JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2009 | Volume:2 | Issue:3 (5)|Papers Count:7

Narrative Ra and individual style of Golestan.In this paper I will be concerned with the individual in Golestan. The existence of individual style in Golestan has been a clear matter for over stylisticians; but what features give stylistic value to a work? And which of them is individual? What is the difference between utterance of Golestan and others? In this article I will answer to these questions and will claim that the narrative Ra is one of the style markers in Golestan.

The aim of this research is to investigate the themes of Persian Saghee-Nameha to examine to what extent they are in congruence with the contents of Khayyam Neishaboori’s Rubaiyat. To do so, we have analyzed one hundred and nineteen Saghee-Nameha present in Tazkarahaye Maykhaneh and Paymaneh in terms of content.The results indicate that thoughts including taking opportunity, thinking about death, astonishment, complaining about the time, and so forth are the common motifs between Khayyam,s Rubaiyat and Saghee-Nameha. The distinction lies in that the forementioned features have philosophical tones in Khayyam’s Rubaiyat and have been expressed briefly due to the limitation of form; however, they sometimes have mystical or amorous tones in Saghee-Nameha and they have been realized more extensively because of their form characteristic (Masnawi). Meanwhile, the creators of these genres while attributing sacial chaos to the time of inferior people growing have leveled their opposition under the umbrella of wine, drunkenness and other related words.

In This essay we have an intention that consider the style markers of "Learned" Story in Sa’di’s.We are fined The Individual Style of Sa’di’s in Bostan in The three Levels:1. Literally Level that including of Three Level:A) Phonological LevelB) Lexical LevelC) Syntactical Level2. Literary Level that including of Three Level:A) Figurative LanguageB) Spiritual NoveltyC) Rhetoric3. Thought Level that including the important Poet's thought

Anecdote of Sheikh San’an is overflowing with coded elements and symbolic norm divergences .this story is a collection of conflicts which by bringing them up, Attar distinguished mendacity elements opposing ascetic Sufism while inducing coded contexts of the story better. He presents an artistic form of story with expressing these conflictive relationships between anecdote’s sign and putting words in out-of-norm conceptual domain and drawing the hero in to a presence which is out of common clichés and his common beliefs and his engagement between these conflicts.Since the happening of a new style is by frequency and repetition of signs, it can be concluded that Attar is so powerful and stylist in applying domain of conflictive signs and repetition of contrasts in a skilled and purposeful texture.This research talks about these conflicts and explains them in implication and structure domain.

Shaykh Bahayi is one of the most renowned scholars of 10 and 11 century that he was skilled in different sciences. He has created verse and prose works and has poetical works too.The era Shaykh Bahayi lived named Hindu style in Persian poem, but important characteristics of this style has not reflex in his poetry. And his style characteristics of poem are according to Khorasani and Iragi style. In this research our attempt is that to cite as proved examples about Shaykh Bahayi’s poem to cite similarities and differences between Shaykh Bahayis poem and characteristics of Hindu style are studied.

Mirza Muhamad Vali DashteBayazi Known as "Vali" [pronounced [væle/] is an eminent poet from Safavid era. He lived at the time of King Tahmasb the First and King Abbas the Great. He was the greatest poet of his lifetime and thus was renowned as MalekoShoara (King of the Poets). The present article sheds light on the cultural and sociopolitical conditions of Vali's life period. The article further investigates Vali's relationships with his contemporary fellow poets and also presents a brief account on the earlier poets mentioned in Vali's Divan (Collection of Poems). Finally, Vali's poetic style is reviewed and evaluated from different stylistic perspectives based on the evidences extracted from his poetry.

As we know during the Mashruteh revolution and the years after certain poets emerged in Persian Literature. One of their common themes in their poems was patriotism so that patriotism is one of the characteristics of the poetry style of Mashruteh. Some of them like Abolghasem Lahuti believing the other schools such as socialism did not believe in a religious regime. Some of them like Mirzadeh Eshghi not believing in a specific school believed that religion and patriotism are separate from each other. On the other hand, some of them like Nasim-e Shomal were religion-oriented apparently. Mohammad Taghi Bahar is one of the poets that there is no doubt in his patriotism but most of the major sources do not believe in his Islam-oriented in his patriotism.In this article it has been tried to survey all of the poems of Bahar and the rate of his religion-oriented in his poems and show that this great poet does not believe in the separation of religion and government in Iran. In this way, a new perspective of the characteristics of his intellectual, poetic style has been opened.