JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2011 | Volume:4 | Issue:3 (13)|Papers Count:24

Hagiologies have exaggerated about number of Attar Neyshabori’s works; however, researchers deemed a few of them as Attar’s definite works, books like Manteq-Al-Tayr (conference of the Birds), Mosibat Nameh (lamentations), Asrar Nameh (book of mysteries) and Tazkerat-Al-Olya (hagiology of Saints). Similarly, they have denied attribution of works such as Hilaj Nameh and Bisar Nameh to Attar Neyshabori. There some dispute over attribution of Khosronameh (book of kings) to Attar. The present essay has been written to prove correctitude or falsehood of attributing Khosronameh to Attar Neyshabori. We have evaluated Khosronameh by Attar’s definite and absolute works in terms of subject and content, method of expression and stylistic characteristics like contradistinction, terms and interpretations. Frequency of Khosronameh commonalities with Attar Neyshabori’s definite works confirms the authenticity of attributing this work to Attar Neyshabori.

In Saadi’s Golestan (verse book), we observe a lot of debates among characters. These dialogues may be analyzed from different aspects including stylistics. However, at this essay, the authors are trying to look at Golestan from other view regardless of usual stylistic components and features and with respect to metalinguistic stylistics; namely, review of Polyphony or Heteroglossia in Saadi’s style. The present study, which reviewed the biggest anecdote of Golestan book (i.e. Pugilist youth with his father) by the aid of Mikhail Bakhtin’s Narrative Heteroglossia, indicates that in the field of narrative processing, Saadi has tried to great extent that to reflect voice of all actors and characters in the anecdote with the same volume and to convey utterance of each of them to audiences to the extent that is to be and as it expected. Narrator (Saadi), during the stream of this anecdote, appears in two character and or personality (as actor). In other words, he utters several voices where these voices are usually contradicted to each other and at the same time they are heard by the same volume. Generally, it seems that the given subject (Saadi’s polyphony) may be included in premium features of stylistic structure in Golestan.

Heroic literature of Wise of Toos (Firdausi) in his epic work, Shahnameh, is originated from its instinctive and integrated aesthetic language and interpretation as a literary text. Language of the work and interpretation technique of its creator-which is derived from his aesthetic mind- sometime may lead to polysemous texts, impressions and multiple interpretations by anagrams (puns). In the present study, by the aid of literal knowledge, we have dealt with stylistic analysis of illustrators’ various reports concerning to a hemistich from Shahnameh. Within the framework of those illustrations, the semantic linkage of the given hemistich has not been considered along the first part of this verse while ignoring this important point that verse second part is the complement and noting result of the first part and or it has been comprehended superficially and simply far from its deep concept.Study results indicate that through a new semantic stratum, Wise of Toos (poet) displays-by application of metaphor-allusion as a literary strategy-the most hidden archenemy of heroes i.e. self-deception or self-delusion like home foe; an opponent which trims hero’s body rigid in his mind in order to rob his life readily. By quoting a warning from a brave woman who has tested Young Sohrab once and found his weak point-and may not be sacrificed this time by delusion and fantasy of his deceitful self for stoutly body and power-as well as underlining this point that pride and self- satisfaction are deserved for a powerful chivalrous champion like Sohrab, Wise of Toos forewarns (premonition) the reader about Sohrab’s death due to his pride and naivety by a delicate style.

By 1914, Vladimir Propp (1895-1970), Victor Shkolovsky (1898-1984), and Mikhail Bakhtin (1895-1975) have created a modern school in their literary studies which they called it Formalism later. Literary researchers explored into stories by means of their characters or stories content, Before Propp. Propp believed in a single structure for stories which could be pursued by functions of story characters. Later, this approach influenced on structuralism and Structuralist Narratology. Author of this essay aims at employing and trying the offered model by Propp for Banoo Goshasb Nameh poetic collection.

Daneshvar’s short stories are important from several aspects: First is type of writing the story in terms of approach toward techniques of contemporary story-writing. The other is due to the existing significant, symbolic and mythical signs along with representation of folklore. The present study tends to, by conducting deep-structured analysis on human’s ancient beliefs about plant and its frequency in Simin Daneshvar’s stories, answer these questions that: By considering unforgettable nature and shifting of myths, could it find its appearance in recreation of story characters? On the other hand, since arising of the story genre is resulted from high and or low frequency of its elements; could this be considered as stylistic feature of Daneshvar’s stories? After pondering on group of short stories, it was characterized that one of the hidden myths in Daneshvar’s collective subconsciousness is human primary plant-holiness, which may variously be realized and leaked out in her stories so this issue is one of Daneshvar’s perceptual characteristics.

