مرتضی رشیدی

Among Iranian poets, especially after the Safavid period, a group of professionals gradually appeared and some of them have shone. The use of tools and occupations in poets' poetry has a long history. This application, along with the useful information that it provides about different occupations, provides guidance in better understanding the old days of Iran in different periods The literary approach of these occupations can be seen in the literary type of poetry, One of the most important features of the city of riots, in addition to the description of the beloved, is the expression of the professions that were popular in the time and place of the poet and its community. In this research, among the professional poets, we have focused on the butcher of Kashani. Kassab is one of the poets of the second half of the 11th century and the beginning of the 12th century of Hijri, who has been able to write admirable poems in addition to the mystical and lyrical themes in the creative theme of his profession, considering the level of his awareness and knowledge. Bring in your speech. aims to investigate the use of tools and related job terms in Kassani's butcher's court, and by analyzing the findings, explain the use of tools in Kassab's poetry. and show the poet's ability to combine his profession with the poetry and social characteristics of his time, how are the tools and words related to the butcher's profession reflected in the words of Kashani's butcher?

Manuscripts are written heritage and represent the scientific, cultural and social identity of nations. Since ancient times and as evidenced by history, Persian-language writers and poets have created many works, whose preservation and revival is the scientific and cultural mission of researchers. Although researchers in the field of Persian language and literature have long paid special attention to the correction of ancient Persian literary texts, some of these texts have not been revived and corrected after centuries. Nevertheless, the copy of Diwan Kasab Kashani has been corrected five times by Parto Beizai, Abbasi, Javaheri, Karmi and Atefi, and the authors are trying to identify the copy and the author with the descriptive-analytical method and with the help of library sources. and examine the stylistic elements and components, express its linguistic features, its literary, religious, mystical and historical value. Also, address the corrections that have been made from this manuscript, and in each correction, briefly mention the motivations of the correctors for reviving Diwan Kasab, the methods of correction, and the additions and appendices in the corrections. review The results of the research show that the manuscript of Noor Osmaniyeh Library has not been used in the previous corrections

The unique content creation and all-embracing imagination of Indian-style poets have created a variety of thematic contexts in their works, and these thematic contexts have been reflected in the mirror of their poems in different ways. That era’s political, social, cultural, and even religious structures, broadened the poets’ horizons and led the personal feelings, and inner emotions of poets with heartwarming thoughts to be reflected in different subjects in poems of this era and a collection of different lyrical literature emerged in their works. On the other hand, single-couplet is a form of stating these subjects. The poets’ books during this era are the most extensive collections in which ethical, spiritual, love-making, religious, teaching, and social issues with novel and new content show off in a short form of single-couplets and generally, the frequency of lyrical literature is more significant in this form compared to different literary forms. This article has addressed the lyrical aspect of Indian-style’s single-couplets and the variety of lyrical contents and has studied variables such as love, mysticism, pomposity, grievance, threnody, humor, patriotism, mystery, etc. in the poems of this era. The present research results show that virtual love, mysticism terminology, pomposity, and patriotism have the most frequency. The present research method is based on description and analysis.

One of the tools influencing the audience is using the power of words to convey secondary meanings, and this issue is well seen in the secondary meanings of interrogatives. Due to the necessity and necessity of the topic, the poet raises news, orders and prohibitions in the form of questions, because the effect of the sentences of news or orders and prohibitions in the form of interrogatives is much greater on the listener than in the form of news or orders and prohibitions. Is; The poet expresses his meaning in the form and construction of questions in order to make the reader or listener to think faster and better, or to prevent him or to arouse his emotions. Literary questions in sentences often have no answer and are used to achieve various rhetorical functions. In this research, the author is trying to investigate the rhetorical question in Kassab Kashani's poems with descriptive-analytical method and library tools and to answer the question that what are the most implied meanings of questioning used in Kassab Kashani's poetry? The results of the research indicate that most of the questions in Kassab Kashani's poetry include the implicit meaning of helplessness and expressing despair, and Kassab has used all the linguistic tricks and abilities in the structure of semantics in his poem and embellished his speech in a way. Is. The optimal use of the science of meanings has made his words lasting and influential and heartwarming.

