Journal of the Stylistic of Persian Poem and Prose
Year:2014 | Volume:6 | Issue:4 (22)|Papers Count:21

This article is about style religious poetry in poetry in second part of tenth century Hegira. To realize the style we analyze poem of poet from these point of view:We study content analysis of poetry in four main topic:1. Shia theological beliefs by relying on Pontificate (Imamat) and intercession.2. Eulogy poetry: praise and compliment of Prophet Muhammad and his family. Aim of poetry and oath of poet.3. Divine law4. Mysticism and Philosophy: mystical and Philosophical analysis of signs in poems.literary features in three branches and eloquence in four topic assimilation, metaphor, figurative language, metonymy, and rhetoric then we study the poetry linguistic.In this article we analyze Frequencies obtained from these studies and literary innovations.

Persian is the mirror of full identity of high thoughts and subtle meaning of Persian -speaking poets and writers. Grief is one of the most important content in Persian poem have long regarded in the past.Mourning in the poems of Persian poets can be considered. In this article we aim to first study the origin of grief in Iran then study the kinds and examples of griffin Persian speaking poets until 6th century. In other words we would like to answer the questions of 1_Did the poets consider the grief in their Owen era? If yes which grief was considered more? To analyze this item we refer to some resources and also we use some poet's works.

Ancient and modern experts is generally believe that poetry know imagination speech that the fiction is an integral part of it. They have emphasized in their own fantastic in his definition of poetry, often using rhetorical devices such as simile, metaphor, metonymy and ... as an illustrator and creator tool and function forms., however, in the past and contemporary poets, many examples can be obtained that the poem from imagery is devoid among scholars of common meaning, but it is imaginative and with read it will provoke the reader emotions and objective picture of emotive scene is embodied in his opinion. These poems have been composed in themes of love, beauty and celebration of humanity and human relations and are closely related to people's life and its manifestations since this type of poems are not imagery, narrative elements as character ma king, scene making ... they help to draw this image; addition, in language area, application of adjectival, adverbial, verbal, are played an important role in visual images. Mahmoud Fotohi said, these images are resulted through the use of lexical and real word of language to mind and it know prose is named language and real pictures. It is knows a specific prose. Whereas we can also be traced to them in poetry. In this study, WahshiBafghi poems, the most famous poets is investigated descriptive-analysis way and the main question that What is the use of oral images in WahshiBafghi poetry?Results indicate that this poet, full of the oral images, so that this feature can be attributed to the characteristics of his poetry style.

In the present article, we have first specified an epochal and local limit for the research and then defined the expression “Literary and Cultural Institution”; then assigning Timurid period courts as literary and cultural institutions, have enumerated their related functions in this way: First, we have identified the most important literature and culture patrons in the courts of this era neglecting their political functions, and shown each one’s function areas; then considered the role of courts as literary and cultural institutions in growing and development of culture and literature in this era. Timurid period courts in the first degree, as basic institutions, have been founding or rebuilding and supporting other literary and cultural institutions in different ways. Their second literary and cultural function has been founding or developing these literary processes: composing and translating historical texts; making prose and verse madde-tarikhs; composing panegyrics, virtues and elegies for courtiers; composing poems describing buildings built by courtiers; writing texts called tazkareh; composing works similar with predecessors works; fashionable verse debates among kings and princes; technique of tarassol and monsha’at; translating and describing others works in verse and prose forms; pleasantry and satire among poets; Turkish literature; composing poems with the subject of riddle and also composing theoretical works in this genre; composing books with the subject of navader va amsal.

Sheikh Baha Al Din Amoli was an outstanding scholar and mystic of literary taste in the 16th-century. Although Persian language was not considered to be his Native language, he composed poems and made speech in this language. For him poetry was a means for transferring feelings, ideas and emotions not for displaying art and this is the main reason why his poetry lacks poetic complexities and intricate imageries. This article aims to study simile in his poems which holds the highest rank because of its high frequency that is 45 percent among the imagination shapes. The similes are not often creative; they have a touch of poetic intricacy and delicacy, though. The similes are an attempt to make the elements tangible. So in Bahaii’s poems the similes tend to be rational-sensible and he has chosen the majority of composing elements in his tenors from elements and the vehicles from concrete elements.

