5 measurements spanning 7 days, net +6. Dots are measurements; the straight line between them is drawn to join them, not to claim we know the path taken in between — snapshots are recorded only when a count changes, so gaps mean “no change observed”, never “interpolated”. The vertical axis spans 1,098–1,107 and does not start at zero.
Measurement log — every subscribers count we have recorded
Measured (UTC)
Subscribers
Change
12 Aug 2026, 13:14
1,106
+5
9 Aug 2026, 12:33
1,101
+2
6 Aug 2026, 20:23
1,099
-1
6 Aug 2026, 12:18
1,100
no change
5 Aug 2026, 22:11
1,100
first reading
Engagement
20 posts held, back to 28 June 2026 — the reader has not yet reached the start of this channel’s public history, so older posts may sit further back, unread. Read across 1 pageof Telegram’s post history, 20 posts per page.
ERR · 30 days
42.2%
avg views ÷ 1,106 subscribers
Avg views / post
466
10 posts measured
Reaction rate
2.90%
reactions ÷ views · ER floor
Posts in window
10
of 20 held
ERR is average views per post over the last 30 days divided by subscribers, the definition TGStat uses, so this figure is comparable with the one you will see elsewhere. It falls structurally as a channel grows: a high ERR on a small channel and a low one on a large channel describe reach mathematics, not quality. We publish the figure and the sample it came from and pass no verdict on it.
ER is defined industry-wide as (forwards + reactions + comments) ÷ views— note the denominator is views, not subscribers. Telegram’s public web preview carries views and reactions but not forward or comment counts, so the reaction rate above is the reactions term only and is therefore a floor: the true ER for this channel is higher by an amount we have not measured and will not estimate.
What these figures were computed from
Window
Rolling 30 days · latest post in window 5 August 2026
Posts held
20 (28 June 2026 – 5 August 2026)
Views total
4,663
Reactions total
135
Forwards / comments
not exposed by the public surface — not measured, not estimated
Readings taken
6 Aug 2026, 12:18 UTC
Views are a single reading per post, taken at the time above. A post published in the last day or two is still accumulating views, which pulls the 30-day average down slightly. That is a property of the standard definition rather than a fault in it, so we keep the definition rather than “correcting” the number into something nobody can reproduce.
Precision. Telegram publishes view counts on its public widget in short form — 8.12K, 3.7M — so any reading at or above 1,000 reaches us rounded to three significant figures, and only counts below 1,000 are exact. Averages and rates derived from them are shown to the same precision rather than to the unit: a figure like 3,701,250 would assert digits nobody measured.
Reaction counts are published per emoji and rounded the same way, so a total below 1,000 is exact and a larger one is a sum that may carry a rounded component from each emoji above 1,000. Because it is a sum, it does not look rounded — read a large reaction total as three significant figures per contributing emoji rather than as the figure it prints.
Reaction mix
309 reactions across 20 posts, in 8 distinct kinds. The most used accounts for 73.8% of them.
Every reaction kind recorded on the sample, most used first
Reaction
Count
Share
Share, drawn
❤
228
73.8%
👏
46
14.9%
👍
20
6.47%
🔥
5
1.62%
😢
3
0.971%
🤔
3
0.971%
🥰
3
0.971%
🤩
1
0.324%
No sentiment is inferred, and none should be read in. This table is ordered by count and by nothing else. Emoji do not carry stable meaning across languages or communities — 🙏 is thanks in one channel and mourning in another — so we publish which ones were pressed and how often, and pass no judgement on what an audience meant by them.
Precision. Telegram publishes reaction counts per emoji and short-forms each one — 4.34K, 1.2M — so any single kind at or above 1,000 reaches us at three significant figures, and only counts below 1,000 are exact. The shares above are ratios of those figures and carry the same error. This is also why the total here can differ slightly from a reaction total printed elsewhere on the page: both are sums of the same rounded parts, taken over samples with different edges.
Coverage. Reactions were read on 20 of the 20 sampled posts in this sample. Summed by Telegram’s own count on each post — not by adding up the per-emoji breakdown above — those same posts carry 309reactions in total: the kind of figure the paragraph above means by “a reaction total printed elsewhere on the page”.
Measured over the 20 most recent posts we hold, published 28 June 2026 to 5 August 2026, using the newest reading held for each. Telegram Stars are excluded: they are a payment, not a reaction, and they have their own section.
آنروزها ...
بی روزهای آنهمه شیدایی و شکوه
بی لحظههای آنهمه خُنیای شعلهور
تاریکروشنای غریبیست در دلش.
