The Subject of the paper is to reflect cognitive mysticism in the story of Kooshyar Mahan in Nezami's Haftpeykar. This study seeks to answer the question of Nezami's poetry, What the structure of Mahan Kooshyar tale is and what the components are. How the components are used in his thought and poetry. What kind of solutions have "Knowledge" and "mysticism have done for the whole story.In this paper, the content analytical method was to study the poetry with which the analysis of the textual data, as various aspects as the questions raised have been answered.

Sacred stories subconsciously affect the way people tell stories. Among these stories is the story of Prophet Adam (PBUH), which is described in detail in Abrahamic religions, especially Islam. This story had an impact on Nizami’, s mind, in such a way that he wrote the story of the black-clad king from the Haftpeykar under its influence. In this research, we decided to investigate and compare the common themes and similar characters of the two stories of the black-clad king in the Haftpeykar Nizami and the story of Adam (PBUH) in the religious and literary narratives with a descriptive-analytical method. After examining these two narratives, we came to the conclusion that the same place, pleasure or sin, tree and fate are the common themes of the two stories. Similar characters are also among these: 1-the Master and Turktaz: those two have brought the hero close to them without prior acquaintance. 2-Butcher and Azrael: These are the two people who cut the hero's connection with the material world and introduced him to a world full of pleasure for a while. 3-The king and Adam: these two have eight common characteristics: falling away from their own land, following their passion and whimsy, ascension, etc.

In an illustrated manuscript, symbols are usually used to transfer concepts from a literary text to an image. This research deals with how the cryptic and hidden concepts of Haftpeykar’s story are reflected on the illustrated manuscript kept in Shahid Motahari University, based on the analytical-descriptive method. The results show that symbols are used in the illustrated manuscript based on the symbolic meanings of the text of the poem. In other words, symbols have been selected to convey the main message of the story, but they do not follow just the literary text but the choice of symbols in the illustrated manuscript is also related to the cultural proportions of their time. The research method in this study is documentary and analytical and the data are collected using a library research method. In mystical literature, deep meanings are expressed using symbols. The symbol displays the theme of the imagination artistically, because it is interpretable. Since Iranian painting has a long history with Persian poetry and literature, over time it merged with Old Iranian wisdom and Islamic mysticism in a way that literary texts became the basis for the creativity of Iranian painters. Nizami’s Haftpeykar is the most mysterious collection of his five versified stories. Haftpeykar’s message is spiritual excellence. Every Gonbad’s story contains a teaching for Bahram Goor to enlighten his soul. The miniature (attached image) narrates a section of the story in which the protagonist, after discovering the secret of the black-wearing people of the city, meets Lady Parizadegan. According to the results, in the miniatures of the “Black Gonbad” story of Haftpeykar from Nizami’s Khamseh (5 poetries or treasures) kept in Shahid Motahari University, symbols are divided into three categories regarding the text. The first group consists of symbols that are used exactly in the text of the poem and symbolic concepts are expressed with their help. The second group contains the symbols that do not appear in the text of the poem, but the miniature is used to convey the symbolic meanings of the story. Finally, the third category includes the symbols that are not a reflection of meanings of the text of the poem but they are influenced by factors outside the text and work to express concepts beyond the text of the poem.

