جستجوی مقالات مرتبط با کلیدواژه "constitutional poetry" در نشریات گروه "علوم انسانی"

In Persian poetry, some poets' divans are incomplete, and some of their poems are scattered across various sources and documents that, for various reasons, have not been included in their divans. This issue is particularly evident in the literature of the Mashruteh (Constitutional) period. However, fortunately, due to the abundance of periodicals during the Constitutional era and the recording of some poems in them, a significant portion of the works of several poets from that period, which were not included in their divans, has been recovered. Based on this premise, the author has undertaken a series of articles aiming to explore the reasons behind the incomplete nature of divans from the Constitutional period and to present newly discovered poems by some poets of that era, referencing the periodicals of that time. The first article in this series is dedicated to the newly found poems of Mohammad-Taqi Bahar and Hasan Vahid Dastgerdi.

Seyyed Ashraf al-Din Gilani (1249-1312) is one of the influential poets of the constitutional era Which had an effective role in awakening the people of its time With the publication of the political-social newspaper Nasim E Shomal. »Identification« is one of the discourse-based components of his poems which is itself a sub-category of a more general component called "classification". In the present research Authors using the Van Leeuwen,s (1996) model of representation of social actors to study the »Identification« in the poem of Seyyed Ashraf al-Din Gilani and to answer these questions: 1. This Discoursive Structures has led to the representation of which social actors in Nasim Shomal's poetry; 2. What is the use of Identification in Seyyed Ashraf's poetry? According to the research data, different types of Identification (Classification, Relational identification and Physical identification) have led to the representation of several social actors in Nasim Shomal poetry, some of which are: Iranians, women and girls, the poor, children and youth, Muslims (Classification); Widows, poor children, orphans, bereaved mothers (Relational identification) and Golrkhan, Lalehrkhan, Mahroyan (Physical identification). Using this discourse-based component, he represented the unfavorable situation of many of his contemporary social actors and, while criticizing the current situation, called on these actors, who were often the general public and the main audience of Nasim Shomal's poetry, to strive for a favorable position.

Seyyed Mohammad Rezamirzadeh Eshghi, an Iranian poet, writer and journalist, was born in Hamedan in 1273 AH. He is one of the famous and passionate figures of the constitutional era in Iran. Emotion and music are inextricably linked in his poetry, and literary arts and semantic sciences play a prominent role in his poetry. What is evident in Eshghi's poetry is the social aspect of his poetry in such a way that the socio-political content of his poems is connected with the life of contemporary people. In this research, the author is trying to evaluate and analyze all kinds of news and essay sentences using western words in love poems in a descriptive-analytical and library method. The results of the research show that Eshghi has criticized the social and political issues, the chaos of the country and the interference of foreigners in government affairs in his news and essays by using western vocabulary and by using imagery and creating themes, using the language of humor and irony. use poetic images in the service of his social and political ideals and express sharp political criticisms in the form of news and essays.

one of the stylistic attributes of constitutional period poetry is the use of European words (French, English, Russian) which were used by different factors in poets" poetry. and influenced the Persian language. In this article, with the aim of investigating the position, changes and evolutions of these words and their influence on the Persian language, the poems of the poets of the constitutional Current have been analyzed.

 The collection of article information was done in a library manner and it was written with a descriptive and analytical approach. The statistical population of the research includes the poems of ten prominent poets of the constitutional period, and European words have been examined in their poems from the point of view of word stylistics.

 In the course of constitutional poetry, approximately from 1285 to 1300 AD, European words have become a stylistic feature and can be seen in the Diwan of all poets. The Frequency of these words in special words related to the names of persons, places, Epithet and everyday terms(Idiom), words related to the field of politics, military and economic affairs, words related to the field of culture and social life. Poets used words in political, social, and lyrical content for various reasons, such as: creating a new theme, the necessity of using the word in the absence of a Persian equivalent, interest in using the word despite the existence of an equivalent word, artificiality and modernism. Compared to Persian equivalents, these words were used with translation at the same time as Persian equivalents, and in some cases, Persian or Arabic equivalents are more common. The evolution of these words after the constitutional period can be seen in three ways: 1- The words were removed from the Persian language with a change in theme and equivalence, 2- Some were used with a slight change. 3- Most of the words that were in the field of culture and social life of the people remained and are common today.
 

