فهرست مطالب سید محمود سیدصادقی

The term carnival was used by the great Russian critic and philosopher Mikhail Bakhtin in the 20th century to criticize and analyze literary works. This word was presented to him as a culture; A culture that was brash and open, free and unrestrained, played jokes and games against the domination of everything powerful and holy and imposed beliefs. According to Bakhtin's theory, the components of carnival in the works of Dehkhoda, Mirzadeh Eshghi, and Nasim Shamal are grotesque realism, laughter of death, non-religiousness, relativity and the juxtaposition of opposite concepts and the promotion of polyphonic space. According to the nature of the topic and research objectives, this research is in the field of descriptive, library-documentary research, which has an applied nature, and in its example, two works by Dehkhoda, one by Mirzadeh Eshghi, and one by Nasim Shamal are examined. The sampling method is selective and the data collection method is documentary. By using a descriptive-analytical method, after introducing the carnival and its components in Persian literature, the analysis of the carnival process in the considered works is done by citing examples.

The history of Persian literature has undergone tremendous changes and experienced many ups and downs following political and social developments. In this winding path, the Mashrote era has had a significant impact in various fields, especially in Persian literature. On the other hand, one of the main origins of humor in Persian literature is the Mashrote period. Since humorous literature with the help of carnival is considered a kind of innovation in the Mashrote period, the autopsy of this type of literature and the examination of its characteristics from different aspects and dimensions are of special importance. The effort made in this research is to analyze and examine the elements of carnival humor in the works of Ali Akbar Dehkhoda, Mirzadeh Eshghi and Nasim Shomal.

In this research, an attempt has been made to investigate the carnival atmosphere governing Mashrote works according to Bakhtin"s carnival theory, and a descriptive-analytical method has been used to achieve the purpose of the research.

It should be said that in most of the components of carnival humor in the works of these poets, there are examples and applicable materials that show that Mashrote humor can be explained and reconciled with Bakhtin"s theory of carnival humor.

Polyphonic discourse, relativity and juxtaposition of opposite concepts, disobedience to the ruling power, non-religiousness, having a Bohlol personality, grotesque, and carnival laughter or the laughter of death are the components that are used in humor in the works of these three Mashrote writers. Meanwhile, "Bohlulvar"s character" is the biggest component in the carnival humor of Dehkhoda"s works. Mirzadeh Eshghi has also used "disobedience to the ruling power" more than other components. Nasim Shomal, however, has preferred "polyphonic discourse" over other components.

In this research, the authors have tried to analyze the three main currents of Iranian political intellectuals in the four periods of Ahmad Shamlou's intellectual life in a descriptive-analytical way and with a library method. Examining Shamlu's poems, it is determined that Shamlu is a poet born from the heart of the society and belongs to the masses, and his poetry is the manifestation of the realities of the society and the ideals of the masses, and in his political poems, he wants to remain in the memory of the society as an intellectual. Stay as a poet. An intellectual who has used poetry as a tool for his struggle. He expects the reader to look at his poetry as a tool. A tool that is supposed to serve as an awareness for their creation and liberatio.

From time immemorial, human beings have always whispered songs, whether in solitary moments or in ceremonies such as religious celebrations, hunting, and wars. These songs have been introduced with different names from the beginning until now. Folk songs are rooted in the culture and customs of a nation. People have lived with these songs and expressed their joy and sorrow with them. With them, they have shown their protest, glory and complaint, and in a word, these songs have been a reflection of the customs of the society. In the meantime, the culture of the people of Dashti is considered in this article. In this article, with the approach of textualism and internal analysis and socio-cultural functions, these literary genres have been studied and analyzed. Songs such as Golgoli, Gol Sosani, Sooz Sooz, Zino Zino, etc. are the main materials of this research. In the study of the melodies of these songs, the components and other characteristics of each of them have been mentioned, as well as the literature and verses corresponding to each application. Due to the variety of authorities, songs and melodies, It can be concluded that the music and folk songs of Dashti city are unique in terms of quality and quantity and have a special place in Iran. Due to the industrialization of cities and the death of narrators of ethnic music, the music of these ethnic groups gradually It is also disappearing or forgotten. By examining and explaining the musical structure of ethnic music, we will try to preserve and introduce this music to other cultures.

