جستجوی مقالات مرتبط با کلیدواژه « غزلیات » در نشریات گروه « ادبیات و زبان ها »

Mullah Abdullah Aref Chahabi is a contemporary Persian poets from Tkhar province of Afghanistan. Though researches have been done in the realm of introduction to his poetical themes and thoughts, but his poetry have not been studied from a stylistic perspective. The main objective of this research is to analyze the stylistic features of his lyric poetry, exploring them in five linguistic, rhetorical, and ideological layers, so that a bright image of his verbal art can be drawn to readers.

The present research is a theoretical study that was carried out using the literature review method and analytical-descriptive approach. The scope and community of study was Aref Chahabi’s poetical work which was published by Saadat Publications.

Aref has used artistic phonological structures to create musical proportion relevant to poetic themes and made concerted context and space to discourse content from recurrence of vowels and consonants, as he has applied language lexicon specially widespread frequency of identical and objective words effectively associable with meanings and senses and has drew colorful paintings of events and scenes. In Aref’s poems, phrases, clauses and sentences are used in appropriate norms of formal language and its poetic applications to explain thought and ideology. He has utilized figures of speech and rhetoric metaphors to create imaginary poetic pictures, make attractive features and draw dramatic scenes for discourse.

The stylistic study of Aref’s lyric poetry reveals that the poet has functioned skillfully in linguistic (phonetic, lexical and syntactic), rhetorical, and ideological layers. Most of his lyric poems are composed in the Hazaj and Ramal meters, often being compound verses. The poet"s emphasis on verbal devices such as repetition and refrain is substantial. Esthetic and colloquial lexicon has higher frequency in his poetry. Use of simple sentences and declarative mode, proceeding verb from other parts of the sentence are syntactic characteristics of his lyric poems. In rhetorical layer, artistic phrases and constructions are full of similes, metaphors, allusions and ironies that have increased attraction of his poetical images. The most basic themes that have reflected in his poetry are love, description of nature and social life.

One of the unrecognized poets of the Indian style is Salek Qazvini, a poet of innovative themes and solid meaning, with an emphasis on subtlety and anti-vulgarity. He has created new themes concerning human relationships and characteristics of his time with precision and subtlety. A major part of his creative themes is related to and depicted in his use of the equation style. By innovative ideation to connect the reasonable to the tangible, Salek has been able to convey his thoughts to the audience as best as possible through the use of the equation style and highlight the literary and artistic significance of his verse. The purpose of this research is to investigate thematic and conceptual diversity of the use of equation style in Salek Qazvini's sonnets. Accordingly, the study focuses on extracting and explaining conceptual diversity within the equation style. The findings indicates that the most frequent meanings within the equation style in Salek Qazvini's sonnets are mystical, moral-pedagogical romantic and social themes as well as poet's complaints and literary sublimity. Inspired by nature and romantic and mystical bonds as well as human and social relationships, the poet aimed to express his complaints and dissatisfaction with the misfortunes of his time, while highlighting the sublimity of his own poetry and making use of equation style in this manner, he has both engaged the audience with his verse and distinguished among his contemporaries.

Description of nature has been one of the most prominent themes used by many Persian-speaking poets, and since the distant past, they have had a lot of love and affection with the manifestations of nature. The impact and reflection of these effects, according to the attitude and way of thinking of the poets, a wide variety of images
It displays a poem. Their perception of nature reflects their thoughts, ideas and feelings. The main issue in this article is to investigate the effects of nature in Salman Savoji's sonnets. For this purpose, his sonnets were first studied and the verses that express the phenomena of nature were extracted and then analyzed and investigated. The frequency of the effects of nature in Savoji's sonnets is very impressive. In general, it can be said that he is a nature-oriented poet with a gentle nature and rich taste. These features have made him very skilled in describing landscapes and show part of his poetic taste in this field.

