JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2015 | Volume:8 | Issue:2 (28)|Papers Count:27

This paper is about style of religious poetry in twelfth and thirteenth century hegira. To realize the style we analyze poem of the poets such as: Surosh Esphahny, vafaey Shoshtary, fadaey mazandarany, Hazin Lahighy, Sabahy Bidgholy, mohammad Kazem Sabury, hearan yazdy, keavan Kashany, foad kermany, Safey Jandghy, meshkat Tabrizy. This study based on two portions:First, intellectual features of poets included Shia knowledge, Shia theological beliefs, Eulogy poetry, Divine law and Mysticism.Second, literary features in three branches and eloquence in four topic assimilation, metaphor, metonymy, figurative language and rhetoric. In this paper we try to gather subjects of religious poetry particularly in intellectual features, eloquence and rhetoric from tenth to thirteenth century hegira and mentioned the list of it.

Persian poem on the poetry of poets who have style. Of these, should Khaghani name that is known to have a particular style and diction. That is why, after his many poets have tried to follow the way of his eloquence .Badr e chachi, one of the poets, according to this study, it can be said with certainty that the word has a special approach Khaghani attention. In this paper, the influence of Badr e chichi on Khaghani, in the context of the framework, language and imagery is investigated. It must be said, in the form of a rhyme and line weight and is, seventeen of odes, and two of them have welcomed Khaghani lyrics. In the language of additional compounds and eleven of the sixteen combinations Khaghani's description, in his poems used, in addition to that of some Khaghani State whether each verse, literally, or with minimal changes, had used. In terms of imagery, too, in the field of metaphors, images Khaghani has followed.

Although a large part of Iranian culture literary treasures identified and introduced in recent years but not least valuable works that are still unknown. Some of these works, "zeyl_ol_ maaref" was written by Sheikh Junaid ibn al-Sadr, Fadlallah, the great mystic of the eighth century with Persian language mixed Arabic. His book The description "avaref _ol_maaref" Sheikh Shahabuddin Umar al-Suhrawardi (d.632) is the most importat Sufi book in Arabic became the official textbook in monasteries. The most Known and unique version of this book, is "Astan Quds Razavi Mashhad" And then Introduced newfound edition of the Cambridge University Library and Istanbul, Turkey halat Effendi's and atef Effendi. The main objective of this paper in method of content analysis, is introduced the author briefly and explained the necessity and importance in solving problems and difficulties "avaref_ol_maaref", and is contemplated the stylistic and The literary and mystical value of this manuscript.

The Analysis of the structure and content of the poets' poetry is at a high place of importance and can guide the reader to the inner and outer layers of poetry, thoughts and the poet's moods regarding the critical and stylistic approaches. To do this, the stylistic characteristics of Saadi's Arabic poetry have been studied. The application of Persian compounds in Arabic forms, composing new compounds, repetition in the lyrics tone and soften the speech through the over referring on verbs can be cited among the most important verbal features of Saadi's poems. Saadi knows his art in unpretentious and rhetorical required like abnormal bonds is not included in his poetry, but he has used some figures of speech in a normal way. Also the application of the specific gnostic terms and meanings that are among the features of Imam Ghazali's mysticism show his strong inclination towards gnostic and mysticism. Our purpose of this article composition is to study Saadi's poetry style in his Arabic poets, and beside the study and the analysis of the style of the poems we answer this question that whether Saadi has used the characteristics of his poetry style in Persian language or not? And that whether he has been influenced by the style of Arab poets or not? And that what ploys have been used by the poet to express his poetic senses in Arabic language?

Getting to know thinkers and poets who are the intellectual resources of a nation is inevitable. Among these great poets could be called Badreddin Helali Joghataee Estarabadi, the famous poet of late Timurid era. He is one of the Persian sonneteers of late 9th and early 10th centuries A.H. He belongs to the Araqi (Voghou) school of Timurid era. His works include: 1. Divan of Poetry, itself including odes, moghataat, and quatrains 2. Mathnavi of Shah vaGeda (the King and the Beggar), 3. Mathnavi of Sefat_ol_Asheghin, 4. Mathnavi of Leili and Majnoon. In his sonnets, Helali has been influenced by Hafiz and Amir khosrow Dehlavi. He has composed his Mathnavi of Shah vaGeda in the same meter as Nizami’s Haft Peykar, Sefat_ol_Asheghinin the meter of Khosrow and Shirin, and his Leili and Majnoon in the meter of Nizami’sLeili and MAjnoon. This study is a documentary-library research which intends to investigate the reasons for Helalie’s popularity with regard to some stylistic features of his sonnets. Among these reasons one can point to his independence from the court, his simple and nearly colloquial language, his liberalism, and his imitation of great poets.  

