JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2019 | Volume:11 | Issue:4 (42) |Papers Count:18

Shkiba kermani is one of the well_known but unknown poets of the 12th century. A unique manuscript of the court of this poet, numbered 3892in the central library of the University of the Tehran the court consists of lyrics, poems, parts, rubas. Among thefeatures of shkiba poetry in this court are cases such as live imaging, the use of elaborate literary industries, the effort to create vocabulary words, illustrative and influential, the selection of specific weights, and the proportions of thepoetry concept, the use of a long current series, and some times also a question, the richness of poetry and the perfection of the concept of rhyming, and the timely use of literary works in the literary and spiritual domain. Methodology in this paper, the study of the style and content of the poets poerty from three level intellectual, lingusistic, and literary purposes was to achieve the succes rate of the poet one of the poets of the era of returuing to follow poets of his poetry styles befoer literary. As a result, it is possible to establish the abibity of shakiba as one of the well_poets of the perivod of return in following the poets of the past styleand his success in reflecting their intellectual, linguistic and literary structure in his poem.

Despite the classical Persian poetry, that choosing of the title for poetry was not so prevalent and the poems were classified using elements such as rhymes, rows, poems, etc., in the contemporary poetry, it became one of the essential requirements of each poem and remarkable method for poems. Poetry titles, which are the most prominent words of each poet, have an important role in the structure of poetry, while possessing various aesthetic functions. Also, considering that one of the main ways to connect and proper understanding the poem, is depends to know of dimensions and constructive components; the study and recognition of the poetic titles of each poet are so important. In this article, it tried to compare the titles of Forough Farrokhzad and Sohrab Sepehri poems and analyze linguistic, literary and content aspects of the poems using statistical methods. The survey indicated to considerable similarity and difference in the linguistic structure (number of components and relation to the text of the poem) and the literal format of these two poets. Also, the process of selecting titles is linguistically and literally different, even sometimes inverse in their various collections (from starting collections to final collections). As in the final collections, they tend to use longer titles, and on the other hand, the frequency of literary titles in these collections has increased. Therefore, it can be said that the differences in the selection of poetry titles at the final collections of these two contemporary poets are due to a change in their worldview also coordinating to their linguistic structure.

In this paper, three manuscripts of Bidel Dehlavi were introduced and analyzed. Kabul version (=Khalilullah Khalili), and three manuscripts of Bidel’ s scribe (= Mohammad Vares seddighi) – which Ali Reza Ghazveh introduced them to Persian literature treasure-are the old original versions. Three new manuscripts are: “ Majles” , “ Malek” and “ Rajeh” . Some important differences of these manuscripts with the writings of Bidel’ s scribe were analyzed from the stylistic perspective and relying on Bidel’ s poetry, and another famous Indian Style poet, Saeb Tabrizi. These manuscripts, compared with the manuscripts of Bidel’ s scribe, are not complete. The scribe, especially of “ Rajeh” manuscript, presented a selection of a few lyrics with the common rhyme and rhythm; perhaps, “ Malek” and “ Majles” , however, are separated in this field. These differences, in any case, show the metamorphosis of Bidel’ s poetry over time. The time interval of “ Majles” and “ Rajeh” with Bidel’ s death is nineteen and twenty nine.

The Institute of Advanced Archeological Implications of Taunkun Sanktah and Bercey Nashandand. A group of people with the effects of the interpretation of the priests of the Sea of Mwaj and the lamp of the Wahaj after the death of Maulana Shihab al-Din, Omar Dulat Abadi, the first day of the reign of Hisham Qamaray, was the source of the correction and resolution of his decision. The first question is the question of the effect of the functions of the explanatory office. The Office of the Interpreters of the Sea of Mwaj by Rohas Taasir, Ahl Sint, Maatour and Rawayat Est. Dr Ja Jae Mten, with the stories and novels of Dastani Qurani based on the st. In particular, the paraphrasing of the Qur'an is interpreted by means of an explanatory statement and the raising of the thumb of his tongue. Explanation of a particular method of selecting a particular device or its cause due to the demands of special systems presented by Shunde. It is also the result of the serenity of the Church of the SubGenius. Translation of Quranic verses and its meanings. Explanation of the translation of the verses of the Qur'an. Within the framework of the prose of poetry, poetry, Arabic poetry, and Persian literature, Newswandh Dar-ein Koshidah Taizh Maher Roche Analysis and Characterization of the Content of Schnannanden and Bercey of the Interpretation Office of the Republic of Iran, Zabbani, Adbay and Sakhtarı Baharaljawj by Pradzad, and even a Knowledgeable Interpretation.

