JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2021 | Volume:14 | Issue:7 (65)|Papers Count:12

BACKGROUND AND OBJECTIVES: Makhzan al-Ensha is The Repository of a Book in Teaching Tradition and Correspondence, by Mohammad Reza Kalhor, is one of the gifted but anonymous scribes of the thirteenth century. The study of style and content and its features is the main subject of this research. In this article, an attempt has been made to study the style and Makhzan al-Ensha Repository" from three linguistic, literary and intellectual perspectives, and to measure the degree of success and skill of the author in the tradition of translating and writing the Nasiri era. METHODOLOGY: The present study is a theoretical study that has been done in a descriptive-analytical manner. The study area is the lithographic book of Makhzan al-Ensha written by Mohammad Reza Kalhor. The unique version of this writer and author is available in the library of Astan Quds Razavi and number 25683 in the National Library under number 3970. This book contains a collection of letters from the Brotherhood and the kingdoms and sources related to the elders of that period. FINDINGS: Among the stylistic features of the poems in this book are such things as skillful use of literary industries, effort in creating pleasant words, and expressive and effective word creation. Its prose is also melodic and the use of rhymes, omission of symmetrical verbs, double suffixes, ancient words, etc. has a high frequency in it. In addition, the use of Quranic verses and hadiths, Arabic poetry and proverbs make this book one of the books that are important in terms of literature and style. CONCLUSION: The author of this work has written in the style of writers such as Ghaem Magham and Saadi in writing his book. Also, by examining the Repository, we can prove Kalhor's ability as one of the successful writers in reflecting the intellectual, linguistic and literary structure of his period.

BACKGROUND AND OBJECTIVES: Educational themes and value concepts play an undeniable role in shaping a child's personality, mind and worldview. However, one of the most widespread and beautiful types of children's literature in Iran, especially in the contemporary period, is the manifestation of educational literature in children's works. In such a way that many children and adolescent poets have paid much attention to this type of literature. "Assadollah Shabani", "Jafar Ebrahimi" and "Afsaneh Shabannejad" are prominent poets in the field of children's literature. Who have realized the role and importance of these concepts and have used it as a tool to cultivate a dynamic, capable and profound generation. The purpose of this study is to study and represent the social and educational elements and components in the works and poems of the mentioned poets. METHODOLOGY: The present research is a theoretical study that has been done by library research method and descriptive-analytical method. FINDINGS: Findings show that the poems of the studied poets are based on social and educational themes and components such as: empathy, altruism, pacifism, hardworking spirit and patriotism. And socio-educational concepts are among the practical concepts of these three poets. According to the study, the component of "empathy" with 34. /. In the poems of Jafar Ebrahimi, "Altruism" with 33. /. In the works of the legend of Shaban Nejad, "peace-seeking" with 35. /., And "patriotism" with 22. /. In the poems of Assadollah Shabani, and the component of "effort" with 19. /. Jointly in the works of Jafar Ebrahimi and Assadollah Shabani; They have more frequency. CONCLUSION: Educational literature has an important and effective role in raising children and institutionalizing educational, moral and social values. This type of literature has been the focus of children's poets and most of the contemporary poets in the field of adolescent children's literature have tried to advance the educational goals in the form of poetry. But contemporary children's poetry, in addition to artistic values, is a tool for education and training and educational teachings are in a high position in the poems of this period.

BACKGROUND AND OBJECTIVES: Sadegh Hijri Tafreshi is one of the wise but unknown poets of the Fitrat period and one of the pioneers of literary return who lived in the late Safavid and Afshari periods. Hijri's divan consists of masnavi, ghazals, pieces, an ode praising Imam Ali (AS), quatrains and singular lines (mofradat). In this article, we have tried to examine the style and content of the poems from three perspectives: intellectual, linguistic and literary. METHODOLOGY: The present research is a theoretical study that has been done in the style of documentary research. Manuscripts of Sadegh Hijri Tafreshi's poems which has been collected from different libraries by the efforts of the researcher is the research scope and population. FINDINGS: The poetic features of Hijri Tafreshi are such things as beautiful images, masterful use of figurative language, selection of different meters, use of verbal radifs that enrich the poetry and perfection of rhyme concept, as well as proper and poetic use of figurative language in the field of rhetoric and novelty. CONCLUSION: By analyzing the style and content of Sadegh Hijri Tafreshi's poems, he can be considered as one of the eloquent poets of the return period following the poets of his predecessors and confirmed his success in reflecting their intellectual, linguistic and literary structure in his poems.