One of the reliable ways to recognize the opinions, opinions, thoughts and social and political conditions is to know the written works of the past. Revisiting and paying attention to the old version and uncovering the face of these valuable texts can introduce us to a great extent with the various aspects of the thoughts of the authors and their creators and the conditions in which these artists lived. On the other hand, identifying manuscripts and correcting and introducing a work can provide readers and scholars with valuable information about the intellectual and cultural background of a nation in measuring its authenticity. One of the valuable and neglected manuscripts in the history of Iranian literature is the collection of ghazals by Molhasin Khoi, who is devoted to the seeker.The main purpose of this research is to investigate the stylistic features of Mulla Hossein Khoei"s lyrical poetry and to determine the stylistic features of his poems in three linguistic, intellectual and literary levels

In writing this article, the library method and the descriptive-analytical method were used. The version used in Maryam Ghraimi"s doctoral dissertation has been corrected in a comparative manner based on the single version available in the central library of Tabriz

By examining the lyrical works of Mallah Hossein Khoei, it can be pointed out these poetic components and characteristics in his style, that the poet"s style shows the characteristics of the poems of the return period, simplicity, fluency, avoiding obscenity and complexity and sometimes imitating the prominent poets of the past styles such as Hafez, Saeb, Saadi and Is

Salik"s stylistic feature at the phonetic level is the use of most of the widely used prosodic idioms, applying some kind of poetic authority in a tasteful and tasteful way, words and combinations, the use of current lines in an impressive way, at the literary level, the use of arrays of metaphors, similes, irony as Fluent, simple, and quick to understand, along with other creative verbal and spiritual industries, and on the intellectual level, it is abstinence, asceticism, piety, and negation of tolerance

Yaghma Jandaghi is one of the most famous and prominent poets of the Qajar era who has written significant sonnets with moral and romantic content. Since the beginning of Persian poetry till now, rhetoric has always been taken into special consideration by poets, and one of the fundamental issues of rhetoric in any language is poetic imagination forms, including four general topics, namely simile, metaphor, irony, and metonymy, the thoughtful and appropriate use of which can add to the imaginative aspect as well as the richness of poems. Yaghmai Jandaghi's sonnets are highly important in terms of the inclusion of rhetoric, especially rhetoric and the use of poetic imagery. Yaghma’s sonnets contain moral and romantic themes, written in different meters and mainly in a style similar to that of Hafez’s poems. Since little attention has been paid to the issue of imagination forms in Yaghmai Jandaghi’s poems, in the present research, an attempt has been made to analyze the imagery techniques used in the sonnets of Yaghmai Jandaghi with an in-depth view and with respect to the poet's taste in using them as an aesthetic approach and expressive and artistic technique so that a manifestation of his poetic merits can be presented to the audience.

Paradox is one of the manifestations of the beauty of expression in literary works and it is considered as one of the highest methods of artistic unfamiliarity that causes the word to deviate from the normal state and has a significant impact on the audience. This literary art may be used as a phrase or combination. The main question of the present research is how Zahed Tabrizi has used paradoxical expression in fertilizing his poetry, and in what ways he has shown the beauties of this art in his beautiful lyric poems. In ascetic poems, paradox in connection with rhetorical arts and aesthetics, metaphor, simile, two-dimensional image, irony, permissiveness, ambiguity, and exaggeration are mixed and the beauty of the content and expression of his poetry is doubled. At the same time, he has mostly used paradoxical compositions to reflect his intentions. The method is descriptive-analytical and is based on library sources.

In literary and artistic works, imagination plays an essential role. The existence of different definitions of this term each explains different aspects of the word. In fact, imagination is a defense mechanism so that the poet and writer can overcome their inner inflammations and anxieties. One of the reasons for paying attention to imagination and imaginative structures is to explain the thoughts and feelings of poets and writers. The presence of bold symbols with positive valuation makes it possible to study Sana'i lyric poems according to Gilbert Durand's theory. The abundance of symbols related to his poems confirms the poet's ability to overcome internal worries and turmoil. In Sanai lyric poems, unpleasant symbols, along with the use of pleasant symbols, and the poet's desire to use safety symbols are combined to present a desirable image of the beloved and to express the poet's psychological characteristics. Introversion, self-knowledge, positivism, and adaptation to adversity are revealed in the shadow of the poet's attention to the symbols of introversion. The motherly symbols of the "beloved's threshold" and "the vessel and its contents" express humility, the lover's desire for peace, and the beloved bow. Disrupting the natural order of cycles, passionate descriptions of the future and the past, along with contradictory descriptions, are other ways in which the poet escapes time to show the evolution of the beloved and the steadfastness of the lover. Poets like Sanai, who tend to use the symbols of the nocturnal system, especially the soothing symbols of water and soil, are usually positive-minded, peaceful, moderate, adaptable, and so sad. They solve problems with a peaceful gesture. In each of the works, depending on the tendency and frequency of the symbols of this theory, new aspects of the imagination, and psychological and intellectual characteristics of the poet or writer can be achieved.

