فهرست مطالب

مجله فنون ادبی
سال نهم شماره 3 (پیاپی 20، پاییز 1396)

  • تاریخ انتشار: 1396/09/11
  • تعداد عناوین: 8
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  • مقاله پژوهشی
  • علی صباغی، حسن حیدری صفحات 1-12
    تلمیح یکی از شگردهای بلاغی پرکاربرد در ادب فارسی، به ویژه شعر فارسی، است. این جستار قصد دارد این آرایه را در منابع بلاغی فارسی به روشی مقایسه ای نقد و بررسی کند. پرسش های پژوهش پیش رو عبارت است از: 1 تلمیح چیست. 2 تلمیح در منابع بلاغی فارسی چه جایگاهی دارد. 3 چرا و چگونه تلمیح با دیگر صناعات ادبی آمیخته شده است. 4 نقش زیبایی شناختی تلمیح در شعر چگونه آشکار می شود. برای پاسخ به این پرسش ها، اطلاعات مربوط به تلمیح از چهل منبع بلاغت فارسی و عربی به روش استقرایی گردآوری و داده های به دست آمده به شیوه توصیفی تحلیلی نقد و بررسی شده است. نتیجه پژوهش بیانگر آن است که در منابع بلاغی فارسی به تبعیت از آثار بلاغت در زبان عربی، تنها به تعریف تلمیح بسنده شده و با قرار دادن آن در زیرمجموعه سرقات شعری از تبیین آن در جایگاه آرایه ادبی غفلت شده است. همچنین به دلیل تحدید نکردن حوزه مفهومی تلمیح، آن را با دیگر صناعات ادبی در هم آمیخته، تحلیل اثر و نقش زیبایی شناختی آن را در شعر فارسی نادیده گرفته اند.
    کلیدواژگان: بلاغت، صناعات ادبی، بدیع معنوی، تلمیح
  • غلامرضا سالمیان، سمیرا صمیمی فر صفحات 13-26
    پژوهش حاضر بر آن است که خصیصه های زیبایی شناختی را در مثنوی های سنایی از حیث فنون آوایی بررسی کند؛ بدین منظور، از نظریات نوین زبان شناسی و ادبی مناسب با اثر بهره جسته است. نظریه هنجارگریزی یکی از این نظریات ادبی است که نخستین بار «لیچ» آن را ارائه کرد. هنجارگریزی از مهم ترین عوامل پیدایش سبک ادبی است. در این تحقیق، برای رسیدن به پاسخ این پرسش که سنایی چگونه هنجارگریزی آوایی را ابزاری برای آفرینش ادبی قرار داده است، مثنوی های او، شامل حدیقه الحقیقه، سیرالعباد، عقل نامه، عشق نامه، سنایی آباد، تحریمه القلم، طریق التحقیق و کارنامه بلخ بر پایه این نظریه بررسی شده است. در این بررسی، این مثنوی ها از لحاظ انواع زیرمجموعه های هنجارگریزی آوایی، مانند ابدال، اشباع، تخفیف و... سنجیده شد. بر پایه نتایج تحقیق، می توان گفت که سنایی از این توانایی زبان برای زیبایی شعر خویش بهره برده است. افزون بر این، سنایی صرفا بنابر ضرورت وزنی دست به هنجارگریزی نزده است، بلکه گاهی هنجارگریزی را برای ایجاد صنایع بدیعی ، مانند سجع، جناس و... به کار برده و زیبایی های ادبی آفریده است. بر اساس یافته های این پژوهش، در اشعار سنایی، پربسامدترین هنجارگریزی آوایی، فرآیند تخفیف و کم بسامدترین آن، فرآیند تشدید است. همچنین، به نسبت تعداد ابیات هر مثنوی، مثنوی عقل نامه بیشترین و مثنوی حدیقه کمترین هنجارگریزی آوایی را در خود داشته اند.
    کلیدواژگان: برجسته سازی، هنجارگریزی آوایی، لیچ، مثنوی های سنایی
  • امین بنی طالبی، مسعود فروزنده صفحات 27-42
    «تکرار» در زیباشناسی هنر از مباحث اساسی است و در ادبیات و به خصوص در شعر نقش بسزا دارد. این فن ادبی در صورت کاربرد مناسب، جنبه های زیباشناسیک خواهد داشت و از دیدگاه سبک شناختی نیز گاه بیانگر سبک شخصی است. در این پژوهش، با روش توصیفی-تحلیلی، گونه های مختلف تکرار و توازن در سطوح گوناگون آوایی، واژگانی و نحوی در منظومه ویس و رامین (432-446 ق) - که از داستان های روزگار اشکانیان و در بحر هزج به نظم در آمده است- مطالعه می شود. در بخش نخست، توازن آوایی با مقوله هایی نظیر توازن واجی و هجایی، در بخش دوم، توازن واژگانی، شامل انواع تکرار در سطوح مختلف واژه، گروه و جمله، و در بخش سوم، توازن نحوی با مقوله هایی همچون تکرار ساخت، همنشین سازی نقشی و جانشین سازی نقشی تحلیل می شود و در پایان، کارکردهای تکرار در منظومه ویس و رامین بررسی خواهد شد. نتیجه بیانگر این مطلب است که فخرالدین گرگانی توانسته از طریق تکرار، هنرمندانه ترین صنایع بلاغی، به ویژه صنایع لفظی را در سراسر منظومه خود به نمایش بگذارد و از این طریق، مفهوم شعری خود را با تاکید، وضوح، تنوع و لذت بالاتری به مخاطب ارائه کند و از تکرار برای تداعی و نمایش اعمال دراماتیک و انسجام میان موسیقی و مفاهیم شعری بهره ببرد.
