JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2019 | Volume:12 | Issue:1 (43) |Papers Count:18

The Book of Mani-ie kibollah vaTafsiroh Al-Manir, is an invaluable commentary on the works of Abu nasr-i Haddadi (dying after 400 AH). Recently, the old version of this book has been found which is time recorded at the end of its book, is the fourth old version of Persian and the oldest version of the translated of the Qur'an. One of the important features of this version should be the Transliteration of words in it. The recording of the word's Transliteration and the use of Persian old and original words further increases the importance of this edition of the book in linguistic and linguistic studies. In this article, we intend to present the information and tips on life, theologically works and the works of Abu Nasr-i Haddadi, and especially his very important commentary on Farsi, Mani-ie kibollah vaTafsiroh Al-Manir, and to show its linguistic and interpretive style. and, the discovery of the identity of "khaje-ie imam" of the unknown character in some Persian interpretations, as well as the proof that the texts that have been titled "tafsir-I qoran-I pak" and "chand barg tafsir-I Qur'an-i Tahir" are the other parts of the book " Mani-ie kibollah vaTafsiroh Al-Manir " is one of Other sections of this article.

Norm-evasion or structurebreaking is one of the most major methods of languge distinction and one of the considered subjects in the domain of literary critic. In this literary rule, the poet or writer (authar) tries to gain novel creations in poem and perse by using delicacies and lingual resources and making some changes and transformations in the vocabulary and semantic structures. This linual (language) and literary feature is one the frequent elements in the domain of irony (satirical) poem and is relevant to it directly: because irong is (satire) is composed of opposites, paradoxes and juxtaposition of irrelevant genres. Study of irony (satirical) poem during some decades ofter Islmic kevolution shows that the satirists have paid more attention to the norm-evasion using many poetic forms such as simile, metaphor metonymy, allusion and the other literary arrays. They have used this method to increase the rhetoric of their own speech. this article studies the kindsof nirm-evasion in the irony (satirical) on the success of satirists. To reach this goal, the writer has extracted their stylistic and rhetorical features in terms of accordance with norm-evsion. Then the writer has classified and specified them in various froms which highlight the position and effect of norm-evasion on the irony(satirical) poem of Islmic revolution for researchers.

The realm of criticism has been expanded in modern studies. Today, literary criticism is the continuation of a text and the text is not complete without it. Yet, a poet or a writer may criticize his text as the primary critic, while the litterateurs have done the same, consciously or unconsciously. These auto-criticisms are within a text or extra-textual (as in letters, notes, speeches, or in prefaces). In some cases a writer has criticized his text, his life as a penman, or his method, consciously and systematically. In this libraryanalytical descriptive survey, the importance of auto-criticism is discussed, such as: the supports of it to a contemporary ordinary reader of literature who faces a bulk of literary productions and cannot decide about the true correct choices.

The Safine of Sa'eb is a noticeable selection of poems belonging to different periods of Persian literature collected by Sa'eb Tabrizi. This collection shows the taste and admiration of the greatest poet of the Indian style and the litteraturs of the Safavid era as well containing the different records of some Divans which don't enist in their present manuscripts. These records are asceptable and sometimes even necessary for editing the manuscripts. It seem the Sa'eb, as the poet laureate of the Safavid court and also connected to the courts of Zafarkhan Ahsan in Kabul and Shah Jahan in Deccan, had access to valid and valuable manuscripts which we don't know now. The Safine begins with an anthology of the Divan of Sana'I and among the 488 verses of this part wesee: 1. verses that had had an erroneous and unacceptable from in the edition of Modarres Razavi and other editions and sometimes even in the Kabul manuscript, but the records of Sa'eb of these verses are stylistically correct (according to linguistic, prosodic, rhythmic, semantic and rhetoric criteria) and are mostly corrected in the edition of Barzegar Khaleqi, 2. Versesthat are recorded in a more acceptable form in the Safine of Sa'eb considering the style of Sana'I and the khorasani period, 3. Especially quatrians which don't exist in the edition of Modarres Razavi, but are mostly recorded in the edition of Barzegar Khaleqi or the Jong-e Ruba'iyyat (= a collection of Quatrians) by Mirafzali. This article is a comparative study of the records of the mentioned verses in the Safine of Sa'eb with the editions and manuscripts of the Divan of Sana'i.