Analyzing the linguistic, literary and intellectual levels is necessary in the stylistics study of poetry and prose in order to recognize their nature and essence and enjoy their literary and soul freshening qualities. In this paper, the stylistics of Lamei Gorgani’ s poetry was analyzed at the literary level in order to revisit and investigate the dominant literary characteristics in this poet’ s poems. Whereas Persian poetry was gradually moving towards literary elegance and complexities in Lamei’ s time, the literary characteristics of the “ realist” and leisure-seeking era were still dominant. Henceforth, Lamei’ s poetry must have been under the effect of the characteristics of the “ realist” and leisure-seeking era. In order to answer this question, the literary characteristics in his poems were scrutinized. Identification of the literary characteristics of Lamei’ s poetry is important for recognition of the dominant characteristics in the poetry of the transition period from the Khorasani stylistics to the Iraqi stylistics. The questions of what motifs are more illustrated by the literary characteristics in Lamei’ s poetry and of whether Lamei’ s poetry distanced itself from the dominant literary characteristics of the Khorasani style were answered in this study.

The purpose of this research is investigating the various and abundant usages of between added in Shahnameh of Ferdowsi such a stylistic feature and also determining position of that in front of parenthesis. Parenthesis is a kind of redundancy and if it has deleted, doesn't affect the meaning and the concept of the text. Finally, its presence brings beauty to words or meaning. Between added is right equivalent for parenthesis. In this research, because of its Comprehensiveness and inclusiveness, is used Instead of parenthesis with zeal and Loosely. In this research, between added in Shahnameh of Ferdowsi is explained from two perspectives of structure and content. The purpose of structure is introduction of constituent elements of between added and the purpose of content is expression of its themed and concept. The format of between added in Shahnameh is a word, a Phrase. a Hemistich or a line. Even in some cases, the scope of this using is a several lines. The mood of verb (quality verb to express the concept) is various, but usually is indicative mood, which is used to convey a specific message Ferdowsi's intention isn't nothing but humanitarian recommendations, advise, warning and punishment, promote the knowledge and development the wisdom. Also his between added that somehow is considered feature of Ferdowsi's Shahnameh, transfers these meanings to readers.

Nafthat al-Masdur by Shihaboddin Mohammad zeydari and Jahangosha History by Ata al-Mulk Juveyni are valuable literary and historical works of 7th century AH. These two books, like other contemporaries, are written with artifact and technical prose. In technical prose, verbiage is used as a writing method; i. e. excessive use of words and phrases for explaining little concepts. The use of verses, sayings, proverbs and Arabic poems is also a method that leads to lengthy writing. The authors of the two works combined Arabic prose and poetry with Persian writing through different methods. In this research, literal and semantic relations between Arabic phrases and Persian prose were studied. Also, the status of Arabic phrase in Persian word and the way it is combined with Persian prose are investigated. The results clearly revealed that, on one hand, Arabic phrases of Nafthat al-Masdur and Jahangosha History can establish verbal relationship with Persian text. This relationship is evident in two forms: first, Arabic prose and poetry, as a part of speech in sentence, take form of subject, object, predicate, possessive, adverb, complement, and clause; second, rhetorically, appear as with one of the rhetorical categories such as simile, metaphor, irony, ambiguity, brevity, debate, and etc. on the other hand, Arabic implication well managed semantic relationships with Persian prose using various methods including complementation, stress, allegory, description, summarization, and interpretation.

animation is an art based on the combination of images and animating them that has been associated with it since the early years of the formation of the cinema. In spite of the high popularity of our children and adolescents from Hollywood animations, most of Iranian's animation films are not at the attention of the audience because of production technology problems and screenplays, and there is no widespread exposur. An examination of the world's animation produces an impressive amount of animation cinema from epic, didactic, lyrci and folk stories. Different types of Persian classical literature have the purporst and themes of the story and have the visual effects suitable for writing animated scripts. This occurs ina conditions that keeping the relationship of our children and adolescents with the roots of ancient Iranian culture is necessary. In the first step of this article, the animation capacities of different types of our country's literature are expressed briefly. Then, in a case study, the various features of Nafasat-Al-Masdoor, which are made suitable for animation adaptation are examined and while providingthe evidence, the examples from the text of the book is mentioned as a comparison of a sample of animation films and series. The results of this research show that Nafasat-Al-Masdoor, in addition to general dramatic capacities, has some visual, content, and narrative features for animation adaptation. The storytellerlikenarration, black and white personality-making, and endoplasms, and exaggerated romantic and expressionist imagery are among these features.