Promotion is a complex process that is considered as an integrated part of human life today. Within this complicated and marvelous process, there is an important part that instinctively corresponds to literature and literary language: Creation of business (promotional) sentences. Those are sentences, which are valuable and reminiscent like a poem or short story, despite of their terseness.Most of these promotional sentences are precipitated in people’s mind to the extent that they remain for several years and will not be forgotten. However, the basic question is here that why this happens. Is that product very important or was business sentence written in a particular way?In writer’s viewpoint, what causes a promotional sentence to be remained and precipitated in audiences’ mind is the same as what is also seen in remembrance of a verse i.e. way of expression that rises a sentence higher than at normal level and enhances literary level. In formation of such expression, those terms and techniques are used which are mainly common with literary terms in a poem.In this essay, in addition to review of the foremost business (trading) sentences in Iran during several recent years, it has been tried to analyze them as well so that thereby way of creating these types of sentences and reason of their success to be revealed.

Abulfazl Rashideddin Meybodi’s precious work, Kashf-Al-Asrar and Odat-Al-Abrar book, has been written in the field of translation and interpretation, particularly Quran Gnostic Interpretation where many studies about this work have been conducted concerning to third chapter of this book, while the first chapter of Kashf-Al-Asrar comprises an aesthetic translation from Quran verses and terms which have been less noticed. The present article deals with an analysis of Meybodi’s translation in three axes of language, thought and literature, tending to indicate that in addition to using some books like Lesan-Al-Tanzil in his translation, Meybodi involved his creativity in poetic and mystic view for translation of verses. In this course, through the present study we find that Meybodi not only selects Persian terms against their Arabic equivalents but also pays attention to their semantic hidden strata and uses his theosophical and literary thoughts in word texture by observing trusteeship.

With respect to their particular conditions, poets like some of words (lexicons) further. These lexicons, which called keywords, are more effective in identifying poets’ literary style. In this essay, two examples of keywords have been examined in Caesar Aminpoor’s poems namely “eye” and “water”; and by considering poet’s impression toward these words, his poetic career has been divided into three periods, showing in these three periods, poet’s view toward these words as well as technique of their application has been gradually transformed along social developments. Such transformations could be seen in syntax field as reduction in interrogative sentences, increase in using imperative mood and application of first person plural lesser and in the form of modifications of adjectives or the related attributes with each word.

The particular characteristic of verbal narrative is in that time is counted as the major element and representation parameter (language) and the represented object (story events) and its distinct important in narrative text is characterized in chronicle relationships among story and text. Among narrative experts, Gerard Genet has purposed the most comprehensive discussions about time component following of anachronism between time of story and time of text, believing in three time relations among time of story and text: 1) Order and preference, 2) Duration, and 3) Frequency. In this article, time component is analyzed and examined as a branch of literary criticism in story of Bi-Vatan (Vagabound) written by Reza Amirkhani from narratological viewpoint.

According to psychological findings and language-cognition relation, human acquires first in his/her early life, ability of comprehending concept and classifications of four main colors including blue, green, yellow and red and then uses the name relating to these colors. Subject of language and thought and or language and cognition and way of order preference and priority of each one of both at beginning of birth and during lifetime is as one of the serious issues in language psychology where some great experts have dealt with it such as Steinberg, Skinner, Bloomfield, Osgood, Vygotsky, Edward Sapir, Whorf, Browner, Piagget and Chomsky. If language is influenced by these factors then according to lingual evidences as objective and tangible data, one may trace type of writers’ attitude, thought and personality since language is representation theme of world of beings so that to observe creator of world work. In the other hand, it was said in the past that “As you sow, so shall you reap”. Thus in this study, by use of linguistic data within terminology of color and other existing lexicons in Khayyam’s Quatrains (about 293 quatrains) and Roodaki’s Poetic Collection (over 1000 verses), which are oozed from mental secretions of these two famous figures of Iran while signifying their view toward being, authors tend to discover, describe and mentally analyze these two poets. This study has been carried out to test this hypothesis so that it seems that Roodaki and Khayyam have Epicurean thought about the world; and measurement indices of lingual data are Color Psychology Classification of Max Luscher.

Quatrain is one of poetic frames in Persian, which has been used always by poets because of its terseness and special structure.Poems in 2000’s are type of verses, which are different from past periods of poetry. The most distinct feature of 2000’s poems is paying more attention to technique, dorm and meaning that was salient and purposed in previous decades. It is attention that poets paid to themselves and audiences in this decade. Among these, quatrain was one of the frames, which added new experiences to Iranian literature. One of the quatrain versifiers of Iran is Bijan Arjan who has unique style in quatrain during 2000’s.At this study, the basic question is: What are unique features of Bijan Arjan?