The beauty worship school in the Islamic and Iran mysticism has been formed by the innovation of abu helman dameshghi in the early centuries of Islam period and has turned into one of the greatest mystical schools with using of the qur’ anic points and learnings. The most important mind basis in this school is on based on creating the whole creatures due to the god s love to his beauty and being beautiful of the whole creatures. Attar neishabouri is considered as one of the greatest of this thought. In this essay some of his most important thoughts related to the beauty worship school like: the love is the beauty s child, and finding the cosmos beautiful, are studied to determine the approaches of this thought in creating of the attar s mathnavies.

The story of Usef and zuleka in Kuran referred to as “ AHSAN ALGHSAS” which means “ best of the stories” and in Persian literature many narrators and poets have taken advatages of its theme in figurative, allegorical, and cryptic and allusive forms or in separate versified stories, versified its subjects. Nuraddin JAMI versified the story of how Zuleika became enamored to Ysef and all the love story, by using Gnosticism and mysticism and also witty sayings and literary points in its most beautiful form. although this artwork can be analyzed from and different aspects, its elements can be compared with lyrical stories and it is as long as which is needed. The main question about this story is that whether incidents and events progressed in an hierarchical way and are deponent on cause and effect relations? For this very reason, the structure of narrative, plot of characters in furtherance of events, were soul-searched in the frame of the opinions by prominent and famous structrulists. in the story, Usef in order to rise as a prophet, and Zuleika to reach her beloved are in search and running about and the chain of events are extended in this way.

Hyperboles and their effects have enormous presence in epics and their study is related to the “ Elme-Badi’ e” . We are accustomed with classifying hyperboles in three different groups. This classification alone does not suffice to show how they are pivotal in epics. What is also needed is a study of the narrative of these hyperboles. Hyperboles are essential parts of epic texts. Therefore discovering and extracting hyperboles in a coherent way that can lead to a better understanding of their true functions is of grave importance. Three different factors are involved in the creation of powerful hyperboles: syntax, music and imagery. In this study, we have attempted to present a suitable answer to the question “ What factors are involved in creating as well as deepening the use of hyperboles? ” We have meant to take these factors as essential factors and then give statistical representations of the use of each of these factors in major pieces of work in Persian literature.

The skill and mastery of the Shahriyar in Persian poetry has always been studied in various aspects; from musical and weight to rhetorical structures, syntaxes and syntaxes, etc. Among these, Shriyar's penetration should also be another field of art. She knew Punish verses in the Shahriyan court have rhetorical, expressive and conceptual values. The number of copies of the verses containing the pencil in his court and his performance in this context from various aspects of literary, semantic, and. . . showed his deliberate and special attention to this issue. In this article, all of the questions concerning pseudoscience in the Shahriyar's sonnets, especially with emphasis on the three specific characteristics of the best pseudoscience, have been investigated in an analytical and statistical manner, in order to determine the general understanding of the style and manner of punishment in Shahriyar's To be lost. Issues such as: number of pencils, types of penetrations, unpunished ghosts, pseudoscience ghosts, pseudoscience in pencil phrases, pixel angle, pseudo-arranged arrays, subjects in pencil phrases, etc.

Allegory makes the difficult thoughts and abstract concepts understandable for the children and adolescents by means of narration using both animate and inanimate characters. This indirect expression method, whose aim is a better transfer of meaning and sense to the audience, creates some sort of double dimensioned superficial and deep narrative structure, that prepare an easy path towards the difficult aim of learning for the children and adolescents along with increasing their power of imagination. Studying the functions of allegory in children's and adolescent's poetry makes the main aim of this research discussed through the four titles: Facilitate the teaching of moral values and emphasizing them through the amusing means of narration and anecdotes, expression and proof of religious elements by means of the logical and convincing power of allegory, artistic impression of social problems, criticizing social shortcomings, as well as offering a sensible portrait of mystical or existence thoughts in this area of poetry. The analytic study of 46 cases containing some examples of allegory found among the poets composed by the prominent poets of 60, 70 and 80 decades in the realm of children's and adolescent's poetry shows that allegory through imaging, reasoning, giving examples or telling stories, forms various religious, moral, social and philosophical concepts and makes it permanent in the mind of children and besides, it helps the semantic realm of the poems increase as well.

