Journal of the Stylistic of Persian Poem and Prose
Year:2019 | Volume:12 | Issue:3 (45) |Papers Count:20

The Writers intention in this article is to study the Herats vulgar distich couplet. These distich couplet took arouned four hundred year of time. The method of studing is like this, at first about three hundred distich couplet choosen and analysed based on them accomplished, and these results mentioned mentioned in a short formed in this article. and these results mentioned in a short form in this article. In the articles text for the limitation reason some distich couplet has been chosen from the origin distich couplet.

Although the literature of the Constitutionalist Period has refurbished the content, form, and template of Persian poetry, it is indebted to its past. Since the revolutionary and zealous nature of the poetry of this period has, above all, necessitated the augmentation of collective and national convergence and stimulation of Iranians' sense of patriotism and alienation, the epic qualities-both in form and in content-and the motivational capacities of Ferdowsi's Shahnameh, are one of the best grounds to accomplish these ideal objectives. Utilizing a descriptive-analytical method and the theory of intertextuality, the present study aims to scrutinize the impression of two great poets in the Constitution Period i. e. Adib-al-Mamalik Farahani and Farrokhi Yazdi from Ferdowsi's Shahnameh. It also analyzes the existing relationships between their poems in various content components (using Shahnametic symbols, parallelizing, and historical simulations), and form (language, rhetorical images, and musical components). In accordance with the results of the study, this effect was not a mere imitation, and these two poets have established newfangled patterns, particularly in terms of the transformation of characters, parallelism, and historical simulation. Furthermore, since these two poets have been under the influence of Shahnameh's content and form, the intertextual relationship of their poems with Shahnameh is of a strong intertextuality.

The comparetive study of prosody traits used in the poetries by Saadi, Molavi and Hafez, is Of prim significance in stylistics of their Qhazals and other most famous of poets of seven and eight centuries, In this research, for the better identifying of the qualities of meters, frequency of rare, common, uncommon meters of 4350 Qhazals have been compared. Study of Saady and Hafez’ prosody has presented that Ramal and Mojtas meters are the most frequent, eventhough Hazaj and Mozare meters enjoy the highest frequency in Molavi’ qazals. The different meanings usually have been presented with all of meters. Although Saadi and Hafez lived in different eges, the mesure and qulity of many their meters are remarkably similar. Molavi has had innovation in meters of his Qazal, especially the Repetition meters where as Saadi and Hafes had no innovative meters. Common meters of these poets are 30 that fifth of which are the most frequent. Repetition meters have geart effect on expressing influencing mystical meaning in Molavi’ Qazal.

Persian language has been interwoven with Arabic, and many Arabic words from the ancient era to the present day have been involved in Persian language and used in various literary and scientific texts. On the other hand, due to the miraculous aspects of the Holy Qur'an and the importance of reading and understanding this divine gift and repository of prophetic secrets, Iranians have been teaching Arabic language throughout all Islamic history. One of the most important references in teaching a language are the bilingual glossaries that contain a list of most important and useful words. One of these early glossaries, which have been compiled outside of Iran is "Meshkat-al-Masabih", Arabic to Persian lexicon. This book is written by Mostafa-ibn Ghobad Lazeqi. His biography is mostly ambiguous, and there is no information can be obtained from translation or Rijal texts. "Meshkat-al-Masabih" consists of books and chapters. Therefor it can be important and valuable to investigate this book, in terms of Arabic and Persian linguistic studies and the writing style attributes.

Exploring the formal and spiritual structure of some controversial Shahths of the early centuries of Sufism and some others from the sixth century to the eleventh century, shows that as we get passed the first centuries, Shath tends to imitation and vulgarity, and it differs from the famous and customary features of the true Shath. This research, after expressing the theoretical foundations of Shath and its characteristics, divides the period of shath into three categories according to the available resources; then we examine the course of each period, with the focus of the contractual features of Shath and we also review the courses to show that the only true Shath is in the first periods of Sufism and in the language of Bayazid, Kharaghani and Hallaj, and anything thereafter is either imitation or repetition, or mystical acquisitions that are inaccurately interpreted and As Shtah in the works of Sufism.

