فهرست مطالب

فنون ادبی - سال هشتم شماره 3 (پیاپی 16، پاییز 1395)

مجله فنون ادبی
سال هشتم شماره 3 (پیاپی 16، پاییز 1395)

  • تاریخ انتشار: 1395/07/01
  • تعداد عناوین: 15
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  • محمدرضا صالحی مازندرانی*، پروین گلی زاده، نصرالله امامی، سعاد سواری صفحات 1-14
    یکی از عوامل موسیقی بخش در شعر، موسیقی کناری است که مهم ترین جلوه های آن قافیه و ردیف است. مولانا در کاربرد قافیه و ردیف در رباعی های خود شگفتی های زیادی از خود نشان داده است. درواقع وی به بار فونتیکی یا موسیقی کناری می اندیشیده است. از این رو گاه در ساختار کاملا طبیعی و بی تکلف برای تاکید و تکمیل وزن یا غنای موسیقایی کلام قافیه و ردیف را در رباعیات خود تکرار می کند یا آن را در مصراع سوم نیز لازم می شمرد و برعکس، گاه از آن صرف نظر کرده، به گونه ای ماهرانه ردیف را جانشین آن می سازد و با به کارگیری ردیف های بلند و درآمیختن قافیه و ردیف با یکدیگر و شیوه های خلاق دیگر در قالب موسیقی کناری شعر، به ویژه رباعی شوریده حالی و هیجانات عاطفی خود را از این طریق به خواننده انتقال می دهد. در این جستار، تمام این ابتکارات مولانا در به کارگیری ردیف در رباعی مورد بررسی و تحلیل قرار گرفته است.
    کلیدواژگان: مولانا، رباعیات، موسیقی کناری، قافیه، ردیف
  • احمد امیری خراسانی، زهرا انجم شعاع* صفحات 15-28
    مذاهب، از دیرباز علاوه بر شباهت ها، تفاوت هایی با هم داشته اند که منجر به جدال بین آنها شده است. در این میان، اسماعیلیه همانند فرقه های دیگر اسلامی، دارای اصول و فروع مشترک و بعضا متفاوت با سایر مذاهب است. تاویل گرایی یکی از ویژگی های خاص اسماعیلیه است که موجب تمایز آن، از سایر مذاهب می شود. ناصرخسرو به عنوان «حجت» در مذهب اسماعیلی، بارها مسئله تاویل را در متون نظم و نثر خود به کار برده است. وی معتقد است، شریعت و معارف دینی دارای ظاهر و باطن است و شریعت بدون تاویل هیچ ارزشی ندارد و مانند جسد بدون روح است. در این مقاله، ابتدا معنای لغوی و اصطلاحی تاویل، بررسی، سپس به مسئله تاویل از دیدگاه قرآن، حدیث، فلسفه، کلام، عرفان و تصوف و هرمنوتیک پرداخته می شود. در ادامه به مبحث تاویل از دیدگاه اسماعیلیه و به خصوص حکیم ناصرخسرو اشاره می شود.
    کلیدواژگان: مذهب، اسماعیلیه، شعر فارسی، تاویل، ناصرخسرو، قرن پنجم هجری قمری
  • احمد غنی پور ملکشاه*، مرتضی محسنی، علی اصغر خوشه چرخ صفحات 29-42
    اصل تکرار[1] یا وقوع مجدد[2] در آفرینش اثر هنری و به ویژه در شعر، عنصری اساسی است. در دوره های مختلف ادبی از تکرار به عنوان عاملی برای ابتذال زبان شعری پرهیز شده و به عنوان شگردی برای هنجارگریزی متنی مورد تاکید قرار گرفته است. عبارات، جملات، حروف و واژگان تکراری در یک مجموعه زبانی اتفاقی نیست؛ بلکه می تواند برگرفته از احساسات، اندیشه و حتی متاثر از اخلاقیات شاعر یا نویسنده باشد. از این رو، با واکاوی مبانی تکرار می توان به اندیشه شاعر یا نویسنده دست پیدا کرد. قیصر امین پور از شاعران دوره معاصر است که بررسی شگردهای زیباشناختی شعر وی، می تواند خواننده را در فهم جهان ذهنی و سبک هنری وی یاری کند. تکرار در اشعار قیصر امین پور، دارای مبانی ذهنی و فکری گوناگون و خاستگاه روانی مشخص، و اهداف معین است و برگرفته از رسوبات ذهنی و احساسات درونی اوست. حس نوستالژیکی، تاثیرپذیری از عناصر زیبای طبیعت، ذهنیت تصویرساز، ذهنیت مرکزگرا و حس موسیقایی درونی از برجسته ترین مبانی تکرار در اشعار قیصر امین پور است.
    کلیدواژگان: تکرار، مبانی تکرار، قیصر امین پور، شعر انقلاب اسلامی، حس درونی
  • مسعود فروزنده، علی محمدی آسیابادی*، امین بنی طالبی صفحات 43-62
    منظومه دلاویز ویس و رامین از داستان های روزگار اشکانیان است که فخرالدین اسعد گرگانی از شاعران بزرگ سبک خراسانی در میان سال های (432-446ه.ق) به بحر هزج آن را به نظم درآورده است. هنجارگریزی یکی از موثرترین شیوه های برجسته سازی و آشنایی زدایی فخرالدین در سرایش این مثنوی است که از این رهگذر هم به توسعه زبان شعری و زیبایی کلام خود پرداخته و هم لذت درک ادبی و تامل مخاطب را فزونی بخشیده است. این پژوهش سعی دارد تا با روش توصیفی-تحلیلی در چارچوب مکتب ساختارگرایی و برمبنای الگوی هنجارگریزی لیچ به بررسی پنج نوع هنجارگریزی (نحوی ، آوایی ، واژگانی ، گویشی ، زمانی) در مثنوی ویس و رامین بپردازد. نتایج پژوهش حاکی از آن است که بسامد وقوع هنجارگریزی نحوی در سخن فخرالدین گرگانی ، بیش از سایر هنجارگریزی هاست. هنجارگریزی آوایی ، معنایی ، واژگانی ، زمانی ، گویشی به ترتیب در جایگاه های بعدی قرار گرفته اند و دو نوع هنجارگریزی سبکی و نوشتاری بسامد صفر در ویس و رامین داشته اند. در این مقاله از پرداختن به هنجارگریزی معنایی چشم پوشی می شود؛ زیرا این گونه هنجارگریزی مجال فراخ تری برای ارائه ، طلب می کند و شایسته است در مقاله ای جداگانه به این نوع هنجارگریزی پرداخته شود.
