Persian Poet Research Articles

Treatment of Coeval Persian Poetry in Arabic Anthologies of the Eleventh/Seventeenth Century

In this short article, I draw attention to the discussion of poets from Iran (al-ʿAjam) in two Arabic biographical anthologies of the eleventh/seventeenth century: the Sulāfat al-ʿaṣr of Ibn Maʿṣūm (d. 1120/1709) and the Nafḥat al-rayḥāna of Muḥammad Amīn al-Muḥibbī (d. 1111/1699). The latter text not only addresses the careers of noteworthy Persian poets, but it also presents samples of their work that al-Muḥibbī has translated into Arabic verse. In the case of the poet Ṣāʾib Tabrīzī (d. ca. 1087/1676), at least one of al-Muḥibbī’s translations can be traced to the original Persian. This reveals a specific instance of cross-cultural literary appreciation in the Ottoman-Safavid-Mughal period.

Emerson in Iran: The American Appropriation of Persian Poetry

Among the most foundational American poets of the nineteenth century, Ralph Waldo Emerson naturally comes to mind. Emerson’s work, however, is far from being essentially American in both content and form. We know him not only as one of the principal founders of transcendentalism, an essentially international religio-mystical movement, but as the seeker and proponent of an American mysticism that becomes the literary-cultural canvas onto which he writes his oeuvre as poet-philosopher. What is much less known, however, is the extent to which Emerson borrows, or “appropriates” from the classical Persian tradition of poetry, and, in particular, the poetry of two giants of the Islamo-Persian mystical tradition: Sa’di and Hafez. Iranian-American poet and translation scholar Roger Sedarat’s new book, Emerson in Iran: The American Appropriation of Persian Poetry, makes a compelling and well-documented argument for the ways that Emerson’s work as poet and philosopher draws heavily on the idea of being an “appropriative translator” who has left an indelible mark in American poetry. In his critical study, Sedarat argues that Emerson, “more than wishing to write like his Persian predecessors, often longs to write as them” (11).Emerson in Iran builds on previous studies that indeed identify the influence of Persian poets such as Hafez on Emerson’s work, but Sedarat takes it further, arguing that Emerson not only appropriates Persian poetry, but also “performs” a kind of Persian identity that enables him to construct a kind of Persian Sufi mirror that refracts both his philosophical ego-lessness and his desire to become something unique and original in itself. Sedarat’s study identifies the rhetorical strategies Emerson adopts, and that, in turn, results in a kind of “self erasure in the ghazal.” Sedarat’s study underscores Emerson’s need to “look for himself elsewhere, attracted to the foreign” as “half himself,” and at times, dislocating his “‘other half’ in Hafiz and Sa’di’” (63). In essence, Sedarat names how Emerson selectively reads, translates, and appropriates Sa’di and Hafiz to perform his “Persian mirror.” Although Emerson does not know Persian, and comes to his translation and reading of Hafez and Sa’di through the work of German translators, he effectively “nullifies the difference between his original and translated texts from Persian through German sources.” According to Sedarat, Emerson stands as an “amalgamation of writers he reveres much like Hafez and Sa’di embody their precursors.” Sedarat argues that Emerson threads together the old and the new as he “refashions himself as ‘Sa’di’ projecting his own self-reliant ideal onto the thirteenth-century Persian poet.” In a more general way, Sedarat exposes the anxieties of influence inherent in this American poet, and also generates an argument for understanding just how much of the “American version of poetic influence” surfaces in the verse of Persian poets, among other displaced, foreign traditions.What is at stake in holding a poet like Emerson accountable for those early Persian influences and understanding those appropriative tendencies has even more relevance in the case of Rumi’s popularity in twentieth-century American society, as well as in the poetry of Hafez. Sedarat takes to task the appropriative tendencies of translation currently in practice by Coleman Barks (Rumi) and Daniel Ladinsky (Hafez), citing how they break from any linguistic equivalence between the original source and their tendency to remake the poetry of these classic poets as their own selective interpretations of these spiritual masters. Sedarat sees their appropriative practice as a continuation of Emerson’s practice; these contemporary writer-translators fold themselves into the genius of these Persian poets without ever really attending to the original language or context. In essence, the poems and the poets are further divorced from their original linguistic and spiritual origins and are used as a kind of palimpsest for the so-called translator-authors own literary genius:At the heart of Sedarat’s project is as an attempt to understand the transmission of culture and literary influences on poets from other traditions and cultures on American letters, and to rightfully bestow upon their work the meaningful semblance of a powerful and iconic tradition (whether Persian, Islamic, mystical, or Eastern) that too often has been obscured by the commercial success or appropriative impulses that do not recognize where things originate and why they take hold.

