Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 individual flourish of beloved in saebs lyric individual flourish of beloved in saebs lyric 1 20 3613 10.22099/jba.2016.3613 FA Journal Article 2014 10 09 Love, as the definitive theme of lyric poetry, has been embedded in, and encriched, the Persian sonnet in worldly and spiritual manifestations. The expression of love, be it the mundane or the immaterial, requires the articulation of the bond between the lover and the beloved. This article studies Sa’eb’s descriptions of the beloved to address three questions: How can we describe the inward and outward characteristics of Sa’eb’s beloved? What are the differences between the beloved in the sonnets of Sa’eb and those in other works of Persian literature? And to what extent is the image of the beloved influenced by the style of the poet in question? An interpretation of more than half of his sonnets reveals that the manifestation of the beloved in Sa’eb’s body of work differ from the accepted image of the beloved in the Khorasani and Iraqi styles of Persian poetry. It will be argued that Sa’eb’s is a more intricate description of the beloved whose colourful features and emotional expressions constitute a remarkable image of the beloved in the Persian lyric tradition. Keywords: Sa’eb, love, sonnet, the beloved Love, as the definitive theme of lyric poetry, has been embedded in, and encriched, the Persian sonnet in worldly and spiritual manifestations. The expression of love, be it the mundane or the immaterial, requires the articulation of the bond between the lover and the beloved. This article studies Sa’eb’s descriptions of the beloved to address three questions: How can we describe the inward and outward characteristics of Sa’eb’s beloved? What are the differences between the beloved in the sonnets of Sa’eb and those in other works of Persian literature? And to what extent is the image of the beloved influenced by the style of the poet in question? An interpretation of more than half of his sonnets reveals that the manifestation of the beloved in Sa’eb’s body of work differ from the accepted image of the beloved in the Khorasani and Iraqi styles of Persian poetry. It will be argued that Sa’eb’s is a more intricate description of the beloved whose colourful features and emotional expressions constitute a remarkable image of the beloved in the Persian lyric tradition. Keywords: Sa’eb, love, sonnet, the beloved

https://jba.shirazu.ac.ir/article_3613_127d2eeabfdbf425b8b20166b26ac422.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 Plentiful mercy; description of a Hafiz’s distich Plentiful mercy; description of a Hafiz’s distich 21 30 3704 10.22099/jba.2016.3704 FA MOHAMADREZA AKRAMI Journal Article 2015 02 17 The distich “To the Lovers, wealth of both worlds as a barleycorn/ That, this is little chattel and that is plentiful mercy,” has been registered and interpreted differently in various versions of Hafez. This paper seeks to offer an overview of these interpretations and provide a correct reading and sound meaning for the distich. In available interpretations, two issues have been overlooked. First, two phrases of the distich, “little chattel” and “plentiful mercy,” refer to the Quran and mean, respectively, “the blessings of this world” and the “hereafter.” Second, the keh (that) at the beginning of the second hemistich has been taken to signify “for” by the majority of interpreters and “but” by a few others. In this paper, I argue that in the keh has an explanatory meaning: it associates its preceding words to the following sentence and adds an explanation. Hafez has frequently used this kind of keh and a number of them will be cited to back the argument. Keywords: Hafez, little chattel, plentiful mercy, interpretation, keh (that) The distich “To the Lovers, wealth of both worlds as a barleycorn/ That, this is little chattel and that is plentiful mercy,” has been registered and interpreted differently in various versions of Hafez. This paper seeks to offer an overview of these interpretations and provide a correct reading and sound meaning for the distich. In available interpretations, two issues have been overlooked. First, two phrases of the distich, “little chattel” and “plentiful mercy,” refer to the Quran and mean, respectively, “the blessings of this world” and the “hereafter.” Second, the keh (that) at the beginning of the second hemistich has been taken to signify “for” by the majority of interpreters and “but” by a few others. In this paper, I argue that in the keh has an explanatory meaning: it associates its preceding words to the following sentence and adds an explanation. Hafez has frequently used this kind of keh and a number of them will be cited to back the argument. Keywords: Hafez, little chattel, plentiful mercy, interpretation, keh (that)

