دکتر امین بنی طالبی دهکردی

The title of the story is the first path through which the writer and the reader communicate with each other. This type of short paratext, directly or indirectly implying the subject of the story, is the first factor that guides the reader to the world of the story, its meaning, and the selection of a specific approach to it. This is more evedent when it coms to the short story because of its shortness, each and every word is used sparingly and functionally from the very beginning. In the current research, the author seeks to examine the functions of the titles in a number of short stories by prominent Iranian fiction writers using a descriptive-analytical procedure. The results show that among the descriptive functions, the titles that are related to the content of the work have a much more significant use compared to the titles that address the form or format of the work. Also, among the thematic titles, metaphorical, thematic, ironic, and descriptive titles have been noticed more by authors. In terms of the evaluation function, referring to the author's moral and worldview, cultural issues such as the Iranians beliefs, political-social issues such as the westernization of Iranians, the domination of foreigners over them, and the failure and disappointment resulting from the August 28th</sup> coup, the issue of Intertextuality and finally, climateism are among the most prominent implicit and hidden values in the titles. They are provided in two opposite categories comprising; unfavorable situation against favorable situation and Westernism against nationalism. With respect to the function of attraction, content strategies such as universality, questioning, and norm-breaking have been worthy of special attention to story writers, and based on their appearance, strategies such as brevity, admonition, and rhetorical issues have been widely used.

The world of short stories includes the characters and events in which they are created, and the ultimate goal of any writer is to persuade the reader to enter this creative world. The entrance that opens the way for the reader to enter and be drawn to this imaginary world is the threshold of the story. Bozorg Alavi is one of the storytellers who has played a significant role in the evolution of short stories and the spread of critical realism insight, and in this regard, he has tried, especially in his early stories, to pay attention to modern storytelling techniques, including paying informed artists. Drawing on elements such as mystery and ambiguity, dialogue, conflict and indicative scenes evoke the reader's attention and interest. In the present study, the author, after a brief analysis of the theories presented in the field of storytelling, seeks to rely on Robert Funk's theory and add adverbs to it, using a descriptive-analytical method, after determining the beginning and end of the threshold of great short stories. Alavi and the mechanisms of their beginning, examine the initial sentences of the stories and, if necessary, point out their strengths and weaknesses. The results indicate that the great Alavi in his stories paid special attention to the combination of beginning and beginning with staging, and most of his storytelling skills were reflected in the initial staging section. Also, among the tricks of how to finish the threshold, he paid the most attention to the details of the story, which is the central focus of the narrative "clarity", but in this way, due to the rupture between the threshold and the middle of the story, he did not act very craftily.

Based on the theory of reflection in the sociology of art, literature in its broadest sense is a mirror of society that reflects the orientations, tastes and social currents and helps to dissect the society better than science and technology. In particular, among literary works, short stories and novels are more dependent on social life than other types of literature, and while being affected by changes in society, they themselves are the source of change and show the changes in societies. In this way, by recognizing the fluctuations and changes of the world inside the main characters of the stories, a path can be found to know the transformations and changes in the world outside them. The purpose of this study is to examine the image of the main character in Houshang Golshiri’s short stories. In this regard, an attempt was made to conduct a comparative content analysis of the works using the descriptive-analytical method and by extracting the characteristics of the main characters of Golshiri’s short stories in the 60s and 70s (Persian Calendar) and by identifying the main socio-political events and currents of the years following the victory of the Islamic Revolution. The results show that in his collection of stories Golshiri directly and indirectly presented a part of the mentalities and thoughts of intellectuals, artists and the middle class of his time and there is a close relationship between the spiritual, political, social and cultural characteristics of the main characters of each collection of stories with the prevailing socio-political situation of that period. This corresponds to the author’s political and social perception of the developments of the period because when the status of society changes, some of these characteristics also change.

