جستجوی مقالات مرتبط با کلیدواژه « شعر غنایی » در نشریات گروه « ادبیات و زبان ها »

In order to understand the lyric poetry in any language, one should be familiar with the different aspects of its most important concepts. Because despite the common meaning overlap in words such as love and beauty in the world’s lyric poetry, there are still special cultural and linguistic differences without which it’s impossible to properly understand a poetry. One of these concepts is madness and its various images and interpretations in Persian poetry. This article tries to use descriptive – analytical method to examine various aspects to show how a common word finds its way in to Language of lyrical poetry and gradually expands other concepts of the poetry tradition, it becomes permanent, and then due to its parallelism with intellectual currents in the context of history, culture and thought. It is possible not to present it as a discourse in lyrical poetry. The results of this study show how the concept of insanity travels the discours path and undergoes changes from the dictionary meaning with the passage of time and political situation, and it is promoted from the socially unpleasant meaning ti the concept of love and then in the context Mutazila and Ashari philosophical conflicts become a suitable term for anti – rationalism, and with the spreadof Sufi ideas, it becomes a valuale term. And it goes beyond the limit of a mere word and opens its place as a common discourse by expanding the semantic realm and become one of the basic discourses of Persian lyrical poetry

The description of wine (and the othere names of wine such as: mey, Bade, nabiz, siki and sahba) is one of the most common themes in Persian poetry. From describing its color, taste, and smell to enumerating its properties and functions such as healing, alleviation of grief, and immortality of life. In the Avesta and other Zoroastrian texts, we find the same pattern in the praise of "haoma" in three forms: God, Plant, and Drink. In this article, after enumerating the common descriptive themes of Zoroastrian haoma and sharab (wine) in Khorasan style poetry, we will attempt to answer the question of how tenable is the hypothesis of the transfer of the Zoroastrian haoma tradition to Persian poetry. The common themes of the two mentioned textual fields are: giver of eternal life, healer, grief-reliever, brave-maker, bright, shining and good as well as description of colors. This research is qualitative in nature and was conducted using the content analysis method.

Children's songs are one of the most important parts of Iranian songs. In this essay, the mystical song in songwriting is examined, the oldest Persian poetry has been found among the songs. The song is a general term used to refer to various types of poetry melodies or music accompanying, in particular Fahlaviyat, couplet, quatrain, and folkloric song. . Lyrics literally denoted small and fresh, whose etymology is rooted in Avestan language, and was a general term referring to a variety of melodic or rhythmic forms of poetry, particularly couplets and quatrain. Since lyrics have ancient roots, the oldest Persian poems are believed to be lyrics. Today, lyrics are synonymous with ballads and generally imply a rhythmic flow of expression. There are various rhythms in the lyrics such as prosodic and syllabic and a combination of both, and some are melodic. Lyrics have a simple and intimate language with colloquial and emotional themes. The findings of the research show that the children 's songs are a noticeable part of the song . The songs are divided into different parts. Where the highest frequence is related to story songs, The language of these songs is simple and popular, and beauty of these songs is largely due to their sweet and charming song. In many of these song it is only rhytme that is important and the content of poem is meaningless.

The study of lyrical literature types and their usage in the poems of contemporary poets can help us for understanding novel concepts in poets’ notions and poetries. One of the genres of this category is “complaint”. A great number of themes of the Persian poetries consist of the expression of personal pains and sufferings; human beings can experience sadness and sorrow as well as all other feelings like happiness. Since poets are highly sensitive people, they have been affected the most by this issue and scrutinized it. Although complaints have been used in all the periods of Persian poetry, in contemporary poetry because of political and social issues and the emergence of Nimai modern poetry, poets’ perspectives about them are different. The main purpose of the present study was to examine complaints used in an anthology of poems named “Mah dar mordab” (Moon in Marsh) written by Parviz Khanlari. Although the results of the study indicated that a large portion of the poet’s complaints were personal complaints, there are also cases of other types of complaints in his poems including social sufferings, objection to anti-values, dissatisfaction with life, political repression, and absence of freedom.

