فصلنامه شعر پژوهی (بوستان ادب)
سال پانزدهم شماره 1 (پیاپی 55، بهار 1402)

In this verse of Hafez:Kooh-e andooh-e feraaghat be che hilat bekeshadHafez-e khaste ke az naale tanash chon naalistThere are three recordings: “Hilat/ Haalat/ Taaghat” and there is disagreement among the editors of Divan-e Hafez over those records. Choosing any of these three recordings is valid from the lexical point of view, but only one of them is according the Hafez final edition. “Hilat” in addition to its common known meaning, which is synonymous with “Means”, refer to another meaning: “Medicine”. Furthermore what strengthens “Hilat” status is its relation to ancient mechanical engineering term. The word “bekeshad” in this verse strengthens this hypothesis, which due to translation, corresponds to the part of “Jarr” in the “Ilm Jarr al-Athqāl”. In the scientific tradition of the Islamic Middle Ages, the “Ilm al-Hiayl (=the science of devices)”, covers the whole tradition of Islamic practical mechanics, in contrast to theoretical mechanics represented by the “Ilm al-Athqāl / Jarr al-Ithaqāl (=the science of weights)”.However, the other two recordings: “Haalat” and “Taaghat” are not completely unreasonable; the texts that Hafez was influenced by, can be a reason for the relative acceptability of the recording of “Taaghat”. From the Homonym and Amphiboly point of view “Haalat” has a special meaning, which has been less noticed by Divan-e Hafez commentators and editors; This figures of speech are based on the manuscript’s styles of writing, which the writers and poets of the past - at least in a certain period - paid full attention to. This article seeks to examine the reasons for the relative acceptability of the two other recordings, and examine the preference of the “Hailat” from textual and rhetorical point of view as a final recording of Hafez.

One of the Mevlana's prominent masterpieces is Divan-e-Kabir / Koliat-e-Shams-e-Tabrizi. Unfortunately, Divan-e-Kabir has received less attention in comparison with Mathnavi. The Edition of Divan-e-Kabir has difficulties according to its large number of verses, its manuscripts with different Ghazals and the way of composing the poems.In this Article, the authors enumerate verses, which has some mistakes according to the authentic manuscripts, especially the ones, Froozanfar has. We have studied these verses in different editions, selections and translations of Divan-e-Kabir. Then, we understand these defects arose in later studies following Froozanfar. Raynold Nicholson has translated and edited 48 Ghazals before the rest. After Nicholson, Arbbery has translated 400 Ghazals according to the Chester Beatty manuscript and he said he had had Froozanfar's edition but he preferred to translate Ghazals from the Chester Beatty manuscript. Tofiq Sobhani in 1386 based on one manuscript -Qunia 770- edited Koliat-e-Shams. It is surprising that in some verses, he did not follow Qunia 770 and followed Forouzanfar's edition. In this Article, we studied numerous manuscripts, and then we picked up the authentic ones and according to them, edited verses. Some of the edited verses are mentioned here. In addition to authentic manuscripts, the study of Rumi's language in his other works has also helped us a lot.

Shah Isma'il I of the Safavid dynasty was the inheritor of the politics and courage of the late Safavid sheikhs (Sheikh Junaid and Sheikh Haidar) and his maternal grandfather (Ozone Hasan Ag Ghoiunlu) and the virtues and spirituality of the old Safavid sheikhs, especially Sheikh Safi al-Din Ishaq Ardabili. According to some reliable historical and literary sources, he had a poetic talent and Divane Khatayi has been attributed to him. However, the accuracy of this attribution has some opposing and adherents. This paper has studied Divane Khatayi and other literary and historical sources of the Safavid era in a descriptive-analytical way based on Gerard Genette’s Theory and concluded that according to the inner and outer paratextual evidence, the attribution of Divane Khatayi to Shah Isma'il I of the Safavids has a strong scientific, literary and historical backing. Most of the inner paratextual evidence of this attribution is related to the title of the divan and the poet’s pen name that in addition to implying the same person, frequently came together. Furthermore, most of the external paratextual evidence is related to biography writers' reports about his poetic talent and attribution of Divane Khatayi to him along with quoting examples of his poems. Other paratextual evidence includes references from historians, authors of dictionaries and encyclopedias, Selselat-ol Nasabs, travelogues, Ashiqs, etc. that confirm the accuracy of attribution of Divane Khatayi to him altogether.