Sociology of literature is one of the systematic and scientific efforts that helps to study literature. To examine the role of social structures in the production of literary works, Lucien Goldman chooses the method of evolutionary constructivism, which discusses the effects of creative structures. According to him, the literary text shows the links between the mental structures of literary realities and social realities. The author does not reflect the pure reflection of consciousness, but there is a strong connection between the categories raised in his work and his social consciousness. In this research, relying on the method of formative constructivism, the relationship between the characteristics of the main character of Golshirichr('39')s stories and the political, social and cultural conditions of the time of their writing is analyzed. This study shows that although Golshiri belongs to the middle class of society, by entering the privileged group of intellectuals, he has paid more attention to the issues and problems in this class, including political and reformist concerns, more than the general problems of the people. This, along with his party and political leanings, has led most of the main characters in his stories to be selected from the new, educated middle class. Therefore, political ideology is more prominent in its stories than other ideologies. In this context, Golshiri provides a vivid picture of political deceivers, expedient actions, and the fear and pessimism of political repression. In social ideology, the confrontation between poverty and wealth and its consequences and the boredom of the main characters from family and professional life are prominent. In cultural ideology, the tendency of the middle class and the intelligentsia to study socio-political works as well as the tendency of deprived and rural people to superstition and popular beliefs is evident. Finally, from the point of view of religious ideology, most of the main characters have a religious nature, and the author, by creating them, shows his critical and anti-sectarian view of this ideology.

This research peruses the main characters of the three story collections of "Shab neshini Ba shokoh", "Azadaran Bayal" and "Dandil" by Gholamhossein Saedi, based on the formative constructivism approach. The characteristics of main characters would be identified and analyzed considering the social and cultural conditions. This study indicates that there is an equivalence relationship between social events and the author's characterization. The author's collective awareness and worldview as a writer, psychiatrist and intellectual has caused the imaginary world of his stories to be full of characters, each of whom is a manifestation of social problems and shortcomings. The characteristics of the main characters in these three series of stories - which published right after The white revolution or the revolution of the king and abolition of the landlord-slave regime, reflect cultural and social issues.Issues such as lonely, psychotic, passive, and problematic characters in Saedi's stories point to problems caused by the lack of growth and dynamism of society. The contrast of tradition and modernity, poverty, illiteracy, authoritarian culture, and inefficient administrative structure are the most important factors that have influenced the Saedi's story characters.

Faryoumadi Ibn Yaman is one of the eminent poets of the eighth century; however, in the field of ode, lyric, elegiac poems, etc., is not the first-ranked poet among other poets of Persian language, but the distinctive point about this poet compared with other poets is his poetic style on ethical and doctrinal themes that often are reflected in his stanzas. Because in Iranian society, especially after the Mongol invasion and afterwards, such poems were so popular, and in a way, traced and revived the ethics of the Iranian damaged society, the audience and critics have given them special value. Allameh Shabli Naamani has said about the value of Ibn Yamin’s poetic style: “Ibn Yamin expresses moral poems so well that to this day nobody has come up with such poems, and because of his style, effects on the singer so that these effects are not in the words of others” (Naimani, 1984, 200). Therefore, based on various theories, it is necessary to examine the causes of the effectiveness and power of Ibn Yamin’s stanzas. One of these methods and theories is evaluating the poetics of his stanzas. Poetics has a Greek descent, and is the Arabic title of the famous treatise of Aristotle. “In the poetics conceptualization of a work, autonomy and features of its structures has fundamental importance that each work can have its special aesthetic-semantic rules. These special rules, of course, are obtained carefully examining the effect in a holistic glance” (Tavakoli, 2004, 73). In this research, we seek to study and analyze the most important and prominent components in the two aesthetic and semantic realms of Ibn Yamin’s stanzas so that the audience aware when confronted with the poems of such poet, his dominant attitude and worldview, as well as the effect rate of environmental factors on his mind and words.

