دکتر امید ذاکری کیش

Influenced by the interpretive attitudes of the Middle Ages and committed to the teachings of New Criticism, Frye, drawing on structuralist methodology, developed innovative ideas for analyzing the structure of a literary work. In his literary poetics, he assumes that the meaning of a literary work consists of elements and components that can be determined by focusing on mode, symbol, archetype, and genre. In such a framework, he considers the components of ethos, mythos, and dianoia as the basic elements that make up meaning. Meanwhile, however, it seems that Ethos has not been adequately addressed. In this essay, we first attempt to answer why ethos seems to be neglected in his ethical critique, which is necessarily based on ethos, through an analysis of the theoretical implications and consequences of what Frye holds. In what follows, along with the methodological explanation of Frye's analysis, we attempt to show how the seemingly neglected ethos reappears in Frye's theoretical framework. In the end, it turns out that ethos is part of Frye's theoretical framework not because of methodological considerations, but because of teleological considerations.

According to the experts in the field of history of literature, enough attention has not been paid to the history of Iranian folk literature so far. Among the reasons for this problem could be the obstacles in compiling the history of folk literature. According to the authors of this article, one of these obstacles is ignoring the importance of the Arabic sources of the first centuries of Islam and also the translation movement in preserving Iranian folk literature while compiling the history of folk literature. The importance of these sources is in preserving the identity, original form, and evolution of the components of Iranian folk culture and literature as well as the reflections on how Iranian culture is blended with Arabic-Islamic culture. Nevertheless, even in the most significant previous researches, such as the folk literature entry in the Encyclopedia of Persian Language and Literature, Folk Language and Literature of Iran by Hassan Zulfaqari, Research and Study on Iranian Folk Culture by Hossein Ali Beyhaqi, or Folk Literature of Iran by Mohammad Jaafar Mahjoub, the role of Arabic sources in the preservation of Iranian folk culture and literature has been relatively overlooked; or in exceptional cases, such as a part of the collection of articles The Context of People's Culture by Jalal Sattari, only the texts containing information about public morality have been emphasized. One of the leading writers whose works are worthy of attention and research in terms of reflecting the components of Iranian folk literature is Ibn al-Muqaffa’. The results of this study show that his works contain an enormous collection of Iranian folk literature components, especially proverbs, sayings, and didactic anecdotes, which are very useful in explaining the historical course, types, and context of using these components.

After the term "Folklore" was coined by Ambroise Morton in 1846 and the beginning of research on folk literature and culture, Studies related to this field had many developments and scientific advances. Research in the field of Persian folk culture and literature also began with the research of orientalists (see Afshari, 1388: 289). After that, even despite the increasing process of recording the components of folk culture and literature and even the establishment of the orientation of folk literature in 2013 and the specialization of studies in this field in Iran, the research conducted in this field still has obvious flaws. Stopping at the stage of registering the components of folk literature, the ambiguity in the structure and characteristics of these components, and most importantly, the weakness in the theoretical foundations are among the most important things that can be pointed out (see. Aliani et al, 2019: 10). One of the main reasons for this issue is the neglect of the Arabic sources of the early Islamic centuries as the preservers of Iranian folklore culture and literature in the era of the loss of Persian sources and neglect in the history of folklore Persian literature.. "It is an important issue that the Arabic language played an important role as the preserver of Iranian folklore literature before Islam." (Cejpek, 2014: 27 & 26). Despite this, in addition to the researches that have been done in the field of folklore culture and literature, the importance of these resources and the effective role of the comparative approach have not been paid attention to in the design of the lessons of the folkliterature orientation. Especially since in the list of courses of this heading, there is a course called "Arabic Prose and Poetry" in which these sources are expected to be paid attention to, but these sources were not paid attention to in its design. Based on this, in this article, while explaining the reasons for the importance of these sources, the most important available Arabic sources are introduced in terms of the reflection of Iranian folk literature and its developments in the first centuries of Islam, And in order to eliminate the existend shortcomings, a heading has been designed for the course "Arabic Poetry and Prose Texts". 