 European words are used in the fields of politics, military, society, culture, and economy for various reasons, modernism, the necessity of application, and beautification, in the poetry of constitutional poets. Their developments after the constitution are of three types: abandonment after the constitution, equalization with Persian words and stabilization in the Persian structure.

One of the important and fundamental currents of contemporary poetry is symbolic or symbolic poetry. According to many critics and experts, one of the main reasons for the tendency and attention of contemporary poets to symbolic poetry is the change and evolution of the political and social atmosphere of Iran in the contemporary era. In addition to this opinion, we can also mention the familiarity of poets with European poetic trends and the school of symbolism. During the constitutional era, the use of symbols, especially symbols related to natural and four elements, served to express the political-social intentions and goals of poets. Therefore, the purpose of the upcoming research is to examine the four elements of nature (water, wind, Soil, fire) in constitutional poetry in order to specify how the poets of this era have used these elements to explain their political and social goals.

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

Paying attention to the four elements has always had a prominent place and role among the culture and beliefs of various nations, including Iranian writers and poets, and has caused deep and significant thoughts, ideas and concepts to appear in Persian poetry in various periods. It has appeared in wide and artistic forms. During the constitutional era, especially the poems of Mirzadeh Eshghi, Aref Qazvini and Nasim Shomal, symbolization using the elements of nature has been paid attention to in order to pay attention to social and political issues.

Mirzadeh Eshghi, Nasim Shomal and Aref Qazvini, according to the four elements of water, wind, earth and fire, concepts such as homeland, destruction and rebellion of kings and tyrannical rulers, the destruction of the homeland and the loss of freedom and independence of the country and its colonization by foreigners have depicted.

One of the most important developments in Persian poetry after the constitutional revolution is the attention to the political and social issues of the country. Pro-constitutionalist poets, along with the changes in society, wrote poems for the constitution and paid attention to social events. One of the most frequent themes is the description of the uprising of the people of Azerbaijan led by Sattar Khan against Muhammad Ali Qajar, which has a special place in constitutional literature. Sattar Khan started the uprising and his companions also stood up and continued the uprising with the hardest struggle, resistance, enduring famine, torture, insults and insults. The most important performance of Sattar was that he resisted and fought for eleven months during the campaign of the Qajar government to Tabriz. After Sattar Khan, Mohammad Khayabani revolted against the Qajar government. The events of Tabriz and Sattar resistance were not far from the eyes of the poets. Prominent poets such as Mohammad Taqi Bahar, Aref Qazvini, Adib al-Mamalek Farahani, Vahid Dastgerdi, Mirzadeh Eshghi, Nasim Shamal, Farrokhi Yazdi are among the poets of this period who paid attention to the issues of Azerbaijan. . The results show: Describing the Despotism of Mohammad Ali Shah, Denunciation of Russia, praising the people's resistance against internal Despotism and the presence of characters in the country, praising Sattar Khan and sympathizing with the people are important components in relation to Azerbaijan in the poetry of the constitutional period.

Researchers have always pointed out the patriarchal views ruling the society as the main reason for women's lack of political participation. Dealing with mental schemas can help to understand the views of people of any society, towards themselves or others. By examining these types of schemas, one can better understand the reasons for the low presence of women in political arenas. Since the time of the constitution, the issue of women's presence in the society has been raised and many male and female poets have entered into various political issues including women's participation. The present study evaluates the poems of this group of poets and examines their mental schemas regarding women's political participation. This research is descriptive-analytical and data analysis is based on thematic analysis method.And the personal mental schemas of male poets (women's activeness and women's passiveness) were examined with the female poets' own mental schemas (from another perspective and from their own perspective). Contrasting and similar schemas between these two strata were identified. The findings show that most of the male poets paid deep attention to the participation of women in the country's political affairs and believed in the active presence of women in the administration of the country's affairs.But female poets, while demanding all kinds of personal, social and political rights for women, have considered the female gender worthless from the eyes of men. It seems that the reason for the lack of political participation of women can be found in this factor.

