فصلنامه زیبایی شناسی ادبی
سال هشتم شماره 34 (زمستان 1396)

The natural mindset, the mid-section of nature and mannas, has created a new link using images such as likeness, metaphor, quibble and permission. The poet has a clever reception from his surroundings, To express emotions and mindsets, with a mental interaction, to create beliefs, beliefs, social events, and ... with fresh insights. Fantastic image and mix of life, ideals, events of human life, and various changes-nature, objects, and motifs are not contradictions. Which indicates the multiplicity of language, duality, and subjectivity. The present research is devoted to the relationship between concepts such as "praise, hypocrisy, reason and love, mystical teachings, and so on," ¬ with the inspiration of Phases of Heravi. To the extent that the poet's use of aesthetic tools to convey the message and the effect of the word is clear. The descriptive-analytic method is utilized through library resources. The purpose of this study is to better understand, translate meanings and recognize his artistic spirit.

Myths, narratives, believes and worldviews are integral parts of human beings and have manifested themselves under various forms through civilization. Poetry is considered a cultural manifestation sharing a close relationship with myths. Through ages, Iranians poets have used myths in their poetry. Various reasons motivated these poets to use the literary richness of myths in their poetry; for example, it was sometimes to deepen the meaning of their poetry, to keep old myths alive or fuel their nationalistic feelings. Sana’i and Anwari are among the greatest Poet of the 4 to 6 Islamic centuries. Each one of these poets had a unique style and has influenced Persian poetry in its own distinct way. Sana’i understands the universal value of myth and their potential power to be transcended into symbols which can be used as carrier of sacred ideas, something that can’t be achieved through the use of popular language. Sana’i uses myth in order to deepen the meaning of his odes; at the same time he succeeds in creating a mythical space and appears to recreate myths. Hence, he can be considered a pioneer in how myths are used in Persian poetry. Anwari, contrary to Sana’i, makes popular references to myths, often denigrating them in various ways. Because of the inappropriateness of the meaning of his poetry and the Mythical Literariness the presence of myths in his odes has a less aesthetic literary value.

questions. Linguists and rhetoric experts have proposed a variety of semantic and pragmatic functions for these sentences. The poems of Fereydoun Moshiri, to reinforce its influence and instill the meaning in the mind of the readers, are home to several semantic and pragmatic functions. Due to its high frequency, this is one of distinctive features of Moshiri’s style that distinguishes him from his contemporaries. This study, adopting a descriptive-analytical approach by analyzing the linguistic functions of interrogative propositions in Moshiri’s poems, seeks to investigate communicative competences of these propositions. For this purpose, 525 lines of poems composed by Fereydoun Moshiri were analyzed, out of which 363 interrogative sentences with a variety of functions were identified. The results indicate that interrogative propositions in poems of Moshiri have 24 semantic and pragmatic functions. The plurality of semantic and pragmatic functions suggest that the writer of these poems has been cognizant of linguistic and rhetorical devices and employed a soft, smooth and simple language with greatest subtleties and intricacies.

Language is the most important means of communication and link among human beings to express their concepts and is a symbolic system for communication. In order for the messages to be conveyed successfully between the interlocutors, it is sometimes necessary to be accompanied by certain signs so that the recipient of the message receives what was exactly meant by the addresser. This process in Arabic and Persian is known as “Emphasizing or the Emphasis”. This study, using an inductive-inferential research design within a linguistic approach, tried to investigate the functions of the emphatic devices as tools, function words and style in the contemporary Arabic language while finding their Persian equivalents. The findings revealed that the emphatic tools have lost their emphatic role in modern Arabic and are solely used for the sake of textual coherence; therefore, there is no equivalent for them in Persian. The emphatic role of some of these words such as “Ghad” have been fainted and just play a role in determining the type of the verb. Another group of them like “Emphatic N” is rarely used in modern texts. However, emphatic styles have still kept their emphatic role and their equivalents can be easily found in Persian.

