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The question of research is to what extent the translator has reflected the function of source text in the system of target text, and has followed the style of source text in conveying the meaning? The authors used a descriptive-analytical method based on the Systemic Functional Approach of Halliday and Matthiessen. They aimed to compare the thematic structure of one poem in Rumi's Masnavi and its English translation and answer the following questions:
1. According to Halliday’s Functional Theory, how were the theme types used in this poem of Masnavi
 and its translation?
2. Considering the comparative analysis of thematic structure in the source and target texts, what changes occurred in the textual meaning of the translated text? And to what extent has the translator been successful in transferring the concepts?
According to Halliday's model, the application frequency of topical and multiple themes as well as the marked and unmarked types in the clauses of two poems were calculated. The translator has been successful in translating 90% of the clauses containing unmarked themes and has been less successful in translating 66.6% of the clauses with marked themes and in conveying the meaning and emphasis intended by the author because of not considering the style of source text in theme markedness. Considering Halliday’s Approach of Equivalence in Translation, similarity in using the theme types in source and translation texts can indicate translator's adherence to the style of source text in conveying the textual meaning and achieving functional equivalence in translation process.
 

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As the Masnavi is a preaching-mystical work by Molavi, he made his efforts to express his advices and recommendations in forms of stories, tales and fictions and also his ethical and mystical thoughts are expressed there. Hence, all these are of various and miscellaneous types. The best sample of entering Masnavi Tales into the third book is shown in the story titled “the people of Saba and looting their godsends”. This story commences with the couplet 282 but, left later on and then referred to in the couplet 364. The story is left again here and then referred to in the couplet 3600, following some long couplets to be finished.
Mentioning the various points in tales has resulted in different usages of the characters in Masnavi. This is because of the foundations of any story are made by its characters who are themselves the factors or causes of the events.
Personification by Molavi in Masnavi for the characters is of three following methods:
A) Direct method in which he explicitly expresses his ideas upon the persons.
B) Indirect method in which he not only expresses the characters’ behaviors and briefs the readers on the role played by the characters but also the readers understand their real essence.
C) Mixed method which is an integration of the two previous ones.
The tools for personification by Molana, the characters’ features in Masnavi and classification of the persons’ names in the Masnavi stories are scattered through the study.
 

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The contemporary literary theorists have examined different literary genres from different viewpoints. Among them Mikhael Bakhtin, a distinguished Russian literary critic, is a standout. Highlighting his key concept of dialogism, Bakhtin from among different literary genres describes the novel, specially Dastayovski's novels as possessing dialogic or Polyphonic quality. In such novels, the voice of the narrator isn’t dominant but is beside other voices. Among Persian literary classic texts, Masnavi – ye Manavi is one of the few texts in which the debates and dialogues between its story allegorical characters is considerably conformable to the components Bakhtin considers for dialogism. We raise and describe this conformability in this article.

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The narratology, with a relatively vast domain, is the center of attention for many circles of literary criticism. Besides, the relation between narrative elements with other fictional elements has introduced various new perspectives in the field of literary criticism. The aim of this article is to explain and analyze several narrative techniques, and also to show some instances of these techniques in the Masnavi’s tales. The focus of this paper will be on four major concepts, namely narrative past, Material and mental process verbs, narrative proceeding and intercalated narration. In the part devoted to narrative past, the different functions of the tense of the verb in fictional and factual texts is explicated. In the next part, it is discussed that the reporting of the persons’ external verbs like eating wearing running and the like can occur in nonfictional texts; yet, explanation of the internal verbs like thinking, hoping, and etc., is possible only in fictional texts. In the third section of the paper, the linear narrative and interruption of linear narrative will be dealt with. Finally, in the last part of this paper, the concept of intercalated narration is explored. It should be noted that the intercalated narration involves tales in which the narrative framework proceeds alternately between fictional acts and characters’ dialogues.

