دکتر موسی پیری

Mohammad Shafie Ebn Mohammad Esmaeil Shirazi known as Mirza Kochek with pseudonym of Vesal born on 1197 AH and passed away on 1262 AH in Shiraz is among prominent poets and return movement musician who had a capable hand in composing ghzal and while imitating great Ghazal composers, he has maintained main traits of the best traditional poem specimens and his ghazals enjoy a tonic and appealing tune. The aim of this study is to examine internal music of the poet ghazals using analytical research method and to show that internal music how much influences the poem tone verse and that how Vesal has inducted the poems meaning to the reader using repetition which is the main pillar of internal music. One of the features of poem language is voluntary utilization of this language from poetical devices and techniques which bring it out of routine and colloquial state and give it an artistic aspect. Here, the most tangible factor which gives the language eminence is the poem music. The poem's music has been divided to four types of external, internal, lateral and virtual. That in this paper, only the poem internal music has been examined.
The series of coordination which appear in the words of a poem due to unity or similarity or contrast of consonants and vowels is the flourish of this type of music. Techniques which have played role in the domain of this music are figures of speech like various puns, epanalepsis and so on all of which are subsets of repetition, therefore, repetition in examining the poem internal music has a considerable role. Vesal Shirazi has utilized repetition for increasing the word music and developing and better inspiring the meaning and repetition could be seen in his various poems level. Techniques which have formed in his poem based on repetition mostly include repetition of words and letters and what mostly shows off is word repetition.
Repetition is Vesal’s Divan appears in two forms, sometimes these repetitions are subject to a special order which is displayed as Aenat, equilibration and epanalepsis and sometime is in free form that its prominent sample could be seen in various types of pun. So that it could be said that various puns and word repetition scattered across couplet is among free repetitions of Vesal poems. In Vesal’s poem, pun as a type of word arrangement has a special role in creating his poems internal music and various types of pun are considered the most frequently used types of repetition in his poem. Especially surplus pun and difference in type of letter that due to undulation of movements they have, their musical impact is more than homogenous pun and these two types of pun totally have designated 413 cases of the poet ghazals puns to themselves.
Repetition of one or some words in a poem constitutes 520 cases of repetitions of Vesal ghazals sparsely. Sometimes, Vesal emphasizes on his considered notion with this poetic trick and nurtures a notion and concept in the mind of reader.
Reduplication is also another type of word repetition which is called repetitive and is considered among natural repetitions. Vesal Shirazi has used this figure of speech for emphasis, inspiring the concept and making his word more musical since such repetitions indicate multiplicity, emphasis and intensity.
Another kind of this technique is regular repetitions that in Vesal Ghazals include Eanat, coupled, epanalepsis, expizeuxis, simile, converse, leonine verse and equilibration among which epanalepsis with 595 cases is in the first rank. Vesal has utilized such repetitions for emphasis and embossing his considered concepts.
One of most frequently used types of repetition is phoneme repetition. This imagery which is called alliteration has a very high aesthetic value. Depending on his art and taste, Vesal Shirazi has used this imagery very much for illustration and elegance and enrichment of his poems music and the music arising from consonant alliteration is more patent is his poems.
Consonants also have a prominent role in good tune of his poems and among them, decorating the speech with long consonants is more and more salient than short consonants.
Though with repetition of vowel e , that the ancients considered repetition of this vowel as obstacle of speech clarity and reach, and also repetition of vowel o, Vesal increases the couplet music and increases the word influence, and sometimes even by bringing additional and descriptive compounds successively, gives a special music to word which influences the reader's mind. So, many verbal and phoneme repetitions are observed in his poem which causes his word phonemic prominence and this, by itself, is a style characteristic of his ghazals.

Mirza Abolghasem Ghaem Magham has been an influential political character in Iranian contemporary history; he also has some valuable works in Persian literature. What enables researchers today to be more thoroughly familiar with the major part of his prose and verse is a precise and accurate analysis of his prose and verse works, the introduction of the outstanding features of his works, and the presentation of sufficient instances and evidence in every case. The expression of political pains in a pleasant language, the omission of the titles of letters, outspokenness, no inclination towards love meanings, and archaism are some features of his works. The present article first gives the research literature, then evaluates the basic features of Ghaem Magham’s works with prominent instances, and finally presents the results in a separate table for convenient and easy use.

Allegory is a method for illustrating and dramatizing a topic, which persuades the audience to spontaneous imagination and thinking. We should seek the function of using allegory in the Quran in the deep effects of its teachings that make the readers grasp it regardless of their levels of understanding and perception and use it in regulating their plan of life. In this paper, the researcher aims to analyze aesthetic aspects of allegory in literary language of the Quran by using analytical – descriptive research method and by referring to Quranic ayahs. The study shows that the Quran, which is the language of guidance, faith and moving inspiration, has benefited very much from language devices such as allegory for inviting to reflection, influence and learning lessons; and eventually for human edification.

A unique feature of Khaghani’s style is to take popular beliefs into account. The study of these features can help us to achieve literary, psychological, and sociological facts and to find out how effective folklore can be in developing the mind and the language of the poet. One folkloric concept prevalent in his poems is the reference to talismans. Studying his collection of poems through a literary-critical method and content analysis suggests that the presence of some unreligious talismans in his poems does not pertain to the poet’s religious beliefs, but they provide the poet with material which he can use to create beautiful poetic images and senses.