Forough Farrokhzad’s attention to the style of Moshiri's composition has caused the poetry of the two to be similar in terms of language and emotion. The simplicity and intimacy of the language of Moshiri's poetry was highly regarded by Forough, and on the other hand the emotional richness of Moshiri's poems is beyond the emotion of a man's poetry; if one reads or hears his poems without knowing his name, it is possible that they think they are written by a woman. In this article, the authors, using a descriptive analytical method, examine their written and virtual sources to provide a convincing and reasoned answer to the question: "What are the most important aspects of lyrical-social poetry in the poems of Fereydoun Moshiri and Forough Farrokhzad?" Authors emphasize that if Forough had had more opportunites, she would definitely have been in a position beyond her current status in contemporary poetry. Her poetry promised a poet with a special genius. Although Moshiri is a sensitive poet and to some extent committed to the issues of humanity, he has radiant differences in the way he expresses his views. Findings of this article indicate that Fereydoun's lyrical-social poems revolve around three major issues of general humanity, natural disasters and a personal view of social issues, but Forough's lyrical-social discourse revolves around four major issues of resisting the patriarchal society, criticism of diminishing moral values, criticism of passive people and the unhealthy situation of the country.

According to historiographical expressions, Maqtal (place of killing or murder) refers to the description of reasons, motivations, peripheral events, details, contemporaneous accidents and the consequences of killing someone or some ones specific which has been the origin of evolution in different intellectual, political, cultural, military or social dimensions during a period of time; the first writing of Maqtal in Islamic historiography dates back to Ashura event and the Shia history: “the first examples of Maqtals are oral ones about the murder of Osman, but it was Iraqi Shiites who wrote Osman Maqtal, so it seems that Sunni Maqtal-writers are more influenced by the Shiites and wrote Osman Maqtal against them” (Hosseinian Moghaddam, 2016: 89). The Shiites’ inclination to the third Imam and Hosseini epic has developed Maqtal to art and literature, so that “bloody altars and Seyyedoshohada place of murder have been the subject of valid Maqtals” (Anasori, 2004: 95).The Maqtal of poor Mirza Mahmood Fadaei Mazandarani the Persian-speaking elegist poet in 13th lunar century and contemporaneous with Fath-Ali Shah Qajar and Mohammad Shah Qajar has been recorded as one of entries of the Encyclopedia of Islam. With 3718 verses, this Maqtal is considered the longest Persian Tarkib-Band (Composite-Tie) with four “systems” or “parts”, so it is sometimes called “Fadaei’s Four-System’.

Research Objectives & Significance:

Considering emotional language and great and living pictures, Fadaei’s Maqtal is one of the richest examples of this type of Persian poem. It is obvious that linguistic elements have not been able to carry such great volume of lyrical themes and emotional connotation existing in this Maqtal. This shows the necessity of doing research in non-verbal processes existing in this work; therefore, searching for the aforementioned questions, the current study aims at the following

Analyzing the role of physical communications in making more emotional and more influencing text narrative and elegiac dimensions. Explaining and highlighting the role of non-verbal communications in transferring Ashurai discourse of this Maqtal.

Research literature:

Several studies have introduced and investigated the style of Fadaei’s Maqtal-writing and analyzed stylistic features of elegy: Taheri Shahab (1961) in “Fadaei Telavaki Mazandarani”, Fereydoon Akbari Sheldareh in several article such as “Involution and Evolution in Fadaei Mazandarani’s Poetry”, “Fadaei Mazandarani the Reporter of Hosseini Epic” and “Aesthetic Investigation of Fadaei Mazandarani’s Ashurai Poems” with his colleagues, Mohseni et al. (2015) have introduced the frequency of Arabic words and the art of structures like repetition, allusion, long Radifs and also different rhetoric simile metaphorical pictures as the most frequent literary and artistic aspects of this work in “Investigating the Stylistics of the Maqtal of Poor Fadaei Mazandarani”.Investigating Physical Messaging in Fadaei Mazandarani Maqtal- Body Language and Narrative and Dramatic Grammar Due to lyrical and dramatic nature of this literary genre, searching for the role of non-verbal communications in recognizing narrative grammar of Maqtals in investigating narrative structure of them will significantly help understanding narrative system of this poetic genre; the role of so many narrative and dramatic elements like space creation, descriptions, complication, functions and current processes and the development of narration plot is played by messages resulted from body movements; the important point is that since this literary genre has epic-lyrical nature, the prominence of body and the story plot is mainly focused on physical activities and or injury and amputation.  Narrative and dramatic nature of Maqtal and its composition of epic and elegy that both of them are among the most active poetic genres, has provided the poet with an opportunity to use body language to make a picture of words and complete their mental themes. Due to its integrated theme, there are different physical messages in this poem than in other poems. As well as reinforcing discourse basics and focusing on intonation and meaning-making, these messages contain cultural and social signs and sometimes are archetypes for the audiences and have increased the influence of words and their emotional richness.