Naqd-i Khayāl: Barrasī-i Dīdgāhʹhā-yi Naqd-i Adabī Dar Sabk-i Hindī

Naqd-i Khayāl: Barrasī-i Dīdgāhʹhā-yi Naqd-i Adabī Dar Sabk-i Hindī

Values Education Using Historical-Literary Works: Turkish Language and Literature Course Curriculum (Grades 9-12) and the Work of Şifâyî Entitled “Şerh-i Şebistân-ı Hayâl”

Literary works, apart from being written with an artistic purpose, contribute to the transfer of some universal values to the reader. Thus, “values” continue to exist as they are transferred from generation to generation, similar to a context where the curriculum of a teaching process may work in the same way. The act of transferring universal values not only makes the existing work constant but also the value attempted to be taught in the same manner. The effective involvement of such works, which contain important information and the characteristics of the society of that period, has an important effect on the learning and teaching process of values. “Şebistân-ı Hayâl” is an advising work with a mixture of verse and prose written by Persian poet Fettâhî (d. 852/1448-49 or 853/1449-50) from which modern readers can also benefit. The text tries to convey universal values via using Islamic elements as a concrete base. Since Şebistân-ı Hayâl is written in the style of riddle, the advice that adorns the morality inside the text is difficult to understand. For this reason, according to the current information, Şebistân-ı Hayâl was expounded by Sürûrî in the 16th century and by Dervîş Muhammed Şifâyî in the 17th century. In this study, sample texts selected from Şerh-i Şebistân-ı Hayâl, written by Dervîş Muhammed Şifâyî, are examined in terms of basic “values” (p. 6); justice, friendship, honesty, self-control, patience, respect, love, responsibility, benevolence that takes place in the Secondary Education Turkish Language and Literature Course Curriculum (9-12 Grades). As it is stated in the curriculum (MEB, 2019, p. 6), these values will come to life in teaching and learning process, not only by themselves, but also by the sub-values they are related to and also with other basic values as well.

A story about the Daughter of Ka‘b from the Masnavi Ilahi-nameh by the Sufi Persian poet Farid ad-Din ‘Attar

Ka‘b’s daughter Rābi‘a is briefly mentioned in the poetical anthology Lubāb al-awbāb by ‘Aufi as a brilliant poet. A subject of the majority of her poems was love and šāhid-bāzī, i.e. gazing at the beauty of youths, which brings the spectator to internal contemplation of the beauty of the Creator. ‘Attar, a Persian Sufi poet (12–13 cent.), dedicated to the love and death of Rābi‘a the longest story in his Masnavis. So far it has not been ascertained whether it was based upon a certain source, which has not survived until the present day, or whether it was a development of the account by ‘Aufi. The first part of the article contains an analysis of the story about daughter of Ka‘b in the Ilahi-nameh, its place within the structure of the poem as well as discusses its possible historical background. Then a line-by-line translation in Russian is provided, together with an extensive historical and philological commentary.The author declares that there is no conflict of interest.

The Shirazi Civilisation and its Impact on the East African Coast

Abstract The relations between Iran and East Africa are captured well by depicting the impact of the Shirazi (Persian) civilisation on the East African coast. But some influential scholars claim that historians tend to dismiss or trivialise the role played by the Shirazis in East Africa. The demonstrable impact of Shirazi civilisation in East Africa is evident in the expansion of trade between the East African coast and the Persian Gulf region with the expansion of Islam. The Persian language has bequeathed to the Kiswahili language many lexicons that are presently still accessible in the region. Persian poets influenced Kiswahili literature through their classic works. The influence of Persian architecture is seen in Shirazi building styles throughout cities including Zanzibar, Kilwa and Manda. Thus Shirazis brought Persian traditions and customs to East Africa, and some Shirazis intermarried with the Arabs and local communities. As compiled here from other sources, there is enough enduring historical evidence to demonstrate incontrovertibly the impact of the Shirazis in social, economic and political aspects of East African life. This legacy arguably justifies greater contemporary cooperation between East African nation states and the Islamic Republic of Iran.

