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

After the ninth century, alterations occurred in the use of words and combinations as well as the syntax of Persian poetry, which led to the creation of a new style that later became known as the Indian style. Based on the findings of this research, the linguistic components of this style are prominent in Ghazali Mashhadi’s poetry. Some later sources have considered Ghazali an eloquent poet with fluent and expressive poems. This descriptive-analytical study has examined some of the most widely used linguistic features in this poet's divan. It should be said that in Ghazali's divan, there are some approaches in the use of linguistic elements that do not comply with the criteria of eloquence mentioned in rhetorical books. These include the Complication of word elements, slip of the Grammatical, and the misuse of some letters. On the other hand, it should be said that the poet had innovations in the use of verbs and adjective-noun combinations that have expanded the range of themes and concepts of his poetry.

Country is one of the terms and concepts which were paid attention to by patriotic poets from the beginning of Persian poetry and literature. There have been some events in each period of every nation which make the borders of that nation to be under threat by aliens. This threat can be in fields such as cultural and national values. Constitutional period in Iran was one of the period in which alien countries were looking forward to plunder the property and wealth of our country. Poets who tried to guard our country against aliens were one of the effective agents in awakening and awareness of people in Constitutional period. Sayed Ashrafaldin Gilani was one of them who notably tried to look into different aspects of "country" in his Divan. By using this term in his Divan, he wants to make people to be aware of negligence, to show his love to his country and to protect our national values. Since the term "country" has an important position in Persian poetry, the researcher through analysis of Nasim-e shomal'poetry and his knowledge in this field tried to have a brief and thorough look into it.

Mastered both Persian and Arabic languages, Nour al-Din Abdul Rahman ibn Ahmad Jami, nicknamed as Khatam al-Shoara, is a powerful Iranian poet of the 9th century AH. It is enough about Jami's mastery of Arabic language that the Fava’ed al-Ziya'iyya in Sharh Al-Kafia, left of him, are known as Sharh-e Jami in Syntax. In addition to valuable works in verse and prose in Persian and Arabic languages and numerous Persian poems, he has been able to write the themes of Arabic literature well in Persian language and also left behind Molamma’ poems, which is one of the valuable fields tested by Persian-language poets. Playing a role in the development and evolution of Molamma’ in his era, Jami’s poems of Molamma’ are the continuation of the poetry of bilingual poets. There always has been a question about the Persian-language poets' Molamma’ that in terms of structure and content, what role did they play in the evolution of Molamma’ industry and what innovations did they add to it. With this same question on the mind, the investigation of Jami's Molamma’ consisting the analysis of its structure and themes for achieving the degree of variety and innovation of Jami in Molamma’ was chosen as the subject of this article. According to this research, through making innovations in terms of the structure, Jami has experimented with different types of Molamma’s and created various themes of poetry, description, and praise as the subject of these Molamma’ types, which can be considered as a technique in poetry writing.

Intertextuality examines the relationships between texts. Because in every text there are references to earlier works; In other words, new texts are the offspring of earlier texts. Hence, it can be said that there is no new and original text and every writer is inspired to create his work from the works of his predecessors. In intertextuality, two texts are compared: a text below and a rough text. Gérard Genette has perfected the theory of intertextuality. Genette divides intertextuality into three categories, which can be examined in the form of: the explicit, implicit and implicit presence of one text in another. In this article, the author first explores the roots of Rumi's mystical anecdotes and thoughts in the first book of Masnavi in mystical, fictional, interpretive works, Poetry Courts and Persian historical books. Then he divides these anecdotes into three categories based on Genet's theory of intertextuality. At this stage, the following text of Masnavi is specified. This text below should have both chronological and historical precedence over other texts and should be most similar to Masnavi narration. This study shows that Rumi had read many Arabic historical, interpretive, fiction and mystical books before him and brought them to the margins of Masnavi. However, in all the cases studied, he has changed mystical thoughts and previous anecdotes to achieve his mystical, theological and moral goals.

