alireza fouladi

 Nematkhan Aali Shirazi is one of the Iranian poets who lived in India in the 11th and 12th centuries. Although he has experimented in composing all kinds of poetry, he has been more skilled in composing sonnet, and he is one of the prominent examples of Indian style sonnet in terms of wording and meaning. In this essay, in addition to introducing this poet, our goal is to examine his sonnets from a stylistic point of view, and especially to show the prominent motifs of his compositions; Motif - which is one of the rhetorical terms - is a word or combination or image or theme that is repeated and highlighted in a significant way and shows a person"s mental and intellectual concerns to a great extent. Therefore, the motif is especially important in literary criticism and structural and content analyzes of a literary or artistic work.

 This research is a theoretical study that was conducted in the library research method. The scope of the study is Diwan Nemat Khan Aali Shirazi, which remains in the form of a manuscript and the authors are in the process of correcting and suspending it.

 Nematkhan"s poetry is full of artistic and rhetorical techniques, which are the basis of the style and structure of his poetry. One of the most prominent of these techniques is the motif, which is reflected in Nematkhan"s poetry in various forms: semantic and thematic motifs such as love, morality, randy, etc., rhetorical motifs such as simile, metaphor, paradox, etc., lexical motifs such as love, heart, night, day, flower, nightingale, deer, and...

 Nematkhan has used various artistic and rhetorical methods such as simile, metaphor, hint, paradox based on his intellectual concerns and with the intention of creating art and creating themes. He has also repeated various words and combinations in the form of motifs and highlighted some of his thoughts and feelings and has given his speech a colorful variety.

Cohesion is significant in creating cohesive texts. Cohesive Devices can be divided to lexical and grammatical factors, each having subcategories. Using cohesive devices in literary texts is quantitatively and qualitatively different to other texts. Yet parts of literary texts such as transition-verses in odes, better demonstrate this difference as the poet attempts to further link the beginning of the ode to the body. Using a descriptive-analytical method, this study investigates the cohesive devices in transition verses of a Khorasani-style representative, Manoochehri. Moreover, based on previous research, an attempt has been made to create a model for examining cohesion in Persian poetry. It was also revealed that 41 of the 57 odes extracted from Manoochehri's poem collection include transition verses. In general, 1007 cohesive devices were discovered in the transition verses of Manoochehri's odes, with lexical cohesive devices (82.32%) outnumbering grammatical cohesive devices (17.67%). Among the subcategories of grammatical cohesive devices, references (11.81%) played the most important role in making this poet’s transition verses cohesive, while conjunctions (0.89%) played the least important role. Collocations (50.54%) were the most frequent lexical cohesive device, whereas syntactic parallelisms (1.29%) were the least frequent.

Anecdote is one of the most widely used types of stories in the language of mysticism. However, until the 4th century, which is the century when mystical stories were established, we do not encounter many stories among the early works of Muslim mystics, and this point prompted us to search for the roots of this type of literature in the language of mysticism. During the study of the works of Shaqiq Balkhi (d. 194 A.H.), Kitab al-Raa'yah for the rights of Allah, Harith al-Mashabisi (165-243 A.H.), Kitab al-Maqamat al-Qulob Abul Hossein Nouri (d. 295 A.H.), the letters of Abu Saeed Kharaz (d. 297/277 A.H.?) and Junaid al-Baghdadi's letters (d. 298 A.H.) we found simple forms that can be attributed to the origin of the story in the language of mysticism. This fact is not far from the general flow of the emergence of literary genres; Because these genres were not created at once and simple forms can be considered for them.This fact is not far from the general flow of the emergence of literary genres; Because these genres were not created all at once and simple forms can be considered for them. This article, which was done with a descriptive-analytical method, helps to know the roots of story types such as allegory in mystical literature, because all these types, in the first place, arose from anecdotes. By analyzing mystical texts until the end of the 4th century, we came to the conclusion that Quranic verses, prophetic hadiths, religious traditions, mystical experiences, parables and Socratic polemics form the six roots of stories in the language of mysticism.

