پژوهشنامه ادب غنایی
پیاپی 37 (پاییز و زمستان 1400)

Love and affection are among Bahavalad’s doctrinal foundations which are considered in all three fields of theology, cosmology and anthropology of Ma’aref. According to him, knowing God and achieving it depends on love. This article, by explaining the category of love from bahavalad’s mind and language, justifies and interprets his encounter with the Creator, which is the main question of the research. Examining his views on the characteristics of love, lover and beloved, as well as his views on aesthetics and seeing the truth, which has been done by descriptive-analytical method, leads us to the conclusion that this mystic speaks of a different God and the image God evokes in his mind the theme that leads the audience to the idea of embodiment and embodiment. Thus, in bahavalad’s belief, love is inextricably linked with seeing, which gives rise to other ideas such as aesthetics. Love, by his definition, is a triangle that consists of the three sides of God's love for the servant, the servant's love for the truth, and the servant's love for the creatures as the manifestation of the truth.

The central questions in this study are as follows, what type of dialogues does Nizami employ in Khosrow o Shirin and Leily o Majnun? What is the purpose and function of dialogues in these stories, and what can be achieved by comparing the frequency and type of dialogues in these stories? The dialogues in the story make action and we can see the function of the dialogue in the position and space of a text. This research studies the element of dialogue in two Nizamis‟ poems: “Khosrow & Shirin” and “Leily & Majnoon”, and shows the position of dialogues in the context of the story. In the study, it was observed that about 51% of the story of Khosrow and Shirin and about 28% of the story of „Leily & Majnoon‟ is dialogue. The dialogues in both stories are fit with its content, because the Nizami has created a different way of speaking and different functions for the dialogue that it is due to spaces and contents of story. Dialogue in „Khosrow & Shirin‟ has more abundance and diverse functions because of dynamism of the characters. Lower variation of the types of conversation in „Leily & Majnoon‟ is related to factors such as storytelling style, insolent character of Majnoon and in general, static characters.

A distinction element of the voqu school part in the poet report from Realities is earthly love, which is the result of the poet special experience is considered. The Voquhi Poet artisan perfection that is his romantic experiences tells frank and explicit with calenture. The aim of this article to focus on a certain attitude that will overshadow in the lyrical school, pay attention to Typology of Voquhi lyrics until sort realistic emotions and feelings one of the Voquhian. Accordingly, using content analysis method, innovative species that repeated in the lyrics of Vali, DashtBayazi, with high frequency, with approximately frequency each based on 377 poems could be divided into five types: 1- Lyrics says opacity and complaints 2- Lyrics of disclaimer 3- Lyrics of domination & threat 4. Lyric of envy and jealousy 5- Lyrics of anxiety and uncertainty Accuracy in such typology shows that Voquhian in the emotions and feelings field with protest rotational and sometimes aggressive, the Persian lyric content process changes and new species have been added. In fact, the pivot of Voquhi poets on type of the lyrical lead to their style difference than others.

Among literary genres, satire is the most committed type of literature, and when it emerges from the work of a poet or writer, it shows elements of social commitment and protest in his thoughts. Nezami Ganje'i can also be considered a satirical poet with social and committed tendencies who, by a protest view, uses satire as an artistic tool to express his thoughts and correct social anomalies. This research seeks to know the connection between the conditions of society and Nezami’s time along with the poet's special manner and action with his satirical and critical discourse, so after extracting satirical examples of his poetry from his Khamsa, the author tries to identify the content and style features of Nezami’s satire and finally introduces his humor-creating techniques with examples. The research method is based on descriptiveanalytical method and is conducted with a humanistic approach. The findings of this study show that Nezami’s satire is tragic, the poet's protesting view of society and the prevalence of oppression and injustice in it, has turned his humor into a bitter and biting satire and has given it a hidden and indirect state. The poet's social consciousness leads him to end his satirical themes and anecdotes with moral conclusions. The context of the debate is a good place for Nezami’s roguish satire, and "Fox" and "Kurd" are the most popular satirical character types of his poetry.

Qasida is a semantic poetical collection bearing messages and components that distinguish the thematic character and the tone prevailing on the contexture of the text. The distinguished poet of the fourth century (in the Islamic calendar), Mutanabbi's Qasida in mourning of Fatik is a salient example of elegies, in which the originality of grief could be analyzed and nailed down based on its intra-textual components. The originality of grief is a point raised in all Mutanabbi's elegies as a core question. The purpose of this article in analyzing the context is to represent and highlight the intra-textual components that could determine that a text - as a stand-alone semantic unit - is capable of explaining the tone prevailing in the texture of Qasida. Results of the research indicate that the verbal and contextual elements that exist in the text of a qasida, include dynamic components that not only have facilitated the evaluation of the originality of grief, but also are generalizable and implementable on similar instances. The qualitative continuity of the components has turned the rational satisfaction and the semantics latent in Qasida's letters and interpretational forms to a coherent text that is rich in sincere intimacy and is away from the suspicion of formality.

