JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2013 | Volume:6 | Issue:3 (21)|Papers Count:29

In this essay, the authors have determined the quantity and quality of application of Arabic words and phrases with free search in the remaining Rudaki's poems.They have also replied to this question that can we present a criterion for Rudaki's poems recognition by use frequency and method of application of Arabic words and phrases in this certain poems.According to this study, we can hesitate in ascription of couplets which have more than four Arabic words.

Principles of composition and writing of the first and few works formally integrated to provide andCommunication Style and office correspondence Soltani and brothers to teach the scientific methodone unique manuscript of the “Mesbaholrasayel va meftaholfazayel” 2 is called. This prose by the “Movaffagh ebn e mohammad majd” was written at the kharazmshahiyan age and in the mid-eighth century AH is one book and volumProse that is mixed order And the type is Mnshat With this distinction, which is called Tarassol Mnshat example for teachers But this is far different social practices in the training of teachers and called Tarassollat. This text manuscript has been reviewed Maine Mnshat contemporary themes and its advantages compared to similar2evaluation and this article is offered to readers and eager to be aware of the value of scientific and literary authorit.

The main subject of this article is to review the impacts and demonstration of indian culture and environment in Saeb's poetries. Saeb has created picturesque images using the common cultural phenomenon in India such as: cremation, Sati, penance, the catechesis of the Indian religions. In addition of this he has recreated the old purports of Persian poetry by applying of some ingredients of Indian nature such as: Peacock, snake, elephant etc. He deliberately has used from the above elements as materials to create poetic images. One of Saeb's prominent techniques is to describe abstracts using concrete concepts.

Manoochehri is one of the eulogistic poets in Persian literature and the creator of noteworthy eulogistic poems; except in one or two fragments or odes concerning the complaint of jealous persons and enemies and some short descriptive songs, the rest of his poems are eulogistic odes.The main body of the poems includes vinous matters and their ends are eulogistic distiches. Manoochehri has eulogized persons such as Masoud and Mahmud Ghaznavi, Hakim Onsori, Ali ibn Muhammad and some of the elders and courtiers of his time in his poems. Despite such a volume of the eulogistic poems in Manoochehri’s poetical works, he cannot be considered a complete eulogistic poet. Manoochehri, due to the necessity of his time’s social conditions, composed eulogistic poems and it seems that he has not been so much attached to eulogy because in addition to composing eulogistic poems, he has embarked on literary creations and has composed some pieces of non-eulogistic poems which made his name eternal in Persian literature. Manoochehri’s outstanding art is creating beautiful descriptions and sensory similes of his personal experience; these descriptions and similes are not limited to lyric poems and he follows this practice in his eulogistic poems and rarely enters the psychic and mental space of the praised. Although Manoochehri’s main pretext apparently has been eulogy, but unlike other eulogistic poets, his eulogistic distiches volume is less than the introductions of his lyrical odes. In spite of the fact that Manoochehri’s eulogistic distiches are limited, but in these limited distiches, considerable historical, moral and social benefits can be found which increase Manoochehri’s poetic quotient. The exploration of Manoochehri’s descriptive and eulogistic techniques is one of the most important points which are addressed in this paper.

In Persian poetry there is not only a boundless horizon of emotion and affection, but also an illimitable source of different sciences and experiences; it shows the prosperity of souls and minds of great Iranian poets. Knowledge of geography, like many other sciences, has found an extensive role in the field of literature. Accordingly, many information about different regions are so strongly rooted in the ground of literature that they have kept their names and traces in literary works and contexts regardless of passage of time and changes in real geographical world.Nevertheless, the application of geographical signs in literary works and using them for content creation have not been always the same, and they have taken different shapes in works of different poets in different eras.In a stylistic point of view, it is observed that the poets in Khorasani, Iraqi, and Hindi styles had been affected by the social and cultural factors of their era and they had used the geographical signs differently to depict their imageries.This study evaluates the rhetorical techniques and innovative content creations using geographical signs by poets who were following Iraqi and Hindi styles. To find the similarities and differences between two styles and to assess the frequency of figures of speech, the study uses the special stylistic features of each period regarding the usage of geographical signs.

However the majority of Iranian precious literary and cultural have been identified and presented, the number of literature formed in poetry and prose which still are unknown is not low. Based on this the approach of this article is to present one of the precious and valuable works of zeyn-al-ebade hosseni beyrami which represents Iranian culture and thought as “ruhollah” the mystical system of moral and to destroy all the neglect and help for further researches about this poet.