The literature of the Qajar era underwent fundamental changes in the structure of Iran's political, social and cultural spheres due to the constitutionalism movement. This modernity left a tremendous impact on the poetry and prose of this period. One of the most important features of the poetry of the constitutional era is the difference and type of vision of the poets towards the existing realities, which led to the creation of new themes. One of the most important themes in Persian poetry of the constitutional era is "freedom, homeland and justice". In this research, the author aims to investigate the literary arrays in the political poems of Adib al-Mamalek Farahani, using descriptive-analytical method and library tools. Adib al-Mamalek is one of the poets of the constitutional era and the awakening period, and most of his poems are about political and social themes. The results of the research show that Adib has used the literary arts in his poems to address the themes of homeland, freedom and justice, and because he was a religious person, in addition to paying attention to the hints related to Iran before Islam, he also paid attention to Iran during the Islamic period. Paying attention and regarding the issue of love for the country, his patriotism was not accompanied by hatred of Arabs. Recommendations for rule of law, criticism of ignorance and neglect, criticism of the inappropriate performance of the parliament, criticism of the judiciary and attention to justice are considered other poetic themes of Adib.

Disagreeing means inconsistency and expression of words and sentences that are signs of dissatisfaction. If the opposition is rooted in socio-political anomalies, then the "opposition" is someone who takes on the role of fighting injustice and social corruption, especially among powerful groups in society, and using the opportunities that exist in the hand of power. Due to his criticism of social condition, Hafez is deemed amongst the poets of disagreement who utilizes symbolic words to take side with ethico-social norms. In his social, anti-readings he challenges the religious hypocrites who are corrupted.  The purpose of this study is to examine and analyze symbolic characters as one of the characteristics of intellectual style in opposition to social readings of Hafez's poetry, which has been done using a descriptive-analytical method. The result of this research shows that Hafez has been able to show one of his critical tricks in opposing the existing government by employing various personalities.

Lyrical literature is the oldest type of literature in which the poet displays his existential truth and expresses his personal feelings towards life and society, in such a way that social realities and society can be objectively reflected in a detailed and limited way. He saw literary works. The purpose of studying societies in poetry is to analyze the social concerns and issues of that period. Hossein Manzavi is one of the greatest ghazal writers of the present era, who is famous for his romantic ghazal; the subject of his sonnets is mostly about love, yet he has addressed social and political issues in his sonnets. The lover in the isolated sonnet has taken on a different face and this indicates the poet's different attitude towards the subject of love. Manzavi has a personal and special style in his descriptions, which distinguishes his poetry from other contemporary poets. In his lyrical compositions, different and dual themes can be seen around lyrical, social and religious topics and issues. In this research, the author is trying to analyze the social and related issues in isolated sonnets with descriptive-analytical method and library tools and to answer the question, what are the most important social issues used in isolated sonnets? The result of the research indicates that the poet was able to create a new language to express love in such a way that this distinction and duality of approach can be seen in his romantic sonnets.