    کلیدواژگان: ویس و رامین، تکرار آوایی، تکرار واژگانی، تکرار نحوی، کارکرد تکرار
  • عباس محمدیان، پروین هاشم پور، مهین میرزابیاتی صفحات 43-60
    هدف از پژوهش حاضر دریافت ابعاد و شیوه های ظهور مقوله زمان از دیدگاه کهن الگویی در دیوان حافظ است. زمان، مفهومی گسترده، عمیق و تا حدود بسیار زیادی ناشناخته و کهن است که از آغاز آفرینش، ذهن بشر را به خود مشغول کرده و در فرهنگ ایران و جهان سابقه ای بسیار طولانی دارد؛ به گونه ای که گاه در برخی باورهای کهن، زمان را یکی از خدایان یا حتی خدای خدایان می دانسته اند. ازل، ابد، نامیرایی، جاودانگی، عهد الست، بهشت، چرخ، دایره و... از مفاهیم مرتبط با زمان اند. این مفاهیم، میراث هزاران ساله ارواح و اذهان پداران و مادرانمان هستند که نسل به نسل در ناخودآگاه عمیق بشری حفظ شده اند و ما را به سرآغاز هستی پیوند می دهند. شعر حافظ، گنجینه ای پربار از کهن الگوهای زمانی را در خود جای داده است، که شناخت و شناساساندن آنها، دریچه تازه ای به دنیای پررمزوراز شعر او می گشاید. حافظ در اشعار خود با غوطه وری در زمان، از انواع آن سخن به میان آورده است. در این پژوهش برآنیم تا نمود کهن الگویی زمان را در دیوان او بررسی و آشکار کنیم که این کهن الگو چگونه، تا چه حد و در چه قالب ها و مفاهیمی در شعر او نمایان شده است.
    کلیدواژگان: کهن الگو، حافظ، زمان، ناخودآگاه جمعی، نقد اسطوره ای
  • نازنین نوری، موسی پیری صفحات 61-78
    محمد شفیع بن محمد اسماعیل شیرازی، معروف به میرزا کوچک، متخلص به وصال، متولد سال 1197ق و متوفای 1262ق در شیراز، از جمله شاعران برجسته و موسیقی دان نهضت بازگشت است که در غزل سرایی دستی توانا داشته است و در عین تقلید از سرآمدان غزل سرایی، صفات اصلی بهترین نمونه های شعر سنتی را حفظ کرده است و غزلیاتش نوای آهنگین و پرجذبه ای دارد. هدف از این پژوهش بررسی موسیقی درونی غزلیات شاعر با استفاده از روش تحقیق تحلیلی-بسامدی و نشان دادن این مسئله است که موسیقی درونی تا چه میزان بر نظم آهنگ شعر او تاثیر گذارده و اینکه وصال چگونه با استفاده از تکرار که رکن اساسی موسیقی درونی است، معنی شعر را به خواننده القا کرده است. تحقیق بیانگر این مطلب است که وصال، با توجه به اطلاع از تاثیر نوای خوش موسیقی بر روان آدمی و آگاهی از جنبه های زیباشناختی موسیقی الفاظ، توانسته است با استفاده از شگردهای گوناگون موسیقی درونی، انتخاب واژه های زیبا و دلنشین، ایجاد تناسب، تکرار و هماهنگی آوایی واج ها بر روح خواننده اثر بگذارد و معنا را بر دل و جان مخاطب بنشاند.
    کلیدواژگان: وصال شیرازی، غزلیات، موسیقی درونی، تکرار
  • مجاهد غلامی * صفحات 79-92
    نقش ادبیات اروپا در تحولات شعر پارسی معاصر امری مسلم است. گذشته از آنکه بنیادگذاران شعرهای آزاد، سپید، موج نو و حجم، آثار خود را در کلیت آن، با پیش چشم داشتن شعرهای اروپایی به وجود آورده اند، هم ایشان و هم دنباله روان شان که سازندگان بدنه شعر معاصر ایران اند، در جزئیات زبانی و زیبایی شناختی آثارشان نیز بی اعتنا به ادبیات اروپا نبوده اند. بااین همه نمی توان در شعر پارسی معاصر و تحولات زبانی و زیبایی شناختی آن، جای پای سنت ادبی را ندید. جستار پیش رو که به روش تحلیلی و با تکیه بر اسناد کتابخانه ای فراهم آمده است، ضمن توجه به زمینه ها و علل رویکرد شعر معاصر به سبک هندی، در صدد تبیین این نکته است که شعر پارسی معاصر ازجمله در دو ساحت، تاثیرپذیری های انکارناشدنی از شعر سبک هندی داشته است: 1) ساحت زبانی 2)ساحت زیبایی شناختی. تاثیرپذیری در این دو ساحت، افزون بر اینکه نمودی صریح در شعر بنیادگذاران شعر نو دارد، به دلایل متعددی خاصه شعر پس از انقلاب را در بر می گیرد که بیانگر دردها و دغدغه های برخاسته از تشبث به یک نظام ایدئولوژیک نوظهور است.
