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Hindi style was adopted as a new method to escape the repetition and imitation which had been widespread in Persian poetry for a long time. However, it went ahead with this new manner so far that later on this style was considered decadent and did not enjoy a high status among literary community despite its merits  and beauty.  Fazel Nazari is a young poet whose poems in recent years have been well-received by the audience. He has excellently identified the capacities of Hindi style poetry and applied them to his own poems.  In this paper, the researchers demonstrate and investigate the characteristics of Hindi style in Nazari’s poems, features such as depth and complexity, themes, lack of vertical axis in Ghazal, allegory, using simple and everyday language, using daily issues, objects and environments in poetry, and personification. Moreover, a number of points regarding the artistic value and the aesthetic qualities of the mentioned characteristics have been discussed

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The time, life, poetry, literary and critical theories of William Wordsworth, the pioneer of Romanticism in English literature, and Nima Youshij, who is often regarded as a Romantic in some part of his literary career, share many similarities. Both poets lived at a time of revolution and turmoil and both revolted against the dominant literary conventions of their time with their efforts accordingly leading to revolutions in the poetry and literary theory of their land. After delineating the accepted tenets of the Romantic Movement, this article highlights the analogous biographical, socio-economical and philosophical contexts of the two poets’ career and studies the affinities of their attempts at modernizing the poetic theory and practice of their countries. To this aim, the two poets’ attitude towards concepts such as poetry and the poet, content, language, feelings and emotions, and society are examined in detail. It is explained that by being influenced by their time and the historical evolutions in the age of social, cultural and economic revolutions, the two poets were able to bring the revolution into the poetry and critical theory and practice of their time. This revolution consists of realizing the novel concepts of the age and expressing them in a new form, which is considered as the commencement of “Modern” English poetry in England and “New” Persian poetry in Iran.

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In this article, the aim of the authors is to study the role of repetition in creating music and parallelism in Nimayee poems in the three collections of poems by Mehdi Akhavan Sales: Zamestan, Akhere Shahname and Az Avesta. Accordingly, the researchers have investigated the various manners of repetition in creating parallelism in the poems at three levels: phonological parallelism, lexical parallelism and syntactic parallelism. The present article tries to show that the musical parallelism in Akhavan’s Nimayee poems rises from the phonological, lexical and syntactic repetition. The authors found that their phonological parallelism was based on consonant and vowel repetition in sentences and also linguistic expressions, variety of rhythms and the poet’s innovation in using some Nimayee rhythms. Moreover, the repetition of words in different manners and the use of rhyme and range have created the lexical parallelism in Akhavan’s poems. Finally, employing some figures of speech syntagmatically and paradigmatically have created the syntactic parallelism in this poems.

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Parvin-e E`tesami, the daughter of Yousef E`tesami, was one of the eminent poets of the constitutional period. Her father, E`tesam al-Molk was a remarkable intellectual. He was one of the very first translators and one of the writers whose work started Romanticism in Iran in the last years of Qajar dynasty. He translated pieces from a vast range of topics and, thus, he had an undeniable role in the development of literature and also a modernist look towards life. As the time passed, the idea of Parvin imitating and taking from her father’s works became a widely cited view among the scholars. This research, by using a statistical-analytical method, has investigated the quality and quantity of this linkage in some points (such as diction, imagery, themes, characters) and shows that although Parvin, like any other poet, was influenced by many thoughts and ideas, for some clear reasons the strongest influence was that of her father. It is of course obvious that this influence does not mean mere imitation or plagiarism. The conclusion of this research is that the poet had some innovations in form, format and point of view that formed her special thought and style in poetry. This unique outlook, especially on the common issues of the day, is what indeed makes her a well-known and unforgettable poet.

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In the words of the poets, there are motifs that in addition to being frequent and extensive are linked to the knowledge and epistemology of the narrator. Among them, the "tree motif" in NaserKhosrow’s poetry and prose with a frequency of at least 177 times is one of the central themes and images which are rooted in the poet’s intellectual and religious beliefs. NaserKhosrowhas often used this motif in two major ways: First as an image of the universe in the form of a tree with human beings as its fruits, and second as an image of a human being in the form of a tree with his moral traits as the sweet and valuable fruits as well as his immoral traits as bitter and harmfulfruits.In the present study, in addition to investigating the background and origin of this theme, its different aspects have been analyzed. The results indicate the special and unique importance of tree in the poet’s mind and imagination and also the impact of Islamic teachings and Ismaili works and theories on the poet increatingsuch themes and images.

