Poetry

Open Access Article

1 - Brevity and Deletion in Contemporary Poetry (Focusing on Nima Yushij, Ahmad Shamlu, Mahdi Akhavan Sales, Sohrab Sepehri, and Yad-al Allah Ro’yaei)
لیلا کردبچه

Brevity means decorating speech from additional comments and unnecessary elements, so that the most content may be stated by the lowest number of words; this method, which is also used in old literature but its special consideration is one the most significant successes More

Brevity means decorating speech from additional comments and unnecessary elements, so that the most content may be stated by the lowest number of words; this method, which is also used in old literature but its special consideration is one the most significant successes of Contemporary Poetry, changed the syntactical structures in addition to speech briefing. The focus of some contemporary poets to some of these methods is practically an approach toward old linguistic structures, but some others can be regarded as the linguistic achievements of Contemporary Literature. The article reviews the methods of achieving Brevity in two main groups of brevity and deletion methods in poems of a group of contemporary poets and compares them with deletion and brevity methods in Old Classic Literature; we aimed to show the effect of Old Classic Literature linguistic structures on some part of brevity structures and the degree of innovation in some deletion methods of Contemporary Poem, in addition to identifying these methods in Contemporary Poem. Manuscript profile

Open Access Article

2 - Analyzing Literary Aspects of Tarikhe Beihaqi (Beihaqi’s History) Based on Walter "Benjamin Theory"
مهدخت پورخالقی چترودی سمیّه عطاردی

“Walter Benjamin”, whose name is associated with “Frankfurt School”, is a thinker who allows a dominion superior than practical and communicative dominions and in contrast with reductionism- that reduces language to an inter-subjective tool- he deals with theorization i More

“Walter Benjamin”, whose name is associated with “Frankfurt School”, is a thinker who allows a dominion superior than practical and communicative dominions and in contrast with reductionism- that reduces language to an inter-subjective tool- he deals with theorization in this field. In Benjamin’s view, language is superior than communicative action of human and gets an existential status; if we reduce language just to its communicative and instrumental trait, we would read the lines of texts and would never understand in-between texts. He applies “Assertive act” in contrast with communicative quality of language and believes that author can produce a literary text by entering into expressive dominion of language. Tarikh-e Beihaqi as a pure artistic work has great capacities to approach a language that has surpassed communicative trait and applies an expressive quality of language to express hidden meanings behind the words. The study dealt with this issue and concluded that Beihaqi produced a literary work with high literary competence based on expressive quality of language that one can interpret it poetically as he applied highlighting tools in lexical and semantic areas of language and the essence of poetry and poem in his work. Manuscript profile

Open Access Article

3 - Reviewing Protest Current in Poetry and Cinema of Holy Defense Case Studies of “Alireza Qazve” and “Ibrahim Hatami-Kia”
ساجده تقی‌زاده Gholamreza Kafi

The Great Event of Holy Defense not only affected all life aspects of Iranians, but also it explained and determined a special value system by its entrance into literary and artistic works; and Holy Defense artists believe that their duty is to preserve and custody this More

The Great Event of Holy Defense not only affected all life aspects of Iranians, but also it explained and determined a special value system by its entrance into literary and artistic works; and Holy Defense artists believe that their duty is to preserve and custody this value system. Therefore every kind of change and transmutation in these values caused reactions of these artists and gradually made a movement named “Protest”; meanwhile, Holy Defense poetry and cinema has made “Protest” its main content. This convergence is shown in two kinds of social and political Protests in this interdisciplinary article. To review the Protest element in Holy Defense art, not only we named different famous faces in its poetry and cinema, but also we focused on works of one of the most famous Holy Defense cinema artists named “Ibrahim Hatami-Kia” and poets named “Alireza Qazve”. Manuscript profile

Open Access Article

4 - The Conceptual Development of "Night" in Persian Poetry; From Mystical Symbol to Political Metaphor (As a Symbol of Indigenous)
مريم فيله‌كش سحر جوانمرد مهدی نجف‌زاده

Linguistic changes would be analyzed this article in social context and based on element of time. Development in word role is one of the linguistic changes whose root shall be sought in social construct. “Night” is one of the concepts whose fundamental semantic change i More

Linguistic changes would be analyzed this article in social context and based on element of time. Development in word role is one of the linguistic changes whose root shall be sought in social construct. “Night” is one of the concepts whose fundamental semantic change in literature can be regarded as signs of great social changes in Iran. Authors attempt to seek these changes by using synchrony and diachrony analysis method. We can categorize four periods of change in word “Shab” (i.e. Night), so that Night represents nature and a epical sign in classical poems. However, with a fundamental change in social context particularly in Middle Iran, Night has become a symbolic concept of Mysticism; in historical path of Iranian nation and its changing context during Constitution and emergence of Modernism, it got an indexical status and got the meaning of mishap and fate; finally, in fourth period, it is regarded as a metaphor of political authority, so it become a figural symbol along with spreading political Tyranny in the new period. Manuscript profile

Open Access Article

5 - The Analysis of "Where is Khezr?" by Taghi Poornamdariyan based on an Intertextual Approach
همایون جمشیدیان

In this essay, "Where is Khezr?" composed by Dr. Taqi Pournamdarian, is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem, showing the relation of components of mystical, epi More

In this essay, "Where is Khezr?" composed by Dr. Taqi Pournamdarian, is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem, showing the relation of components of mystical, epic, lyric genres and the type of their combination in the creation of contemporary romantic poem. The word "Khezr" has mystical and epic implications. According to the feature of Khezr who is the helper of the lost, it is expected that the narrator of "Where is Khezr?" be confused and wandering in spiritual journey abstinence domains. Such implications can be observed in words and terms like "darkness", "alkahest" (i.e. water of life), "the desert of night". On the other hand, based on the content of poem, there would rise this question that how are elements of poem and its different semantic implications interrelated to each other? The results of the current research shows that this poem is lyric and it describes an earthly beloved, but there are symbols of other genres. The narrator of the poet passes difficult stages like an epic hero to reach their target, for example s/he passes darkness land. Fourfold sections of the poem associates four seasons. These seasons are periodical like epic time and do not have linear circuit. Separation and tinker would occur simultaneously with passing of different seasons. This poem is the product of conflux and different genre association which is emerged from the unconscious of the poet who had lived in the ecology of cultural worlds. In this article the intertextual analysis of poem was applied and components of different genres were compared and analyzed and their ratio in producing a coherent and structured text was also reviewed. Manuscript profile

Open Access Article

6 - The Effect of Symbolism of Expression Methods of Nima Yushij Thoughts
حاتم قادری A m Mohammad kamalizadeh

We study in this article some political approaches of European Symbolist poets and reread Nima’s method of interaction with his time intellectual Currents to show that Nima’s political trends and his relation with intellectual ideologies and discourses of his time has c More

We study in this article some political approaches of European Symbolist poets and reread Nima’s method of interaction with his time intellectual Currents to show that Nima’s political trends and his relation with intellectual ideologies and discourses of his time has close similarity with dominant approaches found in thought and action of European Symbolists; in other words, Nima’s advocacy of symbolism- not the only factor- has a lot effect on his political trends and decisions. Among these, hegemonic intellectual discourses of his time and his method of facing with these discourses also had determinative role in promoting these trends. Manuscript profile

Open Access Article

7 - Analytic Review of Black Romanticism in Nosrat Rahmani Compositions
مینو محمدی نجمه نظری

Political, social, and cultural situation of every era has direct effects on poets’ views. Black and pessimist Romantic literature as a literary genre has emerged in Iran’s society after one decade of mobility and tension in different social and political areas; it was More

Political, social, and cultural situation of every era has direct effects on poets’ views. Black and pessimist Romantic literature as a literary genre has emerged in Iran’s society after one decade of mobility and tension in different social and political areas; it was indeed a kind of Protest against destructive consequences of coup d'etat 1332 (1953) which suddenly sunk many social and cultural activities in complete stagnation. Poets, in this era, expressed their Protests in various kinds, sometimes semi-obvious and sometimes indirectly, though there were severe censorship and strangulation. Symbolism was one the invisible methods of fighting against censorship; however, black and romantic literature was an obvious and hidden and somehow negative battle against political blockage that reflected poet’s rebellion and Protest focusing on destructive consequences caused by coup d'etat in political, social and cultural areas. It is tried in this article to review some reasons of emergence of this literary genre and its reflection in “Nosrat Rahmani” poet as a poet of Black Poetry. Manuscript profile

Open Access Article

8 - Selection of Intra-textual addressee in the constitutional poetry (Based on Social - Political Attitudes)
mohsen zolfaghary طاهره ميرهاشمي

One of the best features of constitutional literature is making a number of modifications in the interlocutor’s domain. The present inquiry is to prove that any changes in this domain are not simply restrained to the addressees of extra-textual type but also including t More

One of the best features of constitutional literature is making a number of modifications in the interlocutor’s domain. The present inquiry is to prove that any changes in this domain are not simply restrained to the addressees of extra-textual type but also including the intra-textual ones in the constitutional literature. The question is what was the role of the innovative political and social attitudes in the choosing one of the intra- or extra- types as well as the preference of any types of addressing style? To achieve to the suitable answer, the new attitudes of political - social constitutional era have been studied and divided in seven themes. Then, the effects of the mentioned subjects have investigated in the types of addressees (intra-textural) taken in the poetry works of some famous poets in the Constitutional period. As a result, in the constitutional revolution, a number of social-political changes leaded to the emergence of a new range of poetry addressees, so the style of addressing was modified at that time. However, the failure of the revolution caused the poets to turn back to their previous and accustomed style of addressing. Manuscript profile

Open Access Article

9 - The Poetic Word Selection of Gheisar Aminpour by Critical Discourse Analysis Approach
پریسا صالحی

Each artist may picture his/her political, social and cultural attitude in a different way, so Gheisar Aminpour was not an exception. He was one of the early revolutionary poets, who had involved in a number of ideological and religious values and had a stable belief on More

Each artist may picture his/her political, social and cultural attitude in a different way, so Gheisar Aminpour was not an exception. He was one of the early revolutionary poets, who had involved in a number of ideological and religious values and had a stable belief on revolution’s principles and public ideality, to the extent that his poetry world was conceivably produced through a certain profound ideology. The interaction between the poet, Aminpour, and the political and social transformation in his society could make any individual study his poetry world by discourse analysis approach. Since any language could be supposed as a mirror of the thought (words as the mirror of the meaning), and the words’ role as well as their selection may certainly be significant in the process of analysis, this research is specified to the study of word selection of Aminpour’s poems by critical discourse analysis. Furthermore, it has focused not only on the study of Aminpour’s poetry world in terms of historical, political and social renovation of his era but also on his words’ selection, studied here, on three descriptive, interpretive and explanatory levels. In conclusion, the hidden meaning of the words are supposed to be revealed by critical discourse analysis tools to illustrate, more or less, the ideological attitude of the poet. Manuscript profile

Open Access Article

10 - The Function of Tulip from Dictionary Sense to Symbolic Meaning
محرم رضایتی‌‌کيشه‌‌خاله فیروز فاضلی اسماعیل نقدی

Symbol is a sign not only refers to its sense but also to some contents beyond its literal meaning. To be more exact about the symbols, they are cited into the dictionaries by their literal sense, not by their innovative content in the aesthetic domain of poetry. This More

Symbol is a sign not only refers to its sense but also to some contents beyond its literal meaning. To be more exact about the symbols, they are cited into the dictionaries by their literal sense, not by their innovative content in the aesthetic domain of poetry. This paper aims to explain the contrast between the sense of the symbols in the dictionaries and their novel meaning in the poetry of different period of time in terms of the various styles. In this research, a short introduction about the symbols as well as a literature review about the herbal symbols in the both eastern and western cultures is going to be rendered from philosophical, psychological and mythologist point of views. Then, the significance of the symbolic meaning and function of the words is discussed, while the meaning of tulip and its metaphoric extension is determined to be mentioned based on Manouchehri, Saadi, Saib and Sepehri’s poetry due to their being representatives for different poetic styles, such as Khorasani, Iraqi, Indian and modern poetry. The purpose of this investigation is to illustrate the semantic evolution of a word from its bounded sense to its extended and symbolic function. What is more, it aims to be evidence for the literary and artistic capacities and possibilities which leads to the creation and extension of the word’s meaning. Manuscript profile

Open Access Article

11 - A Framework for Studying the Epic Language
اصغر شهبازی مهدی ملک‌ثابت

One of the issues in modern criticism is the study of language of the literary works. The framework suggested for studying the epic language has focused on the reading of the language of epic poetry at different phonological and musical, morphological and syntactic, rhe More

One of the issues in modern criticism is the study of language of the literary works. The framework suggested for studying the epic language has focused on the reading of the language of epic poetry at different phonological and musical, morphological and syntactic, rhetorical and literary as well as theatrical levels in order to describe the quality of literary type of epics in language. For this purpose, through the innovative critic theories, mainly formalism, and based on the standard epic language (Shah-nameh Ferdowsi), the framework has been suggested for the study of the epic language at different levels. Subsequently, the paper is going to clarify the necessary indicators and illustrate the quality of them in the epic language by applying a number of evidences from epic texts, in particular Shah-nameh Ferdowsi, in order to access two goals: not only achieving the indicators of epic language but also examining them in the epic poetry and finding how the poems after Ferdowsi were or were not successful in the application of the epic language. According to this framework, it has been shown that Bazel Mashhadi, for instance, has not been successful in his using of the epic language. Moreover, the epic poetry as well as its created images, in some different aspects such as rhythms, composition and coherence, has a range of deficits as well. Manuscript profile

Open Access Article

12 - Meaning, Language, Image in “The End of Shahnameh” a poetry by Mehdi Akhavan Salis (M. Omid)
Ali Noori Ahmad کنجوری

