فصلنامه زیبایی شناسی ادبی
سال چهارم شماره 17 (پاییز 1392)

Rhyme in the Persian poems to give music to a poem has demanded the attention of the men of letters for a long time. Most of the poems by Sa’di, Mowlana, and Hafez are rhymed beautifully. Through the study of rhyming of the poems by the poets w can understand which syntactic element are focused on for rhyming through repetition. Shahriar has used a noun, a letter, a pronoun, averb or an adjective for rhyming. This artical classifies shahriar’s odes rhaymes in a special toble and studies their syntactic functions in every stitch.

Shams Langroody is the contemporary researcher, writer and Persian speaking Poet that in his poetry age, in addition to investigation about Indian style, has compiled also the book of “an analytical history of new poetry”. Shams langroody with take advantage of these investigations, has altered his poem in a large quantity. He has composed his poem under influence of Indian style, postmodernism Haiku and Carikalematur that we can name his poem “imagine poetry” Shams, in the second half of his poetry age, has gain access to stylistic independence and lingual distinction, that in this language the spoor of all four style if evident in his poem, specially in his new poems.The aim of this essay is showing the presence of this four style: Indian, Imagism Postmodern, Haiku, and Carikalematur by each other side and consequently in langroody’s poem.

The skill and masterhoodness of Sahriar in Persian odes harebeen studies from different perspectives. Ranging from music and meter to the rhetorical constructions, etc, shahriar’s takhallos is another indication of his artifacts. In our rhetorics and literary Sciences, the value of takhallos is left unknown. It doesn’t mean that poets aren’t aware of the nature of the value of takhallo? But there are some guidelines indicating some standards to use takhallos by shahriar. To discover these stradars not only disclose the value and nature of takallos but also helps to know the stulistics of the poet. It seems that the best takhollos is ot three charatristics: ambiguity, to be hidden and implication creating.

According to some linguistic theories, there is a natural relation among phones (phonemes), the concept and the meaning. The objective of this study is to clarify the role and the concept of phones in literature and poetry. It is believed that phones (phoneme) along with other elements like; words, lines and the music of poetry can be effective in conveying the meaning and the emotion of a poet. To do so, Hafiz`s lyrics have been selected and studied. Among them, some couplets of having unusual repetition of phones (phonemes) are extracted and their functions have been investigated. As a result, the repetition of phones (phonemes) played five major roles in poetry: 1. the conveying of meaning, 2. the emphasis on main meaning, 3. the conveying of emotion, 4. the increasing of music and 5. Making the cohesion.

What an impressive and pleasant moment is it when we find ourselves as audience with Hafiz, Sa’di, Mowlavi, Ferdowsi, … and through their poem we observe their impression and imagery world.Using the same words which are available to all the people of a language, the great poets create beautiful and innovative scenes. For a poet, the words are the same as the paints for the artists and the stones for the sculptors.The artists and sculptors works are understandable through visual sense. But the poets’ world of imagery is hidden in between the words, and it requires a great skill to be observed by us. This article illustrates the most important tools in poem aesthetics.

This descriptive study is due to investigate the adaptation of Grice's cooperative principle in "Siavash" story of "Shahnameh" and identify which of these four principles has been violated most and which of them has been violated least. Comparative investigation of the discourse of male and female speakers and distinguishing wether the implicit meaning in this story is caused by violation of Grice's cooperative principle are other purposes of this study. To answer the questions of this study, the story is devided into 13 sections and violation of Grice's principle and the usage of implicit meaning has been investigated in each of these sections. The study reveals that: the principle of manner has been violated most and after that the violation of Grice principles is respectively related to principles of quality, quantity and relation. The most cases of violation of quality and manner was related to female speaker, the principle of relation has been violated by male speaker and both sexes have similar approach to principle of quantity. The implicit meaning is caused by violation of the principle of manner. The female speaker has used implicit meaning more in comparison with male speaker.

The present article studies the elements and functions of the poem by Farrokhzad and it’s role in foregrounding the poetical concept and its meaning on the reader. It also studies the concept of rhetorics of a literary work in today’s meaning. The scope of language functions from morphology, phonology, words, phrases and sentences to episodes in a poem is analysed and tries to depict whether these elements are unconsciously used or they are applied consciously by the poet. Then their functions in the rendering of meaning is studied.

Literature is the most refined, highest or most profoundly emotional experience and expression lies to the beautiful word. in this way, different ways of artistic expression as a means of ordinary things, or people And the simile and metaphor and style and different ways to portray same meaning Life, Love, spring and fall, day and night, death and destruction, war youth and speaks But not every frequent Rudaki is a fantasy world, full of surprises encryption literary imagination the wind caressing his hair to give to B. And express their Mjzasay, all the elements are mixed in a spicy posing Vmtnaqz.This imagery Court Rudaki has been addressed with the idea of space, time, style of his win.