JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2015 | Volume:8 | Issue:3 (29)|Papers Count:29

Nasir Khusraw is a unique poet and his literary style is personal. He moves in the opposite direction of flow of contemporary literature. His poetry is the language, tone, content and different religious and philosophical attitude. According to Nasir Khusraw, poetry task is teaching and guidance. Therefore, He makes use of all scientific and literary capabilities to teach and preach. At the same time, Nasir Khusraw is a critic and Plaintiff poet. But, unlike other poets, Nasir in most cases, makes use of complaint for exhortation, not exclusively to expression personal and social problems. In this article, we investigated complaints in Khusraw's odes aspect of stylistics and we obtain these results: -In most cases, he speaks of human problems in the world; - purpose him of the "I" in the poem, is "we" humans; -he after drawing a painful and scary place in the world for herself and attar scaring the audience, begins to providing solutions. - The only way to save humans from disaster and corruption is religion refuge to the Imams; -language is very simple and clear in this copmplaints; - In this type of poetry allegory is much; -The theme of this poem is often repetitive; -The tone of this poem is very bitter, disappointing and alarming.

In creating the visual and literary pictures, imagination, is one of the most fundamental elements in aesthetics, which gives art the power of the highest point and flowering (or pinnacle). This element which is arisen from the view point and world view of the poem or the writer, is developed and became vivid through different eloquence arrays, such as “Distinction”. The element of “Distinction” which has samples in all Persian periods, is considered as one of the characteristics of Indian (Hindi) style during Safavii period, and it has a direct relation with the emotion and the view point of the work owner. Saeb-e-Tabrizi as an outstanding poem among Indian style poems in Iran, in trying to creat new contents, has benefitted from this element and by his discriminating and unique view point, he has engaged in drawing the imaginative pictures which are derived from his surroundings. One of his favoured phenomenon is candle and imaginative features which Saeb is created from this phenomenon. In this writing, on the basis of the distinction element, we are trying to find out how the characteristics of a human has been appeared in the candle phenomenon and how has been the view point of the poet about his surrounding world. And furthermore, what role has the social statue in forming his imaginative world.

Plot and expression of meaning are the issues gained attention of the poets and this point has led to differentiation among the poets. Iben Yamin has employed different styles and devices for plot and expression of the meaning in his fragments. This article examines these styles in three sections of structural (narrative, story and dialogue), explanatory and citation (inference, citation, impetration, description and reference to verses and narratives and quotation) and rhetoric (simile, allegory, and symbolic expression and rhetoric question). The purpose of the poet in using these styles was diversity in expression, avoiding uniformity and satisfaction of the reader and ornamentation of the speech and finally influences the reader; according to the didactic and guidance aspects of his fragments, expression style was important for him to gain attention and acceptance of the readers.

In fact any new thought or idea is originated from a new perspective or experience and to express a new thought, a new language is needed and simile is the manifestation of thought and the way of thinking, imagination and the experience of poet, the representation of his ability in creating a harmony between parts, the internal and external nature and also the relation of creatures with the environment. Thus, simile in its comprehensive meaning is the cause for the changes in styles in all artistic fields specially the poetry so its analysis can represent the personal style of the poet. Attar used various expressive elements, especially simile for the expression of thoughts and spiritual concepts. According to authors of this paper, this work hither to, has been analyzed from different aspects. But few if any have done research on the simile and its various structures in this work. This study while making the readers familiar with various forms of simile in Asrarnameh, aims to investigate the status of simile in the expression of Attar's thoughts. The basis of this paper is presenting a structure according to the introduction and analysis of different kinds of similes and their structures in terms of used elements and materials, sensory and intellectual sides, compression and expansion of the structure, single and complex structure, form structure and vehicle, and methods are based on the description and analysis of the data, from the perspective of rhetorical modes. Is also at the end, based on statistical samples, the status of simile types have been shown in Attar's Asrarnamh. Doing this research we find that simile at Asrarnamh is an important expressive element for the expression of Attar's ideas and is used in a variety of forms and structures.

