poetry

Seyyed Ali Salehi is the first to mention a current as a flow of speech And he himself emphasizes the element of simplicity in defining this type of poetry. A trend that emphasizes other components such as discarding the veil and metaphor, diminishing the element of imagination, using spoken language, face-to-face audience instead of absent audience in poetry, central audience, audience, lyrical spirit and emotion. In this research, the components of speech flow and the criteria of non-poetry and the poetry of the mentioned flow are analyzed. Then we analyze the theoretical concepts and components of speech flow in the texts of Seyed Ali Salehi and Gross Abdolmalekian. The reason for examining theoretical concepts and components in the texts of the two poets is the differences that Salehi and Abdolmalekian have in their method of work and presentation of materials as poetry.. Since the acceptance of a literary current ...

The connection between music and poetry is noteworthy from two perspectives. The first is the subject of songs and different parallels of words that form the musical field of poetry, and the second is the use of musical instruments and terms in poetry. Poets of different eras have created various images and meanings using musical instruments. The lute is one of the musical instruments that Persian poets have used in various ways in their poems since Roudaki’s era and have provided many images, meanings, and lexical links. Analyzing the evolution in the use of the lute from a stylistic point of view can show the creativity or imitation of different poets. Therefore, in the present study, we have composed a corpus of 79 poets consisting of five sections and 360 poems so as to describe the corresponding imagery through structural methods and content analysis. The results of the research show that the 6th to 8th century is the peak of imagery and meaning creation with this ancient instrument. This tool has mostly been used as the rhetorical device, and lexical links are in the second order. Also, semantic and thematic interpretations can be seen in different periods of the Persian poetry. Among the poets of all eras, Khaghani has made the most varied use of the lute image in terms of both the frequency of verses containing the image and the variety in the use of the word lute.

Like the sages of ancient Iran, Suhrawardi chose poetry and allegorical narratives to convey the subtleties of intuitive Illuminative wisdom. He explicitly stated his intention to revive the thought of the sages of ancient Iran. This thinker employed a persuasive writing style and, through the creation of allegorical tales, artistically expressed his teachings in literary form, revealing reality. The present study seeks to answer this fundamental question: What is the relationship between the allegorical narratives of Illuminative wisdom and the thought of the sages of ancient Iran, and what role did these sages play in the creation of poetry and artistic works? Based on the findings of this research, Illuminative texts can be examined from two perspectives within the philosophy of poetic art. First, in terms of form and writing style, they present the fundamental elements of poetry, particularly imaginative elements. Additionally, from the perspective of content, meaning, and intrinsic elements, they share a deep-rooted connection with the essential components of Illuminative thought, namely consciousness, contemplation, and luminous knowledge. In his allegorical narratives, Suhrawardi designs a roadmap for connecting to the realm of imagination and acquiring intuitive knowledge. Through a dialectical exchange with the guiding intellect, he lays out the path for the seeker to receive the light of illumination. Thus, by exploring the imaginative realm and the allegorical elements in Suhrawardi’s narratives and conducting a comparative analysis with the archetypes in ancient esoteric Illuminative texts, a deeper understanding of Illuminative literary artcan be attained.

Octavio Paz, the Mexican poet and artist, was a political and social critic as well as the creator of artistic and literary works written in the style of the Surrealist school. The thematic foundation of his poetry and literary works revolves around philosophical and mythological discussions, which he most likely accumulated as a cultural reservoir in Asia, particularly in India. This study examines andanalyzes the images in Paz’s prose poems to explore theirphilosophical similarities and mythological motifs in relation to the philosophical views of Khayyam, the Iranian philosopher, Epicurus, the Greek philosopher, and Hermes. The aim is to uncover the aesthetic and imagistic richness of his poetry.This study, which compares and contrasts the philosophical motifs of these three philosophers with Paz’s poetry, has found that Paz’s perspective on the element of time closely aligns with the views of these philosophers. The message conveyed by Paz’s images emphasizes the significance of immediate and beneficial utilization of time with a hedonistic and sorrow-averse approach. His poetry also reflects an escape from the mundane calendrical time and an effort to attain an eternal, utopian, and paradisiacal poetic temporality. The images and imagery that make Paz’s poetry remarkable possess mythological, mystical (Hermetic), and philosophical themes. Hissurrealist imagery, in contrast to the classical rhetorical tradition, is abstract and reflects the poet’s immersion in the image itself.This study employs a descriptive-analytical method with an interpretive and hermeneutic approach, utilizing a comparative perspective. The research is conducted through library sources, and data collection has been carried out using note-taking techniques.

