. This part is one of the best parts of Afsaneh Shab. The second part can be called Shahriar's "admiration for night"; here, the poet looks at the night and the secrets and capacities of the night as a temporal and spatial possibility. In this part, Shahryar seems as if he has not seen the day at all or does not want to see it, as if what he has experienced - both himself and others throughout history - all happened at night, and of course he sees the positive aspects of the night deeply and therefore this poem is also a praise and tribute to the night. The third part of the masnavi of Afsaneh Shab, in terms of subject and content, is related to the history of Iran and the memory of Iranian elements, and it includes parts and sections that the poet wrote using his historical knowledge, which is either based on historical writings or arising from the poet's hearings. Narration is the most important method and technique in Afsaneh Shab, and as a narrator-poet, Shahryar has narrated the poem by using the rhetorical elements of analogy, personification and description. His similes are more sensual and eloquent, that is, with the removal of adjectives, and are often followed by a personification after one or two verses. This association makes the work of the poet easier in description and makes his descriptions more objective, more pictorial and more effective, because simile and metaphor - especially a kind of metaphor (personification) - are one of the most important tools of description. The extensive use of the morphological and syntactic structure of the spoken language and the use of slang expressions, and allusions have both made the language of the poem simple and attractive, and increased its impact on the reader. Conclusion Undoubtedly, Shahryar is a poet of ghazal, but his masnavis by surpassing the limitations of the ghazal and the rhyming restrictions of the ode, have given him an opportunity to subdue his inner unrest and let his thoughts and imagination fly regardless of the place and people. For this reason, Shahriar's masnavis are mostly the result of the events of his life and the society of his time and indicate his interaction with others, be it real or historical persons or social and cultural issues. In a comparison, it can be said that the external aspects of Shahriar's poetic life are more reflected in his masnavis and the internal aspects of his life in his ghazals. If we want to learn about the historical events of the age and the important preoccupations of a group of people in the society from Shahriar's poetry, his masnavis have provided us with such a possibility. The various topics under the forty independent sections are, on the one hand, a manifestation of the poet's art and power of description and imagery, and on the other hand, are the result of his social and historical perspective on various historical, cultural, religious, and national issues. Linguistic novelties and abandoned fantasy and, in his own words, "inspiration" in some of his masnavis, including “Afsaneh Shab”, have found more opportunity and possibility to appear. From this point of view, Shahriar, the poet of “Afsaneh Shab”, is no less than Shahriar of ghazal composer, and in his artistic career, this poem could clearly be the result of the "central idea" in his poetic career. References Aghakhani Bizhani, M., Sadeghi, E., Foroozandeh, M. (2012). “Structural Analysis of Khanlari’s the Eagle and Yushij’s the Serivili House according to Bremond’s and Greimas’s Theories”. Specialized Quarterly Journal of Fiction Studies, Vol. 1, No. 1, PP. 5-19. Alizadeh, J. (1995). ]by effort[, As simple and beautiful, (A collection of articles about Shahriar), Tehran: Nashre Markaz. Borhani, M. (1995). “Masnavis of Shahriar” Quoted in: As simple and beautiful (A collection of articles about Shahriar), by effort: jamshid Alizadeh, Tehran: Nashre Markaz. (pp. 285-290). Esmailzade Mobareke, M. Mohamai Fesharaki, M. (Autumn& Winter2021-2022). “A Comparative Study of the Effect of Dialogue on Action in Nizami’s Khosrow & Shirin and Leily & Majnun”, Journal of Lyrical Literature Researches, Vol. 19, No. 37, pp.31-58. Joukar, M. (2023). “From Ode to Masnavi: A Review of Bahar’s Masnavis with an Emphasis on His "Karnameh Zendan” (Prison Poems), Research Journal of Literary Schools, Vol. 7, No. 24, pp. 143-167. Melali, M., Nasre esfahani, M. R., Najafi, Z. (2017). “Analysis of the narrative structure of the story "Zal and Rodabah" based on Grimas's actor model,” Journal of Lyrical Literature Researches, Vol. 16, No. 31, pp. 252-235. Monzavi, H. (1993). This Persian-speaking Turk; Analyzing Shahriar's poetry, Tehran: Barg. Monzavi, H. (2005). Meeting in the text of a poem, a look at thirty-six poems by contemporary poets, Tehran: Afarinesh. Qhayaci, M. T. (1989). An introduction to structural cognitive style, Tehran: Andisheh. Safizadeh A. (2019). “Analytical investigation of simile structures in Shahriar's Masnavis,” The Quarterly Journal of Studies of Shahriar Pazhuhi, Vol. 7, No. 25, pp. 105-125. Scholes, R. (2000). Steructuralism in Literature an Introduction, translated by Farzaneh Taheri, Tehran: Agah. Shafeeiy Kadkani, M.R. (1989). Poetry music, Tehran: Agah. Shahriar, M.H. (1957). Section 4 Divan of Poems, Tehran: ketabforooshi Khayyam. Shahriar, M.H. (1991). The generalities of Shahriar's poems, Tehran: Zarrin and Negah. Shamisa, C. (2009). literary criticism, Tehran: Nashre Mitra. Ushij, N. (1996). Complete collection of poems, Tehran: Negah. Zarrabi, A. (1995). “Meeting with Shahriar,” Quoted in: As simple and beautiful, (A collection of articles about Shahriar), by effort: Jamshid Alizadeh, Tehran: Nashre Markaz. (pp. 519-535).   https://jllr.usb.ac.ir/article_8462.html The dialectical sociology of literature can be considered as an evolutionist, functionalist as well as constructionist approach that seeks to prove of social and class structures of society on the structure and context of literary works. This approach considers neither the literary work as a principle nor social and class consciousness; Rather it seeks to prove the influence,, and dialectic of them. Using the dialectical sociology of literature, Hafez's sonnets and their composition can be considered as a historical document and a product of society and class relations, and it can be said that the detached structure of Hafez's sonnets goes back to the social and class turmoil of the poet. Hafez's satire is also the product of the absolutism and tyranny. Also, the image of Hafez's sonnets - similes, paradoxes, etc. - is the result of displacement of social. The monotony of Hafez's sonnet shows the tyranny and absolutism. Structural polarization and confrontation reflect hostility, conflict, and class and social incompatibility. In this article, with a theoretical method and of course a qualitative study of the content, the effect and dialectical interaction of society on the comprehensive and meaningful structures of Hafez's sonnet will be studied and analyzed. https://jllr.usb.ac.ir/article_8646.html This research studies lyrical elements in The Enigma of Arrival (1987) by V. S. Naipaul, Noble prize winner in 2001. The theoretical approach is a combination of the ideas of Cattie Owens Murphy on lyrical novel and the theory of migration literature presented by Soren Frank. This study aims to show the overlap of lyrical thematic and formal elements with features of migration novel used in The Enigma of Arrival and to show how lyrical elements contribute to the expression of migration experience. The findings of this study explain that the following lyrical element overlap with the prominent features of migration literature: subjectivity, non-linear plot, repetition and revision. These elements correspond with certain features of migration novel such as autobiography, narratorial authority, wandering consciousness, multi-dimensionality, and non-linearity. Naipaul has used lyrical features in The Enigma of Arrival to give depth to the represented experience of migration. The lyrical dimension of Naipaul’s novel leads to reasoning and perception through emotions. Introduction Thirty-seven years after his colonial migration from Trinidad and Tobago to England, V. S. Naipaul (1932-2018) wrote about immigration experience and its consequent challenges for a migrant in autobiographical The Enigma of Arrival (1987). From the perspective of the theory of migration and migration studies, what makes this work prominent is the decision of migrant narrator, Naipaul, to settle not in London rather in the solitude of a village near Wiltshire and reflecting nature and its beautiful perspective through precise and praise-worthy descriptions. The focus on rural landscape and narrator’s tendency to express his mental state and internal feelings, enforces the lyrical features in The Enigma of Arrival, as a novel of immigration. The novel’s allusions to William Wordsworth, the romantic poet, confirms its lyrical dimension (Hayward, 2002: p. 57). The rise of lyrical novel blurred not only the intellectual and cultural borders  but also border among literary genres. In Lyrical Strategies: The Poetics of the Twentieth Century American Novel (2018), Owens Murphy analyzes the role of the mixture of two classical genres of narrative and lyrical in the formation of lyrical novel and explains its features as literary product of the twentieth century. Theses lyrical features which are observed in the theme and form of immigration novel, provide the reader with a deeper understanding of immigration experience and of the inner world of the migrant character. The significant problem of the present study is to explore the role of lyrical elements in The Enigma of Arrival and to provide answers for the following questions: 1. In what thematic and formal elements the overlap of immigration novel and lyrical novel is situated? And what is their role in the transference of immigration experience? 2. How does the lyrical formal and thematic elements used in The Enigma of Arrival contributes to the expression of immigration experience? Research Methodology Drawing on the method of literary text analysis, this study tries to explore the overlaps and conformities of lyrical novel and immigration novel. This research is based on a combination of Owen Murphy’s theory on lyrical novel and Frank Soren’s categorization of stylistic and formal features of immigration novel. First, the lyrical features that show overlap with immigration novel are introduced, then, the role of these lyrical features in The Enigma of Arrival will be discussed. Discussion The Overlap of Narrator’s Subjectivity with Novelist’s Biography As a basic element, subjectivity is a formal element in lyrical novel. In The Enigma of Arrival this feature is depicted through employing narrator’s authority in form and writer’s biography in content. The migrant narrator states his personal emotions, thoughts, and conceptions by using the first person point of view. The narrator, consequently, subjectively describes the narrative action, meaning, and descriptions through possessing the narrative authority. The Link of Lyrical Experiences with Migratory Themes The Enigma of Arrival is open to a survey of lyrical elements in migration novel. The migrant narrator tries to show his relation with the alien surrounding based on internal feelings and individual mentality through residing not in the crowded London but in the solitude of a rural landscape. The focus on the subjectivity of the migrant narrator blurs the border between autobiography and narrative, thereby, the lyrical qualities of the novel will be more revealed. The Enigma possesses a fluent, colloquial language that becomes poetic when the narrator is at the peak of his emotions. The reader is the very audience who has gained access to the inner and solitude world of a migrant. The motif of solitude indicates the wandering consciousness that not only brings about stability and certainty but also it causes uncertainty in all of the characters of the novel. Through his migratory mentality, Naipaul is aware of such a transience and that is why he tries to look at his life and the surrounding world accordingly. A nature that is constantly in transit. The lyrical aspect of the novel males it possible to appreciate the experience of migration deeper assist the reader to understand the relevant emotions. In other words, in this novel feeling is a means of comprehension and understanding. The Conformity of Non-linear Lyrical Novel to Structural Disruption Instead of following a linear plot, Enigma focuses on the thoughts, observations, feelings, meditations, and descriptions of the narrator in various sections of his life. The descriptive structure of the novel existence of no particular adventure in it, contributes to its structural disruption. Hence, Enigma overlaps the lyrical novel in this regard. The plot of lyrical novels shows the features of imagistic, vertical movement, and contemplative ordering. The plot of Enigma contains these features. The surrounding perspective gradually reflects the inner world of the migrant narrator. This imagistic mode that includes the inner world of the narrator, organizes the plot of Enigma an functions as a unifying force in the novel. In Enigma plot is dependent on space. The vertical arrangement of incidents males it possible to pierce into the inner world of the character. Plot proceeds not a chronological order but an arrangement formed by place. So, the plot shows a seemingly static narration. In reality, action has contemplative nature in Enigma. That is, plot mirrors the transformations of the internal world of the migrant narrator. Conclusion This research tried to introduce those stylistic and thematic features of lyrical novel that are significant in stating the experience of migration. As a thematic lyrical element, the subjectivity of the migrant narrator is located in form of autobiography, as a migratory structural element, pave the ground for shedding light on the lyrical world if the migrant. The focus on and the vividness of the image of migrant’s sensations, emotions, and conceptions is enforced in novel of migration through the technique of narratorial authority. The experience of migration can lead to the sense of delivery, the joy of freedom, the happiness of a new life, the opening up of new horizons of understanding. By benefiting from lyrical elements for depicting the world of the migrant, migration novel helps the reader to appreciate the communicated feelings so that feelings turns into a medium of understanding.  In Enigma, Naipaul benefits from lyrical features to express the experience of migration. Plot moves vertically in the novel where space and place are organising elements. The organization of plot in narration is contemplative. The imagistic perspective in Enigma makes the migrant narrator to investigate the experience of migration and its influence on his feeling and understanding through reminiscing disarrayed memories and extending the inner world to the surrounding nature. Hence drawing attention to the reaction of the inner world of the narrator to the changes in the external world. As a feature of lyrical novel, revision through repetition plays an important role in the vertical movement of the plot, because it causes the plot to have a cyclic movement that with every repetition provides an opportunity for revision. That is why Enigma ends where it has begun. References Abrams, M. H. (1984). The Correspondent Breeze: Essays on English Romanticism. New York: Norton. Bennett, S. (2009) “Lyric Poetry: The ‘Transparent Narrative Mode’”. Literature in Performance. 1, 2: 36-44. Dickinson, Ph. (2018). Romanticism and Aesthetic Life in Postcolonial Writing. Switzerland: Springer Nature. Frank, S. (2008). Migration and Literature: Gunter Grass, Milan Kundera, Salman Rushdie and Jan Kjærstad. New York: Palgrave MacMillan. Freedman, R. (1963). The lyrical Novel: studies in Hermann Hesse, Andre Gide and Virginia Woolf. London: Oxford University Press. Hayward, H. (2002). The Enigma of V. S. Naipaul: Sources and Contexts. New York: Palgrave Macmillan. Işık, S. (2022). “The Enigma of Arrival: The story of belonging to somewhere.” Journal of Social Sciences, No. 10: pp.41-47. King, B. (2003). V. S. Naipaul. 