Hafiz’ poetic images, due to their constancy and textual foregrounding, have turned into a textual phenomenon. Given the very metonymic application of language, his idiosyncratic style could thus be referred to as an imagist style. It could be argued that Hafiz is an unprecedented bard who has ascended to the throne of poetry and has created a body of speech out of the soil of words which merits being inspired by the spirit of creative and artistic images. In terms of image-creating elements, style-making images of Hafiz poetry fall into the triad of natural, celestial and environmental images. Stylistic images of the first and second type can be traced and spotted in the stylistic periods preceding Hafiz as well. But the environmental images have their roots in the creativity and innovation of Hafiz’ mind. This very type of imagery in Hafiz poetry has been imitated by the poets chronologically ahead of him who wrote poetry in Hindi style, to the extent that it turned into one of the most distinguished features of Hindi style. In this article, we are going to briefly review the natural and celestial images, then our attempt centers upon studying those images that have their elements in the surrounding environment. The reason why such priority is set for this very research is because a number of research have so far set to study natural and celestial images, thus the images based upon the objects and individuals’ moods and popular phenomena of the surrounding environment have by far been neglected. After that those images have been closely considered, the researcher sets to categorize the third-type image within three levels: a) environment’s objects and means b) individuals’ moods and characteristics and c) popular images, together with bringing some authentic samples.

Make equation method in verses is a feature of Hindi style. But Hafez (famous poet Iraqi style) as well as poems, there are plenty of single bits with equation method. Although the overall structure of the poems is an equal relationship, which usually ends up in a press statement; But sometimes Hafez have transformed both sides of the equation using the techniques of semantics. He also has more lines by employing literary industries (like the pun, simile, metaphor and allusion may symmetry), In addition to diversification, the listener's mind more and more involved in the equation. However, this complexity and the number of lines are than enough to cause fatigue and weariness in his poems the reader.

The thirty decade is one of the most important periods in the history of contemporary Iranian literature. On the one hand the evolution voice of Romanticism is heard and is one of the most important periods of Romanticism activity in the Iran and on the other hand Coup of 28 August 1332 occurs during this period. One of the prominent figures of Romanticism in the thirty decade is Nader Naderpour. One of the important style markers in his poems is presentation of the romantic themes and the characteristics of romantic images in form of the strange and the new similes. The research deals the role of simile in the reflection of romantic themes in the poems of Nader Naderpour as one of the style markers. The research method is analytical. The data have been evaluated using the method of content analysis. The result shows that the burden of romantic themes in the poems of Nader Naderpour is mostly on similes especially strange and new similes. The poet could show components and mental-content characteristics of romanticism in the best possible way by using his original similes.

Poet use different methods for creation new and deep themes and decoration speech. And speech criticisms named for any of invention ways and decoration utterance, but artistic, sweet and many applied types of poetic strategies that has a record as long as literature and from beginning is seeing in any Rodaki’s poem, it less noticed literary critics. This way is applied alphabet letters in creation themes such as artistic, beauty and exciting way.Molavi is one of the people that blow with benefit of art magic on body of alphabet letters and give them new life. In this writing we decide to revelation how applied alphabet letters for creation themes in Shams’ sonnet and we point to inventions that Molavi reaches in way. In this opportunity will present with expression invented themes, beauties and artistic applied of alphabet letters too. Research method was description and it happens from library and electronic studies.

Terms of poetry (Poetic Current), an emerging category of literary terms and literary criticism, in which the European equivalent of this term does not exist. The meaning of "the poem" A collection of thoughts, ideas and principles that are common to a group of poets presented their own statement or a manifesto, a new approach to poetry and poets are facing. "The poem", despite the similarity of the categories of "literary style" and "literary school", with each of them is different.The overall objective of this paper is to answer questions such as: "the poem" is and what the differences and similarities with other literary terms such as "literary style" and "literary school" is? Ever since the beginning of the poem, a poem which flows in Iranian literature, has been set? Also take a half since the beginning of the poem and brief biography of the purposes of this article.