“The End of Shahnameh”, is consisted of the poems written in 1335-1338 SH by Akhavan. It can be considered as the acme of the poet’s mature style. Here in this article we try to study the poem ‘The End of Shahnameh’, which is one of the best in the collection. Having in More

“The End of Shahnameh”, is consisted of the poems written in 1335-1338 SH by Akhavan. It can be considered as the acme of the poet’s mature style. Here in this article we try to study the poem ‘The End of Shahnameh’, which is one of the best in the collection. Having introduced poetry, its features and elements, in general, and some approaches to literary criticism, we will study and interpret the mentioned poem using a combination of approaches, and regarding the interactions of meaning, language, and image, as the three major structural elements of poetry. Manuscript profile

Open Access Article

13 - Study and Analysis of Symbolism in the Poetry of Qeysar Aminpour
ali mohammadi جميله زارعي

Two types of symbol can be seen in Aminpour’s poetry: common symbols used in the Persian literature in general and the symbols the poet himself made and introduced to the Persian poetry. Though innovative, we should remember that it is the nature, and his religious beli More

Two types of symbol can be seen in Aminpour’s poetry: common symbols used in the Persian literature in general and the symbols the poet himself made and introduced to the Persian poetry. Though innovative, we should remember that it is the nature, and his religious beliefs that feed them. Studying the symbols in Aminpour’s works we concluded the following: 1. Source of most symbols is religion. 2. The poem collection of “Breathing of the Morning” bears more symbols. 3. The words tulip; yellow, red, green, unripe, and … are of symbolic meanings in his poems. Manuscript profile

Open Access Article

14 - Figures of Speech in the Poetry by Farid (Ghader Tahmasbi)
محمود براتي مريم نافلي

Figures of speech are substance of poetry and the criteria for evaluating it. The term poetic style of the period of Islamic Revolution and Sacred Defense (the 1980-81 war between Iraq and Iran) is new, about three decades. This labeling is somehow ambiguous; it may be More

Figures of speech are substance of poetry and the criteria for evaluating it. The term poetic style of the period of Islamic Revolution and Sacred Defense (the 1980-81 war between Iraq and Iran) is new, about three decades. This labeling is somehow ambiguous; it may be more accurate if we call it the style of Republic, following the style of Constitutionalism. Studying the works of the poets of Revolution and Sacred Defense, such as Farid, can help better know the characteristics of this style. In the present article Farid’s poetry is being studied regarding figures of speech used in his poem collections of ‘Pari-Setare-ha’ (fairy stars), ‘Pari-Bahane-ha’ (fairy excuses), and ‘Pari-shode-gan’ (turned into fairies). The result is shown in tables and diagrams. His use of Simile, metaphor, irony, and symbolism is remarkable in them. The use of similes here not only serves to concise writing in the field of imagination, it also approaches to identification, and causes some kind of exaggeration in the field of simile. Manuscript profile

Open Access Article

15 - A Survry to the Features of Feminine Traditional and Modern Identity in Parvin Etesami’s Poetry
مریم صادقی گیوی بهاره پرهیزکاری

Parvin is a poet expressing the isolation and the constraints imposed on women by her contemporaries. She delved into the prevalent beliefs and ill-treatment of the women of her time, which mainly originated from the women themselves, and attempted to evaluate them care More

Parvin is a poet expressing the isolation and the constraints imposed on women by her contemporaries. She delved into the prevalent beliefs and ill-treatment of the women of her time, which mainly originated from the women themselves, and attempted to evaluate them carefully and realistically so that she could find solutions. She was a pioneer poet in this regard. This article analyzes Parvin’s view on women which at the same time is traditional and modern. On the one hand, she admires women as mothers and wives, which entails the features like endurance, kindness, compassion, purity and chastity. On the other hand, she stresses the effective fulfilling of these functions through education and originality of their thoughts. Their relations to their spouses would be based on mutual understanding rather than obedience; they could raise their children in such a way that they would serve the society efficiently. Manuscript profile

Open Access Article

16 - The Place of Poetry in Plato’s and Aristotle’s Sense

One of the interesting and significant discussions in the history of literary criticism in Greek classical literature is Plato’s oppositions to poetry and Aristotle’s defense of it. Although their assumptions were based on common grounds and both considered art as a t More

One of the interesting and significant discussions in the history of literary criticism in Greek classical literature is Plato’s oppositions to poetry and Aristotle’s defense of it. Although their assumptions were based on common grounds and both considered art as a type of mimesis, but they were not of the same view on the value of poetry and the concept of mimesis. Their special philosophical thought system and genius which undoubtedly shaped and influenced philosophy and literary criticism through decades, has always been open to study and criticism. this article is an attempt to investigate the bases of their intellectual and ideational systems according to which they evaluate poetry. Manuscript profile

Open Access Article

17 - The Study of the Evolution of Maternal Contents in the Poetry of Some Poetesses from the Period of Constitutionalism up to Present
مریم عاملی رضایی

Women’s Poetry has always been the field of expressing their emotions. Maternity is the purist of the feminine emotions reflected in the poems of both men and women. Extending feminine poetry in contemporary period, maternal images have also been depicted in it by the p More

Women’s Poetry has always been the field of expressing their emotions. Maternity is the purist of the feminine emotions reflected in the poems of both men and women. Extending feminine poetry in contemporary period, maternal images have also been depicted in it by the poetesses themselves. The objective of the present article is to study maternal contents in the poems of Iranian famous poetesses from the period of Constitutionalism to the present, say, Jale Qaem Maqami, Parvin E’tesami, Foruq Farokhzad, Simin Behbahani. It focuses on the fact that emerging modern thinking and individualism introduced the content of separation between mother and child to the feminine poetry. It also studies the ascent and descent of expressing maternal contents in their poetry. Although the nature of maternal emotion is the same, it worth mentioning that it can be affected by factors like the life, beliefs and world view of a poetess herself, the social changes of her time that make some contents more prevailing than the other ones. Findings of the present research shows that the main contents of this type are expressing mother and child emotions, mother and child talk, training child by mother, mothers view on the world and universe. Studying maternal contents in the poetry of every poetess, we will follow its changes regarding their time. Manuscript profile

Open Access Article

18 - Attitudes of the Poets of the Constitutional Period to Religion
Mohammad غلامرضایی زهره ملّاکی

In the constitutional period, when Islamic tradition and modern civilization faced each other, due to their differences, clergymen and intellectuals who were the effective social forces of the time reacted differently to it. Intellectuals were of three types: against re More

In the constitutional period, when Islamic tradition and modern civilization faced each other, due to their differences, clergymen and intellectuals who were the effective social forces of the time reacted differently to it. Intellectuals were of three types: against religion; pro-religion but with stress on instrumental use of it; and pro-religion believing in compatibility of Islam and modern civilization. Clergymen were of two types: conservatives, against modernity; and constitutionalists believing in compromise between Islam and democracy. This article, using the method of qualitative content analysis, and studying the poems of seven popular poets of this period, surveys their attitudes to religion. The research reveals three main current of thought among the poets: one places religion against modernity and believes that modernization demands total removal of religion from society. Other flow believes in eliminating most religious traditions, changing their function, and emphasizes just on faith dimension of religion. The third current accepts modernization on the ground of religious traditions, and supports the change and reform to some of them just through Ijtihad. This movement stresses the preservation of religion in society. Manuscript profile

Open Access Article

19 - The Structural Sameness of the Poetry of Nima and Some Contemporary Poets
Mohammad خسروی شکیب GHsem Sahrai

Being attributed to an especial and autonomous style, every literary genre – poetry, short story, novel, and prose – is considered as a writing system, that relies on the structural relations and expectations, linguistic arrangements, and in general, its own backgrounds More

Being attributed to an especial and autonomous style, every literary genre – poetry, short story, novel, and prose – is considered as a writing system, that relies on the structural relations and expectations, linguistic arrangements, and in general, its own backgrounds of literary theories. Obviously, any style owes its newness to the autonomy and newness of the pre-structural theories which guarantee its reality as a special stream of the capability to be followed and continued. To offer an autonomous structure with mature and innovative ways of expression and a world-view capable of receiving new dimensions is basically a presupposition and a precondition for every new style to attain its autonomy. Contemporary poetry under the leadership of Nima and his followers – Sepehri and Forouq – relies on the ontological and aesthetic features conveying its reality as a deeply rooted stream of the capability to be followed and continued, and the most important of all, as a stream of autonomy and identity. The present article evaluates the structural sameness of the poetry of Nima, Sepehri and Forouq which distinguishes their poetry from the classical one. Demythologizing of the constructions, centralism in formal systems, innovative endings, innovative realism, avoiding the meaning totalitarianism, abstractionism in language, agitation through language, and commitment to humanity are the evidences of structural sameness of their poetry. Manuscript profile

Open Access Article

20 - Epistemological and Psychological Functions of Hafez's Poetry in Contemporary Human's Life
جليل مسعودي‌فرد

Contemporary human being is exposed to the Globalization Phenomenon and to both its opportunities and threats. Western civilization has yielded human rights, democracy, development on one hand, and anxiety, depression and emptiness on the other hand. Living a meaningf More

Contemporary human being is exposed to the Globalization Phenomenon and to both its opportunities and threats. Western civilization has yielded human rights, democracy, development on one hand, and anxiety, depression and emptiness on the other hand. Living a meaningful and satisfying life is a basic need from which man has already been separated. Can Persian culture and literature serve as a response to this need? Reviewing Hafez' poetry, the present article is to seek some solutions for epistemological and psychological problems of contemporary human. Hafiz' poetry is like a stream in which the modern life can purify itself. It is like a garden in which man can gain tranquility and joy. In the light of Hafez' poetry one can practice living a meaningful life. Relying on God and His grace, and treating the world as a beauty, Hafez gives meaning to the man's life. His poems, full of social and psychological messages, teach the man tranquility, friendship, tolerance, giving up hypocrisy, how to get rid of depression and disappointment. Manuscript profile

Open Access Article

21 - A Reflection on the Application of “Positive Theology and Negative Theology” in Persian literary and Mystical Texts
سيده مريم ابوالقاسمي

“Positive theology and negative theology” are common mystical expressions literature, interpretation. These two expressions are categorized as “collocations” in the semiotics of mystical expressions. After Ibn-Arabi, these two terms became more common. Once he offered h More

“Positive theology and negative theology” are common mystical expressions literature, interpretation. These two expressions are categorized as “collocations” in the semiotics of mystical expressions. After Ibn-Arabi, these two terms became more common. Once he offered his theory, belief in “Positive theology and negative theology” found a new path; and later on several mystics and scholars were influenced by his theory and thought. This essay intends to survey the historical record of the function of these two expressions in the Persian poetry, literature and other texts. Stating the value and significance of these two expressions as a controversial topic in different eras, survey of the conceptual transformation and functional domain of these two words are the other goals pursued through this article. Manuscript profile

Open Access Article

22 - The Transformation of Symbols in Contemporary Poetry
حسن شاهی‌پور Mohammad خسروی شکیب

The symbols have the potential to change through time and history and revolve in concept and meaning. Symbolic tendency in the domain of contemporary literature is a result of the tyrannical situation and the dictator governments, added to the cautiousness and fear of m More

The symbols have the potential to change through time and history and revolve in concept and meaning. Symbolic tendency in the domain of contemporary literature is a result of the tyrannical situation and the dictator governments, added to the cautiousness and fear of media censorship, and stylistic transformations. All this can be furthermore combined with the delicate attempts taken for artistic enrichment; known as ‘ambiguity’, while it also intends to make the reader participate in the reading process and literary creativity in order to gain further enjoyment. Poets who are capable of independent thinking and are innovatively creative, protect the symbols; and save them from daily obscenity and even gradual death and decadence. Nima and the followers of his literary theory emphasized two words; that is “balance” and “naturalness” in using the symbols. They made an effort to utilize the repetitive, old and obsolete symbols within new concepts in order to enrich poems; in addition to enriching their own stylistic theory. Some of the symbols enjoy a particular entity and internal value, due to their history or flexibility in conveying multiple meanings and also being more influential in different artistic levels; therefore we can regard them as super-symbols. For gaining a proper semantic concept of a literary work demands an appropriate interpretation and understanding of such super-symbols. “Water”, “ wind”, “ night”, “ wall”, “ mirror” etc are some of such symbols; frequently used in contemporary poetry. The transformation of these super-symbols is the main question of the present article. Manuscript profile

Open Access Article

23 - “Moth” and “Siolisheh”; Two Symbols for One Situation; Paraphrase of Two Symbolic Poems by Nima Yushij
فاطمه راکعی

In the symbolic paraphrase of Nima Youshij’s poetries, we already face this pre-assumption; that some of these poems have a social-political theme which the poet either could not or has chose not to express directly and clearly, therefore in order to convey these themes More

In the symbolic paraphrase of Nima Youshij’s poetries, we already face this pre-assumption; that some of these poems have a social-political theme which the poet either could not or has chose not to express directly and clearly, therefore in order to convey these themes, he has resorted to poetic symbols. The author of this essay tries to approach the poet’s actual and intended concept and meaning as he created them through using the paraphrase methods of Schlamaikher (Shumaker) and his other fellow thinkers. For this purpose, by a constant and close study of the poet’s life, thoughts, works and the social-political situation related to Nima’s time, in addition to using the text as a guide, the researcher has reached this goal to a fair extent. In the present essay, two poems-“The Moth Close to the Beach” and “Siolishes” in which both enjoy a close atmosphere- and both mention someone tapping on the window of the poet’s room, are paraphrased. Also due to the manner in which the poet speaks in both cases, it is concluded that the symbols in “The Moth Close to the Beach” and “Siolishe”, both point to a similar situation or even the same case; where a person with communistic views hopes to creep in Nima’s house and so taps on the window of his house. This approach towards Nima’s symbolic works does not in any respect deny the reader-response approach towards literary texts, as the author of this essay finds it quite possible that even symbolic poems bear social and political motifs and therefore resemble various paraphrases within different approaches. Manuscript profile

