فصلنامه شعر پژوهی (بوستان ادب)
سال هفتم شماره 3 (پیاپی 25، پاییز 1394)

Seventy Tombstones by Yadollah Royayee, is a collection of tombstones and inscriptions. In this book, each stone is specified for a name which has occupied a special place in the poet’s mind and has become part of his intellectual identity. There are objects on each stone. Each tombstone is a text and can be read on the grounds of name and objects which are on it. Among the names mentioned in the book, there are seventeen feminine names. This study attempts to review the tombstones which have feminine names. Drawing upon woman-oriented critical theories, this research is based on feminine notions which are the products of the poet’s structural representations. This reading indicates that in Seventy Tombstones, implied relationships and meaningful systems, words and images, emotions and values signify women’s entrance into the realm of language and thought. In representing feminine notions, Royayee' Seventy Tombstones is deconstructive in that it surpasses the restrictions of body, and penetrates into the discursive web of culture and society within the domain of language which is itself constructed by names.

The title of a poem is its ID and plays a significant role in its interpretation, and is thus considered to be of primary importance by critics and other commentators alike. The objective of this study is to investigate how poems have been titled in classical and contemporary literature. The titles of classical poems are far different from those of contemporary poems. In the past, it was not customary to pay any heed to titling of poems. Nevertheless, from amongst classical types, odes have been more commonly titled. In classical poetry, factors such as rhyming words and letters, the content, readers, the beginning line, the central word were taken into consideration when titling a poem. With the advent of press industry in contemporary culture and the emergence of modern poetry –Sher-e Now—it became customary and in modern genres, a necessity, to title the poem. Today, the title is part and parcel of the poem and plays a significant role in the establishment of mood, meaning, and the poet's thoughts. The title can reveal the poet's creativity, mentality, sexuality and his/her preoccupations, and can inform the symbolic structure of the poem. The title, thus, is supposed to be foregrounded in the explication of the poem, but till date, justice has not been done to this point.

Rhyme is one of the major advantages of rhythmic speech and plays a basic role in the musical pattern of poetry. It's the focal point of verse lines and functions as an attention getter. One of its most important characteristics is organizing the poet's emotion, and forcing the audience to return and think about the verse. In ancient Persian literature, repeated rhyming words were considered as defects, but Hindi style poets like Tālib Āmulī and Şāyib Tabrīzī have made use of repeated rhyme in their lyrics over and over. In their view, it not only did not reduce the beauty of poetry, but also reflected the elegance and delicacy of their imagination because in Hindi style, the poet is concerned with imagination and theme, therefore, the better the poet could thematize, the more masterly he was thought to be. We can say that in 60 to 65 percent of Şāyib's lyrics, repeated rhyme can be traced. He wishes to show to his audience, the precision of his mind and imagination by using repeated rhyme. Thus, he connects every rhyme as a new element with new contents and vocabularies to the effect that the same word in another verse conveys new messages and themes. By using repeated rhyme, he creates an interesting body of connotative verse and uses sometimes the same word with different meanings or associations. In this research that has been done in descriptive-analytic method, we examine Şāyib's use of repeated rhyme in his Ghazals.Keywords:

Mas'ūd Sad is one of the great Iranian poets of the second half of the fifth century. Being among the avant-gardes of poetic revolutions of that era, he was held in high esteem by his contemporaries and those close to his time. Many of these poets have worshiped Mas'ūd and his works. Sanāyī, Muizzī and Oȿmān Mokhtārī, for example, composed certain odes and fragments in his praise. Other figures such as Rashīdī, Adīb Şābir, Jamāluddīn 'Abdurrazzāq and Falakī have mentioned him as a powerful poet in their writings. Additionally, Nizāmī 'Arūẕī and Rashīd Vaţvāţ, being expert at literary composition, have praised Mas'ūd in their works. Although most of these praises are vague, some cases are clear and critical, pointing to the characteristics of his poems like being easy but difficult to imitate, eloquent, firm, effective, deep in meaning and elegant in words. Some like Khāqānī did not approve of Mas'ūd Sad, dispelling him as an imitator. In this essay, after a review of the commentaries of Mas'ūd Sad's contemporaries and other poets and critics living close to his time, we come to the conclusion that some of these intellectual divergences can be justified in terms of revolutionary literary changes that spanned the 6th century. Poetry was progressing so fast in this historical period that Mas'ūd Sad's works went out of currency despite the fact that he was considered an innovative poet during his lifetime and was held in high esteem by great men of letters when he was alive. With the emergence of such great poets as Khāqānī, who brought about significant changes in Persian poetry, Mas'ūd Sad's poetry went out of fashion and found acceptance only among the regressive literati.

