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

Khaghani's poems are one of the most difficult and the most complex Persian poems, and many commentaries have been written on these poems since long ago. Much has been said about the Factors of this complexity and what has caused the difficulty of understanding his poems accurately, and many efforts have been made to solve these difficulties. Despite this and despite the valuable efforts of commentators and Khaghani scholars, the knot of some verses of Khaghani's poems remains unsolved and the meanings provided by commentators for these verses do not seem convincing. Some of these ambiguities are related to Khaghani's special way of making words and combinations, and others are related to his special way of using words, verbs, phrases, etc., which has created a amazing style but the ambiguity of some of his other verses is due to their incorrect reading. In this article, we have tried to resolve the ambiguity of some verses of his poems with the help of evidence from Persian literature and evidence from Khaghani's poetry and in one verse by using one of the using one of the parallel descriptive texts. Based on this, we are going to explain some verses whose meaning remains unclear despite the explanations of the commentators. Also, by correcting the reading of a verse that has become ambiguous due to misreading, we try to provide an acceptable meaning for it. 

Description is a type of linguistic action that can be present and manifested in many discourses, including poetry. The external features and characteristics of the description provide the possibility that the poet can use the descriptive sentences well in his poem. The main goal of this essay is to show the types of grammatical and rhetorical descriptions in the poems of Amiri Firouzkohi.

This essay is a report of a fundamental, theoretical and documentary analysis of a descriptive-analytical approach based on library studies. In this research, an effort has been made to cite and analyze sufficient evidence and examples of Amiri Firouzkohi"s poems.

In the poems of Amiri Firouzkohi, we are faced with various descriptions of the conditions of the surrounding society, social situation, poet"s mood, description of friends and relatives, along with descriptive rhetorical and grammatical sentences. The poet has used such descriptions not only to decorate words, but also to make them artistic.

Among the types of descriptive statements, Amiri Firouzkohi has paid more attention to the description of abstract things such as grief, sorrow, pain and pain of illness, the death of loved ones, the memory of friends and companions and their loss, rather than the description of nature. Among descriptive matters of the grammatical type, the use of adjectives, relative clauses and adverbs in the position of description is of interest to the poet, and among the two main rhetorical functions of simile and metaphor, the poet pays more attention to detailed, emphatic, eloquent simile and tangible to tangible simile. Metaphor is not an important characteristic of the poet"s poems.

 Adib al-Mamalek Farahani is one of the great poets of the constitutional period, whose poems have not been studied from the point of view of stylistics. The purpose of this article is to examine the stylistic characteristics of 50 selected poems from Farahani"s Diwan Adib al-Mamalek, in which the stylistic characteristics of the poems are examined on three levels: linguistic, literary, and intellectual, so that readers can get to know more about the poetic structure and literary personality of this poet.

 In this research, based on library studies and data collection and using descriptive analytical method, a detailed analysis of the stylistics of 50 selected poems of Adib al-Mamalek in three linguistic, literary, and intellectual fields has been done.

 One of the language features in the poems of Adib al-Mamalek is that puns play the greatest role in creating inner music. Simple verbs are many times compound verbs and prefixes. The use of old words and terms and verbs, as well as the use of Arabic words and compounds, have a very high frequency. In the rhetorical domain, the most frequent are current allusions, metaphorical metaphors, and compound similes, and historical allusions, followed by religious allusions and observances, are the most frequent among creative arts.

 The high frequency of Arabic words and compounds shows the mastery and skill of the poet in using authentic Arabic texts and divans of Arab poets of the Jahilit period, as well as her surroundings with Arab proverbs and others. The frequency of simple verbs compared to compound verbs shows that the poet has used more simple verbs to express her inner thoughts and emotions. And the high frequency of old words and terms also shows the great connection of the poet to the Khorasani style. The biggest theme in the poet"s poems is patriotism and raising people"s awareness, and after that religious themes and educational and moral issues can be seen a lot in her poems.