Fotovat letters are one of the most important sources in recognizing the culture and thoughts of Fotovat followers. We find the roots and foundation of Fotovat in holy ritual in which the Mitra's soldiers were obliged to go through difficult stages, obeying fulfillment and honesty, adherence to the covenant and hostility with lie and fraud. On the other hand, this idea was linked to the Zoroastrianism. In the post-Islamic era, following the flourishing of Islamic thoughts, this culture merged with the religion of Islam, but as a result of the caliphate's distancing from the principles of Islam and the hypocrisy and duplicity propaganda, a group of Sufis sought to act sincerely in action and avoiding duplicity. The Fotovat was slowly merged with Islamic thoughts and formed the essence of Islamic mysticism and benefited greatly from the Qur'an and hadith. The Fotovat people of the Imam Ali (pbuh) were called him the leader of magnanimity and narrated stories that proved the existence of this profession from the time of Adam (pbuh) until Imam Ali (pbuh). Suhrawardi, with full knowledge of the root of the Fotovat of Zoroastrianism, sought to revive Islamic profession and mysticism, and wrote two Fotovat letters in this regard. Mir Seyyed Ali Hamedani, a mystic traveler, during his travels boosted this profession and religion. In this paper, we seek to examine the content and style of the two works, from which point of view they are in common, and what is difference in their point of view.

Determining the genre in modern researches is considered the main issue. Due to lack of historic background and novelty of subjects in Persian literature, has more difficulties. The need for the localization of existing Western models and the necessities of the globalization of local literature are two contradictory needs of modern Persian literature. Therefore, the main question is that is it possible to present a model that covers the needs of Persian literature, while providing the global standards. In the present paper, it was attempted to provide a three-dimensional model to determine the literary genre. first, basic genres (epic, lyrical, didactics) were determined that are accepted at the global level. Second, to determine the genre, three main variables of content and theme, tone and presentation method were used. Third, for each of the following variables, some factors are considered: content and theme included 24 factors such as championship and being cutie, romantic; tone had more than 40 element including being sincerely, advisable and imperative, categorized in three logical, excitable and emotional and presentation method was classified into three sub-factors of narrative, addressing and soliloquy. Finally, using these three variables, the dominant type of work is determined.

Present study intends on evaluating the conceptual development of hair and its synonyms in various Persian poetry styles. To reach such target, Lame`ee poetry (fifth century) was elected as a representative of Khorasani style. Nizami Ganjavi (sixth century), Jalal Tabib Shirazi (seventh &eight century) and Amir Khusrow Dehlavi poetry was considered as a representative of Iraqi style, and for Indian poetry style, we picked Saib Tabrizi (eleventh century). However, other poets are considered in discussion content as samples. Generally, phrases such as “ zulf” , “ hair” and “ tress” are static subjects in Persian Ghazal, and has never gone under any evolution. Love, the most significant theme of Ghazal is divided into two main categories of heavenly love and earthly love, making Persian Ghazal rich and sweet. To express romantic subjects and issues, it is required to state the relationship between lover and beloved. Beloved, is the fundamental pole of any Ghazal. Ghazal poet`s perspective from the lover and beloved, is illustrated in the beloved image. One of the poetic illustration in Persian Ghazal is based on sweetheart`s hair and tress. In Persian poetry custom, beloved has a long and dark hair which looks like a lasso, reaching and kissing the backside of her feet. Her hair is disheveled, but the very same disorderliness is keeping the lover calm. Beloved hair, is more fragrant than ambergris and musk. Lover`s heart is captivated and enslaved in the curves of the double tress of his beloved.