A look at the evolution of the title of Rad al- ajoz ala (ela) al-sadr in rhetorical booksAmong the figures of speech and literary techniques that have a long history and are presented with different categories, titles and names in Arabic and Persian rhetorical books is "Rad al-ajoz ala (ela) -Sadr" or "Rad Al-Sadr elā (alā) Al-ajoz". The use of "alā" instead of "alā" and the replacement of "Al-Sadr" instead of "Al-ajoz" has caused what according to a group of rhetorical books is called "rad al-ajoz ", according to another group, it is the opposite , scilicet it is rad al-Sadr ela al-ajoz . Persian rhetoricians consider the source of this disagreement to Shams Qais Razi, the author of Al-Mu'jam; For this reason, a group followed and obeyed and another group criticized his opinion; Therefore, this article - which is written with a descriptive-analytical method, by reviewing the historical course and development of this literary figure of speech and its importance in the most important Arabic-Persian rhetorical books, especially to the disagreement about the use of "alā" and "elā" " and it will be clear that the primary origin and source of these disagreements - contrary to what is stated in the Persian rhetorical books - originates from Arabic rhetoric and by Sakaki.

Many books have been written in the field of rhetoric and especially Badi’’ science, which is one of the three branches of this knowledge. One of the most controversial topics in the field of Badi’’ science is anadiplosis. There is a lot of disagreement in the definition of this figure of speech and its examples, so sometimes the definition of this figure of speech in rhetorical books is mixed with other figures of speech such as puns, polyptoton, pseudo-derivation, etc. This makes various divisions and common evidence of this figure of speech. Some rhetoricians have even examined its quota, doubt, acrostic, or one of the types of puns. But with more reflection and careful consideration, more precise and clear definitions can be offered for it, and the border between them can be distinguished. In this study, which is organized with a focus on Persian rhetorical books with a partial view of Arabic books, an effort has been made to study and review the historical rhetorical ideas in this field and compare the definitions provided in rhetorical books about the anadiplosis, similarities, and differences. By providing a suitable definition in a descriptive-analytical way, the border between this figure of speech and other figures of speech that are intertwined with it has been separated.

The impact of Sokhan magazine on the development of literary trends in Iran is undeniable. One of the ways that this magazine took this purpose was the foundation of modern literary criticism. Focusing on specialized literary criticism was first started in this land by means of Sokhan magazine. The present study aims at analyzing the approaches of literary criticism in Sokhan magazine with a descriptive-analytical method. This study has finally concluded that in the first ten periods of the magazine, the works were criticized in the traditional way, but in the later periods, reviews appeared either through translation or written reviews by Iranian authors, which are included in the three categories of classic, pre-modern, and modern. Classical criticisms have dealt with the lexical-technical discussions of the works of poets and writers. In pre-modern criticism, in addition to explaining the necessity and importance of literary criticism, it is possible to pay attention to the criticism of human experience and coherence. In modern reviews, most of the new aspects such as the fluid flow of the mind have been analyzed in the works of poets and writers.IntroductionThe importance of magazines in literary circulation and especially in the development of new literary criticism deserves detailed research. Before the emergence of magazines in the new era, Persian literature had fallen into the cycle of repetition and petrification and it did not benefit from creativity and innovation (Parsinejad, 2001, p. 17). One of the influential magazines in this field is Sokhran magazine which was published over the years under the management of Parviz Natal Khanleri and led contemporary literature toward transformation. This work was mostly done through translation and literary criticism. From 1321 AH onwards, Sokhon magazine became a field for criticism and strengthening and guiding the literary talents of the time (Yahghi, 1996, p. 102). This study investigates the general approaches of literary criticism in this magazine. Materials and Methods This descriptive-analytical study uses a qualitative analysis method, and the statistical population is all the courses of Sokhran magazine. Research FindingsKhanlari founded the literary-scientific-social monthly magazine Sokhon in 1322 AH with the cooperation of some prominent writers of that time, including Sadegh Hedayat, Bozorg Alavi, and Sadegh Chobak. The purpose of this magazine was to contribute to the progress and development of Persian literature through the publication of the works of contemporary and young Iranian writers and poets, the foundation and development of literary criticism, the promotion of scientific and literary research, and the introduction of writers and poets from other countries in the world through the translation of their works. Sokhon magazine started to define its policy from the very beginning and thus paved the way for literary critics and the spread of critical thinking in the magazine. It mainly aims at:Proposing the needs and priorities of research in the unknown realms of ancient literature with analytical and critical scientific methods.Critically investigating Persian prose and inventing a new plan with a scientific method to know the rhythm and Bahr of Persian poetry, separating the rules of Persian prosody from Arabic prosody, and establishing new signs and terms for it in the Persian language;Designing the first topics of modern linguistics in Persian and publishing articles on topics such as the evolution of language, language and society, and language and dialect, which were written for the first time in Persian, and expressing the topics of scientific problems in simple, easy language; andIntroducing new writers and poets and encouraging them to continue their work by critically reviewing new books in the realm of fiction and poetry.By searching all the periods of Sokhon magazine, we came to the conclusion that the reviews of this magazine have three general approaches: Classical criticism, pre-modern criticism, and modern criticism, and examples of articles included in the magazine were provided for each approach. Moreover, critics were introduced under each approach. The new books section was a title that Khanlari had created in the last few pages of the magazine since the beginning of the publication of Sokhon in Khordad 1322 AH and reviewed new books. It is important from a historical point of view because its words are clear and concise in expressing the matter. There is no ambiguity or generality in its language. It tells the flaws and art of the work and introduces young writers and poets to the literary society of Iran. Many poets and writers who are famous today, have introduced and reviewed their first works in the notes of ‘new books’ in this magazine.Discussion of Results and Conclusion Considering the three approaches of classical, modern, and pre-modern, criticism in the magazine caused both new critics to be cultivated and was a step to stabilize new poetry in front of critics' criticism and pave the way for literary critics and the spread of critical thinking in the magazine. Then, Iranian and non-Iranian critics were introduced. This review and introduction in the magazine made the works of writers and poets visible and made non-Iranians become familiar with Iranians.