Nonverbal communication, or body language, is one of the essential tools that any discourse consciously or unconsciously utilizes to construct its visual messages. In poetry and literary texts, due to the inherent limitations in fully, accurately, and flawlessly conveying the poet’s embedded concepts and emotions—caused by constraints such as meter and rhyme, lexical deficiencies, and the lack of appropriate conceptual equivalents, particularly for expressing emotions such as anger, fear, joy, and sorrow—the poet is compelled to use another language known as body language or nonverbal communication. This form of communication often proves to be more truthful and expressive than verbal language and oral expression.This study, emphasizing the significance of nonverbal communication in literary texts, aims to provide a practical model for analyzing the functions of nonverbal communication in Shamlu’s poetry. Using a descriptive-analytical method, the study examines, extracts, and reports these functions. The findings indicate that although all six functions of nonverbal communication are present in Shamlu’s poetry—sometimes reinforcing and complementing meanings and at other times contradicting verbal communication—the substitutive and conflicting functions are more prominently manifested.

Although some groups are against the definition of poetry and believe that it is difficult or impossible to define poetry due to its breadth and breadth, some experts have given different definitions for poetry, many of which contradict each other. or they have contradictions, each of which is criticized and analyzed in its own place. Mohammadreza Shafiei Kodkani is one of those who gave various definitions for poetry, some of which are sometimes incomplete or sometimes contradict each other, and this is due to his different perceptions and tendencies towards certain schools. The author's goal in this research is to reach a single definition by comparing the definitions of poetry from the perspective of Shafii Kodkani. This research was done in a descriptive-analytical way and its background shows the difference in the definitions of poetry from one point of view. The theoretical basis of this research shows that there are contradictions and shortcomings in these definitions, which indicate his view of poetry from two opposing perspectives, imagism and formalism. The result obtained from this research indicates that any definition of poetry depends on the time and place conditions of a particular period. Due to the fact that the definition must be comprehensive and comprehensive, it is not possible to present a complete and unified definition of poetry in a period and time to define the border between poetry and prose, especially that it is not possible to have two contradictory definitions at the same time for In a certain period,

Historically, religion has had a crucial influence in writing, especially in poetry, and has persistently emerged as a prominent issue for poets and researchers. Consequently, a reciprocal and mutually enriching relationship has consistently existed between religion and literature, with both influencing and molding the other. This link frequently causes poetry to fulfill religious functions, facilitating the dissemination and more lucid articulation of religious objectives. Conversely, religion has offered poets significant intellectual and thematic underpinnings. Consequently, certain poets have utilized religious themes in their compositions, employing poetry as a means to attain social, educational, and political objectives. Rashid Salim Khouri, referred to as Qirwi, is a notable Lebanese Christian poet recognized for his significant contribution to Mahjar literature, particularly through his distinctive incorporation of Islamic philosophy in his writings. His poetry prominently incorporates religious concepts, particularly Islamic philosophy, as evidenced by his allusions to the Quran and its verses. His profound engagement with Islamic notions is a notable characteristic of his poetry, highlighting a significant intellectual and thematic link between this Christian poet and Islamic traditions. Consequently, numerous Islamic beliefs coexist with—and in certain instances, even eclipse—his Christian theological perspectives in his poetry. The principles of anti-imperialism, integral to Islam, are articulated more forcefully in Islamic teachings than in early Christian ideas, which frequently emphasize peace and non-violence. The centrality of Jihad in Islam is underscored by its classification as a branch of Islamic law, as emphasized in various verses of the Quran. Conversely, early Christian doctrines assert that Jihad and the principles of combat ought not to be integrated into religion, as Christianity is inherently pacifist. This study aims to investigate the impact of Islamic ideologies on Jihad and anti-imperialism in Rashid Salim Khouri's poetry, considering the delicate socio-political context of his homeland, which endured centuries of Ottoman and Western colonial domination, alongside his deep engagement with an Islamic cultural milieu. Furthermore, it seeks to analyze the poet's motivations for integrating these concepts into his compositions.