Great sources of knowledge, history and culture of the world is Text-based. The intellectual and cultural links of present people with the past is possible, often by correction, study and "understanding" of these texts. On the other hand, one of the important components of understanding in the attention to the "context Signification" in reading texts. This article, trying to clarify the importance and the applications of this concept studies Attar's Mosibatnameh that is corrected, interpreted and published recently by Mohammad Reza Shafi'i Kadkani and Explaining remains a bit of hesitation that after the preliminaries, they will be enumerated.

Tarikh Jahan Goshae has composed by Atamalek Joveini, it is a book on Moghul, Khorazmshahian and Ismaeilan. Whereas Tarikh Jahan Goshae is simpler than other historical texts in the prose, but it was while artificial, technical prose was common. This work has not been left untouched by some of technical features. The field of signs is a bed by which Ata Molk has expanded these literary term, the main question is the literary application of signs stylistic in Tarikh Jahan Goshae? This study tries to examine the text in this sense, those historical or Geographical signs of Tarikh Jahan Goshae whose author has literarily played with them, and they have been classified due to the literary features. There are two independent works which were measured, it means, Nafsat Al Masdur and Sirat Jalal Al Din Monkabrti and Khaje Nasi Al Din Tusi’s view. The results show that there are 192 terms of sign, comparing with 3 texts (respectively 24, 11, 1 terms), it was recognized that Ata Molk Joveini was very interested in the vocabulary plays of signs which is one of stylistic feature. There are 171 terms (0.89), the vocabulary style and there are only 21 cases (0.11) spiritual terms among the terms in Tarikh Jahan Goshae which concerns with geographical signs. The frequent analysis of terms show that tagnis method is 87 frequent, (0.46) of Ata Molk Joveini’s terms besides, there are 9 cases of Tatar (tetar) signs which is merely plays an important role in the vocabulary play.

The literature of the Afsharieh and the Zand Dynasties has prolonged for half a century in the history of the Persian literature. The beginning of this era coincided with the fall of the Safavids Dynasty which led to the decrease in the fashionable Hindi Style in the Persian literature and finally disappearing of this style of rhetoric in Iran. There were observed no innovation or literary evolution in this era due to certain social and political condition of the society at that time. Rather attempts were made to restore the previous classic literature of the country. This research is intended to reveal the causes and reasons for this recession in a historical perspective.

After the constitutional revolution and especially after the movement of Nima Yooshij in interpretation of the fundamental Persian poet and the various streams since the twentieth decade such formations have been emerged with approximately different components and indices, however, since the formation and style of his works have been different, the language and contents could not be distinguished via any boundary generally not finalized.Such streams often take place in the content of the poets, as the most famous streams include: new wave, pure poet, volume poet, movement poet, post-Nima poet as well as the Ghazal, modern, postmodern, form, word, pen, etc. format and eventually due to the divergence with the poet of Iran and the interest of Iranian people into the feasible achievement.In the present article, such streams and features and their poems have been discussed.

Mirza Mohammad Hossein Mashreghi Ghaffari, whose pen name of the poet is Mashreghi. He is one of the mystic poets of literary period (thirteenth century) that none of the literature has not even mentioned his biography of his Court has not been published yet. The same issues have prompted the author to this paper introduces the poet and his poem's style. With a little reflection can be realized Mashreghi who also like other contemporary poets is follower of Khorasani style and Iraqi, His tendency to lexical and grammatical features reminding Khorasani style, Howeve, the characteristics of literary and lyrical themes shifted his attention to Iraqi style, As the Iraqi poets Hafez further plans and borrowed some of his lyrical themes. Mashreghi use the poetry as a means to express ideas and feelings do not occur. Unlike his contemporaries, poets followed his pontificate and show off with brilliant and complicated words, but he choose the pattern of poetry to reflect the mystic thoughts. His language is simple and eloquent, and more similies is phenomena, the use of archaic words and Arabic words, and turning abundant compounds, adapted from the Quranic verses and the use of particular literary pun array of saleint stylistic features of him.