In the midst of the Constitutional Revolution, the promotion of ideas such as freedom, oppression, respect for the rights of the people, accountability of officials, and the establishment of parliament was considered to be one of the most important demands of various sections of society. In the meantime, the poets of the constitutional era, with their political literature, became one of the most important sources of people's excitement, awakening, and oppression. In this article, the authors have tried to study and analyze the poems of Adīb-al-Mamālek Farahani, Vahid Dastgerdi, and Malek osh-Sho'arā Bahār by using a descriptive-analytical method. The hypothesis that the authors have examined in their poetry emphasizes that first, the most important political component of Vahid's poetry is patriotism. Second, the most important political component of Bahar's poetry is criticism of the general state of society, and finally, the most important political components of Adīb 's poetry are pieces of advice to rulers accompanied by criticism. Findings of the article show that political thoughts of these three poets revolve around the seven axes of homeland, unity, constitutionalism and parliament, anti-authoritarianism, denial of colonialism, freedom, and justice.

Hafez is not a poet like Khajoo that apply a word in his poem, merely in order to create double entendre, and He is not follow Khaghani's way in paling the grace of poem through abundance of scientific expression. Rather his poem is balanced synthesis of scientific aspect of word with poetical dimension of speech. Hi use this rhetorical figure (ihām) on the basis of his detailed Knowledge about scientific texts. So it is necessary to survey the series of couplets which have scientific background, considering every aspect. Our hypothesis is that, there is no sort of conventional word-play thing in such couplets. Although most of our medieval knowledge in comparison to modern sciences are almost nothing, in most cases the speech of poets like Khaghani and Hafez is exactly according to the facts of those ages. In this paper as an instance, meanwhile paying a complete attention to the variant readings and Hafez poetic art also by getting help from common scientific texts of the Hafez age, we have critically edited some couplets of Hafez. If this method receive verification from Hafezian scholars, we can be hopeful that it can be effective and solving in other cases of Divan-e Hafez.

So far Hafezian scholars have enumerated various factors in creation of different variants of Hafez poems. The nature of different variants at the first step is studied considering this aspects: whether these reforms were made by the poet himself? Have the scribes had any influence in its formation? Or other factors than these two have been the source of different variants? Hafez researchers believe that the most important determinant of different variants is not the scribes errors and mistakes, but they are related to the following agents: Unwillingness of Hafez to collect his poems The evolutionary rudiments of his aesthetical points of view The socio-political situations of his time Changing of individual and particular cases into general We can expand this list by two important points: The evolution of Hafez knowledge: Perhaps the evolution of Hafez knowledge in different branches of science of his time has been a reason for the substitution of some of the variants. Hafez textual researches: This factor can be the one of main and the most effective reasons of different variants. Therefore intertextuality will be the authentic method in critical edition of Hafez’s poem. Goals: “The establishment of a reliable text” of Divan-e Hafez -like his poem and character- is an exception in the world of text edition. For edition of Divan-e Hafez it is not the scientific method to collate one particular copy of divan with other manuscripts and note the variants in the footnotes without any critical review. On the contrary, for each different variant several explanatory essays are necessary, these notes along with paying attention to the different versions of manuscripts and exploring aesthetical and rhetorical aspects of Hafez’s poem should be assessed totally, and only in this case -maybe- it is possible to perceive Hafez’s mind and language. This burden is heavy enough to be carried by only one person, that is to say it is necessary for the scholars to research the various layers of Hafez’s multiplanar poem from a special angle where the differences exist. This article is -we hope- a small step in that direction.

In process of creation of art works, Hafez does not believe in “beginning from nothing”. He is the poet of selections and motivations. Instead of using his mind power for creation of art works at the same level, as the poets before his time, through literary critical criterions, which he has learned at the schools of rhetoric and poetic specialists, he strains “Persian/Arabic texts in literary as well as in scientific fields” and as an eloquent poet, selects what he approves of mentally and linguistically, and recreates by exceeding artistic genius values, his knowledge and reflecting incidents of his time. In the process of researching the textual relationships between Hafez poem and Persian/Arabic poetry/prose as well as scientific texts, it turns out that throughout his life time, he has been researching on these resources. There are evidences in the Divan-e Hafez which show that some of the different variants have a root in his researches in scientific texts. For example: حیلت / حالت / طاقت کوه اندوه فراقت به چه حیلت بکشد حافظ خسته که از ناله تنش چون نالی است (Hafez,1387Š: 129) Varian Readings in Hafez’ Qazals (Neisari, 1385Š vol.1:291): حیلت :based on 31 manuscripts→ oldest one: Hagia Sophia dated 813 A.H./1410 A.D. حالت :based on 2 manuscripts→ oldest one: Khalkhali dated 827 A.H./1424 A.D. طاقت :based on 2 manuscripts→ oldest one: dated 817-34 A.H./1414-31 A.D. حیلت:based on The Oldest Manuscript of Divan-i Hafiz dated 801A.H./1398-99A.D. (Hafez,1394Š:14) QB: حالت‖PNSEJ: حیلت Hilat (حیلت) in this line is a single word with a double meaning (=ihām) “obvious” and “far-fetched”: 1. Means or Plan 2. Scientific term applied in the knowledge of ingenious mechanical devices (=ilm-ul-hiyalعلم‌الحیل) that refers to the ancient form of modern mechanical engineer.

