Journal of the Stylistic of Persian Poem and Prose
Year:2018 | Volume:11 | Issue:3 (41) |Papers Count:19

The simile as the main element of imagination plays a significant role in creating a variety of poetic images. Shafiei Kotkani is also a portrayalist poet who, through this element, takes on the field of fantastic imagery. In this research, his poems' verses from different aspects, such as types of simile, simile material, new similes, simile instruments and dynamics, are examined. And at the end of the analysis, they have been presented so that while recognizing the ways of expressions in the creation of poetry and their influence on the style and language of the poet, the aesthetic fundamental criteria of Shafie Kadkani's poetry should be presented to the reader. This research proves that the poet is more interested in the likeness of likenesses, in the broader verses of the verses and in the rational analogy to the likeness of Moloff. Meanwhile, the poet sometimes incorporates several forms of structure into a simile that has led to innovation. He is also the author of his new poems, which are unique in their own way. The poet is more interested in abstract and abstract meanings and concepts in terms of the various themes of the material, in the direction of the point of view, according to his own thinking and thought. While in terms of nature and materials, he has given the most frequency to his images. His poetic images are acoustic and dynamic.

Binesh Keshmiri is one of the Persian language poets of the blooming era of Persian Language and literature in the Indian Subcontinent, who brought a series of invaluable pieces of him, while no one has determined accurate information of the specification of his poems. Therefore, introducing Binesh Keshmiri and evaluating his poems regarding a literate or research text of culture and history must be greatly appreciated. Since, individual differences, cultural characteristics and individual elements of a text can be evaluated regarding stylistic method. Therefore, the poet is introduced as evaluating his poems in respect of language, thought and literature, while the his writing procedure, ideological system, as well cultural and social interests of his era are disclosed, which resulted in this theory that Binesh Keshmiri has his own style but unknown. His poems declare his ability and skill of him in coordination between form and content. His poem is not only expressive and eloquent regarding language, but also exterior forms, as well music and fantasy, who can be one of the elite of Indian Style. The method of this study is library and documentary based on the analytical descriptive procedure.

One of the levels of stylistic studies is the level of thought or content of any literary work, For example, at this level, we find that a poet or writer is extroverted, introverted, philosophical, mystical, religious, or non-religious. Story readers always have a kind of consistency in paying for personalities and story elements. The fit of behavior and speech of fictional characters is one of the capabilities of the novelist's writers. In the contemporary novels, this issue has gone up and down. One of the characteristics of the novels of the 1380s is the improvement of fit that is consistent with the patterns and psychological theories of personality from the point of view of some of the personality theorists, including Yong, Forum, and Adler. This study examines the improvement of this fit by examining three novels from three authors of the 1380s (Hossein Sanapour, Zoya Pirzad, and Fariba Wafi). The coordination between behavior and speech and the psychological characteristics of story characters with personality theories are the achievements of this review.

Irony is one of the most important tools to avoid words and meanings and imagery speech intelligibility and circumlocution and also more effective if it is covered and leave the talking for clear, concise and effective expression in speech and writing with Myshvd. msvd employed Saad Salman irony has the lowest use. This article is based on stylistic irony in terms of morphology and structure of irony, the structure of language and grammar and semantics and interpretation of ironic poetry Massoud Saad Salman is based.

Getting Knowledge about hidden aspects of literary works is possible by studying how they are created. Seyed AliReza, son of Seyed Mosaed Jebel Ameli, whose pen-name is Mehri ans Seyed and known as Mehri Arab(bron 1050-died? ) is a powerful but unknown poet of 11th century. By investigation and analysis in methodology of Mehri's poems, it is possible to discover a portion of Iranian historical and cultural events besides revealing the poet's artistic and linguistic abilities in addition to his mental messages. Mehri's poems are including qualified contents meanings and literaey beauties. On the other hand, they are influenced by Iranian social and political conditions; so they are deserved of analyzing from different artistic and historical point of view. According to Mehri's innovations in the use of words, expressions, imagination and his great deal of word knowledge, we are decided to study and analyze the poet's methodical characteristics and his innovations in three linguistic, literaey and mental levels.

Malek-o-Shshoara Najiboddin Jorbazaqani (Golpaygani) is one of the great and unknown persian poets of the late sixth and early seventh century that his poems were praised because of its beauty and fluency. Many of vocabulary, composition, terms and concepts that used in poetry of Najiboddin came exactly or with little difference in poetry of Hafiz. Despite the numerous verbal and semantic similarities between poetry of Hafiz and Najiboddin Jorbazaqani, until now no research done about the various aspects of similarity between these two works and the potential influence of poetry of Najiboddin Jorbazaqani (Golpaygani) on poetry of Hafiz. Various aspects of similarity between these two works contains similar content, similar line, similar part of a line, similar prosody and rhyme. The aim of this paper-that was done through library method and the content analysis-is to examine various aspects of verbal and conceptual similarities between these two works.

