فصلنامه شعر پژوهی (بوستان ادب)
سال دوازدهم شماره 4 (پیاپی 46، زمستان 1399)

 The way a poet uses language will be determinant in the form and structure of his poetry. By employing the archaic language, with all its potentials, Shamloo has established his own peculiar language in the field of modern Iranian poetry. Literary critics have found that although Shamloo is believed not to fully master the poetic features of the language of the past, he, thanks to his outstanding artistic talent, has composed immanent poems recorded in the contemporary Persian literature. In this study, we seek to examine aspects of Shamloo's poetry that have been affected by a kind of "linguistic narcissism" under the influence of ancient language (this will be discussed in the introduction and in the analysis section in detail). The method of this research is analytical-critical and after explaining the theoretical foundations, the researcher has examined Shamloo's poems, affected by archaic language,  to find traces of linguistic narcissism. The findings of this study show that excessive attention Shamloo has given to language has, occasionally, seriously damaged the form and content of his art.

The cradophiles occurs when two or more terms have the same meaning in the same sense. Sometimes these words are mentioned in poetry, while mentioning one of them is enough to convey meaning. In literature, the technical style of this method has expanded, but in traditional poetry, the factors of which are weight limits, independence of abyat, negation of the semantic circle and lexical association, distancing from belief, observance, promotion of aby, etc., a poet's bed of rhetoric , It does not seem to be so common and artistic. Nevertheless, in the poems of the great poets of this structure, there is a significant frequency. The preceding article examines this issue in Hafez's poetry, and has shown that Hafez has also been repeatedly referred to the category of cordons. Credits in his poetry have been made for reasons such as carrying some of the meaning of the word to another, using conventional and standardized terms, creating proportions and phonetic clusters, lexical proportions, and creating inspiration, emphasizing meaning, creating bilingual structures, etc.

Mahasti Ganjavi (577-490 AH), renown for her quatrains, was a pioneering poet; her worldview and life condition led her to compose poems that were unprecedented in the poetry of classic female poets in Persian literature. In the past, Mahasti was not welcomed owing to some unsound judgments about her character; in modern time, too, some published studies have done her an injustice. The present study aims at uncovering the feminine features of Mahasti in her quatrains. The research is descriptive and the data are collected by document and library research process, followed by content analysis. The results of the research show that Mahasti's poems express her feminine feeling and experience freely. Her feminine traits include expressing love and affection for the opposite sex, referring to her gender, feminine images and features, silent feminist protest, conservatism, and feminine erotic language, explained in detail in the article.

perdition and survival, enjoying a special status in Islamic mysticism, are important issues in the first mystical tradition and are manifested in the works of poets and mystics in various forms. Each of the mystics has tried to express these two issues based on their personal experience. Sanai, the great poet and mystic of the sixth century AH, is no exception. This research has tried to focus on Perdition and survival from Sanai's point of view. In the first mystical tradition, man and God are two distinct beings whose essence, attributes, and actions dissolve into one another. Perdition and survival are divided in two general categories: inwardness and appearance. In Perdition, the mystic willingly loses his existence and returns to god, the eternal.  Perdition is a prelude to survival. Here, human being is endowed with the attributes of God and achieves true eternal survival. In this research, documentary-library and descriptive-analytical methods were used. First, notes were taken of the issues related to the perdition and survival. Then, they are analyzed and explained. To the best knowledge of the researcher, this is the first time that Sanai's view on perdition and survival, their types, varieties and status have been scrutinized. He enumerates the perdition and survival of the appearance and interior, assigns degrees to each, and confers the highest degree to the perdition of the essence, being dissolved into the essence of truth. At this stage, all gaps (veils) are removed.

Shams’s lyrics can be called Mowlana’s mystical, romantic experience of the world (inward and outward), which is reflected from Rumi’s attitudes and thoughts and influenced by his self-concept. Accordingly, in this study, we define the lyrics as Rumi’s self-portrait. We are going to present a sense of identity in this self-portrait as far as possible by analyzing lyrics with a psychological approach. In order to analyze the content of lyrics, the first step is to set up and define a cognitive model as personal interpretations based on a number of methods as: self-concept, real self, self-ideal, possible self, schema, self-expression, and social-expression, in accordance with the principles of psychology and based on that, by analyzing the lyrics, the sense of identity and level of its usage in poet’s mind and tongue and writing of his relic like Rumi’s lyrics get evaluated. Finally, by analyzing the data using the scientific method, we have shown that the self-identity components in Rumi’s lyrics are changed, and through the path of spiritual journey, they are positively, valuable, and has been adopted in a unique way with positive and growth-oriented self-expressions.

The ode (Qesīda), one of the oldest forms of Persian poetry. To rhetoricians, odes have four sections: tasbib, main body, pseudonym ( takhalos)and sharita. This study seeks to examine the evolution of tasbib in both Khorasanian and Iraqi styles. To accomplish that, the researchers have examined this issue from various perspectives. The prose and poetic works of Khorasani and Iraqi styles have been studied to answer the following questions: what changes did tasbib undergo during the designated period of time? What was the basis for such changes and what factors led to such evolution? What was the poet's viewpoint about the introduction of the odes? Was tasbib viewed differently by writers and poets?

