فصلنامه زیبایی شناسی ادبی
سال دوازدهم شماره 48 (تابستان 1400)

Hafiz's poetry is one of the finest texts for the poetic readings; the art of satirical structures has a significant impact on the interpretation of Hafez's poetry. Hafez has influenced the Holy Quran in the syntax and artistic structure, because the meaning of the word of Hafez is tied to divine verses. Hafez's poetry language contains elegant concepts of randy with a revelatory and heavenly language, while expressing the status of a human being; it also deals with the lips of the cup and the shining of Simin Shagh, which also represents the most purely mystical experience.This research was conducted in an analytical method using all the words "bootia", "hermeneutics" and "reading".In the poetry of Hafez, which creates an amazing point and a miracle, it is normative, not normative; among the arts, satire and inspiration are of high frequency. The lack of attention of the exponents to these two arts has made some interpretations a shallow and superficial one.In addition to hermeneutic meaning, poeticism is also valuable in artistic terms, as it causes artistic expression in readers; reading readers with a rhetorical interpretation, in particular, by re-reading the text to artistic delicacies, especially the secret artifacts of Hafez.

This article explores the elements of imagination and emotion in Eshghi poems by describing and analyzing the data obtained from library studies. The textual body is composed of 88 poems. The results show that in the discussion of imaginary forms, metonymy has the highest frequency and this finding is consistent with the poet's own prediction as the primary critic in terms of literary self-criticism. In the next positions are tropes, metaphors and similes, respectively. He did not use far metonymy, and the frequency of lexical and easy metonymies is higher than their corresponding difficult types. About tropes, based on cognitive patterns, it becomes clear that Eshghi has a precise selecting look, and he cares about the reader and attracting his attention. The frequency of tropes in the lampoons is higher than its average in of all the poems. He prefers vehicles based on "adjective and description" in his tropes. The similes are often easy to understand by due to Eshghi’s nice choices in this regard. The metaphors are also from easy to understanding types, and all of these indicate the obviousness of the simplicity in his poetry. From an emotional point of view, in his poetry, "personal self" prevails and "social self" is placed after it, and this is contrary to the general belief about the place of emotion in constitutional poetry. An analysis of Eshghi’s poetry based on psychological emotions shows that sadness along with despair and compassion are the most important emotions that dominate these poems, which define

The present article is a comparative comparison between Saadi's sonnets and Petrarch's sonnets, which deals with the aesthetic aspects of nature, illustrations and poetic imagery in the form of similes, metaphors and symbols; Attention has been paid.Saadi, a great poet of love, and Petrarch father of Humanism, use nature and its various elements not only to describe their ownstate of mind but also to emphasize the beauty of their loved one. At a first sightusage of nature made by two poets appears identical, but with a more careful analytical study we realize some points of divergence at the level of poetic conception that exists in the two poetry collections. So knowing poetic traditions and very different linguistic styles bring us closer to poetic cultures far from our poetic raditionalready known for its lyricism and this is a factor that helps to enrich ourindepth cultural knowledge . The research method adopted is descriptive and analytical with a comparative approach between the two selected corpuses.

Mystical literature is the most extensive field of literature in Iran that plays an important role in fostering ethics and culture. Mystical poetry is a poem written by the Lord of Meanings in expressing spiritual principles and truths, and mystical poets have transmitted these teachings in the language of symbolism and symbolism. The researcher first refers to the definition of symbol and then introduces Rumi and his place in mystical literature to his view on unity.What can be considered about Rumi's poetry and thought is the development of mystical and moral thoughts in the works of this precious poet.In this research, which has been done in a descriptive-analytical (library) way, by studying the spiritual Masnavi, several stories were examined in which the importance of unity and love for the god and return to the main position is beautifully displayed using various symbols. Has been.Keywords:Mystical poetry, symbol, symbol in Masnavi, unity

