پژوهشنامه نقد ادبی و بلاغت
سال یازدهم شماره 4 (پیاپی 28، زمستان 1401)

Hafez's poetry, known for encompassing all horizons even during his lifetime, has a unique style, structure, and exceptional content in his ghazals. Some readers who have read his ghazals may mistakenly perceive their verses as disjointed and separate, assuming that they are meant to challenge the vertical coherence. However, the coherence and continuity primarily concern the domain of semantic relationships between the textual units, and it is these relationships that provide cohesion and coherence to the discourse. The connection between the text and the sentence or phrase is not solely due to its size and appearance, which are factors of textual linkage, but rather due to its realization within the sentence. Therefore, in this library-based and descriptive article, three ghazals from Hafez's Divan of Ghazals have been randomly selected, with one ghazal serving as the base and the other two ghazals serving as supporting examples. It is assumed that all of his ghazals possess vertical and horizontal coherence. Based on Michael Alexander Kirkwood Halliday's theory of textual coherence and cohesion, as well as Ruqaiyah Hassan's and Kolān Estāre-ye Zoltan Koovachesh's theory of major metaphor, the research hypothesis has been examined and analyzed to either support or refute it. The research results demonstrate that out of the three general categories of textual coherence factors proposed by Michael Halliday and Ruqaiyah Hassan, the frequency of grammatical factors ranks first, lexical factors rank second, and the linking factor, which is responsible for horizontal coherence, ranks third. While lexical and grammatical factors are not only influential in achieving horizontal coherence but also contribute to vertical coherence, based on Koovachesh's theory, which primarily focuses on the domain of semantic relationships between textual units (verses), the verses of each of these ghazals are placed under the shadow of a major metaphor that does not have explicit manifestation in the text. They are blended together with subtle conceptual metaphors present in the text, thus establishing the coherence of the ghazal. In addition to textual factors, extratextual elements such as allusion and omission contribute to their coherence and cohesion within the spiritual context present in these ghazals.Therefore, these ghazals, since they possess all the necessary components that, according to the mentioned theories, are required to establish textual coherence and cohesion, demonstrate both vertical and horizontal coherence. It can be said that Halliday-Hassan's and Koovachesh's theories are applicable in determining the textual coherence and cohesion of Persian ghazal poetry, and the pattern used in this research can be utilized for the analysis and critique of rhetorical aspects in other texts, especially ghazals.

Man's natural tendency towards perfection and self-fulfillment and the desire to grow and evolve has been the focus of human attention for a long time, and human has always had the dream of achieving their own perfection and have strived to reach the highest level of perfection by using all their abilities and talents. This inner feeling of man and the effort to reach his supreme truth is interpreted as "perfectionism" nature in Islam and "self-fulfillment" in humanist psychology. The process of knowing "one's own self" and reaching perfection and self-realization has occupied a huge range of literature, especially our mystical literature. The mystical literature of Iran is full of these clear examples that show the value and human concepts and its deep connection with humanistic psychology. Among these, Attar, as one of the mystical poets, has focused on self-knowledge and the high position of self-awareness in most of his works and thoughts. He has described the stages of achieving perfection and self-realization and their obstacles from the mystical perspective. Among his works, Mosibatname is one of the most brilliant and original classical texts of mystical literature, whose main theme is "self-knowledge" and "meeting with oneself", which calls a person to perfection and self-realization by walking in the spiritual and spiritual worlds. This is the same subject that is related to the principles of humanistic psychology studies.Abraham Maslow, as the main figure of the humanistic school of psychology, has discussed the characteristics of a healthy and self-fulfilling person from a scientific and experimental point of view, emphasizing the positive aspects of human tendencies and presenting the theory of self-actualization. In this essay, an attempt has been made to answer these questions: 1. What are the most important indicators and components of human self-actualization in Attar's Mosibatname based on Maslow's theory? 2. Based on Attar's point of view, how are these characteristics analyzed and explained in Mosibatname?To achieve this goal, this research was conducted based on library resources and using a descriptive-analytical method. and all of Attar's Mosibatname was examined based on Maslow's theory of self-actualization, and the most prominent characteristics of Maslow's self-actualized individuals, which are consistent with Attar's concept of a complete human, were analyzed and explained.As a result, it can be concluded that mysticism is a field that always calls man to self-knowledge and evolution and "becoming" and great mystics have tried to benefit from Islamic teachings in the exaltation and prosperity of human beings and obtain theories related to psychology from Islamic teaching. Like many other mystics, Attar had a special interest in psychological matters according to his own system of knowledge. The main focus of his thought in Mosibatname is movement and dynamism and achieving self-knowledge, and the seeker of thought seeks growth, dynamism and prosperity with a clear and pure conscience. Therefore, many of the ideas that have been discussed and explored in the school of humanism, in Attar's thought and his view of the perfect human being and the path to perfection, are noteworthy and investigated.

