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In modern aesthetics, the form of a poem is not enough to explain its artistic beauty. Therefore, a there is a comparative tendency to study the effect of the social environment on the personality and the taste of the poet, which leads tothe study of literary works on the basis of psychology and sociology of literature.

The researchers in this paper followa descriptive-analytical approach and employsome interdisciplinary sciences, such as psychology, sociology, anthropology and linguistics, to study the aestheticelement of color in the poetry of one of the most prominent Modernist poets of Tajikistan, FarzanehKhojandi. It is concluded that the poet is influenced by the colorful social and cultural environment of Tajikistan and employ color to describe his ethical views in the best way. Moreover, besides using the dominant symbols in Persian poetry, he introduces new symbols and diction in regard of colors and thus enriches Persian language and poetry

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There are some words and phrases in Hāfez’s Diwān (Book of Poems) which merit careful attention as this brings us closer to the world of his poetry and thought. One of these words is “Jām” (“cup”) and its synonyms. The frequency of this word and its synonyms is indicative of its significance in the mind of the poet. To investigate Jām in Hāfez’s Diwān, the importance of Jām in Persian literature and Hāfez’s Diwān, and the opinions of the old and contemporary exegetes regarding the meaning and function of Jām in Hāfez’s Diwān were explained in this paper. The body of the paper contains two distinct parts: the first part deals with Jām in the tradition of poetry prior to Hafez. There are three kinds of Jām or “Mey” (wine): earthly, mystical, and Khayyamian. The second part is concerned with the display of the artistic skills of Hāfez in dealing with Jām in the following subheadings: 1. The repetition and foregrounding of the word Jām and making it a symbolic motif, 2. Creating opposition by Jām and using it as a tool for political and social struggle, 3. Mixing the various and opposing meanings and functions of Jām, and 4. Making paradoxical expression with Jām to create masterpiece couplets. The conclusion of this descriptive-analytical research is that Hafez intentionally repeated Jām to make it prominent and symbolic and mixed its Islamic and Iranian senses to create a prism of which any reader based on their background knowledge and experience could get various meanings.    
 

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Knowledge of grammar plays a significant role in understanding and interpreting texts. This article aims to explore the “genitive case” in Masnavi and analyze it from a historical syntax perspective to elucidate Rumi’s style and the distinctive usage of this construction in Masnavi compared to other works. The research method used is descriptive-analytical based on a case study. The corpus of the study comprised the six volumes of Masnavi, and data were collected through library research. In the analysis of the findings, the usage of the genitive case, its marker, and its specific forms in Masnavi sentences were determined. The various relationships between the head and its modifier with specific lexical items and combinations marked and desired by Rumi were clarified. Ultimately, the detachment and attachment of the genitive case and noun phrases were determined. The findings showed that a large part of Masnavi’s appeal and charm is due to the linguistic patterns used by Rumi, which is not the result of the rhythm and tone of Masnavi. Still, it should be searched for in meticulous and “detail-oriented” studies of grammatical construction and its morphological and syntactic patterns.