JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2011 | Volume:4 | Issue:1 (11)|Papers Count:23

Language is the integrating factor inside a society’s people and is a social and dynamic institution that like the other institutions has been constantly under changing and will be evolved by passing time and changes in the society’s structures. Lexicography is an attempt in order to register such changes to ease the understanding process of the ancestors and to prevent the cultural disjunction. The place and time distances and penetrating the foreign factors in domain of a language are among the factors for the lexicography. Given to three factors: attack of Arabs and extension of Islam religion, attack of Turks as well as the entrance of the Turkish language’s elements into Farsi language besides the extended domain of the Farsi language’s applications outside its original territory, the bilingual and trilingual (Farsi-Arabic-Turkish) lexicography was prospered. The present research tries to introduce and study this lexicography process specifically the Farsi-Turkish area which has not been investigated appropriately.

The main issue in this investigation, diversity and mobility story, "Saadi controversy with claims in Golestan. The story among other stories, Golestan and even Persian prose texts in respect of having mobility in words the depth and diversity of distinct meanings. Author try in two parts that diversity and mobility and their agents in the story above shows. In the first part of the way to develop meanings as part of the diversity and mobility factors, with a discussion of the eight characteristics: definition, description, affidavit, argument, comparison, reviews the causes and results, share scheme and debate expressed does. In the next section, four key factors as Gorge minutes back counts the words are: brevity, redundancy, simplicity and clearness of expression. Because of the result way various breeding materials, some industries Badiei effective, part of the story topics Gorge "Saadi controversy with claims," this story, all samples and pattern shifter Nvshth a diverse and mobile Golestan Maybe on Persian prose is considered.

Atbagh-o-zahab was written in Arabic in Maghamat style by the scholar, poet and preacher, Sharaf-o-Din Shafraveh Esfahani. The Farsi translation of this book has been available since, the eight century, the Technical Prose era, thus it has a lot of features of Samani era and some of the aspects of Khorasan accent which was translated literally in a way that the translation is written under the Arabic word. This translation, which contains goodly amount of old words and Stylistic and Grammatical features, is an important part of Persian Literature. In this article we are analyzing this translation not only is having a special place among the Persian books but also having specific stylistic translation of this book through Linguistic Stylistics.

Some celebrities and stylists revealed in 1330s – 1340s in which everyone had an important effect on playwriting in Iran. Playwrights such as Gholamhossein Sa'edi, Bahram Beiza'i , Akbar Radi &… but among all, Radi is the only one with almost 50 years experience in playwriting who has always written plays , and by creating national characters , has become a symbol in playwriting in Iran. This article has put a view on the concept of structure & structuralism based on V. Propp and some of the prominent structuralists' opinions. And then, according to that field, also by finding Radi's pattern structures of the plays in 1340s-1350s, and by comparing them with each other, the similarities of these works have been revealed. In addition, the playwrights have been considered lingually and conceptually. As for the Radi, the language is too a component of structure that with the deviation of the standard language norms can transmit the feeling of the style to the reader.

Mathnavi is an pistemological sollection written during 7th century (A.H) by molavi-though this work is nonornamentatiuely written in pure simplicity, yet it fails to make any relation with vedders, because of its usage of stream of consciousne and plof-multiplicity.Molavi points out the problems and their cau in the auther – vedder relations, and tries to mend this relation while introducing them to the vedders. This issue that is the relationship between mathnavi and the readers goes back to criticism, epistemology and rhetoric and also covers the ecstatic necessity which is duly disussed in the present article.

