The creation of new linguistic structures’ is the main need of any language in the process of social transformation and evolution as well as one of the methods of De familiarization of the word. So it considered as a common field between the new structural linguistic and the formal literary criticism. Today, a huge portion of literary studies, particularly poetry, are the structural and formal researches that Lead to new attitude in the region of literary criticism of Persian poetry. The Persian-language poets are not the same in the power of combination or considering to it. Among poets of fourth to seventh centuries, individuals like Ferdowsi, Nezami and khaghani have a lot of shine in this field but Rumi has a special place in this arena. The number and type of His combinations in GHAZALIAT of SHAMS is considerable. In his GHAZALIAT, There are hundreds new structures in the form of derivations, combinations, adduct, combination of attribute and likeness sentences that each requires separate review. So there are hundreds of new verbal structures such as Namazidan, Davane Kardan, Tabl Khordan etc. that structural Investigation and analysis of them is the subject of the present topic.

The Persian language is one of the declinable languages which have plentiful potential in the field of creating compounds. Great poets such as Ferdowsi, Nezami, khaghani and Hafez have taken important steps in this area and by expressing their ideas, in the form of new compounds, they have helped to extend the scope of Persian language, but Rumi in this arena, in terms of quality and quantity, has a special place. There are hundreds new structures in the form of noun, adjective, adverb, verb, allegory, as well as adduct, combination of attribute and likeness sentences and etc in his poems that each requires separate review. In this era because of the exploding growth of science, and main necessity to word-making in the whole fields such as scientific, industrial, and cultural, Introducing methods of Rumi’s word-creating, can be raised as a template and reduced “Neologism–avoiding”, that prevent from constructing or accepting new words. In this article represent the main processes of word-making, including the "derivation" and the "compound" in the nouns, adjectives and adverbs in the GHAZALIAT of SHAMS.

Review and introduction of some effective suffixes in making Amplification in Persian language Based on a case study of Rumi's poems Amplification is very important in Persian language and literature. But unlike many other rhetorical elements, little attention has been paid to it, and the methods of its construction have often been limited to the same old views. In the classical view, Amplification is divided into three types of Amplification, hyperbole, and Bombast based on the limits of magnification, but no importance is given to the methods of its construction. Accordingly, in this research, the suffix is considered as one of the effective methods in making Amplification and is the basis of research. The main question is which extensions can be effective in creating amplification. The research method was such that in the first stage, Rumi's Masnavi and SHAMS Ghazal Divan were studied based on the form and use of amplificated elements and then the hypothesis was strengthened that Rumi used suffixes in a special way to make amplification. This study, in addition to finding and inventing some unique and innovative words of Rumi, showed that a range of suffixes are effective in amplification. Suffixes that make the place amplificated include "lan", "kadeh", "stan". Suffixes that amplificate the possessiveness of an adjective include "nak", "bareh", "mand" and "gin". Suffixes that have been linked to the topic of amplification with the help of the simile and the amplification in the simile relation; Like "Wash" and "Anne" And suffixes that combine the adjective with the concept of plurality and abundance Constructions such as "eh" and the suffix "gray" which expresses a behavior, work or adjective that is associated with abundance And finally, the suffixes "-K" and "-Ki", which are used for miniaturization and its special use, show that, at least in the world of poetry, it can be used indefinitely with different attributes and names.

The link between literature and art in Iran has been an unbreakable link for a long time. Persian literature with its epic, mystical, romantic, and religious themes has always been an inspiration for Iranian painters and a source of works for many illustrators and painters. Although the poems of Rumi as the leader of mystics in Iran have a special place in classical literature, they have not been illustrated until now. For this reason, at the beginning of the last decade, the Academy of Arts started editing this valuable work for the first time and displayed the artist’, s encounter with Rumi’, s poems to present the sonnets of this outstanding poet in a new way and through a different lens. Based on this, the purpose of the present study, which relies on Gé, rard Genette’, s theory of transtextuality, examines the relationships of a text with previous texts in the form of hypertextuality, intertextuality, semitextuality, paratextuality, and metatextuality, explaining their relationship. There is a parallel between SHAMS’,sonnets and the works of painters in SHAMS Farhangistan book. Therefore, the main question is: What is the reflection of verbal texts in the visual works of SHAMS Farhangistan’, s book based on Genette’, s theory of transtextuality? The results of the research show that the visual text has come out of the verbal text,and the first text can sometimes be seen explicitly in the second text, and sometimes it can be seen metaphorically and implicitly, or in the form of allegory, substitution, and hypertext. It has been identified that one of the main commonalities oft he two texts, in which the type of relationship is explicit, is the connection of the second stanza with the image of a bird surrounded by flowers and the eight-pointed star in Mr. Eskandari’, s work,the placement of part of the first text (poetry) in the second text (painting) by Mr. Jabari’, s calligraphy,and the connection of the fifth stanza with the three birds drawn in the work of Mr. Esadi, which shows being enclosed in a cage between the parallel lines at the top and bottom of the frame.

