Journal of the Stylistic of Persian Poem and Prose
Year:2012 | Volume:5 | Issue:1 (15)|Papers Count:24

Khaghani is a poet, who was not committed to a certain framework in his imaging styles. Thus, imaging materials are not specific phenomena in his similes. From the greatest creation affairs through the tiniest particles and seemly insignificant phenomena might be observed in his similes since his objective is to create beauty and embossment of those affairs, which exist objectively and subjectively in world of materials and to some extent in spiritual world as well. In this course, he has release himself from any kind of framework and or abidance, which the poets had made ones and others committed to them for imaging and aesthetic expression during past times. At any case, Khaghani has not sought for a pretext to flaunt oneself ostentatiously. In this paper, it has been tried to deal with one of simile topics that is imaging materials in similes, which reflects type of Khaghani’s insight and idea toward natural and metaphysical affairs and this may serve special position as one of stylistic characteristics in Khaghani’s odes.

Orfi Shiraziis one of the poets at early Safavid Dynasty, who has played important role in emerging of sonnet in Indian Style. The main part of his poetic book comprises of his sonnets. At the present passage, authors have dealt with a review on content and language of his sonnets. The major subjects of this paper mainly consist of exploration into theosophical and mystical materials in his verse, most frequently- used terms in his poetic book, main fantastic interpretations and images in his sonnets and evaluation of rhythm and rhyme types.

Structuralism that seeks for finding general rules which govern on those structures dealing with form of literary work in its literature reviews and it is intended to identify the structural principles governing on several works with respect to their relations in general in literature field thereby to explain special style and rules of literary types. Semiotics, which has been formed based on modern basics of linguistics like structuralism, in exposure to literary texts tends to discover deep structures which are placed under seemly different aspects so various stories have drawn semiotic experts’ attention to obtain consolidated structures from this viewpoint. In this essay, it has been tried to semiotic system of romances to be examined according to main concepts in semiotics and with respect to three stories of Veis and Ramin, Khosro and Shirin, and Leyli and Majnoon. Thus, based on belief in the preexisted agreements in these stories, initially based on substitution relationships, 24 sememes (signs) have been identified and then it has been dealt with demonstration of collocational axes with respect to story motif so that to provide extension of the purposed model and thus on realtime studies.

One of the basic and fundamental studies, which have been conducted for stylistic researches, is to identify their genres (varieties) and categorizations. What have been called as letters, missives, correspondences, and epistles (Monshaat or Tarassolat) are one of the epistolary genres needed for conducting of purposeful and widespread studies, as a part of Iranian people’s culture and literature; however, they have not been yet studied as a writing genre. Letter is a communicative medium thereby a person may transfer a message to another one: For instance, to several purposes such as information, ordering, encouragement, and making assured etc. In letter, the audience (receiver) is usually a certain person; having certain audience gives some characteristics to such letters so those properties may make them distinct from other prose genres (scientific, literary, historical, prosimetrum, and story- writing). Identifying such characteristics and categorizations of letters is a subject that the present study deals with it: The questions purposed at this study include: What kinds of special characteristics may exist in letter genre, which makes it distinct from other kinds of prose. How and with what variables one may categorize letters so that their similarities to be revealed in order to organize them in a category ma d also their differences to place them through several genres? The current research is aimed at dealing with writing style of Persian letters, description and categorization, and in order to prepare the ground for conducting stylistic, sociological, studies and researches based on critic discourse analysis and review of power relation within letters and Persian epistolary field and the like. In this research, external texture and the important elements of situational texture have been considered as follows: Author, audience, type of relationship among them and letter action or performance as basis for description and categorization of letters.

