پژوهشنامه ادب غنایی
پیاپی 20 (بهار و تابستان 1392)

Emotion is an important part of poetry; the main aim of the poet is often to convey his emotions and feelings. Undoubtedly، the degree in which any poet is emotionally affected from the outside، its combination with his earlier experiences and re-production of a new image in his mind can be called his emotion. Emotion is the internal and the semantic context of a poem in accordance to the quality of the poet''s encounter and contact with the outside and the events around him; thus، based on the type of emotion، the way of its expression and its impact on the audience، there are some major differences among poets. Since emotions and themes of a poem are the results of a poet’s personal experiences، some ambiguous angles of the poet’s mind and life can be clarified by the analysis of emotions and themes expressed in the poem. Majd al-Din Mir Fakhrayi (Golchin-e Gilani) is among the respectable contemporary poets as some of his memorable poems are still remembered by many Iranians. There are، however، not so many researches and analyses done on his life and poetry. In this article، firstly، we have provided a brief account of his life; then، with some examples and by using a descriptive approach، we have focused on the emotions and themes in his poetry and finally، from this point of view، we have examined his position as a poet in the Iranian contemporary poetry.

Before it is considered as a technique in the modern fiction، the «stream of consciousness» was a psychological term used by the American psychologist، William James، on how the formation of memories، thoughts، dreams and emotions of humans occur. Later، authors who based their works on human mind paid attention to his inner world of thoughts and personal emotions; using these ideas، they accomplished the stream of consciousness as a form of story writing. The fields of this method generally include human’s mind and mental reality، modes and manifestations of inner life and true Self، such as thoughts، feelings، fantasies and dreams. Also، the sensing time (non-chronological)، which is an inner and ring time، as well as a complex language that is different from the everyday language are of the characteristics of this approach in story writing. Nezami’s «Haft Peykar» (Seven Bodies)، in the realm of fiction، is interpretative from different perspectives throughout which human’s original experiences are completely explained and his inner life with all its deeds and manifestations are noticed. Different faces and various voices of a human being، a human’s spiritual contradictions being overcome by the assistance of the inner creative forces، connection of conscious and subconscious، subjective and objective، reality and dream، confusion of time and so on are among the outstanding manifestations of the stream of consciousness in this book. In the present paper، relying on some of the elements of the stream of consciousness and highlighting them، we have made an attempt to deal with Nezami’s “Haft Peykar” and tried to offer a new approach to this story.

Emotion is the inner and spiritual ground and the basic element of poetry and any literary work; therefore، the study of emotion is more essential than the other elements of the literary text. The purpose of this paper is analysis of emotion in the poetry of Nima yushij from different aspects. First، all emotional approaches are divided into two groups: receipt and transmission of emotion; then after a glimpse into the type of emotion in Nima’s poem، we describe the second area، studying aspects such as fitness of emotion with elements like image، language، thought، music، atmosphere، and poetic experience، and continuity of emotion throughout the poem. Continuity of emotion and its coordination with other elements of the poem creates coherence and organic unity of Nima’s poem; therefore، in short descriptive and narrative poems، all the elements are consistent with the emotion، and in long narrative poems، though various emotions are experienced، each one changes according to the situation and atmosphere of the poem.

Lyric poem expresses the speaker''s personal feelings and emotions، and if it includes some different meanings and thoughts، they are used to express the speaker''s emotions. Sonnet is the most common type of lyric poem whose theme is love. Whether romantic or mystical، the emotion of love cannot falsely be attributed to self before it is united and harmonized with the poet’s life. This is why the emotional and often real intimacy of love affects the lyric language. As human is a being full of conflicting emotions like love and hatred، happiness and sadness، etc.، lyrical literature and sonnet can be an appropriate field for these required for goodness. It is the beloved’s beauty that charms the lover and engenders love. As the first offspring of beauty، love brings warmness and energy which can enliven all the creatures in the world. This article aims at studying the connections between sonnet and love as well as love and beauty through text analysis method.