Romanticism, one of the most complex and widespread literary schools, emerged as a groundbreaking phenomenon in the late eighteenth-century. The school developed in an era of outstanding scientific, social and political changes in Europe. In the same vein, Iranian constitutional movement introduced Romanticism as a novel intellectual approach in Persian literature. Although Simin Behbahani cannot be regarded as a follower of this literary school, many of her poetic imageries enjoy attributes associated with imagery employed in Romantic poetry. Her poems are similarly replete with imagery which express the poet’s attitude and vision and outstandingly convey her emotions.This article takes a descriptive-analytical approach to Simin Behbahani’s poetry in her three outstanding collection of poems: A case of A Line from Speed and Fire, Arzhan Plain, and A Window of Freedom. The article is an endeavor to study some attributes of romanticism in Simin’s poetry as transformation of nature, individualism, ambiguity in imageries, dynamics of language and transcendence of the images, and melancholy.Ambiguous combinations and imageries, implied meaning and expressions of feelings, transcendence of nature, individual and social melancholy, and personalization of various symbols are amongst attributes which reveal Simin’s poetry to bear influences of romanticism.The findings yield significant implications on Simin Behbahani’s poetry with regards to Persian modifications introduced to romanticism which most visibly concentrate on transcendence of nature and individualism.

Sociology of literature is a new science that examines the reflection of socio-political issues in texts of prose and prose in order to critique and analyze the norms and anomalies of society and the position of the poet or writer when creating a literary work. After the sedition of the Mongols to the homeland of Sheikh Hassan the Great, he formed the Jalayrian dynasty in many parts of the country. One of the successors of Sheikh Hassan the Great was Shah Sheikh Owais, who, while overcoming many social ills, paved the way for the growth of poetry and literature. Of course, honorable works were created. Salman Savoji, who had served Jalayrian in Baghdad for forty years, wrote the Masnavi of Faraqnameh, which was a description of Sultan Oveys's love for Biramshah, the son of Khajeh Marjan, and in parallel, Aref Ardabili composed the Farhadnameh poem in imitation of Nezami Ganja'i. This study, by historical method and referring to reliable documents and library sources, has examined the anomalies of the Ilkayans and has reached the conclusion that in the Jalayrian era, social harms such as gambling, embezzlement, bribery and corruption were common. And attachment to new slaves and boys was common in the society of that time.

This article endeavours to study the poetic imagry employed in Simin Behbahani's Dasht-e-Arzhan to shed light upon its multilayered visual rhetoric, its sumptuous imagery on external and internal facets as well as the poet's imaginative and pictorial perspective. This descriptive- analytical reading is an attempt to delve into Behbahani's poetic images, deployed in Dasht-e-Arzhan, for their imaginative richness, the diverse perceptual levels they render, and the transition between these levels, from the superficial and intermediate towards the inner and profound layers of perception. The work comprises of an examination of the imagery on both surface and deep perceptual levels and identification of instances of positive and random images.

The present study is a theoretical study that has been done by library research method. The study area and community is the Dasht Arjan in the collection of poems by Simin Behbahani.

Simin Behbahani is one of the contemporary poets who has remained faithful to traditional poetry in form and form, but in many other cases is considered a new poet. Imaging is one of his tricks in this regard. He has his own style and style both in using the elements that make up the image and in the way he presents poetic images.

The study yields fascinating results since the images employed in the masterpiece are of deep and random nature. Moreover, they are significantly imbued with romantic characteristics.

Love is a manifestation of human emotions. Logically, neither of lovers can commit themselves to loving the other one in the same way for ever. This has made philosophers consider this issue carefully. The aim of ethics of love is to not disregard morality and courtesy of love emphasizes the attitude of lovers after falling in love. Both ethics and courtesy of love determine the success or failure of the love relationship. Our question is how lovers would interact with each other in classic lyrical account of love, compared with some of contemporary accounts of temporary love. Since love is exquisitely manifested in classic works like Khosro and Shirin, this work was selected as the source of the study. Based on Mostafa Malekian’s article, a qualitative analysis was done to read this work to find the impact of observing or ignoring morality and courtesy of love in the romance between the love characters of this story. It was concluded that ignoring ethics of love is evident in classic works and that main characters commit immorality in love so the success of their romance is put in danger. Khosro ignoring the ethics and courtesy of love, destroys their romance. Shirin, however, observes both the ethics and courtesy of love. She behaves reasonably and tries to have love and abstinence simultaneously. It is also interesting that female lovers tend to observe the ethics and courtesy of love more than male lovers.