    کلیدواژگان: ویس و رامین، آشنایی زدایی، هنجارگریزی، هنجارگریزی نحوی، هنجارگریزی آوایی
  • عبدالله واثق عباسی، محمدامیر مشهدی، مهدی رستمی* صفحات 63-74
    اصطلاح نمایه را نخستین بار رولان بارت فرانسوی در نیمه دوم سده بیستم میلادی وارد حوزه روایت شناسی کرد. از نگاه بارت ساختارگرا، نمایه یکی از انواع کارکردها در متن روایی است. این گونه، هرچند از نظر کنشی ضعیف است، برای تقویت فضا و رنگ و روانشناسی شخصیت ها، واحد بسیار ضروری و تکمیلی روایت است. نمایه با این که از دل ادبیات داستانی مدرن غرب باز نموده شده، در ادبیات کلاسیک فارسی نیز وجود داشته است. نمایه گاه با صنعت بدیعی براعت استهلال مطابقت دارد که نمونه های فراوانی از آن را می توان در متون داستانی کلاسیک فارسی مشاهده کرد. نظامی نیز در منظومه های خسرو و شیرین و لیلی و مجنون از نمایه چه در قالب براعت استهلال و چه غیر از آن، هوشمندانه استفاده کرده است.در این دو منظومه، عناصر براعت استهلال و نمایه با موضوع و فضای داستان کاملا هم خوانی دارد.
    کلیدواژگان: بارت، نمایه، براعت استهلال، نظامی، خسرو و شیرین، لیلی و مجنون
  • پروانه صانعی، علی اکبر احمدی دارانی* صفحات 75-84
    قصیده لغز شمع منوچهری دامغانی در بین ادب دوستان و محققان ادب فارسی بسیار معروف است. آشنایی منوچهری با ادبیات عرب باعث شده است تا وی مانند دیگر اشعار خود، در سرودن این قصیده، از مضامینی بهره بگیرد که شعرای عرب در توصیف شمع به کار برده اند و بدین صورت واسطه انتقال مضامین شعری لغز شمع از ادبیات عرب به ادبیات فارسی باشد. در این مقاله، با توجه به شباهت هایی که در لغز شمع منوچهری و شاعران عرب زبان پیش از او و معاصرانش یافت شده است، درصدد پاسخ گویی به این سوال هستیم که منوچهری در لغز شمع خود به چه میزان از ادبیات عرب، تاثیر پذیرفته و بر شعرای پس از خود تا پایان قرن هفتم، چه تاثیری گذاشته است. شاعرانی چون عثمان مختاری و معزی از جمله معروف ترین شاعرانی هستند که به پیروی از منوچهری لغز شمع سروده اند.
    کلیدواژگان: انواع ادبی، لغز شمع، منوچهری دامغانی، عثمان مختاری، معزی
  • بهجت سادات حجازی* صفحات 85-102
    بخشی از اعجاز قرآن به زیبایی های ادبی و هنری اختصاص دارد که از آغاز ظهور اسلام در ایران، منشا شکوفایی زبان و ادب فارسی شده است. بر اساس تعاریف پیشینیان، در درون استعاره به دلیل همانند کردن یا تشبیه، همواره مبالغه ای نهفته است که رمز زیبایی سخن و دلیلی منطقی بر تطبیق نداشتن کامل مستعارمنه با مستعارله است؛ ولی در ساحت مقدس کلام الهی، با وجود اعجازهای لفظی و ادبی، خلاف واقعیت و کذب راه ندارد. استعاره بر مبنای نگرش معاصر-جورج لیکاف و مارک جانسون- و با رویکرد زبان شناسی شناختی، طرحی فراگیر و گسترده می یابد که سطح دریافت و فهم مخاطبان قرآن را راجع به استعاره ها، خصوصا آنها که مربوط به حوزه توحید و خداشناسی است، هموار خواهد کرد. از این رو، در این نوشتار به آیه 35 سوره نور- که یکی از آیات بحث انگیز با ظرفیت تفسیرپذیری بالاست- به عنوان یک کلان استعار مفهومی خواهیم نگریست که خرده استعاره هایی به تفسیر بهتر آن کمک خواهد کرد. در استعاره های مفهومی قرآن، خصوصا آنها که مربوط به حوزه توحید و خداشناسی است، سازوکارهای به ظاهر زبانی و در قالب واژه ها، در جهت ترغیب و برانگیختن تفکر و اندیشه مخاطب هستند؛ از این رو، وجه اندیشگی غالب بر وجه زبانی است و شاید این مهم ترین دلیل در انتخاب اصطلاح استعاره مفهومی برای آیه نور باشد. با نگرگاه شناختیان که استعاره از حوزه بلاغت به گستره زبان و تفکر و زندگی راه می یابد و مفهومی کلی تر پیدا می کند، پذیرش بسیاری از استعاره های قرآنی خردمندانه تر می شود.
    کلیدواژگان: آیه 35 سوره نور، استعاره مفهومی، قرآن، لیکاف و جانسون، طرح واره استعاره مفهومی نور
  • محمدعلی خزانه دار لو، علیرضا قاسمی* صفحات 103-118
    نفثه المصدور یکی از متون برجسته تاریخی- ادبی دوره مغول است که هدف اصلی نویسنده آن، نه صرفا ثبت وقایع تاریخی بلکه حسب حال و بث الشکوی و شرح مصائب خویش بوده است. از این رو، نویسنده برای گزارش احساسات و تمایلات عاطفی خود در چهارچوب بلاغت کلام و متکلم و اثرگذاری بر مخاطب، از مولفه های گوناگونی بهره می گیرد که یکی از مهم ترین آنها کاربرد فراوان گزاره های انشایی است. مقصود از گزاره انشایی، بیانی است که ذاتا محتمل صدق و کذب نیست بلکه بیانگر احساسات و عواطف گوینده یا نویسنده است. این مقاله درصدد است تا ضمن بررسی دقیق بسامدی و بلاغی گزاره های انشایی موجود در نفثه المصدور و دسته بندی اغراض و معانی ثانوی آن ها، این گزاره ها را در پیوند با ذهنیات و عواطف نویسنده و فضای فکری و احساس گرایانه کتاب تحلیل کند و بدین ترتیب، هم به خودآگاه و ناخودآگاه ذهنی مولف راه یابد و هم نقش این گزاره ها را در ایجاد و گسترش فضای عاطفی و گفتمانی غالب بر اثر مشخص کند.