In this article, by using a descriptive-analytical method, first, with a general and comprehensive look investigates all stanzas of Faryoumadi Ibn Yamin, then, with a careful look carried out to note and point out the most important and pivotal meanings of poetry and literal device of the poet that has the most frequency and reduplication. Finally, the link between the semantic and aesthetic realms of Ibn Yamin’s stanzas as well as the relationships between these realms with the environment and socio-political situation were analyzed and studied.

3.1. The semantic realm of Ibn Yamin’s stanzas Persian poetry has been rich since its first evolution and progressive period in terms of possessing precious themes. It is believed that this was the result of the existence of such sources and references in the Pahlavi language and the attention of Persian poets to them (Mahjub, 1993, 89). Also, the interaction with other tribes and the richness of the religious works and sources of the moral and doctrinal themes that their effects have been known since the advent of Persian writings works until the eighth century, has led to the formation of various types of moral and doctrinal poetry in various fields. In the following, we will examine the most significant and prominent meanings of Ibn Yamin's poems. 3.1.1. Abstemiousness and world instability The most important reasons for this motif is that “this famous speaker was in one of the most turbulent historical periods in Iran, and perhaps his place of life was more turbulent than other provinces in this land” (Khanlari, 1968, 3) and the difficulty of the poet’s era and the reversal of the norms of society has caused the poet to get away from the world and its criticism. One of the most frequent effects of the world’s instability is the transient of pleasures and troubles that the poet constantly conveys himself to the instability of this situation and not taking seriously the happy and sadness of the world, and this is psychologically a kind of reaction to endure hardship and psychological counterpart with them. Also, addressing the issue of “death” in the criticism of the world is evident in the poem of Ibn Yamin, which has often been viewed by social and doctrinal approach and by hoping to overcome the hardships and transient of the world, accepts the world’s instability. 3.1.2.Complaint and Criticism Criticism makes the main core of Ibn Yamin’s theories and teachings. Ibn Yamin’s criticisms present the living and alive images of the circumstances of his life. Also, Ibn Yamin’s criticisms are pervasive, sophisticated, and ironic; pervasive because the content of his critical stanzas is remarkable, as well as his critique does not include one person or a particular person, but includes most people in his society and era, which is found a typically state. His criticisms and complaints include criticisms and complaints of the era and fortunes; of ungratefulness the people of highbrow and the prosperity of market the artless people; complaining and criticizing the presence of the envious, the gibers and the enemies; even the complaint and critique of the admirers. 3.1.3. Forgiveness and enviousness The lack of generosity and forgiveness is one of the main weaknesses and disadvantages of the poet’s era. The reasons for addressing this issue in Ibn Yamin’s praiseworthy stanzas is that one of the most frequent commendable traits, which the poet always deals with, is his generosity and forgiveness that he, like others, is deprived of such a trait. In these stanzas, on the one hand, in the poet’s mind are depicted the utopia and the ideal city, and on the other hand, social movements are reflected in the depths of history and his era. 3.1.4. Reason and rationalism Reason and wisdom are very valuable to Ibn Yamin, and he can be called “admirer the intellect” and “rational poet”, but in the poet’s turbulent era in which “Iranian have suffered as much as their past and future history” (Safa, 1991, 1), rationalism is associated with sadness and discomfort and has lost its efficiency and effectiveness. 3.1.5. Taking the opportunity and worth of living Thinking about taking opportunity and benefit of the world’s opportunities and spending moments of life on pleasure and jollification and unsuspecting yourself from where its beginning and outcome are not apparent, Ibn Yamin’s views on death and ignoring consciously sadness has become the dominant motif of his stanzas, that is, it is due to his rational attitude to the realities of life and how it is easier to go. 3.2. The Aesthetic Realm of Ibn Yamin Stanzas Poetry, apart from what it says, how it says is tuned with beauty in everything. According to Roland Barth, the literary text is a semiotic device based on a secondary system; the literary text of semiotic device uses the primary system to create a semiotic structure at higher and more complex levels (Shamsa, 2009, 21). In fact, this field is the realm of rhetoric, in which the poet’s efficient and effective literary device should be addressed. 3.2.1. Paradox The most prominent device used in stanzas of Ibn Yemin is paradox and confrontation. The function of this device is in many cases natural and accessible to the content of poetry and has been covered in all aspects of poetry such as name, verb, adjective, adverb, phrases and sentence structure. One of the reasons for this element returns to its social environment and the poet era; the society that has become anomalous to the norm and worthy of worthlessness. 3.2.2. Simile and allegory Ibn Yamin in his moral stanzas often expresses the basics and results of practical wisdom in the form of correct allegorical and analogies with rich and stable words and expressions. Most of the similes of Ibn Yamin or “sensible analogies” are that they should be considered as the images of the depth, because they refer to facts beyond the nature, and their application has had the influence, the image authority, and giving depth to them; Or "Sensory analogies" that are taken from the areas of nature, war, astronomy, aristocratic and mystical elements, respectively. On the other hand, the use of allegory and in some cases fictional parables in the poetry stanzas express the expansive structure of the virtual image that Ibn Yamin uses to explain the thoughts, teach ethics, inform, and prove his claims. 3.2.3. Ambiguity Another one of the most prominent literary techniques of Ibn Yamin, like other poets of his era, especially Hafiz used artistically and skillfully in his poetry, is “ambiguity”, especially “balanced ambiguity” that the poet uses it to seek a multilateral and stable link between the speech words of his consistent and congruence attitude from several aspects of the audience mind to the considered subject. 3.2.4. Allusion Ibn Yamin has been using the allusion to create the new meanings, imagine and enrich the poetic images, as well as to expend and promote the principles of Islam especially Shi’a, and on the other hand, he has used the religious and epic elements for his petty purposes and interests, such as the praising of admirer, or for a superficial allegory. His allusions are two groups: a) Religious and Qur’an allusions: In the eighth century, with regard to Shi’a movements and the availability of open spaces for the tendency toward Islam specially Shi’a, a poet like Ibn Yamin adapts and arranges verses and anecdotes that this adaptation of the Qur’an, sometimes in the form of words, sometimes covered the Qur’an themes with the theme of Persian poetry, and once had had the allusion to verses and Quran anecdotes that, in addition to the structure of the poetry world created the context of guiding people and strong stimulus for the Shi’a movements, including the leaders. B. National and mythological allusions: Among national and mythological names and personalities, Ibn Yamin refers to Hatam Ta’ei (who is grateful for forgiveness and enviousness) due to the pivotal nature of the issue of forgiveness in stanzas, and Rustam (who personifies power and strength) is specially reminded due to the fatalism and many praises; because the poet speaks of the power and strength of omen and fortune, and the admirers that outstand in warfare and prowess. 3.2.5. Alliteration Such device focused on the poet mind, which uses it across multiple stanzas to match his rhymes with other couplet words. Among these congruous words, Ibn Yamin repeats some of the words more than others. For example, absolute pun between the two words “world (universe) and the world (alive)”, which have the central concept of the world’s instability and temporality, or the excessive pun between the two words “Gardon and Don”, which denotes abstemiousness. 