Vale Soltan’s Mathnavi is the real love story of Ali Gholi Kha Vale Daghestani to his cousin, Khadije Soltan, that has been composed by Mir shams-edin Fahir Delavi in 12th century A.H. one of the specific feature of the story compared to other mathnavis is its factuality. As the story has been composed during the life of the lover and beloved, is openended.Besides a short introduction of the poet, the story has been analyzed lingualy, literary and its content.

Old verse and prose texts, especially Quran’s translations and interpretations, are considered as precious works in life’s consistency and nobility of the most fundamental of our national identity, that is Farsi language; hence through ongoing investigation and disquisition in these valuable treasuries the ancientness, primitiveness and enrichment of Farsi language is visualized.Through this trend, the interpretation of holy Quran, known as Cambridge, has possessed a niche in the studies of old texts lexicology. The lexical importance of this book is beyond a sheer interpretation of Quran and it is parallel to many masterpieces of Farsi literature in this regard. The vigorous intensive trend of the interpreter to use rare and old lexicons and his attempt to mention elegant Farsi equivalents in translation of Quran’s verses, the homogeneity with Khorasani’s style poems in using scrumptious and assured noble Farsi lexicons as well as taking advantage of specific vocabularies of Qurans’s texts, applying some of Quran’s equivalents in new meanings, different from other dictionaries, less use of hard-to-read and hard- to-find vocabularies, achieving elegant and pretty-formed lexicons and compounds out of the author’s composition, and background of using some words and … are among notable features of this book. This essay through assertion of mentioned subjects, has tried to open the lingual and lexical values of this great work. Therefore; lexical characteristics of this book are expressed in9sections and some texts of 4th to 6th centuries including Quranic books and some verse, prose, and dictionaries are compared.An index of studied words and statistical data resulted from researches and comparisons are also shown in the form of tables and diagrams.

The purpose of this study is to identify and classify the topic “Simile” in exquisite expression of old and new books from the beginnings to contemporary expression in Persian literature. In other words, Which of the sources of metophor discussed about analogy and in which of them array of exquisite eloquence is examined and the What was it's first type and how it is classified. Thus, the present article seeks to examine and reference to several important books in terms of expression and exquisite through Charting method to investigate in this matter. The result is that topic of Simile first divided to less than an issue and Over time due to study and research of literary researchers and found of striking features, kind of similes and its foliage is developed more. Meanwhile, because of creativity and studies of researchers and way of division become precisely and finally increase its kinds.

Concellation of letery in Qajar era intrduces poets that Khorasani and Eraqi style were taken place in their poems.some poets had excelent styles despite their obsurity.for instance Hafezes's stylebecame favorable to Azarbayjani poet “Najafgoli Khan Sarshar”. the two remaining of his manuscript contains detailed prose and complicated preamble which is 4748 verse writen by poet. most of Sarshar's poets content is about complaint of sepration and difficulties of time and eulogy of Imams.his creativity in his poems is outstanding and skilful and his diction is pleasant. after briefly introduction of Sarshar we will study vhis poeting style in forms of diction, literary and thoughts.

Mirza Azima Exir Esfahani (d.1169, AH.c) is one of the capable poets of the twelfth century in Hindi style which unfortunately very little information is available about his life and in a very few biographies in which he is remembered there is no information about him but the praise for his poetry and being a skillful painter. His poetries reveal that he is a very capable and prolific poet. The features seen in his poetries are more or less those features seen in Hindi style and the most prominent ones are finding contents or themes, mot and imagery or visualization. The effect of the street language is also seen a lot in his poetries. Hindi styles motives, such as bubbles, mirrors, mercury, the road, footprint, maniac, baby, comb, hair and eyelash and… which are used for imagery and creating themes and contents are observed a lot. Because he is a painter, imagery using the themes and contents of painting is frequent in his poetries. Roguish, elegant and new themes and creating themes using features of literary style are the other prominent features of his Divan which are going to be corrected. These points along with other stylistic points are the topics of this article.

The bos poetry of Iran, although is similar to last periods in from and word, but is independent and different in content and thought. So it seems, result image from encountering poet with indicates and subjects occurred in Iran in that time; that the mainest are Islamic revolution and imposed war, have formed a new period of poetry in Iran contemporary literature.Seyyed Hassan Husseini is a well-known under taken poet of Islamic revolution literature that despite of his short life and presence in contemporary poetry, he's classified as a noticeable well-known ret and his works despite of a well-known innovative poets are much noticeable.Although in many cases, simplicity and freshness of this statement are concluded to touchable images but his most important weaknesses can be searched in this verbal level.In fact, poetry of “Seyyed Hassan Husseini” in “hamseda ba halghe esmaeel” is poetry of thought and poet's much attention to element thought and paying attention to thought level and thinking in this set, made him neglected other poetry elements especially word and its potential possibilities and sometimes imaginary role of imagery. Literary acquaintance omitting and custom evading in his poem are hot outstanding. And his poetry word in this set, whether in vocabulary level or grammar level approach a scientific and natural word.This paper is going to study weaknesses and strengths of “Seyyed Hassan Husseini” in accordance with “hamseda ba halghe esmaeel” from aspects of containing, image and word.