2nd edition. New York: Palgrave Macmillan. Mendilow, A. (1972). Time and the Novel. New York: Humanities Press. Moshtagh Mehr, R., Bafekr, S. (2014). “Formal and Thematic Features of Lyrical Literature.” Journal of Lyrical Literature Researches, Vol. 14, No. 26: 183-203. Naipaul, V.S. (1987). The Enigma of Arrival. New York: A.Knopf.Inc. Nixon, R. (1992). London Calling: V. S. Naipaul, Postcolonial Mandarin. New York: Oxford University Press. Owens Murphy, K. (2018). Lyrical Strategies: The poetics of the Twentieth Century American Novel. Illinois: North western University Press. Pound, E. (1934). Make it New. London: Faber and Faber Limited. Zaker Kish, O. (2015). “An Analysis of the Lyrical Theme of Nafse Almasdoor”. Journal of Lyrical Literature Researches, Vol. 13, No. 24: 97-116. https://jllr.usb.ac.ir/article_8622.html By reflecting the personal emotion of the poets, the lyrical poem presents more subtle and exaggerated images to express the overcome emotion, lyrical images are found more often in the lyrical poetry due to the dominant content of the lyrical poem, which is romantic, the most important of this type. The images describe the face of the lover, love, connect, describe nature, spring and images related to the wine Jahan Malik and Saadi have used this type of lyrical images in their lyrical poems, most of these images are concrete, sensual and of simile, metaphor, permitted and paradox, these images contain emotions that reflect the poet's attitude and feeling towards existence. shows In this research, the authors analyze and examine the emotional function of the common images between Jahan Malik and Saadi's lyrical poems with a descriptive-analytical method.From the results of this research, it can be pointed out that Jahan Malik was influenced by Saadi, that Jahan Malik's poems are more graphic than Saadi's poems, and the spread of emotions overcome by Jahan Malik in relation to Saadi. Introduction It is not possible to express a definite opinion about the date of birth and death of Jahan Malik Khatun. What can be said is that he was born after 725 AD and lived at least until 784 AD. In Divan Jahan, in addition to mentioning Sultan Ghazi (Amir Mubarizuddin), the praise of Shah Shuja and the praise of Ahmad Bahadur Ilkani, there is also a poem about Jalaluddin Mirmiran of Isfahan police station in the form of an ode (cf. Kashani-Rad and Ahmadnejad: 2019: 6- 5), but Jahan Malik's skill is in composing ghazal, and in this style of ghazal writing, he paid attention to Saadi and expressed his devotion to him. "Saadi is the epitome of poetry and his name is a source of controversy. Some wrote Musharraf al-Din and some Musalh al-Din, and some people considered one of these two words to be his nickname, and a group called Musleh al-Din the name of Sheikh's father, and some others said his name or his father's name was Abdullah, and sometimes we see It should be noted that Abu Abdullah has been nicknamed Sheikh and in some places his name is written as Musharraf bin Mosleh, and there is a lot of concern in this regard. Sometimes Saadi, in addition to odes and ghazals, gave advice and admonitions to the nobles and princes of Persia and the contemporary Mongol sultans and their ministers, and in the language that is appropriate for angels and kings to speak, he gave mystical points and details as a flirtation and courtship. He grew up and lived in Shiraz until the beginning of the last decade of the 7th century with honor and dignity" (Forughi, 2023: 13-12). Research method This article compares the different and similar emotional functions between the poetic images of Jahan Malik and Saadi by using the descriptive and analytical method and using library sources. Discussion Each image in the poem contains an emotion that separates the poem from the surface images of normal language or everyday language, these images lead to the poetic emotion moving away from the normal level of language and being overcome by some kind of emotions, in other words Along with every image, there is an exaggeration or a change in the dimensions of objects, this change in the dimensions of objects and phenomena is a sign of the poet's words and feelings not being included in ordinary words, for this reason, the poet uses a language that is known as literary language. they do The meaning of emotion is feelings such as happiness, sadness, resentment, longing, love, etc., through images, that is, in a way that these emotions are displayed, not expressed. It is obvious that in the ghazal, especially the classical ghazal, lyrical concepts such as love prevail, in the ghazals of Saadi and Jahan Malik Khatun, lyrical images related to love also prevail, the comparison of these images makes two points clear for us, firstly, the methods and methods It gives the poet's ability to express emotion through images, secondly, comparing these images with each other will change the meaning for us, that is, when we put a verse from Saadi in front of a verse from Jahan Malik Khatun. Our previous meanings will be transformed and new meanings will be revealed to us, especially in the verses that have been influenced by Saadi's Jahan Malik Khatoon at the level of words and meaning. Lyrical poetry "has specific content and form indicators that distinguish it from other types, some of them are the main, necessary and sufficient condition for lyrical literature, the lack of which excludes the lyrical nature of the literary text. and some of them are subsidiary. What distinguishes this type of literature from other types is the predominance of the element of feeling and emotion over other poetic elements" (Mushtaq Mehr and Bafekr, 2015: 200). What can be understood from the lyrical images in Saadi's and Jahan Malik's sonnets are images. two poets have presented about love and the face of the beloved, wind and nature. In this research, we will compare this type of images in the poetry of two poets and the influence of Jahan Malik Khatun by Saadi. "Image in the limited sense of simile, metaphor, metaphor, and irony is relatively rare in Saadi's poetry and very rare in some sonnets. Where Saadi uses images, he often uses common images. It is as if he is paying attention to the familiar associations of the reader's mind" (Mansour Ahmad, 2015: 68) Mansoor Ahmad means that Saadi uses the images of his predecessors and his reliance is more on how to say. Meanwhile, the lyrical aspects of Jahan Malik's poetry are prominent due to the context of sonnets and his influence and devotion to Saadi: "Lyric or lyrical poetry, according to some poets and critics, is a poem in which the poet puts himself as the subject. gives, and in more precise terms, lyrical poetry is talking about all feelings" (Rastgar Fasai, 2001: 132), on the other hand, in Saadi's poetry, honesty and ease of abstinence are more obvious features than the image in his poetry. Conclusion Saadi used images such as simile, metaphor, paradox and permission to express his emotions, and Saadi's art is to create paintings that surprise the reader by using contrast, art of exception, etc., Jahan Malik has also used the same images to express his emotions, with the difference that Jahan Malik sought to add something to those images to expand his personal emotion, and Saadi sought to use existing images and how to speak is the criterion of his poems. Has set. Jahan Malik Khatun has been influenced by Saadi in some verses and concepts, and this influence is accompanied by addition, that is, Jahan Malik has added something to the original image and made it artistic, in other words, emotions that are often expressed through images. have been expanded. Since Jahan Malik is an imitator of Saadi, it can be said that Jahan Malik has been successful among the imitators, most of the common emotions that are expressed through the images in Saadi and Jahan Malik's poems are hope, joy, sadness, feeling of joy, expressing the beauty of the beloved. And it is love. In the poetry of Saadi and Jahan Malik, the emotion of expressing love and affection is reflected more than other emotions. References Ashrafi, A., Asad, M., Asgari, F. (2021). “Analyzing and investigating the artistic elements and images of nature in the poems of Saadi and Petrarch with an emphasis on the illustrated version”. literary aesthetics. No. 48, 77-106. Bakhtiari, F., Babajani, S., Azhir, A. (2023). “The role of rational love for God in human life from Spinoza's point of view”. Ontological Researches, Vol. 12, No. 24, pp. 731-709. Barani, M., Nasim Bahar, A. (2012). “Repetition in the emotional meanings and artistic language of Saadi's lyrical poetry”. Journal of Lyrical Literature Researches. Vo. 10, No. 18, pp. 29-50. Darayi, S., Amini Mofrad, T., Nodehi, K. (2022). “Examining the image of a lover in Saadi's lyric poetry”, Persian poetry and prose stylistics (Bahar Adab). No. 79, pp. 133-146. Hafez Mansour, A. (2015). “Image in Saadi's poem”. Nameh Parsi. No. 40, pp. 67-74. Jabri, S. (2012). “Imaginary Imagery in Saadi's Poetry”, Research Poem (Bostan Adab - Social and Human Sciences). No. 12, pp. 22-48. Jahan Malik Khatun. (1995). Divan of Poems, by Purandokht Kashani Rad and Kamel Ahmadnejad, Tehran: Zavvar. Modarresi, F., Tite, H. (2023). “Analysis of the element of literary distance with emphasis on the Nizami Secrets Repository”, Second National Nizami Conference, Iran's Treasure of Wisdom, Afaq Institute of Higher Education. Pp. 356-365. Moshtaq Mehr, R., Bafekr, S. (2015). “Content and Formal Indicators of Lyric Literature”.  Journal of Lyrical Literature Researches. Vo. 14, No. 26, 183-200. Nourbakhsh, A. (2014). “Review of Jahan Malik Khatun's poetry style and comparison of his illustrations with Hafez”. Master's thesis, Faculty of Literature and Humanities, Shahid Chamran University of Ahvaz, Ahvaz, Iran. Qolizadeh, H., Khoshsaligheh, M. (2010). “Bade and May and their interpretations in Persian mystical poetry”. Islamic Mysticism (Religions and Mysticism). No. 23, pp. 147-184. Rastgarfasai, M. (2001). Types of Persian Poetry, Shiraz: Navid Shiraz Publications. Rouhani, M, Mehdi Niachubi, S. (2013). “New Saadi methods in using simile and metaphor in sonnets”. Stylology of Persian Poetry and Prose (Bahar Adab). No. 11, pp. 223-242. Saadi, M. (1963). Ghazliat Saadi, version of Mohammad Ali Foroughi, Tehran: Haj Mohammad Hossein Iqbal Publishing Company.   https://jllr.usb.ac.ir/article_8491.html One of the basic human needs from the point of view of all psychologists is the need for love and communication. Eric Fromm also considers the need for communication as one of the basic human needs. He considers three types of communication: dominance, submissiveness and love, and he also considers different types for love. Types of love according to Eric Fromm are: maternal love, paternal love, brotherly love, sexual love, self-love, love of God. Story is one of the most important educational tools, especially in childhood. By examining the relationship between fictional characters in various children's and teenagers' stories, it is possible to examine the type and quality of love in them, and following that, we can achieve the extent of the child's impression of the story and the type of teaching and its educational application on the target children.This research, which has been carried out using qualitative content analysis, has investigated the types of relationships and lovers in selected children's authored stories using a library and descriptive analytical method.  IntroductionOne of the basic human needs from the point of view of all psychologists is the need for love and communication. In order to reach the stage of self-realization, a person must experience loving and being loved. A healthy person is someone who can meet his needs well without harming others, and this skill should be taught to children from childhood. Story is one of the most important educational tools, especially in childhood. By examining the relationship between fictional characters in various children's and teenagers' stories, it is possible to examine the type and quality of love in them, and following that, we can achieve the extent of the child's impression of the story and the type of teaching and its educational application on the target children.Eric Fromm is one of the psychologists who raises the issue of needs and considers the need for communication as one of the basic needs of every human being. According to Forum, "Love has different forms; On the one hand, it can be limited to the human type, such as: love between mother and child, love between sister and brother, love between man and woman, and love for the same kind. On the other hand, love can have a wider scope; Love for every manifestation of existence in the universe. Procreative love can be towards someone of the same sex (brotherly or sisterly love), in the form of merging and uniting with a person of the opposite sex (sexual love) or towards one's own child (paternal or maternal love). In all these three forms, a person's ultimate attention is to the growth and excellence of the other person" (Schultz, 2011: 207).Since childhood, children should be taught what behaviors to choose in different situations, when the needs arise, especially the need for love, affection and communication. One of the most appropriate tools to strengthen children's ability to satisfy their basic needs is books suitable for them. Children's literature can teach a child what behavior to choose when any need arises. Children's books should be written, edited and selected in terms of technical, literary and linguistic aspects as well as in terms of content and audience orientation, according to the characteristics, interests, tastes and needs of children. Books that are introduced as children's books in festivals are usually selected based on these multiple criteria; But when choosing the best book, is attention paid to the way of communication between fictional characters according to their type of communication? Therefore, it is appropriate to analyze the types of love in selected children's books from the perspective of the ability of these works to strengthen the audience's ability to satisfy the basic need for communication.Since the need for love and communication is one of the basic needs of children and children's books are an irreplaceable tool to strengthen children's ability to satisfy their needs, by analyzing children's works, it is possible to achieve the extent of the authors' attention to the needs of children and their mental health. . On the other hand, the results of this research show whether critics of festivals care about the quality of books from the point of view of paying attention to children's needs, or whether they evaluate works only with appearance and literary criteria. Research methodIn terms of the data collection environment, this research is a theoretical research that was conducted with a descriptive-analytical approach. The method of collecting information is library. Data collection is done through study. The statistical population of selected books for children and teenagers and statistical samples of 35 book titles that won the most awards were selected in a targeted way (selection of the most awarded works).The data analysis method is combined (qualitative-quantitative). At first, the authored stories are analyzed and examined in terms of how the love component is presented from the perspective of the forum, and in the next step, the frequency of the components in the stories is compared with each other. DiscussionIn the reviewed stories, all kinds of love are discussed from the perspective of the forum. Brotherly love is mentioned with the highest frequency and paternal love with the lowest frequency. In some stories where fraternal love, sexual love and self-love are mentioned, we can also see manifestations of love for God.Brotherly love was mentioned with the highest frequency in 23 stories. In these stories, children are taught to use every tool at their disposal to communicate in a fraternal, empathetic manner with humanity and morality; Just as the deer took help from its horns to save it. Or in the story "Aqarangi and Naqla Cat", drawing a heart is a symbolic gesture to create a sense of compassion in heartless people. Love for animals and nature is also included in this group.Fictional characters in these stories are humans, animals, one of the elements of nature or objects and phenomena of the universe. Sometimes a little girl plays a role, sometimes a pair of shorts or a watch, sometimes a star, and sometimes a crow or a mouse are fictional characters. In all these stories, the characters find human characteristics. In all the stories that were based on the perspective of brotherly love, the fictional characters helped in different ways with a pure and unconditional love for nature, or their own kind, a love that was not created due to a causal or relative relationship or the result of needs. be primary and physical; Rather, it is a need that is aroused only in the stage of self-realization in humans."Maternal love" was also mentioned in different ways in several stories. In these stories, only maternal communication was depicted, without the type of communication between mother and child in the story teaching the child a specific moral point. By reading such stories, the child gets to know the type of maternal affection and the mother-child relationship.The manifestation of "fatherly love" can only be seen in the story of "The Short Prince". At the end of the story, the father realizes his mistake about the prince.By reading this story, a child's sexual love becomes aware of the two needs of communication and arousal, and understands that