JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2022 | Volume:14 | Issue:12 (70)|Papers Count:12

BACKGROUND AND OBJECTIVES: conversation and debate are among the main methods used by poets and authors to express what is in their mind. In this study, we aim to investigate conversations in Anvari’ s poems (30 poems: 28 stanzas and 2 odes). The quantity of these conversations is relatively low compared to other poems of Anvari, but they still are remarkable. METHODOLOGY: in this study, data are collected in library and then, they are analyzed qualitatively based on content analysis method. All anvari’ s conversations are considered in terms of type of poetry, subject, purpose, content, model, structure, tone and the speakers/parties. In selecting conversations, in some cases, we just considered the very verses containing conversation, and the research is mainly focused on number of such verses, not all verses in poetry; however, in stanzas, the conversations are often taken into account in the whole poem. FINDINGS: in most of these conversations, one of the parties is human being and sometimes the other party is Anvari himself; in such cases, he usually wins the debate. Of these 30 poems about 13 conversations have socio-moral subject and the rest (14 cases) are versified either to eulogize someone or express complaint about life, or that they have theme of boasting, humor and joke or satire which are classified in lyric literature. CONCLUSION: some original debates of Anvari are of great importance and have been accepted by other poets who lived after him and lasted forever.

BACKGROUND AND OBJECTIVES: Kermani governor was one of the poets of Safavid period, contemporary with the reign of Shah Safi and Shah Abbas II. No information is available about his life. There is only one manuscript of his divan in the Library of Parliament. It is inferred from his poems that he traveled to Isfahan and Kashan and stayed in these two cities for some time. In this article, by introducing him and his version of Divan, an attempt is made to examine his poems from the point of view of stylistic levels. METHODOLOGY: The research has been done in a library style and the version of the poet's divan is the statistical population of the research. FINDINGS: An examination of the stylistic features of his divan shows that he has used a variety of common weights of Persian poetry. Arabic words have used common Indian style words such as madness, herpes, bubbles, combinations and conjugations of previous styles, astronomical terms, mysticism, and pub terms. At the literary level, it is rich in literary arrays and all kinds of expressive and rhetorical industries, and the arrays of similes, metaphors and allusions have the highest use. In the intellectual coordinates there are lyrical themes, praise and mysticism, mysticism, ethics, didactic themes, and the history of the poem. CONCLUSION: According to this study, it should be said that Vali is one of the average poets of Indian style who has followed the style of the period in the style of his poetry. In terms of language level, his poems have a simple language construction in general, but he is able to use all kinds of poetic literary arrays, and at the intellectual level, he has paid more attention to lyrical, mystical and moral issues.

BACKGROUND AND OBJECTIVES: Sanai Ghaznavi, in addition to his stellar position in mystical literature, is one of the great scholars and thinkers in the field of ethics as well as Islamic thought, especially in mystical poetry of poets with style and current in this field. Is. On the other hand, the most important figure who founded the theoretical foundations of the fusion of religion and mysticism is Abu Hamed Mohammad Ghazali, and considering the important and influential position of Ghazali in his time and later periods, and especially the contemporaneity of Sanai and Ghazali, Ghazali's intellectual influence Sanai is an issue that needs to be researched in this area. Relying on the intellectual commonalities between Ghazali and Sanai, as well as the existence of similar intellectual sources, this article examines the reflection of Ghazali's ideas in Sanai's Hadiqah al-Haqiqa. METHODOLOGY: The research method is descriptive-analytical and the data are collected by library method. FINDINGS: The idea of asceticism and mysticism is one of the most important thematic axes in Hadith al-Haqiqah. In the period when Sanai was introduced, intellectual, theological and religious differences were at their peak. Like al-Ghazali, Sanai displays religious themes with a mystical cover. The intellectual sources and reflections of Ghazali and Sanai have been "Quran, Sunnah of the Prophet, religious books ". CONCLUSION: The results of the study indicate the significant effects of Ghazali on Sanai's thought, as in theological and mystical fields Ghazali's intellectual sources can be seen in Sanai's poetry and thought, so that Ghazali has a surprising effect on Sanai's intellectual development. had. Also, in arranging the chapters of the book of Hadith, Sanai has not paid attention to the method of mystics and commentators of Sufism in the matter of the word of God and the importance of its recitation, and in this regard he speaks completely in the manner of Ghazali.