Open Access Article

24 - Miracles of Prophet Mohammad in Persian Poetry
Ahmad گلي

As Rumi says, the irrationality or even the ultra-mind nature of the Prophet's learning and discourses, have made the miracles a necessity. At each period, these miracles have coordinated with the rate of people's understanding; depending on the invitation the prophet h More

As Rumi says, the irrationality or even the ultra-mind nature of the Prophet's learning and discourses, have made the miracles a necessity. At each period, these miracles have coordinated with the rate of people's understanding; depending on the invitation the prophet has made. The Holy Quran is the major miracle of Prophet Mohammad; and it asked the pagans and enemies to compete with it; the Islamic term for this is "Tahaddi". Of course, Quran had already predicted and even emphasized on the failure and definite inability of these dissenters. What is more, due to special events and occasions, other miracles occurred through the prophet; or even occurred for his dear sake. The books that discussed the prophet's manners and his words and sayings (Hadiss), reflected all this. And as a result they were also revealed in the Persian texts. This paper intends to analyze and express these issues within the four major areas. Manuscript profile

Open Access Article

25 - Examples of Prophetical Epigrams in Literary Texts
غلامحسين غلامحسين‌زاده

This research intends to respond to this question; due to the fact that Quran says; "it was spoken to him", "he does not speak of lust and likes", and " you have an excellent morales", would Prophet Mohammad speak of epigrams and funny words? If so, then what category More

This research intends to respond to this question; due to the fact that Quran says; "it was spoken to him", "he does not speak of lust and likes", and " you have an excellent morales", would Prophet Mohammad speak of epigrams and funny words? If so, then what category would Prophet's epigrams would fit in? What elements were mostly used in them? Has the Prophet considered any limitations for such epigrams? This research shows that at that time, Prophet Mohammad did mean to speak funny and witty words. However, he never violated moralities. The prophets' witty words are categorized in two groups; first are the wise witty words with a advice; and the second groups are the general witty words that are less complicated. The general witty words are two kinds; the witty words of "situation" and "phrasal" ones. The phrasal ones include linguistic rhetorical ones such as puns and ambiguities, brevity, creating wonders in the language and behavior, paradox and antithesis. Also part of these witty words is instructional. The prophetical witty words are mostly linguistic and phrasal ones, symbols, and emblems, intending to humiliate and insult others, and rarely seen in them. Nevertheless, since at times, the term "witty words" is used in the domain of offence, insult and humiliation or even the social matters, and the prophet's lofty character is superior to any of this, no one has ever categorized the dear Prophet's words at all. The writer of this research has called all the Prophet's witty linguistic points, comments and words "witty" to be polite within the religious borders without any exception. Keywords: Persian Literary Texts, Verbal Witty words, Prophet Mohammad. Miracles of Prophet Mohammad in Persian Poetry Ahmad Goli* As Rumi says, the irrationality or even the ultra-mind nature of the Prophet's learning and discourses, have made the miracles a necessity. At each period, these miracles have coordinated with the rate of people's understanding; depending on the invitation the prophet has made. The Holy Quran is the major miracle of Prophet Mohammad; and it asked the pagans and enemies to compete with it; the Islamic term for this is "Tahaddi". Of course, Quran had already predicted and even emphasized on the failure and definite inability of these dissenters. What is more, due to special events and occasions, other miracles occurred through the prophet; or even occurred for his dear sake. The books that discussed the prophet's manners and his words and sayings (Hadiss), reflected all this. And as a result they were also revealed in the Persian texts. This paper intends to analyze and express these issues within the four major areas. Manuscript profile

Open Access Article

26 - Artistic Quotation in Hafez' Poetry
عليرضا فولادي

Despite all the efforts made by the eloquent figures in the recognition of literary techniques, some of them are still unknown. This article introduces one of such technique known as "the artistic quotation" and elaborates the details in Hafez' poetry. What is an artis More

Despite all the efforts made by the eloquent figures in the recognition of literary techniques, some of them are still unknown. This article introduces one of such technique known as "the artistic quotation" and elaborates the details in Hafez' poetry. What is an artistic quotation, how does its artistic aspect occur and what are its types? This article intends to respond to the mentioned questions.Our method is the descriptive method through the structuralism approach.The overall studies lead us to conclude that Hafez' artistic quotations have generally passed a balanced path both in narration and the poetic process; which is due to his tendency for moderation. And in these two-sided aspects considering the present situation, they have been united with several elements such as; the narrator, atmosphere, time and place setting, description, character, dialogue, incident, suspense, and the ornaments of the figures of speech like; metonymy, simile, style of finding the proper equivalent, metaphore, personification, paradox, irony, pun, phonemes, harmony of adjectives, equivocation, identification, convenance, contrast and many other figures of speech to be mentioned. Also examples of this technique cover a variety of divisions in his great poetry book depending on the basis of the definition in the details. Manuscript profile

Open Access Article

27 - Anvari’s Point of View about the Origin of Poetry and the Poet’s Social-class Identity
مهدي محبّتی

The description of poetry and stating the poet's position among the social classes are the two major features in Anvari's literary point of view. Anvari succeeded to suggest and point to new and solid attitudes and views on the analysis of poetry and also the poet's c More

The description of poetry and stating the poet's position among the social classes are the two major features in Anvari's literary point of view. Anvari succeeded to suggest and point to new and solid attitudes and views on the analysis of poetry and also the poet's class-identity due to enjoying a rational education and being quite familiar with the versified word and its fields, in addition to the pure artistic experiences he himself earned during his life by creating poetry. He founded one of the most significant sources for the sociology of poetry and the poetics in the Persian Literature by both categorizing the poets' classes and the analysis of the poet's role and position in the chain of the social needs. He then compared these productions, or better to say in this field 'the creations', with the products of the other social classes. He also studied the reasons leading to the creation of a variety of poems in the poet's mentality and mind. Anvari himself created a few long and prominent poems in this specific field of study for the first time and expressed the first descriptive-rational attitudes on the nature and essence of poetry and its various kinds. This article reflects Anvari's precise and clear thoughts and ideas about poetry and the poet's class-identity. Manuscript profile

Open Access Article

28 - Narrative Ghazal (Sonnet) and its Origin in the Persian Poetry
احمدرضا منصوری

Ghazal (sonnet) is one of the major forms in the Persian Poetry. Still, the foundation, development, and its various types constantly invite and encourage the researchers towards further studies and contemplation. This research initially offers a new definition on poet More

Ghazal (sonnet) is one of the major forms in the Persian Poetry. Still, the foundation, development, and its various types constantly invite and encourage the researchers towards further studies and contemplation. This research initially offers a new definition on poetry and the narrative Ghazal. Then its various types are recognized and divided within two approaches; the formal-structuralism and the contextual-conceptual approach which are the old literary divisions and forms. The other part of the research is devoted to the origin of the Persian Ghazal and the varieties of opinions are discussed. According to the findings of this research which are supported by some of the Persian poems, the origin of the narrative Ghazal can be surveyed with two attitudes; both in lyrical and also the sonneteer's field of approach. Its different types can be divided on the basis of structure (with the three genres including the narrative, the dialogue, and description in mind), and the content (with social, historical, mystical-cognitive, elegy, trip journals, life stories and etc which are among the subdivisions of the structure of narrative).At the end, the positive points and functions of the narrative Ghazal (such as the poetry's cohesive structure, finding the contents easy to understand, making a better communication with the audience, dramatization, and gaining pleasure and joy) have been pointed to. Manuscript profile

Open Access Article

29 - Mirzadeh Eshqi and the Modernization Issue
علي محمدي

In the chaotic and overexcited era of the Constitutional Period, Mirzadeh Eshqi was a live and vibrant poet; fortunate enough to think about modernization. Within the versified worldview of Eshqi one can observe all the aspects of the phenomenon now known as "modernizat More

In the chaotic and overexcited era of the Constitutional Period, Mirzadeh Eshqi was a live and vibrant poet; fortunate enough to think about modernization. Within the versified worldview of Eshqi one can observe all the aspects of the phenomenon now known as "modernization". The feature most of notice in the structure of thought and approach of Eshqi is his paradoxical and heterogeneous attitude towards the different dimensions of modernity. Eshqi's ideas constantly flow within a black and white whirlpool approach; in other words there are constant changes. Therefore such an entirety-seeking thinking would be full of paradoxes. In Eshqi's worldview, there is not any share for wisdom and rationality; where this atmosphere mostly represents a picture of destruction, seeking revolution and carnage. Eshqi is so nervous and vehement natured that once he views an instance, he tends towards exaggeration and observes all human beings the same; regardless of whether they are good or bad. In overall, Eshqi's attitude towards the Iranian individuals is filled with paradox and contrasts. This article surveys the concept of modernization in Eshqi's poetry. Manuscript profile

Open Access Article

30 - Lexical archaism in Akhavan Saleth’s works
فروغ صهبا

Akhavan Saleth poetry link to ancient persian language and literature. Using its words, combinations and expressions in a various way and scattered is clear cut to any one. It is one of his poetic arts giving his language epic and fixed form and appearance. This feature More

Akhavan Saleth poetry link to ancient persian language and literature. Using its words, combinations and expressions in a various way and scattered is clear cut to any one. It is one of his poetic arts giving his language epic and fixed form and appearance. This feature is one of the ways toward defamiliarization with the past archaic element of the language called archaism as one of the most important feature of Akhavan’s poetry. This article tries to study and describe Akhavan’s poetry word related elements having ancient form and style and make his poetry prominent. The result of the study shows that Akhavan’s poetry archaism can be divided into two groups: A-The first one concerns the words not used today or used rarely including general, B-epic science related words such as the words used in medicine, musician and the like. The second one concerns the words experienced in archaic way some changes such as aphesis, heightening, mutation and inversion. Manuscript profile

Open Access Article

31 - Features of Prophet Mohammad in Khaqani Shervani’s Poetry Book
روشنك رضائي

Prophet Mohammad’s life, manner, behavior, and lofty spirit counts as a valuable enchanting treasure for mankind. And the vast domain of his features finds a particular and especial manifestation in the mind, soul, spirit and the language of the Muslims. This paper inte More

Prophet Mohammad’s life, manner, behavior, and lofty spirit counts as a valuable enchanting treasure for mankind. And the vast domain of his features finds a particular and especial manifestation in the mind, soul, spirit and the language of the Muslims. This paper intends to survey and analysis the portrayal of Prophet Mohammad in Khaqani’s Book of Poetry; in Persian known as the ‘Divan’. First, there is a brief introduction on the historical events, personal and social characteristics, and also the life of Prophet Mohammad and after that there are precise and clear poems taken from Khaqani’s Divan for further evidence. Also some of the quotes and speeches made by Prophet Mohammad-of notice in Khaqani’s poetry- are highlighted. This feature in Khaqani’s poetry clearly demonstrates to what extent this poet was sincerely devoted to dear Prophet Mohammad. While it can also be said that Khaqani as a matter of fact enriched his poetry through relating to Prophet’s life and words and furthermore blessed his own poetry by this element. Manuscript profile

Open Access Article

32 - Reflection of Prophet's Character in Contemporary Persian Poetry
سعید بزرگ بیگدلی مریم صادقی گیوی

The high, lofty and the humane manner, in addition to the unique behavior of the Prophet Mohammad, have always been of notice to the poets and writers in the Persian literature. After Islam, the Persian poets praised that dear character due to a variety of occasions. Es More

The high, lofty and the humane manner, in addition to the unique behavior of the Prophet Mohammad, have always been of notice to the poets and writers in the Persian literature. After Islam, the Persian poets praised that dear character due to a variety of occasions. Especially after rejoicing God and the creator of the universe, they have focused on the praise and the commemoration of this dear Prophet, the high rank of the Prophet; as the last Prophet and especially by emphasizing on one point; that Prophet Mohammad is the center of the whole universe. Based on Ibn-Arabi's interpretation and the mystics following him, they believe that Mohammad's truth lies at the center of the universe and is indeed the major reason for the creation of the world in the first place. The Iranian literary poets and writters have reflected the life events and the different aspects of this perfect and ideal character, as the perfect human and man's role model in all life in their works. This issue is observed in the traditional Persian poetry. This article intends to survey the contemporary Persian poets' works regarding the Prophets' character. The purpose of this study is to survey the quality of such reflections through comparing the traditional and modern poetry. this research reveals that the contemporary poets reflect the Prophet's character through four aspects; praise, incidental, narrative and illustrious within their poems. In addition, most of the prominent poets who have composed poetry in the four mentioned aspects are also analyzed and evaluated too. Manuscript profile

Open Access Article

33 - A study on musical terms in Khajoy-e Kermani’s Divan
حسن شاهی‌پور

Poetry and music are closely interlinked, but today their development has resulted in the gap between them. Nevertheless, we can see some historically relations between them and they are correlated and complementary to each other. Particularly, music doesn’t enjoy the r More

Poetry and music are closely interlinked, but today their development has resulted in the gap between them. Nevertheless, we can see some historically relations between them and they are correlated and complementary to each other. Particularly, music doesn’t enjoy the required freshness. This article is an attempt to study the musical terms used in Khajoye Kermani’s Divan and to reveal the relations between the songs of the tonalities, branches and chansons. It means that if, for example, the poet has pointed to the Rast and Esfahan tonalities, their coincidence has not been accidentally occurred, but the poet has considered the musical relations of these two tonalities and the appropriateness of the songs. In this regard, we used the old musical books of Maghasedul-lahan, Jame0ul-lahan written by Maraghi and Bahor-ul-lahan written by Forsatudduleh Shirazi and also some today books and articles on music, in order to prove this claim. Manuscript profile

