A Modality-Based Analysis of the Prefaces of Kelileh va Demneh

perInstitute of Humanities and Social Studiesپژوهش زبان و ادبیات فارسی1735-10302821-03952025-032273134articleA Modality-Based Analysis of the Prefaces of Kelileh va Demnehbatul vaezbatulvaez@yahoo.com1Elaheh Motamedielahemotamedi1362@gmail.com2Associate Professor, Department of Persian Language and Literature, Allameh Tabataba’i University, Iran.M.A in Persian Language and Literature, Allameh Tabataba’i University, Iran.Kelileh va Demneh is one of the most prominent ancient didactic texts of Persian literature, with its major focus on moral dos and don'ts in the realms of ethics, politics, religion, and culture. These imperatives, which possess a commanding nature, can lead to a direct and tedious tone in the discourse, potentially delaying the act of persuasion in the didactic process. In this study, we employed the concept of modality to examine the three introductory prefaces of this book (the translator's preface, Ibn al-Muqaffa's preface, and Borzuya the Physician's preface) in terms of modality and how the authors’ perspectives are realized in the language. Accordingly, we selected 500 sentences from the three prefaces and analyzed them concerning seven components: the subject, mood of the clause, speech function of the clause, modality, modality devices, source of judgment (modality orientation), and techniques for indirectness (implicitness) of speech. We primarily analyzed how modality functioned in the relationship between language and ideology, and which modality devices had the highest frequency in the text. The findings, based on statistical data, revealed that Monshi, through various linguistic mechanisms such as grammatical metaphor, the use of objects instead of subjects, complex sentence structures, allegory, and Qur'anic and historical intertextuality, reduced the explicitness of obligation and compulsion, thereby aligning the audience with his perspective to achieve a persuasive effect. The high frequency of declarative clauses and the low percentage of interrogative and imperative mood indicate the decisiveness of the author's discourse and the alignment of this linguistic style with the didactic genre of rhetoric. The most frequent modality devices in this corpus were, respectively, indicative verbs, modal verbs, and modal adjuncts, which align with the rhetorical discourse of the text, and aimed at further corroboration and persuasion of the audience.   Keywords: Mood, Modality, Kelileh va Demneh, Speech Functions, Modality Devices, Ideology and Author’s Perspective.   Introduction Modality is a semantic category that reflects the speaker's attitude toward the degree of truth, credibility, and decisiveness in expressing a proposition. The definition of modality is not uniform. Palmer attributes this lack of consistency to the ambiguity and semantic diversity inherent in the phenomenon of modality. In general terms, modality is the expression of the speaker’s perspective regarding the occurrence of an event in the world. This world may be external, objective, and real, or internal, subjective, and imaginary. The common and central concept among all possibilities is an occurrence or ‘event’. Modality expresses the speaker’s stance on this event (Baravardeh & Gohari, 2022: 119). Halliday introduces modality in connection with speech functions. Before defining modality, he first describes the speech functions within the interpersonal domain (Halliday & Matthiessen, 2004: 26). The fundamental speech functions underlying all other speech functions are ‘giving’ and ‘demanding’. Thus, linguistic communication can be viewed as an interaction and exchange. The object of this exchange is either information or goods and services. If the object is information, the function of giving is realized through statements, and the function of demanding is realized through questions. If the object of exchange is goods and services, the function of giving is expressed as offers, and the function of demanding is expressed as commands. Accordingly, there are four primary speech functions: statement, question, offer, and command. Halliday designates any structure at the clause level specifically dedicated to the grammatical realization of one of the primary speech functions as ‘mood’. In his view, the speech function of the clause plays a significant role in determining the type and concept of modality. For instance, probability and usuality are predominantly associated with clauses involving the exchange of information (statement and question), whereas obligation and inclination are tied to clauses with the functions of offer and command (Halliday & Matthiessen, 2004: 618). Hence, Halliday identifies four main types of modality: probability, usuality, inclination, and obligation. He conceptualizes modality as a spectrum between two poles—positive and negative. The linguistic realization of modality in language occurs through various devices and elements. Halliday identifies four types of modality devices: modal adjuncts, grammatical metaphors, modal auxiliary verbs, and the mood of the verb. One of the texts that stands out significantly in terms of the relationship between language, ideology, and power is Kelileh va Demneh. The speaker's (Nasrollah Monshi's) perspective and viewpoint in this book are expressed through two forms: narrative (indirect expression of viewpoints) and proposition (direct expression of viewpoints). Analyzing the relationship between language and power in this text through the system of modality reveals new dimensions of its discourse. Specifically, it shows how Nasrollah Monshi has utilized narrative and other modality devices to represent his views indirectly, without resorting to explicit coercion or command. Through various philosophical and wisdom-based sources, he has articulated his judgments and evaluations concerning politics, religion, ethics, power, and more, with a high degree of credibility that persuades and convinces the audience. To explore the relationship between language and discourse in the prefaces of Kelileh va Demneh, we have employed Halliday's theory of modality within the domain of interpersonal metafunction.   Keywords: Modality, Kelileh va Demneh, Speech Functions, Modality Devices, Authorial Perspective.   Research Methodology To analyze modality, we selected Nasrollah Monshi's Kelileh va Demneh as the research corpus. We examined 500 clauses from the perspective of modality. The analysis of modality in this text was primarily based on Halliday's theory and within the framework of systemic functional linguistics. In the analysis of the clauses, several components were considered, including the mood of the clause, speech function, modality concepts, orientation or source of judgment, and techniques for indirect expression of obligation and compulsion. Given that each primary function, beyond its linguistic meaning, can also represent secondary meanings and functions, we also noted the possible secondary meanings of the speech functions under the component of the clause’s speech function, depending on the context and textual setting. Following the statistical description of the data through charts and quantitative analysis, we proceeded to a qualitative analysis of the text. This included examining modality, the author's perspective, and the underlying ideology of the text based on the statistical findings.   Research Findings Given the inherently instructive nature of didactic texts, it is expected that the speech functions of the language would predominantly involve requests and a high frequency of obligatory modality. However, upon reading the prefaces of Kelileh va Demneh, we find minimal direct commands or coercion. The frequency of declarative clauses at 95.5% and imperative clauses at 2% reflects this reality. This feature aligns with the nature of didactic literature, which, alongside persuasion and instruction, also engages with aesthetic expression and does not solely focus on pure teaching. The author relies significantly on techniques of indirectness in speech. The other primary function of the sentences is to convey information, characterized by their declarative and explanatory nature. Such sentences express certainty and a lack of doubt, making them more effective than imperative sentences. All three prefaces fall within the genre of ‘rhetoric’ (khatabeh) in terms of linguistic eloquence and logic. In rhetoric, the speaker often holds a position of authority above the audience or listener. Thus, there is minimal use of interrogative and imperative speech functions. The low percentages of interrogative (2.3%) and imperative (8.8%) speech functions compared to declarative (88.9%) illustrate the speaker's linguistic and situational authority. In none of the three prefaces do we encounter linguistic instability, weakness, or flexibility. Among the two primary speech functions—giving and demanding—the ‘giving’ function, which involves the linguistic transfer of information, is more prominent in the text. The highest frequency of modality devices, at 64%, belongs to indicative verbs. Subjunctive mood accounts for 14%, and imperative mood constitutes only 1.3%. The indicative mood conveys