BACKGROUND AND OBJECTIVES: Criticism of rhetorical works is one of the most important fields of literary studies. The manuscript of Shams al-Lali is one of the sources of Persian rhetoric in the twelfth century AH, which has remained in the veil of isolation. This unique copy is kept in the Malik Library No. 1212. Examining rhetorical issues in this version is important to provide an overview of the history of rhetoric and its evolution. METHODOLOGY: This research, which was carried out by analytical-descriptive method, while introducing the manuscript of Shams al-Lali, has examined its text ology. FINDINGS: Shams al-Lali is one of the rhetorical texts written in simple prose. In a precise and coherent structure, the author has advanced the meanings and expressions in two techniques with a deductive approach to the views and opinions of the latter and using proverbs. The main part of the text, which includes the science of semantics, is expressed in eight chapters and is very detailed. As the version falls short, there is no information about the author's views on metaphor and irony. CONCLUSION: This past work is scientifically one of the valuable texts of Persian language that has been unknown until now. Its introduction is noteworthy due to its literary and scientific aspects. Correction of this work helps to know the different aspects of Persian language and literature in the field of rhetoric; It also helps to complete the understanding of the evolution of rhetorical texts.

BACKGROUND AND OBJECTIVES: Stories, legends and myths of ancient Iranian literature are considered as a rich support of dramatic literature. Shahnameh, in terms of aesthetic dimensions and structural and linguistic features, has valuable capabilities and functions in the field of performing arts. This work can easily be a source of inspiration and an important platform for the formation and evolution of Iranian theater. The purpose of this study is to study the two stories of Siavash, and Bijan and Manijeh of Shahnameh and a deeper understanding of the stylistic features of Shahnameh that can be effective in turning it into a play. METHODOLOGY: The method of this descriptive-analytical research and data retrieval is library. FINDINGS: Shahnameh is one of the most prominent and beautiful examples of classical literature in Iran and the world that by providing the best illustrations, has helped its audience to imagine themselves in the middle of the story and by putting verses together, the process of the story Understand clearly like a movie and a show. CONCLUSION: Both Siavash, Bijan and Manijeh stories have all the dramatic elements and have the ability to become a play or a script. In these two long stories of Shahnameh, the elements of plot, characterization, dialogue, scene and place, peak, complexity, conflict, crisis, and suspension are clearly and artistically present.

BACKGROUND AND OBJECTIVES: Manuscripts are valuable treasures of the cultural heritage of each nation and the result of the worldview of each of the poets and writers. It is very important to revive the ancient manuscripts and remove the oblivion from the appearance of ancient texts and to identify the creator of these works. The manuscript of "Meraat Al-Salkin" by "Mir Baba Darvish Naqshbandi" is one of these valuable works that due to the use of Sufi and mystical terms, especially the Naqshbandi method and the introduction of some of the greats of this method and the customs and beliefs of Naqshbandi can be recognized in this Sufi way. Be effective. In addition to introducing this manuscript and its author, this research examines the stylistic features of this work. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: The manuscript of "Meraat Al-Salkin" by "Mir Baba Darvish Naqshbandi" No. 5629 is kept in the library of the University of Tehran. "Mir Baba, son of Mir Darwish Naqshbandi" is one of the mystics, writers and poets with taste, but unknown in the twelfth lunar century. This work was written by an unknown scribe in 1118 AH in Naskh script and contains 430 pages. Of course, the above version has been reviewed and corrected after being written by a scribe or someone else, which has been corrected in the margins of the text and has often been corrected with a line. CONCLUSION: The book of Mir'at al-Salkin contains Sufi mystical issues, prose and poetry, including verses, hadiths, poems and lyric poems. In this work, Mir Baba describes his contents in an allegorical way by proposing various mystical titles, anecdotes and poetic stories that are mixed with verses, hadiths, proverbs, doctrinal and mystical topics. The author of this work, in most cases, has paid much attention to the books of the Naqshbandiyya method and to the poems and books of the Jami and Masnavi Rumi dynasty, and in some cases he has included in the text some of his poems that are mostly incorrect. Other poets have been attributed. In the fusion of poetry and prose, the extensive use of Arabic verses, hadiths and words is one of the special features of prose in this version. The use of mystical and Sufi words and expressions, especially the terms of the Naqshbandiyya sect, is another stylistic distinction of prose in this version.

