Because of the significance of SHAHNAMEH, its popularity increased during the period of Literary Return (Bazgasht-e Adabi). The poets of this period tried to resemble their works in terms of style, theme, language, and rhetoric to the poetry of prodigious poets, specifically Ferdowsi. This paper aims to study, with the analytic-descriptive approach, the ALLUSIONS to SHAHNAMEH in five divans of prominent poets of this period/school, Sohbat Lā ri, Fath-Ali Khan Sabā , Qā ʼ ā ni Shirazi, Soroush Esfahani, and Dā vari Shirazi. Studying the five divans reveals that the aforementioned poets have ALLUSIONS to SHAHNAMEH in terms of imagery, panegyric, the artistic structure, the instructive and exemplary stories, mentioning poet’ s personal status with the help of SHAHNAMEH stories, using SHAHNAMEH references in the parable form, and employing its narrative capacities in Shariteh of Qasideh (the prayer for the praised person in the ode). Comparing the frequency of ALLUSIONS to SHAHNAMEH in the five divans shows that Qā ʼ ā ni has used the most and Dā vari the fewest ALLUSIONS amongst the five poets.

Have Persian epic stories been an independent and strong literary movement in the history of Persian literature? Is there a set of common themes, which have been copied by all storytellers and writers throughout history? Has Ferdowsi’s Shanameh been influential in the historical development of Persian epic stories?In order to find answers to the above-mentioned questions, the writers of this article have done the followinga. First they re-read four Persian epic stories (namely Samak Ayyar, Darabnameh, Joneydnameh and Amir Arsalan) and then introduced an underlying pattern of epic and chivalry, supernatural, romance and generosity themes which have been used and copied by storytellers and writers for centuries.b. The final part investigates the direct and obvious influence of Iran’s national epic SHAHNAMEH on the formation of epic stories. No research has been conducted on the value, importance and status of prose epic narrations so far and therefore the writers of this article have tried to highlight the importance of this movement through studying the relevant elements.

This article examines Lord Byron’s ALLUSIONS to Persian literature, history, culture and its ancient religion. The influence of Persia on Byron is considerable. Byron was greatly influenced by orientalists such as Sir William Jones and their translations of Eastern literatures. After examining Byron’s ALLUSIONS to Persia, one realizes that Byron’s attitude with regard to Persia appears to be ambivalent. Byron dismisses the Persian king, Nader, as the “costive sophy”, but reveres the Persian poet, Hafiz and mentions other Persian poets such as Ferdowsi with great respect. Sometimes he refers to Zoroaster’s religion as “devilish” and sometimes Zoroaster figures as a good person in his work. Byron makes use of the Zoroastrian Janus-like philosophy in explaining some of the predicaments that his characters face in life. Zoroastrianism provides Byron with a metaphor for the two confused sides of his characters’ nature, the one which struggles towards the light, and the one which, at the same time, involves characters in darkness and destroys them.

Khaqani (520-595 A.H.) a famous Persian poet has precious odes (qasideh) and meaningful, complicated poems and is considered as an outstanding poet in Azarbayjani style during 6th century.His poems are full of scientific subjects, religious terms, and can be considered as an encyclopedia of Koranic education and hadith (the words and deeds of prophets and Imams). His mastery in various sciences and application of them in his poems in addition to his creative mind has made his works more complicated. He includes plenty of piousness and moral terms in his poems by using ahadis and the verses of Koran. Undoubtedly mastering Koran and explicating it is a key to solve the complexity of this magic poet. This article studies how he has used Koran and divine meanings in the second odes of khaqani. It should be mentioned that a brief explanation about the poet, his relationship with Koran and an introduction to the second odes are given.