The knowledge of semantics deals with meaning and its study, and in general, the purpose of this science is to discover the relationship between word and meaning. Among these, context theories and semantic fields are the main and applied theories in this science; Texture theory changes the meaning of words in different situations and the birth of meaning in a variety of applications. This theory is divided into four types: linguistic, emotional, situational and cultural. The theory of semantic fields also deals with a set of words that are semantically related to each other and are in the category of a general and comprehensive title; Like the word "color" which includes all maps such as: red, blue, white, etc. By analyzing the application of these two theories, it is possible to analyze literary works and gain a deep understanding of the intentions and concepts considered by the authors. The present study intends to analyze the poem "Fi Al-Suq Al-Qadim" by Badr Shakir Al-Sayyab from the perspective of these two theories and through them to reach the semantic layers and concepts hidden in this poem. Therefore, the questions that we will answer in this article are:How can the combination of two theories of context and semantic fields lead to the opening of the meanings hidden in the poem "In the Old Market"?What are the concepts derived from the processing of context theory and semantic fields in the poem?The difference between this article and the research that has been done so far is that this research combines two theories to extract meaning and study the concepts in the poem in order to achieve a comprehensive analysis of the poet's menus and emotions. Examining the words one by one and their relationship with each other in the form of lexical links, as well as analyzing their meanings in different combinations in the sentence, will help to objectify the concepts hidden in the depth of the text.

In this article, an attempt is made to examine the concepts desired by the poet as well as the mechanisms of their reflection through semantic fields and context theory. It is worth mentioning that in the analysis of this poem, the relationship between words is first studied in the framework of semantic field theory, then the relationship between the same words and the reason for their use is discussed through the context and general space of the poem. The concepts that are examined in this article from the perspective of context theory and semantic fields are: the emergence of pervasive grief, hatred of aggression and mental confusion, mental loss and confusion of thought, eagerness to return home, fascination and respect. Homeland, the constant feeling of homesickness.

The findings of the study of the poem "In the Old Market" show that by applying the two theories of context and semantic fields, it is possible to read different literary works and obtain hidden layers of their meanings. Together with each other and by expanding the analysis of a literary text and presenting other aspects of the hidden meanings, these two theories provide a new manifestation of the discovery of the content of literary texts, and this makes It can be considered an approach to enjoy more reading a text. By examining the propositions and words analyzed by semantic contexts and fields, the presence and emergence of new concepts was realized; The use of words with different semantic domains and their classification based on the type of emotion, mood and also based on the language and structure of the text, leads to concepts such as bewilderment, homelessness, incompatibility with groups of people and life in between. They and the occurrence of unlimited grief resulting from these matters, because the words and their use due to the linguistic context of the text, indicate the inflexible personality and the poet's dependence on the former homeland; However, in the midst of all the misery and hardship, an window of enlightenment and hope has appeared, and that is the desire to return to the homeland again, and this is due to the fascination with the motherland and the creation of belonging from the same interest that the thought of returning. It is full of color in its institution; Therefore, from all the above statements, it was concluded that the holes of light and illumination should be sought in the heart of darkness, and the two terms "belonging" and "possibility of resurrection" cause hope to survive in the midst of spiritual hardships and bad conditions. It is external.

Khaqani is a self-congratulatory poet; So that you can hardly find a poem where he did not talk about his superiority. One of the reasons for Khaqani's self-praise is the inferiority complex. In the past, the social and economic level of the family was effective in determining the position of people in the society. Since Khaqani did not have a rich family, he has been neglected; Therefore, one of the reasons for his narcissism is his inferiority complex. . Another reason is the existence of rivals who spoke ill of the poet, as a result, the poet had to express his merits. Conceptual metaphor theory, which started with Lakoff and Johnson's opinions, proved that metaphor is also seen in thinking.  The conceptual system based on which we think and act has a metaphorical nature. In the traditional approach, they look at metaphor as a decorative tool, but in the new approach, they look at metaphor as a translinguistic tool that is not only in language; Rather, it is current in human thought and action. Therefore, in the new approach, metaphor is not an aesthetic tool for poets and writers; Rather, all people use it in their daily speech. According to the cognitive linguistic theory of metaphor, in metaphor, we understand one conceptual domain through another conceptual domain; That is, we use the tangible domain to objectify the abstract domain. According to the cognitive linguistic theory of metaphor, many abstract concepts have a metaphorical structure, although they may not be revealed at the level of language. Despite this, metaphors dominate the concepts. Metaphor in its cognitive sense is a bridge to understand abstract or less tangible concepts. Lakoff and Johnson have divided metaphors into three types: 1. Ontological metaphors: existential metaphors are metaphors in which abstract concepts are considered as an entity. 2. Structural metaphor is one concept is organized in the framework of another concept. 3. Directional metaphor is a type of conceptual metaphor in which concepts are conceptualized based on physical directions.The living environment, life events, experience, culture, etc. have an impact on human thoughts and feelings and are reflected in his words; Therefore, by studying the works of a poet or writer, one can reach the thoughts of that poet or writer. In this research, which was carried out in a descriptive-analytical way, while introducing the theory of conceptual metaphor, metaphorical maps related to self-praise were extracted. To objectify the concepts related to self-praise, the poet has used the concepts of the following areas in order of frequency: Concepts of family and social system (31 items), kingdom (19 items), nature (16 items), religion area (15 items), Astronomy field (4 cases), medical field (4 cases), professional field (4 cases) and.

