پژوهشنامه ادب غنایی
پیاپی 22 (بهار و تابستان 1393)

Lyric poetry takes abundant advantage of figures of speech. Among these figures are simile and metaphor which magnify the glory of the «Lover and beloved». In the two books «Khosro and Shirin» and «Leili and Majnun» by Nizami، words like moon، cedar tree، sun، butterfly، candle، etc. are used to refer to the lover and the beloved. Those verses which use the images of moon، cedar tree، flower، and fairies are more frequent. Based on a library-research methodology، the present study examines the images used for lover and beloved in «Khosro and Shirin» and «Leili and Majnun» to indicates that، regardless of the environmental or geographical factors concerning the lovers، identical terms are used as images for them. Although the images are the same، Nizami’s view of love is different in the two books. In «Khosro and Shirin» there is an earthly love which is ever-lasting and leads to self-sacrifice after the union. In «Leili and Majnun» love is heavenly and pure including absence، separation، and despair، and leads to the death of the lovers.

Pun is one of the devices of creating music in speech and it is a basic kind. Pun has various functions. Although two conditions of verbal agreement and difference in meaning has been accepted by pun، sometimes differences in definitions and examples have been seen. Foroughi Bastami is one of the most outstanding and capablepoets of the Qajar era and thirteenth century. Hedevoted part of his life to the eulogy ofthe Qajar kings especially Nasser-Al-Din Shah. He is the master of his contemporaries in composing the sonnet. Love، mysteryan dpraiseare the basic topics of Bastami''s sonnets. Hisromanticthemes are taken from Saadi andmystical ones from Hafez، and many of his lyricsare imitated from them. His poems are plain، comprehensive and free from ambiguity and complexity. This matter led to considering the pun and then to appear the ability and art of poet in this field. the applied method in this analytic-descriptive article، is based on the statistics. In the way that after the definition، The exact frequency of the different kinds of pun has been extracted and analyzed. The Results indicate that the Derived Pun with 16/8 frequency has the most frequent usage and the Mixed Pun with 0/01 has the least frequent usage in lyrics of this poet and he has used the musical power of pun to increase the music of lyrics and he also Has a specific concernon this trick.

Archaism is one of the most important tools for defamiliarisation of speech and it causes the wordto go beyond the reach of the common people and be closer to poetry. The most prominent function of Defamiliarisation is the poetic creativity that a part of it originates from the Archaism. Ahmad Shamloo who is among the innovator and effective poets of our time، has largely benefited from the Archaism and its functions for the new changes he has created in the art of poetry. He could connect the old prose and the themes of the modern world By virtue of his intelligence and ingenuity in art، his language proficiency and taking advantage of the great works such as the History of Beyhaqi، Golestan-e-Saadi and the mystical prose of fifth and sixth centuries. He could create a special place for his innovative method of poetry which has been named the Blank Verse. The aim of this study is to investigate the functions and types of Archaismin a poem of Shamloo which has led to determining his poetic language. This research has been conducted using the Archaism description in the mentioned poem based on library resources.

This study attemted to analyze Khaghani''s (famous poet of the sixth century) self-eulogies، based on psychological theory of Karen Horney. In these self-eulogies، Khaghani is distraught and in conflict with himself. He extremely suffers from scorn and skepticism of this conflict. Khaghani in his poem collection depicts his moods such as fear، psychosis، and humiliation with new techniques by writing poems containing new contents of self-eulogy. Khaghani sees himself above when he suffers from delusions and hallucinations of hauteur caused by severe humiliation of the time. He turns to move against people among the discussed mechanisms of Horney''s theory and tries to gain power and peace by obtaining power through humiliating others and instilling a sense of his superiority، due to lack of some social privileges. When his mental strength against all pains and suffering caused by the troubles of the time and others'' humiliation has broken، he suffers from special illusion. Through his idealized self-image an appealing to the imagination، he tries to make him self utopian ideal person that all are acknowledged his skills and superiority. Not only doesn''t he try to achieve this ideal character، but also he takes away from his real character، and it is just in imagination that he achieves superior and ideal person through humiliating and blaming others.

