The Rhetorical and literary language of alphabetical letters in thoughts of Attar Neyshabouri

The position and trait of Persian alphabetical letters in terms of shape, superficial and literary attitude, and their role in creating religious, literary, and theosophical syntaxes, interpretations, and themes has motivated the poets and writers of all ages to create the themes with them. According to this, original themes, poetic areas, fine and delicate syntaxes and interpretations made from Persian alphabetical letters beside other literary and artistic themes have found a special position in the field of Persian literature from a long time ago. Like mystical poets such as Sanaie and Molavi, Attar Neyshabouri payed a special attention to alphabetical letters and their literary and artistic structures for explaining their religious and theosophical thoughts. In this article, we not only have studied the position and trait of Persian alphabetical letters in terms of shape and superficial and literary attitude, but also we have examined their role in creating the religious, theosophical, and literary syntaxes, interpretations, and themes of Attar Neyshabouri's works (Divan Ashar (the complete works of poems), Manteghotteir, Tazkeratololiya)., Attar Neyshabouri has expressed his special theosophical and religious issues with delicate literary interpretations and themes. Attar Neyshabpuri has used almost all of the alphabetical letters in this context, but the range of the application of letter "Alef" is more than other letters. After letter "Alef", the poet has payed attention to some letters like "Ein", "Kaf" and "Noon" due to their unique trait in creating the literary, religious, and theosophical themes more than other alphabetical letters.