Open Access Article

34 - Reviewing Farsi Ashurai Poetry in Lorestan; (from its birth to Islamic Revolution Victory)
Ali Noori احسان حیدری جمشیدی

Lorestan people accepted Shiah faith from their deep heart and have a strong belief in it. Even the ruler of this area believed in Shiah from 1000 years agon and some of them like Atabakan-e Lor-e Kuchak who ruled Lorestan from 570 to 1006 (hegira) considered themselves More

Lorestan people accepted Shiah faith from their deep heart and have a strong belief in it. Even the ruler of this area believed in Shiah from 1000 years agon and some of them like Atabakan-e Lor-e Kuchak who ruled Lorestan from 570 to 1006 (hegira) considered themselves as relatives from the generation of Abbas ibn Ali (PBUH). Lorestan people interest to the Prophet’s Household particularly Imam Hussein (PBUH), and Abbas ibn Ali (PBUH) is so deep that there are perfect reflections and representations of this in their culture and literature. We reviewed the “Farsi Ashurai poetry in Lorestan” as a sign of Ashurai culture in Persian literature. Most important result is that Moharram, Ashura and Imam Hussein (PBUH) have brilliant and outstanding display in different poetry genres of this province and also Persian poetry and this display is so dominant that, although its literature is oral, but its signs are so dominant among few available works and poems. This point proves the interest and respect of Lorestan people to the Prophet’s Household and also their manhood, gentility, nobility and freedom; features whose most brilliant reflections is Karbala. It should also be mentioned that Lorestan Farsi Ashurai Poetry can be categorized in 4 kinds and these kinds of poems are so extensive and dominant in Lorestan Literature and it involves Lorestan literates from very old times until today. Manuscript profile

Open Access Article

35 - Reviewing and criticizing the formal aspects of language in the works of main poets in the movement of speech poetry
ساناز رحيم‌بيكي غلامحسين غلامحسين‌زاده قدرت‌ الله طاهري

In the process of creating poetry, all the elements involved are formed in the language. So, the language is one of the most basic factors in creating the poetry. Speech poetry is a new branch of Iranian modern poetry in 1370s and 1380s. While the speech poets argue tha More

In the process of creating poetry, all the elements involved are formed in the language. So, the language is one of the most basic factors in creating the poetry. Speech poetry is a new branch of Iranian modern poetry in 1370s and 1380s. While the speech poets argue that they use all capacities of language used among the mass, reviewing the form aspects of language in this branch of Iranian poetry is very important. Introducing and explaining the forms and contents of this branch is an important step in knowing the contemporary literal evolution, while the branch has not been explored in academic literature. For this purpose, in this paper we try to define the speech poetry, its history and its linguistic aspects by focusing on the works of Reza Baraheni, Ali Babachahi, Merdad Fallah, Hafiz Musavi and Seyed Ali Salehi. The method of research is based on the style-linguistic study; the main aspects of language are reviewed in three formation: vocal, lexical and syntactic of public language. The poets of this branch use the voices of periphery, in addition to the terms, expressions, metaphor, proverbs, to enrich the language of their poems. Manuscript profile

Open Access Article

36 - Anvari′s Dual Approach to Mysticism and Sufism
محمدحسین کرمی ناهید دهقانی

In the whole Persian literature history, you cannot find many poets who contradict themselves as much as Anvari does. The most obvious example of this poet’s self-contradiction is noticeable in his dual approach to mysticism. The themes of Anvari′s poems in odes, Moghat More

In the whole Persian literature history, you cannot find many poets who contradict themselves as much as Anvari does. The most obvious example of this poet’s self-contradiction is noticeable in his dual approach to mysticism. The themes of Anvari′s poems in odes, Moghattaat is different from that of Sonnets and quatrain (a poem consisting of four hemistiches, rube). The poet, who developed eulogy and satire in odes and Moghattaat, also developed a mystic appearance in sonnets and quatrain. Anvari’s numerous self-contraditions especially regarding mysticism have caused the readers of his poems not being able to make a certain and precise judgment about his character and his poems. In this article, using a descriptive-analytical approach, Anvari’s contradictory views on mysticism and the origin of this duality are investigated. It seems that, poetic period in Anvari’s time, more than any other factor, had an impact on the creation of these contradictions. Usually, in works in middle style or the style of transition period, such chaos is noticeable. These contradictions are found not only in Anvari’s poems, but also more and less in the poems of other 6th –century poets. Based on this, penetration of mystic themes in Anvari’s poems can not necessarily be considered as a proof of his tendency towards mysticism. Manuscript profile

Open Access Article

37 - “Nobat” Reading An Approach to Michael Riffaterre Semiotics of Poetry

Colloquial poetry is one of the prominent trends in contemporary poetry. This kind of poem, in which induced speech act is the most important factor in communication between text and reader, is audience-oriented. In this paper, “Nobat”, a generative and open poem from “ More

Colloquial poetry is one of the prominent trends in contemporary poetry. This kind of poem, in which induced speech act is the most important factor in communication between text and reader, is audience-oriented. In this paper, “Nobat”, a generative and open poem from “Safar be kheyr” Collection by Seyyed Ali Salehi, is investigated by descriptive-analytical method with an approach to Michael Riffaterre Semiotics of Poetry. The purpose of this study is to understand the capacity and a new reading of colloquial poetry. In heuristic reading of “Nobat”, which is based on direct signs, the final implication of the poem is an explicit description of combined senses of leaving and grief. But, in another reading of the poem, in which Riffaterre’s theoretical framework is employed, a reader moves from marked and indirect signs of the narrative space to a political-emotional space; as if death is the ultimate indication of poetry and imprisonment - chanting – death is a cycle in accordance with non-grammatical elements, accumulations, descriptive systems, hypograms, and the intertextual space of Shamloo's voice and the sound of two poems by "Ahmad Reza Ahmadi" and "Hafez Mousavi" with similar implications network of death.. Manuscript profile

Open Access Article

38 - The Nature of the Dark Romanticism in the Persian Poetry of the 1950s
Reza Satari

One of the most important literary currents that was strengthened in Iran's poetry in the 1950s following the coup d'état of August 19, 1953 was romanticism that prevailed the field of poetry. Dark themes became commonplace with extreme and unprecedented emotions; theme More

One of the most important literary currents that was strengthened in Iran's poetry in the 1950s following the coup d'état of August 19, 1953 was romanticism that prevailed the field of poetry. Dark themes became commonplace with extreme and unprecedented emotions; themes that diverted this version of romanticism from the essence of lyric which often meant that the poets either speak of death of love, or brought it down to its lowest level. These poems, belonging to a current known as dark romanticism, reflect themes such as thoughts of death, feeling of being cursed, rebellion, declaring sin, disbelief and immorality, Satanism, despair, and so on. Some scholars have defined these poems as lyrical romanticism, while lyrical and dark romanticism have fundamental differences, including in their world views, themes and contextual factors. In this article, after examining the nature of dark romanticism and its sentimentalism in Iran, common dark themes in the poems of some poets such as Nader Naderpour, Nosrat Rahmani, Karo, Hasan Honarmandi, Hamid Mosadegh and Forough Farrokhzad are evaluated. The results of the study shows that, with regard to the focus on themes such as thinking of death, disappointment and despair, rebellion and being cursed, fear, satanism, addiction and inebriation, and opposing the ethics and social norms, disbelief and denunciation of love in the poetry of dark romanticism, these poems cannot be identified as lyrical romanticism. Accordingly, romantic and sensual poetry of the 1950s was divided into two categories which is lyrical and non-lyrical romanticism. Manuscript profile

Open Access Article

39 - An anlysis on the Poetry and Literary History of Kohgilooye and Boyer Ahmad since Safavid Era with an emphasis on a few poets (Mirza Showghi, Hossein Panahi)
- - سیدجعفر حمیدی

Due to being away far from the capital of Iran as well as its economic deprivation and sociopolitical limitations, the literary status of Kohgilooye and Boyer Ahmad has not yet been analyzed in a proper way. This article, first introduces the social and political status More

Due to being away far from the capital of Iran as well as its economic deprivation and sociopolitical limitations, the literary status of Kohgilooye and Boyer Ahmad has not yet been analyzed in a proper way. This article, first introduces the social and political status of this province since Safavid era. Then, the literary history of this part of Iran will be studied. In doing so, biography of some of the late and recent famous poets have been studied in this location and during this time section. Among them, two poets from two different eras seem to be more famous and influential comparing to the others.The first poet is Mirza Showghy from Naseri era. Through expressing publicly accepted religious concepts including the event of Karbala, praising the holy prophet of Islam and the leading Imams as well as writing his poems in the dialect of Kohgilooye and Behbahan, he could perpetuate his influence on the people’s minds of that era, as well as the next generations. Amongst the contemporary poets, Hossein Panahi has been recognized as a national figure. He was a cinema, theatre, and TV actor and director. By publishing his poems, he could be recognized by different audiences inside and outside of Iran Manuscript profile

Open Access Article

40 - Theological Thoughts on Tawhid in Attar’s Masnavies
Farideh Mohseni Hanjani Ahmad Khatami

Mystical literature has always been accompanied by secrets and mysteries; and understanding the concepts, interpretations, terms and themes mentioned in mystical poems and proses such as theological themes has never been easy since they are mixed with special symbols an More

Mystical literature has always been accompanied by secrets and mysteries; and understanding the concepts, interpretations, terms and themes mentioned in mystical poems and proses such as theological themes has never been easy since they are mixed with special symbols and allegories. The elements of mystical literature, though not that complicated, bring up deep questions in mind, for which finding the answers requires true understanding of mystical, religious and theological insights of the authors. Attar is one of those mystic poets who has incorporated his beliefs and religious attitudes with a mystical virtue in all his works. Using a descriptive-analytical method, assuming that Attar’s mystical thoughts are incorporated with his theological thoughts, this paper tries to investigate the effects of different theological schools on the intellectual and mystic basis of monotheism (Tawhid) theme in Attar’s works with respect to his well-known four Masnavi books. The results show that the influence of theological issues on these works is too much that any account of Attar’s works without learning about his theological insights would be incomplete. However, it would be useless to insist on assigning him to one specific theological school. Manuscript profile

Open Access Article

41 - Diachronic Study of "title" and "titling" in Persian Poetic Literature (based on outstanding works)
علی محمدی

Title is one of the most important keywords in literary texts. If titles as signs and spotlights are chosen right and wisely, they can be represented in the context and structure of a literary text in two ways. Fist, regarding aesthetic aspect of the literary text which More

Title is one of the most important keywords in literary texts. If titles as signs and spotlights are chosen right and wisely, they can be represented in the context and structure of a literary text in two ways. Fist, regarding aesthetic aspect of the literary text which highlights the importance of selection of a good title in creating a coherent text. Second, its role in meaning perception and understanding the content of the literary work. Title can shed light on the probable ambiguities for the audience and results in better understanding. The more the title is artistic, beautiful and brief, the easier is communicating the meaning, content and features of the literary text. In the history of Persian poetry, although the poets were not unaware of the importance of “titling” they mostly didn’t choose any title for their works. A large number of verses and poetic works are known just as collection (divan) or complete work (koliyat). Moreover, in poets’ collections, instead of titles for most poems, their literary forms (ode, sonnet, ..) are mentioned. Part of this article is about the titles that most probably were given by those who prepared the manuscripts or by those who reviewed the sonnets, odes, Qate and other literary forms in collections of poems. Another part of the article studies and analyzes “title” and “titling” during the history of Persian literature in different eras from Safavid to Qajar, Pahlavi , and contemporary era. Manuscript profile

Open Access Article

42 - Investigating Phonetic Balance in Sultan Walad's Ghazals
zeynab tajik vahid alibaygi sarhali

The music of poetry is what makes the verse interesting. This factor is manifested in a unique way in Sultan Walad Ghazals, which is highly represented in the phonetic balance. The poet has increased the variety in rhythm using quantitative balance regarding metric feat More

The music of poetry is what makes the verse interesting. This factor is manifested in a unique way in Sultan Walad Ghazals, which is highly represented in the phonetic balance. The poet has increased the variety in rhythm using quantitative balance regarding metric features and using different meters. Sultan Walad has created special kind of rapture and fascination in his Ghazals using the cyclic meter in a way that cyclic meter is most frequent in the fast rhythms of this kind of poem. In the application of qualitative phonetic balance, he uses repetition, and by repeating different Persian vowels and consonants he has increased the aesthetic feature of his Ghazals. The long vowel /a/ is very frequent while /o/ is the least frequent vowel in his use of repetition. Sultan Walad has created rhythmic aspects in his poems by the application of vowel and consonant repetition while the most frequent repetition is in the initial consonant and the least frequent is the repetition of the initial vowel and consonant. The poet's use of repetition is more obvious in the rhyme. Therefore, it can be said that Sultan Walad has created a special kind of music in his Ghazals using different kinds of balance, regarding same sounds (including consonants), and same letters which can be studied from different aspects. An analytical-descriptive method is used in this research through which we have identified phonetic balance in Sultan Walad’s Ghazals, and in addition to analyzing each, we measured and showed the frequencies using charts and tables. Manuscript profile

Open Access Article

43 - Analysis of Asynartete capacities and ways of its creation in Persian poetry
یحیی عطائی

The "Asynartete" is literary device to read a poem in several meter. The author of this article tracks this issue in rhetorics and shows that it has been used frequently in Persian poetry since early Persian poetry up to now. Converting a hemistich’s meter is done in ei More