The central concepts of Ibn Yamin in the semantic realm are the abstemiousness and unstable of the world that one of the most important reasons for this tendency is the unfavorable condition of society. Another notable concept is the lack of forgiveness; it is one of the main weaknesses and disadvantages of the poet’s era. Another concept is the complaints and criticism, which include complaints and criticisms of the era and fortunes, ungratefulness the people of highbrow and the prosperity of market the artless people, the presence of the envious, the gibers and the enemies; even the admirers. Another issue is the rationalism of Ibn Yamin that he can be called the “admirer of the intellect” and “rational poet”, and ultimately, the time spending and taking the opportunity. The most pivotal elements of rhetoric in the aesthetic realm of Ibn Yamin are: Paradox, which has been mentioned consciously and skillfully in all aspects of Ibn yamin’s poetry. The purpose of Ibn Yamin in the field of simile and allegory is informing, teaching, preaching, explaining the thoughts, and proving the claims. Among all sorts of ambiguity, “balanced ambiguity” is often used to create artistic ambiguity in poetry, to integrate into the horizontal axis of poetry, to highlight meaning, and to decorate and modernize the word. Ibn Yamin’s allusion is often based on the religion of Islam and Qur'an, and besides that, the national and mythological allusions are also impressive. His goal to use the allusion device is to create new meanings and to fancy and enrich the poetic images as well as to promote the principles of Islam, especially Shi’a. Finally, Ibn Yamin uses the phonological and musical proportions of words especially alliteration to increase the musical aspect of his speech, creates a meaningful relationship between such phonetic proportions with the desired content.

