فصلنامه شعر پژوهی (بوستان ادب)
سال سیزدهم شماره 2 (پیاپی 48، تابستان 1400)

When Amir Omar Khan was ruling (1225-1238 AH/1810-1822 AD), Khoqand experienced one of the most productive historical period in the 19th century. During the ruling of this poet Amir and his poet wife Nadereh (1792-1842AD), all the literary and cultural aspects not only in Bukhara and Samarqand, but also in Khoqand improved, and a large number of poets from different areas of Transoxiana and the neighboring regions moved to the new cultural capital. These changes could be traced in Fazli Namangani's Majmouat al-Sho'ara, the poet of the Khoqand's court.
Research method, background and

The main problem of this research is to investigate the role of Fazli Namagani and his biography in the anthology of Persian poetry in Khoqand and the neighboring regions. The assumption is that he was one of the court's poets in the 13th century AH/19th century AD, who could revive the declining Persian poetry after the poet Amir and the ministers supported him to write the first bilingual biography in poetry. Despite all the problems, Majmouat al-Sho'ara is a unique source in the Persian-Turkish/ Uzbak anthology which illustrates the literary environment in Khoqand in late 18th and early 19th centuries, and gives suggestions for later biographers in Transoxiana.This study uses a descriptive-analytical method for introducing Fazli Namangani and his biography. It, then, categorizes the critical views of the biographer into four sections: historical-interpretative, moral, political-sociological, and rhetorical-aesthetic.

Abdolkarim Fazli Namangani (Death after 1822 AD), known as Fazli, is a poet, historian, and bilingual biographer of Namangan. After his education in his hometown, he traveled to Khoqand, the capital of Farghaneh Khans, and became an affiliate of Omar Khan, the art lover and bilingual poet of Farghaneh. After a while, he became the great poet of the court. However, when his supporter died, he came back to Namangan and passed away there in 1822 AD. There is no clear evidence of his dates of birth and death. In addition to some references in the anthologies and collection of poems, there is a Persian-Turkish/ Uzbek Divan attributed to him in some Uzbek, Tajik, and Persian resources. The most important work of Fazli, the biography of Majmouat al-Sho'ara in poetry, provides a short poetic review and 93 sample poems of the court poet, Amir Omar Khan Khoqandi, through a series of verses. Majmouat al-Sho'ara is a biography in poetry, written in Persian and Turkish/ Uzbek by Fazli after Amir Omar Khan asked for it. This biography is the first biography in poetry in which the names and sample poems of different scientists and poets of the Khoqand's literary environment are mentioned. It also gives reliable information regarding some related regions such as Afghanistan, Bukhara, and Khawrazm in the first half of the 13th century AH. Fazli's biography could be divided into two sections based on the content, selection, and gradation of the poets and the sample poems: introduction, and the main text including Bahr-e Tavil, ode, sonnet, fivefold, chronogram, among others. The language of Fazli in Majmouat al-Sho'ara is Farsi (as the poet claims), despite the fact that there are Transoxianaic accent permeating the phonological, lexical, and syntactical levels. In comparison with the other Farsi biographies in the region, Fazli's biography has a less critical feature because of its affiliation with the court and absolute imitation, condensed materials, and poetry genre.

Fazli Namangani wrote the first bilingual, Farsi and Turkish/ Uzbek, biography in poetry in Transoxiana in the third decade of the 13th century due to Amir Omar Khan's order. There are short poetry reviews on the life and sample poems of 93 poets in the literary environment of Khoqand and the neighboring regions. The biography should be considered the only research work regarding the literary changes of the region in that time. Fazli's critical perspectives in the biography gives an opportunity to the traditional literary criticism researchers to categorize his evaluations into four sections: historical-interpretative, moral, political-sociological, and rhetorical-aesthetic. This can shed light on the character of the great poet. Although the biography is written according to the Amir's mentality, many aspects could be found regarding the poetry anthology and Persian language in the region. This can help us sketch out the literary changes of Persian literature in the region.

