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One of the outstanding language features in free Nima's poems is his characteristic and distinctive syntax. Nima named this linguistic characteristic as "morphological and syntactic combinations". Examining Nima's syntactic combinations shows that these combinations have functions in Nima's poetry, and one of these functions is its role in creating the music of the poem. Since the syntactic combinations releted to adjectives have a high frequency in Nima's poetry , this article after explaining the types of syntactic combinations of Nima in adjectives; such as the expansion of the adjective, putting a distance between the adjective and the adjective, the use of the adjective as a substitute for the adjective, etc., it expresses its function in creating the music of Nima's poetry and concludes that through his syntactic combinations, especially about the adjective, Nima tried to make the natural music that the words It matches the feeling and theme of the poem.

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Editor's note on 2nd Issue

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In relation to the impact of Persian literature on the west, in the 19th century, Ralph Waldo Emerson is one of the most outstanding American figures. His interest in Persian poetry, particularly that of Hafiz, encouraged him to translate some Persian poems into English. He also composed some poems with oriental inclinations, inspired by Hafiz and the mystical poetry of some other Persian poets. Emerson also wrote an essay, entitled “On Persian Poetry”, in which he introduced German translations of Persian literature as his source of knowledge and revealed his high regards for Persian poets. However, his greater admiration for Hafiz than for others in this essay is due to the fact that to him Hafiz, while being a greater poet, was a liberated minded intellectual as well. This study is an attempt to scrutinize Emerson’s observations of Persian poetry. First, the sources from which he acquired his oriental notions will be examined. Then his view on Persian poetry will be focused upon, and finally his praise for the merits of Hafiz’s poetry including: intellectual liberty, transcendental vision, Takhalloss (his mode of copyright), the function of the hidden layer of meaning in his poetry, etc. are going to be examined. This comparative study will finally present Emerson’s misconceptions in the field of Persian poetry. His mistakes and misconceptions might be the result of cultural differences, his lack of knowledge of Persian language and different time span in which the two poets lived.

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Hermeneutic theory of literary history suggests the "history of readers" or "literature audience" rather than the history of the author and the text. In this approach, the literariness of a text - for example Hafiz poems - is measured according to its vividness, dynamism and ability of its conversation with different generations. Therefore the literary historian should write the "history of the effects of Hafiz poems" upon its readers rather than the biography and history of Hafiz himself.. By doing so, the historian actually writes "the life of Divan of Hafiz" and "the history of Hafiz meanings" i.e. the story of the text after its birth, and it's moving on in the history. By recognizing Hafiz readers in 15th century, the article has studied the echo of Hafiz voice in the first century after his death and according to the information obtained from sources in 15th century, classified Hafiz readers based on their types of reading. According to the biographical information and also some given titles and addresses to Hafez, his social position has been illustrated, and eventually the developing process of Hafez meanings from simplicity to complexity and from literary discourse into the sacred discourse, has been demonstrated

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This article has categorized Sufi prose in two contrasting species: the first is constructed discourse (kalām-e motamakken) and second one is deconstructed discourse (kalām-e Maqlub). These two terms have been used by Sufis in their books. The distinguishing bases of these two discourses are the epistemic origin, source of knowledge, text content and the function of language in Sufi discourse. Constructed texts contain social concepts of Sufism and originate from a collective and ideological knowledge. Indeed they organize a group state and the language plays the role of a regulator in them. The deconstructed discourse is the second group of texts that have their roots in personal experiences and create a new imaginative and textual world. A deconstructed text, in terms of implications, is an open text that is flexible for interpretation and metaphorical pole of language dominates it, while constructed text hinders further interpretation. The article at the end shows the transformation process of Sufi prose from the constructed discourse word by word to the deconstructed discourse.

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Abstract
Entertainment is one of the most well-known purposes of a story. In this article, it will be shown that in addition to entertainment, stories played an important role in the political and social goals and conditions of the Safavid era. To this end, the proverbial tales of the Safavid era have been content analyzed. The first major goal in the story of this period is to "propagate the ideological foundations"; the critics of this period aim to promote religious discourse among the masses by propagating the prevailing political ideology. Another purpose of the stories is related to the "political and social" issues in two areas: "Naql, in the role of stabilizing / shaping Iranian identity" and "Naql, in the role of socio-political preacher". It could also be mentioned that the stories have "psychoanalytic" themes, full of fantasies to raise people's health through the imagination or forgetfulness. Another aim of the proverbial tale of the Safavid era is "fun and entertainment." Based on the statistics extracted from the stories, it is revealed which of the purposes of the story in this period were more important than the other goals and why.  

Keywords: Prose story; Safavid period; political-social goals of a story.
Theoretical background of research
Zolfaghari, Bagheri, and Haidarpour in their study "Sociological Aspects of the Story of Alexander the Great" (Literature of Research, 2013) addressed some of the anthropological aspects of Alexander the Great's narrative, including allegory, insult, social life and etiquette.
Afshar, in the introduction to the book Alam Araye Shah Tahmasb, in the preface, briefly presents a statement about the political goals of the stories of the Safavid era (p. 8); he writes:
In the Safavid period, in order to show the political and governmental influence, and promote the activities of the army and successive struggles to protect the rights, and borders and of the country, there were writers and narrators who explained events to the people in their storytelling style. To cultivate.
 