This study utilizes a descriptive-analytical methodology to elucidate and examine instances of Jihad and anti-imperialism in the poetry of Rashid Salim Khouri. The study largely examines his lyrical compilations, particularly his Diwan A’asir. The chosen literary samples were selected by a deductive approach, beginning with specific instances and generalizing the conclusions. Initially, all of the poet's works were examined and critiqued, followed by the selection of instances addressing themes of Jihad, anti-imperialism, and pertinent Islamic concepts for further research.

The research findings reveal that despite the poet's departure from his homeland, Lebanon, due to the political, social, and economic upheaval instigated by the oppressive colonial regimes of France and Britain, he remains profoundly influenced by the Arabic and Islamic milieu of his birthplace. This influence is apparent in his poetry, where the teachings of the Quran and the anti-imperialist tenets of Islam are distinctly reflected. Consequently, the poet maintains an affirmative and supporting perspective on the Islamic principles of jihad and anti-imperialism.

 The notions of Jihad and anti-imperialism, as fundamental principles of Islam, are intricately connected to Rashid Salim Khouri’s religious convictions and are distinctly manifested in several of his poetry. Although early Christian teachings, grounded in peace, reconciliation, and submission, have not prioritized such notions, Khouri's poetry explicitly repudiates them. He condemns the submissiveness and pacifism inherent in Christianity, while extolling the Prophet Muhammad (PBUH) as the quintessential exemplar of Jihad and resistance to tyranny. Moreover, in certain lines, Khouri references Quranic teachings to emphasize the significance of military readiness and armament as vital elements of Jihad, promoting deterrence via power against adversaries. The poet underscores the significance of unity and solidarity as the initial stage in Jihad. He asserts that triumph in Jihad against imperialists relies on the existence of a unified, cohesive community devoid of discord. According to Khouri, the sole avenue to genuine independence is via resistance and active battle (Jihad) against imperialist forces, especially Western colonial nations like Britain, France, and Israel. Thus, Khouri implores the Lebanese populace to revolt against imperialists and commemorates the martyrs and defenders of the nation in its struggle against oppression. Khouri adeptly integrates the Islamic notions of Jihad and anti-imperialism into his poetry, employing his literary creations as tools for social and political activity, compelling the Lebanese and broader Arab populations to oppose foreign subjugation and assert their sovereignty.

Nostalgia is one of the critical issues in psychology, the yearning to be written in Persian or gloom has been restored. Sweet nostalgia and contrast the present with the past, nostalgia is called. Nostalgia and exile, cite a death Regret childhood and adolescence, separation, beloved, remember the glorious history of ancient utopia of idealism and hope are its components. Forough Farrokhzad and Nazik Al-Malaika Persian poet of Arabic literature, shapes and sizes of sympathy, regret and anguish in her lyrics display. This paper presents an approach to the nostalgic past, the love, the memories of childhood and youth and hope of utopia on the lyrics, "those days" Forough and "Nahayat al sollamm" Nazik Al-Malaika reflective film written and aimed at explaining each makes a comparative expression .

The issue of understanding and the nature of poetry is an ancient issue that has occupied the minds of researchers. In the philosophical tradition of the West, from Plato and Aristotle on the one hand, and in the tradition of the East, from Al-Farabi and Ibn Sina to the present day, many negative and positive views have been raised about the nature and understanding of poetry. Among the Iranian philosophers who have had a philosophical view of poetry and poets in the contemporary period is Ahmad Fardid. Fardid is influenced by three sources in his attitude toward poetry: the wisdom of Anas, the mysticism of Ibn Arabi, and the thoughts of Heidegger. On this basis, he divides history into five periods: the day before yesterday, yesterday, today, tomorrow, and the day after tomorrow. The days before yesterday and the day after tomorrow are considered ideal periods for Fardid due to their divine origin and purpose but the other periods do not receive much credibility and importance in his view. In his opinion, with the passage of time and distance from the history of the past, language has departed from its divine origin and has been degraded into a tool and means. Therefore, because classical poets, such as Hafez, Rumi, Jami, and Shabestari, provide humans with the opportunity to return to the history of the past and revive the history of the future through the use of allusive language, poetry, and poets are considered his ideals. In addition, the poetry of these poets, in order to extract wisdom, plays a role as a liberating force for humans from the era of hardship, and even in the era of modernity. They give a message of hope toward the future against nihilism, but in the new era, with the emergence of metaphysics and the field of the ego, poetry and poets have lost their ancient role and mission. Accordingly, poets such as Nimayoshij, Sohrab Sepehri, Forough Farrokhzad, Shamloo, etc., because their poetry is based on the soul of the poet and the language of the phrase, do not find respect and credibility in Fardid's eyes and heart; hence, Fardid expels modern poets from his virtuous city.