The "Asynartete" is literary device to read a poem in several meter. The author of this article tracks this issue in rhetorics and shows that it has been used frequently in Persian poetry since early Persian poetry up to now. Converting a hemistich’s meter is done in eight ways: Short and long vowel saturation and desaturation, retention and elimination of Hamzeh, intensification and reduction of consonant, making vowel and no vowel of consonant. In persian poems 26 meters create asynartete in 22 states. The most commonly used is converting the meter of “Fa’elaton Fa’elaton Fa’elon” to “Mofta’elon Mofta’elon Fa’elon” and vice versa. The most commonly used methods of conversion are the four methods of "vowel saturation/ desaturation" and "retention/ elimination of Hamzeh". Another finding of this essay, is that although asynartete is not named in Persian books on rhetorics, it has been used in Persian poetry since Rashid-al-din. Manuscript profile

Open Access Article

44 - A comparative analysis poetry and painting in Safavid era Based on theory of Henry Remak
Morad Esmaeeli

As an interdisciplinary study in comparative literature, this paper is to address the linkage between literature and painting in Safavid era. Integrating Remak’s theory of Comparative Literature and Art, this study is to disclose how the same concept can be represented More

As an interdisciplinary study in comparative literature, this paper is to address the linkage between literature and painting in Safavid era. Integrating Remak’s theory of Comparative Literature and Art, this study is to disclose how the same concept can be represented in different forms in poetry and painting in that era. Findings show that poetries and paintings in the investigated era are not in the perpetuation of previously dominant styles. Rather, poetry and painting in this era has their own special paradigm. In fact, Safavid poets and painters enjoy a set of common principles which cannot be compared with the previous eras. Furthermore, secularism is one main presupposition which make the building blocks of thought and art in the era. Indeed, the poets and painters in the era have created their own work in various forms such as: realism, partialism (micro reading), entertainment-related reading, using surrounding elements, etc. which all are the main components of secularism. Manuscript profile

Open Access Article

45 - From mind to lived experience; Comparative Analysis in the Early and Late Poetry of Qeysar Aminpour
seyedreza shakeri Mohammad kamalizadeh

From a philosophical and theoretical point of view, two intellectual approaches can be identified and analyzed in Qeysar Aminpour poetry; Early Poetry and Late Poetry.The aim of this research is to show the fulfillment of formation of these two types in relation to cont More

From a philosophical and theoretical point of view, two intellectual approaches can be identified and analyzed in Qeysar Aminpour poetry; Early Poetry and Late Poetry.The aim of this research is to show the fulfillment of formation of these two types in relation to contextual developments and to explain the differences between the two from the perspective of intellectual and spiritual evolution of the poet.In earlier poetry, the poet is influenced by intellectual, political, and environmental conditions, and the focus of poetry production and the poet's mind is mainly religious and revolutionary ideas and beliefs that produce poems with specific themes.In Aminpour's recent poetry, lived experience takes the place of the mind and poems are produced with the focus and content of human situations in life.The theoretical basis of this research is the concept of lived experience in Wilhelm Deltay's theory of humanities, which has been used by literary scholars to study the poems of many poets.The findings of this study show that Qeysar Aminpour is a poet influenced by the social, intellectual and political developments of his society and larger common human world, and goes through the evolutionary process in poetry and achieves a new language and world of poetry dimensions. Manuscript profile

Open Access Article

46 - A Study of the Semantic Parallels of the Concept of Love throughout Persian Poetry using Qualitative Content Analysis
masoume mohammadi Asghar Daadbeh Hormoz Rahimhan

Love is one of the most prominent concepts in Persian poetry that contains broad conceptual capacities to indirectly influence the semantic structure of the constantly transformative grounds of thought and functions of poetry. This research aims to understand whether th More

Love is one of the most prominent concepts in Persian poetry that contains broad conceptual capacities to indirectly influence the semantic structure of the constantly transformative grounds of thought and functions of poetry. This research aims to understand whether through these transformations, the concept of love remains constant in the ever-changing semantic system or it undergoes dissociative fluctuations. Furthermore, this article tries to answer this question by approaching the poetry of different time-periods in their original form and focus on the interpretations that may arise from them. This matter gains further importance when we consider the decisive role that the concept of love plays in touching the reader’s emotions and its corresponding cultural influence throughout time. Hence, this research aims to arrive at the audience’s emotional involvement and the importance of cultural occasions by studying the concept of love in canonical works of poetry extending to different time-periods. Since the cultural occasions must correspond to their semantic parallels of the concept of love, we seek to extract these parallel meanings from the concealed concepts of Persian poetry. To arrive at these hidden components of poetry, this article views the Qualitative Content Analysis method in direct contact with thought centered content analysis. Therefore, two extensive stylistic schools of ancient and contemporary Persian poetry are studied to illustrate the semantic process that the concept of love undergoes and the scope contains some of the most important approaches of Qualitative Content Analysis such as: concealed and apparent meaning, semantic units, interpretive units, regional contents, theme and motif. This research concludes that through this process, the original semantic structure of this concept has been kept by remaining in close contact with its fundamental parallel meanings. Manuscript profile

Open Access Article

47 - Analysis of conceptual elements of art in the poems of poets of the sixth century AH
Morteza Heidari

In this research the author has elicited the marked semantic features / components of art concept in the poetry of 6th century with using the principles of conceptual semantics. With a critical and editorial look at the structures identified for conceptual semantics, h More

In this research the author has elicited the marked semantic features / components of art concept in the poetry of 6th century with using the principles of conceptual semantics. With a critical and editorial look at the structures identified for conceptual semantics, he has reviewed these structures and their application in the field of linguistic and literary research. After classification of semantic features in relevant fields with every feature, fifteen various semantic fields acquired for art concept in the poems of 6th century poets. These semantic fields in order of extenting their domains are: literary language, practical wisdom, eulogy, aesthetics, craft, morality and habitude, social criticism, war, anthropology, zoology, religion, cosmology, ecology, mysticism and love. In literary language field, the diverse ontological phenomenon have been the materials for the poetical imagery with figurative devices, i.e. simile and implicit metaphor. In the semantic realm of praise, the art of the praiseworthy feature, incapable, has been reported against him. The components obtained in the field of aesthetics show that the poetry of the sixth century was the basis of the discourse of aesthetics. The semantic field of industry has been obtained from various techniques and professions. Individual and social characteristics are grouped in the semantic domain of morality and temperament. Non gratification of poets in 6th century from their art has conceptualized the semantic field of social criticism. Also warfare and the quality of martial instrumen are also marked for the concept of art. Art has also been enumerated in the field of anthropology of human habits and, nevertheless, has been considered as a feature of various animals. Theism, religion and requisite for earmarking the religion also conceptualized for art. Finally, art has been reported as a feature of the universe and cosmic objects and has been conceptualized with singular semantic features of ecology, mysticism and love. The research findings show that art has a very comprehensive concept in the framework of the mentioned studies and is contrary to the conventional notions of today. The research findings prove that art in the studied framework has a most comprehensive and despite to usual assumptions concept. Manuscript profile

Open Access Article

48 - Contemporaneity of old poems in the novel "Jazire-ye Sargardani and Sareban-e Sargardan" (Island of Wandering and Wandering camel-driver) of Simin Daneshvar
asena abdali Jahangir safari ebrahim zaheri abdevand

Contemporaneity is concerned with the application of the literature of earlier eras in contemporary literature and the harmonization of this type of literature with the spirits and minds of today's human beings This plays an important role in the creation of literary wo More

Contemporaneity is concerned with the application of the literature of earlier eras in contemporary literature and the harmonization of this type of literature with the spirits and minds of today's human beings This plays an important role in the creation of literary works, their enrichment and the connection between culture in different periods. SiminDaneshvar is one of the storytellers who has used this method in creating her stories. In the novels"Jazire-ye Sargardani andSareban-e Sargardan" (Island of Wandering and Wandering camel-driver), the poems of various poets such as Hafez, Moulavi, Saadi and Khayyam have been contemporaryized.The purpose of this study is to investigate the role of these poems and the way of their contemporaryization in the novel based on the descriptive-analytical method. The results of the research show that Daneshvar has used Hafez's poetry more in the mentioned novel and in the new reading of old poems and harmonizing them with the atmosphere of today's Iranian society, she has given them more meaning and social-political meaning. Also, these poems have become part of the structure of his novel and have a very important role in the characterization, showing the type of thoughts and mental dependencies of the characters in the novel, plot design, strengthening the themes, describing the place, the verisimilitude and connections between Iran's cultural and social past and its present time. Manuscript profile

Open Access Article

49 - An Inquiry into the Methods of Arranging Poetry Collections
sorayya Eslamikho Mohammad hakimazar asghar rezapoorian

Copying, collecting and compiling poems of poets in previous centuries was done in several ways. Sometimes the poet wrote his poem in his notebook during his life and over time, and after his death, that notebook remained the same. Sometimes the poet himself would colle More

Copying, collecting and compiling poems of poets in previous centuries was done in several ways. Sometimes the poet wrote his poem in his notebook during his life and over time, and after his death, that notebook remained the same. Sometimes the poet himself would collect his poetry collection and arrange it according to his own taste. Sometimes his friends and supporters compiled his poetry collection after his death, and sometimes in later centuries his poetry collection was compiled by a scribe according to himself taste. In each of these methods, the order of the poems (especially the sonnets) has been specific. In this research, we intend to deal with the methods of arranging poems in the books of poets and see which method is more logical, and what are the advantages and disadvantages of each method.The results of this study show that the alphabetical order of the poetry collections is by no means based on stylistic studies and research related to the evolution of Iranian thought and art, and the best method is the way in which poetry books are compiled today. Manuscript profile

Open Access Article

50 - Looke of educational moral and teching in Forough Farrokhzad and Nazek Almalaek,s poem
farideh salamatnia saeid kheirkhahbarzaki Abdolreza modarres Zadeh

In the "Age of Friction of Metals," contemporary humans need more than ever the didactic teaching. With all the benefits of this era, one can see that today man is searching for ways to fill the vacuum created by the lack of spirituality and the result of this explorati More

In the "Age of Friction of Metals," contemporary humans need more than ever the didactic teaching. With all the benefits of this era, one can see that today man is searching for ways to fill the vacuum created by the lack of spirituality and the result of this exploration is his unconscious return to spiritual and moral values. Perhaps this is because the didactic and moral texts were considered from ancient times by Iranian poets and writers and expresses the important role of literature in the development of didactic and moral teachings. The poetic aspect of teaching poetry is very prominent in Persian literature; such poems are more lyric in our country because the poet's passion and emotion are evident in their ethical, didactic, social, mystical, and religious issues. The author of the present article analyzes and evaluates the poetry of two prominent and influential ladies from Iran and Iraq, Forough Farrokhzad and Nazok al-Malaeke, using the descriptive-analytical method. And concluded that both poets have paid attention to the teachings and moral education and concepts such as kindliness (love), impoverishment and defending the deprived, idealism, justice in their poems are widely used. Manuscript profile

Open Access Article

51 - An Investigation of Humanism of Contemporary Poets from the Point of View of Epistemology
mohsen Izadyar

This research aims to take an epistemological outlook towards humanism in modern poetry, from Persian constitutional revolution up until the Islamic revolution in Iran. By taking a pathological stance, the survey shows how from the constitutional period in Iran, which i More

This research aims to take an epistemological outlook towards humanism in modern poetry, from Persian constitutional revolution up until the Islamic revolution in Iran. By taking a pathological stance, the survey shows how from the constitutional period in Iran, which is the commencement to modernism and accordingly to the flow of western philosophical thoughts, humanism has always been combined with personal partisan and westernized conceptions, and on the other hand always inattentive to religion and the realities of the sociopolitical structures of Iranian society. Insistence on the transference of such a culture and literature, without paying attention to the cultural and literary infrastructures of the country of the origin, has been the problem in works of modern poets. Another concept that this paper insists on is that many poets have only tried to imitate the humanist thoughts in modernist poetry. On the other hand, because of the lack of intimacy, absence of visual experience and also generalization, there is no real alignment to be found between the alleged modernist poet’s poetry and its audience. This is more than anything because of the luxurious and imitative outlook that poets have towards this specific type of poetry. Manuscript profile

Open Access Article

52 - Hazrat Zaynab Kobra's (S) feature in Farsi poetry
Ahmad Zakeri Mohammad Ali Rahimi

Though the cognitions of Imam Hossein entered into Persian poetry from third and fourth centuries and almost synchronous with Persian language birth, the name of Hazrat Zeinab has been used very limited and in very few cases in Persian poetry. In Safavi Dynasty, her nam More

Though the cognitions of Imam Hossein entered into Persian poetry from third and fourth centuries and almost synchronous with Persian language birth, the name of Hazrat Zeinab has been used very limited and in very few cases in Persian poetry. In Safavi Dynasty, her name has been entered into Persian Poetry a bit more serious. However, still the poets do not refer to her properly. In Ghajar dynasty, referring to the Karbala Lady’s character becomes prevail in Persian poetry and reaches its climax in the late part of Ghajar and the beginning part of Pahlavi time. Unfortunately, despite the willing of the poets in eulogizing and parsing Hazrat Zeinab, the picture of this great lady is only described as a grief-stricken, flagged, depressed, and crying. Even this honored lady is described as a weak, and disabled woman, hence her glory, respect, and magnificence are affected drastically. From the late part of Pahlavi dynasty which the contexts of Islamic revolution is formed, the poets’ view starts to change gradually and finally with Iranian Islamic Revolution the spirit of revolution penetrates into Zeinab poetries and the poets’ view is attracted to the glorious aspects of this heaven and earth lady. Therefore, some great works which deserve the position and personality of this lady have been created. This dissertation has investigated the spiritual picture of Hazrat Zeinab in Persian Poetry. Manuscript profile

Open Access Article

53 - Mystical Spiritual Dangers in Poem Concepts in Brotherhood Poems
Leila Sayegani Habib Jadidol-eslami Ghale No