This paper tries to explain the mystical ALLUSIONS in Hafiz’ s sonnets according to Islamic thoughts, exclusively in NahjulBalaghah, in descriptive analytical method and use of index cards in library searching, out of various source books, as well as the personal implication of the writer. Some of Hafiz’ s sonnets taken into account in this paper relate that the spirit of humankind is captured in the cage of body, and of liberated, it will ascend to its authentic source with this idea that the material world is a barrier for itself to get into the world of spirituality and the divinity. In addition, with reference to NahjulBalaghah and verses of the Quran, the sonnets draw a picture of the process in which the spirit returns to its divine source with a more rational and intelligible explanation to the reader; moreover, grown out of the Quranic school and affected by its cognitive teachings, Hafiz reminds the reader of the detachment of soul from its everlasting source by a very heartfelt narration.

Many books and articles have already been written on the beauties of the Hafiz poems.Dealing with some new ambiguities and ALLUSIONS in Hafiz poems, the author explains the traces of such literary devices in Badr-e Chachi, a poet from 8th century AH.

SHAHNAMEH is counted one of the numerous literal masterpiece in the world with regard to it's rich content from one side & its importance in the Persian language on the other side. It also is the oldest work that has been reached to us thoroughly & having a great impact on Persian literature.in this unique work Firdausi has used the power of imagination to pose his thoughts, opinions. also various kinds of imaginations has an artistic reflection in his parturition like. In addition he has used the irony as the most natural and powerful way to express the meanings in comparison with other forms of imaginations. This article is a historical part of SHAHNAMEH on gathering and setting the existanced ironies that is along with witness. The result is that the most of extracted ironies in the mentioned part of the current ironies i.e ALLUSIONS in it are usable in today's life & some of them are just specific for SHAHNAMEH that can be applied in other poetical & heroic works.

Shahname is regarded as one of the literary masterpieces In the world with regard to its rich content on the hand & its importance in the Persian language on the other. It is also the oldest work that has been reached to us thoroughly & has had a great impact on Persian literature.in this unique work Firdausi has used the power of imagination to express his thoughts and opinions. Also various kinds of imagination have an aristic reflection in his work. In addition, he has used irony as the most natural and powerful way to express meanings in comparison with other forms of imagination. The article aims at collecting the ironies along with examples in the historical part of shahname.the results show that most of the collectes ironies in the hidtorical part are verbal ironies and ALLUSIONS which are used in contemporary works and some of them which can be allpied in othe poetical and heroic works are just specific to shahname.

William Shakespeare is an allusive poet. His ALLUSIONS include not only Western but also Eastern history, culture, and mythology. The present paper deals with Shakespeare’s ALLUSIONS to Persia and its history and culture. His ALLUSIONS deal with both pre-Islam and post-Islam Persia. In comparison to Shakespeare’s references to “others” (e. g. Turks, Jews, and Moors), his ALLUSIONS to Persia both pre and post-Islam are general, succinct and superficial. The present paper tries to show how Shakespeare came by his contemporary Persia) the Safavid Persia on the one hand, and tries to contextualize Shakespeare’s knowledge of Persia, on the other hand. Concerning pre-Islam Persia, Shakespeare got his information from two main sources. One, from the books written by Greek historians which an English translation was available and the performed plays that dealt with pre-Islam Persia at his time. Other, he received his knowledge about post-Islam Persia (especially the Safavid Persia) through travel-books notably written by Richard Hakluyt,  Anthony Jenkinson and the Shirley Brothers.

In Holy Quran, many of the concepts are expressed in the form of symbols and allegories. The allegories actually make the concept clearer to the audience's mind. Mystical stories which often are interpretive and allegorical have benefited from this style of Quran especially in the light of interpretation of the Quran stories. One of the allegorical stories in Quran is the story of Adam (peace be upon him) that mystics have focused on its implications in their works and explicitly or implicitly decoded it. The main objective of this paper is to study the expression of mystical ALLUSIONS of Adam in the works of Attar. In this research, we have studied the story of Adam in Quran and Torah; also this story has been reviewed in terms of the creation of Adam, Mephistopheles records, forbidden fruit, and Adam’s repentance with poetic evidence. The data analysis reveals that Adam indicates the divine wisdom and Eve indicates the whole self and in this story, the serpent, the devil, and the peacock are considered as obstacles of evolution that have been studied in detail.