Rhetoric is defined as: “proportion of speaking to the speaker and audience’s situation or position”; mostly the speaker and audience from the outside of literary work are desired. Now the problem is how “the proportion of speaking to the situation” had been represented and mimesis in the innermost layer of the story, in the character’s quotations. Much of the story is shaped by representation of the characters speech forms. Rhetoric of the story requires that the characters in the story, speak according to the speaker, speech and audience. It is assumed that in this masterpiece, with realistic motivation, character’s speech represent and mimesis proper to the speaker and audience’s situation; in comparison with the raw works and result oriented ones, which considered only outside audience’s situation; also, in the world of story, different characters speak with the same language and even sometime all in literary ways, same as the poet’s language. In Pir e Changi, rhetoric of the story implies that figures of speech related with God, Omar and represent and mimesis according to the speaker, audience and the topic. The moments of the story, also mimesis by direct speech and free direct speech in a dramatic way.

Golshan-e Asrār (written between 1240 to 1260 AH.) composited by prose and poetry, is a book written by Mohammad Kāzem Golbon-e Kāzerouni (died after 1266 AH.) and in the field of mysticism principles, conditions of conduct and the rules that disciples must obedience them. Poems in this book is composed in a specific type of meter and appended with a detailed content in prose, his extent manner to provide mystical information, declaration of historical material and also language of this work that has the signs of evolution and renewal of Persian language. These features generally show the importance of this book. Top features of the various aspects cause that we rate Golshan-e Asrār an important book in its era.In this paper, after a brief introduction about Golbon-e Kāzerouni and his work, we survey indicant features of this book in different linguistic, mystical, historical and literal levels, recognize the effect of two different mystical schools Rumi and Ibn Arabi in it and also expression of the main linguistic features of this work, and introduce words, compounds and specific terms that are used by Golbon Kāzerouni.

The Mongol invasion to the vast country of Iran caused scientific, ideological, political, economic and social damages. The historians and intellectuals have talked and written a lot about of this rough and inhuman occurrence; but the most important blow that this invasion had on Iranian culture, was the destruction of scientific, literary and human. The traces of these collections and gatherings disasters lasted for the years and years. Chengiz was the principal cause of this occurrence. He who had inherited his adventurous, beastly and barbarously habits from a nomad culture, imposed these on the civilized and peaceful society of Iran. The Mongol invaders, having no faith or morality, (only they had conviction to sorcery or imprudent idolatry) trampled all the sacred things of Iranian oppressed people. Although Khwarazm-Shah’s and his court inexperience and ignorance were the main instigations of this incident but one can’t neglect chengiz rough character and invaders ferocity of changiz.Ata al-Mulk Juveyni, the scribe and historian of Mongol’s court obviously demonstrated this disaster and wrote his great historical work [Ta'rīkh-e jahāngushā (History of the World Conqueror)]. He liked to sympathize with afflicted and injured Iranian society but he was obliged to show the supremacy, power and grand appearance of Mongolian Empire. To the effect, he used a sarcastic, mysterious and equivocal language to be both with and against Mongols and to introduce them an act of God and God agents. This writer has pointed out some examples of Juveyni’s tricks.

Saeb Tabrizi and the name of the Persian poet who in his time had gained great reputation, the reputation is maintained. Saeb lyric poetry, especially the crystallization of the thoughts of his own words with special delicacy served to express the mystical themes, romantic, and ethical, social, philosophical and place an order. In this paper Saeb word bubbles and art in applying this term to express various themes expressed, as well as the aesthetics of the term will be examined. Saeb with the power of his poetry has been able to identify the best possible use, simile metaphor and allegory diverse subjects benefit from word bubbles for speech And the use of the term Saeb more of poets like Khaghani and Hafez and use of this word in his dictionary is more similar to that seen less than similar Khaghani poetry Which reflects the impact of Hafez on Saeb.

In the field of poem stylistics, we come face to face with two styles: period style and personal style. Generally, all of the poets have one of the period styles (like Khorasani, Eraqi, Indian ….) but a few number of them have reached to a personal style that is a desire for each poets.To have a personal style is sign of creative and innovative artists, but as creative artists find their personal style, to discover of this kind of style also is a creative act. And in addition to creativity of a stylist and his precise look, needs to accompanying with under discussion work.in this article, firstly we talked about view of Iranian and Western stylists about style and then we have determined total sketch of Sadi's style and eventually have introduced important elements of his personal style with examples.