Song is rhythmic words and the extension of emotional themes which is composed in a simple and general language highly capable of accompanying the music. Song is considered as part of the public literature and since it has the capacity to bring up various issues، today it has found the role of a public media، performing different functions such as providing information، training and publicity. Despite the importance of songs in the contemporary period and its comprehensiveness، this social-cultural genre has less been considered by the literary researchers; moreover، songs have mostly been collected in the published works. After reviewing the history of songwriting in Iran، the article attempts to investigate the verbal، literary، and narrative particulars of the Persian songs in the last 3 decades، describe the objectives of the songwriting، and introduce its varieties. It also re-introduces the most important songwriters of this era. Findings show that the main characteristics of the songs in this era are: simplicity of expression، use of public language، simplicity of poetic images، low application of literary array، being rhythmic and emotional، intimate tone and bearing narrative form.

Sohrab Sepehri’s poems are of the most enigmatic literary works in the modern Persian poetry. The present research indicates that Sepehri was seriously under the influence of phenomenological views in his last works which pervasively transformed his characteristics of thought and his poetry content، language and style. There are many similarities between his ideas and thoughts with those of many Phenomenologists، especially Edmund Husserl’s. The great presence of the poet’s thoughtful “I” (Ego) in defining the phenomena and propositions، expressing doubt in traditional and scientific teachings، Suspending presuppositions and referring to the origin of objects، emphasizing on perception and comprehension of the phenomena، redefining concrete and abstract phenomena، breaking the habits، having a multi dimensional view، and recommending to discover latent dimensions of the phenomena، suspending the indication of words، presenting a different formalism and fundamentalist changes in syntagmatic and paradigmatic axis of the language as well as contemplating the different nature of “solitude” in his last five works are of the signs of Sepehri’s phenomenological approach. In fact، expressions such as meaning، intuition، experience، journey، passing، awareness، perception، comprehension، direction، dimension، etc. in a great collocation in Sepehri’s poems lie in the network of semiotics of phenomenology.

From the view point of comparative literature، in this study we made an attempt to compare the images and themes used in the ghazals (lyric poems) of Sharif Razi and Sa’di and to draw an analogy between them. Although there exist lots of differences in their style of lyricism and their attitudes towards love، many common elements and themes are seen in the ghazals of these two poets; if we consider this issue، not from the aspect of imitation of Sa’di but from the aspect of coincidence، again some reasons، like Sa’di’s familiarity with the Arabic language and his being impressed by eminent Arab scholars on the one hand، and Sharif Razi’s fame as an outstanding Arab sonneteer on the other hand، increase the possible influence of Sharif Razi on Sa’di. Other results of this research suggest that Sharif’s ghazal is harsh and a reminder of the Ignorance (Jaheli) Period style. In contrast، Sa’di’s poems are beautiful and pleasant due to the attractive environment of Shiraz، and in his Ghazals، in addition to beautiful metaphors، figures of speech such as contrast، analogy، pun and amphibology are of more frequency.

The position of grief and happiness as the most important spiritual features in human life is obvious. According to many philosophers and scholars of the present time، the modern human as a result of getting stuck in the industrial life، suffers from isolation and disappointment. So، psychologists and scientists are searching for ways to establish balance between the modern human and his disrupted feelings. Iranian mystic poets have paid attention to grief and happiness and different kinds of them as well as their manifestations in their works. We can achieve guidelines for providing durable happiness for humans by studying their works besides knowing their thoughts about the issue of human grief and happiness. Sanaee Qaznavi as the first mystic poet in the Persian literature has spoken about grief and happiness in detail in his works. He divided grief and happiness into two groups: good grief and happiness، and bad grief and happiness (durable and stable and true happiness، and transient and untrue happiness). In this essay، we are going to study the various kinds of good and bad happiness and grief in sanaee’s works based on content analysis.

In the present thesis we have scrutinized the theme of the love poems in Tajikistan’s contemporary poetry. Since Tajikistan’s contemporary poetry in the historical span of 1917، from the Russian October Revolution till the break-up of the Soviet Union and independence of Tajikistan in 1991، lies within the realm of the SocialisticRealismSchool، all its poetical themes including Tajik love poems are also influenced by socialistic views. So، love poems of the socialistic realism period are considered political-social and socialistic ones as well. As a matter of fact love narrations were just a pretext to bubble the socialist poets'' party mission، and a beloved who is eulogized by a communist poet is not a traditional woman، but is in agreement with the dominant policies. What they extol is not the beloved’s ostensible beauty، but it is her functions in work and industry which are the main principles of socialism. All of the above-mentioned cases have been investigated through examining and exploring the most outstanding samples of the poetry of the Tajik poets during the Soviet Union Era.