https://jba.shirazu.ac.ir/article_3704_7c453b7af5da725d6d9fc165dac0701b.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 Comparative Study of Some Original Robaiat of khayyam with Some referred Robaiat to him by SFL view Comparative Study of Some Original Robaiat of khayyam with Some referred Robaiat to him by SFL view 31 50 3655 10.22099/jba.2016.3655 FA Tahereh Ishany Journal Article 2015 12 19 The examination of the originality of Persian literary works by way of the scientific method may lead to a set of criteria to ascertain authenticity. It may also lead to a proper verdict as to the originality of those texts whose authorship are yet in question. Despite a remarkable body of scholarship on the Rubaiyat of Omar Khayyar, debate over the originality and even the number of Khayyam’s couplets are still unresolved. In this article, as a result, we attempt to study and compare the thematic structures of two sets of twenty couplets, one original and the other acribed to Khayyam, by way of employing an analyitic-statistical and linguistic methodology. Our assessment of the texts indicates that Khayyam’s admittedly original work is more intelligible and strucutally simple whereas the works ascribed to the poet are rather intricate and prone to marked structures. From this vantage point, and by virtue of their varying structures, we conclude that the category of couplets ascribed to Khayyam are definitely not his. Key Words: Khayyam, authentic Rubaiyat, ascribed Rubaiyat, functional linguistics, thematic structure. The examination of the originality of Persian literary works by way of the scientific method may lead to a set of criteria to ascertain authenticity. It may also lead to a proper verdict as to the originality of those texts whose authorship are yet in question. Despite a remarkable body of scholarship on the Rubaiyat of Omar Khayyar, debate over the originality and even the number of Khayyam’s couplets are still unresolved. In this article, as a result, we attempt to study and compare the thematic structures of two sets of twenty couplets, one original and the other acribed to Khayyam, by way of employing an analyitic-statistical and linguistic methodology. Our assessment of the texts indicates that Khayyam’s admittedly original work is more intelligible and strucutally simple whereas the works ascribed to the poet are rather intricate and prone to marked structures. From this vantage point, and by virtue of their varying structures, we conclude that the category of couplets ascribed to Khayyam are definitely not his. Key Words: Khayyam, authentic Rubaiyat, ascribed Rubaiyat, functional linguistics, thematic structure.

https://jba.shirazu.ac.ir/article_3655_b7b6fdb34ad64f2c3143ed64cb763aa3.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 Analysis of the Imaginative structure " thirsty and Wall " Masnavi , According to the structures of the imagination from the point of view Zhylbr Durand Analysis of the Imaginative structure " thirsty and Wall " Masnavi , According to the structures of the imagination from the point of view Zhylbr Durand 51 70 3705 10.22099/jba.2016.3705 FA Journal Article 2015 06 24 Studying the nature of imagination and poets’ and artists’ imaginative structure has an important place in literary criticism. Today, the basis of text interpretation is studies of imagination. Gilbert Durand (1921-2012), the French scholar of imagination and myths, developed a scientific method to retrieve the true value of imagination, which was neglected for two centuries in the West. This article reflects on the views of Durand and analyzes the structure of a Masnavi story, “The Thirsty Threw a Stone into the Water.” In this tale, Rumi depicts a scene where the act of throwing stones and bricks into water is repeated. An examination of this story based on Durand’s views, one can deduce that the narrator has been influenced by symbolic imaginariessystem ofnight dreams. This system comprises certain characteristics such as repetition, dependence of one on the material world and cyclic understanding. Keywords: Masnavi, fiction, imagination structure, nightly imagination system, daily imagination system. Studying the nature of imagination and poets’ and artists’ imaginative structure has an important place in literary criticism. Today, the basis of text interpretation is studies of imagination. Gilbert Durand (1921-2012), the French scholar of imagination and myths, developed a scientific method to retrieve the true value of imagination, which was neglected for two centuries in the West. This article reflects on the views of Durand and analyzes the structure of a Masnavi story, “The Thirsty Threw a Stone into the Water.” In this tale, Rumi depicts a scene where the act of throwing stones and bricks into water is repeated. An examination of this story based on Durand’s views, one can deduce that the narrator has been influenced by symbolic imaginariessystem ofnight dreams. This system comprises certain characteristics such as repetition, dependence of one on the material world and cyclic understanding. Keywords: Masnavi, fiction, imagination structure, nightly imagination system, daily imagination system.

