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Perceiving beauty is, in fact, a perception that is originated in mystical-experimental religiosity. In this regard, Molavi's view is not a mere theory; rather it is an expression of his practical experience and inner conduct. In his experience, love precedes the Good and God is situated on top of the pyramid of the Good. Molavi takes love as his most important object and searches perceiving beauty in God. Through conceiving beloved in God, the lover achieves high stages of perceiving the divine Good. In Molavi’s view, beauty is reflected in men's perception before it is realized in its external manifestations. And this is exactly the meaning of relativity in the conception of beauty and evil. In this connection, even the most evil manifestations of vice are considered. Perceiving beauty does not attempt to negate the evil in this world by philosophical simplifications and deification of beauty. In fact, it reveals its inner beauty through a profound interpretation of the evil. Molavi uses the parable of a painter in this context to interpret the world with a perception of beauty. The painter here is someone whose most important feature is beauty and is skillful in creating beauty. Therefore, Molavi's worldview of the Good is not just a theory. Neither is it merely a philosophical solution for negating evil. It is rather the natural result of his reconciliation with the world.

 

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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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‘Love’, which has been so generously bestowed by God upon the inner and outer worlds of human beings is a fundamental and pivotal issue; since it has its roots in the nature of man and the essence of life, and attracts them subconsciously. Pluto (270 AD, p.203 or 204) and Molana (604- 672 Lunar) are among those thinkers, who have talked about and artistically elaborated on love and its related concepts. Influenced by the different thinking atmospheres of their time, their incompatible civilizations as well as other variables of their time that have differently affected them, the two high-minded elites, who had greatly affected the thinking of other thinkers educated by them, were led to view love differently. The examination of the reflections of Neo-platonic thinking in the literary and theosophical texts including Molana Jalal-o-Din Balkhi’s Masnavi is important in many ways, and the important phenomenon of love is a profound and mysterious concept that, in a way, connects Plato’s theosophy with that of Molavi. Certain concepts in the reviewed works of these prominent characters, which have sometimes been taken as identical and influenced by each other, do seem different in some cases.  Despite a huge time gap –almost a millennium- between the writing time of “a collection of Pluto’s woks” and Molana’s Masnavi”, this paper aims to compare and contrast the concept of love in these two works through the library method of research using descriptive, inferential and analytic approaches to scrutinize some manifestations of similarities and differences between the viewpoints of these outstanding figures in the realm of insight and wisdom.

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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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Rouhani, R., PH.D.
 
Abstract:
    
The sacred book of Mathnavi Ma’navi, due to its numerous inclusions in God’s word as well as those of prophets and also hermeneutics interpretations (ta’wil) and explanations of those words for common and elites people, has turned into a collection of pure and exceptional knowledge. These ta’wils and interpretations, having mainly moral-mystical aspects, have given Mathnavi Spiritual style and made it like the mystics’ interpretive books such as Hakayek Al-Tafsir, Kashf Al-Asrar, latayef, Al-Esharat. Nevertheless. However, Molana is considered as those condemned Ta’wil and its adherents as far as Mathnavi is concerned and perhaps his opposition with Ta’wil at first sight seems to be more outstanding and remarkable and at the same time stranger. The writer of this essay has tried to clarify different types of Ta’wil via classifying them from Molavi’s view point into unacceptable and acceptable ones in order to explain this issue and solve this paradoxical point while considering some of the general points upon ta’wil in Mathnavi and explained some lexical definitions and expressions of lexical and interpretive works. To sum it up, taking these points in mind, it is proved the correctness and incorrectness as well as its goodness and badness are relative as far as Molavi’s view see it and it depends on the type of ta’wil, the person who does ta’wil and his/her goals and aims with for ta’wil of the text.
 
