KHOSROW va SHIRIN is the best romantic Mathnavi of Nizami and the old Persian literature. The kind of Nizami's use of story elements in this work is one of its triumph secrets. If we compare this book with the other romantic mathnavis, the value of Nizami's work will be appreciated. The relevant use of the tone element is one of the positive features of using the story elements. Using verbosity and terseness is one of the main examples of the tone element. In this essay we are going to study the extended verbosity and two of its technics in Nizami's KHOSROW va SHIRIN; furthermore, we compare the use of this element in Nizami's work with AmirKHOSROW's KHOSROW va SHIRIN.

According to what Nezami states in his versified story Khosro va SHIRIN, King Hormoz is a fair and peasant-supporter monarch and everything is alright in his time. The only matter which bothers the King’s mind and feelings is the sadness of having no child. But this piteous sadness is removed after vowing, sacrificing and being born a boy as a result. This boy is totally different from his age children because of his unique characteristics...

AbstractIn today’s interdisciplinary studies, assessing the relationship between literature and other sciences is highly beneficial in literary criticism. The psychoanalytic criticism is one of the pioneers of this phenomenon. This approach in the contemporary era has entered a new phase with the formation of new psychoanalytic cores in terms of psychoanalytic theories of love initiated by Robert Sternberg, who defines his analysis system based on the type of action of individuals in romantic relationships. He has developed efficient model in identifying the form of love in each person in this context. The objective here is to adopt a descriptive-analytical method to assess the love poem KHOSROW va SHIRIN and Leili va Majnoon by Nezami Ganjavi with a comparative approach from Sternberg’s view and explain why the titles Eshq Nameh (love) and Havas Nameh (lust) are applied to the narration of Leili va Majnoon and KHOSROW va SHIRIN. The results indicate that from Sternberg's point of view, perfect and holy love is a threefold relationship of commitment at the highest level and intimacy and passion at the lowest levels. In a narrative based on the failure of love in the direction of "ideal and perfect love" and its victorious hero is involved in "sad and romantic love", the type of relationship is based on lust the Havas Nameh and if the type of mutual love is of the "ideal love" type orientation, due to the priority of the commitment component, love is formed in its true meaning, the Eshq Nameh. The results here indicate that the element of commitment in Ganjavi’s self-consciousness has an operational structure and function in love-based relationships in terms of Robert Sternberg’s theory and cognitive psychoanalysis in the contemporary period.Keywords: Psychoanalytic Criticism, Nezami Ganjavi, Sternberg, KHOSROW va SHIRIN, Leili va Majnoon.IntroductionPsychoanalysis is generally applied in exploring and analyzing of the mind’s functionality and psychological problems among people. The founder of psychoanalysis, Sigmund Freud, had a significant role in promoting literary studies. Among the theories of psychoanalysis, the category of love is one of the issues that have attracted researchers in the field of anthropology, especially psychologists, as an explanatory and fundamental subject in human life. In 1986, Robert Sternberg presented his first theory about love in "A Triangular Theory of Love" theory, in 1994; he re-evaluated the love triangle theory and developed the "love story" or "love as a story" theory.The central element in Nezami’s narratives is the issue of love and its governing relationships. Two of his works, Leili va Majnoon and KHOSROW va SHIRIN, have aspects of relationships that, above all, can be proposed and assessed in a comparative reading as a proper subject for this type of psychoanalytical analysis. Love is the principal theme in Nezami narratives. In his two significant narratives, his focus is on the clear border between love and lust. The objective here is to assess these two areas concerning the cognitive psychoanalysis of the contemporary period by relying on the data of psychoanalytical knowledge.Method and MaterialsThis research compares the type of love in the two narratives KHOSROW va SHIRIN and Leili va Majnoon through the descriptive-analytical method.FindingsAccording to the textual implications, passion is evident in all the stories as the most prominent component in the course of the characters’ affection. This component is more apparent in KHOSROW va SHIRIN, especially in the course of KHOSROW's love, followed by more elements of intimacy and commitment. The results indicate that KHOSROW's love for SHIRIN was initially the type of love that only consists of passion, and there is no mention of the other two components. By enriching intimacy, KHOSROW is placed in romantic love. KHOSROW's love for SHIRIN is foolish, where experiences absurd love when dealing with Maryam; accordingly, in SHIRIN's personality, more than any other component, is at the first level, followed by intimacy and passion. Because the passion in SHIRIN evolves quickly next to intimacy and commitment, it can be deduced that love in SHIRIN, according to Sternberg's views, is the ideal and perfect love, while, the most explicit component of Farhad is his commitment, which appears to be mixed with elements related to intimacy and passion, thus, Farhad's love can be classified as ideal love. The findings here reveal that the frequency of love in the KHOSROW va SHIRIN narrative is romantic love, complete love, foolish love, and empty love, respectively.Discussion of Results and ConclusionsThe tragic side of the narratives appears when the characters in whom the three elements of love have reached perfection and have experienced ideal love, though love turns out to be a failed experience. At the same time, KHOSROW's character, according to Sternberg’s analytical principles, is devoid of the element of commitment and, based on the narrative, is the winning hero of the story. Leili va Majnoon is identified based on commitment, which is a two-way and mutual issue. Although Leili agrees to a forced marriage with Ibn Salam, a traditional marriage, according to the propositions of the text discussed earlier, she committedly insists on the love of Majnoon. Other elements of love are manifested in her existence to the extent of perfection. Because love in Leili and Majnoon is at the ideal love level, the bound between love and lust in Nezami’s narratives is somewhat bolder.Another determining factor is the element of commitment that is from the perspective of cognitive psychology; a relationship that lacks commitment is practically empty of its perfection and can be defined within the boundaries of lust. Nezami names a story of love as “lustful”. From a cognitive point of view, if the type of love between the two sides is of the ideal love, based on the existential centrality of commitment, love is in its complete form.

