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Yaghma, The literary magazine in the field of poetry, started its activity with the aim of preserving ancient achievements and countering every kind of unapproved innovations and novelty. This was in spite of the fact that many years had passed since the beginning of modern poetry and there have emerged famous figures in Nimaei poetry. The present article intends to see how much Yaghma was successful in following its initial policy in the field of poetry delineated in its very first number. This will be done through a review of the theories of poetry published in this magazine and also content-statistical analysis of forms and contents of the poems and identifying the poets who were considered and heeded more than others in Yaghma. Had Yaghma been successful in following classicism regardless of modernism, or had it been affected by modern trends in poetry? Results of the current study, which was done by content analysis and descriptive-analytic method, show that although Yaghma had serious attempts to print and publish classic poems and had great cooperation with dogmatic poets, and much of it comprised of Ghazal (33 percent), Ghasideh (25 percent), classical contents and Akhavaniat, yet it could not ignore public demands for modern trends in poetry and sometimes made cautious innovations to satisfy contemporary needs and occasionally eulogized and praised innovative (or modern) poets due to expediencies of the age, and even published some of their poems. However, to defend and respect its classic followers who form the main body of its audience, Yaghma prevented this from becoming a regular approach in the magazine.

 

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One of the areas in literary studies whose definition and principles have been subject of considerable disagreements among philosophers, writers, and linguists is poetry and its nature. Differences of perspectives in defining poetry are a result of differences in methodologies, intellectual fields, and elaboration of poetry function. The present research takes a descriptive–analytic approach to reviewing the existing definitions of poetry, and through studying different types of poetry in Persian literature and, by basing the discussion on indicators such as the speaker’s mentality, listener’s mentality, language, genre studies, various discourses of each era, the prominent literary element, and critiquing the masterpiece-oriented perspective, attempts to question the perspective which considers poetics to be a definite and non-historical phenomenon, and introduces poetics as a fluid, relative, and history-dependent phenomenon which requires a different definition in various eras based on the abovementioned indicators. Through such an approach to poetics, demarcating verse and poetry based on similar indicators and in all eras will not enjoy scientific rigor and credit. Based on the perspectives elaborated in the present research, a new poetics must be proposed in each era to be able to provide a definition of poetry in that era. 

 

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Defining typological boundaries within the prose-to-poetry continuum remains a fundamental challenge in literary linguistics. This study aims to redefine the typology of hybrid texts through a comparative analysis of foregrounding elements in Ahmad Shamlou’s Ibrahim dar Atash (as a model of blank verse) and Forough Farrokhzad’s Tavalodi digar and Iman Biavarim be Aghaz-e Fasl-e Sard (as models of Nimaic poetry). The research methodology is descriptive-analytical, employing a quantitative-qualitative approach based on Geoffrey Leech’s theory of deviation and the theoretical frameworks of Safavi and Haghshenas. The findings indicate that, contrary to previous theoretical assumptions, the frequency and quality of parallelisms serve as the primary determinant of a text’s position toward the poetry prototype, while linguistic deviation merely acts as an entry point into literary language. Data mining reveals that Shamlou utilizes "compensatory parallelisms" (such as rhyme with an average frequency of 4.86 and dense phonological patterns) to offset the absence of prosodic meter. In contrast, Farrokhzad, by relying on "conversational prosody," demonstrates a lesser need for positional parallelisms and diverse deviations. Ultimately, this study proposes that the poetic caliber and the distinction between hybrid genres are governed by a musical hierarchy derived from parallelism, through which the precise position of any text within the aforementioned continuum can be identified.
Defining typological boundaries within the prose-to-poetry continuum remains a fundamental challenge in literary linguistics. This study aims to redefine the typology of hybrid texts through a comparative analysis of foregrounding elements in Ahmad Shamlou’s Ibrahim dar Atash (as a model of blank verse) and Forough Farrokhzad’s Tavalodi digar and Iman Biavarim be Aghaz-e Fasl-e Sard (as models of Nimaic poetry). The research methodology is descriptive-analytical, employing a quantitative-qualitative approach based on Geoffrey Leech’s theory of deviation and the theoretical frameworks of Safavi and Haghshenas. The findings indicate that, contrary to previous theoretical assumptions, the frequency and quality of parallelisms serve as the primary determinant of a text’s position toward the poetry prototype, while linguistic deviation merely acts as an entry point into literary language. Data mining reveals that Shamlou utilizes "compensatory parallelisms" (such as rhyme with an average frequency of 4.86 and dense phonological patterns) to offset the absence of prosodic meter. In contrast, Farrokhzad, by relying on "conversational prosody," demonstrates a lesser need for positional parallelisms and diverse deviations. Ultimately, this study proposes that the poetic caliber and the distinction between hybrid genres are governed by a musical hierarchy derived from parallelism, through which the precise position of any text within the aforementioned continuum can be identified.