Structuralists define the logic of human mind and language based on a bipolar structure; between the two sides of which there is a contrastive relationship. Subscribing to the central idea that there is a close relationship between the text generalities and its elements, structuralist critics seek the micro-contrasts of the texts in order to reach the macro-contrasts and interpret the implicit meanings or connotation of a work. In this study, the contrasts of Mathnavi and GHAZALIAT of SHAMS are investigated and analyzed. The research methodology is based on four steps: first, delimiting the semantic field of the contrasts by considering macro-symbols in Mathnavi and GHAZALIAT of SHAMS; second, extracting the contrasts made by Lion and Sun meta-contrasts; third, understanding the mutual relation of the contrasts; and fourth, analyzing the meaning and method of expression of the identified contrasts. The research findings indicate that in many cases natural and reasonable relations of contrasts in Mathnavi and GHAZALIAT of SHAMS are common. Breaking away from the norms in contrastive relations is sometimes more in Mathnavi, and sometimes more in GHAZALIAT of SHAMS. Besides, firstly, frequency and variety of departure from the norms in the contrasts of GHAZALIAT are more outstanding; secondly, in some cases, conformity to the norms and departure from them are similar and common in the contrastive relation of binaries in Mathnavi and GHAZALIAT; and thirdly, in a few cases, contrasts have been processed only in one of the texts.

Great Persian literary figures have always admired Sa’di because of his sweet, eloquent and simple language. The purpose of this article is to examine and analyze the language of his GHAZALIAT from different aspects in order to reveal the secret of his simplicity and the beauty of his language. First, the characteristics of Sa’di’s language in terms of words, syntax and methods of phrasing have been analyzed.Next, other elements of Sa’di’s language that is employment of letters, elision, and brevity, employment of colloquial language and allegorical language are discussed, and finally the role of language in the formation of imageries without images are investigated.

The great Indian mystics have always been in contact with the Persian mystics. Migration of the mystics to India and coming of Moslems from the old Khorasan to this land has greatly helped the development of these relations. Indian mystics have always had elders and relatives in Khorasan and this bondage has continued for some time.One of the most distinguished eminent Persian mystics is Moulana Jalal al-Din Mohammad Balkhi whose mystical and spiritual identity remained unrecognized in India in his time, however he was always praised by the poor and the Indian mystics and his Masnavi and GHAZALIAT were reverberated in gatherings and speeches of the Indian mystics. Mystics such as Bu Ali Qalandar, Sheykh Amanallah Panipat, shaykh Hassan Badakhshi for the confirmation of their mystical sayings especially about unity of being have drawn upon the verses from Masnavi. In this article the manner in which the Indian mystics came under Moulana's spell is studied, and where appropriate examples are provided.

Moulana Jalal al-din Mohammad Balkhi is the most distinguished thinker and poet of the 7th century AH whose two grand oeuvres Masnavi Manavi and GHAZALIAT SHAMS are ranked among the greatest in the world. Although about these two masterpieces till present numerous commentaries, and books have been written, studies been made yet from all aspects particularly regarding their wonderful themes the works are forever open to researches.This article is a study of Moulana's grand thought, imagination, compassion, and feeling and also his poetics and his language which has captured the world with his genius.

There flection of the Alast verse in mystic literature is very vast. However, the extent of using this verse varies from a century to another. It was highly used in 7th century.There is a lovely special meaning in the heart of this verse which has given special newness to mystic literature. For this reason, in this article we firstly offer explanation of literal and idiomatic meaning and background of its application among Iranian gnostics and also its brief study in interpretive scripts. Finally, we see the reflection and investigation of this verse among 7th century eminent writers and poets like Molana, Iraqi, Sa'di, NajmAl-din Razi and SHAMS-e Tabrizi.