Saghi-nameh is one of the effective literary genres in Persian literature which is said to be the developed form of Khamriat of Arabic literature that in its developmental path is presented by various moral، philosophical and critical tones by Persian poets writing Saghi-nameh. This genre of literature has some content and structure characteristics that more or less have been repeated in most of them. These characteristics include having the essential motifs of Gnostic texts، using Sufi’s diction and magian literature، the words such as butler، wine، cup، harp، minstrel … and motifs such as the conflict between love and logic and taking advantage of opportunities. Astonishment، expressing immortality and complaining people، all are viewed in various tones and colors reflecting the poems of Mullasadra، the famous scholar and philosopher in Safavi period of time. It is been believed that his poems contain most of the features of Saghi-nameh genre. In addition to the butler in most of his verses، he mentions themes and motifs of Saghi-nameh in the poems while he is stating the most precious Gnostic lessons of Hekmat-e-Motealie (high wisdom) which he himself is its creator. This research describes and clarifies MullaSadra’s mystical poems and their contents in an analytic way from the general features of Saghi-namehview. This research is seeking to answer the question whether it is possible to consider Mullasadra among the poets of Saghi-nameh in Persian literature.

Ghadahsamman، the Syrian contemporary poet and writer، is one of the impressive Arab poets، whosemost prose and verse have been translated to several languages. One of the tricks that this poet has used to develop the semantic dimension of her work and make her words poetic، is semantic defamiliarization. According to formalists، habit process is in progress in human’s comprehension of the surrounding environment. Humans getting used to surrounding environment، leadstomany creatures and phenomena be far from his precise attention and lookand his sensory comprehension stops. Defamiliarization creates a condition for thinking، pausing، and literal pleasure in reader’s mind and rebuild human’s sensory comprehension through making a gap between him and these habits،. One of the most important kinds of defamiliarization is semantic defamiliarization. Ghadahsamman has used imaginary forms and spiritual ornaments such as comparison، metaphor، symbolism، paradox، exaggeration، imagination، sense and repetition to create defamiliavization in her poems. In the present article، various forms of defamiliarization in her four translated poem collections – “Eternity، love moment”، “A lover woman in ink”، “to imprison the rainbow” and “A grief letter for jasmines” and the basic domains of these defamiliarization have been explored.

Drinking Song (Saghi-Nameh) is a kind of lyric that dates back to Anacreontic verse. Researchers disagree about the first drinking song. Verses of Nezami’s Sharafnameh and Eghbalnameh that addressthe butler (saghi) are mainly consideredas the first drinking songs. Other researchers believe that Khaju Kermani، Salman Savoji، and Hafez، are the first poets. In this genre، the poet addressing the butler wants to composea song and give him wine. The content of drinking songs، issermonsas well as moral and sometimes legalpoints. Such them esare frequently observedin drinking songs. One of the drinking songs that can beconsidered different in themeand content from previous examples is Bahar’s Drinking Song (Dithyramb). According to his poetic and social context، Bahar composed a drinking song that shows his creativity by analyzing its features and structures. In this paper، along with attending to the process of drinking song، we analyze different systems of Bahar’s drinking song and consider its elements. We also demonstrate that Bahar، using a social context، has applied an entirely lyric form for social aims. It can be said that various devices contain favorable coherence in presenting this issue.

The effect of time and place on the poet''s feelings and thoughts and his own talent and creativity in demonstrating the artistic images in the Ignorant period poetry، speciallyMoalaghat، is significant. Moalaghat is the symbol of Ignorant period poetry. Although these poems are different in the content and the main aim، their structure and specially their amorous preface have given a unique nature and difference to them. The research method is library based and explains the effect of natural environment on the Ignorant poet''s thoughtand his view by analyzing the theme of some verses of each of Moalaghat. Among the factors that created the difference، dynamism and the power of the Ignorant، amorous poem are: noticing the natural time and environment، structural and rhetorical combination، stating or eliminating the adverbs and poet''s scrutiny in artistically presenting the images with the purpose of stimulating the emotions.

