فصلنامه شعر پژوهی (بوستان ادب)
سال پانزدهم شماره 2 (پیاپی 56، تابستان 1402)

A Compound simile is one of the finest types of similes that provide a complete picture of the association of two or more things. Compound simile has always been of interest since the first periods of Persian poetry and has also found a special effect in contemporary poetry. Shamlou is one of the most prominent contemporary poets, whose prose poetry (white poetry) is named after him and he has used compound similes in many cases and with great artistry. In this research, which is a library and is done with a descriptive-analytical method, the compound similes in Shamlou’s. Poems are examined in order to find out the artistic techniques of Shamlou in the structure of compound simile, the role of novel arrays in addition to the compound simile, and the purposes of simile. The result of the research showed that the plurality of tenor and vehicle, priority vehicle over tenors, and adding to compound similes are structural features of compound similes in Shamlou’s s poetry, and each of these features has been used to strengthen the music of the poem and also its semantic purposes. The purposes of simile are also significant in Shamlou's poetry; considering that Shamlou's poetry is a critical social poem and the poet has a rhetorical and critical tone in most of this poem, "condemning and making the tenors look ugly" and "arguing to express the possibility of the tenors" are among the purposes that can be seen in his compound similes.

Labor poetry is one of the subsets of committed poetry that has been popular in the works of some poets from the constitutional era to the Islamic revolution. Because after the victory of the revolution, with the change of political and social structure, the society of Iran underwent transformation and literature also underwent changes. Therefore, the course of evolution of this type of poetry in the post-revolution period can be investigated according to these changes. In order to carry out this research, the works of pre-revolutionary labor poets who wrote poetry during nearly three decades after the Islamic revolution, as well as the most prominent collection of post-revolution poets' poems in various formats, have been examined. In this research, using the descriptive-analytical method and relying on the research products obtained from the study in the library and the note-taking an attempt has been made to analyze the labor poetry in the decades after the revolution. According to the findings of this research, after the revolution until the end of the eighties, labor poetry has stagnated. It was not neither welcomed by the new poets of this period nor continued in the poems of labor poets before the revolution. But in the 90s, we have seen the relative prosperity of labor poetry compared to other decades after the revolution until now. The remarkable thing about the labor poetry of the nineties is that it has undergone changes in terms of content and theme compared to the labor poetry of the pre-revolution era. These changes have been shown by citing examples of labor poetry of the nineties and comparing it with labor poetry before the revolution.

In the history of Persian literature, no poet can be found whose details are as important as Hafez's poetry. Throughout the history of commenting on Hafez's poems, many of his lexical, syntactic, literary and content points have been discussed, and each commentator, in his own way, has taken a step towards solving the difficulties of his poetry. Of course, we should not ignore the fact that there are some concepts, phrases and words whose accurate understanding plays an important role in understanding Hafez's poetry. One of these important cases is the phrase "Maye Baghi " in the third sonnet of Divan according to alphabetical order. Examining the provided interpretations shows that most of the commentators have proposed the meaning of "the rest of liquor" for this phrase. A meaning that does not create a problem in understanding the meaning; But it seems that it does not match with the general mood of the poem. Therefore, in this article, which is written in an analytical-descriptive method, using the model proposed by Michael Riffaterre for the heuristic reading of the poem, this sonnet of Hafez was reread, in this way, while extracting the dominant concept in it, a meaning documented by textual evidence. to be presented for the phrase " Maye Baghi ". Therefore, sonnet was divided into five separate sections and after examining the accumulations and dual confrontations, the concept of "superiority of cash, permanent and real over credit, impermanent and unreal" was identified as the matrix or semantic axis of the Ghazal. Based on this matrix, it can be said that Hafez's purpose of using the adjective "Baghi" for liquor is to express the durability of its effect.

Knowing mythological characters in general and mythological women in particular in contemporary Persian poetry is a way to know women in contemporary times as well as knowing poetry, its semantic layers and analysis. Among women, Leyli's face is an important figure in Persian poetry, both classical and contemporary. One of the most prominent and important symbols of the lover in Persian poetry, Leyli, the reflection of her face in contemporary poetry is examined in this research by focusing on the poems of Hossein Manzavi, Nusrat Rahmani and Forough Farrokhzad. The main question of the research is how Leyli, as the most important mythical female character in Persian literature, is reflected in contemporary poetry and what her relationship with the real face of women is in our times.In so doing, after reading the most important poems in which the character of Leyli is present, the poems will be analyzed from the point of view of myth analysis. Myth analysis is an approach in which the influence of the author's personal life is examined along with contextual-textual research in the sense of historical and social influences in the creation of the work. The findings of the research show that all three poets selected in this research have had a different look at the myth of Leyli and the function of myths in contemporary poetry is different from the function of myth in traditional poetry.

Numerous writings have been published about Hafiz's poems, however, this prominent poem still provides opportunity for new research. For the first time, the topic of "threat" in Hafiz's poems is investigated in this essay. In order to open a new window on a deeper comprehension of the mind and language of this mystical spokesman, we applied classified content analysis and thorough analysis of threatening poems. To accomplish this, we read The Divān of Hafez (Ghazvini and Ghani edition) and selected verses that have a threat-related connotation or denotation.Then we analyzed them from a variety of angles, including their speech acts, verb types, threat types, addressees of threats, reasons for threats, reasons for supporters of threats, effects of threats, and how threats are expressed in the context of Hafiz's Ghazal as a whole, both implicitly and explicitly. Study and analysis of the various threats found in Hafez's poems demonstrate that he possesses an inner strength with which he threatens religious foundations, praised issues, lovers, and others.

Qalandariya is a distinct group with specific subcultures, and isolation within the society is one of them. To determine how the subculture gets acctualized is the goal of the present study in interdisciplinary field of Sufist literature and cultural sociology. This investigation bases on library studies. It applies descriptive analytical method and content analysis approach. The text corpus includes Persian quatrains due to the significance of this form to Sufism. The time zone is from the beginning to the 8th century (A.H.). The subject is limited to the field of cultural sociology, excluding the religious elements. The findings show that Qalandars achive their summoned seclusion despite being among the people by their deviant sub-cultures. The mentioned sub-culture gets determined by comparing it to the dominant culture of the main society, including the culture of the non-Qalandari Sufi community. Regarding sociology of literature, the most critival subcultures that contribute to the deviation of Qalandars’ life from the customs and social habits of the people are as follow: their different and incomprehensible language for the ordinary people and its mixing with profanation, reticence and extreme silence, their infamy and reproaching while trying to be inoffensive, gladdening to people and even preferring being exposed to oppression than being tyrant, celibacy and turning their back on the culture of marriage, family formation, and intercommunicate with relatives, constent trips and permanent displacement and wandering aimlessly in markets and different places, crazy life and especially sudden shouting for no reason, mysterious behaviour with slyness and cleverness, begging despite claiming to be ignorant to others wealth, reckless consumption of cannabis and opium.

Due to the abundance of words and combinations and various information in Khaqani's poetry, there have been many errors and misreadings, and some of these interpretations have remained hidden from the commentators and correctors of Khaqani's court even to this day. One of these interesting spellings has occurred in the verse "As this bride is from the skin of Khurram/ As gold was the elemental Khurramvan", the author proposed to correct the analogy of the first stanza in the form of "As Ibn Ars is from the skin of Khorram". has done. "Ibn Ars" is a word that means weasel, and as shown in this article, it is one of the animals that, according to the information obtained from some ancient animal books, was very interested in jewelry, especially dinar and dirham coins, and collected They have found pleasure. In this research, a brief review and analysis of this interpretation in Khaghani's Court has been done.