مجله فنون ادبی
سال سیزدهم شماره 1 (پیاپی 34، بهار 1400)

In literary texts, some sentences are more important than others and are thus, highlighted through emphasis. The current study aims at reviewing 3000 verses from Shahnameh to extract the methods and techniques of emphasis. The researcher seeks to find out what structural, rhetorical, or semantic devices are used in the Kamoos Keshani story to show emphasis. The data was collected deductively, and the data analysis was descriptive-analytic. This study categorized the emphasis in Shahnameh into two types: general emphasis and specific emphasis. General emphasis consists of reiteration, apposition, description, hyperbole, contrast, opposition, and limitation. Reiteration is an artistic repetition of the exact words, meanings, synonyms, and a combination of words and meanings. The combination occurs in the repetition of nouns, noun phrases, adjectives, adverbial clauses, and objects. The repetition of meaning or synonym consists of a semantic synonym of two verses. The emphasis of apposition happens through a series of consecutive words. In this study, the words such as 'many', 'hard', 'much', and 'numerous' are known as descriptive. These words function as adjectives if they follow a noun and function as an adverb if they follow a verb. Hyperbole and other related terms such as exaggeration have an implied usage in epics. In Shahnameh, other devices of emphasis are usually along with hyperboles. The second type of emphasis is the specific emphasis which happens through using nouns, inclusion, connecting pronouns, verbs, propounding the verb, prosody, sentence emphasis, sounds, rhetorical questions,  interjections, redundancy,  condition, omitting connectors, emphasis without devices, as well as emphasis through analogy and irony. Also, a transition of the sentence constituents can affect emphasis. The noun emphasis in Shahnameh happens through appositive pronoun, and the inclusion emphasis happens through words such as 'purity', 'thoroughly', 'all', 'anybody', 'anything', 'every', and 'everyone'. The exemplar connectors, in Shahnameh, are only 'particular' and 'in particular'. The techniques of pronoun emphasis are similar to those of noun emphasis. The verb emphasis happens through the verbs with the comparative and superlative adjectives, adverbs, and swears. Moreover, propounding the verb is one of the main techniques of emphasis in Shahnameh. The prosodic emphasis in Shahnameh mostly occurs with the word 'remorse'. Adverbs such as 'correctly' and 'inevitably' are used for the sentence emphasis, and 'never' and 'no' for emphasizing verbs such as 'prohibit' and 'forbid'. Redundancy is also another technique that occurs in Shahnameh based  to show emphasis.

 In recent years, by the efforts of scholars such as Maria Tymoczko, translation studies have started reacting to Euro-centrism and exclusiveness. The movement stresses the necessity for the internationalization of translation theory and the importance of paying attention to translation traditions. The authors of the present article do believe that if we, too, as the Iranian, are going to play a decent role in the expansion of the translation theory and development of translation studies, then we should first achieve a comprehensive knowledge of translation traditions all through the Iranian cultural history. In line with the necessity for such research, we have tried to show which strategies are applied by Ayn al-Quzat Hamadani in his book, Tamhidat. In so doing, the article based on the theoretical framework of 'micro-history' is to provide appropriate answers to three essential questions:  1) What translation strategies have been deployed by Ayn al-Quzat Hamadani, and is it possible to compare such strategies' results with recent achievements of translation studies as a modern discipline? 2) Is Ayn al-Quzat’s translation approach in conformity with the dominant translation norms of the time? 3) How can we define Ayn al-Quzat’s cultural and social agency as a translator? The present study is qualitative and based on the analytical framework of micro-history (Adamo, 2006). It aims at understanding Ayn al-Quzat Hamdani’s responses to the cases of linguistic hybridity to know various aspects of his translation. For that purpose, all Arabic expressions, Quranic verses, Hadīths, sentences, and poems in the text have been studied. Tamhidat, the mystical and prose work by Ayn al-Quzat Hamadani, is based on 'pragmatic' meaning. To achieve the pragmatical signification of Arabic sentences, Ayn al-Quzat Hamadani resorts to 'interpretation' in Tamhidat, and since interpretation passes inevitably through translation, he engages himself alternately in practicing translation. After reviewing the literature of the subject matter, the method of study has been introduced. After that, the researchers move on to present a typology of translation in Tamhidat. In continuation, they analyze samples of those translation types to discuss various aspects of Ayn al-Quzat Hamadani’s translation acts. The findings indicate that Ayn al-Quzat Hamadani has not had the same reaction to the Arabic-Persian hybridity, so his response has varied according to the text-type by Katharina Reiss. In general, a combination of authorship and translation, approximation of authorship and translation standards in his prose, and the consideration of text type in adopting preliminary and operational norms of translation are among Ayn al-Quzat Hamadani’s translation acts in his way towards the implicit meaning as well as the functional equivalence.