“Heydari Raid”, versified by Raji Kermani (deceased-CE), is one of the religious-epic poetry collections in Persian, which serves expressive, literary and rhetoric effective tools and techniques to interpret differently historic narrative in addition to being affected completely by epic style and calls the audience to read an ancient fact and internal imagination again through creation of new and different attraction (spatial-sensational and imaginative preparation).This article has been written mainly by aiming at accurately study on Raji’s techniques and interpretations from expressive, literary and stylistic outlook rather than considering the particular style in this work and eventually answering to the major and pivotal question of this research, namely: In which cases have Raji’s literary methods and techniques been summarized within different expression of an ancient fact?The final results of this study confirm Raji’s success and initiative action in his exploitation from states of mind, premonition, some of phonetic, lexical, syntactic and morphological and relatively novel features and focus on epic terms and interpretations for realization of narrator’s goals.

Veys and Ramin book of Fakhreddin Asaad Gorgani is one of the first romantic stories in Persian literature which was written as couplets with a plain and fluent language and far from lingual complexities while it is rarely affected by Arabic. Among the distinct and brilliant parts of this romantic poetical collection, several letters which draw attention of each tasteful reader. Apparently, Fakhreddin Asaad Gorgani the first person who has entered letter-writing in the field of poetry. Could it be called letter-versification? Ten letters of Veys and Ramin are romantic letters which have been written enthusiastically by Veys to Ramin in which called for Ramin to come there. At this time, we have dealt with stylistic method in these letters at three mental, lingual and literary levels.

In this study, periphrasis is the main subject in Forough Farokhzad’s poems. Some factors like picture, description, narration, imagination and contemplative emotions of modern human etc have prepared the ground for periphrasis in Free Verse including Forough Farokhzad’s poems.The author tries to indicate representation of periphrasis in Forough’s verses in three chapters. In first chapter, he expresses its iteration and aims by implying some characteristics like interpretation of joy, mind pleasure, regret, disobedience etc. At the second chapter, rather than iteration (redundancy) he examined kinds of periphrasis by giving some examples like implication of proper after generic form, explanation after ambiguity, supplement, appending, completion and interpretation. In the final chapter, periphrasis implies its direct meanings such as simile, discord, tailing, feigned ignorance, time and place etc along some examples.

Each text is made of some elements. Due to some changes, these elements impose some features on text, which are called main elements in stylistic subjects of lingual features. Lingual features are one of the main elements in stylistic issues. These features do not emerge frequently in general, but they are created gradually and due to transformations and modifications. It is expected that over passing time and sociopolitical developments, a deep transformation has occurred in language of Ahmad Jam in comparison with the authors before his age; however, the result of other study indicates that it is originated from type of training, geographical and social situation and author’s plain life and type of his special Gnostic insight.In this essay, it is tried in lingual trend to analyze two works from Sheikh Ahmad Jam (1048-1141 CE), namely Ons-Al-Taebin and Konooz-Al-Hekmat (his first and last work) in order to facilitate further achieving his individual, social and mystic personality.

One of the distinct characteristics of Indian Style of literature at language level is the existing ambiguous lexical factors in poetry in this era. Special compositions, which comprise some of the most essential ambiguous factors in lingual field of Indian poetry style, are those words accompanied to each other along language juxtaposition axe, causing language complication and complexity. Those who have explored into Bidel’s poems, most of them have deemed the existing special compositions as results of initiative and foresightedness of Bidel Dehlavi (poet) and thus considered the late period of Indian style as time of emergence and development of such elements. In this article, some verses from Taleb Amoli and Bidel Dehlavi, as two great salient poets of early and late periods of formation of Indian style, have been examined at language level and by reliance on verses of these two poets, wide structural dimensions of special compositions have been analyzed at early and late periods of Indian style and trend of formation and development of such compositions.

In Jamalzadeh’s stories, there is a type of characterization in which some percent of human’s body and physical behaviors form animal, plant and or object models and make the reader to give paradoxical or incongruous reaction- laughter along fear or joy with hatred. This literary technique, which is stemmed in conceptual-visual arts, is called blended satire or grotesque and using it play an essential role in developing narration critical language. The present article has analyzed examples of blended satire as stylistic characteristic in five works written by Jamalzadeh.

Seven volume novel of Smokeless Fire, winner story-writing selected award for twenty years after Islamic Revolution and the worthy work written by the late Nader Ebrahimi (1936-2008) is a narrative work from date of arising Turkmen tribe and their biography to the end years of Pahlavi’s Dynasty. In addition to this well- known novel, Nader Ebrahimi wrote some works like Hami and Kami’s long- distant journeys in homeland as well as stories like Curse, Disgraced, Crows, a house for night and tens of other tales and dramas in several fields: Children and adult literature and theoretical works, translation, essay and some other works like these among of which Theosophies and Mystics (Analytical history of five thousand years of Iranian story literature) and Smokeless Fire has a salient and well- known stance.This article tries to re-identify Novel, Smokeless Fire, tending to analyze story elements including time, place, point of view, background and them of the story- by a new and different view, of course.