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Narratee is one of the major roles in each narration and its analysis can reveal the features of the narrative text. This study is an analysis of the influence of the narratee’s predilections and responses on Masnavi’s plot. Moreover, we tend to examine the other functions of narratees in Masnavi. Being addressed directly, the narratee is highly overt in Masnavi and plays a significant role in the course of the narration. The narratee’s questions and acts can determine or even shift the course of the plot. This paper examines four major functions of Masnavi’s narratee.

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Bakhshi.A.

                                                                    
 
Abstract
This paper deals with the influence of Koranic tales on Molavi as witnessed in his story titled the Villager and the Citizen which comes in Part III of the Masnavi. It addresses Molavi’s pattern-based approach in adopting basic intellectual models from the holy Koran as well as his use of these “ideal patterns” and “paradigms” in developing the said story and decoding its constituent elements while presenting moral, social and epistemological propositions. This is viewed as a unique approach in research on Molavi.
   The conclusion is that Molavi has widely exploited the Koranic tales as paradigms to develop his stories and parables and achieve his main aim, that is to teach moral lessons. This influence is so great that it may not be reduced to “association of ideas” or “system of allusions”.
 
 

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Parsanasab (Gholam). M.,PH.D                                                
Abstract:
 
Examining the constituents of a literary work and disovering its governing rules helps us understand the text’s internal structures and identify its constituent parts. In this paper, I set to analyze the component parts of the Masnavi’s satires through a structural approach and show which one of these elements is more effective in building the satires. Furthermore, I will try to identify the main element or elements of the Masnavi satires’ grace so that we can determine which of the four dimensions of language, content, structure, and eloquence has been most influenced by Molavi’s satiric taste.
 

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Hosseini,.S.M.,PH.D

 
Abstract:
 
Baha-e-Valad’s Ma’aref is among the texts known to have had a strong bearing on Molavi’s thinking and discourse. Molavi’s special interest in Ma’aref is reflected in his own works. Jalaluddin’s Masnavi-e-Ma’navi seems to be especially influenced by the Ma’aref as far as structural and thematic organization are concerned. The contents of the Masnavi and its improvisation style as well as the numerous associations it carries are strongly reminiscent of Baha-e-Valad’s Ma’aref. This very article addresses the shared features and intertextual relations of the Ma’aref and the Masnavi from the viewpoint of storytelling. In addition to the stories Molavi has directly adopted from the Ma’aref to only give them a more artistic treatment according to his superb storytelling taste, there is yet another subject which deserves due attention:  narrative exploitation of the characters and discourses built into the Ma’aref as well as common narrative hints and allusions, structural suspense and discontinuities, and thematic turns or abrupt changes in oratory eloquence style and discourse.
 
 

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   Daneshgar.M.,PH.D.
Abstract
Dialog constitutes the core of Molavi’s storytelling. In the Masnavi, the channel and circuit of communication, which is the conveying of a notion from a mind to another, is the characters’ dialog; it forms the basis and  skeleton of the stories. But Molavi has used another type of communication in many of his stories as well; it is called “nonverbal communication” in modern Communication Studies and Sociology.
   Molavi’s turning to this device in expressing delicate and profound ideas demonstrates his full knowledge of the similarities and differences between verbal and nonverbal communication. Molavi had to utilize this scholarly technique, notably in certain circumstances - which is the focus of this very article – given its greater reliability, longer continuity, multiple channels of communication, cultural component, and symbolic nature, as well as its potential in preventing possible misinterpretations, which are a recurrent characteristic of most verbal communication.
   This article opens with an explanation of the term “nonverbal communication”, followed by an overview of the principles of nonverbal communication and its features, as well as its similarities and differences with verbal communication. All this is done with reference to scholarly sources. Next comes an account of Molavi’s way of using this communication method in the Masnavi, particularly in storytelling there. I will also refer to the cases where the said technique has been successful in conveying Molavi’s ideas to his readership, as well as the points he has emphasized in this regard.
   Through the use of poetic examples and instances, the article seeks to shed light on this structural pattern of Molavi’s storytelling. The paper ends with a conclusion.
 

