پژوهشنامه متون ادبی دوره عراقی
سال چهارم شماره 1 (بهار 1402)

Mantiq Al-Tir Khaqani's ode is one of the brilliant examples of Persian literature. This ode is also one of the remarkable examples of the language and journey of the birds. A number of birds have gathered in the spring season and each one is praising a flower and arguing about the superiority of the flower in question. In this research, we have tried to examine this ode from a new angle based on the theory of intertextuality and with a descriptive-analytical approach and relying on documentary studies. The theory of intertextuality is one of the methods of examining the text, which was formed by Julia Kristeva, under the influence of the theory of conversational logic of Mikhail Bakhtin. The basis of this theory is that it explains the meaning of the text based on the conversation and interaction with other texts before and after it; Because meaning is the result of conversation and conversation has different ways. The findings of this research show that this text (ode) is the meeting place of various discourses, including musical, mystical-philosophical, epic, religious, historical and literary. All these discourses have been involved in the formation of this text (ode) like pieces of a puzzle, and finally they have all reached unity in the form of poetry.

Romantic poetry is based on the three main axes of love, lover, and beloved, and among these, the beloved is the most central character of romantic poetry, so that her colorful presence can be seen in every period of Persian poetry. Vahshi Bafqi (D. 1583 A.D) and Assar Tabrizi (D. 1389 A.D) are among the most prominent poets of lyrical literature, whose image of the beloved is depicted in their poems somewhat differently from the beloved of other periods of Persian poetry. In this research, the appearance of the beloved in Nazer and Manzur and Mehr and Moshtari romantic poems has been analyzed in a comparative manner in five parts of emphasis on the gender of the beloved, names and nicknames, description of external beauty, behavioral characteristics, and fantasy images by using descriptive-analytical method. The result of the research shows that in the both poems, the appearance and the behavioral aspects of the beloved have been fully discussed. Its obvious difference from the previous and later periods is the recklessness of the poet in describing the male lover, the way the lover deals with some of the beloved's behavioral characteristics, and the reflection of the Vasookht thought in their poetry.

Khagani studies has long been considered one of the most important fields of study of Persian literature in the eyes of researchers. Regarding the importance of Khaqani studies, it is enough that several articles and dissertations have been completed on the subject of Khaqani bibliography. One of the fields that has received less attention from Khaqani scholars is the poet's historical documents. The importance of the position of such a research is to the extent that the historical documents about the poet remain unknown, it will also follow the mistakes and mistakes of Khaqani scholars. Kandli Harischi decided to take a step with the book "Khaqani Shervani: His Life, Time and Environment" with the aim of solving the aforementioned unknowns. We decided to evaluate the mentioned book in the crucible of criticism with a research-oriented view and away from love and hatred and according to the various quotes of researchers and answer the essential question that what is the necessity of this book in the field of Khagani studies. And what are its advantages and disadvantages? The results of the research show that, firstly, this book is an excellent book considering the author's historical studies. Secondly, some researchers have judged the propositions of the book fairly and conscientiously, and some others have acted contrary to the previous category. Thirdly, the strength of the book lies in the author's special attention to the letters and Tohfat al-Iraqian Khaqani. By emphasizing the induction of his statements, Kandli Harischi did not pay attention only to internal library information and stepped beyond the borders. He has also shown that the historical view and presentation of timing are not effective for clarifying abstract issues such as Sufism, chivalrousness, and the poet's brotherhood.

Athir al-Din Akhsikati was a prominent poet and literary figure of the Seljuk period in the sixth century AH. His Divan has been edited and published three times in Iran, with the latest edition made available through the efforts of Mahmoud Barati Khansari. However, in this latest edition, the structure of some of the verses has been found to be damaged. In this critical study, the author aims to provide a corrected and revised form of these verses by comparing the different variations of Akhsikati's divan and providing evidences from ancient Persian and Arabic texts, while also relying on linguistic and literary knowledge. The findings of this paper suggest that the process of editing Akhsikati's poems is still incomplete, and a closer review and revision of the discussed book is necessary, taking into account the previous efforts of editors such as Rokn al-Din Homayoun-Farrokh and Abbas Mahyar, as well as the handwritten version available in the British library.