Baba Afzal is one of the great wise men, writer and poets in the second half of thirteenth century and the early fourteenth century. It was the time when in the one hand most of scientists were writing their articles in Arabic and on the other hand Persian Prose had been influenced by complication and complex style. In such time, Baba Afzal wrote almost all of his books in fluent Persian which they were not purified or Arabic and or superficial and complex so he gave a great service to Persian language by this measure.Plurality of Persian words, making aesthetic and fluent compositions, giving equivalences for scientific and philosophical terms, recursive and explanatory cases, short sentences, transfer of sentence minor parts, direct object, indirect object, adverb etc further after verb, less frequently used terms and forms, delusive words and application of words and compositions in meanings rather than today meanings are some of his language stylistic features, which have been reviewed by giving some examples in this article.

Due to their various applications in Iranians’ life, Musk and Nafeh (aroma) have been marvelously reflected in Persian literature. For instance, those poets who paid more attention to their surroundings, applied musk and Nafeh like many other items in their verses in order to illustrate their own imagines as well as creating fantastic images so for this reason they found unreal similarities among some of main features of musk and Nafeh and some of human characteristics and attributed a few poetic features to them. Such type of employing musk in poetic and literary applications varies in different eras and with respect to poets’ style. In addition to explanation of these cases in this study, we have dealt with description and depiction of musk and Nafeh shapes and some of their applications which are also effective in making such poetic uses.

One of the literary works of the period under consideration and returned to the literature, the Masnavi is Taqdys. This is understandable because of the substantial number of exotic Arabic words and difficult words of Old Persian, the public seems to be a problem. Khorasani style and the style to the Iraqis (return period) is. This article has been tried in Masnavi style Taqdys - the limitation s - of each of the three levels Ganەintellectual, linguistic and literary studies is only one indicator.(The intellectual level, feature content, in language, vocabulary and the literary field, likened the matter). Among the important points that can be pointed to it, the Masnavi Taqdys influence that the evidence is shown. Featuring Taqdys style, the verses and hadith, and early use of the oven is Tlmy array.

From outset until today, Persian story writing has been always transformed under the influence by cultural and social various issues. The present article seeks for showing one of these changes in Persian story writing i.e. thought transformation due to being affected by School of Prevalencein Persian romantic tales so that realism in Persian poetry has been prevalent against mental, abstract and ideal aspect of verses of Iraqi’s Style in Persian poetry since seventeenth century. Although, it created a superficial and substantive transformation in Persian sonnet, but this issue based on which it was reflected from social conditions during seventeenth century as well as resulted from being affected by Indian culture in Iranian literature has led to reducing the ideal, divine and abstract aspect which governed over Persian lyric poetry and eventually made the governing relations over romantic tales to become more earthly and vernacular.In the present essay, after a brief review on Persian story literature and surfing symbolism in post- Nezami period, we have dealt with prevalent elements in Persian romantic stories by focusing on “Story of Fondness and Fidelity’ written by Shouri Kashi.

Khaghani is the great poet in twelfth century. His huge poetic collection comprises various groups of religious, theological, philosophical, medical, astronomical, literary and mystic sciences and teachings. In versification, he was influenced by Sanaei and versified a lot of poems about admonishment, hermetic, mystic and research topics like him.Although like Molana’s Spiritual Couplets (Masnavi-E-Manavi) and Attar’s Conference of the Birds (Manteq-Al-Tayr), Khaghani’s poetic collection is exclusively a mystic work, but in this book, Khaghani has been benefited from mystic implications, concepts and terms. Poet’s utilization technique is influenced by his individual style; namely, in this work, he has innovated allusive case compositions with new and pure implication. In this technique of innovating composition and implication, poet’s effort has been focused further on verse horizontal axis and ode and it has not interpreted mystic concepts linearly and widely like other theosophical poetic collections. In addition to deterministic expedience of ode form, this is derived from poet’s individual style where he tries to make rhetoric compositions by mystic concepts, terms and interpretations and draw audience’s attention toward his personal art, submerging him/ her in it.

One of the most famous dual figures in Persian history and literature is Mahmoud Qaznavidso that his real picture in history is totally different from one in the existing literary works.In the present study, we have tried first to characterize real and historic identity of Sultan Mahmoud Qaznavid, as founder of Qaznavid Dynasty (962-1140) with reference to historic first- hand sources; and in the next chapter we will explore into reflection of this figure within literary and mystic texts whether poetry and prose up to fifteenth century.