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This essay shows how the Islamic Persianate poetic tradition is a critical conceptual resource for imagining futures in which poetry is a technology of congregation through which futures are postulated, negotiated, and lived. The essay engages the multilingual poetic milieu of Kashmir (Urdu, Persian, and Kashmiri) in the first half of the twentieth century, offering an inaugural analysis of the itinerant nature of Persian, Urdu, and Kashmiri poetry in relation to the form of ghazal and its consequences for future making. Kashmiri poets and critics, in poetry as well as prose, made prominent contributions to the literary and political debates about the purposes and potentialities of poetry as a socially aware public form in an anti-imperial context, a theme that animated multiple Urdu and Persian literary circles from the 1930s. [ABSTRACT FROM AUTHOR]

Despite the fact that a significant number of Iranians have lived in or visited the United States for more than half a century, they have produced very few accounts of their lives in or visits to the country. In the last decade, however, a number of narratives of travel to the United States have been published by Iranian authors, of which professor Mir Jalaleddin Kazzazi's New York-Letters merits special attention. This paper analyzes Kazzazi's text to highlight its distinctive features as a travelogue, which have led to the work claiming its own place among contemporary Iranian narratives of travel to America. More specifically, this study argues how, especially as a narrative in verse, the book challenges some of the conventional modes of travel writing; how it engages in its own mode of defamiliarising not only its content (that is, the all-too-familiar New York), but also the book's own epitext; how the author exploits a vast array of images from the repertoire of classical Persian literature to narrate New York; and, finally, how the ode narrative is interrupted to shift from the poet's account of New York to a lengthy panegyric to Persia. [ABSTRACT FROM AUTHOR]

Background & aim: Findings from ancient Persian literary texts indicate that the issue of professional medical ethics and the correct and logical relationship between a doctor and a patient has not been hidden from the eyes of writers and poets. In addition to the ethical advice of famous physicians, such as Ismail Jorjani, Ibn Sina, Razi, and other ancient Persian literary works have similarly addressed this issue and provided valuable ethical advice to physicians. The society of literature, using their creative and poetic nature, have recounted the relationship between a physician and a patient, sometimes in the form of stories and sometimes in explicit language. Although the field of medical knowledge and technology has made significant progress in recent decades and modern medical ethics has replaced traditional ethics, it seems that some acts and rights related to patients in the contemporary era are the moral heritage contained in ancient works, and in order to develop and complete ethical principles, we can return to this valuable heritage and support. Therefore, the aim of the present study was to determine and examine the components of medical ethics in ancient Persian literary texts and to compare them with modern medical ethics. Methods: The present qualitative study was conducted in a descriptive-analytical manner with the aim of identifying, classifying, extracting and analyzing the components of professional medical ethics reflected in some ancient Persian literature texts up to the end of the eighth century AH and its conformity with the principles of modern medical ethics. The data collection tool in the present research was through library research and the research data was collected through the examination of primary and secondary sources, articles related to medical ethics, searching in databases and search engines. The works studied include the poetic works: Shahnameh by Ferdowsi, Nezami Ganjavi's works, Hadigheha al-Haqeha by Hakim Sana'i, Rumi's Masnavi, Saadi's Garden, Hafez's Divan and prose works including: Qabus Nameh, Chaharmakaleh, Kalileh va Demneh and Saadi's Golestan. Results: A number of medical laws and ethics, especially the human relations between doctors and patients in contemporary times, are consistent and in line with the moral heritage contained in ancient works, and in order to develop and complete the principles of professional ethics, we can return to this valuable heritage and support. Conclusion: The results of the present study indicated that ancient Iranian literature has a special place for medical ethics, and the ethical and cultural teachings reflected in ancient literary works are approved and recommended by medical ethics experts and are consistent with the principles of modern medical ethics.

Child marriage, the union between a child below the age of consent and a spouse who is the same age or older, remains a prevalent practice in Iran. Often these marriages involve young girls betrothed to much older men as a result of economic arrangements between the girl's guardian and the groom. This practice imposes numerous physical and psychological hardships on the child bride, whose domestic and reproductive labor becomes bound to a man she did not choose to marry. By analyzing "Hitaw" (1973), by Ali Ashraf Darvishiyan, and Mādīyān (1986), directed by Ali Zhakan, this article aims to examine the perceptions and portrayals of these girls and their sexuality within the realm of art and literature. Through this analysis it seeks to contribute to a deeper understanding of the social, cultural, and political dynamics that perpetuate child marriage and impact the lives of young girls in Iran. [ABSTRACT FROM AUTHOR]

This article attempts to think race, sexuality, and temporality together in modern Iran. By analyzing modern Iranian literature, cinema, and media, it argues that the figure of the Indian evokes difference embodied in physiognomy, language, and sexuality in the Iranian imagination. Moreover, the Indian is temporally out of place and appears as a specter of the premodern Persianate past shared by Iran and India, haunting the modern, nationalist present. After examining racialized depictions of Indians in premodern Persianate texts, the article considers the raced, sexualized, heterotemporal figure of the Indian in popular novels like Dear Uncle Napoleon (1973), Savushun (1969), and The Patient Stone (1966); films like Qarun's Treasure (1965); and various musical performances from the 1970s to the 2010s. The article contends that for Iranians, the Indian's uncanny combination of similarity and alterity provokes anxieties about sexuality and racial modernity by seemingly disrupting the temporality of the present. [ABSTRACT FROM AUTHOR]

This article fleshes out two future directions for Middle Eastern studies as it puts the recent scholarship in Ottoman studies in dialogue with Alexander Jabbari's The Making of Persianate Modernity. First, like Jabbari, who interpreted the sexual puritanism in modern Persian literary histories as a convention of Persianate modernity, the author notes that critics can analyze key claims in texts of Arabic and Turkish modernity as generic conventions rather than as facts that capture sociopolitical transformations of modernity. Second, the author argues that The Making of Persianate Modernity, which examines the "form that the Persianate takes" in modern Iran and South Asia, can serve as a point of departure for studying the diverse forms that the Persianate takes in other Middle Eastern contexts, which do not have to be subsumed to a single Persianate world. While the term "Persianate world" has served as a useful heuristic concept, critics can shift their focus to "the multiple worlds that the Persianate has taken" as they analyze communities, such as the Ottoman literati, who do not self-identify as members of a cosmopolitan Persianate community. The Persian textual heritage can cultivate multiple worlds that uphold different, and even contradictory, political ideals and aesthetic norms. [ABSTRACT FROM AUTHOR]

Dari Persian language beginning is considered to have arrived in India almost a thousand years ago when Sultan Mahmud made attacks in the Indian subcontinent. Farsi opened its way in India and gradually took place in the depth of Indian culture; the Persian language became the only language of communication, the language of understanding, the language of education, and the university language of India. Orators, intellectuals, and statesmen wrote their works in the sweet Dari Farsi language. The fact is that after the arrival of Sultan Mahmud Ghaznavi to India, the Dari Persian language took a special place in the field of Indian literature and culture. This land became a great place for the publication of Dari Persian language literary works. The study of Indian literature and philosophy attracted scholars such as Abu Rihan Al-Biruni, who had entered this land with Sultan Mahmud and authored the research books of Mulland, Athar al-Baqiyyah, and Al-Tafhim Lawael Sanat Tanjim. Sultan Mahmud from the year 416-392 AH. He traveled to India seventeen times, and every time, many scholars, poets, and writers such as Eleni Balkhi, Farrokhi Sistani, and some others accompanied him. Because the sultan loved the Dari Persian language, the poets and writers of this language in India gathered at his court. From that date onwards, the Dari Persian language spread in India, and the literary and cultural centers were transferred from Khorasan to India. This spread and disseminated Khorasani literature and culture significantly, and as a result, the Dari Persian works became the most popular. These centers included Lahore, Delhi, Bengal, Deccan, Multan, and Kashmir. [ABSTRACT FROM AUTHOR]

In a large part of Persian literature, especially poetry, the type of “Motreb” has a prominent presence. Iranian poetic memory familiar with classical literature (Saadi, Hafez and Molavi) finds a magnificent image of him, but in the language of the society, we notice the derogatory meaning of "Motreb". This research seeks to show signs of this dual encounter with the poet even in ancient Iranian culture by examining famous literary texts up to the 8th century, and then clarify the source of this contradictory confrontation. This research was done in a descriptive-analytical way with a library source. The abundance of literary sources has forced researchers to focus on the important texts. The results of the research show that in a part of mystic literature, Motreb does not have a very honorable face, but in other genres, his face is radiant and valuable. What has created a negative image from Motreb in the Zohd and Sufi literature, in addition to the influence of religious texts, is the conflation of the Motreb with the corrupting edges of the carousal songs. [ABSTRACT FROM AUTHOR]