 Sequential Physical Signs:

  Composite descriptions of body appearances deeply and significantly influences on making poetic events emotional and transferring lyrical concepts in this Maqtal. These descriptions reinforce dramatic feature of this work and visualize and imagine different moments and senses of people in narration before the audiences; a set of physical messages following each other sequentially and as context of numbers (dry pharynx, wet eyes, yellow cheek and …) and are responsible for an important part of space creation, narration descriptions and text emotional connotation.   

Physical Messaging and Elegy:

A part of physical behaviors appeared in human civilization and among different tribes as old cultural sings of different human states and experiences. These physical messages are also frequent and repetitive in lamentation and elegy. Movements like: crying, sighing, hitting on the head, pouring soil on the head, kissing corpse, nail pulling face, turning around corpse an things like that which are usually abnormal movements out of deep human intolerance and impatience in mourning for dears, they are among apparent and repetitive physical messages in elegy.

The results of investigating and analyzing the role of non-verbal communication elements and messaging in Fadaei Mazandarani Maqtal are:Maqtal is narrator and forms and reinforces physical messaging (body, face member and both) and Maqtal narrative grammar in processing different narrative elements such as decoration and descriptions, character actions and current process in both epic and elegiac dimensions.The elegiac aspect of the work-elegy is considered the most sensational lyrical genre- has loaned so many of its emotional conditions and its emotional effectiveness from physical messaging. These messages are mostly old rooted cultural signs in lots of civilizations and tribes and so they play an important role in reminding meanings and familiarizing melancholic scenes and concepts in audiences’ mind. Another key and important role of physical messaging in Maqtal-writing is transferring and reinforcing discourse components of Ashura revolution. How verbal and non-verbal communication elements join each other in Fadaei Maqtal is of substitution type in 80% of the cases which reveals deep and wide penetration of non-verbal elements in text.

The present study is a comprehensive study of Qais ibn Amer, the main character of Layla and Majnoon of Nezami who, due to his unusual and irrational behaviors, led us to investigate his character with the help of personality theory of Raymond Cattle. This theory tries to describe the traits of a person that guide his behavior. “Perhaps the most distinctive feature of the theory of traits is its emphasis on the traits that make up a person's personality”. “The theory of traits emphasizes that the personality of each person can be described according to his traits” (Shojaei, 2010, p. 130). Cattell considered the adjective as a psychological structure that is inferred from observing a specific human behavior and is responsible for the order and continuity of this behavior” (Shamloo, 2003, p. 174). According to the above explanations, it should be said that “the main axis of Cattell's theory is the distinction that is made between two types of formal traits and basic or deep traits. Formal attributes are obvious and superficial and their duration is very short, and deep attributes are the source of formal attributes and the real causes of human behavior. These traits are enduring and are more important to Cattell and they are in two categories: natural traits that are inherited and environmental traits that are obtained through learning and education and are the result of the environment” (Karimi, 2005, p. 150-151). “Cattell divides traits into three categories based on how they manifest themselves as dynamic traits, traits that move a person toward a goal; ability traits, traits that show a person's talent, ability and ability to achieve a goal; and mood traits, traits that show characteristics such as energy, emotional response, speed of reaction and speed and motivational strength” (Shamloo, 2003, p. 74). He considers human reactions to be due to two deep and dynamic attributes, which play a motivating role.


This research has been done by analytical-descriptive method. In this way, we have first studied the basics of Cattell's theory from books related to the subject of research, then we have extracted the evidence of each of the main topics from Layla and Majnoon and we have examined each of them in detail. Finally, with a logical conclusion, we psychologically analyzed the personality of Qais ibn Amer for the audience.