the speaker's firm and unwavering attitude toward the content of the clauses, while subtly imparting an indirect sense of obligation to the audience. Modal verbs constitute another modality device, comprising 6% of the total data. Among these, the verb bāyestan ("must") is the most distinctly modal. Modal adjuncts are another modality device, accounting for 7% of the total data. According to the analysis, in 74% of cases, the source of judgment is the speaker, while in 26% of cases, the sources are external (such as verses, narrations, the Qur’an, Islamic law, etc.). Another technique for indirectness is the use of general terms, which account for 22% of the total data, and ambiguous terms, which constitute 13%. Together, these comprise 35% of the data. The author employs general and ambiguous words to indirectly address elements under obligation, reducing the sense of coercion in the audience’s mind. Focusing on the object instead of the subject is another prominent strategy, representing 18% of the total data. This shift from the known subject (sujet) to the object of knowledge (object) serves to avoid direct reference to imperatives and prohibitions. Other methods—such as the use of allegory, third-person and non-addressive forms, metaphorical expression, passive constructions, and an implied or textual audience—make up the remaining 19% of the data. Allegory, whether at the sentence or textual level, is a key method of indirect expression. However, given that most analyzed sentences were selected from the prefaces, the frequency of this technique is relatively low. Modality effectively represents the dominant discourse of power in the text within the realm of language. References Aghagolzadeh, F., & Abbasi, Z (2012) An analysis of verb moods in Persian based on the theory of mental spaces. Adab Pazhuhi, 6(20), 135–154. (in Persian) Ahmadi, A., Forsati Jouybari, R., & Parsaie, H. (2021) An investigation of modality in the novel My Dear Husband is based on Fowler's perspective. Journal of Language Research, 13(38), 327–352. (in Persian) Akhlaqi, F. (2007) Necessity, possibility, and ability: Three modal verbs in modern Persian. Dastour Journal, 3, 82–131. (in Persian) Bahrami Khoshid, S. (2019) Cognitive grammar: Theoretical foundations and its application in Persian (1st ed.). Tehran: Samt. (in Persian) Baravarde, M., & Gohari, H. 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(in Persian)  http://literature.ihss.ac.ir/Article/45165Modality Kelileh va Demneh Speech Functions Modality Devices Authorial Perspective.perInstitute of Humanities and Social Studiesپژوهش زبان و ادبیات فارسی1735-10302821-03952025-0322733564articleBaghdad in the Mirror of Persian Literature (Analysis of Various Representations of Baghdad in Persian Literary Texts from the 4th to the 8th Century AH)yousof asghariYousofa1539@yahoo.com1Associate Professor, Department of of Persian Language and Literature, University of Jiroft, Jiroft, Iran.   This article aims to analyze and examine Baghdad's representations and address why they appear in Persian literary works until the 8th century AH. The study uses a descriptive and analytical approach. The most significant depictions of Baghdad in Persian literature appear up until the 7th century AH, i.e., before the fall of Baghdad. Part of this reflection relates to the word "Baghdad" itself, which is prominently used in literary texts with its literal, figurative, and symbolic meanings, as well as in proverbs. Another aspect can be found in Baghdad's descriptions, both praise and criticism. Descriptions of titles, names, and noble figures of Baghdad, along with the poet's admiration for it, are examples of the city's praise. The disorder in Baghdad during a certain period, combined with some historical and narrative accounts, led to criticisms of the city. The city's architectural works and its role as the center of the Abbasid Caliphate and a hub of knowledge and civilization contributed to its fame.   Keywords: Baghdad, Persian poetry and literature, Arabic literature, Islamic and Iranian culture.   Introduction Baghdad was one of the most influential cities in the Islamic world, founded in 145 AH by the Caliph Mansur, and became the center of the Abbasid Caliphate. Parts of Iraq, before Islam, were under the control of the Iranians and the Sassanid kings. Not only is the name Baghdad considered Persian (Dehkhoda, 1998: Baghdad), but even the circular design of Baghdad—a unique example of city planning in the Islamic period—was largely modeled after Persian cities (Zarrinkoub, 2013: 414-416). In this regard, the Arab culture of Iraq, especially Baghdad, was deeply intertwined with Iranian culture. From the 5th century onward, the widespread use of the Persian language in Baghdad significantly influenced the Arabic spoken there (Shafi'i-Kadkani, 2007: 30). Cultural exchanges are also notable. Practices like Sufi gatherings in Baghdad’s khanqahs with Persian poetry (Ibid), referring to Baghdad’s noble figures with the Persian term "ayyar," and the celebration of Iranian festivals such as Sadeh and Nowruz in Baghdad (Mosaafa, 1986: 381), all serve as clear examples of the influence of Iranian language and culture in Baghdad. Given Baghdad's significance, poets and writers have paid special attention to the city, not only describing its characteristics but also using it as a backdrop for rhetorical techniques, artistic creativity, and the creation of themes and figures of speech. This article aims to show how Persian poets and writers have referenced Baghdad in their works, what artistic innovations it inspired, and why this city appears so frequently in Persian literature.   Baghdad in Persian Literature The Word "Baghdad" Sometimes, poets create beautiful expressions through the word and root of "Baghdad" by using similes and compound puns. What is significant in such imagery is that Baghdad, in these cases, becomes the object of comparison in the structure of the simile, which itself indicates the importance of Baghdad. Another noteworthy point in such instances is the implicit reference to the Persian origin of the word "Baghdad" (Nizami, 2004: 2/308; Khaghani, 2014: 355, 929; Rumi, 2021: 156). The fame of Baghdad has led to the creation of proverbs and idioms, which have sometimes arisen due to Baghdad’s remarkable prosperity, its economic turmoil at certain times, and the absolute rule of the Islamic caliphs. Examples include: “Decreasing the basket from Baghdad” (Nizami, 2004: 1/229; Rumi, 2021: 276), and "The Marvel of Baghdad" (Dehkhoda, 1998, under "The Marvel of Baghdad"). At other times, poets and mystics, considering the scientific and spiritual importance of Baghdad, have created subtle metaphorical and figurative expressions about the city. The following are examples: “Baghdad of immortality / Baghdad of the soul” (Khaghani, 2014: 447 and 453), “Baghdad of the world” (Rumi, 2021: 331, 245, 222; Nizami, 1983: 617), and “Baghdad of beauty” (Rashiduddin Watwat, 1940: 321).   Descriptions of Baghdad Praise of Baghdad In general, Baghdad appears in literary texts from two perspectives: it has both been praised and criticized, a phenomenon that is also seen in Arabic literature (Hamavi, 2018: 1/460-467). In Persian literature, in addition to the scattered descriptions of Baghdad, some poets have independently praised the city or composed elegies for it (Anvari, 1985: 111–115; Khaghani, 2014: 804, 950–953; Saadi, 2006: 983 and 1139). Often, the poets' praise of Baghdad is found in their longing and desire to go there (Khaghani, 2014: 2, 866, 804; Saadi, 2006: 762). Criticism of Baghdad Some of the criticisms of Baghdad are based on religious and ideological beliefs, while others reflect perspectives on the situation and condition of the city and its people at certain points in history. As a result, contrasting views about Baghdad are evident. For example, in some sources, the people of Baghdad are praised for their nobility and chivalry (Qushayri, 2009: 409; Attar, 2020: 144; Ibn-Jawzi, 1963 AH: 31), while others accuse them of injustice and stinginess (Al-Buhturi: n.d.: 1/460; Khaghani, 2014: 851, 875, 927, and 928). The first view, based on mystic thought, refers to a time when the values of chivalry and nobility flourished in Baghdad. The second view may indicate a period when the people of Baghdad, due to reasons such as famine and economic turmoil, were unable to demonstrate selflessness or sacrifice. Sometimes, this criticism is also attributed to narrative sources (Ibn-Jawzi, 2963 AH: 5). For instance, the soil of Baghdad was considered part of usurped endowments (Al-Khatib al-Baghdadi, 2011: 1/34-50; Majlisi, 2023 AH: 5/279 and 14/211). The Representation of Mystical Concepts from Baghdad Speech, Mysticism, and Islamic Knowledge Baghdad was the most important city for the emergence of interactions and confrontations between Islamic sects. The caliphs' interest in scientific discussions, the establishment of the scientific institution "Bayt al-Hikma" by the Abbasid Caliph Al-Ma'mun, and the founding of the "Nizamiyah" school by Khwaja Nizam al-Mulk Tusi, as well as the caliphs' attention to theological and doctrinal debates, all contributed to the city's intellectual