The purpose of this study is to examine the prominent rhetorical techniques of Attar's ghazals. The main question here is what style he has applied in the structure of the elements of a verse, using the science of innovation and expression. It looks necessary to know the most frequent ways of arranging Attar's ghazals and the style of linking them to his fundamental and mystical thoughts. In composing ghazals, he apparently attached great importance to adorning the language, applying the figures of speech in the field of gentle innovation and spirituality and its methods of similes. Seemingly, he knew a more effective speech is the one that is more adorned. Hence, with the aim of emphasizing mystical themes, he created another effect and function of all kinds of pun, simile, ambiguity- proportional and coherent- repetition, personality-oriented allusions, axial paradoxes, etc., that goes beyond the mere rhetoric and embellishment of verses. Perhaps, Attar's goal was to highlight  his thoughts through such literary techniques. As the result, he made his ghazals more musical and influential with his knowledge, insight, and mastery of the functions of rhetoric and innovation. For him, even the most trivial innovative point appeared to be a medium for the effective induction of his mystical thoughts. Attar is also known as a content-oriented and mystical poet who paid special attention to the processing and arrangement of his words in poetry. The most important feature of his ghazals is the proportion of form to meaning. (Shafi’ee Kadkani, 2001: 60) Every talk of fade and finitude is aligned with innovative verbal and spiritual figures of speech, as much as possible; for example, to make the concept of "losing one's head" and "knowing one's secret" influential, he used  pun and repetition (see Attar, 2013: 363). To sum up, his using simile, ambiguity-proportional, coherent or contradict-pun, repetition, and allusions in his ghazals seems to be a way of artistic expression of his main mystical concepts and thoughts such as epiphany of God and His manifestation and concealment- seeking, love, knowledge, satiety, manifestation, existence and non-existence, poverty and annihilation, fade and finitude, conversion death and part moving towards the whole or immersion in the essence of the beloved (employing the similes of candle, butterfly, particle, sun, drop, sea, ball, and polo, etc.).

Mystical texts are formed based on religious and Qur’anic pretexts and extensive inter-textual connection with other mystical and literary texts; hence, mystical interpretations have been influenced in various aspects by the language of the Qur’an and religious influences. Such texts have been affected by the allegory and linguistic structure of the Qur’an. In addition,  in many cases, their teachings have been expressed through interpreting and paraphrasing Qur’anic verses. The allegoric Verse 17 of Surah Anfal has influenced the mystical works linguistically and semantically. Therefore, it is important to study the intertextual relations of mystics' allusions and interpretations about this verse from different aspects. In this article, intertextual relations of  Sharh al-Ta’arrof in Sufism and Mersad-al-‘ibad in the interpretation and citation of this verse have been studied. In this study, the main focus was the rhetorical and stylistic differences and similarities of these two works in an explicit and implicit reference to the discussed verse. The function and structure of  imaginary forms and linguistic structures of texts naturally differ in different stylistic periods; nevertheless, the thematic unity and the use of common discourse and pretexts may provide patterns in which the commonalities of the two texts, while different from the stylistic periods, outweigh the differences. As in the present article, studies have addressed the commonalities and differences between stylistic differences and intertextual similarities in those texts. For the intertextual analysis of these texts, a context was required that would make this study methodical and there would be a model for this study, as well as showing the different rhetorical and stylistic aspects of the relationship between the two works. For this reason, the theoretical framework of Genette was  chosen. His theoretical classification was similar in many ways to the text influencing patterns in Muslim rhetoricians' view. There is also the possibility of proposing rhetorical and stylistic discussions in intertextual comparison while in the discussed subject of this article, the direct and indirect presence of the Quranic text was important. So was it for Genette, and he in his intertextual discussions pays attention to the direct and indirect influences between texts. Genette’s intertextuality includes three types: explicit-intentional, hidden-intentional, and implicit. The present study has been done on the same basis. In explicit intertextuality, which in traditional rhetoric is called quotation, the author embeds all or part of an earlier text in his work. In hidden-intentional intertextuality, the