The science of psychology helps us to better understand people's personalities, and this is very effective in improving the emotional relationships between different people in various fiction books. One of these people is Qais ibn Amer, the character of Layla and Majnoon of Nezami who has certain moral characteristics. To advance this, we used Cattell's theory. By studying the story of Layla and Majnoon and using the above theory, we found Majnoon as a quiet and withdrawn person who does not show any sign of being social throughout the story. He was an anti-social person who, from an early age to a time when he was studying at school, became attached to Lily, which provided more space for Majnoon to withdraw from society. Also, according to the content of the story and the study of Majnoon's character, we found that the components making Majnoon an intelligent human being do not exist during the story, and this is mostly due to the love that gripped him at the very beginning of his intellectual maturity. He has completely unnatural reactions to behaviors and issues and problems. An example of this trait is found in Majnoon's character when his father argues with Layla about his love and starts advising Majnoon about it, but Majnoon forgets his father's words in an unusual behavior, this forgetfulness in such for a short time, it seems abnormal and indicates a disorder in majnoon intelligence. In most cases, he cannot control his emotions in terms of stability and excitement, and cries when he hears the slightest news. The character we are studying is a domineering person, and not only he does not have any objections to those who have dominated him, but also the person himself strengthens his ability in him, and this factor causes the person to give up the effort. Majnoon is also morally carefree. This carelessness is more related to social issues and customs, because love has dominated him in such a way that he completely withdraws from the surrounding events and is careless about them, but he is expedient towards a human being and his actions are more based on benevolence and he does it out of charity. An example of this type of behavior can be seen in freeing a deer from the hunter. Majnoon, seeing a rope around the neck of the hunter, takes pity on him and buys the deer from the hunter in front of his horse out of benevolence and charity. In terms of personality, Majnoon has an arrogant personality that insists on his affairs and desires, in which he not only is not afraid of anyone, but also acts very boldly and courageously. A clear example of this can be seen in the story when Majnoon's father takes her to the Kaaba's house so that he may give up Layla’s love, but Majnoon stubbornly asks God not only to take Layla’s love away from him for the rest of his life, but to take it from him and add it to Layla’s life. In addition to the above, it should be said that Majnoon does not have a skeptical personality, but his behavior indicates a gullible human being who easily believes in the behavior of others and stands by these beliefs. While being gullible, he is very frank and openly declares his desire, and in this regard, he is not afraid of anyone, which shows that he is fearless, and in most issues, he is not afraid of dangers and problems, and with open arms they are welcomed. However, he relies more on others in his actions and promotes his behavior and actions by relying on others. Behaviorally, he has a very disturbed and anxious personality, and examples of this behavior are evident throughout the story. A person who exhibits disturbed behavior does not have a patient personality, and most of his reactions are of the unpleasant type, which eventually leads to hasty and far-fetched behaviors. It should also be noted that Majnoon is a fearful and worried person, and his fears and worries in life are more related to the love he has been caught in since school, and this has caused him to run away from the facts and fantasize more than his companion in a way that he walks around the animals and talks to them.


Based on the above evidence, it can be said that Qais ibn Amer has many abnormal traits that take his behaviors away from positive traits and normal behavior and lead him to behaviors that are due to the depth of his emotions and these factors. It has caused the traits that can motivate him to advance to the goals not to be placed in the personality of this person enough and as a result he cannot act to get Layla himself and he is dependent on others to do so. Therefore, it can be said that this factor has caused the ability traits in this person to be completely weakened and open the way for mood traits leading to behaviors such as emotionality and unhappiness, and fear and worry in life and even anxiety and distress created in him and chain-linked these actions and behaviors as the result of the same acquired motivations that environmental conditions have caused it. Therefore, it can be noted that the frequency of negative and unusual actions of Qais is very high and leads him from an ordinary human being to a person with low intellect, which by analyzing and examining those behaviors based on Cattell theory, we see that Qais ibn Amer has a personality which was with dementia that this was inherently institutionalized in his behavior.

Song is a general term that refers to a variety of melodic or accompanying forms of poetry, especially Fahlaviyat, quatrains, Rubaiat, and Tasnif. Local poetry contains some types like Garayeli in Azarbaijan, Goorani in Kordestan and Kermanshah, Sharbeh in South, Sharafshahi in Gilan, Sekheshti in Qoochan and Deyhoo in Bashagard which in this paper some samples of them are presented. In this article, the themes of love songs have been studied and classified in a descriptive-analytical research method. The statistical society is also scattered books of native songs and recorded works of music of Iranian singers. The language of the native songs is simple and slang and since they are related to the work and effort of simple people, they pay less attention to images. Most of these songs are accompanied by musical instruments. The conclusions show that the songwriters bring a variety of themes, such as complaining about getting away of sweet heart, the difficulty of the path of love, the opposition of the elders in the union of two beloveds, Kissing, loyalty, describing the beauty of the beloved, seeking attention and wishing to join, seek to show the themes of "presence next to beloved" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of fear of it happening and praying for its elimination.