Mantiq Al-Tir Khaqani's ode is one of the brilliant examples of Persian literature. This ode is also one of the remarkable examples of the language and journey of the birds. A number of birds have gathered in the spring season and each one is praising a flower and arguing about the superiority of the flower in question. In this research, we have tried to examine this ode from a new angle based on the theory of intertextuality and with a descriptive-analytical approach and relying on documentary studies. The theory of intertextuality is one of the methods of examining the text, which was formed by Julia Kristeva, under the influence of the theory of conversational logic of Mikhail Bakhtin. The basis of this theory is that it explains the meaning of the text based on the conversation and interaction with other texts before and after it; Because meaning is the result of conversation and conversation has different ways. The findings of this research show that this text (ode) is the meeting place of various discourses, including musical, mystical-philosophical, epic, religious, historical and literary. All these discourses have been involved in the formation of this text (ode) like pieces of a puzzle, and finally they have all reached unity in the form of poetry.

The purpose of writing this article is to explore the techniques of Sana'i in creating didactic language in his poems. Hence, after a short introduction about "oratorical rhetoric" and a theoretical perspective on this matter some syntactic tricks of Sana'i in creating "oratorical language" and didactic rhetoric will be discussed. Sana'i has used certain syntactic patterns in order to shape didactic language in his moral poetry. Certainly, Sana'i art is not limited to the use of syntactic patterns, and on the other hand, the design of all Sana'i syntactic patterns requires a wide scope. But here we will discuss some syntactic patterns, especially the use of conditional sentences and the structure of combined sentences in his poems, which form the rhetorical language and musical arrangement in many of his didactic poems. Through conditional sentences and the structure of combined sentences, Sanai displays his command as a moral preacher. Apart from this, these structures also play an effective role in the music of his poetry. Therefore, by focusing on some odes of Sana'i, I try to introduce the syntactic patterns that Sana'i used to create authority in the language of the sermon and increase the effect of the preach.

In this research, we intend to investigate the category of amphibology and how and why it is used in Khaghani's Elegies and Hafez's lyric sonnets. The category of amphibology in this article is limited to ambiguous amphibology and does not include its other sub-categories, such as: balanced amphibology, translation amphibology, synonymous amphibology, evolutionary ambiguity, and so on. The basis of the definition of amphibology, in addition to its background in rhetorical books, will be newer definitions that subsets of them can be listed as follows:  Lexical amphibology, Metaphorical amphibology, Structural amphibology, Recruitment, additional amphibology and Poly-dimensional amphibology. The result obtained shows that Hafez has taken precedence Khaghani in all forms of amphibology, except application, and one of the differences between the use of amphibology in works of the two poets is that Hafez paid special attention to amphibology with Arabic words and also The structural amphibology that results from the poet's nobility over the various capacities of language has a significant advantage in his divan.

This article discusses the persuasive function of literary figures in Nasir-i-Khusraw’s odes. Among the factors influencing the communication process, the emphasis on the message creates poetic and literary role of the language; therefore, some poets such as Nasir-i-Khusraw use poetry to convey their message and thought. Nasir-i-Khusraw poetry is an attempt to persuade his audience by explaining his rational facts and his religious beliefs. The present article uses a descriptive-analytical approach, to answer this fundamental question, that if, according to the scholars, Nasir-i-Khusraw used the language of poetry to communicate with the audience and convey his thoughts what would be his purpose of abundant use of a variety of literary figures in his odes? The article seeks to prove that Nasir-i-Khusraw is using various literary figures, especially verbal figures, such as repetitions, allusion to Quran and Hadith, adaptation, contradiction, tangible similes and understandable metaphors looks for persuading his audience and for reinforcing and completing its message and not to seek to adorn his poetry.

