نشریه مطالعات زبان و ادبیات غنایی
پیاپی 39 (تابستان 1400)

The myths of various people are full of profound and valuable concepts that narrate the deepest tensions and inner states of human beings. These myths, while involving the unreal, reveal truths behind them that reveal themselves in hidden and overt manifestations. Among these facts is the desire and hope of man to have a sublime and beautiful world, which is reflected in the actions of the heroes of mythology and other themes such as love and immortality. Arash Kamangir is one of the ancient Iranian myths, the most understanding of which is devoted to the subject of patriotism and heroism on the way home, and many poets have recited it implicitly or openly and independently, which can be said the most detailed and beautiful of them is the poem of Arash Kamangir Siavash Kasraei. In this research, one of the basic concepts of this poem is analyzed, which is aimed at giving hope and reaching a higher level and a more fruitful life. The subject of hope and understanding of human utopia is also one of the topics discussed by the German philosopher and writer Ernst Bloch. Ernest Bloch is known as the philosopher of hope. In this research, some of his words and views are explained in the text of Arash Kamangir's poem by Siavash Kasraei.

Through the theory of conceptual metaphor, Lakoff and Johnson showed that metaphors originate from the mind and reach the language and as long as there are no conceptual changes in the mind, no metaphors are created. Persian literature, with a large body of available resources, includes a treasure of numerous conceptual metaphors. The current study uses a cognitive approach and investigates one of the important metaphors in the Persian literature, namely the “Zephyr is human” metaphor. The main research question investigates how Zephyr is conceptualized in Persian language. The data for this study is gathered from divan of Hafez. Analysis of the data indicated that Zephyr in Persian literature is conceptually portrayed as a lover/healer/veiled/patient listener/ secretive human as well as a human who is gossiper/ sick/ liar/ rival and unfaithful. By comparing the dual personality and selfishness of Zephyr (Baad-e-Saba) in Persian poems, one can reach the conclusion that Zephyr (Bad-e-Saba) is probably a remaining visage of ancient Iranian god of Vayu.

Archetypes are the same and common forms in the minds and subconscious of human beings that show themselves in each era in the form of common beliefs of that period, and recognizing their changes and transformations can give us an understanding of deep currents. Increase cultural, moral and religious in historical periods. In this research, the archetype of a seductive woman in literature has been analyzed and compared with Iraj Mirza's Masnavi "Zohreh and Manouchehr". The great poets have referred to the archetype of the seductive woman in their poetry. Iraj Mirza, in his Masnavi "Zohreh and Manouchehr", has used this archetype as the basis of his story and has called Zohreh the goddess of love and has given it a special character. In this research, in a descriptive-analytical way, an attempt has been made to study the archetypal manifestations of the seductive woman in the Masnavi of Zohreh and Manouchehr Iraj Mirza with accurate and comprehensive definitions of the archetype and forms of archetype. The results of the research indicate that Iraj Mirza called the goddess of love Venus in his story and is present in the literature named Venus and Anahita. Venus in this system, on the one hand, is the god of music, love, water, rain, fertility and the manifestation of purity and purity, and on the other hand, it represents a woman who ascends to heaven and to the star as a result of wrongful deception and deception of Harut and Marut. O becomes. Venus is also a character whose description and illustration are reminiscent of dance and merriment, and this is equivalent to its mythical aspect and its archetype in literature, where it is also a manifestation of dance, cheerfulness and love.

Song is a general term that refers to a variety of melodic or accompanying forms of poetry, especially Fahlaviyat, quatrains, Rubaiat, and Tasnif. Local poetry contains some types like Garayeli in Azarbaijan, Goorani in Kordestan and Kermanshah, Sharbeh in South, Sharafshahi in Gilan, Sekheshti in Qoochan and Deyhoo in Bashagard which in this paper some samples of them are presented. In this article, the themes of love songs have been studied and classified in a descriptive-analytical research method. The statistical society is also scattered books of native songs and recorded works of music of Iranian singers. The language of the native songs is simple and slang and since they are related to the work and effort of simple people, they pay less attention to images. Most of these songs are accompanied by musical instruments. The conclusions show that the songwriters bring a variety of themes, such as complaining about getting away of sweet heart, the difficulty of the path of love, the opposition of the elders in the union of two beloveds, Kissing, loyalty, describing the beauty of the beloved, seeking attention and wishing to join, seek to show the themes of "presence next to beloved" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of desire or its permanence and "complaining of separation and embarrassment" with the sub-layers of fear of it happening and praying for its elimination.

One of the most comparable common themes in Hafez's poems and Sheikh Ishraq's Persian works is the concepts of love and wisdom. As much as Suhrawardi as a sage has dealt with wisdom in his Persian treatises, the whole Divan of Khajeh of Shiraz is full of love and both, in turn, had an opinion on the opposite meaning. If Suhrawardi is a sage who also depends on wisdom and love, Hafez is also a thoughtful poet who has not neglected the category of intellect and he has always criticized it in his poems. However, in Suhrawardi's collection of Persian works, only one treatise is dedicated to love. It is safe to say that he has completely explained about love and tells about it in different stages and levels and also the role and place of love in enlightened wisdom well. The authors have also used the treatise Fi Al-Haqiqah Al-Eshq (about truth of love) more than other treatises, because it is more comparable and compatible with Hafez's poems. A comparative study of Hafez and Suhrawardi's views on the categories of wisdom and love and discovering their place in cosmology and epistemology are the subject of this research. As a result according to Sheikh Ishraq, wisdom and love are necessary for each other. Love is the offspring of wisdom, and there is no other way than love to reach the whole intellect, which is closest to Nooralanvar. On the other hand, Hafiz seldom speaks of the sacred intellect, and except for a few verses, wherever he speaks of the intellect, he means partial intellect, and in comparison with intellect and love, what is most original to him is love. Despite their differences of opinion, these two thinkers are in agreement with each other in expressing the method of achieving Truth and in the preference of love over wisdom for achieving absolute beauty and perfection.

Lyrical literature is the delicate expression of the poet's personal feelings and emotions and pays attention to sufferings, reluctance, love, friendship and everything that affects the human soul. What distinguishes this type of literature from others is the dominance of the element of feeling and emotion over other elements of poetry. The more subtle the poet's feelings and the deeper his emotions, the more penetrating and pleasing his speech will be. Lyrical literature has a more prominent poetic character than other types and is considered to be the most imaginative, purest and oldest type of literature. In this research, descriptive-analytical method and library tools have been studied on the components of lyrical literature in the emotional poems of Fayez Dashti, Mohammad Khan Dashti and the Maftoon Bordkhuni. The purpose of this research is to study and compare these components in the poems of these three poets and what are the similarities and differences between the mentioned poets in the application of such concepts? And the depth of sorrow in the words of which of these poets has the most crystallization? The result of this comparison and adaptation is that all three poets have dealt with this issue equally and there are differences in the way of expressing and using poetic images and images. The difference between the three poets' view of processing the case is in the use of images that carry the text with them. Fayez and Maftoon have mostly used the metaphorical array to convey the idea and concept of grief, and Mohammad Khan has used other literary arrays such as recognition to convey such emotion.