As a blank verse theorist, Ahmad Shamlou believed that understanding aesthetics depended on many things that are never related to each other (See, Shamlou, 2005: 103). This viewpoint of Shamlou about the perception of aesthetics and popularity of blank verse and its acceptance as one of the deconstructive verbal art categories has turned this poet’s distinction and prominence of stylistic poetry and aesthetics of his work into a research topic. This is especially important since, according to researchers who have focused on the explanation of blank verse aesthetics, the beauty of this type of poetry cannot be described based on classic aesthetics and traditional rhetoric. The main question raised in the present study is that what kind of stylistic characteristic distinguishes the poetry of Shamlou from other blank verse poets. Another question is what are the focal points in the aesthetics of his poetry. To answer these questions, we chose four poems of Ahmad Shamlou: “Nocturne” from the book “Abraham in the Fire”, “the Death of Nasseri” from the book “Phoenix in the Rain”- this poem is recognized as the best poem of the mentioned book- (same, 129), as well as “from the Heart Wound” and “the Death of Nazli” from the book of “Fresh Air”, which are among the best modern Persian poems (See, Dastghaib, 1994, 123).

This was a descriptive-analytical study conducted to introduce discursive disjunction and generation of beautiful and unique semantic indexes as stylistic characteristics of Shamlou’s poetry and the focal point of aesthetics of his work. Studies performed to evaluate blank verses have mostly utilized a structuralist approach. In a study, Taheri et al. (2011) investigated image with a broad concept on two horizontal (by studying personification, simile, symbolism, metonymy, trope and atmosphere creation, symmetry, allusion, harmony, hyperbole, argumentative aspects, sensuality, as well as the beginning and the end of poetry) and vertical (by studying the image with focal, incidental, deep and broad terms) axes in blank verse. In the end, they used the term “instant” (i.e., the beauty that is comprehensible but cannot be verbally explained) to describe atmosphere creation in blank verse. Moreover, Pordel et al. (2017) conducted a study with a process approach to blank verse. They studied a poem by Garous Abdolmalekian based on conceptual blending theory (Faucconier and Turner, 1998 and 2002), which is one of the topics in cognitive linguistics.

Given the significance of understanding how to pass known discourses in the present study, we need the specific definition of discourse, which reveals that discourse is both the result of the society and a dynamic and changing power that has a constant negative or positive effect on social values and performances (Bloor & Bloor, 2013) (12). In poetry, rejection and reconstruction of proven meanings in discourses are so important that some individuals define poetry based on these discourse reconstructions and rejections and call it “Goftemaneh (discourse)”. An important part of the present study is multidimensional attention to moving past beyond discourse, meaning that our analyses will show that rejection and reconstruction of recorded meanings in discourses such as conflict discourse, love discourse, etc., create brilliant and unique semantic indexes that are the product of the function of the sensory-perceptual layer of poetry. Notably, the perceptual sensory layer is important since it can provide the reader of the poem with the tools that are necessary for describing what the poem perceives or creates as the aesthetics of poetry. Therefore, it is necessary to deal with how each of the five senses works, and during this process, the function of the inner and outer senses and their interaction in the formation of semantic indexes is noteworthy. Contrary to traditional rhetoric, which seeks beauty in poetry based on classical aesthetics and detecting beauty only in the object, in the text and at the level of words, phrases and sentences, we show that aesthetics in blank verse occurs at the discourse level, and the perceptual sensory layer rejects and reconstructs meanings recorded in discourse and shapes unique and brilliant semantic indexes in during the process of changing discourses in a bilateral interaction. Dual obliteration of the subject and object is an acceptable principle in determining the fundamentals of aesthetics in blank verse, whether this unity is considered in the moment of creating the poem or in the stage of reading the poem. Based on this principle, a poem can create different perceptual forms and have multiplicity depending on the cognitive capacity of its readers despite its uniqueness in the creation stage. Multiplicity is the most important feature of poetry aesthetics, which can arouse forgotten emotions and passions and desires or quench emotions.

