نشریه مطالعات زبان و ادبیات غنایی
پیاپی 31 (تابستان 1398)

Compounding is an innovation in language surface that can be studied at tw0 sections: word formation and adjectival and additional compounds. These two methods have been in attention for contemporary poets and the second kind has special value among post revolution traditionalist poets, although Qeisar Aminpour had impressive success in making new compounds and words, but with a special approach toadjectival and additional compounds in both new and traditional poems, he has more used the second kind of compounding in his works. This application, after using routine language, has made the main feature of language for him. Theadjectival and additional compounds in Aminpour's poetry has metaphorical, conceptual and sometimes nominative compounds which brevity, music and introduction removing are from the important applications of them. These compounds in addition to grammatical and lingual style have had a kay role in literature and art style of the poet. This research wishes to study the structure of adjectival and additional compounds in Aminpour's poetry, how he uses these compounds in his poems and their role and importance in syntactic, literary structure and his artistic expression

The way a poet looks at the world and connects with that, also their inner feelings, emotions, and utilizing a proper language to express these feelings specifies their style of poetry. This article tries to investigate the poets of Pantea Safayi, Kobra Musavi and Najmeh Zareh based on their thought and feminine language. To achieve this goal, feminine emotion in their poetry language has been studied at first. In all these poetry, love and human emotions are the main contents that organizes the content. Hope and disappointment can be observed in their poetry with different frequencies, at the same time. Effect of religious branch and religious beliefs have been investigated in their poems, also their creativity and imagination power with a feminine look has been explained. In the end, differences and similarities in their poets are mentioned considering their poetry content

This research aims to study the mystical and romantic interpretations of the polo and the polo ball terms in Persian poems. In different periods of Persian language and literature, poets have used various interpretations to express their concepts and intents, and they occasionally have benefited from common interpretations and idioms of their era to restate such concepts. Poets have sometimes expressed their personal feelings and emotions in romantic and mystical themes with " Polo" and " Polo ball" terms. The present study is the descriptive type with the historical method, which has been done with an analytical approach. Our findings indicated that, Persian poems are filled with "Polo" and "Polo ball" terms, used to describe the hair length, chin, face, and moles of the beloved, as well as the description of the submission and humbleness of the lover to the beloved in romantic themes. They also have been used to express submission, and as an allegory for ignoring worldly longings and arrogance in mystical themes. The expression of "Polo" and "Polo ball" terms in the lyric poetry and abundant use of these words in Persian literature indicate the popularity of this game in different periods of the Persia history and the poets’ familiarity with the Polo sport might be due to the prevalence of this game in Iran.

Undoubtedly, love and affection, whether terrestrial or heavenly, have always been the core of the thoughts of poets, writers, mystics and scholars throughout history, but the type of payment and the way in which they are expressed are not the same. As the sovereign Lord of the romantic ghaza and the most prominent poet in the field of Persian language teaching literature, Sa'di has also embraced many moral themes related to love and affection in his most transcendental sense in the totality of Sadi through the influence of religious, eye-catching doctrines. This research seeks to investigate Sa'di's influence on the teachings of the Holy Qur'an and the Nahj al-Balaghah in the teachings of love and affection with a descriptive-analytical method. One of the most important findings of this research is that Sa'di has a coherent earthly and heavenly love, and it arrives at the position that the two have reached unity and ultimately become the way to reach the truth. Love in Sa'di's words goes beyond the love of man to all the universes and ultimately leads to divine love. Similarly, Sa'di has also benefited from the concept of love and affection for the achievement of moral virtues by inspiring religious teachings.

The constitutional period is a distinct period in Iran’s history, in which all aspects of Iranians lives has transformed and as a result the verse and literature encountered a great change by the change in point of view of poets of this period in comparison to former poets. In this period everything even the poetry serve the society. The greatest poets of this period are those who were in the middle of the society and the social events and react them; So this periods verse is explicit, clear, and thought governed, however streaks of feeling is accessible in these works but they cannot be classified in lyric poetry but this doesn’t underestimate the emotional aspect and semi-lyrical language of these works. Sometimes, the Constitutional poets try to support their works emotional and logical sides simultaneously; therefor the social matters present with a semi-lyrical language that cause a kind of Socio- lyrical integration in their works; however it’s a slight integration. This kind of socio-lyrical integration is observable in Aref`s, Farrokhi`s, Eshghi`s, Bahar`s, etc poetry with an unequal severity and weakness, Mohammad Taghi Bahar`s poetry as an authority in Persian verse in this respect is worthy to consider and investigate; because in this period no other poet is familiar with Persian classic poetry and in other hand he is the most political poet of constitutional period.

The purpose of this research is the vocal analysis of safaei’s on hundred and seventy monodies and elegies by in terms of formalist school with emphasis (on) sound analysis and induction that was in consideration of Maurice Grammont. Accordingly the questions of the present study are: Is it possible to achieve induction by interactions used in safaei’s poetry? Is phonemes repetition and its induction can suggest phonetic names?In phonological analysis of his monodies and elegies the impact of words choice and repeating them in music and the meaning of monodies and elegies, the repetition of phonemes, induction position and production procedures have been considered in this article, sounds, rate applications, inductions and illustration used in monodies and elegies have been considered in order to determine the success of poet in convening implications.Safaei has been considering all poetic elements like: (rhythm, rhyme and rows, literary devices specially the repetition of phonemes and words). The repetition of words and voices in Safaei`s poem have been used regarding emphasizing speech and music`s language. The repletion of voices could associate emotions, but theonomatopoeia have had poor application. High frequency of bass vowel (A) and Consonant sounds (N), in poem in of this great poet suggest the induction of pain and dissatisfaction, even if it is not clear in his context bits and speech.