The subject of the current research is a foray into a kind of lateral music in Khaqani’s odes, a feature neglected so far. Using the rhyming letters and perfect rhymes in his odes and applying them along with rhymes, Khaqani conveys his message to the reader artistically while maintaining decorum with the subject of the verse line and increasing the lateral music to emphasize his point. In other words, the poet expresses the subject in the horizontal plane while stressing his subject by incorporating lateral music achieved from the repeating rhyming letters and identical rhyme patterns. The research method is descriptive and the analysis is content analysis. The result shows that frequency of lateral music in Khaqani has led to a stylistics characteristic of his odes, a feature neglected up until now. Key Words: Khaqani, Lateral Music, Perfect Rhyme, Rhyming Letters, Rhyme

This study discusses the effect of aesthetics principles on factors of cohesion in poetry. Halliday and Hassan’s model of textual cohesion understands reference, ellipsis, substitution, lexical cohesion and conjunction as devices building cohesion and causing message perception from texts. This study seeks answers to questions that follow: what factors can make cohesion and perception of message possible in poetry and literary use of language? And how message perception is possible in the poems apparently lacking in cohesion?  We also discuss what aesthetics principles affect the cohesion in poetry. In order to answer the above questions, Akhavan Sales’s “Katibe” and Sohrab Sepehri’s “Khabi Dar Hayahou” are studied in the light of the factors of cohesion. The strong usage of cohesive factors in “Katibe” and lack or loss of them in “Khabi Dar Hayahou” are shown with the result that Akhavan’s poem is consistent with classic aesthetics principles which know art as coordination, proportion, and temperance, and Sales has reached a strong cohesion by respecting these approach it whereas Sepehri’s “Khabi Dar Hayahou” and poems like that in the collections “Zendegi e Khabha” and “Avare Aftab” reveal principles of modern aesthetics and features surrealistic art. Hence it apparently is an amalgam of paradoxes, ruptures, dispersal and empty spaces but it finally achieves some kind of unity and through poet’s intellect and the deep philosophy which underlies the poem. In this article we have indicated that in addition to what Haliday and Hassan counted as the factors of textual cohesion in poetry and literature use of language, the narration and musical and visual cohesion have special roles. The purpose of this research is to clarify the way classic aesthetics, modern aesthetics and surrealistic art affect cohesive factors in poetry. Key words: Poetry, Aesthetics Principles, Cohesion, Katibe, Khabi Dar Hayahou

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. Key Words: Death, Attar of Nishapur, Mystic, Transience, World, Life, Hereafter.

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 is an attempt to carry out a critical discourse analysis of Khayam’s according to Yarmohammadi’s (2012) analytical model which itself is based upon Van Leeuwen’s model (1996). This study applied qualitative methods of data analysis in addition to quantitative ones including computation of frequency and Chi-Square test. Quantitative analysis of the data revealed that, among discursive features of various types proposed in this model, functional contexts showed a significantly higher frequency than literal contexts. The results from this study also indicated the efficiency of Yarmohammadi model in 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 by offering a fresh critical framework for Farsi language. Key words: Discursive Structures, Critical Discourse Analysis, Discursive Components, Socio-Semantic Components.

Seyed Ali Salehi can be considered as the most famous representative of colloquial poetry who has sought new poetic possibilities in spoken discourse. His understanding of colloquial language and his mastery in using it have made it possible for him to create a new generation of modern poetry which retains conversational elements as its chief characteristic. Ali Salehi uses colloquial language as the basis of poetic developments so much so that his poetic and artistic techniques have entered everyday language while obeying its rules. Concepts like intimacy, attraction, and affection constitute the chief themes of his poetry which come to existence due to Salehi's addressing tone, his overwhelming use of narration and conversational techniques such as dialogue, interior monologues and aside and also, speech tones and movements like complaint, recommendation, reminding and blaming, thus forming a close intimate relationship with his audience. His symbolism is a synthesis of speech and objective-subjective elements as well as signs which reveal his feelings and thoughts. The present article examines the extent Salehi has used the possibilities of colloquial language and its correspondence with symbolic mentality and thought. To do this, the role of colloquial language and Salehi’s symbolism in shaping salient features of his poetry are analyzed. ‘Realism,’ ‘reader-centeredness,’ ‘emotionalism,’ ‘socialism,’ and ‘nostalgic feelings’ get analyzed here. These features correspond with both his colloquialism and his symbolism, formally and semantically. Key Words: Colloquial Language, Symbol, Colloquial Poetry, Seyed Ali Salehi, Affection, Addressee.