the best way to communicate with others is conscious communication, in which each of the parties, in addition to recognizing the needs of the other person, accompanies him. And be sympathetic and don't leave him alone in difficult situations.The plot of "Self-love" component, in the stories of Niloufer's smile, the travels of the rhinoceros, teaches the child that he must love himself in order to have a healthy life"An individual who is capable of loving and whose love is accompanied by productivity also loves themselves. Someone who can only love others does not understand the meaning of love at all." (Fromm, 2014: 79). ResultsAccording to the research, it was concluded that the need for communication in authored stories is more than the love type. Some of these loves have all the elements of respect, sense of responsibility, recognition, etc., but some loves lack one or more elements. Characters who are motivated by the need for love and who have an almost perfect love are usually the heroes of the stories and the child identifies with them. In these stories, the main characters experience a happy ending; But in stories with dominant characters, these characters either fail at the end or change their ways halfway through the story. According to the evidence in the stories, it can be seen that domineering characters do not experience happy times References Akbarpour, A. (2007). Ghul and bike, illustrator: Rashin Khairai, Tehran: Fandakh (Afq), age group B.Akbarpour, A. (2012). I was a deer, illustrator: Narges Mohammadi, Tehran: Fondz, age group B.Akbarpour, A. (2014). Good night commander, illustrator: Narges Mohammadi, Tehran: Fondz (Afq), age groups A and B.Akbarpour, A. (2016). I'm a coward but I'm afraid, illustrator: Maryam Tahmasabi, Tehran: Fatemi, his group, Suni b.Anwari, S. (2008). My beautiful loli, illustrator: Afra Nobahar, Tehran: Center for intellectual development of children and adolescents, age group A.Aygani, N. (2013). A collection of non-scary stories (Ma), Tehran: Hupa, age group: Elb and B.Babak, S. (2015). The black crow goes on a journey, illustrator: Shabnam Chaichian, Tehran: Fatemi, age groups A and B.Farhadi, T, Khalili Jahantigh, M., Barani, M. (2019). "Guided and Transcendental Love in the Novel "Younes' Romances in the Belly of the Fish", Adab Ghanai Research Journal, Vol. 18, No. 35, pp. 141-164.Farjam, F. (2014). Uninvited guests, illustrator; Jodi Farmanfarmaian, 20th edition, Tehran: Center for intellectual development of children and adolescents, age groups A and B.Fazouni, F. (2016). Pishi Khanum and Children, illustrator: Azadeh Madani, Tehran: Shabaviz, age group B.Fist, J. and Fist, G. J. (2008). personality theories, translated by Yahya Seyed Mohammadi, 4th edition, Tehran: Ravan.Fromm, E. (1984). escape from freedom, translated by Daud Hosseini, first edition, Tehran: Frayn.Fromm, E. (1989). Salem Society, translated by Akbar Tabrizi, third edition, Tehran: Behjat.Fromm, E. (1991). Man for himself; A research in moral psychology, translated by Akbar Tabrizi, fifth edition, Tehran: Behjat.Fromm, E. (2011a). Revolution of Hope, translated by Majid Roshangar, 6th edition, Tehran: Marwarid.Fromm, E. (2011b). Man for himself, translated by Akbar Tabrizi, fifth edition, Tehran: Behjat.Fromm, E. (2011c). The human heart and its tendency towards good and evil, translated by Gitti Khoshdel, 12th edition, Tehran: Pikan.Fromm, E. (2016). The art of loving, 35th edition, Tehran: Marwarid.Ghasemnia, S. (2011). Uninvited guests, illustrator: Sahar Yasinpour, Tehran: Pidaish, age group B.Hassanzadeh, F. (2007). I like the sound of rain, illustrator; Ali Sadeghi, Tehran: Hoz Aggr, age groups B and C.Hassanzadeh, F. (2009). Dev Dig Beh Sar, illustrator: Ali Khodayi, Tehran: Center for Intellectual Development of Children and Adolescents, Age Group A and B.Hassanzadeh, F. (2016). Umbrella with white butterflies, illustrator; Ghazale Begdalo, Tehran: Fatemi (Toti), age groups B and C.Hassanzadeh, F. (2019). Agharangi and Naqla Cat, 4th edition, Tehran: Center for Intellectual Development of Children and Adolescents.Jafari Glansai, T. and Mehdi N. (2017). "Comparison of paternal love in the poems of "Ahmed Shamlou" and "Nazar Qabbani" based on Eric Forum's opinions", Lyric Research Journal, Vol. 16, No. 30, pp. 53-70.Jozdani, E. (2004). Green shorts and purple blouse, illustrator: Ali Maffakheri, Tehran: Shabaviz, age group: A and B.Kalher, F. (1989). Sut Farmanrova, illustrator: Mohin Javaherian, Tehran: Mihrab Qalam, age groups B and C.Kalher, F. (2018). Rhinoceros Travels; Small companion, illustrator: Narges Mohammadi, Tehran: Amirkabir, age group C and D.Kalhor, M. (2004). Hey, will you be friends with me? Illustrated by: Neda Azimi, Tehran: Center for Intellectual Development of Children and Adolescents, Age Group A and B.Kashkouli, M. (2005). A friend of the people of the city, illustrator, Amin Hassanzadeh Sharif, Tehran: Shabaviz, age groups B and C.Khalatbari, F. (2004). Shahrazad, illustrator: Farshid Shafiei, Tehran: Shabaviz, age group c.Khosronjad, M. (2010). innocence and experience; An introduction to the philosophy of children's literature, third edition, Tehran: Center.Kokbi, M., Mukhtar, E. (2014). Evaluation of the readability level of selected fiction books authored by the Children's Book Council, Journal of Information Research and Public Libraries, No. 83, pp. 629-650.Mazari, E. (2014). Little girl, commander Sibilo, illustrator, Arghvan Khosravi, age group C, Tehran: Fandakh.Mirkaiai, M. (1997). Popper, illustration; Abnai Khorminejad, Tehran: Center for Intellectual Development of Children and Adolescents, age group c.Mirzakhani, F. (2021). "Investigation of the different manifestations of love and the presence of each in the Persian poetry of the teenager", Children's Literature Studies, Vol. 12, No. 2, pp. 315-342.Moradi, A., Chalak, S. (2021). Typology of love representation in Farhad Hassanzadeh's teenage novels based on Robert Sternberg's model, Children's Literature Studies, Vol. 12, No. 2, pp. 233-262.Naseri, M. (2007). Tales of the clever fox (seven volumes), volume 1: the fox and the smart turtle, illustrated by: Samaneh Rahbernia, Tehran: Behnesher (Parvaneh books).Nazari, N., Kamali, R. (2014). Love from the point of view of Saadi and Eric From, Lyric Literature Research Journal, Vol. 13, No. 24, pp. 272-267.Qasimpour, A. (2001). Nilofar Smile, illustrator: Nasim Azadi, Tehran: Shabaviz, age group A.Qasimpour, A. (2005). Jungle Celebration, illustrator; Afra Nobahar, Tehran: Shabaviz, age group B.Qezel-ayagh, S. (2013). Literature for children and teenagers and promotion of reading (library materials and services for children and teenagers), 11th edition, Tehran: Semit.Saberi, B .(2018). Qarqar time, illustrator: Maryam Tahmasabi, Tehran: Fatemi, age groups B and C.Schultz, D. (2017). Personality theories, translators: Yusef Karimi, Farhad Jamhari, Siamak Naqshbandi, Behzad Gudarzi, Hadi Bahirai, Mohammad Reza Nikkho, Tehran: Arsbaran.Schultz, D. P. and Ellen S. S. (2022). Personality theories, translated by Yahya Seyed Mohammadi, 47th edition, Tehran: Ed.Shabani, A. (2018). Naranj and Taranj girl, illustrator; Mahkameh Shabani, Tehran: Fatemi (Toti), age group over eight years old.Shabani, A. (2018). Uncle Nowruz and old woman, illustrator: Hamaddin Javadzadeh, Toti (Fatemi), age groups B and C.Shafiabadi, A. and Naseri, G. (2022). Theories of Counseling and Psychotherapy, 32nd edition, Tehran: Academic Publishing Center.Shams, M. (2008). The story of the bridge that was and is not anymore, illustrated by: Nilofar Mirmohammadi, publisher (Astan Quds Razavi Publishing House, age groups B and C.Shams, M. (2012). Aunty Stork, illustrator; Negin Ekhbalian, Tehran: Shabaviz, age groups B and C.Sheikhi, M. (2005). The window of Aghamoshe's house (30 nights, 30 stories, volume 2), illustrator; Atieh Sohrabi, Tehran: Qadiani, age groups A and B.Sheikhi, M. (2006). Kolah Khanum Torpeşt and other stories (30 stories, 30 nights), illustrator: Atieh Sohrabi, age groups B and C.Sheikhi, M. (2006). The train's birthday party and other stories (30 nights, 30 stories, volume 11), illustrator; Atieh Sohrabi, Tehran: Banafsheh (Qadiani), age groups A and B.Sheikhi, M. (2010). Short prince, illustrator: Alireza Goldouzian, Tehran: Banafsheh (Qadiani), age group c.Sheikhi, M. (2016). Zabul and the red-haired witch and other stories (3 stories, 3 nights), illustrator: Atiyeh Sohrabi, Tehran: Banafsheh (Qadiani), age groups A and B.Shoarinejad, A. (2012). Psychology of Development, 20th edition, Tehran: Information.Yousefi, M. (2000). Like a thousand stars, illustrator: Ali Mofakheri, Tehran: Shabaviz, age group B.  https://jllr.usb.ac.ir/article_8553.html Wedding poems or vasunks are one of the branches of oral literature that express the customs of marriage in poetry. Through this poetry, the social, cultural and linguistic issues of different people are discussed. In this research, which is field study and library study, an attempt has been made to analyze the vasunks of Warak village of Kazrun city in Fars province by using the ethnographic model of Hymes (1968) to determine and explain the culture and custom of this region. These Vasunak gatherd by conversation and interview with 10 native speakers (40 to 80-year-old). Based on the theory of this research, these data analyzed by SPEAKING model which include setting, participants, end, act sequence, key, instrumentalities, norms and genre. Which can be explained by Difference Model in gender studies. In addition, two cultural images can be retrieved from these songs. First king and queen image. Bride and bridegroom imagined like king and queen. Second, ecological factors like animals and plants play important role in these songs. Quantitative data analysis also shows the importance of wedding ceremony in this linguistic community and most of the poems are related to the wedding ceremony itself. Although these poems are used before and after the ceremony. Another important point in the quantitative analysis of the poems is related to the description of the groom and the happiness of the groom's family in the ceremony, which can be a representation of the patriarchal system in this linguistic society.   Introduction Oral literature is an important part of the cultural heritage of any nation, which has a wide scope. This literary tradition is very old and rich in our culture and reflects various social, cultural, ethnic, linguistic, etc. issues. The customs related to marriage and the reflection of its happiness in the poems are one of the important parts of oral literature, which, like other fields, are important in representing the culture and customs of different regions. "Public songs are the source of many manifestations and human thoughts and express the history, culture and living thoughts of people who express their feelings in a completely obvious and untouched way" (Zulfaqari, 2014: 64).  Warak village, one of the functions of Kazeroon city, Fars province, has culture and customs that can be studied from different angles; Among these customs is the marriage ceremony, which represents the cultural interactions and social norms governing the society of Warak village. For this purpose, the purpose of this research is to find out some of its social and cultural characteristics by analyzing the sources of this village and to take a small step towards preserving this sub-culture. Therefore, the following questions are raised in this research: 1-What customs related to the traditional society of Wark village are represented in the language based on Hymes' idea? 2- How are these poems culturally and natively explained by Angareh Hymes? Research method This research has been done by field and library method. First, the local dialects of Warak village were collected through the direct observation of one of the writers in the existing social context, as well as conversations and interviews with 10 native speakers (40 to 80 years old). The number of Vasunks was 86, of which about 31 were Avanuis; Because most of these expressions were close to the standard and understandable language; There was no need to translate it; But the cases that were far from the standard language have been explained. After that, it was analyzed using the ethnographic approach of Himes (1968) and library sources. Discussion The social norms governing the traditional society of Warak village in the matter of marriage and related customs show that in the description of the groom, gender stereotypes such as bravery, strength, skill in shooting and providing for the expenses of the wife and the wedding expenses can be traced. On the other hand, the poems that describe the bride and her family mostly contain the gender stereotypes of the attractiveness and charm of the bride and the crying and sadness of her and her family. Two prominent images can be seen in the cultural explanation of these vases; The first image is the image of the king and queen, where the bride and groom are treated like the king and queen. The second image is the images of animals and plants in these poems, which shows the importance of environmental issues in this culture, which is represented in these poems. In Wasonk discourse, the participants are generally women, who are divided into two main groups, i.e. representatives of the bride's and groom's families, and the tone of the discourse, its purpose, and the type of language change accordingly. In the poems that are read by the bride's family, the sad tone and the purpose is often to express the longings of the bride and her family, and on the contrary, in the poems that are read by the groom's family, the happy tone and the purpose is often to express the joy of the groom reaching his goal and desire; Accordingly, the language of this type of participants is different. Conclusion As it was observed, Vasunks have the capacity to represent native culture. In this research, an attempt was made to ethnograph these Wasunks and examine them using SPEAKING Hymes. In Wasonk discourse, the participants are generally women, who are divided into two main groups, i.e. representatives of the bride's and groom's families, and the tone of the discourse, its purpose, and the type of language change accordingly. In the poems that are read by the bride's family, the sad tone and the purpose is often to express the longings of the bride and her family, and on the contrary, in the poems that are read by the groom's family, the happy tone and the purpose is often to express the joy of the groom reaching his goal and desire; Accordingly, the language of this type of participants is different. The popular concepts and beliefs that are reproduced in this way, in response to the first question of the research, are a kind of representation of the social norms governing the traditional society of Warak village in the matter of marriage and related customs. Based on this, gender stereotypes such as courage, strength, skill in shooting and providing for the wife's expenses and wedding expenses can be found in the poems that describe the groom. On the other hand, the poems that describe the bride and her family mostly contain the gender stereotypes of the attractiveness and charm of the bride and the crying and discomfort of her and her family, which reinforces the idea of the difference that men and women grow up in different subcultures. Therefore, different behaviors and traits are expected from them.  