prosperity (Zarrinkoub, 2013: 438). These theological ideas are reflected in various forms in Persian mystical literary texts (Attar, 2020: 253; Hujwiri, 2019: 178 and 232). The names of famous mystics from Baghdad and their teachings are prominently featured in Persian mystical literature (Attar, 2020: 454; Rumi, 2021: 919). The Wise Madmen of Baghdad The stories of the "wise madmen" originated in Baghdad itself. Bahlool (died 190 AH) was one of the most prominent figures of this group from Kufa and Baghdad, and the term "Bahalil" for the wise madmen reflects the connection to the Baghdad-based Bahlool. The stories of these figures are frequently found in mystical literature, particularly in the works of Attar of Nishapur (Attar, 1394: 206, 238, 281). Representation of Baghdad's Locations The Markets of Baghdad The geographical position of Baghdad, along with its active inhabitants and the encouragement of trade by the government and the prestige of the caliphate, soon turned the city into a major commercial center (Duri, 1996: 21). Baghdad's markets, with their vastness, likely had many names (Ibn-Jawzi, 1963 AH: 32), but the only market specifically mentioned in Persian literary texts is the "Souq al-Thulatha" (Khaghani, 2014: 26; Attar, 2007: 127; Qatran Tabrizi, 1983: 414). Occasionally, the fires in these markets are reflected in Persian literary texts (Attar, 2020: 489, 337, 338, 228; Saadi, 2006: 334). The Tombs of Baghdad For information on the number of schools, mosques, baths, and tombs in Baghdad, one should refer to "The History of Baghdad" by Al-Khatib al-Baghdadi and "The Virtues of Baghdad" by Ibn-Jawzi. Among these, the name "Shuniziyah" stands out more prominently in Persian texts (Khaghani, 2014: 39). Shuniziyah, or Shuniziyyah, was a neighborhood on the western side of Baghdad, which had a famous cemetery, as well as a mosque and a khanqah (Sufi lodge). Many mystics are buried there (Hamavi, 2018 AH: 3/374; Ibn-Jawzi, 1963 AH: 29). Shuniziyah is most often mentioned in connection with Sufism and mysticism in Persian mystical literature (Qushayri, 2009: 299, 142; Hujwiri, 2019: 189, 473). Neighborhoods of Baghdad Baghdad had many neighborhoods, several of which are mentioned by name in Persian literature, including "Karkh," "Hilla," "Faludhaj," and "Bab al-Taq." Among these, Karkh has the most prominent mention. Karkh was one of the prosperous districts of Baghdad, founded by Shapur Dhul-Aktaf. In addition to its beauty, Karkh was also one of the famous commercial areas of the city (Khaghani, 2014: 355, 950; Farrokhi Sistani, 1966: 38; Fakhruddin Gurgani, 1998: 220; Nizami, 2004: 2/175; Sana'i, 1986: 427, 682). The Rivers of Baghdad The Tigris River, the famous river of Baghdad, has a high frequency of mention in Persian literature and has served as a source of inspiration for many poetic themes and motifs. In Persian literature, exaggeration is often used to show the abundance of something, such as comparing or likening wine and tears to the waters of the Tigris (Sana'i, 2009: 804; Hafez, 2008: 226). Some poets, based on their philosophical views and for the sake of honor, have created more allegories based on the Tigris (Saadi, 2006: 469 and 245). Leisure and wine-drinking by the banks of the Tigris in Baghdad are other instances of the river’s reflection in Persian literature (Anvari, 1985: 111-115; Khaghani, 2014: 927 and 928; Mu'izzi, 1318: 479; Hafez, 2008: 357).   Conclusion The close connection between Baghdad and Iran (Persian Iraq) has led to the blending of cultures and languages between the two. The most significant representation of Baghdad in Persian literature appears up until the 7th century AH, that is, until the fall of Baghdad. The word "Baghdad" has manifested in Persian literary works in the forms of puns, congruence, allegory, metaphor, and symbolism. Sometimes, Baghdad has been described in Persian literature both positively and negatively. The descriptions of titles and names of Baghdad, chivalry, the beautiful youth of Baghdad, and the poets' affection for it are part of the positive portrayal of Baghdad. The spread of social crimes due to famine, internal chaos, and the confiscation of land has contributed to the negative depiction of Baghdad. Since Baghdad was a hub of knowledge, learning, and mysticism, this has increased its fame. However, one must not ignore the presence of the mentally ill and the asylums of Baghdad. At times, we see Baghdad's representation with its close ties with the Caliphs. The Caliphs of Baghdad played a major and decisive role in all aspects and affairs. On other occasions, the markets, tombs, bridges, neighborhoods, and rivers in Baghdad have contributed to the themes and manifestations of Baghdad in Persian literature. In some instances, many of the perspectives about Baghdad in Persian literature are translated from Arabic literature.   References Ibn Jawzi, Abu'l-Faraj Abdulrahman ibn Ali (1963) Manaqib Baghdad. Edited by Mohammad Bahjat al-‘Athari. Baghdad: Dar al-Salam. Anvari, Ali ibn Mohammad (1985) Divan. Edited by Saeed Nafisi, 3rd edition. Tehran: Seke-Pirouz Publications. Buhturi, Abu Abada (Undated) Diwan al-Buhturi. Volume One. Edited by Umar Faruq al-Tabba. Beirut-Lebanon: Dar al-Arqam. Hafez, Shams al-Din Mohammad (2008) Divan of Hafez. Edited by Mohammad Qazvini and Qasim Ghani. Edited by Abdul Karim Jorbozedar. 7th edition. Tehran: Asatir. Hamavi, Yaqut ibn Abdullah (2018 AH) Mu'jam al-Buldan. Volume One. Beirut: Dar al-Sadr. Khaghani, Afzal al-Din (2014 AH) Divan Khaghani Shirvani. Edited by Ziya al-Din Sajadi. 11th edition. Tehran: Zawar. Khatib Baghdad, Abu Bakr Ahmad (2011) History of Baghdad. Volume One. Research by Mustafa Abdul Qadir Ata. 3rd edition. Beirut: Dar al-Kutub al-‘Ilmiyyah. Duri, Abdul Aziz et al (1996) Baghdad: Several Articles on History and Historical Geography. Translated by Ismail Dolatshahi and Iraj Poroshani. Tehran: Foundation of the Encyclopedia of Islamic Studies. Dehkhoda, Ali Akbar (1998) Lughatnama. Tehran: University of Tehran. Zarinkoub, Abdolhossein (2013) History of Iran after Islam. 15th edition. Tehran: Amirkabir. Saadi, Mosleh ibn Abdullah (2006) Kulliyat Saadi. Edited by Mohammad Ali Foroughi. Tehran: Hermes. Sana'i, Majdood ibn Adam (2009) Diwan. Edited by Mohammad Taghi Modarres Razavi. 7th edition. Tehran: Sana'i. Shafi'i-Kadkani, Mohammadreza (2007) Tasting the Flavor of Time: From the Mystical Heritage of Abu Sa'id Abul-Kheir. 2nd edition. Sokhan: Tehran. Sabi, Hilal ibn Mohsen (2018) Rousoom Dar al-Khilafah (The Role of Iranian Rituals in the Islamic Caliphate System). Edited by Mikha'il Awad. Translated by Mohammadreza Shafi'i Kadkani. Tehran: Karnameh Publishing. Tabari, Mohammad ibn Jarir (1990) History of Tabari: History of the Prophets and Kings. Volume 11. Translated by Abul Qasem Payandeh. 3rd edition. Tehran: Asatir. Attar, Farid al-Din Mohammad (2015) Ilahiyatnama. Edited by Mohammadreza Shafi'i Kadkani. Tehran: Sokhan. Rumi, Jalal al-Din Mohammad (2021) Kulliyat Shams. Edited by Badie' al-Zaman Forouzanfar. 4th edition. Tehran: Hermes. Nizami, Elyas ibn Yusuf (1983) Divan. Edited by Saeed Nafisi. 5th edition. Tehran: Foroughi. Hujwiri, Ali ibn Osman (2019) Kashf al-Mahjub. Edited by Mahmood Abedi. 11th edition. Tehran: Soroush.  http://literature.ihss.ac.ir/Article/45152Baghdad Persian poetry and literature Arabic literature Islamic and Iranian culture. perInstitute of Humanities and Social Studiesپژوهش زبان و ادبیات فارسی1735-10302821-03952025-0322736590articleAnalysis and Study of Folk Culture in the Ghazals of Hamed Asgari with an Emphasis on the Manifestations of the History and Culture of Kermanhojjat allah omidaliomidsu@gmail.com1f Soltanih-omidali@araku.ac.ir2Zahra Al-Sadat Sebt al-Nabi zahra298sebt@gmail.com3Assistant Professor, Department of Persian Language and Literature, Arak University, Iran.Associate Professor, Department of Persian Language and Literature, Arak University, Iran.M.A Student in Persian language and literature, Arak University, Iran.Every literary work, in addition to being the result of the artistic and mental power of the poet/writer, is also influenced by the collective awareness and social class of the creator of the work and contains various signs of their society and culture. By studying literary works, one can discover the cultural, social, and political relationship of those works with society and their overt and hidden ideologies. The ghazals (lyrical poems) of Hamed Asgari, a contemporary poet from Kerman, are considered one of the linguistic and cultural showcases of the people of Kerman. The signs of identity and localism in his poetic language express the poet's attachment to Kerman and the customs and traditions of its people. This research, by examining the local and identity-based signs in the ghazals of this contemporary poet, seeks to answer the question: What impact have the identity and local signs in Hamed Asgari's ghazals had on the language of his poetry and his poetic imagery? The research method is descriptive-analytical, and it examines two collections of Hamed Asgari's poetry. The analysis of the beautiful imagery and the attractive and novel thematic creations of this contemporary ghazal poet, with a focus on the elements and manifestations of the nature of Kerman, historical events and disasters, the use of Kermani proverbs, and references to the customs and traditions of the Kermanis, are among the most important results of this research. Keywords: Persian poetry, contemporary ghazal, Hamed Asgari, folk culture, and Kerman.   