1.Introduction Human thought is rooted in systematic principles and structures, essential not only for intellectual and scientific accomplishments, but also for a more enriching human life. The existing social system, the order in interactions among people, and the development of various sciences are all outcomes of these structures. Another instance of these structures can be found in works of art, especially in literature. Literature, as the most visible layer of thought, has a high capacity to reveal those hidden structures. From this, we can propose the notion that every literary text operates within a discernible framework and structure. In essence, even the most seemingly unstructured literary works are purposefully situated within an underlying structure. This issue can be recovered both in Classical and modern works. Literary works throughout old and modern history consistently follow a format that includes a preface, body, and conclusion. Such a process is also established in modern narratives, and it is expressed in three structures: Begining, Climax, and Ending. Newer narratives may seem confusing, but they shape the text to fit narrative needs and ideological principles. It is worth noting that the macrostructure consists of structures that can also be divided into microstructures. The microstructures serve as the foundational elements for the triple structures, which ultimately determine the overall structure of the literary work. The upcoming research will concentrate on examining the role of prefaces as an essential component within a systematic whole. This presents an opportunity to shed light on the underlying structure of prefaces in classical Persian prose works. Methodology A descriptive and analytical approach is used to align with the qualitative nature of the research. Within this framework, the focus will be on the general definition of structural thinking rather than a specific theory. At data collection level, the historical approach will be used. In order to achieve accurate results in the study, the Quota Sample has been implemented, taking into account the multitude of prefaces that existed in the classical Iranian Literature. The researchers have submitted five Classical Prose works: Kalla wa-Dimna, Gulistan, Asrar al-Tawhid, Tarikh-e-Jahangushay, and KTmaye-Saadat. Prefaces from a variety of fields have been chosen, including history, scholarship, ethics, and education, to showcase the attributes of theoretical receptivity discussed in the study.. Discussion There is a structure in the prefaces of Persian classical prose works that have managed to remain sustainable despite various historical and social developments. Here we point to three sections of this structure: praise to God, political issues, and motivational factors. All the authors began their work with the praise of God. They praise God for his various attributes. A part of these praises is enumerating various attributes of God. These attributes are selected according to the general content of the work, the author's introverted or extroverted attitude, social conditions and other factors. Abu'l-Ma'ali Nasrollah effectively generates polarization by pitting two distinct groups, "allies" and "enemies," against each other. This creates a dual dynamic that is prevalent in his political discourse. The authors in other parts of the prefaces have paid attention to politics and institutions of power. In other words, in a hierarchical movement, while moving from top to bottom, the authors have moved towards the institution of power as a link between heaven (God and religion) and earth (politics and society). Such an approach, on the one hand, is the result of trying to give legitimacy to the rulers, and on the other hand, trying to immortalize their works by presenting them to the officials. Also, the authors of the Prefaces have paid attention to the motivation factors. Their motivation to write the works is either human or spiritual. Human factors are classified into three categories: First: The group is of lower status than the author, and is evident in the didactic, mystic, or moral prefaces. Second: The author and his friends are equal, which exists in the Preface of Sa'di's Gulistan. Third: Owners of political power, such as the king or the minister, constitute another group of motivation factors. They are in a higher status than the authors. This can be observed in: Kalla wa-Dimna. 4. Conclusion Persian prose works demonstrate a threefold structure, comprised of a Preface, a substantial body, and a conclusion. However, prefaces, as part of this three-part structure, can have a specific and tangible structure. This research shows that the prefaces of various classical Persian prose works, including five under study, follow a similar structured pattern despite differences in genre. There are some variations in the components, but the overall macrostructure remains the same. They are limited or expanded according to the author's mental postures, the perspective of the work and some other metatextual or intertextual factors. The mentioned structural pattern is composed of nine elements, which can be generalized in other Persian prose works. These nine elements have acted as a guiding force for authors in the creation of their works prefaces. From a more structuralist perspective, the constructions of prefaces can be summarized in three macrostructures titled "other", "self", "other". On the other hand, the existence of a single structure that is hidden in the prefaces of Persian prose texts means that the author of the prose text was faced with a limited and predetermined framework in writing the preface, and he had to perform artistic and literary innovation within this assumed framework. find, an issue that, while challenging the literary abilities of the authors, reveals the extent of their artistic ability and literary innovation within a framework. [ABSTRACT FROM AUTHOR]

This article explores the Sufi tradition of rending garments and compares it with similar practices in Zoroastrianism, Christianity, and Judaism, as well as in some ancient Arab, Egyptian, and Mesopotamian cultures. The first section gives a brief introduction to the Sufi custom and highlights the striking similarities between this symbolic gesture in Islamic mysticism and the tradition of stripping in some ancient religions and cultures, mainly rooted in the Near East. Broadly, all of the contexts, in which the act of rending garments is performed, indicate deep anxieties and intense feelings. Older instances show that the main triggers include the death of loved ones and the dreadful consequences of cardinal sins such as blasphemy and sacrilege. These meanings can be found in Jewish, Christian and Islamic literature and can also be found in Sufism. In addition to these meanings, Sufism has reinterpreted the ancient tradition, giving it new meanings aligned with its fundamental concepts to introduce it as a Sufi tradition. Lastly, the article's final section explains this tradition's formation and evolution, presenting two different theories on its origins.

This article offers a detailed study of a story by one of the giants of Persian literature, Farid al-din Attār. It particularly focuses on the character of Attār’s “The Pious Woman”, who emerges as a symbol of faithfulness and discusses her significance as a character of mystical proportion and grandeur that also appears as personification of virtue in a world dominated by acquisitive and lascivious men. In many aspects, the Pious Woman reminds one of Penelope in Homer’s The Odyssey who is also celebrated for her faithfulness to her husband and for her patience and feminine virtues.

This essay, titled “Conclusion to Book 10: Summary of Findings,” serves as the conclusion to the book Khayyami Robaiyat: Part 3 of 3: Quatrains 686-1000: Songs of Joy Addressing the Question “Why Can Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the tenth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. In this conclusion, Tamdgidi overviews the basic contributions of the past and present books of the series, offering a more detailed synopsis of the chapters of its Book 10 included in the present volume. In Book 10, Tamdgidi offered the third of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 3 includes quatrains 686-1000 for each of which the Persian original along with Tamdgidi’s new English verse translation and a transliteration for the same are shared. Each quatrain is indexed according to the frequency of its inclusion in manuscripts, the earliest known date of its appearance in them, the extent to which it has “wandered” into other poets’ works, and its rhyming scheme. Brief comments about the meaning of each quatrain in relation to other quatrains and works attributed to Khayyam were then offered along with any notes regarding its new translation as shared. Tamdgidi showed that the quatrains 686-1000 address the question “Why Does (or Can) Happiness Exist?” The latter question is the third of a set of three methodically phased questions Khayyam has identified in his philosophical works as being required for investigating any subject. The order in which the quatrains were presented shows that the quatrains included in Part 3 continue the logically deductive reasoning process started in Part 2, but serve as practical examples of how humankind can turn the activity of poetry writing itself as a source of joy in life when confronting the topics of death, survival, and spiritual fulfillment. The thematic topics of the quatrains of Part 3 as shared in Book 10 are: XVIII. Garden; XIX. Wine; XX. Love; XXI. Night; XXII. Death and Survival; XXIII. Liberation; and XXIV. Return. Khayyam’s overall sentiment in pursuing the inquiry in the third part of his book of poetry is expressive of joy. He begins by showing, using the example of his own poetry, how strolling in a garden offers opportunities to enjoy life it even when writing about the transient nature of the roses and greens. He then offers in the longest section of his book of poetry a set of quatrains in praise of Wine, disguising therein a praise of the joy of writing his own poetry, Wine’s metaphorical double-meanings offering chances in the here-and-now of “stealing” joyfulness even amid feelings of helplessness in confronting physical death. He then turns to the topic of spiritual Love, signifying the role the sentiment of Love in search of the Source of creation plays in the evolutionary movements back and forth of the succession order of the created existence as discussed in his philosophical and theological writings. Khayyam continues to the topic of death and the possibility of lasting spiritual survival and existence by practically encouraging the Drinkers of the Wine of his poetry itself to help bring about that end. He ends the Wine of his poetry by expressing how it has helped free himself from the prior (in Part 1) doubtfully expressed inevitability of physical death in favor of not just hopefulness (in Part 2) but the certainty of having initiated a lasting spiritual existence by way of the bittersweet Wine of his poetry itself, celebrating a return to the spiritual Source of all existence as woven into the 1000-threaded wick of the candle of his Love for God. We should therefore judge each step of the third part of Khayyam’s poetic inquiry in consideration of the two other parts of his book of poetry, those already shared in Books 8 and 9 addressing the questions “Does Happiness Exist?” and “What Is Happiness?” [ABSTRACT FROM AUTHOR]

This section titled “The Robaiyat of Omar Khayyam: Khayyami Robaiyat Part 3 of 3: Quatrains 686-1000: Songs of Joy Addressing the Question: “Why Can Happiness Exist?”” is the main book-length chapter of the book Khayyami Robaiyat: Part 3 of 3: Quatrains 686-1000: Songs of Joy Addressing the Question “Why Can Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the tenth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. Tamdgidi offers in this chapter the third of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 3 includes quatrains 686-1000 for each of which the Persian original along with Tamdgidi‘s new English verse translation and a transliteration for the same are shared. Each quatrain is indexed according to the frequency of its inclusion in manuscripts, the earliest known date of its appearance in them, the extent to which it has “ wandered” into other poets’ works, and its rhyming scheme. Brief comments about the meaning of each quatrain in relation to other quatrains and works attributed to Khayyam are then offered along with any notes regarding its new translation as shared. Tamdgidi shows that the quatrains 686-1000 address the question “Why Does (or Can) Happiness Exist?” The question is the third of a set of three methodically phased questions Khayyam has identified in his philosophical works as being required for investigating any subject. The order in which the quatrains are presented shows that the quatrains included in Part 3 continue the logically deductive reasoning process started in Part 2, but serve as practical examples of how humankind can turn the activity of poetry writing itself as a source of joy in life when confronting the topics of death, survival, and spiritual fulfillment. The thematic topics of the quatrains of Part 3 as shared in Book 10 are: XVIII. Garden; XIX. Wine; XX. Love; XXI. Night; XXII. Death and Survival; XXIII. Liberation; and XXIV. Return. Khayyam’s overall sentiment in pursuing the inquiry in the third part of his book of poetry is expressive of joy. He begins by showing, using the example of his own poetry, how strolling in a garden offers opportunities to enjoy it even when writing about the transient nature of the roses and greens. He then offers in the longest section of his book a set of quatrains in praise of Wine, disguising therein a praise of the joy of writing his own poetry, Wine’s metaphorical double-meanings offering chances in the here-and-now of stealing joyfulness even when mistreated by his foes and amid feelings of helplessness in confronting physical death. He then turns to the topic of spiritual Love, signifying the role the sentiment of Love in search of the Source of creation plays in the evolutionary process of the succession order of the created existence as discussed in his philosophical and theological writings. He continues to the topic of death and the possibility of lasting spiritual survival and existence by practically encouraging the Drinkers of the Wine of his poetry itself to help bring about that end. He ends the Wine of his poetry by expressing how it has helped free himself from the prior (in Part 1) doubtfully expressed inevitability of physical death in favor of not just hopefulness (in Part 2) but the certainty of having initiated a lasting spiritual existence by way of the bittersweet Wine of his poetry itself, celebrating a return to the spiritual Source of all existence as woven into the 1000-threaded wick of the candle of his Love for God. We should therefore judge each step of the third part of Khayyam’s poetic inquiry in consideration of the two other parts of his book of poetry, those already shared in Books 8 and 9 addressing the questions “Does Happiness Exist?” and “What Is Happiness?” [ABSTRACT FROM AUTHOR]