    کلیدواژگان: سبک هندی، شعر معاصر، رویکرد زبانی، رویکرد زیبایی شناختی
  • محمدحسین پوراسماعیلی *، علی زمانی صفحات 93-110
    یکی از رویکردهای داستان نویسی نوین، ورود فرهنگ عامه شامل گویش، آداب و رسوم محلی، اصطلاحات، ضرب المثل ها و باورها و اعتقادات در ادبیات داستانی است. دلیل این اتفاق را می توان ورود ادبیات داستانی به زندگی مردم عادی و برخاستن از بطن جامعه و دغدغه های مردم عامی دانست که به ناچار ادبیات داستانی را با فرهنگ عامیانه عجین می کند. در این میان، یکی از داستان نویسان معاصر که در آثار داستانی خود به این مقوله پرداخته، ابوالقاسم پاینده نجف آبادی است. در این مقاله ضمن معرفی این نویسنده، به بررسی یکی از شاخصه های برجسته آثار داستانی او یعنی فرهنگ عامه می پردازیم که به حق داستان های او آیینه تمام نمای فرهنگ مردم محل و زمان او بوده و سبب شده است آداب و رسوم، باورها و اعتقادات، ضرب المثل ها، زبان محلی و تمامی مطالبی که فرهنگ یک منطقه را به نمایش می گذارد در آثار داستانی این نویسنده درخشش پیدا کند و ضمن معرفی فرهنگ «شهرک نون» بر ملی و ایرانی بودن داستان های او تاکید کند و بر دست مایه طنز داستان هایش بیفزاید و سبب شود خواننده بهتر با قلم پاینده انس بگیرد.
    کلیدواژگان: فولکلور، آداب و رسوم، زبان عامیانه، باورها و اعتقادات، آثار داستانی
  • علی محمد محمودی* صفحات 111-128
    غزل در عهد مشروطه مانند سایر قالب های شعری دست مایه بیان تغزل آمیخته با آرمان های ملی و میهنی شد. برخی از شاعران که مبارزان راه آزادی و مشروطه خواه بودند، این قالب را با شعارهای ادبیات کارگری و مسائل اجتماعی درآمیختند تا بدین وسیله تغییراتی در «وحدت موضوعی» غزل به وجود آمد؛ برای نمونه غزل فرخی یزدی به همین دلیل، گاه ساختی گسیخته دارد. غزل پس از «افسانه» نیمایوشیج، در جریان های «غزل میانه» و «غزل نو: غزل تصویری» و «غزل فرانوین» در ساخت و شکل شعر، تحولاتی را به خود دید. تغییر شکل نوشتاری قالب غزل از سوی منوچهر نیستانی و سپس محمدعلی بهمنی نخستین تلاش برای تحولی است که پس از مدتی وقفه در دهه های هفتاد و هشتاد دنبال شد. در مجموع، غزل معاصر، گاه در «شکل درونی»، دچار تحول، هنجارشکنی و فقدان وحدت موضوعی شده و گاه در «شکل بیرونی» دچار تغییر، تحول و نوآوری شده است. در این مقاله، با بررسی غزل سرآمدان غزل سرایی در این برهه زمانی، نوآوری ها و ضعف و قوت های شکل درونی و بیرونی آن تحلیل شده است.
    کلیدواژگان: ساختار بیرونی غزل، غزل مشروطه، غزل معاصر
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  • Ali Sabbaghi, Hasan Haidary Pages 1-12
    Allusion is one of the most commonly used rhetorical techniques in Persian literature and especially Persian poetry. This research reviews the allusion figure of speech in Persian rhetorical sources comparatively. Research questions are: 1) What is allusion? 2) What is the position of allusion in Persian rhetorical resources? 3) Why and how has allusion been commingled with other figures of speech? 4) How does the role of allusion aesthetics in poetry become apparent? For answering these questions, relevant information to allusion from forty different Farsi and Arabic rhetorical references was collected based on inductive method. Obtained data was investigated based on descriptive-analytical approach. Results of the research indicate that Farsi rhetorical sources to comply with Arabic resources just rounded off with allusion definition and by categorizing it in a subset of plagiarism does not clarify its position as an independent rhetorical figure. Because of unlimited conceptual boundaries, allusion has comingled with other figures of speech and therefore analysis of its impact and aesthetic role in Persian poetry has been ignored.
    In present times, by quantitative and qualitative development of studies based on modern literary theories, rhetorical studies has been quite dim. Farsi rhetoric sources mainly to comply with Arabic references has discussed each figure of speech separately, defined and given examples but has not talked about their relations. Allusion is one of figures of speech. In this article has been tried to clarify allusion definition, position, its beauty-creation role and its relevance to contemporary literary theories in Farsi rhetorical sources.
    1. At first, literal and figurative meaning of allusion was investigated. Precise definition of this term was explained and borders between it and other figures of speech was drawn. According to this investigation, acceptable definition of allusion is: when an artist in his/her text hints to other story, proverb, poetry or another work on condition that this hint and referral is covert, temporary, indirect and story-based.
    2. A dual and paradoxical vision dominates allusion position in Farsi rhetorical sources. In rhetorical works dependent on author`s view point, the term of allusion has been defined and interpreted. Sometimes it is considered as a kind of plagiarism and sometimes it is regarded as a kind of rhetorical figure and technique.
    3. Allusion has been merged to other figures of speech. Since the conceptual area of the term allusion is not clearly distinct in rhetorical sources, it has been mingled with other figures such as quotation title, gnomic verse (proverb), interpolation, prose paraphrase and adaptation. Authors have tried to make clear the borders among these figures and separate the conceptual area of allusion from other rhetoric figures.
    4. In rhetorical sources, there is little focus on the role of allusion in highlighting and beauty- creation. Allusion in Farsi poetry and prose often occurs with other literary figures simultaneously and this density and interrelation of figures doubles its beauty and influence power. The hidden conciseness and prolixity in allusion joins this figure to pragmatics and in the field of rhetoric, connection of allusion to other figures strengthens imagery effects in the literary work.