Spying is one of the issues being discussed and explored by the specialists of the intelligence-security system. The classical Persian prose texts (from the 4th to 8th centuries AH) provide a wide area of study in the field of information systems of past governments, to explore the information layers and to achieve the goals and objectives of this important issue. Literary works such as Tā rī kh-i Bayhaqī (Bayhaqi’ s History), The History of Jahanshah, Siyā satnā meh (The letter of Policies), Atabeh Al-Kataba, Ghabous Nameh (Letter of Ghabous), Golestan, Akhlaqe Naseri (Naserian Ethics) explore the mental maze of political system leaders and state the necessity to apply information activities and employing the spies and observing the principle of collecting news. They also provide effective strategic patterns for anti-spying activities. Furthermore, literary works such as Kelile va Damneh and Marzbā n-Nā meh, illustrating a political utopia in animal language, introduce the issue in the best way.

Researcher always praised "DOME" at least as a component that could solve the problem of multiplicity of stanchion in a wide area. in this essay we are going to study the role of "DOME" in the poems of five Persian poets that has been devided to two groups. first one: "the poets of Ghazal" including "Mewlanan", "Sa`adi" and "Hafez". the second one: poet of fables (Mathnavi) including "Nezami Ganjavi" and "Khajoo Kermani". it has been tried to find the similarity and difference between the point viewof each group mentioned above. We are going to find the similarities and differences between the usage of "dome" in each group.

Each literary work contains a set of lexical, visual and literary arrays which distinguishes it from other similar works. These literary tricks are capable of evaluating and interpreting in various analytical devices. Language as a systematic device is a means of expressing the creator of literary work. In this respect, the creator of the work takes a broad look at his past and present through utilizing all the possibilities of the language in order to transfer the feelings, emotions and attitudes that he or she has about his internal and external world to the reader through language signs. On the other hand, the reader will establish an emotional relation with the creator's work and is influenced by it. One of these features is the view that the creator of the literary work has to the past. Poets and writers' utilization in three different periods of the history of Persian language and literature from the various implications of mythical heroes and different realizations of mythical characters in the lyrical, mystical, and contemporary types is the subject of this research. In this research, the writers, From a structuralist point of view look at the metamorphosis of mythological characters of different literary types in order to find out with what perspective poets and writers in different periods of Persian literature have had the ability to employ different symbols, implications and functions of mythical heroes at the service of the text in a way that they wanted based on their beliefs.

The secret of the influence and strength of Sa'di in his ghazals is his eloquence, fluency and clarity of speech despite his noticing to polish the words. The immeasurable grace of Sa'di's poetry relies upon his considering the proportions of words and avoiding redundancy. The aim of this article is the analysis and explanation of the internal proportions of his poems' structure, combination and order of the words and sentences on paradigmatic and syntagmatic axes in ghazals of Sa'di. It is to answer such questions as: which techniques has he applied in redoubling and foregrounding his word? What types of aesthetics methods have been concentrated on to shape the norm of his word? The analysis shows that the aesthetic methods in Sa'di's words and concepts are combinations of transposes in grammar and syntax, hiding relations of the words, creating new structures, relocation of pronouns and so on.

Sixth and seventh centuries, in the evolution of history of Persian prose, are considered as the most important periods from the viewpoint of words, devices, literary compositions, and technical characteristics. The movement that began in the late sixth and the early seventh centuries for writing historical prose in artificial secretory prose style, found some sponsors and fans. The pioneer of this group of writers was Atâ-Malek Juvayni. But followers of Atâ-Malek who wrote their works as followers of Jahā n-gushā , did not appropriately understand the truth of the master’ s work. The aim of this study is to survey stylistic features of the three historical works: Rahat al-sudur by Rawandi, Avamer-Al-Alaeiyeh by Ibn Bibi, and Masamerat-Al-Akhbar by Mahmud Aghsaraei which are helpful resources of the Seljuk history. Except Rawandi, authors of the two other works have been followers of style of Jahā n-gushā by Atâ-Malek. In this study, after a brief description of the circumstances of Sultanate of Rû m and their role in the spread of Persian languages in that area and also surveying the technical prose style features, the three works have been briefly presented. Then the books have been carefully examined in the three areas of the language, literature, and thought and some samples of the works were mentioned as examples.