Al-Sayyab and Shamlou are two of the most prominent contemporary poets who, in spite of their love poems, tried to address the revolutionary function of women in their literary work. By promoting the woman's personality in this respect, they have detached her lover stereotypical face and have highlighted their revolutionary share and their ability to fight for liberation alongside men. Therefore, this research attempts to study the position of women in poetry of the two poets, and depicts their presence along with the changes that have been made in their personality. This is why categories such as struggle for liberation, accompaniment of solving human problems, and the escape of traditions are referred to as the most important constituents of women presence in the literary work provided by these poems. In Badr Shakir Al-ssayab’s poem, except for their traditional role, women are the symbol of the vanished homeland and sometimes represent the symbol of return to oneself. However, this linear trend in presenting women reflects well in the personality of those such as “Hafsa al-omari” and “Jamilah Bouhired” and reaches perfection. Al-Sayyab seeks to depict his revolutionary function in defending human freedom by matching women's personality with “Ishtar” and giving them Christ’s personality. On the other hand, in Shamlou's poems, women play an independent role in the social struggle. “Roxana” and “Aida” are models of revolutionary women in such poems. It seems as if the poet is looking for his soul-mate so as to enter the battle with her. The results show that the occurred metamorphosis, expect for the two poet's intellectual maturity, is influenced by the evolutionary process of Arab and Persian societies, modernization process, and initiation of humanity in contemporary thought and poem.

One of the goals of a literary text is to create literary pleasure, and the more the reader's mind tries to discover it, the more enjoyable and stable it becomes. The element of rhetoric is considered one of the main elements of the literary text that is effective in creating literary pleasure, and it is the opposite of literary arrays in the field of rhetoric, which is mostly used in poetry. The poet creates opposition by placing two things against each other. Sometimes the contrast is obvious in the words and its meaning is understood without the slightest thought, and sometimes it is so hidden in the context of the poem that it cannot be revealed except through interpretation. Since the reader's mind is involved in interpretation and discovery of contrast, he gets double literary pleasure from the text. In this article, which is written in analytical-rhetorical method, interpretive contrast is introduced and analyzed as one of the types of contrast in rhetoric. Although this rhetorical element can be found in most Persian poems, in this article Hafez and Saadi's poems in Iraqi style and Saeb and Hazin in Indian style have been discussed. The interpretative contrasts of this writing have been examined in four categories: vocabulary, irony, allusion and in general in the scope of Ghazal. The results of the research show that the poets have carefully thought out and calculated the choice of words, the use of literary arrays, especially allusion and irony, as well as creating themes in sonnets, carefully and carefully to engage the audience's mind. By interpreting the text, make his literary pleasure more and more stable.

Abol Ala Maari and Naser khosro consider from prominent characters of Islamic culture in the scope of ration and rationalism, so far as their rationally odes have more fame and frequency from others. This study claims that poetic experiences, acquaintance with thought of Islamic and Iranian rationalists and scientists and Greek philosophers, using from religious teachings and culture specially Ismaeeli and fatemi is from rationalism sources of these tow. Naserk hosro as a cultivated poet, has had acquaintance with Arabic literature. Thus, in writing some of his rationally subjects he has followed maari's step. Also in this study, it is beliveved that although in some cases there is similarity between Abol Ala and Naser khosro poem. But these similarities are just a simultaneous random and there is the source of some of these rationalism subjects in Islamic and Persian culture Too. This study accoding to adjusting similar aspects and some times Naser khosro effectiveness from Abol Ala. Two main subjects of this study are:A: A prelude about rationalisms process in Arabic and Persian literature and study's generalities.B: The adjusting rationalism subjects in the poem of these two poets.

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.

Since Persian r hythm is quantitative and depends on vowel duration, thefunction of stress is not studied carefully yet. This study aims at answering this question: to what extent Persian Poem depends on stress? For answering this question the sonnet number 327 was selected from Hafez and the acoustic features examined carefully. We asked a person who was familiar with prosodic features to read the sonnet twice by Praat Program. Then these data analyzed in three levels: foot, intonation and utterance level. The results reveal that the place of stress does not depend on prosodic features and is not predictable and stress pattern does not affect the rhythm of the Poetry.Then these data analyzed in three levels: foot, intonation and utterance level. The results reveal that the place of stress does not depend on prosodic features and is not predictable and stress pattern does not affect the rhythm of the Poetry.