The purpose of this article is to understand the similarity and correspondence between the elements of the written text of the story of “Bahrām Gur in Seven Domes” in Haftpeykar, written by Nezami and its visual narrative in Bahrām Gur in Seven Domes Pictorial rug. To achieve such a goal, this article used a two-stage theoretical framework. Thus, a descriptive-analytical method and four components are used in this article. These four descriptive components are: 1. Description of persons 2. Places 3.  Times 4. Events.After the transition from the first stage of this theoretical framework and after measuring the correspondence of the visual text to the written text, in the second stage, by using two subtypes of intertextuality, which are allusion and citation, an attempt was made to answer the main question:  Is “Bahrām Gur and Seven Domes” rug a creative and allusive text or repetitive and cited text?In response to whether the pictorial carpet “Bahrām Gur in Seven Domes” is a creative and allusive text or a repetitive and cited one these results are obtained: it can be said that although the elements and motifs of the pictorial rug which were examined through the four components in some details have common features with Haftpeykar and ekphrasis has occurred in some elements, and they are faithful to the written text; but on the other hand, pictorial rug is not entirely a copy of the Haftpeykar and did not seek to repeat it. Rather, the pictorial rug (host text) creatively took the written text (guest text) and recreated it in its own way. In other words, Bahrām in Seven Domes rug received Haftpeykar and then reproduced it.In conclusion, in this research, the visual text (pictorial rug) is an allusive and creative text. One of the important reasons that can be used to emphasize that the “Bahram in the Seven Domes” rug is a creative text and it didn’t try to imitate the Haftpeykar in all details, is the conscious selection of three red, white and turquoise domes among the seven domes which are mentioned in Haftpeykar. The reasons for choosing these three domes are not clear to the author, but it can be said that the designer of the carpet was faithful to the written text and the general narrative of the story, but he made a conscious choice and included only three of the seven domes in the pictorial rug (Visual Text), while he could use all the seven domes.The research results showed that only in the description of people and events there is an ekphrastic communication between the written text (Haftpeykar) and the pictorial rug. Also, in examining of the actual or notional ekphrasis, it showed that only the character of Bahram Sassani and the Princess are belonging to the field of actual ekphrasis. All other descriptions belong to the field of notional ekphrasis.

Nezami's Haftpeykar is one of the beautiful tales of lyrical verse that has many similarities to fairy tales from structuralist viewpoint. The authors analyze structural similarities and differences based on dutifulness es, their interaction and dichotomy, fixed or variable characters and the logical sequence of narrative structure. The results demonstrate that this tale conforms to Propp ' s model and also narrative structure of fairy tales because shahe siyahpushan consists of about twenty dutifulness es out of thirty- one dutifulness es of fairy tales and the order and sequence of the story is the same as Propp’s model. The order and sequence of the whole narrative is based on opposition.

BACKGROUND AND OBJECTIVES: In narrative poems, poets use the structure and elements of narration in order to create an attractive and attractive narrative. A narrative can be considered as a representation of an event or a series of events. Narratology as a science that analyzes the narrative structures of a narrative as a report of facts in an artistic form. The study of narratology of classical texts, especially narrative and story poems, is a new horizon in front of the audience. Based on this, the main goal of the upcoming article is to use Roland Barthes" narratology theories to analyze and analyze Nezami’s works as one of the story treasures of Persian language and literature. METHODOLOGY: The research method in this thesis is descriptive-analytical with the main narratological approach. FINDINGS: In the narrative pattern in the story structure of Khosrow and Shirin, Leyli and Majnoon, and Haft peykar from a balanced to an unbalanced situation, we are faced with various main and secondary developments, mutual actors, and many mediating profiles and functions. In all the stories, a complete transformation has occurred in the narrative and the main and secondary achievements of the story have appeared in the way of internalization and chain. CONCLUSION: The research results indicate that the structural pattern of Khosrow and Shirin"s narrative begins with the change of balanced to unbalanced conditions with a complete follow-up. The main story of Khosrow"s and Shirin"s love for each other, which includes the secondary stories of Khosrow"s love for Maryam, sugar, royalty, and Farhad"s love for Shirin. The mutual actors of the story, including the confrontation between Farhad and Khosrow, and Maryam and Shirin, in the end, the final whirlwind of developments, namely the death of Khosrow, the loss of the monarchy, and the death of Shirin, ends. The main development of the story of Leyli and Majnoon is the love of these two lovers for each other, which, along with secondary developments such as the beginning of the madness and madness of "Qais", the marriage of Laili with Ibn Salam, the death of Ebn-e-salam, the proposal of the father of Qais to Leyli is the main core of the death of the two characters and the main actor. ends The contrast between Lili"s love for Majnoon and her indifference towards Ibn Salam is one of the main action levels of this story. In the Haft Peykar series, the main achievements such as Bahram"s accession to the throne, finding a room with seven figures of beauties, and bringing seven princesses from the seven regions of the world to Iran are depicted.

Niẓ, ā, mī,Ganjavī,mentioned and described Isfahan in some of his works. In this article, we have examined the verses that mention Isfahan in those works and compared his descriptions of Isfahan with other sources. We have also raised the question of whether Niẓ, ā, mī,had a specific intention with the way he addressed Isfahan,and if so, what could that mean?