 

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Study of conceptual metaphor of Light in the Divan-e-Shams In this paper, will be explained functions of light and visual clusters like Sun, candles, lights and etc, in the Ghazal of Molavi based on using cognitive theory of contemporary metaphor. Concept of light in the Divan-e- Shams indicate that visual recognition and knowledge is a concept and it present as a primary metaphorical mapping in deep-structure; Molavi concerned this mapping and secondary mapping "divine world is light", and he has accounted light as God, perfect man, place, food and wine, the guidance and hope. Also he has explained subject of existence and nonexistence. The metaphorical mapping makes appropriate categories for Molavi's abstract analysis and shows intratextual coherence of the sonnets with primary mapping. Key words: light, Molavi, conceptual metaphor, mapping, macro metaphor

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ultra Rational, logical and mystical nature of gnostic facts and meanings from one side and limitation of language function area from other side, caused poets and mystics to use deviated language and expression. Simile which is one of the most important and  frequent  of semantic deviation in mystical poems, has been used  by  mystics  for  creating  poetic images and  expressing their own  thoughts. In this study authors criticized and discussed the deviated similes   in Ibn Alfarez and molavi’s   complete works with analytical method. This study shows that frequent use of compact similes is more than spread similes in their poems (both poets), because this method results in length in mental challenge and hesitation.  Sometime the relation between the simile parties in their poems is so far that   deviation observed more. They caused   meaning to be understood later by using so many similes. Through this, they make   their   words prominent   and leads to more literary pleasure of readers. although Ibn Alfarez purpose was to explain exalted concepts and holy command for reader’s mind, and was interested in application of perceptible simile to rational simile, but Molavi uses rational simile more than Ibn Alfarez. Perceptible to perceptible simile are very frequent In Molavi’s poems because of his mystical   and spiritual taste. Also frequency of spread similes in his poems is more than Ibn Alfarez.  

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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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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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Heidari.A.,PH.D

   Abstract:
Although Molavi does not care much about the form of a story and accords only secondary importance to it (he considers it as a means of getting to the core of meaning), he actually uses very graceful and elegant formal devices. To see this for yourself, just take a look at the similar stories narrated by other poets and writers. As we know, most of the stories related by Molavi in his Masnavi come from other sources. No doubt, the main aim of Molavi in telling these stories is to arrive at various mystical conclusions, but in most cases he himself has modified them. The result is nearly perfect and aesthetically better versions. These adjustments and modifications come in different forms, e.g. factualized stories, universalized characters, irony, etc.
      A major adjustment characteristic of Molavi’s stories is that he has made  already static characters and protagonists, as portrayed in previously narrated versions, dynamic. In short, the protagonist and other characters in Molavi’s stories grow more informed and gain further knowledge as the story progresses: at the same time as the problem gets resolved for the reader, it clears up for the protagonist who often gets insight into his own mistake in the end. This leaves a greater effect on the reader’s mind, because as the protagonist gets more and more distant from ignorance and closer and closer to knowledge and truth, the reader having identified with him feels greater delight and pleasure, and finally through empathy thinks that he himself has gained knowledge or realized that he was wrong.
   This article compares similar stories told by Molavi and Attar. Some 42 of the 390 stories in the Masnavi have similar versions in Attar’s work. The protagonists in at least 15 of the Masnavi stories undergo a major change as the story goes on (they gain knowledge or realize their mistake). This is not true of the principal characters in Attar’s masnavis.
 

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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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 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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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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Taghi Pournamdarian, Ph.D.
Zahra Hayati
 
Abstract
Most of the researches which have studied the relation between cinema and literature have paid attention to the differences of literary fiction and drama in the scripts. One of the other grounds in which the ties between literature and cinema can be further on traced is "creation of pictures".  The eloquent concepts of "figurative elements" and "forms of imagination" includes mental literary images and often infers to the implied figurative signs of the observer, being all listed in the science of expression in the variety of fields such as allegory, simile, trope, metaphor, irony and symbol. This article surveys the potentials of "literary allegories" in general and the "poetic allegories" of Massnavi and Shams Sonnets in particular for recreation in cinema's expressive device. The transition of literary allegories to cinema is possible through these potentials: 1. including several visual and animated, dynamic elements. 2. Conformity of pictures and concepts relevant to montage and stage direction. 3. The plenitude of pictures with the same width in the poetry length. 4. Including pictures with a distribution potential in the feature movie text due to the mystical content of completion. 5. Considering narrative texture and dramatic structure.
 