The monumental and eminent characters are the most important narrative elements in Nezami's narratives-in-verse that have caused acceptability of them and have created tend to imitation and Repeat of them among the many narrators. We are going to analyze KHOSROW’s characteristics features in this study. This study is based on the theory of semantic axes and a combination of the theories of Barthes, Hrushovski, Mieke Bal, etc has been applied as well. The results of this paper manifest that KHOSROW is a multidimensional character and his attributes include multiple and sometimes conflicting that his most prominent feature is lechery. Also the results of this paper prove that KHOSROW is a round and dynamic character and this is a factor for influence and persistence of this character in literature.

Ghasemi Gonabadi is one of the poets who lived in the 10th century. He lived in the era of the Safavid kings Shah Ismail and Shah Tahmasb. He imitated Nezami in the Nazirehgooei method. The effects of Jami and Hatefi is also observable in his poems.  Some of his poems are:  Shahnameh ye Navvabe Ali, Lily and Majnoon, KHOSROW and SHIRIN and Zobdat Al-Ashar. The present study was an attempt to introduce Ghasemi and his great work KHOSROW and SHIRIN. The second purpose of the study was to compare his eminent work with Nezami's KHOSROW and SHIRIN. The two poets are compared for their forms, contents, religions, manner, style and use of images.

In the present research, according to the oldest resources such as historical resources and documents as well as credible researches of this type, the historical context of the lyrical story of ‘KHOSROW-SHIRIN’ has first been studied. Then, among historical issues such as story beginnings, conspiracy of Bahram Choobin and escaping of KHOSROW Parviz, the end of Bahram Choobin, the story of ‘Treasure of the Wind’, kingdom of Shiruyeh, the end of KHOSROW Parviz, and finally the way SHIRIN died which are mentioned so many times in several historical resources, this story’s lyric grounds have been reviewed in two lyrical poems of ‘KHOSROW-SHIRIN’ by Nezami and ‘SHIRIN-o- KHOSROW’ by Amir KHOSROW Dehlavi. The final result obtained suggests that in this lyrical poem, Amir KHOSROW was committed to the historical pattern more than Nezami was. Nezami makes strong bindings for his lyrical poems from historical framework and instead of paying attention to historical details, he pays attention to myths and wisdom and advice and beautiful poetic and lyrical descriptions. But Amir KHOSROW, despite some researchers’ opinion, has paid attention to historical resources, and though, according to he himself, he has never reached Nezami’s level, he has attempted to be an innovator among other imitators of this great lyrical art, while keeping himself away from Nezami’s historical and legendary pattern.