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The poetry of Mahdi Akhavan Sales in contemporary Persian poetry and Al-Bayati in contemporary Arabic poetry comprises many Romantic elements. This article is mainly a comparative analysis ofthe titles of the two collections: Akhavan's Zemestan and Albayati's Al-Majd lil-Atfal wal-Zeitoon.The researchers attempt through a content analytic method to show and compare the presence of Romantic elements in these poetical titles. The results show that some Romantic elements such as return to childhood, escape and travelling, sadness and loneliness and Romantic archaism are obviously reflected in the titles of the two collections of Akhavan and Al-Bayati. The title has an important role in forming the general identity of the text, and this fact indicates the special position of Romanticism in the two poets’ perspective. Some Romantic elements, such as nationality, are reflected in Al-Bayati's poetic title, but this feature is not seen in Akhavan's poetic title, though the case is different in the text of his poems

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The Poetry of the Constitutional period in Iran has been a turning point away from encomiums and mystical poetry of the prior ages. This shift is primarily characterized by a poetry dealing with socio-political issues such as freedom, homeland, etc. Contemporaneity of the Jadidieh Period in Tajikistani Poetry with this era in Iran paved the way for the maturation of the Constitutional Poetry in Iran. The method of the research is analytic-comparative and aims to investigate how this two interact in terms of subjects and contents. This study classifies the poets into three categories of “patriots” (like AdibulmamalekFarahani and Irajmirza in Iran and Fitrat in Tajikestan), “revolutionaries” and “elegiast” (like NasimShomal and MomenGhena’at in Iran). Studying the poetry in this period shows that the title “Motherland” is the first shared subject of Iranian poetry (Constitutional movement period) and Tajikistan (Jadidieh) which replaced the romantic lyrics of the previous age. The poets in the era of “Awakening” and modernism speak in their poems of their love of homeland, “freedom”, “prosperity” and “progress”. The topic of “homeland” both reveals the universality of the subject in the literature of this era and also indicates the changes in their essence and tones. Of other common thematic issues are 1- Fighting with dictatorship inside the country and defending motherland against foreign threats, 2- human rights, women’s rights and gender equality, 3- freedom and law, 4- acquiring modern sciences and education, 5- reforming and modernizing poetic topics and using colloquial terms, 6- fighting with religious superstitious ideas and ignorance.

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Hardly could any poet, like Al-Mutanabbi, draw to himself the constant attention of scholars, literary man and poets. In this article, we try to find the secret of the admiration that Al-Mutanabbi’s poetry has won and see why he is one of the most preferred poets and considered the prophet of Arab poets. Scholars have studied this issue from various perspectives. In this article, however, I will examine this issue taking a number of points into account: first, two terms of “presence” and “absence” in Sufism, wherein like poetry the emphasis is on intuition; second, concepts such as “experience-near” and “experience-distant” and, finally by relying on this verse of Al-Mutanabbi: “the horse and night and dessert are known to me / also sword, paper and pen”. Al-Mutanabbi by his constant presence in his poetic experience has been able to see so openly what has been hidden from many scholars that this spiritual perception turns into an objective reality to him. We can seek the secret of Al-Mutanabbi’s immortality in the constant presence or, in other words, in his “experience-near” and in his deep wisdom which made his poetry to be considered “the true reference of life”.

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The Reduplications are made by repeating part of the base. The repeated part does not make sense and will never be used alone and is just popular in spoken language. In recent times, they have been used in some texts of poetry and prose, in particular, in stories written in vernacular. This research, with a historical approach, and with an analytical-explanatory method, examines the information obtained from literary and historical sources; and while analyzing the use of reduplication in Persian language and literature, it investigates three hypotheses: first, the effect of the changing of the face and meaning of the ancient Persian vocabulary on the formation of reduplication in Persian language; second, the effect of the Arabic syntax on the formation of reduplication in Persian language; and third, the effect of Arabic vocabulary and synonyms on the formation of reduplication in Persian language and literature
According to the findings of this research, the history of the use of reduplication dates back to the thirteenth century AH. Most of the compositions, from the first to the thirteenth century AH, are seen in poetic and prose works, and the writers of dictionaries have described them as examples of reduplication but in fact they are synonyms connected by conjunctives which due to a change of face and passage of time are mistakenly claimed to be reduplication. Reduplication has been introduced into Persian language since the thirteenth century AH. This was due to the prevalence of Arabic vocabulary in Persian language and also people’s habits of using synonyms in speaking. Along with developments in Persian prose and the tendency of writers to simplification and vernacularism, these compositions were introduced into Persian texts, especially satirical fictional works. 