There are two important points in explaining the prominent stylistic characteristics of poems of Shamlou and describing their aesthetic process; first of all, a type of discourse is converted into another kind of discourse in the process. Second of all, one of the five senses is central in each poem and its interaction with other internal and external senses creates unique indexes and poetry aesthetic processes. According to our results, death discourse is a type of flexible and transformative discourse; death can be not sad and mournful and can interact with love. It can also be equated with spring and regrow; grow seeds inside itself and give greenery and freshness. One can turn the fear of death into welcoming death. In blank verse aesthetics, the boundaries between subject and object disappear and subject and object find a living presence in the dynamic and continuous realm of experience. In fact, the principle of subjectivity, which is known as “me”, is changed such that it can no longer be named that way (whether “me” is the poet or the reader). In fact, “me” is indebted to another thing. This is in line with the improvement of the concept of aesthetics in art philosophy from an objective property for a beautiful object to the dependence of perception and feeling of beauty to the subject.
 

The Place and Function of Sa'di's Poetry and Thought in morteza Motahari's Intellectual System Abstract: Martyr Morteza Motahari's literary activities are often associated with Hafiz - The Watcher of the Secret, the Mirror of the Cup, and Hafiz's Mysticism - and accordingly research has often focused on Hafez's place in his intellectual system. But contemplation of other works of the diagram is a special attention of the martyrs of the Persian language and literature, especially Saadi Shirazi. Studying morteza Motaharis Implications of Saadi and the Functioning of Saadi's Works in morteza Motaharis Discourse. For this purpose, the non-literary works of Shahid Motahhari, who at first glance have nothing to do with Persian literature, have been studied. The results show that among the most serious and fundamental political, social and ideological issues, Motahhari has used Saadi Shirazi's poetry and thought. Saadi's role is also identified within one of the most important contemporary social-political currents.

Translating Hafez's poems into English language has attracted myriad of translators. However, in translating Hafez's poems, there are two important points translators have to take into account: the need for an accurate understanding of the poems, and the need for a thorough and in-depth knowledge of the words, expressions and structure of the target language used. Even if the translator is familiar with both the source and target language, the language of poetry and literature in any culture has always demanded the translator to have special expertise. In the present study, one of Hafez's Ghazals, openning with "I saw a green field and..." has been selected to compare the translations carried out by Persian and English-speaking translators, namely Shahriyar Shahriari, Abbas Arianpour, Wilberforce Clarke, Paul Smith, Robert Bly and Leonard Lewisohn. Following Berman's translation model, the present study has sought to analyze the translations to see if any deviations happened during the course of translation. Although the prevailing view is that Persian translators must have a better understanding of Hafez's poetry, after examining the translations of these translators, it is found that they, despite their language, have had some flaws in translation, mainly due to their imperfect literary knowledge and insufficient understanding of Hafez's poetic language. English-speaking translators, on the other hand, have often been more adherent to the source text, but in translating the poems, they tend to substitute some of the poetic components, revealing their inclinations toward the culture of the target language.

Hadiqat al Haqiqa can be considered as one of the ancient texts of Persian literature; Due to this antiquity, ancient and obsolete words, terms, and combinations have been used in it that some of which have not even been recorded in dictionaries. In addition, due to the mistake of the correctors, misreadings have taken place in the written or corrected texts, which have changed the written form of some of the words and their combinations and removed them from their originality. The necessity of this research is that the words and phrases used in the Hadiqah are among the valuable heritage of Persian language and literature, and the advancement of language and literature will increase the distance between the natives and the works, and such advancement may make it more difficult to discover their correct form. The descriptive-analytical method is used in this research and data collection tools are library resources in which the achievements of other researchers in this field have been spotted and benefited. The main achievement of this research is suggestions for recording some words and compounds in this work that will solve the conceptual problem of some verses.