The factor of textual coherence and sentence relation are divided into three categories according to Halliday and Hasan:
A) Lexical factor: including repetition, synergy and semantic domains.
B) Grammatical factors: including referral, replacement and deletion.
C) Connective factors: including conjunctions (Yahaghi and Fallahi, 2011, p. 331).
New linguists, in the course of their early studies, have relied only on the description of less linguistic units and have not paid attention to the study and analysis of disciplines beyond such as in the critique of these research approaches (De bougrand and Dressler, 1981, p. 21). Gradually, with the development of linguistic research and the development of new theories, Noam Chamsky's rotational method, became a concept between sentences, and the basic need for study was concentrated within the organization of the text so that the text could be studied by linguists as a larger linguistic unit. (Ibid 104-130).As a result, it led to the discovery of semantic relationships between elements of language which arise from the function of elements of coherence in the text.

Since from the end of 20th century, a more detailed study of speech has been opened especially with patterns such as the pattern of cohesion and on the other hand, Khaghani in Persian poetry is a symbol of the strength and stability of poetic speech in the form of Ode.
One should examine to see if the pattern of coherence confirms the coherence of Khaghani's speech. In the prevalence of some fascinations, it seems necessary to see and explore the magnificent Persian text from new perspectives in order to show their originality' strength and coherence.

In 1976 Halliday and Hasan divided English text cohesion tools into three categories: Grammatical tools including “referral”, “substitution” and “deletion”. Link tools including conjunctions; and lexical tools including repetition. In 1985 they expanded this division into another joint work.
It is the coherence consistency and integrity of the text that keeps the components of the text together; That is the meaning of lexical units within each sentence depends on the other units within the same sentence (Taki, 1999, p.73-81).Text coherence refers to the set of links and relationships that exist between the components of the text. These links and relationships distinguish the text from randomly stacked sentences and turn it into a coherent whole (Lotfipur, 1995, p. 110). Vocabulary coherence based on the relationship that lexical units of language have with each other in terms of the content of their meanings and the text trough these relationships can be continuous and coherent (Mohajer & Nabavi, 2014, p. 64). Word has no meaning in isolation. The meaning of a simple or compound word is related to other words in the language. The main task of semantics is the clarify words and determine these semantic relations (Tarask, 2001, p. 18).Recursion has the highest value among the elements of other words and increase the musical level of the poem, the stability of the words, the unity of the subject or the embodiment images and poetic emotions and feelings and the single theme and solidarity of the verses and connect them with chains (yavari, 2000). Recursion comes in several forms: repetition, contradiction, semantic inclusion, synonym.One of the factors of the lexical coherence in the text is the factor for repetition. According to Halliday, repetition is the most obvious type of lexical coherence. The cohesive factor of repetition includes all morphological construction of a word (yavari, 2018, p. 163-192).In Khaghni's view like the formalists, the word has a special importance to the extent that various literary techniques such as: prosody, repetition of sounds, repetition of syllable in words, etc. As a tool to draw the reader's attentions to the word element (Alavi Moghaddam, 1995). The thirst for word choice is clearly evident in Khaghani's words (Tajlil & Musavi, 2014).In this Khaghani's poem, 41 words are repeated more than once. The most commonly used word is morning (It is the most frequent word in this poem). Khaghani has been called the poet of morning. Maybe that is why he pays attention to the morning and sunrise in his poems.