The Islamic Revolution, as a cultural and social revolution, gave rise to a new identity in Iran, which can be seen in the literature of the Islamic Revolution, which reflects the beliefs and aspirations of the revolution. In this research, using the content analysis method, the components of Iranian national identity approved by the Cultural Council have been examined in short stories of sacred defense (selected works of Youssef's literary prize 5 to 7). The results show that the authors of these three collections have reflected all components of national identity with a nostalgic and positive attitude, with the highest frequency being related to the Persian language component, especially the metaphors and corrections, and then to the component. History and civilization are especially customs and beliefs. Also, the component of the land of Iran, especially the geography and the component of Islam based on the Qur'an and the motives of the Ahlul-Bayt (AS) and the spirit of spirituality and monotheism are in the next ranks. Less attention has been paid to the two components of Mahdism and Provincialism. Among the three most important collections in the field of national identity were Yosef Five, which indicates that most of the authors of the series adhere to the Supreme Leader's guidelines and indicators of national identity, and the weakest is Yosef Six. Also, the religious color and smell of Yusuf Five to Yusuf Seven declined, and on the contrary, the national and local color.

Every act of communication is connected to encryption, which refers to any regular and integrated sequence of symbols, words, and letters optionally used to convey concepts. There are two categories of codes, verbal codes and non-verbal codes. Non-verbal codes include codes that relate to physical movements, use of time and space, clothing, makeup, and sounds that are not related to language. In this article, an attempt has been made to examine the story of Rostam and Sohrab by Ferdowsi in terms of non-verbal codes of communication. This is done from an interdisciplinary point of view. As it is found, Ferdowsi has used a wide range of non-verbal codes in this story which give it dynamicity, mobility and truthfulness. The story is also endowed with great effects on the audience, leading to its persuasion. The most frequent and prominent messages taken from non-verbal cues are sadness, anger and battle, which are in perfect harmony with the tragic-epical nature of the story. In this paper, the non-verbal instances of communication in the Rostam and Sohrab story are identified and examined by a descriptive-analytical method. The corresponding diagrams and frequencies are also presented.

One of the poets who have a special place in the poetry area of Persian literature, especially the poetry parts of ethics, is Ibn Yamin. The prominent features of this peasant poet are contradictions in attitude and writing, and with a profound view of his poetries in many of them one can find out the conflict in the worldview of poet, which is obviously expanded through the industry of contradiction throughout all his poetries and used this industry as the subject and purpose of the aesthetics and expression of the themes. In this paper, the main question is: How much and why Ibn Yamin used the contradiction of his thoughts and speeches, and what is the relationship between his contradiction and his contradictory? The results of the study showed that the poet in this approach was strongly influenced by the instability of personality and spirituality, especially in his temporal and spatial position, because in time perspective, the era of poet is considered as the age of the whole chaos in Iranian history and In terms of location, the poet's place of residence has been a tumultuous place; as a result of these internal and external disturbances, the poet's words were also influenced and seems confused, especially in his worldview, Including dealing with the world, determinism and fanaticism, rhetoric and knowledge of poetry, admonitions, meditations, criticizes and misunderstandings has been reflected and led to industry of contradiction be the most prolific poetry literary poet.