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Yaghma, The literary magazine in the field of poetry, started its activity with the aim of preserving ancient achievements and countering every kind of unapproved innovations and novelty. This was in spite of the fact that many years had passed since the beginning of modern poetry and there have emerged famous figures in Nimaei poetry. The present article intends to see how much Yaghma was successful in following its initial policy in the field of poetry delineated in its very first number. This will be done through a review of the theories of poetry published in this magazine and also content-statistical analysis of forms and contents of the poems and identifying the poets who were considered and heeded more than others in Yaghma. Had Yaghma been successful in following classicism regardless of modernism, or had it been affected by modern trends in poetry? Results of the current study, which was done by content analysis and descriptive-analytic method, show that although Yaghma had serious attempts to print and publish classic poems and had great cooperation with dogmatic poets, and much of it comprised of Ghazal (33 percent), Ghasideh (25 percent), classical contents and Akhavaniat, yet it could not ignore public demands for modern trends in poetry and sometimes made cautious innovations to satisfy contemporary needs and occasionally eulogized and praised innovative (or modern) poets due to expediencies of the age, and even published some of their poems. However, to defend and respect its classic followers who form the main body of its audience, Yaghma prevented this from becoming a regular approach in the magazine.

 

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Linguistic combinations are referred to as a chain of words that associate with one another and form a semantic phrases, such as adjectival and noun. Innovation in this field is one of the main tasks of creative poetry. Shams's sonnets are of the prominent works of Persian literature and their composition is characterized by its stylistic features. In order to express his sublime and mystical thought, Molana has created hundreds of neologisms and used a variety of norms to widen the bottleneck of the vocabulary or to avoid duplicate words and combinations. Among his works, Shams's sonnets are great examples of the fusion of thoughts. In the texts of his sonnets, there are hundreds of fresh adjective phrases such as "Perverted Thought", "Fantasy Imagination", "Golden Excuses" or noun phrases like "Mobs of Fancy", " World of Colors and Smells", “Farm of Heart” that require analysis. Rumi's innovations are not limited to this and different types of new structures are found in his nominative, adjectival, adverbial and verbal phrases and combinations, but this article deals only with this type of innovation. The findings show that Rumi created new and exquisite allusions and metaphors in Farsi using these combinations. And in addition to empowering the language by avoiding the use of repetitive combinations and words, Molana has added to its appeal and has portrayed his inimitable ideas in the form of language.
 

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Simile and allusion are two rhetorical aspects that have been taken into consideration by the scholars of rhetoric since long time ago. Some of the Iranian poets have used the capacities of the Persian language and integrated these aspects to create a modern rhetoric which in this study is introduced as rhetorical simile. The objective of the present study is the investigation of this rhetoric in 1340s poems and some of early 1350s works of Shafiee Kadkani. For this purpose, “a mirror for sounds” including “whispers”, “night reading”, “from the leaf”, “in the garden alleys of Neishabour”, “like a tree in a rainy night”, “from existence and singing”, and “Booye jooye moolian” are studied. The objective of this study is to introduce the features of this rhetoric such as defamiliarization, highlighting, succinctness, non-translatability, validity, and assigning them to Farsi, which is done in Persian literature for the first time. Introducing the implicit relationship of these similes and the themes of Shafiee Kadkani as well as his capability in employing the rhetoric constitute another objective of this study is investigating the use of descriptive and analytical method and content analysis. Placing mythological, religious, mystical, and scientific personalities in these similes show the awareness of the poet regarding rhetoric. This justifies the frequency of such similes in his poems, his innovations, and observation of the semantic-thematic proportion of the poems with these rhetorical aspects.
 