The recent study seeks to inspect and analyze Epicureanism in Anvari’s poetry. Epicureanism, derived from the name of the Greek philosopher- Epicurus- is the name of a philosophy school mainly formed based on pleasure. Epicurus’s desired pleasure was the absence of pain. The most important foundations of Epicurus's thought are a reasonable selection of pleasures, durability, and survival of pleasures, preference of pleasures of the mind to physical pleasures, the satisfaction of natural and essential desires, reaching mental peace, taking the opportunity, contentment and changeability of destiny. In this research, the author seeks to answer this question whether, according to the components of the Epicureanism school, Anvari can be called an epicurean. As it comes from his poems, Anwari was one of those poets who had a happy and enjoyable life, and his ethical thoughts are supposedly similar to Epicurus. In order to answer the research question, Anvari's book of poem (Diwan) was studied with regard to the components of the school in question by means of strong induction and research data was inspected using a descriptive-analytic method. The result of the research suggests that Anvari's ethical thoughts, in features such as seizing the day, taking advantage of tools and methods of achieving pleasure, changeability of the destiny, contentment, and tolerating suffering to achieve lasting enjoyment is consistent with Epicurus’s philosophy.

One of the issues that Imam Khomeini (ra) and Ibn Fariz died in that unity program (Fana) was raised in God. Fana (Fana), one of the highest levels of human existence and the highest perfection of the universe, which is a fundamental survival and theoretical and practical mysticism is of great importance. He talked a lot about death (annihilation) and non-existence and considered it as a basis for survival. The most important mystical conditions? The research method in the present study is analytical-descriptive and the tools used are library. The results of research show that these two great mystics consider the desires of selfishness and selfishness as a condition of death (annihilation) in God, and by emphasizing the three stages of death (annihilation), namely Maho, Tms and Mohaghegh, they express their views in their works. They say about death (Fana).

One of the tools for understanding concept is the analysis of literary texts from the point of view of semiotics. In the present study, we intend to analyze the "Khamush Khatoon" Masnavi by Raadi, based on Greimas discourse systems, by studying the case and using the qualitative analysis method. The fundamental question of the research is which the Greirmas discourse systems in Khamush Khatoon Masnavi have the opportunity to emerge? and Why? By creating coherent discourse systems, Greimas provided a context in which to understand that in the early stages of the story, concept has the shortcomings of the existence of Sensible/Stative factors and, consequently, the creation of discourse systems that cause the incomplete concept of evolution. In the secondary case, it becomes a transcendental concept. Story Khamoush Khatoon is one of the narratives that is associated with the Sensible/Stative and action factors, and among the discourse systems, three moral- ideological, inductive and prescriptive discourse systems are under the complex of intelligent discourse system, appear in that power. The creation of these systems can be considered as a sign that the narrator consciously and knowing the various details and elements of the story, advances his narrative and intelligently transforms the loss of its original concept into a transcendental state by creating an intelligent discourse system.

Stories and legends of literature are part of the cultural heritage of each nation, which determines the traditional and cultural values of every society. First step of the analysis of stories and anecdotes, must be the study of constituent elements of them, then discovery of the relationships between these elements and the process of the story. This type of study and analysis is useful for each story of the classical, narrative, and fiction literature and covers all societies. In the current study, which was conducted using descriptive and content analysis methods, the lyrical and romantic story of Rana va Ziba written by Mirza Barkhurdar Farahi has been studied according to Vladimir Propp's morphological theory, that classified into; stages of the early situation, creating problems, trick, combat, come back, and wedding; Moreover, while analyzing the thirty-one functions that is considered by Propp in this story, we figured it out that the most frequent performance in this story are the supportive element, the decision that protagonist of the story made, and also the defiance .this story contains three misfortunes and calamity, and eliminating of them, that base on those the three comebacks and transfers happen to the main heroes of the story.