One of the famous scholar of the 7TH century was Sad Aldin Hammuyeh (649-586 AD). Despite his supreme position in Islamic mysticism, unfortunately, he was unknown. Various works of Hammouyeh are available that some remained as script without research and reform. One of his significant works is Sakina Al Salehin which consists of contents that is useful to promote our perception about his ideas, opinions, notions and styles. This book is not as difficult as other works of Hammouyeh, therefore, it’s the valuable source in knowing more about mystical thoughts of Hamouyeh. This work introduced for all scholars of right path. In addition to introduction of bargain, contempolation and meaning of Oppression, he also introduced obstacles and omens of scholars paths and advise to right sholars to avoid such path. This book compiled in four chapters. First chapter: Chapter of Al Avayel and Al Badayat expresses human justice and God justice insight. ”Second chapter: chapter of Al Avakher and Al Nahayat expresses mercy and help relatives”. Third chapter: “chapter of Al Mavane and Al Afat expresses prohibited, denied and prostitution works. Chapter four: “chapter of Tabdil Al Akhlagh and Tahsil Al Hasanat it express deny of Oppression: ”In current study, in addition to biography, and summary of sad aldin Hamouyeh works based on his era and ancient resources, it was introduced Sakina Al Salehin article, its importance and stylish features of this book. Content of Sakina Al Salehin article deviated from corrected form of this article based on Islamic parliament of Iran Library, Turkey Brouse Library and IYA Sufia Mosque library.

Criticism Literary have been present in all age and from the beginning of literary works creation, but it wasn’t so much because it’s oral being. In evolution of literary works, also the criticism, as a branch of literary skills and sciences, had a considerable improvement. In the literary history of Iran, this extension of criticism mostly have appeared in Safavid era and in a style named Indian style. Hence attention to works of this era and discovering the procedure of the criticisms of that era and their view to the criticism is important. Among samples of literary works of this era, we can mention Biographies. Specific methods of this era such as bringing special phrases for describing and analyzing literary texts, imitation of previous biographies, selecting poems of poets (specially written poems in their contemporaneous era) will be discussed.The purpose of this article is cognition of literary criticism in existent biographies in Indian style and acquaintance with these precious works and their critical dimensions.

Metaphor is the central core most poetic thoughts (notion) that play the most basic role in motivating thought.In addition Analysis of metaphor can be show Different trends of the poet's idea in different areas, its very important inCognitive style too and can be The style and language of a poet Explainer.One of the poets usedmetaphor, is molavi; metaphor is presence in his lyrics and molavi used this tool In order to express the themes of romance or Spiritual teachings. This research want to determine structures in the metaphorical lyrics Shams through the use of statistics and Determine types of metaphor and their constituent elements. Because it the main question of this research: what is the types of metaphor of Rumi's ghazals? and what are the elements? The statistics presented in this article, the metaphor in the lyrics Shams, will show that molavi used what structures and elements to express spiritual truths and romantic themes.

Naser khosrow Ghobadiani’s divan is one of the most valuable works of Persian literature.it has fortunately been away from any changes because of the many events that happened to iran. yet it is hard to understand some of its couplets because of its especial ancient language, vocabularies and syntax. Some correctors and experts in persian texts (Allame Dehkhoda, Hasan Taghizade, Nasrollah Taghavi, Mojtaba Minovi, Mahdi Mohaghegh) have analyzed and corrected its couplets.in correction of (minovi and mohaghegh) one of the valuable points is specifying the couplets that have problems.Five couplets are corrected in this research according to Naser khosro s self style and some stylistic methods.

Ghahraman is one of the most famous current neo-classic sonnet-writers whose sonnets are noticeable for analysis in a medium yet innovative because of its substantial features as well as his research inquiry in Hindi style, especially in Saeb Tabrizi poems, in terms of using the specifications of Hindi style. at analyzing the usage of the most important features of Hindi style in a descriptively-analytically way in the sonnets of his "hasele omv".Firstly, taking advantage of authentic sources, the analysis gives a short introduction to his life, works, and his searching in addition to the poetical position of the poem and then the formal characteristics and content of his sonnets are taken into consideration. Afterwards, the most important features of Hindi style to the frequency images of paradox, content discovery, usage of life’s daily simple experiences, usage of slangs, new motifs, numerical dependents, lamentation, narrow fantasy denotation, common folk wisdom and argument, Synesthesia, send saying, brevity, example making and rhyme repetition as well as examples evidence is analyzed.creation of new contents, narrow fantasy, permissive abstention features, simplicity, usage of fashion equation, paradoxical images, denotation and… are the most notable features of Ghahraman’s sonnets.

