نشریه تفسیر و تحلیل متون زبان و ادبیات فارسی (دهخدا)
پیاپی 45 (پاییز 1399)

One of the most remarkable fields of Persian literature is mystical literature which has a very strong background and comprises a large part of our literature. An analytical study of the works in the fields of Sufism and Mysticism is required in order to understand their status in different eras and places as well as the stages of their evolution. Molla Mohsen Fayz Kashani is a very prominent and influential poet of the Safavid era, to whom, more than 200 works of poetry are attributed. This great scholar and mystic has a book of poetry containing around twelve thousand verses. The aim of this paper is to study Kashani's sonnets from a stylistic point of view. For this purpose, the final five hundred sonnets of Kashani’s book of sonnets will be examined separately from textual, semantic and literary aspects. It is worth pointing out that there are some rhetorical and structural features in this poet's sonnets which can be described as Kashani’s stylistic features, and will be discussed in detail in this article.

Studies show that the lives of women throughout history have been constantly ups and downs and in the face of injustice and contempt.With regard to men's writing in Persian history and literature, less information can be obtained about the personality traits and cognitive identity of women.Their presence in the political, social, and political spheres of the Qajar period, and those that have gone away from time to time, is important for achieving this recognition.Among these works, letters are worth more because of the facts of life.This research has been aimed at analyzing these letters, the extent and manner of exercising the power of women in the courtroom.The research method in this paper is based on analysing of Forough Dawlah's letters, Nasser al-Din Shah Qajar's daughter, and their compliance with the statements of power of nineteenth-century theorist Michel Foucault.The result obtained indicates that Despite the increasing awareness and increasing the presence of women in the community, they have not been able to respond to the demands of self-restraint without the support and support of men, and in the context of the distribution of power, they have been subordinate to the lower.

Sustainability literature in Iran has long played an important role in expressing and inducing resistance concepts with manifestation in various Persian poems and pros and in connection with Ashura literature and the epic spirit of its epiphany, the reporter has been fighting, sustaining and resisting all kinds of aggression and oppression. Meanwhile, the epic expresses a more detailed description of the treachery and heroism of Imam Hussein (AS) and his followers during the course of Ashura as a type of literary index. Considering the necessity of completing the theoretical debates on the Holy Defense literature, especially the poetry of persistence during the imposed war, and the importance of recognizing and the presence of the epic element in the Ashura poetry, by examining the relationship between the real epic elements of Ashura in the verse of the Holy Defense in terms of commons such as definitions, role play The same characters and hero, having the essence of the protest, must be criticized. Sacred Defense Literature has used a significant amount of poetry, poetry, rage and mention of the sufferings of Imam Hussein and his followers even more than saga and courage; therefore, the review, critique and analysis of the epic element in the Holy Defense Literature of the Holy Qur'an have been considered in this article. This paper deals with the descriptive-analytical method based on library data and analyzes the epic element in the poetry of Ashura Ali Mokham, Fatemeh Rake'i, Tahereh Safarzadeh and Nasrollah Mardani.

The history of Beyhaghi is one of the most important historical books that, in addition to mentioning the historical evidence of his era and his famous moral points, has been widely praised by the readers because of the literary language and the perfect knowledge and writing art of Iran's renowned historian. Beyhaqi, with the use of exquisite compositions, lexical interpretations, hybrid verbs and Persian proverbs, has been able to create a psychological, poetic and linguistic complexity of language. His art is the culmination of rhetoric of Persian language and the best example of the art of ancestors of the past, which made beauty in the simplicity of the word. The clarity of language, the power of the word, and the profound influence of his words, have influenced the linguistic and semantic influences of other poets such as Akhavan Sales and Ahmad Shamloo. Bijan Ellahi, a poet, translator and contemporary painter, has also influenced his linguistic structure in some of his works. In this article, the influence of Beyhaghi history on his poems has been discussed in various ways.

In stylistic analysis of text and viewpoints of the poet, it is important to examine and identify “categories of modality and syntactic voice” of the layered stylistics structure. The purpose of this paper is to understand the correlation between modality with meaning of speech, degree of certainty of lyrics, and determination of the poet's words. In order to discover the relationship between the poet's language and his insight and worldview using a descriptive-analytical method, three syntactic modality variables including verb, adverb and adjective as well as two active and passive syntactic voice were examined in two valuable collections of contemporary poetry, Arash the Archer and Derafsh Kaviani. The research findings indicated that there is a consistent and complementary relationship between syntactic structures and speech content. Indicative mood, as a dominant mood with definite degree of expression, makes statement about Arash the Archer and Derafsh Kaviani. With great interest and based on the needs of society, Kasraei and Mosadeq tried to restore those myths. Passive voice is the most frequent syntactic voice. However, in the texts of this study, as the sentences with intransitive and copular verbs cannot be passive, they work in the opposite way of diagnostic criteria so the active voice overcome the passive voice and adds to the authoritative power of the speaker's words. Four stylistic components – dynamic poetic syntax, emotional and idealistic stylistic form, two views of hope and disappointment, and overt and covert position – are created by the confluence of two syntactic layers.

