Attar and mysticism two strings are woven together for the development of both the other groups. In fact, the evolution and development of the Persian mystic Attar through mysticism, particularly through the efforts of Attar's poetry. Henchman place and meaning in the works of Attar and the type of interaction and dialogue were the encapsulation of a strong manifestation of his works. Therefore, in this article we are going to work in a divine meaning and purpose Asrarnamh to Attar's view of the status of our deal and how discerning disciple Guidance. What is certain though narrative anecdotes and quotes the poet can be flexible in this regard affect. In this regard, the tables have tried to show how this relationship. In total, thanks to a narrative that is both visible effect of the differences between the two poles of mysticism in these two indices achieved. Finally, the distinctions of the attitude expressed in the above worksy.

Introduction: Attar and Nezami, two Mathnawi poets, are among the most famous Persian language poets. At first and thoughtlessly, in the multiple layers of the works of these two poets, their line of thought and worldview may seem distant and different from each other. Still, with a deeper look at the moral-judgmental context of the works and, of course, relying on a specific commonality, this masked intellectual coherence manifests itself. This common point is the poetic talent in the simulation of the Sana'i Hadiqat al Haqiqa. Nezamis's Makhzan ol-Asrar is an educational system containing abstract thoughts and sermon stories, a strange and eloquent echo of Sanai's Hadiqat al Haqiqa, but with an instructive and ascetic melody and with a different and clever choice in the meter and style of poetry. Sheikh Attar also composed his Asrar-Name poems with some differences, but in a romantic and painful tone, almost simultaneously or a little later. Research method, background, and purpose: The attractive point in Nezami and Attar's works is the common moral and mystical themes that are important for both of them, and each of them has benefited from them in their way. These similarities are more apparent in Makhzan ol-Asrar and Asrar-Name. After hearing the names of these books, the audience immediately thinks that they are probably common due to their similarity, and one may be influenced by the other. Numerous studies have been conducted independently on Makhzan ol-Asrar and Asrar-Name, but the two books have not been matched so far. Only Ashrafzadeh (1994) addresses common narrative concepts in Attar and Nezami's works in a general comparison. Zarrinkoob (2001) also implicitly refers to the influence of Makhzan ol-Asrar and Asrar-Name from Hadiqat and the possibility of the influence of Asrar-Name from Makhzan ol-Asrar. However, he suffices with this general statement and does not enter into a detailed comparison. This article assesses the similarities and differences between the theme and structure of Attar's Asrar-Name and Nezami's Makhzan ol-Asrar so that the similarities would bring some Conclusion: s. Discussion: As mentioned before, Makhzan ol-Asrar and Asrar-Name are moral-mystical Masnavis comparable with Hadiqat al Haqiqa based on their poets' mental structure and taste, and they can be compared with each other from this point of view. This comparison reveals their similarities and differences, which will be described below. The central concept that Attar pursues throughout his book is the "structure of human existence. " In this structure, the body is like a spell guards the treasure of existence. Man must find that existential treasure and release it from the spell. He introduces and responds to different concepts in different articles. Still, he does not forget the invisible thread connecting the articles and the thematic unity of the whole book, the "structure of human existence". For Attar, cosmology, theology, poetry, and other concepts are inextricably linked to anthropology. The same thing exists from another perspective in Makhzan ol-Asrar. Makhzan ol-Asrar is a book that introduces the man to himself and provides a general solution for human happiness. The difference is that the poet's intention in this book is to address the general public, especially the king and courtiers, whose happiness and healthy living depend on the health of their souls. If Nezami speaks of other sub-concepts while composing, he defines and gives meaning to all those concepts in the shadow of human existence. The secret hidden in Makhzan ol-Asrar and Asrar-Name is the "secret of human existence". However, the point that makes the expression of this mystery astonishing is as follows. In Nezami and Attar's view, the three concepts of "God, " "man, " and "world" are astonishingly intertwined, creating a meaningful geometry that there is a path from one to another. The world becomes meaningful with man's existence, and man with God and God exists in both in terms of emergence and has nothing in common with either of them in existence. Cosmology is valid and valuable because it is a way of anthropology. In the holistic view, which is based on unity, the analysis of the world can lead to the analysis and interpretation of human existence. Man himself is a world of the advent of God the almighty. He becomes a bridge to theology because the "I" that characterizes identity, like the world, is existentially extinct. There is nothing but the "ultimate existence. " This amazing geometry has not been introduced to this extent by other poets and even the mystics before Nezami and Attar, considering all three concepts in connection with each other. Only Sanai transiently and incompletely refers to the connection between "man and God" and "the world and man" separately, but there is no connection between these three concepts in his view. This connection winding connection is a key to understanding the attitude and worldview of both poets and their most important similarity, which is a solid reason to prove their influence on each other. The differences in the content and structure of the two books are due to the two poets' different personalities, mental structure, and positions. Nezami is a romantic, wise, and moral poet who has a special place among the kings of Azerbaijan. According to his special audience, he cannot speak recklessly and without any cover of high mystical behavior or concepts. Nezami, by considering the audience's request and their level of understanding, reduces the transcendent human and existential concepts to the level of common and all-encompassing advice, and of course, sometimes gives up and devotes verses directly to his favorite topics. On the other hand, he is a poet more than anything else, and he needs to pay attention to the word and its nature, and this poetic identity and context of his poetry distinguish him from a poet's mystic like Attar. As a poet attributed to the court, he tries to present his social criticism in the form of an allegorical poem to his primary audience, the Shah and his entourage, and this interaction with those in power makes his poetry more reflective of social issues. On the other hand, Attar is a lover of mystics and poets who does not place himself in any of the social relations and faces relative freedom in composing. The only thing that limits him is to cover the secrets from the incompetent, which occasionally interrupts his speech and disturbs him. Attar's poetry, which is a mirror of his existence, is so clear and free from the poetic array and even the element of time that it can be considered the embodiment of the poet's existence. The poet's reflection of the eternal and timeless soul has appeared in his poems. Conclusion: The general comparison of the two books shows the intellectual commonalities of the two poets in the fundamental issues. Any differences in content and structure in this regard indicates the different personalities, mental structures, and positions of Attar and Nezami. Although it is impossible to prove the influence of Asrar-Name from Makhzan ol-Asrar, the similarity of mentalities reflected in the poems and the central themes are two graphic effects of this influence.