https://jba.shirazu.ac.ir/article_3705_50a06fb18a1012a80a15f5cb656fdd0d.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 Demetaphorization of "Sky" in Persian Classic Poems Demetaphorization of "Sky" in Persian Classic Poems 71 94 3536 10.22099/jba.2016.3536 FA Journal Article 2015 08 30 In Persian language and classical poetry, there is a variety of texts about the “sky” and its impact on humankind. The word is often interpreted as a metaphor for fate or divine power. However, a look at the mythological background of the metaphor reveals that it is not merely a figure of speech; rather it refers to beliefs, both Iranian and non-Iranian, that have found their way, like other religious concepts, into Persian poetry. This article examines the origins of the word “sky” with reference to ancient Iranian texts and other cultures’ myths. Given the expanse of Persian classical literature, the divans of four fifth-century poets are referenced: Onsori, Manuchehri, Naser-Khosro and Mas’ud-e Sa’d. Exploring the different applications of the word “sky” in these divans, in comparison with preceding myths and historical ideas, indicates that all the applications of the word have ideological backgrounds which are, consciously or otherwise, reflected in the poetic languages of the poets. Keywords: Sky, Mythology, De-metaphorization, Poems. In Persian language and classical poetry, there is a variety of texts about the “sky” and its impact on humankind. The word is often interpreted as a metaphor for fate or divine power. However, a look at the mythological background of the metaphor reveals that it is not merely a figure of speech; rather it refers to beliefs, both Iranian and non-Iranian, that have found their way, like other religious concepts, into Persian poetry. This article examines the origins of the word “sky” with reference to ancient Iranian texts and other cultures’ myths. Given the expanse of Persian classical literature, the divans of four fifth-century poets are referenced: Onsori, Manuchehri, Naser-Khosro and Mas’ud-e Sa’d. Exploring the different applications of the word “sky” in these divans, in comparison with preceding myths and historical ideas, indicates that all the applications of the word have ideological backgrounds which are, consciously or otherwise, reflected in the poetic languages of the poets. Keywords: Sky, Mythology, De-metaphorization, Poems.

https://jba.shirazu.ac.ir/article_3536_99dece57934a5c1801fca4ee276b9e61.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 An Analysis on the Representations of Self-actualization in Manteghotteir of Attar According to Rogers' Theory An Analysis on the Representations of Self-actualization in Manteghotteir of Attar According to Rogers' Theory 95 112 3675 10.22099/jba.2016.3675 FA Mahmoud Rezaei Zahra Mohammad Hasani Saghiri Journal Article 2015 06 08 Innate human tendency towards self-actualization and perfection informs a significant body of work in Persian literature, particularly when it steps into the mystical terrain and becomes enmeshed with religion. Attar’s Manteq al-Teir is a notable example that delves in the theme of self-discovery, and summons the reader to attain perfection and evade worldly attachments, a path that we suggest broaches the concepts proposed in “humanistic psychology.” With its focus on humanity and its positive aspects such as self-reliance and genuineness, humanistic psychology does in our view express ideas that are relatively consistent with mystical thought and has therefore addressed issues such as self-actualization. In this article, we analyze Manteq al-Teir following humanistic psychology, and according to Roger’s ideas in particular, to demonstrate that the ways in which Attar’s wayfaring birds achieve perfection and self-actualization follow the five fundamental characteristics of Roger’s theory of humanistic psychology. Key Workds: Attar, Manteq al-Teir, self-actualization, humanistic psychology, Rogers’ theory Innate human tendency towards self-actualization and perfection informs a significant body of work in Persian literature, particularly when it steps into the mystical terrain and becomes enmeshed with religion. Attar’s Manteq al-Teir is a notable example that delves in the theme of self-discovery, and summons the reader to attain perfection and evade worldly attachments, a path that we suggest broaches the concepts proposed in “humanistic psychology.” With its focus on humanity and its positive aspects such as self-reliance and genuineness, humanistic psychology does in our view express ideas that are relatively consistent with mystical thought and has therefore addressed issues such as self-actualization. In this article, we analyze Manteq al-Teir following humanistic psychology, and according to Roger’s ideas in particular, to demonstrate that the ways in which Attar’s wayfaring birds achieve perfection and self-actualization follow the five fundamental characteristics of Roger’s theory of humanistic psychology. Key Workds: Attar, Manteq al-Teir, self-actualization, humanistic psychology, Rogers’ theory