BACKGROUND AND OBJECTIVES: The Eastern Qajar Divan is one of the most precious stones of the 13th century. Unique copies of this poet's divan are available in the Library of the National Assembly, the Golestan Museum Palace, Astan Quds and the Malek National Library. The purpose of this research is to analyze the style and content of this poet's divan from three perspectives: intellectual, linguistic and literary. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Qajar East is one of the poets of the return period. He has followed Hafez in composing poems. In his divan, in addition to poems, lyric poems and quatrains, he has lamented and lamented the Ahl al-Bayt, especially Imam Hussein. CONCLUSION: One of the poetic features of this poet is the poetic use of novel industries in the field of novel verbal and spiritual. Of which; Repetition in the realm of rhetoric and my imagination in the realm of spiritual novelty; Allowed among the imaginary; They are the most frequent literary arrays. Another feature of this manuscript is the use of current lines, so that a large part of the poems of the court are dead. The variety of poetic forms in the poems of this poet has caused a variety of concepts, so concepts such as; Religious and moral thoughts, love, description of beloved states, description of beloved, mysticism, praise of the Prophet, Shiite Imams and Fath Ali Shah Qajar can be seen in his poems.

BACKGROUND AND OBJECTIVES: Following a logical course in form and meaning causes harmony and connection between different components of poetry, which can be extracted by identifying and analyzing the factors used in the text. This study, while raising the issue of the issue of semantic coherence in Persian poetry from what period and for what reason, seeks to answer these questions: What factors owe the semantic coherence of Monzavi' lyric poems? How did these factors form the semantic structure of the Monzavi' sonnet? METHODOLOGY: The present study, using a descriptive-analytical method, examined the factors that create semantic coherence in seven sets of Monzavi' poems, which include four hundred and sixty sonnets, which and enumerated some approaches. FINDINGS: A careful and meticulous study of the component of semantic coherence in Monzavi' poems revealed that 55% of Monzavi' sonnets have a coherent semantic structure. CONCLUSION: The principles governing the relationships between images or illustrative elements of Monzavi poems are examined and classified into five axes: word fit, pattern repetition, meaning association in terms of similarity, narrative element, and extension of a theme or image.

BACKGROUND AND OBJECTIVES: Style means a special method that a writer or poet uses to explain his thoughts and emotions, and stylistics is the knowledge that study a work in choosing words and phrases, in use of grammatical rules, imply literary techniques and figurative speech, and explainthe thought, ideology and views of creator’ s work. The present article introduces Saeed Naqshband Yazdi, the 11th century mystic poet and his stylistic poetic features. METHODOLOGY: This descriptive-analytical study was conducted by collecting information with a documentary and library method in the study of the corrected text of Saeeda Naqshband Yazdi's poetry collection and tried to identify the stylistic features of his poems while introducing the poet. FINDINGS: Saeed Naqshbandi Yazdi known by sobriquet Saeida is one of the poets of the 11th century A. H., Whose year of his birth and death is not clear. The Yazidi poet is said to have left the birthplace during the reign of the Safavied Shah Suleiman (1666-1696) and settled in Isfahan. According to Saeida’ s poetry and memoirs, he was a follower of the religion of Abu Hanifa and the mystical way of Naqshbandiyya, and for a living he was engaged in Naqshbandi and Sha’ arbafi, which were among his occupations at that time. Saeida has reflected his mystical thoughts in the guise of exquisite illustrations and precise fantasies with the help of literary devices and imagery. His collection of poems, which has a total of 4815 verses, has been composed mainly in the form of sonnets. CONCLUSION: Authors argue Saeida is one of the worthy poets of the Safavid period who, using the ancient and sometimes colloquial language, new compositions, beautiful illustrations, special use of similes, metaphorical personifications, allusions, contradictions and proportions, all kinds of equivoque and combines love, ethics and mysticism with complaints of hypocrisy and therefore remembers Hafez's poetry.