One of the most important and basic topics in Persian language and literature is the definition of a literary work and the presentation of scientific and logical indicators to distinguish between strong and weak literary works. Poets and writers of the first class of Persian literature have created literary works by taking into account the effectiveness of words on the audience and the transfer of meaning in the form of artistic techniques. In this essay, the author's main goal is to use what has happened in the history of Persian literature for 1,200 years and by presenting evidence in the form of selection from the first class poets of the Persian language and literature, to identify the criteria that exist in the literary texts of these authors. The reason for the stability of words and their permanence over time has been studied and analyzed. The author of these lines, the most important factors affecting literary texts follow the following schema and have eight pillars: The first pillar: language which can be examined in five areas. Including: 1- Persian grammar, 2- Linguistic strength or mature language, 3- The position of each specific word in the context of speech, 4- The connection of words with each other, 5- The amount of speaking. The second pillar: having persuasive power which can be obtained in three ways: 1- use of allegory (including two subsections of allegory based on historical events and self-created allegories), 2- use of reasoning (including three subsections: first confiscation to the desired, second The use of natural phenomena, the third is the original arguments that emanate from the creative mind of the poet or writer. 3- The use of good reasoning. - The third pillar: the types of innovations in the text: which includes 1- innovation in theming, 2- innovation in expressive techniques and innovative industries, 3- innovation in the field of language and lexicography, 4- innovation in imagery. - The fourth pillar: hidden uses of literary subtleties and rhetorical elements - The fifth pillar: honesty of the text, which has two modes, one is the compatibility of the speaker's personality with his words, and the other is writing from the depth of the soul. - The sixth pillar: talking about eternal issues. - The seventh pillar: accompanying the content with the conditions of the time of the poet or writer. - The eighth pillar: music in poetry and perhaps prose. The music of poetry includes two parts of weight and rhyme, and in prose it includes crafts such as saj', tarsi', movazene, and the like. It is necessary to explain that this scheme was formed based on the understanding and perceptions of the author, and in fact it is a new model in recognizing the characteristics of literary masterpieces.

The school of formalism in literature is one of the schools of criticism that addresses the external form of literary works without paying attention to various factors influencing the literary text such as political and social phenomena. In line with the developments in the recent century, the quartet is a literary format that has been affected by its influences and witnessed many deviations from common traditions. Hence, the theory of the school of formalism can be applied for the criticism of the aesthetics of this type of poetry. Bijan Arjan is a modernist quatrainist who has been able to use modern elements and techniques in his work in addition to remaining faithful to traditions. The present essay tries to analyze the aesthetic aspects of Bijan Arjan's published quatrains using a descriptive-analytical method informed by the theory of the school of formalism. The findings of the research show that the use of form elements such as non-normativeness, regularization in the use of music and the use of the element of dominanance play the most significant role in the impact and beauty of his poetry. Norm deviation in both lexical and compositional domains, along with highlighting the forms, has made a better transfer of meaning possible in his text. regularization in the use of musical contour is accomplished in his work with the help of phonetic balance between consonants and vowels, use of puns, lexical balance through complete and incomplete identical repetitions at the level of words and sentences. In addition to adding musical richness to the work, this has helped his successful rendition of special concepts and feelings for the audience. As for music accompanying his work, his use of auditory, visual and grammatical rhymes along with the use of special versification is significant. Among the technical and formal elements, the one that is clearly more frequent than other elements is the element of dominanance. The dominant element in Bijan Arjan's quatrains is the use of image because of its high frequency of use. The aesthetic examination of Arjan's quatrains from the perspective of formalist criticism shows how the form of his quatrains plays a significant role in their sensory and semantic impact.