Formalist critique of the image in the sacred defense ghazal Structural and formalist approaches to critique, based on the authenticity of literary criticism, are a novel and popular critique. Which have been influenced by linguistic theories of the twentieth century, especially Saussure's theories in the field of linguistics. These approaches have a special emphasis on "the totality of literary work" and they embody authenticity for it. In literature, the most important feature that values the text is the image that is important in the eyes of the new and traditional theorists. Various definitions have been made around it, and researchers have long been interested in exploring different styles in their literary studies. Ghazal is also a good platform for the images of the minds of poets in different times and in recent years has also been a good opportunity for poetry dedicated to revolution and sacred defense. This poetic template is based on new and emerging content, creating new images in this area. In this study, drawing on the language and the image, we rely on the sonnets of the sacred defense, in a structured way, and re-examine the literary beauty For this purpose, a number of sonnets of prominent poets such as Hamid Sabzevari, Parvaneh Nejati, Seyyed Hassan Hosseini, Saeed Biabanakki and Mousavi Garmaroudi on the subject of sacred defense are studying the beauty of the result of accuracy in the form and effect of the work., We found.

Persian prose has long been a suitable platform for the promotion of educational and moral teachings in society and has always been able to inspire valuable points to the audience, as well as to steady steps to strengthen the desirable traits and attempt to remove and denigrate the unpleasant traits in the audience. The attitude of each writer about these themes has a prominent role in the quality of expression and the transmission of this content to the audience. Since there has not been direct research on the moral and educational content of Pahlavi's literary prose, in this study, based on the library and documentation method, the ethical and educational content of some Pahlavi literary works in the framework of analysis and Classification is checked. A part of the educational and ethical thoughts of these writers originates from the social, cultural, and political conditions, and partly due to the ideal world, shaped by the writers' aspirations to lead the next generation in society. The main question of this research is, what is the frequency of moral and educational content in Pahlavi's literary prose and what are the main emphases of these writers on teaching? The findings show that in the first and second episodes of prophylaxis, the most emphasis of committed writers is on religious teachings, but in other teachings, this frequency is different. With the explanation that the writers of the first Pahlavi era, after religious instruction, considered social education, and then, human training, while the writers of the second Pahlavi period, after religious education and trained human ultimately emphasized on social education in their prose.

Shahriyar has used imaginary imagery to understand his poetry's thoughts and styles. He links the elemental force of the elements in the universe through the likeness of the relationship, thus creating attention to sensory elements, especially nature, after expressing the human qualities in the form of mosque, are the most common themes of martyrdom. A great part of the human attributes of Shahriyar's poetry is also due to his lyrical theme. His romance narratives, which are other narrators of the narrator, are experienced by his master, so his images, thoughts and emotions are the result of his special life and his special experiences, and is beyond his control. according to the plurality of poems, the diversity of themes and poetry templates of Shahriyar, sometimes poetic pictures, shows the poet's thoughts to readers. Among the types of likenesses, the Singular Singularity has the highest poem frequency in the singular and extravagance. This research, in a descriptive analytical manner, examines the types of similes in terms of the forms of likeness of eight, the content (imaginary and illuminated), the pillars, the compound and the singular, the sides of the analogy (sensory and rational) and the theme in all the cases of the Shahriyar. And will provide statistical and scientific analysis of each of the similes to explain the essential aesthetic criteria of Shahriyar poetry.

“ Masnavi Manavi” , the eternal masterpiece of “ Molana Jalaluddin Mohammad Balkhi” , has always been the subject of research and attention by the theologians, scholars and essayists, and since it is hard to understand, each one of them tried to interpret its complexities as much as they can, so that the followers can get blessed by this extended heavenly manna more than ever. “ Allameh Molla Hamed Kateb Bisarani” , is a great theologian and poet who lived in 13th century AH, and tried this intention. He is probably the only one who interpreted “ Masnavi” twice. Bisarani was a jurisprudent and a theologian, and has mastered the Islamic sciences and the mystic texts; He also spent many year in his own mystical journey, and this is why this commentary book is so important. He has been reminded of many valuable books other than “ Masnavi” . There is only one manuscript of his first commentary on “ Masnavi” , while there are several manuscripts of the second one available now. This essay introduces Bisarani and four versions of his second commentary on “ Mathnavi” investigates their stylistic and semantic features.

