Self-recognition is a topic that has been manifested in the literary works of all nations. In classic Persian literature, great poets like Naser-e Kosrow, Nezami, and Hafez, have presented it. In the contemporary period, Eqbal Lahoori has paid attention to this category from a new point of view. In the Scandinavian literature, Henrik Ibsen (Norwegian play-writer) in Peer Gynt (a play in verse), which is called by himself a "poetic fantasy", could show us the interpretation of Divine Trust and the noblity of mankind (self respect), involved in a sheer and artistic symbolism. Peer Gynt is the story of man's vagrancy and deviation who has passed through a long way to recognize his own self and reach the exalted reality of humanity. Eventually in the last stages of his life, he returns to what he has escaped from the whole of his life time. He returns to "God's word" along with the burden of responsibility [trustworthiness] which is the main purpose of his creation.

This article addresses primarily the common grounds between Iran and India in terms of their common Indo-European origins and the proximity between the Avestan languages and Sanskrit. The present study also deals with mythic characters like jamshid, Freidoon and his father AbtW who are mentioned in both Indian and Persian epic works as well as themes such as the holiness of the fire as reflected in Zoroastrianism and Vedic texts. For instance the marnage between the Sassanid king, Bahram Gur and Sepinood, daughter of the Indian king as reflected in the Ferdowsi's Shahnameh. These instances in toto indicate Iranians' interests in India. Furthermore, the present study engages with the cultural links between Iran and India fro time immemorial. Also, Kalileh va Demneh (Bidpay Stories), the first book during Sassanid rule translated from Sanskrit into Pahlavi, and later into Arabic and Dari Persian and its impact on Persian letters are discu.ssed. The proverbs pertaining to India quoted by the Iranian writers and poets are cited here. Also the reverence for India as seen in the works of Ferdowsi, Nasser Khosrow Ghobadiani, Sanaiee Ghaznavi, Saadi, Hafiz, as well as those of the poets of the Indian style like Orphi Shirazi, Naziri Neishaburi, Kaleem Kashani, Saeb Tabrizi are quoted here. The paper concludes with Bahar's lines on the splendor of ancient India.

The title says it all! The point is that it is taken for granted that today the word order in Persian is subject+object+verb. This article addresses this issue that as in Avesta, Old Persian, Middle Persian, Dari Persian, Modern Persian and the colloquial speech as well as text,s like Aburnansuri's Moghaddemeh, Tarikh Sistan, and the works written by Balami, Beihaqi, Nasser Khosrow, Tazkeratolulia, Fih Ma Fih, Saadi's Gulistan, to Ale Ahmad, Dowlat Abadi in contemporary period, Persian has enjoyed a free word order throughout. The present work also sheds light on how the fixed, and indeed an unmarked structure has been imposed on the language and has been institutionalized thereafter. The writer contends that with such an unmarked word order not everything can be articulated. If Persian is going to have more capability, we should enliven the language through inspiration from the free structure of Persian in the above periods. The matter has been exhausted in the article. The writer has already taken up this approach in the works written by Nasser IQiosrow and Beihaqi and hopes that this proposal and the ongoing research would yield the projected goal.

In this paper we have shown that, in the firstplace, despite the views held by some major critics, Naser Khosrowe"s poems are not simply ascetical. Secondly, a deeper study of the metaphors employed in his poetic writtings indicated his hatred towards the ignorance of his contemporaries.