فصلنامه شعر پژوهی (بوستان ادب)
سال دوازدهم شماره 3 (پیاپی 45، پاییز 1399)

Defamiliarization, is one of the important techniques to escape vulgarity in structure and content of art, which is the tool of the poets' imagination to receive a distinctive and exciting language and transmits it to the audience. This subject was first introduced by Russian formalists. According to them, repeating of ancient vocabulary affects the text charm and reduce the audience’s interest and highlights defamiliarization requirement. The effects of poetry art are sometimes seen in all Persian poems but in the era of Indian style it is significant because of sonnet passage from glorious era, the effect of repetition and vulgarity on its elements, changing the base and audience of poetry art. Divan’s elements due to belonging to the court and similarity with the classical literature have been used repeatedly by poets but when Indian style emerged it has been repetitive and outdated. Therefore, Indian style poet has tried to keep them fresh with a different techniques such as fantastic attention to the elements detail, create content and using of paradoxical elements as well as the use of them in the alienation of vulgar landmarks. Here, we analyzed the use of these techniques in the Hindi style Ghazal in six topics.

Ferdowsi's Shahnameh is a marvel on which the more we reflect and contemplate, the more we confront its linguistic dlicacies and nested meanings. Shahnameh is Ferdowsi's masterpiece which is easy to read but, at the same time, difficult to understand.  In spite of the fact that ther are numerous explanations to the book, along with independent articles written to unfold some of its ambiguities, there are still a number of couplets whose authenticity is in question and hence cannot be recorded. In addition, the commentators' explanations on some of the verses are not acceptable. In this article, having analyzed some verses of Shahnameh edited by Jalal Khaleghi Motlagh, as the latest and best edition of Shahnameh, the researchers have found some inefficiencies and ambiguities in the description of certain couplets. This is either due to the insufficient attention paid to the texture of the text or due to the inaccurate recording of the couplets. Therefore, after critically scrutinizing the recording of some couplets, the researchers, first, have given some suggestions for a more accurate recording of the couplets. Then, after critically reviewing the descriptions of some of the couplets, an attempt has been made to provide a more appropriate meaning by giving reference to the intratextual and extratextual resources.

In analyzing Rumi's quatrains (Rubaiyat), the researcher has followed the discourse and textual construction proposed by Lotfallah Yarmohammadi applied to studying Khayyam's quatrains. To accomplish this, first, Rumi's quatrains are divided into two categories, Motemaken and Maghloob, and then the structures used in them are studied and analyzed. Most of Rumi's quatrains are classified as Maghloob, which is often uttered in moments of ecstasy, discovery and intuition. In the Maghloob quatrains, when the poet talks about "He", he implicitly talks about the truth, the beloved or Shams Tabrizi. These quatrains contain a kind of romantic and mystical theme. In contrast, the Motemaken quatrains concern general and philosophical issues about God, human beings and the universe. However, while, with regard to the constituent structures, these two types of Rumi's quatrains enjoy the same structures (such as description, recommendation, explanation, supplication, wish and prayer), considering their conceptual and content framework, they are different. In both types of quatrains, the description structure is considered the most important and pivotal structure, and since in this structure, the poet himself is in the position of the messenger and often expresses his condition, both at the time of being conscious and at the time of discovery and intuition, the direction of the message is towards the speaker and the tone is emotional and lyrical.

 Welfare and social security are assigned as  indicators of progress in developed societies. A review of historical documents and the social observations, carried out by the historians of the Sassanid period, of Iran indicates that, during their reign, Sassanid kings have more or less tried to improve people's life standard. Ferdowsi's Shahnameh is one of the valuable works which narrates the events of that era. The main question of this article is whether there is some evidence on this very important issue of welfare and social security in Ferdowsi's Shahnameh? The findings of this analytical-documentary study indicate that for all four components of welfare and social security, namely social insurance, social services, social welfare and social assistance, there lies certain practical and obvious evidence in Shahnameh. This manifests the attempts made by the government to provide the high level of welfare and social security for the people of that era.

 One of the valuable literary activities in the contemporary era is correcting the texts left by the predecessors. The Divan of Shervani, the poet of the sixth century (AD 540), is one of the texts from which has not yet received a proper revision.This is mainly because of the unavailability of a reliable manuscript, collected during or close to the poet's era. In addition, those who have attemplted to correct the available manuscripts, have not observed the proper critical methods of text correction. The existing version corrected by Taheri Shahab in 1345 AH suffers numerous methodological and typographical defects. In this study, while showing the main correction defects of the existing version, such as "improper recordings", "displacement of verses", "scattered poem lines " and "typographical errors", it tends to introduce the new versions and explain their role in correcting the poems of Shervani. The poems of this poet are discussed in order to highlight the necessity of re-correcting the Divan of  Falaki Shirvani, which, in addition to presenting a revised text of his poems, undoubtedly has a great impact on recognizing the stylistic features of Azerbaijani poetry and solving some problems of poems following this school .

Muhammad ibn Ali ibn Abu Talib, known as Muhammad ibn al-Hanafiyyah, has inadvertently become the central figure of a number of Ghali and extremist sects of moderate Shi'ism. The first of these sects is Kysanyh which has inspired the subsequent sects ideologically. There are several literary works (in prose and verse) on the life story of Muhammad ibn Hanafiya, which are generally known as Jangname-ha-ye Mohammad Hanafiyya. The manuscripts of these works are found to be very recent and even the evidence found in their text does not go further than the Safavid era. Regarding this as well as the cultural developments of the Safavid era, scholars assume that the formation and spread of such works can be attributed to the Safavid era. However, in ancient historical, sectarian and literary texts, there is some evidence testifying that the stories of Muhammad Hanafieh can be traced back several centuries before the Safavids. The present paper has sought to examine such evidence and its temporal origin. The researchers of this study hold that the activities of Ghulāt sects have some links with the popular culture and literature.