Meftun has effectively used rhetorical tools, especially semantics, in his couplets, songs and lyrical romances. In this research, the role of semantics in the transmission of poetic ideas in the enchanted couplets has been investigated in order to identify that when he wants to implicitly turn to advice and teaching in his lyrical and romantic couplets, What kind of sentences did he use and how did he use them to convey the intended themes to the audience in the best way. By using the science of meanings and its appropriate tools such as interrogative, informative and imperative sentences in an effective way, Muftun has succeeded in conveying poetic concepts and themes to his audience, and at the same time, in this way, the presence of the audience in the context of the text. It has also shown more prominently. Examining these sentences and their secondary purposes is very necessary to understand his thoughts. By examining the type of sentences used in didactic verses and their secondary purposes and meanings, it is determined how to connect the lyrical language of Mofotun with his educational goals these poems. In this research, the authors have investigated this category of sentences and their secondary meanings in a descriptive-analytical way and library tools, and the salient points of three topics of the science of semantics, i.e. imperative and informational interrogative sentences and their role and influence in The effective transmission of the poet's themes in the lyrical and romantic song has been described and explained

Allegory has a special place in literature, especially in children's literature. But in the allegory, the characters of the story do not play a role in their place; Rather, each character represents a certain stratum in society or a certain individual. In allegorical stories, an instructive and instructive point is stated by using the language of an example, and in this way, the audience does not feel that they are being directly addressed and admonished from a higher or even equal position. and in addition, the concepts intended by the author are better understood by the audience. This method is very practical and effective, especially in the case of children's and adolescent literature. Children communicate better with allegorical stories, especially fables, and the concepts become understandable and enjoyable for them. In this research, using a descriptive-analytical method and using library tools, the function of allegory in a number of children's stories of the 80s has been explored to convey the concepts of wisdom and advice, and each work is considered to be allegorical or not from the point of view of how the story is processed. And the inclusion of legal, moral, spiritual or social instructions and points has been examined. The result of the research shows that the use of all kinds of allegory, especially the fable type, can lead to the creation of an educational work based on advice and wisdom, and the use of allegory creates an enjoyable and entertaining atmosphere in the story.

Due to the nature of war in the minds of men and women, there are significant similarities and differences between the conceptual metaphors and schemas used in the male and female narratives of war. In the formation of conceptual metaphors in female and male narratives, different areas of origin in female and male narratives of sacred defense have been used. The cultural meaning of sacred defense in female narratives is different from the cultural meaning of this phenomenon in male narratives. The present study is a descriptive-analytical study that has studied the conceptual metaphors and cultural schemas in the feminine and masculine narratives of the sacred defense with the help of the library method. And the femininity of war can be examined in the form of conceptual metaphor theory and schemas? What are the similarities and differences between the conceptual metaphors and schemas used in the male and female narratives of war? What areas of origin have been used in the formation of conceptual metaphors in male and female narratives? What is the difference between the cultural meaning of war in female narratives and the cultural meaning of this phenomenon in male narratives of war? The results indicate that the differences between male and female conceptualizations of war can be examined in the form of conceptual metaphor theory and schemas.

Faez Dashti (1871-1951AH)is one of the poets of the southern song house and one of the representatives of folk poetry and popular and indigenous literature of this region, who pays special attention to educational ideas in his songs. He has been called the most emotional poet of the common people. With an overview of Fayez's couplets, one can understand the presence of his emotion and delicate feeling and poetic taste along with various local elements. In his lyrical poems and romances, he has referred to moral and educational issues and has effectively used rhetorical tools, especially semantics. This benefit has been successful in conveying moral concepts and teaching them to its audience by using semantics and its appropriate tools such as question sentences, news and something in an effective way, and at the same time, through this, The presence of the audience in the text lab is also more prominent. In this research, the authors have studied this category of sentences and their secondary meanings in a descriptive-analytical manner and library tools, and the highlights of three topics of semantics, namely, question and news question sentences and their role and effect. In the effective transmission of the poet's educational themes in the lyrical and romantic poem, it has been explained and explained.

