مجله فنون ادبی
سال چهاردهم شماره 3 (پیاپی 40، پاییز 1401)

Irony or double speaking is one of the artistic-literary techniques that, in literature, is equivalent to terms such as sarcasm, praise, contradiction, etc. In the present study, an attempt is made to examine and compare the different aspects of this literary industry in Saadi's Gulistan and Ubayd Zakani’s Akhlaq al-ashraf. In this study, firstly, a descriptive-analytical method is used to look at the political-social situation of the era of both authors; then, the analysis and comparison of ironic types in both books are discussed along with examples. According to the findings of this research, the most types of irony used in Golestan, considering the prevailing conditions of the society as well as the political and social suffocation of that time, which created the shade of humor and veiling of words in the context of the text of the book, are structural, situational, fateful, and verbal. Also, in Akhlaq al-ashraf, the most frequently-used type is rhetorical irony, and there is no special case of structural, radical, fateful, dramatic, and romantic types.

Myth is an element of human culture that narrates a true story with an unusual nature. It discusses the miraculous action in the indeterminate time of beginning, as superhuman experiences and as a mental-imaginative process with the help of works of art. It is recreated and continues to live with the help of this cultural element. Artistic-literary works become broad, deep, and lasting and acquire a global dimension and immortality. Therefore, mythological elements in different periods of Persian poetry have always been recreated with ups and downs. No period sans theme and image creation in the mythological literature and the dynamic spirit of myth has always flowed in the body of Persian poetry. Poets have used this cultural element with different approaches and have recreated it. The present study, using a descriptive -analytical method, investigates the reproduction of mythological-epic themes and narratives in the contemporary poetry of Afghanistan (from the Constitution to 1380 AD). The results of the present research show that the reproduction of mythological elements in contemporary Afghan poetry is not a pure imitation but a purposeful creation that contemporary poets, using their literary talents most artistically, relate mythological narratives and characters with events and personalities. They have adapted in their times, by linking the present and the past. They have presented their political thoughts and human emotions.

In the present study, with the aim of investigating the personality of Ashurai poems, the character traits in this type of poetry have been investigated using a descriptive-analytical method. The ritual poet describes the character of this incident with the help of components such as praise of great men, the revival of Ashura culture, and identification. The behavior and morals of the characters are based on Ashurai poems and they perform appropriate actions in different situations, as they have a convincing reason for any change in their behavior and show a logical reaction when dealing with incidents. In this type of poem, the characters of the story are not created by the poet, but what is depicted is considered in the fictional world of the poem and the outside world of the poem and in the context of the events. The expression of Ashurai characters, sometimes with interpretation and sometimes without interpretation, makes the reader familiar with the nature of the character. This is where the reflection of the inner characteristics of the Ashurai character draws the fluid flow of the mind to Ashura culture.

The word ‘humor’ in Persian literature has different meanings. In the contemporary period, it is used as a ‘literary term’ with a difference in definition compared to the joke. The purpose of the present study is to investigate the meanings of humor in specialized sources, cultures, and related books in contemporary literature in order to find a rather comprehensive definition. The two research questions posed in the study are: what meaning or meanings are meant by the term humor? Is it possible to consider a clear and unique definition of humor in contemporary Persian literature and what text is an example of humor? The findings of this research show that the different meanings found by ‘humor’ are related and overlapping making it very difficult to find a clear definition for the term ‘humor’ or a single use for it.

The unique manuscript of ‘Shur-e Eshgh’ (Passion of Love) in the forms of Mathnavi (poetry consisting of distiches rhyming between themselves) and Bahr-e Motaghāreb was composed by Ahmad Ansari nicknamed Hāji Sāheb in 10000 lines and written in Naskh calligraphy in 1225 A.H. The mentioned poetry is of a religious-epic type that relates the stories of the creation of mankind, as well as prophets and infallible Imams (AS). This article tried to introduce this manuscript. This research was based on a descriptive-analytical method and a document classification technique in a library setting for collecting information.

Iqbal Lahori, a Muslim thinker, believed that poets, like prophets, are leaders and guides of human beings. Poetry, in his belief, is the means of expressing the truth and inviting people to fight for the truth. Iqbal has paid attention to the instructive and persuasive aspect of speech, as well as the eloquence and rhetoric of words and meanings of poetry. Imperative sentences show the most important aspect of the conative function of language. For these reasons, the function of secondary senses of imperative sentences in Iqbal poetry was studied and analyzed in this study. The research method was based on the identification and classification of secondary senses of imperative sentences in Iqbal's poetry besides analyzing the evidence based on the two-way relationship between the speaker and the audience. This was an important research because it could explain the function of language and message transmission methods according to the interaction between the poet and his audience. The results of this study showed that in Iqbal's poems, 770 sentences had been used with secondary meanings, while the imperative sentences had the meaning of guidance in 50% of them and he was thus in a superior position to the audience in terms of knowledge and awareness. In 35% of the evidence, he spoke to the audience with an equal verbal communication so as to persuade them. He showed a lower position in front of the audience only when he spoke to God and absent or imaginary audience.

Ismail Shahroudi is one of the capable and community-oriented poets of new Persian poetry. His poetry often takes on the color of social symbolism. He is a humanist poet whose works are full of passion and social excitement, politics, struggle, and human emotions. The purpose of this research, was analysis of Ismail Shahroudi's poetry in terms of the qualities of symbols and their rhetorical and artistic roles in suspending meaning, providing semantic multiplicity, and explaining social and critical issues through a descriptive-analytical method. The research results showed that the use of symbolic images in his poetry based on his thoughts was a way to express and propose the topics and themes that he could not represent directly and clearly. It was a way to enter the problems and demonstrate the pains that the atmosphere of the society and authoritarians did not allow to approach. Shahroudi considered the symbolic approach as a window to seriously and humanely look at social and political issues, plan and explain them, and rebel, protest, and shout against adversity and disorder. He used all kinds of symbols like literary, natural, and historical symbols, etc. He also put them beautifully and consciously at the service of social and political issues. Despite the conventional usage of symbols in many cases to express his critical and protesting thoughts, Shahroudi achieved innovation in creating symbols.