    کلیدواژگان: نفثه المصدور، بلاغت، گزاره های انشایی، فضای عاطفی، معانی ثانوی
  • مصطفی دشتی آهنگر* صفحات 119-136
    این پژوهش به نقد علم معانی سنتی و کارکرد آن از دیدگاهی نو می پردازد. از گذشته تا کنون، در کتب بلاغی برای جملات پرسشی، اغراضی را برشمرده اند مانند امر، نهی، بیان تحسر، ترغیب و... این موارد تقریبا معانی ثانوی بیشتر جملات پرسشی موجود در متون کهن را شامل می شود. در دوره معاصر، به دلیل روی کرد خواننده مدار به متن، به پرسش هایی برمی خوریم که علم معانی سنتی درباره آنها سکوت کرده است؛ زیرا در ادبیات قدیم نمونه های آنها به ندرت دیده می شود. این جملات پرسشی که در اشعار، به ویژه در داستان های دوره معاصر دیده می شود، به دلیل متکثر کردن معنای متن ادبی اهمیت دارد. تکثیر معنا با سهیم کردن خواننده در آفرینش متن صورت می گیرد؛ به این ترتیب که متن از خواننده چیزی می پرسد و با این شگرد، به صورت غیرمستقیم از او می خواهد متن را معنا کند. این نوع پرسش ها در این مقاله، پرسش های بلاغی تشریکی نامیده شده اند. این مقاله بعد از آنکه درباره ضعف علم معانی سنتی در تبیین این شگرد بحث می کند، از مباحث زبان شناسان و منتقدان ادبی در تبیین نظری جایگاه این نوع پرسش یاری می گیرد و در پایان، نمونه هایی از جملات پرسشی در شعر و داستان معاصر را ذکر می کند.
    کلیدواژگان: علم معانی، اغراض ثانویه جملات، جملات پرسشی، گفتمان، نظریه کارگفت، روی کرد خواننده مدار به متن
  • مهدی فیروزیان* صفحات 137-150
    در این جستار با دیدگاهی انتقادی به بررسی موسیقی بیرونی در شعر نیمایی پرداخته ایم و با آوردن چند نمونه شعر و پیش کشیدن مباحثی چون شیوه سطربندی و جای پایان یافتن لخت ها، کاربرد اختیارات عروضی و لغزش برانگیزی وزن در شعر نو، کاستی هایی را که در نوشتن قانون های عروض (به دست پژوهشگران) یا در اجرای آن قانون ها (به دست سخنوران) راه یافته آشکار ساخته ایم و کوشیده ایم با افزودن چند قید و اصلاحیه بر قانون های پیشین، کار شناخت ظرایف وزن شعر نو و بهره گیری بهتر از آن را برای پژوهشگران و شاعران آسان تر سازیم.
    کلیدواژگان: وزن، شعر نو، قانون های عروضی، اختیارات و ضرورات
  • لیلا مدیری*، محمد ابراهیم مالمیر صفحات 151-168
    جری و تطبیق، اصطلاحی است برگرفته از روایات که از اصل «وحدت معنایی و تکثر مصداقی» مایه می گیرد و در حقیقت یکی از معانی اصطلاحی تاویل و عبارت است از انطباق و حمل الفاظ و آیات بر مصادیقی غیر از آنچه آیات آنها نازل شده و قضایای خارجیه غیرمحضی که می تواند بر مصادیق، افراد، شرایط و مقتضیات هر زمان قابل تطبیق باشد. دلالت روایات نیز بر جری و تطبیق تمام است و اصل آن را ادله نقلی امضا کرده و عقل و عرف نیز بر آن صحه می گذارد. برای اظهارات اسرار معرفت و انشای درر مکنون دریای محبت، غالبا از استعاره و مجاز استفاده می شود و این دو سبک محور همه روش های مختلفی هستند که در تاویل قرآن می روند. بنابراین، موضوع مورد بررسی در این مقاله که برای اولین بار صورت می گیرد پاسخ تحلیلی این پرسش است که سبک مولوی در استخدام جری و تطبیق در استعاره های تاویلی قرآنی چگونه است تا از این رهگذر شگردهای تاویلی مولوی در خصوص تاویلات مبتنی بر وحدت معنایی و تکثر مصداقی در خلق استعاره های تاویلی مورد بحث قرار گیرد. لذا در این رهگذر از شواهد دیوان شمس و مثنوی استفاده شده و در موارد ممکن به بیان جنبه های تشبیه روایی، تشبیه، استعاره یا تمثیل قرآنی، تاویل تطبیقی و استعاره ادبی آنها پرداخته شده است.  
    کلیدواژگان: تاویل، استعاره تاویلی، جری وتطبیق، دیوان شمس، مثنوی
  • لقمان محمودپور* صفحات 169-184
    سعدی در گلستان اشاره کرده که تحت تربیت « ابن جوزی » قرار گرفته است. برخی گفته اند ابن جوزی مذکور، ابن جوزی اول (متوفای 597) نیست، بلکه نوه ی اوست که همان نام را داشته و در سال 656 کشته شده است. برای اثبات این رای دلیل خاصی ارائه نشده بلکه صرفا یک حدس و اظهار نظر است. ولی قرائنی در حکایت گلستان وجود دارد که نشان می دهد ابن جوزی مذکور همان ابن جوزی اول (متوفای 597) است. این قرائن و شواهد در این نوشتار با استفاده از منابع تاریخی، کتب تراجم و دیگر منابع مورد بحث و بررسی و تحلیل قرار گرفته است؛ همگی منابع، قرائن ارائه شده را تایید و به تبع آن این را که ابن جوزی مذکور ابن جوزی اول است ثابت می کند. وجود جمله ی « رحمه الله علیه » برای ابن جوزی، لقب « شیخ » و عنوان « ابوالفرج بن جوزی » که هر دو مخصوص ابن جوزی اول بوده، فاصله ی سنی بین سعدی و ابن جوزی (که باید فاصله ی معقولی با هم داشته بوده باشند)، و این که ابن جوزی دوم صرفا مدرس فقه حنبلی بوده، و اشاره ی ابن جوزی اول در کتاب هایش به موضوعاتی شبیه آنچه در حکایت گلستان آمده است، از جمله ی این قرائن است؛ که همگی با وضعیت و شخصیت ابن جوزی اول همخوانی دارد ولی با شخصیت ابن جوزی دوم مطابق توضیحات و توصیفاتی که در منابع در مورد او آمده همخوانی ندارد.