It seems that the artistic selection of rhythms along with sentimental tone mixed with sorrow may have a close compact on the agreeability and attractiveness of the poem.The current research is formed in three levels: 1) Shahriyar odes and the repertory of classic literature, 2) prosodic rhythm, and 3) the frequency of sorrowful terms dominant throughout Shahriyar odes as a stylistic indicator. In the first level, the researcher found that Shahriyar’s viewpoint in his poems is a sort of passive and sentimental one; and his poem is a polished mirror of his inward and outward individuality. In the second level, all Shahriyar odes were studied and analyzed; it showed his supremacy in the frequent use of “ramal” meter as compared with Hafiz and Sa’di. This prevalence can be a reflection of a real lover soul and heart-sored that makes his tone sad and sorrowful in comparison with the above-mentioned poets. In the final level, choosing the first fifty odes from each poet, the researcher attempts, by the use of careful figures and statistics, to show the tone of Shahriyar word, as a stylistic indicator, is of his own. Hence, the words are echoes of his heart that originate from the depth of his fervent and sensitive spirit and soul; this is why his poem sounds sad and sorrowful.

In this research, According to the text of Abolfazle Beihaghi speech, there was a new report of the ministey provided in Beihaghi history. Beihaghi brithely has distinguished ministry divan and the function of the minister and Pseudo-ministers. Basically, most impression only appropriated on the aspect of history ministry but hidden ministers, Pseudo-ministers or bad ministers were in Ghaznavi period, although they were unofficially ministers, also they interefered on the kings decisions and also their viewpoints were more important than the basic minister. According to the witnesses of construction of ministery in before and after Ghaznavi period, the article has provided that the ministry in Tarikh-e-Beyhaghi does not mean the minister of ministry divan exclusively, but it has some other meanings which are mentioned an article.

A little-known work and study its properties in addition to the cultural heritage of ethnic stylere in forces a country, causing extensive information about the thought structure of the intellectual authors. Especially if it be a prescription in another country by an on-Iranian writers are formed. Description of Nolkshor print on Hafez is one of the commentaries published as provided in Indiain 1289. This description includes the sonnets, the composition clause, refrain, quatrains, Masnavi, partandode. The overall conclusion of the study suggests physical features, content, textual links, inter textual and hypertext this description. And shows significant differences in the work with similar work in Iran. In this article we try to introduce the description and explanation of the circumstance saround its collector, super structure and infrastructure character is tics and structural analysis is determined it to form a library context.

"Maulana Khalid Naqshbandi", known as Khalid al-Baghdadi, the founder of one of the branches of Naqshbandi sect, called the Khaldyh. The present article concerns manuscripts and his poetic style. In order to achieve these objectionsthe metod wich used in the research is the qualitative- descriptive and - analytical metod. what distinguishes Maulana thought from other mystics is that his mysticism over inflused by the religious issues, especially the Shi'a.a religious. in addition to the intellectual distinguishes in the literature field theexastance of the puzzles and the historical contents distingwish his poetry fram the mystic poets before him, As well as the evidence of his interest in social issues and in the area of language can be pointed to the influence of his mother tongue.

The impact of critical committed literature on the contemporary political and social expanse especially after revolution is undeniable and in this effect, the role of satire as a form of literary criticism is highlighted and "parody" as a comedian techniques in this field, has an outstanding performance. This study answers the question of whether "parody" is Ebrahim Nabavi's comic stylistic feature? The most prominent characteristic of Nabavy’s humor- one of the figure in critical literature after the revolution - is the use of parody in a variety of verbal, visual and thematic aims. He used this technique to express his social and political criticism and to express his thoughts to the reader. Research results show that Nabavi relies on forms and templates rather than a book of a special writer or poet and that makes his work turn in to a second handed work.His extreme usage of this technique despite his simple language, his mighty pen and good ability to express humor make his work monotonous and sometimes degraded it to the level of humor. Another point worth pondering is that specific issues he paid attention as well as his stylistic way of writing he sealed on the forehead of his works inevitably caused them to be forgotten.

Inquiring about the effective factors which cause love and kindness, engages the mind of every person who significances social relations. Several factors influences interpersonal attraction and affectionate relations between people, some of them have been noticed in Jalaluddin Rumi's Masnavi In this paper, two types of voluntary and involuntary factors affecting interpersonal attraction are studied. Regarding to involuntary factors, homogeneity is the only factor that is taken into consideration in Rumi's Masnavi. The authors explain nine items of voluntary factors which influence love-based human relationships and more than others, are discussed in Masnavi. Moral virtues, good temperament, charity, kindness and compassion, gift giving, generosity, forgiveness and magnanimity, loyalty, and visiting, are the nine voluntary factors which are influential on the love-based human relationships.