The Golshan Raz Mathnavi of Shiekh Mahmoud Shabastray is one of the fundamental mystical texts influenced by the opinions and ideas of Muhyiddin Ibn Arabic. There is a controversial question whether this text is literay and artistic or not, and many different attitudes are included here.To find out a technical and scientific answer to such a question, the present investigation, first of all, regards simile and metaphor as the basic figures of speech of a literary text. Afterwards, the researcher evaluates the entire lines of Golshan Raz one by one and strives to extract the literary devices of simile and metaphor within the text, and finally the researcher while giving a statistic analysis, clarifies the features and characteristics of aforementioned literary text. According to the research, among 1008 lines of this work, there are 272 similes and metaphors which indicate that 27 percent of this text is based on these figures of speech. Furthermore, most of the similes and metaphors available in distinguished literary texts of the world are also evident in this text. In addition to analyzing the statistical figures, the investigator of existent paper surveys the method and artistic style of the author for the creation of the work and accordingly reveals some aspects of utilizing the simile and metaphor in Golshan Raz.

Simile is considered as a fundamental and the most important element in rhetoric which reflects the vastness of fantasy and point of view of the poet. Simile enjoys a very high status in Makhfi’s poems and can be divided into two categories of extended and intensive simile which are analyzed in terms of elements of the compared and their freshness, point of comparison, sides of simile, forms of dynamism or calmness and the frequency of different types of it. The results of the research indicate that simplicity, the sides of simile being sense-to-sense, and a high frequency of eloquent simile was the most important tenet of intensive simile- with760 cases and 79.33 percent- in the Zeib-o-Nessa’s poems. Despite extended similes- with189 cases and 20.66 percent- as well as other factors such as: living environment and family prejudices, existence of verbal and nominal Radifs and scarcity of new and compound similes has led similes in her poem to be static and non-creative and contrary to what is known as complexity in the Hindi style, they are simple and understandable.

Khajeh Hussain bin Ghiyathoddin Muhammad under the pseudonym 'Sanaei' (Died 1588) is one of the great Persian ode poets of the sixteenth century. He lived in the period between the fall of the Iraqi style and the rise of the Hindi style. Sanaei managed to transform the former style and influence the creation of a new style of Persian poetry. Therefore, biographers and some researchers have introduced him as one of the leading pioneers of the Hindi style. Khajeh Hussain has a Diwan, which includes odes, Ghazal (sonnet), Muqatta'at (fragments), and Rubaiyat (quatrains), Saqi-nameh and Iskandar-nameh.After reviewing various opinions about Sanaei and his poems, this study analyzes aesthetic, linguistic, literary and spiritual qualities of his poetry. Sanaei's poetry is investigated in terms of using particular words, archaism, syntactic structure; internal, external, end and spiritual rhythms; figures of speech and imagery.

Majmaolasnaf is the greatest Persian literature unions Shahr Ashoob. The purpose of article is as follows: to acquaint significance of this Shahr Ashoob that is written in safavi era, its superiority reasons to other unions Shahr Ashoob, and made clearance of its structure.Majmaolasnaf structure has described in the following sections: fluency, description, male poems, pleasantly, language features, its developing of social types, referring to social traditions, little application of shiites’ factor, and the lacking view of capitalism in text.In all parts, you can observe comparing verbal Shahr Ashoob with other unions Shahr Ashoob. Lesani’s view also to Shahr Ashoob has been searched deeply. The aspect of this article to Majmaolasnaf is related to structuralism, Verbalism and socialism.

In this article we intend to reply these question according to the versions at Yusof & Zoleikha Masnavi.- Who is Nazem Heravi and which era has he lived.- How is the situation of his poem.- What are the style traits and the components of making style of this poem.- What are the poet's innovations and skills in this Masnavi.- How is the valuation of them.The "Yusuf and Zoleikha" of Heravi is a lovely Masnavi which is followed by Abdul Rahman Jami has been song. This Masnavi vocalist – Molla Farokh Hussein Heravi – is pseudonym "Nazem" is one the 11 th poets who has lived in Herat and has high prestige in that region.The said Masnavi has been published yet and it's all transcripts are in Tehran University libraries, Astan Ghods Razavi and decedent Malek library.