BACKGROUND AND OBJECTIVES: Due to the richness of Fariba Wafi's works on various social issues such as poverty, differences, social, cultural, and moral corruption, and women's problems that are abundantly portrayed in her novels, the present study decided to review Wafi fiction and Examine its compliance realism. METHODOLOGY: The present study, compiled by library and descriptiveanalytical methods, examines and analyzes realism in parandeye man and royaye tabbat by Fariba Wafi. FINDINGS: Wafi, like other realist writers, not only recounts reality, but also incorporates his own analytical thinking, but at the same time offers a new interpretation of realism. To move Fariba Wafi's pen, the ieological approach is to show the true picture of poverty, class antagonism, social antagonism, the harmful identity of women in patriarchal society, emotional divorce, sexual violence against women (and young girls), betrayal of trust, colloquial language describing the details of events, interpreting and interpreting the bitter events of society, the manifestation of the period of life, the expression of the level of society's culture, the appropriate background and the manifestation of literary industries, etc. are formed. Wafi's work is full of women who have fallen victim to a patriarchal, patriarchal society and have lost their identity; women whose happy expiration dates are drawn to men and painted. Wafi employs art to shape history and reality into a story that makes everyone believe in its audience. The findings of the present study indicate that Wafi's works are a wave of realistic discussions. CONCLUSION: Wafi uses artistic representations to represent events, and at each stage of the discussion, graphs sign of realism that remove the possibility of the work being imaginary or unreal. On the other hand, being the first narrator, being the author, forces the reader to accept that the work is real. Literary and rhetorical industries, and most importantly metaphors and metaphorical terms, are also realistic signs that have influenced the color and smell of literature.

BACKGROUND AND OBJECTIVES: Narrative studies from the perspective of structuralisms studies the nature, form and role of narrative and tries to show the ability and understanding of the narrative text. In all heavenly religions, according to human perception of religion, there are ways to reconcile with the deity. Poets, as possessors of gentle and sensitive souls, have included in their poems sweet and pleasant prayers, which is one of the most delicate phrases of their works. The narrative-cognitive perspective of prayer acquaints itself with the artistic manifestations of this type of literature, and deals with possible connections between prayers and the narrative text, especially "order, continuity and frequency, aspect and sound". The present article examines the place of the narratology of prayer in the poems of poets (Sanai, Nezami and Attar). METHODOLOGY: This research is a descriptive-analytical method and examines a number of narrations of the prayers of these poets based on the topics of "order, continuity, frequency, aspect and sound" in the framework of narratological theory. At the beginning of these discussions, the theoretical foundations of the research are explained, then many examples of prayer poems are reviewed and evaluated. FINDINGS: The poets of the sixth century, or the Iraqi style, have the delicate and sensitive spirit and emotions of Persian poetry. What shines in the poems of these poets is the use of prayer and supplication as an emotional escape Prayers and supplications, apart from expressing emotions, can be a means of escaping emotions, expressing suspension, order, continuity, frequency, aspect or sound. CONCLUSION: The use of prayers and supplications in the poems of these poets is sometimes used in a concept other than its original meaning; The prayer poems of these poets, by traveling to the past and bringing it to the present, in addition to being beautiful and influential, give people hope for immortality and mastery of time, and by adapting the time of prayer and the volume of prayer, with relatively high rhythm and acceleration. Cause the reach and effect of prayer in the minds of their narrators. Also, the relationship between the number of repetitions of an incident in the story and the number of times narrated in the poems of these three poets is mostly expressed as a single frequency. The distancing of the levels of the story, the report and the small presence of the narrator in the prayer poems of these poets, have sometimes caused relatively more details and information to be provided.

BACKGROUND AND OBJECTIVES: Psychology and literature are closely related. Since the characters of a lyrical system are a kind of confrontation between human and creative emotions that have arisen from within the individual and the context of society, in this study, with a look at the scope of psychology and literature, it has been addressed that this provides the ground The study of literature in a profound scientific way has helped. One of the themes in lyrical poems, especially in Iranian culture, is the feeling of shame. The reflection and result of this element leads to various reactions from the characters of the lyrical system and the manifestation of all kinds of shame. In the present study, the dimensions of shame and its approaches have been carefully explored by dealing with Weiss and Ramin's system and benefiting from external criticism of literature and psychological attitude. METHODOLOGY: Using the conceptual analysis of shame reflection and also selecting keywords, this feature was investigated and after collecting the findings, for further enlightenment using descriptive statistics, an analytical study was conducted. FINDINGS: Weiss and Ramin have different types of shame and its representation is associated with various states and symptoms and also try to deal with them by various defense mechanisms, which has also been examined from this perspective. CONCLUSION: Weiss and Ramin both experience the concepts of shame and shamelessness. Weiss is always a shy character, and even his rude actions are an inverse reaction to the shame that has crept into his soul. He, who at first confronts the factors that create a sense of shame, in a healthy way, after failure, rebels and rebels in an unhealthy way to confront his shame. In addition to this method, he also uses other means of defense.