It is very difficult to produce poetry appropriate for the needs and perception of today’s aware children and adolescents. Children and adolescents poetry is a kind of conceptual and audience-oriented poetry whose area of concepts and themes is as wide as the life and imagination of every child and adolescent. Sentiment, imagination, curiosity, rhythm, and happiness are among the most important characterisitics of this kind of literature. After the Constituitional Revolution and during this century, many poets has endeavored and extended its prosperity. But, there is still a conspicuous gap between the existing works and what they ought to be. A children’s poet should not observe the children in the world around them, but, he or she should observe the world and everything in it from today’s thinking children’s point of view and help them build up a world full of peace and friendship. Meanwhile, with respect to the children and adolescents’ limited perception it is not possible to use verbal and conceptual figures of speech; instead, it is necessary to observe other criteria for their works to be accepted. In this paper, an attempt is made to thoroughly enumerate these criteria and then, to analyze and criticize the existing works.

One important element in the study and understanding of the personal style of each poet's rhetorical plays a role in the use of colors and sounds, and the poet's use of these elements. This is particularly important in the poetry of poets poets in Hindi so that it can be used by many tastes, beliefs, aspirations and demands of the poet realized. Fayaz Lahiji (1071 AD) was one of the poets in india in his poetry has benefited a lot from this opportunity and Vryhay new colors and sounds great and has a great artistic expression. Color and tone poem based on the original word that is often associated with images and rhetoric as an important factor for the express purpose, beauty, harmony and fit up the parts of toward common goals.

Abharol asheghin written by Roozbehan Boghli Shirazi the Famous mystic sixth century AH. The book is based on the principle of love and the most prominent works of mystical literature. This paper explores and research of Secondary purposes Semantics, Eloquence, style and writing of Abharol asheghin. Based on the findings in this Research Frequency of industries such as rhyme and puns and additions and the use of different types of imagery, his work has become the most prominent prose works of mystical literature. Arabic word frequency, frequency of imagery and musical expression and technical prose tends to his word. use of difficult words, phrases and rhythmic hammer blows like a pun and rhyme and peaceful use of similes and metaphors compact and imagination the use of new components and unmatched romantic, poetic style of his prose style is known and the literal and spiritual ties sentences, Show the world especially Roozbeh is eternal lover.

The reflection of lingual and experessional of hendi style in zib-ol–nesa s sonnets. zib–ol–nesa–beigom well named as "makhfi" is one of the moust poets in india like continent who saya her poems in farsi. Her father ourang–zib is of great goorkani kings; and her mother is iranian lady, "delras banoo" who is dougter of shahnavas-khan of safavi. she has tried in different kinds of poetly; but she is more succeed in sonnet (504 sonnets).There is some motifs and concepts in her divan (collection of poems), which are elike narow thonghts and imaginations of hendi style , and their frequences are not less.it has been seen more cases of applying tolk words and complexes, making strange and special complexes, special lexical motifs, special numerical links, local phrases and similes, exageration, paradox, verbal metaphors ,condensed simile and specially bringing allegory and oslube–moadele (parallel-allegories) which are applying. Of the main charactristics of hendi style. we–in this resarch–along side analysis of zib–ol–nesa (makhfi) s poems , will show the reflex of features hendi style in her divan (collection of poems); and analiz their frequenc ise, which in them, stylistic individualities has been shown.

This paper aims to investigate the formation of hymn poetry in Persian literature and its components as well as the status of Ayatollah Gharavi Isfahani's poems. It goes without saying that the poetry in its specific sense appeared after Safavid period. Although some poems with concepts of Mahdaviat and different Mahdaviat beliefs accepted by a variety of sects had been created before this period, they are not within the hymn literature scope. According to the concepts mentioned in the poems of ten Persian poets among those who write Velayee-Poems the components of the hymn poetry include Imam's virtue, the need for the presence of Imam in world and genesis Velayat. This paper investigates the thinking in Ayatollah Gharavi Isfahani's poems written through an amorous approach and regarding literature traditions; and it presents the effect of writing amorous Manghebat on mentioning the virtues of holy Imams (Peace be upon them), and it refers to the most obvious points in semantic, rhetoric and expressive statements in the hymn poems of the above-mentioned poet.