In their poems and works, Persian versifier poets and authors have been benefitted variously from Quranic concepts while the Quranic attitude have influenced remarkably into their works. Due to his thorough acquaintance with Holy Quran, themost exalted Sheikh Saadi Shirazi, as one of such poets, has extremely enjoyed this scripture in his works as well and managed to represent his utterance in a better and more wholeheartedly way. Saadi’s way of expression and quotation may be examined and pondered in his works from different points of view and at the present essay, we have tried to deal with some literary styles excerpted from Quranic verses adapted by Saadi while giving answer to this question that whether Saadi has acted like other poets in benefiting from Quranic verses and/ or he has also considered other initiative techniques rather than the usual and known methods in this course. In other words, we try to see if Saadi has created uniquely several novel techniques which were solely ascribed to him or not? To survey the possible exegetic modifications in Saadi’s verse, we have referred to four reference (Quran) exegeses at his time under titles of “Kashaf, Nasaghi, Soorabadi, and Mafatih-Al-Ghayb”.

One of the best and effective methods to review and criticize a story is the analysis with respect to textual and hypertextual framework where the given text is examined at descriptive, interpretive, and explanatory levels. On the other hand, political or politicized novel is one the Persian narrative (story) literature with certain elements, which is distinct from other cotemporary streams of story- writing. In comparison with other kinds of stories, such type of stories are more complied with discourse analysis and discovery of its specific stylistic characteristic because of unique property and close and narrow links with society and sociopolitical events among methods of analysis on novel and literature of story. Accordingly, novel of “the gipsy by the fire” written by Moniro Ravanipour is one of the salient novels after Iranian Islamic Revolution where unlike most of post- revolution political novels, it was written by a woman. Thus in this essay, it is tried to analyze and criticize narrative technique and better design and theme etc, by pondering and reading it several times and review of Iranian important and groundbreaking political events through focus on psychological issues among the characters and with respect to stylistic- discourse analysis on text and the present outstanding elements in this novel like images and descriptions and story characters (active agent- passive- narrator).

The present paper deals with analysis on one of the forgotten and outstanding structures of simile in Persian literature and rhetoric. In this study, we have explored into visual and lingual characteristics, artistic and aesthetic applications, history and development trend, reason for lack of attention to this literary structure and way of its representation has been analyzed within rhetoric books. With respect to this fact that such type of simile has been yet unknown so currently title of “Adjectival Simile ” has been selected for this type. Adjectival simile has several structures and outstanding artistic applications, which may increase its application extent. Whereas adjectival simile is the acme of wholeness and pleasure in Khaghani’s verse so the present survey has been carried out based on his odes.

During several periods, Persian verse has experienced various poetic frameworks but at any period, certain structure has been mainly more prevalent. In Khorasani Literary Style, which lies in the outset of Persian verse, ode located at its climax.Odes include several subjects such as eulogy, description, bragging, depiction of wars and troops deployment, explanation of nature, and implication of passions, pains, and ethical issues.Any ode may consist of different parts including: the introduction that comprises usually of Romantic Words (Tashbib), Complaint from Separation (Nasib), Lyricism (Taghazol) or something like them as well as Poet’s Pseudonym (Takhalos), which refers to the final verse or verses of a poem that leads to making a link between introduction and body of an ode; and the main subject i.e. the issue of an ode and confirmation prayer (for the eulogized) or Shariteh.Shariteh or confirmation prayer is complementary together and they are in fact poet’s prayer for the eulogized character in a verse. As a result, one of those concepts, which according to poet’s view means duration and eternity, is pronounced by his/ her tongue and it is the basis for his/ her prayer in favor of the eulogized character in the ode so that to make it eternal and permanent in his/ her mind. What may serve as basis for eternity and confirmation prayer before the poet are several elements and concepts like beliefs, astronomical rules and issues or instinctive and natural elements, which may be seemed eternal or sometimes philosophical thoughts and logical fundamentals and the like.In this essay, it has been tried to review those elements or concepts, which are deemed as eternal from poet’s view, and at the same time application of these elements within four Persian poetic styles (Khorasani, Iraqi, Indian and Return Style).