Assessing the different levels of discourse allows for a new understanding of it and discovers the interactions of language with ideological structures. Critical discourse analysis makes it possible to examine the two factors of ideology and power that have an important impact on the superstructure and depth of language in the process of linguistic communication. Theon Wendick, one of the theorists in this field, considers critical discourse analysis as a powerful tool for social analysis. His proposed model is a suitable criterion for analyzing the poetry of the mass party, which is often based on highlighting the positive points of the "self" and marginalizing the negative points of the "other". Mohammad Zohari (1926-1995 AD) is one of the modernist poets attributed to the Tudeh Party, whose bipolar system of emphasis and marginalization plays a key role in shaping his poetic discourse. Research results show that the discourse system in the construction of poisonous poetry is based more on highlighting its positive points and highlighting other negative points, which are reinforced with superstructures that include semantics, propositional structure, grammar and reasoning.

One of the main discussions in recognizing the different dimensions of Hafez's poetry has been his influence and benefit from the literature of the past and before him.The most important question of this article is to what extent did Hafez consider the poetry, theme, phrase, form and structure of the poets before him in romantic themes?Therefore, the present study relies on adaptation, impact, similarity, insertion, guarantee, allusion, content, welcome, similarity, similarity in word usage and word sharing to recognize their important uses in Hafez and Saadi, Khajavi's romantic lyric poems. Kermani, Salman Savoji, Kamal Khojandi and Seif Ferghani. The results of the research conducted by comparative analysis method and using library documents show that among 497 lyric poems of Hafez, relying on Khanlari's correction court, there are 70 lyric poems with purely romantic themes, which are in line with the romantic poems of the studied poets. Saadi is scheduled for 17 cases, Khajavi Kermani for 15 cases, Salman Savoji for 6 cases, Kamal Khojandi for 5 cases and Seif Ferghani for 1 case. Most cases of concurrence, in weight uniformity and sharing in rhyme and row, is the acquisition of content and adaptation.

The debate on subjectivity and objectivity in arts is one of the most enduring debates of all times. While objectivity is associated with the attributes of an object, subjectivity is based on the qualities within one’s mind, the perceptual subject. The latter is the trigger for the present study which is an attempt to locate both the development and expression of the lyrical elements in young adult poetry, where an identified perceptual subject (young adult) takes a good part. Subsequently, at the beginning of our debate what proceeds other issues is the problem of subjectivity in poetry. Next is the significance of lyrical subjectivity. Defining lyrical subjectivity, then, may be a laboring over the peculiarities and components of this kind of subjectivity that has already been expanded. Due to the fact that this study is within the realm of young adult poetry, lyric poetry in particular, which has to do with feelings and emotions, the functional impact of the components of lyrical subjectivity upon the poetical impression is another question that this study will endeavor to answer. Therefore, this study encompasses the lyric genre, the philosophy of poetry, aesthetics, reader-oriented approaches and the emotional impact of poetry, and the writers have used all these methods of thought to provide the aforementioned questions with appropriate answers.   Answering the aforesaid questions by using reader-oriented criticism is one of the targets of the present study. Currently, working on young adult poetry as an extension of contemporary poetry not only assists the mainstream of the contemporary Persian poetry but also gives priority to reader-oriented approaches, for one thing, this genre picks out its readers. A practice to which little attention has been paid; for, as we know, inside the domain of Iranian literary studies rather different practices has always been carried out of which the most glorified one is the textual analysis. In the present study, then, we try to not only put the emphasis on the text but also on the reader-oriented approaches since here the readers are young adults. The reader-oriented approaches also provide this possibility to take poetry’s emotional impact into consideration, particularly the fact that the components of lyrical subjectivity tend toward feelings and interior thought.

This study has been brought about by using the analytical method vis-a-vis collecting data from library sources. The writers of this article have pondered on the words of the given title so as to elaborate on the conception of lyrical subjectivity as far as possible and analyze this idea along with discussing Biuk Maleki’s poems