Rubai is one of the main formats in Persian literature. Due to its special capabilities, this template has always been a matter for the poets. In contemporary times, due to the shortness of Rubai, the format has been welcomed by the audience. In the meantime, Rubaiyat of Jalil Safarbeygi and Milad Erfanpoor appear to be significant in structure and content. The two poets, in reliance on the power of imagination and poetry, have described the most important issues that have been in the mind and concern for them in the form of Rubaiytai. Accordingly, the most important research questions are what are the main axes of the Rubaiyat Safarbeygi and Erfanpoor, and what are the different ways of sharing and differentiating their intellectual systems? The research method is descriptive-analytic. The results of the research show that the two poets have focused on the richness, morality, culture, and religion. As to the means of differentiation, it should be noted that Westernization has attracted more attention to social and wise and mystical subjects than political concepts.

Precipitance of contemporary humans in most stages of life stems from popularity of machinism and dominance of technology in world today. This ended in minimalist conception of architecture, painting, sculpture, literature and so on. In literature, minimalism is a literary style or principle based on excessive compression and undue brevity of literary content. Advent of minimalism and short short-stories is something novel in the west, but there are numerous instances of short short stories in ancient Persian literature which manifest characteristics of minimal stories. Kashf-ul-Mahjub, written by Hujwiri, is one of mystical and literary works in Persian which requires elaboration and investigation not only because of its content but also for its storytelling. This paper aims to answer the following question: "Does the structure of stories told in Kashf-ul-Mahjub agree with features of minimal stories? " Consequently, the present paper intends to investigate and compare the characteristics and parameters of minimal stories to stories told in Kasf-ul-Mahjub to demonstrate that brevity and minimalism in story genre, although more vivid nowadays, is deeply rooted in ancient Persian literature. The results of our study attest that most of stories told in Kashf-ul-Mahjub possess the features of minimalistic storytelling.

In the 40s, integration of classic sonnet to neo-poetry led to neosonnet in contemporary literature. Objective and fresh perceptions of surrounding world by neo-sonnet poets, stylistic innovations and incorporation of some elements from free verse gradually led to its growth and eloquence. Imagery feature is so prominent in neosonnet that it is called the "pictorial sonnet. " This paper aims to answer the following questions: "How does imagery in neo-sonnet differ from its counterpart in classic poems? " And "What methods are employed by neo-sonnet poets to achieve a fresh conception of imagery? " Thus we intend to investigate the characteristics of imagery in neo-sonnet and scrutinize the methods employed by neo-sonnet poets to this end. We try to depict how those methods refreshed imagery and stylistically distinguished neosonnet. It can be concluded from the present study that neo-sonnet, equipped with fresh imagery techniques, has created a new style in contemporary sonnet which distinguishes it from sonnet in previous eras.

"Nesabossebyan" written by Abu Nasr Farahi is an educational poetic collection in lexis and literary science. It has been the focus of attention of the scientists and writers since its writing until the 14th century so that upon which too many commentaries were written. "Riyaz Alftyan" written by Ibne Hossam heravy whose author and the masterpiece itself have not been Introduced yet is one of its best commentaries and versions in the Teimurian period. The main issue in this paper is to introduce"Riyaz Alftyan, its investigation and innovation, stylistic and writing features, and introduction of its author. The findings of the present study obtained through a descriptive analysis procedure and on the basis of documentary method show that Nezamoddin Ibne Kamaloddin Ibne Jamoloddin Khafi Heravi known as Ibne Hesam Heravi is the philologist of the Teimurian age and his "Riyaz Alftyan" as an educational text is the oldest and most comprehensive commentaries of "Nesabossebyan " whose significan characteristics are miscellaneous writing, description, and documentary and testimonial extension of words. Morever, the masterpiece, is of high frequency in allusion, excerption, and reference to Koran verses and Tradition and refrence to the valid books of vocabulary. Ibne Hesam has greatly endeavoured in accurate registration of words inaddition to eloguence, tradition, and his masterpiece is the biggest treasury for introducing and interpreting "Moarrabat"(the Arabicized loaned words).

AkhlagheNori compiled in 1026, is the name of the manuscript in the field of ethics and mysticism which had disappeared at first leaving no information about its author. A contemporary compiler of King Jahangir is the descendantMoeinOl-Din VaezFarahi was responsible for this collection. This work is a collection of stories and poems, all related to the nineteenth century of which some of the poets are not known. Since most of the text in the collection is drawn from various sources, the literary forms, lexical and syntactic resources are subject to the compilers style and thus cannot be the base for determining specific personal styles. The writing style throughout the compilation is not uniform; sometimes simple an d smooth and sometimes rhymed and naive. The frequent literary forms used includes allusions and collaterals. As for the literary style, the method is similar to Arabic sentence structures. Apparently, one of the compilers who was a fanatic rewrote some parts and deleted those which did not comply with his ideas destroying the original materials.