Adapting and recreating the meanings and themes of different texts has always been current among the creators of literary texts for centuries. Amiri Firoozkoohi in the field of contemporary poetry, is a traditionalist stylist poet with his own language and expression, who with his delicate and perspicacious talent and with his good knowledge and cognizance on Persian and Arabic language and literature, was able to create and express various meanings and themes of poetry in his poems. Nevertheless, he has been influenced by other texts in paying attention to the themes and meanings of poetry, and in most cases, he has included them in an artistic way in his poems. In the present article, by descriptive and analytical methods, the influence of different texts on Amiri’s poetical works has been reviewed and criticized. The research findings reveal, contrary to opinion of some researchers, Amiri is not simply influenced by Saeb Tabrizi. the poet is influenced by the Quran and hadiths in some of his themes, and in another part he has influenced by the poetic and prose literary texts of other Iranian and non-Iranian poets and writers, especially the poets of the fifth to eleventh centuries AH, Like Khaghani, Saadi, Molavi and Saeb.

A distinction element of the voqu school part in the poet report from Realities is earthly love, which is the result of the poet special experience is considered. The Voquhi Poet artisan perfection that is his romantic experiences tells frank and explicit with calenture. The aim of this article to focus on a certain attitude that will overshadow in the lyrical school, pay attention to Typology of Voquhi lyrics until sort realistic emotions and feelings one of the Voquhian. Accordingly, using content analysis method, innovative species that repeated in the lyrics of Vali, DashtBayazi, with high frequency, with approximately frequency each based on 377 poems could be divided into five types: 1- Lyrics says opacity and complaints 2- Lyrics of disclaimer 3- Lyrics of domination & threat 4. Lyric of envy and jealousy 5- Lyrics of anxiety and uncertainty Accuracy in such typology shows that Voquhian in the emotions and feelings field with protest rotational and sometimes aggressive, the Persian lyric content process changes and new species have been added. In fact, the pivot of Voquhi poets on type of the lyrical lead to their style difference than others.

The issue of the Antichrist has been mentioned in most religions and his sedition has been reminded to the prophets as first mentioned of him in the Epistle of John. According to John, the Antichrist is any one who has different opinions about the embodiment of Christ, and any spirit that denies the embodiment of Jesus is the Antichrist. But the background to the formation of the concept of the Antichrist can be found in the apocalyptic and revelationtic discussions of the early periods of Jewish history, especially in the book of Daniel. This issue has been mentioned in various forms in Islamic texts and some possibilities have been given about its origin. Some believe that he is a person and some believe that he is a type and a description.With the introduction of Quranic and Islamic themes in Persian literature, themes related to the Antichrist have also been used by poets and have been reflected in their poetry. The poets' intention in expressing these themes was not merely an allusion, but they used them to express their views in the form of similes, metaphors and symbols. Although the Antichrist is a hated figure and has not been widely reflected in Persian poetry; Nevertheless, this reflection is low, special and significant. In Persian poetry, "the person of the Antichrist" is predominant and poets do not pay attention to other possibilities given about him in Islamic texts. This article has examined the reflection of the Antichrist in two areas of Islamic texts and Persian poetry in separate sections and, in conclusion, has made a comparison between these two areas in this regard.

Intertextuality means that every text was affected in a period of time by previous works, and has given itself a textual identity via changes and evolutions of previous works. As the result of this ideology, every text is a result of thoughts belong to the texts before it. One of the different kinds of intertextuality is called intrinsic intertextuality. Intrinsic intertextuality is the textual relations between a work and other works of the same author or poet that has emerged in another text, but not as a repetition. Sa'adi, lord of lecturers and bilingual poet, who has used some contents and concepts in his Arabic poems and these contents have been used in his Persian poems, too. This survey has searched about Sa'adi's Arabic and Persian poems in an intrinsic intertextuality view and via content analysis and also in an aesthetic approach. Also it has shown content similarities and also lexical and conceptual delicacy of Sa'adi's words more than before. The results of the survey show that the lord of the time avoids repetition in repetitive contents artistically and via using his talent and techniques and literary devices has used a new concept which has attracted the audience by his art. The important point is that Sa'adi's speech in intrinsic intertextuality of his words, not only is far from repetition, but also led to the creation of new and supreme images, and this is the characteristic which distinguishes Sa'adi from others.

