جستجوی مقالات مرتبط با کلیدواژه "motif" در نشریات گروه "علوم انسانی"

One of the important factors that distinguishes mankind from other creatures is the recognition of moral virtues and vices, which are consistently used as standards for judging human behavior. Due to the importance of this topic, many poets and writers from different nations have used these two elements as the basis of their literature to draw the attention of their audience to this issue. Deception is one of these vices which due to its negative effects on both individual and society level, has been condemned by authors. Hedayat in one of his stories called "The man who killed his passion" and Hariri in "Sanaaniyeh" maqama, shared the harms of this immorality with their readers in the form of two different genres of literature (namely Maqama and story) by focusing on a hypocrite character and his behaviors. In this study, we are doing comparative criticism of deception in the two mentioned texts which, although they are far apart in terms of time, seem to have similarities worthy of attention in terms of substance, characterization, and ambience. The difference between utilizing the motif of deception can be seen in their endings, which shows the difference between Hariri's and Hedayat's worldviews. The author of Maqam in his theological worldview shows that villainies characters can finally achieve repentance, and on the other hand Hedayat end his story with the suicide of a character who has lost his trust in mystical characters. The data is provided in a documentary way and our approach is comparative-analytical.

 Arsbaran (Qaradağ (region, in East Azarbaijan province, has many poets. In this article, by introducing the literature of this region and examining the place of poetry in it, the aesthetic motifs in the poetry of five contemporary poets of this region are analyzed: Salek Ahri Tabrizi, Morteza Mousavi, Hamed Ahri, Imamvirdi Samani and Ismail Soltani. he research method is library study and the writing of a descriptive and analytical article. Salek Ahri and Morteza Mousavi are among the poets of the Pahlavi period, and Hamed Ahri, Imamvirdi Samani and Ismail Soltani are among the poets after the Islamic Revolution. Five poets have used the content and rhetorical motifs of classical poetry, and there are few changes in contemporary Imagination and aesthetic elements in their poetry. The results show: The elements of classical Imagination, simple and free images and Stylistic device of ancient rhetoric, such as puns, repetition, simile, allusion, are the aesthetic motifs of their poetry and they have used them in lyrical and mystical content. In the social motif, elements of contemporary Imagination and Stylistic device of symbols have been used, but compared to the motifs of classical poetry and the aesthetics of the rhetoric of ancient literature, the elements of new Imagination are less in the poetry of this region. In general, their Persian poetry is a continuation of classical poetry.

One of the frequently used forms of discourse in the Holy Quran is storytelling. The Quranic stories are a rich treasure trove of faith-based, ethical, and behavioral teachings, which are vividly portrayed to provide models for others to emulate. In a civilization-building rereading of the stories of the prophets in the Quran, the first step is to identify the recurring themes in God's narrative of the teachings and actions of the prophets. Approaches to thematic analysis in literary sciences, such as narratology, offer scientifically valid and reliable tools that can assist in this process. Accordingly, this article adopts a descriptive-analytical method and uses the motif element from narratology to reinterpret part of the story of Prophet Ibrahim (AS) in the Holy Quran. The findings of this study reveal motifs such as the establishment of a rational civilization-building mindset through the motif of debate, the affirmation of effort and struggle in the expansion of the civilizational mission through the motif of trial, and the concern for the continuation of civilization in future generations through the motif of prayer for offspring in the story of Ibrahim (AS).

Arsbaran )Qaradağ( region of East Azarbaijan province has many poets in whose poems prominent motifs and themes of Persian literature are repeated. In this article, by introducing the literature of this region and taking a general look at the place of poetry in it, the language of poetry of this region has been examined in the divan of six contemporary poets: : Salek Ahari Tabrizi, Morteza Mousavi, Hamed Ahari, Imamvirdi Samani and Ismail Soltani and Hossein Dosti. research method is library study and the writing of a descriptive and analytical article. Salek Ahri and Morteza Mousavi are among the poets of the Pahlavi period, and Hamed Ahri, Imamvirdi Samani and Ismail Soltani and Hossein Dosti are among the poets after the Islamic Revolution. The motifs of classical (lyrical and mystical) and contemporary literature (social criticism, homeland, Islamic revolution and The Sacred defense) can be seen in the poetry of this region, and the linguistic evolution of their poetry is related to the poetic motifs. The results of the linguistic analysis of their poetry show: the language of their poetry is influenced by the elements and special words of the lyrical, mystical, and epic motifs of classical literature, but Arabic words and Macaronic language by Turkish are less frequent. The form of their poetry is ghazal, ode, Rubaʿi and Two-Couplet, only Mousavi has a few poems in the form of new poetry. Influence of the language of classical poets can be seen in the poetry of this region, especially in Samani poetry. In classical mystical and lyrical motifs, there are many words of mysticism and Lyric. Lyrical words are found in the poetry of all of them, and mystical words are prominent in the poetry of Soltani, Salek Ahri, and Hamed Ahari. the motif of Homeland is found in epic language In Hossein Dosti's poem. In general, the language of their poetry is simple, but among the research poets, Ismail Soltani's poetry is difficult and the continuation of the complex poetry is a classic poem.

