Document Type : Original Article
Authors
1
Ph.D. Candidate, Department of Persian Language and Literature, Shahrekord Branch, Islamic Azad University, Shahrekord, Iran
2
Associate Professor, Department of Persian Language and Literature, Shahrekord Branch, Islamic Azad University, Shahrekord, Iran
10.22034/lda.2025.144145.1056
Abstract
The poetry of the Iranian Constitutional Revolution (Mashruteh) must be viewed as a fertile ground for the emergence of protest discourses, anti-hegemonic voices, and collective awakening, where language is not merely a medium of expression but a socio-ideological act. Among the prominent figures of this era, Mirzadeh Eshghi stands out as a committed poet who, through masterful use of linguistic, phonetic, and rhetorical techniques, represents the political discourse of his time in poetic form. This study, grounded in Norman Fairclough’s theory of Critical Discourse Analysis (CDA) and applying his three-dimensional model (textual analysis, discursive practice, and social practice), investigates the functions of inner music and oratorical style in Eshghi’s poetry .At the first level, linguistic analysis of selected verses reveals how techniques such as repetition, alliteration, antithesis, and pun (paronomasia) are employed to reinforce the tone of protest and persuade the audience. At the second level, through analysis of Eshghi’s oratorical style and intertextuality, the role of poetry in the production and consumption of political discourse is examined. Finally, at the third level, the social action of poetry is explored within the framework of power relations, especially its confrontation with political despotism and dominant ideologies. Findings indicate that inner music and oratorical style in Eshghi’s poems are not merely aesthetic devices, but serve as essential discursive tools in constructing protest rhetoric, representing collective identity, and organizing social action.
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