Converting Human Movements into a Conceptual Painting based on Music Using a Motion Capture System: Action Research

Introduction: Motion capturing is a concept which has been taken into consideration in recent decades and it has been used for various purposes like improving the performance of patients with motor problems and increasing motivation and creativity of users. It can also be used in film industry both in two- and three-dimensional animations. Research has shown that this system may be used to enhance creativity and intellect. The aim of this study is to use the Vicon motion capturing device to convert creative human movements into a conceptual painting with the help of music. Materials and Methods: For cultural adaption of the system, the first chapter of “HAFTVAD” music album called “The Introduction” composed by Masoud Nekoyi and the story of Rostam and Sohrab from Shahnameh, written by the Persian poet Ferdowsi, were chosen as the musical groundwork and the scenario for this survey. A human model was trained to perform movements in accordance with the musical and fictional workarounds of the study; the model was also allowed to use self-created styles in movements in the final performance. The segmental movements of the model body were identified in the Vicon Vero system by wearing clothes equipped with reflective markers. This information was transmitted into the Unity engine, and without modeling the body's segments, different colors and brushes were defined to illustrate the path of the movements of the hands, feet, head, and heart. Results: By defining various brushes in different colors, human movements were converted into a conceptual painting in accordance with the music. Conclusion: This study discussed a creative process, entitled Motion Paint, which was implemented in Iran for the first time. This method can be used to make the process of exercise therapy more attractive, especially in chronic motor problems.

A TRANSREGIONAL PERSIANATE LIBRARY: THE PRODUCTION AND CIRCULATION OFTADHKIRAS OF PERSIAN POETS IN THE 18THAND 19THCENTURIES

AbstractThetadhkira(biographical anthology) represents one of the most prolific and prevalent categories of texts produced in Islamicate societies, yet few studies have sought to understand the larger processes that governed their production and circulation on a transregional basis. This article examines and maps the production, circulation, and citation networks oftadhkiras of Persian poets in the 18thand 19thcenturies. It understandstadhkiras of Persian poets as a transregional library that served as a repository of accessible and circulating texts meant to be incorporated, reworked, and repackaged by a cadre of authors separated by space and time. By relying on a macroanalytical approach, quantifiable data, and digital mapping, this article highlights the overall construction of the transregional library itself, the impact of state disintegration and formation on its constitution, and the different ways authors on opposite ends of the Persianate world came to view this library by the end of the 19thcentury.

Rumi's Plato: Between Reason and Rapture

This article investigates the significance of Plato in the writings of the thirteenth-century Persian poet Rumi. It examines Rumi's perception of Plato's teachings and his critique of Platonic rationalism. This criticism is fundamental to Rumi's pedagogy.

Rehî-yî Mueyyîrî'nin Gazellerinde Çeşitli İsim ve Sıfatlarla Anılan Sevgili

The notion of love is one of the most studied subjects in diwan poetry. Love-lover-beloved is used by almost all ottoman poets and is one of the indispensable, common forms of diwan poetry. Beloved is at the center of the poems in which love is concerned. The parables used in the diwan poetry about beloved are quite rich. Like moon, water of life, spring, friend, intriguer, houri, image, rose, king, cypress, seductive, belle, unfaithful, angel, candle, sake, fairy many words they are often used to express beloved through simile. Some of these words likened of the beloved and some are adjectives; but all of them are used as the name of the beloved directly in couplets. Modern period Persian poets, name Rahi, Mohammad Hoseyin Moayyeri in own ghazals beloved like gazelle, hunter, moon, saint, spring, life, sun, rose, fairy, image, flame, witness, star agreed with various names and adjectives. In the study, these names and adjectives used by the hostage for the beloved are briefly explained. how the poet used these names and adjectives by associating with his beloved was examined with the sample couplets brought from the ghazals. These names and adjectives are listed in Persian alphabetical order. In the footnote next to the headings, the page number and the couplet number of the similar examples in the poet's diwan are given.