The Symbols are applied to all knowledge scopes; mythology, sociology, art and soon. Generally, the symbol is a world or an expression applied in its unreal meaning, which is parallel to image. In literature, the symbol is a verbal image to imagine abstract ideas, personal experiences and supernatural meanings that is imaginative, moving, multi meaning, ambiguous, and interpretable. Transcendental symbol is a sort of literary symbols. Transcendental symbols are types of liferary symbols as if they contain literany images along with their specific characteristics.
The idea in which there is a metaphysical world other than our world, at least belongs to the age of Plato, who called such a metaphysical world the ideal world. So, he calls our ekisting world as a shadow of the "ideal" world. Such symbols ambiguously represent the connection of shining radiation of soul with divine light. The poet provides his transcendental symbol and comes across the ideal world through the reality which is a world that human wishes to touch.
and all universal phenomena are solely the incomplete representation of such a world.
various types of such symbols are used in dehlavi's sonnets. He has used this imagination. and his thoughts through transcendental symbols for special personal and historical conditions and he tries to use symbols as near to these own personal realities and this imaginative world as possible. Actually transcendental symbols are not perceivable by enaryone. The concept of these symboly is highly related to their application area. such symbols get more concept in connection with the subject of their emergence. we are going to investigate the background of transcendental symbols in Dehlavi's sonnets in this research so that to study the connection of transcendental symbol with poet's thoughts, historical conditions and sacial canditing and we are going to clarify how transendental symbol works.
So, the following questions are answered,
A) what kind of transcondtal symbols is in Bidel's sonnets?
B) what is the relationship between personal Thought and transcendental
Symbols?
c) what is the relationship between social and historical
backgrounds and transcendental symbols?

This study is a sont of qualitative studies and tries to opent newharixons to these who are interested in literature and those liferary readers by the use of content analysis method and by
the aim of study and analysis of Transcendental symbols.

Transcendental symbols have an important factor of symbolic language which refers to something of unknown and abstract world. The reality and the metaphysical world and the mysteries searched beyond the transcendental symbols are not percievable mentaly and consciously. In trant scendental view, pure knowledge is known through insight, so the superiority of insight on knowledge is a transcendental notif Transcendentalist tends to develop his thoughts and his inner perceptions on subjective appearances of the tangible world. Eeach a phenomonon in nature represents specific aspect of supreme truth and because the aspect is also inside humanbeing, hence it causes enthusiasm to return to the world of idea Transcendental symbols have substantial communication with plato's opinions. Iranian gnasticism is also influenced by such opinions, so we can give another neme to transcendental symbols as gnostic symbols but this sublime view might have not any connection with Iranien classical sufism sometimes the transcendentalist is a gnostic who finds the trath by religion and rule of life "The tendency towards the nature is accompanied with introversion" (radfar, 1389:59). The world of divinity decends to natural and worldly phenomena and is searched in natural aspects. The main foundation of Bidel throughout his poetical work and sonnets is the thought of the unity of existence, hence, symbols like Sun" "light", and "sea" are frequently used.
"Sun" is a transcendental symbol and contains a spiritual and divine concept. Based on the priciple of opposition, those positive and glorious aspects which are opposed to negative and demeaned aspects of dusty ground can be connected to the vast sea denotations.
One of the most frequent symbols in Biddle's sonnets is the "mirror" symbol, which is "a symbol for the divine thought and reflects the manifestation, the manifestation that he has created in his own form." This manifestation, similarity and difference in the mirror is the source of Azra'ili's descent, and Claire is the end of a very high spiritual experience "(Shavalieh, 2009, vol. 1: 399)" The mirror "is truth and self-knowledge. The supernatural reflection, the clear and shining surface of the divine truth, is the mirror of the symbol of man's knowledge of himself. In Biddle's thought, the Imam is the mirror in which you see yourself, because you are his mirror, the world is the mirror of God and man is the mirror of the world. So he will understand the inside of the mirror, that is, the inside of the enlightened truth and intellect. Another common transcendental symbol in Biddle Dehlavi's sonnets is "Homa". «Homa: Homayoun. Homay, meaning auspicious and blessed. Hu-mayā and hu-mâyâ are used in the same sense in Avesta, next to humâk, the word is basically an adjective eagle. In the culture of Shahnameh, Wolff has translated Homay into adler (eagle) ”(Burkhart, 1997: 6 236) Sentence: Farr and Bliss have thought that this has increased the symbolic ability of this motif. Homa, first of all, like any other bird, instills the idea of flight in the poet's mind. The attribute of Homa's ambition is a manifestation of the supremacy of the poet's subconscious mind, which is a symbol of flight combined with transcendental concepts. Huma is a transcendent symbol and speaks of Biddle's independence and longevity.

