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The historical and literary a common ground in Persian and Arabic Created Valuable Literary poems on various subjects. We can mention elegy that versified in the sadness of destruction of Baghdad by Saadi Shirazi and Shamsuddin Kofi. Reflecting the Mongol invasion of Islamic countries, including Baghdad caused profound grief and sorrow over the lives of Muslims. In this article we have tried to analyze the reflection of the tragedy in the poem of the two poets and we have mentioned by Comparative analysis to the Themes and content is written by the poet's and We have also explore the similarities and differences of the two poet elegy. The results of this study indicate that both the poet in several main themes have in common such as crying and grief, complained of oppression days tend to pre-Islamic Arabic language and literary style and Mention honors predecessors. Lastly Both poet said monody by Pure and simple Diction, yet full of sorrow and regret, in elegy of Baghdad and ”mostaasem”.

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In Comparative studies, poem of Saadi and Motenabbi are comparable in many ways. One of the common parts of these poets is Proverbial method , this method has brought forth Saadi has followed Motenabbi in aspect to motif and poetic method. This article tries to analyze proverbial method in the poem of Saadi and Motenabbi and examined cultural base and mobility poetry and imagination in these poets. Vocabulary and imagination of Saadi are wider than Motenabbi and "I" Sadi especially has become human "I". Cultural base of Saadi is more powerful than Motenabbi and powerful culture and imagination are developed through both sides of the proverbial method, diversity and dynamic style.  

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Abstract Saadi’s poetry is famous for its inimitable simplicity of adjectives and such features can be traced in many of Al-Mutanabbi’s poetry. This article attempts to explore these adjectives in some of Saadi’s lyrics embodying wisdom or mysticism and Al-Mutanabbi’s poetry of wisdom and concept. To achieve this aim structuralism and Philosophical hermeneutics representing two opposing perspectives are employed. Hence, examining how the two approaches are applied, the criteria of inimitable simplicity of adjectives are discussed. Through the structuralist approach, the aesthetics are removed in terms of partial and objective aspects and the analysis of the poems enter a dynamic mental space. However, with philosophical hermeneutics approach history, relevance, development, dynamism, meaningfulness of abstract time and metaphysics are seen in the considered poems. They have a dynamic presence in the lyrics. Literary elements such as rhythm, rhyme, imagery are not effective criteria to analyze the inimitable simplicity of adjectives in the poetry of Saadi and Mutabi. The findings signify the philosophical hermeneutics can be considered as the criteria for evaluating such adjectives in the poetry of the two mentioned poems.

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Persian and Arabic have been related for so many years. These two languages have influenced each other not only at the level of vocabulary but also in some other levels such as morphology, phonology, and even syntax. This study aims at investigating one of language interferences which is the letter ‘واو’. The purpose of this study is to show that regarding the letters especially the letter ‘واو’. Persian has borrowed a lot from Arabic. It means that both the function and the form of this letter have changed in Persian. However, with more care, it can be realized that many functions of this letter in Persian are still the same as in Arabic. When this letter comes between two nouns, verbs, or sentences, it has both its main syntactic function i.e. a conjunction and also some other semantic and rhetoric functions in the sentence. Letter ‘واو’ is used with different meanings such as ‘manner’, ‘oath’, ‘with’, ‘but’, and also ‘because’. The results of the present study show that words such as ‘واگر’, ‘وگر’, and ‘ور’ in Persian which have the function of conjunction in discourse as well as the meaning of condition, are the result of  Arabic words translation like ‘واِن’ or ‘ولو’, as these words have not had a long history in Persian.

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A structural insight to literary elements in order to study
intratextual aspects and their relationship patterns, leads to find more
positive ground from the literary essence. And, showing methods for
better literary work creation can help develop the literary process. A
group of structural critics has focused on structural forms of narrative
and story elements and their compound rules; Claude Bremond by
developing a system based on narrative forms proposed a scheme that
is based on a relationship between the smallest units. In this paper,
using pattern and sequence of Bremonds, we have studied and
analyzed two stories from Saadi's Boostan or Garden. The aim of
choosing this subject is the conformity of this theory with the structure
of two narratives of Saadi.

