Analysis and study of the metamorphosis of the image in the sonnet of persistence after the revolution

Document Type : Research Paper

Authors

1 Ph. D. Candidate

2 Faculty of Persian Language and Literature Department, Salman Farsi University, Kazerun

10.22103/jrl.2025.25184.3055

Abstract

With the advent of the Islamic Revolution, one of the principal and dominant poetic modes and thematic orientations in Iranian poetry became the Revolutionary and War Ghazal, a trend that continued into the early 1990s. Given that the primary mission of such poetry is the transmission of a message, the rhetorical and aesthetic dimensions received comparatively less attention from the early years of the war through the mid-1980s. This study sought to answer whether the modes of imagery construction in the Revolutionary and War Ghazal, and the affective atmosphere governing it, remained uniform throughout the post-Revolution decades up to 2016, or whether any transformations occurred and how such changes relate to the sociopolitical conditions and the prevailing sentiments of society. The study was conducted using a descriptive-analytical method. The findings indicated that in this poetic subgenre, the exigencies of wartime initially placed content above other poetic elements. However, as time passed and the emotions, sentiments, and political conditions of society shifted, poets’ perspectives likewise changed. With the entry of new emotions, thoughts, and thematic concerns into the ghazal, its imagery and the techniques of image-making also evolved. In the early period, conventional symbols as well as simile-based and metaphorical constructions played a more prominent role; yet in subsequent years, these devices expanded from condensed to elaborated forms. Abstract and mental similes also entered the poetic imagery; new symbols replaced the earlier conventional ones; and, beyond the aforementioned devices, additional rhetorical strategies began to appear in image-making. Moreover, through linguistic innovation, poets introduced new methods, including the incorporation of non-rhetorical elements, into the imagery of the ghazal.

Keywords

References

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Journal of Resistance Literature
Volume 17, Issue 32
September 2025
Pages 171-193

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