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.

Considering the importance of having a cheerful atmosphere and friendly interaction of senior managers with the employees and the preference of humorous leaders over serious leaders, this research aims to provide a humorous leadership model by studying thermal power generation industry, in a qualitative way according to the Grounded Theory method. The research is exploratory in nature and applied-developmental in terms of purpose. Based on the judgmental-targeted sampling method and with the aim of achieving theoretical saturation, a semi-structured interview was held with 21 CEOs of power plants, who were familiar with the concept of humor and its application. The reliability of the conducted interviews was confirmed by Cohen's kappa test and the agreement coefficient of 82% indicated a good agreement between the experts. Based on the analysis, 135 main concepts were extracted, and finally 9 main categories were identified. Then, the humorous leadership model was presented with the Charmaz approach was presented for the first time in Iran's production organizations, considering its characteristics and components. The results indicate that humorous leadership can help the country's thermal power generation industry in the competitive world to use this style for improving the work environment and gain a competitive advantage over competitors.

Sanai, the founder of Persian mystical poetry, is one of the poets who strived to introduce the language of mysticism practically and at times theoretically. So far, several theories have been proposed regarding mystical language. These theories, where they are based on the more general theories of language of the target religion, fall into two categories of formative theories and role-oriented theories. One of the role-oriented theories about the language of metaphysical experiences is John Herman Randall's theory. This philosopher considers religion, just like science and art, as a kind of human activity that contributes to human culture, and lists four roles for religious mysteries and myths. The present article, adopting a descriptive and analytical research method, renders a new analysis of anecdote functions in Sanai's Hadiqat al-Haqiqah and examines their correspondence to Randall's theory. The findings reveal that Sanai deploys anecdote for two purposes; first, to clarify ontological, theological, cosmological, and anthropological issues and to correct social problems, and second, among Randall's four roles, Sanai’s Hadiqat al-Haqiqah anecdotes, in the first place, play the role of stimulating practical senses and strengthening practical commitments (Anthropological), and stimulating senses of cooperation and social cohesion (Social), in the second place. The next two roles, namely the transmission of unspeakable human experiences (Theological) and the explanation of the glorious divine system (Cosmological) have been considered less by this mystic poet. These roles place Sanai’s mysticism under the banner of Khorasan School, which is better known as humanism and socialism.

Formulaic speech is an integral part of any language. This speech, with its two permissive qualities and depth of meaning, transmits the narrator's content more clearly to the audience. This kind of speach is more expressed in the spoken language and is rooted in the community and culture of each language community. It has several kind, one of them is Metonymy. It has its own function both linguistically and semantically. Metonymy in "Charand o' Parand" has a very high frequency. Examining this kind of formulaic speech, in addition to recognizing the author's style, will be culturally and socially useful and effective. And it can better reveal the hidden angles of the text and the hidden meanings it contains. The present study is a qualitative (descriptive-analytical) study of metaphor and its application in Dehkhoda's "nonsense" articles. The results of this study show that Dehkhoda has used language linguistics more frequently in his articles. Many of his quotes are invented or non-Persian in origin and have cultural, social and religious backgrounds. He has also used this form of discourse to ridicule, protest, criticize, expose, authorize, depict society, objectify the characters of his articles, and bring prose to the language of the people.