    کلیدواژگان: سعدی، گلستان، قرائن، هویت، ابن جوزی
  • مریم محمودی* صفحات 185-192
    صفتهای شمارشی شامل صفتهای شمارشی اصلی ، ترتیبی ، کسری و توزیعی است . در صفت شمارشی اصلی گاهی معدود نکره بر عدد مقدم می شود . در این حالت شمار خاصی با عنوان شمار تردیدی به وجود می آید . این نوع شمار مفهوم تقریب و تخمین دارد . در تاریخ بیهقی این نوع شمار با بسامد بالا بسیار به کار رفته است . در این مقاله به نقد و بررسی این نوع شمار در کتابهای دستوری و سپس در تاریخ بیهقی پرداخته شده است . این بررسی نشان می دهد که دستورنویسان و شارحین به این شمار توجه چندانی نداشته اند . از سوی دیگر بسامد بالای این نوع شمار در تاریخ بیهقی می تواند در جهت اثبات قدرت نویسندگی و امانتداری و تاریخ نگاری علمی بیهقی شاهد قابل استنادی باشد .
    کلیدواژگان: تاریخ بیهقی، صفتهای شمارشی، شمار تردیدی، یای نکره
  • مریم حیدری* صفحات 193-204
    متمم گروه اسمی است که پس از حرف اضافه قرار می گیرد و وجود آن در جمله گاه اجباری و گاه اختیاری است. هرچند موضوع متمم در دستور زبان از جمله موضوعات اصلی به شمار می رود، اما هنوز بسیاری از ابعاد آن مورد پژوهش و واکاوی قرار نگرفته است. یکی از این ابعاد تفکیک متمم اجباری(متمم فعلی) از متمم اختیاری(متمم قیدی) است که تنها زبان شناسان ودستورنویسان جدید به آن توجه کرده اند. در این پژوهش نگارنده ابتدا به موضوعات متمم، قید، گروه و انواع آن ها در جمله می پردازد، سپس با توجه به اینکه متمم قیدی خود یکی از انواع قید به شمار می رود و ازجمله قابل حذف است و از طرفی ترکیبی از حرف اضافه و گروه اسمی است، جایگاه این نوع متمم را در جمله از حیث گروه های موجود در جمله مشخص می کند.
    کلیدواژگان: متمم، قید، متمم قیدی، گروه اسمی، گروه قیدی، گروه حرف اضافه ای
  • ناهید دهقانی* صفحات 205-218
    هفت پیکر یکی از زیباترین منظومه های غنایی فارسی است که از دیرباز مورد توجه و تقلید شاعران قرار داشته است. نظامی، سراینده این منظومه، مانند افلاطون و نوافلاطونیان، زیبایی راستین را مفهومی آسمانی و معنوی می داند. این شاعر زیبایی شعر را نیز در معنای والا و متعالی آن جست جو می کند و به زیبایی لفظی شعر وزنی نمی نهد. اما میان این گفته نظامی با آن چه از اشعار وی دریافت می شود، دوگانگی آشکاری وجود دارد؛ زیرا نظامی از شاعران نام آور سبک آذربایجانی است و بهره مندی از شگردهای گوناگون ادبی و زبانی و نیز چند لایه بودن از ویژگی های مهم شعر سبک آذربایجانی شمرده می شود. هفت پیکر از نظر آفرینش های ادبی، خوش آهنگی، زبان تصویری و کنایی، به گزینی واژه ها، توصیفات زیبا، تخیل قوی، هماهنگی تصویر و عاطفه، شگردهای هنری و داستانی، نوآوری در آمیختن تاریخ و افسانه، و معانی و مفاهیم ژرف، شایسته توجه است. اگرچه بسیاری از آرایه پردازی ها در این منظومه از تکلف و تصنع خالی نیست و این ویژگی در کنار محدودیت وزن و نارسایی زبان از زیبایی برخی از بیت ها کاسته است، اما با چشم پوشی از این موارد می توان هفت پیکر را در شمار زیباترین منظومه های فارسی قلمداد کرد. در پژوهش پیش رو، به برجسته ترین عناصر زیبایی شناسانه این منظومه پرداخته شده است.
    کلیدواژگان: نظامی، هفت پیکر، زیبایی شناسی، تخیل
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  • Mohamadreza Salehimazandairan*, Parvin Golizadeh*, Nasrolah Emami*, Saad Savari* Pages 1-14
    One of the most important factors in musical richness and also highlighting words in poetry, especially in the short and compact quatrains form of Kenari music, is rhyme and row. Mowlana in his quatrains used his rhyme and row in very desirable and sometimes surprising ways and hereof considered as one of the norm repellent poets. Mowlana has putted aside all exact and conventional rules among poets in using rhyme and row. In some cases, Mowlana repeats the rhyme for emphasis, rhythm fulfilment or musical richness. The song obtained from these repetitions has noticeable effects in musical richness. In some quatrains also, common consonants and vowels multiplies the rhymes and with this, causes the music feeling and also more joy feeling in the poetry. Although observance of the rhyme in the third hemistich is not necessary and is optional, but Mowlana observed the rhyme in the third hemistich to increase musical aspect of his quatrains. Also between Mowlana’s quatrains, we see quatrains their rhyme’s words are completely similar and have some kind of complete, incomplete or mixed pun. Use of these rhymes in quatrains cause more musical richness of verses and content to be more beautiful and elucidated. As we mentioned before this, Mowlana in his quatrains’ rhymes and rows, like poems, be a repellent and tradition breaker. In his quatrains sometimes rhyme and row switch positions, sometimes rhyme plays the role of the row, while rhyme is separated and row plays its role as the row. Mowlana sometimes rimes a quatrain without a row in its first hemistich, but makes the rhyme of the second hemistich in the verse as the row in the next verse. Sometimes rhyme and row merges together, and sometimes waiver the rhyme and present the row alone. Mowlana profits from row for different means. Sometimes his mean by repeating the row is just increasing the musical aspect or fulfilling the rhythm. In this case row has no role in completing the meaning of the verse. For this reason, we see in most cases Mowlana choose the meaningless and unclear words as his poetry’s row; but sometimes it is vice versa, he uses meaningful and deep words and phrase in his row for more influence on humans. About 61% of Mowlana’s quatrains are with row. One of the most important characteristics of row in these quatrains is their high levels of diversity. Mowlana in his quatrains uses all kinds of verbal, noun, word, adjectival and… rows, that more frequent ones, belong to verbal rows. Between these verbal rows, are imperative, present, future and rarely past verbs; But present verbs seen more than other ones. In some cases, Mowlana uses some rows that are rare in Persian poem and less poets choose these kind of words as rows. Also Mowlana in 250 of his quatrains repeated the row also in the third hemistich and with this, brought his quatrains’ song and rhythm to their highest level and shows his passion, thrill and emotions. The cause of this usage of rhyme and row by Mowlana is that since most of these quatrains were singed in spiritual sittings and in a spiritual contemplation state, in this state he was just thinking to the song and the end and Kenari rhythm of these quatrains and did not bound himself to any rule and principle. For this reason, in many of his quatrains we see that the meaning and the content were sacrificed for rhythm and what is obvious in quatrains is just the song and the rhythm and the dance of words, not a special meaning.