Nezami is one of the famous poets constructing innovative images. Among the terms used are musical terms and idioms. Nezami seems familiarized with musical instruments and idioms and he has rtistically used them in three areas, i.e. lyrics, epics and mystical and virtual issues. Implementation of there terms goes well with the context of Khamseh. In Makhzanalasrar, these musical instruments and idioms are used to express mystical and virtual meanings in Khosrow va Shrine. Leili va Majnoon is tragic love story, thus, these musical terms are implemented to display grief and sorrow of the two lovers. In Haftpeykar, however, these musical terms and idioms express a fanciful love. These musical terms and idioms bring excitement, and fancy to the maximum level.Sharafnameh is a story about Alexander, the conqueror, and we observe that the musical terms and idioms are best used and finally in Eghbalnameh. We also see that a picture of Alexander is as a prophet. Therefore, it can be observed artistically. Nezami can make use of innovative images with use of musical instruments.

Poets had used two important narration structures in narration systems to create an attractive narration – narrative and description. Theorists as Tomasheveskey, Bart and Genette considered contrast of these two structures from the perspective of text item and narrative. According to this view, every narration is the representation of an event or series of events that contain the time of text and the word. This paper analyzed the contrast of description and narrative with relying on the views of three theorists and answered this question that what type relationship is between description and narrative and the Jamie’s Leyly and Majnun system is considered as the base to better understanding of this relationship. In this system, descriptions that are used for characterization and atmosphere-creating are the free and static motif of text based on the Tomasheveskey view and become special index and informant according to the Bart view. According to theGenette view, description comprises of existence statements, so description of this system has a kind of ornamental and manifesting function.According to the categories of these three theories,description hasn’t any effect on the plot and in the narration – especially narration of Leyly and Majnun- leads to the formation of deceleration in narration. Keywords: Description; Narration Duration; Leyly and Majnun; Tomasheveskey; Genette. Introduction Description is a kind of narrator’s language skill in the literature for imagining and incarnation of experience and sometimes narrator’s inspiration during facing with the around world. The prominent poets of Persian poem had been used the description instrument for meeting different aims in their works. Our intended description in this study is not type because we can find the trace of type in all literal kinds. Difference between the descriptive poem as the type and the description absolutely depends upon the aim of the descriptive poem – expressing the miracle sense against the nature - while the aim of our intended description is the depiction of the festivity party, the depiction of the lover and the beloved one’s “external and internal” characteristics, the depiction of relationship between the lover and the beloved one, the depiction of love, the depiction of poet’s mood and his/her personality or……and has special function in the collections. Furthermore the vertical axis of the descriptions of storied collections with epical, lyrical and mystical topics which had been composed in the figure of Mathnavi (couple poems) has a strong link - according to it’s narration and story characteristics. For this reason we want to consider the answers of these questions with the aid of viewpoints of literal critics as Thomashefsky, Bart and Gent: 1.According to the viewpoints of these three theorists, what is the effect of description on the story and narration? 2.Where is the place of description on the classifications of these three theorists? 3.What is the effect of description on the Jami’s Leili and Maj noon collection? 2-Research Method Tis paper considers the contents of Jami’s Leili and Maj noon collection analytically and descriptively. The theoretic bases of study are selected with the reliance on the viewpoints of Thomashefsky, Bart and Gent in the description domain. At first, the descriptions are extracted that had been used in the intended collection. Then the function of descriptions are evaluated and analyzed according to the three pronounced viewpoints. 3-Discussion According to the Thomashefsky viewpoint, any description in the Jami’s Leili and Maj noon collection that has atmosphere and characterization function is counted among the free and static motife. Descriptions that are served in the athmosphere include the description of place (lawn, mountain, plain and …. ), the description of time (morning, night and ….), the description of lover’s mood (desperation, happiness resulting from the beloved one’s attainment, turmoil resulting from the separation, love and affection for the beloved and…..), the description of non-human (crow, palm, tornado, dog and….), the description of scene or arena (happiness of guests in the wedding, the death of Maj noon) and good reasone (the description of morning and night, fall). We consider special and informant indexes in the narrative viewpoint of Bart because this part of theory had grafted with the description i.e. any description that is used for atmosphere and characterization is counted as a special and informant index. According to the Bart theory that the description is counted as a special and informant index, part of this story which two families disagree with the marriage of Leili and Maj noon is considered