Lyrics is one of the most functional forms of Persian poem. This form has been considered in different periods of Persian poem by the poets. After Islamic Revolution of Iran, The poets showed a new interest to the lyric so that their thought and feelings appeared in this form in their poems. Today’ s lyric (Neoclassic) roots in Forogh Farokhzad, Simin Behbehani, Hossein Monzavi and Manochehr Nistani and Mohammad Ali Bahmani and Ghaysar Amin poor. In 80 th & 90 th decades, however, The younger poets like: Mehdi Faraji, Hamed Asgari, Mohammadreza Tarighi and Shahrad (Hossein) Meydari paid special attention to this form of poem. In this essay, a stylistic study (relying on lyrics) has been performed on the Meydari, s poems. In this research. The subjects like the musical aspect of the poem, creating the new combination of words, external music lateral & internal, phonemic orientation, frequent words (terms), archaism, metaphor, simile, allusion and the rational thought of the poem have been evaluated.

The expansion of the word or phrase is the extension of the circle of meanings of words and phrases, as well as the desire for the association of new meanings and the imposing of the burden of meaning on the words at present and speech. Sadi's inherent capacity and his inability to take some unusual meanings from common and usual words has contributed to the fluidity in his works. Actually he easily pass through barriers in speech. In the other words he never stops at speaking and poetry. He does not even pause. He doesn’ t not look for words, he create words and phrases when needed. Therefore he has extended the chain of words to a wider and more rigorous range. It has also made Persian language and literature richer and wider and stronger. The expansion of the word or phrase in Sadi's works is one of his most prominent language features, placing him in an unattainable position. In this article, Saadi's new words and his innovative phrases and terms and their semantic capacities are studied and analyzed.

Ferdowsi's Shahnameh is unique in many ways. And is written in kind of style that Less book can be compared with this amazing artical. This huge work is the first fiction book, Where the character elements has been studied carefully. Despite writing in the course of extroversion and holistic, Shahnameh's persons of stories with mental and inner details are presented to the reader. And can reflect the individuality and spiritual elements quite distinctive in all the characters specially heros of stories. Ferdowsi describes important figures that Psychological analysis can detect their hidden layers of psychological and personality. It's because of Special attention and precise look of poet or narrator to the nature and the human psyche. Paying too much attention to the charactars and And express emotions, psychological and behavioral of persons in stories In speeches and deeds and situations of story made shahnameh much more glorious.

Literary science knowledge is different from most scholars. This science will help us to be able to tell true and correct. And then get to create literary and literary enjoyment. All sciences are linked literary and complement each other and give a beautiful speech. In this article we examined similes and metaphors is grammatically in Vis and Ramin. And establish a logical connection between them. Oratory word so that we can show Fakhruddin As’ ad Gorgani.

In this research we have tried to study the selected stories of the eighties in terms of the ideas of Maria Nikolayeva. Nikolayeva, an instrument that narrative can provide us with for the study of children's storytelling literature. He describes the characteristics of the story based on the needs and abilities of the child and adolescent audience. In this article, we review the twelve selected stories under four major sections (plot, character, perspective, and time). Our review showed that the plot of these stories is shaped like many stories of the child based on the journey. Traveling in children's stories is in place and in teenage stories. The narration is complex in the stories of children and in the teenage tales. In children's stories, characters are straightforward and descriptive. In teenage stories, personality is indirect and introduced through the actions of characters. In terms of narration, the authors have also tried to make children's voices heard from the story. From the point of view of time, the writers have also developed pioneering or petrified stories with fantasy-style techniques. This timeline in teenage stories is more than children's stories.

One of the fundamental performances of the human mind is the creation of contrasts, that deep learning of religions and philosophical schools have formed on the basis of contrasts. Most of the Islamic precepts and its different sects have resulted from contrasts. Nasser khosrow in the finding of reality, followed Ismaeili-Shiite. The basis of the most of the contrasts in Nasser khosrow poems has resulted from theories of Ismaelieh that have intellectual deep structure. Contrast is one of the pivots of forming the structure of the odes of Nasser khosrow. To create literary and mental contents the poet has used a multi layer relation that has a noticeable effect on creating verbal, mental and literary solidarity of his poets. In 30 odes of sample society, 54 contrasts, it means 32 in each ode, has noticed in the structure of odes, that have classified in three sections including semantic and mental contrasts (58/7%), vocabulary and verbal pair contrasts (28/7%) and literary (12/7%). Nasser khosrow, also has used the contrasts in vertical pivot of speech (with less frequency) that composing a lot of verses in the form of odes, pave the way for the poet. By using these contrasts, Nasser khosrow has made a specific distinction and method in his odes.

Asiri is one of the skilled poets of 10 h lentury and poets of ottoman court that has remained unknown in spite of her creativities and poetry joy. Asiri in following with Nezami has composed a pentad that his fifth couplet – poem, “ Vamgh and Ozra” system, is based on the rhythm and poetical metre of Khosro and Shirin of Nezami, description of love of Vamgh, son of Ghaan, Sasani king to Ozra, daughter of china emperor that has not published yet. The unique version of this system with number of 4141 is preserved in library of Istanbol conqueror. In this project, the writer tries with exploiting system verses, besides intruding asiri charater. Pay 10 studying and analyzing elements and particles of this couplet – poem. The performed studies indicate that asiri is a talented poet and her poems in full of different imaginary pictures and abundant composer. Attention to words and common contents, scientific terminologies and Qurani signs and story is evident in this system. The goal of this project, is responding to these two questions: 1) Who is asiri and how is her creativity and innovation literal and cultural realm? 2) Did asiri have an independent style or not and how much is her impression from past poets?

