پژوهشنامه ادب غنایی
پیاپی 16 (بهار و تابستان 1390)

Frooghi Bastami is one of the sonneteers of the thirteenth century. Having praised the princes of Ghajar for a while, he became the poet of the court of Nasaradinshah. Frooghi's delving into the works and circumstances of great mystics such as Bayazid Bastami, Hallaj, Abolhassan Kharghani and others, changed his life and consequently caused him to be a dervish. He belongs to Return Period in poetry. The language of his sonnets is eloquent and deft and close to that of Sadi and Hafez. He has borrowed the lyrical themes of his sonnets from Sadi and the mystic themes from Hafez and many of his sonnets are imitations of their sonnets. In addition to studying the features of Frooghi's sonnets, this article attempts to investigate the extent to which he has been influenced by the poets of seventh and eighth centuries.

Analysis of story and narrative elements based on literary theories is necessary because firstly, it methodizes literary criticism, secondly, it provides the possibility to reconstruct and evaluate ancient literary texts, and lastly, scientific measures will help hypotheses and proclaims to develop. Accordingly, a text by the great story writer, Nezami Ganjavi, was chosen to be analyzed and criticized based on available methods specially structralist theory. The Fourth Story in Gonbad Sorkh which happens on Tuesday, structurally turned out to be a complete narration with all required details for a story. The poet (Nezami) has not used signs unless he has had to, and mostly it is the agent action of the characters which talks to the audiences, proceeds the story and introduces the characters. This method is one of Nezami’s beautiful arts to develop a story.

Studying the influence of other poets’ works on somebody’s poems is an interesting concern in modern literature criticism. Shafiei Kadkani’s poems are worth studying regarding the impression they get from Persian classical and modern poems since they much enjoy intertextuality. Intertextuality is the relationship between literary texts. This term was first propounded by J. Kristova with regard to Bakhtinُs theory in the late 1960s. The poem of M. Sereshk because of enjoying a rich cultural background and also paying attention to both classical and modern Persian poetry holds a great number of intertextual elements. This article attempts to study the influence that Shafiei Kadkani gets from traditional and modern Persian poetry. At first the impression of classical style of Persian poetry especially Khorasani style on M. Sereshk’ works is investigated and then we study Shafiee Kadkani’s turning attention from classical poem to new poem and his artistic impression from contemporary Iranian poets especially Akhavan Sales.

Habsyeh (prison poetry), is considered an important branch of lyric literature. Habsyeh is the expression and shout glory and grief of the poet in the mourning of his freedom; in other words, it is the all view mirror of the repression and bitter days of his imprisonment. In the history of Persian and Arabic literature, many poets have been sent to prison (for various reasons such as political, religious, believing,etc) and have felt the taste of imprisonment and captivity and by their power of expression have recorded their sorrowful and difficult moments. Because of their special nature, Persian and Arabic prison poems need to be closely investigated of the various aspects such as concepts, descriptions, images, and literary elements. This article investigates apparent description of prison and internal states in Persian and Arabic prison poems. In such poems, the poet, in addition to the apparent descriptions of jail (chains, prisoners, guards, etc.) brings lines and describes his own internal feelings in which he talks of his innocence, freedom, memory, grief, etc. Therefore,, the writer in this article aims to investigate descriptive themes in Persian and Arabic prison poems that can be examined form two prespectives(apparent description of prison and internal states), so that this literary aspect of prison poems appears in Persian and Arabic literature.

The present story was developed to analyze and compare Leyli & Majnun by Nizami, and Feraqnameh by Salman Savojis. The findings are presented in a descriptive-analytical fashion. Undoubtedly, Leyli & Majnun, composed by Nizami, is one of Iran’s, and actually, the world’s rich literary masterpieces. As a deed and rich literary work, which offers an artistic pleasure, it has the potential to be contemplated and pondered several times. Therefore, through these devices and a close focus on its formal structure, intrinsic content, the rhetoric discourse in its texture, added to all the other concealed structural potentialities within it, the reader can discover valuable points in it. For this reason, this article is devoted to surveying the concealed structural and formal potentialities within Leyli & Majnun and Feraghnameh. And since Savoji is a follower of Nizami, this paper tries to reveal Nizami’s deep impact on Savoji’s Feragnmeh both in content and style.