In this article, the origin, nature and function of transcendental symbols in Biddle Dehlavi's lyric poems were examined. Due to the ambiguity created by the transcendental symbols in the poem, an attempt was made to remove as much ambiguity from Bidel Dehlavi's poem as possible by interpreting these symbols. In addition to the content analysis of transcendental symbols, the aesthetics of these symbols was also one of the objectives of this study that was considered. Also the common transcendental symbols in Biddle's sonnets, according to their frequency; Elements of nature, birds and objects were classified into three groups. The results of the research indicate that transcendental thoughts in Biddle Dehlavi's lyric poems, many images appear in a contradictory situation with each other. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Feeling lonely and trapped in the prison of the perceptible world and its problems, causes him anxiety and intensifies his desire for transcendence. This causes the poet to cultivate the dream of having wings and feathers in his imagination and the light of the morning is clear to get rid of this narrow field. Wings, feathers and flight embody Biddle's imagination. The wing symbolizes spirituality, the power of imagination and spiritual ascent. The two birds of Homa and Simorgh, through their wings, find the ability to fly and purify their souls from the ugliness of the earthly world in order to open their way to the wide world. Simorgh with its spiritual and sacred aspect, when Biddle speaks of solitude and withdrawal from the ugliness of the earth, along with Homa and Shahbaz, all three are considered transcendent symbols and the story of eagerness to ascend. They do.

Hafez Shirazi (727 AH/1325 AD - 792 AH/1390 AD) is one of the great poets whose lyrical poems are full of various socially-significant words with many expressive, relational and experimental meanings and values. These words have meanings beyond the normal and denotational level and are a way to a better understanding of Hafez's thoughts and ideas, and the phenomena and realities that took place in his time. By using direct and indirect methods and numerous rhetorical devices such as ambiguity and multi-layered metaphors, especially irony and paradox and with the help of the emotional load of marked words, Hafez deals with social criticism and reform. taking into account the social-historical situation of Hafez's era and relying on the analysis of Fairclough’s critical discourse analysis , this research, with the descriptive-analytical method, , the most frequent socially significant words in the ghazals of "Lisan al-Ghayb" in the three levels of "description", "interpretation" and "explanation" are analyzed. Then, critical action of Hafez against the most important institutions of society; that is, politics, Sufism and Sharia are examined. Based on the results of this study, Hafez's language and expression is a "social action" that is both acted on" by and actively influence the thoughts, emotions, behaviors and socio-political relations of his time, and "active" in levels, fields and formats leaving a deep and lasting effect on them and has left its own role on people's life, worldview and values.