The study of the literary works from different nations of the world, along with the analysis of similarities and differences in these works is always one of the interesting and important topics in the field of literary research. China and Iran, as two great ancient civilizations with a history of common commercial and cultural relations, inevitably have a great deal of similarities and effects over time. Li Bai (701-762C.E.) is the most famous Chinese poet to date with his poetic genius for writing lyric and romantic poems. He lives contemporary with the Tang Dynasty and has his own poetic style, which is creatively different from the structural form of eulogy and luxurious style before him. There are about a thousand poems left by him, which have attracted a lot of attention from Chinese and non-Chinese poets after him due to their creative features. Less than 2 centuries after Li Bai's death, in Iran contemporary with the Samanid dynasty, the Persian poet and writer Roudaki (237-319 AH) appeared as the father of Persian poetry in the field of Persian literature. He is one of the prolific poets of Persian language, and the existing poems are about 1000 verses which is mostly Qasida and Taghazol. This study compares the lyric poems of Li Bai and Rudaki. Our case study will be the thousand poems left by Li Bai and the thousand verses left by Rudaki. The similarities and differences between of these two poets have been studied in a comparative descriptive-analytic approach.

The purpose of this article is to study the transformation and evolution of contemporary Persian romantic poetry under the influence of modernity. This study is a documentary one conducted through a qualitative content analysis to answer a fundamental research question. First, the social effects of modernity on love and romantic relationships are explored from the viewpoints of thinkers and sociologists such as Bowman, Giddens, Thompson, and Berman. Then, the romantic transformations of the Persian poetry under the influence of this thinking are studied and explained in the form of ten ideas. The research question is ‘how can the popular genre of love in the realm of the Persian literature be transformed in concordance with social phenomena and evolutions?’ The findings show that ideas such as relativism, assertive self-presence, two-way dialogue, equality and freedom, scientism, and empiricism proposed by modernity have profoundly transformed the lyrical and romantic genre in the contemporary Persian poetry and have presented a different mode of thinking by offering courtship and pure love. The society has affected the realm of love in the Persian literature with its ongoing potentials and changed men’s attitudes, which has, in turn, changed the nature of their personalities. This has ultimately altered the position of love as a legendary and internal sensation into a real and sometimes social state.

Abdurrahman Mushfeqi Bukharaei is one of the poets of the tenth century AH who was familiar with composing sonnets and odes and was proficient in satire. Although in his time, unlike the fifth, sixth and seventh centuries, when the use of concepts of various sciences and knowledge in poetry was common, knowledge such as astrolabe and astrology was no longer considered and the poetry was close to the general language of the people, but Mushfeqi used astrological concepts in his poems. In his poetry, we not only come across common astrological concepts and words among most poets such as astrology and fortune-telling and the names of the septet planets, but also the topics and words that specialize in astrological knowledge such as south node, predestination, conjunction, honor, the concept of seeing lucky and unlucky hours we also see during his verses.

Psychology and literature are closely related. Since the characters of a lyrical system are a kind of confrontation between human and creative emotions that have arisen from within the individual and the context of society, in this study, with a look at the scope of psychology and literature, it has been addressed that this provides the ground The study of literature in a profound scientific way has helped. One of the themes in lyrical poems, especially in Iranian culture, is the feeling of shame. The reflection and result of this element leads to various reactions from the characters of the lyrical system and the manifestation of all kinds of shame. In the present study, the dimensions of shame and its approaches have been carefully explored by dealing with Weiss and Ramin's system and benefiting from external criticism of literature and psychological attitude.

Using the conceptual analysis of shame reflection and also selecting keywords, this feature was investigated and after collecting the findings, for further enlightenment using descriptive statistics, an analytical study was conducted.

Weiss and Ramin have different types of shame and its representation is associated with various states and symptoms and also try to deal with them by various defense mechanisms, which has also been examined from this perspective.

Weiss and Ramin both experience the concepts of shame and shamelessness. Weiss is always a shy character, and even his rude actions are an inverse reaction to the shame that has crept into his soul. He, who at first confronts the factors that create a sense of shame, in a healthy way, after failure, rebels and rebels in an unhealthy way to confront his shame. In addition to this method, he also uses other means of defense.