Contemporary patterns in literary studies are clearly arguments for commenting on literary topics. One of these models is the model of Halliday and Hasan cohesion, which was reviewed by Hasan sometime after its publication and was finally presented by Halliday and Hasan shortly after. For decades, formal studies based on this model have become increasingly important. On the other hand, the importance and success of Khaghani in Persian has always been raised. In this research, using the evolved theory of coherence of Halliday and Hasan (1985) in role-oriented linguistics; analysis, coherence and continuity in verses of Khaghani's poem have been done to determine how the semantic connection of cohesive chains has been realized in this poem.
According to this theory, the coherence of the relations between elements is the constructor of the text, but it is not enough just to achieve the coherence factors in the texts; rather after showing these factors, it is necessary to examine the coherence of the text, based on coherence coordination. This study, following the achievement of coherence of the factors and coherence of the text of the poem, led to the conclusion that Khaghani's verses have a high coherence according to Halliday model. Although the strength of the structure of Khaghani's poetry does not need to be confirmed by such models but it is a conclusive argument and a valid argument that shows that the patterns favored by modern scholars also confirm the coherence of the words of the greats of Persian literature.
According to the collected analysis materials, the following contents were obtained. Repetition and reference have the highest frequency in the issue of coherence of Khaghni's logic poem. In the topic of repetition, the highest frequency of words, revolved around the following axes:
Topics related to religion: God, Guidance, Baggage, futurity, Clerics.
Topics related to nature: Morning, sky, night, sun, moon.
3.Vocabulary related to war: Cousin, dagger, armor, razor, ring, punch, kidnapping.
4.Topics related to clothing: Cloaks, robes, masks, hats.
It is as if Khaghani wants to sing the epic of the sultan of religion instead of the epic of sultan of the time and show us a deep alternative. In this axis, he combines all the elements of nature to achieve his goal. The method of Haliday and Hasan in the Latin articles that are available and in the Persian articles that have been published in prestigious academic journals in the last 35 years is the first case study- Khaghani's poem- is translated into text and then into words. and are checked. This method is very accurate in this regard and according to this model, we can speak with certainty about the coherence of Khaghani's speech.
Also, in response to the questions of expression of the problem, it was found that new patterns for examining the ancient texts are not prohibited and there is no problem and the firmness of Khaghani's speech, which is clear for Persian literature elites, was proved by this pattern. It was also answered that the use of modern patterns is not a problem for the study of ancient texts. This pattern which has good accuracy and detail, is suitable for the study of Khaghani's poem.

The Ghaznavid divan of Hakim Sanai, with more than thirteen thousand verses, consists of poems in the form of ode, composition, preference, mesmat, lyric, piece and quatrain. Composing a lyric and tending to romantic controversies and its attractions, the poet occasionally preoccupies himself. Introduction to Sanai's hymns which describe the beloved, although not uniform in number of verses and is often between 7 and 29 verses, but has a place in his hymns. In this article, while briefly introducing various aspects of the description of the beloved, such as; The field of immorality and spirituality or the reporter of the face and sensory and intellectual similes, etc, the image of the beloved Sanai with emphasis on the poet's intellectual evolution, should be examined and analyzed; Therefore, first, the most important and special approaches of Sanai in drawing the image of the beloved have been extracted and classified into eight groups. Then, by studying and finding the frequency of words and presenting diagrams, their importance, how they are used, their place and the way of intellectual development in Sanai's depiction of the beloved's image are analyzed in the lyric poems of his praise poems. The presence of characteristics of Khorasani style and traces of change that later become the beacon of poets in the field of dealing with the beloved, is one of the highlights of the lyric poems of Sanai praise that are addressed in this study. The research method is descriptive and analytical with statistical charts.

Zahir Faryabi, was a sixth century A.H. poet born in Faryab(near Balkh) who immigrated to Neishabour and several other cities before his death in 598 AH in Tabriz. The beginning of Zahir's life coincided with the sedition of Ghoz that attacked Balkh and other cities in Khorasan. Thus Faryabi's immigration was not only due to a desire to seek literary knowledge but also for safety. That time there was families of Kharazmshahian, Iraqi Salajeghe and Atabakan who were not at all as powerful and glory as Ghaznavian and 1st Saljoughian, and poets had no honor and no reception. This was a matter which overshadowed poem’s of Zahir. Zahir ’s collection of poems consists of 3790 couplets of which 2292 couplets appear as 81 qaside (odes) and the remaining 1498 in other poetic forms. This article examines the texts from three perspectives: linguistic, literary, and intellectual by way of descriptive-analytical method.

The purpose in this research is to show the influences of Hafez on Parvin Etesami in terms of thought and language. The method of research is based on Gérard Genette’s rather descriptive and analytical, but actually intertextual approach. Intertextuality relies on discovering influences and effects of texts upon other texts. Based on this approach there are no unique, pure, or all- inclusive texts. All texts are influenced by texts that existed before and will influence other texts in the future and such relation is present in the conversations that exist among texts (Genette). The terminology of intertextuality was first introduced in the late 1960s by Julia Kristeva. Gérard Genette is among theorists that utilized intertextuality in a practical manner and called it transtextuality. Our reading of Parvin’s Qasidahs and Hafez’s Ghazals reveals to us the presence of metatextuality and paratextuality from Genette’s five categories of Intertextuality, Paratextuality, Metatextuality, Hypertextuality, and Architextuality. The relations of metatextuality in some of the poetry by Parvin & Hafez are telling of Parvin’s adherence to cultural and intellectual principles of Persian classical poetry and Hafez’s critical positions on these matters.