Lettermen who were the experts in the domain of writing, in addition to presenting the favorite written form in compositions, have produced some books about the art of literary teaching composition and epistolary, too. For example, we can mention some of these works as “zinatol kottab” that some researchers claim the book was written by Beyhaqi who was a famous author in Qaznavian court. In addition to foreseen work, we can mention works like “Dastur -e-mihani (Mihanian epistolary grammar) and “Dastur –ol- kateb fi tayin –el- marateb” (Grammar for writer in study determination) that was written by Mohammad –ebne- hindu shah-e- naxjavani. One of these types of writing methodology is “Jalaliye dar elme mokatebe” that has been written by Mohammad ebne ali-e- namoos-e- xari – one of the lettermen who lived at the end of 7th and the beginning of 8th century— and three manuscripts are remained.“Jalaliye dar elme mokatebe” includes two sections: scientific theoretical treatises and practical treatises. In first section, the theoretical issues of the author as well as examples of rituals and costumes in composition and writing field are mentioned. In the second section, some variation of letters were presented including friendship letters (Exvaniat), commands(Amsale) and opening of the letters (Sadrname).In this essay, the authors intend to introduce the work of Mohammad -e- xari; explain his ideas about composition and writing; and stylistic features of his work as well.

Satirical of Persian literature, with relative long background in Iranian unserious literature, its popularity is proven in Persian Language history.Searching in Persian mystical satire and other matters, we could obtain different satires, about some applications, including social, ethical, instructional, interpretational, allegorical, medium, religious, political, romantic, philosophical and the like; some of these satires could be integrated by their content and results, in other words they could be limited in finite categories, but here we try to determine types of symbols, as possible. Although, sometimes this categorization may mislead the discussion and no distinction may be in their types; this categorization is for amusement and enthusiasm, otherwise some are able to be integrated with each others.

Child poetry is a branch of child literature. Children poems are characterized by a couple of features some of which are as follow. They are rhythmic especially applying the phonetic and musical features of words, clearly benefit from measures and rhymes, hold a simple language, and enjoy the beauty of the concept and the figure of imagination which respond to the aesthetic and musical taste of the child and to his intuition of playing. Abbas Yamini Sharif lives chronically after famous poets such as Mahmood Khan Malek-o-shoaraye Saba, Iraj Mirza, and Mirza Yahya Dolatabadi because of his fame, works, and hardworking attempts during decades, he can be considered as one of the pioneers and founder members of child poetry and an early prominent figure in new child poetry. Since his children poems have not so far been studied stylistically in an independent study, this paper aims at doing so and introducing deep and surface structural features of his poems applying a descriptive-analytic method.

As mysticism was one of the main cultural and thinking flows in the Moslem world and particularly in Iran, pathology of mysticism is of paramount importance. Despite facing ups and downs throughout history, mysticism is still alive and like every astonishing idea, it has its own proponents and opponents in a way that some regard it as the nature and essence of religion and faith and some as that of profanity and infidelity. From among the criticisms brought against sufism, the ones that has emphasized the practical and behavioral aspects of sufism (a Sufi criticizing another Sufi) depicted a more equitable and at the same time objective portrait of the damages to mysticism comparing to the ones that has criticized the theoretical and intellectual viewpoints of gnosticism and mysticism. To this end, in this paper, we have attempted to study the criticisms brought forth in Masnavi, which is one of the recognized references in the domain of mysticism.

About eighty inscriptions have been discovered from Achaemenian dynasty up to the present time. Since these inscriptions have been kept from corrections and editions they are considered as the very valuable documents for the study of Iranian history. In spite of many comprehensive studies on these inscriptions, less attention has been drawn upon the writing style of Old Persian inscriptions. It seems that special models were used by the scribes in writing these inscriptions. The aim of this article is to review the stylistic aspects in these inscriptions.  

Rahatal sodour va ayatal sorour is one the Persian historical prose texts about the conditions of Iraqi Saljoughi`s which is written in technical prose- the common style of writing in that era - by Mohammad Ravandi, a powerful Persian writer. The prose of the text is not the same throughout the book. When it is merely about history it is simple but when the text requires, like the introduction and the entries of discussions or special occasions, such as crowning and demise of kings and… the author has used all poetic and literary nice arts and has compiled a typical beautiful Persian prose. Ravandi, like many technical writers has used many Persian and Arabic poetic testimonies. He has used 1778 Persian verses as testimonies. His outstanding literary feature is using Quranic adaptations and allusions as prose or poetry. In spiritual case, especially in using verbs, the features of Ghaznavi era are observable. New word combinations like tonok zavabeh, tahamtandel, heidartan… and expressions in astrology, chess, and medicine and… are conspicuous in this book. In this study we have tried to analyze the book from lingual, literary and mental aspect and illustrate its stylish matters especially from lingual and literary aspect.