The story of «Banu-ye Hesari» (Lady Hesari) is one of the seven wonderful and adventure stories in Nizami’s «Haft Paykar». Because of its special structure، in this article، we analyze the structure and narration components of the story according to Grimas’ views. Initially، we relate and consider Grimas’ criticism on the structure، elements and components of a narration and then، identify and analyze them in the story of «Banu-ye Hesrai». Narrative syntagms in the structure of narration include contractual، practical and disjunctive circles. Contractual circle is about a contract between “Banu-ye Hesari” (sender) and a young prince (knower; receiver)، practical circle consists of experiments and battles that hero must surmount، and disjunctive circle is about the itinerary of events from an unbalanced condition to a balanced one، coming to a happy conclusion. Therefore، the structure of narration in the story includes some special functions such as contract، experiment and judgment. In the narration، there is a general model: absence of contract (disorder) → presence of contract (order) _ an unbalanced and distressful situation، then a contract putting forward by the sender according to which the hero behaves، and consequently، a balanced situation.

Folk tales and lyrical literature are of the most extensive areas of the fantastique. «Homaay and Homaayoun»، one of the oldest love poems، has been able to bring these elements together though the presence of these elements in works of poem is less than that of the works of prose because there are restrictions in terms of weight and rhyme in the verse. Providing a brief introduction on Khajoo-ye Kermani and his works، the author of the present paper attempts to review the type of the story، semiotics of Fantastique stories، pattern of the fantastique، imagination of the real and imaginary characters، tips of the pattern، supernatural places and buildings، etc. in the lyrical poem of «Homaay and Homaayoun» and show the intellectual and cultural richness of the lyrical literature in the area of ​​Iran، and the superiority of this story over its contemporary verse and prose fictions.

The Shahnameh، Ferdowsi’s immortal masterpiece، has stayed at the apex of the literature of Iran، even the world for centuries. However، due to the dominance of the epic mood of the Shahnameh، its romantic adventures have been explored less. The present paper attempts to investigate and analyze the story of «Zal and Rudabeh» and two other famous epic stories، «Bahram-e Gur and Espinud» and «Goshtasb and Katayoun» which are of the most famous love stories in the Shahnameh. ­To achieve accurate results from this research، by means of figures and tables، as much as possible، the stories are morphologically analyzed، then the results are compared to each other، and finally، we identify the characteristics of each of the stories in the main study. Although structurally common features can be observed among the three-stories، some basic features such as peaceful surrender of power and religion conversion of one of the main characters، Espinud، are of noticeable differences existing among the stories.

One of the beauties of a poem is music، and when bearing a connection with the subject، it influences conveying the meaning of the poem to the listener. Khansa is of the greatest poets of the Jaheli Period (before Islam)، famous in elegy. She has many poems in elegy versified for the death of her brothers، Sakhr and Moaviyye. She chooses the most euphonious measures and most appropriate rhymes to express the sorrow and uses beautiful figures of speech (form and sense)، such as “Jenas”، “Tabaaq”، “Saj’”، “Tarsi’”، “Tasmit”، and other musical elements to convey her emotions and inner sorrow to affect the reader and listener. The present study attempts to investigate the music of Khansa’s poems and its connection with the theme of elegy which is the frequent feature of her poetry by means of the Library Method as well as content and structure analysis. Relevant data are taken from Khansa’s poems.

One of the issues raised in the Psychological Review is «nostalgia»، sadness due to homesickness. The term means: feeling of homesickness and regret over the past and the things which are lost now and is usually associated with regret، sadness، and pain. This is manifested in most poems of the Persian lyric poets with a certain reflection in the contemporary poetry due to reasons such as political and social circumstances and life changes. This research is centered on nostalgia in the poetry of Mohammad Reza Shafiee Kadkani، and in the present paper we cover the definition and etymology of the word nostalgia، and its divisions and components. Then، related topics such as memory، nostalgia، utopia، archaism، myth، and the RomanticismSchool along with the comments made by researchers in this field are reviewed. In a general classification، in the poetry of Shafiee Kadkani nostalgia is divided into two groups: 1-past-oriented personal nostalgia 2- past-oriented mass nostalgia. In either of these categories، a number of factors including distance from home، being away from the beloved، returning to Childhood and youth as well as to the history and myth have been covered.