    Keywords: Mohamadreza Salehimazandairan, Parvin Golizadeh, Nasrolah Emami, Saad Savari
  • Ahmad Amiri khorasani, Zahra Anjomshoae* Pages 15-28
    Interpretation means return to original and in terms of turning the literal meaning of the word is meant to be non-appearance and reality. Interpretation there have been in texts and religious teachings in all religions, especially among Christians and Jews. With the advent of Islam and the revelation of the holy Quran, the Muslim interpretation of divine revelations became widespread. No one is denied interpretation of Islamic sects. Many Islamic sects like the Mu'tazili and Shi'a, and groups such as Sufis have shown to interpretation special attention. But this thinking has an important place in Ismailia and is based on the philosophical foundations. They extended interpretation to all the religious appearances and believe that the Scriptures are the secrets and hints that the facts and secrets hidden in it. Instances Ismaili interpretations can be divided into three major groups. 1)interpretation of Quranic verses and hadiths to levels their religious degrees into three parts interpret Quranic verses of the mind and the soul, the interpretation of the verses to the "asas", the interpretation of some verses of the Hojjat, Bab, Daie, Maezon and Mostajib divided. 2) Numerical interpretations and taste, such as the interpretation of the word "No God but Allah" in "vajh Din". 3) Interpretations of the legal and practical minutiae such as the interpretation of prayer and fasting that the interpretation given to religious orders Naser Khosrow, thoughtful prominent Ismailis as "Hojjat" of the Ismaili sect, over the issue of interpretation in its prose and poetry, is used and believes that religious education has the appearance and reality and religion without interpretation does not have any value and like a body without soul. And he who does not know the essence of religion, deprived not only of religion, but hated the Prophet (pbuh) also.He rejects the revelation appearance in his poems without interpretation and the revelation appearance as sea salt and interpretation as pearl knows. He considered interpretation of the feather wisdom and knowledge. Naser Khosrow widely in your prose books devoted to the issue of interpretation and in his own "Vajh Din" has some interpretations. In this article, the literally and idiomatic meaning the interpreter, is examined and then to the issue of interpretation of the Quran, hadith, philosophy, theology, mysticism and Sufism and hermeneutics are paid. Then the the issue of interpretation from the perspective of Ismailia, especially Hakim Naser Khosrow mentioned. Ismailis, according to default "Masal & Mamsul" have been extended interpretation to all the religious and their works full of religious interpretation and interpretation of numerical minutiae and interpretation of genetic and intellectual affairs. Although Ismailis consider the Imam to interpret teacher and believe that this interpretation will have them, however, quotes are not documentary in his speech. Works like Meybodi`s Kashf al-Asrar the mystical verses have been interpreted, On the basis of taste and mystical interpretations written. In fact, this works are aspect of literary and artistic and Poetic and these words, all the whispers of love and the main difference is with the Ismaili interpretations. Interpretation and hermeneutic based on the possibility of different readings of religion And religious propositions raised by some intellectuals,taken from Gadamer's hermeneutics based commentator these thinkers have asked,Principles and methods of philosophical hermeneutics topics the interpretation of Quran and Hadith to operate. It should be recognized that man is fallible understanding and about revelation - that word of divine – can’t be applied hermeneutics. Because you never can be claimed that the purpose of God, was the same thing is that we have taken. So the only correct way interpretation of religious texts, Citing to the infallible Imams speech (PBUH). Those for whom, own knowledge from God have taken and "Tathir" verse in their dignity is revealed.
    Keywords: religion, Ismailia, Persian Poetry, Interpretation, Naser Khosrow, fifth century A.H
  • Ahmad Ghanipour Malekshah *, Morteza Mohseni Pages 29-42
  • Masoud Forouzandeh, Ali Mohmmadi Asiybadi * Pages 43-62
    The charming Veis-o-Ramin Masnavi is one of Ashkanian era stories that had been verified in Bahr-e-Hazaj by Fakhrodin Asâad Gorgani, one of the great Khorasani style poets during years of 432 and 446 Hejri Ghamari. Norm escaping is one of the most effective ways of highlighting and defamiliarization of Fakhrodin in writing this Masnavi. He developed his poetry language and beauty of his words and also increased literary understanding and reflection of his audience through this way. The present study is trying to investigate five types of (lexical, syntactic, phonetic, dialectal, and temporal) norm escaping in Veis-o-Ramin Masnavi by using descriptive-analytic method in structuralism framework and base on Lichâs norm escaping model. The results of this study indicate that the frequency of lexical norm escaping occurrence in Fakhrodin Gorgani words is more than other norm escaping. Semantic, syntactic, phonetic, temporal, and dialectal norm escaping are located in the succeeding places respectively, and two types of style and writing norm escaping had zero frequency in Veis-o-Ramin Masnavi. Discussing semantic norm escaping is ignored in the present article, because proposing this type of norm escaping needs more time and it deserves to be discussed in another article.
    Keywords: Vis, Ramin, defamiliarization, Deviation, Syntactic Deviation, Phonological Deviation
  • Abdollah Vasegh Abbasi, Mohammad Amir Mashhadi, Mahdi Rostami * Pages 63-74
    Abstract the term INDEX firstly was introduced by Roland Barthes in Narratology in the second half of the 20th century. From the point of view Barthes who is a structuralist, index is one of different kinds of functions in narrative texts. This type, although would be weak from act’s view, it could be rigorously necessary as the narration’s complimentary unit, for the Reinforcement of the space, color and the psychology of characters. However Index initiates from Western modern fiction, it exists in Persian classical literature as well. Sometimes index is correspondent to prologue which there are many instances of it in classical fictional texts. Nezami used index intelligently in whether prologue or otherwise in both “Khosrow and Shirin” and “Leili and Majnoon” epopees. In these epopees, elements of Prologue and Indexe Relate with Atmosphere and subject entirely.