The history of Persian literature proves that Hadiqat al Haqiqa, immediately after it was written, was met with public acclaim; To the extent that its verses have found their way into the works of Sanai's contemporaries, such as Bahramshahi's Kelileh va Demneh. Researchers' re-approach to the works of Sanai led to three valid academic corrections of this work in the last century: 1. Correction of the late Modarres Razavi, based on the comprehensive script of Hadiqah; 2. Correction of Hosseini (Fakhrinameh), based on a concise script of Hadiqah; 3. Yahaghi and Zarqani's correction, with access to older versions, based on the comprehensive script. Nevertheless, we should not assume that there is no need to correct it; because the misreadings and misconceptions that have led to these corrections are so much that they cannot be easily ignored.  

This research, using library resources, analytical and descriptive methods, has examined the recording of some words and compound words in Hadiqat al Haqiqa. Additionally, the author of the article has adapted some cases with manuscripts. The need to study ancient mystical works, as well as to review and critique the published works on this subject, necessitates further research. The importance of this research is the significant position of Sanai and Hadiqat al Haqiqa in the history of Persian literature, which has been influential in the formation of the mystical current in Persian poetry. Of course, the literary importance of Hadiqah should not be easily overlooked; because the words, combinations, and expressions used in it, due to their lack of use, need more research and recognition. Such is the necessity of this research to highlight similar words and combinations. The research process is such that first, the recorded form of the verse is mentioned in the existing corrections of the Hadiqah, and then, the author's proposed form for recording words and also expressing their meaning will be presented with evidence from Persian literature texts.      

In this research, the correct form of the words and combinations of "mademouyan", "sayesh", "fasi", "chamsh", "takab and takin", "enaz", "tankar", "nikbad" and "nebisandeh" are discussed and finally, it has become clear that some of the inconsistencies in the corrections made from Hadith al-Haqiqah go back to its two different versions, which caused a difference of verses from the verse 3800 (in Khalil Inaljak's version) to 14,000 verses (in Hagia Sophia's version) and this is the reason that has made the explanation of the book very difficult for researchers. It should be noted that when verse or verses are not expressed in their place, the vertical axis of the work will be disrupted, and understanding the meaning of the verses will not be easy. On the other hand, some of the difficulties of Hadiqat al Haqiqa are the result of incorrect correction of verses or incorrect recording of words and compounds, which adds to its ambiguity. However, it should be noted that by approaching the poetic mentality of the poet as well as the language of his time, some of the shortcomings of writing and recording the words and compositions of the Hadiqah can be eliminated. In this study, it was found that the main reasons for misreading and incorrect recording of words and combinations in written or corrected Hadiqah texts include the following:  1. Obsoleteness of words (Sayesh); 2. Use of words and terms of other sciences (Fasi, Tankar); 3. Not reflecting the meaning of the word or composition in its context (enaz, nikbad);  4. Not paying attention to the use of words or combinations in texts close to the time of the poet (mademouyan); 5. Lack of attention to other forms of words (chamsh and nebisandeh).    

«Ze gahvāre tā gur dāneš bejuy» is a well-known poem that has been circulating among Iranians for decades due to its prophetic content as well as motivational and informative aspects.Although its attribution to Ferdowsi has been rejected for many years, it has been recognized as belonging to Ferdowsi in most educational and cultural settings. There is no proper investigation in this influential poem and its learned poet and the information available seems to be scant and incomplete. The author has studied this issue with the aim of adding a few words to the available information.At first he deals with the question of the attribution of this verse to Ferdowsi and Saddi and reveals, to the extent of his study, the earliest history of the attribution of this verse to Ferdowsi. He then discusses the true poet of this verse, Mirza Abolqasem Fakhr-ol-Ashraf Shirazi, and presents his correct title and pen name, along with two pieces of poetry and a short letter whose main address was Fakhr-ol-Ashraf. Based on the documentation, the author also gives the quality of the poem's creation and the date of the poet's death, as well as the date of the creation of «čonin goft peyqambar e rāstguy». Then, to show the authenticity of the composition of "peyqambar e rāstguy", he presents evidences from the Shahnameh and mentions a few things on the translation of the tradition of"otlob-ol-elm men-al-mahd el-al-lahd" and finally he shows an example of the popularity and use of this poem outside of Iran.