    5. Allusion is linked with some of the contemporary literary theories and is one of the fields of intertextuality emergence in a literary work. This intertextuality connection is sometimes apparent and obvious and sometimes hidden and obscure. Therefore, to avoid repeated allusions and releasing from influence anxiety of the previous text and misreading of it, orators have used the allusion figure.
    Keywords: rhetoric, Figures of speech, figures of meaning, Allusion
  • Gholamreza Salemian, Samira Samimifar Pages 13-26
    One of the important fields of research and study which recently has been absorbed a lot of attention is Persian literature review, based on new theories of linguistics and literature. The theory of ‘‘deviation of norm’’ is one of these theories which the first time was offered by “Leech”. It is also one of the main causes of emerging literary style. In the current study, to answer the question of how “Sana’ee’’ has benefited of phonetic deviation of norm in literary creation, His Mathnavies, includes Hadiqat al Haqiqa, Seyr-Al-ebad, Aghl Nameh, Esgh Nameh, Sana’ee Abad, Tahrimat al Ghalam, Tariqat al Tahqiq and Karnam-e-Balkh have been reviewed based on this theory. Hakim Sana’ee is a great poet and mystic Sublime of the sixth century and is the absolute masters of Persian poetry. He was born in the mid or early of the second half of the fifth century in Ghazni. He is the first poet who has entered Sufi and Qalandaris terminology into poetry. According to topic he used verses and Hadith in his poetry as well as medicine, astronomy, and Thaphsir. Sana’ee's works include: Koliat-e-Divan, Hadiqat al Haqiqa (Fakhi Nameh or Ilahi Nameh), Karnameh-e-Balkh (Motaie Nameh), Sial Ibad Ilal Maead, Tahrimat al Ghalam and Sana’ee’Makatib. Other works that apparently referred to Sana’ee include: Tariqat al Tahqiq, Aql Nameh, Eshq Nameh and Sana’ee Abad. To do this, such Mathnavies were examined in terms of referrals of phonetic deviation of norm, such as abdal, saturation, discount, etc. Anonymous poem should be fluent and beautiful views. Both form and meaning must be good without blemish. The word has a great importance in his poetry. And if he wants to employ a word in his poetry, rhyme restriction does not prohibit him from doing so. By checking out his lyrics it was cleared that, like other poets, in case of necessity rhyme he has used phonetic ’deviation of norm’ and in some cases phonetic ’deviation of norm’ has been used in order to create innovative array to increase music lyrics more effective. The innovation in this field means that causes the rhetorical cohesion through makes the word of literary phonetic and musical relationships. In fact, the poet with the using it in the poetry rhetorical figure has established a strong link between the words as well as creating a kind of music in word. According to the results, in Sana’ee’poems Litotes is the most frequent phonetic deviation of norm and intensification process is the least frequent one. Despite such literary status, the Aql nameh Mathnavies, by no means cannot be compared with Hadiqat Masnavi, Sana’ee has applied the largest number of phonetic deviation of Norm in this work. While Hadiqat has highest number of phonetic deviation of norm namely 3697 but in proportion of literature, has the last place of using deviation of norm. Perhaps Sana’ee became more mature in language and literature of words, phonetic deviation of norm that was related to the exigencies of rhyme and rhythm, has been further weakened in his the poem. Sana’ee has benefited from all subsets vocal deviation of norm in his poetry. Litotes is the most frequent phonetic deviation of Norm and intensification process is the least frequent one.
    Keywords: Highlighting, phonetic deviation, Leech, Sanaee's Mathnavies
  • Amin Banitalebi, Masoud Forouzande Pages 27-42
    Repetitionis a fundamental issue in aesthetics of art and plays a very important role in literature and, in particular, in poetry. Repetitions can also exert an influence on aesthetic aspects of a literary work in case of being appropriately applied. On the other hand, from a stylistic point of view, repetitioncan reflect the author’s individual style. In fact, full repetitionand partial repetition are two ways to create elegance in speech and also to establish music of rhyme in poetry which are considered to be of fundamental elements in poetry. Therefore, all the verbal tricks and even meter and rhyme are created based on repetition. Repetitionis pleasant since repeating something reminds us of that thing again and perceiving this unity pleases us. It is obvious that Fakhr od-Din Asad recognizes the internal and external music of poetry correctly and applies it widely.
    He has applied repetitionin various ways to exert more influence and to make the poem more pleasing: on one hand, like other poets in Khorāsānīstyle, Fakhr od-Din Asad has applied repetitionvery gracefully and on the other hand, a large number of these repetitionsstem from Pahlavi texts and from the origins of the story in which there were a great deal ofredundancy and also various images and sentences. Figures of speech created through balance do not have similar essence, so different types of balance should be considered in different analytical levels. Here, balance has been used in its widest sense i.e. each type of music and meter which can be considered in the level of phonological, lexical and syntactic and is created through verbal repetition. This does not mean that the above-mentioned analytical levels are separated from each other since most of figures of speech should be considered through the elements of more than one level. The occurrence of phonological balance is more than lexical balance and the frequency of lexical balance is higher than that of syntactic balance.
    Phonological balance is a kind of verbal balance created through the repetition of all phonemes and enhances the musical aspect of poem. This kind of balance is divided into two qualitative and quantitative parts. Qualitative phonological balance is a kind of phoneme repetition creating alliteration and quantitative phonological balance creates the meter of the poem. Phonemic balance refers to those phonological repetitions which happen in one syllable and is divided into two parts:1. Assonance: the repetition of one high-frequency consonant in a sentence
    2. Consonance: the repetition and distribution of vowels in words.
    One of the figures of speech which can be considered regarding to phonemic balance is alliteration. On the other hand, phonemic balance refers to those parts of phonemic repetitions which are created through collocation of some syllables and, in general, leads to poetry.