Communication includes all the ways that human beings can influence others. This involves not only speaking or writing, but also all human behavior in various ways, so there are two types of communicational signs that human beings use: verbal and non-verbal signs. In communication science, special attention has been paid to how non-verbal signs influence message transmission. The research has shown that a large proportion of messages are transmitted to others through non-verbal signs. In poetry, the poet uses both verbal and nonverbal signs to be more effective in relation to the audience, but often in the analysis of poetry, the focus is on the verbal signs. Mehdi Akhavan-Sales is one of the most remarkable poets of contemporary narrative poetry whose specific characteristic of his poetry makes it suitable to use the non-verbal signs. In this study, the use of non-verbal communicational signs has been discussed to answer the following questions: Which non-verbal signs did Mehdi Akhavan-Sales use in his poetic images? What induces non-verbal signs in his poetry? Is there a significant relationship between the signs of non-verbal communication and the dominant thought of Akhavan in his poems? This study shows that Akhavan transmitted some of the concepts and messages in his poetry by depicting non-verbal signs related to the eyes, hands, feet, head and neck, lips, mouths, etc. The frequency of using these signs is higher in poems that have narrative features. The messages conveyed by these signs are often sadness, fear, concern, anxiety, uncertainty, and despondency. The high frequency of false smiles and the frequent use of phonetic messages of silence indicate that duplicity, and improbity made his poetic atmosphere full of despair. The use of these signs shows that instead of explaining a feeling or trying to convey a message, he presents an effective poem to the audience in a succinct manner.

The school of Romanticism, as a sociological, intellectual and artistic school which emerged at late of the 18th c., influenced the literature of other nations, notably Iran. The signs of such an influence on different Persian works are traceable from the Constitutionalism. Bijan Najdi is one of authors who has a romantic point of view when dealing with different issues. By mixing poetry and fiction and making much use of poetic elements and emotional contents, he invented a new style. The concern of the present research is a romantic reading his short stories with a descriptive-analytic methodology. The findings of the present research indicate that among the different elements of Romanticism, Bijan Najdi focused mostly on naturalism, love, past, sorrow and disappointment, and dreams. Furthermore, the renunciation of industry and urban civilization and favoring flora and fauna and transferring emotions and feelings from characters to nature are other naturalistic characteristics of Bijan Najdi’s short stories. Love in his short stories dominated the reason of his characters and they love man, nature and animals. To gain emancipation from sorrow, he takes refuge in past—youth and teenage. Some of his characters also to escape from the bitters facts of life take refuge in dream, objectifying their unfulfilled desires. On the other hand, in Bijan Najdi’s short stories such fictional elements as words, images, tone and ambiance possess an organic unity, suggesting an effective romantic perspective.

Resistance literature as a literary genre has a long history and since the birth of literature, moved alongside it. Kaiser Aminpoor has special place among the prominent poets of this kind of literature in Iran and his poetic language distinct from poetic language of his contemporaries that the reason for this distinction is his focus on different aspects of language and particularly the issue of archaism in poetry. Archaism is indicative of the ancient poets grammar in the language of poetry and its reflection in the words and syntax. In this study, has been paid to level of the lexical archaism (noun, adjective, adverb, verb, word) in full array Lyrics Kaiser Aminpoor that in the present study is considered the performance and motivation of choice of ancient words and vocabulary building. The aim of this study is to elucidate the function and structure of the ancient vocabulary used by the poet and the relation between language and his views on poetry.the results achieved by using of the way descriptive and library and analysis lines and survey, indicates that poet is considered in his choice of words of ancient often aspects epic, mystical, musical, rhetorical and poetic and is adapted modern languages with ancient patterns.