در خانه، کُنج خستگی خود خزیده است
در بند آب و نان ...
اما ببین هنوز
در سینهاش هزار خیابان قدمزنان...
محمدرضا روزبه
@Mohammadrezarouzbeh
منظره
کشاندهای به دلم ابرهای عالم را
که در مقابل چشمان بیسرانجامم،
حدیث حبّ وطن را ز باد میپرسی
همو که در همهعمر،
لَوَند و لوس، به بازی گرفته پرچم را
محمدرضا روزبه
@Mohammadrezarouzbeh
قلمانداز
پل ریکور، فیلسوف فرانسوی و متفکر عرصهی پدیدارشناسی و هرمنوتیک، گفته است: "بعضی از ملتها دچار تورم خاطرهاند" و بر این قیاس میتوان گفت: بعضی از آدمها دچار "تراکم عقده"اند. و البته عقدهی ناکامی و ناتوانی در ساحات علم، اندیشه، هنر، ادبیات و...، متورمتر و دردناکتر از سایر عقدههاست. این است که ناچار میشوی برای اثبات خودت، دیگران را انکار کنی، در عطش نام، دیگران را بدنام کنی یا برای دیده شدن، هرکه …
کشاکش
با چشمهای گمشده در مِه!
با بالهای سوخته در باد!
احساس میکنم که سرانجام
دارم به اوج میرسم، اما
در من چه درّههای مهیبی
روییده ناگهان
واماندهام
چو مورچه
بر شیبِ صخرهای
در قلب رودخانهی مّواج و بیامان
محمدرضا روزبه
@Mohammadrezarouzbeh
فضاسازی حسی - موسیقایی در شعر قدیم و جدید (۳)
احمد شاملو که در سرودههایش از تقطیع تکنیکال سطرها و فضاسازی از طریق فرم نمایشی آنها بسیار بهره میبُرد، در شعر "در آستانه" که میتوان آن را "مانیفست الهیات الحادی!" شاعر دانست، ضمن رد و انکار باورهای سنتی پیرامون مرگ، جهان آخرت، رستاخیز و...، در ترسیم و تجسیم سکوت لایتناهی جهانِ پس از مرگ با بهرهگیری از تکرار کلمات، فضای حسی و دراماتیک شگرفی آفریده است.
تنها تو
آن…
فضاسازی حسی- موسیقایی در شعر قدیم و جدید (۲)
قاآنی شیرازی هم در این قطعهی طنزآمیز با بهرهگیری از شگردهای تکرار، تقلید، تقطیع و بُرش کلمات و نیز ایجاد فرم و فضایی شبه دراماتیک، سخن گفتن پیر و پسرکی الکن را به شکلی شیرین و ملموس فراروی ما نهاده است:
پیرکی لال سحرگاه به طفلی الکن
میشنیدم که بدین نوع همیراند سخن
کای ززلفت صصصبحم شاشاشام تاریک
وی ز چهرت شاشاشامم صصصبح روشن
تتتریاکیم و بی شششهد للبت
صصصبر و تاتاتابم ر…
فضاسازی حسی - موسیقایی در شعر قدیم و جدید (۱)
شاعران برجسته میکوشند که از ظرفیتهای آوایی - موسیقیایی کلمات به انحای گوناگون برای فضاآفرینی و تصویرسازی استفاده کنند از جمله ترفندهای شاعرانه در این زمینه میتوان اشاره کرد به: بهرهگیری از تکرار و طنین کلمات یا آواها، استفاده از جادوی مجاورت، استفاده از قابلیتهای پنهانِ آوایی- معنایی واژگان و ...
