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Azraqi Heravi is one of the great poets of the fifth and sixth centuries who is ranked often as a minor poet. In this paper, the researcher reports a study of the data related to this poet and his life, and, discussing the style of his writing and the innovations he introduces in his poetry, he tries to show that because of these very innovations Heravi is equal to some of his contemporaries if not superior to them. This paper discusses different aspects of his poetry such as his thought, imagination, emotion, language, music and form and gives some evidence to illustrate each of these elements and technical aspects.

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This article intends to examine the processes of change in poetic images from simplicity to exaggeration. In so doing, the author , upon meticulous examination of the old sources, discusses the occupation of the society's mentality in Saadi's well-known poem KAZ SANG NALE KHIZAD ROOZ-E VEDA-E YARAN (The stone will moan upon the friends' farewell) and presents the evolutionary process of a poetic image across time. Perhaps, the earliest mental script of the Iranian society for FARYAD AZ JODAEI (yelling out at separation) should be traced back in an ancient proverb of the Sasanids age which associates the concept with tearing the canvas dress. This image has been recorded in literary and poetic texts of the fourth century. Several years later, the poets implied the same sense through the image of breaking the wood. Eventually, Saadi exaggerates the image and expresses it through stone's moaning.

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Khaghani is one of the greatest Qasida composers in the Persian literature in the sixth century. One of the main stylistic features of this era – which is more seen in the poets of Azarbayejan- is extensive use of the terms and beliefs of different sciences in their time, including astronomy. Khaghani who was a master in astronomy has used the details of this science in creating poetic images. Sometimes he combines astronomical terms and beliefs with mythological and religious beliefs along with different types of semantic and verbal parallels and various figures of speech and thought in a way that astonishes the reader. This article aims at analyzing different ways that Khaghani’s metaphoric mind has used by means of astronomical terms and beliefs to show his wonderful power in creating new and invented images in his poems

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The pertinence of a poet’s imagination in ordinary concepts of life and their relationship with nature is due to his or her insights and knowledge of natural phenomena as well as the outside world. In the collection of works of every poet, all various types of imagery being attributable to figures of speech (i.e., metaphor, simile, synecdoche, and irony) represent moments that deal with the poet’s inner world; in fact, they are the reflections of the poet’s soul, personality, and inner characteristics. The current study was an attempt to scrutinize figures of speech and their frequency of use in Aminpour’s and Monzavi’s poems to find out the poets’ thoughts, emotions, and ideology towards the world and life. The common shared imageries or the central poetical imageries of these two poets were around love and the issues surrounding it. Although, more or less, a reflection of the society and the social issues could be seen in their writings, their subject was mostly about love. Their poetical imageries were vivid, dynamic, and visual. Although even little imitations could be discernible in their poems, their imageries and figures of speech domains were not just limited to the imageries of traditional poetry, but innovations could be observed in their poems. Similes were mostly intense and intuitive-intangible, and metaphor and simile were used more frequently than the other figures of speech.

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Narrative process and its narrative mechanisms help the reader make sense of the way events happen in a story. Using repeating images in the text of a story is a method of narrative development.  In Shahnameh, dealing with the world and images it gives rise to is one of the central motives of the text. The narrator in different parts of the poem seems captivated by the image of the world and this fact impedes narrative progress. This article intends to analyze “the images of the world” in “the story of Siavash” in Shahname from Gerard Genette’s perspective, employing his five narrative features. This narrative by the use of prior narration, repeating narration and focalization presents an image of the world, this technique also pinpoints the way a specific image of a special theme has the potential to reduce the speed of reader comprehension by tampering with the order of events narrated or actions or by disrupting narrative time, and as a result it can boost the texts suspense or the reader’s interest in knowing how the events will evolve.
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In his lyricism and eloquence, Hussein Monzavi benefited from the great heritage of lyrical and epic literature, poetic images, fictions, and religious allusions in order to create imagery and expand the meaning and themes of his poems. The Divan of Hafiz is one of the main sources of influence on Monzavi’s poems in terms of form, meaning, and musical coherence. He also benefited from borrowing Hafiz’s clauses, rhythm, allusions, verses, and sonnets. Love and the hardship in its path, pledge of trust, drinking merrily, and social issues are the themes in Monzavi’s poems which were under direct influence of Hafiz. Monzavi’s imagery of love and its manifestations has similarities with Hafez’s poetry. The present paper is an endeavor to investigate the influence of Hafiz on Monzavi in terms of form, rhythm, meaning, love, the image of the beloved, and imagery. The findings indicate that Monzavi benefited from Hafiz’s single elements, rhythms, and themes in about two hundred instances.
 

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Nizami Ganjavi is a well-known literary figure in Iranian cultural history whose influence has not been diminished in contemporary era. The scene of “Shirin bathing in a fountain” is one of the most prominent scenes of Khosrow and Shirin poem which has been the focus of attention for many modern poets. Following a content analysis approach, this study attempts to explain why such a scene has been so rich and influential in contemporary poetry. The scene has been impressive in two ways: In the first, and the most important type, the whole poem is dedicated to this scene, and in the other type, the poets have only partially referred to the scene. In this paper, it is argued that the scene of Shirin bathing in a fountain is a romantic theme and since some poets were influenced by romanticism – at some points in their professional career – they were fascinated by this scene. Rebellion, violation of moral boundaries, attention to local legends, mythological manifestation of a woman/the beloved one, metaphorism, dynamism and maturity of the scene and its vivid expression, the vague location and time of the event as well as the naturalism of the scene have been parameters of the romantic poems and images most of which are represented in the studied scene. Another attraction of the scene is its eroticism. This classical image has the potential to arouse sensual attraction and to reflect both physical and feminine tensions of our time and to give an indigenous identity to modern poetry.  