BACKGROUND AND OBJECTIVES: Attention to existence has a special place in the works of Gholam Hossein Saedi because it shows sociality and concern for existence. Although the author seeks to break the shackles and dependencies, he has also used the components of existence "death, suffering, fear and sin" in his works. The purpose of this article is to clarify the components of the philosophy of existence in the collection of stories of Gholam Hossein Saedi. METHODOLOGY: The research method in this article is descriptive and analytical and the information is collected by searching library resources. FINDINGS: The whole effort of the philosophy of existence is to cover the various aspects of humanity that value the sum of the physical, mental and social forces of man. While adhering to this philosophy has brought the responsibility of commitment to Gholam Hossein Saedi. Following Sartre, Saedi touches everything to show the traces of death and despair in his works. In Saadi's works, we talk about the loneliness of the human subject, the inability to live and the emptiness of life and existence, and the presence of death, suffering, guilt and fear is felt everywhere. CONCLUSION: The results of the research indicate the influence of Saedi's worldview on the analysis of philosophers. The course of events of Gholam Hossein Saedi's stories, for the depiction of social issues; He is free from any moral or religious claims, and his language reflects the daily life of all the weak and miserable sections of society. In most of his stories, Gholam Hossein Saedi has attacked the prevailing ideology in all aspects and tries to challenge all the social, cultural and economic sufferings of the society by challenging religious ideas and beliefs among different layers by challenging the institutionalized values. See the community; But after the rejection and condemnation of religious ideology, it offers nothing but despair, frustration, exhaustion, emptiness, and abandonment to a series of naturalistic or realist events and laws, an attractive or liberating solution for mankind. In fact, Saedi's main message is to express the loneliness and anonymity of the human soul. He does not intend to please the reader with unreasonable things.

BACKGROUND AND OBJECTIVES: Ashura style is a kind of historical monograph in which the martyrdom of Imam Hussein (AS) and his companions from the beginning to the end is discussed. Ibn Jurayr Tabari is one of the Sunni historians in the fourth century AH who has quoted the event of Ashura in his book "History of Nations and Kings" without any judgment. The purpose of this study is to analyze the narrative of Ashura in the history of Tabari based on the theory of fictional intelligence "Randall". METHODOLOGY: The research method is descriptive-analytical. FINDINGS: In Ashura narration, the analysis of the narration and the order governing the report of the Ashura event by formatting and following the events has been considered. From Randall's point of view, fictional intelligence depends on the application of a set of narrative strategies, including plot, characterization, narrative, and theme. CONCLUSION: Tabari plotting has played a role in the main course of the story and causal circles, and the internal and physical conflicts in the narrations have strengthened the plot. His direct and indirect descriptions of the characters of the event and the narration of a special chain of epics and doctrinal and moral themes indicate Tabari's narrative ability in selecting and narrating the events of Ashura.

BACKGROUND AND OBJECTIVES: Khosronameh is a poetic and romantic work that some have attributed to Attar and others have rejected this attribution. In the meantime, what is clear and recognizable is the difference in the content of this poem with other works of Attar. Khosronameh is a narration of the love story of two princes named Hormoz and Golrokh, which is somewhat reminiscent of Khosrow and Shirin Nezami Ganjavi. In this article, after a brief review of the accuracy and correctness of the attribution of this work to Attar, its allegory, types and extent in the loss letter are considered and analyzed. The purpose of the present study is to what extent the poet has been able or willing to use the art of allegory to advance his narrative and make it attractive. METHODOLOGY: This research is based on library studies and descriptive-analytical method. The study version belongs to the correction of Ahmad Soheili Khansari (1960). FINDINGS: Allegory is divided into two major categories: narrative (narrative) and descriptive. In the loss-making letter, it has almost no frequency in the first category (except for one case at the beginning). Unless we consider the whole story as an allegorical narrative for the insurance and instability of the world. CONCLUSION: Among the types of descriptive allegories in the loss statement, the frequency of sending proverbs, allegorical metaphor, allegorical metaphor, and equation style are respectively higher. Placing proverbs and allegorical metaphors at the top shows that the poet is more interested in mentioning other common expressions in Persian language and literature than creating similes. This has brought his work closer to the language and understanding of the masses. Another point is that most of these allegories are also used in today's language.