This essay titled “Common Introduction to Books 8, 9, 10, and 11: General Guidelines for Presenting the Khayyami Robaiyat in the “Omar Khayyam’s Secret” Series,” serves as an introduction to book Khayyami Robaiyat: Part 3 of 3: Quatrains 686-1000: Songs of Joy Addressing the Question “Why Can Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the tenth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. It offers a summary of prior books of the series. From Book 8 of the Omar Khayyam’s Secret series to its Book 11, Tamdgidi presents in a new thematic and individual logical order a set of 1000 Khayyami quatrains which he has selected from a wider pool of them that have been over the centuries attributed to Khayyam. His study of the Khayyami Robaiyat in the four books is not intended to be archival in nature, although the quatrains have themselves resulted from such efforts made by others in the past. What he instead intends to demonstrate by selecting the 1000 quatrains from an already extant pool of Khayyami Robaiyat and presenting them in a specific succession order is that it is possible to organize a logically meaningful collection of them in a way that is both internally coherent as well as compatible with the worldview of Omar Khayyam as found in all of his extant and firmly attributed treatises and writings. The presentation of the Robaiyat in this series will be new in three respects: 1) 1000 already extant selected quatrains will be translated in new English verse so as to show faithfully both the literal meaning and the poetic form of each quatrain; 2) They will be organized into three parts and their respective thematic sections in a new logical order to show that they fulfill a three-phased procedure of investigation Khayyam himself introduced in one of his major treatises; 3) The new collection will be shown to be internally coherent and compatible with the worldview of Omar Khayyam as shared in his other firmly attributed writings. It is important for the readers of Book 8-11 of this series to keep in mind that the author already explored in depth the question of attributability of the Robaiyat to Khayyam, and offered a broad interpretive framework for his Robaiyat collection, at the end of Book 7 of this series devoted to the study of Khayyami art. Since Tamdgidi could not proceed to the study of the Robaiyat themselves in that volume due to limitations of space, Books 8-11 must be regarded as a continuation of the theme of Khayyami art, now specifically focusing on Khayyam’s Robaiyat. However, given the relevance of that chapter to what follows in Books 8-11, for readers’ convenience he will share a brief summary of that chapter in a final section of this introduction (before giving a description of the four books) regarding the riddle of attributability of the Robaiyat and the broad framework shared earlier for interpreting Khayyam’s Robaiyat collection. Still, he advises interested readers to familiarize themselves with the fuller account of that chapter itself in the last chapter of Book 7. Tamdgidi notes that although it appears that we are now turning in this series to the direct study of the Robaiyat themselves, readers should not lose sight of the fact that, considering the method being applied in this series, we have already been studying the Robaiyat indirectly throughout the prior seven books. Otherwise, we would simply miss the point of why we had to go through writing and reading seven volumes to reach this point. This common introduction elaborates further on the following aspects of the general guidelines followed in presenting the Khayyami Robaiyat in this series: 1. Moving from Indirect to Direct Study of the Robaiyat in This Series; 2. Why Four Volumes and A Common Introduction for Them?; 3. Why 1000 Quatrains?; 4. From What Sources the Quatrains Have Been Drawn?; 5. Khayyami Robaiyat or the Robaiyat of Omar Khayyam?; 6. What Criteria Are Used in Selecting the Quatrains?; 7. Renderings of the Persian Originals of the Khayyami Robaiyat; 8. Translating the Robaiyat; 9. Transliterating the Robaiyat; 10. Organizing the Robaiyat; 11. Indexing the Robaiyat in Selected Old or Recent Collections; 12. Other Somewhat Possible and Rejected Khayyami Robaiyat; 13. The Purpose of Comments; 14. Capitalization and Punctuation Guidelines; 15. Count Patterns of Rhyming Styles of the Robaiyat of Omar Khayyam as Shared in This Series; 16. An Interpretive Framework for the Robaiyat Based on Omar Khayyam’s Worldview as Shared in All of His Other Writings; 17. General Descriptions of Books 8-11 of the Series. [ABSTRACT FROM AUTHOR]

This essay titled “Book 10 Preface: Recap From Prior Books of the Series,” is an opening to the book Khayyami Robaiyat: Part 3 of 3: Quatrains 686-1000: Songs of Joy Addressing the Question “Why Can Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the tenth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. It offers a summary of prior books of the series. In the overall series, Tamdgidi shares the results of his research on Omar Khayyam, the enigmatic 11th/12th centuries Persian Muslim sage, philosopher, astronomer, mathematician, physician, writer, and poet from Neyshabour, Iran, whose life and works still remain behind a veil of deep mystery. The purpose of his research has been to find definitive answers to the many puzzles still surrounding Khayyam, especially regarding the existence, nature, and purpose of the Robaiyat in his life and works. To explore the questions posed in the series, he advances a new hermeneutic method of textual analysis, informed by what he calls the quantum sociological imagination, to gather and study all the attributed philosophical, religious, scientific, and literary writings of Khayyam. In the first book of the series, subtitled New Khayyami Studies: Quantumizing the Newtonian Structures of C. Wright Mills’s Sociological Imagination for A New Hermeneutic Method, following a common preface and introduction to the series, Tamdgidi developed the quantum sociological imagination method framing his hermeneutic study in the series. The second book of the series, subtitled Khayyami Millennium: Reporting the Discovery and the Reconfirmation of the True Dates of Birth and Passing of Omar Khayyam (AD 1021- 1123), was dedicated to exploring in depth the hitherto findings and controversies surrounding the dates of birth and passing of Omar Khayyam. Therein, Tamdgidi discovered the true dates of birth and passing of Omar Khayyam. The third book of the series, subtitled Khayyami Astronomy: How the Newly Discovered True Birth Horoscope of Omar Khayyam Reveals the Origins of His Pen Name and Independently Confirms His Authorship of the Robaiyat, was devoted to a close examination of Omar Khayyam’s newly discovered true birth date horoscope, and what information its hermeneutic study can offer for understanding Khayyam’s life and works, especially the origin, nature, and the purpose of his Robaiyat. Therein, Tamdgidi discovered the horoscope origins of Omar Khayyam’s pen name and independently confirmed his authorship of a collection of robaiyat. The fourth book of the series was subtitled Khayyami Philosophy: The Ontological Structures of the Robaiyat in Omar Khayyam’s Last Written Keepsake Treatise on the Science of the Universals of Existence. It was devoted to an in-depth examination of Omar Khayyam’s treatise “Resaleh dar Elm-e Kolliyat-e Vojood” (Treatise on the Science of the Universals of Existence) which was written originally in Persian for keepsake toward the end of his life. The fifth book of the series was subtitled Khayyami Theology: The Epistemological Structures of the Robaiyat in All the Philosophical Writings of Omar Khayyam Leading to His Last Keepsake Treatise. It was devoted to an in-depth examination of all of Omar Khayyam’s philosophical treatises written before his last keepsake treatise on the science of the universals of existence, one Tamdgidi examined already in depth in Book 4 of the series. The purpose of the study of these texts, applying the quantum hermeneutic method developed for the series, was to arrive at an understanding of the structures of the theological epistemology informing any collection of quatrains or Robaiyat Khayyam may have written in his life. The sixth book of the series, subtitled Khayyami Science: The Methodological Structures of the Robaiyat in All the Scientific Works of Omar Khayyam, was devoted to a hermeneutic study of all of Khayyam’s scientific works. The study was undertaken for the specific purpose of gaining hermeneutic insights into the methodological structures of Khayyam’s scientific thinking that can shed light on his literary works, especially his poetry writing. In the book, Tamdgidi shared the Arabic texts, his new English translations (based on others’ or his new Persian translations, also included in the volume), and hermeneutic analyses of five extant scientific writings of Khayyam: a treatise in music on tetrachords; a treatise on balance to measure the weights of precious metals in a body composed of them; a treatise on dividing a circle quadrant to achieve a certain proportionality; a treatise on classifying and solving all cubic (and lower degree) algebraic equations using geometric methods; and a treatise on explaining three postulation problems in Euclid’s book Elements. Khayyam wrote three other non-extant scientific treatises on nature, geography, and music, while a treatise in arithmetic is differently extant since it influenced the work of later Islamic and Western scientists. His work in astronomy on solar calendar reform is also differently extant in the calendar used in Iran today. A short tract on astrology attributed to him has been neglected. The seventh book of the series was subtitled Khayyami Art: The Art of Poetic Secrecy for a Lasting Existence: Tracing the Robaiyat in Nowrooznameh, Isfahan’s North Dome, and Other Poems of Omar Khayyam, and Solving the Riddle of His Robaiyat Attributability. In the book Tamdgidi shared his updated edition of Omar Khayyam’s Persian book Nowrooznameh, and for the first time his new English translation of it, followed by his careful analysis of its text. He then visited recent findings about the possible contribution of Khayyam to the design of Isfahan’s North Dome. The texts and his Persian (where needed) and English translations and analyses of Khayyam’s other Arabic and Persian poems then followed. Next, he studied the debates surrounding the attributability of the Robaiyat to Omar Khayyam, before offering the book’s conclusion. The eighth book of the series was subtitled Khayyami Robaiyat: Part 1 of 3: Quatrains 1-338: Songs of Doubt Addressing the Question “Does Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three- Phased Method of Inquiry. In Book 8, following an introduction in which Tamdgidi shared the general guidelines about and an overview of the presentation of Khayyami Robaiyat in this series, he began by offering the first of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 1 included quatrains 1-338 for each of which the Persian original along with his new English verse translation and a transliteration for the same, along with other relevant indexical information and comments about its fit with other quatrains and other works of Khayyam, were shared. The ninth book of the series was subtitled Khayyami Robaiyat: Part 2 of 3: Quatrains 339-685: Songs of Hope Addressing the Question “What Is Happiness?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three- Phased Method of Inquiry. In Book 9, following an introduction in which Tamdgidi shared the general guidelines about and an overview of the presentation of Khayyami Robaiyat in this series, he continued by offering the second of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 2 included quatrains 339-685 for each of which the Persian original along with my new English verse translation and a transliteration for the same, along with other relevant indexical information and comments about its fit with other quatrains and other works of Khayyam, were shared. The present book, tenth in the series, is subtitled Khayyami Robaiyat: Part 3 of 3: Quatrains 686-1000: Songs of Joy Addressing the Question “Why Can Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry. In Book 10, following an introduction in which Tamdgidi will share the general guidelines about and an overview of the presentation of Khayyami Robaiyat in this series, he will continue by offering the third of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 3 includes quatrains 686-1000 for each of which the Persian original along with my new English verse translation and a transliteration for the same, along with other relevant indexical information and comments about its fit with other quatrains and other works of Khayyam, will be shared. [ABSTRACT FROM AUTHOR]