With respect to the reflection of the beloved's visage based on legionary feathers in Persian poetry, the fundamental question arises as to how and under the impact of what sorts of factors these features become appealing to poets? Therefore, the present research tries to have a careful and thorough investigation of the attributes in the sixth century sonnet and by using two analytical and statistical methods besides providing a comprehensive list of these images, the reason why they entered into the literature and poetry and their durability during the following eras are studied. At the same time of the invasion of Turks into Iran and following the gradual perfection of sonnet's format in terms of the structure and theme, the aesthetical criteria take a new color. Since these Turks are known for their goodness and belligerence, influenced by the social and political events as well as personal and conventional tastes of that time, poets inserted a kind of epic genre into the smooth and delicate aspect of sonnet which later was called epic sonnet. So, in this article, while investigation of effective causes and reasons, the legionary aspect of beloved, based on literary, sociological, and psychological approaches, is analyzed in three levels: 1- legionary equipment; 2- knighthood interpretations; 3- legionary behavior.

Mohammad Taghi Bahar is a national poet of Iran and one of the prominent figures in our contemporary literature and culture. His poetry Collection, which has been prevalent in the scientific and literary environment of the Persian language for decades, has been the basis of various studies. Recently another Poetry Collection of Malek Al-Sho'ra has been published that compiled by the Sayed Mahmoud Farrokh Khorasani - a very close friend of Bahar. This Farrokh collection took about sixty years. This collection of Bahar poem which has not yet been published, Remains immune to many censorship changes, deletions, and manipulations in the publishing process. Now by comparing this Poetry Collection - which should be considered the original writing of Bahar poetry - with other printed Collections and analyzing their poetic variations we can analyze the evolution of Bahar poetry and thought. Then we can show how meaningful changes have occurred in the process of production and publication of the Poetry Collection of Malek Al-Sho’ra. In this article, we try to analyze the process of Bahar poetic ideological evolution by mentioning some examples of his poetic changes.

personality of the narrator but the most of its character and personality have been iteranced, both in the works that have been created directly by himself and in the works which have proceeded to recreation of personalities and events. Attar as a great narrator, who is the creator of preducable literary works in our gnostic-narrative inheritance, is not exception in this rule. Purpose of this article, according to the main works of Attar, is proving that reasonably and documentary, Attar's major and primary purpose of creation of Sheikh Sanaan in Mantegh Al-teir and other works, is recreation of desires and goals especially superior ego and self-native by the creation and expanding of these two characters, one who has a complete visual face and the other one who is in the border among legend and reality. Indeed, through these two works, Attar is recreating all of his desires, demands and wishes, had them all in his mind and soul. Which was not able to realize them, because of special cultural social, political situations of that time, so cute and beautifully, and at the heart of these tales and through them sitting aside to view his own self-realization.

Describing and praising her lover and expressing her characteristics are the main pillars of poetry and rich literature, but sometimes because of living in a particular geography such as Afghanistan, she speaks for her lover according to the customs and traditions of that society. The poet and the writer are limited. But over time, a number of poets and writers have been able to capture the pen and portray their feminine feelings on various subjects, including the beloved. Among these Afghan women poets and writers is "The Mirror of Heroes", a brilliant 14th century AH woman. Which depicts the beloved in two facets (facial, facial, eye, etc.) and positive or negative esoteric (with faithfulness, disbelief, arrogance, bad faith, etc.) And she whines about her frustration and failure to reach her lover. The authors intend to explore the beloved in the poet's divan through library method and content analysis, to look at the beloved's esoteric characteristics and esoteric character from a woman's point of view in a specific social setting and to provide readers with a love for the culture in this area. 