Esmail Shahroodi (Ayandeh), was a pioneer in contemporary new-poem and effective in socio-political poems. As one of the Nima Yushij’ s real followers, he enthusiastically started twrite and publish his own poems in 1325. Therefore, to know modern Persian poems and style of this era it is needed to scrutinize the poems of this poets. To do so, in the present article, using library sources, following descriptive-analytical method and based on theoretical research the poem and thinking style of this poet were investigated. The main characteristics of Shahroodi’ s poem style were mentioned and analyzed. The results indicated that regarding the thinking level, the poet was deeply affected by “ commitment” , and was later departed from this atmosphere. The poet also had used strategies like repetition, nostalgia, simile, metaphor, and symbolism at literal and language level.

Majma Albahrain is a ritual poetry collection which includes over 11400 bits. Although this collection has some unique characteristics including a very mature language, simultaneous classical and modern style, comprehensive description of Prophet Mohammad’ s life and Imam Ali’ s courage with an epical statement, it has not received much attention. Asiri has deep skills in verbal and literary details, however, verbal details such as Repeat and pun are more frequently seen in Majma Albahrain whose audiences are mostly the public. He has not spent much devotion to in-depth thinking and has utilized spiritual expressions pretty modestly. Simile and figural have been most and least frequently utilized, respectively. Among the specific characteristics of this poet’ s thought we can name mystical thoughts, unity simultaneous with plurality and plurality simultaneous with unity and perfect human being. The authors have tried to clarify the importance and characteristics of Majma Albahrain using the method of induction, description and analysis and with linguistic investigation of this collection.

Contemplating on the thinking abilities and artistic minutes of art works is a giant pace for resuscitating and identifying precious heritage of Persian literature and the authentic and enriching culture rooted in the ancient history of Iran intermingled with Islamic thoughts and mysticism. ZeinolabedinAbdiBeigNavidiShirazi is one of the outstanding and hardworking poets during Safavid era who dealt deeply writing specimen (writing a work similar to a previous one). His literal personality and his works have not yet been considered in Iran significantly. He is well-known because of his historical works. Following the tradition of scholarism and imitation during the mentioned era, he has composed the lyric poetry “ Haft Akhtar” against Nezami’ s Haft Peikar and has versed seven independent and advanterous narratives orated by seven princesses of BahramGoor (Bahram V) while excerpting the king’ s life. While his work cannot be displayed against Nezami’ s masterpieces and artistic creation, his works can be studied and contemplated in because they contain innovations in creating themes and visualization, ethical and mystical points, social and critical approaches and indicating the mass culture. This research studies and analyzes in depth the structure of the mentioned poetry focusing on the outstanding intellectual, educational and social indicators. The second section deals explaining and identifying the visual beauties of AbdiBeig’ s poem through application of rhetoric technics and proportionality between the picture and the subject.

From ancient times until now, writing bilingual dictionaries, particularly Arabic to Persian dictionaries, have been concerns of scholars in this field. The compilations of several dozen Arabic to Persian dictionaries that have existed from the first centuries of the advent of Islam to Iran were based on the fact. Dibaj al-Asma is one of these old dictionaries. The authors have researched the plurals in Arabic language, based on Dibaj al-Asma. It has been identified that the Arabic plurals of two words “ الف ” (A) and “ ب” (B) in Dibaj al-Asma were not included in the Dehkhoda loghat-nameh. Then these whole forms of plurals have been compared to the six Arabic to Persian dictionaries. In addition, the study compared the Dehkhoda loghat-nameh to the Persian dictionary and showed some errors of the authors of the Persian Dictionaries.