As researchers of the handwritten versions assume, reader of such texts tend to attach and add their understanding of the stories, statements or poems in the margin of the texts. Later, these attachments are added to the main text by some writers. These additions are either intentional and unintentional; the former is generally introduced either by those who intend to rewrite the manuscript for themselves or by those who were both writers and correctors of the handwritten texts. This has been manifested in stone prints of the Maktubat-e-Sadi as the most important Persian work by Sharaf al-dîn-e Maneri (1263 ? - 1380).  In stone prints of this work, the writers have added some verses to the text which have never been in original handwritten versions. The authors of present research have identified the verses added to the main text and indicated how these verses are linked to Maktubat-e-Sadi. Accordingly, the attached verses can be divided into three classes: first the verses by lecturers who lived prior to Maneri, second, verses of speakers who lived after Sharaf al-dîn and third, verses from some anonymous poets. We assume that irrespective of verses having no links to the main text, other added verses in stone prints are related to the Maktubat-e-Sadi for six reasons: 1) emphasizing and confirming meaning, 2) illuminating the Text, 3) completing and complementing the poems' meanings, 4) rendering the meaning in verse, 5) Meaning interpretation and 6) simile and idiomatic expressions.

Copies of the Shahnameh contain titles that describe the beginning of the kingdom or the title of the event. At the beginning of Manouchehr's kingdom, the following statement "Manouchehr's kingdom was one hundred and twenty years old" is written and in the speech, under " advising Manouchehr", his death is recorded to occur at the age of one hundred and twenty years. The question, therefore, arises as to whether Manouchehr's kingdom was one hundred and twenty years old or he lived for one hundred and twenty years? For, if he lived for one hundred and twenty years, naturally his years of reign must have been fewer than this. Some historical texts and narrated scrolls cite narratives that have described Manouchehr's life for more than one hundred and twenty years. In many historical sources, Moses is a contemporary of Manoochehr Pishdadi, and in the Torah and many historical texts, Moses is mentioned to live for a hundred and twenty years. It is likely that Manoochehr's narratives is confused by that of Moses.  In myth-telling narratives, there are examples of the transfer of certain traits and deeds from one character to another, forming the hypothesis that, given the coincidence of Moses and Manouchehr, some features of these characters have been transferred to each other, the most important of which is to attribute Moses's lifespan to Manouchehr's. Therefore, this study attempts to provide answers by examining official and cited sources to prove or disprove this hypothesis as well as discovering the length of Manouchehr's life.

 The present article examines Siavash Kasrai's narrative poem "The Long Ode to Suffering to the Resurrection" employing the critical approach given by Laclau and Moff. It is to show the social conflict and the issues prominent in terms of gaining power in the discourse of the fifties. Substituting the status of " Ummah " for " nation ", together with emphasizing freedom and equality in the struggle against the dominant discourse, is the technique of the critical discourse employed by Kasrai. The main purpose of this study is to introduce the discourse of Siavash Kasraei which is in conflict with the dominant discourse of the time as well as the way issues (concepts) are formed and created by discourse. The most remarkable finding of this research is the discursive techniques used by Kasrai, i.e. highlighting discourse and focusing on metaphorical aspect of discourse, which during social crisis presents ideal images of 'we' against 'others'. The artistic and poetic aspects of this poem are overshadowed by its ideological and political aspect.

Banu Goshasp, the daughter of Rustam and wife of Giv, is the most famous heroine of Iranian epic poetry. In Shahname, no reference is given to this heroine, but in several texts after Shahname, she has been repeatedly recalled for her heroic actions, and in popular narratives, there are many stories about her victories or failures. One of the major events in Banu Goshasp's life is the story of her marriage to Giv, the son of Goudarz, and her giving birth to Bijan. Their marriage is narrated in three verses, as follows: first, a brief narrative that has been added to some manuscripts of Shahname since the eighth century onwards; second, the well-known narrative that has been appeared in the fourth part of the Banu Goshasp-Nama verse; and third, the less known narrative, written in one of the manuscripts of Shahname, which has so far received scant attention. In this paper, we will first examine these three versified narratives and analyze the edited version of the third narrative.

One of the main branches of contemporary poetry criticism, paying attention to the features of poets' works, is based on approaches common in criticism. Among the prominent poets of this century, Mehdi Akhavan-Sales (1928-1990), has a prominent status in contemporary poetry research and many critics have criticized his poems from various perspectives. Considering the importance of the research conducted so far, the present article, to better understand approaches taken in the research performed on poems of Akhavan-Sales, along with the criticisms of his poems, has employed the content analysis method, with the emphasis given to three main approaches of aesthetics, symbolism and archetypal mythology. To accomplish this, 52 articles indexed in the period (1991 to 2016), have been classified, introduced and critiqued. The findings show that aesthetic criticism with an emphasis on abnormality have had the highest frequency in research conducted in this field. In the reviewed articles, while more attention has been paid to the archaic, narrative and mythological aspects of poems of Akhavan-Sales, many other aspects of his poetry have been neglected by academic researchers. Among the scientific and methodological drawbacks of the articles, it is found that researchers have neglected the research background, chose repetitive topics, failed to assign specific research scope, and have,at times, conducted research based on their personal tendency.

To understand a poem, it is not enough to understand the meanings of words, terms and their combinations; Rather, being equipped with the scientific knowledge, social conditions, art, and cultures of the time of composing the poem helps us to understand it better. The verse "The candle should be taken out of this house and blown out / so that the neighbor does not beware that you are in our house" has received different recordings and different interpretations in the course of corrections and descriptions of Sa'di's sonnets. The author, having briefly reviewed the descriptions of Sa'di's sonnets, found that the commentators either did not explain this verse because they considered it too simple to be explained, or ignored some of the words in this verse; This made the description of this famous verse necessary. While examining and comparing different versions and explanations of Sa'di's sonnets, the present study seeks to find the most logical and correct meaning of his sonnet, the meaning that is based on the popular culture of Shiraz and perhaps that of other parts of Iran.