Encountering the words Khavar and Bakhtar (East and West respectively) in many of the old Persian texts from the fourth to seventh century on lunar calendar, two-fold or even three-fold meanings are associated in mind in a way that inferring the meaning of each word in regard to which direction it is referring to becomes a hard task without using context and discourse. Even the meanings of the words based on the context are not suggestive of which direction they are referring to. In the present study, the researcher first consulted reliable dictionaries for the definitions and explanations of the words and then presented and analyzed comments by scholars such as Kasravi, Sahidi, Kazazi. In the main body of the research, ‘whyness’ and ‘howness’ of this transformation and change were investigated and examples were presented for the purpose of providing a cogent argument. One of the reasons achieved in this study to broach this issue is that these two words are suggestive of directions which in themselves have relative aspects due to the circularity of the Earth, and thus were used with opposing meanings in different contexts and periods and by various language users. This issue was influenced by the congruence of titles of territories and meanings of directions in different eras.

Narratology means that an attempt to explore the narrative language, or the roles and facilities that help to better understanding for readers in narrative speech, and it brings the narrative reading factors to the examination by the critic literary. The fiction, according to its inherent characteristics andparticularly in connection with teen audience, have an important role in institutionalization of thoughts and modeling for this age group and analysis of effective techniques to investigate a narrative or shortcoming of its, with the benefits of modern accurate methods of literary criticism, and it has given a way to authors writing methods and strengthening of multiple defects in reforming narrative. Especially in the field of teen and children’s fiction of Sacred Defense (Defa-e-moqaddas) have an empty place and blank of such a criticisms. In this query, we are going to content theme analysis and consideration to the structure of fiction, and research in the narratology of the ‘Kianoosh’s Garden’ by Aliasqar Ezatipak, that he emphasizes to Iranian anti-rape in Sacred Defense (Defa-e-moqaddas) period and before, and we intend to examine the narrative techniques in terms of appearance, focalization, time, characterization, and levels of narrative.

Despite extensive investigations about Islamic Sufism and Sufi masters, nevertheless that is neglected the perspectives of Islamic mysticism. Although the research sources is limit about various aspects of Islamic Sufism, but that is possible gaining the valuable information from this limited resources, by appropriate methods. The purpose of this research is to realize Abdul Hussein Nouri trial by understanding of that narratives. After survey time, place and characters of story, the main findings of the research indicated the story is true, while some narratives have been distorted. Also apart from the courage and persistence Abdul Hussein Nouri, that reflected his personality, in terms of intellectual nature, "sacrifice" is significant in his character and that considered the basic principles of Abdul Hussein Nourish School. This important character reflect in Sufis works.

This study reviews and compares the "principle of command in war and politic" s, in Saadis views with thote of today's war principles. First, in a paper to the chief characteristics of com moderns have been discussed and compared with saed is perspectives.In the second part if the paper the nine principle of modern war have been mantised and compared with saadies views on the topic result indicate remarlable similaritive between the two searce of comparison.

The romantic stories are the most attractive and extensive parts of the Rondeau poetry that has reached the most interest. The poets and scriptures have always shown that they are interesting in love stories and love affairs answer the audience's enthusiasm. They took this matter to create unusual literary works. The great Persian writers and poets have created unique works in this context and influence others for further products in the same way.In recent years, many such plants have revised and published. Nevertheless, enough works that have not yet been discovered. They are on the shelves and the warehouse of the library and bookstore. One of the full value and unique of these works is the "Firuz and Shukh" Mohammad Hossein Farahani Vafa-ye that are not revised until today, edited and publishing and is therefore remained unknown. The aim of this study is to provide the public the work for the first time that was created in the 91th century. The method of investigation is the documentary interpretation. After we find the Handwriting manuscript tried to edit the work and interpret it analytically.