Extensive Abstract Introduction Language is one of the main components of identity and reflects the identity of the people of a country. The diversity of structure and norms influences the mental and linguistic mechanisms of the poet, and it is through attention to the interactions and confrontations of dialogues that we become familiar with the process of the formation of their mind and language. The creator of a work utilizes specific vocabularies and structures and follows a particular pattern of thinking and ideology. It is this ideology that determines the way of using linguistic forms, and it can be said that the linguistic choices of the writer are a reflection of these variables. Linguistic forms are not freely chosen, but the conditions of choice, such as the dominant discourse, the writer's background knowledge, their sociocultural knowledge, and so on, influence the linguistic forms in literary texts. Hamed Asgari's ghazals (lyrical poems) have a strong connection with his place of residence and the customs and traditions of that region. Any attentive and sensitive reader can sense this characteristic when reading his poetry. The poet's special attention to the living environment and the specific customs of Kerman has endowed his poetry with a unique atmosphere, imagery, and emotion.   Research Questions and Methodology The main issue of this research is the manner and reason for the manifestation of these specific identities and local components of Kerman in Hamed Asgari's ghazals, for which we seek to answer the following questions: 1) What are the most important identity and local components in Hamed Asgari's ghazals? 2) How have these components given distinction to his poetry? The present research method is descriptive-analytical, and the statistical population of this research is two collections of Hamed Asgari's ghazals titled "Khanoomi ke shoma bashid" and "Sormeie."     Discussion Hamed Asgari's attachment to Kerman has a unique brilliance in his poetry, to the extent that Kerman and its historical capitals are manifested in his ghazals (lyrical poems) with a blend arising from love, Geography, history, social systems, the customs of the people, and the beliefs in the folk traditions of the Kermanis are expressed in his poetry based on a delicate interpretation, yet intertwined with a particular sense of alienation. The natural events and the atmosphere of Kerman have greatly influenced Asgari's refined and perceptive nature, and the poet has displayed his harmony with the joys and sorrows of the people of Kerman in his ghazals. The manifestations of the culture of Kerman in his poetry are discussed under four main axes: nature and the region, historical events and incidents, customs and folk beliefs, and proverbs. Nature and the Region: As the birthplace and nurturer of Hamed Asgari's identity attachments, Kerman is replete with historical, bitter, and sweet memories. In his ghazals, the beauties of the nature of Kerman are often used as a background for expressing the poet's emotions and thoughts. It can be said that Asgari has poured Kerman into his poetry, to the extent that they are inseparable. The palm tree and date, one of the native elements of the climate and environment of Kerman, have a high frequency in Hamed Asgari's poetry. Another manifestation of the nature of Kerman in Asgari's poetry is the village and its concomitants. The beauty of the natural environment of the village and the sweet memories of childhood are prominently displayed throughout his poems. Historical Events and Incidents: Historical events and natural incidents are one of the main sources of the literature of every nation. The Bam earthquake, one of the most painful natural disasters, which devastated the 2,500-year-old city of Bam in the early hours of December 26, 2003, has been deeply embedded in Hamed Asgari's mind and language, and he has referred to it in various parts of his poems. The conquest of Kerman by Agha Mohammad Khan Qajar in 1793 AD and the removal of twenty thousand pairs of eyes in the main square of the city, and the atrocities committed by this ruthless Qajar king against the people of this region, are among the most horrific events that human history has witnessed. This painful incident has repeatedly led to the creation of novel themes and imagery in the poet's imaginative workshop. Customs, Folk Beliefs, and Proverbs: Folk beliefs in Hamed Asgari's poetry have provided the foundation and support for his literary arguments. The poet utilizes culture and folk literature to make his speech more concrete and more appealing while bringing the general realm of his poetry closer to the lives of the people, and at the same time, preserving the beliefs and convictions of the people. One of the customs mentioned in Hamed Asgari's poetry is the practice of bidding farewell to a guest with water, a mirror, and the Quran, which is observable everywhere in the country. One of the beliefs found in the folk culture is the connection between the arrival of a guest and certain events and occurrences. Use of Proverbs: Proverbs are a mirror to reflect the folk culture that carries the semantic and experiential load of nations and represents the thoughts and mentalities of each nation. Sociologists can discern the spiritual and moral characteristics of a society through this avenue. Proverbs are the point of connection between formal and oral literature. Hamed Asgari pays a great deal of attention to proverbs and has incorporated them into the folds of his poems, and through a simple and beautiful interaction with them, he has made the language of his poetry simple and intimate.   Conclusion The identity and local elements in his ghazals (lyrical poems), while creating an artistic image, have provided the groundwork for logical reasoning in his poems to support the subject matter and imagery, and enable him to convince the audience. The linguistic-cultural manifestations of Kerman in his ghazals can be examined and analyzed in four parts. One of the identity and local markers in his ghazals is the description of the nature of Kerman and its various aspects. Date palms and palm trees are the central core of Asgari's descriptions of the nature of Kerman. He has beautifully depicted his love and devotion to the village and its people, which enriches the convincing power of the poem and serves as evidence for the poet's claim. Another identity and local marker in the poems of this Kermani ghazal writer is the reference to the historical events and incidents of his birthplace. He mentions the historical events and natural and social calamities of Kerman in his poems, and through this, while reviewing the history of his homeland, he creates images and themes that evoke the audience's sense of empathy. Referring to the customs and traditions of the people of Kerman and their folk beliefs is another aspect of identity and locality in Hamed Asgari's ghazals. In depicting the native beauties of Kerman, he draws from the spirit and soul of the lover. One of the reasons for using popular beliefs and convictions in his poetry is to provide reasoning, support, and a basis for justifying and explaining the poetic statements. The use of proverbs related to Kerman is another local and identity marker in Hamed Asgari's ghazals. Any reader, by reading his poetry and his proverbs, realizes that this poet is well-acquainted with the culture and customs of Kerman.   References Eshaghi, Zahra and Hanie Ahrrabi Arghachin (2021) "Rhetorical Criticism of the Poems in the Book Sormehei by Hamed Asgari," The First National Conference on Rhetoric and Literary Theory. (In Persian) Oskuyi, Narges (2015a) "The Impact of Folk Culture on Formal Poetry," Quarterly Journal of Persian Language and Literature Research, No. 39, pp. 1-22. (In Persian) ------------------- (2015b) "Explanatory Styles of Khorasani Style Poets," Journal of Poetry Research, No. 23, pp. 29-48. (In Persian) Esmaeili, Ali (2015) "Ethnographic Study of Beliefs, Customs and Folk Culture in Kerman Province", Proceedings of the International Conference on Research in Behavioral and Social Sciences, Turkey, pp. 321-360. (In Persian) Afrashi, Azita (2011) "New Trends in Research in Cognitive Semantics," Journal of Researchers, No. 23, pp. 127-129. (In Persian) Akbari, Abbas and Ali Sadeqi Taheri (2014) "Comparative Study of Kerman and Mashhad Ceramics in the Safavid Period and the Extent of their Influence from Chinese Art," Quarterly Journal of Negare, No. 29, pp. 75-87. (In Persian) Al-Taei, Ali (1999) Ethnic Identity Crisis in Iran, Tehran, Shadegan. (In Persian) Omidali, Hojjatollah and Fatemeh Soltani (2023) "Fasting and Ramadan in the Romantic View of Some Persian Language Poets," Literary School Research Journal, No. 21, pp. 135-165. (In Persian) Pournama Arian, Taqi (2002) Traveling in the Fog, Tehran, Negah. (In Persian) Pirnia, Hassan