For the past two decades, cognitive approaches to the question of language and literature have given metaphor a different function and nature, according to which metaphor is not just a literary array or one of imaginary forms, but an active process in human’s cognitive system. The importance of metaphor is not just in the use of a word, phrase or sentence; Rather, each metaphor creates a cultural model in the mind on which the chain of behavior is programmed. From this point of view, conceptual or cognitive metaphor is formed according to the human need to understand and represent phenomena, relying on the construction of previous words and information, and plays an important role in the flow of thinking. Therefore, the definitions, extraction and study of these types of metaphors from any text cause our understanding of the narrator's mental world to be accurate and deep. In this research, the author has studied the conceptual metaphors and cultural schemas in the male narratives of the sacred defense in a descriptive-analytical and library method. The results indicate that in the works of the Holy Defense as an example of contemporary poetry and prose, a variety of conceptual metaphors with specific areas of origin and writings can be found that the power of imagination and the abstract thinking of poets and writers. It identifies such works. The researcher seeks to answer the question of how the

Lyrical literature is the delicate expression of the poet's personal feelings and emotions and pays attention to sufferings, reluctance, love, friendship and everything that affects the human soul. What distinguishes this type of literature from others is the dominance of the element of feeling and emotion over other elements of poetry. The more subtle the poet's feelings and the deeper his emotions, the more penetrating and pleasing his speech will be. Lyrical literature has a more prominent poetic character than other types and is considered to be the most imaginative, purest and oldest type of literature. In this research, descriptive-analytical method and library tools have been studied on the components of lyrical literature in the emotional poems of Fayez Dashti, Mohammad Khan Dashti and the Maftoon Bordkhuni. The purpose of this research is to study and compare these components in the poems of these three poets and what are the similarities and differences between the mentioned poets in the application of such concepts? And the depth of sorrow in the words of which of these poets has the most crystallization? The result of this comparison and adaptation is that all three poets have dealt with this issue equally and there are differences in the way of expressing and using poetic images and images. The difference between the three poets' view of processing the case is in the use of images that carry the text with them. Fayez and Maftoon have mostly used the metaphorical array to convey the idea and concept of grief, and Mohammad Khan has used other literary arrays such as recognition to convey such emotion.

One form of sentence used to convey secondary meanings is the imperative mood. This article focuses on types of sentences involving imperative mood and conveying secondary signification in Rumi’s Masnavi, which he used in his work with his mastery of language and knowledge of conceptual capacities.  The study   The purpose of this study is to investigate the style and structure of imperative sentences in the third book of Masnavi Sharif.   The authors aim to investigate Rumi’s intention in employing imperative sentences and the ensuing secondary meaning with highest frequency. The type of research is basic and descriptive-analytical, and the findings are examined based on content analysis. The statistical population of the research is the third book of Masnavi. The result of the research indicates that Rumi has used all the secondary meaning, and imperative sentences with secondary meaning are not clearly limited to the same cases mentioned in the books of meanings. Also, the most widely used of secondary meaning are guidance, rest, desire, persuasion and encouragement, pain and supplication, and the expression of multiple meanings has been done simultaneously in one sentence by the speaker.

Persian classical poetry, especially lyric , in continuation of its evolution, after the constitutional revolution and after the intellectual domination of the Nimaei current, has witnessed various areas and currents, one of which is mainly under the banner of today's lyric  or new lyric  or neoclassical poetry. Be. In the 1970s, a fledgling movement based on the idea of ​​Western postmodernism created an atmosphere known as form poetry or avant-garde. Which in its nature had a kind of conflict with the known criteria of the literary tradition. Seyyed Mehdi Mousavi, the leading poet of this movement, became the flagship of this style with the publication of the book "fereshtaha kodkosh kardand". This article seeks to analyze the discourse of this idea and the linguistic and content characteristics and approaches of Mousavi's poems.The method of the present research is qualitative and descriptive. In this research, the mentioned poems have been examined and the findings of the research show: The idea of ​​postmodernism, which showed itself in literature, was initially faced by the poems of the poets Nosora and SepidgooBut with effort Mousavi and the choice of rhythmic and maqfi poetry has been able to open its way.The next finding shows that linguistic, syntactic, moral and attention to language deconstructions are evident in Mousavi's poetry.