The roots of many literary stories can be found in historical narratives. In this research, we focus on four historical and literary narratives that have a special type of deception as their motif. At first, we give a summary of each of these four narratives (descriptive level) and then we explain their commonalities and differences (analytical level). The first narrative is about a Persian man named Zopyrus, who helped Darius the Great to conquer Babylon. The second narrative tells the story of a man from the companions of the ruler of the Hephthalites, who led to the defeat of the Sassanid army by gaining the trust of Peroz I. The third narrative depicts the conflict between crows and owls which ends in favor of the first group with the cleverness and cunning of a crow. The fourth narrative is the story of a Jewish king who, with the trick of his minister, causes internal conflict and mass killing of Christians. In all these narratives, gaining the enemy’s trust by harming oneself is used as a motif, but the method of processing this motif is different in the aforementioned stories. This research, according to its topic and method, is conducted as library research. The findings of this research show that the main plot is the same in these four narratives, but their processing is different. In addition, the historical narrative of Zopyrus can be considered an ancient source for three other narratives; a source that has been neglected until now.

 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.

Among the ceremonies held in some great cities of Iran during Muharram is a ceremony called pūsh-kashī (pūsh = cover; kashī= extension). In Isfahan, in the past, the courtyards of hussainiyyas and tikyas were covered with painted fabrics, and this ceremony is still held in some of those sites including the hussainiyya of Hārūn Vilāyat. Since Qajar period, a fabric ornamented with verbal and visual texts and images were extended over the courtyard in Tasu‘a and Ashura days (9th and 10th days of Muharram). Because this ceremony has been held and those motifs have been used for some centuries in this site on a certain day, the present study aims at finding the semantic relation of those motifs and ceremonies with this site and with one another. Thus, the research question is as follows: “What is the effect of engraved covers of Hārūniyya hussainiyya on mourning ceremonies and on the site, and what meanings does it contain?” The data of the study were gathered through field study and documentation, and the research method was descriptive-analytical. The findings of the study show that the association of the verbal and visual signs consider the ‘Karbala rising’ and ‘being under Imam Hussein’s flag’ as ways to have a journey in the heavens, and studying these motifs reveals the mystical and epistemic origins of the ceremony.

Symbolist is one of the important and outstanding features of contemporary social sonnets. In these poems, some of the motifs have multiple meanings so they have became to symbols. Symbols and motifs are significant in analysis of literary works and stylistic studies, so by correct understanding of these symbolic motifs we will understand the perspective of the poet, his mentality and spirit, the level of thought and the political-social situation of his life period. Death is one of the oldest motifs that has been in the center of attention for a long time due to its tremendous impact on a person, and many works of art have created about that. From the total of 1236 sonnets written between 1350 SH to 1384 SH and collected in the book of Contemporary Social Sonnets, “death” is the motif of 308 sonnets, i.e. 25% of them. According to stylistic studies, the words "night", "day and morning", "silence and darkness", "spring", "reservoir and winter", "tree", "garden", "wind", "soil", "fire" " and "sun and sunshine" are motifs that came from the nature. Because of their multiple meanings, this motifs have symbolic function. This article tries to analyze these symbolic motifs with a descriptive-analytical method and express their exact meaning in some verses of contemporary social sonnets. Keywords: contemporary social sonnets, death, motif, motifology,