https://jba.shirazu.ac.ir/article_3675_66cd786a9b288b7a8acacdc5ee3cb7eb.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 The style features of Nima Yushij language in Seqrim Castle poetry The style features of Nima Yushij language in Seqrim Castle poetry 113 138 3764 10.22099/jba.2016.3764 FA Gholamreza Fooladi Fahimeh Heidary Jamebozorgi phd student Journal Article 2015 12 21 What today is recognized as Nima-esque modern or “New Poetry” [she’r-e no] is the outcome of ideas, transformation, and a range of (re)actions that constitute the quasi-experimental poetry of Nima Yushij. It is widely accepted that “Qoqnus” was the point of departure for what would evolve as Nima’s New Poetry. However, the creative process previous to this work is worthy of investigation, hence the topic of this paper. The Seqrim Castle [qal’e-ye Seqrim] is Nima’s final long poem before the publication of “Qoqnus.” We argue that research on the characteristics of Nima’s style and language in this log poem sheds light on the development of linguistic structures manifest in the works of this innovative poet. By way of the structuralist methodology of Roman Jakobson, we study the formations of language in The Seqrim Castle and demonstrate that in spite of the fact that the poem adheres to the established Mathnavi model, it is also an early indication of Nima’s emerging tendencies to interfere with syntactic structures, and to employ conversational language in poetry. We conclude that the poem is a bridge between the classical and the New Poetry of Nima Yushij. Key Words: Structure of language, The Seqrim Castle, Nima Yushij, Roman Jakobson What today is recognized as Nima-esque modern or “New Poetry” [she’r-e no] is the outcome of ideas, transformation, and a range of (re)actions that constitute the quasi-experimental poetry of Nima Yushij. It is widely accepted that “Qoqnus” was the point of departure for what would evolve as Nima’s New Poetry. However, the creative process previous to this work is worthy of investigation, hence the topic of this paper. The Seqrim Castle [qal’e-ye Seqrim] is Nima’s final long poem before the publication of “Qoqnus.” We argue that research on the characteristics of Nima’s style and language in this log poem sheds light on the development of linguistic structures manifest in the works of this innovative poet. By way of the structuralist methodology of Roman Jakobson, we study the formations of language in The Seqrim Castle and demonstrate that in spite of the fact that the poem adheres to the established Mathnavi model, it is also an early indication of Nima’s emerging tendencies to interfere with syntactic structures, and to employ conversational language in poetry. We conclude that the poem is a bridge between the classical and the New Poetry of Nima Yushij. Key Words: Structure of language, The Seqrim Castle, Nima Yushij, Roman Jakobson

https://jba.shirazu.ac.ir/article_3764_517014587d73669ccd3f77e3c8913603.pdf

Shiraz University Journal of Poetry Studies (boostan Adab) 2008-8183 8 3 2016 11 21 Investigating Color Style Prospects in Hosein Monzavi Poems and Comparing Them with Persian Literature Tradition Investigating Color Style Prospects in Hosein Monzavi Poems and Comparing Them with Persian Literature Tradition 139 166 3567 10.22099/jba.2016.3567 FA Mohamad Moradi Journal Article 2015 08 17 Color is one of the main elements of image construction and an important one in poetry. Successful poets have used color to achieve a personal style in image-construction and to suggest their connotations to readers. Hossein Monzavi is a contemporary ghazal-writer whose poetry is structurally and linguistically innovative; he emphasizes objectivity and the creation of fresh and colorful images. In all his poems, words that suggest colors are used 904 times, of which around sixty percent refer to a color, and the rest imply gray or colorlessness. Monzavi has contributed to the development of the Persian ghazal and influenced a number religious poets and songwriters as well as “New” poets -- followers of Nima -- after the revolution. In this paper, through a comparative analytic method, the frequency of colors in Monzavi’s collection of poems is discussed and classified into 16 categories. In addition, his innovative and imitative use of colors is explored and compared to contemporary and classical poets. A finding of this study is that in Monzavi’s poetry, the diversity and frequency of words that suggest a color is much more than contemporary poets, even more than a painter-poet such as Sohrab Sepehri. In making use of words that suggest colorlessness, he is the least innovative, but in the use of pink, orange, purple and to some extent green, blue, brown, gray and amber, the differences of his style are more visible. Moreover, his new conception of colors is manifested in the beloved’s eyes, body and clothing, descriptions of time and seasons, and his own unique experiences, such as addiction and aspects of his personal life. Keywords: color, contemporary ghazal, Hossein Monzavi, innovation, imitation Color is one of the main elements of image construction and an important one in poetry. Successful poets have used color to achieve a personal style in image-construction and to suggest their connotations to readers. Hossein Monzavi is a contemporary ghazal-writer whose poetry is structurally and linguistically innovative; he emphasizes objectivity and the creation of fresh and colorful images. In all his poems, words that suggest colors are used 904 times, of which around sixty percent refer to a color, and the rest imply gray or colorlessness. Monzavi has contributed to the development of the Persian ghazal and influenced a number religious poets and songwriters as well as “New” poets -- followers of Nima -- after the revolution. In this paper, through a comparative analytic method, the frequency of colors in Monzavi’s collection of poems is discussed and classified into 16 categories. In addition, his innovative and imitative use of colors is explored and compared to contemporary and classical poets. A finding of this study is that in Monzavi’s poetry, the diversity and frequency of words that suggest a color is much more than contemporary poets, even more than a painter-poet such as Sohrab Sepehri. In making use of words that suggest colorlessness, he is the least innovative, but in the use of pink, orange, purple and to some extent green, blue, brown, gray and amber, the differences of his style are more visible. Moreover, his new conception of colors is manifested in the beloved’s eyes, body and clothing, descriptions of time and seasons, and his own unique experiences, such as addiction and aspects of his personal life. Keywords: color, contemporary ghazal, Hossein Monzavi, innovation, imitation

https://jba.shirazu.ac.ir/article_3567_85ca4bf41b51164d315203c7814f1023.pdf