One of the most popular contemporary literary schools is the school of Romanticism, which first dealt with personal issues; But because of the unfavorable political and social situation, it gradually shifted from an individualistic to a socialist state and took on a socialist state. Although the emergence of the school of Romanticism in Persian and Arabic literature does not have much in common; But there are many similarities between the followers of this literary school in Persian and Arabic. Nazak-ul-Malaika and Jaleh Ghaem-e Maghami are among the poets whose poems have such a character. There are similarities in the theme and style of their poetry, showing that the poems have been influenced by the poetry of the European Romantic period in terms of content, format and language. The present article seeks to analyze and explain the principles of socialist romanticism in descriptive-analytical method in the poems of Jaleh Ghaem Maghami and Nazak-ol-Angels. Poverty, the decline of society, women and issues around it, idealism and idealism have been studied in the poetry of these two poets. The author seeks to answer these questions: What are the most important issues raised in the poems of these two poets? And what are the similarities between these two poets?

Ferdowsi, in his work, has spoken in the corpus of narrated stories of myths. In many cases, cipher and allegory are included in the mythological concept. The story of Zal is one of the most perverse of them, which has a different expression for the narrative of cultural adventures and messages. This research, while analyzing the linguistic and communicative elements of language, message, audience and sender, is based on the verbal communication pattern of Kaboson, to re-examine the codes and symbols. Accordingly, the focus is on the role of phrasalism. The extent of the effect of linguistic roles on readers and the frequency of each of them, identification, ciphers and parables included in the Zal story, the understanding and reception of implicit abstract concepts, which are implicitly expressed, are the objectives of the research. The results of the study show that language roles are an effective tool for understanding secondaray meanings and interpreting the symbolic language of myth and is also a criterion for classifying allegorical and symbolic works in the epic context. Also, a good way to find out the extent to which cryptographic, inclusive messages are addressed to readers. In the end, it must be acknowledged that the aesthetics of epic and mythical stories are more and more evident in the light of this theory.

The attitudes, approaches, and ideological, cultural, and social requirements of each society in the cultural-artistic exchanges between different societies lead to change, evolution in the cultural-artistic components of the exchange. Iranian cultural-social beliefs, in the early period of Westernization of Iranians' intellectual - after adopting the school of Western realism from Western literature - made fundamental changes to the principles and norms of this literary school that eventually reproduced it as an independent school with a purely Iranian method and with specific Iranian components, to the extent that The term (Iranian realism) can be considered appropriate for this school. This research, based on qualitative content analysis, examines (Woman in Iranian Realism) as one of the most important components of Iranian realism in the novel (Missing Soluch). In this research, the challenges facing the Iranian woman and her personality dimensions in the family is categorized as headings and sub-sections, its different aspect and then evaluated in the novel. Also, in the process of this research, the author's attention and focus on the historical identity - The social status of Iranian women as a component of Iranian realism is explained and analyzed.

Among the mystical poets of the Safavid era, Raziuddin Artemani has a special reputation Because of the creation of Saghinameh. His opinion has done Considerable the one hand mystical meanings on the other hand religious thoughts and his interest in Shia.The purpose of this paper it is to show the task is double playe the "wine" object, in addition to its usual function in Saghinameh. "Wine" and its affiliates represent many of the meanings of culture-social and political.Examining Implicit Implications and hide it can clarify some of the problems encountered in the culture of that period of iran.this research with the method descriptive-analytic and reflection on each of Saghinameh's verses examines the influence of the ruling ideology on the Artemani's Saghinameh and its specialty.The results showed that Artemani due to accompaniment with Safavid Shiite government has tried in addition the usual meanings of wine with little change the nature, also to give it religious approach and hue.He has not acted for your exclusive idea image not like extremist Sufis and not like fanatical jurisprudents but achieved by creating balancing between matter and meaning, world and other world, to some kind of Shiite mysticism.He is on the one hand in the final drunkenness of consciousness have been and on the other hand, seeks to rescue the opposition namely Sheikhs & duplicity ascetics from ignorance & Unknowing drunk.Understanding this approach shows the Importance of Artemian's Attitude as a Mystic Poet in the Age of Extremists and Makes it worthwhile his poem.

Joseph Campbell (1904-1987) was an American mythologist who worked in the field of comparative mythology and religion. The notion of ‘hero’s journey’ was first proposed by Campbell in his book titled ‘The Hero with a Thousand Faces’. Based on the structural similarity of all myths, he proposes a fundamental patterns that underlies all mythic narratives. In spite of being subject to cultural and temporal variations, this pattern remains essentially the same. According to his theory of monomyth, the hero leaves his society following an invitation and, having embarked upon a journey, he goes through stages such as the call of the envoy, rejection of invitation, acceptance of invitation, following a guide, passing the threshold, seeking help, test, reward, elixir, and return. Osman Mokhtari’s verse book of ‘Shahriar-nameh’ is a perfect example of hero’s journey. In this story, the hero that represents the will of a nation travels to another country while successfully overcoming numerous obstacles and tests to defeat evil creatures and show the superiority of Iranian wisdom over other nations.

Based on the intertextuality approach, in the field of literature, a new text is not formed as it is considered as an intertextuality of the texts before it. The theory of intertextuality is concerned with the relationship between the texts; a relationship recurrent in literary works. The theorists in this field, such as Kristeva and Barthes, argue that there is no pure text and all the texts have already existed , and only the narrator is different. This article seeks to study and analyze The Bustan of Saadi and Qabousnameh of Onsor al-Ma’ali in order to explain the commonalities and recurrent elements of these two significant literary works and stress the point that, according to the theory of intertextuality that states that no text is original, in terms of content. Hence The Bustan of Saadi is a reflection of the texts before itself, including Qabousnameh of Onsor al-Ma’ali, which is the aim of this research.