The tone is the speaker's attitude and feeling The most important factor is to create an atmosphere and influence the audience in the poem. Knowing the language and its tone plays an important role in understanding any text. The language and tone of the epic are the results of the choice of words, combinations, imagery, novelty, and the choice of weight to suit the type of epic. The purpose of this study is to investigate the effective factors in creating epic language and tone in Farrokhi Sistani's poems using descriptive-analytical methods, it has been done in a library way. Farrokhi Sistani has given his poems an epic tone and atmosphere by the use of internal and external music, vocabulary selection, and epic combinations, and using epic arrays such as exaggeration, metaphor, and numerous references to Iranian heroes, and epic and mythological characters. The results of the studies show that the poet has an epic, thoughtful mind, and it is reflected in the forms, words, and combinations used in his poems. This kind of mindset and imagination is linked to the society of the fifth century and the beliefs and ideas that govern the culture and literature of that period and of course it is effective.

One of the best ways to know and preserve the culture and identity of any nation is to pay special attention to the heritage left by the ancestors of that nation. Accordingly, this heritage should be preserved and made available to everyone. In the term, manuscripts or manuscripts are old books that are the works of predecessors and are not printed; Also, in the library literature, manuscripts are called writings that are a single copy and produced by the author. Manuscripts or manuscripts are very important due to their high research and archival value. But what is called a manuscript in Persian literature is the books that were usually produced in the era before the spread of the printing industry in Iran and Islamic countries. The most literary researches in Iran and other Islamic countries have been manuscripts, which are manuscripts of the works of predecessors; It is the most important monument that deserves to be preserved and corrected. Unfortunately, there is no accurate and complete information about this Persian-speaking poet. The mentioned poet wrote his poems mostly in the form of sonnets and odes with mystical, religious and praise themes.

Stylistics is of special importance as a science that examines the different domains of a work and its creator, relying on the objective and real issues in the text. This knowledge shows its values ​​when the studied work is also considered in terms of the presence or antiquity of the author, and because many works written in the Safavid era are known only as a manuscript and a place beyond the "catalogs". Have not been found or the introduction and correction and expression of stylistic features in its various layers include important cultural features that pave the way for cross-textual research and other literary sciences. In addition, it sometimes reveals historical and social manifestations. Sheikh Allameh ibn Ail Danieli is an unknown poet among the many poets of the Safavid era who not only he but also his works have remained unknown. In this study, while introducing the manuscript of the book "Jawahar al-Adraj and Zawahir al-Abraj", we have examined the ode at the end of this poem from different stylistic points of view so that readers can compare the evolution of the tenth century ode"s poem with later periods.

In this research, the poet ode"s poem has been studied in different fields of stylistics (linguistic, literary and intellectual).

In phonetic studies, it is revealed that the weight of the ode has changed drastically and has been composed according to the most frequent weights of the ode. The music of the poem has a natural state, and the words lead the ode to the poet"s naturalism rather than to the audience"s attention to mystical matters. Mystical terms have only a theoretical dimension and the poet has used them based on his information and resources. Since the period of the poet is the period of the domination of religion and Shari"a, the existence of praises which is one of the principles of the ode is about the Prophet (PBUH) and Ali (AS) with the only difference that he is not present in this ode and is not alive. Its condition is not found in this poem as it was used in the poems of previous periods.

The frequency of tangible and objective words shows that the poet, in spite of using mystical terms, is a bold poet and seeks to make tangible and tangible things perceptible by using objective words. The high frequency of words related to nature indicates the poet"s interest in nature and elements. He is a poet who opposes politicians and criticizes and judges their oppression in this story.

