پژوهشنامه ادب غنایی
پیاپی 25 (پاییز و زمستان 1394)

Tone is one of the main elements in texts, specially the narrative ones whichdemonstrates poet's attitude toward the subject and characters. The purpose of this paper is to study the tone inAkhavan's poetry and its role in influencing his narrative poems, regarding his "Zendegi miguy adamabazbayadzist"collection. In thiscollectionfigures of speech such as imagery and imagination cannot be found much, but there are poetical orders such as rime and rhythm. Following the mentioned matter, this studyhas been conducted using descriptive-Analytic method, concen- trating on the element of tone in three scopes of character's tone, effective factors in creating the tone and the role of tone in implied and secondary meanings of the speech. Akhavan,has created the tone based on the social status of the characters, events and situations like modern story tellers and uses elements such as words, images, body language, sentence structure, music, etc.

Elegy includes the poet's painful emotions.Poet's overwhelming, internal pain due to the loss of loved ones or social disasters, decline of values, etc. appears in the form of elegy and it can be mentioned that elegies have a special place in lyrical literature. Al-Mutanabbi,is one of the greatest Arab poets who has written significant elegies in different situations of his personal and social life and expressed his sorrow over the calamities of the world or loss of loved ones in atragicway. Regarding his elegies, these questions will be raised that: how compatible is the truth of emotion with sorrowful words of the poet? And which factors were involved in making the strengths and weaknesses of the poet's elegies? In this study it has been attemptedto answer the questions through considering Mutanabbi's elegies, thoughts and purposes in writing them, statistically, using the descriptive-analytic method. The results demonstrate that there are true emotions in his elegies over the loss of his loved ones, yet, when it comes to duty and work, the aim wasgaining the consent of the praised one and truth of the emotion is inconspicuous.

Love is one of the most important conceptsin exploring the human condition in literature. Nezamis“Leyli-Va-Majnoon” is one of the most prominent literary examples in which the presence of this humanistic concept has been demonstrated intelligently. Everyone has attempted to interpret the meanings and reasons ofthis concept, regardinghis or herown notion, either deep or shallow. Modern thought, including psychoanalysis, presents strategies to avoid generalization and choose a clear way to proceed with our quest. This study aims to investigate hidden dimensions of anabnormal love that are linked together like a chain. This kind of love begins with narcissism and continues with hypochondria and self-abuse and will lead to mortal thought orientation. In addition, concepts such as” The lost ideal“,in which the inaccessibility of“Object” (the exterior beloved) is accentuated and also is one of the other aspects of narcissism, will be considered. As a result, many of the love patterns, which seem to be perfect, are not so in practice and they are accompanied by some types of psychosis and anti-social behaviors.

The elegy as one of the oldest subjects of poetry in the poems of Nazar Ghabbani, Arab, contemporary, Romantic poet and Ahmad Shamloo, Iranian, contemporary poet, who were both the origin of a great poetic move in Persian and Arabic, is a remarkable subject. Considering the elegies of Nazar Ghabbani and Ahmad Shamloo, it has been concluded that Nazar Ghabbani in his personal and social elegies, has pointed out subjects such as sorrow for the loss of his family members, war of Arabs VS Israel, places such as Beirut and Palestine and warriors and martyrs, on the other hand, Shamloo has not mentioned his family members in his elegies, instead, he has pointed out the social and political sublimes such as Forough Farrokhzad, Jalal Al-e- Ahmad, Vartan and Ahmad Zibaram. Additionally, regarding language structure, both poets have used a simple language in their elegies. The difference is that Ghabani in his poems try to be close to what is known as the daily language but Shamloo's language and thoughts in his elegies have many dimensions and sometimes they are philosophical. Also, from the imagination point of view, Ghabbani's attitude is superficial while Shamloo's breaks the common boundaries and travels beyond layers of language.

Nezami's Haft Peykar is one of the poem books which is close to the style of the contemporary stories from the variety of characterization method's point of view and has not received much attention to its story features. Thus, in this research it has been attempted to consider character and characterization elements in this study, using descriptive-analytic method in order to answer the following questions:1. How are the characters drawn in Haft Peykar?2. Which techniques did Nezami utilize for characterization in Haft Peykar? The results demonstrate that, Nezami could introduce his story’s characters with his desired attitude to the readers, using the indirect characterization by the tools such as talk, interaction, name, color and description. The main character in this poem is Bahram-E-Goor, in which Nezami used all the characterization tools. There are many characters in the story due to its wide span. In addition to the main character, there are some other characters such as intimate character, minor character and women's character which are among the discussed topics in this study.