    Lexical balance is another kind of balance created through a language unit which is larger than syllable. In the other word, lexical balance is not limited to repetition of some syllables in a word rather it can include the repetition of a whole word, a noun or a verb phrase or even a set of words in a sentence. By the way, similarity between two or more repetitive words can be regarded as partial or full. The difference between phonological and lexical balance is related to the point that lexical balance is created through the repetition of two or more words or grammatical elements which are larger that syllable in structure while, phonological balance is created by the repetition of two or more language units which are smaller than word i.e. syllable or phoneme.
    Repetition is exerted to the lexical level partially or fully resulting in establishing a set of figures of speech. The repetition of word with partial similarity can be seen in some figure of speech such as different kinds of saj', pun, and also in Leonine verse (tarsi’) and counterbalance (movaazene). Full similarity includes a grammatical morpheme or larger elements like words, phrases and even sentence. It should be said that, therefore, lexical balance is not only limited to repetition in level of word rather it includes grammatical elements larger than word such as radif, radif alqafyh, rad alsadr alala’jz, rad al’ajz alalsadr, homophonic pun, compounded pun etc. It is worth saying that homophonic or compounded puns are a complete similarity between two grammatically different elements so they can be analyzed in this section. Repetition in level of phrase: phrase is a group of words that functions as a single unit and can be regarded as full or partial. Repetition in level of sentence: in Persian, each sentence consist of at least two grammatical elements i.e. verb and subject (shenaseh). Here, repetition can also be considered fully or partially.
    Syntactic balance: in this section, it should be said that syntactic balance does not necessarily include phonological repetition although, at times, poet may benefit from phonological repetition while creating syntactic balance. Syntactic balance can be created through collocating the elements with similar part of speech or by displacing and replacing the elements of a sentence. Collocating the elements with similar part of speech includes some figures of speech such as laf-o-nashr, division (taqsim), numbers (a’dad), tansiq os-sefat etc. In part of speech replacement by displacing the elements of a sentence a new sentence is created which bear a syntactic balance with previous sentence.
    The functions of repetition in Vis and Rāmin are as follow:Euphoniousness, stating feelings and emotions, inducing meaning, emphasizing on a specific meaning, creating unity between poet and reader, explaining and interpreting the meaning of the poem, developing creativity and fertility of meaning, creating new terms and structures, emphasizing on poet’s inner feelings, perpetuating an action or a state, creating various entries in the poems, inducing specific meanings through repetition of morphemes.
    Keywords: Vis, Rāmin, phonological repetition, lexical repetition, syntactic repetition, function of repetition
  • Abbas Mohammadian, Parvin Hashempour, Mahin Mirzabayati Pages 43-60
    Jung believed that all of us have a very dark side in our identity which is called the collective unconscious. After analyzing the collective unconscious, Jung applied the concept of archetypes extensively in his works. The images and dispositions resulting from the recurrent experiences of our ancestors in our unconscious mind as well as the contents of the collective unconscious common among all human being are called archetypes. Archetypes including time, mother representation, anima, animus, shadow, self, re-birth and hero are among the most important contents of the collective unconscious. In Jung psychology, time has a very deep, broad and mysterious meaning.
    The concept of time is one of the oldest issues that has widely preoccupied the mind of the common folks and intellectuals and has a very prolonged history in the Iranian and world culture in such a way that, they considered time as one of the gods and even the God of the gods. Eternality, permanence, consistency, Alasti testament, paradise, cycle and circle are among the related concepts of time. These concepts are the thousand year old heritages from our parents that have been kept in the deep unconscious mind of human across generations and integrate us into the inception and commencement of the world of being. The poems of Hafez posses a very precious treasure of the time archetypes whose knowledge opens a new horizon to the mysterious world of his poems.
    In this research, based on the theories and conceptualizations of the psychologists and literary critics in the field of archetypes, we studied the concept of time in Hafez poem and also investigated the elements of the archetypes of time and its complexities in the poems of this great poet. In his poems, Hafez, ingeniously instill the poem in time and time in poem in the best possible way and represents all the stages of human life from the very beginning of the creation to the end in an unending cycle of human existence. Time is of a special meaning for ancient Persians. They always considered the god of the time as a permanent and eternal superpower. In their conceptualization, from the endless time, limited time has been created and the rest of creation becomes possible through the constant birth of humans. The unlimited time can at different occasions manifest itself differently and show a beam of this permanence. The relationship between the moment and eternality with the part and whole is among the main characteristics of the mythological time. The gradual development of the world from time, according to some experts, indicated that the sky limited the world and controlled it. Such a belief in the eternal time and destiny and the effects of the skies on destiny were transparently influential on the viewpoints of Iranians and many instances of such issues can be noticed in the poems of Hafez.
    From the beginning of my existence, I was ordered to do nothing but to be a reclusive person
    By no means, ones’ destiny would change in the world of existence (the poem of Hafez)
    Myth talks about the holy and celestial events which have taken place in the beginning time and always narrates one story from the first genesis. The poets and intellectuals have more affinity with their unconscious mind in a way that some of magicians claim to have kept and remembered the events before their birth and in the same way, Hafez, through free from the concept of time, has gained insightful inspirations from the beginning of life and loss of time, and he talks about the first experiences from human life.