Undoubtedly, Mehdi Akhavan Saleh is one of the most important post-half-generation poets whose poems, according to most scholars of contemporary Iranian literature, are a poetic and artistic combination of the classical Persian poetry tradition and new poetry. Akhavan S More

Undoubtedly, Mehdi Akhavan Saleh is one of the most important post-half-generation poets whose poems, according to most scholars of contemporary Iranian literature, are a poetic and artistic combination of the classical Persian poetry tradition and new poetry. Akhavan Saleh is a representative of a generation of poets who is committed to the community and its developments, and literally, his poetry enjoys particular ghana. In fact, he is a poet who cares both in literary form and in his poetry content. Hence, by understanding such features in his poetry, many have tried to discover and examine the dimensions of the Akhavan-Sale literature with new readings. Manuscript profile

Open Access Article

54 - Prophetic Image of the Prophet of Islam in Divan Ismail Esfahani and Saif Fergani
Zahra Sheihaki Behrouz roumiani

Belief in prophecy is one of the principles of the religion of Islam. Faithful scholars have shown the qualities of the Prophet, Timmans and his joy for the emergence of beliefs and proximity to the prophetic tradition and persuading them to obey the carnal messenger. S More

Belief in prophecy is one of the principles of the religion of Islam. Faithful scholars have shown the qualities of the Prophet, Timmans and his joy for the emergence of beliefs and proximity to the prophetic tradition and persuading them to obey the carnal messenger. Sayf, a mystic poet of Ferghana's profession, is familiar with the deep moral, religious, and historical events of the Prophet's epoch and, with particular attention to the sources of the soul and interpretation, with a comprehensive and artistic expression, has drawn the great events of the life of the Prophet into the field of purification and erosion. The image that he presents in Khatamalanbine's style expresses the deep devotion of this well-known poet to the Prophet Mohammad. In these lines, poetic evidence is extracted from the image of the Messenger of Nikki from the Divan Saif Farghani and descriptively-analytically, in terms of individual and social characteristics, attributes, titles, miracles and... Examined and categorized. Manuscript profile

Open Access Article

55 - Looking at what death is and how to deal with it inhazin Lahiji's poetry
zohreh arab Abol-Ghasem Amir-Ahmadi Ali Eshghi Sardehi

Thinking about death is a subject whose life span is as long as the history of human life; Almost no human being can be found who has not thought about death for hours in his or her life, and perhaps it can be said that few people, like poets and philosophers, have the More

Thinking about death is a subject whose life span is as long as the history of human life; Almost no human being can be found who has not thought about death for hours in his or her life, and perhaps it can be said that few people, like poets and philosophers, have the opportunity to express their views and feelings about death and their words Make history memorable. The poet, however, has a special place in this due to his artistic point of view; For this reason, in this article, Lahiji's sad thoughts and feelings about death were evaluated. In this article, using a descriptive-analytical method, he intends to critique and analyze nostalgia in his poems by examining and exploring Lahiji's sad life. Tired, the companion of loneliness and homelessness, is portrayed with a wealth of experiences of displacement and suffering caused by civil wars and so on. Manuscript profile

Open Access Article

56 - Four Music in the chehl asrar
seyed ali asgar tabatabaeinia

Fitness and coordination between poem formations and its entanglement with content and maximum use of literary capacity can in a wide range enhance emotional images from "This, not that" to "the very this one". Based on this approach, the aim of following research, is a More

Fitness and coordination between poem formations and its entanglement with content and maximum use of literary capacity can in a wide range enhance emotional images from "This, not that" to "the very this one". Based on this approach, the aim of following research, is an analysis of how did Mir Seyyed Ali Hamadani present his mystical thoughts in four musical areas, literary illustrations, and aesthetically standards of Music? And how did he use expressive language facilities in the service of presenting especial mystical world viewing and expressing creative imagery, rebuilding and reopening his different criteria of his thoughts? In outer Music area (meter), according to his composition of sophisticated use of phonetic and meter, he can be considered as the poet of "Bahr Raml". In the field of music (rhyme and row), audio line and strengthening the vertical axis of symmetry are implied with exquisite imagery, highlighting the implications of closer union with the singer, trying to instill concepts. Inner music with focus on repetition, makes the echo of concepts more prominent in the minds of audience and in spiritual music concepts, with rhetorical common language, the reader is led through the understanding of literary art to literary enjoy. This research is descriptive and data are investigated by using content analysis method. Manuscript profile

Open Access Article

57 - Gnostic and symbolic traits of the Qalandars in the works of Sanai, Attar, Maulana and Hafez
zahra sherafati zahra nourozi

The Qalandar is one of the terminology that has been used extensively in literature and poetry. This term has been used in Sufism and Sufism sources in the Sufi meaning but lacks subtle interpretations and symbolic descriptions. Farsi-speaking poets, especially the myst More

The Qalandar is one of the terminology that has been used extensively in literature and poetry. This term has been used in Sufism and Sufism sources in the Sufi meaning but lacks subtle interpretations and symbolic descriptions. Farsi-speaking poets, especially the mystic and Sufi poets, present their subtle and delicate descriptions of the term in symbolic and symbolic language in their poems. The discovery of the symbolic meaning of this word in mystical poetry contributes to the understanding and understanding of many of the Quranic traits and qualities of poetry. One of the traits and qualities of the Qalandars in the mystical symbolic poetry is the following: Leaving of belongings, infidels, Randy, leaving the appearance of religion and the appearance of sharia, writing and ... Manuscript profile

Open Access Article

58 - Rhyme and its Functions in Sultan Walad’s Lyrics
mouhammad amir Mashhadi hosniyeh nakhaie leyla ebadi nejhad

Rhyme is one of the factors influencing the aesthetic creation, and is one of the components of the compilation of the poetry, which has a prominent position in Persian poetry, and the Persian poets have long been concerned with its application. As the Persian poetry ev More

Rhyme is one of the factors influencing the aesthetic creation, and is one of the components of the compilation of the poetry, which has a prominent position in Persian poetry, and the Persian poets have long been concerned with its application. As the Persian poetry evolves, the application of the rhyme becomes more visible and the poets have gone through a variety of words. Among those that types of rhyme play a major role in the poetry of his poetry, is Sultan Walad, who has used a variety of words in rhyme position in his lyrics. This research, with a text-oriented approach, and from the angle of statistics deals with the types of rhyme and their functions in Sultan-Walad’s lyrics; thus the rhymed and non- rhymed poems and the various types of rhyme in the lyrics of the poet, which include a considerable amount of his Diwan were studied and finally It was found that the his rhymed lyrics are much more than non-rhymed lyrics, and the frequency of all kinds of rhymes also shows that the verbal rhyme are the most frequent type of rhymes in the sultan Walad's lyrics. On the other hand, the functions of rhyme in his lyrics were also investigated from the musical, inductive and rhetorical points of and we concluded that the poet has used the rhyme for his purposes, including: aestheticizing, expressing his thoughts, and reflecting his own feelings and ...in his poetry. Manuscript profile

Open Access Article

59 - Reflection on the content of the Holy Defense Poetry
Yousef Karami CHemeh

Abstract In every work of art, there are two components: form and content. This is also true poetry and studies-by the poetry, the two components will be given. Look at the history of Persian literature shows that poets also those that consider both the form and conten More

Abstract In every work of art, there are two components: form and content. This is also true poetry and studies-by the poetry, the two components will be given. Look at the history of Persian literature shows that poets also those that consider both the form and content of his poetry and the other one to win it had gone down. In this study, overall vision and comprehensive content of the imposed war is studied. What was at first a kind of poetry known as the Sacred Defense poetry, concept and content of the poem was similar. The author uses library resources and content analysis has tried to unsubscribe and similar roots in the lyrical content is determined war. The most important themes and concepts presented in Sacred Defense poetry, martyrs and martyrdom in Karbala event and the culture of Ashura, hope for the future and expect the Messiah, patriotism, ranting and epics, appealed to the decline of values, and so on. The themes in the teachings Iranian poets - have taken advantage of Islamic and indeed a large part of the content of Sacred Defense poetry, ritual. Manuscript profile

Open Access Article

60 - Western Surrealism resonates in the Water footsteps of Sepahri
Mehrdad Aghaei fazel abbaszade susan ghayebzadeh

Abstract Surrealism, with all its misgivings and confusion, has thrown so much fire into the lives of literature that it has swept across the East like a devastating slave and has swept all over the world. Sohrab Sepehri, an Iranian poet and painter and naturalist, mad More

Abstract Surrealism, with all its misgivings and confusion, has thrown so much fire into the lives of literature that it has swept across the East like a devastating slave and has swept all over the world. Sohrab Sepehri, an Iranian poet and painter and naturalist, made his surrealistic inspirations in his poetry during his travels to the East and West, as well as his acquaintance with Eastern mysticism and Western literature schools. This article seeks to introduce the school of surrealism to examine its features in Sepehri's poem "The Water footsteps." According to the evidence in this famous poem, it was concluded that Sepehri, in his poetic style in "The Water footsteps" had surpassed many of the surrealistic principles and grounded in the realities that even the Westerners themselves They need a hand. The purpose of this study is to depict the real world in a supernatural language and to reach the supreme truth through mental and spiritual affairs, by using the school of surrealism in this poet's work. Manuscript profile

Open Access Article

61 - Stylistic analysis of Akhavan's poems
Mahin Zendedel Seyyed Mahmoud Reza Gheibi

Stylistics normally involves the analysis of the linguistic, semantic, and ideological features of a literary text. Mahdi Akhavane Sales, as a prominent figure of the contemporary Persian literature, with piles of knowledge on classic literature, turned to modern poetry More

Stylistics normally involves the analysis of the linguistic, semantic, and ideological features of a literary text. Mahdi Akhavane Sales, as a prominent figure of the contemporary Persian literature, with piles of knowledge on classic literature, turned to modern poetry, and with his unique poetic style he proved that composing in vain of modern poetry is not due to his inability in following classical poetry. To provide a better understanding of the Khurasani poet’s unique achievements, this study conducted a stylistic analysis on his collected poems in linguistic, literary and ideological levels. The study attempted to determine these features along with some concerned examples. Archaism, novelty of allocation, applying symbolic language, being under the impacts of Khurasani style, applying meticulous rhetorical figures and epic tone in poems of this great poet, are the most outstanding conclusions of this survey. Ideological level, linguistic level and literary level of Akhavan’s poems has been analyzed in this study Manuscript profile

Open Access Article

62 - Critique of the translation of Hafez Shavarbi poem from Hafez's first and third lyric poems based on Gideon Tori's model
fazel abbaszade

Abstract Many of the outstanding works of Persian literature have been translated into Arabic; Among these works is the translation of Hafez's Divan, translated into Arabic by the powerful Egyptian translator Amin al-Shawarbi. This translation has translated fourteen o More

Abstract Many of the outstanding works of Persian literature have been translated into Arabic; Among these works is the translation of Hafez's Divan, translated into Arabic by the powerful Egyptian translator Amin al-Shawarbi. This translation has translated fourteen of Shiva Khajeh Shirazi's lyric poems into poems and translated the rest into prose. Given the difficulty of translating poetry and the lack of balance between the source text and the destination text, it is necessary to evaluate such translations with destination-oriented approaches, according to which Gideon Tori's model and theory are based on this approach. In this theory, translation and its constructive and destructive changes are examined in several layers. Thus, the present study, considering the difficulty of translating the poem and the special importance of Hafez's sonnets, which have a different language and interpretation, examines the translation of the poem "Amin Al-Shorabi" from the first sonnet (Ala or Ayha Al-Saqi ...) and the third. (If it leaves Shirazi ...) Hafez, in the light of Gideon's touristic vision, pays attention. Findings show that the translation of the poet's work is very difficult, which causes a lot of slips, Amin al-Shawarbi has done a commendable job, and the slips of his poetic translation are in line with Gideon's network's destination orientation theory. Gives some differences to the translator, it's small. But these translations, in some cases, have destructive changes, destroying the beauty of the text and reversing the meanings and content of the verses, which cannot be easily overlooked. Manuscript profile

Open Access Article

63 - Components of Plato’s Critical Approach to Poetry and Poets
Meysam Dadkhah Ali Naqi Baqershahi

In his Republic, after denouncing Athenian poetry and poets in certain sections, Plato decrees their deportation from his Utopia in the 10th book of the same work. At the same time, however, Plato’s own works abound in poetic concepts, and wherever he talks about poets, More

In his Republic, after denouncing Athenian poetry and poets in certain sections, Plato decrees their deportation from his Utopia in the 10th book of the same work. At the same time, however, Plato’s own works abound in poetic concepts, and wherever he talks about poets, he uses a language which is both hesitant and respectful. Accordingly, this paper is intended to provide some answers to the following questions: which truth underlies such a paradoxical attitude? How could Plato’s approach to poets be explained? What is the main object of Plato’s criticism: Athenian poets’ use of poetry or the essence of poetry itself? Or, should one seek for the response elsewhere and perhaps find the problem in the addressees of poetry? The authors believe that, if one agrees that one of the important elements of poetry in Athens was to believe in an epistemological aspect for sophist teachings, and if one assumes that, beyond ontological and epistemological discussions, Plato’s first problem is basically politics and the establishment of an organized political system, it can be concluded that, in this Utopia, the Athenian poetic tradition and its specific features are not consistent with Plato’s political ideas. The reason is that if one considers paedeia or a system of education to be necessary for the establishment of Utopia, if the intended paedeia is based on mythology and sophists’ teachings as its epistemological origin, it will be doomed to failure from the beginning. Moreover, one can approach this problem from the epistemological aspect of Plato’s philosophy and speak of the distinction between aesthetic beauty, as we know it today and as it is manifest in works of art, and the Ideal beauty or the same truth, as intended by Plato. In his view, the aesthetic view of beauty is a subcategory of Ideal beauty; hence, by the word “beautiful”, he does not merely mean the values that are involved in today’s concept of aesthetics. Rather, he has ethical and epistemological values in mind as well. Therefore, the discussion of the dismissal of poets from Utopia must be revisited under the category of general and particular senses of beauty. Manuscript profile