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Sarfi., M.R,PH.D. 
Abstract:
 
Center of narration plays an important role in the analysis of the abilities and tactics being applied by a story teller to shape his account. So much so that making any change in it will result in differences and changes in the principal course of the story and even its theme. Furthermore, we never deal with crude circumstances in stories, rather we do encounter incidents that have been represented in a special manner and have received attention from a specific center of narration. The varieties of center of narration and the story teller’s different ways of dealing with point of view in the Masnavi are accomplished so attractively and consciously that its analysis can reveal Molavi’s genius in creating a work of art which is beyond time and place.
 The present article which is based on document analysis seeks to examine different kinds of center of narration by focusing on the story “Daquqi”.
 

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 GholamHosseinZadeh.Gh,PH.D.

                                                                  

Abstract:
 
The character, as a major element of storytelling, has many varieties. One of them is the historical character. The Masnavi contains many historical characters, but since historical stories are different from “historical accounts”, and historical accounts are not the same as “historical events”, the historical characters included in the Masnavi are different from their story versions. One of them is the chief of the Khorasan mystics, Ibrahim Adham, whose abandoning of power (emirate) is well known.
   Although there is not much historical information available on the life of Ibrahim Adham, one may find tales about him in some stories from the Central Asia; however, these are mixed with fiction. There are also various accounts of him abandoning the emirate which come under three major titles, namely “the camel, the caravanserai, and the hunt.” They feature different events but share the same beginning, end and storyline. Molavi has chosen the camel story and put it in his Masnavi. There are also others who have related the same story and who are temporally and intellectually close to Molavi, among them Attar, Shams, and Sultan Valad. Although the quartet(3+1)’s narrations are considered similar and put in the same group, they are characterized by different storytelling and dialectic techniques. Upon analysis, it turns out that the narrative technique of Shams excels those of the rest, better conforming to storytelling principles.
 
 

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Allegory represents a type of thinking and world view as well as a style of speech in Molavi’s works, Masnavi in particular. In Molalvi’s “allegoric philosophy”, what makes necessary the use of this approach – as the principal narrative style of the tales – is the necessity to carry ideas over into sense impressions. Molavi presents the theoretical foundations of this thought in Fihe-ma-Fih, and practically portrays the thought in the Masnavi.   This allegoric philosophy which is based on the two-dimensional nature of allegory – narrative surface structure and intellectual deep structure – furnishes the tale with a double structure; one functioning as literary allegory and the other as spiritual and philosophical allegory. In the writer’s narrative style, this leads to the reduction of some essential elements of a story such as suspense. It could be seen that in the Masnavi’s stories the two structural dimensions mix along the narrative line of the story in a form known as “representation building”. Another manifestation of allegory in Molavi’s works is “allegoric interpretation”, used to describe the coded and implicit themes of stories, whose main function in all its forms is “to teach”. 

 
 

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Gholam-Hossein-Zadeh.Gh., ,PH.D.

Taheri,Gh., PH.D.

Rajabi.Z., PH.D.

 
Abstract:
 
Molavi is one of the greatest mystical storytellers in Persian literature who has adopted storytelling to convey didactic and mystical notions. Molavi’s Masnavi remains a well-known work throughout the world thanks to his intelligence in understanding the concerns and dimensions of human soul as well as to his grasp of the social traits of the readership, plus his superb skills in applying the delicate techniques of storytelling. It is quite surprising that he had such a mastery of storytelling techniques some seven centuries ago, while critics have only recently discovered its subtleties and techniques. Among these techniques is the skillful use of the time element in narratives. Over the past decades, a French researcher has elaborated on temporality in narratives, presenting his views under three topics – order, continuity, and frequency. His theory is well known.
   In this paper we will try to show, based on the French scholar’s theory, how Molavi has utilized the time element in the tale “The Tribal Arab Dervish and His Wife”. We will also attempt to understand how and to what extent he has made choices in temporal and actual terms, moving from chronological time to textual time. These choices and the particular type of temporality Molavi has applied in the said story are analyzed to see if they have a direct and meaningful relationship with the theme of the tale.
 