As one of the contemporary Iranian thinkers, Dariush Ashouri, has significant reflections on the nature and coordinates of "poetry." Adopting a descriptive-analytical approach, the present research tries to investigate and criticize his opinions and reflections on poetry. The results of this study show that Ashouri, with his philosophical and linguistic background, adopts a phenomenological approach to poetry and its vocabulary. In his view, poetry is an incident that happens in the world and everything that happens in the world is reflected in language. The most important source of poetry, according to Ashouri, is the poetic experience of existence. Although he considers "feelings," "emotions," and "imagination" as the essential elements of poetry and considers the music of language to be an inseparable part of poetry, he believes that the definition of poetry and the aesthetics of the readers in each era are different from the others, and the poeticity of the poem is confirmed when the composer and its readers have reached such an understanding. Ashouri emphasizes the inseparable intermingling of form and meaning in poetry, and among the types of Persian poetry, he finds romantic-mystical sonnets and mystical poetry closer to pure poetry, where color is the instrumental character of language. The poet displays the deepest manifestations of his emotions and feelings. By re-proposing the conflict between philosophy and poetry, Ashouri sees poetry and the poet above the dual confrontations in which philosophy and the philosopher are trapped. He tries to bring the poet to the position of a thinker and, unlike new metaphysics, does not limit the truth to the field of science and knowledge, and introduces poetry as a field for representing truth and raising questions about the essence of existence. Ashouri does not consider the present time as the time of birth and growth of original poetry and poets.

One of the achievements of modernity is the philosophical approaches that explain the individual and social identity of man. In the theories and views of Western theorists, including Carlos Jung, individuality means a definite boundary and fence that is conceivable for every human being. Jung's theory is important because he argues for racial and evolutionary factors in the construction of personality. Contemporary writers, especially women, after centuries of suppressing their desires and personal rights, made demands in their poems and protested against the trampling and ignoring of their rights and individual identity. Among these poets are Saeeda bint Khatar al-Farsi, a prominent Omani poet, and Jhaleh Qaim Maggi, an Iranian writer. The main pillar of the poems of these two poets is the glory and protest against the limitations, sufferings and sufferings that they and their fellows were always facing. The present research, with descriptive-analytical method, seeks to investigate, explain and apply individuality in the poetry of Bint Khater al-Farsi and Jale Qaim-Maqami based on Jung's theory. In this way, after explaining Carlos Jung's view of individuality, we examine and apply it in the poems of the above two poets. One of the most important results of the research is that individuality is the safe haven of the two poets, which crystallizes in their poems through the expression of loneliness, personal feelings, protest against the trampled rights of fellow human beings, confusion and inner sadness.

Imagery in poetry is one of the most important aesthetic and artistic elements through which the poet can convey his mental and meaningful world to the audience in a tangible and beautiful way by using imaginative, sensory and emotional elements. This research, with a descriptive-analytical method, deals with the comparative study of imagery in the broken poems of Qajar and Mahmoud Sami Al-Baroudi. The main purpose of this research is to analyze and compare the types of poetic images, latent concepts and poetic approaches in the poems of these two poets. Investigating how to use sensory, visual, emotional and mystical images in the poetry of these two, and analyzing their ways of depicting in conveying emotions and themes, are among the main axes of this research. The results of the research show that Sabiteh Qajar deals mostly with romantic and mystical images and his poems are often limited to depicting the beloved and romantic experiences with the help of beautiful similes. On the other hand, in addition to describing nature and love, Al-Baroudi portrays images of social issues in his poetry. Also, Qajar's broken imagery makes more use of classical Persian language and terms, while Al-Baroudi creates simple yet powerful images by using eloquent and flowing Arabic language. The imagery in the poetry of these two poets, despite structur