Recovering and correcting the poems of pioneering and leading poets, especially the master of poets, Rudaki Samarghandi, is one of the cultural necessities for promoting Persian language and literature. The poetry of Rudaki has always been of interest to poets and scholars throughout history, and it is still considered important today. The poet's supreme Divan, which, according to scholars, passing over a hundred thousand verses, of which there is small amount available today, and this small amount is available now with numerous references to contemporary scholars and Rudaki-scholars such as Saeed Nafisi, Braginsky, Mirzayev, AliAshrsf Sadeqi and a number of Rudaki-scholars in Iran and Tajikistan. Considering the plentiful importance of recovering Rudaki's poems in ancient sources, the authors are studying a verse attributed to Rudaki, decided to introduce and study a verse attributed to Rudaki which was remained unknown to editors and Rudaki-scholars by examining one of the Ottoman-era poetry lexicons, named Ajayeb-Al-Loqaa from a person named Adibi; then edit the flaw of its second verse.

The study of the literary and historical texts of the nations of the world is evidence of the similarities that have long occupied the minds of scholars. If we rely on the category of adaptation of stories, what about historical similarities? Are historical events repetitive or is it the involvement of historians and the hypothesis of narrative adaptation? However, one of the important issues in this regard is to examine the similarities and explain the reasons. In this article, in connection with the similarities between different texts, we examined the trick presented in one of the stories of the first book of Masnavi Manavi entitled "King of Jihud who killed the Christians", and mentioned other sources and references in which that trick of Masnavi  has been mentioned. It should be noted that the study and rooting of this trick has been discussed and researched by other researchers before: Forouzanfar in his book "References to the Stories and Allegories of Masnavi" (1991: 7) points out that this trick has been reported in the battle between the Piruz Sassanid king and Akhshnavar, the king of Hiataleh. Parsansab (2011: 36-37) in his article also talks about the similarity of the whole of this story with the story of "owl and raven" of Kelileh and Demneh and only makes a passing reference to the minister's suggestion that he be beaten and expelled. But among the researches, Rezaei Dasht-e Arjaneh and Bijanzadeh (2016: 167-189) have the most similarity to the present study. In this article, based on the intertextual approach, the authors have studied the story of "the king of Jihud who killed the Christians" and four stories of "Sheghad and Rostam, Jazimat al-Abrash, Firuz king of the Iranians and the king of the Hitalians and owl and raven ". However, it is worth mentioning that the distinguishing feature of the mentioned article and the present research is that in this work, without any presuppositions or special approach such as intertextuality, the desired war trick in different texts has been searched and presented. Also, Rezaei and Bijanzadeh's article does not emphasize the mutilation of the deceiver, which in the present study has been one of the main characteristics that has been considered in finding and selecting similar stories. In this study, while examining the mentioned story from the first book of Molavi's Masnavi, also mentioning the promised sources, we have obtained new evidences from literary and historical sources and we have found that this trick seems to be known and famous in the region as different people were clearly familiar with the nature of these punishments and they knew that when a person is punished like that, he is a culprit expelled from the king or from the commander of the corps. It may even be said that this method of punishment was intended for those who were specifically expelled from the court of the king or commander. It should also be noted that the expelled person had a worthy position and was known among the enemy and friend, as in most of the narrations mentioned, the rejected person was the king's minister. Therefore, quoting this trick in this story may not be directly related to the origin, adaptation or intertextuality, etc., and the narrator himself has heard such stories from different corners or read them in historical books, such as the history of Tabari or Balami. It is also possible that the reason why Molavi introduced this trick in the story was its familiarity with the mind and conscience of his audience, in the hope that its easy understanding will help to better understand the rest of the story and ultimately get the purpose of the poet.