The writers have compiled three components for the lyrical subjectivity by making use of “Seventy Years of Love Poetry,” an analytical work by Mohammad Mokhtari (2015):  1.The love affair is generalized from the lover-beloved to the poet-universe. 2.The individual is transferred to the all-encompassing human love.3.The lover’s conduct moves toward the granted values of Man.” (Mokhtari, 2015:153)Working amid this frame of reference and that of “Beauty in its original sense is essentially subjective.” (Lamarque, 2018:501), the writers of this study, then, present their aesthetic and reader-oriented reading of ten poems by Biuk Maleki (A poet who most often writes for young adults). These poems are selected out from among 133 poems and 9 poetry collections. Perhaps the writers have not been much impersonal in their selection, nevertheless, they have tried, first and foremost, to deliver a punctiliously exact reading by employing a critical view so as to make their reading intersubjective as far as possible. That being said, a view that takes every impact of the poetic object on the perceptual subject into consideration. Therefore, the process of selecting poems has been carried out by meticulously employing scientific standards of criticism and both the aesthetic and reader-oriented approaches. Consequently, we will see that in six poems poet’s conduct moves toward the granted values of Man and the poem acquires this potentiality to move life into an elevated state or, at least, by bringing the young adult reader into the forefront, elevates the soul and thought of the young adult and familiarizes him/her with human perfection and lyrical pleasure throughout his/her passing from innocence to experience, this menacing process of development. The poems include: The Spot from Again with the Rain, A New Way from Come and Take This Apple, You from Why Are You Stone-cold?, Pennyroyal Garden, and Like a Dream from Balloon Days and Fall from Late Night.The first component is granted residence in two poems (No.9 from The Scarecrow Was in Love and The Dream from Why Are You Stone-cold?) and the poet generalizes her affair from the beloved toward the universe. From this vantage point, one can argue that poetry, which is totally a subjective practice, “provides the possibility of a new way of understanding the world, beyond the sense and sensibility, that is not possible in any other way.” (Lamarque, 2018:453) The second component which we named as the transference of the individual to the all-encompassing human love is to be seen within one of the poems (No. 1 from The Scarecrow Was in Love). In this poem, once again the poet metaphorically generalizes the individualistic love of an object (the scarecrow) to the whole universe by utilizing creative imagery. Although the surrounding world doesn’t perceive this love, yet the very act of projection is interesting in itself. In one of the poems (Sad Feeling) both the second and third components are discovered and the writers have tried to study this poem along with the logic of these two components. Although this poem is too short it has so much to tell, especially when the reader is at the age of a young adult. Before proceeding to the main body of this study, there is one more important point to be mentioned. Because of the fact that young adult poetry collections most often do not have a page number (the same as the collections used for our point of reference), the writers had to cite both the title of the poem and the title of the collection inside the text while listing the publication information at the references part.

Objectivity, at the end of the day, is the tangible characteristics of an object, whereas subjectivity deals in the qualities within one’s mind. Lyrical subjectivity in poetry speaks of the pleasure and affection interwoven with poetry as an artistic production stemming from the mind and language of a perceptual subject, the poet, in an intersubjective relationship which at its other side resides the reader. Studying all Biuk Maleki’s poetry collections by maintaining a reader-oriented point of view, the writers of this article have concluded that lyrical subjectivity in young adult poetry corresponds to the three components which Mohammad Mokhtari (2015) has identified in his limited theory. They include:1.The generalization of the love affair from the lover-beloved to the poet-universe.2.The transference of the individual to the all-encompassing human love.3.The movement of the lover's conduct toward the granted values of Man.These components inhabit the selected poems in one way or the other. In five poems, the third component is diligently present. (These are: Spot, You, Pennyroyal Tea, Like a Dream and Fall.) In two poems, the first component is being spotted. (These are: No.9 from The Scarecrow Was in Love and The Dream from Why Are You Stone-cold?) In the first poem of The Scarecrow Was in Love and The New Way, the second component is totally observable. The Sad Feeling also contained both the second and three components

How the Indian style and its pioneers came into existence is one of the most important and ambiguous topics in the field of literary criticism and stylistics. Studying the viewpoint of researchers who have done research in this field shows that our knowledge about the background of the Indian style and the signs of its main features in the poems of predecessors is much more ambiguous than other styles. contract. Given that Bidel Dehlavi along with Saeb Tabrizi are two lofty peaks of Indian style poetry that contain the main features of Indian style with a very high frequency, in this paper, the background of some of Bidle's Dehlavi stylistic features in Nizami Ganjavi’ poetry is investigated. "It is very difficult to find the explicit influence of Salaf poets in the works of Abul-Ma'ānī Mīrzā Abdul-Qādir Bēdil." (Arezoo, 1999: 120). However, a critical and stylistic look at Nizami Ganjavi’ poetry and a comparative study of it by Bidel Dehlavi reveals the fact that although Bidle has not mentioned any of the poets of the Azerbaijan region in his poems, by comparing Bidle's stylistic features with the main features of the Azerbaijani poets, it can be assumed that Bidle was influenced in practice by their magical words and most likely adapted the main features of his poetry from them. For the first time, Salahuddin Saljuki explicitly stated about Khaqani's influence on Biddle's mind and language that "only in his poems did Bidle deliberately seek to welcome some poets, especially Khaqani, who is the notary of odes’ Divan" (Saljuqi, 1388: 527). But regarding the influence of Nizami on Bidle, Saljuqi writes that Bidle composed his "mysticism" based on the rhyme of Nizami’s “Leyli o Majnun” (لیلی و مجنون) (Saljuqi, 2009: 409) and his “Tur i Ma'rifat” (طور معرفت) based on the rhyme of “Khosrow o Shirin” (خسرو و شیرین) (Ibid: 419). Considering that so far no research has been done on the affectivity of Bidle Dehlavi from Nizami’s rhetoric, the authors of this paper intend to examine some of the stylistic similarities between the two poets in a comparative way. Studies indicate that most likely Bidle Dehlavi was acquainted with the works of Azerbaijani poets, especially Khaqani and Nizamis, which caused him to be influenced by the charm of some of the artistic tricks of these poets and create the foundations of Indian style based on the Azerbaijani style by applying and evolving it. With regard to such issues, the following basic questions arise: 1. Is the Indian style a necessary result of the natural course of poetry in that period or can the history of this style be sought in the works of previous periods’ poets? 2. What are the similarities between the stylistic features of Nizami Ganjavi’ and Bidle Dehlavi? 3. To what extent has Bidle been influenced by the Azerbaijani style, especially the Nizami Ganjavi’ style in the use of stylistic elements?