Considering the need to refer to Arabic sources for the historical connection of the elements and components of Iranian culture and literature before Islam with the Islamic era, this research has been done by descriptive-analytical method and by analyzing the literature history data available in the library sources.

The task of transferring Iranian culture and literature to Arabic culture and language in the first centuries of Islam has been undertaken by the translation movement. "Many sources of the past folklore of Iran have been translated into Arabic by Iranian scholars such as Ibn Moqfa, Tabari, Masoudi, Thaalebi, Hamzeh Isfahani and others and are available to us today." (Beihaghi, 1365: 41). Despite this, the heading designed for Arabic poetry and prose lesson of the heading of Persian folk literature in order to get familiar with official Arabic literature, including Arabic mystical texts, poems by Arab poets, Arabic works by Persian poets and writers, and contemporary Arabic research texts in the field of language and literature, the Qur'an, Nahj al-Balagha, and commentary texts, Arabic proverbs, phrases and verses common in Persian texts. The general approach and a cursory look in the selection of texts and the focus of this heading on official literature texts and neglecting the importance of the comparative approach do not meet the scientific needs of students in this field. Therefore, the issue of interest in this article is that despite the many reasons for the high importance of Arabic texts in the history of Iranian folk literature, how the sources of Arabic poetry and prose texts in the heading of folk literature to explain the nature of Iranian folk culture and literature and its developments In the first centuries of Islam and attention to the importance of the comparative approach has not been organized? Reasons for the importance of the comparative approach in the history of Persian folk literature Some of the most important intratextual and extratextual reasons for the importance of Arabic sources in the field of Iranian folk culture and literature are as follows: 1.The existence of different forms of Iranian folk stories and proverbs and and anecdotes in Arabic sources: in many cases, these sources have become the oldest or only sources of Iranian folklore stories. Such as the reflection of a story about Ardeshir Babkan, in the book "nehayat-al-arab" under the name of Irajosteh and Khosrow in the persian translation of Varavini's Marzbannameh. The importance of the works of Arabic-speaking Iranian writers and poets, especially the Shaoubians, in terms of recording the components of Iranian folk literature: The Shaoubieh movement is one of the most important factors in the transfer of Iranian folk culture and literature to Arabic culture and sources. The works of this group, such as Ibn Muqafa, Mahmoud vorraq, Saleh ibn Abd al-Quddus and Bashar ibn Burd, contain a large number of poetice or prose form of components of Iranian folk literature such as Iranian proverbs and admonition in Arabic In Arabic: “The tooth is still worn out, and the one who has it is still in pain and is leaving it. ” (Ibn Muqaffa, 2002: 140). In Persian: " The eaten by worm (destroyed) tooth of the should be removed " (Amini, 2009: 287). The importance of Arab collections(collections of poetries and writers works and folklore content too) in Iranian folk culture and literature: whith spread of a new style in Arabic writings is via Jahiz Basri (under name of collection writing) and the creation of numerous works imitating it, the reflecting ideas, admonitions and anecdotes related to folklore culture and literature in written works increased. The reflection of some common beliefs in Iranian culture in Abu hayyan Tawhidi's Al-Emta va Al-Moanesat about trees, animals and mineral stones is one of these (cf. Tawhidi, 2005: 235). The need to pay attention to the literary components in Arabic sources that have a folk origin: one of the main necessary steps in explaining the importance of Arabic written sources in the field of Iranian folk literature is to pay attention to the literary components that have a folk origin. "There has been a continuous mutual influence between written and oral literature" (wellek, 2013: 41 & 42). Fables, parables, jokes, Arabic folk poems of Iranian origin, quatrains, and beggars' stories originating from Iranian culture are among the most important of this group. 5. The importance of Arabic sources in terms of recording the legendary history of Iranians and its importance in the discussion of mythological studies: the translation of Iranian history sources into Arabic, especially the "Khuday nameh", and the comparison of different characterizations of Iranian mythological champions such as Rostam in these sources with the Shahnameh and Iranian folk culture, It doubles the importance of Arabic sources in studying the history of developments in Iranian mythology. The influence of Arabic-Islamic culture on the components of Iranian folk literature: When discussing the importance of Arabic sources in the discussion of Iranian folklore literature, it is necessary to consider the effects of Arabic-Islamic culture on Iranian public culture and literature. including the influence of Arabic proverbs and admonitions and the importance of influence of Semitic and Islamic history in the discussion of comparative mythology and the spread of Arabic love stories in Iranian culture. Authors and important works: the works of Ibn Muqafa as the first collections containing Iranian proverbs and rulings after Islam, the works of Jahiz, the important work of Abu al-Faraj Isfahani called Al-Aghani, the works of Thaalibi Neishabouri, the book of Abu hayyan Tawhidi’s Al-EMtaa and Al-Mu’anasat, the works of Qazi Mohsen Tanukhi and the work of Ragheb Isfahani With the name of Mohazerat al-odaba va Mohaverat al-shoara va al-bolagha, which contain verse and prose form of proverbs and admonitions, anecdotes, stories, superstitions, Arabic stories that are influential in Iranian culture, jokes and popular opinions. these cases are the most important things is the importance of Arabic sources in reflecting folk culture and literature. Designing the heading of the Iranian folk culture and literature course in Arabic poetry and prose texts: based on the discussed topics, it is suggested to change the title of the Arabic poetry and prose texts course in the Persian folk literature heading to "Iranian folk culture and literature in Arabic prose and poetry texts" and educational topics should be organize under these main headings: "The importance and role of Nahj al-Balagha and the Holy Quran in Iranian folk culture and literature" "Iranian admonitions, Arabic admonitions and understanding the importance of moral and religious admonitions and advice in Iranian culture (before and after Islam)" " Iranian proverbs in sources of Arabic proverbs, Arabic proverbs, stories of proverbs, examples of Arabic poems by Iranian poets (poetice form of proverbs and admonitions)" "The importance of historical sources in the analysis and investigation of Iranian, Semitic and Islamic mythology and how to synchronize them" " Analysis and investigation of Iranian folk culture and literature in the Arabic collections" "Study of Arabic love stories introduced into Persian culture and literature" "The influence of folk culture and literature in the creation of the literary type of Maghameh" "Jokes and comical in Arabic sources" "Familiarization with the research texts of Arabic writers in the field of the connection between Iranian folk culture and literature with Arabic and Islamic culture and literature".

