Journal of Poetry Studies (Boostan Adab)
Year:2011 | Volume:3 | Issue:2 (8)|Papers Count:18

Some poems of Hafez are characterized by the presence of compounds and themes which are prevalent in Divani (official) and Ekhvani (friendly) letters. These features, borrowed from the letters written in verse can be seen in pre-Hafez poetry, too. In this article, all Monshaat (letters) and manusals for writing Divani and Ekhvani letters before Hafez up to his time have been studied; moreover, the history of using the compounds and themes in such letters has been presented. Hafez’s conscious and delicate use of these compounds and themes shows that he was familiar with Divani and Ekhvani letters.

“Khaghani Sharvani” (520-595 A.H) is one of the great poets following the Azerbaijani’s poetic style. In addition to employing all types of metaphors known to date in his poetry, by mixing ‘synthitism’ and ‘metaphorization’, he has created a new kind of metaphor, which has been neglected by the scholars of rhetoric up to the present time.This type of metaphor, which has been referred to as “synthesized metaphor” in this study, has been used in Khaghani’s poems 125 times. The purpose of this study is to make known the features of these types of metaphors such as ‘theme-creating’, ‘defamiliarization’, ‘foregrounding’, ‘appropriateness’, ‘conciseness’; artistic ambiguity.“Synthesized metaphors” have other functions such as ‘condensed allusion’, ‘comparativeness’, and ‘superiority’, as well; another purpose of this study is to investigate the structure of Khaghani’s ‘synthesized metaphors’This study is of descriptive type, and the results have been studied utilizing content analysis technique, document analysis, and library methods.The results of this study indicate that understanding ‘synthesized metaphors’ in Khaghani Poetry not only helps to understand the aesthetic aspects of his poetry better, but it will also assist us in better understanding new dimensions of the potentialities of the Persian language in metaphorization.

The element of point of view is the window through which one can see things. In literature, every method of narration is like a window through which the story is presented to the reader. In modern literature, choosing a certain point of view is largely dependent on the choice of the narrator of the story. In post modern literature, on the other hand, the point of view is quite different from modern and traditional story with regard to both form and structure, experiencing huge transformation and change as a result of the post-modern ideology. The Gypsy by the fire is one of the post-modern Persian stories in which one can see a lot of fluctuation in the point of view. Ravanipour uses the strategy of the change of point of view in order to decentralize the narration and by using different points of view, which are disorganized and incoherent, opens a window through which the reader can see a complex, chaotic, and schizophrenic world. This study intends to investigate the fluctuations observed in the point of view in The Gypsy by the Fire.

This study is an attempt to analyze the role of anecdote in formation, evolution and spreading the mystic viewpoints from the 5th to 7th century. The analysis of this subject started with Kashfolmajoob, one of the oldest mystic texts, in which the Persian mystic anecdote is observed; it was also followed in Asraroltohid, TabaqatolSofiaya, KashfolAsrar, TazakorolOliya. Based on the findings of this study, narrativization in the growth and nurturing of the mystic viewpoints first leads to linguistic ontology of intuitive perception, concept formation, and categorizing of concepts, and then it becomes an instrument in transferring the viewpoints, attracting homogeneous views, spreading knowledge, creating changes, disciplining the views, and finally it becomes the guardian of the mystic viewpoints in the form of anecdote.

The time of Kian in Shahnameh starts with Keyghobad and it is among the most important mythological periods of the national epic. Keykavous, Keyghobad’s son, is one of the most important characters in this period. Many of the impressive and engrossing epical stories, such as Mazandaran War, Hamavaran War, Travel to Sky, Rostam & Sohrab, and Siavash, occur in his time. It seems that these stories follow some clear structural features. Deliberation in these stories reveals the presence of some particular recurring patterns. This study intends to evaluate the structure of the stories within the time of Keykavous, on the basis of the suggested viewpoints in Structuralism, focusing on Prop Approach. This study aims at revealing which stories have similar structures and which stories have different ones. The findings of the study indicate that the major functions in these stories-except for the story of Rostam & Sohrab-are similar. Moreover, based on the outside-of-the-text information, this study proposes a novel view to its audience with regard to the characters, especially Rostam, Keykavous, etc.

The objective of the present study was the analysis of the macro-structure of Babatahir’s couplets based on Yarmohammadi's (1374) formalistic model with three components or constructs of Description, Reasoning, and Recommendation. As a whole, the results of the analysis showed that three components of the model were recognizable in the macro-structure of Babatahir's couplets. In addition to these constructs, two other constructs of Complaint and Request were recognized in the corpus. The results of the analysis also showed that from among 437 observed constructs, 291 Description constructs were found in which the poet mostly gave an account of his own condition. Even in the other constructs, there were some traces of the Description constructs. The results also indicated that since in the communication system of these poems the conveyer of the information was concentrated on, the dominant discourse type of the poems was that of description.

The time of Kian in Shahnameh starts with Keyghobad and it is among the most important mythological periods of the national epic. Keykavous, Keyghobad’s son, is one of the most important characters in this period. Many of the impressive and engrossing epical stories, such as Mazandaran War, Hamavaran War, Travel to Sky, Rostam & Sohrab, and Siavash, occur in his time. It seems that these stories follow some clear structural features. Deliberation in these stories reveals the presence of some particular recurring patterns. This study intends to evaluate the structure of the stories within the time of Keykavous, on the basis of the suggested viewpoints in Structuralism, focusing on Prop Approach. This study aims at revealing which stories have similar structures and which stories have different ones. The findings of the study indicate that the major functions in these stories – except for the story of Rostam & Sohrab – are similar. Moreover, based on the outside-of-the-text information, this study proposes a novel view to its audience with regard to the characters, especially Rostam, Keykavous, etc.

Stream of Consciousness is a literary approach which was pioneered by Dorthy Richardson, Virginia Woolf, and James Joyce. This technique is characterized by a flow of thoughts and images, which often lack coherence and a clear organization. The plot line may weave in and out of time and place so that it is only through the heart-felt complaints from the characters that one can comprehend it to some extent. In our country, Iran, this new style was welcomed by novelists such as Sadegh Hedayat and Sadegh Choobak. The latter in a novel named “sang-e saboor has portrayed the complex and horrific mental illness of story characters, and for penetrating into their psychological depths of their minds, has used this technique, with a special emphasis on the internal monologue method. Sang-e Saboor” implying the method which is based on free association and combined with a black naturalism is one of the best samples of this special style of story-telling.

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