The style is particular manner of single, work and period. Is true until come up the style, prominent individual and individualism, but greatest division of style,particular until the speedh of generality stylistic, Is same which called period style. Element’s motive of evolation style is event’s politic- social in even time. Conditional revolation morewer evolation in society fieled in Iran, isn’t uninfluenced in fieled literature and caused evolation bookman style by posed social subject’s. Also event’s Pahlavi government period widespread tendency to scsial romanticism and evolation style in some work’s. Hooshang ebtehaj’s also one of poet’s is event’s politic- social(particular decade) caused tendency him to society and people. Posed this question at this time:- was evolation Shadow style in evolation sight? Was quality the process this evolation?In the reply this question would just like to say that evolation from personal romanticism to scsial romanticism caused to evolation idea and language’s him style.This paper will show change Shadow style (idea and language) in two fieled personal romanticism and social romanticism.

According to formalist critics, a poet, through deconstructing the structure of language, actually defamiliarizes a poem. Defamiliarization is in two types; one is deviation from the norm and the other is rule enhancement. Deviation from the norm has some different types; one of the most important one is semantic deviation from the norm. It includes simile and metaphor and are largely used in the poetry of Saadi.The question is if we can consider this as significant stylistic characteristics of the poetry of Saadi. In the article, the authors will try to demonstrate that when it comes to deviation from the norm in the lyric poetry of Saadi , simile and metaphor are the most common types of literary devices used. The authors will also try to show the aesthetic function of the use of such literary devices as simile and metaphor.

In Functional Grammar, it is supposed that patterns of experience are represented in spoken and written texts in the form of processes through the Ideational Metafunction. So investigation of processes through their frequency in story, helps us become familiar with writer’s experience, thoughts and perceptions. The particular grammatical facility used for capturing experience in language is the system of transivity. The system of transivity is the mechanism for encoding of Ideational and Experiential Metafunctions in language. In the present paper, the authors have investigated Jalal Ale-Ahmad and Sadegh Hedayat’s four Persian short stories. We have applied the framework of transivity in Halliday’s Functional Grammar to the stories. Since the transivity system has proved an important methodological tool in stylistics, frequency and percentage of various processes realized by verb, is regarded as a stylistic element.

Style is comprised of a number of different elements such as meaning, content, image and figure of speech. In Hindi style such figures can be seen in a great deal. The current paper attempt to provide a detailed picture of the use of such figures of speech as visual metaphor. At the same time a special kind of metaphor called metaphoric double entendre which is a mélange of metaphor, irony and double entendre is used in Hindi style poetry; this characteristic of Hindi style in poetry will be investigated in the current research paper. There will also be an attempt to study some other unknown literary devices that are very close to metaphoric double entendre in irony.

In the history of Persian literature, there exists a period called the Restoration. The Restoration period poets, go thing tired of the school on Hendi, (Indian style), which had got decayed at that time, were attracted by the school of Araghi, especially the sweet and melodic sonnets of Sa,di, and the artistic, magical and permanent sonnets of Hafez, were their favorite models. Neshat Isfehani, is one of the poets of the era, which had noticed the symbolic and mysterious poetry of Hafezh. Neshat's imitation of Hafezh, was an all-sided one, not just of one of one of its aspects. In other words, Neshat is influenced by Hafez sonnets' language, thought, style and rhythem, etc.Since up to now an all inclusive research on the level of Hafez' influence on Neshat has not been conducted, the writer the extent of the reflection of Hafez' sonnets in Neshat's sonnets.

Lyric IS area of Persian literature which poets speaks about his inner passions and addresses his sweatheart through his talks about love and being in love. There are differences and similarities among poets look toward sweetheart. For example, Gheysar Aminpours look toward sweatheart is specific, sweatheart s essence is pure at his poems. He loves making with his (sweatheart) purely. In his early Works The sweatheart Was Mainly a hevenly and eternal on. By passing of time however, The poet got closer to his own individuality and a kind of terrestrial sweatheart with heavenly Animai Came into his poem.In this article, we will searsh for analysis of sweathearts essence and his (sweatheart) revelution Inside Gheysar Aminpour poem and will draw sweatheart based on his Gheysar Aminpour works.