 

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Received: 25 July 2021 Received in revised form: 9 November 2021     Accepted: 2 December 2021

The tradition of mystic biography writing, with the writing of two forms of collective and personal identification, is the continuation of Islamic historiography, which uses the tradition of documenting and objectifying the science of hadith to validate itself and creates facts about mystics or mystics. From an epistemological point of view, the construction of the mentioned reality is the result of the selection and selection of the author-narrator or narrators who represent it based on special epistemology or ideological attachments. This point is especially noticeable in personal ID cards due to the density of events and details. One of these tazkirahs is Manaqib al-Arifin Aflaki, which was written about Mowlavi and his entourage. In this article, the narrative-discursive validity of the reality created by Aflaki in representing the events of Mowlvi's life has been implied and interpreted in a descriptive-analytical way. The theoretical basis of the research is the opinions of some experts in social semiotics and critical discourse analysis, whose implications have been explained from both quantitative and qualitative perspectives. The result showed that the author-narrator documents and believable from a quantitative point of view some of his created facts by using the four modality categories of numbers, emphasis, narrative frequency and narrative continuity with high causality. From a qualitative point of view, first of all, based on relying on the narrator-focusing cognitive tools, such as the sense of sight, hearing and touch, which indicate the perceiver's "here" and "now", some other events are objective and tangible. Then, with legitimizing methods such as referring to the holy system, referring to the Sunnah, rationalizing and exaggerating another part of them, it is documented and real.

1. Introduction
Mystical biography writing and recording the lives and sayings of parents and mystics is one of
the most important genres in the history of mystical literature because of its special role in our cultural and social past. History was very important for the Muslims of the early Islamic period and historiography was born in the shadow of  Scholars of hadith science , which means collecting, editing and interpreting the reports related to the words and behavior of the Prophet and examining its narrators, had become the main activity and standard of Islamic scholars, and in a more general view, documents became a principle for organizing Education had become science of hadith was one of the methods of criticism that classified both hadith narrators into categories such as reliable, acceptable, and weak, as well as the text of hadith (Robinson, 2012, p. 166). Documents provide the possibility of controlling obvious forgeries and historical anomalies and verifying the authenticity and inauthenticity of hadiths. Accuracy in documents, quoting the news with credit from the compiler, allows the reader to know that what is being said is not just a story. In order to understand the emergence of the tradition of Muslim historiography, it is especially important to pay attention to the prominent story aspect of the written narrative, whether it is real or not. The two key words in this context are "hadith" and "news", the current construction of both of which means reporting. It is necessary to remember that Islamic historiography gradually freed itself from the sensitivities of the hadith scholars and the third century is the beginning of the flowering of Muslim classification.
The tradition of classification, which was popularized as a form of history writing, attracted the attention of Sufists and mystics, and under all religions, a narrative was usually formed in order to describe the early faces of the religion, the way of religion and conduct. Show the elders of the religion and set an example for the religion of Islam. The classification of mystics and mystics can be divided into two groups, collective and private, from the point of view of the degree of inclusion of the people under discussion. Collective tazkira books represent the life of a large number of mystics and mystics, and private tazkira is specifically about a Sufi or mystic. The book Manaqib al-Arifin by Shamsuddin Ahmad Aflaki (died 761 A.H.) is one of the exclusive tazkirehs in the biographies of Baha Wold, Maulana and his companions. The book is in ten chapters.
Aflaki started the book at the request of Molavi's grandson and his successor, Amir Arif in 718 AH and finished it in 754 AH.