Discussions about art criticism, philosophy of arts and esthetics are most often present in the works of non-Iranian thinkers and scholars. In some ancient Iranian texts and sources, one can find articles and discussions about the work of art, the artist and the audience. One of these sources is the spiritual Masnavi of Maulana Jalaluddin Mohammad Balkhi. In this book, there are scattered and incoherent verses from which topics related to works of art and art can be extracted. The purpose of the present article is to analyze certain parts of Masnavi Manavi in order to explain the philosophical basics of art criticism. In this article, which has been done based on a qualitative content analysis method, first the verses related to art and artistry have been extracted from Masnavi and then encoded and analyzed. The method of data collection was library and its tool has been identification. The research community is the Masnavi verses of which have been sampled purposefully. The results of this article show that the artist is also considered as the source of the work of art, too. In creating the work, the artist deals with two stages of inbound and outbound creation. In the stage of receiving (inner radiance), he must polish his heart to receive the designs, and in the stage of creation (outer radiance), he must be trained and be fully acquainted with materials. The artist must be creative; that is, he should have a personal style and avoid imitation.

The widespread use of prose in written and spoken language has not led experts to regard it as an equivalent of verse. On this basis, we do not yet have a specific definition of prose. Perhaps the reason for this shortcoming is either the difficulty of defining this kind of speech or its existential self-evidence. But philosophers, rhetoricians, orators, stylists, critics, and linguists have, more or less, tended to describe, and sometimes define, prose. Adopting a descriptive-analytical method, the present article has tried to offer a logical definition for prose after introducing the existing definitions. Having assessed the views of the predecessors, the article concludes that prose is “connected speech”, but the feature that distinguishes prose from verse is that in prose only the phonetic-syntactic rules of language dictate the order of the discourse, whereas in verse, meter and rhythm are loaded with rules that determine the arrangement of words. Moreover, the paper discusses rhythmic prose, prose poetry and rhyming prose in terms of their prosaic and verse properties.

A formulaic speech is a part of language which can carry many meanings, themes and instances. Formulaic speech are commonly used in proverbs, metaphors, idioms and languages and more in conversational language and play an effective role in social communication and language development both structurally and conceptually. They are part of a communitychr('39')s identity, culture and history whose understanding will lead to a better understanding of culture and society and the linguistic infrastructure and developments of a language community. Also, analyzing and recognizing them in a text gives a better understanding of the hidden angles and style of that text. In Dehkhodachr('39')s articles, there are various types of formulaic speech that in each of them lies deep social, cultural and linguistic concepts and understanding them helps to understand the style and language of Dehkhodachr('39')s articles and the society of his day. The present study uses qualitative (analytical-descriptive) method to analyze and recognize patterns of species in Dehkhodachr('39')s "Charand-o-parand" in three categories: proverb, irony, idioms and languages. The results of the research show that using these molded structures, Dehkhoda has depicted the conditions of his community and it has conveyed its content quickly and deeply to the audience. The use of these constructions has also led to the closest proverbial proverb to colloquial language. Idioms (220 Items), Irony (81 Items) and Proverbs (51 Items) are the most commonly used forms of molding in Dehkhodachr('39')s articles.

The discussion of literary genres has always been one of the most important topics for researchers in the field of literary theories. Since appearance of the literary genres- Aristotle era- until today, there has been a serious and wide-ranging debate on this issue. One of the most important questions in this field is how and why new literary genres emerged. Questions like these indicate that literary genres have changed and expanded throughout their lives. On this basis, the issue of methods and motives for the evolution of literary genres is formed. This article, which proceeds with a descriptive-analytical method, tries to answer the question of how and why literary types evolve while defining literary types. The result shows that new literary types, generally emerges through changing or reviving old literary types and with methods such as changing the subject, changing the size, changing the nature, combining two or more literary types, changing the focus, etc. Also, the motives of these changes are the order or need of the society, the way the work interacts with reality, the necessities arising from the way of expression, the special situation of the audience, the more effective the outdated and introductory literary type, its adjustment with a subculture and etc

