prison poems

Informed by Henri Lefebvre’s “Production of Space” theory, this study aims to explore Khaqani’s representation of prison in his “Prison Poems” in the light of the perceived, imagined, and lived space dialectics. This research adopts a descriptive-analytical approach and employs library sources. The results of this study show that in the perceived space, the poet, informed by phenomenological and critical perspectives, reinterprets the material space of the prison by confronting the veil and recognising the implicit mechanisms of power; in the imagined space, echoing the prescriptive knowledge of the discourse of power, the poet, as the subject, adopts a forced understanding of the space, which reveals the power and role of other groups in Khaqani’s imprisonment; in the lived space, the poet, echoing an implicit resistance against the discourse of power, employs his imagination and poeticity to create a different space within the realm of possibilities, which has no material correlation with the real prison but only adds a utopian meaning. This study concludes that the material space of the prison, the imprisoned poet as an active subject, and the discourse of power affect the ambience of Khaqani’s “Prison Poems.”   

Malek osh-Sho'arā Bahār is considered to be one of the masters of Persian ode, but his masnavis were a strong means for him to depict various personal, social, political, historical and critical concerns. Since Bahar's masnavis constitute a significant volume of his poetic works (348 pages), his artistic personality and poetic performance cannot be properly evaluated if these masnavis are neglected. In the present research, while discussing the poet’s art of masnavi writing, fourteen of his masnavis are briefly introduced and his "Prison Poems", which are the most detailed Persian prison poems, have been examined and analyzed using descriptive and structural analysis method. This research attempts to show that Bahar has expressed his interest for innovation in poetry in masnavi writing. Moreover, in his use of a language influenced by street language and terms and phrases of spoken language, he created a moderate level of literary elements such as simile, allegory and allusion in these masnavis. However, description, narrative, simile, allegory and its types, especially proverbs, irony and allusions, are the most important literary elements in his "Prison Poems". Apart from their literary value, “Prison Poems” contain first-hand information about political strife and arrests of opponents and critics of the government and the state of Iran's prisons; in general, they are historically and sociologically valuable for the study of Iranian society in the previous century.

IN the name of Allah,the beneficial,merciful An analysis of the style of prison poems in contemporary Persian poetry Sadegh Ebrahimi kavari Assistant professor of the Islamic Azad university- Abadan branch Since prison poems compris a large bulk of Persian poetry, and since they show technical developments Persian poetry has undergone,a thorough study of such poems is very important. Since there are numerous prison poems in contemporary Persian literature, this study restricts itself to analysis of of the structure and the style of such poems. In addition, this study focuses on the prison poems written at the our time.To do so,we have selected poems by Malek al Shoara Bahar who is a key figure in writing such poems. The main goal of this study is to analyze the feature of this genre with an emphasis on Bahar and the contemporary persian poetry. key words: prison poems,stylistics, Malek al shoara Bahar. Sadegh Ebrahimi kavari Assistant professorof the Islamic Azad university- Abadan branch-Iran