This article explores the Sufi tradition of rending garments and compares it with similar practices in Zoroastrianism, Christianity, and Judaism, as well as in some ancient Arab, Egyptian, and Mesopotamian cultures. The first section gives a brief introduction to the Sufi custom and highlights the striking similarities between this symbolic gesture in Islamic mysticism and the tradition of stripping in some ancient religions and cultures, mainly rooted in the Near East. Broadly, all of the contexts, in which the act of rending garments is performed, indicate deep anxieties and intense feelings. Older instances show that the main triggers include the death of loved ones and the dreadful consequences of cardinal sins such as blasphemy and sacrilege. These meanings can be found in Jewish, Christian and Islamic literature and can also be found in Sufism. In addition to these meanings, Sufism has reinterpreted the ancient tradition, giving it new meanings aligned with its fundamental concepts to introduce it as a Sufi tradition. Lastly, the article's final section explains this tradition's formation and evolution, presenting two different theories on its origins. [ABSTRACT FROM AUTHOR]

This essay, titled “ Conclusion to Book 9: Summary of Findings,” serves as the conclusion to the book Khayyami Robaiyat: Part 2 of 3: Quatrains 339-685: Songs of Hope Addressing the Question “What Is Happiness?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the ninth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. In this conclusion, Tamdgidi overviews the basic contributions of the past and present books of the series, offering a more detailed synopsis of the chapters of its Book 9 included in the present volume. In Book 9, Tamdgidi offered the second of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 2 includes quatrains 339-685 for each of which the Persian original along with Tamdgidi’s new English verse translation and a transliteration for the same are shared. Each quatrain is indexed according to the frequency of its inclusion in manuscripts, the earliest known date of its appearance in them, the extent to which it has “wandered” into other poets’ works, and its rhyming scheme. Brief comments about the meaning of each quatrain in relation to other quatrains and works attributed to Khayyam are then offered along with any notes regarding its new translation as shared. Tamdgidi showed that the quatrains 339-685 address the question “What Is Happiness?” The latter is the second of a set of three methodically phased questions Khayyam has identified in his philosophical works as being required for investigating any subject. The order in which the quatrains were presented shows that the quatrains included in Part 2 follow a logically deductive reasoning process through which Khayyam advances in the causal chain of moving from methodological to explanatory and practical quatrains, by way of addressing the question noted above. The thematic topics of the quatrains of Part 2 as shared in Book 9 are: X. The Drunken Way; XI. Willfulness; XII. Foes and Friends; XIII. Wealth; XIV. Today; XV. Pottery; XVI. Cemetery; and XVII. Paradise and Hell. Khayyam begins with reflections on God’s created world, suggesting that its unitary existence cannot be understood using either/or dualistic lenses where the ways of knowing by the head, the heart, and senses are pursued separately. Instead, he advocates, building on the idea of the Wine trope discovered in Part 1, a “Drunken way” by which he means a unitary way of knowing symbolized by the spiritual indivisibility of Wine in contrast to the fragmentations of the grapes. He then embarks on a deductive method of emphasizing human willfulness, also created by God, offering humankind a chance for playing a creative role in shaping its own world. Khayyam then continues to apply such an explanatory model in dealing with practical social matters having to do with foes, friends, and wealth, leading him to advocate for the practical significance of “stealing” the chances offered in the here-and-now of today to transform self and society in favor of happier and more just outcomes. Using the tropes of visiting the jug-maker’s shop and the cemetery, Khayyam then emphasizes the need to maintain a wakeful awareness of the inevitability of one’s physical death in order to use the opportunity of life to cultivate universal self-awareness before it is too late, that paradise and hell and judgment days are not otherworldly, but realities of our here and now living. He thus transcends the sentiment of a promised future hope by advising us to create a happy life in the cash of the here-and-now, his own poetry itself being a means toward that end. Part 2 must then be understood in consideration of the other two parts of his book of poetry, one already shared in Book 8 addressing the questions “Does Happiness Exist?” and the next to follow in Book 10 addressing the question “Why Does (or Can) Happiness Exist?” [ABSTRACT FROM AUTHOR]

This section titled “ The Robaiyat of Omar Khayyam: Khayyami Robaiyat Part 2 of 3: Quatrains 339-685: Songs of Hope Addressing the Question: “What Is Happiness?”” is the main book-length chapter of the book Khayyami Robaiyat: Part 2 of 3: Quatrains 339-685: Songs of Hope Addressing the Question “What Is Happiness?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the ninth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. Tamdgidi offers in this chapter the second of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 2 includes quatrains 339-685 for each of which the Persian original along with Tamdgidi‘s new English verse translation and a transliteration for the same are shared. Each quatrain is indexed according to the frequency of its inclusion in manuscripts, the earliest known date of its appearance in them, the extent to which it has “ wandered” into other poets’ works, and its rhyming scheme. Brief comments about the meaning of each quatrain in relation to other quatrains and works attributed to Khayyam are then offered along with any notes regarding its new translation as shared. Tamdgidi shows that the quatrains 339-685 address the question “What Is Happiness?” The latter is the second of a set of three methodically phased questions Khayyam has identified in his philosophical works as being required for investigating any subject. The order in which the quatrains are presented shows that the quatrains included in Part 2 follow a logically deductive reasoning process through which Khayyam advances in the causal chain of moving from methodological to explanatory and practical quatrains, by way of addressing the question noted above. The thematic topics of the quatrains of Part 2 as shared in Book 9 are: X. The Drunken Way; XI. Willfulness; XII. Foes and Friends; XIII. Wealth; XIV. Today; XV. Pottery; XVI. Cemetery; and XVII. Paradise and Hell. Khayyam begins with reflections on God’s created world, suggesting that its unitary existence cannot be understood using either/or dualistic lenses where the ways of knowing by the head, the heart, and senses are pursued separately. Instead, he advocates, building on the idea of the Wine trope discovered in Part 1, a “Drunken way” by which he means a unitary way of knowing symbolized by the spiritual indivisibility of Wine in contrast to the fragmentations of the grapes. He then embarks on a deductive method of emphasizing human willfulness, also created by God, offering humankind a chance for playing a creative role in shaping its own world. Khayyam then continues to apply such an explanatory model in dealing with social matters having to do with foes, friends, and wealth, leading him to advocate for the practical significance of “stealing” the chances offered in the here-and-now of today to transform self and society in favor of happier and more just outcomes. Using the tropes of visiting the jug-maker’s shop and the cemetery, he then emphasizes the need to maintain a wakeful awareness of the inevitability of one’s physical death in order to use the opportunity of life to cultivate universal self-awareness before it is too late, that paradise and hell and judgment days are not otherworldly, but realities of our here and now living. He thus transcends the sentiment of a promised future hope by advising us to create a happy life in the cash of the here-and-now, his own poetry itself being a means toward that end. Part 2 must then be understood in consideration of the other two parts of his book of poetry, one already shared in Book 8 addressing the questions “Does Happiness Exist?” and the next to follow in Book 10 addressing the question “Why Does (or Can) Happiness Exist?” [ABSTRACT FROM AUTHOR]

This essay titled “Book 9 Preface: Recap From Prior Books of the Series,” is an opening to the book Khayyami Robaiyat: Part 2 of 3: Quatrains 339-685: Songs of Hope Addressing the Question “What Is Happiness?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry, which is the ninth volume of the twelve-book series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, authored by Mohammad H. Tamdgidi. It offers a summary of prior books of the series. In the overall series, Tamdgidi shares the results of his research on Omar Khayyam, the enigmatic 11th/12th centuries Persian Muslim sage, philosopher, astronomer, mathematician, physician, writer, and poet from Neyshabour, Iran, whose life and works still remain behind a veil of deep mystery. The purpose of his research has been to find definitive answers to the many puzzles still surrounding Khayyam, especially regarding the existence, nature, and purpose of the Robaiyat in his life and works. To explore the questions posed in the series, he advances a new hermeneutic method of textual analysis, informed by what he calls the quantum sociological imagination, to gather and study all the attributed philosophical, religious, scientific, and literary writings of Khayyam. In the first book of the series, subtitled New Khayyami Studies: Quantumizing the Newtonian Structures of C. Wright Mills’s Sociological Imagination for A New Hermeneutic Method, following a common preface and introduction to the series, Tamdgidi developed the quantum sociological imagination method framing his hermeneutic study in the series. The second book of the series, subtitled Khayyami Millennium: Reporting the Discovery and the Reconfirmation of the True Dates of Birth and Passing of Omar Khayyam (AD 1021- 1123), was dedicated to exploring in depth the hitherto findings and controversies surrounding the dates of birth and passing of Omar Khayyam. Therein, Tamdgidi discovered the true dates of birth and passing of Omar Khayyam. The third book of the series, subtitled Khayyami Astronomy: How the Newly Discovered True Birth Horoscope of Omar Khayyam Reveals the Origins of His Pen Name and Independently Confirms His Authorship of the Robaiyat, was devoted to a close examination of Omar Khayyam’s newly discovered true birth date horoscope, and what information its hermeneutic study can offer for understanding Khayyam’s life and works, especially the origin, nature, and the purpose of his Robaiyat. Therein, Tamdgidi discovered the horoscope origins of Omar Khayyam’s pen name and independently confirmed his authorship of a collection of robaiyat. The fourth book of the series was subtitled Khayyami Philosophy: The Ontological Structures of the Robaiyat in Omar Khayyam’s Last Written Keepsake Treatise on the Science of the Universals of Existence. It was devoted to an in-depth examination of Omar Khayyam’s treatise “Resaleh dar Elm-e Kolliyat-e Vojood” (Treatise on the Science of the Universals of Existence) which was written originally in Persian for keepsake toward the end of his life. The fifth book of the series was subtitled Khayyami Theology: The Epistemological Structures of the Robaiyat in All the Philosophical Writings of Omar Khayyam Leading to His Last Keepsake Treatise. It was devoted to an in-depth examination of all of Omar Khayyam’s philosophical treatises written before his last keepsake treatise on the science of the universals of existence, one Tamdgidi examined already in depth in Book 4 of the series. The purpose of the study of these texts, applying the quantum hermeneutic method developed for the series, was to arrive at an understanding of the structures of the theological epistemology informing any collection of quatrains or Robaiyat Khayyam may have written in his life. The sixth book of the series, subtitled Khayyami Science: The Methodological Structures of the Robaiyat in All the Scientific Works of Omar Khayyam, was devoted to a hermeneutic study of all of Khayyam’s scientific works. The study was undertaken for the specific purpose of gaining hermeneutic insights into the methodological structures of Khayyam’s scientific thinking that can shed light on his literary works, especially his poetry writing. In the book, Tamdgidi shared the Arabic texts, his new English translations (based on others’ or his new Persian translations, also included in the volume), and hermeneutic analyses of five extant scientific writings of Khayyam: a treatise in music on tetrachords; a treatise on balance to measure the weights of precious metals in a body composed of them; a treatise on dividing a circle quadrant to achieve a certain proportionality; a treatise on classifying and solving all cubic (and lower degree) algebraic equations using geometric methods; and a treatise on explaining three postulation problems in Euclid’s book Elements. Khayyam wrote three other non-extant scientific treatises on nature, geography, and music, while a treatise in arithmetic is differently extant since it influenced the work of later Islamic and Western scientists. His work in astronomy on solar calendar reform is also differently extant in the calendar used in Iran today. A short tract on astrology attributed to him has been neglected. The seventh book of the series was subtitled Khayyami Art: The Art of Poetic Secrecy for a Lasting Existence: Tracing the Robaiyat in Nowrooznameh, Isfahan’s North Dome, and Other Poems of Omar Khayyam, and Solving the Riddle of His Robaiyat Attributability. In the book Tamdgidi shared his updated edition of Omar Khayyam’s Persian book Nowrooznameh, and for the first time his new English translation of it, followed by his analysis of its text. He then visited recent findings about the possible contribution of Khayyam to the design of Isfahan’s North Dome. The texts and his Persian (where needed) and English translations and analyses of Khayyam’s other Arabic and Persian poems then followed. Next, he studied the debates on the attributability of the Robaiyat to Omar Khayyam, before offering the book’s conclusion. The eighth book was subtitled Khayyami Robaiyat: Part 1 of 3: Quatrains 1-338: Songs of Doubt Addressing the Question “Does Happiness Exist?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry. In Book 8, following an introduction in which Tamdgidi shared the general guidelines about and an overview of the presentation of Khayyami Robaiyat in this series, he began by offering the first of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 1 included quatrains 1-338 for each of which the Persian original along with his new English verse translation and a transliteration for the same, along with other relevant indexical information and comments about its fit with other quatrains and other works of Khayyam, were shared. The present book, ninth in the series, is subtitled Khayyami Robaiyat: Part 2 of 3: Quatrains 339-685: Songs of Hope Addressing the Question “What Is Happiness?”: Explained with New English Verse Translations and Organized Logically Following Omar Khayyam’s Own Three-Phased Method of Inquiry. In Book 9, following an introduction in which Tamdgidi shares the general guidelines about and an overview of the presentation of Khayyami Robaiyat in this series, he continues by offering the second of a three-part set of 1000 quatrains he has chosen to include in this series from a wider set that have been over the centuries attributed to Khayyam. Part 2 includes quatrains 339-685 for each of which the Persian original along with his new English verse translation and a transliteration for the same, along with other relevant indexical information and comments about its fit with other quatrains and other works of Khayyam, will be shared. [ABSTRACT FROM AUTHOR]