under the influence of the Western culture, modern contemporary poet, Mahdi Akhavan Salis, tried pay attention to Iranian culture and, to this end, tried to create a reconciliation of Zoroaster's personal and charitable tendencies, social orientations, and justice-seeking. The present article tries to answer the question of the extent of his beliefs in the afterworld, using exact qualitative content analysis. The aim was to see whether in his belief in resurrection, Akhavan Salis proceeded to the same extent as the ancient Iranians? According to the scholars' view, Mazdak has been a follower of the Zoroastrian religion in terms of the principles of theology. In this tradition, the divine and individual judgment and the Chinadopal, the same path, paradise and hell, and collective judgment, and the ultimate punishment of the sinners to free them from the oppression of sin, and finally, The scarlet has a clear plan. This article   Finally, it concludes that 153 semi poetry and 5 white poems have been released, and in total 158 free verses of the Brotherhood, 59 times in 50 poetry and 4 times in 4 poems, and 63 times in total 33 poems related to resurrection, and the percentage of poems related to resurrection The poet's poetry ratio is 88/20. However, concludes that his view of the resurrection, in his free poems, is more of a gloomy, sometimes mocking and even libelous, nature and, therefore , does not coincide with the resurrection of the ancient Persians or any other belief in the resurrection.

The attitudes, approaches, and ideological, cultural, and social requirements of each society in the cultural-artistic exchanges between different societies lead to change, evolution in the cultural-artistic components of the exchange. Iranian cultural-social beliefs, in the early period of Westernization of Iranians' intellectual - after adopting the school of Western realism from Western literature - made fundamental changes to the principles and norms of this literary school that eventually reproduced it as an independent school with a purely Iranian method and with specific Iranian components, to the extent that The term (Iranian realism) can be considered appropriate for this school. This research, based on qualitative content analysis, examines (Woman in Iranian Realism) as one of the most important components of Iranian realism in the novel (Missing Soluch). In this research, the challenges facing the Iranian woman and her personality dimensions in the family is categorized as headings and sub-sections, its different aspect and then evaluated in the novel. Also, in the process of this research, the author's attention and focus on the historical identity - The social status of Iranian women as a component of Iranian realism is explained and analyzed.

After the spread of Nimayi poetry, major changes took place in sonnet forms, and innovations were fostered in accordance with the age of modernity in language, expression, form, and content, so that little by little “new sonnet” was formed. The poets of this movement made significant changes in these areas in sonnet. One of the modernist lyricists is Manouchehr Neyestani, who, considering the time of presenting his sonnet, should be regarded as one of the founders of modernization in the form of Persian sonnet. The purpose of this study is to explain the way he moved towards the modernization of Persian sonnet. The research findings show that he fostered significant innovations in the external form of the sonnet, including changes in typology, punctuation, number of verses, repetition of verses, meter, and rhyme. Nevertheless, his efforts to innovate in the content of sonnet have been analyzed too, and for this purpose, we have studied the narrative, imagery, and paradoxes in his sonnets. Most of these innovations first appeared Neyastani’s sonnets and from there they found their way to the “new sonnet.”

Numerous books and articles have been written about the mystic and celebrated Iranian poet, Attar, and there is hence an extensive record of Attar-related studies. The proliferation of these studies further demonstrates the necessity of studying and analyzing them in order to have a good grasp of the depth and breadth of conducted studies and their achievements, and to refrain from undertaking repetitive studies. Keeping a record of research heritage of literary figures is one of the necessary undertakings in today's literary research, which aids researchers to be aware of the issues that have or have not been investigated with regard to them. Attar is the focus of the present descriptive-analytic study. Due to the vastness of Attar-related studies, only the record of relevant studies in Persian articles is discussed in this article. The time period covered by the study is 1300 SH to 1395 SH. Six-hundred fifty Persian articles about Attar have been published in specialized literary journals, especially scientific-research ones, during these 95 years. Statistics related to time distribution of these articles and their broad and detailed topics have been presented in several tables, and an analysis of the trend and approaches of Attar-related studies in these 95 years has been carried out.

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."

The relationship between rhetoric and poetry has been the subject of experts’ controversy since the beginning of the controversy, and this controversy has continued to this day without reaching a definite conclusion. The root of such controversy lies in Aristotle's two treatises on rhetoric and poetry. In these two treatises, the general boundaries between these two techniques are drawn and their minor boundaries remain invisible.
In this descriptive-analytical method, while examining the commonalities and differences between the two rhetoric and poetry techniques, the present article tries to study the separation of their specific rhetorical techniques based on the two treatises of rhetoric and Aristotle's poetry. This article concludes that the art of rhetoric and the art of poetry, in addition to the commonalities and differences in generalities, components, materials, types, theologians, audiences, and styles, have more to do with the use of rhetorical techniques than the sharing of materials and differences; That is, the working materials of these two techniques
Are generally common, and the purpose of using these materials in them is different.