Poetry and painting are two different paths for creating works of art, and their close relationship has always been of interest to art history researchers and literary critics. Sohrab Sepehri is an artist who tested his taste in both poetry and painting. Therefore, using purposive sampling of Sepehri’s paintings of trees and his Hasht Ketab (Eight Books) poems, and based on Panofsky’s theory of iconology, the present research is a comparative study of these works. It focuses on the images of trees in his poetry and painting to analyze and explain various structural and semantic aspects of common icons to discover the characteristics and connections between his poetic world and his art of painting. The current research tries to answer the questions of why and how the tree image acts differently in the two linguistic and visual systems. Sepehri’s approach to the ‘tree image’ in both poetry and painting is contrasting in such concepts as dynamism and staticity, life and death, rootedness and rootlessness, fertility and infertility, openness and closure, and disconnection and connection, while it is sometimes approaching in themes such as strangeness and the sense of suspense. The results showed that Sepehri is under the influence of the paradigm of modern Iranian painting in drawing the image of the tree and its space, in which the space is mainly contracted, dark, and desperate. Hence, the trees in his works move in the direction of disconnection from the world and the essence of existence which can be an allegory of Sepehri’s objective world. However, the image of the tree in his poems is in line with the dominant common concepts - a symbol of growth, freshness, and vitality - which is far from the rhetorical signs and the uncommon domain of connotation in Persian literature. It is, in a way, an explanation of the ideal world of the poet.

In the late eighteenth and early nineteenth centuries, literature and art in the West and Europe witnessed the emergence of a new literary school called Romanticism, which had emerged in opposition to the rationalism of classicism. This literary school was able to quickly influence literature and art in different parts of the world. Romanticism has individual and social branches in which poets composed poems in different parts. In this research, relying on the analytical-descriptive method, some features of the school of Romanticism and its themes in the absolute poems of Abdolkhaleq are discussed. Components such as love, nature, death, sorrow and grief in the individual romanticism; Components such as the mourning of the martyrs, love of the homeland, oppression and condemnation of the rulers have been studied in the section of social romanticism. Findings show that love is a prominent component that is well reflected in the absolute gentle nature of Abdul Khaliq in his poems and nature as a safe haven for romantic poets to seek refuge in nature to stay away from society and existing problems. Sometimes the sorrow and grief that has entered the poet's existence due to various factors, makes him think of death in his poems.

The assessment of textbooks, thoughtfully considering the requirements and aims inherent to the realms of pedagogy and learning, plays a pivotal role in refining the educational process. Furthermore, it yields invaluable insights that inform pedagogical planning and classroom management. Within the specific context of imparting Persian literature to non-Iranian students, an apparent scarcity prevails concerning educational materials underpinned by substantial scholarship. Moreover, the available literature lacks a comprehensive scholarly examination. This research is dedicated to evaluating the prospective efficacy of an educational textbook tailored for foreign students, with a particular focus on the realm of literary education. The textbook in question, entitled Teaching Books of Persian Verse Literature (Volume 1), is from the esteemed Fārsināma Collection and is assessed through the discerning eyes of Persian literature instructors. The methodological approach employed here entails a custom-crafted questionnaire encompassing 12 primary sections, each comprising 60 distinctive items. It is essential to note that this questionnaire underwent a rigorous process of validation and reliability assessment. A total of 29 participants, Persian language and literature instructors, contributed to this research, with a distribution of 18 females and 11 males. These educators, aged between 25 and 45, have accumulated approximately five years of teaching experience in their field. The comprehensive analysis of the data culminates in notable findings, affirming the commendable desirability of the textbook designed to facilitate the instruction of Persian literature for non-Persian speakers. Notably, the findings indicate that the section dedicated to specialized literary education assumes the highest rank among the 12 sections subject to evaluation. Furthermore, the domains of listening, speaking, reading, and writing skills also secure a prominent position in the hierarchy of desirability. The ramifications of this research extend beyond the enhancement of educators' awareness regarding the affirmative attributes and limitations of the textbook. It concurrently beckons authors to undertake the composition of pedagogical materials that bear the hallmarks of greater scholarly rigor and suitability, thus contributing significantly to the advancement of the discourse within the pedagogical domain.

