JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2020 | Volume:13 | Issue:2 (48) |Papers Count:13

Writing preludes and praises in Persian literature is as old as prose-writing. In other words, praise-writing has existed since the emergence of the first prose texts. Examples include the preludes of books such as Shahnamehey Aboumansouri, Alabniah a’ n Haghaegh-el-Adviyah and Sharh-ot-Taarrof. The prelude presents a perfect image of the subject, style, the reason for authoring the book, and the life, thought and social conditions of the era of the author. Carried out in a descriptive and content analysis method, the present study, analyzes the most eminent prose texts in Persian written in the 6th, 7th and 8th lunar centuries of Hijrah from a stylistic point of view with a focus on linguistics and content issues. A survey of the structure of the preludes show what components the writers have had in mind and how they have acted with regards to the main axis of the work, expression manner, thought and literary style. Based on the findings of this paper, the preludes in the works of the 6th, 7th and 8th lunar centuries of Hijrah are generally classified into two categories: one is the praises in Arabic including praise of God, His Traits, and the praise of the Prophet, His apostles and His family; the other is the praises in Persian including the name of the man of letter, the king of the time, his praise, prayer for his long life and eternity of his kingdom or Ministry ending eventually in the introduction of the book chapters. Preludes and praises are a gate to the text and understanding the content of the work. Depending on the art and capability of the work author, they can be effective in expressing the opinion and thought style as well as verbal and spiritual style and intellectual concerns of the author. The most important features of the preludes and praises in Persian are rhythm and other figures of speech as well as lengthening and allusions from Quarn and Hadis.

Mohammad Sadegh Golpayegani whose pseudonym is Madhoosh is belletrist, poet and calligrapher the Qajar era, and teacher of Heidargholi Mirza who is the son of Fath Ali Shah Qajar. He is one of the best and most prominent men who have bounty and perfection in Golpayegan land where is considered the land of science and literature. Madhoosh is also famous in Arabic sciences apart from the poem and prose techniques. He is a poet of the literary return period. His Koliat (collection of his poems) are a collection of essays, lyrics, odes, quatrains, and, in addition, educational writings and narratives in the form of prose that have not yet been identified as they are needed. The odes in this collection are kind of eulogy ode in the plain language and pleasant arrays which recognizing and introducing them need to study the style properties from different aspects. The research and study of these features in the field of literary research is a necessity. Therefore, the stylistic properties of Golpayegani’ s odes is investigated in the domain of linguistic, intellectual and literary characteristics.

The manuscript of the poem "Rokn al-Din Qavidar Qomi", the great poet of the sixth and early seventh years, despite his valuable poetry, supreme character and his bold presence in one of the most important periods of Persian poetry, as deserves his supreme authority, as deserves his high status, the scholars of Persian literature did not consider it. The poetry of this Iranian thoughtful poet, a collection of Arabic and Persian poems, consists of nine hundred and three Arabic verses and two thousand three hundred and seventy four Persian verses. This version is the only remaining version of the poet's poem, written by Sadr al-Din Muhammad ibn Ja'far ibn Ali ibn Mohammad Ali Memar Esfahani from 1039 to 1041 AH. This research aims to examine its structure, style and linguistic features by analyzing a few points about the status of the poet and exploring and introducing a manuscript of the Divan, and examining it in terms of aesthetics.

Although the Persian language is a unique language, it has one grammar. Yet, Persian dialects are different in each one of the neighboring nations and this variety is sometimes reflected in dialect and in some other times in literary style. Since Seljuq era, Persian-speaking Turks that have carried the heavy burden of Persian literature on their sturdy shoulder, have created remarkable works in Persian literature that have always been inaccessible to Iranian researchers, and thus, have not been studied until the present era. Therefore, the writing style of Persian-speaking Turks has rarely been studied; however, the study of the texts written in the Ottoman era in the Roman Empire (Anatolia) indicates their stylistic characteristics and autonomy in writing. Presenting the literary stylistics as the theoretical framework and studying the Description of Masnavi Sururi, an ancient text remaining from that era and the oldest comprehensive description of Masnavi in the Persian language, the present study investigates the Persian writing style of the Turks and attempts to provide an answer for a question: what are the stylistic characteristics of Persian-speaking Turks? This study concentrates on the first part of the first volume of the Description of Masnavi Sururi.

