Analysis of the Geometry of the Poetic Images of the Return Period (Compared with the Structure of Poetic Images of other Styles of Persian Poetry)

Most of the Judgments about the Poetry of the Return Period are General and Hypothetical, and their Proof needs more and more detailed Investigation. The structure of the Poetic Image is a Collection of Various Rhetorical Elements that are Produced by each poet's Special Vision and Language; In other words, the result of Analyzing the Geometry of a Poetic Image will be Various Artistic Structures that have Played a role in its Formation. One of the necessary tools for a thorough Examination is the Knowledge of Stylistics, which is a good Criterion for Examining the Poetry of Poets of any Period with two Characteristics of Frequency and Analogy. The Present Research, which is based on a Quantitative-Statistical Method and a Stylistic Approach, explores the geometry of the poetic Images of the Divans of six Prominent Poets of the Return Period (Mushtaq Esfahani, Hatef Esfahani, Azar Begdeli, Soroush Esfahani, Sabai Kashani and Fathullah Khan Sheibani) tries to Avoid Common Generalizations Regarding the Similarity of the Poetry of the Poets of the Period of Return to the Poetry of the Poets from the Previous Styles, by Presenting Accurate Statistics and Clearly Discussing the Amount of using Individual and Combined Artistic Structures by each poet. Besides that the study Determines the Level and Quality of the Structure of the Images in Terms of Simplicity or Complexity Comparing the Geometry of the Images of each Poet with the Structure of the images of Poets of other Styles. The Results of this Research show that as we move away from the Indian Style (and the Ancient Safavi Era) and get Closer to the Qajar era, the Number of Composite Artworks and the Percentage of Complexity of Images Decrease and the Scale of Individual Artworks and Images Decreases. For example, the Structure of Mushtaq's Poetic Images (the first and the closest Poet of this study to the Indian Style) goes beyond the Khorasani Style and is placed in the Geometric row of Iraqi Style Images, but the Structure of the Images of Sheibani's odes is exactly the same with the Geometry of Farrokhi Sistani's images! Generally, it can be Mentioned that the General Structure of the Images of the Poetry of the Return Period is close to the Geometry of Images of the Khorasani Style and is Further away from the Geometry of the Images of the Indian Style.