    Keywords: Barthes, index, prologue, Nezami, Khosrow, Shirin, Leili, Majnoon
  • Parvane Saneai, Aliakbar Ahmadi Darani * Pages 75-84
    Slip candle Manouchehri known in Persian literature. Many great themes of Arabic literature and poets, this slip Manouchehr Akhzkrdh existence of common concepts in these subjects, as well as familiarity with Arabic literature has made Manouchehri Manouchehri intermediate Arabic literature and literature Arab poets influenced after its affect on the other hand the slip to the end of the 7th century AD. Like many poets imitated AH Osman Mokhtari, Sale and the themes were apparent Manouchehri In this study, we discuss the features of this Lghz·ha.
    Keywords: Literary types, Lghzshm, M. Damghani, Osman Mokhtari, Sale
  • Behjatosadat Hejazi * Pages 85-102
    The section of Quranâs marvel limit to literary and mystery elegances that, of Islamâs income in Iran, became offspring of efflorescence scene Persian language and literature. On basis descriptions belong to past generations ,inside metaphor because of resemble and liken, always hided a false that is mystery of beauty of language and logical reason for perfect disharmony between liken and metaphorical. But in holy chancel of Quran despite textual and literary marvels arenât actualize and false. Metaphor on basis current theory of lackoff and Johnson on basis cognition linguistic, discover a pervasive and splay plat that ,grade Quran auditorsâ surface of receipt and uptake about metaphors special those about extent of theism and theology. In this reason , we will regard to 35/Noor portent â this is one of the disputable portents with high span of interpretiveâ on various a massive conceptual metaphor that small metaphors help to better comment. In the conceptual metaphors of Quran specially those belong to divine extent and theosophy, ingredients exterior verbal and mold words are persuasion auditor's view. In this reason mentality mood is predominate on verbal mood and maybe this is the most important that why we preferred epithet of the conceptual metaphor of 35/Noor portent. With theory of cognitions that metaphor accede of eloquenceâs to languageâs, viewâs and lifeâs ,discover more general sense, receive many of Quranâs conceptual metaphors become more wise.
    Keywords: 35, Noor portent, Quran, conceptual metaphor, lackoff, Johnson, like plat of Noorsconceptual metaphor
  • Mostafa Dashti Ahangar * Pages 119-136
    From past to present in the persian rhetorical books, for question sentences had listed various intentions that approximately include most of question sentence in classic persian literature. but in the contemporary works whose that are mostly reader-response, we find rhetorical question that in classic rhetorical books did not mention about them because in classic works rarely find example of them. This rhetorical question find chiefly in contemporary narrative texts and outsatanding by multiplacity of meaning. Multiplicity of meaning created by Contribution of reader in creation of text that in this way apply in the text a rhetorical question and undirectly way request from reader to repley it. This question in the essay named interactive rhetorical question. this essay first discuss about weaknese of persian classic rhetorical books in explain of this devise,afterward analyze the Linguistics and critical discourse that explain this device and finally showed examples of this rhetorical question in poem and literary naratives.
    Keywords: Rhetoric, discourse, speech act theory
  • Leila Modiri*, Mohammad ebrahim Maalmir Pages 151-168
    Jary and collation is an expression derived from narratives. It originally means "semantic solidarity and multi-significance". In fact, one of the idiomatic meanings of interpretation is matching words and verses with the events verses were said for and other external including people, conditions and requirement. Since the sophism is an expansive rang for multiplicity of meaning and since, Mowlavi is a famous theosophist, this article aims to investigate Qoranic interpretive verses based on Jary and collation. The main question is regarding Mowlavi’s style in using Qoranic interpretive metaphors. First, it is necessary to consider the semantics of interpretation and its triple methods. Next, Mowlavi’s interpretive metaphors are considered in lexical semantics, interpretation means returning to the origin. This word has been used seventeen times in fifteen verses in seven surahs. Generally, they are referred to as "interpretation in second saying in verb three" and "interpretation in dream" idiomatic semantics of interpretation: "interpretation is a real fact which Qoranic expressions and wisdoms are documented on it. Such a reality exists in the heart of all Qoranic verses, whether their original or their analogous. Such a reality does not come from their surface but it is from the hiddenite which is so high that cannot fit in to lexicon. God has entered them in to words to make human understand a small part of it (Tabatabai, 1982:75).   Interpretation is based on 3
    methods
    1. justifying analogous, 2.finding a way to the heart pf verses. 3 Jary and collation the word "Jary" refers to exact movement a long location (Mostafavi, 1999:77). The word "collation" means placing something on something else, in such a way that cover each other (Ibn Manzur, 19830. two notes should be considered: 1-achiving semantic comprehensive ness, 2- achieving external significant for Jary and collation. Right adjustment cases: 1-expressing the general significance of words 2-expressing the specific significance of words 3-isolationg meaning and attributing specialty. 1-expresshng the general significance of word: some narrative verses narrate the significance of a general concept. In shams divan such a coincident current is seen: we move toward date root like holy Mary because there are not any dates on willow (shams divan, 1/261). Mowlavi compares date root with the alimentary aspect, taken from the hidden world to which Theo sophists harbor from upbraid and enjoy gods food .it refers to the verse: when the time of delivery come, Mary move toward date root (surah Maryam, 23). 2-expressing the specific significance of words: many Qoranic verses are considered specific and exact whether lexically or structurally and syntactically. There are no adverbs to give them specific significance, therefore, giving specific significance to each of them has got problem. Mowlavi’s poetry is filled with this adjustment technic. An example is provided here, which is Day light: because of this god said: I swear by Day light, and the heart of the prophet got luminous (Shams divan, 2/295). Mowlavi calls Prophet Mohammad: the clarifier, which is derived from the first verses of two Quranic surah: vaz-Zoha and vash-Shams. 3-isolating meaning and attributing specialty: the late Mr. Tabatabai believes that "many of Qoranic verses resemble proverbs which do not refer to elementary cases and there are applied in cases which fit their decadence.  This is one of the cases which refer to the coincident of holy Qoran (1983: 2/72). Mowlavi has correctly applied this case: Christ’s breathe like one hundred heavens, this material body has become by his favor: wind is jealous of Christ’s breath in reviving (shams divan, 5/17). Mowlavi compares spares springs breeze to the revival aspect of Christ’s breath. Of course, revival is one of the miracles of Jesus Chris. But, according to the principle of Jary and collation, attributing it to springs breath which is one of the traits of God, is not contrary and it can be said that the poet has attributed the characteristic: I created something like a bird by soil, then I breathed in it, then it became a bird (surah Ale Emran, 49).