Management theorists believe that scientific management has begun since the 1900's with the establishment of new theories. This is despite the fact that the literary works of the world, including the Persian literature of Iran, are filled with phenomena of management, which are much more than theories. In this research, a descriptive-analytical method was applied to examine one of the branches of management science (selection) in the field of human resource management in Firdausi’ s Shahnameh and it was concluded that Firdausi had a decent and deserving leadership and presented outstanding managerial perspectives which can be a good model for today's society. Selection criteria in Shahnameh are the same for all, and selection is made by consulting, testing, planning, and targeting. Sometimes the change in the selection process can be seen as required. A person must have the characteristics of race, good moral, intellectual and behavioral background, art, specialty, appropriate age, occupation, and appearance, while there are no defects observed. The ignorant, underworld, wicked, and ungrateful people are not accepted by the managers of Shahnameh. The choice of affiliates and relatives is not permissible except in rare cases and with due observance of principles and having all the necessary conditions. In Shahnameh, gender and the nationality of the people are not the core criteria, and in some cases, deserving people are invited from other lands to advance government objectives.

The mission of this research consists of examining the descriptive concepts in parentheses of "Ferdowsi’ s Shahnameh" and determining the effect and extent of the use of rhetorical elements (simile, metaphor, exaggeration, etc. ). However, parenthesis is almost same as Between added except that "parenthesis" is a more concept. In this paper, it has been attempted to examine a selection of "parenthesis" with a descriptive concept and of structural diversity. Such "parentheses" are mostly focused on describing of tangible things, such as sunrise and sunset, battle scenes, people and objects, places, and so on, and highlight the color and epic tone. The choice of examples for this paper is mostly based on their content and their diverse descriptive themes; however, for the structure, the "parentheses" incorporated into one hemistich were considered. From the rhetorical point of view, Ferdowsi has made the least use of metaphor and the greatest of exaggeration. The parentheses in Shahnameh have made it possible for the poet to portray his poetic art, which in turn evidence his vast imagination.

Bineshan" is a Poem penultimate of woman that the manuscript of her poems is available; this edition is maintained at No. 1102 at the National Library of Paris, and a pictorial representation for the Institute for Humanities and Cultural Studies is available with number 190. Poems of the Bainshan is 1587 couplets, containing 216 lyric poems and 15 quatrains and one piece. "Bineshan"most likely in the nineteenth century has been influenced by the great poets before her such as Attar, Neyshabouri, Maulvi, Sa'di and Hafiz, and hir lyrics are more structurally influenced by Hafez's poetry. "Bineshan" is a very simple, unobtrusive language, and rarely uses ancient words. Her poem is written in popular and famous weights. The poet is not rhyming and has used very simple rhymes and rows. The inner bliss of the poem "Bineshan" is mostly due to its punishments, and the likeness, metaphor and inspiration in her poem are more than the other imagination. Religious thoughts such as monotheism, prophethood, imamate and resurrection are explicitly expressed in the poet's poetry, and her love for the Prophet of Islam is particularly distinct. It is almost certain that "Bineshan" is out of fame due to its mystical thoughts and did not want to name it. In this research, the style of poetry "Bineshan" has been studied in three levels of linguistic, literary and intellectual.

One of the keys and ways to open complexity and understanding or eliminating the ambiguity of modern stories is to understand the narrative style and narratives of the story. The choice and creation of the narrative method, among the old or repetitive themes of the narrative, opens up a new world on the author. Bijan Najdi and Abu Torabi Khosravi are contemporary modernist story writers who have special techniques in fiction, and these particular techniques differentiate their stories from the works of contemporary fiction writers In the present article, the collection of the stories of "the cheetahs that have been with me", "Again from the same streets" by Bijan Najdi, and "Divan Sumnat" and "Hawaii" by Abortab Khosravi, have been examined from the perspective of modern narrative techniques The results of the research show that Najdi and Khosravi have used modern narrative techniques such as narrative syllabus, narrator's plurality, rotational angles, and so on.