author deliberately hides his pretext such as different types of plagiarism, but in mystical texts, the motive for using Quranic themes and not mentioning the source is not plagiarism; rather, it is due to being influenced by Sufi language and thought of the Quran and Quranic prefaces. In implicit intertextuality, the author uses signs that indicate their source. So, those who are familiar with the author's pretexts, with the pieces of evidence that he has placed in the text, can find the reference. In this research, based on the mentioned framework and descriptive-analytical method, the texts have been reviewed. The results show that the intertextual relationship between Sharh al-Ta'arrof and Mersad al-'ibad in quoting and interpreting verse 17 of Surah Anfal includes all three types; explicit, non-explicit, and implicit. Also, the intertextual connection of the Qur’an with the two texts of Sharh al-Ta’arrof and Mersad al-'ibad in the verse in question is not limited to content issues or quoting the verse and translating it; Rather, both texts have benefited from Qur’an’s linguistic structure in terms of the choice of words and their repetition as well as deprivative and nesseciative constructions. Literally, the most important form of verse usage is implicit intertextuality because, in this connection, there are different forms of allusion, allegory, and illustration. Linguistically, although these two works are of two different style periods, both have a simple language to express the meanings of verse 17 of Surah Anfal. This feature has made their linguistic construction closer to that of the verse. Nevertheless, Mersad al-'ibad has more musical and literary prominence. In fact, the conscious use of the words in Mersad al-Ibad is more obvious than its poetic and literary aspects as there are more cases of repetition and pun. He has also used allegory and metaphor besides other literary arts that have made the text more conceptual and artistic than Sharh al-Ta’arrof, which has allegorical construction.

Fereidoon Tavalloli is one of the pioneers of transformation in the language and imaginaries of contemporary Persian poetry. He has stepped into the world of poetry with a modernist approach. He has also expressed his ideas about innovation and the necessity of transformation, as a manifest, in the preface of his poetry books, Raha and Nafeh. The purpose of this research is to study the language of Tavalloli’s Charpares (four-part poems) in terms of lexical network, adverbs, and adjectives in his two books Raha and Nafeh. The statistical population was the poems of these two books, including the first poems of 1941 to 1961, which are spiritually and linguistically innovative. The research method was descriptive-analytical to examine the techniques of making adverbs and adjectives in the poems linguistically and aesthetically. This study shows that the innovation had the first place in Tavalloli’s language, and that he has made considerable efforts in the use of a new wide variety of adverbs and adjectives.  In addition, thanks to the coherent language and forms of imagination associated with romanticism school, he could create the semantic and linguistic networks very well in the mental feature of his poems. The results also show that many of Tavalloli’s Charpares have a superficial form because of paying too much attention to making new words and melodies. Suchwordsare representatives of the poet's sad feelings. Most of the previous researches on Fereidoon Tavalloli's poetry has concentrated on the school of romanticism in his poetry. However, the linguistic dimensions of his poetry and innovation  have been less studied. According to this research, Tavalloli's poetic style is recognizable by the use of  many new adjectives. The number of adverbs and adjectives and their diversity have form the lexical network of Tavalloli’s romantic style. Moreover, the huge number of words of common categories such as adjectives and adverbs in Raha and Nafeh shows the poet's careful attention to  such groups of words in his poetry.

Syllepsis and the determination of its types have not been a subject in some of the earlier rhetorical books. Mirza Abootalib Fendereski, the author of the treatise Bayanolbadi’, is the first person who defined and explained it in Persian rhetoric, following the Arabic rhetoric. After him, other people have discussed how and why those arts have been used and determined the boundaries of this art. The results of the comparison between these definitions and opinions are as follows: A. Syllepsis has three sub-categories: metaphorical syllepsis (verbal and nominal), non-metaphorical syllepsis, and pronoun syllepsis; B. The use of pronouns is most usual in Arabic language and literature not in Persian; C. There may be several A and B’s (two sides of a simile) in syllepsis; D. In metaphorical syllepsis, the form has a concrete and real meaning in one of the parts of the syllepsis and is conceptually rational, abstractive compared with the other. To clarify the issue, we provided examples for each of these types of syllepsis.

