Successors of contracting parties are persons who principally or by their representatives or not involved in concluding a contract, but contract's effects, with the whole or a part of parties patrimony, or the subject of the contract, will be transmitted to them, by the effects of contract. We mean the obligatory effects, i.e. rights and obligations. Usually, the successors are divided into two groups: general and particular. General successor is the one who is the substitute one of the parties by transmitting whole or a join part of parties patrimony. But particular successor is a one who has acquired the contractual rights and obligations of transferor will transmission of definite property. In this case, only those rights and obligations are acquired by the assignee which are connected to the property and are necessities and attachments of it.

In the past decades, the figure of Qaim Maqam has become one of the elements that cannot be removed from the history of reforms and modernization, and Qaim Maqam has been mentioned as one of the influential figures in the modernization of the country, along with Amir Kabir and Sepehsalar. Farahani's political performance is very important in understanding Iran at the "threshold of modernization". The reforms brought about by Abbas Mirzai, the crown prince, and his deputy chancellor, Farahani, who were serving Iran in Darul Sultanah in Tabriz, caused the victory of the constitutional movement and people's rule in this city. Therefore, in this study, Farahani's reformist efforts were investigated.

Saadi’s Golestan due to its smoothness of language, its deep intellectual values, rhythm and its exhaustion of language has become the source of influence for many authors since its publication. Meanwhile the work has remained a unique one. The only writer who has been able to occupoy a greater position then other imitators is Ghaen Magham. He has been able to imitate successfully and create a rhythmical and simple prose free from complexity and language ornaments such as proserhythme and paromoiosis. His proper use of crossedrhyine Poetry, allegories and lively language are among some values of his poetry. The present article aims to render an analytical account of the influence of Saadi on Ghaem and magham the sharing characteristics of the two.

Qaem Maqam Frahani (1193-1254 A.H.) was a learned scholor who completely knew theology and had a high status in Arabic and Persian literatures. Some poems from poets in different periods of Arabic literature can be seen in his Monshaat such as: Nabegheh Zobianim, Imam Ali (p.b.u.h), Majnoone leili, Bashar Ebne Bord, Ebne Khayyat, Ebne Ammar, Mohye Al-din Al-Arabi, Safy Al-Din Al-Helli, etc. However, clear mistakes in representing vowels, misprints, and ambiguous wrong translations should be mentioned such as the following couplet from Abol Asvad Al-dowali:کضر ائر الحسنا قلن لوجهها            حسدا و بغضا انها لذمیمWhich means: “like rival wives of a beautiful woman who with jealousy and spite call her ugly and deformed”. In the book, it starts with کفرا یر الحسنا and has been translated by mistake as follows: “some shows the virtue as vice for their inferiority and enmity”. In the present study, the researcher tried to find poets of Arabic Poems regarding Qaem Maqam’s Monshaat which was edited by Badr-Al-Din Yaghmayi. Afterward Arabic coupletswere analyzed and criticized. Then their syntactic relations with Persian expressions were mentioned.

In this essay an attempt is made to see whether Ghaem Magham Farahani, in addition to following the prose style of Gulistan by Sa’di, has been influenced by the poems of Sa’di. After a meticulous evaluation of letters written by Ghaem Magham Farahani and the works of Sa’di, it was concluded that, wherever needed, Ghaem Magham Farahani has used quotations from major Persian literary figures to strengthen his own discourse. From among the poets he has quoted in his own discourse, one can name Roodaki, Firdausi, Naser Khosro, Anwari, Khaqani, Molavi, Nezami, Sa’di, and Hafiz. Needless to say, the influence of Sa’di in his works is most influential than any other poet. Not only the prose style of Sa’di, but also such features as the simplicity, fluency, and rhythmic patterns of his works have affect Ghaem Magham. Although the lived centuries apart, public acceptance of the works of Sa’di has motivated Ghaem Magham to quote him in his own works.

One of the sub-categories of literary genres is eulogy which has been criticized by some critics and poets for the use of exaggerated descriptions and contemptuous inquiries of some poets; However, it must be noted that with some poets, eulogy has had functions other than praising someone, earning a bounty, gaining fame or position, etc. This study is carries out based on a descriptive-analytical method, and concludes that Abolqasem Qaem Maqam Farahani, the poet-politician of Qajar era, uses ode as a means for expressing congratulations (for victories in wars, or blaming the traitors), apologizing (asking for mercy, complaint, petition), criticizing (blame and remonstration), and stimulating and encouragement.

BACKGROUND AND OBJECTIVES: Gulistan of Sa’, adi is among the literary works which has always been noticed and imitated to a great extent due to its specific features of structure and content. These imitations are sometimes seen in the content and other times in the prose and structure of the later works coming after Sa’, adi. Qa’, im Maqam Farahani is a politician who has been quite familiar with Gulistan and has considered it while authorizing his Monsha’, at. This research has been conducted having the following goals: realizing the depth of impact ability of Qa’, im Maqam from spiritual music of Gulistan, comparing Gulistan and Monsha’, at in the use of rhetorical figures, recognizing the similarities and differences in expression style of Sa’, adi and Qa’, im Maqam, and understanding the type of intertextuality. METHODOLOGY: This research has been done in a descriptive-analytical manner. In order to do so, rhetorical figures containing: simile, metaphor, kenning, and trop are extracted and counted and then are analyzed and compared based on some drawn diagrams. The study area is the first hundred pages of Gulistan and Monsha’, at. FINDINGS: In this book of Qa’, im Maqam, in addition to some of Sa’, adi’, s expressions and poems, imitations of structural qualities of Gulistan can be also detected in the prose poem. Qa’, im Maqam has mostly followed Sa’, adi in terms of using figures of speech such as rhyming prose and monophony, but he has not pursued the expressive rhetorical figures used in Gulistan. The biggest difference between Sa’, adi and Qa’, im Maqam is in the use of kenning. kenning has a higher frequency in Gulistan than in Monsha’, at. This is due to the thematic difference between the two works, which implies the speech to be clearer and leads the kenning of the speech to be more ambiguous. CONCLUSION: Qa’, im Maqam has consumed more extensive similes in comparison to Sa’, adi. It also seems that he has used less metaphors but more similes in general than any other rhetorical figures in his own Monsha’, at. Also, the use of metaphor, trop, and kenning is spotted less in Monsha’, at. The general result is that Qa’, im Maqam has been influenced by the internal music of Gulistan rather than its spiritual music.