 

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Naser Khosrow’s intellectual system has been formed on the basis of his deep knowledge of religions, nations and ideologies, his faith inIsmailism, as well asthe cosmological and anthropological issues;and this coherent system of thought has had a decisive and visible effect on other aspects of his speech, including imagery.One of the important centers of artistic images in his works is the reflection on the dual spiritual and physical nature of man. Based on a descriptive-analytical method, this study seeks to search for the roots and sources of the artistic images of the body and soul in the works of Naser Khosrow as well as theircriticism and analysis.The origin of body and soul, the philosophy of the soul belonging to the body, the nature and destiny of body and soul and the different needs of these two are the most important reasons for creating numerous images of body and soul in Naser Khosrow’s works.Several other important clusters of images of body and soul are formed around concepts such as house and landlord, servant and master, ship and shipmaster, shirt, pearl and shell, mine and gem, prison and prisoner, and book and tree, showing body and soul relations from different perspectives.The results of the study show that the roots and sources of many images of body and soul in Nasser Khosrow’s works have been mentioned in previous theological and philosophical sources, including ancient Greek, Gnostic, Indian, Iranian, and Islamic works.
 

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Teaching monotheistic topics and trying to understand the ambiguous concepts of epistemology have always been the concern of thinkers. Despite the commonalities in monotheistic teachings, access to rich concepts is not possible for everyone, and there may be contradictions in the understanding of meanings. Hadiqah al-Haqiqah and Masnavi are among the instructive texts that have used figures of speech to express monotheistic concepts. In this article, the teaching style of Sanai and Rumi based on the method of using Monotheistic Images and Corbin’s hermeneutics approach is studied.  The monotheistic language of Masnavi and Hadiqah al-Haqiqah is almost the same. Sanai has expressed monotheism in a general way and at a high level, while Rumi has gone into more details about monotheistic concepts. Hadiqah al-Haqiqah images are mostly designed on the horizontal axis, whereas in Rumi’s Masnavi, many images can also be found on the vertical axis. Rumi has sometimes used Sanai symbols and in many cases has taught monotheistic concepts with completely innovative symbols. The monotheistic images of both mystics are a combination of philosophical teachings and mystical intuitive symbols in Corbin’s hermeneutics. Benefitting from the graphic form of the letters (alphabetical symbolism) and the metaphor of the letters are common to both works.
 
 

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Tārīkh-i Jahāngushāy-i Juvaynī is a historical-literary work with technical prose. One of the features of this book is the use of imagery to express political concepts. The main question of this research is what role imagery plays in Tārīkh-i Jahāngushāy to establish the political and religious authority of governments. Based on a descriptive-analytical framework, the analysis of imagery in Tārīkh-i Jahāngushāy indicated that imagery was a tool for generating power discourse and for organizing specific political thoughts. The use of all kinds of imagery and expressive techniques in Tārīkh-i Jahāngushāy was not only for the purpose of embellishing the speech and representing aesthetics, but it also served the purpose of persuading the audience and instilling political concepts in addition to reporting historical events. In his work, like other writers of prose texts, Juvaynī tried to use the persuasive and inductive functions of all kinds of imagery to political concepts such as the divinity of the source of power, the sovereignty of the sultans based on destiny, kingship, the requirements and duties of the king, absolute obedience to the sultan, the military power of the state, and suppression of enemies to instill the political and religious legitimacy of states, establish their authority, and justify their actions.

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The culture and literature of Iran, has paid special attention to the religion of Christianity. This feature has become more prominent in the Safavid era for political, social, cultural and ideological reasons. Saib, the greatest poet of this era, had further contribution in reflecting this feature in his poems. This paper examines the events of the life of Christ in his Divan of six books by his descriptive-analytical method and concluded that the religious features his era, his theosophical and ethical perspective, the attachment of the audience of Saib poetry to Christ and the religion of Christianity and, finally, his tendency to theme-creating and subtlety and his dominance in the life of heavenly prophets has played a key role in presenting a full image of Christ. Referring to the life of Christ and other divine messengers, he seeks to bring religions closer to one another.
 

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Nasser Khosrow's poetry is full of intellectual arguments, religious topics, sermons and judgments, etc., which has given his words a philosophical and somewhat complicated flavor. On the other hand, in his works, Attar has tried to present the heritage of Sufism of Khorasan and the heritage of poetry before him in a different way, with a simple language and free of glamor and impressive embellishments. The question of this research is whether the simplicity or complexity of language plays a role in the simplicity or complexity of the structure of poetic images. The present research, which is written in a quantitative and statistical method, deals with the statistical and comparative analysis of the structure of the poetic images of Nasser Khosro and Attar. The results of this research show that the simplicity or complexity of a poet's language has little to do with the structure of his images; In other words, the simplicity or difficulty of a poet's words cannot be considered simple or complex in the geometry of his images. The language of Nasser Khosrow's poetry is difficult and complex, but this feature has not had a significant effect on the geometry of his poem's images, and most of his poetry's images are simple and far from complex. On the other hand, the structure of Attar's poetic images, despite the simplicity of the language and appearance, has a subtle and narrow complexity that cannot be integrated into a network except by analyzing the rhetorical materials used in the construction of the images. understand the relationship of those tools with each other; In other words, Attar's language is simple and his images are complex.