فصلنامه شعر پژوهی (بوستان ادب)
سال دهم شماره 3 (پیاپی 37، پاییز 1397)

This research deals with metaphors used in Iraqi poet’s book with unhappiness core. The research theoretical foundation is the conceptual metaphors theory which has risen up metaphor from merely aesthetic tool (instrumental) limit to an approach for recognition and thought. Fakhroddin Iraqi had sought to get help from “things”, “dish”, “human”, “plant” and “illness and health” areas in his poet’s book to describe many characteristics of unhappiness and has been able to show off this abstract concept as tangible and objective. The current research made in in descriptive-analytic method tries to discover and describe the relationship between metaphor with the foundation of Iraqi intellectual world and thought. Using cognitive analysis of some category of unhappiness metaphors in Iraqi poet’s book, one can find that this feeling is watchable, touchable, testable and in part listenable in his intellectual system.

After the revolution of 1987, representation of society in literature has taken a newer form. The matter of “commitment” which is one of the key concepts of Islamic revolution was converted to an index to judge about literary works. However, answers to questions like “what should literature be commitment to?” and “Who is a committed poet?”, have not been not so clear even until now. In this study, Keisar Aminpoor’s poems are studied to explore the matter of “commitment in literature”. This research has considered “commitment in literature” in two dimensions of “social commitment” and “literary commitment”. The approach of this research is qualitative and its method is Mimesis. Simultaneous study of Keisar Aminpoor’s poems and their social context provide an insight that his poems can be categorized into three periods: “being for the other” “being without the other” and “being beside the other”. After analyzing the literary and social commitment in each period it was concluded that Keisar Amin'poor‘s commitment is dynamic and changeable in any period. Therefore, he was a committed poet at first and he stayed committed up to the end.

One of the themes and motifs of the legend that is dealt with in national epic, the theme of fate and destiny.
In this belief, humandestiny is somehow dependent destiny of victory and happiness and on the other hand, misery and death upon the man.Thus, the fate of man tore destiny was played out and no escape and it is inevitable.Belief in destiny and domination watering time in the minds of the Iranians, the pre-dates Islam and is considered as a factor contributing time, could have roots in religions such as Zurvanism.People believe that ancient era, the sky is the main source of human destiny and fate and writer of stars and planets and their agents are gone.Thus, long time to worship the stars, the moon and the sun and it skings in their court astrologers, and fortune-teller had Yanni.The wars and the great things they wanted to help, saying they were the experts go-round, tied to work, the belief in the inevitability of fate foretold in the words of astronomers national epic and enjoying one of the tricks of the saga. When in a pinch, before the epic heroes in difficult conditions, with the help of a number of stars, to study the secrets of the universe-pay This study examines the beliefs and signs of appreciation after the Shahnama epic-pays system,By tracking the desired belief system, belief and consequently many signs of appreciation prophecy can be found.The action epic storyline involved

Sonnet is one of the most significant Persian poetic forms in expressing different themes that poets sometimes affect each other in singing this form. And it means influencing next generations or present poets by ancestors is notoriously obvious and incontrovertible. Xaju kermani and Jalal Azod are both well-known poets of 8th century which scant attention has been paid to these both poets and their poems, one of the main reason for this negligence is the same era that both were developed in. One century before the birth of these two poets in 7th century at that same climate Sa`di Shirazi was a pioneer of eloquence. Simultaneous with these two poets, there was also a famous poet as Khaje Hafez took precedence of others in eloquency, it was really a difficult job for anyone to compete with such poets and come out of the competition field successfully. In this article, we have dealt with equality and comparison of each poet’s sonnets from integrated group, it means Jala Azod with Khaju Kermani and we came to the conclusion that a lot of similarities in various scope of stylistics, content, lexis, and structure of discourse in each poets`sonnets could be seen.

The imagery in poems of blind poets, is the issues which has not been noticed, analyzed and criticized so far. In this article the imagery of this poets were investigated in a descriptive-analytical way with this consideration that they were deprived of seeing visual. This research is based on shourireh shirazy’s book and three published books of Mahin Zoraqi. The main question is that if could consider a role for other senses except visual in creation imagery in persion poem. This research investigated the share of visual and unvisual elements and hidden layers in poems of blind poets. And effect of blindness in their poems . this research shows that there is no difference between blind poets and other poets in usage sensible context and colors in imagery; but blind poets attempt to compensate absence of visual sense with the capacity of other senses .therefore in their poems there is more frequency of imagery like synesthesia and irony. and lack of diversity of colors; prominence of some parts of body like hand, tongue and ambiguity of some fancy forms is the clear property of blind poem's imagery.