Due to ascription to monarchical courts in poetic styles, using poets from different instruments while reciting of verse, these poems are full of lexical music and proportions during third to fifth hegira centuries (9-11th AD centuries). Meanwhile, the existence of Movazeneh (balanced rhythms) as one of the foremost musical elements (rhythms) is extremely obvious in this verse at this period. At both third and forth (h. centuries), Movazeneh style has been totally prevalent among poets but Tarsi (parallel rhythms) might not be observed at this period. At fifth (h. century), Tarsi style in combination with Movazeneh might increase musical nature of speech and since 6th (h. century), Tarsi style has beengradually formed as perfect.For rhetorical writers like Omar Radaviani, Movazeneh was an unfamiliar literary style, so that he implied some mixed evidences from Movazeneh and Tarsi styles by introducing Tarsi and definition of Movazeneh; however, at 6th and 7th (h. centuries), before Rashideddin Vatvatand Shams Gheys Razi, these two literary styles have been introduced as completely separated techniques.Given that development of Tarsi and Movazeneh styles in verse from 3rd through 5th (h. centuries) were deemed as stylistic characteristics at that period so at the present essay, we have examined and analyzed verses written by the foremost and style- maker poets at the given age through this development trend.

Has Saadi paid attention to Nahjolbalagheh Book (Imam Ali’s) in expression of his advices? What is the meaning equivalence for Saadi’s Intertextualities from Nahjolbalagheh or is it called Intertextuality or Cotextuality? The necessity for paying attention to proper meaning of Arabic term “Tanas” in criticism at Arabic literature, where to date many literary researchers and surveyors have called it as Intertextuality as well as clarification of their limits and boundaries, made authors first to indicate meaning equivalence for termTanas is Cotextuality not Intertextuality based on definition of to terms of Tanas and Intertextuality while since now no study has been carried out yet for clarification of this point.Saadi’s many Cotextualities and borrowing from Nahjolbalagheh book have not been yet considered as a separate case study for this purpose and by knowing lack of the existing study about this subject, authors have dealt with identifying contextual and Tanas samples existing in Saadi’s Boostan and Golestan books and then have indicated Tanas varieties and affective techniques from Nahjolbalagheh based on six varieties including lexical, reporting (narrative), inspiring- fundamental, allusive, hermeneutic, and depictive (mimetic) types.

Minimal disposition or minimalism is a literary movement or style, which its main characteristic is the extreme reduction in work’s content into minimal necessary elements. This style, which is originated from the west and formalism is the main creator for it, has been resulted from dominance of technology over the present world. The outcome of this artistic movement is prevalence of very short story with two characteristics: Terseness and simplicity.By observance structural and technical principles of story and with a simple language and adoption of some techniques like introduction-lamming, employing of attractive concept or theme, formation of story based on quotation, dialogue, and narration, application of plain terms and clear- cut short sentences, author have tried to characterize and create effective and viable stories. Although some of Persian ancient literary works possess such characteristic, but they have been less examined from this viewpoint.This essay is aimed at comprehending of structure of Qaboosnameh anecdotes by taking properties of minimalism style as exemplars. After introduction and by keeping this objective in mind, the platforms and reason for tendency toward minimalism and its most frequent characteristics have been mentioned; then among a group of Qaboosnameh anecdotes, five with most frequent simile states have been selected and the properties of modern minimalistic stories were compared within Qaboosnameh anecdotes. The result obtained from this survey signifies that Qaboosnameh anecdotes are basically similar to minimalistic stories in modern time.