In this research, an attempt has been made to identify the most obvious and frequent elements of the Indian style in the works of Bidel Dehlavi through comparative analytical method. To explore the history of these elements, they have been compared in Ganjavi’ Khamsa or Panj Ganj ('Five Treasures'). To do this, we first identified the most important stylistic features of Bidle's poetry, examined them in Ganjavi’ Khamsa, and finally made a comparative analysis of our findings.

A study of the stylistics of Bidle Dehlavi's poetry as one of the two peaks of the Indian style reveals that Bidle's poetry has special features from this perspective. Thus the reader in the face of these features is thinking to answer this question: Whether these features are a necessary result of the natural course of poetry in that period or the stylistic background of this type of use can be seen in the poetry of previous poets. Therefore, by studying the important features of Bidle's poetry style including ambiguity, personification, paradox, the presence of popular language and culture, rhetorical combinations, numerical affinities, synesthesia, use of words in special and unconventional meanings and allegory in Ganjavi’ Khamsa, the authors concluded that most of the stylistic features of Bidle's poetry are present in Nizami Ganjavi’ poetry sometimes at a higher frequency and sometimes at a lower frequency with the same approach, type and structure. For example, ambiguity is one of the most important features of Bidle and Nizami’s poetry, that the reason for its presence in the poetry of both poets, in addition to the narrator's familiarity with philosophy and mysticism (Khalili, 2004: 100 and Ejlali, 1993, vol. 1: 108) is the construction of special and unprecedented combinations, the use of unprecedented metaphors, rhetorical combinations, special illustrations. Or in the field of using personification, it can be said that in Nizami’s poetry, very subtle and complex personifications are seen, which have been interpreted as imaginary subtleties (Zakeri, 1993: 596). The same personifications with the same approach and structure has reached its peak with high frequency in Bidle's poetry (Shafiee Kadkani, 1997: 60).From the viewpoint of using contradictory images, it can be said that Nizami’s Khamsa, like Bidle's poems, is full of contradictory images. Of course, these images, although are simple compared to Bidle's paradoxical images, it can be said that in fact they are the evolved form of these simple images. The presence of popular culture and the creation of rhetorical combinations are also among the common features of Nizami and Biddle’s poetry so that perhaps no other poet except Jalāl ad-Dīn Muhammad Rūmī (Mawlānā) in ​​the entire history of Persian literature has succeeded in making rhetorical combinations as much as Biddle and Nizami. The use of numerical affinities, synesthesia, the use of the word in a specific and unconventional sense and allegory are also among the common features that have a significant and effective presence in both Bidle and Nizami’s poetry and distinguishe these two poets from their other peers.

The results of the studies indicate that most of the features that are considered to be Bidel Dehlavi's stylistic features have been used in Nizami Ganjavi’s poetry and some of these features, such as making rhetorical compositions, popular language and culture, personification, ambiguity, etc. are frequently used in Nizami’s poetry. Although, some of Bidle's stylistic features such as allegory, synesthesia, numerical affinities, paradox, use of words in a specific meaning, etc., have been used in Nizami’s poetry, they do not have a high frequency as Bidle's poetry. Finally, we come to the conclusion that Bidle was probably familiar with Nizami’s Khamsa and chose some of its simple artistic tricks as the primary model of his work due to their attractiveness and developed them with his innate genius.