One of the effective methods to study the semantic aspects of mystical language in literary texts is critical discourse analysis, which is a new attitude of discourse analysis in linguistics studies that analyses texts considering cultural and social context. The present research analyses Hafez's mystical language with an analytic-descriptive method and based on three-level pattern of Fairclough. For this purpose, after describing Hafez's mystical poems according to Halliday’s systemic-functional linguistics framework and relying on the textual metafunction of language in that framework, by observing the interlingual and extralingual contexts of the poems and with an intertextual analysis, it interprets and explains them ideologically. The results of the research indicate that distinguished mystical features in Hafez's mystical language have some points in common with other mystical texts and besides presenting the intertextual characteristics and general principles of mystical discourse, they indicate Hafez's personal and ideological views in relation with cultural and social conditions of his time. The achievement of the present research is to justify and describe Hafez's mystical language scientifically and pattern based and also to express how and why his mystical discourse is formed, produced and comprehended with applying effective and reliable instruments of critical discourse analysis. Therefore, the achieved results are reliable and based on linguistics authentic and reasonable rudiments and are also far from generalization and its following mistakes.

The piece is a suitable platform for social criticism. Anuri Abivardi, one of the famous poets of the 6th century, has also reacted to the ignorance of the people and their misunderstanding of the political and social conditions and the way of governance of the Seljuks in the piece Vali Gada. Therefore, based on the analysis of Norman Fairclough's (1989) critical discourse, the present research investigates how Anuri interacts with the suffocating situation dominating his time in three levels of description, interpretation and explanation. In this piece, it has been analyzed at the level of description of how to explain the poet's ideology and thought, by creating coexistence and sometimes conflicting relationships and communicating between words. At the level of interpretation of how to use the intertextual protest role of allusion to express the poet's own intention, and at the level of explaining the confrontation between the clever Anuri's ideology and the rulers' ideology in the Beggar Governor's piece and political conquest, Anuri's method of paradox and debate has been analyzed to exercise indirect power.

Nostalgic poetry is a type of autobiography mostly rooted in the important events in the life of the poet. The poet’s reaction to these events is mostly sharp and effusive, being formed in morose moods. Poems with the theme of separation and love failure are a type of autobiography that contains especial idioms with higher frequency. Heyran Donboli, a female poet of Qajar era, composed nostalgic poems fed by a separation from her love as reflected in her loving self. Phrases such as -“I” the feeble, “”I” the sad, “I” the oppressed, “I” the afflicted, “I” the helpless, “I” the unlucky and broken- are instances of sadness phrases used by the poet that represent her wistful “oppressed self”. The representation of love in her sentimental discourse appears to be a reflection of her pathological needs and dependence. Among other particularities of Heyran Donboli’s poems is reproach of separation, fate, evil eye and love rival, self-judgement, begging for affection and asking for mercy. Heyran can be considered a love-seeking poet who has displayed her inferiority complex with high frequency arising from a lopsided relationship. It can be argued that the feverous emotional eruptions of feebleness in Heyran’s poetry are a clear mirror reflecting the history-long oppressions of a male-chauvinistic and religious society. It can also be argued that Heyran’s poetry reflect the status of women in Qajar era and further claim that the feminine love literature was defeated by the literature of masculine power. Keywords: Heyran Donboli, Ghazal, the loving self, the oppressed self, nostalgia

“Haft-Peykar” is one of the most prominent literary works with symbolic expressions that many of its linguistic capacities remain unknown. Since the content of a coalition work indicates the meanings of words and their applications, and also the lexical manifestation of style is rather more in the work than other layers, the analysis of the lexical layer is more effective in discovering the linguistic capacities and artistic connection of language and meaning. It is tried in this study to determine the role of this linguistic structure in creating and representing the secondary narrative by examining the lexical layer, especially the art of selecting words in the Black Dome. In order for the words to be effective and for the reader to understand the text more deeply, the poet narrates a story parallel to the story of the Black Dome at the lower level. The choice of terminology in “Nezami’s” words is appropriate with their value in the textual and hypertext context. Hence, the words that play a role in representing the deep narrative are symbolic codes that provide multiple understanding potentials in the content, and from a structural point of view, they are loops for constructing the continuity in the deep narrative that is constructed and associated with the events of the story in such a way that their omission destructs the perception of the secondary narrative. Paying attention to the frequency and homogeneity take the words out of monotony. On the other hand, presenting the story codes in a polysemous way, calligraphy, adjective substituting the noun, and bringing a personal pronoun before them, are suitable ways to highlight the codes.

 Khosrow Anūshirvan who was the just is among the most illustrious Sasanian kings due to his words of advice presented in Persian literature. In addition to the fact that his words of advice are included in various texts, some poets have also organized them as verse. One of the most-popular words of advice attributed to him was presented in his coronation ceremony and was first organized as verse by Badye Balkhi in the Rahat al-Ensan. Anūshirvan 's Pandname  was also organized as verse by another poet whose name has not been known so far. In this study, the versified poems are attributed to Amir Hakim Burhani whose son's name is Amir Moazzi. There are very few verses belonging to him, and also there seems to be some doubt as to their attribution to him. Accordingly, this versified poem comprising of 235 couplets is very important. The name of the poet is mentioned in the end of one of the versions of this versified poem included in one volume with the best and the most beautiful selection of Rozat-Al-nazer- o- Nozhat-Al-khater and some other versified poems and also stylistic clues support this attribution.