The existence of eight imitations and five translations of Hosn va Del into other languages such as English and German shows the importance of this Persian book of verse. Many researchers have sought the sources of this work and some sources have been mentioned, but the imitation of Sibak Neishaburi from Nezami’s KHOSROW va SHIRIN, as the most important source of this work, has not yet been mentioned. Due to the innovative mixing of symbolic story, folk tale and love story which is done by changing the names of characters into abstract concepts resulting in creating two layers of primary and interpretive meaning in the text of Hosn va Del, the similarities between the two books have not yet been discovered. The fruit of such mixing is the creation of a sufist and interpretive reading of KHOSROW va SHIRIN (named Hosn va Del) which is a love story at the primary level and is very similar to Nezami’s KHOSROW va SHIRIN. At the interpretive level, it is a mystical book of verse which narrates the story of the Progression and reaching Knowledge and Immortality. This article tries to study the similarities between the two stories through comparing the texts of these two books and using the method of textual criticism. The results show that the love between lover and beloved is common between the two books. The structure and organization of the two books are very similar and there are very causes and motivations in the plot of the two stories. Also, more than half of the characters of the two stories are of common characteristics. There are similar events as well as places in the two stories. Also, many similarities can be seen in the content of dialogues. The results of this study show that KHOSROW va SHIRIN is the main source of Hosn va Del and Sibak Neishaburi is among the imitators of Nezami in composing love story.

Painters are often inclined to illustrate different themes derived from literary texts. But when a painter illustrates a story with the theme of a painter’s artistry and artifice, this illustration certainly becomes more intriguing. Considering the common interests between the subject and the object, the major question for the painter is what particular techniques should be undertaken for illustration of this theme. This article examines the techniques in illustrations of a story with the theme of a painter’s artistry. The objects of this study are two illustrations by Mirak from the story of “Shapur-e naghash” in Nezami’s KHOSROW va SHIRIN. The aim of this paper is to present the functions of specific illustration techniques and also to highlight the relation between these techniques and the theme of the story.

Introduction: KHOSROW and SHIRIN by Nezami stands among the most prominent romantic epics in Persian literature. This narrative abounds with amorous dialogues and interactions between lovers. Body language, defined as non-verbal communication through physical gestures and expressions, conveys meaning without words. This article examines body language—specifically the actions and reactions of characters—within the epic. Analyzing body language as a form of semiotics facilitates behavioral understanding and mutual recognition, enabling bidirectional communication within social contexts, as reflected in KHOSROW and SHIRIN. This study addresses: What explicit and implicit meanings do facial expressions and gestures convey in the epic? What is Nezami’s perspective on body language as communication, and how does its analysis relate to cognition? Research MethodIn literature, verbal and nonverbal communication coincide and are presented together, of course, not in the same way as verbal communication and not only because of their meanings, rather, words are sometimes used because of their sounds and intonations. The research method is descriptive-analytical and relies on library resources. DiscussionThe face is the first place to show the emotional state of individuals, because personal and social feedback on words and surrounding events can be sought in facial expressions. In fact, the face is the most important source of information for people after speaking, and in general, we can mention various types of eye contact, lip and mouth expressions, eyebrow expressions, anger, facial color, laughter, and crying in the poetry of KHOSROW and SHIRIN. ConclusionBody language manifestations in KHOSROW and SHIRIN include: Facial Expressions: Eye contact, lip/mouth movements (kissing-most frequent-and lip-biting), brow gestures, anger, facial coloration, laughter, weeping, and cheek-specific expressions. Hand Gestures: Hand-wringing, head-smiting, face-touching, chest-placing (anxiety), hand-opening. Foot Movements: Standing firm, barefootedness. Head Motions: Head-lowering, dust-on-head (grief/shame), head-scratching. Other Bodily Cues: Waist-specific movements, posture/physical bearing, interpersonal touch patterns, olfactory factors, environmental conditions, and proxemic distances like intimate distance, personal distance, social distance, public distance. Nezami contends that some individuals use gestures deceptively to feign emotions. Body language exposes such pretense, revealing true character.

