فصلنامه زیبایی شناسی ادبی
سال نهم شماره 37 (پاییز 1397)

Golestan Sheikh Ajal Sa'di Shirazi is a prose poem in which Sa'di used the imaginative imagery and by displaying his artistic ffects in this effect, Mons has the minds and minds of his readers and his followers. Golestan Sa'di has since The Persian horoscope was manifested, popular and appropriate, and everyone who had sex was asked to speak in a Sheikh Shiraz way, and this way, the imitation and that is why they were proud of themselves. Faghir Shirazi, poet and author of the fourteenth century AH, was one of those who wrote the three works of Saadi from his five works, and in two of his successful followers. Poor Shirazi has written the book of Khrabat in accordance with Sa'di Golestan, and used it well in the form of Sa'di. The key to the attractiveness of Sultani Golestan and the Faghir's Kharabat is to use a timely and timely manner in the proper way and to the point of view. Both sides have used each of the four themes of the science of expression (likeness, metaphor, permissibility, and enchantment), but the use (similitude) in these two effects is more frequent. In this article, Forkhial, in Sa'di's Golestan and Faghir Shirazi's Kharabat , has been studied and analyzed in a comparative manner, with examples of both of these works.

Personification is one of reveal imaginary pictures in the poem of hafiz that has been used. Hafiz personificates to things and different elements of nature. Personifications result from reasons and poet investigates purposes. Poet, among personificated elements, especially notices to wine. Investigating the basis of personifications concerning wine proves that hafiz behind reveal couplets concerning wine investigates other purposes. At this article, by means of opinions of researchers about metaphor and personification and its role intransfering  mind and it’s merging whit points of view about the intellectual system of hafiz and also  the studying political and social conditions of  the era of poet, kinds of personifications for wine and their motivations and goals in  the poem of hafiz are investigated. In this article, personification in two aspects is investigated. Origins of personification in poem of hafiz consist of: adorn, ,Reality by imagination, social necessity, the transfer of thought, prevision and fiction of affections for personificated. Origins of personification for wine in poem of hafiz consist of: fantasize social necessity and prevision, fiction of affection for personificated.

Sensual is one of the methods of creating poetic images and new themes for young poets. Khaghani is also interested in the sensual use of this novelty and his attempt to create the theme. The poet's conscious attention to the linguistic and semantic aspects of speech and the use of these capacities in terms of artistic creativity has led him to use arrays and industries that were less relevant to the work of his poets. The sensation in Khaghani's poetry is such that he can be regarded as the pattern of poets of the later periods in this regard. An examination of valuable, meaningful samples, a solid structure and its visual and semantic dimensions in Khaghani's hangings shows that sensuality has not been forgotten after the Somoni era, but it has not reached its height in Indian style, but with such poets as Khaghani He has been walking along the path of perfection and gradual culmination. In addition to the cases that the researchers have shown, Khaghani has been used in sensational applications as a model for later poetic and innovative poetry.

It is not possible to speak without the audience and the audience's premise, and this audience, whether present or absent, speaks to the elements, and he determines the context of the meaning of the speech and the manner in which it is expressed in terms of the scientific and artistic capacities of the poet. Contrary to the outsider's choice of the text he chooses, the in-text audience is selected by the literary creator. One of these audiences in the text created by the creator of literary work in poetry is the beloved poet who addresses and talks to her in love with her love affairs. In this research, the writer has been trying to bring her beloved face Whose poet addresses his old poetry in his poems from the perspective of aesthetics. What is the result of this research is that poets have used the combination of visualizations and new imagery to attract the audience and also aesthetize the love favors.

one of the beauty factors the poetry , especially in classical forms, is proper use of side and exterior music. The most important effects of this music are the use of weight and rhyme and rhythm. Vasefi is one poet who has worked admirable. In his poems , he uses vocabulary and  did not have this experience so much be .  Vasefi ,in the structure of most of his poem , put the semantic .He has used words like  Laleh , narges Red Banafsheh,.Ghoncheh in  his poetry line which require a great deal of elegance . Vasefi has used more verb rhythm than other types of rhythm. The main reason for this , are following the style of poets before him and Hindi style poets and also create new concepts and themes in using these types of rhythm in his poetry. About the exterior music , Vasefi has used only a few and limited weight . Among them , there are more frequent cases .which a descriptive and analytical method is used ,side music (rhyme ,rhythm),exterior (weights )is investigated in Vasefi s poem has been analyzed.

Traditionally, Shakespeare’s Hamlet has been regarded as a literary reference for psychoanalysis. In the light of Lacanian psychoanalysis, Hamlet is a tragedy of a man whose predicament is having lost the way of his desire as it is confused with the desire of the Other. The case study of prince Hamlet indicates that he is entangled within blocked desire whereof no escape seems probable. He mourns upon his dead father (that works as a sign of phallus in Lacan’s term), but it helps him no withdrawal from a loved one. Normally, it is accepted that when the work of mourning is complete, then the subject is free and able to direct his desire toward the other objects. Lacan argues that Hamlet is unable to mourn his father because his mother unexpectedly married the uncle, and so replaced the symbolic father. It is only at the end of the play, when fatally injured, that Hamlet finally distinguishes his position as a subject.

The snake is one of the most complex and multi-threaded, and yet the most prolific symbol of the world. This mysterious, complex mysterious symbol has been integrated with many concepts in many of Masnavi's ups and downs with religious, mystical and mythological beliefs. Rumi has expressed many meanings for the serpent, some of which have deep connection with the physical characteristics of the beast. In Mathnavi, the snake is often referred to as a bad one, and Rumi has a ugly, black and horrible face and look that is capable of supernatural work. In the light of his mystical insight, he has taken more than a conceptual, abstract, and religious snake, and constitutes it as a symbol of self-esteem, lust, devil, hostility, filth, deceit, ruin, blackness, cunning, annihilation, and so on. The author intends to extract the various dimensions of the semantic meanings of the snake exponentially and extensively in Masnavi, in terms of his ability and understanding, and by presenting visual networks, Rumi's mental concepts become more objective and tangible. The research method in this paper is descriptive-analytic and based on library studies.