Nizami’s Khamseh is the poems has been repeatedly copied in the illustrated and non-illustrated forms during the time. Illustrated manuscripts have in addition poems, the meaning concepts of illustration and it is because of being relation among poems and its illustrations. This paper, introduce illustrations of Haft Peikar of Nizami’s Khamseh’s manuscripts by Descriptive-analytical method. They are as following, university of Tehran’s manuscript- code 5179, Shahid Motahhari’s -code 400, America Library of Congress, Kakh Golestan -code 1951, Islamic Consultative Assembly-code 930, National library-code5-15275 of N. L. digital, National library-code 3058256 of N. L. digital. Due to the relation between illustration and poems, being aware of the number as well as the subject of illustrations and the main focus of their narrative, is important for later research in this field. The paper says that in the above manuscripts, Bahram Gour is the main focus of the narrative and most frequently revolves around his presence in seven domes while the painter is not completely bound to the text.

One of the best features in introducing the history of the culture of different nations and its originality is manuscripts. Manuscripts are part of a nation"s cultural heritage and literary, historical and cultural identity; Therefore, introducing and correcting them is in fact honoring the national identity. One of these copies is the manuscript of the Divan of the ghassab Kashani, a Shiite poet of the Safavid era, whose Divan is composed in the Indian style of poems consisting of 435 lyric poems,10 Musmmat, 4 poems, 1 composition and 1 preposition. The main purpose of this research is to introduce the manuscript of ghassab Kashani, to highlight the stylistic and unique features of this powerful poet with meticulous meticulousness and its linguistic, rhetorical and intellectual layers. The main purpose of this research is to introduce the manuscript of Kashani butcher, to highlight the stylistic and unique features of this powerful poet with meticulous meticulousness and its linguistic, rhetorical and intellectual layers.

This research is based on library studies and descriptive-analytical method.

Ghassab Kashani is composed of 435 lyric poems, 10 mesmat, 4 poems, 1 composition and 1 preposition. By mastering the popular literature of Iran, he has created innovative combinations and spiritual conduct; In these poems, all kinds of verbal and spiritual industries with the frequency of equation and sending style are shown, which in the basis of this text, lyrical and religious themes are prominent.

Saeed GHassab Kashani, with a student in the person of Saeb Tabrizi, composed his poetry collection in the Indian style. This work is a remarkable work in terms of containing strong lyric poems and verses that have been written with the guarantee of prominent Persian language poets. An examination of Kashani"s butcher"s court shows that the language of his poems is simple and fluent. Abandoned words and Arabic compounds are few in his divan And the slang expressions and expressions of the language of his poetry have brought him closer to the language of the people of the street and the bazaar And by meditating on his poems, it can be seen that the poet has so much taste and feeling that he can hunt pristine and beautiful meanings and themes with his piercing gaze on the phenomena of nature and living environment And to close them on the gap of new and unique words and interpretations, and to make the reader his pedestal with a certain passion and excitement And he displayed his art and masterpiece in such a way that he would not feel illiterate in any way. At the same time, his weakness in the range of vocabulary has in some cases rhymed him, so that among his poems there are verses with rhyming defects. In addition, in his poetry collection, according to the poetry of many Indian poets, there are examples of rhyme repetition, repetition of verse and tasteful verses.

Kalim can be considered as the most capable poet to embody precise meanings and illustrate diluted thoughts in a rhetoric format whose sonnets are full of recognition, subtlety, pristine and innovated themes, imagination, colorful meanings and transcendent metaphors. In this study, the techniques of the themes were studied in Kalim's sonnets. In addition, it was found One of the stylistic and unique methods in Indian style poetry that has created special poetic meanings and contents (strange meaning) is the use of techniques that discover new connections and relations between the concrete and the abstract that there seems to be no connection between them. Moreover, this meticulousness, subtlety, and precision in the detail is a factor that the poet selects even the surrounding objects as one of the thematic elements. that he used various elements for the themes in his sonnets, which played a significant role in the network of images and associations of meaning in his poetry. Since his profound and creative look in one thing or phenomenon was discerning continually the other things that created a new theme through the relation between the expressions of a verse and the( link between them and the triple relation of similarity, proximity, and contradiction via the detailed and partial attitude toward the surrounding objects.