and Abbas Eghbal Ashtiani (2009) History of Iran, Tehran: Behzad. (In Persian) Tamimi Dari, Ahmad (2014) Folk Culture, Tehran, Mahkameh. (In Persian) Jafari Jazi, Masoud (1999) The Course of Romanticism in Europe, Tehran, Markaz. (In Persian) Hosseini, Hashemi and Mansurah Chāboksār (2020) "Analysis of the Form and Decoration of Hookah Vases in the Safavid Era", Biannual Journal of Islamic Art Negarine, Autumn and Winter, No. 20, pp. 169-187. (In Persian) Zolfaghari, Hassan (2007) "Iranian and Religious Identity in Persian Proverbs," National Studies Quarterly, No. 30, pp. 27-52. (In Persian) Rahimi, Mansour, and Seyyed Ahmad Parsa (2021) "Reflection of the Components of the Study of Cultural and Discursive Backgrounds of Identity Formation in the Poetry of Oghab Khanari," Journal of Poetry Research, No. 49, pp. 157-174. (In Persian) Rouhani, Masoud and Mohammad Enayati (2010) "National Identity Article: Components of National Identity in Contemporary Poetry (Case Study: The Poetry of Mohammad-Reza Shafi'i Kadkani)," National Studies Quarterly, 11th year, No. 2, pp. 42-66. (In Persian) Sebt-ul-Nabi, Zahra Sadat (2022) Stylistics of Hamed Asgari's Ghazals, Master's Thesis, supervised by Hojjatollah Omidali and Fatemeh Soltani, Department of Persian Language and Literature, Faculty of Literature and Languages, Arak University. (In Persian) Shafi'i Kadkani, Mohammad-Reza (2012) Poetic Imagery in Persian Poetry, Tehran, Agah. (In Persian) Sadeqi-Givi, Maryam and Bahare Parhizkari (2011) "Explaining the Components of Traditional and Modern Woman's Identity in the Poetry of Parvin E'tesami," Quarterly Journal of Persian Language and Literature Research, No. 20, pp. 207-227. (In Persian) Asgari, Hamed (2016) The Lady You Are, Karaj, Shani. (In Persian) ------------------ (2020) Sormehei, Tehran, Nimazh. (In Persian) ------------------ (2022) Godar (Memoirs of a Sixties Decade), Tehran: Mehrestan. (In Persian) Goodarzi, Hossein (2004) "National Identity in the Poetry of Pazhman Bakhtiari," National Studies Quarterly, 5th year, No. 4, pp. 20-44. (In Persian) Mahjoub, Mohammad-Ja'far (2007) Iranian Folk Literature, edited by Hassan Zolfaghari, two volumes, Tehran, Cheshmeh. (In Persian) Mousa-Abadi, Reza and Batool Fakhr-e-Islam (2019) "Reflection of National Identity and its Components in the Poetry of Distinguished Poets of the Constitutional Era," National Studies Quarterly, 20th year, No. 1, pp. 39-61. (In Persian) Nobel, William (2008) Narrative Suspension and Action, translated by Mehrnush Talai'i, Ahvaz, Rash. (In Persian) Waring, Philippa (1992) The Cultural Encyclopedia of the Supernatural, Vol. 1, translated by Ahmad Hajaran, Tehran, Movafagh. (In Persian) Wellek, Rene and Austin Warren (1994) Theory of Literature, translated by Ziya Movahhed and Parviz Motehari, Tehran, Elmi-Farhangi. (In Persian)  http://literature.ihss.ac.ir/Article/45999Persian poetry contemporary ghazal Hamed Asgari folk culture and Kerman.perInstitute of Humanities and Social Studiesپژوهش زبان و ادبیات فارسی1735-10302821-03952025-03227391119articleComparative evaluation of the undergraduate curriculum of Persian language and literature in Afghanistan universities with Iran universitiesAbdul Warah Mohammadiwarahmohammadi68@gmail.com1ahmad raziahmadrazi9@gmail.com2 Mohammad Ali KhazanehdarlouKhazaneh@guilan.ac.ir3Ph.D. Student in Persian Language and Literature, University of Guilan, Iran. warahmohammadi68@gmail.comProfessor, Department of Persian Language and Literature, University of Guilan, Iran.Associate Professor, Department of Persian Language and Literature, University of Guilan, Iran.Comparative evaluation of the undergraduate curriculum of Persian language and literature in Afghanistan universities with Iran universities   Abdul Varah Mohammadi<a href="#_ftn1" name="_ftnref1">*</a>  Ahmad Razi<a href="#_ftn2" name="_ftnref2">**</a>  Mohammad Ali Khazaneh Darlu<a href="#_ftn3" name="_ftnref3">*</a>**   Curriculum is one of the pillars of successful education at different educational levels. Taking advantage of the experiences of different country's educational systems can lead to the qualitative improvement of the curriculum. In this research, using "Hilda Taba's" seven elements of curriculum planning, the undergraduate curriculum of Persian language and literature of Afghanistan universities was compared with the curriculum of Iranian universities, its weaknesses and strengths are shown, and suggestions for improvement of the curriculum of Afghanistan universities were provided. The present comparative study shows that despite the updates in the year 2022, this program, as it deserves, the student's educational, cultural, and social needs have not been met and has many weaknesses such as not paying attention to the realistic needs assessment, weakness in targeting, not predicting the method of evaluation and revising the topics, not paying attention to the student's practical skills, little attention to the literary prose and prose text, lack of elective units, lack of workshop units, lack of attention to contemporary literature, lack of attention to literary creation, lack of attention to the needs of the job market of this field, lack of resources introduced for lessons, lack of attention to advanced teaching methods and lack of attention to interdisciplinary courses. Keywords: comparative criticism, teaching planning, Persian language teaching, Hilda Taba, and Persian literature.   The curriculum is one of the important elements of the academic education system, based on which education is predicted and offered to students step-by-step. The curriculum specifies which skills students should acquire during their studies and which knowledge and behaviors they should learn; therefore, modernizing and updating the curricula of educational centers is one of the urgent necessities of any educational institution. In addition to the curriculum, textbooks, professors, and students are the main pillars of the university education system, and paying attention to them is important to improve the quality of the university education system. Comparative studies, or the examination of curricula in comparison with the curricula of other countries, pave the way for the modernization of the curriculum and keep the educational system in line with new changes and transformations by identifying the highlights and new experiences of others and increasing the efficiency and effectiveness of the curricula. Each country follows different paths and specific routes to achieve the defined goals of the curriculum. Recognizing the paths taken and the experienced ways is achieved through the comparison of the two curricula. Comparing the content of the curriculum can help to identify the strengths and weaknesses of the curricula. By examining the course titles, textbooks, teaching methods, and educational content, the scientific level and quality of education of the two countries can be evaluated. This comparison helps to identify successful teaching methods and educational programs in other countries and to use them in their own country. Therefore, comparison is necessary to improve the quality of the curriculum and is an important element of needs assessment. Comparative studies of curricula between two countries can contribute to improving the quality of education, developing innovation, strengthening international cooperation, adapting to the needs of society and the labor market, cultural and social impacts, increasing transparency and accountability, strengthening national and cultural identity, improving evaluation methods, professional development of professors, promoting international competitiveness, developing effective educational policies, diversity in educational programs, improving teaching methods, developing vocational and technical education, improving continuing education and lifelong learning, developing educational justice and reducing educational inequalities, improving informal and extracurricular educational programs, developing digital and online education, developing environmental and sustainable education programs, and improving educational programs for the development of life skills. The Persian Language and Literature Department of Afghanistan’s universities has been active since 1944 and made remarkable progress between 1949 and 1956. However, due to stagnant content and a lack of systematic needs assessment in the curriculum over the past decades, it has lost its necessary quality. The employment rate of graduates in this field is lower compared to other fields, and the scientific-specialized capacity of graduates is not satisfactory. The student admission score in this field is lower than in many other fields. The production of science and applied research in the field of literature in this country is very insignificant. The identity crisis of students in this field among other students is an important issue, and the scope of feeling inferior about being a literature student is becoming wider and wider every day. Because "when we have a negative view of the role we play, we simultaneously dislike ourselves. When we see that others do not have a positive evaluation of the role we have, or consider it an insignificant