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Paradox is one of the literary techniques in the poetry of the Safavid poets. Hazin-e Lahiji, like so many other poets of that age, employed this technique in his pursuit and showed that "unfamiliar meaning". Paradox is used in the poetry of Hazin-e Lahiji for the purpose of defamiliarization and exoticism. The poet in order to create new implications and subtle and insightful points and also to express mystical notions, Love, free thoughts and ethical arguments has used this literary figure. This article is comprised of some parts. At the beginning and in the theoretical section and literature review, Paradox is defined and its difference from other literary terms, and the state of this literary trope in literature and literary glossaries in the past and present have been discussed. In the practical part, the different kinds of paradox, such as verbal and semantic paradoxes, descriptive and relational compounds have been explained and the features of paradoxes in Hazin’s poetry and synesthesia as a kind of paradox have been discussed.
 

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Popular culture is an important aspect of poets’ intellectual system and knowledge of its components has a significant effect on facilitating the description of poets’ thoughts and mentalities. Mohammad Hossein Kebriayi, Ibn-e-Hesam Khusfi and Nizari Quhestani are among the Quhestan region (Southern part of Khorasan Province) poets who relied on elements of popular culture to reflect various epistemological, lyrical and moral issues in their poems. In the present paper, using the descriptive-analytical method, the areas of application of popular culture are investigated in four general categories of “beliefs”, “customs (focusing on occupations)”, “irony and allegory” and “local words” in Kebriayi’s poetry. Moreover, several components of this subject are mentioned in the poems of Nizari and Ibn Hussam. It seems that by using these elements Quhestan poets have succeeded in the process of expressing and describing instructional and mystical categories and in making their intentions more tangible. Since the majority of readers of these poets have been the common people, the use of popular culture has been effective in the pragmatics of their words and in creating a powerful link between the target group and their poetry. Using this technique, Kebriayi has knowingly downgraded the level of his speech to create a three-dimensional relationship among himself, the produced text and the target readers. Nizari and Ibn-e-Hesam have mostly portrayed lyrical issues in their poetry.
 

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The purpose of the present paper is to study the specific historical conditions in which a new relationship between “literary texts” and “public education” was established. This created a different formulation of “literature”. To that end, the genealogical method was used. From a genealogical point of view, phenomena have no meta-historical nature and are constructed following historical events and within complex power relations. The findings show that “poetry” and “education” in the mid-centuries discourse had a specific definition, function and formulation and that they established a relationship with each other in connection with the mechanism of the collector power and the construction of the hierarchy of society. The confrontation of Qajar rule and Iranian society with numerous crises such as war, cholera, and famine challenged the collector power. With the activation of new mechanisms of power (disciplinary and bio-power) and the formation of the assumption of equality, the hierarchical structure of the society was gradually weakened and the issue of public education as a way to save the state and the nation became problematic. The discourse of literary criticism turned the “Iranian people’s manners” and “literary texts” into issues and established a new relationship between the two. Meanwhile, a collection of texts and various social situations came under the umbrella of “literature”. In sum, the results indicate that the change of power mechanisms in the Qajar period marked a fundamental shift in the historical existence of Iranians and a new state of affairs was established; “Literature” and “education” bore new definitions, functions, and connections, and they established a new relationship with each other.
 

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Nizami Ganjavi is a well-known literary figure in Iranian cultural history whose influence has not been diminished in contemporary era. The scene of “Shirin bathing in a fountain” is one of the most prominent scenes of Khosrow and Shirin poem which has been the focus of attention for many modern poets. Following a content analysis approach, this study attempts to explain why such a scene has been so rich and influential in contemporary poetry. The scene has been impressive in two ways: In the first, and the most important type, the whole poem is dedicated to this scene, and in the other type, the poets have only partially referred to the scene. In this paper, it is argued that the scene of Shirin bathing in a fountain is a romantic theme and since some poets were influenced by romanticism – at some points in their professional career – they were fascinated by this scene. Rebellion, violation of moral boundaries, attention to local legends, mythological manifestation of a woman/the beloved one, metaphorism, dynamism and maturity of the scene and its vivid expression, the vague location and time of the event as well as the naturalism of the scene have been parameters of the romantic poems and images most of which are represented in the studied scene. Another attraction of the scene is its eroticism. This classical image has the potential to arouse sensual attraction and to reflect both physical and feminine tensions of our time and to give an indigenous identity to modern poetry.  


