مجله مطالعات و تحقیقات ادبی
سال پنجم شماره 1 (بهار و تابستان 1390)

Myrzadeh Eshghi is one of the innovative and intellectual poets of the Mashrooteh Constitutional era. He was deeply under the influence of the Constitutional Revolution. The developments and events of that time have a great effect on his thinking, as well as language and literary aspects of his poems. This caused him to be a pioneer in using the French vocabulary prior to his colleagues. He was among those who sacrificed their lives for the sake of freedom, love of country. We can see the reflection of literary schools such as Realism (in Manzumeh-e-Ehtiyaj), Symbolism (in Se Tabloye-e-Maryam, parts of Kafan-e-Siyah and Barge Bad Bordeh), Romanticism (parts of Idehal) and post modernism that the poet in the realm of imagination began to break the traditions even the modernism. We can also see in his poems the examples of political schools such as anarchism or a society without any ruler and without government, extreme nationalism and anti-humanist; i.e. poems in which he consider human being lower than the worst animals. This article tries to analyze the effectiveness of this domain of the world literature in Myrzadeh Eshghi.

The present study attempts to analyze Khaghanee's odes based on a number of the principles of formalism to delineate a number of the peculiar features of his poetry. Selecting a descriptive approach, this research concentrates on a sample including a random sample of 132 odes of Khaghanee. The sonnets were selected from Kazazi's edition of Khaghani because of his accuracy in word-recording, attention to the available copies and noticeable comparative corrections. The study concludes that Khaghanee has used formalistic techniques like defamiliarization, language foregrounding, different types of deviation from the norm and extra regularity. This has made his sonnets significant and quite different from other poets' works.

The Persian literature and culture is praised for a rich and unique heritage. The poems of Mas'ud Sa'd' Salman is considered as one of the valuable literary legacies of Persian poetry. Accordingly, many scholars have written commentaries about the poem's of Mas'ud Sa'd. This paper includes the Descriptive bibliography of Mas'ud Sa'd Salman. These works are classified in four separate groups: individual books, parts of  books, theses and articles. The resources are listed historically and after introducing each work, a short explanation about its content follows.

The story of “ Keikavous Going to the Mazandaran” consists of three parts: the beginning, the middle and the ending. The story opens with an incident and introduces the main character (Rostam) to the reader. The story adopts a shortcut, which is the turning point of the story, and connects the introduction to the middle part. After the incident, events take place one after another and the story progresses on a linear sequence. In the middle of the story, the character is tested. The story has a chainlike sequence and the consequence of events culminates in the climax, which is the second turning point. By this point, the story goes to the end part and the character’s fate is clarified. Rostam, the hero, should travel from Sistan to Mazandaran to achieve his goal which is freeing Keikavous from the Devil’s prison. Zal has sent him on this mission. Finally, Rostam manages to pass through the difficult stages and complete his mission with the help the assisting forces; God, his horse “Rakhsh”, Owlad, and the obese sheep. The story is close – ended and follows strong cause and effect relationships and eventually closes with a definite result.

In Beyhaghi’s history, the artistic as well as literary devices, allegories in particular, are not simply intended for their aesthetic appeals or as embellishments. They are rather employed to serve the author’s purposes. In other words, sometimes the author is compelled, given his own social and political position or the social and political position of the real characters in his work, to convey his thoughts to the reader by employing indirect methods of expression such as using allegories and anecdotes. Thus, the reader, by penetrating the underlying layers of the text would explore fresh and compelling meanings, which due to their literariness are more effective. This paper aims at analyzing some allegories as well as anecdotes used in Tarikh-e Beyhaghi as indirect methods of expression employed by Abolfazl-e Beyhaghi in order to demonstrate how they helped him to bring to picture the turmoil of the time and the atmosphere of distrust in the court of Masoud Ghaznavi.

What has been told about Shahnameh and Shahnameh – reciting in different books notifies the superiority of Ferdowsi’s skill in his "the high palace". One of the reasons which provide evidence as to Ferdowsi’s fascinating discourse is considering the rhetorical issues, organizing the draft and unifying the tone of Shahnameh. Considering rhetorical issues and especially the skill of story – telling is a point which most of the followers have not noticed yet. A relevant example is Garshasbnameh by Asadi Tousi which although some theorists have considered it as the successor of Shahnameh, it provides nothing but a mere imitation. This paper examines the rhetorical comparison between the story of "Zaal and Roudabeh" in Ferdowsi’s Shahnameh and the story of "Jamshid and the King of Zabol’s daughter". In spite of some formal similarities in the structure of the story, the results of studying the draft and structures of these two works, the unity of tone and figures of imagination especially simile and metaphor indicate the exalted excellence and superiority of Shahnameh to Garshasbnameh.

Sanaee is a Persian poet with his unique style in Persian literature. Poets are generally aware of the significance of his works and have attempted to uncover the hidden aspects of his poetry. Nostalgia is a technical term of psychology which has entered literature. Nostalgia or regret verses express the poet's and authors' regret about the past. This research initially attempts to present the meaning of the term nostalgia under collective and individual concepts and examines the functions of nostalgia in Sanaee's poetry. Also, the language functions of nostalgia in his poetry are examined.