     Conclusion
    Jary and collation in this article are considered for the adjustment of Qoranic verses which is based on semantic similarity with external cases including people and situations with specific rules. The basis of Jary and collation is the semantic solidarity and multiplicity of significance. One of the stylistic characteristics of Mowlavi in applying interpretive metaphors has triple degrees and it has many applications. He considers whim-oriented interpretation as invalid and recognizes the lauded interpretation which causes mobility and dose not negate the surface of words.
    Keywords: Jary, collation, interpretive, metaphor, Mowlavi
  • Loghman Mahmoodpoor* Pages 169-184
    Saadi in Gulistan (Saadi, 1368: 94) has referred to his attendance in meetings of "Ibn Jawzi". In the sixth and seventh centuries two Ibn Jawzis lived: the first is that is known with many compilations and is called “Abdulrahman bin Ali” and passed away in 597, the second is his grandson called “Abdor-Rahman Muhyiddin ibn Yusuf” that was killed in 656 in the Baghdad decline incident. About Ibn Jawzi identity in Gulistan, the researchers are divided into two groups: some say he is the same known Ibn Jawzi; and others say he is the second Ibn Jawzi or his grandchild.  Late Iqbal and Allama Qazvini have said this Ibn Jawzi is the second or grandchild. The thing that makes them to consider the second as the second Ibn Jawzi is that they believe that Saadi was born in the early sixth century and was Saadi is unlikely to would have lived so much. No evidence these two have to prove their claim and yet they have not had any doubt in this regard. The author of these lines believes that the said Ibn Jawzi in Gulistan is the same known Ibn Josi or the first that passed away in the year 597.  When Saadi speaks of his presence befor ibn Jawzi in his story, it is seen that there is evidences that with analyzing them versus historical and biographical books, this issue is proved that the one said is the same known as Ibn Jawzi. These evidences are as follow: Saadi has stated "Rahmatullah" after the name of Ibn Jawzi. Saadi has used to state these words and phrases just for the deceased and departed and not for the alive. And when he would have been writing Gulistan in 656, the famous Ibn Jawzi has not been alive, but Ibn Jawzi the grandchild has passed away at the same year. Ibn Jawzi the second or grandchild would have been an assistant teacher in school "Mustansiriyah" and then has become a teacher. In all of these two periods he would have taught only Hanbali fiqh. We certainly know that Saadi has not been a Hanbali Muslim in order to deduce he would have learned Hanbali Fiqh before him. Ibn Jawzi the second or grandchild would have not taught elsewhere. But the famous Ibn Jawzi might have been a great scholar that many people of different ages and from different religions would have participated in his lesson meetings, and therefore, it is natural that the said person in Gulistan is the known or first Ibn Jawzi. Saadi in Bustan has said that he had educated at Baghdad Nezamiyeh. His education at Nezamiyeh denies his education at Mustansiriyah because these two schools had both been religious ones and no one can educate similar courses at two schools. Saadi in Gulistan story introduced himself as "early youth" and Ibn Jawzi as "Sheikh al-ajal". Historical sources indicate that Ibn Jawzi the second or grandson was born in the early seventh century. If Saadi was born in the early seventh century, Ibn Jawzi could not have been the Sheikh al- ajal and the other early youth. It can be probable that someone would have been Sheikh and the other one a disciple. But Saadi has emphasized on age not on Sheikh and discipleship. But “Sheikh al-ajal" can be correct for famous or first Ibn Jawzi and no problem occurs. Saadi in Gulistan has used the titles "Sheikh" and "Sheikh al- ajal" for Ibn Jawzi. Sources and historical evidence proves that the title has been used only for the known or first and not for the second Ibn. Ibn Jawzi in his books refers to presence of teens before him and their repentance and training and recommends them to reclusion. This is fully consistent with the theme of the Gulistan story. Saadi in Gulistan mentioned the said person as Abol-faraj Ibn al-Jawzi. Sources and historical evidence suggests that this has been just used for the famous or first Ibn Jawzi (d. 597 AH) and not for the second Ibn Jawzi. All the above evidence suggests that the Gulistan of Ibn Jawzi is the famous or first Ibn Jawzi called "Abdulrahman bin Ali" that had died in the year 597, not the second or grandson of Ibn Jawzi Called "Abdul Rahman Ibn Muhyiddin Yusuf," who was killed in 656 in the event of the decade of Baghdad.What we can deduce out of this paper is that it seems the birth of Saadi may not be in the early seventh century, but in the last quarter of the sixth century. However, in this case Saadi's age goes up (because he had died in the year 690 to 694), but there is no obstacle to its acceptance. And we see no compelling reason that Saadi could not have long life.
    Keywords: Sa'adi, Golestan, evidences, birth, identity, ibn-e Jawzi I
  • Maryam Mahmoodi* Pages 185-192
    Numeral adjectives include cardinal, ordinal, distributive and fractional ones, According to the type of the numeral adjective, the position of the numerals and the enumerated nouns are determined in a way that the numeral sometimes precedes the enumerated noun and sometimes follows it in using cardinal numbers, the numeral usually precedes the enumerated noun. But sometimes, for the sake of certain reasons, the enumerated noun precedes the numeral. Although, poetic necessity determines this transposition in some cases, it is not the main behind that because in prose works we can also find evidence of such transpositions. When the enumerated noun precedes the numeral, it is sometimes accompanied by the indefinite or unity "ی" which implies approximation in this case the numeral is considered as a suspicious numeral, i.e. a numeral which does not show any certain or fixed number. The history of Beyhaqi is ample with this kind of numeral. The most famous vague numerals in this book include: suspicions numerals are used in the case of vagueness and uncertainty. One kind of these numerals is used in "the history of Beyhaqi" in which the indefinite enumerated noun precedes the numeral. In this book, this structure has been used more than eighty times. The precedence of the indefinite enumerated noun over the numeral occurs in different ways, including: - Indefinite enumerated noun + numeral. - Indefinite enumerated noun + numeral + adjective. - Indefinite enumerated noun + numeral + numeral. According to some of the authorities, in all these cases, suspicions numeral implies approximation and estimation, but sometimes text commentators did not attend to this concept. The high frequency of this kind of numeral in "the history of Beyhaqi" represents the fact that Beyhaqi did not transpose numerals and enumerated nouns for the sake of having fun or speech fineness. In most cases, his intention is to convey the approximation, estimation and sometimes humiliation. Anyway, one of the points relating to his precision, subtlety and description power on the one hold and to his honesty in recording and narrating events on the other, is using numbers and numerals in high frequency the is seeking to write in a careful manner and without any deficiencies. For this reason wherever there is no possibility for him to access precise and calculated statistics, he uses suspicions numerals investigating this kind of numeral in "The history of Beyhaqi" shows that: Firstly: Although using this kind of numeral was precedent to Beyhaqis time, its high frequency in this book is outstanding and significant. Secondary: The concept and meaning behind this numeral are hot attended to by all those who are concerned in duding the commentators. Thirdly: The great application of this numeral in this book can be deemed as a factor used in verifying Beyhaqis speech and chronology power and his honesty.