حكاية رُسْتَم وإسفنديار إحدى أهم الحكايات الفارسية القديمة التي شاع ذكرُها في أمَّهات مصادر السّيرة النّبويّة، وتفاسير القرآن، وتواريخ صدر الإسلام وآداب الشعوب. إنّ مطالعةَ المصادرِ الإسلاميّة التي أوردت تلك الحكاية تقدِّم لنا ثلاث رؤًى تجاهها: الأولى: دينيَّة، وهي التي تبدو في كتب السِّيرة النّبويَّة وتفاسير القرآن، وعُدَّت فيها بمثابة أساطير الأوَّلين أو لهو الحديث. والثّانية: حماسيَّة أو قوميَّة، وقد تجلَّت في شاهنامة الفردوسي وما تلاها من الحماسات القوميّة الفارسيّة، وفيها تبدو أهمُّ عناصر الحماسة القوميّة الفارسيّة. والثّالثة: تاريخيَّة، وقد تجلَّت في كتب تاريخ الإسلام التي تحدَّثت عن سِيَرِ مُلوك الفُرس القدماء من العصر الأسطوريِّ إلى سقوط الإمبراطوريّة الساسانيّة على يد العرب المسلمين، ومن جُملتها كتاب غُرَر أخبار ملوك الفُرس وسِيَرهم للثَّعالبيِّ. تتحدَّث هذه الحكاية عن اثنَين من أبطال الحماسة الفارسيّة وهما رُستَم وإسفنديار، وقد عُرِفا بخَوض كثيرٍ من الحروب المصيريَّة والخطيرة دفاعًا عن استقلال إيران، وللحفاظ على عرش ملوكها، لكنَّهما تصادما في أواخر حياتَيْهما، وانتهى الأمر بمقتل إسفنديار على يد رُستَم بعد سلسلة من الحوادث الدّراميَّة. تُجسِّد هذه الحكاية تصادم عدد من المفاهيم الإنسانيَّة المهمَّة من قبيل صراع الدِّين والقوميَّة، والسُّلطة والشَّعب، والشَّيخوخة والشَّباب، والشَّجاعة والحيلة، والأَسْر والحُرِّيَّة. إنَّ أهمَّ روايتَين لحكاية رستم وإسفنديار وأكثرهما تكاملًا ونضجًا في مصادر التّاريخ والآداب الإسلاميّة هما: رواية شاهنامة الفردوسيّ (~330-416هـ) المدوَّنة بالفارسيَّة، وروايةُ غُرَرِ ملوك الفُرس للثَّعالبيِّ (350-429هـ) المدوَّنة باللّغة العربيَّة، وقد تفاوتت نظرةُ الأديبَينِ أو المؤرِّخَينِ تجاه هذه الحكاية وفلسفتها؛ فالفردوسيُّ كان يتعامل مع هذه الحكاية الأسطوريَّة وأمثالها على أنّها رموز يمكن تأويلها وليست خرافة، أمّا الثَّعالبيُّ فقد رأى هذه الحكاية خرافةً لا يتقبَّلُها العقل الإنسانيّ. إن النظرة الأوَّليَّةَ في روايتَي الفردوسي والثّعالبي تُظهِر وجود تشابهٍ كبيرٍ بين أهمِّ عناصر هذه الحكاية، ولعلَّ حياة هذين الأديبَين في وقتٍ واحدٍ تقريبًا، وفي إقليمٍ واحدٍ، يجعلنا أمام ثلاثة احتمالات حول أسباب هذا التشابه: أوّلاً: أخْذُ الثّعالبي عن الفردوسي وتأثُّره بشاهنامته بحُكم شهرة الشّاهنامة ووحدة البيئة التي عاشا فيها وتقدُّم الفردوسي عليه في العُمْر. وثانيًا: أخْذُ الفردوسي عن الثّعالبي بحُكم شهرة الأخير ومكانته الأدبيّة الكبيرة. وثالثًا: اعتماد الفردوسيّ والثّعالبيّ في روايتَيْهما على مصدر واحد أو مصادر مُتشابهة. لكنَّ هذا التّشابه لم يَحُل دونَ وجودِ تفاوتٍ في مسائلَ فرعيّة وإضافات من قِبَلِ المؤلِّفَين. وقد حفلت الشّاهنامة بالنّصيب الأكبر من الإطالات والإضافات الجديدة كُلِّيًّا، مع حرصه على عدم العبث ببنيتها الأساسيّة، من قبيل مطلع الحكاية والمواعظ الأخلاقيّة والقيم الإنسانيّة التي كان يحرص على تطعيم حوادث القصَّة بها لأسباب ترتبطُ برؤاه الدّينيّة والقوميّة والسّياسيّة.

Outside the boundaries of the academic atmosphere, Persian literature has stood the test of time in contemporary thoughts, social and political movements, and among people as well. In fact, literary studies in this setting denote understanding the role and performance of literature in historical vicissitudes. Accordingly, the thoughts and poems of Rumi Balkhi in Morteza Motahari’s works are tracked and analyzed. The works that corresponded to content analysis are actually pieces that do not connote a common link with literature at first sight. However, in-depth analysis shows the significance of literature, specifically the thoughts and poems of Rumi. Meanwhile, the results show that Motahari has reinforced some of his views by basing them on Masnavi’s pieces and structural aspects of these poems and, in the light of such works he has weakened the discourse of his counterparts. Hence, by rebuilding Motahari’s opinion on Rumi, the status of thoughts and poems by this iconic figure in Persian literature in Motahari’s point of view, and consequently the unique value and performance of this view in one of the most important sociopolitical movements of the contemporary era have been discussed. Keywords: Motahari, Persian Literature, Masnavi, Mysticism.1.IntroductionOne of the contemporary personalities who has played a role in the developments of contemporary Iran due to his position, worldview and finally a wide range of audiences including clergy and authorities, academics, and the masses of people is Morteza Motahhari, and knowing his intellectual themes means knowing a very important part of Iran's contemporary culture and intellectual currents. From this perspective, one of the attractive aspects of the research is to investigate the place of culture and especially literature in this field. Literature has a very prominent place in Professor Motahhari's intellectual system; Motahhari with a deep understanding of the nature of literature, as a very important and determining matter that includes a huge part of the national/ritual identity of Iranian society and has faced this category considering all its facilities and capacities. What has been investigated and analyzed in this article is the position, role, and function of Rumi's poetry and thought in the works of Professor Morteza Motahhari.2.Literature ReviewIn traditional readings, literary works were often historical data, and from their analysis, some facts were reconstructed. In such readings, literature and literary works were placed in front of the realities like a mirror and played the role of reflection. From Emile Durkheim onwards, this perception of culture and its effective components were questioned and gradually alternative readings were proposed. Durkheim gave more importance to the issue of culture, religion, and ethics than the economy, and later the theorists of the left-wing tradition, by criticizing and modifying Marx's views, changed the one-sided relationship between economy and culture. Louis-Althusser believed that literature is like a tool that produces, repeats, and reproduces the ideologies of the state in order to perpetuate its power. In this field, literature is out of silence and isolation and actively participates in power equations and balances and social and political relations. With such a perception of literature, its place and value can be clearly seen in historical ups and downs. In the meantime, the study of Motahhari's works as one of the most influential contemporary figures from the perspective of the function of Rumi's poetry and thought has a special place and importance, and so far no such research has been done on his works. MethodologyPersian literature has crystallized in two ways in the works of Morteza Motahhari; first, in the form of independent works such as The Mirror of the Cup, The Observer of Secrets and Mysticism of Hafez, and then scattered in many of his works, which at first glance are not in a conventional connection with Persian literature. What has been examined and analyzed in this article is the position, role, and function of Rumi's poetry and thought in the recent part of the works of Professor Morteza Motahhari. The research was done with the qualitative content analysis method and based on library sources.4.ConclusionAccording to the findings of this research, Motahhari, understanding the importance and potential of Persian literature and specifically the position of Rumi, has included it in his intellectual system and has determined certain functions from it. In the explanation and interpretation of "first cause" and in response to some opinions and theories of existing materialist currents, Motahhari has used Rumi's thought and implicitly used it as a viewpoint based on theological perceptions in opposition to these views. The topic of "divine justice" which has a completely social issue in its heart, is an arena for the active presence of Rumi's poetry and thought, and Motahhari has achieved this importance with the noble capacity of Masnavi Sharif. Motahhari has set such a poem of Rumi against "materialism" which has always been prominent in the critical period of contemporary history. Masnavi is well placed in this context and as a traditional-historical piece of literature, it has documented and substantiated the opinions of Shahid Motahhari. Rumi's poetry is also used in other cases such as "Explanation of the Evidence of Evil". Referring to the educational effects of disasters, this issue has taken on an important social aspect due to the shortcomings and deficiencies that existed in the economic systems of the era, and the role of Rumi's poetry and thought is very important and prominent in this. Explanation of dialectic logic, criticism of August Comte's positivism, explanation of the phenomenon of death, strengthening of the discourse of Shi'ism, explanation of the controversial issue of Qada and Qadr, explanation of the issue of balance and harmony of human values, explanation and strengthening of the culture of martyrdom, examination of the issue of hijab, examination of the issue of limitology were among the items that Shahid Motahhari has informed them through the poetry and thought of Rumi.

