نشریه پژوهش های ادبی و بلاغی
پیاپی 3 (تابستان 1392)

The element of atmosphere in a story is one of the effective factors on readers that cause exiting. Sadness fear، love or hate. On the other hand atmosphere has a close relation with other story elements such as personality، dialogue، accent، plant،…. so that almost all of the elements have an important in making such atmosphere. On of the stories in which sadness expressed effectively such atmosphere is Nezamis'' Leili and Majnoon. This work is outstanding story in persian literature and using a lot of similarities is a best to prove the saying. Among inspiration، Maktabi Shirazis'' Leili and Majnoon (895) is one of the best and most beautiful of the similarities. In fact one the most important reasons that this book is great and beautiful containing exciting scein and new atmosphere، atmospheres that add attractive narration to this book by using comparative analysis. This paper aims to get familiar with Nezami and Maktabi،s atmosphere and analysis which has done in these two books representing sadness، grief

Adherence to the principles of eloquence and commitment to the moral principles in Persian literature has always been of great significance، as in most rhetorical and literary works، there can be seen some chapters under title of plagiarism. Copyright or the right of the author in modern life، is somehow a reminder of narrow criticism of great literary scholars regarding Plagiarism. Anvari، who is one of the great men in Persian literature and had shown his talent in most poetic styles، has attracted the attention of a large number of poets. Great poets like Attar،Molavi،Saadi، Khaghani and others have repeatedly literary imitated his poems and borrowed some verses. The poets who started saying poets after him، also did not see themselves needless of his poems and having his Divan in their hands، tried to imitate him. Sometimes they were not able to get out of his shadow on their poems. This is to the extent that sometimes they took profit of his poems in unfavorable ways. By careful and diligent studies in this paper، we have found some poems of Anvari in Divans of some poets with very strong and documented evidences of Plagiarism in the form of Direct Plagiarism، Modified Plagiarism and surface- modified Plagiarism. While indicating these types of Plagiarism، specifically the direct Plagiarism of one of Anvari''s poems seen in the divan of RahiMoayyeri، one of contemporary poets، is introduced. Some verses Plagiarized from Anvari by SeifFarghani have also been carefully studied in this paper

Hushang Ebtehaj، (H. E. Sayeh) is one of the greatest contemporary poets that his knowledge about music influenced him to pay attention more to music of his poem، which we can say that music is the chain of spine of his poem. The most important appearance of poem music of sayeh which we can mention، is external music of his poem. Because the external music includes rhythm in poem and also the great accuracy of sayeh in selecting the very beautiful and hearable rhythms in his poem، In this article، the external music (rhythm) of sayeh''s books، in both «tasian» and «siyahmashgh» has been studied comprehensively، which shows the conception and rhythm correspondingly. Ultimately، the related subject has been analyzed and for better description، the conclusion illustrated as figures and tables which expresses the application of rhythm in the poem.

In this paper an attempt has been well - studied and Garshaspnameh epic in terms of aesthetics and structure of language and thought in terms of an analytical method to assess the quality of narrative and illustration. Narrative written and illustrated by the Garshaspnameh، concise، high Vmkrr but the image is as Ferdowsi، is targeted and relevant. The narrative is written in the style of argumentation and analogy. Unlike the epic tales of heroic language is quoted، the narrator of the story is written in the language. Repeat Garshaspnameh little but often repetitive themes. Adventures in SD lyrical narrative and lyrical descriptions of the most successful acts of combat and combat his descriptions are vivid lyrical themes and concepts. Unlike the one-dimensional description of Ferdowsi written description is multi-dimensional and Mynyyatvry. Garshaspnameh epic to epic self -centered person، can be considered as the epic Shahnameh، the national epic of Iran and centered. Unlike Garshasb Zhak which serves Rustam Iran''s enemies have never been served. SD is one of the great masters of epic storytelling and his book is one of the most valuable works of Iranian epic، but Garshaspnameh literary value and the power of narrative and the art of creating images with an epic، not equality.

Hafez is one of the greatest poets in Persian literature that his intellectuals content of the precise nature of the creative and innovative mind and punctilious have proved him among the poets of Persian literature، so he is distinctive and outstanding. Since Ghazal is his main form in poem and its concepts and innovative ideas، is similar with Baroque school in Europe. Moreover، features as imitation،repeation، addressing issues of metaphysics، exploring the mysteries of the universe، dynamic and moving images، death، reflection، scene، take a chance، deconstruction، ambiguity، opacity entrepreneurship، freedom of belief، the paradox and struggle with the social ravages are of the elements of the Baroque school of poetry have reflected in poem’s Hafez. The aim of this article is exam of some features of Baroque school in poem’s Hafez. This question is important because basically stylistics believe that there are links between Indian-Esfahani poets and Baroque school، but can we find signs of relations between this school and Hafez? The subject of this article is to answer this question with doubt.