HAVEYZİ'NİN GAZELLERİNDE HAFIZ'IN RİNTLİK ve MELAMETİ FİKİRLERİNİN İNCELENMESİ

Rintlik terimi Hafız’ın şiirlerinde en çok kullanılan terimlerinden biridir ve bu rindane atmosfer Haveyzi’nin şiirleri ve görüşlerinde sıklıkla kullandığı tasavvufi konulardandır. Haveyzi’nin gazelleri aynı şekilde ruhsal, sanatsal, rindane, aşıkane, arifane ve felsefi bir değere sahiptir ve toplumsal ve inançsal bir yönü de vardır. Bu araştırmada elde edilen sonuçlara göre Haveyzi’nin gazellerinde rindane mazmunlardan istifade edilmesinin özel bir yeri vardır. Onun irfanı metinleri sürekli analiz etme, dini ve irfani tecrübe ve ilmi kazanımlarına dayanır ve tüm bunların karışı sanatsal, aşıkane ve rindane bir özellik taşır. Bu çalışmadaki amaç onun rintlik hakkındaki Hafız ile benzer yönlerine işaret etmektir. Haveyzi’nin kelime dağarcığı ve rindane tabirleri onun rintlik meşrebi ve aşıkane halleri ile uyumludur. Haveyzi’nin şiirlerinde riyakârlar ve ikiyüzlülerden bezginlik ve nefret sıklıkla görüldüğü için onun şiirleri rindane ve melameti bir atmosfere sahiptir.

German Orientalism and the Persian Literature in the Islamic Period: Josef von Hammer-Purgstall (1774–1856) as an Example of Literary Interlacing

The interest in Persian language, culture and literature in the Islamic period in Europe dates back to a very old tradition. From the point of view of the translation activities, it can be said that the textual contact with the Persian literature in the Islamic Europe began in the 17th century. Due to their strong interest in geography and culture, travelers began to concern themselves with language and literature. During this period, many Germans travelled to the lands of the Safavids. They gathered extensive knowledge about history, culture, language and Persian literature in the Islamic period, and transferred it to the West. In 1634, the French orientalist Andre du Ryer (1580-1660) translated into French Sheikh Saadi’s Gulistan/The Rose Garden, which is considered to be one of the classics of Persian literature. In 1636, Friedrich Ochsenbach (1606–1658) translated this work from French into German under the title of Gulistan, das ist, Koniglicher Rosengarten/Gulistan, Royal Rose Garden. Adam Olearius (Olschlager 1600-1671), who learned Persian in the Safavid madrasas, became acquainted with the works of Saadi. After his return to Germany, he enlisted the help of the Persian ambassador, and in the year 1654, translated Gulistan into German under the title Persianisches Rosenthal/Valley of the Persian Roses. During the latter part of the 18th century, the increase of translation activities of literary texts of the Persian poets from the Islamic period, such as Hafez Shirazi and Sheikh Saadi-i Shirazi into Western languages in Europe had an impact on German-speaking orientalists and poets. This period can be considered as a turning point in the relationship between Orient and Occident. The early years of the 19th century, literary Orientalism, which began and developed with the translation of diplomats, travelers, traders and orientalists, left a corpus of Persian poetry to the German-speaking world. The Austrian Orientalist Josef von HammerPurgstall (1774-1856) occupies an important place in the formation of this corpus. Hammer-Purgstall’s translations made Persian poetry available to classical and romantic thinkers, poets and orientalists. This article has two aims; to show that Hammer-Purgstall created a literal network with his translations from Persian poetry in the Islamic period, and to determine how great a role his translations played in the construction and institutionalization of German literary orientalism.

O orientalismo na tradução da poesia Persa Sufi

O presente artigo trata da tradução da poesia persa em face da abordagem orientalista e seu contraponto ideológico islamista, que outorga à cultura islâmica uma essência oriental. Considerando a forte influência da religião zoroastriana na cultura persa e a sua sincretização na mística sufi, a autora problematiza as classificações místicas e religiosas atribuídasaos autores persas e apresenta uma tradução de trecho do Masnavi Ma’nawi de Jalal Uddin Rumi, poeta persa do século XIII, destacando a presença de elementos islâmicos e zoroastrianos em complementariedade. O trabalho também ressalta aspectos da historicidade a serem levados em consideração e pretende trazer uma contribuição original ao estudo e tradução de poéticas não ocidentais.

Entanglements with the 'Sea'

Displacement following the Iranian Revolution in 1979, and later political instability in the Middle East, has led to the increase of Iranian migrants to Australia and beyond, many of whom live in exile and can never return. This article explores how Iranian conceptualisations of the sea provide a framework for entanglements with nature and the environment that are poetic and turbulent, and provides insights into nostalgia and belonging. It explores some entanglements with the ‘sea’ in the work of classical and contemporary Persian poets, diasporic Iranian women’s literature, artwork and memories of newcomers of Iranian heritage who seek asylum in Australia. The article also highlights the connections between poet and world through investigating the role of the geographical realm and nostalgia in producing the worlds of human relations and thoughts with the place.