Shivan Fomnei or in his own words, "the Northern Poet of Love," is one of the most modernist ghazal(sonnet)poets in persian contemporary poetry. His innovations in the poetic imagry and poetic language is spread and in some instances based on nativism and climitism. The present study discuss around the innovation of Shivan in poetry language and study the poetic language of Shivan in the various dimensions poetry language of Shivan in Ghazals is contemporary language and who write with a live language of time. Contemporary words, idioms and Conversational combinations and terms and Contemporary proverbs and allusiones show his innovation language in Ghazals. This aspects result to facilitate communication and linguatic sincerity. Use of Gilaki language words in shivan poems is other linguastic aspet of his Ghazals. The most important innovation of Shivan in literary linguastic is in word combination. Shivan have a very new combinationes in his Ghazals and frequancy of new combinationes in his ghazal is high. Some time components and elements of this new combinationes are derived from the native elements of Gilan and northern Iran

Persian myths, represented in the traditional, epic and gnostic texts for years, serve as the best model for analysis of characters due to their undergoing remarkable changes, their genuineness and their justifying power. “Simorgh” should be considered as the most distinguished example that fully reflects Iranian myths due to its sacred, mysterious and multifaceted nature: Contemporary mythologist, Joseph Campbell, believes that phoenix will change into a creature to be so easily followed by human beings. The study at hand focuses on the chronology of changes in personality of phoenix in transition from epic to Gnosticism. Hence, the elements of personality and the words and deeds of the legendary bird was investigated, while contemplating on what is attributed to it or the way it is described. The findings of this research introduce simorgh as a multifaceted personality, which can be called as the “Fertility-Renaissance” hero or Goddess.Keywords: Simorgh, Epic, Gnosticism, Elements of Characterization

privileged place in speech rhetoric, and rhetorical sciences and techniques play an important role in the formation of language. According to the rules and principles of semantics, the role and importance of sentence types in conveying concepts can be examined. This science divides sentence types into news and composition and studies them in terms of secondary meanings. In this research, which has been done in a descriptive-analytical manner and using library sources, the author intends to study the rhetorical aspects of Shahnameh letters with the approach of the position of news and compositional sentences and has reached the conclusion that in fiction and There are many Persian epics, roles and letters that are not comparable to the letters of Ferdowsi Shahnameh and the number of 250 letters used in Shahnameh is proof of this claim. These letters are mostly used in two parts: heroism and history, and Ferdowsi's goal is not only to convey the thoughts and wishes of their sender; Rather, each is an opportunity for the sage to use innovation and diversity; Sometimes quotes parts of the story from the language of the letter writer; Sometimes, by expressing one's feelings in one's own language, Shuri speaks in order to find an opportunity to pay homage to the characters of the epic heroes, and without his presence casting a shadow over the events, he conveys his analyzes and even messages to the audience and in a word The letters are the full mirror of the Shahnameh.

If we do not call Sheikh Ajal, Saadi Shirin Sokhan, the lord of Persian poetry and literature, we should undoubtedly and without exaggeration consider him one of the brightest stars in the vast expanse of Persian language, literature and culture. As the great and pioneers of Persian literature know Saadi's words and expression as eloquence, rhetoric, simplicity and beauty, these characteristics have caused Sheikh Shiraz's words to continue to capture the hearts of his audience from all walks of life despite centuries of conquest. Saadi's poems are pleasant, concise and tangible for all Persian speakers. What has been exuded from Saadi's pen is in a beautiful word, and this beauty attracts Saadi's poetry. Saadi is a unique master of language, whether in the level of words and phrases, or in the method of effective and captivating sentences and endings, or in the use and invention of literary innovations and arrays, or in creative illustrations. Saadi connects all these great masters in composing poetry with his pure feeling, emotion and exemplary humanity, and according to his own words, if the speaker speaks, the reader will feel this unique beauty. In fact, for this reason, it must be said that Saadi is a poet of beauty and aesthetics.