role, we imagine that our existence is not important, we feel 'inferiority'" (Rajabzadeh, 1384: 103). Therefore, it is necessary to critique and examine the curriculum and some of the course titles of the bachelor's degree in Persian Language and Literature in Afghanistan in comparison with the curriculum and course titles of the Persian Language and Literature program in Iran, and to highlight its gaps and shortcomings, and to provide useful suggestions and solutions to update the curricula of Afghan universities, so that by correcting and updating it, the Persian Language and Literature program in Afghanistan can regain its necessary quality, more literary knowledge can be produced, and graduates of this field can better learn the expected knowledge, skills, and behavior. The method of data collection is library-based and the research method is descriptive-analytical, which is carried out with a critical and comparative approach, and the type of research is documentary. This research is applied because it addresses the medium-term and short-term needs for reforming the curriculum of Afghan universities and its goal is to prepare, compile, or improve a new curriculum. This research is carried out based on the elements of Hilda Taba's curriculum, and the collected data are classified and processed by the content analysis method. In this research, an effort is made to collect information related to the curriculum content of both countries in the form of tables and texts, and following the research questions, both curricula are analyzed. The logic of selecting and arranging the course units, as well as the goals of the two curricula, are compared with each other and evaluated by the new curriculum planning theories, and finally, the gaps and shortcomings of the Afghan curriculum are revealed, and an effort is made to provide constructive suggestions for preparing a comprehensive and complete program for the bachelor's degree in Persian Language and Literature at the University of Afghanistan. Among the specific objectives of this research are describing the current state of education in this field in Afghan universities, evaluating the curriculum of this field in comparison with the curriculum of Iranian universities, identifying the new needs of the labor market for this field, and laying the groundwork for creating change and transformation in the education of this field, so that its graduates can meet those needs of society that are related to this field. Iran and Afghanistan are two major spheres of influence on the Persian language, and the people of these two countries, in addition to being neighbors, have deep and extensive cultural ties. Therefore, a comparative study of their curricula can lead to the evaluation and presentation of realistic suggestions. The results of this research show that the existing curriculum in this field cannot meet the educational, cultural, and social needs of the students and improve their skills so that after graduation they can be absorbed into the labor market with the necessary skills. This curriculum is also not able to cultivate the talent of creating literary works in learners and empower them to understand, interpret, and analyze the texts of Persian literature. Since this curriculum is not for the needs of society and the labor market, if its graduate is employed in government offices, private organizations, etc., the employer is forced to re-educate the mentioned graduate and familiarize them with the work conditions and environment. Currently, the most important shortcomings attributed to the curriculum content of Afghan universities are expressed as follows: lack of attention to literary creation, a purely knowledge-based approach to course content, lack of flexibility and variety in content, mismatch of content with the goal, lack of attention to the needs of society, lack of attention to the quality of content, lack of review of course content, lack of student participation in content selection, one-dimensionalization of learning resources, lack of entrepreneurship approach in content, lack of attention to learning experiences, and so on. The textbooks for the bachelor's degree in Persian Language and Literature in Afghanistan also have many problems and issues: many of the textbooks are not in accordance with the curriculum; and do not have the characteristics of a suitable textbook (see Razi: 1388); the most important shortcomings of most of them are: not being comprehensive in content, not having content continuity, not having coherence of topics, not posing thought-provoking questions, addressing marginal explanations, little attention to systematic analysis and critique of texts, and... The most important weaknesses of the new curriculum of this field in Afghan universities are: the large number of course units, so that the student takes 23 more units compared to Iranian universities; little attention to text reading, including prose and poetry texts, so that only seven and a half percent of the courses are dedicated to this, while at least 29 percent of the courses in Iranian universities are made up of prose and poetry texts, so that this number reaches 46 percent in the field of literary texts; little attention to contemporary literature and focus on classical literature; little attention to teaching Arabic, which is effective in understanding classical literary texts; lack of workshop courses, which leads to the weakness of the graduates' skill ability; little attention to interdisciplinary courses such as comparative literature, narratology, literature and media, etc.; weakness of textbooks commensurate with the goals and syllabus of the courses; few optional units; little attention to advanced teaching methods; excessive attention to ideology in determining course units; little attention to applied courses; seeing the goals of the program as broad, so that achieving all of them at the bachelor's level does not seem possible. References Afshari, Gholamhossein (1390/2011-2012). Fundamentals and Principles of Educational and Curriculum Planning. Mashhad: Payam Kalidar. Fathi Vajargah, Kourosh (1386/2007-2008). "Evaluating the Quality of University Curriculum (A Case Study of the Adult Education Curriculum)," Curriculum Studies Quarterly, No. 5, pp. 1-26. Maleki, Hassan (1398/2019-2020). Introduction to Curriculum Planning. Tehran: Organization for the Study and Compilation of Humanities Books of Universities (SAMT). Ministry of Higher Education (1401/2022-2023). Curriculum for the Bachelor's Degree in Language and Literature at the Universities of Afghanistan. Kabul: Directorate of Scientific Publications. Ministry of Higher Education, (1390/2011-2012), Guideline for Curriculum Modernization and Development for Universities and Higher Education Institutions, Department of Information and Scientific Publications. Ministry of Science, Research and Technology (1391/2012-2013). Curriculum for the Bachelor's Degree in Persian Language and Literature in Three Areas: Literary Skills, Literary Techniques, and Literary Texts. Mousapour, Nematollah (1391/2012-2013). Fundamentals of Secondary Education Planning. Mashhad: Behnashr Company. Nikmanesh, Mehdi (1389/2010-2011). "Critique and Review of the Conference on Curriculum Revision in Persian Language and Literature," Book of the Month Literature, No. 45 (Consecutive No. 159)pp. 47-54. Rahiab, Homayoun, et al. (1402/2023-2024). "Explaining the Evolution and Revision of Higher Education Curricula in Afghanistan from 1381-1400 (2002-2021)", Theory and Practice in Curriculum, No. 22, pp. 487-515. Rajabzadeh, Ahmad (1384), Sociology 1, Tehran: Iranian Textbook Publishing Company Razi, Ahmad (1388) "Indicators for Evaluating and Critiquing University Textbooks," Sokhan-e-Samt, No. 21, pp. 21-30. Taba, H (1962) curriculum development: theory and practice. New York: Harcourt, Brace & world. Yarmohammadian, Mohammad Hossein (1393/2014-2015). Fundamentals and Principles of Curriculum Planning. Tehran: Yadvareh Ketab.     <a href="#_ftnref1" name="_ftn1">* </a>Ph.D. Student in Persian Language and Literature, University of Guilan, Iran. warahmohammadi68@gmail.com <a href="#_ftnref2" name="_ftn2">** </a>Corresponding Author: Professor, Department of Persian Language and Literature, University of Guilan, Iran.  razi@guilan.ac.ir <a href="#_ftnref3" name="_ftn3">*** </a>Associate Professor, Department of Persian Language and Literature, University of Guilan, Iran. Khazaneh@guilan.ac.irhttp://literature.ihss.ac.ir/Article/46503comparative criticism teaching planning Persian language teaching Hilda Taba and Persian literature.perInstitute of Humanities and Social Studiesپژوهش زبان و ادبیات فارسی1735-10302821-03952025-032273121148articleA Critique of “The Imagist Historian or Formalist Poet”Mehrdad Zareimehrdadzarei990@yahoo.com1moslem ahmadizmahmady@yahoo.com2Ph.D. Student of Persian Language and Literature, University of Kharazmi, Iran.Assistant Professor, Department of Persian Language and Literature, Officers' University of Imam Ali, Iran.Mohammad Reza Shafi'i Kadkani is one of the prominent poets of contemporary literature who has numerous research works in various fields of literature and mysticism. One of Shafi'i Kadkani's multifaceted personalities is a poet who has a significant place in contemporary Persian poetry. Shafi'i is a thinker and Poetologist, and these two characteristics have given his poetry richness of form and content, which has turned it into an interesting subject for the study of various dimensions. The latest book written in the field of Shafi'i Kadkani's poetry is “The Imagist Historian or formalist poet”. Despite the efforts of the author of this book to present a new reading of Shafi'i's poems, his authorship has serious flaws. In the following article, with the method of critical analysis, the problems of this book are discussed in four categories: "ambiguous interpretations", "wrong statements", "misunderstandings and incorrect interpretations" and "unhelpful explanations". In the end, it is clear that the lack of scientific obsession in writing the content and the author's misunderstanding of the signs in Shafi'i's poems have caused significant mistakes to be seen in the text of the book.   