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Nizami Ganjavi, one of the distinguished poets of the 12th century, has a special place in world literature with his works from ancient times to the present. This poet is famous not only in Persian literature but also in Turkish and Indian literature. Nizami Ganjavi is related to the Mesnevi works, which were translated into Turkish and even translated by many Turkish poets and writers in the following centuries. Among these, we can count the essential figures of Chagatai Turkish literature (Transoxiana), especially Emir Alişer Nevai, who cared about Mesnevi Khamsa Nizami and made changes and wrote examples based on his stories. Nizâmî, with the dreams and images created in the Mesnevi above, has revealed an original style that is very important in today's comparative literature field at the international level. He proved his success by creating a new style of fantasy drawing using imaginary images, and many poets influenced by him entered the field of literature. This article refers to Panj Ganj or Khamsa Nizami Ganjavi's works and tries to explore his influence on Transoxiana writers. The study uses a qualitative, library, and comparative methodology and is founded on the laws and categories of scientific research. Researchers applied modern research approaches and methods (general scientific analysis, comparison, generalization, systematization, text analysis, and retrospective analysis). [ABSTRACT FROM AUTHOR]

In this article, I discuss the vilification of Kṛṣṇa as a deceitful sorcerer in the Mughal poet-laureate Shaikh Abū'l Faiḍ bin Mubārak, or 'Faiḍī's Mahābhārat and his correspondent apotheosis as the 'essence of the True God' in the Shāriq al-maʿrifat , a treatise also ascribed to Faiḍī. As I argue, this inconsistency, or ambivalence, is a common and overlooked facet of the elite Islamicate engagement with religious diversity and difference in early modern Hindustan. In the case of the Mahābhārat , however, Faiḍī's portrayal of Kṛṣṇa as a deceitful illusionist reflects not only an Islamic discomfort with Vaishnavite theology, but Faiḍī's own performative insecurities as a Hindustani writer of Persian poetry and literary prose. Kṛṣṇa's so-called 'magic' lies in large part in his way with words: the verbal and social manipulation he uses to stoke the flames of conflict. The character thus becomes a kind of shadow or double of Faiḍī himself-a demiurgic author of the Mahābhārat upon which the poet can displace the classical Islamicate association of poetry with sorcery and deceit. [ABSTRACT FROM AUTHOR]

This article examines L'Araignée de Mashhad (Neyestani 2017), a graphic narrative by Iranian-born Mana Neyestani, now residing as a political refugee in France. Though he continues to write in Persian, his work is published in French translation, which becomes the source for translations into other languages. This article applies the framework of literary translingualism to shed new light on Neyestani's L'Araignée de Mashhad. Literary translingualism, which encompasses "literature written in a language not native to the author, in two languages, or in a mix of languages" (Kellman and Lvovich 2015, 152), brings into sharper focus the narrative's languaging practices, both beyond traditional approaches to graphic narratives and in relation to the global literary market. The translingual nature of L'Araignée de Mashhad emerges from its publication process, where the "original" is already a translation. This article argues that the untranslated Persian calligraphy within is neither an expression of cultural exoticism nor a form of multilingualism that a reader could overlook through glossing. Instead, it disrupts the ideology of monolingualism, redefines the meaning of "multi-" in multilingualism, and situates language within a broader spectrum of semiotic practices. It also demonstrates how those unfamiliar with Persian script may still access its aesthetic and narrative functions by drawing on the visual in the graphic narrative. [ABSTRACT FROM AUTHOR]

The article focuses on the intersections of Persian and Hindu cultural spheres in colonial India, highlighting how Persian literary traditions persisted even as colonial rule reshaped linguistic and religious boundaries. Topics include the publication of a Persianized Hindi work in the late 19th century, the role of Persian in shaping Hindu social reform efforts, and the evolving dynamics of Persian and Sanskrit languages amid rising religious and linguistic polarization.

The article focuses on the evolution and contemporary relevance of the Persianate concept in literary studies. Topics include the historical role of Persian as a transregional cultural idiom, the limitations of current frameworks such as "persophone" and "world literature" in addressing Persian's modern context, and the introduction of "persotopia" as a new conceptual tool to navigate Persian literature's global and transnational dimensions.

This article explores unions between elite Muslim men and elite non-Muslim women from the conquered populations during the seventh to ninth centuries CE. It considers cases from a range of geographic settings, including the Iberian Peninsula, North Africa, the Fertile Crescent, and Iran. It examines these unions in their immediate historical contexts as well as literary artifacts of much later periods. With respect to the former, it argues Muslim conquerors often used elite non-Muslim women to cement their alliances with indigenous elites and as instruments to humiliate and abase these elites. With respect to the latter, it argues that stories of aristocratic non-Muslim women constitute a neglected but important feature of conquest narratives and they show how elite non-Muslim lineage remained prized among Muslims long after the conquests were over. Finally, as the article argues, the phenomenon demonstrates that many in early Muslim society considered maternal lineage to be very important, even if social standing was technically based mainly on the father. [ABSTRACT FROM AUTHOR]

1. Introduction: Fakhr al-Din Abu al-Fadl Hindushah ibn Sanjar ibn Abdullah Sahabi Kirani is a fascinating historical figure. He was from Kirani, a region in Nakhchivan, though the exact details of his life remain somewhat mysterious. Some scholars believe he was born around 645 AH, while his death is thought to have occurred around 730 AH. Hindushah was educated at the prestigious Al-Mustansiriyah School in Baghdad, and his family had strong ties to the ruling elite of the time. He worked as a secretary, playing a role in the courts of influential families like the Juwaynis, the Atabakan Sulghuri, and the Atabakan of Lorestan. Among his notable works are "Tajareb al-Salaf," "Mawarid al-Adab," "Sihah al-Ajam," and "Tuhfat al-Ushaq." "Tajareb al-Salaf," is a translation of "Al-Fakhri," also known as "Muniyat al-Fudala," which explores the histories of caliphs and ministers, written by Ibn Taqtaqi (660-709 AH). This translation was completed in 724 AH and includes some additions and omissions throughout. Hindushah chose to omit the first section of Ibn Taqtaqi's work, which focuses on the etiquette of kingship and governance, and instead dedicated that space to a detailed account of the life of the Prophet Muhammad (peace be upon him). The second part of the book dives into the history of the caliphs, ministers, and the conditions of that time. Here, Hindushah did not leave out any significant information, aside from some minor details, and he enriched the text with many additions, especially concerning the ministers from the Buyid and Seljuk dynasties. The book is structured in a clear way: it starts with the biography of the Prophet (peace be upon him), followed by the first government, which covers the five caliphs from Abu Bakr to Hasan ibn Ali (peace be upon him). Next, it discusses the Umayyad caliphs and then the Abbasid caliphs. It also touches on the rule of the Alawids in Egypt and the Maghreb, along with the Buyids and Seljuks. For each caliph's era, the book elaborates on the state of the ministry and provides biographies of their ministers. It wraps up with a discussion of the thirty-seventh Abbasid caliph, Al-Mustasim, and his ministers (Roghani, 1382 SH, p. 104). 2. Methodology: In order to understand the concepts of prose of "Tajareb Al-Salaf" along with its historical, political and cultural information, it is necessary to determine the position of the verse in the text and the spiritual devotion and close connection of the contents are obvious. This study is based on the descriptive analysis method by using library research. In this way, Arabic poems are categorized according to the periods of the history of Arabic literature and are analyzed according to the preceding phrase. 3. Discussion: The poetry featured in "Tajareb al-Salaf" spans over various periods, particularly the Pre-Islamic, Meccan, and Abbasid eras, with a strong emphasis on the Abbasid period. Among the Pre-Islamic poets, Hassan ibn Thabit mourns Umar's death at the hands of "Abu Luluh." Umar ibn Abi Rabi'ah contrasts women's flirtation with men's duty to engage in jihad, using vivid similes. Mutammim ibn Nuwayrah illustrates the anxiety of revenge in his poetry, while Imam Ali (peace be upon him) reflects on the futility of worldly life. In the Abbasid period, various poets contribute to the literary landscape. Imam Ali's elegy poignantly captures his own state and that of his assassin, Ibn Muljam Muradi. Al-Farazdaq praises Suleiman ibn Abdul Malik, while Abdullah ibn Hammam mocks Marwan ibn al-Hakam after the downfall of Muawiya ibn Yazid. Ibn Sinan al-Khafaji, a Mamluk poet, expresses astonishment at contemporary events, particularly regarding 'Izz al-Din Abdul Hamid's interest in a young boy named 'Uthman. Abu al-Atahiya reflects on the fleeting nature of life during the death of the Abbasid caliph al-Mahdi, while Bashar ibn Burd comments on the murder of Ja'far ibn Yahya al-Barmaki. The blind poet "Abu Zakariya" contemplates the inevitability of death, and Marwan ibn Abi Hafsa praises Fadl ibn Yahya, the foster brother of Harun al-Rashid. Hindushah emphasizes the martyrdom of Imam Hussein (peace be upon him) as part of divine destiny, and the poems of al-Munajjim offer insights into the instability of fortune. The themes of deception and hypocrisy are prevalent, as illustrated by a line from al-Tahami reflecting Sultan Mas'ud's performative mourning. An Abbasid minister recites a poem by al-Mutanabbi during travel, while Hindushah critiques the poetry of Minister al-Mu'tafiq for its linguistic flaws. The verses of Al-Hallaj before his execution carry a mystical theme, emphasizing the drifting away from contentment due to worldly desires. Various other poets, such as Ibn Rumiyyah and Abu Faras al-Hamdani, discuss significant historical events, including the betrayal of al-Rashid and the vivid description of al-Ma'mun's wedding ceremony. The verses of Ibn Anbari follow the account of Ibn Baqiya's crucifixion, highlighting the complex interplay of fate and divine decree. 4. Conclusion: The examination of Arabic verses in "Tajareb al-Salaf" reveals both minor and significant differences from the original collection, with instances of incorrect poet identification. The verses serve various grammatical roles, reflecting a wealth of historical and literary information that has transitioned into Persian literature. This includes shifts in the Abbasid caliphate and the actions of both capable and incompetent ministers, alongside contributions from notable poets. Cultural, religious, and political issues are also addressed, including critiques of the Abbasid rulers and discussions on the alteration of the Quran. Themes of instability, moral lessons, and significant historical events are woven throughout the poetry. Important odes commemorate the martyrdom of Imam Ali (peace be upon him) and Imam Hussein (peace be upon him), while the analysis highlights grammatical and syntactical errors, literary criticism, and the application of poetry beyond its intended context. Overall, "Tajareb al-Salaf" serves as a crucial text for understanding the interplay of history, literature, and spirituality in Arabic poetry, offering insights into the cultural and political landscape of its time. [ABSTRACT FROM AUTHOR]