One of the tools influencing the audience is using the power of words to convey secondary meanings, and this issue is well seen in the secondary meanings of interrogatives. Due to the necessity and necessity of the topic, the poet raises news, orders and prohibitions in the form of questions, because the effect of the sentences of news or orders and prohibitions in the form of interrogatives is much greater on the listener than in the form of news or orders and prohibitions. Is; The poet expresses his meaning in the form and construction of questions in order to make the reader or listener to think faster and better, or to prevent him or to arouse his emotions. Literary questions in sentences often have no answer and are used to achieve various rhetorical functions. In this research, the author is trying to investigate the rhetorical question in Kassab Kashani's poems with descriptive-analytical method and library tools and to answer the question that what are the most implied meanings of questioning used in Kassab Kashani's poetry? The results of the research indicate that most of the questions in Kassab Kashani's poetry include the implicit meaning of helplessness and expressing despair, and Kassab has used all the linguistic tricks and abilities in the structure of semantics in his poem and embellished his speech in a way. Is. The optimal use of the science of meanings has made his words lasting and influential and heartwarming.

The concept of Human Rights is respected in all cultures and numerous laws have been enacted in this regard, and it is not necessarily limited to the contemporary era. As literature is a manifestation of culture reflected in the context of society, it reflects examples of human rights. In the field of Persian literature, Hafez in the mirror of the Divan of Ghazals, while dealing with lyrical, romantic, mystical and ... issues, has also spoken about Human Rights issues. In various verses, he has repeatedly objected to the shortcomings of Human Rights and called on his audience to directly and indirectly adhere to its principles. To achieve this goal, Hafez has made innovations, including the development of Rend's personality. In this study, citing library sources and descriptive-analytical method, the concepts of "Human dignity", "social justice" and "freedom" in Hafez's sonnets (with an approach to Rand actions) and the UN Declaration of Human Rights have been explored. . The results of the research show that Hafez's creation in the Divan of Ghazals was a critical and protest attempt to highlight the deprivations related to Human Rights in Iranian society and to increase the scope of knowledge and insight of the oppressed people. Also, in this way, the "insider / foreigner" dichotomy in the whole political structure of Iranian society is described. Another is that The concepts mentioned in the Universal Declaration of Human Rights have no roots exclusively in the contemporary world and go beyond time and geographical boundaries.

Kaleem Kashani is one of the famous lyric poets of the 11th century AH, whose lyricism shows signs of mysticism and Sufism. Mystical teachings in his sonnets express true or heavenly love. In this article, mystical subjects in a hundred lyric poems of Kaleem Kashani, known as the creator of second meanings, have been studied randomly in order to depict the prominent manifestations of love and its perfection. In addition, in literary and mystical researches, Kaleem Introduce the title of mystic poet and finally point out that his lyrical lyric poems are a place to express high mystical meanings. The lyric poems of this creative poet have a mystical structure and he tries to find the precious gem of true love by designing mystical mechanisms. On this occasion, manifestations of mystical teachings have been included in his lyric poems. This article, by analyzing and describing mystical findings, intends to first analyze the mystical tendencies of Kaleem and examine and analyze them by mentioning examples of those examples. Examining the mystical teachings in the lyric poems of this poet, it is worthwhile to consider Kaleem as one of the mystics.

 Hint is one of the most widely used literary techniques. Many literary industries may be vacant in the collection of poems of early or late poets, but the industry commonly found in poetry is allusive. Due to the fact that allusion has undergone a special change and expansion in the Indian style, Bidel Dehlavi, like other poets of the Indian style, used this industry in his lyric poems; At the same time, his view of allusion was not like that of his earlier and contemporary poets. Although Bidel is less efficient in using the industry than his contemporaries, he has tried to innovate more. In this article, by describing some of the verses in which the allusion is used, an attempt has been made to solve the semantic problems of these verses as much as possible and for those who are interested to have a better understanding of the themes of this famous poet.

 The method of work in this research, like most researches in the field of humanities, is descriptive-analytical and the use of library resources.

 Bidel is one of the least useful poets of Indian style in the use of Iranian allusions. But in his lyric poems, the names of lovers such as Majnoon and Farhad, along with Shirin and Lily, have a high frequency. Instead, Islamic teachings have a considerable frequency in his poems. Unlike the poems and Masnavi, which have made significant themes from the allusion to the Prophet Muhammad (pbuh), Bidel has alluded to prophets such as Moses, Jesus, Jacob, and Joseph in his sonnets.