Some linguistic theories propose useful possibilities for analyzing literary texts. Halliday and Hasan’s theory is an instance. These linguists understand the semantic, verbal, syntactical, or logical relationships among sentences as cohesion. Cohesion, they argue, in standard language has some elements that include grammatical, lexical, conjunctive, each of which includes some other minor elements. The aim of the present article is to investigate each of these cohesive elements in Asad Gorganis’ Vis and Rāmin. The results show that the lexical cohesion especially repetition and contradiction, and conjunctive cohesion especially extra conjunction have the most impact on cohesion and unity in Vis and Rāmin verses. On the other hand, other cohesive elements in Fakhrodin’s verse are significant and, when added to shortness of sentences, render Vis and Rāmin simple and understandable. The method of study is descriptive and the results are achieved by analyzing the verses in library and document research and each of cohesive elements are investigated by mentioning sample verse and corresponding repetition frequency. Key words: Textual Cohesion, Grammatical Cohesion, Lexical Cohesion, conjunctive Cohesion, Vis and Rāmin

The cultural and literary ties between Iran and India have been a firm and undeniable one and have endured vicissitudes. This connection reached its height at Safavid and Gurkani age as the resultant poetry and literature of this age reflect it truly. Saib Tabrizi’s Poetry stands the highest in this age and has artistically portrayed the mutual cultural and literary relationship between the two nations so that the Iranian-Indian mixture of culture and literature is one of its most obvious characteristics; good reception of Persian pieces written by Indian poets, use of Indian literary traditions, exploiting literary language of Indian poets writing in Farsi, incorporation of Indian love poems, and finally the reflection of Indian culture, beliefs, and ceremonies are all obvious instances of cultural and literary affinity between Iran and India as expressed  Saib Tabrizi’s poetry making his poem inapprehensible without a good knowledge of these points. Through investigating Saib Tabrizi’s divan and focusing on, analyzing and classifying the relevant poems and exploiting the researches in this domain, the researcher has tried in this paper to pinpoint Indian culture and literature in Saib Tabrizi’s poetry and thus to open a way to his verse’s mysterious world. Key Words: Literature, Iran, India, Poetry, Saib Tabrizi, Culture, India

Correcting and editing ancient manuscripts have always occupied those men of letters who want to prepare a correct text which is close to author's creation. Ghazaliyat-E Shams-E Tabrizi by Jalal al Din Rumi is one of controversial texts in terms of edition work. There is still no reliable version of this prodigious work due to its great size and confusion in its manuscripts. In 1336-1344 Ghazaliyat-E Shams was critically edited by the prestigious Rumi scholar Badi al-Zaman Foruzanfar whose edition has been debated for many times by various researchers. In this article and in the following format, authors try to assert the need for a re-edition of Ghazaliyat-E Shams, to examine the existing editions, and to investigate view of researchers: 1. Preface and background of Ghazaliyat-E Shams edition. 2.Professor Foruzanfar's edition and a critique. 3.Dr. Tofigh Sobhani's edition and a critique. 4. Some points about Professor Froozanfar’s and Dr. Tofigh Sobhanie’s corrected edition. Key Words: Ghazaliyat-E Shams, Moulavi Rumi, Ghazaliyat-E Shams’ Manuscripts, Foruzanfar, Tofigh Sobhani.