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One of the arguments in rhetoric is to examine the use of interrogative sentences in secondary purposes. The main purpose of the interrogation is to obtain information; but up to 32 secondary purposes have been written for Interrogations in some rhetoric books. In this descriptive-analytical study, the secondary purposes of the interrogative sentences in Saadi's Bustan have been analyzed. The purpose of this research is to determine what concepts Saadi has intended to present through rhetorical questions. The fundamental question in this research is to identify, to what extent did Saadi use the interrogative sentence in presenting his themes and concepts? The research is based on the assumption that due to Saadi's mastery in rhetoric criteria of language, he has taken great advantage of the secondary capacities of the interrogative sentences, especially in conveying themes of reproach and denial. In Saadi's Bustan, in total, 379 cases of rhetorical interrogations have been used. Out of which, in 289 cases, the poet used one type of interrogative tools to ask questions, which included a variety of 19 questions. Of these 19 cases, only the Arabic word "kaifa" serves as a question mark. The word "Che" has been used 129 times, accounting for about 47% of all query words in Bustan. In many cases of rhetorical questions, he begins the interrogations by the word "no". The poet's intention in this way of expression is to draw the reader's attention and emphasis on the theme. In total, 379 cases of rhetorical interrogation have been utilized in the Saadi's Bustan. These questions have raised 32 different themes. What is important in terms of the style and understanding of the poet's thinking is that in 241 of these questions, directly or indirectly, ethical themes are presented.

 

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The renowned Iranian poet Saadi emphasized on usage of pennames, such that roughly 97% of his odes have a penname. The penname is usually in the form of third single person and second single person. The related poems are usually informative, or include a message or an advice. In this article, pennames in the odes of Saadi are in the form of third single person and second single person. The article studies the relative abundance of reports and messages, while showing the status of pennames in the odes of Saadi. At the end, a statistical figure on the said topics has been presented based on tables on relative abundance and the circular percentage graph of statistical data.

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Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literay critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. In this study the authors seek to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, the authors  analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the liryc poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, the authors have presented solutions using the theory of text worlds.

1. Introduction
Cognitive poetics as one of the new branches of cognitive science, provides appropriate tools for analyzing the text for the literary critics. The theory of text worlds is one of these tools and is useful in analyzing the textual space. Our purpose in this study is to analyze the function of this theory in representing the world of constructed text in Persian poetry. To this goal, we analyzed a sonnets of Saadi and a free verse poem of Nima, and examined the function of the theory of the text worlds. The results of this study indicate that this theory is more suitable for the analysis of free verse poetry, and in classical poetry, especially the lyric poetry, there are obstacles due to the inherent limitations of this kind of poetry. To solve the problems of classical poetry analysis, we have presented solutions using the theory of text worlds.
The article can be elaborated in more detail: Text world theory is one of the tools of cognitive poetics that provides the reader with the ability to carefully examine the components of a text. This theory has a coherent method for modern literary analysis because it explores internal elements and then analyzes the evolution of text discourses. The present research has demonstrated in practice that this theory is a tool for accessing discourse and the constituent elements of Persian poetic texts. An important point that the interpreter must consider in analyzing the text world of classical poetry is to pay attention to the elements of discourse and not to examine grammatical sentences.
In the analysis of poetry, this theory, more than anything else, deals with the context of the text and the explanation of the textual elements of the poem, and does not have the special ability to examine the rhetorical elements of the text. At the same time, in the course of our research, we have shown that despite the limitations of this theory in dealing with the rhetorical elements of the text, the rhetorical simile can be explored in sub-worlds of text. The inherent limitations of classical Persian poetry, such as the lack of narration and the lack of vertical focus in many poems, as well as the necessity of weight and the existence of rhyme and line, cause this theory to generally face limitations in dealing with classical poetry. With the application of several guidelines, this theory can be applied to classical Persian poetry. This theory is well-suited to criticism in modern poetry because of its greater narrative and lack of limitations on classical poetry

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The research entitled “A comparative study of Saadi’s Golestan and Samuel Johnson’s Rasselas” is based on the inclination of 18th century writer and theorist Johnson on towards rich Persian literature and outstanding resemblance of Golestan and Rassales from the structural, moral, Philosophical points of view. The findings are based on two hypotheses: (1) Has there been any basis for Johnson’s specific attention to Persian literature and if there has been any interest or familiarity with Persian literature, how extensive or profound has it been? (2) With regard to the deep influence of the French Neo-classicists on English Neo-classicists in the 18th century, is there any possibility that, even Johnson had an access to the English text of Golestan. The present paper also comes up with noteworthy results representing this fact that the first feeling about the similarity between Golestan and Rasselas was not baseless. The evidence indicates that not only was Johnson fascinated by Arabic and Persian literature (which Europeans considered interchangeable) but also widely studied the translation of Persian poets like Saadi. The similarity between the two works has been so remarkable that it attracted the attention of some of Persian and English scholars. However, the present project is intended to test and check the authenticity of this sense of similarity, to give it a second thought and to deal with it more consciously and seriously than it has experienced so far.

