Mahmoud Fotoohi,
Volume 1, Issue 1 (5-2004)
Abstract
This article explores the relationship between poetic imagery, attitude, and affection, and presents three types of relationship between poet's mind and the object: Identity, equality penetration.
In the identity state', I the post' associates and sympathizes with the object (I.e., subject) and turns around it. In the equality state, 'I' synthesizes his feelings with the object, offering life, sense, and character to it. Finally, in the penetration, 'I' and the object melt into each other. These three states reveal the relative degrees of the relationship between the poet's essence and objects. Having done the abore, the author proceeds to attitude and considers it us man's hidden structure of the mind and character.
The great artists' works are affected by a dominant plot which creeps into the images, forms, content, and concepts of his works. This overriding idea is called attitude. The poet enjoying a creative personal attitude is marked as the one whose dominant plot over shadows his images and language. We may consider all those elements as clusters of the same macro metaphor, around which all structures and peripheral images turn. The discovery of this metaphor is regarded as the key to the artist's mind as well as his character.
Effat Neghabi,
Volume 7, Issue 18 (9-2015)
Abstract
Amir Najmol Din Hassan Ibn Alaa-e-Sajzy is a Persian speaking Indian poet of the 7th century who composed lyrics in Persian language. According to many critics, the fluency, fluidity, and eloquence of his poems make him India's Saadi. His wisdom and knowledge is equal to that of Amir Khosrow Dehlavi who was his companion. He is well-known for his lyrics and since he was influenced by Saadi, passion, verve, and subtlety are noticeable in every part of his poems. By considering this point, we decided to study the imagery of his poems and after careful scrutiny, we found out that simile is the dominant technique in his poems. In this essay, for a better understanding of his ability in making two sides of a simile and determining the originality of his poetic images, we surveyed his collection in terms of structure and subject and concluded that most of his similes are of sensational to sensational type. The important point is that the allegorical type of compound simile is notable in his poems. About 90 percent of his poetic images are about the beloved and her related characteristics. Accordingly, most of his poetic images have no originality. They are borrowed from previous poets particularly Saadi. The important point is that Hassan Dehlavi by employing various linguistic and rhetorical techniques has presented these over-used images more attractively and has added eloquence to his speech, so that the reader instantly admires him, and this quality has distinguished him from other poets whose language and images are repetitive.
