Analysis of the characteristics of imagination and emotion in the poems of Mirzadeh Eshghi

This article explores the elements of imagination and emotion in Eshghi poems by describing and analyzing the data obtained from library studies. The textual body is composed of 88 poems. The results show that in the discussion of imaginary forms, metonymy has the highest frequency and this finding is consistent with the poet's own prediction as the primary critic in terms of literary self-criticism. In the next positions are tropes, metaphors and similes, respectively. He did not use far metonymy, and the frequency of lexical and easy metonymies is higher than their corresponding difficult types. About tropes, based on cognitive patterns, it becomes clear that Eshghi has a precise selecting look, and he cares about the reader and attracting his attention. The frequency of tropes in the lampoons is higher than its average in of all the poems. He prefers vehicles based on "adjective and description" in his tropes. The similes are often easy to understand by due to Eshghi’s nice choices in this regard. The metaphors are also from easy to understanding types, and all of these indicate the obviousness of the simplicity in his poetry. From an emotional point of view, in his poetry, "personal self" prevails and "social self" is placed after it, and this is contrary to the general belief about the place of emotion in constitutional poetry. An analysis of Eshghi’s poetry based on psychological emotions shows that sadness along with despair and compassion are the most important emotions that dominate these poems, which define