    Keywords: Beihaghi History, numerical adjectives, hesitant count, the infinite
  • Maryam Heidari* Pages 193-204
    Discussion of complement types is among new grammatical issues, not addressed in all its aspects yet. Place of adverbial complement in the sentence is also worthy of attention and study, since it is categorized as types of adverbs and also types of complements. What is a complement? There are enormous differences in the definition of complement. So much that almost no two grammarians have the exact same views. This is because some define complement as “what completes the meaning of the noun before or the sentence in which it has been used”, and some consider “a special type which is prepositional complement”. Complements are noun phrases placed after the preposition in a sentence and are sometimes compulsory and sometimes optional in accordance with their role. Complement types: Complement categories are very diverse and different in books. Thus, perhaps Kamyar’s division in this respect is more complete since only prepositional complements are included and almost all types are expressed: 1) verb complements, 2) noun complements, 3) adjective complements, 4) adverb complements, 5) pseudo-sentence complements. Adverb types: Adverbs are classified based on type and structure: a) adverbs with no indicator: 1- specific adverb 2- adverbs in common with nouns 3- adverbs in common with adjectives. b) Adverbs with indicators: 1- Adverbs with nunation 2- prefix adverbs 3- adverbial complements Types of phrases: 1.The grammatical unit made of one or more related terms, where the main word or the nucleus is a noun is called a noun phrase. 2. The verb phrase appears in the location of the statement and includes one or more smaller units. The main element here is the verb. 3- Adverbial phrase is part of the sentence that the verb does not need, and thus can be removed. 4. A string of words used as a phrase with an adjective nucleus is called an adjective phrase. Before the adjective a qualitative preposition, or a grade preposition can be used, and it can be followed by noun phrases, prepositional phrase or adjective phrases in a complementary role. So the adjective phrase may also appear as only an adjective. 5. The prepositional phrase is made of “a preposition + noun phrase”. Prepositions are grammatical words that appear only in front of a noun phrase. Prepositional phrases are used with various grammatical relationships, especially prepositional complement in noun phrase, indirect object and complement in verb phrase and also complement or adverbial complement. Prepositional phrase is not used in direct object and subject’s grammatical relations. Place of the adverbial complement in the sentence: Since the complement is a noun phrase that comes after the preposition and the adverb is removable it is hard to determine the position of adverbial complement as a phrase. So instead of being limited to noun, verb and adverbial phrases, we had better also consider prepositional and adjectival phrases. Thus, all the complements are categorized as prepositional phrases. It is also more appropriate for nouns in common with adverbs to be called adverbial complements whose preposition is removed.
    Conclusion
    Mainly, differences about complements is due to authors’ perceptions because some, especially older authors, consider the complement solely with the literal meaning of the word, i.e. something that completes, in their definitions, so in addition to prepositional complement they consider other components such as objects and predicate as complements. Some, on the other hand, consider the connotation of the term and only categorize nouns placed after prepositions as complements of different types. This difference in perception could solve many uncertainties regarding the complements. Adjective in common with adverbs are categorized as either adverbial phrase or the adjectival phrase according to their role in the sentence. Whenever they are perceived as an adjective, they will be categorized as adjectival phrase, and whenever they are perceived as an adverb, as adverbial phrase. Therefore, it is vital to consider a word’s meaning and use in different sentences to determine their place. Limiting phrases to verb, adverb, and noun in the subject of adverbial complement and adjectives that take the role of a predicate will lead to ambiguities that can be disambiguated solely through considering the other two types of phrases, i.e. adjectival phrases and prepositional phrases. It is better to separate the prepositional phrases and noun phrases and consider the prepositional phrase as a combination of the nucleus, as a preposition, and a noun phrase
    Keywords: complement, adverb, Adverbial complement, noun phrase, adverb phrase, Prepositional phrase
  • Nahid Dehghani* Pages 205-218
    Every one use "Beauty" for every things that make him/her happy so it is not expected just one definition is presented for this concept. In other hand proposed theories of aesthetic just focus on certain aspect of "Beauty" so it cannot be considered as a principal frame. Undoubtedly poem as one of the most important branches of art can be aesthetically analyzed, but it is difficult to answer to this question "How beauty is created and what criteria should be considered. From years ago, Iranian poets and writers have spoken about beauty, but they have not presented a clear definition and precise criteria .concept and nature of beauty have been briefly explained by Nezami in" Haft peykar". Nezami has implicitly divided the beauty in two species look, material and real (spiritual). Nezami's emphasis on impermanence of the physical beauty and his order to transition from Physical beauty to spiritual beauty, showing his metaphysical beliefs about real beauty. Same as ancient Greek philosophers, especially Plato and Neo-Platonism, he knows the beauty as a heavenly and spiritual sense and also he believes that real beauty is connected with pure simplicity, while Non beauty phenomenon, is emptied of any spiritual concept and infected with destructive lust. Nezami’s great attention to spiritual beauty in compare to physical beauty has affected his view regarding poem beauty, in other words he searches beautifulness of poem in sublime beauty of the poem and doesn’t consider literal beautifulness but there is a paradox between this Nezami statement and what is comprehended from his poem. Nezami is one of the most famous poets of Azerbaijani poetry style. Literal and spiritual complexity and various techniques of literary and linguistic are important features of Azerbaijani style. At this time period, consideration to literary and linguistic techniques to outshine the others .has made this poem style very complicated and requires interpretation. Haft Paykar is one the most beautiful Persian lyric poem which has been considered by other poets from a long time ago.  This poem with regard to the rhythm, ironic imaginary language, the word selection, beautiful descriptions, strong imagination, harmony between the image and emotion, artistic techniques, innovation in combination the history and legend, and deep concepts. Is worthy of analysis and thoughtful review. Although some of figures of speech at this poem are not without mannerism and this characteristic together with rhythmic limitation and language insufficient decreases the Beautifulness of many verses, but by ignoring this advantage, Haft Peykar can be considered as one of the most beautiful Persian poems. In this article, the most important aesthetic elements in the poem have been studied.
    Keywords: Nezami, Haft Peykar ‌, Aesthetic, Image