 Most of Bidel"s use of the allusion industry has been done by his capture of the narrative, story, and story in question, and more importantly, he has almost always had his own interpretation of the subject. In fact, in almost all cases, the use of allusion in his sonnets is associated with conveying a moral-religious message, even if we are dealing with a romantic story. He has also occasionally combined allusion with industries such as simile, equation, irony, paradox, and metaphor.

Attar (537-627 AH) is one of the most prominent poets of the great mystical school who has the most subtle and refreshing spiritual thoughts and the most beautiful spiritual experiences in the field of mystical worldview has left. In many of his sonnets, a kind of story or event is depicted that expresses the sudden spiritual transformation of a mystic or a seeker of the path. Among his sonnets, which include 872 sonnets, about 70 sonnets have a special and different structure from the rest of the sonnets. In these lyric poems, which express a kind of intuitive experience and are considered as the randan and bullying lyric poems, almost the same situation occurs on Attar or his elder. This state, which is a kind of mystical event and a personal and inner perception, is "the expression of a spiritual experience that implicitly refers to the attainment of unmediated knowledge of the senses and intellect, and requires the creation of special psychological conditions resulting from asceticism and austerity." (Pournamdarian, 1390: 17). Although such a theme can be deduced in most of his sonnets along with other themes of his poetry, but in these few sonnets, they have their own construction and function.

The research method is descriptive-analytical and the purpose of conducting it is to study and analyze those of Attar's sonnets in which the experience of his meeting with a holy witness is depicted. Regarding the researches related to the subject of meeting oneself, one can mention the works of Poornamdarian who have spoken about this subject in detail; In his book Mysteries and Mysterious Stories, he traces the history of such experiences even to pre-Islamic works. In the book Meeting with Simorgh, he describes the spiritual events and the dreams of mystics. He has also dedicated a part of the book in the shadow of the sun to the subject of commands, speech and experiences of mystics in this field, and subsequently to the aspects contrary to the habit and revelation of Molana's sonnets.Taheri (2003) studied the structure and mutual relations of various units and elements in 27 lyric poems narrated by Attar based on the combination of two chain and vertical structural methods (axis of companionship and succession) and he was the originator of this type of lyric poems in Persian literature.

The manifestation of the beloved in one of its infinite forms is among the spiritual experiences which, in Jung's words, is "a psychological knowledge whose contents originate from the unconscious" (Pournamdarian, 1390: 152; quoted by: Jung, 223). This mystical knowledge, which is a spiritual or psychological experience, is obtained as a result of finding a special spiritual space that requires austerity, enduring hunger and thirst, leaving the world and giving up carnality and the like. Such knowledge is born of personal memory and experiences of the type of dreams and dreams that the speaker is not aware of in order to overcome the emotions and emotions that result from it. In such a process of writing, the speaker speaks of the nature of experience and meeting and observing. The predominant aspect of these lyric poems is "emotional passion" and writing meanings and taste experiences that originate from the poet's mentality. Since in most of these sonnets the time of the event is night and especially at dawn, it can be seen that these sonnets are born of a personal experience and inner perception and the narrator is immersed in an intuitive experience (event). , Is a dream) and speaks of the essence of experience and the same meeting. Attar has reported such an experience in many of his joyous sonnets. These poems are more like a dream, because the occurrence of such events in the real world is not very consistent with reality.That a drunken and irrational painter enters the mosque at dawn and on two knees sits in front of the old man and gives him a cup or pain, and the old man under the influence of his words and also under the influence of the painter's beauty or under the influence of a cup or pain that he loses He is drunk, returns from asceticism and religion and turns to infidelity, or ties a rope to the cult of the drunken beauty of Loli, and then reaches the position of discovery and intuition and achieves secrets, is unlikely in the real world. And the possibility of having it as a reality is completely ruled out. Hence, these sonnets "if they are not dreams, they are dreamy and like interpretation, they need to be interpreted; interpretation that is derived from the possessions of the poet's mind "(Pournamdarian, 1390: 146).