a real function. Or in another place, the death of Maj noon is a real function because after this event Leili too become ill and passed away. In contrast, the descriptions that depict and evaluate the characters and their static dimensions are that very same index; for example the description of Leili’s beauties, Maj noon, status and dignity of Maj noon’s father, expressing the disappointments and lover hopes, calenture resulting from the separation and ….. all are included in this group. According to the viewpoint of Gent the description has three functions – ornamental (traditional eloquence), symbolic and explanatory (two last functions are used in the new texts for laying the ground) (Emami and Qasmipoor, 2008:145).When the poet depicts the beauties of Leili in 19 verses or in another place allocates the description to the suitor of Leili and a camleer man, such a descriptions have eloquence function because this kind of illustrations haven’t any effect on the plot and it is relevant to the surface of narration’s speech. But sometimes the aim of character or animal description has another function beside it’s eloquence and aesthetics dimension. In addition to the description of main characters and sometimes subordinate characters, poem in this collection depicts the animals that are related to the main characters or a special animal. These instances haven’t any effect on the story flow and plot but have function for making dignity sense and the magnificence of the character in the mind of story reader and eventually the characterization or making infelicity sense or luckiness. In fact this kind of descriptions usually have symbolic function in the narration, for example the description of Maj noon’s camel expresses his wealth. Crow is a lucky bird and after watching this bird happened a sweet event for Maj noon, in contrast the description of old woman in the way of Maj noon promises a terrible event.There is an inverse relationship between the description and the time. In fact the creator of literal work includes a static and timeless frame for characterization and atmosphere with inserting the description in his/her text during narration and thereby he/she can brings his/her text near the lyrical indexes and depicts his/her intended pictures in the mind of audience with the aim of conducting his/her intended effect to the audience.There is two kinds of statement in the speech or the superstructure of every narration. The first group includes statements or the statements about the acts and the incidents and and the second group includes statement about external specifications of characters, places and different things. The second group is considered among the descriptions. .In spite of viewpoint of literal critics who believe description hasn’t any effect on plot, it seems that some descriptions are necessary in a narrative text for the explanation of effect and cause relationships and in this basis the descriptions haven’t merely symbolic or ornamental function and in a way relates with the plot. For example before the entrance of poet to the story in the Leili and Maj noon collection, we face with the description of Maj noon’s dynasty and tribe and his father’s status; that all Arab and Ajam great men like him and he is a generous man and …..based on this, the existence of intended descriptions seems necessary in the narration. 4.Conclusion Thomashefsky put the description in the free and static index. Bart interprets the descriptions as a special and informant special index and Gent believes the description consists of essence all existing statements and has ornamental and symbolic or explanatory function. According to these theories, the descriptions haven’t any effect on the plot and the static dimension of text is narrative. So the description in the narrative texts only comprises the speech’s time but it can be found jointly in the narration of speech’s time and text’s time and for this reason the description leads to the negative acceleration of narration. As a result these two main structures of narration contrast with each other. Jami had paid attention to the use of description for composing fiction in the Leili and Maj noon collection. According to Thomashefsky theory, all descriptions that are used in the Leili and Maj noon collection – instrument for characterization and atmosphere – are among the free and static motifs. According to Bart theory, the descriptions that are used for characterization are among the special indexs and the descriptions that are used for atmosphere are among the informant indexs. For example the description of Leili and Maj noon’s beauties, the description of dignity and status of Maj noon’s father, expressing disappointments and hopes of lover, turmoil resulting from the separation, the description of lawn, the description of mountain and plain, the description of night and day, the description of fall and ….. are included in the group of special and informant indexs. The descriptions of this collection consist of essence existing statements and has a symbolic and ornamental function. For example the description about the Maj noon’s camel and the descriptions of crow, old woman and fall are included in the symbolic group instead the descriptions about the leili,s beauty has an ornamental function. On the other hand, this kind of descriptions lead to the negative acceleration and this is the resulting of hesitation in the narration. 5.References 1-Bameshki, Samira, Reporting Masnavi stores :Tehran, Hermes, 1391. 2-Barthes, Roland, Introduction to the structural analysis of Narrative, [Translation] Raqheb, M . Farhang, Saba, Tehran, 1387. 3 Barthes, Roland, Tzvetan, Todorov, Jerald Prince, Description on reporting. 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