Artificial prose and technical is a prose that is based on the archetypes of speech and the beauty of speech. The writers of artistic prose illustrate the description and image of nature and the imitation of scenes and objects of nature .Among the varied and colorful descriptions of nature, the scenes of the sunrise and sunset have a special prominence .The main issue of this research is to know how to visualize and the quality of the writers' use of sunrise and sunset images in the texts of Kalelah and Damnah and Marzban-Nameh. The findings of this study show that in all two effects, the frequency of sunrise images is greater than sunset, which reflects the authors' psychological attention to light and brightness and their escape from darkness and darkness. Outward images are sensory and tangible. The abundance of sunrise and sunset images in Marzban-Nameh is nobility more than Kalelah and Demnah. Nasrallah Monshi paid attention to the element of time, but less decade it. Also, there is a fit between the images and the content of the story in Marzban-name Mail, But it's not in Kalelah and DemnahAbstractArtificial and technical prose is prose that is based on the arrangements of words and the beauties of speech. The authors of artificial prose pay a lot of attention to the description and image of nature and the imitation of natural scenes and objects. Among the various and colorful descriptions of nature, the view of the morning blow and the arrival of night has a special glow. The main issue of this research is the knowledge of the method of illustration and the quality of the use of the images of sunrise and sunset by the authors of the texts of Kelileh and Demneh and Marzbannameh. The findings of this study show that in both works, the frequency of images of sunrise is more than sunset, which indicates the authors' psychological attention to light and light and their escape from darkness and gloom. Images are extroverted, sensory and tangible. The frequency of images of sunrise and sunset in Marzbannameh is more than Kelileh and Demneh. Nasrullah Munshi paid attention to the element of time, but portrayed it less. There is also a correspondence between the images and the content of the story in the border letter, but this is not the case in Kelileh Woodman.Keywords: Kelileh and Demneh, Marzbannameh, Image, Sunrise and Sun

The purpose of writing this article is to explore the techniques of Sana'i in creating didactic language in his poems. Hence, after a short introduction about "oratorical rhetoric" and a theoretical perspective on this matter some syntactic tricks of Sana'i in creating "oratorical language" and didactic rhetoric will be discussed. Sana'i has used certain syntactic patterns in order to shape didactic language in his moral poetry. Certainly, Sana'i art is not limited to the use of syntactic patterns, and on the other hand, the design of all Sana'i syntactic patterns requires a wide scope. But here we will discuss some syntactic patterns, especially the use of conditional sentences and the structure of combined sentences in his poems, which form the rhetorical language and musical arrangement in many of his didactic poems. Through conditional sentences and the structure of combined sentences, Sanai displays his command as a moral preacher. Apart from this, these structures also play an effective role in the music of his poetry. Therefore, by focusing on some odes of Sana'i, I try to introduce the syntactic patterns that Sana'i used to create authority in the language of the sermon and increase the effect of the preach.

Undoubtedly, one of the poems that was able to gain a high status during the modern era of contemporary poetry and become popular with the people is the poem "Eagle" by Khanleri. However, the effect of ancient Iranian parables and stories and Khanleri's translation and familiarity with Russian and French writers and poets cannot be ignored. But the sublime sense of lofty perception and mythology that is hidden in this text and is expressed and induced with a simple, realistic and pictorial language, and has made this poem worthy and worthy of special attention. This poem begins by expressing a part of the philosophy of life (death) and individual ethics (high-minded and post-natural) and then escapes from reality and with the traditional and mystical symbolism of the eagle's ascension, which reminds of the amazing ascension of Khosrow in the Shahnameh. It reaches its highest moral peak, as if Khanleri's social realism and symbolism in the 20s sought to raise the issue of morality and its general weakness among people in the society, who were trying to develop themselves to the gates of industry. deliver