خلاصة:
Seyyed Mohammad Sahab Isfahani is one of the tasteful poets of the Qajar era and a praiser of Fath-Ali Shah. He inherited the talent for poetry from his father, Hatef Isfahani, who was also one of the prominent poets of the Literary Return period; a period in which some poets turned away from the vulgarity that had arisen in the Indian style and, in order to revive the Persian language and poetry, which had declined and become stagnant due to them and many orators, composed their poems in the style of the ancients and especially the prominent poets of the Khorasani and Iraqi styles, and as a result, many poets turned to their method. In this circle, Sahab also followed the method of the poets of the seventh and eighth centuries AH, and specifically Saadi Shirazi, in composing his ghazals, and in this way, he has benefited greatly from his ghazals. Due to his familiarity with rhetorical sciences and his study of ancient works, Sahab has been able to a large extent bring his mind and language close to the ghazal-writing poets of the seventh and eighth centuries and has successfully managed to emulate Saadi's ghazals. Given that no research has been conducted so far regarding the influence of Sahab Isfahani on Saadi Shirazi and his ghazals, the present article examines the hypothesis that "Sahab is influenced by Saadi Shirazi in terms of form and meaning in his ghazals" across the following four axes: 1. The linguistic axis and identical or similar combinations; 2. The literary aesthetic axis and identical or similar rhetorical and expressive beauties; 3. The external and lateral musical axis, identical or similar; 4. The thematic axis and similar poetic themes.
ملخص الجهاز:
The axis of similar themes and poetic contents; Keywords: Persian poetry, ghazal, Iraqi style, Literary Return period, Saadi, Sahab Isfahani Introduction: Sahab's Poetry: Mirza Sayyid, known by the pen name Sahab Isfahani and titled Mujtahid al-Shu'ara, was one of the famous poets during the reign of Fath-Ali Shah Qajar.
Sahab's poems are simple, fluent, and engaging, and all its verses are consistent: "The poetic taste and talent of Sahab in poetry is a precious legacy left to him by his father, Hatef Isfahani, which Edward Brown remembers him as the last great poet of Iran in the eighteenth century" (Introduction to Sahab's Divan, edited by Karami: p.
The Axis of Literary Aesthetics The return cycle of the ghazal in terms of imagery was also like the works of the ancients: "New metaphors, similes, and metonymies are very rare, and for this reason, the language is also limited to the ancients" (Sirr-e Ghazal dar She'r-e Farsi, Shamisa: p.
Although it is said that poetry arises from the poet's subconscious, Saadi is concerned about the reader and does not use a simile or metaphor whose "untying" (interpretation) would be difficult, and if he has used it, he does so with PDF created with pdfFactory trial version www.
Overall, Sahab appears successful in following this great ghazal poet and has been able to elevate his own poetry and language by being influenced by poetic words in his constructions, rhetorical beauties, commonly used meters suitable for the subject, and the prominent and specific themes of this great poet of the Iraqi style, and to be counted among the prominent poets among his contemporaries.
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