The current heading of the course on Arabic poetic and prose texts of the folk literature major does not fit with the goals and nature of the major. In the design of the proposed heading in this article, three effect-oriented, component-oriented and research-oriented approaches have been considered. In teaching these cases, you can pay attention to these three approaches. This means that in effect-oriented cases, the focus should be on the study of literary components that have an impact on people's culture, in component-oriented cases, emphasis should be placed on comparing and studying the course of changes in literary components, and in research-oriented cases, emphasis should be placed on the reflection of various components of Iranian folk culture in the Arabic collections. By presenting such cases, it is possible to solve part of the historical problem regarding the nature of Iranian folk culture and manners after Islam, and to direct students' minds to the importance of theoretical foundations in research in this field.

For about ten years, the planning committee of the Ministry of Science, Research and Technology has decided to divide the PhD program in Persian language and literature into different orientations. The basic premise of this division is the Aristotelian literary genres. Accordingly, one of these orientations is lyrical literature. In this article, which is written in a critical-review method, one of the courses in this field, called "Non-Poetic Lyric Works", is reviewed. The term "non-poetic" is insufficient in the title of the course. Due to the other components of the course, it is better to replace it with the term "prose". Also, the term "analytical cognition" is ambiguous in purpose and it is better to use the term "analytical study". Given the heads of the content and References, it is clear that the designers of this course have asked the teacher to teach long folk tales as the main Reference. These tales have various components due to the fact that they have been narrated orally among the people for many years and from a structural point of view, they have little to do with the title of the lyrical literature field. It is better to consider rhythmic prose texts, technical prose texts and modern Persian stories as the References of this course.