Khaqani is a self-congratulatory poet; So that you can hardly find a poem where he did not talk about his superiority. One of the reasons for Khaqani's self-praise is the inferiority complex. In the past, the social and economic level of the family was effective in determining the position of people in the society. Since Khaqani did not have a rich family, he has been neglected; Therefore, one of the reasons for his narcissism is his inferiority complex. . Another reason is the existence of rivals who spoke ill of the poet, as a result, the poet had to express his merits. Conceptual metaphor theory, which started with Lakoff and Johnson's opinions, proved that metaphor is also seen in thinking.  The conceptual system based on which we think and act has a metaphorical nature. In the traditional approach, they look at metaphor as a decorative tool, but in the new approach, they look at metaphor as a translinguistic tool that is not only in language; Rather, it is current in human thought and action. Therefore, in the new approach, metaphor is not an aesthetic tool for poets and writers; Rather, all people use it in their daily speech. According to the cognitive linguistic theory of metaphor, in metaphor, we understand one conceptual domain through another conceptual domain; That is, we use the tangible domain to objectify the abstract domain. According to the cognitive linguistic theory of metaphor, many abstract concepts have a metaphorical structure, although they may not be revealed at the level of language. Despite this, metaphors dominate the concepts. Metaphor in its cognitive sense is a bridge to understand abstract or less tangible concepts. Lakoff and Johnson have divided metaphors into three types: 1. Ontological metaphors: existential metaphors are metaphors in which abstract concepts are considered as an entity. 2. Structural metaphor is one concept is organized in the framework of another concept. 3. Directional metaphor is a type of conceptual metaphor in which concepts are conceptualized based on physical directions.The living environment, life events, experience, culture, etc. have an impact on human thoughts and feelings and are reflected in his words; Therefore, by studying the works of a poet or writer, one can reach the thoughts of that poet or writer. In this research, which was carried out in a descriptive-analytical way, while introducing the theory of conceptual metaphor, metaphorical maps related to self-praise were extracted. To objectify the concepts related to self-praise, the poet has used the concepts of the following areas in order of frequency: Concepts of family and social system (31 items), kingdom (19 items), nature (16 items), religion area (15 items), Astronomy field (4 cases), medical field (4 cases), professional field (4 cases) and.

One of the most important issues of life is the purpose and meaning of life, which is seriously considered by thinkers and thinkers today. Victor Frankl is a theorist who has answered this question through his difficult experiences.In his school, which is called "meaning therapy", he has tried to remind man that everyone in his life must discover a meaning through which he can overcome hardships and be safe from emptiness and despair. Semantic therapy believes that life has meaning and that each person should seek his own unique meaning and that man has the freedom to choose his approach to life.The purpose of this study is to investigate the components of meaning therapy in Forough Farrokhzad's poetry in order to provide solutions to the meaning of life.  This research is done by descriptive-analytical method; In this way, first the three important components of love, suffering and death are explained and then examined in Forough Farrokhzad's poems. The statistical population in this research is a complete collection of the poet's works. The result of this research shows that Forough is full of life. He considers love, suffering and death as a phenomenon of life and has reached a deep meaning of life by accepting these three components. Forough's view of love is very wide. He goes from discovering love to discovering himself. She seeks refuge in love in search of inner peace. In the period of decline of human emotions and despair, he sees love as an escape to make life meaningful. The suffering and pain that is rippling in Forough's poetry is a sign of his acceptance. He has consciously accepted the suffering and recited the poem, and in the end he holds man responsible for his own destiny. He also considers death as a part of the phenomenon of existence, but this death is a consciousness for Forough accompanied by fear, which passes this horror with a meaning called love. Forough finds the meaning of life very simple. To create the path of life, he creates great meaning from every small and simple issue for a life full of love. In his poems, the poet not only finds human understanding incapable of understanding the secrets of existence and self-knowledge, but also believes that man must take this inability into account, and for this reason, while pointing to man's inability to understand himself and existence, by calling to Happiness and satisfaction give meaning to life. Finally, we must say that the categories that Viktor Frankl introduced about giving meaning to life are not only known to make human life meaningful, but according to his theory, the dark side of these categories has been dominated by their bright and meaningful side. According to Frankel, death is not the end of life. Suffering, despite being unfortunate, may be the joy of human existence. Love is not just a generic and based on known drivers in psychology, but it can be something beyond what was stated.