Journal of Poetry Studies (Boostan Adab)
Year:2019 | Volume:11 | Issue:1 (39)|Papers Count:10

Reflection in the rhetorical structure and geometry of Manochehri's images reveals the distinct distinction and the extent of his aesthetic distinction from the other Khorasani style artisans, and extends this range to the boundary of a literary genius and to the brink of a single poet Raises. Examining the rhetorical tools in the poetry language is one of the most accurate ways to understand and illustrate the evolution of poetic images. In this method, the study of the number and manner of expressing literary elements for the transfer of modern mental forms is important, and therefore the "frequency" discussion is prioritized. This essay, written in a descriptive analytical method and using the resources of the library, reviews the statistics of individual behaviors (likenesses, curses, metaphors, and mecca, and ehama), and syntactic rhetorical techniques The axis (the metaphor of metaphor, the metamorphosis of the abyssal, and the metaphor of the abyssal allegory) in 500 bits of the images of 6 Khorasani style poets (Roodaki, Ferdowsi, Anasari, Farokhi, Manouchehri and Naser Khosrow). The result of this study is the distinction between the geometry of Manuchehri's poetry and other poets of this genre. While most of the efforts of the poets of this genus are to use singular techniques and to create simple and complex images of images, Manuchehri is unique in the use of combined rhetorical instruments for creating poetic images in all Khorasani style. In this perspective, he is the vanguard of Azerbaijani, Iraqi and Indian style poets.

In the light of opposing literary theories that have gone from divergence to convergence, the present study considers the convergence of reciprocal discourses as a component of critical poetry stylistics to be applied to three collections of Qeysar Aminpour's poetry, Grammar of Love, All Flowers are Sunflowers and Sudden Mirrors. The process of meaning-making in Aminpour's poetry and the interplay of interpolation discourses, semantic profiles and semantic homogeneities are discussed. It is argued that the romantic discourse generally associated with surrender and acceptance in the classical Persian poetry is blended with protest and criticism leading to critical love poetry. Thus Aminpour with the help of keywords love and heart criticizes power in contrast to the discourse of classical poetry.

Kandaharnama, a work by Mirza Abdu’ l Qader Tuni is a historical epic of the Safavid era, that it’ s only existing manuscript is incomplete and has not yet been edited. This research, while introduce this manuscript and review its lifetime, compares its events with other historical works. The review of the text of the allegations shows that the most prominent quotes about Kandaharnama is Tazkara-e-Nasrabadi, which believes the auther’ s name of kandaharnama is Mirza Abdu’ l-Qader Tuni. Some of the words used in Tazkara-yi Nasrabadi and Qosas u’ l-Khaqani are different from Kandaharnama. So this differences reflects the other version of Kandaharnama, that Nasrabadi and Vali Ghuli Shamlu have used it, but today it is not available. The usage of the poetry of the poems of this work to describe the wars of the Kings Shah Safi and Shah Abbas II and the details of the events that are only mentioned in this manuscript, shows the importance and value of the historical information of Kandaharnama, as the generalities of the events of this work are similar to the other historical books of the Safavid era, and only in some details, there are heterogeneities.

One of the last poems by Sohrab Sepehri is "Ma Hich Ma Negah" which has a clear difference in terms of language, expression, structure, and poetic images with his other poetry collections. In his other works, he has used the instructions of the eastern religions and western schools, such as romanticism, impressionism and surrealism. In the recent book, postmodern thoughts and its influence on this kind of thinking have been fully elaborated including: thinking about science vainly, confusion in imagination and conflict in orders and reasoning, drawing poetry and narrative in a divided and reparative way, setting aside the real nature of objects in order to express dumb concepts, intricate language use, word ordering without any logical connection, content removal, elimination of traditional poetry principles, suppression of reality and meaning Finally, paranoia, which is a way of thinking and feeling, reveals itself in the form of delusions and frivolous foundations. This research intends to analyze the poem of "Ma Hich Ma Negah” to reflect the components of postmodernism.

The geometric construction of Hafez's lyric is one of the most prominent features of Hafez's poetry, which has been frequently used in Hafezological researches. Although about vertical solidarityof Hafez's poetry, differentviews of and aspects have been plotted, butstill more consensus on the horizontal structure and geometric order of his verses can be mention. Still, no formulated in the formulation of the structure of Hafez's structural patterns, have not been explained. This article tries to rely on the linguistic teachings of text and poetry investigate the iconic materials for the form of a referential system, the cognitive, and the relationship between the Hafez's verses, to show how two compartments, with a variety of close relationships and symmetric finds and concealswill be construct in a graphical level. This paper concludes that the how Hafez fully demonstrated the constructing of narrative on poetry or the unity of the subject to the all readers by using vertical structure of the lyric in the context his poems; but in other hand, by removing the vertical structure, the structure finding a landscape with a variety of close and close relationships, the game, and hidden signs and the creation of graphic constructs with reciprocating associations and dialects bring the reader closer to his poems. In this condition, the vertical structure is proportional to the horizontal dialectical structure.