Although Afshar's statement is about stories such as "Alamaras" and other historical texts, it is a generalizable statement that dates back to the Safavid era.
Research questions
1. Did the story in the Safavid era, in addition to entertainment, have any other content?
2. Why did the story take on socio-political content in the Safavid era?
3. Among the various purposes of narrating the story, what was the most important content of the story in the Safavid era?
Research hypotheses
1. The story in the Safavid era, in addition to entertainment, which is the most well-known purpose of the story, has other goals.
2. During this period, the story became a medium for the government's religious and political propaganda among the people, due to its popularity among the masses and the establishment of a coffee shop.
3. The most important content of the narrators' stories in this period was political and social issues.
The main topic of research
However, at the beginning of the Safavid era, the story of sanctions was imposed (see. Hamvi, 2007, 143-140). But when the kings and politicians of the Safavid era saw the popularity of the story among the people, they decided to use the story as a tool to transfer the religious system to the public, and in return, define a court order for narrators and storytellers.
The four main contents of the prose stories of the Safavid era
1. Religious propaganda
1.1. Direct and indirect references to the Shi'ite religion
The purpose of referring to the Shi'ite religion in the stories of this period is, in fact, parts of the story that the narrator / storyteller refers to in a clear or unambiguous way. These allusions are: the help the hero of the story by Imam Ali; A reference to one of the Shi'ite beliefs such as the savior of the resurrection day, taking one of the Shi'ite Imams as the protagonist.
1.2. Shi'iee truth
In most of the stories of this period, Shi'ism is considered as the religion of Islam; Islam at this historical juncture includes only a part of Islam, and that is the Sh'ite religion, and it seems that the only true religion of Islam is Shi'ism; therefore, wherever an individual or group acknowledges the true nature of Islam, they mean the Shi'ite religion.
1.3. Changing the religion of the opposition to the religion of Shi'ism
The main mission of most storytellers in the Safavid era is to convert non-Muslims [non-Shi'ite] to Islam. For example, in Eskandarname, Alexander is portrayed as a Muslim who seeks to convert non-Muslims into Shi'tes.
2. Political and social
2.1 The narrator in the role of a socio-political preacher
In this type of preaching and social critique, the narrator raises problems such as addiction, laziness, pessimism, and lack of religiosity, and tries to improve them.
3. Psychotherapy
The simple language and fascinating world of the story solves the narrative, and this, in turn, causes the audience's worldly connections to be cut off and make for him/her an entry into the colorful world of the story. This individual caliphate has psychological benefits from three aspects; The first is to eliminate personality defects. When the audience hears the story, they identify with one of the people and try to compensate for their weaknesses. The second benefit of this storyline is the unimaginable fantasy and departure from the real world, which has been one of the joys brought to the audience. The third benefit is the elimination of phobias.
4. Fun
In addition to the customary motives of the ruling power to the narrators in this period, storytellers did not neglect the inherent purpose of the story, which was to entertain the audience; because the mere expression of customized desires in the story, of course, caused the audience to be indifferent to the pursuit of the story.
References

•  Afshar, I. (edt) (1991). A'lam A'raye Shah Tahmasb. Tehran: Donyaye Ketab.
•  Afshar, I. (edt) (1999). Hossein Kurd Shabestari. Tehran: Cheshmeh.
•  Hakim, M. (2004). Summary of the seven-volume generalities of Eskandarname, narrated by Manouchehr Khan Hakim (selected and edited by Alireza Zakavati Qaragzlu). Tehran: Ney.
•  Hamwi, M. (1984). Anisalmonin (edited by Mir Hashem Mohaddes). Tehran: Bonyad Beesat.

 Zolfaghari, H. Bagheri, B. Heydarpour, N. (2013). The anthropological aspects of Alexander's story. Literature Research, 33, 35-65. 

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The term mazmoun [theme] is one of the main keywords in the Indian Style [Sabk-e Hendi] of Persian poetry. This word, also used as a literary term since the fifteenth century in Persian poetry, is not synonymous with meaning, content, concept, intent, context, and diction in the literary terminology of Persian poetry. In the following paper, I try to examine the nature of “theme” as the Indian Style’s main literary element, its mechanisms, and how Persian poets and tazkirah writers of the fifteenth century employed the term. To this aim, the frequency of the early usages of this literary term from the late-fifteenth century to the early-seventeenth century has been considered. I have identified eight different characteristics of the term “theme” based on the Indian-Style poetry and the critical writings on this school at the time. Furthermore, I have differentiated three processes of constructing the “theme” based on three frequent verbs: to find, to reach, and to close. I will further point out the rising complexity of the structure of “theme” from Saib Tabrizi to Nasir Ali Sirhindi in the late-seventeenth century

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The personal credibility and authority of the historian are one of the major subjects in Historiography. It's important since the greater the personal credit of historians, the greater would be the degree of persuasion of the audience. In this article, we analyze the degree of historian influence on audience persuasion and rhetorical methods and verbal devices used for historiography credit which makes the text more believable to the audience. In this article, applying the Neo- Aristotelian criticism method, we want to demonstrate the historian Ethos and strategies used by him to increase his credit. For this purpose, we choose Futuḥāt-i shāhī Cornicle by Amīnī Haravī, since it was one of the first and impressive histories of Safavi's government formation and its ideology because the role and personal credibility of historian and his persuasive of methods are very important.
 