Motif is one of the common terms in various sciences including literature, criticism, painting and other arts. This term is one of the notable cases in the discussion of terminology. In this article, qualitative and quantitative methods have been used to examine the theme and various motifs in the poetry of Farajullah Kamali, a poet from Dashtestani, in order to determine the style of thought and the impressionability by examining the motifs and the implicit meanings arising from them in his two poetry collections. His social issues, his type of worldview and his special attitude to the world and its issues should be identified and analyzed. Also, following the examination of frequent motifs in this article, the type of use of literary industries as well as the intertextual connections of the motifs of Kamali's poems with other poets have been investigated in order to determine Kamali's individual style. By examining the themes of Kamali's poems, it is clear that he, as a local poet, did not consider his audience limited to a specific region. In his poems, the traditional literary industry has taken a new form in the expression of a specific motif with the local language in a symbolic form. The fundamental recurring concepts and motifs in his poems are sometimes used to express emotional feelings, personal issues, as well as political and social concerns. Kamali's critical language in expressing motifs with the use of stylistic norms has created his special style.

Some of the ideas and events serve a prominent position in human life, as though they lead humans to insistence and repetition by becoming a part of the concerns. Ultimately, they have emerged as personally permanent characteristics in humans' conscious and unconscious imagery. But, constant iterations of the mentioned imagery represent subjects that no information about its reality is available under normal circumstances. Notwithstanding, repetition is a linguistic-criticism phenomenon, sometimes it is offered as a motif appearing in the context of essential elements within a poem's text, signs and implications in which the poet uses codes and poetic images among them in order to add beauty and attraction to his/her text. Cartoon Art, as a picture, exaggerated and ridiculous traits offer outstanding design of people or objects and, using an analogy or a metaphor for a plan that sometimes combines with recurring elements and laughs along with the audience, the thoughts and feelings affect his. Thus, this study aims to examine cartoon images Hadi Heidari, the function is studded motif in his works uncover. Methods this cross-sectional study that deals with the depiction of certain objects to reveal the secrets that can mingle with forms of visual elements in his work to understand. Ultimately, they have emerged as personally permanent characteristics in humans' conscious and unconscious imagery.

Various studies have been conducted on lullabies, and the lullabies of different ethnic groups have been examined from different aspects, for example, the article "Lullaby, the oldest enchanting whisper of the mother" by Moghaddasi (2013) which deals with the structure and topic of lullabies. The article "Lullaby, the music of woman’s role in the transmission of oral culture" by Vodjani (2004) which refers to the role of woman in the transmission of oral culture. "Investigation of lullabies between three folks of Azari, Kurdish and Gilak" by Haghgou (2013) examines and compares the theme of lullabies among these ethnic groups. In the article "Taking a Look at the origin and themes of Iranian lullabies" by Hasanli (1999) investigates at lullabies as one of the poetic types of children's literature. The article "Motifs in Sabzevari lullabies" by Vahdanifar and Davari (2021) specifies the way of motif formation in Sabzevari lullabies, and introduces the most common motifs used. Studying the background of the research shows that researchers have often collected and categorized lullabies in different dialects and geographical regions, but so far there has been no independent research on Azari lullabies and analysis of their themes and motifs.Research goal and questionsThe present study focuses on the necessity of paying attention to popular literature, especially Azari lullabies, and while protecting this treasure, it examines and analyzes the motifs in the lullabies in order to make the reader more familiar with the cultural, economic and social attitudes and beliefs, religious identity and customs of the people of the region. In this research, we seek to answer these questions:1. What is a motif?2. How are motifs formed in the investigated lullabies?3. What are the most common motifs used in these lullabies?