For any literary researcher the most important issues in analyzing a poem are confrontation with textual world, understanding its beauty and integrated wholeness, understanding the quality of poetic elements and studying the ability of poet in using linguistic tools. In poetry stylistics the elements of style, poetry and language are the most important. These elements are dynamic concepts and exposed to change. For studying innovations of style, first of all, the following issues should be considered: To which traditional and linguistic frameworks does the poem belong? To which linguistic and structural tools does the poet access? After distinguishing the selected tools or elements the probable changes on these elements or tools and the functions of these changes should be distinguished. Azizi is one of Islamic Revolution’s poets who has a novel style. With the help of poetic language and mind he has discovered a language whose dynamic context is a good place for the manifestation of poetic imagination and creation of pictorial expressions which go beyond conventional borders of the real world. This article tries to study these characteristics on the basis of stylistics’ principles.

Art functions of plants means that the arts have formed with a focus on flowers and plants in Hafez artistically poems. The art of Proper employment of locutionary and rhetorical figures of speech, and indeed as art of employability a literary language by applying tools to display his desired contents. You can find numerous lines, among the Hafez poems that he creates various themes in a cover of the various arts by using flowers and plants. These arts have a special place in the Hafiz high style. With these introductions, we can realize the importance and value of nature vegetarian in the opinion of this famous poet. But Hafez’s art is the poetic language and a roguish trick – that is innate-and he create whit it a lot of humanism, morally and profound learnable concepts those were and still human worry .Hafiz innovative and purpose-built illustrations of natural elements are pretext for creating and nurturing the more great content. And this is the cause of his word prominence and multidimensional poetry, and this has made him transnational and universal. poet.

This article has studied simile and it’s different structures and categories in Rumi’s Mathnawi.Not only simile is one of the most important vehicles in rhetorique, but also is very important in stylistics and linguistics because studding and analyzing it’s various forms and elements can identify a poet’s individual style and language. Since the style of Rumi’s Mathnawi is didactic, different structures similes and allegories are used in this book very frequently.In this regard, another important point is that comparing the frequencies of using different forms and elements of similes can show and express which structures or elements are used more in didactic style of Rumi’s Mathnawi.

Existing the element narrative in literature, Religion, philosophy, memoirs and … led to Necessity of forming a new series entitled "narrative studies". Subject Point Of View as the most important aspect of Narrative structure, is the central element of many literary theories, including theory Genette Gerard. With the focus building, who does narrate And whom point of view the story is speech?, Which causes Understanding the recognizer is faced with the text. Mathnawi of Maulana is a valuable work, that the poet in Persian literature to reach its goal of higher - Education – use a narrative element in it. Select appropriate narrative focus, is one of the Tips and stylistic features of Maulana, in Story processing that Its diversity causes the dynamism and pleasure in the narrative and Changing style of speech of Maulana.Authors of this paper expressed the theory of Genette Gerard and then investigating the point of view on the love story of the king and the bondmaid and tips of Maulana in this case.

One of the factors affecting the style of any author or poet, is the respondent had in mind. Mighty poetor writer, so the asrkhwysh codified it makes the reader understand.What is this style of research interest in the mystical expression measures and hom to communicate while Eyn ol Ghozatis hn Tamhidat the audience. Measures of language and content in the mystical work,workisey ceptional and many theoretical approaches and practical teaching wile the chief justice is reflected. Eyn ol Ghozat in this book, the content clear and simple etpression, so that some times the text is close to the spoken language.Eyn ol Ghozat Singer also addressed in the article does he communicate with the audience is so strong and alive as if he can talk. Sometimes theaadience does not , however, best to communicate with hime and makes the application and prohibited the presence of the audience during live and bold words make sentences and questions with the audience attracted pienty of attention to encourages listening mystical content.