The issue of meeting the holy witness is one of the important issues that is reflected in Attar's lyric poems more than other mystic poets. In a significant part of his sonnets, Attar has tried to present a report of his spiritual experiences and emotional emotions to the audience in a simple and intimate language. In these sonnets, the semantic background of which is determined by the story of Sheikh Sanan and Hallaj, the beloved, who has absolute power, appears to him in a body of violence and beauty.Due to the predominance of emotional states, the poet clings to metaphorical language and uses codes and symbols that often play on the institutionalized signs of the Sufi linguistic community. Hence, the circle of the possibility of signification of the signs expands and the system of signification and the domain of meaning in them remains open and opens the door of interpretation to itself. Dreaminess, contradiction and ambiguity are the inherent nature of these sonnets. The poet's tone is serious and regrettable in them, and due to the narrator's close connection with the events, the news and emotional aspects prevail in them.

Ghalib Dehlavi is among the most famous poets of Indian style in the 13th century. As noted by some critics, he belongs to the group of poets whose speech is often ambiguous and complicated. Using a descriptive-analytical method, the present study attempts to clarify the causes of such linguistic ambiguity through analyzing the most important part of Ghalib’s works, his collection of Ghazals. The results show that creating various descriptive compounds, omitting a part of a sentence, and some lexical and syntactic inaccuracies, and specifically, creating conflict among words are the most significant components which have led to his speech ambiguity. Meanwhile, in terms of their high frequency, using innovative compounds and creating conflicts are regarded as features of Ghalib’s style. On the other hand, the great desire of the poet to present new and complex themes has led him to invent many new nominal, adverbial, and especially descriptive compounds.

Mohammad Yousef Kalhor Kermanshahi, alias to Yousef, is a talented poet and writer of the thirteenth century AH. He is one of the powerful speakers of the literary return period whose scientific and literary position has not been researched as much as he deserves. He has some valuable works on poetry and prose. There is a collection of poems among his works that has been composed in various forms of ode, Gazelle, Masnavi, a piece of poetry. The current study mainly aims to investigate stylistic analysis of his poems and lyric poems. Besides, revealing the linguistic, literary and intellectual approaches of this poet will also lead to the discovery of some historical and cultural facts of Iran.

Due to the theoretical entity of study that is based on descriptive-analytical research in library, the society in question is the Divan of Mohammad Yousef Kalhor Kermanshahi that is corrected, explained, annotated and suspended by Mohammad Ibrahim Malmir and Azadeh Hosseinzadeh, and published by Ansari Publications.

Yousef"s innovations in the field of words and inventive compositions have caused his poems to have a special appearance among all his contemporary people. The themes of love, ritual, mysticism, praise and boasting are among the ideas that dominate his poems. Besides, simile, allusion, irony and personification are among the most prominent figurative languages that have been frequently used in his poems.

Examining the main features of these poems shows that Yousef"s poetic language is mostly simple, mature, pleasant and free from the flaws of eloquence and rhetoric.

Delicate imageries, content creations and innovative illustrations in Abdol Ghader Biddle Dehlavi's sonnets, make the readers face with a kind of surprise, ambiguity and complexity of expression. He is skilled and fully-representative of Indian style in creating complex novel images, interwoven and, ambiguous at the same time. Most of images in his poems reflect a scene or situation. In a way, sensually and tangibly or mentally and sensibly, which is formed by the poet 's special use of words and expressions. How to illustrate and how to reflect images in Biddle dehlavi 's poetry is the main question of this research paper. This article which is done by descriptive method and content analysis, shows three various ways of using Biddle 's poetry images in terms of imitating former eminent masters and ambiguity and culture of images can be seen: A: Images of Saadi and Hafez ' poems; simple and well-crafted images that are formed in the service of embodying the concept and envoking meaning. B: Images of Nezami and Khaghani 's poems; in such poems, in addition to the central and main images; it sometimes carries the meaning of the verse, the poet also creates several complex and intertwined images for artistic ambiguity in poetry. C: Biddle 's special 's images; complex and layered images that sometimes push poetry to the point of meaninglessness, such images, which are considered to be Biddle 's poetic identity, are usually less used in his lyric poems.