Suspension and prospect both are elements of fiction literature, obliging the audience to continue the process of reading the story. This technique is mostly used in modern stories. It is also the most outstanding matter for making attraction and delisting the text for the reader. This research is a survey of suspension in the novel Anna Karenina by Leon Tolstoy, a well-known Russian thinker and novelist in the 19th century. Anna Karenina belongs to the perfect period of Tolstoy, especially after the period of the novel War and Peace. It is a story about the life of a lady named "Anna" who falls in mortal love after her marriage and having a child. She left her family because of her love and made some events as a result. We try to explain Anna's social position from the point of ethical and familial behavior in the text of Tolstoy. This research is descriptive and analytical. The factors causing the suspension are classified into two linguistic and non-linguistic sections, and then they are analyzed.   1- The main elements of the suspension  Good writing is a collection of images and the use of writing tricks. A successful writer has a strong imagination and uses such techniques correctly because, between the right and wrong use of these tricks, the border is narrow.  There is a possibility that the text may be vulgarized at any time by using them inappropriately or in excess. Suspension elements can be divided into two groups: linguistic elements and non-linguistic elements (each of which is divided into sub-sections):  A) Linguistic elements: short sentences and answers, repetition of a word or sentence, ambiguous use of language  B) Non-linguistic elements: rapid return to the past or future, step by step intensifying the conflict of the story, conflict and confrontation, sudden change of character, fear of an accident or the future, unusual plot or acting contrary to expectations, expectation and fear, symbols and signs Anna Karenina: The story takes place in several aristocratic Russian families of the 19th century when princes held a high position in society and aristocratic customs were considered the most important factor of social principle.  The main plot of the story is the adventure of Anna Arkadyonna's love.  She is the wife of Alexei Karenin, a Russian aristocrat, and falls in love with Alexei Krylovich Vronsky, a young army officer and the son of a St. Petersburg aristocrat.    2- Suspension in the novel Anna Karenina  1-2. Asking a general ambiguous theory or question  The author challenges the reader by asking a general question or a general theory, and raises many questions and draws him in. 2-2. Ambiguity and suspension in the character  Anna, Vronsky, Loin, Katie, Loin's mother (absent character) 3-2. Suspension in the accident This kind of fictive suspension happens through accidents as is the case with the death of a worker at a train station where Anna and Vronsky meet for the first time. Bringing this topic at first seemed pointless to the reader, while it was a prelude to expressing the nature of Anna's death and the end of Anna and Vronsky's love where it began. 4-2. Suspension in the plot  Sometimes the events and their causes are unexpected for the reader. In their opinion, it is unreasonable and irrational because, in the real world, such conditions are impossible or rare. 5-2. Suspension in space and mood  By describing a stressful and ambiguous space, the author could also convey the atmosphre to the reader. This atmosphere often becomes heavier when a character wants to make a decision or do something and encourages the reader to continue. 6-2. Suspension in place  Sometimes the reader realizes and follows this secret in the places of events from the content of the author's words. The main suspense frequency of the story (suspension in the form), like other masterpieces in the world, was related to the superstructure and movement of narratives, narrative action, and the characters' complexity. There is, of course, a kind of content and intellectual suspension throughout the story, which happens in a problem or question form.  This model of fictive suspension is shown through characters who have Tolstoy ideas. The story's theme is love, about a woman who has children and belongs to a believing family. The story is complex because of the actions and behaviors performed by Anna, her husband, and her lover.