Lullabies are one of the branches of folk literature and the first songs for children, which are included under the children's literature category in terms of dealing with children. Although the original composers of the lullabies are unknown, the simplicity of the language and the practicality of the lullabies among people is one of the secrets of the durability of these beautiful verses. The themes of lullabies are echoes of thoughts and spiritual reflections, social and political concerns, individual and collective emotions and desires that can be affected by the geographical, cultural, social, and political conditions of the society. In this research, an attempt has been made to analyze 120 common Azeri lullabies using the descriptive-analytical method. The aim was to introduce the lullabies of these people, to reflect on their inner reflections, individual and social emotions, religious thoughts, and social and cultural conditions of the mothers of that time. We divided the lullabies into five categories based on the theme: religious motifs, nature motifs, maternal wishes and threatening their child's enemy’s motifs, cultural and social motifs, and family and relative motifs. Among these motifs, the motif of nature with 42 items and the motif of maternal wishes with 28 items had the highest frequency. The results of the research show that the composers of the lullabies have used various motifs to enrich their lullabies’ themes and without knowing and analyzing these themes, it is not possible to know the main concerns of the concepts of these lullabies."A motif is a word, a sentence, a state, an image or an idea that is repeated in a literary work and plays a special role" (Zeitouni, 2002, p. 69). Since every repetition is of interest in stylistics, the motif as an important repeated element in literature can also be considered for stylistic review and criticism. Motifs that the author is aware of repeating and uses as a literary skill to express an opinion and draw the reader's attention to a specific topic, enriching the creation of atmosphere, characterization, coherence and thematic dimension of his work, are called self-conscious motifs. However, motifs that originate from the individual and collective experiences of the author and appear and repeat in the works of the author or poet in a completely random manner without any preparation, are unconscious motifs. Since the human mind has two conscious and unconscious parts, depending on which part the motif is present in, it is considered a conscious or unconscious element (Dehghan et al. 2011, p. 93-4). While examining the motifs in the lullabies, we noticed that some motifs are repeated accidentally and unconsciously, without their composers having a specific meaning for these repetitions. But in many motifs, the repetitions are purposeful and their composers have consciously used the format of lullabies to impress the audience and promote their ideas and thoughts. In other words, it can be said that: "lullabies carry with them a kind of narrative trick from the perspective of the audience. Because in lullabies, the mother addresses her child, but what she says has nothing to do with the child, and these narratives are her or other mothers' wishes that have been institutionalized in the heart of popular speech" (Salajegheh, 2008, p. 424).

 As a part of the oral literature of the society, lullabies are derived from the mentality of the mass of people and indirectly convey various concepts to the mind of the listener. In the current research, we first investigated the formation of motifs in lullabies using the content analysis method, and then we identified frequent motifs in Azari lullabies and classified them. In this research, 120 Azari lullabies were examined and it was observed that in terms of motifs and recurring themes, Azari lullabies can be divided into five general categories: religious motifs, nature motif, cultural, political and social motifs, maternal wishes and family and divided relatives’ motifs. In examining the motifs, we notice that some of them are repeated accidentally and unconsciously, without their composers having a specific meaning for these repetitions. But in many cases, most of the motifs are purposeful works that their composers have consciously repeated to prove and promote their worldview and beliefs to the readers. Deep thinking about the content of the lullabies shows that most of the lullabies have common features despite the geographical and dialectal differences, among them simplicity and fluency, collective character, imagination, similarity of theme, consecration of beauty and goodness, etc. can be mentioned. Mothers convey their emotions and feelings to the audience through lullabies in the form of simple motifs, and this simplicity of expression makes the audience interested and therefore, the motifs have a greater effect on them.

The designs featured on the entrance façades of historical monuments in Iṣfahān convey a meaning beyond external beauty. They are allegorical of a heavenly atmosphere in the building’s entrance, incorporating the myths, symbols, beliefs, and ideologies of their contemporary people, and are inseparable components of architectural ornamentation.  The present study aims at tracing the evolution of these designs using library research and the descriptive-analytical method. With this aim in mind, the paper presents how centuries of encounter between Șafavīd tradition and Pahlavī modernity has concordantly expanded and enriched the designs and their motifs. The study tries to investigate the designs featured on the entrance façades of religious and non-religious buildings in Iṣfahān in an attempt to answer these key questions: Which motifs are most frequently used on the entrances? How have the motifs transformed from the Șafavīd era into the Pahlavī era? And what concepts do these motifs incorporate?Results demonstrate that floral and geometric patterns most frequently feature on the entrances of Iṣfahān’s monuments (among 200 case studies). Human and animal figures have also increasingly featured on the entrances since late Qājār and Pahlavī periods.The entrances of Iṣfahān’s monuments, originating from the Iṣfahān School, create an earthly image of the world of the Forms in balance with the terrestrial world and reach unity of expression as an entry into the lost paradise following the dominant worldview.