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Gorji.M.,PH.D

 
Abstract:
 
One of the 260 stories of the Masnavi is a short and untitled tale whose exact source is not known. It comes under the story of the Saba people in Part III. No-one among the exponents has commented on it; some have given only a few hints. They have simply interpreted the symbols or explained the lexical elements. Of course Molavi himself has addressed it later in the story. I believe that none of the researchers and commentators has examined the said tale without attention to Molavi’s own explication or structurally as an independent story. In this paper I try to come up with a new reading of the story. I am of the opinion that all parts of the story must be interpreted as a whole and in a unified context or discourse chain in relation to the preceding stories. Based on this approach, as the story’s structure is analyzed and its elements examined, another interpretation is provided with attention to the problems of contemporary man. This is not seen in any of the previous sources. The said allegoric story owes its special treatment and imagery to the imagination of Molavi. It has its roots in the poet’s stream of consciousness and religious mythology - such as the story of Joseph and the dreams of Egypt’s ruler, and the tale of Abraham and the four birds - as well as in dreamlike surreal images. This relatively short story contains great universal points and messages for lonely human beings who are stranded in the contemporary world. Describing the major potential woes and problems of humans, Molavi explains and analyzes these ills and finally proposes ways of getting rid of them.
 

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 Nabilu.A.,PH.D.
Abstract:
This articles is concerned with Molavi’s aim in telling fables and shows his special interpretations there. Over 50 tales in the Masnavi draw on animals, and Molavi has used some 38 types of animals in the interpretation of his thoughts and ideas including birds, beasts, domestic animals, sea creatures, insects, etc. Donkey has the highest frequency of occurrence in 7 stories, while lion, cow and dog have the most frequent recursion in 5 stories each. Of the 38 animal characters, 31.5 percent are birds, 39.5 percent are beasts, 16 percent are domestic animals, 8 percent are sea creatures, and 5 percent are insects.
   Through the decoding of symbols in these tales, some 76 interpretations are retrieved, most of which are concerned with God, perfect man, and worldly man, as well as his bad personality traits. Most of these interpretations end with valuable notions, such as the story of man’s soul; death, the hereafter, and the resurrection; the story of God and the prophets and their opponents; the supremacy of inner senses over outer senses; the divine support for God’s good worshippers; the rituals of praying; a comparison of mystics and those fond of appearances; and dozens more great notions. In his interpretation of these stories, Molavi explains profound mystical ideas and complex notions of human knowledge. In many cases, these notions and interpretations somehow replace the story, and then Molavi goes back to the story saying over and over again that the tales and allegories fall short of reflecting those profound notions; he shows a sense of pity at these devices’ failure to capture those ideas.
   This study classifies the animals named in the Masnavi as well as Molavi’s own interpretation of them, plus their frequency of occurrence. The results are shown through the use of graphs and tables.
 
 

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Yousofpoor.M.K.,PH.D

 
Abstract:
 
Molavi Masnavi somehow follows the tradition of verbal narration (‘Mo’aref telling’), which was customary in his family. The spontaneity of speech, the interference of present requirements of the meeting in the natural development of discussions, and consequently, the fragmentation of language are some of the obvious elements of a work like the Masnavi. The very presence of the audience at the time of composition of  the Masnavi creates a classroom atmosphere. Naturally, one can frequently observe the tacit and yet clear role of the audience in this didactic composition, which is the result of an interaction between the speaker and the listener. On the other hand, because of Molavi’s interest in certain topics and subjects and his preferences, it is the speech that finally shapes the stories, not the writer. Molavi repeatedly asks the reader to seek the internal rather than the external meaning; also, the stories and their content-based nature warn the reader not to suffice to the surface meaning of the stories and not to read the Masnavi as a story book. Digressions in the Masnavi appear in various forms and for various reasons. Some of the reasons for these digressions are: the present audience’s reactions such as expressions and feelings, inspirations which automatically come to Molavi’s mind, the speaker’s trance at the time of presenting topics to which his sensitive soul is deeply connected – topics such as love, monotheism, absorption in God , and his memories with Shams Tabrizi.
 

