پژوهشنامه ادب غنایی
پیاپی 21 (پاییز و زمستان 1392)

Among the various definition and discussion about the aesthetic،principles can be derived and deduced، and a work of art can be evaluated. They are: unity، harmony، balance، order، determined level، and perfection. In the present essay، we provide a practical way of aesthetic criticism on a poem by Ghaisar Aminpournamed «Throat of the Passion» as one of the best examples of modern sonnets. This study proves that the poet has applied all aesthetic elements in his literary creativity. For the principle of unity، the emotional content has created a single thought (martyr and martyrdom) which has united the other elements. Regarding the principle of harmony، through considering the vertical and horizontal axes of the poetry، we notice that the poet، focusing on the emotion element، has observed all of the proportions in the images، language، and rhythm and form. In order to observe the balance، the poet has put all the elements in their places so that the displacement of each of the elements would dismantle the balance. For observing the order، he begins with describing the martyr and terminates to the passion of martyrdom. On the horizontal axis، all of the elements have retained the logic arrangement. The determined level is observed as the next principle as well، so all of the poetic elements are moderate. On the principle of perfection، the poet has been able to use sublime elements to create the beauty of the poem. Studying the elements of the sonnet by means of aesthetic principles and vice versa has one conclusion، showing the perfection and beauty of the poem.

Dahnameh and Sinameh are a literary type and a subset of romantic fiction poems wherethe poet composes ten or thirty romantic letters with a special structure in a dialogue between the lover and the beloved. The approximate starting date of Dahnameh and Sinameh can be traced back to the 5th century AH، but it mainly spread during the 8th century AH. Since no comprehensive work has already been done in this field، we have attempted، in the present paper،to introduce this literary type along with ananalysis of its content and structure. Then،about 30 Dahnameh and Sinameh،based on chronological order، are introduced.

Sometimes، we confront paradoxes in Sofi texts; that is، these texts bear some experiences and moral messages، on the one hand، and blame them pretentiously، on the other hand. The origin of this paradox is sought in khalandariyye themes not negating religion، morality، and so on. This study intends to find these kinds of themes in lyric verses of Faridoddin Attar Neyshaburi، the prominent gnostic of the 7th century AH. The present study tries to sort these lyric verses، on the basis of the usage of kalandariyyan themes and thoughts and investigate the appearance and customs of the Kalandars in Attar’s lyrics. Kalandariyye themes include: showing rebellion and disobedience، attending defamed places، drinking wine، neglecting the name and shame، pretending to do non-Islamic rituals، mocking at the Sofis and the devouts، neglecting the religion، rejecting the symbols of the religion and Sofism and staying beyond the faith and infidelity. In his lyric verses، Attar has little reference to Kalandars’ superficial customs and rituals، but he focuses on the basis of Kalandars’ thoughts، such as abandoning the habitual religion. In Attar’s lyrics، Kalandar is an ideal personality who has traversed the highest levels of conduct.

There is a theory about the form of lyrical poetry according to which the composition of love odes has been the origin and basis of this form in later centuries; on the other hand، it is well known already that the composition of love odes is، in real fact، an introduction to lyrical poems in which the virtues of the “beloved”، the themes of “love” and being in love، or the description of natural landscapes and cycles، such as spring، autumn، etc.، appear. By using the analysis- description method، it has been attempted، in this essay، to consider the theme of love، which possesses the two heroes- the “lover” and the “beloved” - in Rudaki''s lyrical or other types of poems; moreover، love in the view of Rudaki، who is a pioneer in the Persian poetry، is discussed، and it is argued whether his view of love is physical or spiritual، positive or negative، etc; at the same time، the epithets given to the “beloved” of his poems، and their virtues and states of love in them are explained، and Rudaki''s ability in his use of figures of speech in the description of the outward beauties of the “beloved”، and her/his status، gender – whether male or female – and being heavenly or earthly have been considered as well.

The sonnets of Sa’di have been divided into four groups: Old sonnets، Tayyebaat، Badaaye’ and Khavatym. It seems that the Old sonnets have been written in his youth، Tayebaat and Badaaye’ when he was middle aged، whileKhavatym belong to his old days. Surely، the essence of Sa’di''s poetry is love، earthy love in his Old sonnets and mystical love in Khavatym though in someKhavatym، ethics and piousness aredominant. This dichotomy in Sad’i''s sonnets has attracted the attention of many researchers، and our intention in this essay is to research the cause of this dichotomy. Itseems that one of the most important causes of this evolution is that sa’di has practically passed the earthy love to mystical love; therefore، in his old days، he was not regretful about that. In the present paper، mentioningthe views of some researchers about Sa’di''s lyrics، we have discussed the views regarding the differences of Khavatim and the Old sonnets. Then، to prove our claim، we have brought references and examples from the modern Psychology