1. Introduction: One of the most prominent rhetorical techniques is metaphor, which, consciously or unconciously, is used not only in poetry and prose, but also in everyday speech, and helps the elegance and beauty of speech. This technique, along with other rhetorical techniques, reached its peak in the 9th century A.H, the period of popularization of the Herat style, followed by the Hindi style. One of the authors and writers whose works have stylistic characteristics of this period is Molla Hossain Va'ez Kashifi. "Badaye-ol-Afkar" and "Anwar Sohaili" are among his most important works which are going to be analyzed in this study. 2. Methodology: This study is based on the descriptive-analysis method by using library research and studying Badaye-ol-Afkar and Anwar Sohaili by Va'ez i Kashifi for analyzing different types of metaphors in these prominent works. Through this study, different definitions of metaphor are presented. Then the author and his works are introduced and a brief description of their content and features is given. This research attempts to answer the following questions: What is Va'ez i Kashifi's innovation in metaphors? How has Va'ez i Kashifi combined different semantic areas in the form of his metaphors? The examples in this study are from these books: Badaye-ol-Afkar and Anwar Sohaili. 3. Discussion: Badaye-ol-Afkar fi Sanaye-ol-Asha'ar, written by the famous 9th century scholar Kamaluddin Hossein Vaez Kashifi Sabzevari, is the most extensive and informative rhetorical book in Persian rhetoric. The value of Badaye-ol-Afkar lies in the fact that the author has extensively studied the figures of speech in Persian literature and has explored more what was briefly mentioned in the previous books and has obtained new uses and examples in many of the figures. Also, in this book, we come across the figures of speech that are not mentioned in other rhetoric books, even the books at the same time. However, in writing these books, Va'ez Kashifi benefited from the previous works, especially from Shams Qais Razi's Al-Mu'ajm, and according to Zabihullah Safa, it is a re-writing of Shams Qais Razi's Al-Mu'ajm, except for the science of prosody. Anwar Sohaili is one of Kashifi's most famous works and a rewriting of Kalila and Damna, which he composed in the name of Sheikh Ahmad Sohaili - one of the rulers of the reign of Sultan Hossein Mirzai Baiqara - in fourteen chapters and an introduction, and although Kashifi wanted to simplify its composition, he could not fulfil it. Kashifi's writing style, wherever is not under the influence of another text or translation or citation of Arabic language, is simple and fluent and is among the good works of the 9th century and the beginning of the 10th century A.H. In this rewriting, he made many changes in the content and even the title of Kalileh and Demaneh. By studying Badaye-ol-Afkar and Anwar Sohaili of Va'ez Kashifi, it is understood that Kashfi wanted to show something innovative and beyond the writings of his predecessors, and he was able to do so to some extent with the influence of the works he considered. This article aims to answer the following questions: What is Va'ez Kashifi's innovation in metaphors? How has Va'ez Kashefi combined different semantic fields in the form of his metaphors? Hypotheses are that Kashefi's innovation is the combination of multiple and different semantic fields; Kashefi has expanded different semantic fields in metaphors with hindsight towards metaphor and innovation in examples. 4. Conclusion: The findings show that Kashefi, despite modeling the writings of his predecessors, has made innovations in the use of metaphor by combining multiple and distant semantic fields, this means that the abstract noun is combined with a verb related to the concrete noun in order to make a subordinate metaphor to express "the passing of youth" and by simile and genitive metaphor, it mixes the distant meanings with the subordinate metaphor, personification, appositive and metaphorical genitives; On the other hand, by mixing metaphorical attribution genitive, metonymy, implied metaphor, personification, subordinate metaphor and semantic paradox, a complex network of metaphors and other figures of speech are interwoven with these semantic fields. [ABSTRACT FROM AUTHOR]

1. Introduction Mystical literature is one of the categories that occupies a large part of Persian literature. One of the authentic and unique sources of Islamic mysticism is the Holy Quran, upon which mystics have always tried to build all their ideas and their poetic ir prose works. One of the important points in mystical texts is the special attention of mystics to the representation and evidence of the verses of the Holy Quran for greater effectiveness of their word. Mersad-ol-Ebad, Najm al-Din Raazi's masterpiece, is one of the most beautiful and inspiring mystical writings in terms of prose. This work is so important and wide-ranging that mystics after Najm Razi, including Molavi and Hafez, are all influenced by it in some way. Najm Razi has used a lot of verses and hadiths in his discussions in Mersad-ol-Ebad. For this purpose, through reviewing the literature related to the use of verses in literary texts, this study intends to provide a relatively comprehensive understanding of the patterns and methods of using verses. In this regard, while presenting a systematic and objective methodological framework, an attempt is made to explain the quantity and quality of the application of the verses of Qur'an in Mersad-ol-Ebad. In other words, the main question of this research is based on the question to what extent did Najm Razi use Quranic verses in his work? Also, how was the quality and method of using the verses? 2. Methodology: This article uses quantitative and qualitative content analysis method. For this purpose, a comparative model for the typology of the use of verses in interpretive prose texts is presented. Then, based on this model, the extent to which these types of applications are used in the studied texts is measured. Content analysis, like other empirical techniques of measurement in the social sciences, has a research design that should guide the research. The research design in a content analysis, after the general stages of a research - which includes defining the concepts, purpose and problem of the research - includes the following: 1. Definition of relevant content 2. Operational definition of concepts 3. Writing coding instructions 4. Statistical society 3. Discussion: Najm al-Din Razi has mentioned Quranic verses 842 times in Mersad-ol-Ebad, of which 520 cases are propositional testimony, 41 cases are lexical testimony, 215 cases are reverse interpretation of esoteric ijtihad, and 52 cases are direct interpretation of esoteric ijtihad. In this work, 89 surahs of the Quran are mentioned by Najmuddin Razi. Surah Baqarah with 78 cases, Araaf with 53 cases, Anam with 39 cases, and Aal Imran with 30 cases have the most references, respectively. The main use of these verses is in a rhetorical way, and the high frequency of this use can be a reason for the nobility and humanity of the author of the work with divine verses, a way that is mainly used to embellish words, emphasize and confirm, and even to defend mystical opinions and thoughts. Najm al-Din Razi has 561 cases of rhetorical use of verses in Mersad-ol-Ebad, the majority of these uses (i.e. 520 cases) is the reference of a complete statement of verses or even the entire noble verse, and there are only 41 cases of verbal reference in the work, which is It includes a small contribution to the propositional statement. Propositional attestations are done in two ways: lexical attestation in words and meaning. In the use of lexical attestation, one or two words from the verses of the Holy Quran are used in the text, which are sometimes so mixed with the text that unfamiliarity with the word of revelation does not recognize the presence of the Qur'an. Sometimes the presence of these one or two words is evident next to the writer's words, but it is present only for the purpose of embellishing the words or completing the content and in the form of an additional or descriptive composition. In the application of propositional attestation, the amount of attestation of the verses of the Holy Quran is beyond one or two words and includes a sentence of a verse or the whole of it. This type of attestation is also used in two methods of guaranteeing and solving, which is used in the method of guaranteeing the same Qur'anic phrase or with minimal changes, and in the method of solving the appearance of Qur'anic phrases, it is adopted and used according to the content of the speech (Nil Saz, 1392: 7). This use is very common in Mersad Ebad. Najm al-Din Razi in Mersad-ol-Ebad, during various discussions, uses verses that have a direct content connection, and in some cases, after the verse, a phrase equivalent to the Persian translation of the verse is used. Sometimes the use of lexical attestation during speech is in an indirect way in connection with the text and only with implicit intentions, such as blessing and blessing, embellishment of words and even expressing the nobleness of the verses of the Holy Qur'an. Najmuddin Razi in his book Mersad-ol-Ebad, along with the rhetorical and martyrdom use of the Quran, has also discussed the interpretation and explanation of some verses during his discussion. This presentation of interpretation is sometimes done in a direct way and sometimes the author's goal and intention was not to provide the interpretation, but his words can be an explanation and commentary for a section or key words of the verses of the Qur'an. By analyzing this text, 4 methods of interpretation based on the theoretical model of the research are observed. They include: Quranic ijtihad, narrative ijtihad, literary ijtihad and esoteric ijtihad. The number of verses interpreted in a direct way in Mersad-ol-Ebad (64 cases out of 842 cases) indicates that the main goal of the author is not to provide mystical interpretations of the verses of the Holy Quran. The traces of ijtihad can be seen in his interpretation method, and the author intended to provide an interpretation everywhere, often by insisting on mystical intuition and discovery, which is the main source of the method of esoteric ijtihad, and presented his interpretation in 52 cases. And in a few cases, by referring to other verses of the Holy Qur'an and Prophetic hadiths, he has presented a short interpretation of the Qur'an in the manner of Qur'anic ijtihad in 1 case and narrative ijtihad in 5 cases. Also, in 6 cases, he has provided ijtihad interpretation based on literary topics. In 217 cases of the application of the verses of the Holy Quran, Najmuddin Razi's words can have an interpretative function, and in 215 cases, it is an indirect or reverse interpretation of ijtihad, and only 2 cases are ijtihad with narrative sources and literary discussions. 4. Conclusion: What can be understood from the text of Najmuddin Razi is that in most cases he does not intend to interpret the words of revelation, but his method when presenting the interpretation is such that at the beginning of some chapters, the first verse is mentioned and the narration of the Prophet (PBUH) is followed by the explanation and interpretation. The verse is interpreted in various ways, which of course is mostly esoteric ijtihad (52 cases). The use of indirect interpretation is found frequently in Mersad-ol-Ebad, about (215) examples were found that the author's purpose is not to express the interpretation, but his words can have an interpretive function and it is in the form of an esoteric ijtihad interpretation. In the presentation of esoteric ijtihad interpretations, he has acted in the style of Qushiriyah's treatise, which first mentions the verse and then the narration of the Prophet (pbuh), but he has not used the sayings of the sages of mysticism like Qushiriyah. In some cases, other methods of interpretation such as Qur'anic ijtihadi (1 case), narrative (5 cases) and literary (6 cases) can also be seen, and pure esoteric interpretation is rarely seen in his book, and this in itself shows the accuracy and caution of Najmuddin Razi in his statement. It is a mystical interpretation. Sometimes in his presentation style, a kind of combination of narrative, Quranic and ijtihad interpretation methods can be seen. Also, in the review of his esoteric ijtihad interpretations, normative interpretations have been presented. [ABSTRACT FROM AUTHOR]