Zarrinkoob (2007, p. 213) refers to Rumi's extraordinary fondness of folk life and his connection with different classes of the public, introducing Masnavi as a rich source of folk culture. Sajjadi (1974, p. 113) states that "the most interesting and subtle work of Rumi in Masnavi is to bring its language closer to those of the people, to speak the language of the Persian people enriched with proverbs, sayings and slang words of the common people, and to point out their behaviors and customs." The approach of the works towards Masnavi is rooted in the popular culture and literature of the contemporary era and none of the studies answers the fundamental question of this research as to who or what Rumi means by the term folk, and whether Rumi considers certain people or a specific attitude as folklore.

Farrokhi Sistani is one of the poets whose taghazzolats(love poetries) represent the features of some of the important social classes. Some propositions of the poet's taghazzolatsshow the weak emotions between the lover and the beloved.  Those statements as the indications of the "weakness of emotional cordiality" contain the preference of power over beloved, the preference of lover to beloved, and the manifestation of unnatural love cause the emotional cordialityto be weak.  This process is itself under the influence of the fundamental social and historical structures of his era. Love in Farrokhi's poetry is earthly, ailing, and indecent. The appearance of such a kind of love in his language consequently leads to the creation of non-lyric propositions. However, such social propositions in his lyrics, which are not in accord with the lyric norms, could not be solely interpreted as being related to the individual behavior but a representation of the behavior of a social class; an issue which is explainable based on the social and historical reality of the era. In the present article, analyzing the poetic propositions, the author is to elucidate the relationship between Farrokhi's emotional cordialityand the general structure of his society. Farrokhi Sistani ((for his biography and status in the history of Persian literature see Bruijn 1999)  is among the poets who have a reputation for the expression of delicate and intimate feelings in an extremely plain and understandable-for-all language.  Casting a closer glance at his poems, one can identify propositions in his poetic language which depict his non-emotional relationship with the beloved. A sociological analysis of this emotionally colorless relationship is the subject of the present research which can further illuminate the semantic nature of Farroḵhi’s taghazzolatsfor the audience. According to Farrokhi Sistani's taghazzolatsfrom the sociology of literature point of view, topics such as the "social class" of the speaker, his relations, and "worldview" as a "producer" and the artistic reflection of this worldview in his literary work are of high importance. Certainly, a particular beloved and the lover-beloved relationship, as depicted in Farroḵhi’s taghazzolats, is not the mere representation of the reality of all people in the society of the poet’s era. As it is evident, Farroḵhi reminisces about his relationships with the beloved in most of his taghazzolats; however, we cannot take it as representative of  the behavior of people in the society of that time. In fact, Farrokhi is the representative of an affluent social class demonstrating his worldview to the beloved in his literary work. In this article, the worldview specific to the court poets who constitute a part of the prevailing social structure of the Ghaznavid period is analyzed. Accordingly, the joyful content of Farroḵhi's taghazzolats cannot be a proper depiction of the happiness and welfare in the society of his time; in fact, it is an illustration of the comfort in a class of society called "court poets" or "praising poets". The empirical consciousness of this social class has overshadowed the fictional world of Farrokhi's mind leading to the production of particular propositions. This type of worldview is not an individual issue but a social one whose reflection in the social and historical works of Farroḵhi’s era can be be noticed. Therefore, Farroḵhi's poetry can be a reflection of the social behavior of the court class, as well. The portrayal of the preference of "power" agents over beloved in the language of Farrokhi's taghazzol is one of the principal social factors illustrating the weakness of emotional cordiality in his poetry. Moreover, addressing the beloved as a servant causes the language of taghazzol to take on a conative function rather than the emotive function that mirrors the master-slave social relationship of the lover and beloved, which always entails ordering and forbidding. Besides, this social status enables him to have several beloveds. More importantly, the linguistic and semantic signs of the beloved in Farrokhi's poetry show that he has possessed two distinct social roles: in addition to being a coquettish beloved, he has been a military person, as well. This abnormality in the artistic structure of the poetry illustrates the social anomaly of the poet's era and his class.