Iran`s contemporary literature represents deep changes and innovations in the areas of word and meaning. These changes can sometimes be attributed to literature scholars or originated from direct and indirect adoptions from the world of literature. SiminBehbahani represents those poets who distanced from the traditional attitude and followed a reformist approach، with a look on the European literature. In the present descriptive-analytic study، romanticism has been surveyed in SiminBehbahani’s four anthologies named، Ja-ye Pa (Footprint)، Chelcheragh (Chandelier)، Marmar (Marbel)، and Rastakhiz (Resurrection). Researchers have categorized the research findingsinto individualism (Romanticism، depression and grief)، nostalgia (remembering the beloved، childhood، civilization criticism، regretting for the attrition of the ideals)، myths،simplicity and ignoring traditional disciplines، blaming capitalism، sympathy with nature، intuitive religiousness، eroticism، social romanticism (sympathy with the poor and their grief،feminism)، and revolutionary passion (fighting with despotism، liberty، and idealism). The results show that although most romanticism elements are found in SiminBehbahani’spoetry، some elements have changed، while some others have been added. It can be said that SiminBehbahani’s romanticism is an Iranian version of romanticism.

The period of Soltan Mahmud and MasoudGhaznavi (387-432 AH) is one of the most important epochs with regard to the expansion of the Persian language and literature. The poets of this period include some like Farrokhi، Onsori، Asjodi and Manuchehri who lived in the first half of the 5th century A. H. and had divans (collections of poems) and others like Ayyughi، Abu-Saeed and some others who did not have divans. Totally 20600 lines of poems have remained from these poets. One of the basic devices of these poets in order to improve the form and content of their poetry is the mention of religious personalities. In the present article، by using the analytical-descriptive method، these mentions of holy prophets، Imams، and the prophet''s companions are precisely researched and analyzed. These data are categorized by their types and frequency of usage in three parts: first، the mentioned religious personalities are presented briefly، then، their frequency in different types of poetry is studied، and finally، the impact of the poets’ attention to the words of the rhymes with respect to the amount of the usage of these figures’ names and titles is determined.

There have been a lot of studies done on Alfred Lord Tennyson، but the influence of Hafiz، though small، on Tennyson’s work، the poet laureate of England should go unnoticed. A poet like Tennyson influenced by Orientalist discourse، became interested in Hafiz and because of his interest started to learn Hafiz. In Tennyson’s work ancient Iran with all its beauty is present، thus the sources which show Tennyson made use of Hafiz should not be overlooked since these sources can prove the claim of Tennyson’s understanding with Hafiz in this study. Tennyson used many of Hafiz’s themes and motifs in his poetry like the theme of the nightingale and rose; the breeze of the morning; facial features; using nightingale as male and using rose as female; the theme of veil; the theme of garden; the theme of musk; faithfulnessof the lover to beloved even when the lover isdead. The reason behind Tennyson’s Familiarity with Hafiz was the impact of orientalism on poets and writers of nineteenth century. The research methodology of this article is based on French School of Comparative Literature which considers influence and comparison studies and the focus in this study is on the demonstration of the influence of Hafiz on this English poet Laureate.

Hakim Nezami As a storyteller poet in the Persian literature is the master of an approach in this domain which is the reason why he is the master of this approach up to the present time. Since story is one of the most important literary types of today’s modern literature of the world nations، scrutiny and criticism of his works is of those rare parts of the classic Persian literature that many of the literati have paid attention to. Most of the literati prefer his Khosrow and Shirin to his other stories. But what is the reason for this preference? As conflict is one of the main elements of story in its modern concept، we scrutinize ten conflicts in this research، each one with their certain role in improving the story، according to their importance. Mental conflicts carry the meaning and thinking load of the story، possessing more of the content of the work. The main role of these conflicts in stories is to build a connection among the story elements and to keep the reasonable course of the events in terms of its reasonability bond.

With regard to the commonalities present in the Persian divans (collections of poems) ofMolla Mohammad Fozuli and Hafiz Shirazi، we investigate some of the poetical themes of these two poets، themes such as “Rendaneh”، “Moghaneh” and “Qalandaraneh”. Similarities between these themes sometimes result in similarities in words and interpretations. Prior to examining these two poets’ divans، we introduce ‘Malamatiyah” and ‘Qalandariyah’as well as thesocial and politicalconditions of both poets’ period in order to provide further familiarity with the issue of the discussion. In the end، after describing the themes: “Rendaneh”، “Moghaneh” and “Qalandaraneh” in the divansof Hafiz and Fozuli، we analyse and compare these poems and themes.

No doubt، among the types of the Persian poetry، the most prevalent and rhythmic one is the lyric poem، and the long romantic poems are of a special position. One of the long lyric poems is “Ra’na and Ziba” by Molla Mahdi Golpayegani، with the pen-name of Sho’le، the talented Shiite poet of the 12th century A. H. His works which have remained contain “Chah-e Vesal” (Leili and Majnoun)، “Yousef and Zoleykha”، “King of Egypt and Son of a Blacksmith” and a few Mathnavis and lyric poems. Unfortunately، the poet''s biography and works have been mixed up with another composer called Seyed Mohammad Tabib، with the pen-name of Sho’le and known as Sho’le-ye Esfahani، the wise physician and poet of the 12th century A. H. The present paper tries، with the help of the documentary method، to study and compare the copies of the manuscripts of ‘Ra’na and Ziba” and provide an analysis of the story as well as introduce the poet and his other works which have remained.