One of the factors which have made this masterpiece (Shahnameh) eternal and raised a resurrection in speech, stylistic feature and lingual and expressive distinction quoted by Ferdowsi is to discover poetic mysteries in musical system at Shahnameh. The main subject is in that music in Shahnameh is not solely limited within the peripheral prosodic and musical rhythm, but those variables which might distinguish Firdausi’s verse from other poets’ include diction of and relationship among letters, phonemes, pause, delay and words association together and their influence by each of them and this caused reflection of sounds and phones, creation of audiovisual image, and generation of various emotional states. Adoption of musical alchemy, which serves as the most immediate art to convey thought, message and concepts, is owed by lexical system in Shahnameh that is balances and proportions which are latent in a phonetic and acoustic group and thereby it might easily establish relationship with its audiences since after emotion, it is deemed as spiritual cornerstone for verse. Poetic rhythm, that is albeit a natural phenomenon makes the poem more exciting.At the current paper, regardless of peripheral rhythm and music in Shahnameh, we have dealt with some of other fields such as refrain, harmonic term, composition of melodic text etc led to a unique harmony at this work so that we could indicate the climax of Firdausi’s artistic mastery within his applied music and influence.

Literary Favoritism (Special positive intention) is one of the main characteristics of Holy Quran. At the current survey and by perfectly introducing of this literary style and review its development trend in Arabic and Persian rhetoric books since beginning, author has tried to indicate that to what quantity and quality, three poets (i.e. Khaghani, Molana, and Hafez) have been benefited from this Quranic literary style and then demonstrated and proved by statistical and qualitative survey and analysis of some samples excerpted from Holy Quran and verses of these poets that Molana and Hafez have been approached further to Quranic style respectively while by comparison among these three poets, Khaghani was farther from Quranic style in adoption of Literary Favoritism (Special positive intention).

The present essay investigates into stylistic analysis on two lingual and rhetorical aspects of compositions in Nezami’s verse based on his work under title of “Leyli and Majnoon Couplets”. Concerning to the first subject, we will explain about techniques of developing grammatical compositions and the nature of their normality or abnormality while for the latter theme, we will talk about rhetorical and aesthetic aspects of those compositions. Similarly, we will refer to this point that the given poet has been suffering from inconvenience and several weaknesses in the building process of compositions and development of normal compositions in Persian language. It seems that stylistic characteristic in some techniques of lingual developing of compositions signifies the poet’s bilingual nature and being far from the central field of Persian language.

Handwritten book of “حل ما ینحل”, literally “Solution of unresolved”, is an appraised illustration on “the jeweled feather” ode versified by Abul Mafakher Razi in eulogy and praise of Imam Ali- Ibn- Moosa Al-Reza(PBUH) and also some other verses by Persian- speaker poets, which written by Abdul- Al- Latif Shervsani, nicknamed as Plato; one of the skillful literati in 10th hegira century (16th AD century).The present essay was written by aiming at pondering on specifications of this work through enjoying Content Analysis Method and those techniques and interpretations adopted by Shervani from explanatory and literary perspective and eventually in order to ask to the main and pivotal question at this study that is: In what cases author’s literary style and specific techniques have been summarized in description of this ode?Final results from this study emphasize on writing variation through the text, namely benefiting from descriptive and artifact phrases at preface of this book by illustrator and focus on a plain and fluent prose at description, iterative references to Quranic verses and Islamic traditions (Hadith), mystical and astronomical terms, anecdotes, special lexicons and compositions.

One of the minor stories from 8th chapter in Marzban Nameh Book is “Woven with Snake Tale”, which because of its characteristics in comparison with other stories in this book has been chosen for structuralist analysis. Whereas anecdotes from Marzban Nameh book and their similar stories (from Persian ancient literary texts) have been rarely criticized and analyzed based on modern literary theories and most of them were only limited to their content so at the present essay, story and structural components have been reviewed in Marzban Nameh and then the approach taken by A. J. Greimas (French naratologist), who is one of the theorists in structuralism school, has been adopted objectively and tangibly on this story. According to the latter theory, story actors and characters are surveyed inWoven and Snake Anecdote.