Song is a general term that refers to a variety of melodic or accompanying forms of poetry, especially Fahlaviyat, quatrains, Rubaiat, and Tasnif. Local poetry contains some types like Garayeli in Azarbaijan, Goorani in Kordestan and Kermanshah, Sharbeh in South, Sharafshahi in Gilan, Sekheshti in Qoochan and Deyhoo in Bashagard which in this paper some samples of them are presented. In this article, the themes of love songs have been studied and classified in a descriptive-analytical research method. The statistical society is also scattered books of native songs and recorded works of music of Iranian singers. The language of the native songs is simple and slang and since they are related to the work and effort of simple people, they pay less attention to images. Most of these songs are accompanied by musical instruments. The conclusions show that the songwriters bring a variety of themes, such as complaining about getting away of sweet heart, the difficulty of the path of love, the opposition of the elders in the union of two beloveds, Kissing, loyalty, describing the beauty of the beloved, seeking attention and wishing to join, seek to show the themes of "presence next to beloved" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of fear of it happening and praying for its elimination.

Farrokhi Sistani is one of the poets whose taghazzolats(love poetries) represent the features of some of the important social classes. Some propositions of the poet's taghazzolatsshow the weak emotions between the lover and the beloved.  Those statements as the indications of the "weakness of emotional cordiality" contain the preference of power over beloved, the preference of lover to beloved, and the manifestation of unnatural love cause the emotional cordialityto be weak.  This process is itself under the influence of the fundamental social and historical structures of his era. Love in Farrokhi's poetry is earthly, ailing, and indecent. The appearance of such a kind of love in his language consequently leads to the creation of non-lyric propositions. However, such social propositions in his lyrics, which are not in accord with the lyric norms, could not be solely interpreted as being related to the individual behavior but a representation of the behavior of a social class; an issue which is explainable based on the social and historical reality of the era. In the present article, analyzing the poetic propositions, the author is to elucidate the relationship between Farrokhi's emotional cordialityand the general structure of his society. Farrokhi Sistani ((for his biography and status in the history of Persian literature see Bruijn 1999)  is among the poets who have a reputation for the expression of delicate and intimate feelings in an extremely plain and understandable-for-all language.  Casting a closer glance at his poems, one can identify propositions in his poetic language which depict his non-emotional relationship with the beloved. A sociological analysis of this emotionally colorless relationship is the subject of the present research which can further illuminate the semantic nature of Farroḵhi’s taghazzolatsfor the audience. According to Farrokhi Sistani's taghazzolatsfrom the sociology of literature point of view, topics such as the "social class" of the speaker, his relations, and "worldview" as a "producer" and the artistic reflection of this worldview in his literary work are of high importance. Certainly, a particular beloved and the lover-beloved relationship, as depicted in Farroḵhi’s taghazzolats, is not the mere representation of the reality of all people in the society of the poet’s era. As it is evident, Farroḵhi reminisces about his relationships with the beloved in most of his taghazzolats; however, we cannot take it as representative of  the behavior of people in the society of that time. In fact, Farrokhi is the representative of an affluent social class demonstrating his worldview to the beloved in his literary work. In this article, the worldview specific to the court poets who constitute a part of the prevailing social structure of the Ghaznavid period is analyzed. Accordingly, the joyful content of Farroḵhi's taghazzolats cannot be a proper depiction of the happiness and welfare in the society of his time; in fact, it is an illustration of the comfort in a class of society called "court poets" or "praising poets". The empirical consciousness of this social class has overshadowed the fictional world of Farrokhi's mind leading to the production of particular propositions. This type of worldview is not an individual issue but a social one whose reflection in the social and historical works of Farroḵhi’s era can be be noticed. Therefore, Farroḵhi's poetry can be a reflection of the social behavior of the court class, as well. The portrayal of the preference of "power" agents over beloved in the language of Farrokhi's taghazzol is one of the principal social factors illustrating the weakness of emotional cordiality in his poetry. Moreover, addressing the beloved as a servant causes the language of taghazzol to take on a conative function rather than the emotive function that mirrors the master-slave social relationship of the lover and beloved, which always entails ordering and forbidding. Besides, this social status enables him to have several beloveds. More importantly, the linguistic and semantic signs of the beloved in Farrokhi's poetry show that he has possessed two distinct social roles: in addition to being a coquettish beloved, he has been a military person, as well. This abnormality in the artistic structure of the poetry illustrates the social anomaly of the poet's era and his class.