There are not enough old and relatively reliable manuscripts of Farrokhi Systani's Divan. The most highly regarded modern edition of Farrokhi's Divan is compiled by Prof. Dabir syaghi. However, in published book of Dabirsyaghi, there are a lot of losses in the critical points concerning the stylistic features of Farrokhi’s poetry. This is because of lack of valid references. It can be said with confidence that there is no definitive version of his collected works. In this article some verses from Farrokhi’s divan have been modified based on his stylistic features and the basis behind suggested edition has been briefly discussed.

One of the bold stylistic features in xaqani's poems is the usage of scientific terms which included especially musical terms. The main question in this survey is how much innavation he used in his musical similies. To find the answer after studying and surving xaqani's Divan, we collected all the musical similies about melodies, musicians, singers and instruments in his poems. Then by mentioning all the samples we studied the manner of using similies in xaqani's Divan.

‘Poorness’ and ‘Perdition’ are two important concepts in Islamic mysticism. Always, Poorness quoted with ‘Richness’. Also Perdition quoted with ‘Survival’. The status of first pair is in the middle of mystical conduct and second pair are in the end of mystical conduct. Poorness and Perdition are combined in Attar’s mysticism as a means to get to the last stage of spiritual journey. This is an important question in Attar’s mystic style. Because of such stylistic differences, the roles of ‘poorness’ and ‘fate’ in analyzing Attar’s narrative poems as well. In this paper, we would analyze ‘poorness’ and ‘fate’ and its features in Attar’s mystic based on both mystic stylistics and narratological point of view. Authors have focused on two narratives Mantiq-ol-Tayr and MusibatNamih for their analyses.

Seyyed Jalaloddin Azod-e-Yazdi, nicknamed ‘Jalal’, is one of the most well-known poets of the 8th century. He was descended from oreizi Sadat dynasty. In his youth, he travelled from yazd to Shiraz and attended Abo Eshagh Injoo Court and praised the ruling dynasty of Al-e-injoo as well as some Al-e-Choopan rulers. His collections indicate that he had full domination on his temporary cultures and knowledge. He has worked on different poetic models and has had impacted poems of the following era particularly Hafeze-e-Shirazi. He employs archaic vocabularies, new combinations, references to fictional and mythological characters which is counted as Jalal’s specific characteristics. The main aim of this research lies in providing answers for two following questions:1. Who is Jalil Azod? And how are his creativity and innovations evaluated in cultural and literary fields?2. Has he had a separate and private style? How is he influenced by the ancients and that how he left influence on the subsequent poets?

Humor is representation of life and community's problems (bitter facts) in a sweet language, so that rulers and people seek to reform their society and behavior and includes works whose serious representation is difficult or in some situations impossible. This literary type has been long used in Persian literature. Some of great humor and satire writers of Persian literature include Obeide Zakani, Sa'di, afez, and Beshagh At'ame. In contemporary literature, humor has preserved its high position and has even strengthened it regarding modern issues and different relations between people. One of the contemporary poets, whose famous humorous, social, and critical collection of poems with the name of "Labkhande Kavir3" is a valuable literary work, is Mohammad Hussein Fadai (1304-1393 solar year) who is a less educated but wide-awake poet from Tabas. He has applied humor in different issues and based on different methods in order to make audience laugh, express social-critical issues, and challenge people as well as professions. The important point in his speech is observance of the limits. He tries to express problems without insulting others and therefore, he moves toward social mobility. In the present article the poet and his works are introduced after which the functions of humor are investigated in Fadai's poetry. Then a brief comparison is done between some aspects shared in his poetry and famous humor journals of his time which can indicate his high position in this field. Nevertheless, lack of facilities in this city and its far distance from capital's literary atmosphere has led to obscurity of this great poet.

Among the artistic styles of language, satire and its derivations, with objecting and criticizing approach, have been popular in the language and literature of different tribes and nations since a long time ago. The satire, humor and lampoon, each with a different quality, is the result of the behavior contrasts between the society and the individuals. Each of the linguistic elements and expression styles is tangible and perceivable in the consecutive warp and woof of the poetry and literature of Iran. In the classic Persian poetry, a considerable volume of the works of some poets, especially between the 5th and 6th centuries, is consisting of humor and lampoon. One of these poets is Sanaei Ghaznavi, whose poems with veins of criticism and objection have been seriously impressed by humor and lampoon and veins of satire. The nervosusness and social objection of Sanaei's satire is reflected in his odes and other poems with flavor of lampoon and humor and even his Hadighah, which is the climax his ideas and thoughts with divine view and Gnostic themes, is not deprived from the flavor of satire, humor and lampoon and a considerable amount of Chapter 9of this book, is smeared with obscene and chastity lampoon and humor. The fact that what has been the background a paradoxical approach, is the question which is being answered in the present article.