Sultan Ahmad-e-Oweis is one of the sultans of Al-Jalayer, who were an artist and a poet that wrote poetry in Arabic, Persian, and Turkish. Unfortunately, there is no copy of Sultan Ahmad Jalayri's poetry collection in Iran. However, according to historical, literary, and artistic writings, there are two versions of his collection outside Iran. The first copy is in the Ayasufiya Library of Turkey and the second version, which is the basis of the present study, is archived and numbered f1932 in the Farir Gallery. Most of the poems in the latter version include the sonnets of Ahmad ibn Oweis.  Though Sultan Ahmad was refined in different forms of poetry, he was mainly a sonneteer and his sonnets outnumbered his other poetry genres. He wrote 622 sonnets with 4385 verses. He wrote the sonnets following the style of the eighth-century poets and his sonnets enjoyed various weight formats and content and also the themes of love, mysticism, criticism, etc. Ahmad-e Jalaieri, in his mystic sonnets, like most mystic poets, believes in the ideas and principles part of which can be seen as reflected in mystic vocabulary choice,

Examining the meaning of imperative propositions is one of the topics related to rhetoric (semantics). As a result of this study, it is possible to follow the orientation of poets' thoughts and interests on various topics; Because usually the initial interpretation of imperative propositions is imperative and order, while poets consider different meanings and intentions of imperative propositions, and this issue is more important in Hafez's poems due to the analytical-inferential structure of imperative sentences; A topic that unfortunately has not been well explored. Therefore, in this article, Hafez's imperative propositions in the first 250 lyric poems of Hafez's Divan have been studied by content analysis method (descriptive-analytical approach) and finally it has been determined that in the first 250 lyric poems of Hafez Divan (equivalent to 2098 bits), in 724 verses,there are imperative sentences (554 beits have a positive imperative and 170 beits have a negative imperative) and Hafez is a great imperativeer from this point of view.Of these, the frequency of imperative sentences with the meanings of desire and guidance is high, and perhaps this is one of the reasons for Fortune telling with Divan Hafez.In more than 35% of these poems, the construction of compound imperative sentence-analytic / inferential sentences is used, in such a way that the reader, after reading those imperative sentences, is mentally convinced and forgets the bitterness of the advice. In this article, Hafez's imperative sentences are also examined based on the type of speaker, audience and demand, and in all cases, an attempt is made to find a connection between Hafez's personal style and its results.

The issue of "unity of existence" is an abstract matter and addressing it is lead to the formation of various metaphorical systems in the text. In the present article, based on the view of cognitive linguists, the functions of conceptual metaphors in how to perceive and think about the concept of "unity of existence" have been studied. The issue of unity of existence has a special place in the court of Shah Nematullah Vali. The main purpose of this research is to answer to the question of what linguistic mechanisms Shah Nematullah Vali has been able to explain the abstract concept of "unity of existence".

The research method in this article is descriptive-analytical. The authors have reviewed first 1000 lyric poems of Shah Nematullah Vali’s Divan.

Conceptual metaphors are formed based on the physical and cultural experiences of each language; Shah Nematullah Vali has also explained the "unity of existence" based on cultural and physical experiences. The findings of this study show that in the first 1000 sonnets of Shah Nematullah"s divan, there are 851 conceptual metaphors about "unity of existence.

85% of the conceptual metaphors of Shah Nematullah"s court are related to ontological metaphors, 10% are structural metaphors and 5% are orientation metaphors. Personality (man, perfect man, prophet), objectification (mirror, cup, gold, treasure) and the elements of the universe (sea, water, light and sun) are among the most frequent ontological metaphors of the unity of existence in the lyric poems of Shah Nematullah, which is affected from mythological and religious beliefs. In structural metaphors, the number one, meaning, interior, truth and essence are the most important metaphors of unity of existence. Among orientation metaphors, in and high have higher frequencies.