Characters are the most important components of a story. And proper knowledge of characters is a way of improving the effect of a story on the audience. Ferdowsi’s Shahnameh, Book of Kings, is the greatest Persian epic poem, giving detailed accounts of events and characters with unlimited time and space settings, and the different characters have various human interactions and different individual characteristics. Therefore, the present study aimed to investigate the characters of Goshtasp story by using the “Setting-Factor” model, regardless of the narrative techniques and storytelling structure of Ferdowsi. The results revealed the effectiveness of the the “Setting- Factor” model on the one hand, and introduced a new approach to the study of the characters of Shahnameh given the factors such as name, environment, sex, class, belief, temperament, and fate, and different settings on the other hand.

Sultan Ahmad-e-Oweis is one of the sultans of Al-Jalayer, who were an artist and a poet that wrote poetry in Arabic, Persian, and Turkish. Unfortunately, there is no copy of Sultan Ahmad Jalayri's poetry collection in Iran. However, according to historical, literary, and artistic writings, there are two versions of his collection outside Iran. The first copy is in the Ayasufiya Library of Turkey and the second version, which is the basis of the present study, is archived and numbered f1932 in the Farir Gallery. Most of the poems in the latter version include the sonnets of Ahmad ibn Oweis.  Though Sultan Ahmad was refined in different forms of poetry, he was mainly a sonneteer and his sonnets outnumbered his other poetry genres. He wrote 622 sonnets with 4385 verses. He wrote the sonnets following the style of the eighth-century poets and his sonnets enjoyed various weight formats and content and also the themes of love, mysticism, criticism, etc. Ahmad-e Jalaieri, in his mystic sonnets, like most mystic poets, believes in the ideas and principles part of which can be seen as reflected in mystic vocabulary choice,

In an illustrated manuscript, symbols are usually used to transfer concepts from a literary text to an image. This research deals with how the cryptic and hidden concepts of Haftpeykar’s story are reflected on the illustrated manuscript kept in Shahid Motahari University, based on the analytical-descriptive method. The results show that symbols are used in the illustrated manuscript based on the symbolic meanings of the text of the poem. In other words, symbols have been selected to convey the main message of the story, but they do not follow just the literary text but the choice of symbols in the illustrated manuscript is also related to the cultural proportions of their time. The research method in this study is documentary and analytical and the data are collected using a library research method.In mystical literature, deep meanings are expressed using symbols. The symbol displays the theme of the imagination artistically, because it is interpretable. Since Iranian painting has a long history with Persian poetry and literature, over time it merged with Old Iranian wisdom and Islamic mysticism in a way that literary texts became the basis for the creativity of Iranian painters. Nizami’s Haftpeykar is the most mysterious collection of his five versified stories. Haftpeykar’s message is spiritual excellence. Every Gonbad’s story contains a teaching for Bahram Goor to enlighten his soul. The miniature (attached image) narrates a section of the story in which the protagonist, after discovering the secret of the black-wearing people of the city, meets Lady Parizadegan.According to the results, in the miniatures of the “Black Gonbad” story of Haftpeykar from Nizami’s Khamseh (5 poetries or treasures) kept in Shahid Motahari University, symbols are divided into three categories regarding the text. The first group consists of symbols that are used exactly in the text of the poem and symbolic concepts are expressed with their help. The second group contains the symbols that do not appear in the text of the poem, but the miniature is used to convey the symbolic meanings of the story. Finally, the third category includes the symbols that are not a reflection of meanings of the text of the poem but they are influenced by factors outside the text and work to express concepts beyond the text of the poem.

Black humor is a form of comedy that seeks to show suffering and boredom, anonymity and emptiness, worriment and death anxiety, and fear and loneliness of contemporary man through satire. Bahram Sadeghi is one of the novelists who carefully and delicately used the ability and capacity of black humor and has used this literary device in his short stories, which were mainly written between 1965 and 1962 and published in the collection of stories "Sangar va Ghoghomehaye Khali (its translation in English:Trench and EmptyThermoses)". The main question of the research is what are the stylistic features of black humor in Bahram Sadeghi's short stories and what methods has the author used to include black humor in the stories and what goals has he pursued? In response, it should be said that Sadeghi has highlighted black humor in his stories by using contradiction, miniaturization, magnification, Gothic atmosphere and deviation from the subject. He has sought to indirectly reflect the issues of his time, to reveal the reality of life by criticizing obsessive disorders, political conflicts and cultural petrifications and to represent his perception of life experience.