Repetitionis a fundamental issue in aesthetics of art and plays a very important role in literature and, in particular, in poetry. Repetitions can also exert an influence on aesthetic aspects of a literary work in case of being appropriately applied. On the other hand, from a stylistic point of view, repetitioncan reflect the author’s individual style. In fact, full repetitionand partial repetition are two ways to create elegance in speech and also to establish music of rhyme in poetry which are considered to be of fundamental elements in poetry. Therefore, all the verbal tricks and even meter and rhyme are created based on repetition. Repetitionis pleasant since repeating something reminds us of that thing again and perceiving this unity pleases us. It is obvious that Fakhr od-Din Asad recognizes the internal and external music of poetry correctly and applies it widely.
He has applied repetitionin various ways to exert more influence and to make the poem more pleasing: on one hand, like other poets in Khorāsānīstyle, Fakhr od-Din Asad has applied repetitionvery gracefully and on the other hand, a large number of these repetitionsstem from Pahlavi texts and from the origins of the story in which there were a great deal ofredundancy and also various images and sentences. Figures of speech created through balance do not have similar essence, so different types of balance should be considered in different analytical levels. Here, balance has been used in its widest sense i.e. each type of music and meter which can be considered in the level of phonological, lexical and syntactic and is created through verbal repetition. This does not mean that the above-mentioned analytical levels are separated from each other since most of figures of speech should be considered through the elements of more than one level. The occurrence of phonological balance is more than lexical balance and the frequency of lexical balance is higher than that of syntactic balance.
Phonological balance is a kind of verbal balance created through the repetition of all phonemes and enhances the musical aspect of poem. This kind of balance is divided into two qualitative and quantitative parts. Qualitative phonological balance is a kind of phoneme repetition creating alliteration and quantitative phonological balance creates the meter of the poem. Phonemic balance refers to those phonological repetitions which happen in one syllable and is divided into two parts:1. Assonance: the repetition of one high-frequency consonant in a sentence
2. Consonance: the repetition and distribution of vowels in words.
One of the figures of speech which can be considered regarding to phonemic balance is alliteration. On the other hand, phonemic balance refers to those parts of phonemic repetitions which are created through collocation of some syllables and, in general, leads to poetry.
Lexical balance is another kind of balance created through a language unit which is larger than syllable. In the other word, lexical balance is not limited to repetition of some syllables in a word rather it can include the repetition of a whole word, a noun or a verb phrase or even a set of words in a sentence. By the way, similarity between two or more repetitive words can be regarded as partial or full. The difference between phonological and lexical balance is related to the point that lexical balance is created through the repetition of two or more words or grammatical elements which are larger that syllable in structure while, phonological balance is created by the repetition of two or more language units which are smaller than word i.e. syllable or phoneme.
Repetition is exerted to the lexical level partially or fully resulting in establishing a set of figures of speech. The repetition of word with partial similarity can be seen in some figure of speech such as different kinds of saj', pun, and also in Leonine verse (tarsi’) and counterbalance (movaazene). Full similarity includes a grammatical morpheme or larger elements like words, phrases and even sentence. It should be said that, therefore, lexical balance is not only limited to repetition in level of word rather it includes grammatical elements larger than word such as radif, radif alqafyh, rad alsadr alala’jz, rad al’ajz alalsadr, homophonic pun, compounded pun etc. It is worth saying that homophonic or compounded puns are a complete similarity between two grammatically different elements so they can be analyzed in this section. Repetition in level of phrase: phrase is a group of words that functions as a single unit and can be regarded as full or partial. Repetition in level of sentence: in Persian, each sentence consist of at least two grammatical elements i.e. verb and subject (shenaseh). Here, repetition can also be considered fully or partially.
Syntactic balance: in this section, it should be said that syntactic balance does not necessarily include phonological repetition although, at times, poet may benefit from phonological repetition while creating syntactic balance. Syntactic balance can be created through collocating the elements with similar part of speech or by displacing and replacing the elements of a sentence. Collocating the elements with similar part of speech includes some figures of speech such as laf-o-nashr, division (taqsim), numbers (a’dad), tansiq os-sefat etc. In part of speech replacement by displacing the elements of a sentence a new sentence is created which bear a syntactic balance with previous sentence.
The functions of repetition in Vis and Rāmin are as follow:Euphoniousness, stating feelings and emotions, inducing meaning, emphasizing on a specific meaning, creating unity between poet and reader, explaining and interpreting the meaning of the poem, developing creativity and fertility of meaning, creating new terms and structures, emphasizing on poet’s inner feelings, perpetuating an action or a state, creating various entries in the poems, inducing specific meanings through repetition of morphemes.