2. Methodology
Biographies are written with different mechanisms and mystical notes play a significant role in creating the reality or realities of the life of mystics. Facts are created in tazkirehs and tazkireh reports are a form of mystical narration, the degree of objectivity and reality depends on the vision of the tazkireh writers. In this article, the narrative-discursive validity of the reality created by Molavi in Manaqib al-Arifin Aflaki has been identified and interpreted in a descriptive-analytical way and a narrative-discourse approach in the form of the following two questions: 1) Quantitative implications of validating the reality created by Aflaki Which was about Maulvi? How has the author-narrator represented them? 2) How are the levels of qualitative accreditation to the reality created by Aflaki regarding Molavi and its documentary supports arranged in the text?

3. Results
In this article, the result of narrative narrative-discourse explanation of Aflaki's constructed reality in Manaqib al-Arifin is described and analyzed from two qualitative and quantitative perspectives as follows:
The quantitative view of denotation indicates that the author-narrator tries to present the facts with high causality or majoritarianism by tending to four categories of modality or aspect such as numbers, emphasis, narrative frequency and narrative continuity. to mark vocabulary and narration to attract the audience-listener's opinion and make the reality believable for him. At the lexical level, these modalities sometimes serve to confirm and stabilize the represented reality, sometimes by mentioning precise numbers, sometimes in an approximate form representing the majority, sometimes with maximum emphatic adverbs. In addition to this, at the narrative level, the author relies on the frequency of the narrative and the repetition of the event that happened twice or more, or based on the continuity modality of the narrative, which provides a large space of time and space for the representation of the event and shows the constructed reality in a prominent way.
From a qualitative point of view, the author-narrator on the same level by mentioning the perceptive-sensual tools of the narrator-focalizer such as the sense of sight, hearing and touch which indicates his "now" and "here", shows the distance of the perceiver with the event, and some of It makes the facts tangible and objective. Then, on another level, it documents some other fabricated facts by relying on the sources of turning power into authority or legitimizing supports such as citing the holy system, referring to the Sunnah, rationalization, and splendour. With this description, the author-narrator of Manaqib al-Arifin organizes and stabilizes the validity of his created reality about Maulavi and the life around him from a narrative-discourse point of view - not necessarily moral.

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The emergence of epistemological relativism in the form of social anomies and issues such as emotional and identity abnormities and crises, psychological fluctuations and disappointments are derived from the current of modernity and the governance of the positivist paradigm. Examples of these cases as vital issues of human life are seen in the “Tuesdays with Murrie” and “Masnavi Molavi”. The novel of “Tuesdays with Murrie, one of the most remarkable Western works, emphasises humanity's permanent problem in materialism and neglects the self-knowledge trap (love and affection, death, spirituality and consciousness, etc.). These subjects have been emphasised in other ways in the collection of Molavi’s works, specifically, the Masnavi Ma’navi. With an analytical-comparative method, the present study aimed to analyse the content of these two works, based on the American school, and provide desirable solutions to get out of the governing situation on human life. The results indicated that the dominant aspect of both works is proposing the crisis of human problems in the material world trap. The distinction between them is in Molavi’s emphasis on going beyond material factors and relying on the ontology of Islamic mysticism.
 

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Polyphony is a term applied by Bakhtin to describe the features of Dostoevsky's Poetics. According to Bakhtin, polyphony is based on dialogism and to respect to the others 'opinion. In this case, polyphony is an achievement that releases human thought of dogmatism. Molavi, prior to Bakhtin, emphasized on otherness and avoidance of dogmatism and selfdom. Polyphony is a twentieth century idiom and he did not theorize it, the principles of polyphony as a universal message for human society can be seen in Molavi's thought and works. This article examines Molavi̓ s polyphonic view and tries to show it in Molavi's works especially in Mathnavis. The conclusion shows that there are the elements and roots of polyphonic thinking in Molavi̕ s work; Molavi presents polyphony through the elements such as: coexistence of binary oppositions, relativism, to respect to the other`s ideas.