فصلنامه شعر پژوهی (بوستان ادب)
سال ششم شماره 3 (پیاپی 21، پاییز 1393)

In lyrics، «Mashuq» assumes various names of which the chief are: «Mashuq» (beloved)، «Yar» (companion)، «Dust» (friend)، «Janan» (dear) and «Delbar» (sweetheart). Additionally، the term «Mashuq» is addressed or described using similes، metaphors and adjectives، a point that seems a rewarding study given its content، style and semantic sphere. This article addresses the trajectory of names associated with «Mashuq» in sonnet form so as to specify these names in terms of structure and to determine if there is any influence of theme on these names. At first glance، «Mashuq»، «yar»، «dust»، «janan» and «shahed» seem to have equal meanings and functions، but this research will clarify that although they are often used interchangeably، they have peculiar semantic applications. In this study، a general discussion concerns the terms for Mashuq in works of famous sonneteers and then a semantic investigation limits this endeavor to works of Anvari، Sanai، Attar of Nishapur، RumiSadi، and Hafez.

Indian style has obvious differences in comparison with previous styles (i. e. Iraqi and Khorasani)، and most experts and critics regard Indian style as a break in literary development whereby Farsi tradition experienced a distinct and incomparable period. The authors of the present article believe that incommensurability and distinction of Indian style can be clarified through the theory of Thomas Kuhn، eminent philosopher of science، and its nature and its causes can be accounted for. Thus، Indian style cannot be taken as a sequel of Iraqi style; rather، it has its own paradigm and its practitioners obey a certain set of shared rules and principles different from previous periods. Accordingly، themes، methods and observations of these poets differ from their predecessors، making this style incommensurable with other styles.

The human is a social creature and occupation is the common element and necessary ingredient of human life. On the other hand، professions are one of the easiest and most accessible themes used by poet for artistic creations. Khaghani drew upon nearly 240 professions in his poetry، signifying a close familiarity with most of professions of his time. Khaghani has used different techniques in making images based on occupations. To reconstruct and clarify these techniques، 8 simple and popular professions have been comprehensively and accurately investigated from semantic، artistic and social perspectives in this paper. The results indicate that in addition to common Farsi literary tropes i. e. metaphor، simile، allusion، cluster images، paroemia and equivalent lines، Khaghani adopts special techniques that include poetic associations، de-normalization، symbolization، contrast and harmony and the similarity between occupations، Utilizing mythic occupations، new compounds or portmanteau، using professional proverbs، usage of professional norms and artistic use of private professions. From social and psychological point of view، it can be said that the poet''s view of professions is shaped by public perceptions but in some cases، poet has his own viewpoint based on personal experience.

Poetics is based on principles، elements، and artistic approaches that poets use. Its elements vary according to different historical and literary periods and to social circumstances، and poets’ personalities and their different patterns of thought and art. Given the courtly nature of Anvari’s time and his materialistic mindset، the poet tends to show only his encomiastic and epigrammatic sides. Accordingly، he founds his early poetical principles on two axes: “poetic beggary” and an exclusive regard for genre of “eulogy” especially of the immoral and irrational adulation type. But with the turmoil made by invasion of Oghuz Turks that led to abolition of patronage of Seljuki rulers، the first changes appeared in Anvari''s character and poetics، namely، his regret for his former poetics along with condemnation of eulogy and eulogistic writing. Unveiling his newfound character as preacher and critic in this period، Anvari constructs his new poetics upon avoiding poetic beggary، insistence on reason (as opposed to greed)، emphasizing the age of efficacy in poets، the necessity of playing and creating roles by poets in society، and abstaining from intellectual servility.

Today، reading old writings from new perspectives is one of the fundamental issues in literary studies. Mythical or archetypal criticism، which is integrated of psychology and anthropology، is an important school of criticism. This kind of approach is based on Carl Gustav Jung’s theories; after studying myths from different nations، Jung noted their origins and proclaimed that ‘collective unconscious’ – comprised of archetypes – is the chief origin of all human myths. According to Jung، “hero” must first fight problems، win over the “shadow” and free himself from its yoke and then achieve individualization. In this research، character of Garshasp، as narrated by Asadi، was studied according to descriptive- analytical method. in addition to introducing it as an epic character، this study offers a look into the mythical Garshasp so that the similaritie and differences between these two as well as relevant causes would be clarified. Pahlavi myths and literature recount that the final destruction of Zahhāk is brought about by Garshasp who thus completes «battle-hero-shadow» trio. But the Epic of Garshasp depicts Zahhāk as submissive and dominated by Garshasp and his ultimate battle، which is in accordance with the mythical account، never happens. Due to this and also to the dominance of «shadow» over «hero»، the «process of individuation» never occurs for hero.

Multiple - Poem «yad ar ze sham'' e morde yad ar»، composed by Dehkhoda، is one of Persian modern poems which has caught attention of critics of contemporary literature. This article seeks to use Transtextuality (one of new approaches in literature critics) to criticize and interpret the poem. The questions raised in this article include: What makes the pearl-stringed poem a modern work? How are the connections between Dehkhoda''s poem and old and contemporary poetic traditions are reflected? How have Dehkhoda''s notes born upon criticism and reading of the poem? Was Akram Rajai Zadeh’s poetry the only inspiration for Dehkhoda''s or was he under the impression of others? In order to find the answers، Dehkhoda’s pearl-stringed poem was studied in five distinct perspectives based on descriptive-analytical methods and Transtextuality. Result of research shows that Dehkhoda''s poem is intertextual drawing from older poets and had effects on contemporary poets and those who succeeded him and thus، the search for a single inspiration is irrelevant. The chief inspiration for Dehkhoda''s pearl-stringed poem is Persian classics. He represented his modern and progressive mind in form of a pearl-stringed poem، categorized as elegy.

Bijan، Giw''s son and Rostsm''s grandson، is one of the famous warriors of Iran. In addition to Shahnameh: the Epic of the Persian Kings (written by Ferdowsi)، many other epic poems refer to Bijan and his demeanor. Apparently، he is a fearless and courageous figure in different Iranian epic narratives. His significance in Iranian epics is so great that he''s named «Dragonkiller» and his braveness and audacity made him remembered as a ‘serpent killer’ in these epics. However، no single epics about Bijan''s championship has been known or survived so far. We only have Epic of Bijan which some scholars have refuted as derivative from ‘Bijan and Manijeh’ story and thus without creativity. This article has two parts. The first recounts Bijan’s chief adventures in epic narratives and investigates his personality and characteristics as these works tell us. The second part is about some parts added later and then we talk about the narrator of Bijan Nameh and the era that it was written in.

Due to their rich cultural-literary backgrounds and to avoid redundancy and boredom and also to show their virtues، poets and mystics draw on different themes to express their mind and consciousness. One of these themes، which can cautiously be said to have its roots in the ancient Iranian culture، is the use of chess terms. Frequent usage and adaptation of chess themes from 6th to 9th centuries – stylistically concurrent with the Azerbaijani and Iraqi styles – furnished the opportunity for presenting the intricacies and delicacies of this game. The present paper aimed at a careful study of the works of the great poets and mystics to analyze correct rules and ways of playing this game together with its complexities and delicacies. The results show that the Azerbaijani style entails more attention to details and intricacies of the game than Iraqi does، probably unparalleled in the history of literature. In addition، Rumi and Khaghani outdo the rest of the poets and mystics in this respect.