فصلنامه شعر پژوهی (بوستان ادب)
سال ششم شماره 2 (پیاپی 20، تابستان 1393)

The subject of the current research is the study of some kinds of side music in Khaqani’s elegies which have been neglected up to now. Using the rhyming letters in a perfect rhyming method in his elegies and applying them along with identical rhymes، Khaqani associates his message in the reader’s mind artistically while considering congruency with the subject of the verse line and increasing the side music so that he can emphasize his aimed subject. In other words، the poet expresses his own subject in a horizontal base while emphasizing the associating of his subject using the side music which is resulted from the rhyming letters and identical rhymes repeating. The method of the research is descriptive and the data have been analyzed using the content analysis. The result shows that practiced frequency of Khaqani of making this kind of side music has resulted in creating a stylistic characteristic in his elegies which has been neglected so up to now

Death has been among the mysterious phenomena of human life since the Creation. Human has always tried to know and to make it known since he has always confronted the phenomenon and has been afraid of it. To take into consideration this common humankind concern، we will examine Attar of Nishapur’s perspective on death– the prominent mystic of sixth century AH. Applications of the word ‘death’ and its synonyms in Attaar''s works shows that he has a multilateral understanding of it and he has never limited it''s meaning; rather، according to a given context، he has utilized one of its meanings and aspects. Thus، by extending the meaning of the death، he designated two kinds of it: Natural death and voluntary death (mystical، romantic). The latter is the most outstanding perception of death in Attaar، that in the face of which not only body and soul، but also the heaven is degraded and seen as obscuring the truth. On the other hand، he understands death as universal and equal for all living beings، as overcoming and dominating humanity، as a huge obstacle and an inevitable fate that stands against the infinite desires of human beings. Therefore،، the human beings not only can''t design or work out a plan or find a solution in the face of it، but has no knowledge about this overwhelming event، hence، the only way to treat the pain is submission and silence. On the other hand، this world is a caravansary and the man is a passenger sojourning in it for a short while، and then leaves it. Then، man must stay alert and be ready for the caravan''s bell is sounded.

Despite the existence of various models of critical discourse analysis in English، the Persian language still lacks an appropriate model for critical analysis of its rich literature and poetry. Therefore، this study was an attempt to carry out a critical discourse analysis on a sample of Khayam’s quatrains drawing on Yarmohammadi’s (2012) model of analysis which itself is based upon Van Leeuwen’s (1996) model. This study applied qualitative methods of data analysis in addition to quantitative ones including computation of frequency and chi-square. Quantitative analysis of the data revealed that among discursive features of various types proposed in this model، functional contexts showed a significantly high frequency as compared with literal contexts. The results from this study indicate that the model of critical discourse analysis proposed by Yarmohammadi (2012) has proved to be useful in the study of literary texts، especially poetry. In the end، it is hoped that the results from this study could pave the way for proposing more comprehensive models of critical discourse analysis particularly for the Persian language.

Seid ali Salehi can be considered as a well-known representative of colloquial poetry who has sought new poetic potentialities in spoken discourse. His proper understanding of spoken discourse and also his genuine use of it in his poetry has led to a new form of poetry. Sticking to the characteristics of spoken discourse is one of the unique features of his poetry. Salehi has employed colloquial discourse of common people for expressing his poetic feelings so skillfully that his poetry while following its patterns has itself become a part of this discourse. Concepts like intimacy، attraction، and affection can be named as the unique features of his poetry. Salehi''s addressing tone and his overwhelming use of narrative forms such as dialogues، internal and external monologues and speech functions like complaining، suggesting، reminding and blaming has created a close intimacy with his addressees. Symbolism in Salehi''s poetry، in fact، is a reflection of combining of spoken discourse with concrete and abstract mental elements representing his thoughts and feelings. Referring to Salehi''s skilful employing of colloquial discourse، the present paper aims at exploring the representational and symbolic nature of his poetry.

Some linguistic theories propose useful possibilities for analyzing literary texts. One of these theories is Halliday and Hasan’s theory. The semantic، verbal، syntactical، or logical relationship of a text sentences is called coherency in this theory. From this point of view coherency in official language have some elements that include: grammatical، lexical، connective، and each of these elements includes some other minor elements. The aim of the present article is to investigate each of these coherency elements in Fakhrodin’s Veis-o-Ramin and in the end the results show that among the different types of coherency the lexical coherency especially repetition and contradiction، and connective coherency specially plus counection have the most impact on coherency and unity of Veis-o-Ramin’s verses. On the other hand، other coherency elements in Fakhrodin’s speech are significant which alongside short length of sentences of Veis-o-Ramin can be considered as simplicity and understandability reasons of Fakhrodin’s poem. The method of study is descriptive and the results are investigated by analyzing the verses in library and document searching method and each of coherency elements are investigated by mentioning sample verse and the repetition frequency.

The cultural and literary relation ship between Iran and India has been a firm and undeniable one and though with ups and downs، it has continued through the time. This connection reached it،s zenith at safavid and Gourakanian،s age and the poetry and literatue of this age is a mirror reflecting it completely. saeb،s poetry that is the summit of the poem of this age has portraited artically the mutual cultural and literary relation ship between these two territories، so that the mixture of the culture and literature of Iran and india is one of the obvious speciality of it. Parody of indian persian-composer poets،using india،s literary traditions،exploiting literary language of India،s persian-composer poets،being influenced by love poems of India،s literature and the reflection of indian،s culture،believes، and ceremonies are all of obvious manifestation of cultural and literary connection between Iran and India in saeb،s poetry and apprehension of his poem is not easy without a good knowledge of the above mentioed points. Through investigating sa،eb،s divan and drawing out the verses connected with the topic and analyzing the extracted verses and classifing them and exploiting the researches in this domain، I have tried in this paper to introduce some displays of India،s culture and literature in saeb،s poem and thus to open a way to his verse،s mysterious world.

Edition of ancient manuscript is the subject of attention of literates who want to prepare a correct text which is similar to author''s transcript.Ghazaliyat-E Shams-E Tabrizi by Jalal al Din Rumi is one of controversial text in terms of edition.This prodigious text has a high volume and its manuscripts are indefinite. So until now we don’t have a quite reliable edited text of it. In 1336- 1344 Ghazaliyat-E Shams was edited critically by the reverend Badi al-zaman Foruzanfar who is Rumi scholar.His edition was debated many times by several researchers.In this article the authors try to reveal logically the necessity of re-edition of Ghazaliyat-E Shams and viewpoints of researchers are mentioned under these titles:1- Preface and background of Ghazaliyat-E Shams edition.2-Professor Foruzanfar''s edition and criticize it.3-DrTofigh Sobhani''s edition and criticize it.4- Some points about Professor Froozanfar’s edition and Dr. Tofigh Sobhanie’s one.