Rumi: The Homoerotic Sufi Saint

Rumi: The Homoerotic Sufi Saint Delaney James Expressions of sexuality, specifically homoerotic poetry, in mystical writings are by no means uncommon. Wendy Noel DeSouza examines Louis Massignon’s explicit expressions of homosexuality through his translations of Sufi mystical love writings. Paul Losensky documents the commonality of homosexual tendencies in the Persian poet Muhtasham’s works, specifically The Lover’s Confection. Amira El‐Zein writes that Rumi’s encounter with Shams‐Tabrizi sparked Rumi’s poetic nature and notes that all his poetry is addressed to him. With El‐Zein’s background on Rumi’s life (1207–1273) in consideration, this article will analyze Rumi’s love poetry dedicated to his teacher Shams‐Tabrizi (1185–1248). Specifically, it will first introduce Rumi’s itinerant life and his discipleship under Shams. It will then contextualize Rumi’s poetry within the conventional sexual norms of the eastern Mediterranean (present‐day Turkey), where long‐standing Hellenistic ideals of male‐male relations coexisted alongside the cultural norms of pre‐modern Islam. It will finally examine the explicitly sexual imagery within Rumi’s poetry, noting the crude imagery of selected passages versus the overtly loving imagery found in the many devotional verses dedicated to his spiritual guide. Such analysis is important for several reasons. While homoeroticism in Rumi’s poetry has not gone unnoticed by scholars in the field, such as Mahdi Tourage and Ali A. El‐Huni, this work will firstly contribute to the literature by contextualizing Rumi’s poetry to his spiritual guide Shams‐Tabrizi within the much larger cultural milieu of Greco‐Roman and Islamic culture in the Eastern Mediterranean. Secondly, it queers previous assumptions about the marriage/lover trope in mysticism studies, which Evelyn Underhill most clearly articulated by assuming and asserting that the “Spiritual Marriage” is a heteronormative one. Finally and by extension, this study redefines the nature of erotic mystical poetry in general. Usually, erotic verses dedicated to the Divine are understood to be a metaphor for the poet’s longing for intimacy with their God. In Islam, Allah is neither male nor female; but in Rumi’s love poetry, the subject he longs for takes on a distinctively male character, which he explicitly imagines as his guide Shams‐Tabrizi. Rumi’s life & learning Rumi’s life Many people today recognize the name Rumi even if they do not have a full understanding of who he was or his contribution to the mystical writings of Islam. Rumi, birth name Jalaluddin Muhammad, was born in 1207. One source claims that he was born in Balkh, Persia, or modern‐day Afghanistan, while another cites his birthplace as Vakhsh, Iran. According to El‐Zein, Balkh was invaded by Tartars, forcing Jalaluddin and his family to flee to Rum, Konia, or modern‐day Turkey. The region Rum is the reason Jalaluddin acquired the name “al‐Rumi,” or Rumi. However, Lewis writes that Rumi’s family left Vakhsh because his father Bahâ al‐Din was “denied the rank and prestige he sought.” Despite the discrepancies in Rumi’s birthplace, both authors agree that the poet migrated to Konia, present‐day Turkey. Rumi received a traditional religious studies‐education in Aleppo and Damascus, including the study of Hanafi law, Koran, Hadith, and theology. While obtaining this education, Rumi was “initiated into the Sufi path.” Once he returned to Konia, he became a recognized and beloved expert in Islamic law, also known as a mufti. People today often recognize Rumi for his poetry; but before Rumi met Shams‐Tabrizi, he had never written a single documented verse. Their encounter on November 29, 1244, made “poetry flow from him.” “He [Rumi] became more ecstatic in his worship, expressing his love for God not only in a careful attitude of self‐renunciation and control, but also through the joy of poetry, music and meditative dance.” Shams‐Tabrizi, Rumi’s spiritual guide, transformed Rumi’s life upon their first meeting and each day thereafter. The master‐disciple relationship The teacher‐student relationship is extremely important within the Islamic sect of Sufism. The goal of a Sufi mystical experience is to “merge with Allah in ecstatic union,” or fana. Union can only be achieved with the help of a master who...

The Verse Romance Homāy o Homāyūn of Ḫwājū Kermānī: a “Love and Adventure Story” or an Allegory of a Spiritual Quest?