 Introduction:

Poetry has always had a very important status in the past culture of Iran. Social, political, cultural, religious and historical issues of Iran are reflected in the mirror of Persian poetry. In many historical periods, in addition to its artistic role, poetry has also played an important role in communication. One of the most important periods in which poetry played this role was the Constitutional Period. Poets of this period played the most important role in social awakening, and poetry was the most important tool for this purpose .Among the poets of this period, Farrokhi Yazdi should be mentioned as the most important poet of ghazal in the Constitutional Era, who used this form of poetry to express his ideas of resistance. That is why he has been called 'the poet of freedom'. In addition to poetry, he published articles in praise of freedom and the struggle against dictatorship in the Toofan newspaper. Sometimes the existence of epic themes in the poetry of some important poets of this period (for example Bahar) has led researchers to think that the main background of resistance poetry is epic. But if we consider Farrokhi's poem as a whole, we will see that he often has a lyrical mentality in expressing the theme of resistance, even when referring to an epic story.

Considering that in the poem of resistance, issues such as obligation, commitment, and expressing social issues of a historical period expressed in explicit language are important, and on the other hand, in lyrical poetry, the expression of the poet's personal emotions is important, The main question of the article is how Farrokhi Yazdi was able to Express resistance themes through lyrical poetry. Therefore, this article critiques the concepts of resistance in the language of his poetry by paying attention to the text of Farrokhi Yazdi's poetry and structural analysis of his poetic propositions.

Choosing the format of ghazal by preserving its linguistic and content conventions to express the concepts of resistance, using different components of lyrical language and emotional functions of language and combining concepts of resistance with the domain of personal feelings are some of the most important components that Farrokhi has used for expressing concepts of resistance in poetry. In Farrokhi's political-lyrical poetry, the poet's political activities and actions are influenced by his sensual interactions and are combined with his emotional experience. In this type of poetry, often the personal 'I' of the poet is the main axis of the syntactic structure of the poem. The lack of freedom is the cause of the poet's pain and sorrow. Farrokhi can be considered the pioneer in combining the traditional spirit of lyrical poetry and explicit social and political concepts in the new era of Iranian poetry. Farrokhi Yazdi not only in his purely lyrical ghazal but also in other types of ghazals in general follows the tradition of Persian ghazals. In Farrokhi Yazdi's poetry, traditional contents of Persian lyrical poetry are always seen along with new themes and terminology of resistance. In general, he has been successful in combining these two components. The peak of lyrical mentality in creating visual compositions in Farrokhi Yazdi's poetry can be seen in the composition of The Beloved of Freedom. These resistance concepts for him are like the sacred and the beloved, which are constantly in front of his eyes and thoughts.One of the most important components of lyrical poetry in Farrokhi's poems is that he considers the concepts of resistance as a personal feeling. He considers the issues of people's resistance as a 'value'. His strong faith in these values and the manifestation of this faith in his emotional and intimate poetry makes him seem like a lover who has only the desire for freedom in Iran and is ready to sacrifice his life for 'freedom', 'homeland', and 'justice'. The most important feeling that connects Farokhi's lyrical mentality with his idea of resistance is the feeling of 'loving'. This feeling is also the most important feeling in Persian lyrical poetry. Love and affection are the product of the feeling of love that has created lyrical and mystical poems in ancient Persian poetry, and in Farrokhi's ghazal shows the poet's connection with resistance components such as freedom and homeland.