Undoubtedly one of the best ways to appreciate the history and the culture of a society is by studying its survived old manuscripts. In fact, through editing those manuscripts, a plenty of already-written works which have been secluded to public/personal libraries become available to the public. Among those available manuscripts, there is a collection of poetry by Seyyed Taher Atashi Shirazi-called VelayatNameh by the poet himself-which has not yet been edited, published, and thus evaluated.MirzaTaherAtashi is an anonymous poet of ninth and tenth centuries, whose biography is obscure so much so that his birth date, death date, family, forefathers, and even his masters and pupils are a mystery. What this thesis focuses on is Atashi’s style and life along with the editing of his collection of poetry. This revision bases on four available copies of the manuscript in MrAtefi’s personal library and those in libraries of Majlis, Tehran University, and MajlisMelli. It ends with an appendix.

Before being famous and known by others, poets greatly have been contemplating on poem books (divan) of other poets living before them .immitation. proves such claims in a way that dare we say all poets even privileged Like hafez, has been impressed by poets living before him.Mirza”son of tabrizi”famous as a purist, is one of those poets and oretors lived n Esfahan in shah, time he was impressed by his contemporary counterparts in spite of his creativity in writing poems.his divan insists in ghazal, ghaside, robaee and masnavi safine nejat and monshat.he is shiet who has expressed his love to all 14shied emams’shiet leaders’emam Ali in his poems.His ghazals which are full of sensations ad feeling’ ghasayed’ historis’ masnavi shows his creativity in writing poem.Here writer is going to introduce his works and poem style by using tabrizi divan.

Love in eastern theosophy (sophism) is the source of all beings. And beloved one is the kernel of lyric and amatory literature of any nation.Researching in Iran’s lyric literature particularly in ghazal scale one can find fault that beloved ones of all poets are the same. More surprisingly, the loved mien of women poems imitated and followed by men had received all those characteristics through inheritance. Consequences of blind obedience of such an old-fashion model, in particular for a couple of centuries has entangled the lyric poem in an indescribable slump and recess. Repetitive and clichT similes to describe the loved mien has made portraitists out of poets who copy from each other’s paintings to draw the mien of their beloved ones on painting canvas, and eventually all of them had drawn the picture of the same women.A◌َfter the new poem revolution scouting by poets such as Shaumloo and Foroogh, the first leaps in creation of contemporary to be loved mien formed in Persian poem. The present research is determined to exhibit how much the women of new poem have been successful in creation of innovative images of to be loved mien in comparison to those created by the women of old poem.

Allegory is one of the most important vehicles in rhetoric and analyzing its different structures can identify the importance degree of this artistic method in a writer or a poet’s individual style.This article has studied allegory and its different structures in Rumi’s Mathnawi.In Mathnawi’s didactic style Rumi has used allegory as the dominant rhetorical device to transmit his different kinds of moral, social mystical and philosophical teachings to his audience.Another important point is that comparing the frequencies of allegory’s structures can show their importance degree in conveying Rumi’s intentions.

Love poet Rumi and Sufism, the mystical realm of wisdom and profundity of the moment of union. The audience capacity and can greatly benefit from the secrets of his poems. Although in place and literal meaning Rumi notes that after only a tool meant to deliver, but the use of literary techniques which can dramatically raise the audience stunned. This paper is Rumi in the art of making the pun. Rumi is followed by a short musical puns in his speech to highlight. The characters and dialogue and makes it sound so beautiful instrumental music he would play Creating substantial exquisite array at the end. In place of the great poet of the pun and rhyme are used. Maulana according to the following titles of literary techniques such as ink and Pun Pun line is studied. Rumi has led to the pun expression Qvafy Rumi's letters to unity is inevitably bound; The music is poetry in the service of the music.It would have been different Bjhat the most important words and rhetoric arouse the attention of the audience and the beautiful face of language.