    The best time was the one that passed with friends
    The rest was all futile and undesirable (Hafez poem)
    Mystics by referring to special events in the mythological time, consider two essential features for it: the first is to make that event holy and the other is to explain it. Referring to past and recognizing the origins of everything provides the possession of magical thinking. Due to the accrual of this sort of knowledge, Hafez considers himself as the ruler of heavens, paradise and even the fate of humans and decides to break the sky ceiling and create new plans, donate heaven to people who accompany him to tavern friend’s drum chastity on the assembly throne and bring the love flag on the skies ceiling.
    Hafez’s poem is replete with the firsts like: love, eternity, promise and the beginning time which is continuing to limitless at the end. Hafez has experienced the mystic presence with his elevated soul and mind and represents this archetype through different images. Sometimes by using the words and phrases like night and day at the beginning of being, makes it eternal and sometimes by using words such as sleep and prediction moves forward to the end of life and eternity.
    He always desires for heaven because heaven is the eternal place and is the place where time stops. Humans dread death. Belief in the survival and the continuity of life is the mental response to death. In the poems of Hafez, there have been many indications regarding the eternal and long life. The eternal old pattern in myth and poems in the form of escaping from time is meant to be returning to heaven and the perfect eternal welfare in the form of mystical floating in the cyclical time which is illustrative of the concept of death and the limitless rebirth.
    Hafez represents the rebirth from all its levels including the physical, spiritual and mental revolution to the experience of real life and the existence of real lover. He pays attention to different types of rebirth. Reaching the beloved one and kissing her lips turns the old into young people. The return of the beloved equals another new life. Heart in the Hafez poem is representative of the archetype of eternal life.
    He repeatedly talks about the resurrection and doomsday which are the symbols of entering the heaven, timelessness and chastity.
    Sometimes he finds wind as a shelter to relieve him from time, and sometimes probes the birth of body. Crossing sea is the symbol of eternity. Hafez wants us to float in the sea of God presence to relieve ourselves from the disastrous influences of the material world. He himself washes his body to go to the wrack and ruin and then be born again. Water indicates the archetype of eternity and timeless existence. And Hafez refers to it many times. Hafez refers to the fire which represents the concept of resurrection, rebirth and loss of death. He believes that we must behave and act like Jesus to reach the glorious and the shiny realm of eternity.
    Keywords: Archetype, Hafez, Time, Collective Unconscious, Mythological Criticism
  • Nazanin Noori, Moosa Piri Pages 61-78
    Mohammad Shafie Ebn Mohammad Esmaeil Shirazi known as Mirza Kochek with pseudonym of Vesal born on 1197 AH and passed away on 1262 AH in Shiraz is among prominent poets and return movement musician who had a capable hand in composing ghzal and while imitating great Ghazal composers, he has maintained main traits of the best traditional poem specimens and his ghazals enjoy a tonic and appealing tune. The aim of this study is to examine internal music of the poet ghazals using analytical research method and to show that internal music how much influences the poem tone verse and that how Vesal has inducted the poems meaning to the reader using repetition which is the main pillar of internal music. One of the features of poem language is voluntary utilization of this language from poetical devices and techniques which bring it out of routine and colloquial state and give it an artistic aspect. Here, the most tangible factor which gives the language eminence is the poem music. The poem's music has been divided to four types of external, internal, lateral and virtual. That in this paper, only the poem internal music has been examined.
    The series of coordination which appear in the words of a poem due to unity or similarity or contrast of consonants and vowels is the flourish of this type of music. Techniques which have played role in the domain of this music are figures of speech like various puns, epanalepsis and so on all of which are subsets of repetition, therefore, repetition in examining the poem internal music has a considerable role. Vesal Shirazi has utilized repetition for increasing the word music and developing and better inspiring the meaning and repetition could be seen in his various poems level. Techniques which have formed in his poem based on repetition mostly include repetition of words and letters and what mostly shows off is word repetition.
    Repetition is Vesal’s Divan appears in two forms, sometimes these repetitions are subject to a special order which is displayed as Aenat, equilibration and epanalepsis and sometime is in free form that its prominent sample could be seen in various types of pun. So that it could be said that various puns and word repetition scattered across couplet is among free repetitions of Vesal poems. In Vesal’s poem, pun as a type of word arrangement has a special role in creating his poems internal music and various types of pun are considered the most frequently used types of repetition in his poem. Especially surplus pun and difference in type of letter that due to undulation of movements they have, their musical impact is more than homogenous pun and these two types of pun totally have designated 413 cases of the poet ghazals puns to themselves.
    Repetition of one or some words in a poem constitutes 520 cases of repetitions of Vesal ghazals sparsely. Sometimes, Vesal emphasizes on his considered notion with this poetic trick and nurtures a notion and concept in the mind of reader.
    Reduplication is also another type of word repetition which is called repetitive and is considered among natural repetitions. Vesal Shirazi has used this figure of speech for emphasis, inspiring the concept and making his word more musical since such repetitions indicate multiplicity, emphasis and intensity.
    Another kind of this technique is regular repetitions that in Vesal Ghazals include Eanat, coupled, epanalepsis, expizeuxis, simile, converse, leonine verse and equilibration among which epanalepsis with 595 cases is in the first rank. Vesal has utilized such repetitions for emphasis and embossing his considered concepts.
    One of most frequently used types of repetition is phoneme repetition. This imagery which is called alliteration has a very high aesthetic value. Depending on his art and taste, Vesal Shirazi has used this imagery very much for illustration and elegance and enrichment of his poems music and the music arising from consonant alliteration is more patent is his poems.
    Consonants also have a prominent role in good tune of his poems and among them, decorating the speech with long consonants is more and more salient than short consonants.