The Quranic text represents one of the means through which the Creator expresses His creativity and shapes His messages, reflecting visions and patterns in accordance with the context of the Holy Quran. Given the significant and sacred role of the Holy Quran in human life, particularly for Muslims, many creators, especially poets, are drawn to narrate from this sacred text to enhance their works with realism and aesthetic depth. This topic highlights the profound interaction between the Quran and poetic expression. This research aims to illuminate the aesthetic and artistic value of Quranic references in contemporary Iraqi poetic discourse through the poetry of Mahdi Al-Nurairi. It seeks to reveal Al-Nurairi's use of Quranic techniques while pursuing valuable insights. The researcher employed a descriptive analytical approach to analyze and compare phenomena in detail, examining texts that exhibit either explicit or subtle manifestations of Quranic influence or its connotations. The analysis explains how these elements enhance the poetic text. The research yielded several key findings, notably that Al-Nurairi's poetry employs Quranic texts as a means of aesthetic depiction. He skillfully integrates these sacred texts into his work, utilizing his talent and poetic abilities to realize his artistic vision. As a result, his poetry is rich with various forms of Quranic influence that significantly contribute to its aesthetic appeal—an endeavor that Mahdi Al-Nurairi has successfully pursued throughout his poetic expression.

Jungle Rebellion declared its existence at the end of the Qajar period, to fight British and Russian colonialism, under the leadership of Mirza Kochuk Khan. This movement was one of the biggest cores of Iranian people's resistance against foreigners, which has had a significant impact on Iran's life, art and literature, especially on the poetry and literature of Gilan. With the formation of this movement, many poets used linguistic signs to describe what and how the forest rose up and to describe the heroism of its leader. Undoubtedly, "forest" and many signs of its semantic realm, such as trees, branches, leaves, and even springs, rocks, and animals, do not have the same meaning as we have in mind in the poem before this movement. Because the speakers have used these signs to represent the state of the forest and the forests, along with mythological figures, and have shown the close relationship between literature and society. This research was done with the aim of introducing some corners of the speakers' views about the jungle uprising and the aspects of their anti-tyranny and freedom-seeking pursuits, and the result shows that most of the poets sympathized with Mirza and his companions by expressing the characteristics of the movement. The information of this research was collected by library method and analyzed using qualitative method.

The desired goal of any discourse, including literary discourses, is to have an effect on the mind and feelings of the audience in addition to conveying the message and media. The main characteristic of Shahriar's ghazal, like Hafez's term "it", is comprehensible, but indescribable, exemplary liveliness and tenderness, and its passionate and emotional effect on the soul and soul of the audience. Shahriar, Anan easily takes control of the audience's emotional actions and feelings and takes him along with him, through thousands of human experiences and at different stages of life. Many researches have been conducted to find the source of this effect in Shahriar's poetry, which is found on the one hand in the sensory richness and emotional-perceptual richness of "I" and Shahriar's personality, i.e., author-oriented research, and on the other hand, in his creative linguistic and artistic abilities, i.e., text-oriented research. The main issue of the current research was to investigate the quality of the impact of Shahriar's Persian ghazals, the founder of communication science, and to investigate the process of non-verbal communication. This research was carried out by analytical-descriptive method and the following results were obtained: Shahriar has beautifully linked the existing but invisible meanings of language and culture and while establishing the kinship between linguistics and culture, it shows their mutual need for each other. Another point that can be understood from this profound thought of Shahriar in terms of culture, society and communication is to pay attention to the indicativeness of body postures. Being a marker means that the specific member in question takes a form that is a function of space and place.

In this research, the anti-values in the society of Hafez's era have been investigated using the method of content analysis following Marx Weber's theory. The purpose of this research is to understand the social attitude of Hafez and the social and cultural issues of the political conditions of the society of that era. In order to achieve this goal, we examined those sonnets in which the values and anti-values of his society are mentioned. The findings showed that Hafez has reacted to the anomalies in his society and is critical of anti-values that have shaken the foundations of the ideal society built in his peaceful mind. Our sweet-spoken poet has taken countless risks and opened his mouth to speak with a sharp and stinging tone from Sufis, muftis, sheikhs, muftis, preachers, etc. Eating haram and... speaking to push the mission of his community to a political struggle. With his eloquent and sweet words, he has tried to consolidate solidarity and national identity among the members of the society, and based on his deep insight, he has created a new plan of man, freedom, religion and the world.