The present study has investigated the speech acts in the interrogative sentences in Salman Savoji's poetry in a descriptive-analytical method. The research findings show that there is a coherent link between Salman's language and his thought i.e. the poet uses language appropriate to his audiences’ position and social status. Salman has used the most questions in his expressive acts. First, he seeks to convince the audience and attract their participation and approval. Salman uses these questions to express his views and gain the approval of the person who is eulogized. Second, he seeks to exaggerate, highlight, and emphasize the content of the speech which corresponds to the texture of the ode, the descriptions, exaggerations and imaginative praises of a eulogy. To observe the didactic aspect of his poetry, and also to maintain the high dignity of the eulogized person, Salman, in the persuasive acts, avoids the direct asking of his request. Doing so, he lowers the obligatory and reprimanding connotation of his words resulting in the audience’s lack of willing to oppose him. Expressive acts usually have close and intertwined meanings. This conceptual affinity creates a vast network of intertwined concepts or "conceptual auras." Therefore it becomes possible to engage the audience's feelings in reading the text and strengthen the desired effect by reinforcing the emotional richness of the words. The speaker's words are explicit and unambiguous in commissive acts, so due to the multi-layered nature of literary texts, this act has little place in poetry.

Epithet is an adjective or adjective substitute that is often used in epic poetry to highlight the characteristics and special abilities of heroes by depicting their feelings and states in different scenes. Details such as origin, appearance, skill, lineage, position and ability of the characters in the story are provided through epithet. These details help us to deepen the meaning and significance of the events and the formation of the characters' identities. In the present study, with a more precise definition of this term and through Khanghani’s odes, we have reached this conclusion that epithet can be used in other fictional texts (lyrical, mystical, etc.) and non-fiction. Contrary to some observations, an epithet should have an "artistic" function, and its role should be prominent in poetic creations and introducing the characteristics of the hero of fiction and non-fiction texts. In Khaghani's poems, Epithet has been used to create metaphor, simile, repetition, irony, allusion, ambiguity, exaggeration, harmony, paradox, personification, syllogism and pun. The most frequent of these literary techniques is in "metaphor". In most of Khaghani's mixed metaphors, the epithet is used and it is most frequently employed in the form of descriptive compounds than "adjective substitute". Undoubtedly, one sign of diversity and genius in Khaghani lies in his use of epithets.