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.

“Eiham” and especially “Eiham Tanasob” have an important role in enhancing the quality of the poems. Salman Savoji used Eiham to create artistic ambiguity، solidarity، and internal music. The purpose of this article is to study Eiham and its functions in the poems of Salman Savoji. “Eiham Tanasob” is the most dominated characteristic in Salaman`s poetic style and is used to create artistic ambiguity، rhythm of poem، enhancement of meaning، expanding the language، artistic decorating، and solidarity. In Salman`s poems، Eiham is used in a way that we can understand both the close and the far meaning of the words or it is very difficult to choose one of the meanings which results in an artistic ambiguity. He also enhanced the rhythm of his poems by contrast and symmetry which are the results of “Eiham Tanasob”. The relation that is made between the words of the poem by “Eiham Tanasob” results in a great solidarity. “Eiham Tanasob” along with other kinds of rhetoric and other forms of imagery used in his poems cause to distinguish his poetry language from prose، enhance the capacity of his poetry language to motivate the feelings of the readers، and according to the cooperation of the readers in creating the meaning the reader becomes an active one and results in artistic satisfaction.

Poetry is a mixture of thought and imagery. Thoughts of the poet are his language expressed in the form of verse and cross to the mind of the reader. Poet’s worldview and the quality of explaining phenomena affect the structure of his sentences. Consequently، styles and literary genres select certain syntactic patterns. These patterns، indeed، express the perspective and subjectivity governing that style or literary theme. There are numerous syntactic factors which show the differences of author’s perspective and attitude with regard to a subject or component in the text but this article considers two elements of modality and temporal variables in the Mathnavi of Veis va Ramin. This research aims to elucidate the view and attitude of the poet in using verbs، adverbs، adjectives and the organization of the words and reflection of the poet’s voice in the syntax of sentences. The results of this study show that the attitude of the poet is controlled by the dominance of events and his usage of present tense adverbs implies his realism and his confidence in the subject of the tale. The characteristics of Fakhr al-Din have an absolutist and equal attitude، and by referring the discourse to the moment of speaking and using present tense and distinguishing and affirmative adverbs the absolute and definite belief of the poet in love and its consequences are shown.

Some linguistic theories propose useful possibilities for analyzing literary texts. One of these theories is Halliday and Hasan’s theory. The semantic، verbal، syntactical، or logical relationship of a text sentences is called coherency in this theory. From this point of view coherency in official language have some elements that include: grammatical، lexical، connective، and each of these elements includes some other minor elements. The aim of the present article is to investigate each of these coherency elements in Fakhrodin’s Veis-o-Ramin and in the end the results show that among the different types of coherency the lexical coherency especially repetition and contradiction، and connective coherency specially plus counection have the most impact on coherency and unity of Veis-o-Ramin’s verses. On the other hand، other coherency elements in Fakhrodin’s speech are significant which alongside short length of sentences of Veis-o-Ramin can be considered as simplicity and understandability reasons of Fakhrodin’s poem. The method of study is descriptive and the results are investigated by analyzing the verses in library and document searching method and each of coherency elements are investigated by mentioning sample verse and the repetition frequency.

One of the talented and poetic gifted poets in Qajar Dynasty is Asef Ghahfarokhi. The poems of this anonymous poet show his artistic soul and mastership in poetry. He associated the poetical senses with pleasant poetical figures. One of the poetical figures is simile. Simile has different types and can be considered in respect of 2 compared entities, structure, form, theme, and so on. In this essay, we want to consider Asef’s similes in a thematic point of view to show the way he creates his poetic similes. Furthermore, a part of the essay has assigned to study the other eloquently figures associated with simile figure in Asef’s poetry.