Being among the oldest and most common kinds of literature, didactic literature presents moral and rational doctrines to the audience to be applied in their lives to achieve prosperity and happiness. Persian literature has long represented the purest and most precious moral and didactic meanings and themes in a way that a large part of Persian poetry has been dedicated to advice, wisdom, and sermons. Emād Faqii Kermani is one of the Persian poets in 8th century AH who was proficient in composing different genres of poems including Sonnet, Ode and Masnavi. His poems have been integrated with Sufism and mystical thoughts and doctrines. Using descriptive-analytic approach, this study aims at investigating the moral and didactic doctrines in Panj Ganj by Emād Faqih Kermani to determine the position and value of morality and training in his poetry and also, some of the literary merits of him would be clarified. The findings reveal that the moral and didactic subjects which are a combination of ancient advice, mystical and Sufi doctrines are widely reflected in his Masnavis. The most prevalent and frequent moral and didactic themes in Panj Ganje Emād include political and governmental sermons, worship and servitude to God, instability of the world, generosity, knowledge and gaining knowledge, confidentiality, harmlessness.

Taqiyyah was used in the Shiite religion amongst the Shiite Imams (AS), scholars, and the poets of the early Islamic centuries in the Middle Ages in order to achieve the transcendental goals or to preserve their lives in the face of an adverse ruler or hostile public opinion against Shi’ism. Strangulation, poverty, and anti-Shi’ism can also be regarded as some influential factors in practicing Taqiyyah in relationships between people and their government and , since both poets,Sanai Ghaznavi and Seyyed Sharif Razi, regardless of their spatial limitations, lived at a specific period of time, they used Taqiyyah, considering their social, political, and family circumstances. By using descriptive-analytical method, in a comparative study, this paper is an attempt to analyze the concept of Taqiyyah in the poetry of Sanai Ghaznavi, as a Persian Shi’ite poet, and that of Seyyed Razi, as an Arab Shi’ite poet. The two poets were contemporaries; however, they have used Taqiyyah as a means to defend Shi'a ideals and to achieve their goals in their works, in a different way: Seyyed Razi was an Alawite political poet, and, therefore, he used Taqiyyah in his poetry as a tool to achieve the highest political and religious power in Shi’ism, which is the establishment of an Alawite government by himself. Sanai Ghaznavi, on the other hand, taking into consideration the social common sense, the government, and the strangulation of the Shi’ites as a result of Shi’a-phobia, used Taqiyyah in order to explain the Imamat of the Imams (AS).

Vahshi Bafghi with creation of constant effects, especially in the way of occurrence and learning in Persian poetry, in terms of intellectual and literary influences have been very influential in the literature of their time and after themselves. His poetry is known from the time of the poet and is read in biographies with easy and absent-minded traits, which is shown easy, but it’s difficult to follow; a simple, unobtrusive poem that is free of any articulation and poetic exaggeration. These features, along with love gravitation and with more effectionate, more intrusive, introverted, expressive and fiery language derived from the inflammatory interior have attracted the attention of many poets and poetry and have sought to follow various aspects of his work. In this paper, we try to compare the works of him and his contemporary poets and after him, and to evaluate the verbal and spiritual similarities, to measure his position in a manner and attentiveness to him as much as possible; to evaluate the aspects to be considered and the followers of the world, and the reasons brightening his appeal to the public and the poets.