Keywords: book criticism, the Imagist historian or formalist poet, M. Sereshk, misinterpretations, critical analysis.   Introduction One of the oldest indigenous knowledge of Iran has been the research in the field of poetry and literature, which was mainly limited to a few specific parts, but today intellectual developments have opened new horizons for literary researchers and the scope of research in this field has become wider. With the pathologists of literary research, it can be understood that not being familiar with the principles of research, haste, and lack of scientific obsession have caused a significant part of these researches to not have correct and efficient results. The book of the Tarikhnegāre Tasvirgārā yā Shāere formalist (the Imagist historian or formalist poet) is one of those studies where the author did not use the necessary seriousness and scientific obsession in compiling its contents, and for this reason, significant mistakes are visible in its text. In this article, this book has been criticized for the method of critical analysis.   Research Background The book in question has already been criticized in the article "A Methodological Critique of “The Imagist Historian or Formalist Poet”", which only criticized the book's research method. This article has carefully examined the three approaches used in the book. According to the results of this research, the author of the book in question made mistakes in using all three main approaches of the work and did not have a complete and correct understanding of the methods he used. The following article is a kind of continuation of the mentioned article, and It deals with the content of the book.   Theoretical framework The method used in this article is "critical analysis". Critical analysis is a detailed examination and evaluation of the ideas or findings of a text, which is done by analyzing and validating its different parts. The truth or falsity of the propositions put forward by researchers can only be determined by their critical evaluation. Data Analysis “The Imagist Historian or Formalist Poet” is a 420-page book in which the author intends to present a historical-sociological critique of the poems of Mohammad Reza Shafi'i Kadkani. In addition to these two approaches, the author devotes a chapter to a discussion of the theory of Russian formalism and also deals with the formalist critique of Shafi'i Kadkani's poems. One of the problems that can be seen in this book in many cases is the existence of ambiguous interpretations and combinations. In some cases, Aali Abbas Abad has used interpretations that he did not provide a specific definition or explain, and it is difficult to understand its meaning from the context of the words; Things like "specific space", "tone", "specific linguistic tools", "internal sociology", "monophonic dialogue", etc. also, in the text of the book, there are sentences that do not seem correct and are unprovable in some cases. The volume of these sentences in the work is impressive. Another problem of the book is the author's wrong interpretations of Shafi'i's poetry and his incorrect interpretations of them. It seems that Aali Abbas Abad did not have a correct understanding of the signs in Shafi'i's poems, and for this reason, in addition to being misunderstood in some cases; he also presented incorrect interpretations of Shafi'i's poems. Although, after the emergence of contemporary "reader-centered" theories, it is now accepted that the path of interpretation in poetry is open, the value and importance of any interpretation is conditional on its degree of adaptability to the requirements and structural system of the text. What Aali has presented does not conform to the signs and structure of the text. Another issue that is noticeable and tangible in the text of the book, especially in its third chapter, is the presence of repetitive content and additional explanations. When reviewing the poems, wherever he encountered a specific name or term, the author gave an extensive description of that name or term, citing various sources. This is while in most cases these explanations and information given do not help to interpret and understand the meaning of that poem.   Conclusion In research, the more verifiable the data and information presented, the more credible and acceptable the research work will be to scientists. The presence of significant wrong statements in the Tarikhnegāre Tasvirgārā yā Shāere formalist shows the lack of scientific obsession and sufficient accuracy in this research. Interpreting poetry requires a thorough understanding of the poetics of poetry and the poet's worldview, a proper understanding of the symbols in the text, and ultimately, mastering the method of interpretation. This has not been done well in the book in question, and for this reason, the poet has misunderstood some of Shafi'i's poems and has also presented incorrect interpretations of his poems. If Aali Abbas Abad had gained a more accurate understanding of Shafi'i Kadkani's worldview by reading his poems more deeply, he would have been able to act more correctly in understanding the poems and their interpretation; because Shafi'i is a poet with a style and a worldview that is widespread in his poems, and can be achieved by reading his poems carefully. 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Sereshk misinterpretations critical analysis.perInstitute of Humanities and Social Studiesپژوهش زبان و ادبیات فارسی1735-10302821-03952025-032273149176articleThe Stylistic Aesthetics of the Poem "Qeisar Aminpour"سردار بافکرs.bafekr@yahoo.com1Ph.D. in Persian language and literature, Shahid Madani University of Azerbaijan, IranThe Stylistic Aesthetics of the Poem "Qeisar Aminpour"   Sardar Bafekr<a href="#_ftn1" name="_ftnref1">*</a>   Qeisar Aminpour is one of the prominent contemporary poets who has created valuable and significant works in various forms of poetry. He has combined the stylistic and rhetorical features of classical and seminal poetry with his poems and has well understood and fulfilled the expectations of today's audience. In this essay, the literary arts that Qeisar Aminpour used in his poems especially and prominently and that play a role in determining his style have been criticized and analyzed. The research is based on using examples of these literary techniques in Aminpour's works and considering the views of experts and the author's perception of these rhetorical arts. The article concludes that the new and innovative thematization, innovative symbols and paradoxes, diverse and pristine defamiliarizations, and other rhetorical innovations of Qeisar Aminpour play a very effective role in the beauty and impact of his words. it is one of the main features of his unique style that completely distinguishes his poems from the other poets.   Keywords: Qeisar Aminpour, literary arts, theme creation, aesthetics, and stylistics.   