In addition to the above, in the cultural explanation of these figures (the second question of the research), it can be stated that the cultural scheme that can be seen in most of these figures is the scheme of the king and the queen. The components of this image, which is having a throne, can be seen in most of these vases; The son-in-law is addressed either as a king or as a prince (example 9, 24). It seems that addressing the son-in-law as Shadomad or Prince of Domad is related to this schema and has almost become a dead metaphor in Iranian culture. The agate throne, which is specific to the image of kings, can be seen in example (24). The royal robe (example 4) also completes this pattern. The image of the queen is also used for the bride in examples (11) and (31) (pearl necklaces) and example (9) (blowing the wind with a bunch of basil). One of the other essentials of this image is a palace-like house that is present in example (19) (clay and half-clay of gold). Another native thing that has been reflected in these poems is the use of plants and animals in these poems, which in a way reflects the life of the people of this region and their connection with nature. (See Hosseini and Zarei Fard, 1400). The word flower (example 1, 8, 18), henna (example 5), bunch of basil (example 26), spring rain (example 28), river (example 21), kerza piaz (example 19) in these poems relate the life of the people of this region to natural factors. And it shows the environment well. A quantitative analysis of the data also shows the importance of wedding ceremonies in this language society and to some extent a representation of the patriarchal system. From the situational aspect, the ceremony itself has the highest frequency in these poems (54%). In terms of participants, the groom's family is at the top (62%). After that, the goal of the groom's appearance and the happiness of the groom's family is one of the most important goals. (about 50% of all cases). In order of discourse, the discourse of the wedding party is at the top (36%). Finally, the happy and admiring tone has the highest frequency. (about 74%). which shows the importance of praise and admiration in this linguistic community. References Ahmadpanāhi Semnāni, M. (1997). Tarāneh va tarānehsorāi dar Iran:  The Investigation of Iran's national songs, Tehran: Soroush (Sedā Va Simā Publishing House) Alimorādi, M. Najibi Fini, B. (2019). sentence types and components in selected vastunaks of Fasa city, Culture and Folk Literature, No. 32, pp. 227-258. Azarmakān, H., Nowruzi, A., Dahrami, M. (2024). the reasons for including the theme of war in lyrical poems, Journal of Lyrical Literature Researches., Vol. 22, No. 42, pp. 5-24. Blommaert, J. (2005). Discourse. Cambridge: Cambridge University Press. Gumperz, J. (1982). Discourse Strategies. Cambridge: Cambridge University Press. Hosseini, H., Dashti, M. (2013). representation of gender stereotypes in the media, a study of Al-Ahmad's fiction literature, Jahani Media, No. 13, pp. 27-64. Hosseini, Z., Zareifard, R. (2021). survey the linguistic images of Waraki dialect with the approach of bio-environmental linguistics, Iran-Zemin Literature and Local Languages. No. 34, pp. 15-47. Hymes, D. (1968). The ethnography of speaking. In J Fishman (ed.), Readings: Moulton, pp.99-138. Ibn Babouyeh, A.M. (1983). Al-Khesal, vol. 2, Qom: Jame Modaresin. Jabareh Naseru, A., Kohnavard, P. (2018). survey of wedding poems and songs in Jahrom city, Iran-Zemin Literature and Local Languages, No. 26, pp. 26-1 Jafari (Qanwati), M. (2014). "Oral Literature", Encyclopaedia of Iranian People's Culture, Mousavi Bojnurdi, K. Volume 1, Tehran: Center for Islamic Encyclopaedia, 335-362. Mahmoudi Bakhtiyāri, B., Afkhami, A., Tājābadi, F. (2011). reflection of patriarchal thought in Persian language: research in sociology of language, women in culture and art, No. 8, pp. 107-91. Maleki, E. (2010), Investigation of representation of women in Laki and Lori folk songs, Social Sciences Quarterly, No. 49, 219-250. Natel Khanlari, P. (1986), Tarikh-e zaban-e Farsi, Vol. 1, Tehran: Now Publishing. Pishghadam, R., Firoozianpour Esfahani, A., Firoozianpour Esfahani, A. (2020). Introducing the Thanatophobic and Joy-Avoidant Register through an Investigation of the Discourse of “Death” in the Persian Language. Cultural Communication Studies, Vol. 21, No. 49, pp. 181–206. Rampton, B. (2007). Neo-Hymesian linguistic ethnography in the United Kingdom. Journal of linguistics, Vol. 11, No. 5, pp 584-607. Sarukhani, B. (2016). Folklore from method to meaning, People's culture, No. 10, pp. 9-15. Saville-Troike, M. (2003). The ethnography of communication: An introduction. London, England: Blackwell. Shahbazi, F. Ebadi, A. (2017). a look at vasunak and wedding songs of Hendijan region, Iran Zemin Literature and Local Languages, Vol. 8, No. 2, pp. 63-80. Shevalieh, J. Gerbran, A. (2015). Farhang-e namadha, Vol. 2 and 4, Tehran: Jihoon Publications. Silverstein, M. (2003). Indexical order and the dialects of sociolinguistic life. Language and communication, No. 23, 193-229. Tajbakhsh, Gh. Ebrahimzadeh Asamin, H. (2023), a sociological look at the institution of the family in Indian and Iranian society, Motāleāt shebhe ghareh, Vol. 15, No. 45, pp. 61-74. Torabi Nadushan, M.A. (2013). Linguistics and ethnography of communication. Persian language and literature. Vol. 47, No. 190, pp. 35-46. Wortham, S. (2003). Linguistic anthropology of education: an introduction, in Westport, CT: praege Press, pp. 1-29. Zolfaghari, H., Ahmadi, L. (2019). Typology of Iranian folk songs, Adabpazhuhi, No. 7 and 8, pp. 170-143.   https://jllr.usb.ac.ir/article_8755.html To the Iranian readers, Marquez's name is associated with magic realism and his novel " One Hundred Years of Solitude ". In the course of his writing career, Marquez altered the direction. One of the goals of the present study is to uncover the basics origins of his works and the historicism and humanism latent in them. Readers who are neither familiar enough with foreign languages nor the process of the formation and development of the novel just regard him as an author who is the product of Latin America's culture; such readers fail to take the genesis and origins of a literary work into account. Marquez, in particular, is an author the origins of whose works date back to 16th century. There seems another reason for their popularity which the present article intends to uncover: literary works of Latin America are the continuation of the great European and American belles-lettres. We do not wish to reduce the main aspect of his works, which is storytelling, to history or political philosophy; Marquez's expertise in storytelling and narration is more conspicuous. The purpose of this article is to focus more on the humanistic and historical aspects of his works.   Introduction Usually, Iranian readers know Gabriel Garcia Marquez with One Hundred Years of Solitude and solely with the style of magical realism. While he changed the direction of his writing throughout his productive life while maintaining the same style. One of the points of our research is to show the main sources of his works, but the important point is to show the existence of historicism and humanism in his works. Often, Márquez is considered a product of the nineteenth century and Latin America, while his roots go back to the sixteenth century. Most Iranians believe that the reason for welcoming Latin American works in Iran is the existence of historical, political, economic, etc. similarities between Iran and Latin America, but we want to emphasize a very important point, which is that Latin American literary works are a continuation of the great European, American, and Russian works, including Gustave Flaubert, William Faulkner, Jean-Paul Sartre, Albert Camus, Ernest Hemingway, Leo Tolstoy, Fyodor Dostoevsky, etc. This article does not intend to reduce the main aspect of Marquez's works, which is writing, storytelling, fiction, and narration at the highest level, to history or political philosophy. Undoubtedly, the value of Márquez's storytelling is greater than other aspects and dimensions of his works, but it can also be said that his works are not just magical realism, and some of his works, such as The General in His Labyrinth, The Fall of the Autocrat, and even some parts of One Hundred Years of Solitude, can be read from the perspective of old historicism and new historicism, and interesting results can be reached. We show how he moved from a literature that included the study of Latin American history, culture, and politics (such as One Hundred Years of Solitude and The Autumn of the Patriarchs) to a different literature (such as Love in the Years of Cholera and The Memory of My Sorrowful Hearts): a literature that, while being able to show history, politics, society, and the way of life of all classes of society, included almost only humanistic concepts (education of the mind and soul or morality) in his novels. For the sake of the article, we will briefly mention François Rabelais, one of the greatest novelists of all time, to show one of Max's sources. By writing five books, he revolutionized both the way of writing in his time and changed the way of looking at the world through his criticism of the masters, the church, and official teachings. Rabelais's influence was so great in his time that French critics refer to him as a storm and a whirlwind (Julaud 2005: 92) Based on the teachings of the Renaissance, Rabelais placed great emphasis on the intellectual, moral, and physical education and training of humans, and in this way left a profound impact on the world of his time and even ours (Mikhail Bakhtin's most important book on public culture is about Rabelais and was influenced by his books. L'œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance, 1965). However, since he could not write realistically, he approached the world of giants with a satirical and humorous look (Gargantua and Pantagruel, two characters he created, became so famous in the world of literature that their names were later made into adjectives). We see the continuation of this attitude later in Cervantes' Don Quixote, Jonathan Swift's Gulliver's Travels, Lawrence Sterne's Tristram Shandy, Jacques Le Géza, and Denis Diderot's One Hundred Years of Solitude. Marquez followed this same line of satire and humor, but eventually changed his direction. Another person who was very influential in creating characters like Don Quixote and Gulliver was Erasmus with his book In Praise of madness. Research Method Our research method will be library and analysis of his works. We have read all of Marquez's works, including his short stories and novels, several times from several different perspectives (humanism, formalism, narratology, structuralism, historicism, postmodernism), but in the end we limited ourselves to the criticism of historicism and humanism, and we have seen the characteristics of these two readings in Marquez's works sometimes abundantly and sometimes scarcely, and we have realized that Marquez's novel writing path also originated from Rabelais' novel writing path, namely humanism, while later he also leaned towards old and new historicism. Discussion In the history of literature, when critics have wanted to classify genres or writers, they have looked at similar characteristics and indicators in writers so that they can easily classify several very different writers under the same heading. Although these types of classifications cannot be very precise, because a writer like James Joyce or Samuel Beckett is sometimes considered a modern writer and sometimes a postmodern writer. But it seems that in the history of literature there is no other choice. For example, almost all writers of the early nineteenth century are called realists, or writers like Victor Hugo, Gustave Flaubert, and Charles Baudelaire are called romantics, despite the fact that these three writers are very different from each other, and of course they also have similarities. Therefore, at the beginning of the discussion, we will present two examples of the narrative style known as magical realism so that the reader can accurately distinguish the difference between this type of narrative, school, or approach to literature from other genres or different narrative styles, such as realism. Then, we will take a look at Marquez's works to demonstrate the humanistic and historicist perspective in his works. When Plinio Mendoza asked Marquez what was his intention when he wrote One Hundred Years of Solitude, Marquez answered: "I wanted to find a literary way to express all the experiences that had in a way affected me in my childhood." (Mendoza, 2014: 89). Mendoza was not convinced, saying: "Many critics believe that this book is a metaphor or an allusion to the history of humanity" (Ibid.). But Marquez does not accept his friend's words and says: "No, I just wanted to leave a literary image of my childhood world" (Ibid.). Then, Mendoza reminds Marquez of Marquez’s own words about what seemed to be regarding commitment, and says that you once said: "One Hundred Years of Solitude can be considered a narration of Latin America’s history." Marquez does not even accept his own words and expresses his understanding of commitment as follows: "What I am committed to is not the political and social reality of my country, but the entire reality of this world and the other world, without preferring or despising any aspect of this reality." (ibid: 71). What is more, Marquez himself Knows the impact of cultural and geographical (Caribbean) identity more important than foreign writers’ literary influence and says: "The Caribbean world taught me to see the truth from a different perspective and to accept that supernatural elements are part of our daily life" (ibid: 64). However, it is unlikely that Marx would have become such a great writer if he had not read the works of great writers such as Kafka, Hemingway, Faulkner, Sophocles, Borges, and others. While writing One Hundred Years of Solitude, Marquez was preoccupied from the beginning with the act of naming and creating knowledge (“The world was so new that many things lacked names, and in order to indicate them it was necessary to point with a finger”) (Marquez, 2013: 9); he did the same thing as Plato did in the Republic (Plato, 2013: 690). Later, great theorists like Baruch Spinoza followed this tradition by applying the rules of mathematics and geometry to ethics and then others like Kant and Hegel did the same in their philosophical works. As to the themes of Marquez's works, in his interview with Rita Guibert he said: loneliness was "the only theme I have dealt with" (Gebert, 2019: 446). From his earliest writings, he has dealt with power and loneliness, for example, the novel No One Writes to the Colonel is about power and the fight for freedom, which results in loneliness. The colonel and his wife are alone and had only one son who became a victim of power and government. One Hundred Years of Solitude is also about power and loneliness, history and death. The Autumn of the Patriarch is completely related to the power and dictatorship and the dictator's loneliness. Also, The General in His Labyrinth has loneliness as its topic. Interestingly, in this novel, on the surface the general is never alone and is never left alone, but he is actually alone. This novel is a battle for liberation from colonialism and exploitation.  Grandmother's Funeral is again about power. The Incredible and Sad Tale of Innocent Eréndira and her Heartless Grandmother is again about power and hatred of power, but at the same time it is also about escape from power and exploitation through power; here all its characters are lonely as well. However, Love in the Time of Cholera is related to love and youth, old age and death. After years of writing about power and loneliness, Marquez writes about love in this novel, something that he elevates in Memories of My Melancholy Whores. This short novel is about love and old age. In his book Myself with Others, when Carlos Fuentes talks about One Hundred Years of Solitude, he also mentions Erasmus, which shows his influence: "We find out in García Márquez's book that from the Age of Enlightenment onwards, Europe has become a disenchanted Latin America: law, science, aesthetics and progress were now the lost jewels of Latin America hanging on Europe's neck. We expected from the West a picture that would fix our image forever, or an ice that burns as much as its coldness, but it became clear to us that this notion of progress and the names associated with it are illusory: this is the world's largest diamond. Gipsy answered: "No, this is ice.' (Fuentes, Carlos 1400: 239) Conclusion As we said, Marquez has gone through a tortuous path for reasons such as living in Europe for a long time and studying world literature extensively, and having a deep awareness and knowledge of Latin America. When he was young, he read the literature of countries such as Germany, France, Russia, and the United States carefully and extensively, and was initially strongly influenced by them. We see this same influence in his early works. But later, he wanted to introduce Latin American literature, culture, social and political history, and worldview, and bring it into the global cycle of world culture and literature, which now every enlightened and fair critic admits to his success in this task. Despite his skill and mastery of literature, he always had a corner of his eye on the history of humanity, especially the cultural and social history of Latin America, and sometimes this corner of his eye increased in size and became the basis of his work. However, when Marquez reflects on history, his view is more social, political, and cultural history, even when he was writing The General in His Labyrinth. Of course, he sometimes writes the history of thought. Ultimately, we can identify three periods for his creative period. The first period is influenced by world literature (the novel The Storm of Leaves). The second period focuses more on Latin America (One Hundred Years of Solitude), but the third period is both global and more literary (My Memory of My Sad Sweethearts). References Fuentes, C. (2005). Myself with Others: Selected Essays by Carlos Fuentes, Translated with Abdollah Kowsari, Tehran: Tarh-e- Nov. Guibert, R. (2020). Interview with seven Latin American writers, translated by Nazi Azima, Tehran: Agah. Julaud, J. J. (2005). La littérature pour les nuls, Editions First, Paris. MacMurray, G. (1994). Gabriel Garcia Marquez, translated by Minoo Moshiri, Tehran: Kahkeshan. Marquez, G. G. (1979). The Autumn of the Patriarch, translated by Hossein Mehri, Tehran: Amir Kabir. Marquez, G. G. (1992). The General in his Labyrinth, translated by Reza Falsafi, Tehran: Soroosh. Marquez, G. G. (2016). One Hundred Years of Solitude, translated by Kaveh MirAbbasi, Tehran: Ketabsarsy-e-Nik. Marquez, G. G. (2022). Love in the Time of Cholera, translated by Bahman Farzaneh, Tehran: Ghoghnus. Mendoza, P. (2015). El Olor de la Guayaba: Conversations with Gabriel Garcia Marquez, translated by Mehdi Nouri and Nazanin Deyhimi, Tehran: Mahi Payandeh, H. (2018). Literary Criticism and Theory, Tehran:  Samt Publication. Plato. (2001). Collected Works, translated by Mohammad Hassan Lotfi, Tehran: Kharazmi Publishing. Ploetz, D. (2013). Gabriel Garcia Marquez, translated by Zahra Salemi, Tehran: Ketab-e-Parseh. Saadat, E., Seyyed Hosseini, R. (2007). Dictionary of works, Introducing the Written Works of the World's Nations from the Beginning to the Present Day, Tehran: Soroosh. Saadat, E.; Seyyed Hosseini, R. (2010). Dictionary of works, Introducing the Written Works of the World's Nations from the Beginning to the Present Day, Tehran: Soroosh. Tyson, Lois. (2008). Critical Theory Today: A User-Friendly Guide, translated by Maziyar Hosseinizadeh and Fatemeh Hosseini, Tehran: Negah-e Emrooz Publishing, Hekayat-e Qalam-e Novin Publishing.   