Attar, the Sufi and eminent poet of the twelfth, century, is the owner of several precious long narrative poems (masnavi). He has not written his poems for nobles or ornamented them with art of speech, but his mysterious stories present him as a symbolist poet. The Sufi poet has based his stories on some secrets and applied the characters as symbols whose motions and postures denote mysterious concepts of his fables.This paper appraises the cryptic and theosophical aspects of The Seven Valleys (Haft-Wadi) and The City of Love (Shahr-e-Eshgh) in Attar’s Mantegh-ot-tayr and also studies the symbolic concept of Elahi-Nama, his other long narrative poems, and the symbols applied in the poems. These symbols embrace both social and theosophical aspects in which the theosophical part is more distinguished.

The Prophet Mohammad's praise and ascension are among the topics of concern to most poets and writers; in a manner that in our literary tradition these two issues are counted as the major themes of classic works. Attar Neishabouri, who followed this tradition, has discussed these two topics in detail at the beginning of his four versified works; “Elahi-Nameh”, “Asrar-Nameh”, “Manteq-Al Tair” and “Mosibat-Nameh”. This research has studied the mentioned themes in the four works. The result of the research revealed that the praise and spiritual ascension found two different structures in these works. While in Elahi-Nameh and Manteq-Al Tair these two parts are intermingled, they are quite separate in Asrar-Nameh and Mosibat-Nameh. Still the praise of the Prophet have one structure in all the four works; yet the story of the Prophet's ascent is more reliable in Mosibat-Nameh. These two parts do not possess much poetical parts and one can only regard the story of the Ascent as the most poetical part in Elahi-Nameh. Ambiguity was Aattar's most favorite literary figure. Within the linguistic domain and its related features, the repetition of words and the repetition of a linguistic phrase at the beginning, are the most significant linguistic features in these two parts.

The story of Darab, the son of Bahman, has been narrated in various books such as TarikhCh Tabari, Mojmal-at-Tavarikh Val-Qasas, Shah-Nameh, etc. in some of these books, this story was retold in its entirety and in some others there were mentions of some parts of this story. The Darab-Nameh which was written by Tarsoosi in the 6th century gives a detailed narration. Actually a large part of the book is devoted to the story of Darab. Another book which completely narrates the story is Ferdowsis Shah-Nameh. The story of Darab given in the historical part of Shah-Nameh enjoys more usage of figurative language than that of Tarsoosis Darab- Nameh. The present work attempts to give a summary of the two stories; it also demonstrates their similiarities and differences.

An unknown man having a pen name of "Talebi", who knew Persian and Turkish pretty well, and had enjoyed the verses and relations and stories about prophets and mystical principles, tried his hand on composing "Shogh Nameh Ahmadi" in couplets in 947 Hegira, and finished that in Mecca in 949 Hegira. Talebi wrote a poem in 4941 lines on the story of the Bloghia the Egyptian King who set out on a trip to visit the Prophet Muhammad. Therefore, the theme of the story is "desire" and "wish". Shogh Nameh which was inspired by Rumi's Masnavi and Golshan Tohidi Shahidi, structurally is similar to Attar Mosibat Nameh, though in terms of religious and moral issues, his tone is just like that of Sanayee Ghaznavi, that is, pedantic and compelling.

Although Attar has never enjoyed and benefitted from this world m but as he had experienced the tyranny attacks of Mongol Ilghar and Ghoz Turk rebels to Iran during which the poverty, oppression, corruption and misery were spreading in Iran, he has not looked at this world in a poetic style, and in fact the pedagogical views and images of the world have been drawn by him in the framework of the poems and because of this, neither these images are pleasant nor suitable, and some of them are horrible and terrible. Sometimes some beautiful images and views are seen but they are deeply filled with fear and grief, and because they are linked to the afterlife, they are not drawn properly.In this thesis the world is going to be seen in the view point of this poet and those pictures present among his speeches are introduced and provided for the careful readers. Among his works the most concerns are regarding Elahi Nameh, Asrar Nameh, and Tazkerat-al-Olia.

From the ancient times to the industrial developments, in the recent centuries, the horse has had impressive role in the life of human societies and has found specific value in each period of history; so as one can find its profound presence in the battlefields, banquets, in generosity and also in the far distant travels of man. It has played critical role in the fighting arena and had had close connection with the hero's victory in agility. With a little pondering, we can conclude that the quick and dynamic movement of the hoofs of the horse is related to the fate of the hero and is relatively tied with the consequence of war. All together the horse constitutes the three columns of war. In the epic texts of Iran, especially in the Shahnameh, it has frequently been alluded to this noble animal. The present article tries to reveal the presence and the role of this animal in heroic and epic poetry after the Shahnameh in works like: the Garshasbnameh, the Bahmannameh, the Kooshnameh, and the Faramarznameh.