    Though with repetition of vowel e , that the ancients considered repetition of this vowel as obstacle of speech clarity and reach, and also repetition of vowel o, Vesal increases the couplet music and increases the word influence, and sometimes even by bringing additional and descriptive compounds successively, gives a special music to word which influences the reader's mind. So, many verbal and phoneme repetitions are observed in his poem which causes his word phonemic prominence and this, by itself, is a style characteristic of his ghazals.
    Keywords: Vesal Shirazi, ghazal, internal music, repetition
  • Mojahed Gholami * Pages 79-92
    As the cognition of the Poem belonging to each period of Persian poetry, especially when it comes to the study of its metamorphosis, would not effect on understanding other periods promptly, the judgment of contemporary poetry would not be correct without getting familiar with traditional poetry, the coordinates of thought and linguistic and aesthetic features of it. Indian style, in the traditional Persian literature, with all of its uncommon beauties, was prosperous in catching the attention of its contemporary poets and adapt some of its linguistic and aesthetic features with imported linguistic and aesthetic coordinates which were up-to-date to show off in order to revive its lost credibility during the period of literary rebirth (=Maktab-e Woqu or the realist school). This essay describes a part of the author's research on the influences of Indian style on the contemporary poetry, under two headings of the linguistic and the aesthetic approaches of contemporary Persian poetry to the Indian style:1- The approach of contemporary poetry to the linguistic coordinates of Indian style:The Persian poetry, in the first period of its prevalence, known as so-called Khorasani Style, is a plain and simple poetry, a poem that does not screw up the reader of getting confused, and immediately, passes him through the vocabulary sphere and goes beyond to the realm of meaning. Hence, whatever that spoils the simplicity of the word and meaning is considered as a fault. Whereas in the next few centuries, the complexity and difficulty of words and meanings become one of the coordinates of the Safavid poetry to the extent that the ability of a person to understand complex poems had been a measure of his knowledge of poetry. The attitude of the contemporary period to the poetry had been able to restore the lost reputation of Indian style, pull it out of the chambers of silence and forgetfulness, and attract the poets to it. This is where we should speak about Nima Youshij and his honor. For Nima, poetry is mixed up with ambiguity and difficulty. His poetry is complex and difficult to understand, while it is not empty of language weaknesses. For Nima, poetry is not a concept without ambiguity and difficulty, so it is not surprising that Nima considered Indian style –which is defined by its ambiguities - as the “highest degree of Persian poetry’s progress” and “a sample of the evolution of poetry”. With these explanations, it can be argued that the approach of contemporary poetry in the post-revolution years to the Indian-style was not without an origin. The much-used Indianized style of post-revolution Poets is the continuation of the moderate Indianism of Nima Yoshij. Indeed, the effects of admiring the Indian style and finding its difficulties from Nima to the post-revolution poets -If doesn’t made the poetry of that period totally ambiguous- Caused the difficult-writer poets of the Indian style not to be rejected but also being admired. In this new era, Difficult-Writing and ambiguity is not considered as the weakness of poetry, but the strength of it, and even the poets of this period -being proud of themselves- follow the great Indian-style poets.
    2- The approach of contemporary poetry to the aesthetic coordinates of Indian style:The new definition of Rhetoric in poetry of the contemporary era makes the Indian style being more attractive to the poets and makes them admire and imitate it, because the aesthetic coordinates of Indian style poetry are similar to European poetry and its statements. Nima, as it was mentioned, is passionate about Indian style, and he does not hesitate to put some of its poetic images into his poems while reading Indian style poems. But Nima Yoshiej was more interested in the linguistic complexity rather than elegance and illustrations of Indian style poetry before and more than anything else. Apart from the recreation of Indian style themes by Nima, Shafiei Kadkani, Sepehri, Salman Harati, etc., each of the available methods of Indian style is somehow normalizing poem which makes it emphasized, and this method is used by contemporary poets in creation of surrealist poetic images. Irony ambiguities, Allegories, Numerical affiliations, linguistic derivations, and multiplicity of word meanings are the most prominent stylistic approaches that could be traced in contemporary poetry, whereas, neither the extent of their use (the poets) is equal with each other, nor their proficiency in utilizing the alleged features.
    The result of this research Indicates that the Indian style due to the late domination of the Khorasani Style on the literary atmosphere of Iran, was ridiculed by poets of the “Literary Return” period. From the very first decades of the present century and consequently during the post-revolution years, Indian Style recovered its lost reputation and became the scope of poetical influences and thoughtful researches. Within this period, contemporary poetry while being affected by European literature, was not totally unaware of traditional Iranian literature and in various linguistic and aesthetic areas had approaches to Indian style and made many adaptations from it. Using the aesthetic features of Indian style, its themes and elegances was to the extent that kept away part of the poetry of post-revolutionary years from the pains and concerns of the day and in the other words, the necessity of the temporal features of language was neglected.
    Keywords: Indian Style, Contemporary Poetry, Lingual approach, aesthetic approach
  • Mohammadhossein Pouresmaeili Najafabadi *, Ali Zamani Pages 93-110
    Folklore is considered as one of the indispensible features of Payandeh's stories. Folklore in his stories included the use of popular beliefs in social, religious, superstitious and medical fields. Local dialects and lexicon are used frequently, Current proverbs among communities is one of the symbols folkloric literature which abound in the works of Payandeh. Due to the fact that Payandeh deals with different classes of people in his prose works, his stories contain literary, media and local features and rarely do others works contain all these together. The characters in his stories from intellectuals to peasants, feature their own linguistic features. The fact juxtaposes dialectic and aesthetic features with each other. His prose style alternates as the speakers change. Therefore, we expose to a realistic linguistic atmosphere when common people speak. On the other hand, when the intellectual class speaks, the language becomes pompous, formal and pretentious. Two important reasons lead to this impressionability of Payandeh's stories from pop culture:1. Writer's hometown
    2. The environment where these stories have taken place.
    The local customs and beliefs applied in his stories are divided into three categories:1. Social customs and beliefs including those concerning pilgrimage, burials, marriage, inheritance and so on. Metaphysical issues such as jinn, cosmology, charm, chance and fate are also referred to.