Jonayd-nameh is one of the long folk tales that was written in imitation of Hamzeh-nameh and as a prolgue to Abu Moslem-nameh. There are only two copies of this work: one in Turkish and the other in Persian; The Persian manuscript of which belongs to the end of the Qajar rule, which was edited by Hossein Ismaili and published at the beginning of the book of Abu Moslim-nameh. Although Jonayd-nameh is one of the religious-love fiction of popular literature, the important and noteworthy point about it is that its structure and language are close to Shahnameh narrative scrolls. In such a way that among the group of long Persian folk tales such as Darab-nameh, Samak Ayyar, Eskandar-nameh, Hamzeh-nameh, Abu Moslem-nameh, etc., this story is the most similar to Shah-nameh scrolls. In this article, using the descriptive-analytical method, the author has tried to analyze the influence of Jonayd-nameh from the Shahnameh scrolls ,from the perspective of language structure (with emphasis on formal sentences), story motifs, story models, establishing a kinship relationship for the characters of the story, and modeling of The stories of the Shahnameh and create new stories (in the manner of scrolls) .

Arasbaran region, in East Azarbaijan province, has many poets in whose poetry several motifs are repeated in different periods. In this article, with the aim of introducing the literature of this region and a general look at the place of poetry in it, the motifs and themes of the Persian poems of six of its poets from the return period until today have been examined.

The collection of information has been done by the library method and the method of writing the article is descriptive-analytical. The statistical community of the research includes the Persian poems of seven poets of Arasbaran region, Abolqasem Nabati, Abbas Barez, Salek Ahari Tabrizi, Morteza Mousavi, Imam Virdi Samani, Ismail Soltani and Hossein Doosti.

Lyrical, mystical, moral, and religious themes are among the motifs and themes of classical Persian literature, and social themes, patriotic poems, Islamic revolution, and holy defense are among the contemporary themes in the poetry of the poets of the region. In lyric poetry, there is a traditional view of love and the beloved. In addition to the motif of love, themes of sadness and pride are repeated. In the mystical and moral poetry, according to romantic mysticism, there are themes of Randy, Qalandari, criticism of hypocritical asceticism, condemnation of the world and advice on moral standards. In the motif of religion, the moqbat of the pure Imams, especially the manqebat of Imam Ali has found a stylistic feature. In social poetry, there is a criticism of the Pahlavi society, a description of oppression and tyranny, poverty and social disorder. The description of the homeland, the praise of the birthplace, the region of Arasbaran, the description of the Islamic revolution, the praise of Imam Khomeini (RA), the condemnation of the enemies, and the description of the martyr are some of the revolutionary poems of these poets.

In the poetry of Arasbaran region, classical and contemporary themes are repeated with lyrical, religious, mystical, educational and Islamic revolution motifs and themes. Arasbaran poets have turned to new themes along with the changes in themes in contemporary poetry, but they still pay attention to the motifs of classical poetry.

The theme of martyrdom in the field of ancient sciences such as jurisprudence, mysticism and philosophy and new sciences such as sociology and law has been and is the subject of many debates. But in this literary topic, martyrdom is examined from the perspective of the myth of death awareness to understand immortality and the act of selfsacrifice, and the martyr in the image of the archetypal hero. Tracing the motif of martyrdom from the ancient and mythological past literature to the historical era and the present day in the reference texts, including epic, lyrical, religious and mystical works can be researched. The main issue in this article is to find old elements and themes that have appeared until now (recurring) in the background and flow of heroic and martyrdom literature in the period after the victory of the Islamic Revolution, which has been interpreted as the period of revolutionary renaissance. This research provides a comprehensive understanding and a complete definition of this Iranian Islamic literary genre.

In this research, the poems and poetry notebooks of eleven poets of the revolution were examined in a descriptive-analytical way, and the motifs in them were counted and analyzed in terms of the meaning of martyrdom.

Based on this research, martyrdom literature has certain repetitive elements throughout the history of literary creations and has recognizable characteristics.

All textual (historical) and literary (imaginary) elements of martyrdom have been repeated from the distant past until today. except that they have lost their color in a specific time or place and have regained color and brightness in a new situation. The symbol of immortality is the fundamental element and central signifier in the phenomenon of martyrdom, and its reflection is more evident in literature than other motifs.