گاه لازمهی این گونه تکنیکها و ترفندها، فرا رَوی از مرزهای بلاغ…
از زبان بیدل دهلوی خطاب به خودم میگویم:
نبری گمان که یعنی به خدا رسیده باشی
تو ز خود نرفته بیرون به کجا رسیده باشی
سرت ار به چرخ ساید، نخوری فریبِ عزت
که همان کفِ غباری به هوا رسیده باشی
به هوای خودسریها نروی ز ره که چون شمع
سر ناز تا ببالد، تهِ پا رسیده باشی
زدن آینه به سنگت ز هزار صیقل اولی
که به زشتی جهانی ز جلا رسیده باشی
خَم طرهٔ اجابت به عروج بینیازیست
تو به وهم خویش دستی به دعا رسیده باش
نه ترنّمی ن…
زیستن
در گریز از دردِ «اینسان زیستن»،
میسپارند آن نهنگان دلیر
تن به ساحلهای آرام عدم
بس که آسان گشت سختیهای مرگ
بس که «دشوارست آسان زیستن»! *
محمدرضا روزبه
××××××××××××××××××××××××××××
* از غالب دهلوی
@Mohammadrezarouzbeh
تحول سبکی یک موتیف در شعر فارسی (۲)
شاعران رفتهرفته در مییابند که اثر تعلیمی در کنار معنی و مضمون گیرا، نیاز به شیوایی بیان و شیرینی کلام هم دارد، از اینرو خشکی بیان امثال عسجدی، جای خود را به ایجاز، لطافت و شیوایی بیان شاعران سبک عراقی و هندی میسپارد. مثلاً در این قطعه از سنائی غزنوی:
با همه خلق جهان گرچه از آن
بیشتر، گمره و کمتر برهند
تو چنان زی که بمیری، برهی
نه چنان چون تو بمیری برهند
اعتلای فرم شعر به ارت…
تحول سبکی یک موتیف در شعر فارسی
بخش اول
موتیف یا بُنمایه، عنصر تکرار شوندهی اساسی در آثار ادبی یا در تمامی آثار یک هنرمند یا در یک اثر خاص است، مثل شب و تصاویر مرتبط با آن در اشعار نیما.
در فرهنگ اصطلاحات ادبی کادن میخوانیم: "موتیف یکی از باورهای مسلط در هر اثر ادبی و بخشی از معنا یا درونمایهی اصلی اثر است... شامل یک شخصیت، یک تصویر، یا یک الگوی زبانی تکرار شونده." (Malden, 2006) و در فرهنگ اصطلاحات ادبی شیپل…
❤8
Showing the 12 most recent of 20 posts we hold for @Mohammadrezarouzbeh. View and reaction counts are the latest single reading for each post, not a live figure, and a recent post is still accumulating both. A view count marked ≈ was rounded by Telegram before we ever saw it — t.me prints views in full below 1,000 and to three significant figures above, so ≈1,200,000 means somewhere between 1,150,000 and 1,249,999. Unmarked counts are exact. Text is reproduced from the public post preview and truncated for length.
Citation-graph rank
Citation-graph rank — 522,575 of 1,481,217entries in the measured graph. A weighted position computed from the forward and mention edges below — republished posts weigh more than named mentions — and recomputed periodically, over the whole graph. Published only as this ordinal position, never as a score: a position is a fact, and a score printed beside one channel’s name would read as a verdict this register does not make. The two counts beneath stay separate for the same reason mentions are never summed with forwards anywhere else on this page — a named-by count costs nothing to manufacture. The top 100 by this measure, or how it is computed.
Forward network
Republished by
Channels on the register that have forwarded this channel's posts into their own feed.
Built only from forwarded posts we have actually read, on both sides. Coverage is early and deliberately incomplete: a missing link means we have not read the post that would prove it, never that the relationship does not exist. Counts are distinct forwarded posts observed, so they only ever go up as we read more.
Mentions
Named by 4 registered channels — every channel on the register whose own posts have named this one, by its current username or any other username it currently holds, merged from two separately captured readings of the same fact so a namer caught by only one of them is not missed and a namer both caught is not counted twice. A username this channel has since dropped is not matched — that handle may belong to someone else now, and crediting today’s namer to yesterday’s owner would misattribute it.
Named by
Channels on the register whose posts name this channel's handle.
A mention is a weaker signal than a forward and is counted separately for that reason — naming a channel is not republishing it, and a handle in a post body is easy to place deliberately. The post counts beside each row below are distinct posts in which the handle appeared, from posts we have read on both sides — the “Named by N registered channels” figure above is a different count, of distinct NAMING CHANNELS rather than posts, and is not the sum of the rows under it.
Cite this entry
A live page changes as we take new readings, so a citation should name the measurement it is based on, not just the URL. The line below cites the subscriber count as measured 12 August 2026 — this
entry's latest reading, not the date you are reading this.
“حرفهايى براى نگفتن” (@Mohammadrezarouzbeh), 1,106 subscribers as measured 12 August 2026. Telegram Register, tgregister.com/channel/Mohammadrezarouzbeh.
Full measurement history, CC BY 4.0. Every reading this register holds for this entry, not just the latest one, as a dated, downloadable record: CSV · JSON. Free to use with attribution to tgregister.com. Each file carries its own generation timestamp, which is the figure to cite for exactly when the data was retrieved.