The perfect man and the clear presentation of his personality are of the topics frequently discussed in the humanities, especially in literature and psychology. One of the theories of personality and new approaches in psychology is the theory of humanism in which man and his attainment of self-actualization are one of the important issues. In the view of humanists, Abraham Maslow's theory which is defined as a hierarchy of needs including physiological needs, security, love, respect, and self-fulfillment is of particular importance. This theory is justified by some literary works, such as Ferdowsi's Shahnameh, which has a human-centered nature. The analysis of the characters of this work shows that the Iranian man, Fereydoun, has achieved perfection in ancient times. This analysis corresponds to the patterns of the developed personality in the field of psychology. Among the characters of Shahnameh, Fereydoun is one of the most popular figures, whose characteristics of self-fulfillment are evident in his behavior and speech. Fereydoun's characteristics, at this level of needs, such as natural self-motivating and simplicity, make him to express his spiritual feelings and emotions; Like the feeling of grief over the death of "Barmayeh", his father, Iraj, and his natural reaction to the death of Salm and Toor.  Crossing the deep sea, as a symbol of the journey to self-discovery, and his true comprehension of the King of Yemen show Fereydoun's understanding of reality. Also, Fereydoun, by dividing the world among his three sons, resists the culture that governs society and creates a different rule in choosing a successor. To achieve the values ​​of existence - including justice - he ignores paternal feelings and helps Manouchehr in revenge. His other perfect characteristic is his attention to interpersonal relationships and his accuracy in choosing a spouse for his sons, in which race, color, and political affiliations do not matter. The power to distinguish between good and evil, as well as the distinction between means and ends, is of his other characteristics. Thus he makes the restraining of Zahak a means to a transcendent goal, the liberation of the people from tyranny. In contrast to Fereydoun is Zahak's character. Examining Zahak's personality shows his failure to meet the hierarchy of basic needs and not to go beyond the lowest levels of needs. Zahak's intense desire for delicious food, the growth of snakes on his shoulders, and the feeding of human brains on them are symbols of his hunger and insatiability. Gathering beautiful girls in a harem, homosexuality, or watching the sexual intercourse of others shows that Zahak is not met in sexual and consequently love and affection needs and so he is in the group of psychopaths.  The purpose of this article is to represent the character of Fereydoun and Zahak as an example, based on Maslow's theory, which can be a guide in examining all the characters of Shahnameh to find a perfect human being. Therefore, these two personalities are measured based on the characteristics of the Maslow pyramid. The present study, by examining the thoughts and behaviors of these two personalities, introduces Fereydoun as a model of self-fulfilling perfect man and Zahak as an example of personality non-flourishing.

Rumi's neology ability is unparalleled, as some evidence of which is demonstrated in this paper.  In this study, we investigate Rumi’s coinage, focusing on compound words. Using an analytical-descriptive approach, we studied every verse in three books of Masnavi, identifying all original coinages and novel constructions. To make sure that the identified words were unprecedented and true coinages, they were searched in dictionaries and other databases. Rumi's word coinage has already attracted some scholars’ attention (see Zarrinkoob, 1383; Sotoudeh, 1376). Hassani Ranjbar and Al-Sadat (1395) examined Rumi’s use of creative lexical units. Similarly, Maryam Blori theorized lexical innovations in Rumi’s work. compounding is the main coinage strategy used by Rumi. Likewise, it is the most frequent word-formation process in Persian, as more than 70% of new words created by the Iranian Language Academy are created using compounding (Tabatabyi, 1386). Therefore, this area merits further research.  The two most common lexical compounds in Persian lexical bundles combining two nouns or a noun with an adjective. Some of Rumi's coined lexical compounds are as follows: "Chonibakhsh", "Omidlis", "Fanaja", "Stiz Fel", "Abandish", "Saqr Parvardgan", "Soleimanikon". Concerning the latter type, the compound noun-adjective construction is formed by combining a variable component (adjective) and a fixed component (noun). These combinations are very generative and diverse, in the sense that they can be drawn upon to create further similar lexical units. The structure of this type of compound is as follows: Variable word (adjective) + fixed word (Kish) =: Composite adjective :⇒ Andishekish (Rumi, 1373: Volume 4 / 765) Variable word (noun) + Fixed word (objective adjective) =Composite adjective:⇒ "Narzadeh"(Rumi, 1377: 603) Variable word (noun/ prefix/ adjective) + Fixed word (noun here Del+ Plural sign) =Plural adjective⇒ Sagdelan (Rumi, Volume 2, 405( The variable word (noun, adjective) + the fixed word (the root of the verb plus the infinitive) = infinitive⇒ Eshghparvari. (Rumi, 1998: 730) Variable word (noun) + Fixed word (noun) =Composite adjective⇒ Sabrkho (Rumi, 1373: Volume 3/1850) Variable word (noun) + Fixed word (Angiz/ adjectives) = Composite adjective⇒ Zafarangiz (Rumi, 1373: Volume 1/3989) Variable word (noun) + Fixed word (Afkan The immutable component of the verb) = Composite adjective⇒ Kesadafkan (same, Volume4 / 1095) Variable word (adjective / noun) +Fixed word )Row + component of the verb)= Compound adjective ⇒ Eshghamizrow ((same, Volume1 / 768) Descriptive and additional combinations are another important compounding element in Rumi's works. Here are some of the rare compositions of Masnavi: "Hayatistan Bichun", "Chunibakhsh", "Shir-e-Saidavardehi" and "Hasti Bal-Ashkan", "Balayayat" (Balayat To), "Dig-e Dolatba", .. The important conclusion to draw from the findings is Persian has rich potential for generating new lexical units utilizing its already existing repertoire of words. Given Rumi's orientation towards Sufism and his need to express mystical concepts, he took proper advantage of this potential of Persian.  Some unique contributions of this study are as follows. The derived lexical coinages are discussed here for the first time. Secondary, in terms of rhetoric, Rumi's coining strategies are diverse. He may create a noun or a gerund from a preposition or use an adjective in an object position. Occasionally, Rumi builds a new lexical compound by dropping a connective letter or creating a gerund or an adjective from certain nouns. Finally, he may at times use a locative suffix with a content word, clip a noun phrase or and create a gerund from an adjective.