Kamal is a celebrated, gentle poet in the eighth and early ninth century. Love and roguery are two important features of his sonnets. These are composed concerning love and Malamati. kamal's artistic way in describing scene of love, love making and the praise of love and roguery has captivated hearts of the majority. These features connects sonnets of Kamal to various emotional, sensory and physical disputations. The issue is that, what is the mystery behind semantic feature and sense making of kamal's sonnets and what are those structures and contents which have made Kamal one the greatest sonneteec character. Accordingly, this research has used a Semiotics disputatious approach in order to study and analyse a State system in sonnets of Kamal. The main question of the research is that on the basis of which strategies does the State disputatious system play a role in Kamal's sonnets and how it effects the process of meaning making and sense making in his poems. by the use of analytic-descriptive method this research tries to study the State system in the sonnet number nineteen of Kamal poetical works, in order to find and introduce his poem's disputatious system. The study, indicates that sensory-perceptual, emotional, physical and contagious processes also have a role in disputations. This situation is indicator of the presence of a kind of sensory and emotional system in the framework of sonnets of Kamal. In this case the mystery of the survival of his sonnets is also hidden behind it.

At the same time contemporary political and social developments, the kind of idea about poets and authoring of events on developments and consequently, reflect this transformation in literature than in the past, fundamental change found."D.r Hamid Shirazi," a contemporary poets ever, the most magnificent social themes in the form of new-ancient poetic images offer Hamid particularly known love in his "beloved tears" and incompatibility and conflict New extremists like Ahmad with the social spirit of his poetry caused him to be kept hidden . This article is intended to reflect some of the political and social concepts in the analysis of his poetry. attack on Shah, defend Azerbaijan, according to the country and the situation of political conflict against Iran Hamidi Shirazi of the major themes of political and social poetry form. Special attention was his home and promote it. Along with the glory of his social poems often incompetent-the leaders of Iran and then mixed with cries of revolt and is seeking And sometimes, especially in homegrown poetry in praise of the former residents of Iran with excitement and epic. His poetic art, at all, in the deep themes in simple terms to deposit his heart.

Majalis al Mo'minin, written by Qazi Noorullah Shustari, 1610 AD, is one of the most significant books in Shiite Rijal, important in literary studies because it contains verses attributed to poets of early Hegira centuries. Many contemporary scholars treated these poems with doubt; however, no genealogical study has been conducted on these verses to date. One of these poems, attributed to Avicenna, is a Ruba'i in praise of Imam Ali first recorded in Majalis al Mo'minin thus finding way to several biographies and books of Persian literature history. The theme of the Ruba'i is closely related to calligraphy terminology and certain mystical notions. Therefore, the study, using historical content analysis, attempted to genealogically address the type of calligraphy and development of the mystical symbols to approximate the time the poem was written and explore how the poem entered Majalis al Mo'minin. The results show, considering mirror-writing in the theme of the Ruba'i, emergence and development of this type of calligraphy after 9th century Hegira and its accordance with certain common mystical thoughts in sects like Hurufism, Noorbakhshia, Bektashi and etc., it was written four centuries after the death of Avicenna, 1024 AD. Furthermore, since Qazi Noorullah Shustari was a poet connected to mystics and familiar with calligraphy, it is possible that the ruba'i was one of his that he attributed to Avicenna to support his claim.

Some transiently, dealt with dialectical similarities of Hegel and Mawlānā, but the results are more literary than philosophical; because they weren’t aware of Hegel, known in Germany due to his complicated writings. The first work, dealt with this issue, belongs to seventy years ago. Whereas even today there is no appropriate Persian translation of most of Hegel's books, predecessors' excuse is acceptable. Today, experts have written helpful commentaries on Hegel's philosophy. Nevertheless, recent researches paid attention neither to Hegel's works nor to authentic commentaries. In this article, the basis of Hegel’s dialectic is “The phenomenology of spirit”; but as appropriate, we’ve noticed Hegel’s other works. Dialectic dominates the whole of Hegel’s philosophy and in Masnavi, it can be seen more systematic. This article demonstrates that the concepts that Hegel, as examples, has brought for the dialectical triples (thesis, antithesis, synthesis), primarily have been mentioned in Masnavi with the same approach. Due to Hegel philosophy- as it is mentioned in the preface - there is no limitation for bringing examples for dialectical triples, so what does the similarity of examples signify? Besides, this article by finding Hegel’s admiration of Mawlana and introducing German translators who have translated a great deal of Persian literary texts and also some parts of Mawlana’s work to German culture, do conclude that Hegel's dialectic is influenced by Mawlānā's thoughts.

Majority of poetic safineh, Bayazes and Jongs (literary collections) are among the most important resources in critical correction of poetic works as well as poetics researches due to containing valuable information. One of these is a hand written poetic safineh by Sa´ad-al-dîn-e elāhi belonging to 10th hijri decade which is in fact his third and last of 2 Yahya Tofiq Safineh (754 h) and Ganj Bakhsh Jong (probably belongs to late 8th hijri decade).
In this research, the authors presented Twenty five newly found verses by Homām-e Tabrizi from a set of verses are provided which are highlighted by first and third analyses of this safineh (are bold in the text). Irrespective of a verse which absolutely is not from the Homām’s and Moqata poem which are among the Mofradat and a Quatrain and single-verse which is from the Homām’s Quatrain set, Twenty two verses are contained in Homām remained sonnets.