Humor in terms of content is a literary genre in which the writer and the poet express the causes and reasons of backwardness, defects, corruptions, and painful inadequacies of a society with an intentionally adjusting look with a taste of laughter in an exaggerated way. The four main elements of "laughter", "exaggeration", "social criticism" and "reformism" are involved in the formation of any humorous writing. Although a humorous look to reveal political and social anomalies and problems has always existed in the Iranian history and literature, it can not be compared, in terms of frequency and stylistic characterization, with the humor of the constitutional era. The relatively free and temporary atmosphere which was created for the writers and poets along with the emerging of newspaper media provided enough appeal for satirists to write. In Isfahan, the Naqour newspaper began to be published, imitating Mollansereddin and Sur Israfil. In the column "Ugly and Beautiful", which was probably written following Dehkhoda's "Nonsense and Birds", interesting humorous content was inserted. This article is qualitative research and examines the text of the column "Ugly and Beautiful" in the whole statistical community published for one year. The method of analysis is documentation (newspaper) and content analysis from a satirical perspective. Naqour newspaper (published in Isfahan from 1326 to 1327) was published under the management of Mirza Masih Tuyserkani. Its first issue was published on the 26th of Rabi al-Awal, 1326 AH, in Isfahan. This newspaper criticized the events of the society of that time and the activities of the Isfahan Provincial Association with a humorous and sometimes satirical expression. In its humor, Naqour, while playing with words and interpreting them, has used allegories and anecdotes to criticize the political situation of the country, and in this way, it has made humorous use of proverbs and presenting the letters of the readers. Most of Naqour's political satires are interpretive and how those satires deal with current events. Its distinctive feature is the use of humor, language, and folklore, especially since this newspaper was one of the local newspapers and was published in Isfahan. It has tried to use the dialect and idioms of Isfahanians and sometimes the Armenian minority. In the ‘Ugly and Beautiful’ column of Naqour newspaper, most of the content is related to the country. The relatively high level of political issues in the newspaper is influenced by the main function of this newspaper as a political tool, and the most important political issue raised in the Naqour newspaper is the criticism of the Isfahan Governors’ Association. In this newspaper, occasionally dealing with religious issues is only for the sake of the judiciary and the unjust behavior of that power. Otherwise, the humor and joke of the newspaper do not include this field, because the writers use religion as a lever of pressure or threat when they want to clarify something that is religiously understandable to the people or to respect the rights of the people by the authorities with a humorous and of course softened look.

Theme development is a process in which a narrow point, a precise mindset, a subtlety, and a fresh form of meaning are created, which is the most important feature of Persian poetry from the ninth century up to the age of “Indian Style”. Theme is a structural category related to the linguistic form and capacities; and the cause of theme development is the poet’s power of association through similarities, proximity and contradictions. Kalim Kashani, an Indian-style theme-developing poet, enjoying a deep and thorough look at the world around him, uses the objects/motifs in a different way; develops new themes in accordance with objectivities, general principles and abstract imagery, and the use of one or more theme-developing techniques, indirectly expressing his pure internal mindsets. In this study, for the purpose of exploring the techniques of theme-development with objects/motifs and studying the poet’s the angle of view, “candle” was studied as one theme-developing element/motif in his sonnets. It was determined that among the various techniques of theme development, the “equation model” was the most frequently used method. This significant frequency may be attributed to the socializing, or “mingling” of poets and common people, which has reinforced the universality and accessibility of Safavid-era poets.

Romanticism is an important move in the history of art and global thinking. In the present study, nature, imagination, and freedom have been selected from among the significant elements of romanticism based on the high frequency in the poems by Lord Byron and Simin Behbahani. Taking the relationship between and among these elements into account, it could be seen that the tendency towards nature, imagination and freedom play basic roles compared with the other elements of romanticism. The results of a comparative analysis of the aforementioned elements show that, although different in terms of geography, history, culture, and gender, these two poets have some things in common which stem from a common understanding of the nature of romanticism. The results of the present descriptive-analytic study indicated that imagination is a basic issue linked with other poetic elements. Unlike Byron who cannot literarily configure freedom as a specific issue despite his great efforts, freedom could be found in Behbahani’s poems admiring woman as a gender. However, the relationship between these elements in the poem of both poets similarly show that nature is an eternal source for imagination while showing freedom whereas the very imagination represents the freedom of soul and thought in romanticism.