Farrokhi Sistani is one of the poets whose taghazzolats(love poetries) represent the features of some of the important social classes. Some propositions of the poet's taghazzolatsshow the weak emotions between the lover and the beloved.  Those statements as the indications of the "weakness of emotional cordiality" contain the preference of power over beloved, the preference of lover to beloved, and the manifestation of unnatural love cause the emotional cordialityto be weak.  This process is itself under the influence of the fundamental social and historical structures of his era. Love in Farrokhi's poetry is earthly, ailing, and indecent. The appearance of such a kind of love in his language consequently leads to the creation of non-lyric propositions. However, such social propositions in his lyrics, which are not in accord with the lyric norms, could not be solely interpreted as being related to the individual behavior but a representation of the behavior of a social class; an issue which is explainable based on the social and historical reality of the era. In the present article, analyzing the poetic propositions, the author is to elucidate the relationship between Farrokhi's emotional cordialityand the general structure of his society. Farrokhi Sistani ((for his biography and status in the history of Persian literature see Bruijn 1999)  is among the poets who have a reputation for the expression of delicate and intimate feelings in an extremely plain and understandable-for-all language.  Casting a closer glance at his poems, one can identify propositions in his poetic language which depict his non-emotional relationship with the beloved. A sociological analysis of this emotionally colorless relationship is the subject of the present research which can further illuminate the semantic nature of Farroḵhi’s taghazzolatsfor the audience. According to Farrokhi Sistani's taghazzolatsfrom the sociology of literature point of view, topics such as the "social class" of the speaker, his relations, and "worldview" as a "producer" and the artistic reflection of this worldview in his literary work are of high importance. Certainly, a particular beloved and the lover-beloved relationship, as depicted in Farroḵhi’s taghazzolats, is not the mere representation of the reality of all people in the society of the poet’s era. As it is evident, Farroḵhi reminisces about his relationships with the beloved in most of his taghazzolats; however, we cannot take it as representative of  the behavior of people in the society of that time. In fact, Farrokhi is the representative of an affluent social class demonstrating his worldview to the beloved in his literary work. In this article, the worldview specific to the court poets who constitute a part of the prevailing social structure of the Ghaznavid period is analyzed. Accordingly, the joyful content of Farroḵhi's taghazzolats cannot be a proper depiction of the happiness and welfare in the society of his time; in fact, it is an illustration of the comfort in a class of society called "court poets" or "praising poets". The empirical consciousness of this social class has overshadowed the fictional world of Farrokhi's mind leading to the production of particular propositions. This type of worldview is not an individual issue but a social one whose reflection in the social and historical works of Farroḵhi’s era can be be noticed. Therefore, Farroḵhi's poetry can be a reflection of the social behavior of the court class, as well. The portrayal of the preference of "power" agents over beloved in the language of Farrokhi's taghazzol is one of the principal social factors illustrating the weakness of emotional cordiality in his poetry. Moreover, addressing the beloved as a servant causes the language of taghazzol to take on a conative function rather than the emotive function that mirrors the master-slave social relationship of the lover and beloved, which always entails ordering and forbidding. Besides, this social status enables him to have several beloveds. More importantly, the linguistic and semantic signs of the beloved in Farrokhi's poetry show that he has possessed two distinct social roles: in addition to being a coquettish beloved, he has been a military person, as well. This abnormality in the artistic structure of the poetry illustrates the social anomaly of the poet's era and his class.