Introduction The aim of the present study was to determine the effectiveness of the indigenous package based on ancient Persian literature on forgiveness on the differentiation and emotional safety of adolescents attempting suicide. One of the social problems of today's societies is suicide, which worries the family, society, and statesmen. Based on this, much research has been conducted by researchers in the fields of psychology, social sciences, and mental health because the statistics published by the World Health Organization and the health organizations of the countries are very worrying and show an increase in suicide among young people. Method The research method was quasi-experimental, with a pre-test, post-test and follow-up with the control group. The statistical population included all adolescents in the age group of 16 to 18 years who attempted suicide in Isfahan, and the sample size included 30 people, 15 of whom were randomly selected in the experimental group and 15 in the control group and selected by the available sampling method. An indigenous package based on ancient Persian literature of forgiveness (based on poems by Ferdowsi, Nezami, Khayyam, Molavi, Saadi and Roudaki) was implemented for adolescents who attempted suicide in the experimental group (in 8 sessions). Measurement tools included the 13-item Emotional Safety Questionnaire of Casey Family Service Center (2007) and the 46- item Differentiation Questionnaire of Skowron (2000). For data analysis, a covariance analysis test with repeated measures was used. Results The results showed that there was a significant difference between the mean scores of differentiation post-test and emotional safety of adolescents attempting suicide in the experimental and control groups. In explaining the findings of the research, it can be said that in the poem there are emotions and emotions such as sadness, happiness, anxiety, hope, despair, nostalgia, and surprise, which arise from the mental and mental states of the poet, and the poet tries to convey them to the audience as they are and based on the theory of the emotional-emotional life of the Eastern man, which defines the emotional-emotional states of each person as a result of his emotional-emotional education and considers it necessary to know his own emotions and emotions. In the noble Persian poetry and ancient literature, these emotional-emotional aspects are well taken into consideration and easily affect the emotional-emotional characteristics of the audience. The attention of poets of ancient Persian literature, such as Ferdowsi, Nizami, Khayyam, Molavi, Saadi and Rudaki, to the emotionalemotional components of human beings has caused them to choose a specific model for the emotional aesthetics of their poems. Discussion In the therapeutic atmosphere of a non-threatening atmosphere, along with unconditional positive attention to express the feelings of anger and resentment of others, the researcher has provided an opportunity for the teenager to complete the incomplete gestalts. Unhealed emotions were released, and the adolescent's psychological defenses were broken. Therefore, the adolescents of the experimental group were able to find out that revenge and malice are useless, and this was the beginning of their cognitive processing of the incident. During this cognitive processing, they were able to review their role in the loss of this relationship, to be guided from only paying attention to the mistakes and weaknesses of others, and to face the essence of their existence. Become the main ones who make mistakes and, at the same time, are valuable with a feeling of shame and guilt, thus they can live more calmly, and by maintaining their mental health, they have a greater sense of emotional safety. [ABSTRACT FROM AUTHOR]

This is a study of the narrative framing structure found in the Persian translation of Kalīla and Dimna written by Naṣr Allāh Munshī in the sixth/twelfth century. Kalīla and Dimna is famous partly for its embedded narratives--i.e., the phenomenon whereby characters within the book are the ones who tell the stories. This system of nested narrative frames gains a new dimension in the rendition of Naṣr Allāh, whose project involves (inter alia) presenting Kalīla and Dimna as a book of practical wisdom in an explicitly Islamic context. Naṣr Allāh has added a substantial new preface, which argues for the importance of Kalīla and Dimna in instructing people--especially rulers--in the values of justice and sound governance. He links these ideas to Islamic ethics by quoting extensively from Qurʾānic verses and ḥadīth. But this is not only a feature of the preface: the body chapters of the book, the fables themselves, are also enriched with religiously inflected arguments and scriptural quotes (not to mention lines of poetry). The style is reminiscent of that of Arabic adab works--with which Naṣr Allāh was obviously familiar. While there are several fascinating aspects of Naṣr Allāh's version of Kalīla and Dimna, the goal of this article is to shed light on the interventions that have been made to the framing structure of the stories. [ABSTRACT FROM AUTHOR]

Copyright of Research in Comparative Literature is the property of Razi University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of College of Languages is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Turfan Parthian word "nw ̉r" appears in Manichaean Fragment M5815 Vi/29/. Andreas Henning (Durkin-Meisterernst, 2004) and Boyce (1975) have cited this word, but without any meaning or interpretation. Durkin-Meisterenst (2004) suggested that «poss. a misspelling of wᵓwr «belief» which occurs in the same text a few later?» This pafa aimed to find the root of this word and to interpret it with the help of other Persian words in modern Persian literature. To do this, the content of M5815 I from /22/ to /31/ and M5815 II, /1/ and /2/ were first transcribed and rendered into modern Persian. Then, the meaning of the word was clarified. Finally, it was shown that this word can be related to another Persian word "niv ridan" in both form and meaning. [ABSTRACT FROM AUTHOR]

Persian literature, with its deep-rooted connection to Sufi thought, found fertile ground for spreading in the Balkans, facilitated by the Ottoman Empire’s expansion. The establishment of Sufi orders in Albania led to the expansion of Persian mystical texts and the translation of significant Persian classical literature into Albanian. This study aims to review and introduce classical Persian literary works that have been translated into Albanian and consequently recorded in library repositories. Using advanced searches in COBISS instances for Albania, Kosovo, Northern Macedonia, and Serbia with the Boolean query “LO=per AND LA=alb” (original language Persian & translation language Albanian), and the database of National Library of Albania (NLA) the results indicate that notable Persian classical literary works have been translated into Albanian. While a brief overview of classical Persian literature is provided, the study highlights how Persian literary and spiritual texts have been popular in the region, especially in Albania. [ABSTRACT FROM AUTHOR]

This study provides information on the Sufi content of the Persian poems of Mīr Hamza Nigārī, one of the Sufi poets of the nineteenth century, and evaluates some of the issues addressed in these poems. Although Nigārī's Turkish works have been the subject of various studies, his Persian poems have not yet been sufficiently analysed. In this article, the manuscript copy of Nigārī's Persian Dīvān is taken as a basis and the published edition is also consulted when necessary. In Hamza Nigārī's poems, the mostly addressed subjects can be gathered under the titles of love, tawhid and melāmah. It has been observed that he deals with the related concepts in a manner similar to previous Sufi poets, in a sense following the tradition of Sufi Persian poetry. Nigārī, who dealt with the subject of tawhid within the framework of wahdat al-wujūd, followed the tradition on the subject of love, the dominant subject of his poetry, and skilfully used metaphors and similes such as bāde, wine, and mey that had become established over time. As a result, it is seen that Nigārī utilized Sufi symbols, most of which were in Persian and emerged from the early periods of Sufism, to create poems in harmony with the Sufi poets who preceded him. [ABSTRACT FROM AUTHOR]

Sadeq Hedayat (1903–1951) is an Iranian author known for his short stories and his novel Būf-i Kūr (The Blind Owl). An intellectual from an influential family, Hedayat traveled abroad at a young age and became a vegetarian in his youth. He wrote the essay Insān-u ḥayvān (Human and animal) in 1924, when he was only 21 years old. His later essay Favāʾid-i giyāhkhārī (The benefits of vegetarianism, 1927) is understood to be the more mature version of the ideas on animal rights presented in the essay of 1924. This article explores the contents, socio-historical context and the background of Insān-u ḥayvān and Favāʾid-i giyāhkhārī, focusing in particular on the way in which Hedayat represents vegetarianism and the rhetoric he employs to advocate animal welfare in relation to his perception of the human world. [ABSTRACT FROM AUTHOR]

The following study proposes to deconstruct the mythologising of Forugh Farrokhzad (1934/5-1967), a poet known mostly as Iran's Sylvia Plath. This kind of analogy is based on interpretative and cultural preconceptions that connect women's poetry with personal experience and amount the poetic voice to the empirical reality. Beyond that biographical obsession, reified through the export of confessionalism, comparing the two writers also implies appropriation of Forugh Farrokhzad to a Western cultural and literary field. By analysing a few poems, taking a close look at her interviews, and examining the historical context, I shall try to demonstrate that Farrokhzad is actually split between two worlds. Therefore, to associate her with Sylvia Plath can be read as an example of what Fatemeh Keshavarz, a researcher on Persian literature, calls the New Orientalist narrative. [ABSTRACT FROM AUTHOR]