The aim of this study is evaluating the metaphorical structure of Hafez and Biddle. In other words this study will show their structures via the similarities and differences with each other. The results show that in additional of pharmaceutical elements, both poets have utilized the decuple elements of metaphor in their metaphorical formulation. Biddle has not used pharmaceutical components to form his metaphorical structures. The research shows that both poet's have similarities and differences to use metaphorical elements. The most important difference is the way that they used the quad metaphor agents (such as: Mansth, Manvazh, Monroe) in which has investigated in this study. The both metaphorical elements have extracted hemistich by hemistich, to have a deep understanding and to realize the two poets' metaphorical structures too.

In this article we tried to explain about the concept of new novel and it’ s features, and then briefly reviewed new novel in Iran in terms of it’ s parameters, to see whether Persian writers have understood the exact and accurate concept of western new novel or there are misapprehensions, and to figure out the common points and differences or contrasts. New novel introduced in Iran in a defective way by some translations from western new novel, and led to a few works in Persian novel that are not so consistent with it’ s main principles. Ignoring the lilnear time, ambiguity and complexity are the common point of western new novel and the Persian version, but non-commitment and lack of mission, rejecting the topic and the theme, focusing on objects and their superiority and lack of sympathy between human and the universe and most importantly, the complete denial of tradition are of main parameters of new novel which the Persian novel lacks.

The issue of life and death has long been one of the main concerns of human mind so far, and has provided a suitable platform for researchers of various religions as well as mystics. Creative prose texts of Sophies which are categorized as chimerical and lyrical prose, have an active, chimerical and artistic touch on this issue. Due to depth of mystic experiences and overcoming mustical mode, we usually face with artistic factors such as imagary techniques, affection, multi-layered meaning, music of the words, auto writing, shuffle, mystery, hermeneutic atmosphere and rhetorical aspects of the words in these texts, which indicating the use of language and meta-language features by the writer in order to providing a useful potential for expressing the supreme mystical concepts. From Sophy’ s point of view there is no difference between life and death after understanding the presence of God, and death in just a bridge that gets friends together.

The themes of the stories related to travel to the next world show the point of the ideas and beliefs of writers and nations as the foundation of such works. By comparing the thoughts and ideas raised in such works, we can lay open the thoughts and beliefs of different nations to a large extent, and we can lay open the actions and reactions of different nations. There are many of such stories which include travel to the next world. Although they have differences, they all have one thing in common, which is the moral load of such travel writings, a point which turn them into didactic works. The works are generally of two types. The first kind is pedagogical literature to train moral, cultural and religious virtues and the second type which try to (train scientific, literary, and grammatical concepts. On the other hand, around the world, many travel writings have been composed. Despite their differences, they have devoted some parts to education, training and moral issues. So we can take the hereafter itineraries as didactic literature. This paper compares and contrasts the pedagogical functions of Erdavirafnameh and Alghofran) as two spiritual travels to the next world. Erdavirafmamehis famous for the political and social issues of its time and is categorized under the teaching first type mentioned above. But in Alghofran, in addition to training values and moral, cultural and religious virtues, special attention is also given to the syntactic and poetic aspects of the language and Arabic grammar. For this reason, the language used in Alghofran is complex and includes some literary complications. The very two contexts are different regarding religious approaches such as reward and punishment, heaven or hell. For many reasons, Marri emphasizes encouraging as well as announcing the aspects of education and talks more about the heaven rather than the hell while Erdadirfnameh is mainly based on punishment and threatening the reader from punishment. The very two contexts are different regarding religious approaches such as reward and punishment and heaven or hell.

in searching for attractivity of Masnavi, the role of language and grammar can not be ignored. structure and semantics are so interwoven in Masnavi that they can not be imagined being different. The grammatical construction of Persian language in Masnavi has numerous deconstructions and odds which can but be investigated in the semantic system. It is in the same system which we can grasp the grammatical irregularities, phonetic changes and lexical inventions. Molana expressed the ancestors` stories in the most beautiful and outstanding style with deletion technique. To move toward the meaning, Molana guides the language to be evolved in meaning. Deletion in poem is a feature of poetry carried out in different ways. The sentence elements can be deleted in verbal or innate deletion. This acts in a constructive theme in Molana`s language. Ellipsis can be regularized in Masnavi in different forms and the artistic brevity is the main reason. In this paper, artistic ellipsis are investigated in the structure of the sentence, categorized as imperfect sentences. The least effort in question and answer, enumeration of vebless sentences and subjectless sentences along with brief-creation ellipsis are considered as the base of analysis.