Extended abstract Qeisar Aminpour, a committed and influential poet after the Islamic revolution, has displayed forms and dimensions of pain, and longing in his poetry. He searches for ideals and lost things such as moral and human values, purity, simplicity, and kindness (Alizadeh and Baghinjad, 1391: 175). At the beginning of the revolution, with the publication of his first works, Aminpour showed abilities that promised the emergence of poetry with new characteristics in the Persian language. With his first works, Qeisar was able to take a step towards perfection and gradually achieve a special poetic mentality and language, to the point where he was considered one of the poets "at the helm of revolutionary poetry" and among the "leaders of his peers". Qeisar Aminpour is one of the few poets who, after the revolution, while tending to classical poetry in the form of sonnets and quatrains, in parallel with the events of the revolution, followed the construction of half-length poetry and wrote poems with new content and simple language. And it is written intimately" (Mohammadzadeh, 1386: 156). Aminpour tends towards classic and established weights in his Ghazals, but new compositions and original images have made his Ghazals beautiful and pleasant. He is also one of the innovators in the field of quartet. His quatrains have new compositions and themes that have an emotional and romantic mood. Qeisar is one of the poets who is one of the followers of Nimas' style in new poetry. His new poems, often have social themes and mental and emotional images, speak of a sharp and deep artistic view. In this article, we have reviewed the new and innovative themes, innovative symbols and paradoxes, and diverse and pristine defamiliarizations of Qeisar Aminpour, which affect determining his style. In this research, for the first time, the paradoxes of Aminpour's poetry have been divided in a new way, and the indicators and criteria for identifying contradictory views of aesthetic content have been explained. The present article provides a method to solve the ambiguity of some ambiguous and widely used paradoxes in Caesar's poetry, which helps understanding many of his poems. Since there is ambiguity in every paradox, this article is a report of the difficulties of Aminpour's poems. For example, the ambiguity of two verses of Qeisar in the contradictory expressions of "the truest permissible" and "certainty of doubt" the reader can easily understand the truth behind the contradictory appearance of these expressions by referring to this article. Therefore, all the materials we brought in this section are new and have not been mentioned in previous research, and it is necessary to conduct independent and detailed research on this matter.   Fresh and innovative theming Qeisar Aminpour's vigilance and precision have made him a theme-finding and insightful poet. His thematization and commenting are not in such a way as to distance him from the realities and allow enigmatic subtleties (like the poets of the Indian style) into his mind and language. His language and expression, while being simple and fluent, have remarkable beauty. In his poetry, Aminpour used a lot of literary arts of simile, metaphor, irony, simile, allegory, good interpretation, exaggeration, etc. It is left to the audience to understand the meaning. The following verse is one of the cases of creating romantic and mystical themes with these literary tricks. It was more colorless than an imaginary point  This blue circle, if it wasn't for love (Aminpour, 2010: 308) In the mentioned verse, the poet has created a theme by using literary techniques, similes, and metaphors.   Creativity and personal symbols Most of the symbols in Qeisar Aminpour's poetry are personal and innovative, which were not seen in Persian poetry before him, and their origin is nature, religious and national beliefs. This has caused the individuality of the poet to appear prominently in his poems. Therefore, Aminpour can be considered an innovator of symbolic constructions. Qeisar considers symbolic play in childhood to be the source of symbolic thinking in adulthood. He believes that "a symbol can be considered as a complex and evolved form of imaginary images that starts from a simple simile and goes to other types of similes, such as compact similes, metaphors, and even mythological allegory until it finally becomes a symbol. Let us conclude that in terms of similarity or interest, it has the most distant relationship with its signifier. If we accept this process of transformation and evolution, we can consider the raw and original material of all these forms of imagination to be the child's play" (Aminpour, 1387: 19). Examples of creative symbols of Qeisar Aminpour: "The train is leaving/ you are leaving/ the whole station is leaving/ and how stupid I am/ that I have been waiting for you/ for years/ standing next to this departing train/ and still going to the railings of the station / I have leane!" (Aminpour, 1390: 7). In the poem above, the "train" is a symbol of life, and the "window" is a symbol of communication with the outside world and a part of a human's ambiguous future.   defamiliarization Familiar words and expressions are the things that are used due to repetition and we automatically react to them. Therefore, habit is effective in making the most beautiful and profound words meaningless, and it should be defamiliarized to gain new recognition. That's why great poets and mystics try to break habits in their creativity. This work is done in Qeisar Aminpour's poetry in different ways, the most important of which are contradictory types of representation (Rahimi and Dehghani, 2016: 181-185). The images resulting from these literary arts are new and innovative, and it is clear that new and innovative themes are more tasteful and mind-blowing than old and repetitive themes.   Stormy calmness The ship of love anchored next to your name Come, your memory is a calm, a storm (Ibid.: 305) The storminess of calmness is a paradox based on irony. Stormy is an allusion to a lot, life-giving and vitality. The ship of love anchored and settled next to your name; Come, your memory gives us great and indescribable peace. In the second stanza, the poet tries to defamiliarize himself with a special artist by using contradictory representation giving his words a new freshness and making the reader wonder.   Paradox The paradoxes of Qeisar Aminpour's poetry can be divided into two categories: content and aesthetic.   Contradictory content view Contradictory content is a word that behind its contradictory and insignificant appearance, a truth opposite to that appearance is hidden. Therefore, the presentation of these facts seems to be contradictory in the first place, as it contradicts normal logic and customary, rational, and legal beliefs (Vahidian Kamiyar, 2016: 271-271). This contradiction and inconsistency are so amazing that they prompt the mind to be curious and try to understand the truth that is beyond the contradictory appearance, and that truth can be reached through interpretation and interpretation (Goli and Bafker, 1395: 102). An example of contradictory content in Aminpour's poem:   A lot of trouble I touched the crook of that messy wig Because I am in trouble because of myself  (Aminpour, 1390: 55) Ever since I was caught in the twist of my lover's troubled hair, I have gained a memory of my distress and confusion, just like my memory; Because everything that is related to the lover is considered to be pleasurable and relaxing for the lover.   Contradictory aesthetic view The aesthetic contrast is just one of the methods of language defamiliarization and beautification and has nothing to do with the content and contradictory concepts; That is, there is no contradiction in the meaning, but there are words in it that contradict each other in one meaning and are not contradictory in another meaning (Vahidian-Kamiar, 1376: 271-284). In Qeisar Aminpour's poetry, this literary technique sometimes comes along with the rhetorical and aesthetic arts of metaphor, simile, allusion, alliteration, double image, ambiguity, and exaggeration. These innovative and expressive ways are beautiful in their natural use, and when they are expressed in a contradictory manner, their beauty and impact are multiplied. The aesthetic contrasts of Aminpour's poetry are based on seven types: based on metaphor, simile, allusion, permissible, two-faced image (permitted and simile), illusion, and exaggeration.   Connected season A different season, a different season  At the end of the separation season, the connection season (same: 410) Paradox is based on illusion. The chapter has two meanings: in the sense of separation (hijran), it contradicts with connection, and in the sense of time, the contradiction is resolved; A different season, the end of separation, and the time of connection. Qeisar Aminpour has attributed natural elements and phenomena, characteristics, and human emotions to create a theme in his poetry. That is why his poetic images are alive dynamic and emotional. Most of Aminpour's social and political symbols are characterized by innovation and novelty. The poet's use of virgin symbols by creating a multiplicity of meanings and an aesthetic aspect causes deviation from the norm in the poem and the reader's literary pleasure. In his poems, Aminpour has defamiliarized and broken habits by using contradictory types of representation. He often used interpretative and aesthetic paradoxes, which have a greater artistic value than composite paradoxes, and composite and content paradoxes do not have a significant frequency in his poems. The most important reason for the existence of conflicting and paradoxical images and topics in Qeisar Aminpour's poems is the expression of high mystical meanings and truths, especially love, annihilation, unity of existence, and union with the beloved, which has formed the contradictory content and mystical views of his poems. The general conclusion of the article is that Qeisar Aminpour's rhetorical innovations in the field of theme-making, symbolism, defamiliarization, and contrastiveness play a very effective role in the beauty and impact of his words and are one of the main stylistic features. It is he who makes his poems completely different from the poems of other poets.   Resources Qur'an Karim (2002) translated by Mohammad Mehdi Fouladvand, Qom, The Qur'an Karim Publications. 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