Shahnameh, versified byWise Man of Toos, Abul Ghasem Ferdowsi the Sage, includes the original lexicons of Persian Language. One of these terms, which conveys the extensive conceptual load in Shahnameh is term “Art” that has been used 352 times within 337 verses. Benefited from term of Art in his work more than ever, Ferdowsi has adopted this term by means of ten structures and twenty seven compositions so that this term might be found with more than 80 different meanings in Shahnameh. Doubtlessly, acquaintance with the given conceptual meaning in such words will be led to enrichment of our language in addition to raising our insight toward ancient texts; thus, at the present survey, the authors first try to purpose some information about term “Art”, its different meanings and changing trend and then to examine its (positive and negative) conceptual meaning for audiences and different classes in Shahnameh by depiction a schemata of them so that to reveal it to them for what cases Toos Master (Ferdowsi) has employed term “Art” in his masterpiece.

Acquaintance with historical events may affect on identifying history of nations and increasing their insight for taking exemplar and properly planning. Review on correspondences specific for the given nation within historical periods is one of the ways for being familiar with background of any people. This survey is aimed at investigation into structural and conceptual style of writing of letter in court of Abbas Mirza and characteristics of his diplomatic language and political literature since he was one of the most influential figures in Iranian political history during two past centuries, who has indicated his remarkable and valuable efforts in the field of cultural and military campaign against foreigners. This study is seeking for answering to this question that: How is the writing and conceptual style adopted by Abbas Mirza?Cliché nature of opening clauses in letters, using rhymes in prose and sequential synonyms, adoption of adjective proportional to letters subject and sociopolitical position and status of audiences are some of foremost stylistic characteristics in letters written by Abbas Mirza where we have referred to them at the current survey and mentioned some examples for them. At this study, statistical population includes Iranian historical documents and correspondences during Qajar Dynasty and sample spaces comprise Abbas Mirza’s letters sent to some of his contemporary political and cultural figures.

Molla Adham Ghorashi Khalkhali, son of Ghazi Beyg Khalkhali, known as Vaez (preacher) and with penname “Ozlati”, is one the Shia writers, poets, and preachers (lecturers) living in 11th h. century (17th AD century). At his youth, he studied sciences in Isfahan and trained knowledge before Sheikh-E-Bahaei. Adham has written more than 30 books in several subjects such as ethics, theosophy, Emamyeh (Shiite) dogmatic theology, advices, admonishments, and epistles. However, no comprehensive study has been yet carried out about him and his works. Hedayat Nameh (literally guidance letter) book is one his works which have not been yet published and introduced’ and this work has been called mistakenly as “Safinat‐Al‐Molook (literally Kings’ ship) book” in list of manuscripts as well.Being composed with prose and poetry, Hedayat Nameh book has been written in 114 chapters (like number of suras of Quran) in 1036 (hegira year) (11th AD century) where in any chapter, he has implied one verse of a Quranic sura and narrated some Islamic traditions (Hadith), theosophical utterances, and anecdotes and poems proportional to the given Quranic verse. Thus, this book is very significant in terms of different aspects so we will review it at the present essay.

Among different literary genres, language stylistic field shows greater tendency toward dramas so that dramatic texts have been converted into one of the foremost fields of implementation of paradigms and topics of stylistics. At this field of linguistic analyses which seeks for disambiguation from the given literary work, language pragmatic approach is more specialized than other viewpoints: It is an approach that is considered as one of the interdisciplinary branches and it has been gradually resulted in creation of modern tendency in linguistics and dramatic critique. By purposing subject of turn- taking in daily conversation and clearly in dramatic dialogue, irrespective of considering the author of the given work, this eclectic branch of linguistics puts a scientific attitude for stylistic analyses at critic and researcher’s disposal.In dialogue, turn- taking deals with some elements in quality of sharing turn among characters thereby to appraise rate of potential for any character at any stage of drama. The present survey is aimed at giving answer to this question that to what extent a researcher may contribute to comprehension of dramatic language style to dramatists. For this purpose, this modern perspective has been implemented on drama called “Woe upon the beaten!” in 1970, written by Mr. Gholam Hossein Saedi (1935-1967) in order, in this course, to adopt this theory and to be indicated practically in analysis on a literary text. We will see that benefiting from turn- taking rules may denote the rate of character’s potential at any step of drama and in relation to other characters.

