فصلنامه شعر پژوهی (بوستان ادب)
سال هفتم شماره 2 (پیاپی 24، تابستان 1394)

Sawgandnāmah (the book of oaths) is a special genre in the history of Persian literature. In this genre, of which many examples have been recorded in collections, Tazkarahs and poets’ Divans, the poet, based on certain known principles, tries to exonerate himself of charges by using special structures and panegyric odes, and he swears successively in order that the praised person believes his words. In previous studies about this genre, researchers have considered a poem as an instance of Sawgandnāmah only if it embodies one single oath, whereas using successive oaths in the form of ode is the most important feature of this genre and if it is in other poetic forms like sonnet and Maşnavī, it cannot be considered as Sawgandnāmah precisely. In some collections and Divans, successive oaths in forms other than ode have been called Qasamnāmah or Qasamīyah. In this article, all kinds of Sawgandnāmah that we are aware of have been collected in chronological order and analyzed with regard to their form, subject matter, theme, structure, tone, addressee and intertextual relations.

Since antiquity, literary genres have been classified by Greeks into four kinds: epic, lyric, dramatic and didactic literature. It took a long time before new ideas were put forward by Russian formalists in the 20th century: they believed that epics belonged to infantile societies and lyrics came into fashion in adolescent societies. Now, the question is whether or not we can trace any relationships between the social class of poets and their preference for certain literary genres. This research is an effort to find an answer for this question by borrowing from Goldman who relies upon "Genetic structuralism" in his analyses. Literary works are structured by the poet's social class. Each social class will be analyzed in terms of the ideology, economic status, and historical function. Īraj Mīrzā is one of the greatest poets of the Constitutional Era. Compared to his contemporaries, he had a particular social standing due to his aristocratic background and therefore his poems were different from those of other poets who frequented literary coteries at the time. In this research, social class, its definitions and components have been examined in general and Īraj Mīrzā has been contextualized in particular to lay bare the influence of social factors upon his poetic landscape.

Eighth century, two figures of classical Persian poetry, HafezShirazi and ObaidZakani emerged. Lifein these twocases, the darkest and most disturbed periods ofthe historyof the IRAN. Their living environment as well asanxiety and seizures and a decline in all areas of social, political, cultural, moral and evenreligious. These conditions have a great effect on the thoughts of Hafiz, and Obaid traces it to reflect and there has been. According to the two, in terms of time and space homogeneous, and have lived in the area, a mong them there are many ideological homogeneity. There fore, this study investigated the issue of protecting intellectual assimilation and Obaid has been formulated. The assimilation and include such items as: humor, honor, praised the joint, like Khayyam ideas to take the opportunity to livea happy and drinking wine. This procedure is the use of library resources. That first Hafez and Obaid books study and review their thoughts and intellectual assimilation that is taking notes. In the end, assimilation classified, the results were compiled.

khosrow and Shirin are historical characters but just a vague trace of Farhad is remained in some texts and his historical position is slippery and doubtful. On the other hand, he has an idealistic character in Nezami story which is not in line with historical narrations that are close to the Nezami age. By scrutinizing work of Khosrow and Shirin, we can find that Nezami catharsis Shirin deliberately and present a model of idealistic beloved in this way. This popular theme shows us that, in contrast with historical perception of society, Farhad plays role of only a love victim in this poem. Farhad is gimcrack of Shirin in this story and his role is a reciprocal reaction from Shirin against uncontrolled fancy of Khosrow. Farhad's love which is unilateral and pathological is described with great enthusiasm in this poem and since this kind of love has been consistent with features of Iranian society, it is accepted by common people and Farhad becomes model of lover and real inamorato. Here it is attempted to provide a new reading of this poem on the basis of conspiracy theory and demonstrate that how Farhad plays role of a predetermined victim. At last, this article tries to de-stereotype the picture of idealistic lover in Iranian culture and literature- which this poem has main role in constructing and forming it.

One of the subject matter in beauty theosophy is the place of beloved particularity and describe of her various condition. both of saadi and ahmad ghazali that are phenomena in beauty theosophy. Have common apperception in beloved describe. despite this common apperception of beloved states, their diction are different.Author in this essay, considered common apperception of beloved states about kereshme y maashoghi and kereshme y hosn that are too precious leanings of beauty cognition. also specify the difference between their lookouts.Citable that, despite this common apperception of beloved states, wording in this two is different. Ghazali discussed abstract and saadi said appreciable.

Critical Discourse Analysis is an interdisciplinary area of language study which roots in Critical Linguistics.This approach believes that all texts are ideologically loaded. It aims to reveal the hidden power relations, dominance, social inequality and the abuse of power. Most of the critical discourse analysts focus on linguistic realization in analyzing texts while Van Leeuwen introduces a socio-semantic network for representing social actors.This research aims to analyze, based on Van Leeuwen approach, Bahar’s political poems to show how Bahar represented social actors in Mashroote era. Did he represent them explicitly or implicitly? To answer the research question, first of all the discursive political poems were selected, then the socio-semantic categories were counted to define the number of occurrences. The results show that Bahar represented the social actors by applying the explicit categories such as Nomination, Individualization, and Honorification. Appraisement, Collectivization, and Activation are other categories which are applied a lot. Bahar’s ideologies and beliefs organized and controlled the representation of social actors.

Studying beauty was at first scientific or experimental cognition but it was then changed into a theoretical knowledge; eventually, in the eighteenth century, it became an issue in philosophy. The science of beauty includes the science of aesthetic and its belongings provide norms for the interests in community through analyzing the emotional value of society. In the range of the science of beauty, aesthetics is the outstanding value and concepts such as beauty, grace, majesty, nobility, and holiness are all its synonyms. In this paper, the works of Sa’di have been studied based on the philosophical aesthetics; it has been found that he, in line with other philosophers, has studied the material and spiritual influence of beauty. In his works, Sa’di, in line with Plato and Aristotle, believes in the goodness and beauty and believes beauty to be a tool to modify human; so, in his works, he credits to ethic and moral virtues and offers intellectual guidelines for human happiness. He knows "beauty" to be a sign of the beauty of God and says that God is beautiful and, because the world is beautiful, it is the extension of the right qualities and appearance of names and attributes of God; therefore, the world is beautiful which, this idea, derives from his mystical views to the elements of the universe. In line with Aristotle, Sa’di believes beauty to be the fitness of components. In his view, good composition, moderation, gentleness, good stature, and harmony are the reasons of beauty. He sometimes believes beauty to be subjective, sometimes objective, and sometimes it is a combination of the two. Sa’di, in his work, focuses on the beauty of the sublime too; he is sometimes surprised by the size of things, and sometimes astonished by their being horrible and mysterious.

Hossein Monzavi (1325-1383) is one of the greatest contemporary lyricists who pay many attentions to different kind of allusion and allusion is one of the most important characteristics of style of his poems. Allusion is one literary techniques which Monzavi use to raise poem's beauty, brevity and effect. Monzavi has been engaged to using new allusion and recreating traditional allusions for the escape means of repeating, imitation and for extending allusion circle. Prophets tales have always been used by persian poets in order to create beautifull and unique themes and images. Prophets anecdotes are from expanded subjects that Monzavi considered to them. The base of these allusions sometimes is Old Testament (Torah, Gospel).The most refer to Old Testament (Torah, Gospel) in monsavi's poems related to tales of forbidden tree and last dinner. In this article, attempts are made to refer to these cases and study them.