It seems that the artistic selection of rhythms along with sentimental tone mixed with sorrow may have a close compact on the agreeability and attractiveness of the poem.The current research is formed in three levels: 1) Shahriyar ODES and the repertory of classic literature, 2) prosodic rhythm, and 3) the frequency of sorrowful terms dominant throughout Shahriyar ODES as a stylistic indicator. In the first level, the researcher found that Shahriyar’s viewpoint in his poems is a sort of passive and sentimental one; and his poem is a polished mirror of his inward and outward individuality. In the second level, all Shahriyar ODES were studied and analyzed; it showed his supremacy in the frequent use of “ramal” meter as compared with Hafiz and SA’DI. This prevalence can be a reflection of a real lover soul and heart-sored that makes his tone sad and sorrowful in comparison with the above-mentioned poets. In the final level, choosing the first fifty ODES from each poet, the researcher attempts, by the use of careful figures and statistics, to show the tone of Shahriyar word, as a stylistic indicator, is of his own. Hence, the words are echoes of his heart that originate from the depth of his fervent and sensitive spirit and soul; this is why his poem sounds sad and sorrowful.

Amir Najm al-Din Hasan ebne Alae Sajzi Dehlavi is one of the well-known poets of India composing poems in Persian. This famous poet and writer emerged a little after SA’DI. Amir Hasan has been influenced by SA’DI, especially in sonnets, so much that, although Amir Khosro Dehlavi-known as the Indian parrot-lived at the same, he is known as the SA’DI of India. In fact, Amir Hasan’s works have been influenced by Sheikhe Shiraz and, hence, are similar to his poems in different respects like diction, synthesis,aesthetics, meter, thoughts expressed, feelings, themes, and motifs. Although the clear, fluid and mellow sonnets of Amir Hasan reminds us of SA’DI’s gay, melodic and lovely sonnets, they are not comparable to SA’DI’s sonnets in terms of clarity, fluidity, mellowness, coherehce, and synthesis. The enthusiasm arising from Amir Hasan’s sonnets shows that, similar to SA’DI, he is drunk with love and mysticism and love flows in his sonnets like blood in his veins; that is the secrect for the long-lasting popularity of Amir Hassan’s poems. This article intends to show the similarities between the taste, styles, themes and motifs of the two poets found in their sonnets that have the same meter and rhyme.

In narratology, the discussion of the six components of the narrative communicative model has given rise to heated debate. The author discusses the six components of the narrative communicative model and how they relate to the external and internal voices of the narrator. The real Saʾdi Shirazi is the composer of the works, but there is also an implied author who mediates between the real SA’DI and the narrator. The narrator's voice conveys the Prologue of Golestân to the reader/narrator, while Saʾdi Shirazi's voice can indicate his ideology as a real author. However, the works are not a direct reflection of the real SA’DI's positions, but rather he expresses his point of view through textual tools. The article examines the real and implied position of Saʾdi in the Prologue of Golestân, using the authorial Saʾdi as a solution to discuss contradictions and paradoxes attributed to the real SA’DI. From this position, Golestân and Bustân are the works by this authorial Saʾdi rather than the real Saʾdi mentioned in the tazkiras.

In narratology, the discussion of the six components of the narrative communicative model has given rise to heated debate. The author discusses the six components of the narrative communicative model and how they relate to the external and internal voices of the narrator. The real Saʾdi Shirazi is the composer of the works, but there is also an implied author who mediates between the real SA’DI and the narrator. The narrator's voice conveys the Prologue of Golestân to the reader/narrator, while Saʾdi Shirazi's voice can indicate his ideology as a real author. However, the works are not a direct reflection of the real SA’DI's positions, but rather he expresses his point of view through textual tools. The article examines the real and implied position of Saʾdi in the Prologue of Golestân, using the authorial Saʾdi as a solution to discuss contradictions and paradoxes attributed to the real SA’DI. From this position, Golestân and Bustân are the works by this authorial Saʾdi rather than the real Saʾdi mentioned in the tazkiras.

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.

For long, eulogy and praise have constituted an important genre of Persian literature both in prose and poetry. In its evolutionary trend, the genre has sometimes taken clear and true language while in other times it has utilized a complex tone with special criteria.Khaghani, the greatest composer of ODES in 6th century A.H., in more than sixty ODES, has eulogized officeholders and sages of his era either to compliment their actual praiseworthy traits or to persuade them to keep away from iniquity.The author aims to interpret and clarify Khaghani’s eulogistic ODES through which one can note the breadth of Khaghani’s knowledge in Quran, hadith, philosophy, mysticism, Christianity, medicine, astronomy etc. Khaghani uses a difficult language. He creates a semantic and aesthetic network among all poetic elements. He praises the men who are worthy of eulogy. His ODES reflect the whole culture of Shervan of his time.

Sa'di's poems are among the most beautiful Persian poems. While he is called the “undeniable master of words”, the secrets of his craft have rarely been explored. In this paper, the writer examines two sonnets without reference to extratextual elements to show some of the secrets which explain the beauty of the poems. Some of these secrets are as follows: exploiting the artistic function of verbs, proper choice of words, integrity of form and meaning, strong bond between the lines in horizontal and vertical directions.

Research on SA’DI dates back to the eighteenth century. The Asiatic Society of Bengal, founded about half a century ago, pioneered the task of translating and publishing the works of this outstanding Persian poet. The works of SA’DI, because of the wisdom, satire, educational value, attention to politics, perspective on love, and aesthetics found in them, continue to have a great impact on lay people and the learned. Anna Seward in 1799 translated some poems from SA’DI that shed the light of wisdom and freedom on their readers. Ralph Waldo Emerson (1803-1883), who became familiar with their works through the translations in German by Joseph von Hammer-Purgstall, took great pleasure in the works of SA’DI and Hafiz. Through Emerson, the great American poet, new spiritual and thinking atmosphere in America has been provided for the blossoming of Persian literature. The great revolution in France and the Mashrooteh Revolution in Iran have both resulted in a different and new interpretation of the works of SA’DI. In the heyday of Mashrooteh, young Persian poets took on the responsibility taken by SA’DI centuries ago. When Emerson named SA’DI as his own greatest mentor, it was revealed that Emerson had followed SA’DI in the creation of his own works. Based on Emerson’s guidelines, Amos Bronson Alcott in 1849 started to study The Bhagavad Gita and established a universal humanities library which hosted all the sacred books of the world. In Addition to The Holy Qoran, Alcott indexed in the library Vedic scripts as well as classic works by Confucius, SA’DI and Firdausi. He boldly called SA’DI a “Persian innovative” man of letters.