Narration is one of the most efficient and effective literary and educational methods. Great poets such as Rumi inherited very old cultural and literary traditions, and therefore their stories are rooted in history and the collective human subconscious. Storytelling has a unique and completely different place in the spiritual Masnavi. Masnavi is an educational work full of stories and anecdotes. This research, in a descriptive-analytical way and library method, seeks to apply the narrative of one of the stories of Masnavi and Al-Tair region entitled "The common story of the dervish who adorned Amid Khorasani's slaves in Masnavi and Al-Tair region". Since allegorical stories form a large part of Masnavi and the best method and technique of Rumi in inducing teachings is his special method of narration, by analyzing this story, we can explain how narration and the role of semantic association in Rumi's method of narration. That is, knowing the narrative style of the text helps us to get closer to the author's mentality, and by identifying the narrative style of Masnavi, we can answer the questions of what is the difference between choosing a particular method of narration in the story of Masnavi and giving meaning to the text or the story of the region. It creates and to what extent has Rumi been able to create new meanings due to the change in the way of narrating the story of Al-Tair region?

Bushehr province (located in south-west of Iran) owns a crucial status in the fiction of the country particularly in South Literature School. It has been tried to criticize and Analyze the following items in this article; fictional works of this geographical region in the second period of king Mohammad Reza monarchy (1332-1357) based on the content , subject , plot and the theme (the dominant thought). Therefore, after the study of works of fiction writers of Bushehr province with utilization of credible references and well-founded analyses, the advantages, disadvantages, drawbacks and content transformations of Bushehr province fiction in this period are stated. The second collection of 'Rasoul Parvizi' does not have the sweetness or memories of the first and furthermore, ' Sadegh Choobak' in his second period of his writing career repeats the same themes in 'Last Light' and 'the First Day of Grave' and also changes the form of the novel. 'The sympathetic' and 'Tangsir' present a different social theme. To sum up, among all fiction writers of this period such as Parvizi, Choobak, Soleimani, Jalali Tangestani there are undeniable similarities with the whole country fiction writers and writing in theme and style. Even it can be claimed that the dominant theme of this period is realism.

The manuscript of Hadaegh al- Anvar is a great essay in Sufism and Tawhid whose author has mentioned his biograghy in the first chapter of the preface. The author has arranged his book in eight Hadighah and each Hadighah in several Golzar and Shajarah. In this edition, the author has brought many poems and anecdotes from other poets and writers. Anecdotal tales are an example of a fictional literature in Persian mystic prose. The author has also expressed the educational, moral and mystical content in the best possible way. In this article, we are going to show the most prominent moral and ethical lessons, such as prayer, love, knowledge, Tawhid, poverty and mortality, self-defense, denunciation of dance and worldly life, austerity, certainty, glory, perfect man, and etc. Studies show that the Ghomashmi has used various myths of national and religious origin to explain mystical issues. Most of the writer's attention is to the post-Islamic religious mythology, in which the characters of the prophet (PBUH) and Imam Ali (as) and Imam Zaman (aj) are his main writings. The pre-Islamic mythology is used in the second grade and national mythology is ranked third in a third degree. Ghomashmi has also used national mythology to explain religious and mystical concepts. highlight mystical.

Cultural semiotics is one of the types of the semiotics of new criticism with which the hidden layers of Shams Ghazals can be explored. Jalal ad-Din Muhammad Rumi, also known as Molavi, has expressed his mystical thoughts in Ghazals elegantly and with great capacity. Explaining astronomical myths is one of the most important codes in cultural semiotics. In this article, the descriptive-analytical method and content analysis method were used to study and analyze astronomical myths in the first seventy Ghazals of Shams. The results showed that Shams Ghazals are the manifestation of astronomical myths‎that‎ have‎influenced‎Moulavi’s‎ subconscious.‎Also,‎it‎was‎ found‎that‎ this mystic poet has used these astronomical myths and beliefs to explain his intellectual and mystical patterns. The ancient beliefs and myths have long considered the astronomy and astronomical phenomena to be influential in their destiny. Accordingly, in the present study, astronomical myths in Shams Ghazals were investigated.

