نشریه مطالعات زبان و ادبیات غنایی
پیاپی 47 (تابستان 1402)

Art needs beauty and to believe that poetry is one of the types of art, it needs beauty. There are many elements and factors of the beauty of poetry, and every poet in every era tries to decorate his poems with these elements. The main topic of this research is the study of the science of expression in the poetry of Maftun Amini, which was carried out using a descriptive-analytical method based on library sources. In this article, the beautiful images of Maftun's poetry have been explained by addressing the components of ambiguity, irony, recognition, metaphor, paradox, and simile. By using all the tricks of imaginative elements and with a new attitude, he freed his poetry from the repetitive images of traditional poetry and succeeded in creating original and creative images by using innovative crafts. In the "Anarestan" and "Hidden Season" collections, the poet's language moves towards poetic ambiguity, vagueness, and brevity. Maftun uses poetic images and stereotypes to personalize the language of his poetry to wrap his poems in an aura of ambiguity and make the audience's mind struggle to understand it. In this way, by making the reader participate in the work, a special place is given to him to find a different meaning in the poetry.

The story of Bijan and Manijeh is one of the few love stories of Ferdowsi in Shahnameh and is considered among the stories that Ferdowsi wrote in his youth. "Mem and Zin" is also one of the Kurdish romances that has been recited by Beytkhans (a kind of local singers) for many years, until the famous Kurdish poet Ahmad Khani arranged it in the form of Masnavi. The main purpose of this article is to examine the plot of "Bijan and Manijeh" by Ferdowsi and "Mem and Zin" by Ahmad Khani. The research method is descriptive-analytical. In both stories, the plot can be examined from different aspects. The events of both stories proceed uniformly based on the cause-and-effect relationship. The elements of the plot are observed in an orderly arrengment, and the metaphysical incidents in the story that harm the structure of the plot can be justified by the logic governing the tales and old stories. The plot in the stories "Bijan and Manijeh" and "Mem and Zin" are very similar, and all the elements, including conflict, crisis, suspense, and climax, have been observed according to the principles of story-writing.

Emran Salahi is one of the poets who has a simple language in his poems. A major part of Salahi's poems is his romantic poems, which are not specific to a particular era and can be seen in all his poetry collections. This article deals with Salahi's love poems in an analytical-descriptive method to explain his simple writing. The poet's love simple writings have been examined in three parts: structural and linguistic, rhetorical and content, among which we can mention these cases: Direct expression, simplicity of interpretation and expression, short writing, the role of word association in poetry, using colloquial language, not using difficult words, closeness of the main components of the sentence to each other, effective beginning and surprising ending (structural and linguistic), Paradox, brevity, common and everyday similes and poetic (rhetorical) similes, attention to everyday life and tangible images, detail and use of seemingly insignificant subjects (content). The result is that Emran Salahi's simple writing, which has led to effective communication with the audience, has not made his writings look superficial, but always has literary value. He, who pays attention to the language and content of his poetry, has used this process in all periods of his poetry in classical and new forms, and the variety of topics especially romantic themes, is evident in his works.

Didactic or moral stories in Sa’di’s Boostan, like many other episodic stories in Persian texts, play a facilitating role in understanding the poet's mystical, social, and artistic ideas. In the Sa’di’s Boostan, there is a story titled “Tadbir” (plan) in the delay of politics. In this story, we see a model that is consistent with the model proposed by Tzvetan Todorov for story analysis, and the result can be generalized to most of Boostan's stories. Todorov believes that there is a similar structure in the narratives, which include; The initial situation, the entry of the factor that disturbs the balance into the narrative, the disturbance of the balance, the attempt to establish the balance, and as a result, reaching the final stable state, which he interpreted as the transition part. In this article, which is written in an analytical research method, we intend to answer the question, based on Todorov's theory, how to solve the contradiction resulting from Sa’di’s consequentialism in the story with the external realities of society, and how the story in question can be analyzed based on Todorov's model. The result is that by creating a coherent structure in the story, Sa’di was able to accept his ideas and opinions to the reader despite the contradictions and contradictions with the real world and give the victory vote in the story in favor of whoever he wants.

Romanticism is used in the concepts of fantasy, legend, and dream. This movement uses all kinds of literary works, historical stories, horror and fantasy stories, love stories, and poetry as a means of expression. The story of "Anarbanoo and his sons" is a work of Goli Taraghi, which has many affinities with some elements of the school of romanticism. The current research is theoretical research that uses the library research method and data description and analysis to investigate the story of Anarbanoo and her sons from the story collection "Somewhere Else" based on the components of the school of romanticism. The scope and society studied is the story "Anarbanoo and his Sons" from the collection "Somewhere Else" by Goli Taraghi, published by Niloofar Publishing House. Referring to some findings, it can be said that the individuality of the main character of the story, which is one of the important features of romanticism school, has a special language in the emergence and reflection of some components of romanticism. Such as emotions, utopian dreams, naturalism, and nostalgia. The memory of the beloved and the critique of civility have been created. The old lady in this story puts the symbolic theme of love and overcoming problems in front of sanity. The motherly feeling has overcome any caution and reasoning in the possibility of occurrence. The basic principle of romanticism is the preference for feeling over reason.

One of the controversial verses of Hafez's poem is the verse "I swear by the dirt at your feet and the light seen by Hafez/ that I did not see any light without your face in the lamp of eyes". Regarding this verse from Hafez's Diwan, which is included in the edition of Allameh Muhammad Qazvini's interpretation, there are differences of opinion regarding whether Hafez swears by the dust of your feet and the light of his vision is swearing by one thing or swearing by two things. In this article, the collective comments of the experts have been presented by mentioning the evidence of the poets' poems for detailed examination and analysis in order to answer this issue. The research method is a descriptive-analytical one, which was carried out by referring to scientific sources and poetic evidence from the greats of Persian literature and in a library method. The result of the research shows that contrary to the opinion of the commentators, the light of sight means the light of the eyes, not dear and beloved.