https://jllr.usb.ac.ir/article_8548.html Ferdowsi's Shahnameh is a long story of heroic deeds in which the desire for power arising from "greed" and " avarice" is considered to be the root of many wars. But the examination of the causes of belligerence in the Shahnameh shows that many wars can be rooted in reasons other than greed. In this research, which was carried out with the aim of better understanding the role of power-seeking in the wars of Shahnameh the wrestlers dynasties, in a descriptive-analytical way and based on the theory of critical discourse analysis of Fairclough, to examine the discourse of power in the dynasties. Shahnameh was discussed and an attempt was made to answer this basic question: What is the most important component of power discourse in the wrestlers Shahnameh families? For this purpose, the power-seeking discourses of a number of wrestlers dynasties in the Shahnameh, including: Garshasbians and Turanians, Garshasbians and Keyanians, Gudarzians and Nozarians, Sasanians and Ashkanians, and Keshwadegans and Visegans, were examined. The result of this research shows that the desire for power in the wrestlers families of the Shahnameh can be placed in the three main discourses of the struggle between innovation and tradition, social class and hatred, and in twenty-two sub-discourses in order of importance. that small talk is the most important of them. Introduction Desire for power as one of the human characteristics has always been a place of reflection and analysis, it has been paid attention to from the perspective of various theories and sciences. Literature is also not exempt from this issue, either because of the narrative of power-seeking in literary works or because researchers in this field deal with the category of power and language, especially because some literary genres such as epics are based on confrontation and conflicts between prominent people or those in power. British linguist Norman Fairclough (1941) is one of the most prominent researchers who paid attention to the issue of power and language and founded the famous theory of "critical discourse". Discourse analysis, as one of the foundations of linguistics, looks at a level beyond the structure of sentences, and critical discourse analysis also pays attention to the relationship between discourse and social and cultural events. Such an approach helps to understand better and more of the metatextual factors that are in the heart of a literary work and in fact in the back thought of its creator. In his critical speech, Fairclough has emphasized that "it is not possible to understand the meaning of the text only, and to do this, one must also look at the social and historical intertextual layers" (Fairclough, 1992: 56). The Shahnameh, as the most important and the greatest epic work in Persian literature, is a good example to observe the desire for power and its possession, although this feature is not negative in itself, and the absence of such a desire is surprising, but sometimes the underlying factors or results The bitterness resulting from it is the focus of some tragic stories in the Shahnameh and is naturally a source for discussion and thought about the issue of power. athletics and athletics families after their formation in the era of King Jamshid, wherever there is a need; Guardian of the country and for the kings in many cases they are sufficient advisers and counselors. "Although the epic is the story of supermen and mostly revolves around kings, the main burden of its events is on the shoulders of brave men and heroes who have no other goal than the glory of the country and think only of name and dishonor" (Rashed Mohassel, 2010: 147). Therefore, due to the important position they have in the course of Shahnameh stories, the heroes play an irreplaceable role in power relations and related events, and critical discourse analysis can better understand this important class and related events. He helped them. In the Shahnameh, Ferdowsi mentions the demon Greed and introduces it as the destroyer of wisdom and the cause of human misery. According to the verses in the Shahnameh, temptation is the most important cause of conflict between people and the reason for not knowing their own and others' rights. Ferdowsi emphasizes on avoiding demons and introduces them as the cause of closing the eyes of the mind and as a result of darkness and darkness of people. "After Evil Spirit, Greed is the most powerful demon in Zartoshti religion and also in the Shahnameh, it is the source of many bitternesses and causes of bloodshed and belligerence" (Shajari, 2010:79). Considering the principle of wisdom and prudence, which is one of the basic pillars of the Shahnameh, in Arena Shahnameh, we see many examples of the plight of the warriors and the families of the warriors in the clutches of Greed, which caused the sufferings and wars of the Household. It is But in addition to Greed, other factors have had a significant impact on the formation of war and conflict between the warriors and the warrior families, including in the story of Rostam and Sohrab (Zal and Turanian families), Rostam and Esfandiar (Zal and Kianian families), Gudarz and Tous (Gudarzians and Nozarians), Gudarzians and Visegans, Sasanians and Ashkanians, who, in order to find these components, based on Fairclough discourse theory of power, examine them in two major sections, discourses and sub-discourses. to be In this research, an attempt has been made to answer the following basic questions based on Fairclough critical discourse: 1- What were the main causes of the power-seeking of some wrestlers and wrestler families besides Greed? 2- What is the most important element raised in the stories of Shahnameh in terms of power discourse? 3- Which of the stories of the Shahnameh is at a higher level from the point of view of the discourse of power? These questions are interesting from the point of view that most of the researches about power-seeking and the conflicts related to the warriors in the stories of the Shahnameh have been descriptive and the metatextual factors raised by Fairclough have received less attention. is placed. Research Method The method of conducting this research is descriptive-analytical and based on the theory of " Fairclough Power Discourse", which is one of the most interesting theories in this matter. The basic version, Ferdowsi's Shahnameh (2014), is completely creative. Since in the limited volume of the article, it was not possible to examine all the athletic families of the Shahnameh based on this theory, in this research the most important athletic families of the Shahnameh are: Garshasbians and Turanians, Garshasbians and Keyanians, Gudarzians and Nozarians. Sasanians and Ashkanians, and Geshvadegan and Visegans were examined at two levels: macro-discourses and sub-discourses. It should be mentioned that the sub-discussions are arranged based on the findings of each of the stories examined in the Shahnameh. Discussion Fairclough theory of critical discourse analysis, with three components of language, ideology and power, expresses the internal and external relationship of the text, and the application of this perspective in understanding texts, especially literary texts, with regard to the hidden layers of meaning they have, plays a role. It is significant. Fairclough defines discourse as "a countable noun, the use of language in different social fields (media discourse, political discourse, academic discourse) or ways of representing the world from a specific perspective (gender discourse, racism discourse, etc.) refers (Zomorrodi and Islami, 209:2022). Fairclough emphasizes ideology and power in critical discourse analysis. In his opinion, ideology is a tool for creating and maintaining power relations in society" (Kalantari, 2013:22). Here, the author's desire for power in connection with ideology among some warriors and warrior families in Ferdowsi's Shahnameh will be analyzed and analyzed based on the theory of Fairclough critical discourse. Fairclough states in the book (Critical Analysis of Discourse, pp. 21-60): My article has a dialectical approach to the relationship between structure and action, but its emphasis is on the determination of action by means of structures, social reproduction, and the ideological position of actors, and it is one of the characteristics of Another feature of this article is that it focuses on social class in the discussion of power (Fairclough, 1992:21). In his article, he argues that the regularity of interactions depends to some extent on naturalized ideologies, and the denaturalization of these ideologies is the goal of that type of discourse analysis that has critical goals. To achieve such a goal, we need a general explanatory framework (macro/micro). The theoretical foundations of the critical approach are based on the view that there is a link between micro-events and macro-structures in such a way that macro-structures include the conditions for the realization of micro-events on the one hand and their results on the other hand, in other words, they cause the conflict of forces. Ideological barriers may be created between them and ideological struggle is a part of this conflict (Fairclough, 1992:55). According to the components proposed by Fairclough, the discourse of power extracted from the Shahnameh is divided into three main discourses: conflict between modernity and tradition, social class, and grudge, and each discourse is categorized into other sub-discourses. which is analyzed in several stories of Shahnameh. Conclusion The results of the studies conducted on the power-seeking of some warriors and warrior families in the Shahnameh based on Fairclough theory of power discourse, indicate that three main discourses: the struggle between innovation and tradition, social class and hatred, cause The power-seeking trend of the wrestlers and their families has come about. Also, among the sub-discourses forming these stories, there are some sub-discourses in the form of self-contradiction and the sub-discourse of resentment is repeated more often than others. During the struggle for power between the warriors and their families, small talk played the most important role in the structure of the stories. Also, the story of Rostam and Esfandiar, which is referred to as the story of stories, by being in the main discourse in the Shahnameh, which is the conflict between Renewal and Tradition, and also by having the largest number of sub-discourses (nine cases where freedom against unquestioning obedience, which is the most important sub-discourse), is placed at a higher level from the point of view of discourse.     References Davis, D. (2016). epic and disobedience in Ferdowsi's Shahnameh, translated by Sohrab Tavoosi, Tehran: ghoqnoos. Doostkhah, J. (1974). Rostam and Sohrab, the tragedy of the collision of ideals and emotions, Culture and Life Quarterly. No. 17. pp.167-159. Fairclough, N. (1992). Critical Analysis of Discourse, translated by Shaiesteh Piran, F. and others, Tehran: Ministry of Farhang and Islamic Ershad. Ferdowsi, A. (2014). Shahnameh, edited by Jalal Khaleghi Motlaqh. Four-volume series, Tehran: Sokhn. Ghorbanipour, Z. and Tahmasbi, F. (2023). The archeology of power struggle in the royal dynasties of the Shahnameh and the Iliad, literary textual research. Vol. 27, No. 95. pp. 120-181. Hamidian, S. (2004). An introduction to Ferdowsi's thought and art, Tehran: Markaz publication. Kalantari, A. H. (2012). Discourse from three linguistic, philosophical and sociological perspectives, first edition, Tehran: Sociologists Publishing House. Khaleghi-Motlaqh, J. (2009). Gole ranjhaye kohan, Tehran: publication sales. Khaleghi-Motlaqh, J. (2021). Shahnameh notes, Tehran: Big Islamic Encyclopaedia. Khalil Allahi, S., Shirkhoda, T. and Forozanfar, A. (2018). Analysis of the discourse of power in the story of Rostam and Esfandiar from the perspective of Foco, two scientific quarterly journals of political sociology of the Islamic world. Vol. 7. No. 2. pp. 230-215. Meskoob, S. (2010). Tan Pahlavan and Ravan Kheradmand, Tehran: Tarhe No Publications. Mokhtari, M. (2000). The epic in the national mystery, Tehran: Agah Publications. Pakrou, F. (2012). The course of power and its harms from myth to epic in Ferdowsi's Shahnameh, Literary History Quarterly. Vol. 6, pp. 147-124. Rahimi, M. (1990). The Tragedy of Power in the Shahnameh, Tehran: Niloofar Publications. Rashed Mohassel, M.R. (2010). Shahnameh of the Manifestation of the National Spirit, Mashhad: beh published. Razmjoo, H. (2002). The Realm of Iranian Epic Literature, Tehran: Publications of Publication olum Ensani and Motaleat Farhangi. Rezaei, M., Akbari, L. (2021), Shahnameh's narration of the discourse of power in the story of Bahram Chubineh and Khosroparviz, Research journal of epic literature, Vol. 13, No. 31, pp. 147-166. Riahi, M. A. (2001). The Sources of Ferdowsi Science, Tehran: Tarhe no Publications. Sadeghi, A. (2017). Political Power and Tragedy in Shahnameh, Hekmat and Philosophy Quarterly, Vol. 14, No. 56, pp. 141-171. Safa, Z. (2011). Epic writing in Iran. Tehran: Ferdous Publications. Sarrami, G. (2008). from the az range Gol Ta Range Khar, Tehran: elmi and farhangi Publications. Shajari, R. (2003). Analysis and investigation of Az in Ferdowsi's Shahnameh, Literary Research Quarterly, No. 1, pp. 82-65. Shamisa, S. (1997). The main story of Rostam and Esfandiar, Tehran: Mitra Publications. Zarrin Koob, A. H. (2002). Namvarnameh, Tehran: Sokhan Publications. Zomorrodi, H. and Eslami, M. (2022). Examination of mutual discourses in Ferdowsi's Shahnameh with the approach of critical discourse analysis, Journal of Persian Prose and Prose Stylology (Bahar-e Adab), Vol. 15, pp. 205-234.   