Much of the classical and contemporary Persian poetry is composed of short poems such as couplet and quatrain. Also, contemporary poets have shown increasing interest in short poetry. Although researchers have attempted to identify the components of short poetry and to this end have mentioned the brevitas features, the limited usage of the verb, the ending stroke, the image-orientation, the limited use of the rhyme, and naturalism; these features mostly refer to the description of the short poem, and no unanimous definition is available yet. For example, the outer limit is sometimes referred to as one page, sometimes up to seven rows and sometimes up to five portions. As for its internal and semantic limits, they enumerate the function of the fundamental scheme and effect of the moment. This article critically analyzes the descriptions and definitions of researchers on short poetry and attempts to provide a more accurate definition of the short poem using an analytical method. As a result, this article considers short poetry based on its fundamental technique, to be with limited lines or hemistiches, and finally, "independent monolithic limited poetry with a greater tendency for the discourse of wisedom."

Native elements of Isfahan's story writing in the works of Bahram Sadeghi and Houshang Golshiri abstract: Writers from the city of Isfahan have common features in their works. These common features are not limited to the climatic context, but include a set of identity elements that represent commonalities in terms of language, thought, geography, economics, ethics, customs, and beliefs. This article has explored the structure of fictional works by two prominent representatives of the Isfahan school of thought, Bahram Sadeqi and Houshang Golshiri, and derived their unifying and linguistic common features. The result is that these structures are in some cases such as humorous and spurred imagery, different technique and form in the word, specific characterizations, horrific and indeterminate spaces, initiations and sudden events, spin on the angle of view and reversal in narration, conversations and low descriptions, attention The mythology and ancient history and texts, rare subjects and modern names, and simple prose and poetry, are analyzed. Keywords: Native Elements, Isfahan School, Bahram Sadeghi, Houshang Golshiri, Fiction.

Having adopted an analytic-descriptive approach, the present study aims at comparatively reading the dialectic relationship between two elements including “imagination” and “individualism” in Percy Bysshe Shelley’s and Farokhzad Farokhzad’s poetry. Imagination and individualism have been extremely highlighted in the works of romantic poets and were also frequently used in the works of the aforementioned poets .However, the obtained results revealed a dialectic relationship between the two elements which clarify the necessity to examine it. Examining the dialectic relationship between the phenomena and concepts originates in philosophy and history which is as long as the history of thought. Dialectic refers to discovering the relationship based on the internal conflicts which commenced following the philosophy of Socrates and Plato and reached its climax following Hegel’s thought. In Shelley’s and Farokhzad’s poetry, imagination originates from the inside of the society although it ultimately changes into something characterized as being an individualist. Nonetheless, the present study shows that contrary to Shelley’s poetry in which individualism and imagination forms only one dialectic relationship with no ultimate synthesis, in Farokhzad’s poetry, this relationship leads to a new “synthesis” which is the poetic making of a kind of “Social Ego”.

Structuralism is one of the most important areas of the modern literary theory, which has contributed to the creation of new subjects, the evaluation of similarities and differences, and the possibility of the analysis of the Persian literary texts based on standard universal models. Recently, Western literary theories have been increasingly used in the analysis of many literary research studies in Iran, aiming to shed some light into the hidden aspect of literary works and provide new insights. And few studies have ever not used structural and morphological approaches in their literary analysis. Based on a review of the Persian literary morphological studies conducted in different decades, the present study aimed to analyze the growth of them qualitatively and quantitatively and also to analyze their literary genres. Further, it investigated the degree to which Propp’s morphology theory has been used in a standard scientific way in these texts. Finally it was concluded that the inappropriate and mechanistic applications of Propp’s morphology theory in the Persian literary texts have led to inappropriate theory selection, simplification story elements, disregarding the goal and context of the theory, repetition of the method, poor introduction, and unrelated conclusion.