One of interesting subjects for researchers has been to purpose interdisciplinary topics and writing scientific essays about them during recent years. One of such topics is the reflection of psychology science in literary works and their conformance to modern psychological theories. At the present essay, with respect two books from Saadi i.e. Boostan and Golestan; and among five major exciting factors in human (anger, fear, shame, regret and happiness), two, namelyanger and fear have been examined and compared based on psychology today science. In Boostan, Saadi pursues life trend toward ethical and human development and he adopts an anecdote to interpret the best life style in this regard and by using representation style, he tries to purpose some solutions and strategies for improvement of human relations and behaviors. For this reason, by means of emotional aspect of five major emotional characteristics in human (anger, fear, shame, regret and happiness) and skills for handling of those traits, he trains such methods to people in the society. Today and after about eight hundred years since writing Boostan book, they are some techniques which have been identifies as so-called “Emotional Intelligence”: These techniques include skills for adaptation with social complexities and personal decision- makings leading to positive outcome and creating the optimal condition. This study implies that Saadi has known these skills and purposed them to his audience by emotional representation so that today these are complied with theories and skills purposed by psychologist at present time while Boostan is entirely a pragmatic (applied) book; as a result by adoption of its pedagogical concepts in one’s life, one may take stride toward ethical and humanistic wholeness.

“Wingtips of Epiphany” literary work versified by Ahmad Azizi is full of various allusions within different themes and concepts. Azizi possesses a particular ability in creating composition. He is prosper and premier in building of composition and by expression and purposing of novel and fresh and today ideas and even ideas from preceding poets. Similarly in allusion and through adoption of imaginative states and other literary terms such as simile, metaphor, combination of senses, ambiguity, insinuation (hint), and poetic gauges etc, he has created novel and rhetorical themes and concepts, which it seems they were made by him. This characteristic may be disclosed in many of his works including: A glass of hot theophanic utterance(in prose), Khab ‐ Nameh (literally sleep letter) and metempsychosis garden, Bagh‐E‐Fetrat (literally village of nature), Sonnet‐ Bow, Gazelle Land, Heaven of Speechetc where he makes readers astonished from plenty of novel and aesthetic compositions. Allusion is a technique of representation of concepts implicitly so that Ahmad Azizi has doubled up their aesthetic and novel nature by means of other various states of image.

Lingual abilities and communicative competence are some of the factor for acquiring “Speech” skill in learning of language. By casting a glance at this lingual skill, we may investigate into this skill from three different angles: Physical dimension that includes movements of organs in vocal chords such as lip, tongue, and pharynx etc and non- vocalic organs such as movements by body, hand, head, eye and the like; conceptual dimension that comprises speaker’s goals and meaning of lingual and non- lingual textures; and processing dimension that depends on brain performance. Using its stored knowledge and by examining of type, situation and state of audience and the speaker as well, human’s brain may transmit appropriate signals to message-transferring organs. The present paper analyzes on speech in order to obtain an accurate result from nature and definition of this lingual skill and to portray a principal and scientific basis of the given skill for those practitioners, who provide textbooks.

At the current paper, author has dealt with review of one of works written by Abdul Hossein Zarinkoob and by considering this point that general specification of writing style in all works written by this master isartistic- researching prose that is totally a unique one. However, there are some other characteristics in this work that has caused the given work, due to the following reasons, to be purposed and examined in this essay only because of novel nature of this work and or else for discussion of Common Audiences of this book and this point has made this book distinct from other works written by this master and thereby made this work acceptable before all different classes of readers whether common people or otherwise, particularly Persian language professors and academics while it is noticeably welcomed by them.