Mohammad Zohari is a contemporary prominent poet. He is one of the innovative poets who produced a flourishing poetic period in 1330s – 1350s. This period is considered as one of the best and the most promising periods of modern poetry in Iran. Most of his poems include the themes of love and society that rotate round thinking axes such as despair and hopelessness, discovering hope within hopelessness and etc. The impact of historical events, disordered economy, lack of social welfare, freedom and independence in Iran, as well as, the effect and influence of symbolism … are the major reasons for the disappointment and loneliness and death preoccupation in his poetry and have caused the poet's hopelessness of life. This study investigates the themes of his poetry along with explanations of his thinking axes.

Literary genre of lyric is a clear concentrated collection of the mental modes of the poet which reflects his/her hidden emotions. It is a realization of his / her mental events with a musical and rhythmic expression in an imaginary reflection of emotions or feelings, so it can be considered as an interpretation of the concealed thoughts and semantic layers of speaker or narrator's conscience. In this genre, “poetic theme” is based on the “poet’s self / ego” and is under the influence of his/her objective motivations and mental preoccupations. This analytic study, enjoying a content analysis method, aimed at discovering the poet (Muhammad Vali Dasht Bayazi) 's viewpoints and dominant thought backgrounds based on a perspective of imaginary reflection of emotions, concentrated mental modes, and internal semantic layers which are realized in lyric patterns and in an influential fashion. By studying and analyzing the functional frequency of such themes in the Poetical Work of Mohammad Vali Dasht Bayzi, the following results were obtained:- Praising the governors and rulers (397 cases: 54%),- Praising the saints and prophets (166 cases: 22%), - Glorifying persons (79 cases: 10%), - Satirical works (54 cases: 7%), and - Lyrical concepts (39 cases: 5%)

Rudaki is the father of Persian poetry and the greatest poet of Samanid era. In spite of the fact that there exists only less than 1000 lines of his numerous poems now, about half of which are Mathnavis, Elegies, and Sonnets, the variety of his poetic form and meaning is noteworthy. He composed the first and the best samples of elegies, sonnets, cadent lines, quatrains, eulogies, satires, autobiographies, expositions, wisdom poetry, admonitions, ethics, and poetry dealing with inebriation. In his sentimental and wisdom poems of his Divan, we can notice the expression of the "invalidity" and "instability" of the world, the "transience" of the benevolences and the pleasures they provide, the dominance of "death" in human's fate, decrepitude in the presence of the ridiculing "games" of the day, fatalism, conquering destiny, invitation to senselessness, oblivion, gaiety, and seizing the time, which comprise the subject matters of Khayyam's quatrains, also. These kinds of concepts were used by the poets before and after Khayyam; they should be considered as cultural and humanistic factors, replacing the exclusive philosophy and cosmology of an individualistic idiosyncrasy. When coming to Khayyam and Rudaki, it is imprudent to talk of the question of influence and being influenced. Khayyam is obliged by Rudaki as far as two things are concerned: 1) Rudaki is the person who invented quatrain meter or at least tried to form and develop it; and 2) he precedes Khayyam in looking wisely at the universe and creating such sentimental and wisdom concepts.

Man is a prudent being who has never been completely free of the obsession of death. Death as an ambiguous and unrepeatable experience is generally considered as dreadful. This fear strengthens and weakens due to various factors such as beliefs, thought structure, personal attributes, psychological traits, human’s manner of life, etc; and triggers diverse impacts on man’s speech and action. Ferdowsi is a scholar widely known for his philosophical thought on thanatophobia and death escape. Naser Khosrow, on the other hand, is not so mentally preoccupied with death in his poetic compositions; neither is he afraid of a confrontation with death. This article, applying a descriptive-analytical method, aims at investigating the roots of these two Muslim poet’s diverse perception of the concept of death, and why Ferdowsi was so obsessed by it, while Naser Khosrow showed quite confident feelings.

One of the important subjects in the field of the study of Hafiz is the degree of effectiveness of predecessor poets on Hafizs poetry. A dose look at Hafizs Divan reveals this effectiveness. Hafiz has used other poets, verses in his Divan in various ways. Transferring of concepts, conveying of couplets and using the same rhyme are some methods which Hafiz has made use of them in his Divan. The effectiveness of Hafiz from poets like Saadi Solana kameledin Esmaiel Jamal Abdol Razagh, Zahir, Fariaee, Nezami, Attar, Khaghani, Anvari, Moezi, Adib Saber etc… have been discussed and Analyzed. However, the effectiveness of Hafiz from one of the unknown poets, namely, Seyyed Serajedin Sagzi hasnt received attention. Therefore, the present study tries to investigate this effectiveness for the first time on Hafiz.