 1. Introduction
the  historian personality is one of the main factors in the validity of historical narrative. The character of the historian is a rhetorical function here. Because in addition to validation of historical narrative, it is accompanied by the persuasion of audience. Historians, consciously in history, have sought to validate their historical events. They used objective eyewitnesses, predecessors, contemporaries, and so on. However, it should not be mentioned that the most important and fundamental factor in historical authenticity is the character of the historian. From this view point, historical authenticity is closely linked to the historian's authority and credibility. The historian's credit for the historian is that what method would the historian produce the right documents? Thus, the degree of content of the historian's discourse increases in the presentation of historical evidence. The authors seek to show how the historian achieves this personal credit in his historical context.
 
2. Methodology
Among rhetorical criticism, neo - Aristotle criticism has long term history. This approach, although criticized and reviewed, continues to be one of the most important approaches to its life. First, in 1391, Herbert Wichelns propounded the main tools of neo - Aristotle criticism as "  The Literary Criticism of Oratory " in his article. He made a distinction between literary criticism and rhetorical criticism there. Aristotle had already begun to write in the On Rhetoric and other like Cicero and Quintilian. These elements were the speaker’s personality, the public character of the speaker or the public’s perception of the speaker, the major ideas presented in the speech, the motives to which the speaker appealed, the nature of the speaker’s proofs, the speaker’s judgment of human nature in the audience, the arrangement of the speech, the speaker’s mode of expression, the speaker's method of speech preparation, the manner of delivery, and the effect of discourse on the immediate audience and its long-term effects (Foss, 2009, P. 22).
Since he did not deal with the analysis of these subjects, literary critics applied to the sources of classical rhetoric and benefited from the underpinnings of the rhetoric that Aristotle discussed in On Rhetoric, literary critics turned to classical rhetoric and took advantage of the rhetoric pillars that Aristotle had discussed in oratory: innovation, arrangement, style, memory and delivery (ibid, p. 22). Therefore, the application of the three elements of Aristotle s artificial arguments for review and critique of literary texts was first proposed in the neo - Aristotle criticism approach.
In this paper, the authors mention the difference between Aristotle and Cicero Ethos. This difference is, first, that one of the characteristics of the orator was based on common sense. This feature is necessary for the rational type because if a speaker wishes to express the truth, he must be wise enough about what he is talking about. The second is the difference between the client and the plaintiff which has very little relation with Aristotle's rational Ethos. This concept entails two categories: content and influence. It is, therefore, a good representation of the character of an orator and the principal (content ), for the audience . In other words, this study aimed to investigate the relationship between self - efficacy and Pathos. The difference between Cicero’s Ethos and Pathos is that he has some kind of gentleness with him, but it is equal to arousing strong feelings. While Aristotle's Ethos is a logical concept and does not have a goal in arousing emotions, and unlike Aristotle, it includes all types of feelings.
According to the above explanation, in this paper, the authors have put the Aristotelian Ethos for text analysis. For Aristotelian ethos, in addition to being text, Aristotelian Ethos is more logical than Ciceronian one. On the other hand, because in the new - Aristotelian approach, Aristotle's theory has been used. It is necessary to mention that the authors have mentioned the above explanations to understand the addressee about Aristotle and his critique of neo - Aristotle and have extracted the text analysis unique to Aristotle's theory and those cases which have been used to obtain the authenticity of the historian.
3. Conclusion
In the tradition of historiography, some of the essential elements are common and are not special to Futuḥāt-i shāhī, such as the fame of the historian and writing and composition. But some of these elements, especially those of Futuḥāt-i shāhī  which belong to the historiography of Safavid era, are the means of distinguishing it with pre - Safavid historiography.Using the current discourses of their time Amīnī Haravī seeks to link past discourses with the new discourse of Safavid establishment in the direction of legitimacy.
It should be divided into two categories: general elements and discursive elements. Those elements which serve to strengthen and promote the values of Safavid's political and ideological system will be credited to the historian and his work. However,  for audiences outside the discourse or the rival discourses can reduce the authenticity of the text and reduce it to a sectarian text. In this paper, we used the rhetorical criticism techniques to investigate the functions of the ethos for the historian in the whole text of the Futuḥāt-i shāhī and showed how intratextual and extratextual elements could add to the historian's credit.
 

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Poetry and philosophy: two producers of making truth