---

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.

 

---

One of the areas in literary studies whose definition and principles have been subject of considerable disagreements among philosophers, writers, and linguists is poetry and its nature. Differences of perspectives in defining poetry are a result of differences in methodologies, intellectual fields, and elaboration of poetry function. The present research takes a descriptive–analytic approach to reviewing the existing definitions of poetry, and through studying different types of poetry in Persian literature and, by basing the discussion on indicators such as the speaker’s mentality, listener’s mentality, language, genre studies, various discourses of each era, the prominent literary element, and critiquing the masterpiece-oriented perspective, attempts to question the perspective which considers poetics to be a definite and non-historical phenomenon, and introduces poetics as a fluid, relative, and history-dependent phenomenon which requires a different definition in various eras based on the abovementioned indicators. Through such an approach to poetics, demarcating verse and poetry based on similar indicators and in all eras will not enjoy scientific rigor and credit. Based on the perspectives elaborated in the present research, a new poetics must be proposed in each era to be able to provide a definition of poetry in that era. 

 

---

From the perspective of mysticism, man is a traveler who is a guest in this world for a period of time and finally returns to his original home. This point of view shows the importance of travel in mystical teachings and literature. The mystics believe in two types of journey in the horizon and journey in the soul based on the Holy Quran. The mystic sees the absolute existence of God in the mirror of existence. In his cosmic journey, he not only observes the sights of the visible world with the eyes of the head, but also observes the truth of creation with the eyes of the heart and walking in the soul, behind the curtain of beings. The course of Afaq and Self has been taken into consideration in Maulavi's thought and works, especially in Fiehmafieh. In Fehmafiyyah, Maulana considered the course of the universe to be the beginning of the course of the soul, and by presenting his mystical views on the course of the universe and its elements, he mentioned the course of the soul. In this research, using library sources and in a descriptive-analytical way, the subject of the worldly passage and Maulavi's mystical interpretations of it have been investigated in Fihmafih. The findings of the research show that in Fiehmafieh, the cosmic and personal journey plays an important role in explaining the mystical teachings of Rumi, and a significant part of the examples and allegories presented in this book in order to make the mystical meanings tangible and to know the right path, are related to the cosmic journey and is the soul