Although Hafez poem is clear, it has a deep structure which a thorough understanding of his poem and deciphering his “dense poetic language” would not be possible unless through Intertextuality. This principle can be true in editing his poem. In such cases we should use the method of adding up a series of rational, eloquent and narrative reasons for the preference of different variants and critical editions. It is necessary to be noted that while we emphasize Hafez textual researches, we do not ignore his independent individual and original artistic creativity in the formation and completion of his poems.

Iranian literature underwent a fundamental change during the constitutional period, which is known as the literary revolution. Persian poetry, moving away from its classical traditions and rules, moved on the path of modernity. Iraj Mirza is one of the most influential poets. This is the period. His poetry is changing at this stage, both in terms of content and in terms of formal and linguistic structures. In addition to accepting new political, social and cultural themes, his works include new linguistic features and literary arrays. It is fresh and creative. The most important and most innovative innovations of Iraj Mirza are in the language of his poetry; He has accurately reflected the slang language of the age as well as new Persian and French words in his poetry, which has been very rare in Persian poetry before. The volume of modernities and linguistic and literary innovations of Iraj is so vast that he can be considered the most innovative constitutional poet in this respect. The present article examines the aspects of innovation and creativity in Iraj Mirza's poetry with a form-based stylistic approach; First, he examines the most important manifestations of modernity in the language of his poems in detail, then he identifies and introduces the new content and new literary industries of his poetry with a brief look.

Mirzadeh Eshghi is one of the poets of the Constitutional period whose views and opinions are very important in the political and social developments of the Constitutional period. With the aim of identifying the concepts and components of love modernism, the present study intends to answer this main question: What is the pattern of modernism in Mirzadeh Eshghi's poetry collection? His openness, courage, precision, and precise analysis of the political situation of the community are very significant in awakening and stimulating national emotions. The important point is that the lack of attention to the details of modernism, the expression of the diverse themes of modernism and paradoxical thinking, and the inner conflicts of love have caused his thoughts to not be adequately and comprehensively identified; therefore, in this research, using the "Grounded Theory" strategy, without any presumptions and biased judgment, the concepts of modernization in love poems were extracted and categorized. At the end of this process, by comparing and measuring the data and concepts, the components of modernization including 61 concepts were designed and arranged in the form of 11 components. The category of "domestic policy affairs" and Social developments with 12 repetitions have the highest frequency compared to other categories.

In the period of Persian literature, the poetry of the constitutional period is more than ever mixed with political themes, and political themes can be a proper basis for any kind of violence, including verbal violence. Farrokhi Yazdi is one of the prominent poets of this period who is a good example for studying verbal violence. Malkin (2004) is one of the scholars who have addressed the issue of violence in language. He introduces six patterns to illustrate how violence in language occurs, in which language provides a framework for the speaker to apply violence according to these patterns. In this article, we discuss how violence is manifested in 10 poems by Farrokhi Yazdi according to the discourse approach of Malkin (2004). Our criterion for choosing these poems was that Farrokhi used violent words and a violent tone more than any other in his poems. According to the results of this study, Farrokhi Yazdi has used the second pattern more than any other pattern of violence. According to this pattern, language can be a tyrannical weapon of domination and destruction. Frequent use of violent words by Farrokhi has made the second pattern more frequent than other templates. Farrokhi has used pattern number 5 less than the rest of the patterns. According to the fifth pattern, language can embrace and control power. This pattern, which examines the reflection of ideology in language, has been used less frequently in selected poems.

