Abstract:
In this essay، "Where is Khezr?" composed by Dr. Taqi Pournamdarian، is analyzed based on an intertextual approach. The purpose of this research is to illuminate the relation of pictures in this poem with classic poem، showing the relation of components of mystical، epic، lyric genres and the type of their combination in the creation of contemporary romantic poem. The word "Khezr" has mystical and epic implications. According to the feature of Khezr who is the helper of the lost، it is expected that the narrator of "Where is Khezr?" be confused and wandering in spiritual journey abstinence domains. Such implications can be observed in words and terms like "darkness"، "alkahest" (i.e. water of life)، "the desert of night". On the other hand، based on the content of poem، there would rise this question that how are elements of poem and its different semantic implications interrelated to each other? The results of the current research shows that this poem is lyric and it describes an earthly beloved، but there are symbols of other genres. The narrator of the poet passes difficult stages like an epic hero to reach their target، for example s/he passes darkness land. Fourfold sections of the poem associates four seasons. These seasons are periodical like epic time and do not have linear circuit. Separation and tinker would occur simultaneously with passing of different seasons. This poem is the product of conflux and different genre association which is emerged from the unconscious of the poet who had lived in the ecology of cultural worlds. In this article the intertextual analysis of poem was applied and components of different genres were compared and analyzed and their ratio in producing a coherent and structured text was also reviewed.
Machine summary:
The oppositions in this case are: joy/sorrow, spring/winter, flying freely/being lost in bewilderment, countenance/hair, turning towards/turning away, morning/night, light/darkness, present/past, wakefulness/sleep, sun/animal spring (darkness), lightheartedness/anxious state, blooming in spring/being bewildered in the desert, garden/desert.
Analysis of Myths In the first stanza of this poem, spring and its semantic requirements—meaning swallows, the radiance of the sun (a sun that works to drive away the signs of winter), swallows and their flight, chirping, etc.
On a smaller scale, the change of day and night is equivalent to the change of seasons; day and eyes, like the sun of the beloved, belong to the first stanza and the season of spring, while night or hair is connected to the last stanza and winter.
In pursuit of describing the beauties of the beloved in the last stanza of the poem, the lover reaches the spring of the water of life.
In this poem, the eye of the beloved is repeatedly compared to the sun, and in the last stanza, to the spring of the water of life.
"I wander" (mi gardam) contains ambiguity: 1- Changing 2- Turning and circling, which was made possible by the melting of ice resulting from winter and the absence of the beloved's sun-like eyes.
Therefore, the meaning of the verse is as follows: when your hair, like a cloud, covers your moon-like face, your eye is the spring of the water of life within the darkness.
But this is a conditional simile; meaning your eye, when your cloud-like hair falls upon your moonlit mirror, is the spring of the water of life.
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