 

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The entry of the legal terms and subjects of the Constitutional era into poetry’s domain caused the confluence of two types of speech, i.e. two areas of legal and literary discourse in that era’s poetry.Public law discourse organized the dominant content of the Constitutional poetry and the particularly weak presence of the element of imagination turned into its characteristic of structure and form.The main question raisedin this research is the explanation of public law discourse’s role in the relationship between form and content in Constitutional poetry.Using a descriptive-analytical method, and based on numerous poetic evidence, this study investigates the issue from the standpoint of a procedure which has emerged through the innate characteristic of legal discourse and its incompatibility with imagery and can be interpreted as “The transition from imagination to emotion” in this era’s poetry. The process based on which the dominant form of Constitutional poetry was organized with a focus on social and revolutionary sentiments in the absence of imagery.In the present article, the compatibility of this narrative with the point of view of literary modernity was investigated and the effects of the research claim on the famous areas and structures of Constitutional poetry were revisited.
 

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Teaching monotheistic topics and trying to understand the ambiguous concepts of epistemology have always been the concern of thinkers. Despite the commonalities in monotheistic teachings, access to rich concepts is not possible for everyone, and there may be contradictions in the understanding of meanings. Hadiqah al-Haqiqah and Masnavi are among the instructive texts that have used figures of speech to express monotheistic concepts. In this article, the teaching style of Sanai and Rumi based on the method of using Monotheistic Images and Corbin’s hermeneutics approach is studied.  The monotheistic language of Masnavi and Hadiqah al-Haqiqah is almost the same. Sanai has expressed monotheism in a general way and at a high level, while Rumi has gone into more details about monotheistic concepts. Hadiqah al-Haqiqah images are mostly designed on the horizontal axis, whereas in Rumi’s Masnavi, many images can also be found on the vertical axis. Rumi has sometimes used Sanai symbols and in many cases has taught monotheistic concepts with completely innovative symbols. The monotheistic images of both mystics are a combination of philosophical teachings and mystical intuitive symbols in Corbin’s hermeneutics. Benefitting from the graphic form of the letters (alphabetical symbolism) and the metaphor of the letters are common to both works.
 
 

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There is a two-way relationship between society and literature so that each one affects the other. In his theory of practice, Bourdieu deals with the interaction between literature and society and their mutual impact on each other. In the present article using Pierre Bourdieu’s theory of “practice”, three concepts of habitus, field, and action have been considered as the basis of analysis to provide a sociological investigation of Ahmad Shamlou’s poems and to clarify the way of thinking and type of action of this contemporary innovative poet. The research method in this study is descriptive-analytical in nature and fundamental-theoretical based on the purpose. The findings indicated that the poet’s habitus, which was based on the type of personal and social education in the family and society, was a fixed and stable habitus and with a special taste (habitus) in the face of the ruling power (field), to the extent that he had the available capital, he chose his lifestyle according to the position (pole of independence) in which he was located, due to the dialectical contradiction (between habitus and field), he chose a difficult and highly negative position. The poet performed different actions, the result of which was composing socio-political poems and, above all, innovating the sub-field of Persian poetry production.
 

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Boasting (Mofakhereh in Persian) as a poetic theme or as a sub-genre has a strong presence in the books of poems of classical Persian poets. Adopting an analytical approach, this research attempted at analyzing ‘boasting’ in poems of Manouchehri Damghani, Sanaei Ghaznavi, and Khaghani Shervani based on Pierre Bourdieu’s field theory. To do so, after extracting instances of their ‘boasting’ odes and considering the historical and social issues of their times and their different habitus and mindsets, we tried to analyze the poems based on Bourdieu’s four literary field principles (habitus, capital, struggle, and disinterestedness). The results showed that Manouchehri, due to his inclination to the power filed, and to make a name and a living and to stabilize his position, used his art and poetry for boasting. He did not observe the principle of disinterestedness in the literary field which attempts at purifying literature from personal intentions. As a result, he was pushed to the margin. But as the power field changed during the second Ghaznavid and Seljuk periods and some new problems and instabilities affected poets’ conditions, poets such as Sanaei and Khaghani distanced themselves from the power field, due to their specific habitus, and attempted at purifying literature and fighting the power field. From the two poets, Khaghani was more successful due to his disinterestedness and observance of the rules of the literary field.