Ether Qvydstpoet of Iran, Iraq, played a significant rolein theevolution of the Khorasani style. One of the most striking aspects of his work in this areaisto create compound words. These patterns; less attention has been of style. This researchis focus edon this aspect of poetry ether. The main purpose of the construction and the inclusion of The word in zone Poet poetry, mode rnismandmentalease and simplicity Khorasany ststyle.Since the presence of compound words that are less Khorasani style of poetry, the poet found a big step in the evolution of the secompound shas style. Ether compounds in making wasn''t the poets of Khorasan clearly deviate from then orms of the language has tobe clever about this technique isused the most.Garlic compounds also make use of all the language capacities, but Khorasani style poets were bound by the rules of language. Ether compound words found in the Courtunder titles such as: combining Vnddar, Vnddar like compound adjectives compound subject compound and compound adjectival participle are analyzed. In the end, conclude that many of the hidden ether compound words may influence the style of lyric all poetry towards Iraq has been difficult.

Rashidedine Vatvat was one of the great Iranian poets and scribers of the sixth century who has interesting works in prose and poetry in both Persian and Arabic. His Arabic correspondences are a sign of rhetoric and eloquence and are samples of interesting style of correspondence in that time. Studying the methodology of these correspondences presents a new treasury of science and literature for the readers.This survey with a descriptive analytic perspective studies the methodology of these correspondences and investigates them at the three levels of linguistic, expressive and mental. Linguistic and expressive levels that are concerned with musical and syntactical sentences and vocabularies and analysis of similes, metaphors and different figures of speech, show that ancientness in using difficult vocabularies, observing expediencies’ of time in sentences, harmony of wording and meaning, and existence of interesting figures of speech, shows the skillfulness of Vatvat in rhetoric's of Arabic and his familiarity with the exacts of Arabic that give an interesting appearance to his correspondences. At the level of thoughts and ideas, the correspondences are of the best references about reflexive relationship between Abbasi khelafat, Saljooghi and Kharazmshahi kings, and indicates the hard attempt of Kharazmshahi kings in order to gain the support of Abbasi Khalife and political legitimateness, that in this attempt they were accused by Soltan Sanjar Saljooghi to support of Esmaeelis and they emphasized their wide wars against agnostics. The brotherhood correspondence of Vattat also includes valuable historical and social information that talks about the life of other scientists and literatures of that time.

Mystical poetry of the 14th century in the contention age of steel and iron and false mysticism, is color and other hobby, It Both poetic which guesting true poetic flavor and pure mysticism. In this paper, life, poetry and thought of doctor Nemat Allahe tabande has been investigated and Scrutinized. To achieve the purpose, the paper was organized into three main thought, rhetoric, literature, and language instruction. in Prime focus, key ideas of his poetry and in the second axis, studied the poets Prominence from a literary perspective and in the third axis, Was seen the standpoint of the linguistic features. else, because of the high frequency Benefiting Nemat Allah of the Quran and the Hadith, that characteristic analyzed under the third axis as a linguistic features.

Persian Poetry tradition, till Safavid Dynasty and the appearance of Hindi style, had existed for seven hundred years. The characteristics of Hindi style poetry are generally researched from the perspective of external variables (e.g. society, culture, and economy) and its aesthetic transformation has been surveyed using the frameworks of the common poetic devices of that time. In addition, the characteristics of the poetry of this time can be discussed in comparison with its past poetic legacies and traditions.The results indicated that the inclination to use this motif was rare in the early time (till the end of the fifth century) of Persian Poetry. The use of this motif increased in the sixth century and in the seventh century a new approach to the use of this motif in combination with another motif or allusion in a couplet is seen. In Hindi poetic style, this new approach to the use of motif in combination with another motif or allusion is realized when a motif is used in the first couplet and then mentioning the other motif or allusion in the second couplet. This type of allegory is called Oslub-e Moadele.The use of this motif in the poetry of that era has a high frequency and has significantly increased. In addition, most of the time the poets of Hindi Style have both removed common motivation of this motif and has replaced the common motivation with a new motivation in the Persian Poetry.