https://jllr.usb.ac.ir/article_8995.html Transformation of myths occurs under the influence of intra-textual and extra-textual factors within the narrative context, with one of the most significant being the shift in literary schools. The transition from lyrical literature to Romanticism has led to significant transformations in myths, including the myth of Simorgh. In this evolution, Simorgh, depicted in the Shahnameh as an intermediary between heaven and earth and celebrated in Mantiq al-Tayr as the sovereign of birds, metamorphoses into figures such as the owl, phoenix, and swan in contemporary Romantic texts. Losing power and severing its connection with the celestial realm, it becomes incapable of realizing individual ideals, leading towards annihilation. The central question of this research is how the shift from lyrical to Romantic literature influences the transformation of the Simorgh myth and what new characteristics it engenders. To this end, this study employs a descriptive-analytical approach, based on library research, to examine the changes in the Simorgh myth through the lens of five narrative elements: characterization, discourse, action, time, and space. The results indicate that in the transition from lyrical literature to Romanticism, myths diminish in size, are restricted in action, discourse, and time, and are spatially distanced from the heavens. Introduction Simorgh is one of the most frequently recurring myths in Persian literature, appearing with different functions in classical works such as the Shahnameh and Manṭiq al-Ṭayr. In these texts, Simorgh sometimes serves as an intermediary between nature and the supernatural, and at other times is portrayed as the deity of birds. However, the life of this myth is not confined to ancient texts; rather, in the contemporary era—alongside new literary movements—it has undergone a transformation. Within the framework of transformation, it has been reimagined in The Blind Owl under the new name and image of the "Owl," in Nima’s poetry as the "Phoenix," and in Hamidi Shirazi’s poetry as the smaller "Swan." It appears that the Romantic school, characterized by features such as individualism, melancholy, and an emphasis on personal emotions, has played a significant role in this transformation. The myth of Simorgh, which in classical texts held a sacred and symbolic status, has undergone a form of demystification in contemporary Romantic literature. Since myths are timeless and sacred constructs rooted in collective archetypes, these transformations indicate the phenomenon of "myth deconstruction" in modern Romantic texts. Given the importance of this subject, this study seeks to answer the following questions: 1. How has the transition from lyrical literature to Romanticism influenced the transformation of the Simorgh myth in contemporary texts? In what ways do the myths of Simorgh, Owl, Phoenix, and Swan differ from and resemble their classical counterparts? Research methodology The research method employed in this study is descriptive-analytical, and the data were collected through library research and note-taking. This study examines and analyzes the transformation of Simorgh in five works, including Ferdowsi's Shahnameh, Attar's Mantiq al-Tayr, Sadegh Hedayat's The Blind Owl, Nima Yushij's poem "Phoenix," and Mehdi Hamidi's "The Death of the Swan." Discussion Ferdowsi’s Simorgh, as a sovereign bird (Ferdowsi, 1987: 240; 266), bears similarities to Attar’s Simorgh but also possesses a more worldly aspect, acting as Zal’s nurse. The other three birds exhibit specific and limited attributes: the owl in reading, the phoenix in singing, and the swan in beauty. "Romanticism, instead of classical ideal figures, introduces individuals with unique and specific lives who are influenced by their environment and era. Therefore, the Romantic artist portrays their hero with private, distinctive, and singular descriptions" (Seyed Hosseini, 2008: 186). Ferdowsi’s Simorgh is recognized through dialogue with other characters, whereas Attar’s Simorgh transcends external senses, allowing communication beyond speech. The phoenix lacks the ability to speak, and its voice can only be perceived by entering its mental realm. The swan and the owl do not possess even the capacity for thought, and the narrator speaks on their behalf. This distinction underscores the prominent presence of the writer and poet in Romantic texts compared to lyrical works, where mythical figures experience a reduction in their agency. Attar’s Simorgh serves as the driving force behind the movement and effort of other characters. Ferdowsi’s Simorgh advances the narrative by resolving its complexities through action. In contrast, the phoenix and the swan conclude the narrative, revealing the futility of their existence. Hedayat’s owl neither initiates nor concludes the narrative and remains inconsequential to its progression. Among the birds, the hierarchy of narrative agency is as follows: Simorgh, phoenix, swan, and owl. This hierarchy highlights the greater power and influence of lyrical birds within the poetic world. Two temporal aspects are significant in analyzing the narratives: the lifespan of the myths and whether their stories unfold during the day or night. In terms of lifespan, the order is as follows: Attar’s Simorgh, Ferdowsi’s Simorgh, the phoenix, and the swan. Hedayat’s owl, akin to its narrator, exists in a liminal space between life and death. Regarding time of day, Simorghs are not bound to either day or night, whereas Romantic myths—the phoenix, swan, and owl—are depicted within a dark, nocturnal atmosphere. "Iranian Romantics favor night as the temporal setting and autumn and winter as the seasonal backdrop" (Fotouhi, 2010: 133). Conclusion In this article, the trajectory of the transformation of the lyrical myth of Simorgh in Romantic texts was examined from five aspects: characterization, discourse, action, time, and narrative space, and the following results were obtained: Characterization: As the birds distance themselves from the sky, their stature diminishes, and their abilities become more limited. Attar's Simorgh lacks worldly attributes and is introduced as the "Sultan of Birds." Ferdowsi's Simorgh, in terms of being a sovereign bird, is similar to Attar's bird, but also possesses a worldly aspect and serves as Zal's nurse, with a portion of its life spent among humans. The other three birds have specific and limited worldly characteristics; the owl in reading, the phoenix in singing, and the swan in beauty. Discourse: As the birds distance themselves from the sky and become more Romantic, they become less capable of speech. Attar's Simorgh, due to its position, is not limited by the power of speech and addresses and hears without sound. Ferdowsi's Simorgh engages in dialogue with characters to guide them. The phoenix is incapable of speech, and only its feelings pass through its mind. Hedayat's owl is merely an observer, and the swan does not speak and only seeks to end its life. In the narrative of the three Romantic myths, the owl, the phoenix, and the swan, the narrator's words are heard. Action: As the birds approach the earth, their actions become more limited. Attar's Simorgh is the creator of creation and the reason for the actions of other beings. Ferdowsi's Simorgh resolves narrative knots with its presence and advances the narrative flow; however, the phoenix and the swan conclude the narrative. The phoenix flies to find a place to self-immolate, and the swan swims to die in a specific place. Hedayat's owl, which has a non-existent existence, is the most passive bird. Time: Attar's Simorgh is associated with eternity and is not limited by time. Ferdowsi's Simorgh, due to its worldly aspect, dies in the seven trials of Esfandiyar. In the poem "Phoenix," we only witness the final moments of the thousand-year-old phoenix as it prepares for death. The poem "The Death of the Swan" begins with the swan's death. Hedayat's owl also has a gray and semi-living presence throughout the narrative. Space: Attar's Simorgh is present in a place that is neither visible nor comprehensible. Ferdowsi's Simorgh lives in a sovereign palace on the summit of Mount Alborz, which is neither visible nor imaginable. The phoenix is located on a bamboo branch and then in a lower place. The phoenix is a few steps lower than Ferdowsi's Simorgh and wanders between earth and sky. The swan is on the surface of the earth and has a lower position than the previous birds. Hedayat's owl lives in a coffin-like corner of Hedayat's room. As the narratives become more Romantic, these birds approach the earth. References Attar Neyshabouri, M. I. (2014). Mantiq al-Tayr, edited by M. Shafii Kadkani, Tehran: Sokhan. Dehghan, A., & Mohammadi, D. (2012). “The evolution of the myth of Simorgh in the transition from epic to mysticism: Based on Shahnameh and Mantiq al-Tayr”. Adab va Erfan, Vol. 3, No. pp. 19, 51–66. Farbood, F., & Soheili-Rad, F. (2003). “A comparative study of Simorgh in literary, epic, and mystical texts”, Honar, No. 56, pp. 23–43. Ferdowsi, A. (1987). Shahnameh, edited by J. Khaleghi Motlaq, introduction by E. Yarshater, New York. Fotouhi, M. (2010). The Rhetoric of Imagery, Tehran: Sokhan. Hamidi, M. (1957). Tears of the beloved, Tehran: Amir Kabir. Hatami, H. (2012). “Simorgh in the works of Molana”. Adab va Erfan, Vol. 4, No. 13, pp. 47–62. Hedayat, S. (1972). The blind owl, edited by A. Khanji, Tehran: Sepehr. Hosseini, S., Zabihi, R., & Shohani, A. (2020). “An analysis of the poetics of Simorgh and Phoenix in the transition from epic and mysticism to modern Persian poetry: Focusing on Nima Youshij’s ‘Phoenix’”. Pajouhesh-e Zaban va Adab-e Farsi, No. 59, pp. 19–47. Jafari, M. (2007). The course of romanticism in Iran: From the constitutional era to Nima, Tehran: Markaz. Khajat, B. (2012). Iranian romanticism: A study of the romantic movement in contemporary Persian poetry, Tehran: Bamdad-e No. Koushki, I. (2015). A comparison of classical and romantic schools in European and Persian poetry, Tehran: Mahvareh. Mashkoor, M. (1977). “Simorgh and its role in Iranian mysticism”. Honar va Mardom, No. 177–178, pp. 86–90. Mohammadi Haji Abadi, F., & Pourmand, H. (2011). “A comparative study of Simorgh based on Avesta, Shahnameh, and Mantiq al-Tayr”. Naghshe-Maye, Vol. 4, No. 8, pp. 57–64. Rastegar, M. (2004). Metamorphosis in mythology, Tehran: Institute for Humanities and Cultural Studies. Seyed Hosseini, R. (2008). literary Schools, Tehran: Negah. Shamisa, S. (2008). A dictionary of references in Persian literature (myths, traditions, customs, beliefs, sciences...), Tehran: Mitra. Taslimi, A. (2022). Propositions in contemporary Iranian literature: Poetry, Tehran: Akhtaran. Yahaghi, M. (2012). Dictionary of myths and narrative motifs in Persian literature, Tehran: Farhang Moaser. Youshij, N. (1983). My poetry, Tehran: Amir Kabir.   https://jllr.usb.ac.ir/article_8498.html Lyrical poems are one of the most popular literary types because they contain many poetic themes that are connected with feelings and emotions. In this research, by analytical-descriptive method, by referring to documents and library sources, one thousand nine hundred and thirteen pieces of children's and teenagers' poems written from 1390 to the end of 1399 were studied. used, the methods and functions of the lyrical type of literature were investigated in order to answer the question that this type of literature can be divided into subtypes in the poems of children and teenagers? The result obtained is that the poems of children and teenagers of the nineties have the capacity to be classified in more detailed categories and with newer titles by adopting a detail-oriented approach. In other words, lyrical literary type can be divided into other subtypes and not remain as a general type.   Introduction In order to continue living in the universe, humans need to meet their spiritual and emotional needs in addition to taking care of their vital needs. The collection of these emotions led to the creation of works (poetry and prose) called lyrical literature. "Lyric poetry in literary terms is a poem that is related to the poet's personal feelings and emotions, hence a wide range of poetic meanings and themes such as love, emigration, connection, youth, old age, death, birth, praise, satire, complaint, mysticism It includes patriotism, slander, obituary, drunkenness, imprisonment, fraternity and other literary techniques such as riddles, puzzles, history material, debates, braggadocio, riotous cities, etc. "(Rastegar Fasai, 1993: 165) Lyrical literature, which is expressed in two ways, emotional poems and romantic poems, includes works that are directly derived from the inner emotions and motivations of the poet or writer; Therefore, the description of these feelings is the purpose and application of this category of works. Although lyrical poetry is rooted in personal feelings, it cannot be said that it is a purely personal poem, but by looking at all the angles of society, we can understand the fact that lyrical poetry is a social poem that includes all the people of human societies. In other words, there is a mutual bond between the poet and society; The poet is influenced by the society, and the society also affects the development of the poet's taste, taste and talent. Literary types include topics that are expressed in poetry or prose in special formats and based on specific rules. In the meantime, the lyrical literary type has always been favored and has a special place due to the wide range of themes and their connection with human emotions and feelings. This research sought to find answers to the following questions: - What topics and themes make up the content of children's and teenagers' lyrical poems? - Do the themes of lyric poems have the ability to be introduced as smaller genres? - What methods and functions are there in the lyrical poems of children and teenagers? - How is the frequency of each theme in lyric literature? 2- Research Methodology In this research, based on library sources and two analytical-descriptive and quantitative methods, the lyrical literary type in children's and teenagers' poetry was investigated. The statistical population of the research, 200 volumes of books containing 1913 pieces of poetry from sixty poets, were examined, of which 1295 were dedicated to lyrical themes. In the descriptive analysis section, which includes the largest section, the poems in question were examined according to the constituent components of the lyrical literary type. In the quantitative section, the subjects and themes of the poems were classified and the frequency of use of each theme was The diagram was shown. in such a way that: All the selected works were carefully studied several times The characteristics of each poem such as subject, theme, tone, aspect were identified Hypertext functions were introduced Topics and themes of children's and teenagers' poems were discussed The frequency of each theme was shown through statistical data in the table and graph And. The results of the studies were stated. Discussion Man is a creature full of different emotions. Emotions that can act as a driving force when they appear, create motivation and creativity, and ultimately create the ability to do work in a person. Lyrical poems are one of the most effective and popular literary types because they contain many poetic themes that are connected with feelings and emotions. This type of poems can be seen in children's and teenagers' literature, with different language, tone, words and topics from adults. Considering the mental and age conditions of their audience, poets look at emotions, pains, sorrows, joys, etc. from a different angle and try to compose according to their wishes and concerns. they are This group of poems express various emotional states that arise in a person due to reasons such as mental and physical conditions, personal, family and social problems and play an important role in controlling and reducing anger, emotions. They have sadness and emotional tensions and nervous pressures. The mental capacities of children and adolescents are not the same as adults, and each group should be spoken to with their own special language and expression. in the field of children and adolescents; There are two categories of poems written in the lyrical genre: Poems that talk about the feelings of objects and other animals using imaginary images such as diagnosis, life, etc., 2. Poems that are related to human feelings and emotions. In total, the most lyrical themes in children's and teenagers' poems are: Descriptions including; Seasons, landscapes, nature (spring, river, snow, rain, wind, mud, cloud, fog, sky, earth, mountain, desert, plain, sun, morning, night, sunset, fruits, animals, etc.). Prayer book including; Prayer, praise, prayer, thanksgiving, meditation on divine attributes, etc. Shaadiname includes; Poems that have an aspect of entertainment and joy, such as games, stories, crafts, paintings, chistans, jokes, parties, birthdays, weddings, etc. Poetic moments, lullabies, patriotism, fear, anxiety, anticipation, confusion and amazement, hope and desire, loneliness and... poets and writers of lyric poems; They describe various emotions in their poems and writings so that they can free children and teenagers from the pressure of positive or negative emotions and emotions that they are unable to express. Conclusion As can be seen in this type of literature, emotional and romantic themes are 63.45%, eulogies 45.46%, descriptions 14.44%, eulogies 48.5%, supplications 4.78%, laments 77.2% each, and manqbats 62%. 