Literary Restoration style, one of the most long-lasting periods of Persian literature, begins from early years of Safavid era till the Constitution. The outstanding feature wide spread in poetry of the time is vulgarity in words and concepts and inattention to ethics and morality. Such vulgarity can be found poems lampooning the rulers, mockery of women, mockery of people of the city, smut, witticism and facetiousness. This study first mentions examples of topics from poetry of Literary Restoration period and then explores the etiology of outbreak of such topics by presenting the historical, political, social, cultural and psychological background. It is argued that a return to style of poets like Anvari, Souzani, and Khaqani on the one hand, and consequences of political instabilities and social and individual collapse of ethics on the other hand found its way into the poems.

Amongst modern Iranian poets, Mehdi Hamidi Shirazi is renowned and has created considerable works, particularly in romantic. “ Moses” and “ The Iconoclast of Babel” are two well-known poems by Hamidi which mirror his skills in composing non-romantic poetry as well. Both poems have as their axes the biographies of two prophets (Moses and Abraham), and recount episodes of their lives. In this article, these two works will be re-read and compared to one-another for examining the degree of his success in creating these two works and also besides a survey of his style. Re-reading and examining these two oeuvres shows that in either, an outstanding event in the lives of Moses and Abraham has been picked so that, relying upon it, a new portrait and character can be provided of either of the two prophets. In comparison, “ The Iconoclast of Babel” is known as a more creative and consistent oeuvre in which the salient episodes of Abraham’ s life have been utilized for advancing the theme and enforcing the characterization.

In his book, Sa'adi used the narration of the artistic expression of morality to express his thoughts and put it in the context of the teaching of goodness and wisdom; Since the study of the structure of Bostan's stories in showing Saadi's manner of expression is important, the purpose of this research is to determine the structure of the narrative of the anecdotes of this work, which is descriptively-analytical and based on library resources. To this end, the whole of the storytelling was first studied in the park. Then, anecdotal evidence was extracted from among them, and their plot was analyzed. The result of this study shows that most of the stories in the boostan, despite their short, have a natural plot, and the essential elements of the plot have become more apparent. Thus, the narrations of the anecdotes of this work are not complicated and can be considered as simple phrases because the natural order of events in the tales overcomes the fabricated order, and events have always been in the narrative in a correlated and chain-linked way. Hence, the tales of Sa'di's Boostan are considered to be Open Plot for the Pyramid element. In addition to analyzing the structure of the narrative of the anecdotes (42 spells), it was determined that the anthologies of Bousaneh in terms of the plot and in order of frequency are three types: normal 38 (90. 48%), incomplete 3 stories (7. 14%), And excellent 1 stories (2. 38%) are categorized.

Forough Farrokhzad and Simin Behbahani are contemporary poets who have discussed poetry in both their poems and paratexts like lectures, interviews, letters and articles. These theoretical remarks are worth attention from a number of perspectives particularly because of their being poets. In this paper, in addition to introducing and comparing their textual and paratextual comments, we endeavor to study how their theoretical comments are different from the classical and canonical ones. The result shows that Forough and Simin, along with similar theoretical outlooks, have come up with different degrees of authority over the classical theories. The views of both poets on the nature of poetry, the nature of the poet as well as the content are almost similar. Despite their similarities, their views on language, music, and form have a clear difference. Forough is the follower of Nima and in her theoretical remarks puts aside tradition in all aspects of poetry. Contrary to Forough’ s fragmentary poetry, Simin’ s poetry remains to be just a metamorphosis. She sometimes, and in some cases, eliminates the definitive boundaries of the traditional poetic and allows for innovation.

Hafez's court is full of difficult poems and Qaisari's book is a solid reason for this claim. In this article, the author has criticized the old descriptions, which has been a good description for that expression. Firstly, there are defects in other descriptions. These deficiencies include not paying attention to the general atmosphere of the ghazal, the imperfect description, ignoring Hafez's intellectual philosophy, neglecting grammatical points and copying. The main point in the commentary is the attention to the composition of the bowl of the battalion (who is losing the cup of wine) and this persecution (the hard times of the era of Amir al-Mu'baz al-Din). In the first sentences, they mean "begging" or "aging", and this means "restraint". But these perceptions are not consistent with the intellectual atmosphere of Hafez. But in the eyes of the keeper of the bowl, he is the one who wipes out the cup of wine during the reign of Amir Mobarzaddin, and he is cursed for this scourge and suffering from disaster. But in the eyes of the keeper of the bowl, he is the one who wipes out the cup of wine during the reign of Amir Mobarzaddin, and he is cursed for this scourge and suffering from disaster. Hafez hopes that with the improvement of the situation of people who empty the wine cup, they will suffer from the change of circumstances, and drinking water will be able to re-drink wine again.