Qabuli was one of the Iranian poets of 15th century who owned a great importance in Asia Minor and in Othmani dynasty court.The facsimile of "Divan-i Kabuli" was published in Istanbul for the first time in 1948 with an introduction by Prof. Ismail Hikmet Ertaylan which included couplet poems (Mathnawi), odes, satires, lyrics (Ghazal), ballads (Qat'ah), Quatrains, two Turkish odes and twelve Turkish lyrics in 378 pages.Qabuli's odes are coherent and steady and his lyrics are subtle and gentle and mostly his verse is full of imagery and figurative technics.In this paper, Hakim MewlanaQabuli and his stylistic attributes are surveyed and studied.

Theorists of management science divide it into four types: Classical, neoclassical, systematic and contingency.To day's management is situation and contingency oriented; that s, it tries to adjust management strategies according to situational unique requirements and choose specific strategies in special occasions.Theorists of contingency management reject fundamentalism which says management prinaples are the same all over the world – and believe manager's performance is affected by situation. According to the prinaples of this theory, the desirability of management strategies depends on situation, may be inappropriate in another. Therefore, this theory is also called "situational attitude."This study investigates Ferdowsi's management attitudes and comes to this conclusion that he has possessed the specific skills of a modern manager. He is familiar with the latest principles of this science and tries actively to employ the best decisions according to existing conditions, Having complete command on dominant conditions, he motivates people according to their needs and different and appropriate decisions in conditions appeared to be similar. His outstanding, unique attitudes and top, contingency management can inspire today's managers significantly.

Sultan Ibrahim Mirza (April 1540- February 1577) was the son of Bahram Mirza and the grandson of Ismail I. His father, Bahram Mirza, was the youngest son of Ismail I and along with Shah Tahmasp I, had two other brothers named Elqas Mirza and Saam Mirza (the author of Tohfe-ye Saami). Around 1562, he was appointed the governor of Mashhad and kept the position for the rest of his life. The present paper attempts to introduce his Poem (regarding the Edit of manuscripts) and have a look at his art of poetry. The only remaining work of his is a poem is registered and being kept in the library of Kakhe Golestan under the entry number 2183 and line number 139 with its pages 337 to 340 of the first volume in the section assigned for Poems under the name Djahi Poem (the poet's pen name). According to some scholars, his Poem included some 3000 verses (Khulasat al-Tavarikh, p 110). The Poem available now has 993 verses 859 of which are in Persian and the rest are in Turkish. It includes a prose introduction, 8 odes, 90 sonnets and 58 quatrains along with some Turkish poems. This Poem is collected by Sultan Ibrahim Mirza's daughter, Lady Goharshad, in 1581, five years after her father was killed by Ismail II. This selection is extracted and compiled from among all his poems by his daughter and her poetic taste. His poems are abundent with praising prominent figures in Islam and Shiite including the holy prophet, Muhammad (PBUH), Imam Hussain (PBUH) and Imam Reza (PBUH), orientating on events, caring about the beloved, mystic concepts, historical points and vainglory. His poetry is simple, fluent and effective.

Woman style, woman writing, woman dialect and generally woman writing movement is a deliberate movement that is trying to encourage women to liberate themselves from men’s mental and verbal government and also is requiring women to write and compose their own willing, hopes and expectations as an active part of human society and is trying to find out the differences between woman language or woman writing style against those of men which indeed are norm and predominant in the society by comparing literature produced by women with those produced by men. In the present research, writer has tried to identify and present the signs existing in Iran’s women poets’ compilations by searching through their poets and will lead to distinguish between women and men poets and tends those compilations to women writing style.