The characters are the most important elements of a story for understanding the romantic fiction. Different narratives of a story may represent different images and explanations for its characters and impact on narrator’s diverse ways of thinking,it also helps to understand the reason of different feedbacks to each narrative. The enneagram as an important knowledge seeking its root in the combination of oriental mystic with modern psychology tries to describe complex relations of human kind. Nowadays enneagram is being used in education systems, social and sport managements and parents training in order to re-understand the concerning personality types of characters. This comparative analytical article based on library data and primarily tries to introduce enneagram model. After sufficient discussing and comparing and analyzing the data we show that the character of SHIRIN in Amir Khosro Dehlavi’s “SHIRIN & Khosro” story accordance with type six based on enneagram model. The article concludes that the character of SHIRIN is charming, skeptical and also loyal and generally corresponds to the sixth Type of the nine enneagram types. Introduction “KHOSROW and SHIRIN” is the love story of KHOSROW, the Sasanian prince of Iran, and SHIRIN, the Armenian princess. For the first time, Nizami Ganjeei composed this story into his poetic masterpiece, and after him, many Iranian, Indian and other poets recomposed it, but each of the poets presented their own narratives and characterizations. Amir Khosro Dehlavi presents a special character of SHIRIN, the protagonist of ‘SHIRIN and Khosro’. This descriptive-analytical research tries to analyze the SHIRIN personality type in Amir Khosro Dehlavi's narrative based on the Enneagram theory with the following questions: 1-What are the characteristics of SHIRIN in the descriptions of Amir Khosro Dehlavi? 2-Which Enneagram type does SHIRIN's character correspond to? Mehrnoosh Mansouri (2017) concludes that SHIRIN's role is more prominent. Mohammadi Afshar and Abdulali Owaisi (2013) in their article "Comparison of three heroes of KHOSROW and SHIRIN Nizami with their two counterparts, SHIRIN and KHOSROW by Amir KHOSROW Dehlavi and Abdullah Hatfi’s one" concluded that SHIRIN Nizami's human features are brighter than the those two, but until now, there has been no research on any of these narratives based on the Enneagram personality models. 1. 1. Research methodology This descriptive-analytical research is an interdisciplinary study of literature and personality psychology. This research is based on the textual data of SHIRIN and KHOSROW by Amir Khosro dehalvi and its comparative analysis with the Enneagram models in which the contents of the books of R. D. Riso and R. Hudson (2003) and W. R. Baron (1994) are particularly cited. Enneagram divides the people characters in 9 types,1-the perfectionist/ reformer 2-the giver/helper 3-the achiever 4-the individualist 5-the investigator 6-the loyalist 7-the enthusiast 8-the challenger 9-the peace-maker. Nowadays Enneagram is being used in education systems, social and sport managements, parent’s training in order to understand relationships among personality types. (See: riso, 2003: 66). An interdisciplinary study based on this theory can provide a new understanding of characterization in comparative studies of texts. Discussion After fully analyzing the textual data and comparing it with the nine models, we found that SHIRIN's personality corresponds to the sixth type of Enneagram. People of this type are faithful and loyal, attractive, restrained, honest, warm-hearted, good-natured, smart, responsible and strategic. (See: Baron, 1994: 81). The sixth type people are generally reliable, hardworking and planning, foresight and alert, conscientious and evaluative, forward-looking and cautious, aware and anxious, believing and skeptical, conservative and freethinking. (Riso and Hudson, 2003: 135). People of this type deal with pessimism, defensiveness, worry, skepticism, negativity, reactiveness, doubt, and blaming. (ibid: 135). Love and evaluation: infatuation, evaluation, and expectation are main traits of SHIRIN. This feature is revealed when she rejects KHOSROW’s request before proving the purity of his love. SHIRIN Says that she will accept KHOSROW’s love if it was pure otherwise, she will purify his love with fire of prospect. Expression, doubt, and anxiety: By declaring her love for KHOSROW, SHIRIN shows her double personality. On the one hand, she considers herself infatuated with KHOSROW