Abstract This study, after a summary of the verse romance Homāy o Homāyūn by the medieval Persian poet Ḫwājū Kermānī (14th c.), focuses on its rich semantic stratification and casts doubt on its usual classification as a mere “story of love and adventure”. In particular, this analysis attempts to highlight the numerous and consistent “signals” disseminated by Ḫwājū in his work that deliberately intend to direct the reader to a markedly spiritual perspective in which the hero’s journey in search of his beloved becomes an allegorical spiritual quest.

Beyond Orientalism: When Marceline Desbordes-Valmore carried Saʿdi’s Roses to France

This article follows a thread of translation and intertextual dialogue, taking us from the thirteenth-century Persian poet Saʿdi to the nineteenth-century French poet Marceline Desbordes-Valmore. It reads Desbordes-Valmore’s poem ‘Les roses de Saadi’ (1860) with the two passages from Saʿdi’s Golestān from which it was inspired, shedding new light on the poem’s metapoetic subtext. The original Persian text is compared to two French translations that were circulating at the time when Desbordes-Valmore was writing. This analysis of the Golestān’s reception forms the basis for the argument that Desbordes-Valmore recast in secular terms Saʿdi’s discourse on poetic language, emphasizing the continuity, rather than difference, between her concerns and Saʿdi’s. The case of Desbordes-Valmore thus reveals a forgotten facet of nineteenth-century French engagements with Middle Eastern culture: one of identification and literary influence, which existed alongside the processes of “othering” for which the period is better known.

Zur Textentstehung von Nietzsches Gedicht An Hafis. Frage eines Wassertrinkers. Eine editionsphilologische Studie

Abstract This essay focuses on the genetic text of Nietzsche’s unpublished poem An Hafis. Frage eines Wassertrinkers in order to establish the development of this poem from preliminary versions to an authoritative version. Through such a detailed philological analysis of the text in Nietzsche’s notebooks, it becomes increasingly clear that the final version of An Hafis constitutes an intertextual answer to Goethe’s West-östlicher Divan (1819/1827), which itself was inspired by the late-medieval Persian poet Hafez. Developing from different, and open-ended, semantic configurations to a final version, Nietzsche’s An Hafis also allows us to reassess the editorial practices necessary to shed light on Nietzsche’s unpublished lyrical drafts.

Tajikistan Contemporary Poetry Themes

Tajik poetry deviated from its mainstream with the victory of the communist revolution. The imposition of Russian language and the new communist literature made Tajik poetry to take influence from the works of Russian romantic poets and to have new themes. Meanwhile, it benefited from the ancient Persian poets and one can see the rhetorical figures such as metaphor, simile, conflict, pun, ?h?m, proverb, husn-i ta'lil (good reason), imagery and paradox in the works of Tajik poets. Additionally, B?del's poem has also had a clear influence on the poetry of some contemporary poets. Tajik poetry is very close to the informal language of the people, and in these poems, we encounter words that are specific to the Tajik dialect. The first Persian she'r-e now (new poetry) in Central Asia was written by Sadriddin Ayni.In Tajik poetry, we occasionally encounter with recurrences, the nostalgia of the missed glory, the oppression of the nation, and the unwanted fate of their ancestors. In these poems, the rely on emotion and content, and the epic and passionate tone prevail other poetic performances. The present study gives a general overview of the poetry of some Tajik poets.

TAJIKISTAN CONTEMPORARY POETRY THEMES

Tajik poetry deviated from its mainstream with the victory of the communist revolution. The imposition of Russian language and the new communist literature made Tajik poetry to take influence from the works of Russian romantic poets and to have new themes. Meanwhile, it benefited from the ancient Persian poets and one can see the rhetorical figures such as metaphor, simile, conflict, pun, ?h?m, proverb, husn-i ta'lil (good reason), imagery and paradox in the works of Tajik poets. Additionally, B?del's poem has also had a clear influence on the poetry of some contemporary poets. Tajik poetry is very close to the informal language of the people, and in these poems, we encounter words that are specific to the Tajik dialect. The first Persian she'r-e now (new poetry) in Central Asia was written by Sadriddin Ayni. In Tajik poetry, we occasionally encounter with recurrences, the nostalgia of the missed glory, the oppression of the nation, and the unwanted fate of their ancestors. In these poems, the rely on emotion and content, and the epic and passionate tone prevail other poetic performances. The present study gives a general overview of the poetry of some Tajik poets.