 Introduction:

Poetry has always had a very important status in the past culture of Iran. Social, political, cultural, religious and historical issues of Iran are reflected in the mirror of Persian poetry. In many historical periods, in addition to its artistic role, poetry has also played an important role in communication. One of the most important periods in which poetry played this role was the Constitutional Period. Poets of this period played the most important role in social awakening, and poetry was the most important tool for this purpose .Among the poets of this period, Farrokhi Yazdi should be mentioned as the most important poet of ghazal in the Constitutional Era, who used this form of poetry to express his ideas of resistance. That is why he has been called 'the poet of freedom'. In addition to poetry, he published articles in praise of freedom and the struggle against dictatorship in the Toofan newspaper. Sometimes the existence of epic themes in the poetry of some important poets of this period (for example Bahar) has led researchers to think that the main background of resistance poetry is epic. But if we consider Farrokhi's poem as a whole, we will see that he often has a lyrical mentality in expressing the theme of resistance, even when referring to an epic story.

Considering that in the poem of resistance, issues such as obligation, commitment, and expressing social issues of a historical period expressed in explicit language are important, and on the other hand, in lyrical poetry, the expression of the poet's personal emotions is important, The main question of the article is how Farrokhi Yazdi was able to Express resistance themes through lyrical poetry. Therefore, this article critiques the concepts of resistance in the language of his poetry by paying attention to the text of Farrokhi Yazdi's poetry and structural analysis of his poetic propositions.

Choosing the format of ghazal by preserving its linguistic and content conventions to express the concepts of resistance, using different components of lyrical language and emotional functions of language and combining concepts of resistance with the domain of personal feelings are some of the most important components that Farrokhi has used for expressing concepts of resistance in poetry. In Farrokhi's political-lyrical poetry, the poet's political activities and actions are influenced by his sensual interactions and are combined with his emotional experience. In this type of poetry, often the personal 'I' of the poet is the main axis of the syntactic structure of the poem. The lack of freedom is the cause of the poet's pain and sorrow. Farrokhi can be considered the pioneer in combining the traditional spirit of lyrical poetry and explicit social and political concepts in the new era of Iranian poetry. Farrokhi Yazdi not only in his purely lyrical ghazal but also in other types of ghazals in general follows the tradition of Persian ghazals. In Farrokhi Yazdi's poetry, traditional contents of Persian lyrical poetry are always seen along with new themes and terminology of resistance. In general, he has been successful in combining these two components. The peak of lyrical mentality in creating visual compositions in Farrokhi Yazdi's poetry can be seen in the composition of The Beloved of Freedom. These resistance concepts for him are like the sacred and the beloved, which are constantly in front of his eyes and thoughts.One of the most important components of lyrical poetry in Farrokhi's poems is that he considers the concepts of resistance as a personal feeling. He considers the issues of people's resistance as a 'value'. His strong faith in these values and the manifestation of this faith in his emotional and intimate poetry makes him seem like a lover who has only the desire for freedom in Iran and is ready to sacrifice his life for 'freedom', 'homeland', and 'justice'. The most important feeling that connects Farokhi's lyrical mentality with his idea of resistance is the feeling of 'loving'. This feeling is also the most important feeling in Persian lyrical poetry. Love and affection are the product of the feeling of love that has created lyrical and mystical poems in ancient Persian poetry, and in Farrokhi's ghazal shows the poet's connection with resistance components such as freedom and homeland.

Considering Farrokhi's poetry as a whole, we will see that he often has a lyrical mentality in expressing resistance issues. The manifestation of this attitude in his poetry can be measured according to two characteristics: Farrokhi's first step in expressing the concepts of resistance is the use of lyrical language; the second component that makes his poetry lyrical is that he considers the concepts of resistance as a personal feeling. In Farrokhi's political-lyrical poetry, the poet's political activities and actions are influenced by his sensual interactions and combine with his emotional experience. One of the most important manifestations of this feature is the use of the emotional function of language. The lack of freedom is the cause of the poet's pain and sorrow. This is as sad as the distance of the beloved from the lover in ancient lyrical poetry. On the other hand, the concepts of resistance, especially 'freedom', are the main purpose of the poet's sense of 'love'. The poet offers his most intimate personal feelings for freedom. Freedom is the beloved in his poetry.