Stylistics of satire of Saeb is the result of the social environment in Safavid era. He is a poet and critic believer who has used humor as an effective weapon in protest and criticism of his society's anomalies. His satire, from the perspective of stylistics, is mainly the result of the content and rhetoric of his poems. The criticisms of Saeb are subjective in terms of content, and his mind communicates with the horizons and the level of phenomena in order to depict the deep concepts of mind and lives. He is a critic and reformer who, with his humor, is seeking to belittle the dignity of those who are within range of his grinning. In fact, in addition to being sarcastic to the inner features of people seeks to contempt the outward appearances, His critical language is virtuous and transcendental. The most important techniques which he makes his satires with are: Paradox, allegory, Paradoxical, equivocalness, poetical aetiology, quoting, metaphor and allusion. The research method is descriptive analytical. In this paper, we seek to answer the question of how much effective is the Stylistics of satire of Saeb in regards with the intellectual direction and the literary level on the social anarchies?

Moniro Ravanipour and Shahrnoush Parsipour are contemporary writers who have written about the culture, customs and beliefs of their people in their works. Therefore, their work has the potential to be investigated from anthropological studies. This article has tried to define anthropology in general and religious anthropology as its secondary branch. Then by conformation of the characteristics of this category in the works of these two authors, the extent of the influence of human religious beliefs and practices in these works. By descriptive-analytical approach, this research examines the theories of the scholars on religious anthropology in the stories of these two authors. The findings of this study indicated that religious anthropological indicators are consistent with the works of these authors, which are generally summarized in magic and sorcery, taboo and myth. The final result depicted that the most religious anthropological indicators used in the statistical population of this study is the indicator of taboo and its results.

One of the most prominent properties of Saghinameh is, their routing to literary types. In this meantime, Saghinameh's effect, this great mythical-heroic oeuvre on Iran's Culture and manner is not being covered to anybody. In this review, by relying on forty Saghinamehs included in three Tazkareh: "Meikhaneh", "Peimaneh" and "Azirbaijan Saghinameh composers", we purpose to demonstrate each functions of the Saghinameh allusions in Saghinamehs, such as Eulogium, Boast, Fiction, Explaining the issues of verdict and education, Romantic and lyrical themes, Khayami's thoughts and Mystical themes. After a special general review on these Saghinamehs, we refer back to Azar Bigdeli's Saghinameh, and by relying to it, derivate more its influences from Saghinameh's epical language.

The Ten Letters is a type of rich literature that is mostly written in the eighth century and is in the state of love and affection, most of which contain ten copies of the language of the lover and lover, respectively. The ten letters follow a common design and structure, such as having a preface (endorsement, obedience, ordering the book), the main body (ten letters between a lover and a lover), and finally the ending (number of verses, year of writing, name Effect). The original format of the ten letters is Mathnawi, but sometimes in the middle of the letters it is also called the Masnavi. The existing similarities and commonalities, as well as the unique and semantic differences and features between the ten letters, have led some scholars to call the works only the subject of correspondence between the lover and the beloved; Some scholars have considered only ten letters to be complete with ten letters. In this study, firstly, while introducing the tenth letter and describing its formal and content features, it is attempted to provide a precise definition of it, and in view of these characteristics, the love affidavit of Obeid Takani with one of the ten important letters of the eighth century (tenth period). Letter-writing) has been compared to examine the extent to which the love affair with the Spirit of Love is one of the ten letters of the eighth century and the possibility of naming this work as the "Ten Letters".

Poem and poetry among the Kalhor tribe is of particular importance. This feature is due to being on the bed of nature, mountain, plain, forest, river and the use of divine blessings. Since the researcher is one of the folk dialects and is familiar with the themes and contents of these poems, he is intended to show how the folk poetry in establishing social communication, the continuity of culture and protection of cultural heritage and its transmission to the next generation, it has a great role. Hence, has been studied the function of Kalhori poems in the lives of people and their role in daily work and activities. The main purpose of this study is classification of Kalhori poetry species, which is divided into seven categories according to contents or themes and social functions. 1. The poems of worship. 2. The poems of caress and sleep. 3. Work poems. 4. Grief or sorrow poems. 5. Entertainment poems. 6. Joy poems. 7. Lyrical poems. In this study, the method of study is library style and in some cases field research, and analytical-descriptive method of the Kalhori poetry has been categorized and analyzed. The results of the studies show how that proverbs and quotations are not included in the form of Kalhori verses. The contents or themes" Horeh" have changed over time. Religious beliefs, especially in the poems of work, have a special place.