The poetry of Constitutional period has a special status in terms of a new view at the basics of education. As one of the eloquent and thoughtful poets of this period whose name and value is less known, is Mirza Ghahraman Pakbin Malayeri. He was introduced to the literary community by the famous literary figure, Vahid Dastgerdi. In an introduction to his collection of the poems, Mir Jalaluddin Kazazi called Malayeri as "one of the few heroes of Persian language in the early days of Constitutionalism". He compared the eloquence and maturity of Malayeri's poems to those of Iraj Mirzā and Bahār. Using a descriptive-analytical research method, the present study aims at analyzing the most important educational subjects related to the issues of the Constitutional era, reflected in the Ghahraman’s poems. Advising to learn new knowledge, believing in the need to use religion to control civilization, paying attention to the rights of the sufferings, paying attention to the women’s education, etc. are some of the important educational topics in his poetry. Statistical analysis shows that among the Constitutional teachings reflected in Ghahraman educational poems, two topics of "recommending to learn new knowledge" and "inviting to work and condemning laziness" have a higher frequency. Moreover, in a general estimation, approximately 65% of the Ghahraman's educational poems contain the new didactic trainings arising from the Constitutional intellectual situation. Based upon this, Ghahraman’s thoughts in the matters relevant to education and training were progressive, intelligent, and demanding.

The entry of the legal terms and subjects of the Constitutional era into poetry’s domain caused the confluence of two types of speech, i.e. two areas of legal and literary discourse in that era’s poetry.Public law discourse organized the dominant content of the Constitutional poetry and the particularly weak presence of the element of imagination turned into its characteristic of structure and form.The main question raisedin this research is the explanation of public law discourse’s role in the relationship between form and content in Constitutional poetry.Using a descriptive-analytical method, and based on numerous poetic evidence, this study investigates the issue from the standpoint of a procedure which has emerged through the innate characteristic of legal discourse and its incompatibility with imagery and can be interpreted as “The transition from imagination to emotion” in this era’s poetry. The process based on which the dominant form of Constitutional poetry was organized with a focus on social and revolutionary sentiments in the absence of imagery.In the present article, the compatibility of this narrative with the point of view of literary modernity was investigated and the effects of the research claim on the famous areas and structures of Constitutional poetry were revisited.

Abnormality is one of the most effective methods of language prominence and familiarity in poetry that poets have always used. The evolution and literature of the language of poetry is realized by transcending the rules of standard language and benefiting from unconventional constructions, and due to the repetition of a prominent feature in the poetic expression, it also becomes a stylistic recognition and identity. One of the types of abnormalities with which the poet achieves the creation and creativity of the literary work is the grammatical abnormality, which has become a recurring feature of his poems in Farrokhi's poetry. Therefore, what is examined in this study; Explaining the role of abnormality in Farokhi's poetry by studying the text and analyzing the content using a qualitative-descriptive framework in Farokhi's poems. The achievement of the article shows that it is important that, firstly, highlighting in the grammatical field of language with the way sentences are arranged, disrupting the directional order of words in the axis of companionship and also his creative insight into language acquisition and mechanisms, transcendental movement of Farrokhi poetic language two show that among the grammatical aberrations examined, the most prominent ones have occurred in the field of verbs.

The constitutional movement revolutionized the literature of the Qajar period by dramatically changing the entire structure of society. Factors such as connecting with the Western world, travelogues, establishing new schools, translating Western works, the press and more. It provided the Iranian modernization grounds, and this modernization influenced the works of the constitutional period in terms of linguistic, literary, and content, resulting in the most important stylistic changes. In this research, descriptive-analytical and library methods have been attempted; articles on social and literary situation, constitutional poetry and poets (Farrokhi, Aref and Mirzadeh Eshghi) have been presented and more on style, grammatical and structural features Just consider these poets. The mere section deals with vocabulary analysis. Research in the grammatical structure of constitutional poetry is important because on the one hand constitutional poetry has provided the context for structural and content change. And then, influenced by translation, they became acquainted with and influenced each other's European prose and poetry. Citing evidence and examples from the works of these poets, we conclude that populism has a high frequency in constitutional poetry, and although poets have a claim to modernity and modernity in literature, especially poetry; They are not well versed in grammar rules, so syntax and linguistic errors are abundantly evident in their poems.