Hooshang Ebtehaj (H.E .Saye), a contemporary poet and modern poet, has brought a new and special manifestation of Ghanaian poetry. In both Nimayi poetry and Ghazal, he is indebted to the lyrical attitudes and language of his predecessors, and has been influenced in various ways by the rich mentality prevalent in Persian poetry, as well as by renowned Ghazal poetry. Anyway, Ebtehaj's approach has monopolistic features that distinguish it from other traditionalist sonnets. In this essay, several aspects of the poetry of Ghazal are studied and the quality and aspects of this poet's influence on the tradition of Persian poetry, as well as how he deals with some of the foundations and components of lyric poetry, are analyzed and Explain. In this regard, Ebtajaj's dual approach, which is sometimes traditional and sometimes unusual and exclusive, deals with such topics as rich mentality, romantic attitude, love tradition, beloved beauty, beloved lust and fascination with love. Has been studied and the role of these categories in the development of lyrical and thematic-creativity and the aesthetic richness of ebtehaj's poems, both solely in love with his sonnets and with symbols of social and philosophical prestige, has been described.

In this essay, inside the work of songwriting is examined, the oldest Persian poetry has been found among the songs. The song is a general term used to refer to various types of poetry melodies or music accompanying, in particular Fahlaviyat, couplet, quatrain, and folkloric song. The "work " is one of the tracks that have been featured in the song. First, we define the song and its process in the past and today, and then we will look at the samples, features and language of the songs. The results show that within the framework of work, a significant part of the songs has been formed. These songs are divided into breeding, shepherding, shilling, gardening, fishing, and so on. The language of these songs is simple and folk.

The sacred defense of the Iranian nation in a period of eight years (1359-67), in addition to the social, economic, political and spiritual achievements - along with the destruction of a large part of the infrastructure of Islamic Iran - the flourishing of a variety of epic and literary functions of expression have inspired the contemporary poets and writers more than anything else in the range of works. It is clear that the phenomenon of war - also the issue of defending the homeland and religious values - of the adversaries and opponents - or in the words of own critics, the result of the balance of thoughts and thoughts, can lead to debatable debates. In the field of poetry and the holy defense stories, we face two groups of writers and poets who agree to defend and oppose the war, each one follows his own point of view. One of the concrete examples of this two-dimensional attitude is the poetry of Lady Simin Behbahani and the response from Kaumars Abbasi Qasri have the different reflections in literary circles. In the present article, we examine these two poems based on literary principles and the observance of the text. The difference between the viewpoints of the two poets, the special language of feminine and masculine poetry, and the strengths and weaknesses of both poems are briefly illustrated.

The constitutional period is a distinct period in Iran’s history, in which all aspects of Iranians lives has transformed and as a result the verse and literature encountered a great change by the change in point of view of poets of this period in comparison to former poets. In this period everything even the poetry serve the society. The greatest poets of this period are those who were in the middle of the society and the social events and react them; So this periods verse is explicit, clear, and thought governed, however streaks of feeling is accessible in these works but they cannot be classified in lyric poetry but this doesn’t underestimate the emotional aspect and semi-lyrical language of these works. Sometimes, the Constitutional poets try to support their works emotional and logical sides simultaneously; therefor the social matters present with a semi-lyrical language that cause a kind of Socio- lyrical integration in their works; however it’s a slight integration. This kind of socio-lyrical integration is observable in Aref`s, Farrokhi`s, Eshghi`s, Bahar`s, etc poetry with an unequal severity and weakness, Mohammad Taghi Bahar`s poetry as an authority in Persian verse in this respect is worthy to consider and investigate; because in this period no other poet is familiar with Persian classic poetry and in other hand he is the most political poet of constitutional period.

Poetry images are the result of a link between the emotional experiences of the poet and the phenomena and events surrounding him.So the emotions and also the concepts that the poet intends to transfer to the audience, inevitably arises in the form of words and phrases, and the poet as an artist, by entering the imaginary element, the most prominent feature of the literary word, It serves as a painting board. Obviously, this exuberant work can be expressed in a bunch of rhetorical, colorful, spectacular, or articulate artistic expressions. Undoubtedly, an image that is more successful in pre-empting the poet's inner and sensual themes, will be more artistic than the image depicting a poem as a picture of the precise truths of the world around the poet and unable to express the feelings and sometimes abstract concepts of the poet. Therefore, the amount of poet's capture in the language and highlighting it through the norm of escaping and recognizing is very important in the beauty of the image, as well as the way in which words are arranged in bits and the extent of poetry with poetry experience that play an important role in influencing the effect. Slowly These images have a special structure under various circumstances such as the individual and historical style of the poet, audience, content and literary style of the work. This research has tried to analyze the characteristics of poetic images and their position in Ghana's poetry, with a look at five love circles.