One of the stylistic periods of Persian poetry is the period called the period of return. Returning poets do not have a personal style and only imitated the style of ancient poets; But sometimes, with the same method of imitation, they created original works. As a result, reflection on how they came to be from previous poets can yield results for literary lovers. This article introduces one of the poets of the return period named Mohammad Khan Dashti and examines the stylistic features in his poems.

In this research, the poems of Mohammad Khan Dashti are studied by the library-documentary method for linguistic, literary and intellectual characteristics by the method of qualitative and quantitative content analysis.

Mohammad Khan Dashti is one of the poets of the second period of the school of return. His work is based on mere imitation and there is little innovation in it. Both in terms of word and style of expression and in terms of content, content and description, it only tries to approach its own examples, which, of course, has been somewhat successful in this way.

In terms of structure and form of poetry, the two forms of ode and lyric are the place of reflection of the lyrical themes of this poet. There is no mention of heavy and abandoned weights in his divan, and the weights used are all widely used weights. He has used simple words in his puns and has added to his music by using examples of repetition. Most of the words in his poems are simple and understandable and far from ambiguity and complexity. At the syntactic level, the use of grammatical features of ancient Persian has caused the antiquity of his language. Rhetorically and literary, pun and array arrays are more frequent than other arrays. The use of industries such as contradiction, allegory and equation proves his influence on the Indian style (pre-style). At the intellectual level, Mohammad Khan tries to express the thoughts of Saadi and Hafez eras and romantic themes, praise and lamentation are among the most important themes of his poems. But despite holding political office, social and political issues of the poet"s time are not reflected in his poems.

Intertextual links are one of the new approaches in the reading and critique of texts in the theory of genetic transmutation. According to this approach, no text is independent of other texts and each text is an intertext derived from previous texts that will be present in later texts. Gerard Genet, one of the theorists in the field of intertextual links, formulated his theory of transtextuality in five axes, one of which is the intertextuality axis. He has divided intertextuality into three types: intertextual connection, explicit-intentional, covert-intentional and implicit, and has also defined and limited the conceptual scope of each of these interpretations. Relying on a descriptive-analytical method, this study comparatively examines the intertextual aspects of genet with the theory of Islamic rhetoric in the treatise of Hadayegh Al-Anwar by Mohammad Sadegh Qomshami. Accordingly, the types of explicit-intentional, covert-intentional and implicit intertextuals and their comparative aspects in Islamic rhetoric, including proverbs, allusions, adaptations, allegories, allusions, guarantees, resolutions and contracts, are examined in this text. One of the objectives of this research is to study the use of previous texts based on the theory of genet and their adaptation to the theory of Islamic rhetoric. The result of the research indicates that the most common type of intertextuality is implicit intertextuality and in accordance with Islamic rhetoric, it is a kind of allusion. After that, hidden-intentional intertextuality has the highest frequency. Qomshami art in how to use the previous texts and use the intertextual element and create an original and innovative connection between the previous texts and the present text has artistically attracted and convinced the audience.

In addition to brevity and equality, etiquette is one of the three methods of expression that has been discussed in semantics. As we know, this method of expression has two types of art and melody. Artistic rhetoric, unlike national rhetoric, which reduces the value of literary work, is in fact one of the most important and effective rhetoric techniques through which poets give literary and poetic effects to their works. Rhetoric, like other rhetorical tricks, has an implicit meaning. The main point of the article is that despite what is stated in the books of meanings, the "implicit meaning of the word" is different from the "methods of the word" and what makes the word beautiful and effective on the reader is not the way of expressing it; Rather, it has an implicit meaning. The author, who believes that the principles of semantics should be inferred from the masterpieces of literature, to explain this issue, has studied its style and implicit meaning in the third book of Masnavi using a descriptive-analytical method and has come to the conclusion that all cases Atanab in this book have an implicit meaning and this implicit meaning, which is the reason for the artistic nature of Rumi's Atnab, has been very effective in influencing the stories of Masnavi, and the frequency of this rhetorical technique is such that it is one of Rumi's stylistic features in Masnavi.

