پژوهشنامه مکتب های ادبی
پیاپی 20 (زمستان 1401)

"Sharh Tohfat Ol-Iraqin" is the work of Gholam Mohammad Ghowsi, he has tried to explain the important points of Khaghani's poems with scientific-literal examples and definitions of that era, and this is why it is considered one of the best explanations of Persian literature, and certainly one of the Persian writers of the twelfth century. Expressing the delicacy of words, grammar, meanings, and expression will pave the way for researchers and students in describing the difficulties of the verses of "Tohfat Ol-Iraqin Khaqani". Ghousi based this commentary on the verses of "Tohfat Ol-Iraqin" or the "Khatm Ol-Gharaeb" and quoting the works of the predecessors and other written commentaries on this book and great dictionaries such as Farabi and Mir Sadr al-Din and dictionaries such as Resaleye Moayenat, the owner of Sahah, Hodoode Sanjari, etc. have been written. Identifying and correcting these works, in addition to their special literary position in describing and interpreting the difficulties of one of the important works in the field of poetry, mysticism, and Sufism, is also of special importance in explaining the scope of the Persian language in the field of poetry. This research has been done by the method of text analysis of the work and in a deductive way.

Today's poetry has undergone extensive changes due to the huge transformations of the last three decades. Even though the sonnet has found its own way through changing its nature and has, hence, been able to experience new worlds to the extent that the contemporary sonnet shines brilliantly as the most prominent form of poetry, Nima's goal was to break away from the prosody systems and change the linguistic and contextual identity of the poem. Indeed, the contemporary ghazal has only been successful in applying some of Nima's desired changes, such as breaking the narrative (lack of linear and narrative structure of the ghazal). Using a descriptive-analytical method based on interdisciplinary library studies of literature and philosophy, authors of this article have reached the conclusion that attributes like having contemporary poetic concerns, using a simple and intimate language, benefitting from vast vocabulary and introducing familiar elements are not enough to call ghazal “modern”. In other words, traditional poetry forms are not suitable for modern poetry because they are limited, predictable and universal. On the contrary, modern poetry is unlimited, unpredictable and subjective. So, a ghazal can be said to be modern (modern) if it completely loses interest in the past. A sonnet which is even remotely connected to the past and simultaneously introduces modernistic concerns, should not be considered as a modern sonnet; it should, rather, be discussed as innovative.

In the 19th century, following the emergence of literary schools such as romanticism and surrealism, which rejected and despised clear meaning in literary works and promoted ambiguity instead, literary theories also looked at ambiguity as a value in literary works. ; Because by making the reader participate in the meaning creation process, it creates a kind of interaction between the reader and the text. Shams Tabrizi's poetry is one of the texts that has ambiguity in its artistic meaning. This ambiguity lies in the whole of Maulvi's poetry and the rhetorical device, language and semantic field of his poetry have been affected. It is that each of these elements have been created under the influence of factors that are very similar to the components of the school of surrealism. This research, which is written in a descriptive-analytical way, aims to show what effect the surrealist atmosphere ruling Shams's lyrical poetry has had on the ambiguity of this text and the emergence of ambiguous rhetorical forms. The findings of this research indicate that in eighty-two percent of Shams' sonnets, ambiguous rhetorical forms are created in a surrealistic atmosphere, and among the rhetorical elements simile, recognition, and code, which appear under the influence of the poet's unconscious, are possible in the poem. have the most expression compared to other rhetorical elements.

Contemporary Iranian poetry, through the translation of Western works and the course of socio-political-historical developments, found a suitable context for the experience of European literary schools. Since the arrival of literary schools in Iran, about a century after the experience in the West and a short distance away, most of the prominent contemporary Iranian poets in a short period of poetry are close to the influence of several literary schools. They had. Contemporary Iranian poetry has a title, and the title is the key to deciphering a work that summarizes the structure and text in one or more sentences. Finding can, according to the literary school of the work, create the study of the works of a period or a century. At present, in a research that has been done by research-descriptive and analytical-literary-scientific method, the way of matching and reflecting the two schools of Romanticism and Symbolism in the title of four books of HAVAYE TAZE, BAGHE AYENE, SHEKOFTAN DAR MEH and EBRAHIM DAR ATASH by Ahmad Shamlu Is. Review. The results of the analysis indicate that according to the components of the two schools, there is a correspondence between the literary school of the work and its title, but in the short and long titles there is no significant relationship with the literary school. From a literary point of view, sensual, paradoxical, allusive, and permissive tricks have created symbolic titles by raising ambiguity, and romantic titles have metaphorical metaphors.

The poet, with a deep understanding of his worldly life and with a bag of knowledge from the past before him and using the interpretive dimension of language, introduces ambiguity in his poem and introduces it as an internal matter of the poem and causes the audience of the poem to enjoy the art. . The findings of the present research show that the use of linguistic, rhetorical and semantic ambiguity in Hafez's poetry and his continuous use of the interpretive language have made his poetry more complex, in such a way that one cannot expect linguistic or rhetorical ambiguity from a verse or a sonnet. And it had no meaning. In particular, Hafez is a poet who has gathered the precious heritage of Persian literature in himself and in a way, as the inheritor of the classical literary tradition of Persian poetry, on the one hand, by using genius and linguistic factors, a multi-layered, geometric, ambiguous and interpretable image of concepts. and the themes of Persian poetry, and on the other hand, using rhetorical and semantic factors, he presented new formulations of the inner elements of poetry as well as the vital elements of his era, which resulted in the expansion of the field of interpretation of the language of poetry in the era of the poet, which actually The ambiguity in the poem arose.

The purpose and aim of this study and Review was to investigate and analyze ode called of Altlasm Elia Abu Madi, based on the school existentialism; School and ideas that shaped and influenced many contemporary Arab poetry, especially on Elia Abu Madi had. In fact , this article tries to study and careful analysis of Altlasm ode , the theme of existentialism like death , absurdity , alienation , anxiety , fear , anxiety , feelings of futility and confusion and frustration and perplexity at this piece of poetry show the impact of this philosophy and literary works on the mind and thought of Elia Abu Madi appear ; This research method is descriptive method and based on the analysis of the themes of existentialism in the Altlasm ode , explanations about life in Elia Abu Madi and also features an elegiac poem will be presented Altlasm - - -