Considering Farrokhi's poetry as a whole, we will see that he often has a lyrical mentality in expressing resistance issues. The manifestation of this attitude in his poetry can be measured according to two characteristics: Farrokhi's first step in expressing the concepts of resistance is the use of lyrical language; the second component that makes his poetry lyrical is that he considers the concepts of resistance as a personal feeling. In Farrokhi's political-lyrical poetry, the poet's political activities and actions are influenced by his sensual interactions and combine with his emotional experience. One of the most important manifestations of this feature is the use of the emotional function of language. The lack of freedom is the cause of the poet's pain and sorrow. This is as sad as the distance of the beloved from the lover in ancient lyrical poetry. On the other hand, the concepts of resistance, especially 'freedom', are the main purpose of the poet's sense of 'love'. The poet offers his most intimate personal feelings for freedom. Freedom is the beloved in his poetry.

Farrukhi Sistani is one of the first Persian poets whose Taqazzols (Sonnets) are broadly full of emotional words. In this article –written in document mining style– the elements of lyrical language in Taqazzols of this poet has been described and analyzed. A simple syntactic structure, context validity of several Taqazzols, the application of proverbs, and having no complex intertextuality relation, have led to a simple language through which, the addressor has transmitted, explicitly, his/her emotions and feelings to the addressee. On the other hand, the addressor, having addressed the message to himself/herself, has given an emotive function to the language; this trait has been pointed out by some kind of lyrical narrative and internal monologue. In the context of his Taqqazols, the poet has also used different types of foregrounding for the sake of lyrical language. And through all these characteristics, emotional states of the addressor can be very well observed. The poet has also strengthened text music through various parallelism (syntactic, linguistic, and phonetic), and this music of the language, which is in tune with the content of the text, has led to the integrity of the literary work and the unity of its effect. Both the content and language harmony of these Taqazzols indicate the sincere expression of poets’ feelings.

Owing to the fact that lyric poetry is regarded as a short, non-narrative poetry that expresses emotions, there rises the question of how long a story could be to be categorized under the lyric genre. Analyzing love stories from the viewpoint of genre, it is revealed that in stories in which love affairs are more important for the poet than the narration itself, different modes of expression take the place of narration, and hence, such modes as adoration, elegy, rhapsody, complain, and compliment almost always cause the narration to be halted, and, accordingly, make the poem take a lyric appearance. In this article, analyzing Khosrow & Shirin and Leli & Majnoon, the researcher shows how different modes of the poet’s emotions, as well as those of the characters, are foregrounded. As a consequence, in these stories, the reader faces the description of different aspects of emotions rather than narrative suspension. Thus, it is recommended that the term lyric be used not as a subcategory of mode but a genre in such stories

Elegy is one of the most prominent types of literary genres. One of the first structural definitions of elegy is that of Schiller’s. He describes elegy as a text in which the poet confronts art with the nature and the reality with the ideal and in this way sets his passion for the ideal (Wellek, 1994: 307). This definition goes with most of the masterpieces of the Persian verse. Poets have shown great emotions in literary and artistic terms; but, relying on this definition, it still remains to be questioned whether the most beautiful elegies are the most artistic ones, or the most successful of them are the most idealistic ones, and whether it is possible to measure the purity and intimacy of the passions in elegy merely according to the poet's artistic expression? In this article, we will answer the above questions, while presenting a model for formalistic analysis of the elegy; we will also determine the different examples of the elegy by referring to their linguistic and formalist features. In general, in the analysis of Persian classical elegies, most external factors, such as historical, social and biographical facts have been considered. In this article, the author's attempt is to examine the classical Persian elegy with the perspective of the literary theory of formalism; this method has not, of course, been taken into account in research studies.