One of the best approaches in identifying the indications of folklore and anthropology of individuals of community, is the study of fiction literature. Taboo as a sacred ban, is of most important indications appears in fictional texts. These are very first human rules which became the basis of moral and religious prohibitions. fiction literature is based on multiple factors including personal experiences, personal thoughts and social facts, and Taboos of a community are originating from these factors and affecting them at the same time. In this article, we firs expanded the theoretical concepts of Taboo in Iranian community and contemporary fiction literature, and then tried to investigate and recognize the prominent and latent features of Iranian community. Then we interpreted some objective examples in fictional texts (1320-1380 SH). The results show that taboos of Iranian society have the highest frequency in three groups, including power, sexual issues, and language. Also authors have had a boad atterntion to Taboos related to mother, father, being a woman, and Hijab. The language of stories and the Taboos they contain, both have a close relationship with the gender and social class of the writers and the heros of stories. The time of the creation of a story also influences the birth or death of taboos, due to social, cultural and political events.

Ali Abdol mome’ s son known as Abdi Beyg is one of the tenth century AH poet. He has tow “ Abdi and Navidi” pseudonyms he also has many poems which still destiny of some those manuscripts is not clear. In this article we analysis about the way of recognizing simile and the usage of “ succinct figures of speech” in his four Masnavi. Our discovery shows that he adorned different types of similes with high frequency and another point is that he artistically used different kinds of (succinct figures of Speech) like simile to simile, Irony and metonymy in simile, simile in excess symbolic, simile in metaphor, simile in amphiboly, allusion, scientific metaphorical allusion and so on. In this research we will get acquainted to the importance and the beauty of kinds of (succinct figures of Speech) with simile concentration.

People’ s name, with varied details, has always had an effective role in rhetorical quality of nations’ literature, including Persian poetry. Understanding the concept of many poems is linked to understanding visual structure of their proper names. Given the importance of this issue, this study is to examine and compare visual function of People’ s name in lyrics of Sanai, Attar and Rumi. For the purpose of this study, the people’ s names helped transmitting the poet’ s thoughts, either as a whole image or as a part of a pictorial process, are examined. In lyrics of Sanai, Attar and Rumi, there are 277, 182, and 433 images, respectively, which represent proper names of people. These three poets have so specially characterized the structure of literary images that it can be regarded as a feature of their poetic style. As regards, Sanai took the most advantage of symbols, allusions, similes, metaphors, and ironies while Attar and Rumi used allusions, similes, symbols, metaphors, and ironies the most. Proper names in this type of Sanai’ s poems include: names of the prophets, fictional-historical names, names of the famous lovers, religious-mystical names, mythological-epical names, historical-Quranic names, names of angels and Devil. In Attar’ s lyrics, names of the prophets, mythological-epical names, fictional-historical names, names of the famous lovers, historical-Quranic names, names of angels and Devil are more pronounced. Also, in Rumi’ s lyrics, names of the prophets, religious-mystical names, historical-Quranic names, fictionalhistorical names, names of the famous lovers, names of angels, mythologicalepical names, and Devil were most used. Another aspect of the findings suggest that, in lyrics of Rumi, thematic-contextual function of proper names was mostly mystical. Lyrics of Sanai and attar represent a combination of mystical and romantic function; the subtleties of which will be discussed.

Nasser Khosrow plays an important role in Persian poetry. in his poems, he has devised and described his social, political, cultural and literary concerns and according to ideological beliefs, several strategies have been proposed to boost potential human potential. in humanistic psychology, too, several studies have been conducted around human beings and its hidden capabilities. Abraham Maslow, the principal representative of this school by explaining self-actualization theory, steady steps have been taken to introduce a healthy and complete man. in this research, using descriptive-analytical and comparative method based on Maslow's comments, Nasser Khosrow's personality and his humanist thought have been answered to answer the main question of what his selfactualization characteristics are? it seems that the components of "better understanding of reality and establishing a more egalitarian relationship with it", "acceptance of oneself, others and nature", "orbital problem", "the quality of resignation and the need for privacy and loneliness", "autonomy and cultural autonomy" "peak experience", "sympathetic sense", "interconnected relationships", "the structure of the people's secretary", "philosophical and nonpersonal tone" and "resistance to culture-susceptibility". as much as he had in Maslow's subjects, in Nasser Khosrow's personality and thought, too, has been prominent.

