پژوهشنامه ادب غنایی
پیاپی 15 (پاییز و زمستان 1389)

The present paper is a study of the long multiple poem by Toqra Mashadi, a prominent poet in the 11th century Hijra. This 134-line poem which is in the form of ‘pentameter Mosammat’ is included in one of his works called “Eteqadieh”, an unobtainable work not found in any of his works collection –not even in Iranian literature history. The whole poem is recorded in the manuscript of Alavi Manaqeb by Mir Hossein Ali Khan Talpour from the manuscript treasure and museum owned by Talpour governors in Heidarabad, Sindh. No study has so far been carried out on this work; the present research is the first, introducing and analyzing its lyric emotions. This Mosammat is in the honor of Imam Ali (PBUH) and enjoys deep and pleasant individual and collective emotions. In this research, we are attempting to investigate the poet’s emotions applying a content analysis approach.

Religion in the true sense of the word is to depart from self and to join the truth in a spiritual manner. This is a love-based narrative of religiousness from mystic's point of view and what the Iranian mystics have insisted on and advised the others to be so.Attraction and appeal have always been the achievement of an atmosphere which is formed by love, so religion with such interpretation is not complete without love. Sanaei – the father of Persian mystical poetry – who gave a different meaning to Persian literature by his mystical thoughts, has repeatedly spoken about the pain of religion and love-based religion in his poems and has complained of the lack of this pain among his contemporary people. This critical complaint has occasionally made him to invite the Muslims to Islam! This article, enjoying text analysis method, aims at explaining the concept of love-based religiousness in Sanaei's point of view and the reason of his complaints. He believes that without love the religion will be replaced by demon. In his opinion the pain of religion is a blessed and full-of-love pain which is made by Koranic insight which explains the paradox of inviting Muslims to Islam.Key words: Sanaei, love-based religiousness,, the Pain of Religion, love, the bridegroom of religion, the demon of religion.

Romanticism, in Iran, was the outgrowth of specific social and political conditions that were created following increment of challenge between different faces of tradition, modernity and the crisis driven by it. Nima Yushij, the founder of new poetry, is among the poets who have tried romanticism in their poems. Romanticism of Nima is a median between constitutional revolution nationalistic romanticism and the emotional romanticism after his time. His poem is a crystallization of human emotions and social life. Poetic view of Nima takes him to far horizons, the nature is in sympathy with him, he, enjoying his imagination power and elements in nature, depicts sometimes the oppressive age of society and sometimes his own ideas. The contents of his poems is a mixture of love, nature, hope, despair, humanism and exposition of social pain which all show his romantic sensitivity. The present paper, a library research, aimed at making the reader discover Nima’s approach to romanticism by contemplation in some poem samples and related issues which are introduced in different parts of the paper and analyze his approach based on school of romanticism.

Naser Khosraw is known as a poet with his own unique and inimitable style in Persian literature. Depending on their mood and status, every poet has a particular attitude towards past and the upside-down moments. Nostalgia is a psychology term that has entered into literature scope. Nostalgia, or regret verses, introduces to the audiences the poets and authors’ regrets about the past – the regrets that are reflected in their writings. This research first presents a definition of nostalgia then provides all meanings of nostalgia under two general headings, namely idiosyncratic and collective ones. Afterwards, nostalgia is studied in Naser Khosraw's Divan and the role of linguistic functions in rendering a nostalgic atmosphere to the poem is studied, along with exploring its relationship with the idiosyncratic nostalgia. Moreover, elements of mythology and tendency to utopia and their relation to the collective nostalgia will be explored, accordingly.

6th century Hijri is one of the most influential periods of change and independence of form of Ghazal. Among the composers of Ghazal in this era, Anvari was the most influential in the change and evolution of Ghazal. In this study, an attempt has been made to introduce the different aspects of Anvari’s influence in the change and evolution of Farsi Ghazal in general as well as to investigate the looks of Anvari’s sweetheart with the emphasis on describing bodily elements. To fulfill this objective, all lines of his Ghazals were carefully studied and the most significant and special bodily parts to Anvari in describing the appearance of sweetheart were extracted and classified in eight groups. Next, the frequency of words and concepts related to the specified bodily parts were analyzed and their significance, application and roles in Anvari’s portrayal of the appearance of sweetheart in his Ghazals were investigated. Finally, the personality features of Anvari’s sweetheart were presented.

In an age when advances in technology and industry and increasing in population have significantly reduced human's pleasure and happiness and imposed various stresses and pressures, which all in turn have caused high rate of depression, investigating and analyzing the concept of happiness and introducing its reasons in the views of Iranian's poets can help to spread and deepen happy life, joy and mental contentment. Although, language and mind of Iranian poets have, in various ages, propagated the word “happiness” and its synonyms, which are briefly discussed here, the present paper focuses on the common reasons for happiness from the viewpoints of three Iranian poets who had completely different thinking fundamentals. Khayyam is not considered a real mystic, while Molavi is true mystic and Nezami is really different from Molavi, but not so much from Khayyam. Since all of them are among the few prominent persons who have broken the limits of ordinary beliefs and by dynamic opinions and thoughts and complete understanding, have discussed main humanity problems, the author, regardless of the signet of sage or mystic on forehead of each of them, has analyzed the similar points in their works. Enjoying comparative analysis, the common factors of happiness are investigated in the poems of Khayyam, Molavi and Nezami.

The present article aims at exploring the common features between Lyric literature and Romanticism in the poems of Hafiz and Mihai Eminescu, the Romanian poet. It first discusses Romanticism and Lyric literature and then utilizes the analytical-descriptive method to provide a comparative literary analysis in the works of the two poets. A comparative study is carried out through giving evidences of the poets’ concentrating on such romantic features as “love”, “naturalism”, “orientalism”, “alienation and dissatisfaction caused by their contemporary world and situations”, “introversion”, “de-constructivism”, and “innovation in poetry”. In Iranian poetry, “Qazal” is equivalent to the lyrics in Romanticism. Qazal was the major form of poetry in the 7th and 8th lunar-Hijra centuries in Iraqi Style for which Hafiz is a brilliant representative. The poems composed by Eminescu, well-known as the Romanian Shakespeare, from the Eastern Europe in the 19th century, hold all the Romantic features.Mystical analysis of some important symbols in one of Eminescu’s famous poems revealed that his mystical symbolism in lyric poems has been expressed through allegorical short stories. In Hafiz works, however, the mystical symbols are expressed through utilizing expressions and brief allusions that best fit the Persian poetry. All these symbols revolve around the concept of “love”.