Public culture, with its many elements, is inextricably intertwined with human life and public culture. Great poets and writers, in various forms, consciously and unconsciously, use elements of popular culture to create images or convey their thoughts and goals to readers. Naqshbandi Heart Medicine is a treatise that contains valuable and rich content in medicine and medicine. In this book, there are many medical terms: the names of medicines, various references to old medical principles, the names of diseases, and so on. Naqshbandi used these terms in most cases as a metaphor to express his moral and mystical message, but he did not mean to teach medical rules. The careful use and expression of these terms shows that the author was familiar with the science of medicine, so that if one is not familiar with these terms, one will have difficulty in understanding and expressing some of the contents. Even in our time, there are still some of these beliefs in medicine. Naqshbandi has also made extensive use of popular beliefs in medicine and the treatment of diseases. In this research, with an analytical-descriptive method and by referring to the theoretical sources of research, an attempt has been made to analyze some of the popular beliefs of the book of Healing Medicine based on the sources and sources of traditional medicine.

Religious heritage is one of the most important poetry elements of poets in expressing inner feelings and their thoughts so that they have established an intertextual relationship in their poems with the word of revelation. One of the poets whose Qur'anic expressions and meanings are considered one of his most important sources of art is Hafez. In the present paper, based on the descriptive-analytical method, the comparative study of the intertextual aspects of the gene with the Islamic rhetorical theory in the Hafez Divan have been examined. Accordingly, the types of deliberate, implicit, implicit hidden intertexts and their comparative features in Islamic rhetoric, including guaranteeing, referring, solving, eliminating, paraphrasing, referring, adapting, concluding, and examining, are studied in this work. The purpose of this study is to study the use of the previous texts based on the theory of genes and their adaptation to Islamic rhetoric theory. Based on the present study, the most intertextitial, intermediate, and implicit interpolation in the Islamic language is Talmij. Thereafter, the most intentional inhumanity is the most frequent. The creativity of the author attracts and persuades the audience in how to use the earlier texts and the use of the intertextual element, and the creation of an ingenious link between the earlier texts and the present text, artistically.

Ebtehaj's social thought and concerns in connection with his literary aesthetic taste and his attachment to classical lyric poetry, especially Hafez's lyric poems, as well as the inflammatory political arena of the 1930s, gave him the color and smell of his words and poetry. He distinguishes himself as "Fereydoun Tavaloli" and "Rahi  Moayeri". Ebtehaj, who is a lyric poet, has also shown his ability in modern poetry, but the poet's aesthetic taste has enabled him to compose lyric poems that follow Hafez in various dimensions, Allegories,  including employing vocabulary and interpretations, intellectual themes and syntactic construction. The present research method is qualitative and descriptive. In this study, shadow lyric poems from the "Black Exercise" poetry book have been studied. Research findings show that one of the hallmarks of his poetry is symbolic expression and depiction, which is to some extent the re-creation of memorable symbols to express social issues such as lack of freedom and the existence of tyranny, pain and oppression that dominate the society of his time. This political style and atmosphere of the 1930s led him to social symbolism, and Hafez's linguistic and artistic methods and techniques in expressing socialism inspired the shadow. This type of recreating and following Hafez has been considered as a way to identify and score shadows. Ebtehaj has also been able to transform traditional mystical and romantic lyrical images and Conventional mystical allegories, symbols into symbols that convey the message of social issues and improve the quality and artistic level of his sonnets.