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The rules and limitations of the genre change the hint and organize it in accordance with the communication norms of the new text. The purpose of this article is to compare the communication aspects of allusion in lyrical texts (sonnets) and didactic texts (Bustan) to examine the requirements of literary and genre norms governing literary texts. The tendency of lyrical texts to emotional allusions against the prominence of persuasive allusions in educational texts, the author-centered allusions in lyrical versus the audience-centered allusions in educational texts, the orientation of lyrical allusions towards the metaphorical pole of language versus the prominence of the most important The genre alludes to the communication functions in these works.
 

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Theory of mental spaces is a theory derived from the theory of possible worlds. This theory and its derived theory, conceptual blending, are useful tools for text analysis in the field of cognitive poetics. The purpose of this study is to investigate how these theories encounter Persian poetry. To examine the application of these theories in the analysis of Persian poetry, we first discuss their philosophical aspects and theoretical foundations, and then test how they work in a lyric by Saadi. The results of the present study show that the theory of mental spaces, despite its generally appropriate function, in some positions such as allegorical structures, does not have the necessary efficiency in semantic analysis of poetry and in such circumstances, the theory derived from that, theory of conceptual blending, can cover the functional vacuum. We have also shown that the theory of mental spaces is a tool that explains and analyzes the linguistic nature of ambiguity, as one of the most important elements of rhetoric in poetry.
 

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Of the various literary works, which have come to exist during the centuries and civilizations, few are capable of remaining in the universal history of literature and culture. Also among these few, only finger trip has become immortal on the people's mind and memory. One might conclude that having joint humanistic concerns is a cause for the immortality of any work of art or literature. The more a literary work deals with commons, questions, subjectivities and human pains, more people will find their own feelings and "their heart word" in it. Undoubtedly, "Saadi’s Golestan" can be considered one of such works. The present study reconsiders Saadi’s Golestan in terms of anxieties and concerns that contemporary human beings are encountered with. Since Saadi’s strategies and techniques are based on his humanitarian experiences, wisdom and high qualities of genius, intellect and attention to readers, in many situations, it appears to be a solution for the contemporary human problems, and this is the secret to the Golestan’s durability. The research, using descriptive–analytic method and through an inter-textual and induction approach, tries to explain Saadi's humanitarian views and his strategies and techniques to respond to the contemporary human pains and challenges. According to the outcomes of the research, a great part of Saadi's sayings in Golestan is based on his humanistic views and his solutions to the social and spiritual (existential) anxieties and crises. Therefore, his teachings, surpassing the place and time, often can be a healing to the contemporary human's sufferings and a solution for his ongoing challenges.

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Of the various literary works, which have come to exist during the centuries and civilizations, few are capable of remaining in the universal history of literature and culture. Also among these few, only finger trip has become immortal on the people's mind and memory. One might conclude that having joint humanistic concerns is a cause for the immortality of any work of art or literature. The more a literary work deals with commons, questions, subjectivities and human pains, more people will find their own feelings and "their heart word" in it. Undoubtedly, "Saadi’s Golestan" can be considered one of such works. The present study reconsiders Saadi’s Golestan in terms of anxieties and concerns that contemporary human beings are encountered with. Since Saadi’s strategies and techniques are based on his humanitarian experiences, wisdom and high qualities of genius, intellect and attention to readers, in many situations, it appears to be a solution for the contemporary human problems, and this is the secret to the Golestan’s durability. The research, using descriptive–analytic method and through an inter-textual and induction approach, tries to explain Saadi's humanitarian views and his strategies and techniques to respond to the contemporary human pains and challenges. According to the outcomes of the research, a great part of Saadi's sayings in Golestan is based on his humanistic views and his solutions to the social and spiritual (existential) anxieties and crises. Therefore, his teachings, surpassing the place and time, often can be a healing to the contemporary human's sufferings and a solution for his ongoing challenges