The present study tries to explain the position of musical terms and instruments in Khaghani’s odes illustration. The purpose of the study was to answer the question to what extent and in what ways Khaghani used musical instruments and terms in the illustration and what artistic techniques were used. In this paper, first we summarized and categorized the verses where poets used musical instruments and terms for their illustration; secondly, the musical instruments and terms were classified according to their application in the illustration. Accordingly, images in the form of simile , metaphor and metonymy have been found. Finally, according to the studies conducted in the Khaghani’s odes, it can be claimed that images, tones, musical instruments and terms were used in an artistic manner to create various visualization and illustration. Additionally, musical instruments and terms were used thematically, and some of these themes are repeated in the same shape.

An analysis of semantic deviation in Rumi’s Masnawi Rumi, as a great teacher of ethics and mysticism, in his Masnawi, had the difficult task of presenting the abstract and complex mystic concepts, which have been new to most of his readers, in a concrete language. In addition, to do so, Rumi did his best to free the people of his time of old ways of thinking and present them with new ways of looking at things. This, however, could not be done in the everyday language. Therefore, in his poetry, to a great extent he distanced himself from the norms of the standard language and many instances of linguistic deviation can be seen in his poetry.
This article tries to analyze semantic deviation in Rumi’s Masnawi according to the classification of linguistic deviations made by Geoffrey leech. The findings of this research show that semantic deviation in Masnawi not only show Rumi’s skills in handling Farsi, they also show that in Masnawi there is a unity of form and content, that is, a fresh subject resulted in a fresh language.

Including discourse of literary criticism, critique each other's influence or impact and influence of the poet in Search root certificate on the quality and quantity discovery and learning themes and subjects in the works of poets of innovation and imitation and their influence on each other shows Reader helps in the diagnosis of personal style . The magnitude of course, not to imagine similar aspects, but in order to understand the great diversity and beauty unfold and get to know a different way of unfolding manifestation of ingenuity and creativity.
Fakhredin Araqi on the Lyric poem "If you can do home to the satisfaction" of ., Hafez 's Lyric poem "If we do separate the heart from sad world" has Parody. The first two Lyric poem in terms of stylistic layer (phonics, vocabulary, rhetoric, Syntax, ideology), is studied And therefore, according to the results obtained from the perspective of intertextuality Gérar Genette explained that this influence which type is And also the interplay Fakhredin Araqi why Hafez in terms of form and content of each of the two poets has its own style and unique, So that it can be easily style distinction between the two poets was realized.

Desirable strategy for reading poetry, imagination or Confirmation?
The controversy that has taken place in Hafez's poetry in this century in various fields, including the concept of wine in Hafez's poetry, which has led to the writing of dozens of books and essays, has never gone a long way And there are also writings that insist on encouraging the same as previous conflicts. In this article, based on Khaje Nasir-e-Al-Din Tusi's poetic theory, a strategy is drawn that can end the conflicts. Conflicts that are sometimes the product of a logical Perspective to poetry and an attempt to interpret the concepts in the poem by adapting them to the outside and finding the implication of the concept outside. The effective strategy of Khajeh Nasir is based on the independence of poetry from the outside world. , This method, based on the views of Khaje Nasir al-Din Tusi and other Islamic philosophers, can be called a fictional approach to poetry.

Terms referring to tools are among the most frequently used symbolic terms in Ferdowsi’s Shahnameh( The Book of kings) as well as many other mythical literary works of the World. There are numerous references to various tools. And weaponries, such as armor, helmet, spear, javelin and so on in Shahnameh, were they are simply used in their purely denotative sense. The current paper will nevertheless strive to conduct and analysis of only those tools in Shahnameh that besides their denotative function also serve a cryptic and symbolic function from semiotic and mythological points of view. To this end, a special emphasis will be put on different definitions offered for symbols as rhetorical artifacts and various functions they serve in shahname. Since Shahnameh is an epic poem and and epics originate from myths, the paper will also devote a special attention to epic symbols.