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H. Zolfaghari, PhD
 
Abstract
This article seeks to examine the sources of Moses and the Shepherd and similar stories in both Iranian and foreign literature, particularly two scholastic stories influenced by that story, namely Moses and the Mason, and the Shepherd’s Party. Furthermore it takes a structural approach to investigate the story’s elements such as plot, characters, dialog, point of view, narrative, tone and setting, with a focus on Molavi’s storytelling techniques.
   The focus of this paper is the structural aspects rather than the content, as the latter deserves a separate study. However, in order to shed light on the story’s structure, certain symbolic and thematic aspects are discussed as much as necessary. A major part of the paper deals with text and source analysis to serve as an introduction to Foruzanfar’s Sources of the Masnavi Stories as well as new findings in the field of story.
 
 

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Molavi has not lost the way of mystery, hence Quran verses and hadis and religious narration reflect the great works especially in Masnavi. This study is the religious narration of Balal due to Arabic books , Seyreh and history which refers to Molavi's Masnavi, then changes which show transferring of simple news to readable texts with different meanings by analytical description, to analyze the comparative principles (French school), due to Islamic approaches, he has come to this fact that Molavi has added some points due to increase of text, inspire the life philosophy, adaptation, translation, and interpretations of main tale which caused to change characters and their importance, changing contextual text, inter-textual relations and language functions. Molavi's changes refer to form and content, the poetic format of Masnavi is to make piece, to make story longer, besides plot(Moazenio Beheshti as Balal), the separate interpretations are figurative, to change the main character of story, using conversation, dream interpreter of Abubakr which shows his honesty in knowledge. The expression of love in Manavi is part of increase gashtar, to reflect Molavi's thought and poetic art.

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The semiotics is a new approach in analyzing texts and discourse systems. This approach in literary critics has been resulted in different models to explain the state of function, production and receiving meaning through text. These models which originates from the text itself, attempt to reduce any possibility of plurality in literary works reading as much as possible. Therefore, this study considers Jami's Salaman and Absal as one of the theosophy texts with symbolic exposition and ability of interpretability. In  addition to introduce  the state of semiotic model function to explain poet's benefit reason of every two possible approaches of creating meaning in this text, the process which is manifested in reflexive way is the semiotic square. So, this study presents this hypothesis by utilization of semiotic models in analyzing Jami’s Salaman and Absal. This study shows that Jami's intention in utilizing two creating meaning processes in this text refers to "Return" and he attempts to present this concept by a symbol and symbolic exposition in "Salaman and Absal".
 

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Among the linguistic tools that can assist researcher in investigating the relationship between the speaker and the audience, are the linguistic "modalities" which are manifested usually in the form of affective speech acts. Some kinds of texts in which are manifested more colorful the speaker’s mentalities, feelings and values, imply the affective acts; also in Masnavi  that benefits from  the literary diversities, this feature allows the speaker to use language as a social reality and on the way to create communication with the audience, the diversity of linguistic modalities is undeniable.
Due to the linguistic characteristics of mysticism, studying those linguistic modals that reflect the ontological and epistemological aspects of text is important. This article aims to show how the speaker by the use of modals known as logical modals, can successfully form his ideas and states into words and by this way informs the audience on his intellectual and value system. For this purpose, this article refers to the provided classifications of the various linguistic modals; hence first it explains the relationship between the modal semi-auxiliary verbs and the epistemological system governing the text and then analyzes the text in accordance with these tools.