Qasemi Gonabadi, (1523-1575), a fine imitator of Nezami whose surviving book is HashtMasnavi, composed Leyli and Majnoon twice, the second one, dedicated to the Safavid prince Sam Mirza, ended in 1569. The book, in addition to its linguistic and literary beauties, shows the poet’s descriptive talent. In this paper, the writer first introduces the book and critically examines its various copies, and then compares and contrasts this version of the story with three other 16th century versions written by Jami, Hatefi and Maktabi. In his version, Qasemi has presented innovations that are not found in other versions. For example, he says that the two lovers did not bring gifts to their teacher on the festival day, so that their teacher would not dismiss them from class like other children and that they could attend school on holiday. Also, In Qasemi’s version, unlike the other versions, the two lovers meet before they die together. And yet another innovation of this version is the subtle prediction of the final event occurring in the first lines of the poem. It is these features that has made Qasemi’s version superior to the other versions.

In this survey three Persian lyric i.e. Khosrow-Shirin and Leyli-o-Majnoon by Nezami Ganjavi and Vaice-o-Ramin by Fakhrodin Asad Gorgani are chosen as main sources of psychological interpretation. The method is content analysis, three hypothesis are used and the adjustment degree of latest concepts of psychology in these works with Freud(s) psycho-analysis approach and analytic psychology of Young is surveyed.

The basic issue dealt with in this article is to analyze the relationship between the characters in Leyli & Majnoon by using Greimas’s Actant Theory. In Nezami’s narrative we found the six actants that Greimas has mentioned including giver, receiver, helper, subject, objective and opponent.The results of the study indicate that in this story, the giver is love, which is an abstract concept, not an objective character; the receiver is Leyli & Majnoon; the subject is first Majnoon, and then Leyli; the objective is the reunion of Leyli & Majnoon; the helper is Majnoon’s relatives; and the opponent, Leyli’s father and then Eb al-salaam. The study further shows that Greimas’s Theory can be used for the analysis of the relationships between the characters in Nezami’s Leyli & Majnoon. This pattern can be used to show the interaction of characters, their functions in creating a narrative work, and the existence of some of the characteristics that Greimas has mentioned for the folkloric stories, such as the hero being both the subject and the receiver. In this story, subject has been stated and depicted in such a way that it corresponds to both Leyli and Majnoon; at the same time, these two characters are the receivers, too.

The greatest task of men of literature is retaining cultural heritage and the worthwhile treasures which have enriched Persian literature in the form of poetry and prose. Revising, explaining, and publicizing literary works are among the most important tasks of the guardians of science and literature. Through the attempts of previous knowledgeable figures in literature, some of the works have been revised and made available in purified forms to literature enthusiasts, while some have remained untouched in the form of their original manuscripts. Even if there is a revision, revising the works due to some reasons including the carelessness of the previous revisers or their not having the old copies available seems necessary. Amongst the given works, the ones by Amir Khosrow Dehlavi - the poet of seventh and eighth centuries Hegira may be mentioned.The present study has dealt with the method of correction, mentioning manuscripts, handwriting and the poet’s writing style of the revised work as well as its stylistic features in linguistic, literary, and ideological areas. The linguistic area considers some important issues including verb usage, constructing and using noun phrases as well as the position of adjectives and their abundant use. In literary level three notions of semantics, rhetoric, and diction have been taken into consideration. In the realm of ideology some of the poet’s interests in the ideas of Sufism as well as in the law of Islam have been mentioned.

Lyrical concepts have a special place in Eastern literature, especially Persian literature. To the extent that those who have a spark of love in their hearts have instantaneously turned to poetry and literature. Amir Khosro Dehlavi and Nezami Ganjavi are poets whose lyrical concepts are one of the main themes of their works as virtual love has been one of the poetic themes of Amir Khosro Dehlavi's poems. His works have a high place in Persian lyrical literature. However, in each period of common Persian styles, these elements have undergone changes,nonetheless, Dehlavi's interpretation of love is a continuation of the interpretation of Iraqi style poets, that is combination of real and virtual love. Examining lyrical concepts in Amir Khosro's poems is significant regarding the extensiveness of lyrical works. This research is accomplished by a descriptive-analytical method by relying on the data of library sources. The findings of the research indicate that the lyrical concepts in the poem of Majnoon and Leyli by Amir Khosrow Dehlavi are pure and free from any arrogance,also, depending on the emotional state of the poet, he is either kind and generous or arrogant and indifferent towards the lover. These lyrical concepts can also be seen in the poems of Leyli and Majnoon of Nezami and its illustrations.