    2. Religious customs and beliefs: Writer's hometown is known as Dar al-Momenin and abounds with pure religious beliefs which have manifested themselves in his works. Beliefs such as prohibition of drinking and usury are rooted in the beliefs of his community.
    3. Superstitious beliefs: Superstitions are popular beliefs which are severely criticized in Payandeh's stories with a comic tone. Among these superstitions are those related to eclipse, looking into mirror and bad omen.
    4. Medical beliefs: Ancient's beliefs in metaphysical power and their ability for curing diseases are frequently referred to in his stories. They include popular beliefs in charm, magic, mystery and traditional remedies.
    5. Proverbs and ironies: Proverbs in Payandeh's stories are visible in high frequency and they are also sometimes altered comically. Irony, in the same vein, is applied every now and then in his stories. His stories are sometimes replete with the use of irony. According to Nasrehesfahani, the most conspicuously used figure of speech which is rooted in popular beliefs is irony. After simile, he believes irony is the most effective means of giving his stories the required sense of imagination.
    6. Slang Language: Various elements of slang language are obvious in his stories which make them as close as possible to pop culture.
    Recently a new books is compiled through the scattered notes left by Payandeh which is entitled Ghadamgahe Shahrake Noon.
    Keywords: folk tale, customs, colloquial language, beliefs, fiction
  • Ali Mohammad Mahmoodi * Pages 111-128
    In the Constitution Era, Ghazal, as other poetic forms, faced an expression of lyricism and was tinged with national and patriotic ideals. The poets of liberalism merged ghazals with labor mottos and social issues thus to make changes in the “thematic unity” of this poetic form. For instance, Farokhi Yazdi’s ghazals have therefore disparate structures. After Nima Youshij’s “The Myth”, ghazal faced certain evolutions in form and structure in the streams of “Mid Ghazlas”, “Model ghazals: Imagery ghazals”, and “Post-modern ghazals”. Changes in written form of ghazals conducted by Manochehr Neistani and Mohammad Ali Bahmni were considered as the primary efforts for changing the formal structure of ghazals, which faced a break in the 1990s and 2000’s and continued then after. In general, the contemporary ghazal in its “internal form” has experienced some changes, deconstruction, and the lack of thematic unity, and sometimes in its “external form” it has faced changes and innovations . In the present paper, after reviewing ghazals of certain most famous poets of the contemporary era, the innovations, weaknesses and the strengths of its internal and external form is analyzed. The content of contemporary ghazals, rather than being similar to that of old ones, is much similar to the contemporary poems. And for a poem that is supposed to communicate with modern man, this is a necessity. Writing ghazals in this era is not "Bearing a grudge against Nima Yushij, but is to take steps on the path he had paved” (Bahmani, 1998: 9). In this paper, the content of Farrokhi Yazdi’s ghazals are analyzed as samples for ghazals of the constitutional era. It is understood that his ghazal is already politicized before it has lyricism in it and the structure of his ghazal is binary. For better understanding of the evolution and innovation of the contemporary ghazal, one must consider ghazal of Natel Khanlari and solo-ghazal of Foroogh Farrokhzad. The romantic atmosphere and presence of nature in the form of poetry are among the characteristics of Khanlari’s works. His style was continued after the August of 1941 and then the modern ghazal of Iran was formed from among these experiments. A type of ghazal that has nothing to do with traditional Persian lyrical poetry and, out of its form, it can be considered a piece of “Modern Persian Poetry”. The solo ghazal of Farrokhzad is a start for the modern strem of ghazal and poetry, a type of ghazal that in terms of form is similar to that of Nima Yushij’s has become a turning point in the history of ghazal. In another part of the paper, the form cohesive structure and form of Hooshang Ebtehaj’s ghazals are analyzed as samples of mid-ghazal. Ebtehaj’s ghazals could not help to modernize thestruture of ghazal and that was due to the traditionalism in it. There is modernity only in the language of his ghazals that it can be considered a prelude for the poets following him. Besides modern poems, Neiestani also has ghazals too, where his modernism is evident. One of the innovative steps he took for ghazal was the similarity of his ghazals to those of Nima’s. Mohammad Ali Bahmani also continued Neiestani in his ghazals and somewhat perfected his style. To express the feelings of a people in an era is the achievement that a poet has gained it. The subject of “narrative in ghazal” I among the comprehensive aspects that has been originated from the modern ghazal and reached the highest points in the post revolution era and the 1990s. The ghazals of Monzavi, Behbahani, and young poets such as “Mohammad Saeid Mirzaee” have the element of narration. In general, the form of ghazal has faced ups and downs because of its complicated and valuable history. Sometimes, it has faced structural raptures and sometimes has found new forms by the newly sighted motivations. One of the secrets of longevity of ghazal is the textual coherence in the subjective form and the external framework, which has reached sublimity with narrative. Ghazal in the last century has experienced manifold subjective and objective structures.
    Keywords: Ghazal of constitutional era, contemporary ghazal, the external form of ghazal