Open Access Article

64 - The Relationship between Poetry and Logic in Ibn Sina
Ebrahim Bazargani

In the view of Muslim philosophers, the art of poetry not only enjoys a logical nature in Islamic philosophy but also constitutes the basis of the philosophy of art. One of the important questions in the realms of poetry and logic addresses the reason for exploring poet More

In the view of Muslim philosophers, the art of poetry not only enjoys a logical nature in Islamic philosophy but also constitutes the basis of the philosophy of art. One of the important questions in the realms of poetry and logic addresses the reason for exploring poetry as a part of the nine-part logic and then abandoning it in two-part logics and being content with a minimum study of this art by Ibn Sina under the title of imaginal matters (mukhayyalat). Ibn Sina does not follow a consistent process in this regard in his various works and gradually leaves aside certain parts, including the art of poetry. This paper aims to investigate the methodological relationship between logic and poetry based on their definitions and, then, examine and clarify Ibn Sina’s strategies for joining poetry to logic. Manuscript profile

Open Access Article

65 - The Relationship of Poetry with Consideration and Truth Based on ‘Allāmah Ṭabāṭabā’ī’s Theory of Mentally-Posited Things
Jamal Ahmadi Seyyed Mehdi Emami Jume Emami Jume Mohammad Javad Safian

In ‘Allāmah Ṭabāṭabā’ī’s view, poetry and mentally-posited perceptions have such a close relationship with each other that he describes such perceptions through using poetic similes, allegories, and metaphors in his book of The Principles of Philosophy and the Method of More

In ‘Allāmah Ṭabāṭabā’ī’s view, poetry and mentally-posited perceptions have such a close relationship with each other that he describes such perceptions through using poetic similes, allegories, and metaphors in his book of The Principles of Philosophy and the Method of Realism. This study explores the relationship between poetry and mentally-posited perceptions through referring to those works of ‘Allāmah Ṭabāṭabā’ī in which he discusses the theory of mentally-posited things. The significance of this relationship lies in the fact that, by investigating the relationship between these two variables in different philosophical, gnostic, and interpretive works of ‘Allāmah, one can inquire about the relationship of poetry and positedness with fact-itself truth. The findings of this study indicate that mentally-posited things are the same as Man’s poetic view of the world or an eye with which Man can see everything. This poetic world, while being irrational and non-inferential, can speak of truth through allusions. Accordingly, it can be claimed that the theory of mentally-posited perceptions in Islamic philosophy has opened a new window to attaining the knowledge of truth. Manuscript profile

Open Access Article

66 - Exploring the Solutions of Resistance Economics in Iqbal Lahuri Poetry
hamed safi Mohammad chakoshian

10.52547/qap.24243.4.3.54

The resistance economy is a term that the Supreme Leader of the Islamic Revolution first introduced in September 2010 to counter the economic sanctions of enemies. According to his words, the resistance economy means that the economic conditions of the country are adjus More

The resistance economy is a term that the Supreme Leader of the Islamic Revolution first introduced in September 2010 to counter the economic sanctions of enemies. According to his words, the resistance economy means that the economic conditions of the country are adjusted in such a way that they will be less vulnerable to economic impacts. Resistance Economics has different characteristics and requirements. In this research, it has been tried to analyze these features and strategies in the poetry of Iqbal lahori. According to this study, Iqbal Poliris has been instrumental in creating three countries' economic problems: 1-Non-self-confidence 2-Dependence on the West 3-Western conspiracies. He proposes solutions to solve these problems and to win the factors. Including attempts to reach the Islamic Ummah, achieve self-confidence, reduce dependence on the West by relying on domestic power and fighting crude sales. Iqbal's views on the subject are endogenous and an extension of the strength of the economy, the pattern of consumption patterns and the protection of domestic Malay. The resistance economy is a term that the Supreme Leader of the Islamic Revolution first introduced in September 2010 to counter the economic sanctions of enemies. According to his words, the resistance economy means that the economic conditions of the country are adjusted in such a way that they will be less vulnerable to economic impacts. Resistance Economics has different characteristics and requirements. In this research, it has been tried to analyze these features and strategies in the poetry of Iqbal lahori. .. . Manuscript profile

Open Access Article

67 - Influential intellectual foundations in the poetry of Hakim Sanai Ghaznavi
hosna mohammadzade

10.52547/qap.27803.4.4.25

Abstract Sanai Ghaznavi is a wise mystic and poet who has the initiative of mystical and wise Persian poetry and has created a new atmosphere in Persian literature and is a kind of epoch maker. Someone who has been able to use the forms of Persian poetry, especially M More

Abstract Sanai Ghaznavi is a wise mystic and poet who has the initiative of mystical and wise Persian poetry and has created a new atmosphere in Persian literature and is a kind of epoch maker. Someone who has been able to use the forms of Persian poetry, especially Masnavi and ode in the service of mystical meanings and educational poetry. It is no exaggeration to say that Iranian mystical poetry owes its position and rank to Sanai genius. He is a poet with a clear spirit, who confronts God, man and society not through the religiosity of the congregation, but through his own religion and his own perception. Whereas the poets of his time, usually in the courts, praised the kings and lords of force and gold, and were constant servants of the sultans, and their lives were secured by receiving peace; Sanai, with his unique ideas, has criticized the unhealthy situation of his time. This research has studied and classified the influential intellectual principles in Sanai's poetry and worldview. Manuscript profile

Open Access Article

68 - Analysis of the fictional poem "From Gang to Kremlin" composed by contemporary Tajik poet, Mirza Tursunzadeh
Marjan Ali AkbarzadehZohtab

The present article aims to explain the socio-political view of Mirza Torsonzadeh (1911-1977) - a contemporary Tajik poet - and examines his fictional poem "From Gang to Kremlin "(1966-1970) with a content approach. Also, with a descriptive-analytical method, it analyze More

The present article aims to explain the socio-political view of Mirza Torsonzadeh (1911-1977) - a contemporary Tajik poet - and examines his fictional poem "From Gang to Kremlin "(1966-1970) with a content approach. Also, with a descriptive-analytical method, it analyzes the ultimate goal of the poet and its narrative course for the audience.The result of the research shows that Tursonzadeh, nicknamed "Tajikistan's national hero", whose image can still be seen on the common paper money of this country, created this work, like his other works, based on the school of socialist realism and in praise of the ruling system of the Soviet Union. In this 436-couplet poem, he repeats the name of Lenin (1870-1924) 28 times with fascination, while the name "Pratap", the main hero of the story, intends to travel from the Ganges River to the Kremlin to liberate India, has been used only 17 times. The story seems to be an excuse to praise Lenin, which is published in his centenary celebration, finally. Therefore, although the poet wrote it during the period of Khrushchev's (1894-1971) softness, the title "LENIN NAMEH" (For Lenin) is more worthy of the story than its current title.Regardless of some defects of weight and rhyme, this poem is written with imagery and imagination, and the poet's idealistic goal is "Alliance of the East against the West", which is represented in this poem in the form of the aim of "Pratap's travel". Manuscript profile

Open Access Article

69 - Ethical teachings in the poetry of the Samanid era
fariba arasteh Mohammad Saleh Amiri Maryam jafari

Samanids are the first Iranian dynasty after Islam that seriously tried to cultivate Persian poetry and literature. The most famous poets of this period are Rudaki, Shahid Balkhi, Daqiqi, Abu Shakur and Kasaei, Rabia, and Rabnjani. One of the most widely used themes in More

Samanids are the first Iranian dynasty after Islam that seriously tried to cultivate Persian poetry and literature. The most famous poets of this period are Rudaki, Shahid Balkhi, Daqiqi, Abu Shakur and Kasaei, Rabia, and Rabnjani. One of the most widely used themes in the literary works of the Samanid era is ethics and thematic topics that have received much attention in this period. Addressing the moral teachings in the poetry of this period can inform the audience about the people and their ethics in the Samanid period. Since no serious work has been done so far on the moral teachings of the poets of this age, most of whom are insane poets, this research seems necessary. From the present article, he has studied some topics such as justice, scholarship, wisdom, patience, forgiveness and forgiveness, liberalism and nature, etc. with a descriptive-analytical approach and has come to the conclusion that the poets of this era try to express the moral themes of the effort. They have considered this period of poverty as disgraceful. Instead of receiving gifts, loans are paid to the person in charge. Can be seen. Manuscript profile

Open Access Article

70 - Analysis of the sonnet "Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi based on the semiotic approach of "Michael Riffaterre" poem
fahimeh shafiee Hengameh Ashoori

The present research is the analysis of the sonnet " Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi based on the semiotic approach of the poem " MichaelRiffaterre ". The purpose of this research is to discover the meanings and hidden laye More

The present research is the analysis of the sonnet " Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi based on the semiotic approach of the poem " MichaelRiffaterre ". The purpose of this research is to discover the meanings and hidden layers of this sonnet at the level of retroactive reading with the aim of answering this question: what factors create the origin of the poem in the sonnet "Chehrey-e Aftab Penhan ast (The face of the sun is hidden)" by Hossein Monzavi? According to the texture of the gazelles, it seems that this is achieved through the meaningful elements in the poem. The present research method is descriptive-analytical and based on library documents. In this research, after selecting this sonnet in accordance with Riffaterre's approach, the aforementioned poem was examined at the level of exploratory and retroactive reading.Then, focusing on retroactive reading, with the aim of discovering the origin of the poem, the selected sonnet was analyzed according to two meaning-making systems, "accumulation process" and "descriptive system".The results of the research indicate that in the "accumulation process", poetic interpretations in the vertical axis and metaphorical relationship revolve around the concept of "lack of communication" and in the "descriptive poem" the two semantic cores of "distrust" and "unsettled socio-political situation" inspire the poetic origin of the sonnet."Distrust" and "Unsettled socio-political situation" are manifested in this sonnet with images and combinations that are mentioned in this research. Finally, these descriptive processes indicate the main origin of this sonnet, which is despair. Manuscript profile

Open Access Article

71 - The Integrity of Elements in Persian Poetry and Its Impact on the Flourishing of Poetry
mohammad hasan arjmandifar Bijan Zahirinav

