نشریه مطالعات زبان و ادبیات غنایی
پیاپی 30 (بهار 1398)

Masnavi of Layli and Majnun, written by Ghasemi Al-Hosayni Gonabadi (982 AD Deyar bakr), was published in 2014 by Zahra Ekhteyari’s introduction, correction and annotation. Two respectable students by claiming of description of verses, have written a criticism in less than 10 pages on it. This article is written to violate and criticize their scrip. They have claim of description, without describing even one verse. Their script is mostly incorrect, inefficient and long writing. Sometimes, they have quoted some parts of the corrector’s descriptions by their own names. In some cases, they have added a second meaning to some interpretations, whereas the corrector’s method is on balance and not on verbosity; so she consciously didn’t use different meanings of one interpretation. They also plagiarize from the introduction of the book, which the corrector has written. Their script is published in a journal which isn’t approved by Science Ministry. Verbosity and false reasoning, are the most important features of the script. Their criticisms aren’t based on scientific reasons, so I don’t accept them and I fairly presented my reasons. I advise these two students to read the book more carefully and fairly, also to study the methodology of correcting text, writing introduction and formatting text..

Image and imaging is one of the most prominent elements in the field of aesthetics, including the attributes of literary and artistic works. Today, the critical look at literary works from the poient of view of creating new, pure and nugget images is one of the serious issues in traditional linguistic studies, critique and literary theory, especially in the study of formalism and structuralism schools.the purpose of this essay is discuss the types of images of the lyric poem of Nowrooz and Nowgol Arman Rakian , which has just enterd the market. The research is done by descriptive documentation and finally, content analysis and based on the finding. In the course of this research with the introduction of various simple imagery, numerous and extensive and gradually moving away from traditional methods of payment in the form of example of imaginary in the field of science of figurative language, rhetoric and and figures of speech to explore new elements, multi-layerd images types of metaphors in you, combined with myths, archetype narrative and even narrative and description.

The poets and men of letters have long been concerned with “woman” and its characteristics. Many narrators and authors have discussed this issue considering its different existential aspects. The works such as Samak-e-Ayar, Bakhtiar name and Sendbad nameh are the works in lyric literature which are written in prose and have analyzed “woman” as a character in tales. The present analytic – descriptive paper studied and compared “woman” in the aforementioned folk tales. The result showcased a positive attitude towards “woman” in Samak-e-Ayar because of enjoying Iranian Cultural themes. Secondly, Bakhtiar name contained more reasonable and positive instances. Finally, Sendbad nameh had a more negative attitude because of being shadowed by Hindu culture and tradition.

Structural aesthetics criticism of story “ Rooz-e 4shanbe” from “ Hasht Behesht” -poetic (versified) story - by “ Amir Khosro Dehlavi”. Amir Khosro Dehlavi, is a poet of 7th and 8th century, who composed poetic stories impressed by Nezami`s” quintuple poetic”. One of them as his 5th and the last, named” Hasht Behesht” has been written influenced by Nezami`s “ Haft Peykar”. In the mentioned poetic story, Bahram-e Goor, listens to the story “Rooz-e 4shanbe” which is the story of “ Shahr-e Khamoushan” told by the Roman princess. The poet has depicted the story properly. This research by aesthetic and structural approach, is intended for analyzing this story through consideration and analyzing the main structural elements included the language, the rhythm and the imagination. The consequences indicate that the poet by using selective words and phonemes in the language part, suitable rhymes in the rhythm part and accurate similes and metaphors in the imagination part, creates an admirable poetic story. Meysam zare Ph.D. student of Persian language and literature in Shiraz university. Maryam mosavi M.A student of Persian language and literature in Shahid Beheshti university.

Hafiz, as a prominent face among mystical Persian poets, offers outstanding tips about the prosperity of mankind and its promoting and deterrent factors, and either true or false teaches how to achieve prosperity and introversive revolution. In order to understand the views more clearly, this paper has deployed the method of CDA which includes theoretical and experimental procedures to investigate the relationship between discourse and social and cultural developments. Accordingly, two samples of Hafiz sonnets were studied through the three stages description, interpretation, and articulation. This analysis showed that Hafiz is a mixture of lyricism and sense, interpretation of which apart from Quran is non-sense. Hafiz believes in introversive revolution as a rational practice which is incompatible with asceticism. The nature of this procedure is to eliminate the redundancies rather than piling up a mass of empty talk, through which the mentor just acts as a pioneer, non-dominant over the voyager at all. some of Hafiz sonnets were studied through the three stages description, interpretation, and articulation. This analysis showed that Hafiz is a mixture.

Love is the most distinguished and the most infrequent concept with a huge reflection in art and literature. Love toward man, woman, mother, child, nature, religion and thoughts, motherland, liberty and … is tangible in each part of Persian literature. The love which embraces all is the love to the only God. It gives human the power to know himself and it helps him evolve as much as possible. Mystical literature is about the love to the only God. Emotional literature is one of the areas in which adoring another person can be a way to evolve and achieve integrity. Haft peykar by Nezami Ganjavi is one of the pieces of emotional art which is a story of an earthly love at the surface but upon a deeper consideration of such stories in ancient analysis of the model and psychology, one can find out that the earthly love can get the hero of the story to the point of excellence and perfection. In this research, the story of the Green dome was studied with an emphasis on the exalted beloved and an introduction of Haft peykar and its theme.