This article is done by descriptive-analytical method. First, the most important examples of the classical Persian classical elegies have been chosen and analyzed according to the framework of literary theory of formalism, especially the theory of verbal communication of Jacobson. Accordingly, the orientation of the message in the components of the verbal communication in the elegy is determined and analyzed. If there is an orientation in the message to the subject or context of the message, we encounter with a narrative or descriptive text. In this type of poetry, at first sight, the referential aspect is dominant in the poetry. The speaker focuses much more on what has happened and when that incident happened rather than how it is expressed. This feature reminds us of the events of the newspapers rather than a literary emotional text. In these texts, the subject is more prominent than the form. So, with we are faced with a kind of historical report and event description, not an emotional propositions. In the latter case, the message orientation may be directed towards the audience. In the cases where the message is directed toward the audience, we are faced with two types of audience. The first is the audience that is alive and the speaker is sure he is listening and the second is the presumptive and the speaker is aware that he does not speak. In this latter type, the method of presenting poetry is like soliloquy. The third mode of verbal communication is when the message is directed towards the speaker. These elegies are the most emotional ones. Another topic that is important in the analysis of elegy is what the relationship between the poet and the dead person who is often addressed is, and how this relationship is seen in the literal language. The speaker sometimes has to compose and elegy as a compulsory task. Some of court elegies, that is, the elegies written for the death of the king or one of the courtiers, have this feature. On the other hand, the speaker may be one of the close relatives of the dead person. This kind of elegy is called personal or family elegy. Most researchers consider these sorts pf elegies to be the most affectionate and most intimate ones (see Imami,1990: 50)

Lyric poetry is one of the most important literary types in Persian poetry. In this type of poem, expressing feelings and emotions is very important. One of the most emotional of this kind is elegy. The emotional depth of an elegy is rather recognizable through its analysis from the point of view of the theory of verbal communication. In elegies, the orientation of the message may be towards the subject, the audience and the speaker. In addition, the poet can, in view of his dominance in expressing feelings in the language of poetry, simultaneously make the messages be oriented towards the message itself. If the orientation of the message is directed toward the subject, the reader encounters a sort of descriptive report; no matter how the poet strengthens his poetic work, the emotion of the latter is often peripheral and less intimate. If the message is oriented towards the audience, either the poet's audience is a hypothetical audience or a deceased person; in the first instance, his discourse is depicted as a soliloquy, and in the latter case, it finds a form of an internal soliloquy. In this latter type, emotional intimacy is more intense than previous ones. In addition, the poet can in the same way address things: in this case, the poet highlights the emotional color of his speech with the element personification and causes the de-familiarization to occur. The most emotional elegies are those that are directed toward the speaker. If the speaker and the deceased are from the same family, the emotional intimacy is highly reflected in the language of poetry; In this kind of elegies, which in this article is called lyric elegies, language has an emotional function and words and phrases are simple and easily understood. In these poems, the poet employs a lot of emotional sentences and repeats syntactic constructs and sentences and emotional words in poetry. These repetitions always carry a kind of music and tone through the language to the audience. In the lyric elegies, the reader also faces metaphors, whose seep structure is the emotional domain of the speaker.