If we consider that voice is a reflective ability of actors for narrating themselves and others’ lives and a sort of significant choice to reform the current situation, so the Constitutional era’s satiric poetry is a unique form in terms of constructing the public voice: an appearance of critical poetic form towards the society. In this research, the contexts of public voice’s formation have been historically explained and by studying four main poets of this era-based on Albert Hirschman's voice theory, themes and the manner of public voice has been analyzed. The effective factors in formation and development of public voice is: frustration arising from comparison between Iran and modern countries, absence of easy opportunities for exit (although it’d got possible), national loyalty sentiments and the possibility of voice’s effectiveness due to weakness of sovereignty. Public voice in the constitutional era has been unequivocal. While this voice is straight and distinctional in criticizing of public culture, it is rather oblique in criticizing politics (Shah, politicians and colonialism). Regardless of the validity of these poetries, satire was so a fantastic form to appear the horizontal collective public voice that paved the way of construction of collective political identities and – accordingly - vertical voice towards dominants.

The point of the beginning of literary transformation in contemporary Afghanistan is the constitutional movement. The Constitutional Poetry, as the first contemporary poetry stream, made a profound transformation in the content and poem of Afghanistan. This transformation could pave the way for further developments and the emergence of other currents in Afghan poetry, but the failure of the movement and the return of tyranny prevented this from happening. After the Constitutional Revolution in Afghanistan, the flow of romantic poetry began And in the final years of the AleYaha rule, the poetry of resistance began with two branches of poetry of socialist resistance and poetry of Islamic resistance. This paper attempts to examine the Socio-political factors affecting the development of contemporary poetry in Afghanistan, through the descriptive-analytical method, from the beginning of the constitutional movement Until the fall of the reign of Zahir Shah. Findings of the research show that After the defeat of the Constitutional Movement in Afghanistan, the poets have fallen into a pile of individuality and returned to lyrical themes before the Constitutional Revolution. The only sweeping poetry until the fifties in the country was romanticism that came from the tyranny of the era of oppression, which is strongly influenced by poems by romantic poets in Iran. Other poetry currents, such as socialist realism, Islamic resistance poetry, and avant-garde poetry have gradually developed in Afghanistan since the late 1960s and early 1950s.

Literature has always been proportional to the taste of humanity and played a prominent role in revolutions and social movements to achieve independence and freedom during history. Resistance literature as a branch of literature, has made a roaring literature that there is no way of stop and hopelessness to it, and has defended societies by putting aside repressive force, it has acted like a deterrent weapon to provide eternal cultural background of attacked societies, and wants to provoke the flame of hope in the hearts of nations. An approach to study poetry from the perspective of resistance literature, helps to understand its quality. One of the effects of this literature is to arouse the nation's will against demands of oppressors who believe in suppress and oppress. Resistance literature is the only weapon which some poets such as Moufdi Zakaria and Farokhi Yazdi by using it; had done a pioneering effort in Iran and Algeria's resistance poetry. Therefore this research investigates a comparative study between two poets; Moufdi Zakaria and Farokhi Yazdi, by descriptive-analytic method, without considering the two types of revolutions in both countries and emphasize on American and Sulaf School in comparative literature. Result of the study indicates that both poets have a common general goals and different methods. Since the resistance in Farokhi Yazdi is an aggressive one, instead of blaming autarchy and colonization, he pays attention to quarrel and awareness of his own nation due to negligence and uninformed domination over them, while Moufdi Zakaria takes an encouraging method toward his own people in resistance procedure and prefers to be proud of them and narrate their valor and courage in order to increase the spirit of resistance in them.

One of the best features of constitutional literature is making a number of modifications in the interlocutor’s domain. The present inquiry is to prove that any changes in this domain are not simply restrained to the addressees of extra-textual type but also including the intra-textual ones in the constitutional literature. The question is what was the role of the innovative political and social attitudes in the choosing one of the intra- or extra- types as well as the preference of any types of addressing style? To achieve to the suitable answer, the new attitudes of political - social constitutional era have been studied and divided in seven themes. Then, the effects of the mentioned subjects have investigated in the types of addressees (intra-textural) taken in the poetry works of some famous poets in the Constitutional period. As a result, in the constitutional revolution, a number of social-political changes leaded to the emergence of a new range of poetry addressees, so the style of addressing was modified at that time. However, the failure of the revolution caused the poets to turn back to their previous and accustomed style of addressing.