“malamat” is a special attitude in the way of behavior, always in researching of the way of thinking Islamic mysticism has the important role thought in the historical movement of this conception with the social dimension is the statement of a basic transformation in passing from “inner word” to “ outer word”. Especially this attitude in mysticism literathre has been the beeing of the “dervish” lyric. The manifestations of this are shown in the poems from Sanaee to Hafez. In content analysis of Attar lyrics, the Malamati conception is outstanding.so the obvious dervish contents and the related group of words would be the part of the Attar lyric style. These poems which are affected from the dervishing Sanaee can be known as the perfection circle of mystical lyrics of Shams and Hafez. This investigation with the critical attitude, argues the basic forms ofMalamati thought.it tryes to research on the meaning of dervish lyrics of Attar in speeches and the tradition of old Malamatiyan, which are said in the sources of the primary mysticism and especially in the works of Solami. This research will show that how Attar saves the Malamati principles in his hymns.it shows the impressions of Attar from saged Sanaee in this kind of his hymns.

Breaking the canonical linguistic norms is among the techigues to which the poet may resort. deviation from norm leads to alienating the poet, s language from her writing style, only as long as the integrity of her language and cohesion among the words are maintained. Simin Behbahani is among the contemporary lyricists who Yet, in her approach to this theory, she has centered around The expression of her novel, exalted views.In an attempt revitalize her discourse sequence, Behbahani has artistically set about devising new terminology and word combinations.The way she went about coining such novel utterances is depicted in the present study. Through the application of lexical deviation, which Is among the subcotegories of deviation, she has helped with further enrichment of language. The viability of resorting to such linguistic resources is, no doubt, owing to the undeniable wealth of persian language, particularly in term of compounding.

Pattern poetry isverse that the typography or lines are arranged in an unusual configuration. Poet in this type tries to illustrate by the typography of poem or lines or words.The ability of pattern poetry to hold its meaning apart from its typography-i.e., it can be read aloud and still retain its meaning.Among the poets of classical Persian poetry Khaghani can be called “ One of the great formal poets”. Bing the pattern poetry on his poems is one indication of this claim so Khaghani is the pioneer of the Contemporary poets.In this essay, by refers to pattern poetry, samples of this literal type is shownon Khaghani poets.

Shah name is the most important literary work that has conserved the culture and language of Iran. From the culture viewpoint, we can claim that Ferdowsi has connected culture of Iran before Islam to the culture after Islam.Using words, expressions, Persian combinations, wording and the way of bringing signs to reach the exact meaning, is the another goal that Ferdowsi has tried to keep in language domain. Ferdowsi not only has tried to keep the farsi language, but also he has a sort of psychological function in using words, so he considers the meaning of them and he sets words in syntagmatic axis in such a way that substitution of another words seems unsuitable. From another aspect in usage of signs, he pays attention not only to the apparent structure and meaning, but also to the phonetics. It is considered in this article to reach the relation of words with meaning that is seen in Shah name’s stories conclusions and also the influence of signs with each other and using lingual signs to reach a meaningful system that is the main goal of language.

Many of the works of the Iranian women writers in recent years are similar in terms of the themes and the myths used. Parsipoor, GoliTaraghi, and GhazaleAlizadeh are three contemporary writers whose shared background, namely being a woman, an intellectual, and a writer in the twentieth century, and knowing the problems and sufferings of women, has created a conspicuous homogeneity in their works. This paper will analyze the works of these three writers in the light of Jung, Levi Straus and MirceaEliade's theories and deals with the formers' recreation of heroine myths based on JuilaKristeva's psychoanalytic and feminist theories in order to see if we can observe the immortality of myths by accounting for their protagonists from a mythological point of view; and whether or not using myths is part of their stylistic features; if so, what function does it serve? By having read the novels and stories of the above mentioned writers, the conclusion was reached that the application of heroine myths is among the most salient similarities of the writers which is seemingly rooted in their shared perspective. These writers have used myth, in particular heroine myths, in order to give voice to their demands, objectives, and to defend women's identity.

Alongside historical and social texts, there is a widespread range of literary texts from fiction to poem where have reflected social situation of Iranian life during Qajar era. Folklore texts pay to informal matters.Although they are not so reliable references, reflect social realities. The same sources can support and promote social studies in analyzing and explaining customs, ceremonies, celebrities, rites, entertainments, hobbies, and so on. So, we they can be seen as secondary, but useful sources in understanding roots of social action. Current paper pays to analytical frameworks can be used in studying folklore.

In this paper, the author tris to show Nezami’ sonnet in three axes of language, literature nd thought.Sonnet is one of poetic frames in persion, which has been used by poets because of its terseness and special structure.There is number of factor to achieve at poetry eloquent in praise but in lyric poetry, literariness is from essential elements in rhetoric’s.The purpose of this article is analysis of Nezami’ sonnet and his techniques from literary, interpretation, stylistic outlook, lexical, morphological and syntactical.