In discussing the emergence of Nimai poetry, there are generally causes and factors such as the  efforts  of  Shams  Kasmayee,  Ja'far  Khamenei,  Abolghasem  Lahouti  and  Taqi  Rafat  in changing   the   poem formatsand   the   acquaintance   of   Nima   with   French   and   his impressionability from western literature. With more accurate research at this area we find out that  although  these  factors  remain  strong,  the  role  of  the  classic  approach  to  classical  poetry, such as the tendency toward multiple poems and innovations within this format, is undeniable. This  descriptive-analytical  paper  shows  that  some  of  the  most  important  features  of  Nimai poetry  have  been  used  before  in  some  constitutional  era.  These  features  include  changing  the length  of  the  lines  and  changing  the  rhyme  position.  Multiple  poems  also  been  a  pioneer  in mixing narrative and dramatic poetry and addressing political and social themes with regard to Nimai poetry.

Incidence school is of Persian poem schools in which the real love is studied. The most important characteristics of the poets in the school are: reporting biography, improvisation, simplicity of words, and honesty in words, expressing details of love and loving humans’ appearance. Vahshi Bafghi is the greatest poet in this school. Tendency toward incidence includes modern poets, especially poets of modern sonnet. Hussein Monzavi is almost head of the poets. By analytic method, Presented research studied the elements of incident school in sonnets of Hussein Monzavi and concluded that importance of imaging in sonnet is led to distinguish Monzavi’s incident sonnet from poems of incidence school. In addition, context of Monzavi’s sonnets is different from sonnet of other incidence schools in terms of reality of fact, and context of his sonnet due difference in behavior of modern human about love. This distinctions led to emerge of streams of incidence sonnet.

researchers have sometimes criticized the absence of Shater Abbas-e Sabouhi, from the history of Qajar period literature, and even considered this absent as a kind of censorship. however, the lack of credible documents in Sabouhi's life and the inclusion of many false poems in his collection of poems has led to this absenteeism. Tazkere-ye sho'ara-ye mo'aserin-e darol'iman-e Qom, which has been written during the youth period of Shater Abbas, solves these problems by quoting a summary of life and a few samples of poem of Sabouhi. in the present article, based on this Tazkere, we have studied the life and character of Sabouhi. this article has been conducted with analytical and historical methods and the result shows that Sabouhi, have been a popular and good looking poet with internal contradictions such as "illiteracy and awareness", "celibacy and love" and at a time, even "distress and parapsychology" and all of these contradictions returning to his original internal contradiction, namely "being in the lower social class and having personal characteristics related to the noblesse class". the same contradiction has made him popular and famous among common and gentlefolk people and these two classes have presented contradictory narratives in accordance with their morals from his life, to the point where, according to similar cases, sometimes we encounter with making storys myths about this.

As one of the most prominent and committed poets and writers of the Islamic Revolution, Seyed Hasan Hosseini, has paid attention to satire in three of his works. Through a descriptive-analytical method, the present study is dedicated to analyze the types, the techniques and the themes of satire have been used in these works: "Boradeh-ha"(the swarfs), "Nooshdarouye Tarhe Generic" (The panacea of generic plot) and "Festivale Khanjar" (the Dagger Festival). Hosseini has used, in above-mentioned works, aphorism, classic poetry format, Nimaei (Nimaic) poetry and white (Shamloi) poetry. Regarding that satirical tales are generally classified into three categories of "dramatic", "narrative" and "poetic", it can also be claimed that the satires used in these works are mostly dramatic using the techniques of exaggeration and sarcasm, especially poetic satires using the techniques of simile and metaphor. In addition, the most frequent theme of his satires has been the cultural critiques in the field of art as well as social critiques in the field of economy.

The field of Khaqani Research is still a lot of ways to go. one of these ways is to make the explanation of the Divan of this striking poet. in the present article, we examined the explanations of the verse of "چو باشه دوخته چشمی به سوزن تقدیر / چو لاشه بسته گلویی به ریسمان قضا" from khaghani in interpretations of this Divan. this article' by using the analytical method, tries to answer the question that which points should be corrected in this interpretations? from this research, we have concluded that the commentators of the Khaghani's Divan, when explanation this verse, ignored the different of meaning between "باشه" and "باز" and contrast between these two words, and they also have noticed the "دوخته چشم بودن باشه" interpretation without expressing its exact method. while first, "باشه" is different from "باز" in terms of meaning, and secondly, Khaghani regards the contrast between this two words, in terms of the being small of the former and the greatness of the latter, and thirdly, in this verse, in the "دوخته چشم بودن باشه" phrase, he has developed a special way to educate "باشه".