Much of the classical and contemporary Persian poetry is composed of short poems such as couplet and quatrain. Also, contemporary poets have shown increasing interest in short poetry. Although researchers have attempted to identify the components of short poetry and to this end have mentioned the brevitas features, the limited usage of the verb, the ending stroke, the image-orientation, the limited use of the rhyme, and naturalism; these features mostly refer to the description of the short poem, and no unanimous definition is available yet. For example, the outer limit is sometimes referred to as one page, sometimes up to seven rows and sometimes up to five portions. As for its internal and semantic limits, they enumerate the function of the fundamental scheme and effect of the moment. This article critically analyzes the descriptions and definitions of researchers on short poetry and attempts to provide a more accurate definition of the short poem using an analytical method. As a result, this article considers short poetry based on its fundamental technique, to be with limited lines or hemistiches, and finally, "independent monolithic limited poetry with a greater tendency for the discourse of wisedom."

Qoqnus is a legendary fowl of Iranian texts (Persian and Arabic) whose origin of its story is not Iranian.The oldest description of this bird is in Garshaspname and Tohfat al gharraibwithout mentioning its name and the book of al-Ma'tabar fi al-Hikma Baghdadi is the first work it has introduced in Arabic.Qoqnus has been usedvery little (about twenty times) in ancient Persian literature and it has been considered in contemporary literary by poets and writers.In this article, after looking at the most important Persian and Arabic references related to naming or introducing this bird, all its features are extracted from these texts and classified.Then all the evidence of its application in the past poetry of Persia and some of its important examples in contemporary poetry has been broughtand reviewed. Also in the end, fowls like the Qoqnus in some sources and similarities of this fowl with Phoenix of western narratives have been addressed.

Tradition is the basis of firm structure of poetry and every poet is influenced by literary tradition and poems of his predecessors. This impact is low in the poetry of some poets and in the poem of others is high. Shafiei is a poet who tradition and ancestors poems and their manifestation in his poetry are stronger than most of contemporary poets. Because of his attachment to Old Persian literature heritage he was influenced by former poets. Meanwhile Hafiz plays prominent role in Shafiei's mind and language. Shafiei is infatuated of Hafiz and his interest in Hafiz has had a profound impact on his poem. This effect is sometimes shown in inserting other's verses in own poem, hemistich, semi-hemistich and sometimes repeating poetic vocabulary. Alongside this, the major Hafiz's thought which is anti-hypocrisy and critique of hypocritical religious, Shafiei uses some of the words related to Hafiz's thoughts including: Rend, Mohtaseb, Shehneh, Asas and so on utilized it with adapting with his social-political thinking as Hafiz in form of positive and negative personalities. Some of Hafiz's verses also serve as an inspiration for composing poems and making themes in Shafiei's poem. In addition, we can see the influence of Hafiz, in the dimension of image making. Studying and adapting the poetic language, themes and poetic images of two poets reveals this influence and present study examines this effect by mentioning eamples and using a descriptive-analytic method. Studying Shafiei's poem in this regard leads us to conclude that Hafiz is one of the most influential traditional poets Shafiei kadkani's thought and language.

Mohammad Reza Ibn Rajabali, with the name of poetry Mansour, is a physician and poet in the second half of the twelfth and mid-twelfth centuries. He was a resident of Ghah village in Isfahan, and for some time served Abraham Khan Qajar - the ruler of Kerman - he was practicing medicine and poetry. At the end of his life, due to the aging of some of his jealousy, he requests Abraham Khan to leave, and he is practicing medicine in Isfahan. He was skillful in composing verses, poems, masnavi, roba'i, as well as jurisprudence and medicine, and wrote a two thousand-bit poem in fascism by Fath Ali-Shah and Ibrahim Khan Qajar, which contained a thousand bits of the verses of the same court, which was in the vexation of Abraham Khan. , And is named "Abrahim Abaad. With a review of the manuscript list, only one version of the Tribunal was found in the Library of the Islamic Consultative Assembly, in which there is no indication based on the history of the book's edition. This paper, based on the library method, uses the existing datascripts, introducing the poet to examine the present version of his themes and poetic features. After reviewing and reading the copy, we concluded that he was an average poet of the Qajar era; his simple and fluent language, in his poem, the telemia of the Qur'anic verses, the expansion to the Sufis and the Mufti, the medical and logical terms, and the poets of Saying: Khaghani, Hafez, Kamal al-Din Isfahani, Jamaledin Isfahani, and especially Anwari, have been listening to some of their poems.