The Persian language is one of the declinable languages which have plentiful potential in the field of creating compounds. Great poets such as Ferdowsi, Nezami, khaghani and Hafez have taken important steps in this area and by expressing their ideas, in the form of new compounds, they have helped to extend the scope of Persian language, but Rumi in this arena, in terms of quality and quantity, has a special place. There are hundreds new structures in the form of noun, adjective, adverb, verb, allegory, as well as adduct, combination of attribute and likeness sentences and etc in his poems that each requires separate review. In this era because of the exploding growth of science, and main necessity to word-making in the whole fields such as scientific, industrial, and cultural, Introducing methods of Rumi’s word-creating, can be raised as a template and reduced “Neologism–avoiding”, that prevent from constructing or accepting new words. In this article represent the main processes of word-making, including the "derivation" and the "compound" in the nouns, adjectives and adverbs in the Ghazaliat of Shams.

Modifying ancient works of Persian literature has always been one of the main concerns of the Iranian culture and literature scholars. One of these ancient works of Iranian literature is Tazkereh (biography) "Jaddeh Al-Asheghin." Studying this ancient text states a basic question about one of the unknown characters of mysticism in tenth century AH: “who is indeed Kamal Hussein Al-Khwarazmi mentioned in the text of the biography?” The current study aimed at studying Tazkereh within this framework. Results indicated that Tazkereh (biography), "Jaddeh Al-Asheghin," was written by Iranian Mystic, ‘Sharif Hussein Al-Khwarazmi,’ who was the son of ‘Kamal Hussein Al-Khwarazmi,’ the tenth-century- AH Mystic. This Tazkereh is the only valid document in identifying these two mystical characters. However, it has not been offered in the modified form to mystical scholars and lovers of literary works. The current paper, reports modificaton of the Tezkereh (Jaddeh Al-Asheghin) and introduces these unknown mystics according to the content of the Tazkereh. In addition, it analyses Tazkereh in terms of its historical, literary, and mystical values.

Style investigation of one literal effect cause that characteristics and mental, lingual and literal prominences of one effect determined and if this work comes with analytical datas, these dates will manifest stylistic prominent characteristics of one effect. To investigate one literal effect must consider that in pressure, morphology word, and eloquent, syntactic and Ideologic levels. This essay with Investigation Aref Ghazvini social lyric poems stylistically tries to manifest prominent Characteristics of Ideologic level in his social lyric poems. This Investigation will done in base of "stylistic, theories, thoughts and metods book" of Mahmood Fotouhi. According to prepared datas number of Aref social lyric poems is greater than his amorous poems and many of Aref Social lyric poems have been composed according to social changes of Mashrooteh era and public desires, and number of his lyric poems which don’t refer to Mashrooteh era Changes is few. These lyric poems is about different subjecs such Liberation, mother country, social criticism, despotism, Mashrooteh, pay attention to women, teaching and education and level of his attention to one of these subject is different.

Transliteration is a method for phonetic representation of foreign words in writing. In languages with two different scripts, contents can be transfer by transliteration. This method lead up to access to literature and the written heritage of two different cultures, that similarity of them is language with many kind of difference. Exactly, Persian and Cyrillic scripts among them are. The history of script changes in Tajikistan and comparison between Persian and Cyrillic graphemes reviewed at first in this article. After that, intelligence and fast transferring of Persian contents in by computers, between Persian and cycillic scripts. In the end of this paper we will find guidelines for the development of such tools and strengths and weaknesses of this method have been shown.

The shared border (500 km) between Iran and Afghanistan from near Torbat-e-Jam in Razavi Khorasan to Nehbandanand borders in South Khorasan has brought about outstanding and diverse dialectal interactions in Persian language. From one hand, in the rich lexical collection of Khorasan a number of words, there exist a number of old words which are no longer used in current Persian language. On the other side, surprisingly, these words are still used in eastern borders of Iran. Many of these words and combinations were of use in Old Persian literature especially in first Hijri centuries. In this article, the writer intends to do a contrastive analysis on lexicons, combinations and common shared expressions in dialects of Eastern borders from one hand and Dari Persian of Western cities of Afghanestan such as Haraat and Farah. To this end, the writer has gone over from Old Persian texts & poems. This entire attempt in this article has been done to shed light on better understanding of Dari texts & poetries with the help of good grips of these old words.