Before the Constitutional Era، the beloved of Persian poem was of tenmanifested with a general، ambiguous appearance and a kind of holiness and without an objective identity. Butsince this Era، the nature of the beloved changed and formed an objective face by the appearance of new discussions such asthe consideration of the woman''s place in the society and family. That idealistic and celestial beloved turned into an agrarian one with earthen and material displays. Beside various kinds of beloved which were manifested in poem’s heritage in the past century، regarding the female’s role and the definition of the system of the family، we face with another kind of the beloved that is the real spouse of the poet. The one that did not appear in the classic amorous poems، for the sake of cultural and moral taboos and other social factors، such as the gaps between love and matrimony. In this article، it has been attempted to explore the dimensions and horizons of these adorations in contemporary poets writings (whether female and male) using the analytic-descriptive method. It has been concluded that in today''s poetry، the spouse has gained a considerable place as the beloved in the shadow ofthe evolution of mental and cultural structures and the evolution of aesthetics in today’s art.

Before the Constitutional Era، the beloved of Persian poem was of tenmanifested with a general، ambiguous appearance and a kind of holiness and without an objective identity. Butsince this Era، the nature of the beloved changed and formed an objective face by the appearance of new discussions such asthe consideration of the woman''s place in the society and family. That idealistic and celestial beloved turned into an agrarian one with earthen and material displays. Beside various kinds of beloved which were manifested in poem’s heritage in the past century، regarding the female’s role and the definition of the system of the family، we face with another kind of the beloved that is the real spouse of the poet. The one that did not appear in the classic amorous poems، for the sake of cultural and moral taboos and other social factors، such as the gaps between love and matrimony. In this article، it has been attempted to explore the dimensions and horizons of these adorations in contemporary poets writings (whether female and male) using the analytic-descriptive method. It has been concluded that in today''s poetry، the spouse has gained a considerable place as the beloved in the shadow ofthe evolution of mental and cultural structures and the evolution of aesthetics in today’s art.

The term Nostalgia has entered literature from Psychology. The present paperaims to argue this psychological phenomenon in the poems of two Iranian and Iraqi contemporary poets: Foroogh Farrokhzad and Nazok-Al Malaeke، using descriptive-analytic method. The study shows that the chaotic socio-politicals ituation in the poets’ time، disregarding women، hierarchical society، loss of loved ones، etc. have caused these poe tstore ferto their unconscious andrecall those days with tragic vision and a sigh. The most important achievement of this research is that nostalgicmotifs، such as thepolitical and social situations، death commemoration، love remembrances، sorrow of defeat، recall of childhood memories، the memory of birthplace، Utopia، and the memory of love donescan be found in the poems of both poets. There are differences، however، between the thoughts and words of the two poets. For example، Foroogh uses erotic terms in her nostalgic yearning for love while Nazok-Al Malaeke has never used such terms.

Hossein Monzavi، an Iranian contemporary poet، offers both classical contents and new thoughts through the format of sonnet، using a new language and images and also descriptions. He is، therefore، considered as an innovative contemporary sonnet composer. Regret has a significant appearance in the form and content of Monzavi''s poems. The goal of the study is، to examine different manifestations of regret in mentioned poet’s sonnet and also to analyze its motives، reasons and results. Monzavi''s regrets can be classified into two groups including social and personal regrets. The most significant motives which have caused regret to come into existence in his poems are separation from his beloved، grief over his brother''s death، complaint of fate and from people who has hurt him in different ways، the passing of youth، and sociopolitical factors. Regarding the form، his most sensible techniques in addition to using terms which carry regretful notions include using musical techniques، particularly inner and outer music and also image creation in the form of similes، allusions and symbols.