Symbols (which have often) originated from myths are so mixed with literatworks that it is sometimes impossible to comprehend poems without understanding the symbolic concepts. The use of animals’ names and symbols is very common in Persian Literature. Sometimes their real meaning is meant and sometimes their symbolic one. In this study, we investigate symbolic concepts of horse in epic, lyric, and gnostic works (on the basis of The Shah-Nameh by Ferdowsi, The Khamseh by Nizami, and The Masnavi by Molavi) comparatively and according to the library method and descriptive-analytic method. At first, we will have the dominated attitude on Avesta and Pahlavi texts about horse, then symbolic concepts of this quadruped in epic, lyric, and gnostic domain will be expressed. At the end of each part, we will determine the percentage of collation of the symbolic concepts in two or all three works, frequency of the animal’ s name, and percentage of usage of horse symbolic concept in each work. The outcome of this article is this point that horse has high usage in the analyzed works with the repetition of 1439 times and 20 symbolic concepts. 25 percent of this quadruped (running fast, fury, strength, and duplicity) in all three works and 20 percent (burliness, beauty, spiritual and sensual existence, and worthiness) in two of them are conformed; 55 percent of the concepts are used only in one of them. In addition, 25 percent of concepts are in epic domain, 25 percent in lyric one, 40 percent in gnostic one, and 10 percent in other domains (besides epic, lyric, and gnostic).

Religious and religious books are one of the most important sources of poetry and one of the most influential sources of poets' influence on expressing their inner emotions and their thoughts and thoughts. Among the religious books, the Holy Quran is located in the place of the most inspiring religious source for Muslim poets and writers due to inspirational meanings and profound concepts, rich vocabulary and outstanding artistic and literary qualities, as it is in the poem of Divine Word Intertextious and have used this rich source at various levels of conceptual, verbal and slavic. Shearani's tales are among the poets whose words and concepts of the Qur'an are considered as the main sources of his poetry. The result of this article is that the intertextual relationship With the Qur'an in the Khaghani hangars there is much more frequency The other intertextual relationship has been a little more than other Khaghani intertextual relations.

Anecdotes are playing an important role in Sufism’ s texts. One of the most highly praised and significant Sufism books in which there are many anecdotes is Kashf-ol-Mahjub by Abu al-Hassan Hojwiri. Hojviri has quoted the anecdotes from different sources among them is Al-luma' fi'l-Tasawwuf written by Abú Nasr Sarrá j al-Tusi(738 AH). The purpose of this research is to identify the anecdotes which Hojviri has used in his book from Al-luma’ fi-Tasawwuf. Hojviri anecdotes could be arranged in the following four groups: Sufism conventions, super natural actions and positions, listening and historic and religious ones. Hojviri has quoted Al-luma’ s anecdotes with some changes. Typically, he erases the name of the narrator and extends the dialogue between characters in addition to changing the name of certain characters. However, he uses the stories in the same chapter as Sarraj has used them in his book.

Darvish Mohammad Dehaki, one of the settlers of Dehak village in the suburbs of Qazvin, was a Sufi poet contemporary of Jā mi and Amir Ali Shir Navā ii in the ninth century. Dehaki or Darvish was his pen-Name. There is no certain information of his life. His tomb is said to be in Qazvin near the Shā hzā deh Hosseinˈ s. His Diwā n includes 15 Mokhammases, one Mostazā d and nearly 1236 Ghazals. There are two manuscripts of his Diwā n, One in Istanbu l university and the other one in the national library of Russia. The present article consists of the points we gained editing this Diwā n. We used the Istanbul manuscript as the basis of this edition and then compared it with the manuscript in Moscow. Dehakiˈ s poem is full of pure poetical moments. He has managed to recite admirable poems paying attention to other great poets like Saadi, Salmā n, Hā fez, Jā mi and the others. Imitating these poets, using the folkloric language and expressions, considering the details and also using the rhetorical methods of speech, made him a pioneer to the Indian style of Persian poem.

The purpose of this article is to review a comparative analysis of the diversity of Persian and Russian tales. In this article, we seek semantic search about the kinds of Persian and Russian tales, and the similarities and differences between them and the way of discovering new facts of the tales during periods in history and the formation of important passages of them. Iranian and Slavic (Russian) tales based on the mythological stories and instructive and wise tales arisen from the rich culture and civilization and morality, various nations, opened an introduction of them to the nations of Iran and Russia in particular and to the world in general. In this writing, we also analyze common features of the Iranian and Russian fairy tales according to the book titled “ Morphology of the Tale” written by V. Propp, a leading researcher of Russian descent and pay more attention to the research field of the folk literature which was neglected in the literature studies so far and was almost studied only by the European Orientalists, especially Russian (Slavic) ones which collected works of the Persian folklore, and provide the grounds for the increasing research of Iranian folklore in the light of growing public awareness.