<!-- [if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> More

This research has been conducted in a descriptive-analytical manner based on library studies.With an introduction regarding the role of the unity of poetic elements, referred to with terms such as unity, coherence, and vertical axis, we will gradually accompany the formation of a ghazal to propose a method for the unity of elements in Persian poetry.This approach will help us answer the question (hypothesis) of whether maintaining the unity of poetic elements contributes to the flourishing of poetry, using the eight criteria outlined in this study.    Introduction Every structure is composed of components whose arrangement and selection significantly determine its quality.The better these parts are understood and precisely positioned alongside one another, fostering greater harmony between them, the higher the quality of the structure and its performance."Art is the effort to find harmony" (Ahmadi, 2001: 213), and harmony emerges from unity.Within this context, literature—specifically, "poetry is one of the fine arts, and the essence of poetry is beauty.According to scholars, fine arts and artistic beauty are interdependent.Fine arts require elements such as unity, harmony, repetition, balance, proportion, and similar factors to achieve immortality" (Sahraei and Golshani, 2013: 98-99)."Aristotle also sees harmony as a factor of unity and one of the characteristics of the beautiful" (Zarrin-Koub, 1978: 104).Therefore, "a good poem, despite its simplicity, is such a composition that its elements are so interconnected and harmonious that if there is a flaw in any one of the parts, it distances the entire piece from success and perfection" (Akvan Salas, 1997: 202).Thus, the components of poetry must be appropriately knowledgeable and suitably arranged together to create an impactful and enduring poem."If a poem is to be alive, its components must be connected and structured with the same precision and delicacy as the parts of a tree are intertwined.It should be an organism in which each component serves a useful purpose, collaborating with other elements to sustain and elucidate the vitality it contributes" (Parin, 1997: 21).Humanity's appreciation and admiration for harmony stem from our nature.As a part of nature, humans have observed and learned the first signs of harmony within it; having seen the spirit of harmony in nature's components, we are innately inclined toward unity and cohesion in any structure.In their artistic creation (poetry), the poet also reflects on the harmony borrowed from nature.Consequently, the components of poetry, despite their dispersion, require organization, a system, and ultimately, a purpose-driven unity, to form a robust structure and better express the poem’s meaning; otherwise, "they will be deprived of imagination, influence, registration, and conveying the core objective" (Akvan Salas, 1997: 202).Given the importance of the integration of poetic elements in both poetry criticism and composition, a framework for the unity of elements in Persian poetry is presented using eight criteria.   Research Background  The topic of "the integration of poetic elements" is referred to with titles such as "vertical and horizontal axes of poetry, " "structural unity in poetry, " or "cohesion in poetry." Ghasem Sahraei and Shahab Golshani, in their article "Unity and Cohesion in the Poetry of Shafiei Kadkani" (2013), consider the principle of unity to be the most important element of aesthetic appreciation in Shafiei Kadkani's poems, identifying the factors that create unity in his poetry as thematic unity, harmony of components, evolution and gradual progression, and proportion and repetition.   Mohammad Ismail Dehqan Tozarjani and Hassan Zolqari, in their article "Examining Grammatical and Lexical Cohesion Elements in Popular Poetry, " based on Halliday and Hasan's theory of grammatical and lexical cohesion, evaluate the degree of cohesion in popular poetry as high, listing repetition and ellipsis as fundamental elements in creating cohesion in this genre.  Nahid Tehrani Sabzeh also argues in her article "Factors of Lexical Cohesion in Modern Poetry" that literary techniques can serve not only to create music and enrich meaning but also to ensure the cohesion of poetry and the formation of a text.  Morteza Mohseni and Mahdi Sarahati Joibari, in their article "The Vertical Axis of Imagination in the Poems of Nasir Khusrow" (2021), state that the strength of the vertical axis in Nasir Khusrow's works is the key to distinguishing and elevating his poetry compared to that of his contemporaries.  Ahmad Konjoori, Ali Noori, Mohammad Reza Roozbeh, and Ali Heydari, in their article "Types of Allusion Design and Expansion in the Vertical Axis of Simin Behbahani's Ghazals" (2019), highlight the innovative nature of Simin Behbahani's allusions in her ghazals, asserting that the scope of these allusions transcends the horizontal axis and enters the vertical axis of her poetry.  Mohammad Jafar Yahqi and Mohammad Hadi Fallahi, in their article "Textual Cohesion in the Ghazals of Saadi and Bidel Dehlavi: A Study and Comparison of Ten Ghazals Each, " apply Halliday Hassan's method of textual cohesion analysis to examine and compare the textual cohesion in ten ghazals by Saadi and Bidel, concluding that "the more cohesive and coherent a text is, the more understandable and accessible it becomes.Saadi’s ghazals, benefiting from more cohesive elements and shorter sentences, are easier to comprehend" (Yahqi and Fallahi, 2010: 339).   Monijeh Abdollahi, in her article "Vertical Connection and Spiritual Cohesion in Hafez's Ghazals, " attempts to "provide practical criteria regarding the overall cohesion of Hafez's ghazals by utilizing the theory of composition and juxtaposition proposed by structuralists" (Abdollahi, 2017: 94).   Masoud Alagoneh Jonaghani, in his article "Analysis of Textual Cohesion in a Ghazal by Hafez Based on the Simple Structure Approach, " investigates the structural cohesion of a ghazal by Hafez using a systemic-functional linguistic approach (Alagoneh Jonaghani, 2016: 265).Taher Ishani, in the article "Comparative Analysis of Cohesion Factors in Two Ghazals by Hafez and Saadi and Its Impact on Textual Cohesion, "concludes that "the greater cohesion in Saadi's ghazal compared to Hafez's is rooted in the types of cohesion factors employed in the text," based on Halliday and Hasan's theory of cohesion (Ishani, 2014: 10).Ali Akbar Shiri Zadeh, in the article "Cohesion Factors in Persian Language, " states that "based on the conducted research, sufficient and appropriate use of cohesion markers simplifies the text and enhances its understanding" (Shiri Zadeh, 2003: 10).   n her article "Cohesion and Coherence in Persian Language," Giti Taki defines cohesion as the internal coherence of the text, or "the inter-sentential relationships within a text that, in the Persian language, are established through factors such as connective words, semantic relationships or lexical ties, reference, substitution, comparison, and repetition" (Taki, 1999: 129).She defines coherence as "the interpretation and explanation of the text considering external conditions and social contexts" (same source) and further elaborates on these concepts.   Mohammad Khamagar, in his article “The Effectiveness of Halliday's Theory in Mapping the Textual Cohesion of the Quranic Surahs, ” concludes that "this theory is insufficient for analyzing all dimensions of textual cohesion and that utilizing role-based cohesive factors only elucidates the linear relationship of sentences within a text" (same source).   Theoretical Framework  The theoretical framework of the present research introduces eight metrics that promote the coherence and unity of poetic elements, leading to the flourishing of poetry.These metrics are as follows:   Musical Unity: This includes the unity of external music (meter) and the unity of adjacent music (rhyme and refrain).The poet must first maintain consistent meter across all verses and adhere to the rules of rhyme and refrain.   Thematic Unity: Observing "thematic unity" requires the poet to remain within the thematic boundaries they have chosen.For instance, if a poem addresses the love of God, the poet should not stray from this primary theme.   Pronominal Unity: Typically, poets adopt one of the narrative styles: the first-person narrator, the second-person narrator, or the third-person poet.Consequently, if the poet is in the first person, they cannot abruptly switch to the second person in subsequent verses.   Logical Unity: Although "imagination is the essence and fixed element of poetry" (Shafiei-Kadkani, 1996: 18) and "poetry celebrates a unique occurrence within a culture, a language, and the way a person uses their language" (Schools, 2004: 95), it should not be forgotten that poetic imagination has its logic.The adherence to logic must be maintained both at the level of individual couplets and in the overall structure and length of the poem; in other words, a poem, despite being imaginative, should not lack reason.   Lexical Cohesion: The word is the cornerstone of prose and poetry."When a poet selects a word for use in their poem, they activate a set of possibilities that fundamentally differs from what we use in everyday speech." (Schoolz, 2004: 52) Therefore, the word has a more specific role in poetry, and the careful placement of words elevates the poem, while careless selection disrupts its cohesiveness.   Temporal Cohesion: Temporal cohesion refers to the consistency of verb tenses both horizontally (in each couplet) and vertically (across the entire poem).In horizontal temporal cohesion, the tense of verbs in each couplet and throughout the poem must have a logical relationship with each other.   Stylistic Cohesion: Just as archaeologists deduce the approximate age of ancient artifacts based on certain indicators, literary scholars, by observing specific words and grammatical details in texts, infer the approximate time of writing or composing the text and, more importantly, its style.Thus, some grammatical and lexical markers are indicative of specific stylistic periods.For instance, the use of certain forms predominantly in the Khorasani style and occasionally in the Iraqi style, at the beginning of continuous verbs, has no place in contemporary poetry and prose.It is not that these forms cannot be utilized, but their use is no longer common or acceptable.Using "hamī" instead of "mī" in today's poetry is like wearing clothes from the 8th century AH on the streets of today’s society.   Narrative Coherence: The narrative coherence of poetry refers to the carefully arranged verses that serve the quasi-narrative structure of the work.This may be what strengthens the vertical axis in epics like the Shahnameh, such that "the Shahnameh not only surpasses the poetry of its contemporary and later periods regarding its vertical axis, but it is also incomparable with any of them." (Shafiei Kadkani, 1996: 458) This strength is also found in the vertical axis of the Masnavi-i Ma'navi and the Khamsa of Nizami Ganjavi.       Data Analysis   Adhering to the integrity of poetic elements -based on the criteria discussed in this article- will contribute to the impact and clarity of poetry.Although creating art and composing poetry is an intuitive process, it is not devoid of structure and rules.Many artists have started their creative endeavors with their "conscious mind" and gradually rooted it in their "unconscious mind." Therefore, following these rules during poetry composition is a necessary condition for achieving good and well-measured poetry, but it is not sufficient.This is where the weight of meaning, especially in poetry, is keenly felt.On the other hand, a meaningful poem that lacks structure does not lead to the desired essence and does not bring the ship of poetry to the shore of success.Would we still regard the poems of Rumi in the Masnavi -as they are currently- filled with deficiencies in meter, rhyme, and structure as outstanding and sublime poetry? Thus, meaning and structure are two wings for the flight and elevation of poetry, each of which, without the other, does not lead to perfection and flourishing in poetry.Given the inspirational and internal nature of poetic expression in the poet's mind, and accepting the notion that the spiritual quality of poetry cannot be measured or subjected to fixed rules, the greater the harmony of internal and external elements in poetry and the better the integrity of poetic elements is observed, the more one can hope for the impact and clarity of the poetry.An example of this assertion is the adherence to various forms of integrity of poetic elements in the works of great poets like Saadi, Hafez, Rumi, and Ferdowsi, where it is rare to find instances of inconsistency in their poetry.In conclusion, while proposing a framework for measuring the integrity of Persian poetic elements, we conclude that adhering to the integrity of poetic elements has a positive effect on the impact and clarity of poetry.       Keywords: Coherence, Unity, Vertical Axis, Coherence, Poetry.               References   Abdollahi, Manijeh (2017) Vertical Connection and Spiritual Cohesion in Hafez's Ghazals, Hafez Research, Volume 20, pp.91-107.   Ahmad, Babak (2001) Truth and Beauty, 5th ed., Tehran: Markaz.   Akhavan Thaleth, Mehdi (1997) The Innovations and Creations of Nima Yushij, 3rd ed., Tehran: Zamestan.   Akhvat, Ahmad (2003) Structure and Interpretation of Text, Vol.2, 2nd ed., Tehran: Markaz.   Aligone Jonaghani, Masoud (2016) Analysis of Textual Cohesion in a Ghazal by Hafez Based on the Basic Structure, Bi-monthly Journal of Linguistic Studies, No.35, pp.265-290.   Arjmandi, Mohammad Hassan (2021) Confessions, Tehran: Arj Book.   ---------------------------------- (2014) A Little Bit Wetter, Tehran: Maya.   ---------------------------------- (2022) With You, Tehran: Arj Book.   Dad, Seema (2004) Dictionary of Literary Terms, Tehran: Morwared.   Dargahi, Mahmoud (2004) The Role of Meaning in the Stylistics of Persian Poetry, Journal of the Faculty of Literature and Humanities, University of Tabriz, No.193, pp.35-54.   Dehqan Tazrājāni, Mohammad Esmail, and Zolfaqari, Hassan (2020) Examination of Grammatical and Lexical Cohesion Elements in Folk Poetry, Iranian Popular Culture, No.63, pp.41-64.   Ditcher, David (1994) Methods of Literary Criticism, translated by Mohammad Taghi Sedghiari and Dr.Gholamhossein Yousefi, 4th ed., Tehran: Elmiy.   Emami, Nasrollah (1998) Foundations and Methods of Literary Criticism, Tehran: Jami.   Eshani, Taher (2014) A Comparative Analysis of Cohesion Factors in Two Ghazals by Hafez and Saadi and Its Impact on Text Cohesion, Research Journal, Vol.6, No.10, pp.10-35.   Khadem al-Resoul, Hassan Reza; Giti Forouzan, Ali Mohammad (2015) Analysis and Examination of the Motivations behind Poetic Creation, Quarterly Journal of Literary Aesthetics, No.24, pp.82-107.   Kalar, Jonathan (2003) Literary Theory, Translated by Farzaneh Taheri, 1st edition, Tehran: Markaz.   Kanjuri, Ahmad, Noori, Ali, Roozbeh, Mohammad Reza, and Heydari, Ali (2019) Types of Allusion and Development in the Vertical Axis of Simin Behbahani's Modern Ghazals, Journal of Persian Language and Literature, issue 87, pp.203-226.   Khamehgar, Mohammad (2018) The Effectiveness of Halliday's Theory in Depicting Textual Cohesion in Quranic Surahs, Quarterly Journal of Quranic Research, No.86, pp.4-29.   Majd, Omid (2010) A Fresh Look at Nima's Place in Modern Poetry, Journal of Stylistics in Persian Prose and Verse (Spring Literature), issue 8, pp.77-94.   Makarik, Irna Rima (2006) Encyclopedia of Contemporary Literary Theories, Translated by Mehran Mohajer and Mohammad Nabavi, Agah: Tehran.   Mohseni, Morteza and Sarahti Joibari, Mehdi (2014) The Vertical Axis of Imagination in Nasir Khusraw's Poems, Literary Essays, issue 184, pp.125-151.   Perrine, Lawrence (1997) About Poetry, translated by Fatemeh Raqei, 2nd ed., Tehran: Etela'at.   Pournamdarian, Taghi (2002) Journey in the Mist, Tehran: Negah.   Propp, Vladimir (1989) Morphology of Fairytales, translated by Fereydoun Badreyi, Tehran: Tous Publications.   Rudaki Samarqandi, Abu Abdullah Jafar ibn Muhammad (1997) Divan of Rudaki Samarqandi, 2nd edition, Tehran: Negah.   Sahraei, Qasem and Golshani, Shahab (2013) Unity and Cohesion in the Poetry of Shafiei Kadkani, Contemporary Persian Literature, issue 1, pp.97-116.   Schools, Robert (2004) An Introduction to Structuralism in Literature, translated by Farzaneh Taheri, 2nd ed., Tehran: Agah.   Shafiei Kadkani, Mohammad Reza (1996) The Imagery in Persian Poetry, 6th edition, Tehran: Agah.   -------------------------------------- (2012) The Music of Poetry, 13th edition, Tehran: Agah.   Shamisa, Cyrus (2004) Literary Criticism, 4th edition, Tehran: Ferdows.   Shiri Zadeh, Ali Akbar (2003) Cohesion Factors in Persian Language, Growth of Persian Language and Literature Education, issue 68, pp.9-15.   Taherani Sabet, Nahid (2020) Cohesion Elements in Modern Poetry, Journal of Applied Rhetoric and Rhetorical Critique, issue 9, pp.123-135.   Taki, Giti (1999) Continuity and Cohesion in Persian Text, Journal of Humanities, University of Sistan and Baluchestan, No.8, pp.129-140.   Todorov, Tzvetan (2019) Structuralist Poetics, translated by Mohammad Nabavi, 6th ed., Tehran: Agah.   Yahaghi, Mohammad Jafar and Fallahi, Mohammad Hadi (2010) Textual Cohesion in Saadi and Bidil Dehlavi's Ghazals, A Comparative Study of Ten Ghazals by Saadi and Ten by Bidil, Faculty of Literature and Human Sciences (Bahonar Kerman), issue 27, pp.328-346.   Zarinkub, Abdol Hossein (1978) Aristotle and the Art of Poetry, 1st edition, Tehran: Amir Kabir.             <span style="font-size: 12.0pt; font-family: 'Times New Roman','serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'B Nazanin'; color: black; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;"> Manuscript profile

List of Articles Poetry

Rimag

Links

Related Centers

Technical Support

Official pages