Following the revolution shappened in the contemporary world, the poet's viewtoward loveand, consequently, some features in modern romantic lyricism changed, So that in this type of poetry,the great content of love, away from its physical and lustful aspect, spread from individuals to the society and from the present time to the age. In the present study it has been attempted to find the contemporary poets whom the mentioned changes have influenced their modern romantic lyrics and to consider how it happened, using the descriptive-analytic method.The results suggest that, making changes in the form and meaning of the Persian poetry,NimaYooshij created a new style. This new approach was manifestedmost in the poems of Fereydoon Tavalloli. Shamloo 's romanticlyricswere written as thetriangle of thepoet, beloved and societyand in most of his romantic poems a continuous dynamismcan be observed, being unitedwith the beloved, societyandultimatelyall the humans. Regarding the theoretical system, semantics and aesthetics, SohrabSepehrisromances are based on the Worldview,Emotional wisdom and aesthetics, completely different from the history of Persian romantic lyricism.

Nostalgia or homesickness is to regret for the past and feel foreign and detest about the present realities. This term has entered to literature and art from psychology and in literature it is defined as an unconscious mood which happens to poet or writer. Ibn Nobateh (768-686), the proud of Egyptian poets, lived far from his hometown, Sham, for many years, so Nostalgia is one of the main themes in his poets. He expresses his regret for the past and the homesickness, which results from that, by lingual tools and different poetical pictures and also attempts to free himself from his undesirable present situation through finding a substitution. His psychological reaction against this nostalgia often appears through remembering the sweet times with his beloved, complaining about his senility years, homesickness, the loss of his loved ones, memories with his friends and family, archaism and social isolation. In the Present paper, it has been attempted to, first, clear the relationship among Nostalgia, psychology and Romanticism and second, to analyze the contents and components of Nostalgia in the poem collection of this Arab poet.

Halliday`s functionalism enjoys a cognitive approach to meanings, concepts and experiences and expresses how experiences of human beings through transitivity system are acquired and represented. The goal of the present research is to discover the world of experiences and life-world of Saadi in his Ghazaliyat and the hypothesis is that the extent of their objectivity and subjectivity can be identified through the processes of ideational role. The necessity of conducting this research is to the recognizing and determining types of verb in Sadi's Ghazalyat, regarding their role and meaning. The corpus consists of 9055 verbs which has been chosen based on systematic sampling. The findings indicate that the percentage of major processes including material, mental and relational are 23%, 11% and 23%, respectively, and minor processes e.g. behavioral, verbal and existential consist of 27%, 11% and 5%, respectively. Also Attributive and identifying processes in Sadi's Ghazaliyat include 87% to 13%, respectively. It can be inferred that the behaviors, actions, and movements have been considered more. The high percentage of descriptive attributes demonstrates that attributive process has been mostly considered as simple attributive and the identity creation has been rarely noticed.

Today, intertextual technique is considered as one of the most obvious and precise structural properties of the contemporary poetry. This phenomenon calls for texts absent from, previous or concurrent with the present text to somehow impose a semantic, artistic or stylistic duty on the texts. Quran as a comprehensive program and a sacred text has turned into the most significant poetic inspiration for contemporary Arab poets. Fadwa Tuqan is one of the sublime Palestinian poets who has been saturated with Quranic concepts and pictures and has enjoyed this technique to explain and confirm his internal feelings; particularly in national and patriotic matters. In this research it has been attempted to consider the influence of Quran on Fadwa's life and poetry while studying Quranic intertextuality phenomenon in his Poetry, using the descriptive-analytic method. The findings demonstrate that Quranic intertexuality has been used more in the second period of the poet’s literary life; the Thematic Romance stage, and has helped him to create deep meanings and innovative and artistic pictures in his poetry.

Khorshid-Va-Mahpareh, by Mirza Mohammad Saeid Tabib Ghomi, one of the poets of 11th century, as a Persian romantic collection in which some pieces are from folklore type, deserves a consideration by many folklore, analytic theories such as Propp''s theory of narrative structure. The importance of the present study is that it helps us to get familiar with the structure of an unknown or a little-known writing, as a part of our lyrical literature. Propp''s theory hunts for the main components of the folktales which resulted in deciphering 31 basic functions in Russian folktales. In reviewing the present tale, using the descriptive-analytic method and Propp''s theory, it has been concluded that the story has most of Propp''s functions with the same definition and sequence, except for two functions which are not usually observable in the most Persian lyric collections.

In the romantic poems which have been written in the name of Yusuf and Zulaikha and also the verses that refer to this topic, the poets use the story as a way of conveying their message and impress the audience, Inspired by an external reality and relying on their own imagination. In the present paper, in addition to mentioning the differences in Quran and Torah's narrations of Yusuf and Zulaikha's story, the poet's descriptions of Zulakhia's personality in their poetic allusions have been studied. There are two main views, the objective and negative view, which introduces her real personality and the positive view, which although is not a valid one and in fact it demonstrates her imaginary place in Persian poetry, because of her relationship with Prophet Yusuf and his influence on her, the poets has paid attention to her. The importance of this study is that any independent researches has not been conducted about the view the poets toward Zulaikha's personality. The research method was descriptive-analytic and it has been attempted to consider all poetry styles, although this matter has enjoyed more attention from the poets of Hindi style, specially Saib Tabrizi.