The talisman is a part of foreign sciences with religious roots in Islamic civilization. Hence, in most of the spell motifs, verses of the Qur'an, names or attributes of God are included. One of the essential uses of spells is clothing and jewelry. Unique clothing and jewelry have been the most critical human practical items from the past until now and have a protective function and reflect each person's religious thought. This subject has a special place in the Kurdish cultural geography of Khorasan. Accordingly, this study seeks to answer what types of spell patterns are present in clothing and jewelry of the Kurdish tribes of northeastern Khorasan Razavi (Kalat, Lain, and Zavin villages)? This research is descriptive-analytical. The collection method is library and field observations, and the analysis method is qualitative. This study studied nine cases of spell motifs of Kalat, Lain, and Zavin villages. This study shows that we can classify motifs into three categories: geometric, animal, and cosmic talismans. Also, this paper shows that the motifs are based on the imaginations and sciences of strangers arising from the beliefs of these tribes, which have the symbolic meaning of the same culture.

Studying common culture and literature and investigating its different religious, historical, and literary strains lead to a better understanding of how perspectives are formed and the course of intellectual and social evolution of societies. One of the important beliefs in common culture and literature is the topic of prayer and cursing. Prayer and cursing have many uses in Kalhuri culture and literature. The present study aims to investigate the linguistic propositions of prayer and cursing in Kalhuri dialect by using the interview approach and analytically-descriptive method. The main questions include: What is the role of prayer and cursing in the attitude of Kalhur Kurds and what is the purpose of expressing each of these prayers and curses? One of the findings of the research is that Kalhuri speakers often believe in prayers and curses and their consequences. Another finding is that the essences of prayer and cursing in the linguistic statements of Kalhuri culture are organized in three categories: religious beliefs, social relationships, and historical themes. The highest frequency belongs to the religious sources and the lowest frequency is related to historical sources. The frequency of prayers and curses resulting from social relations is on the second place.

Associated with Sistan and Baluchestan Province in Iran, specifically Sarhad and Makran, Baluchi needlework is a prominent form of traditional arts. The purpose of this study was to classify original and frequent motifs found in Baluchi-Duzi (Baluchi embroidery) to discover their symbolic meanings. The central question was how could the motifs in Baluchi needlework be analyzed and thematically classified according to the Iranian traditional arts model. In this descriptive-analytical study, probability sampling was utilized to select Baluchi needlework motifs through field research (observation- and interview-based) and library research (indexing and image analysis). The data were analyzed by thematic classification derived from the Iranian traditional arts model. Examination of forty-four motifs demonstrated that Baluchi needlework motifs are geometrical in the main that can be classified into signify human, animal, plant and object (such as jewelry, everyday items, and places) shapes and components. These represent the realities of the Baluchis’ life and beliefs.

Motifs are one of the most important structural and unifying elements in artistic and literary works. In the field of literature, motifs are among the important elements of many texts, both poetry and fiction, as recurring stylistic elements. Of course, there are differences in the definition and role of motifs in poetry and fiction, and in this research, motifs are considered in their poetic function. In the history of Persian poetry, from the beginning, poets have used various motifs; For example, "candle and butterfly" and "flower and nightingale" are among the oldest motifs of Persian poetry. Some poets are more related to the use of motifs, and some have a special relationship with one or more specific motifs. With a more detailed study of the poetry of the Safavid period, known as Indian style poetry, we find that the use of motifs in the works of most of the poets of this period has a high frequency and significance. In addition to using this literary element a lot, the poets of this era also made some changes in the motifs in order to differentiate between their poems and the tradition of Persian poetry. One of the most important of these poets is Saeb Tabrizi, a poet of the 17th century and one of the most famous poets of the Indian style. He has a great tendency to thematize through the use of poetic motifs. Apart from that, the other characteristic of his poetry is the changes he makes in the meanings of the themes compared to their common and conventional meanings in the previous poems. In Persian literary research, these symbolic meanings are referred to as associations. In the present research, an attempt has been made to examine the evolution of poetic themes from a new perspective by matching the concept of the term association with the term motivation in the works of Gérard Genette, a contemporary French theoretician. In the end, by basing the theme of cypress and lunar/cuckoo in Saeb Tabrizi's sonnets, it has been concluded that one of the characteristics of Saeb's individual style and on a more general level, his period style is that his great desire to create new and original motivations for Poetic themes have caused a feature that was called "fluidity of motifs" in the present research. In many cases, this feature has led to the abstraction of multiple and sometimes chaotic and contradictory motivations for a single motif. In fact, the fluidity of the motifs can be seen as the excess of thematization and unbridled imaginations in the poetry of the period in question and a reaction to the possible loss that the poets of this period felt when looking at the great poets before them.