2% of all the poems have been assigned to themselves. In the analysis of the stated content and the data of the graph, it can be said: Children need to express their inner feelings and emotions more than anything else. Poetry acts as a helpful tool so that children and teenagers can find their dreams and feelings in it and see the signs of sadness, happiness, anger, fear, hatred, love, etc. in themselves; Know their various emotions and be able to control some, stabilize some and keep others away. Knowing about this, poets choose words and sentences, and by doing this, they reduce negative emotions and strengthen positive emotions in the audience, and finally, they can have a good effect on the psyche of children and teenagers. let them In general, the achievement obtained from the study of Iranian children's and teenagers' poems with the approach of lyrical literary type; It means that: It is futile to include literary works in general classifications; Because it both limits the research scope of researchers and researchers and is an obstacle on the way of those works that have the ability to be a literary genre, but must be forced to be a subgenre of a more general genre. The themes that fall under the lyrical literary genre have the capacity to appear in a new literary genre. For example, a lament or a complaint, each can be a subgenre of a larger genre and even a smaller genre itself. The inclusion of works in a smaller literary genre allows researchers to more accurately define literary genres based on criteria such as "content, structure, facet, function, context, audience, intertextual relationships, etc." describe In today's world, a new and appropriate look at old frequent themes has led to the emergence of types of lyrical literature, which can lead to the emergence of other types of lyrical literature in the future of Persian poetry. References Alavifard, Y. (2017). The Meaning of Sparrow, Qom: Daar al-Hadith Scientific and Cultural Institute, Shabnam Publishing Organization. Baghinejad, A., Baba Salar, A.A. (2018). "Rhetoric link and descriptive dimensions in the poems of eight children's poets", Persian literature magazine, Vol. 8, No. 2, pp. 103-119. Baktash, Q.R. (2012). I see with my two eyes, Tehran: Center for Intellectual Development of Children and Adolescents. Davari, Z. (2014). A Slice of Watermelon, Tehran: Center for Intellectual Development of Children and Adolescents. Eslami, M. (2011). Thirty poems and thirty proverbs, Tehran: Gohar Andisheh. Eslami, M. (2017). Goodbye on the Paiz Street, Tehran: Center for Intellectual Development of Children and Adolescents. Eslami, M. (2018). a lulu behind the glass, Tehran: Bedaheh. Haddad Adel, Q.A. (1996). The encyclopedia of Islamic world, Vol. 26, p. 343, Tehran: Islamic Encyclopedia Foundation. Hashemi, M. (2012). Sea-colored shoes, Tehran: Center for Intellectual Development of Children and Adolescents. Hashempour, M. (2014). Happy Birthday to Me, Tehran: Peydayesh. Khayami, L. (2012). think of sweepers, Mashhad: booye bagh behesht. Lotfollah, D. (2015). next to Del station, Tehran: Center for Intellectual Development of Children and Adolescents. Madani, T., Hosseinaem, M. (2020). Lyric mentality in teenage poetry by reading and analyzing some poems by Buyuk Maleki, Journal of Lyrical Literature Researches, Vol. 19, No. 37, pp. 297-316. Mardani, M. (2017). Behind the Head of Paizi, Tehran: Center for Intellectual Development of Children and Adolescents. Moradi, M. (2011). Clock without tick-tock, Tehran: Amir Kabir. Moradi, M. (2015). the songs of the potato, Tehran: Center for Intellectual Development of Children and Adolescents. Mousavian, E. (2015). The wednesdays of ice cream, Tehran: Center for Intellectual Development of Children and Adolescents. Mousavizadeh, S. (2015). The grass is always greener on the other side of the fence, Tehran: Charkh Felak. Najarian, B., Khodarahimi, S. (1375). Explaining Death for Children and Adolescents, Journal of Humanities of Alzahra University, No. 17 and 18, pp. 107-130. Nazari, S.H. (2012). God has a rosary from a sparrow, Tehran: Center for Intellectual Development of Children and Adolescents. Nik-Talab, B. (2015). Be happy with the wind along the Pinwheels, Tehran: Center for Intellectual Development of Children and Adolescents. Pakseresht, M. (2012). A Cup of Poem, Tehran: Center for Intellectual Development of Children and Adolescents. Paksorsht, M. (2012). A Cup of Poetry, Tehran: Center for Intellectual Development of Children and Adolescents. Rahmandoost, M. (2014). in the name of my friend God, Tehran: Peydayesh. Rastegar Fasaai, M. (1993). types of Persian poetry, Shiraz: Navid Shiraz. Rezvani, T. (2019). God of the clear and blue sky, Mashhad: Behnashr. Salarvand, F. (2015). good for me, Tehran: The Center of intellectual development of children and adolescents. Sepahi Yoonesi, A.A. (2015). I did not become a thread or a bear, Tehran: Center for Intellectual Development of Children and Adolescents. Shadkam Ooghani, M. (2007). Ashura in the Mirror of Ancient Persian Poetry, The Organization of Islamic Propaganda. Shafiei, K. (2014). The cat is an engineer, Tehran: Surah Mehr. Shahabi, T. (2012). My Crow and Eyeglasses, Tehran: Center for Intellectual Development of Children and Adolescents. Shamani, T. (2018). Lady of the Rains, Mashhad: Astan Quds Razavi. Shamisa, Siros. (2015). Literary Genres (5th ed.), Tehran: Mitra Publishing. Tavalai, H. (1399). The Shoulder of the Farthest Scarecrow, Tehran: Gooya. https://jllr.usb.ac.ir/article_8497.html In the scope of Persian literature, there has always been talk of love, and poets' views, especially on the beloved, cuteness and need in a romantic relationship, as far as we can say, love and talking about it form the main part and the body of lyrical literature. One of the surviving manuscripts from the Timurid period is Qavam al-Din Muhammad Saini Yazdi's Kolyat, which contains 359 sonnets description love and the conditions of love. The findings of the research, which was carried out in a descriptive- analytical way based on library studies and the method of document analysis based on the corrected manuscript in Elham Moinian's doctoral thesis, show that Qawamuddin Muhammad in the tradition of ghazal writing in the old style, including the style of Hafez and it is Saadi. The subject of his lyrics and the themes of interests in these poems are mainly about the failure of love, the qualities of the beloved and the struggle with Zahdaryai. The highlight of these sonnets is the didactic tone and an example of praiseworthy sonnets, which makes it important to investigate this poet's sonnets. Introduction It is Qavam al-Din Muhammad Sayeni (Yazdi) Kolliat, which is one of the manuscripts left from the Timurid era. Qawam al-Din Muhammad Saini Yazdi is one of the poets of the 9th century (AD 830 A.H.), whose general collection includes ghazals, odes, glosses, manuscripts, and a number of letters. Qavam al-Din Saini is one of the poets of the Timurid era, whose general edition has not been corrected so far. According to the base version, the number of verses left by Qawamuddin Muhammad is 3966, of which 359 are his sonnets. which includes various themes of love, opposition to hypocritical asceticism, praising the beloved and lyrical themes. This version, which has not been corrected so far and has been embellished, is remarkable in terms of its lyrical themes and the content of romantic themes. The reason for choosing the theme of love in Qavamuddin Muhammad Saini Yazdi's sonnets among other emotional fields is the importance and prominence of this theme in Qavamuddin's sonnets as part of the written heritage of Persian literature. The description of love in Qawamuddin Muhammad's poetry is not only a clichéd description of the lover's appearances and beauties, but in a multi-layered expression and passing beyond the appearances, it focuses on the essence of good qualities and moral virtues of man. The present article, while introducing the version of Qavamuddin Muhammad Saini's (Yazdi) generalizations, which has not been published so far, aims to address the issue of the poet's view on the category of love and the description of the beloved. Research Method In this thesis, according to the subject and scope of the research, which is descriptive-analytical, we have used the sand analysis method based on library studies and referring to reliable scientific databases. The statistical population of the research is the generality of the manuscript of Qawamuddin Mohammad Saini (Yazdi), which has not been published so far. It should be noted that the corrected version of Qavamuddin Muhammad Saini's Generalities was first corrected in the Persian language and literature department of the Islamic Azad University of Najafabad branch in Elham Moinian's doctoral thesis under the guidance of Dr. Mohammad Chatraei Azizabadi. The way of referring verses in this article has been corrected in general terms. The analysis of the samples in this comparison is based on the statistical method among 359sonnets in Qawamuddin's collections, which will be analyzed in a systematic way by presenting charts and tables. Discussion The first characteristic of love and romance in Qawam's sonnets, and in fact the most repetitive feature of the beloved, which is mentioned in many of Qawam's sonnets, is the description of the lover's face, his movements, and his outward appearance in the form of stereotypes according to the ancients. The appearance and repetition of the lover is presented in the Persian language poetry tradition. The eyes, eyebrows, eyelashes, eyelashes, hairline, lips, facial hair, cedar height, etc., and other moral characteristics such as unfaithfulness, stubbornness, hard-heartedness, being hidden in the veil, nameless, in fact, "a lover who does not give courage to lovers." It does not teach stability to fighters, nor does it have the power of creativity for artists, nor does it benefit from depth and breadth of mind for idealists" (Barzegar Khaleghi, 2005: 148). A stereotyped image of a lover is very common in Persian poetry. "Lyric poetry is the expression of the emotional reality of the poet. In the sonnet, the poet has found individuality, his ego is the small mirror of the big world, and this small world is, in other words, the concentration and density of the big world and is different from it. The themes of lyric poetry, especially ghazal, actually express a kind of distinction and separation that the poet feels. Writing such topics is not only specific to Persian ghazal, but in this passage, Persian ghazal is in sync with the lyrical poetry of the world and its time" (Obadian, 2004: 57). Looking at the history of Persian poetry during different centuries from the first period to the literary return, it can be seen that there were repetitive stereotypes in the poetry of many of these poets, and instead of creating images and themes based on their personal experiences or new elements from the natural world, the poets and resort to life, they have mostly remained within the scope of the poets before them and have included the same images and themes in their poems with minor changes and manipulations. In other words, there is very little creative aspect in these themes and images, and many poets have turned to fantasizing and showing their emotions and feelings within the scope of the attitude of the poets before them. "It seems that throughout the history of Persian poetry, there has been an implicit opinion that any innovation that arises in the field of [theme and] images should not be out of the realm of vision and attitude of the ancients" (Shafi'i Kodkani, 2007: 215). Persian ghazal in the 9th century is very close to the boundaries of imitation, and many poets of this period write in imitation of the Iraqi style and the theme and illustration of ancient times. Qawamuddin's lyric writing in the 8th and 9th centuries coincides with the period when "Hafez's style" and his style of lyric writing completely overshadowed the Persian ghazal. By pondering many ghazal divans of the 9th century, no new voice can be heard and it seems that the whole of the mentioned century is dominated by repetition and imitation of the past. Senai, Molana, Saadi, and Hafez are among the leaders of ghazal writing and are among the top of this style that in this period, their style of ghazal is imitated both in terms and in imagery. Qavam al-Din Muhammad also tries to follow this common tradition throughout his sonnets - at least in terms of themes and images. Conclusion Qavam al-Din Muhammad Saini (Yazdi) is one of the poets of the 9th century during the Timurid period, whose works have been preserved. The collections of Qavam al-Din Muhammad Saini (Yazdi), which have not been corrected and embellished so far, contain sonnets. In these ghazals, Qawam al-Din Mohammad, while dealing with the attributes of love and the spiritual and physical components of the beloved, which follows the tradition of romantic ghazal and the style of poets before him, especially the Iraqi and Hafez styles, also pays attention to moral, didactic and even praise themes in his ghazal. has shown In this work, the love affairs of Qawamuddin Muhammad indicate the fact that a restless lover has no fantasy except to connect with his beloved and reach his court, but he fills his loneliness only with the imagination of his beloved. By describing the behavior of the beloved and his appearance, the lover describes this tyrannical, hard-hearted and tyrannical lover, whose beauty and grace are praiseworthy, and on the other hand, he wishes to connect with him and finds no refuge for himself except by his lover's side. In a general point of view, the character of the lover in Qawam's lyrical and romances is more a description of his moral characteristics and behaviors rather than his appearance characteristics, on the other hand, the important and original points in Qawam's lyrical poetry are the aspects of reproach, randy, escaping from the mosque, taking refuge in Deir Moghan, Drunkenness, avoiding wonder and arrogance and paying attention to educational and moral themes that make his sonnets beautiful and catchy. Qawamuddin Mohammad spoke of love as the main theme of lyrical literature with a clear and fluent language, and his entire sonnet describes the face of the beloved in the words of a true lover, love and the moods of a lover. 5.References Akbari, M. (2006). "Malamatieh va Baztabe Andishehaye Malamati dar Sher-e Erfani, Ghazaliaate Attar, Araqi va Hafez", Literature and Humanities Faculty Magazine of Tehran University. No. 4, Pp. 95-112. Al-Khouri, S. (2006). Aqrabo Al-Mavared Fi Fosaho Al-Arabieh Va Al-Shavared. Tehran: Osveh. Ansari, Q. (1983). Malamatieh, Ayandeh Monthly. Vol. 9, No. 5, pp. 350-355. Araqi, F. D. (1984). Lamaat. Edited by: Khajawi, M. Tehran: Mola. Barzegar Khaleqi, M. R. (2005). Eshq va Asheq va Mashouq dar Qazaliat-e Jamal-al-din Mohammad Abd-al-razaq Isfahani, Literature and Humanities Faculty Magazine of Tehran University. Vol. 56, No. 4, pp. 139-152. Beihaqi, A. (1997). Taj-Al-Masader. Tehran: Humanities Research-Institute and Cultural Studies. Dadbeh, A., Avani, Q. R. (1988). Ensan-e Kamel Be Revaiat-e Ibn Arabi, Andishe Dini Quarterly of Shiraz University, No. 34, Pp. 154-179. Dehkhoda, A. A. (1994). Dictionary, Tehran University Press. Ebadian, M. (2015). Takvin-e Qazal Va Naqshe Saadi: Moqadameyi Bar Mabani JameShenakhti Va ZibayiShenakhti Qazal-e Farsi Va Qazaliat-e Saadi. Tehran: Akhtaran. Ebrahimi Dinani, G. H. (2001). Daftar-e Aql va Ayat-e Eshgh. Tehran, Tarh-e No. Hafez, Sh. M. (1990). Divan. 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Divan-e Qavam Al-Din. Manuscript No. 4195/7. Noor Osmaniye Library, Istanbul. Qavam Al-Din Yazdi, M. (1473). Manshaat. Manuscript No. 2576. Tehran: Tehran University Central Library. Rahimi, S. M. Hame Chiz Fahm Roudi, A. H. (2023), "Angizehaie Baztab-e Eshq Dar Divan-e Aref Qazvini". Journal or Lyrical Literature Researches, Vol. 21, No. 40, pp. 77-96. Rajaei Bokharaei, A. A. (1996). Doctionary of Hafez’ poetry. Tehran: Elmi. Safa, Z. A. (1951). Ekhvan Al-Safa. Tehran: Tehran University Press. Shafiei Kadkani, M. R. (2007). Qalandariyeh Dar Tarikh. Tehran: Sokhan. Shafiei Kadkani, M. R. (2007). Sovar-e Khial Dar Sher-e Farsi. Tehran: Agah. Shamisa, S. (1997). Anvae Adabi. Fifth edition, Tehran: Ferdowsi. Shamisa, S. (2002). Shahedbazi Dar Adabiat-e Farsi. Tehran: Ferdows. Shamisa, S. (2010). Seir-e Qazal Dar Sher-e Farsi. Tehran: Alam. Shebli Nomani. (1984). Al-Ajam poetry. Translated by: Fakhrdaei Gilani, M. T. Two volumes, Second edition, Ahraan: Doniaie Ketab. Sollami, A. (2017). Ketab-e Al-Fotovat. Turkey: Ankara Al-Jamea Press. Sourtgar, L. A. (1935). "Eshq Dar Adabiat" [Part 1]. Mehr Monthly, Vol. 3, No. 3, pp. 328-233. Varedi, Z. (2005). "Mazamine Rayej Dar Sher-e Barkhi Az Shaeran-e Qarn-e Nohom". Journal of Social and Human Sciences of Shiraz University. Vol. 22, No. 42, pp. 91-110. Yarshater, E. (2004). Sher-e Farsi Dar Ahd-e Shahrokh (Nime Aval Qarn Nohom). Second edition, Tehran: Tehran University Press. Zarei, F., Mousavi, S.K., Mohammadi Asiabadi, A. (2023). "Investigation the love need in Roudabeh and Manijeh personality based on Maslow psychological theory", Journal or Lyrical Literature Researches, Vol. 21, No. 40, pp. 97-114.   