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IntroductionThe classification of poems based on the literary genres is considered to be one of the oldest methods in the poetry criticism. Plato and Aristotle are the founders of this theory. Based on the views of these two great thinkers, contemporary theorists have considered the three literary genres of lyric, drama, and epic as the major literary genres. Lyric poetry has always been one of the most prominent literary genres in the history of literary criticism. The extensional and conceptual evolution of lyric poetry has got various definitions of such poetry emerged in Iran.
MethodologyThe main question of the present study is what steps lyric poetry has passed in the process of its semantic evolution. Having utilized both a descriptive-critical analysis and library resources, the author aimed to answer the question in a nutshell. And, based on the answer, the author attempted to criticize the current views on this literary genre among Iranian scholars. Then, on reviewing the pre-Islamic history and literature, the author put his efforts in demonstrating the original manifestations of such poetry in Iran.
Results and DiscussionLyric poetry has gone through three semantic stages. In other words, lyric poetry has been affected to a great extent by different sources. This poetry genre, firstly, was considered as a poem being composed to accompany the music or being sung by the accompaniment of music. Secondly, lyric poetry meant simple poems enjoying intrinsic music and being emanated from the heart of the society and the folk literature. The third source affecting lyric poetry seemed to be “personal feelings.” Accordingly, the lyric literature was originally proffered as the poems to raise personal feelings and emotions.
To accommodate the principles of the lyric literature to those of the Persian literature, many Persian literary scholars have mostly accommodated them to the poetry of the Islamic period and defined lyric poetry through considering the principles of Romanticism. This view has led to the underestimation of the poetics and original forms of the lyric poetry originating from the pre-Islamic literature in most of the Persian works. In pre-Islamic Iran, poetry and music were so closely associated. Gōsān were itinerating minstrels who sang certain poems to the king and the people with the accompaniment of music. In addition, in pre-Islamic Iran, there were specific poetic forms such as Khosravanies, hymns, Owramnes, and so forth being recited in a singing way with the accompaniment of music amongst the mass of the people. Most of such native poetic forms were continued in the post-Islamic literature. As an original form of the folk couplets, Fahlaviat is an outstanding example of such poetic forms. Rhythmic lyrics were considered as an example of lyric poetry being prolonged in the post-Islamic literature. Therefore, in the evolution of the lyric literature of any nation, these two characteristics of the lyric poetry spontaneously existing in the literature of any country should be taken into account. According to the results of the current study, it is essential to take a fresh look at the definition and principles of lyric poetry in the Persian literature.

Nafthat-Al-Masdoor by Shahab-Al-Din Mohammad Zeidary Nasavi, is one of the Persian euphuism masterpieces.The book begins without any kind of preamble and ends quite abruptly. It appears that it is the author’s overflow of feelings which is realized in an imaginary text with a rhythmic language. In the present article, the content of this book will be studied from the perspective of lyric theory. The author reminisces his emotionally loaded memories and, simultaneously with his miseries, pains, nostalgia, and loneliness as Kharazmshahian Kingdom was close to its downfall. He creates such poetry genres as elegy, complaint, eulogy, and satire through describing his own feelings towards different people. In fact, a structural analysis of these genres reveals the author’s overflow of feelings. Therefore, the readers are often faced with a poetic and rhythmic prose which is replete with emotions, excitement and passion.

Nafsat-al-Masdur by Shahab-al-din Mohammad Zeidary Nasavi, is one of the Persian euphemistic masterpieces. An examination of the structure of this text, from the perspective of language, reveals that the poetic and emotive functions of the text are more highlighted than the historical information. From a linguistic standpoint, a message could either be directed towards the addressor or the message itself. Therefore, the addressee is basically confronted with a literary text whose language often has an emotive function. As a result, the addressee understands the author’s soliloquy all the time. On the other hand, the author, through using his regular extra-regularity, produces numerous musical parallelisms and invigorates the internal music of a lyrical text, which is an essential component of any lyrical text. The pinnacle of lyrical language in Nafsat-o-al-Masdoor is where the author adds poetic and emotive functions to his text and makes use of a variety of parallelisms. In such cases, where the author expresses his spontaneous overflow of feelings in a given poetic and lyrical text, the prose of the book is quite simple and eloquent. This study aims to analyze the characteristics of lyrical language focusing on the structure of Nafsat-al-Masdur.

Firooz Shāh Nāme, written in the 9th century A.H., is essentially a book on love which narrates the epic events, and describes the features of brigands and fairy tales. Researchers have done their best to study these features according to the principles and literary genres proposed by Aristotle. This article reads this story from the perspective of Old Persian poetics of fiction and concludes that Old Persian folk tales constitute a different genre which originates from an ancient tradition of story-telling. The Narrator, in this genre, makes use of various literary aspects and categories.