The “complaint verse”, which can be examined as a literary sub-type in some Persian poetry developmental period, forms a large part of Persian poetry in technical and literary fields, just as makes up an important part of man’s nature and behaviour in human and psychology aspects when exposing to the world outside of self. So considering the importance of the subject, it demands that the Persian poetry heritage be professionally examined from this point of view.This article, in fundamentals of question, tries;- To provide a clear definition of “complaint” and “complaint verse”, and express its logical essentials and descriptions.- To argue some objections on the existing sources’ divisions of “complaint verse” and propose a more comprehensive one of that, based on more proper and acceptable axes, and survay some new topics on its types.Which their vacancy is being seen in Persian encyclopedias and other available sources.

Simile is one of the most prominent imageries that contemporary poets have shown a considerable attention to its application. This study aims at a stylistic investigation of the application of metaphorical images in children and adolescents poetry. An attempt has been made to answer the following question by means of a descriptive- analytical method and by considering traditional rhetorical resources: how is the quality of metaphorical images' application in children and adolescents literary works? Therefore as a sample, the poems of the two greatest children and adolescents poets i.e. Mustafa Rahmandoust and Afsaneh Shaban Nezhad were chosen and the application of simile in terms of the following factors was evaluated: structure, the multiplicity of sides (tenor and vehicle), the point of comparison, and being sensory and intellectual. Also the frequency of their application was shown in separate tables. The results not only showed the application of simile as an important device in the enlightenment, imagination, and the higher impact of speech in children and adolescents literary works but also it revealed that the type of used vehicles, the distribution of extensive and intensive similes, and the types of simile in terms of the multiplicity of sides are among the factors that show stylistic differences between children and adolescents poems. And factors like "the point of comparison and simile sides being sensory and singular" and "the closeness of the extent of similarity" are among the similarities of the poems of these two age groups.

Through proportion of love and mysticism with poetry and literature, and on the other hand, with rituals and religious, mystical perspective highlights Ashura is among the other readings. In various ages perspective to the issue of Ashura was different by poets and many different interpretations have been presented. Among those, two perception or epic and mystical perusal were extensive than the other readings. Though seemingly theory of mystical testimonies shows non-social and non- political and de political interpretations of the uprising of Imam Hussein (AS) emerges, but as in the poems of the great poets of Ashura is evident, philosophy of Ashura's uprising is in liberating and the most important lesson that can be taught of uprising of Imam Hussein (AS) is spiritual liberalization, muslims awakening and maintaining the dignity of Muslims and religion. At present, the mystical view of Ashura poetry has a distinguished position toward the previous period and each poem shows a murder place through rhymed which has found an approach of justice and mystical policy objectives in the uprising of Imam Hussein (AS). This article aims to analyze the mystical elements in lamentations of Ashura literature.

The New Style or the Indian Style initiated in the late 10th century (AH) and continued until the early 12th century (AH). It is a sure fact that this type of style, which encompasses numerous poets of that era has had an undeniable impact on Persian Literature, which can be traced until recently. Unfortunately, no significant and/or appropriate studies have ever been accomplished in Persia or for that matter, in any other country, in regard to this type of style, to investigate its points of strength or on the other hand, the weaknesses of this specific type of style. One can assume that among the reasons why this style is neglected are the negative views of the foremost scholars of Persian Literature that were under the influences of the written books called "Tazkirah" during the era, known as the "era of return", and the negative approach of these books towards that kind of literary style. Furthermore, it should be noted that the glorification of the foremost Persian literary works is another reason for the shortage of study and research about this particular style. Moreover, other important reasons are the distribution of the recourses of this style and the unawareness of the previously done studies about this specific subject in other countries, and the failure to investigate this subject matter in a historical context. Therefore, this study aims to investigate and to analyze the oldest critical researches of Orientalists that deal with the study of the Persian literature, and to study then, that kind of works that introduces this New Style or elaborates on the poets, who followed the Indian Style. As a result, this study aims to answer some important questions. For instance, who is the first person, who introduced the poets of this era? What are the first known Persian "Tazkirah" books ever published, and then, how and to what extend did they affect the future studies? And what is the general point of view of the Orientalists in regard to the poetry of that era, until 1895.