Sanai Ghaznavi, is considered one of the most important cultural creators in Iran. The reason why Sanai is called the epoch-maker is the creation of backgrounds in Persian poetry that were not so prominent before him and many after him owe it to him. Sana'i's influence has been manifested in the minds and consciences of the spiritual thinkers after him, in various fields, such as his literary-poetic themes and his special mystical way. Attar, Rumi, Najmuddin Dayeh, Roozbehan Baqliashirazi, Shahabuddin Suhrawardi, Jami and many others have been influenced by Sanai. Most of the mystical works of the sixth century, especially the mystical interpretation of Kashf al-Asrar Wa-Uddt al-Abrar, despite its contemporaneity with the poet, have used Sana'i poetry more than any other work in various mystical fields. From this perspective, Sanai's cultural creation in the spiritual realm of Iran is obvious due to his many influences in the minds and consciences of the poets after him. Cultural creation is a rare and elusive category and arises from individual wisdom and a special historical capacity. In this sense, Sanai can rightly be called a cultural creator; Because not only did he add a new atmosphere to Iranian thought and poetry, but he also devised a new design in the ode and established and valued themes such as the critique of the lord of power and the poetry of Qalandar and Moghaneh. Of course, Sanai's approaches in terms of creating a new school and his wide-ranging influence on his later works bring him closer to the field of culture creating. One of the most prominent aspects of Sanai's cultural creation in the realm of poetry is Qalandar and Moghaneh, so that most of the themes of Sanai Qalandar are explained and nurtured in the poems of the poets after him. Contrary to the common view of the form of the ode, which is generally considered to be a vehicle for asceticism, admonition and praise; Sanai has used the ode of the poem to express his Qalandar teachings due to its descriptive atmosphere. After analyzing all the odes of Sanai from the perspective of Qalandar and Kharabat contexts, we have come to the conclusion that the components of Qalandar on which Sanai has based its spiritual-literary worldview in a symbolic field; are: Conflict of sacred paradigms with blasphemous and Kharabati paradigms; Criticism and rejection of traditions and taboos; Shatah and Tamat as Qalandariyat; Defending the devil; The value of disbelief as faith; Relying on Blamefulness; The creation of a lover in the image of Qalandar and improvidence. The culture creation of Sanai in Qalandari was revealed by analyzing the works of contemporary and post-Sanai poets, such as Ein al-Qudat Hamedani, Attar, Maulana, Hafez and Iraqi, and led them to the fact that they are derived from the various components of Qalandar. The background of this research can go back to the days of Sanai and his infamy. Sanai's effectiveness dates back to his own time, and to this day, Sanai scholars have looked at it from a variety of perspectives. From the Ayn al-Quzat Hamadani and Rumi Balkhi to the present day when Professor Mohammad Reza Shafiei Kadkani (1372) in the book Whips of conduct and Dr. Reza Ashrafzadeh (1374) in the book Ab-e-Atash-e-Furuz and Dr. Mohammad Jafar Yahaghi and Dr. Mehdi Zarghani (1397) In the preface to the correction of Hadiqah al-Haqiqah, there are clear references to the extent of Sana'i's literary influence, but the present article has been compiled only in the field of odds, focusing on culture creating and relying on Qalandar concepts. The presentation of mystical symbolism with the presence of the first Qalandari paradigms, including Sana'i creations and cultural creations in the field of Iranian thought. Sanai culture-creation is also evident in world literature; As some scholars believe, Dante was influenced by Sir al-'Abbad Sanai in the Divine Comedy. Like Masnavi and Ghazal, Sanai's odds have been influential in the field and time after him, both due to their critical approach and critique of the lord of power, and due to its special mystical discourse, and many poets have welcomed him. One of the most important subjects that has a special prominence in Sanai's odds and in a way, has a prominent role in his culture creation; Qalandari look, with all its dimensions. Although Qalandar's approach to Sufism existed before Sanai, a comprehensive poetic view of it and the symbolic establishment of this field of Iranian mysticism occurs for the first time in Sanai's poems; To the extent that many scholars believe that the transformation of Qalandaran's image into transcendent examples and the creation of the first Qalandari backgrounds in mystical poetry has been studied from the perspective of Sanai's pioneering and cultural creation. By examining Sanai's odds, it can be seen that Sanai is the initiator of a style with characteristics such as infidelity, sabotage, blame, randy, Qalandari and in general, which are reflected in many poems of poets after him such as Saadi, Attar, Mowlan , Iraqi, Hafez, etc. are repeated and evolved. Pre-Sanai's odds were mostly used to express the themes of praise and admonition, but Sana'i's culture creation in the ode is due to the fact that he breathed new life into it and promoted the teachings of Qalandar and Muganeh. Sanai has also used the capacity of the ode to reflect the image of the Qalandariyyah and the creation of the ideal state resulting from this frequent motif, in all its dimensions - from the themes of ruin to the teachings of blasphemy. A careful analysis of Sanai's poems reveals that one of his most important (if not the most important) poetic themes is his thoughts of Mallamati and Qalandari; In this way, the semantic field of other teachings has been constructed around this macro-narrative. The analysis of Sanai's odds has led us to the fact that the components of Qalandar literature in his view are formed in several main axes, which are: the beauty and behavior of the beloved is Qalandar and Negligence; Sacred paradigms are intertwined with blasphemous and destructive paradigms; Mystics and taboos have been criticized and rejected; Shatah and Tamat look like Qalandariyat; Defending the devil is the basis of Sanai's Qalandari thought; The essence and truth of religion and Islam, infidelity, reproach, is the basic element of Sanai and Randy Qalandari thought is an example of Qalashi model and Qalandari.

Ode as the main form of praise literature is one of the most common propaganda and ideological tools of the power apparatus in the classical Persian world. In ancient Persian literature, Farrokhi's poems, within the framework of a poetic narrative, try to support the political discourse/ thought of Iranshahri, which represented the authority and legitimacy of the Shah in a charismatic or cultured way; he is the successor of God, the identity of the subject of "king - praised" representing the supposed authority as a singular and divine concept. In this paper, the representation of the king- praised as being "superman" has been investigate focusing on the semiotics and lifestyle -taste- consumption in Farokhi Sistani's odes. The result shows that the narrator of Farrokhi's odes, in his praiseworthy narratives, describes the life style of the "king -praised" and his vicarious class as three types of capital: "physical", "possessive", and "institutionalized social-cultural", and at two levels representation "direct" and "vicarious" consumption. The result of this representation is the formation of the identity of the king- praised subject on three singular levels of "innocence-immortality", "possession-incompleteness", and "justice-discipline". These cases, as the presumed characteristics of the chosen or ideal king, were the political-sacred "desire-expectation" of most of the "king - praised" of that time, especially the Ghaznavi kings, in which the ode has fulfilled a part according to its hegemonic intention or mission.