and expresses her love for KHOSROW with affection and humility and makes him mesmerized. But on the other hand, he is in constant doubt and anxiety. This doubt in SHIRIN's existence towards KHOSROW's loyalty causes him to be driven away. Expression of feeling, doubt, and anxiety is another characteristic of the sixth type. Riso and Hudson stated: Type 6 people are worried and anxious to have a reliable source for support in their lives (Riso, Hudson, 2003: 139). Character Dynamism: Type 6 people visibly have an obvious nervous reaction and are troubled by their doubts in intellectual situations and problems, but when the pressure exceeds the normal limit, they throw themselves in the middle of dangerous work and anxiously try to solve the problem with hard work. (Riso and Hudson, 2003: 140) In a situation where they feel safe, they try to overcome the stress by keeping calm and even become indifferent. They are more accepting and inclusive and more peaceful than others (ibid.: 141). This characteristic is interpreted as personality dynamics. SHIRIN, who is in agony because of KHOSROW's parting, when KHOSROW comes to visit here, in doubt and nervous reaction, he sends the courtiers to welcome him, who prevent the king from entering the palace and accomodate him outside the palace. In the battle between reason and love, SHIRIN’s reason is the winner. Self-preservation: people of type Six find their security through safeguarding resources. . . they care a great deal about safety and thrift (Riso, 2003: 142). SHIRIN as a true lover is at the same time of a self-conserver and self-saver personality. In fact, it is SHIRIN’s wisdom demonstrating her as sapient forethoughtful woman who controls momentary desire and in no condition, she would let her wisdom go (Rashed Mohassel, 1371: 157). people of type Sixe get their sense of security primarily from their emotional bond with a significant other. However, they also have many doubts, both about their own ability or willingness to there for them. Sexual role: people of type six often manifest a tension between their gender roles. These women have a tough, tomboy side to them but still as across feminine. They fall into suspiciousness about their partner and can be quite jealous while at the same time feeling a strong need to continue to prove their desirability. (Riso, Hudson, 2003: 142-3) SHIRIN has also these characteristics. She even plans to kill Shekar the sexual partner of KHOSROW. Social role: they are warm, engaging, humorous, trying to send out the message that they are approachable and safe. They like to enlist people getting other involved in projects or activities they see as worthwhile. They frequently volunteer to work in groups and committees (Riso, Hudson: 2003: 143). SHIRIN, who visit KHOSROW after the years, expresses sympathy and encourages him to fight rebel Bahram Chobin and organize the affairs. In their reunion, when KHOSROW was leaving for battle against Bahram-Choobin, SHIRIN who for many years expect to see the King starts to sympathize with him to reestablish order in the kingdom. Conclusion After a comprehensive analysis of the data and their comparison, we found that SHIRIN’s characteristics in Amir Khosro Dehlavi's narration is compatible with the sixth type of the Enneagram. SHIRIN loves KHOSROW and expresses her feelings humbly and excites him with her romantic expression, but she considers her reputation as the highest thing and rejects the relationship outside of customs and rituals. Her love is full of purity and chastity. SHIRIN is reliable, hardworking, organizer, conscientious and at the same time alert, evaluative and thoughtful, restrained, cautious and anxious, skeptical, conservative and at the same time has a dynamic and strategic personality and works hard to join her lover, but she does not accept the failure of her principles and moral beliefs. In addition to being infatuated, SHIRIN evaluates KHOSROW's love and actions and considers her sexual instinct as the main source of his security, and self-preservation is the most important thing for her. SHIRIN has a social personality and helps KHOSROW in dealing with problems. In the beginning, KHOSROW looked at SHIRIN as a material possession, but finally, SHIRIN's thoughtful behavior changed her lover's perspective, thinking and personality, and made him a great lover and a wise and powerful king. As far as it goes, in fact, SHIRIN has the main components of the sixth type of Enneagram models, namely loyalty and faithfulness.