فصلنامه شعر پژوهی (بوستان ادب)
سال نهم شماره 1 (پیاپی 31، بهار 1396)

According to Firdowsi's Shahnameh, Freidoon decides to kill Zahhak two times when he overcomes on Zahhak, but the holy Soroosh prevents Freidoon to do that. The holy Soroosh orders Freidoon to shackle Zahhak. There are many interpretations about this order, but the researcher believes that it rises from a Zurvanian principle that the holy Soroosh orders to shackle Zahhak. Based on Zurvanian texts, Zurvan appoints Ahriman as the ruler of the universe for 9000 years from one side, and gives to Ahriman something from its dark essence for creation of the material world, and that is greed which the universe is not made without. Based on Zurvanism, the material creation comes from Ahriman, and both greed and the material world are made by evil. Zahhak in Shahnameh is the symbol of the material world and the embodiment of greed, and the material world is not made without greed. The killing of Zahhak is the ending of the world and the breaking of the given promise to Ahriman; Therefore, the god of Soroosh (the breaker and the crusher of greed), the protector of honesty and the watcher of the liar's promise based on Soroosh Yasht, appears on Freidoon to prevent him to break the agreement between Zurvan and Ahriman through the killing of Zahhak.

Two Semitic and Iranian nations had much political and cultural exchanges far back in the history. The appearance of Islam improved the relations between two nations and produced literary and mental effects and impressions. In this time two muslims nations travelled and emigrated to each other country. Sadi is Iranian traveler author and poet that simultaneity mogul attack and beginning of Iraqi style in Iran, travelled to the areas of semitic nation life. This action accompanied by tendency in Islamic tranings and semitic stories and narratives in Iraqi style produced much semitic elements and contents in his works. Since sadi is popular and famous figure of Persian letters. it look like as much Iranian contents and elements as have applied in his works. Interestingly enough the studies of this research show superiority of Iranian elements and contents.

After the decline of ode, lyrical storytelling tradition that existed in the first part of the ode, was maintaining in sonnet, and provided to create the groundwork of a special kind of sonnet entitled "narrative poem" . Some story elements have only a few sonnets validity and their plot is weak, they have slight actions, and the lack of rise and fall story, so they are making design, but others contain more elements and, in extreme cases, they are closed to the context of a story with repeated actions. One of the main elements in the narrative sonnets is character. The main characters in the narrative Ghazal generally are beloved and lovers; they have unique features and are double. They also are receptive to traditional patterns and appear as a form or contract; also they get close to the features of short and modern stories figures in twentieth-century. In the second kind we encounter a certain type of character that can be adapted with the character of" Baryonic hero" in English literature or "Superfluous man" in Russian literature. The salient features of this character are Passivity, inaction, and idealism. In this paper, after reviewing the validity of characters in the sonnets, the peculiarities of this particular species will be discussed.

Local poetry is one of the ethnic and cultural expression of any nation. Two native poems "Adoravon" by Jan ali Khavand and “ Meshey Nazi” by Tahmasb Bedroud, which are in Roudbari dialect of Persian language respectively, are the full mirrors of popular culture of nations residing in Kerman. Both poems reflect a nostalgic throwback of the poet to the old days. . In this study we try to show the components of their nostalgic regards to cultural elements of society in which they have lived. To this purpose, nostalgic concepts of this poems, under two general titles of individual memory and collective memory has been analyzed. Review of this paper shows, despite the common benefit of both poet in nostalgic components, amount, style and practical purposes of folklores elements in two poems are different.

There is a close relationship between sound and meaning such that the way phonemes are deployed and the conveyed meaning are intertwined. In choosing their words, language speakers are highly affected by their emotions and opt for words whose phonemes is expressive of the meaning they intend to convey. Besides their semantic function, phonological structures of words, through a combination of sounds, indirectly expresses the idea the poet intends to communicate. Morris Gramoon, the renowned French linguist, sheds light on the underlying layers of words and phonemes and the undeniable role they play in conveying meaning. The present study adopts and draws upon the theories proposed by him. Scrutinizing 300 lines of Shahnameh, falling into three semantic fields of epic, lyric, and elegy, the results of the present study revealed that there is a significant relationship between the expressed meaning and the deployed phonemes and syllables in Shahnameh. To put it differently, the results indicated that the language used in Shahnameh varies according to the conveyed meaning and Ferdowsi capitalizes on phonemes invoking secondary meanings in mind. In love poems, Ferdowsi heavily draws on fricitive (24%), trill (13.5%), glide (6.5%) consonants and open syllables (CV), (CV:). In epics; however, the most extensively used consonants and syllables are stop (38.7%) and (CVC), respectively. Finally, as for elegies, nasal (19.3%), stop-fricative (3.3%), and long syllables (CV:CC) are heavily drawn upon.

This article studies on women's eulogy. In Persian literature, more poets has always praised men. Beside the extra amount of men's eulogy, a number of poets have paid attention to women praise. Actually, because of social and cultural qualifications that made women to become hidden and secret, most of poets couldnt enter to women eulogy. Therefore, , in addition to representing some parts of our culture, history and literature; to study on this part of Persian literature, is a way to recognize identity and status of Iranian woman. poets like: Khaqani, Salman Savoji, Qaani, Saadi and so on have some poems on omen's eulogy.
Authors try to answer these questions: 1. Have poets used special techniques to praise women?
2. If so, which techniques have helped them?
This study shows that poets have tried to personalize their praised women by Relying on the characteristics of women and linking it with other parts of speech

All the pundits believe that row is specific for the Persian language, because row has natural continuity with the Persian language that no other language has that extent. Row contains music and is a source of poets power. This article tries to determine high frequency of row in Attar Neyshabouri's poetry with statistical reviews, because Attar is one of the poets that has tested different types of rows. With detailed statistical review of sonnets and odes of Attar Court we concluded that 473 of 633 sonnets have rows that means 74.72 percent are the most pleasant and musical sonnets of Attar. The current rows (special) form more rows of Attar's poetry, that not only they have enriched music of poetry, but also have played a significant role in dynamism and mobility of Poetry. In addition, they have helped to expand and improve imaginary faces of poetry, to complete the concept of poetry, and to induce feelings and thoughts of the poet. To create unity between Imagination and thought, to cover defects of rhyme, to create imaginary faces and new concepts, adaptation of poetry and rows of others, representation thoughts of poet, auditory and visual symmetry, induction of inner sense of poem, creation of unity between poet and audience and paranormal cases in row are different functions of rows in Attars sonnets.

Some of the narratives in Shahnameh are different from what cited in other sources. One of the reasons for this discrepancy could be the changes that happen in epic narratives and are transferred to other sources. An instance of such changes is the transference of dutifulness, action, etc. from one person to another. The transference of Manouchehr’s defeat by Afrasiab to the time of Nozar in Shahnameh is a good example in this regard. This war which was related to Manouchehr in most of the narratives before, at the time of and after Ferdowsi was later on transferred to the time of Nozar in Shahnameh. This study is aimed at investigating the narratives in order to determine their originality and the reason for this transference. The results indicate that Manouchehr has obtained a favorable character throughout time whereas Nozar has obtained a negative face. As such, this defeat must have occurred at the time of Manouchehr and later on in recent narratives close to the time of Ferdowsi have been transferred to the time of Nozar.