https://jllr.usb.ac.ir/article_8910.html The representation of abstract concepts in the form of objectification caused the creation of a new theory in this field, which is examined under the title of conceptual metaphors and its schemas. It should be said that this procedure is one of the fundamental mechanisms of mind and language that is discussed in the framework of cognitive linguistics today. In this regard, conceptual metaphors objectify things that are created and dealt with by the minds of poets; therefore, they use various schemas for the objective representation of their intended abstract concepts in different domains. Sohrab Sepehri and Federico Garcia Lorca are among the poets who use different mental concepts in the form of different schemas, one of these concepts being "love". The discussed poets use moving and static schemas and use the concept of "love" sometimes dynamically and sometimes statically and instill their concepts to the audience. The use of volumetric and directional schemas, along with the use of spatial schemas and agency, are other things that Sepehri and Lorca have mentioned in their poems. It should be said that the frequency of the agency scheme in their poems is more significant than other topics, and in contrast, the use of the road scheme is very insignificant. This research was carried out by analyzing and interpreting the poems of Sepehri and Lorca in order to show how much the poets in question have used the mental concept of "love" and how this concept is used in different schemas. IntroductionOne of the methods of beautifying poetic speech is the use of metaphor. The importance of metaphor is so great that Ibn Khaldun says in this regard: “Verbal poetry is based on metaphor and description” (Shafi’i-Kadkani, 2005: 112). However, traditional views on metaphor were criticized by cognitive linguists, who believed that “the harmonious relationship of metaphor is formed with the whole language and its vital role as a means of expressing the power of imagination is more and more prominent.” (Hawkes, 2008: 56). In this regard, theorists such as Lakoff believed that “the place of metaphor is in thought, hence it is placed in conceptual realms so that in addition to being involved in novel poetic modes of expression; it can also be used in everyday language” (Lakoff, 2004: 196). Cognitive linguists believe that metaphor is not only a product of art and literature, but that literary metaphors are somewhat different from everyday metaphors. One of these linguists is Kouchesh, who points out their difference as follows: “Although these types of metaphors are less clear in terms of meaning, they are richer” (Kouchesh, 2014: 79). Considering the issues raised and the intellectual commonalities between Iranian and Spanish poets, we decided to analyze the common mental concepts between the poems of Sepehri and Lorca Research methodologyThe method of this research is analytical-descriptive, so that first we extracted the foundations of conceptual metaphors from the poetry of Sohrab Sepehri and the poems of Lorca, then we interpreted and analyzed the subjective concept of "love" from their poetry, analyzing them based on the theory of cognitive linguistics. DiscussionThe first topic that can be discussed and examined in the poems of Lorca and Sepehri is the use of movement schemas.“Reveal my pulse on the roughness of love’s breath” (Sepehri, 2011: 249).In order to show the movement schema of love, Sohrab gives it a human characteristic and imagines love as a person who breathes. However, the humanistic schema is shown in a different form from Lorca’s point of view.“A garden in which love is waiting for me.” (Lorca, 2022: 196).Lorca sees love as a human being who is sitting in the garden of the heart waiting to see the beloved. In static schemas, Sohrab Sepehri also considers love to be a static concept in the following example:“Love must be sought under the rain” (Sepehri, 2011: 184).Lorca also describes the subjective concept of “love” in a static way:“You are small and I am big, you flower of love” (Lorca, 2022: 218).Sohrab Sepehri speaks of love as a volumetric scheme:“Life has a leap the size of love” (Sepehri, 2011: 182).In the above verse, the poet uses the word “measure” for “love”. The use of this term is only for things that can be measured.In Lorca’s poems, the use of volumetric schemes is also clear.“Masters point with sincerity to the great statues of love” (Lorca, 2022: 383).In the above text, Lorca has expressed the subjective concept of “love” with the adjective “big”. The adjective that the poet used to express the aforementioned concept is necessary for things that have volume. In the following example, Sepehri uses a directional scheme:“A ladder from which love went to the roof of heaven.” (Sepehri, 2011: 174)In this example, Sepehri has placed the mental concept of “love” at the highest possible point. Lorca, like Sohrab, sees love at the highest level:“This peak, this love, this peak!” (Lorca, 2011: 326).Sohrab Sepehri depicts love with an unenclosed place and says:“In the forest, love awakens heroes” (Sepehri, 2011: 227).In this poem, the poet has been able to portray the spatiality of love by using “forest.” Lorca, like Sohrab Sepehri, objectifies the subjective concept of love with the help of place schemas:“I come from loves” (Lorca, 2022: 41).Lorca considers “love” as a place from which it comes; this spatial objectification shows that love, from the poet’s point of view, can be a city that can be abandoned.Sohrab Sepehri sees “love” as a factor for becoming familiar:“Only love makes you familiar with the warmth of an apple” (Sepehri, 2011: 194).Lorca also sees love as a factor for many daily affairs:“It is because of your love that I suffer from this weather, heart, and hat” (Lorca, 2022: 194).In the above example, Lorca sees “love” as a factor for his own suffering and torment. Sepehri considers the concept of “love” as a journey in the following verses:“And love is a journey as clear as the solitude of things” (Sepehri, 2011: 196).It is evident that the poet has a clear destination in mind for love. In contrast, Lorca depicts the passage of love that must pass through a long destination:“My love has experienced the passage” (Lorca, 2022: 397). ConclusionSohrab Sepehri and Federico Garcia Lorca are among the poets who have used various mental concepts in the form of various schemas. One of these concepts is "love". They sometimes use "love" in the form of dynamic and moving schemas, in such a way that they depict the expressed concept mostly as a human or an animal in motion. The frequency of love in the form of dynamic schemas is observed 2 times in Sepehri's poems, while its frequency is 36 times in Lorca's poems. Sepehri and Lorca have also used love in the form of a static and still schema, in such a way that in their opinion, love does not move by itself, is always static, and still, and in this section, the depiction of love in the form of objects has been used. The frequency of use of static and still schemas in Sepehri's poems is 4 times and in Lorca's poems is 21 times. In addition, the mentioned poets describe love in a specific place and territory, which creates a directional schema. The frequency of directional metaphors in Sohrab Sepehri's poems is three and in Lorca's poems is 15. Sometimes, the imagery that Sepehri and Lorca use of love is seen as a volumetric schema that occupies space and can be measured. Sepehri has used this schema 2 times and Lorca has used it 8 times. In another perspective, the poets under study see love as a factor for many things that has always had positive and negative effects on their lives. Making love, a factor for different things is 3 times in Sepehri's perspective and 5 times in Lorca's poems. The spatiality of love in a confined and non-confined form is another schema that Lorca has used 11 times and Sepehri has used 3 times in their poems. In contrast, the use of the road and path schemas is another case that the poets studied have used the least, so that only one case has been observed in their poems. Therefore, it can be acknowledged that Sohrab Sepehri and Lorca, with their creative minds, have been able to portray the mental concept of "love" in the form of different schemas, to the extent that the audience, by reading their poems, imagines pure images of love in their minds. 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Cambridge University Press. 247-261.  https://jllr.usb.ac.ir/article_9535.html Muhammad bin Suleyman, known as Fuzuli, was a Shiite poet of the 16th century who composed poems in Azeri Turkish, Persian, and Arabic. He lived during the reign of the Safavid Shah-Tahmasb and the Ottoman Sultan-Murad. Fuzuli's reputation is primarily in the Turkish literature. His well-known work, Sāqīnāmah, includes 320 verses divided into an introduction and seven sections, which contain a debate among musical instruments such as Ney, Daf, Oud, Tanbur, and Qanun, culminating in a talk with the musician himself. The issue of music and its instruments during the Safavid era, the religious and social attitudes towards them, and the presumed character of each instrument at that time are significant topics for research in this piece. Fuzuli's wavering stance on musical instruments and how his religious beliefs influenced his views on music are among the findings of studying Sāqīnāmah. After three hundred verses describing the pleasures of feasting and festivity, along with all the esoteric talks regarding the instruments, each representing a teaching such as righteousness and selflessness, Fuzuli speaks of the prohibition of these instruments. This paper analyzes Sāqīnāmah using a descriptive-analytical approach and library sources, focusing on its literary and artistic aspects, particularly examining its musical terminology. https://jllr.usb.ac.ir/article_9536.html In this research, Sana'I pieces have been analyzed based on macro linguistics, and the macro construction of his pieces has been determined. The macro structure of these pieces can be considered based on the structures of "description", "recommendation" and "explanation", which in some cases also contain the structures of "complaint", "desire" and "regret". Based on this point of view, Sana'i pieces are divided into several categories:single-structure, two-structure, three-structure, four-structure and in few cases five-structure. The most important and most used structure in these poems is the structure of description, which in terms of content is divided into substructures including: praise, lamentation, satire, expression of one's condition, as well as some other general categories such as: God, man and the world. It can be Due to the predominance of the descriptive element, the language in these pieces finds a referential function that is often mixed with the poet's emotions and feelings. Therefore,in the communication process of Sana'i's pieces, the sender (poet), the receiver (addressee) and the subject of the message are in the center and focus of attention, and from this point of view, his pieces can be considered emotional, persuasive and referential. Of course, it is expressed in literary language. https://jllr.usb.ac.ir/article_9605.html Hilālī Jaghata’ī is one of the poets of tenth century AH,. One of Hilālī’s few known qasidas—frequently mentioned in the tazkeras—is the qasida he composed in praise of ʿUbaydullāh Khān Uzbek.Two different views regarding this qasida have thus far been proposed in the tazkeras.This study aims to critique both existing viewpoints and presents new verses—found in the Jung-e Sharaf and the tazkera Nafāʾis al-Maʾāthir—to reassess the first group’s claim that the qasida was composed on the arrival of ʿUbaydullāh Khān. It further proposes the possibility that the poem was in fact composed in the mode of iʿtidhār (poetic apology), intended as a plea for forgiveness and a means for escaping from death.‌Accordingly, this study tries to address two key questions: How can the newly found verses of the qasida in praise of ʿUbaydullāh Khān Uzbek contribute to a clearer understanding of the poet’s intent? And how does this qasida relate to the tradition of apologetic poetry? Employing a descriptive–analytical method and relying on library sources and documents, the study then introduces the rhetorical technique of iʿtidhār and offers a brief overview of its background in Persian literature. https://jllr.usb.ac.ir/article_9649.html Semantics examines the process of meaning production with a discourse perspective. The discourse perspective of this theory creates conditions under which the role of the human factor, environmental factors and the relationships between them can be explained in the process of creating meaning. In addition, the semantic sign pays attention to cognitive, sensory-perceptual, emotional and aesthetic processes. Mahmoud Darwish and Qaisar Aminpour are among the poets whose emotional output of language and new artistic meanings are considered to be one of the most prominent features of their poetry. The present essay has tried to analyze the process of creating extra-ordinary literary meanings in two selected poems based on the system of emotional discourse and aims to answer the question of how the creation of meaning in the poems of two poets is based on the approach Can the discourse be explained? The final results indicate that receiving cognitive-sensory perceptions from the current issues in the two poets' life environment has caused the formation of a tense situation with high pressure and has created the emotional arousal of the subject/poet. Internal, intuitive global understanding by the narrators has caused both poets to present subtle and artistic semantic outputs in their poems. https://jllr.usb.ac.ir/article_9704.html Experiences and knowledge are the cause of loading the language with certain orientations. In this article, we want to show, through the language of Forough poetry collection, the context of explaining and understanding his mental feelings, which are manifestations of external experiences in the language of his poetry, and this by looking at the discourse of species and Let's discuss the lexical choices in his poems, which are a diagram of his thoughts and thoughts according to his poetic periods.thought, then we searched and described the social roots and psychological functioning of Forough's mind, We have analyzed the mediation of individual and social processes in his poems. Finally, with the descriptive-analytical method that we used, we came to the conclusion that the language and content in Forough's poetry is a creative social process and comes from a specific socio-cultural context, not the result of a collection of words and also, rhetoric that In the creation of the meaning of his poetry, it is used, arising from a communication system and a major component that creates the advancement of this rhetoric, which is caused by the natural ambiguity in every interactive situation. https://jllr.usb.ac.ir/article_9705.html Tzvetan Todorov (1939–2017), the Bulgarian-French theorist, regarded narratology as a branch of structuralism and divided it into three main aspects: syntactic, verbal, and semantic. In the Haft Paykar, Nezami Ganjavi crafted symbolic tales that are particularly rich in both structural complexity and ethical significance. One such tale, “The Story of the Sandalwood Dome,” stands out for its sharp contrast between good and evil and its clearly delineated cause-and-effect relationships, making it especially suitable for structural analysis. Employing a descriptive-analytical approach, this study examines how the syntactic, verbal, and semantic aspects of the narrative are organized according to Todorov’s framework, and explores the ways in which these aspects construct causal relationships, modes of expression, and ethical implications. The findings reveal that the syntactic aspect—through its core propositions, five-phase narrative progression, and linear chaining—establishes the story’s coherence and causal logic. The verbal aspect, characterized by a predominantly indicative mood, strict chronological order, an external-to-internal perspective on the portrayal of good and evil, and a guiding authorial tone marked by pronoun shifts, propels the action forward while lending the relationship between the narrator and Bahram Gur a distinctly didactic character. Finally, the semantic aspect transforms the fundamental good/evil opposition into a moral journey. https://jllr.usb.ac.ir/article_9706.html The story of Sheikh Sanan is one of the most controversial and influential mystical tales that Attar Neyshaburi has arranged in Mantiq al-Tairbah. This story, which contains deep mystical and romantic themes, depicts a spiritual journey during which the Sheikh goes through stages of love and sacrifice to reach the truth. The importance of this story and its impact have caused it to be retold in different cultures and integrated with local customs and traditions. Among different ethnic groups, the Kurds have preserved this story in different forms and in the form of their folklore. There are two prominent versions of this story in Kurdish culture: Sheikh Sanan and Sheikh Farrukh and Khatun Este, which were collected by Fatahi Ghazi. While maintaining the general structure of Attar's story. Among these differences, we can mention the presence of Kurdish characters and customs that are not present in Attar's story.This study examines the similarities and differences between these three narratives and aims to show the influence of local culture on the re-creation of mystical stories. Also, introducing Kurdish versions of this story helps in the interaction between cultures and a deeper understanding of mystical literature