Deviating from the norms and rules governing the collocation of words, adding rules to the standard language (extraregularity), displacing parts of speech, and manipulating the accepted structure of grammar are methods that most poets use to arrive at the poetic diction proper. Principally, linguistic strategies that shift the focus away from content to form foreground poetic diction; such linguistic strategies can be either deviation from or addition to the norms. Deviations have different types and often take place by transposing marginal and central features across various grammatical areas. For instance, personal pronoun suffixes, have particular positionalities due to their grammatical roles. Because of the high flexibility that they reveal in changing their spatial positions, personal pronoun suffixes can always provide ample space for poetic manipulation. Deviating from norms and evading rules when determining the positionalities of personal pronoun suffixes, create a remarkable variation in their usage only a part of which has been discovered and registered in the area of poetic diction.Transposition of Personal Pronoun Suffixes in Contemporary PoetryLeyla KordbachehHosein Aghahoseini Dehaqani Morteza Hashemi BabaheidariDeviating from the norms and rules governing the collocation of words, adding rules to the standard language (extraregularity), displacing parts of speech, and manipulating the accepted structure of grammar are methods that most poets use to arrive at the poetic diction proper. Principally, linguistic strategies that shift the focus away from content to form foreground poetic diction; such linguistic strategies can be either deviation from or addition to the norms. Deviations have different types and often take place by transposing marginal and central features across various grammatical areas. For instance, personal pronoun suffixes, have particular positionalities due to their grammatical roles. Because of the high flexibility that they reveal in changing their spatial positions, personal pronoun suffixes can always provide ample space for poetic manipulation. Deviating from norms and evading rules when determining the positionalities of personal pronoun suffixes, create a remarkable variation in their usage only a part of which has been discovered and registered in the area of poetic diction.

In the present study, the helper-actant is examined in Vis and Rāmin by Fakhruddīn Asad Gurgānī, Laylā and Majnūn and Khusraw and Shīrīn by Nizāmī and Yūsif and Zuleykhā by Jāmī. Each narrative poem is explicated in terms of Greima's narrative axes. Then, the helper-actants are identified and characterized when they emerge in the stories. In the next stage, helpers are compared according to the frequency of their appearance along narrative axes, and consequently, Greima's semiotic square is drawn for each story in order to reveal the extent to which each helper changes the course of the story. The comparison of four semiotic squares indicates virtual love in Vis and Rāmin and Khusraw and Shīrīn where helper-actants manage to make union possible along the communication axis. The semiotic square indicates spiritual love in Yūsif and Zuleykhā and ethereal love in Laylā and Majnūn. Helper-actants in these narratives do not play an essential role in the course of the story because the hero's character development is contingent upon internal processes that must be carried out at his/her own hand.

Wind, the powerful and invisible force of nature, to which a large part of ancient Iranian mythology is allocated, is known by such names as "Wāy" or "Wāyu", "Wāt", "Wātah", etc. and has various, complicated and mysterious faces in Iranian and some non-Iranian mythologies. According to the beliefs of ancient Persia, the wind is a god with two contrasting faces: good Wāy is the constructive spirit, blessed, blessing and supportive of the good and the virtuous; and bad Wāy is the destructive spirit, sinister, frightening, lethal and supportive of the bad and the vicious. The close association between myth and epic on the one hand, and the great influence of ancient texts and mythical tales upon Firdawsī on the other hand lead to the appearance of the god of wind in some wars and epic incidents in Shāhnāmah. Some characters in Shāhnāmah, such as, Rustam, Kaykhusraw and Siyāvash, exemplars of good creation, good nature and good manners, are supported in momentous occasions in general and battles in particular, by Wāy, the physical incarnation of the god of wind. Although Firdawsī did not directly refer to it, the mythical roots of this god can be justified in terms of numerous clues and evidence that have been so far collected. This article highlights the mythical incarnations of wind as the god of war and the supporter of Ohrmazean characters in legendary and epic chapters of Shāhnāmah.