نشریه پژوهش های ادبی
پیاپی 8 (تابستان 1384)

Rank is a piece of music of the poem and has high Importance in completing music Rhyme and Rhythm and most of its roles and functions are generally ignored.   This article tries to evaluate the definitions of the rank and explained some of them and then selects the definition which is comprehensive, simple, complete and extensive in research. Since the rank is successfully used only in Persian language and the frequency is much more significant in the most beautiful and musical kind of Persian lyrics like the lyrics of Hafez, we examine its musical and implicating role while considering lyrics of Hafez.   All statistics of verbal substantive multitude pronominal adjective & speech kind of rank will be presented as well.

If we regard Mashroote revolution and especially Nima Yushij's untraditional works as Iran contemporary poetry origin, it has experienced so changes to 70 decade and some methods of the moderate to radical poetry have been examined. After Islamic Revolution, following the political, social and cultural changes, the young poets doubted in last aesthetics principles and new styles and researches were made. Therefore, most of the young and old poets dispensed with the style of pre- revolution famous poets like Nima, Shamloo, Akhavan , Foroogh and Seprhti. The postmodernism poetry current along with the others recently emerged currents have been completed from the beginning of 70 decade and continued yet. If we regard the new style seeking will of the poets such as Mohammad Moghadam, Houshang Irani, Yadollah Royaee and Ahmad Reza Ahmadi as the radical steps in radical poetry and Iran contemporary poetry, the experiences by Postmodernism poets in 70 decade should be regarded as the second step of the same movement. The poets of the mentioned movements are now experiencing new styles through the west literature related opinions and full separation from local and literature classic and contemporary experiences. as the stylistic and formic changes are as the result of fundamental social changes, continuation and stabilization of this current is ambiguous. Analyzing the social causes of this current, this article is an attempt to clarify the basic characteristics of the related poets on critical view points.

Pseudonym (Takhalos), as it concerns Lyric Poem, is pen-name of a poet that comes at the final verse of a lyric poem. Despite the fact that great lyric poetries has used pseudonym in their works, nothing has been written by the scholar on it necessity. Since, Islamic and Iranian rhetoricians has not distinguished between poet and dramatic speaker, in Persian literature, theoretical essence and aesthetic value of pseudonym has remained unknown. However, the great poets were not ignorant of the essence and value of pseudonym. The use of contexts of the verses in pseudonym  indicates that the great poets such as Hafiz, both in selection of their pseudonym and its use, had its own criteria. Discovering these criteria not only reveals the essence and value of pseudonym but also is useful in stylistics.  This is possible that  in addition to general functions, pseudonym has some special functions; e.g. in poems of a poet such as Hafiz, it has special functions. One of the most important functions of pseudonym in Hafiz’s poems is development of ambiguity from poetry to poet.

This article has dealt with the phrase “ reclused lamp wick” (Cheragh-e Khalvatian) in one of the Hafiz’s odes beginning:  O cup – bearer come ,  for the friend removed the vail from her face, and the  wick of the lamp of the reclused got lit .   The phrase, as used in most descriptions concerned the subject of Hafez’s verse, connotes the thriving of business and gave the other words in the verse, it also denotes lighting up of the privacy of lovers through the sweet – heart’s bright face. Supplying evidence from Persian literary texts, the author has striven to demonstrate, in the present article, that main meaning of the word (KAR) is garments and textiles, referring to the wick of the lamp As such, there arises a similarity between the lifting of the veil off the face of the sweet – heart and the ascending of the wick of the lamp of the reclused. The author has also illustrated that throughout Hafez’s collected verses, the term KAR is appropriately associated with other words connected with cloth, such as balance, stitch, curtain, print, work place.

Comparative study of different views of the Poets, especially in new literature, is very important. Among the new Persian and Arabic language Poets there aren’t so many ones, like Eqbal and Shabby, paying attention to the nations will and its role in determination of their future. This article at first is short look at both poet’s life; their personal differences and similarities then views and their personal and social condition. It has talked generally about importance of the nations responsibility taking totally and then the subject is compared and resulted on the view of the Eqbal and Shabby separately. By studying the viewpoints of these two poets on paying attention to the nations will in determination of  their future, we can discover the human internal potentials and build our personal and social life better and pave the ways for reaching the prosperity of both Worlds.

Maktabi Shirazi, an outstanding poet of the late 9th and early 10th century, has a versified story entitled “Leili-va-Majnoon” comprising over 2160 Couplets. This imaginative poetic work is a specimen of Nezami’s “Leili-va-Majnoon”. Among specimens of Nezami’s work, Maktabi’s literary work is a successful one.   The characteristics of Maktabi’s poem include: dealing with principles of tale’s actions; avoiding from strange descriptions; using the conversational words and explanations very frequently, using nice and in several cases new compounds; using some archaic applications of words, grammar and syntax; creating various images and using exaggeration.

This article defines and clarifies the concepts and principles of Magical Realism based on the literature critics and opinion makers. Then Ahle Ghargh fiction is analyzed with due regard to magical realism features and specifications.   Magical realism is a modern style in contemporary story writing in which the factors of reality and imagine are combined. The result is a work no similar to the story constructive elements. The style includes making use of reality and imagines combination in such a skillful way that all the imaginative and unreal events are seemed completely real and natural and the reader accept it simply. Unlike most of the opinion makers view points, magical realism is a branch of realism school and can not be regarded as a separate literary school for it has special fundamentals and structure and is not new. It is totally coordinated with realism school.   Ahle Ghargh fiction is one of the major works written in magical realism based style in our country. It is more and more influenced by this style in characters and atmosphere making. Presence of some imaginative elements such as sea Elf, ugly Giant, main character of the fiction being semi-human and … have classified the fiction as the realism work. The writer have combined the reality and imagination well but reduce its reliability when reports or interpret the events.