Hafez has an exceptional ability in choosing the best words to convey meanings. The significant frequency of the pronouns "I" and "we", with various meanings and functions, in Hafez's poetry indicates that the poet tends to express personal, social, mystical, reprehensible, romantic, cosmic and eternal human sorrows. Hafez, in about 200 verses, reflects different types of "I" and "we" in connection with the mentioned subjects, very artistically. The issue of love, in a sort of visible and invisible way, is connected with Hafez's 'I' and 'we', as the affectionate and melancholic beings, manifests the eternal destiny of human beings with all its ups and downs. The prominent themes in Hafiz's 'I' and ' we', as a human being, are love, blame, and fate, something  inevitable and inescapable in life.  The pronoun 'We' also has multiple meanings in Hafez's perception and poetic style, resembling those found in 'I',  but with a lower frequency. Considering the main tenets of Hafez's poems, the presence of different kinds of descriptive and attributive 'we' and 'I', represents the poet's attitude towards desirable and undesirable aspects of the time, estrangements, and human existential contradictions. However, the employment of affectionate 'we' and 'I', in Hafez's poems, manifests  all good and evil traits of human beings. The use of collective noun adjectives, consecutive fixed phrases, consecutive adjectives with “and” as a conjunction,adjective, or addition, used after the poet’s pseudonym, are the signs that contribute to a better understanding of 'I' and 'we' in Hafez’s lyrical poetry.

Ahmad Shamloo is the main representative of prose poetry in the contemporary Iranian literature. Numerous articles and critiques have been written on the various aspects of his poetry. Most critics have used Shamloo's own poems as the verification of the representation of prose poetry; Thus, It is noticed that, except in few cases,  most studies carried out on the strengths and virtue of his poems,the weaknesses and defects of his poems have not been the focus of studies. Hence, so far, no article has independently and scientifically traced the non-poetic compenents of Shamloo's poetry. In this article, an attempt has been made to examine factors such as the transformation of poetry into fiction, prose, comedy, rhetoric, report, and literary pieces, as well as his entanglement of mere conceptualism and self-projection, leading his poetry to slipping into non-poetry. The present study has adopted descriptive-analytic approach. Having collected and analyzed  library resources,  the researchers have found eight elements of non-poeticnesses in Shamloo's poetry.

Analysis of some of mythological, epic and narrative themes hints of horse in Nizami Ganjavi’s Khamsa Abstract Horse has been of great significance for past generations, and thereby is has carried a number of hints as well as cultural references for many centuries. As such, horse has gained important role in all classical literary masterpieces. In this study, some mythological, epic and narrative hints of horse in Nizami Ganjavi’s Khamsa have been examined. Such analysis would help us understand subtleties of the poet’s short and long stories. Relying on his in-depth recognition of symbolism, psychology and anthropology, Nizami has turned horse to a central sign in his works. In underlying layers of these narrative indications, some mythological and epic elements are present. Sacrificing, descending from sun, relationship with the god of water, metamorphosis, totemic function are some topics introduced and discussed in the present study. 

 Among the important rhetorical images that play an effective role in examining and recognizing the personal style of each poet are the use of colors, rhythm and the extent to which the poet uses words encompassing these issues. The importance of this issue in the poetry of some poets, especially those who follow the Indian style (Sabk-i Hindi), is so great that through the employment of this, one can realize the tastes, beliefs, aspirations and desires of the poet. Bidel Dehlavi (1054-1133 AH) is one of the most prominent poets of Indian style who has abundantly used these features in his lyric poems.  The purpose of this descriptive-analytical research is to study artistic innovations, together with the semantic frequency of color and rhythm, and its synonyms (song, rhythm, music, whisper, sound, moan, etc.) in Biddle Dehlavi's lyric poems. The result of the research indicates that the poet with a creative attitude and expression has expressed color and rhythm, with a significant frequency, as a motif and symbol of polysemy and structural axis of rhetorical images to convey various kinds of romantic-mystical thoughts, to contribute to the aesthetic of poetry, and to give harmony and balance to the language and its components.

 Rudaki Samarkandi is one of the pioneering and prominent poets of Khorasan literary field (sabk-i Khorāsānī). Because of its simplicity and fluency, poems of Rudaki have always been of interest to poets and scholars, both contemporary to his age and periods later. Owing to the inclusion of old Dari words, and because of his poetic style and ideas, Rudaki's poems have been popular among the scholars of Iran, Tajikistan, and Afghanistan. There were numerous verses attributed to Rudaki, but only a few verses survived. From the numerous poems attributed to Rudaki, scholars, such as Braginsky, Nafisi, Mirzayev, etc., engaged in correcting his poems, have found only a very small number of them, most of which are attributed to two or more other poets as well. Therefore, retrieving or correcting Rudaki's poems are of prime importance to researchers working on Rudaki and those who are interested in his poems. In the present study, the authors have attempted to address the first stanza of the following poem which has some implications to Kalīla wa-Dimna and give some suggestions for the second stanza: As the idiot camel step forward to the niche Is unaware of the cunning fox, chough and wolf