The purpose of this study was to investigate the ‘prototypical model of love’ in the poetry story of ‘Lily and Majnoon’ by Nezami. To do so, the conceptual metaphors of love (Majnoon’s love for Leyli) were extracted from the corpus, categorized according to the source domains, and then compared with the model of love proposed by Kövecses (1986/1988). The purpose was to see to what extent the model and the corpus are in line with each other. The results of data analysis showed that all the source domains of the prototypical model of love were also found in the corpus under study. This implies that there is significant conformity between them. The concepts of fire, beauty, insanity, plant, and bondage were found to be the most frequent source domains used in the corpus. Among three types of love metaphors, ontological metaphors and metaphors of unity were the most and the least frequent metaphors respectively. Also, the concept of ‘beauty’ and ‘fire’ was mostly used domains. The concept of ‘bondage’, with positive and pleasant implications, was the only source domain belonging to the typical model of love. There have also been cases where the conceptualization of love in the corpus was different from the theoretical model, including the use of the ‘plant’ as the source domain in mapping with the concept of love.

This article compares the lyrical mentality of Nezami Ganjavi in the poems Leyli va Majnoon and that of Khajooy Kermani in the poem Gol va Nowrouz. The dramatic difference of the lyrical mentalities in these works is the result of the fusion of the poets’ and the audience's mental patterns. Nezami Ganjavi’s mastery in the poem Leyli va Majnoon is an example of traditional lyrical poems in the Persian literature. The poem  Gol va Nowrouz by Khajooy Kermani also has a high position in the Persian literature in the form of a Masnavi with lyrical and romantic contents. The points discussed in this research include a) the mind and influential lyrical personality of the two poets, b) the presentation of romantic contents that end in human education and c) the mentality of the audience. Loyalty in love is the main theme of the two poems, and both poets refer to an informative and wise issue with a lyrical nature. The internalized feelings and emotions that can be concretely understood by the audience in both poems are examined and analyzed. The content elements of the two poems are based on love for education and human development. Therefore, in this article, the themes, thoughts and views of those two works are examined, and the degree of their influence on education and training with the mentality of the audience is evaluated. In Leyli va Majnoon, there are certain inner meanings that are not seen in Gol va Nowrouz. However, most of the lyrical themes are common in these two poems, and there are also differences that sometimes seem prominent. This article compares the lyrical mentality of Nezami Ganjavi in the poems Leyli va Majnoon and that of Khajooy Kermani in the poem Gol va Nowrouz. The dramatic difference of the lyrical mentalities in these works is the result of the fusion of the poets’ and the audience's mental patterns. Nezami Ganjavi’s mastery in the poem Leyli va Majnoon is an example of traditional lyrical poems in the Persian literature. The poem  Gol va Nowrouz by Khajooy Kermani also has a high position in the Persian literature in the form of a Masnavi with lyrical and romantic contents. The points discussed in this research include a) the mind and influential lyrical personality of the two poets, b) the presentation of romantic contents that end in human education and c) the mentality of the audience. Loyalty in love is the main theme of the two poems, and both poets refer to an informative and wise issue with a lyrical nature. The internalized feelings and emotions that can be concretely understood by the audience in both poems are examined and analyzed. The content elements of the two poems are based on love for education and human development. Therefore, in this article, the themes, thoughts and views of those two works are examined, and the degree of their influence on education and training with the mentality of the audience is evaluated. In Leyli va Majnoon, there are certain inner meanings that are not seen in Gol va Nowrouz. However, most of the lyrical themes are common in these two poems, and there are also differences that sometimes seem prominent.

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.

A large part of artistic creativity, especially in classical texts, is merely the creation of poems that shows the power of creation, imagination, and storytelling of poets. In the present study, considering Seven Bodies, Eight Heavens by Khosroudhalvi, Yusof and Zoleykha and Leyli and Majnoon of Jami. The results show that confirmation of acceptance, cause and effect relationships, story-by-story creation, and surprise a ending are the characteristics of the plot in the Seven Bodies. Conversely, the stories of the Eight Heavens have strong causal and effect relationships, and the plot of the stories is to plot something and ultimately decipher it. There is no insistence on creating a knot in the plot of Jami's stories. The central characters of these poems are women, among whom the women of the week are very witty, fearless and thoughtful, and in contrast, the women of the eight heavens are lustful, cunning and treacherous. Women in Jami Collection are also passive and obedient to the power of men (kings, ministers, fathers, etc. ). The Collection is given to describe the nature and setting of a special story in a picture in which Amir Khosrow pays more attention to the description of women and their betrayals. Jami's poems are the boundary between these two poets, and Jami's setting is proportionate and very effective in inducing the concepts desired by the poet.