Molla Mohammad Taher Keshmiri known as Ghani Keshmiri is the powerful poet of the eleventh century A.H. his poetry has the characteristics of Hindi style. Making concepts is one of the salient features of his poetry and mirror is one of the basic and frequent concepts in his Divan. Ghani with the constituents of the mirror such as light, framework, back, house, and source of mirror make mental pictures in the mine of the readers. Features and specifications of mirror is also the center of attention for him like purity, luster simplicity. The most frequent used contents concerning the concept of mirror that they include mirror and breath, mirror and felt, mirror and dust, mirror and Alexander, mirror and tender bread, mirror and parrot, mirror and ashes mirror and knee etc. Ghani has used in making rhetoric imaginary such as simile, allegory and recognition. The study of this content in the lyrical poetry of Ghani represents the ability of the poet in making contents of different types.

One of the best practices in the field of literary studies, research is sources such as ships and anthology. This researchs for find poem, s poets that their poetry are missing. Then we commented about the poems and style and probably the secrets of life gained. One of those poets is AllamaNasir al-Din Tusi. His poetry books do not have. However, research on manuscripts and printed sources can be found in some of his poems.In this paper, with research in old manuscript sources, new poems have earned and were investigated. In some cases, poems obtained by us from other sources as well. But because the resources that we have quoted those poems from reliable sources and is a qualified veteran who knew them well to bring benefit more here.

The main objective of the present study is to investigate the measure of Persian word similarity in Afghan newspaper of “Ensaf” and the Persian words used in Iran.In this study, among the papers found in Afghanistan, two issues of "Ensaf" newspaperwere chosen as sample.Then thenewspaperwords wereevaluated based onthe five specified objectives. It should be noted that the classification of words in this way is based on work of "Anousheh Khodabandelu" in Persian book of "Unheard (Nashenideh)".1 - Persian words (alien and native) that were used in ancient times, these words have been forgotten in Iran but are still alive and used daily in Afghanistan.2 - Words that are being used in both countries but their meaning are (almost or completely) different in each country.3- Alien words that have usage in AfghanPersian but have no presence in Iranian Persian.4- Wordsthat are present in Iran and Afghanistan (with obvious meaning), but in terms of appearance are (partly or completely) different.5-Words that are in Afghan Persian dictionary andare absent in Iranian Persian.Iranian and Afghan PersianComparison studies show that regardless of some differences, almost all written Iranian and Afghan Persian words are the same and the amplitude of differences not enough to create a major Disturbance in the understanding of the writing.

History has been the departing point and groundwork of different research and every researcher seeking to propose his own new approaches, has no other way but take a critical look at the path his predecessors stepped in. Every generation has to offer a type of reading and thinking corresponding to dialectics of his own time and era and protect his cultural background. Given the modern changing world, writing modern literature history, is a backbreaking and painstaking task on part of Iranian researchers.Taking the abovementioned goal into account, the author reviewed 15 titles of the most influential books on Iranian literature history written by foreign and domestic writers drawing upon “tries and errors” experienced by the preceding researchers with regard to writing a modern literature history. Lack of transparent theoretical principles on the nature, essence and categorization of literature histories, being under the influence of ideologies, negligence towards Iranian women speakers and folklore and ethics literature, infatuation with poem and marginalization of prose, abundance of low-profile poets and authors who have restricted the analysis and deduction arena for the real author, parallelism in historical and literary streams, general and inaccurate conclusions rising out of Persian old memos, errors resulting from manuscript-reading and attributing them to their owners, lack of a comparison-based attitude in Iranian researchers’ works and foreign researchers misunderstandings and wrong impressions about Persian language are among the most important setbacks of the early literature histories. Based on the research findings, the author puts a number of propositions forward within two thematic frameworks, i.e. research and education, to provide a ground for writing a modern literature history.