After the Islamic Revolution, the front concepts and religion values were developed in the community. Therefore, the muslim and undertaked poets poid attention to reflecting the divine verses and Islamic themes in their poetriss more than the post. Poets like shahriar, Azizi, Safarzadeh and mosavi Garmarodi are among them. In these poets, compositions that were composed in connection with the Islamic Republic and the sacred defense some themes are more lust red for example, Quran stories, moral and religious teachings, Jihad, martyrdom, karbala movement and mahdism. Like the other poets of the revolution age, Azizi is not only a poet but also a teacher an understand poet allows himself great duties and mission Azizi’ s biggest mission is to educate a human in a composition language His too much attention to the composition of new compounds in his masnavies increases to his poetries mobility and frechness (Torabi 2005: 193), the compositions which have been made through inspiring from the valuable verses of Quran karim and Islamic themes. This study investigates the form and content of the pictures in Azizi’ s composition the scope of this study is the inductive investigation of some compositions of Azizi and because no independent poetry in the imagery has been composed in his city up to now, this study can be considered in order to review the literary images in Azizi’ s poetry.

In the present article, considering Tajikistan's ancient history, the origin of Tajikistan and the literary background of this land have been discussed first. The main question of the research is that the theme of love for the homeland, in the contemporary poetry of this era (since the October Revolution of 1917), has undergone changes with regard to socio-political transformations? The subject is evaluated by reviewing the poetic themes of contemporary Tajik poets. The results of this research, presented in a descriptive-analytical manner, show that many changes have been made in the subject-matter with regard to the historical course and socio-political changes in different periods of contemporary Tajik literature. In other words, the concept of the homeland in each period of the contemporary literature of this land can be examined in a certain semantic domain. In the era of Soviet domination, under the influence of the School of Socialist Realism, the purpose of the homeland is the great land of Soviets-the Soviet Union of Socialists. Especially during World War II (1945-1941). But the aforementioned issue, after the collapse of the Soviet Union (since 1991) and the disappearance of government censorship, has somewhat broader implications. Concepts such as praise of the land of ancestors-Iran, praise of the homeland, with sadness and regret resulting from political-social frustrations, as well as criticism of Tajik history.

This article is an attempt to give pragmatic criteria for the recognition of the polysemy and homonymy. The difference between polysemy words and the homonymy ones, is one of the common issues in books and some articles of semantics, but the criteria that linguists have put forward in this regard is not unpopular when tested. The manner in which this paper proposes to re-examine the causes of polysemy in words. By providing examples of poetry Dehkhoda’ s dictionary, we emphasized the conjugal relations of words and tissues of the language, in which the term is contained. therefore, it is possible to use the same criteria in the separation of the polysemy and homonymy. However, some of the meanings that the authors of the Dehkhoda’ s dictionary have brought can be a source of doubt, but a lot of evidence is useful. We did not refer to the texts because of the choice of the dictionary.

Nowadays, most attributes given to the expressive mode of Sa’ adi’ s works all are under the shadow of the ease and abstainer of his words; attributes fluency, sweetness, rhetoric, eloquence, freshness, firmness, innovation, etc. but ease and abstainer is not the only characteristics of Sa’ adi’ s words. In other words, this characteristics has not been achieved in vain and some factors have been at work to create such a result. In the present study, it has been tried that using a bulk of pieces of evidnce and instances available in Kollyyat of Sa’ adi, two expressive characteristics of his words, i. e. comparative antithesis and invisible repetition can be investigated in order that this result that how Sa’ adi at the maximum of ease expresses his ideas that others have could not reproduce an equivalent. In other words, it can be thought that description of “ ease and abstainer” is not the very sense of Sa’ adi’ s words, but this characteristics is its nature and has inevitably originates from his mode f expression because it has been only “ structure” and “ meaning” that have motivated critics and literary researchers to describe such an attribute and the aim of the present study is to find that characteristic and the invisible eloquence of Sa’ adi’ s words as the belongings of that characteristics.