BACKGROUND AND OBJECTIVES: To know and analyze a poet's poems accurately, the most important method is to critique and evaluate the stylistics of his works. The subject of this article is the study of the style of Abhari nargesi Divan from in three linguistic, literary and intellectual levels. In this article, while specifying the poet's eloquence style, his influence on Saadi and especially Hafez is shown by mentioning numerous poetic evidences and also the position and importance of this poet's poetry in the field of poetry of the late ninth and middle tenth centuries is shown. METHODOLOGY: The present study is a theoretical study that has been done by library research method. The study area is Nargesi Abhari Divan edited by Hamidreza Ghelichkhani, published by Rozaneh Publishing. FINDINGS: Nargesi's poem is simple, fluent and free of cacosyntheten and metalepsis hyperbations. His style is voguie and the expression of secholar love and mentioning the exact details of this love is evident in his poem. His poetry is an imaginative rather than a rhetorically and a tangible simile is the main image of his divan. The sorrow of exile and moral concepts are other themes of his poetry that have a small presence in comparison with the main theme (secholar love). The stylistic signs of ninth and tenth century poetry are visible in his poetry. CONCLUSION: The tendency to the vogue and necessity of accurate expression of the details of love is the reason for the poet to turn to language and simple and fluent expression in which tangible similes are one of the most important means of imagery. His passion from hafez has been following the poetic tradition of the time. The sorrow of exile in his poetry is due to his migration from his original homeland and moral concepts arising from his delicate poetic and human spirits. There is no novelty or initiative in his poetry and the poet himself does not claim it. Being tomb far away from home and contemporary of prominent poets is one of the reasons for his few fame.

BACKGROUND AND OBJECTIVES: Colloquialism is one of the manifestations of the language system. Some of mystics' audiences were the common people. Mowlana, as a greatest mystic poet of Iran, has widely used colloquial language elements in Masnavi to convey high moral and mystical concepts. The purpose of this research is extraction and analysis of colloquial language elements in books1-3 of Masnavi. METHODOLOGY: Leading research is a theoretical study conducted in the style of library research. The population was the first to third books of Masnavi. FINDINGS: Among phonological processes, elimination and mutation had the highest frequency. Nouns including onomatopoeia and nouns related to local accents form the main part of the noun category. In the verb section prefixed verbs, compound verbs and verb phrase which were generally ironical, had the highest frequency. In addition, the main part of the colloquial adjectives is curses, ironical expressions and adjectives belonging to local accents. The clauses especially interjections had also constituted a relatively significant number of the colloquial vocabulary in Masnavi. Adverbs were less common and prepositions, conjunctions, and pronouns have only minor occurrence. There was also a high frequency of proverbs as a symbol of colloquial sentences. In stories based on the charactersthe frequency of colloquialism elements usage is high. CONCLUSION: Mowlana has used colloquial language elements at three levels of phonological processes, vocabulary, and sentences. He has brought his language closer to the language of the common people in order to arouse the desire of the audience and guide him towards a better understanding of the complex concepts of Masnavi.

BACKGROUND AND OBJECTIVES: The factors of nature have long been considered by many Persian language poets. In the meantime, morning and dawn have been depicted in the poetry of poets more than other factors due to their aesthetic, artistic and semantic capacities. This study intends to investigate the use of these words in terms of additional combinations, metaphors and poetic images in the poetry of great Persian poets up to the eighth century. METHODOLOGY: In this research, with the method of theoretical analysis and library study, the use of the word morning and dawn in different dimensions in the poetry of great Persian poets such as Rudaki, Ferdowsi, Manouchehri, Naser Khosrow, Masoud Saad Salman, Khayyam, Sanai, Anvari, Khaghani, Nezami, Attar, Rumi, and Saadi. FINDINGS: The image of morning and dawn in the poetry of Persian poets was at first realistic and aesthetic, but after the introduction of mysticism to the language of poetry that Sanai started, morning and dawn due to night solitude and the time of revelation and Mystical manifestations and, on the other hand, the inclusion of the temporal capacity of prayer and supplication in the Qur'an, found a high frequency in mystical poetry. After Sanai, among the poets Khaghani, Rumi, and Hafez, they used the most semantic and metaphorical uses with morning and dawn. CONCLUSION: Conclusion: These words were first developed by mystical poetry in Persian language and finally, both in semantic level and in linguistic level, they have expanded the vocabulary and richness of Persian language to the extent that few poets can be found who illustrate with This word is not paid.

BACKGROUND AND OBJECTIVES: Rumi's Masnavi is one of the most important works of educational literature. The best manifestation of the transmission of moral teachings in this great work is manifested in the benefit of the arrangement of the likes of others. Sultan Valad, the son of Rumi, is the first writer to explain the spiritual Masnavi in his Masnavi and his works are influenced by the language and content of this great work. In this research, the proverbs used in the introduction of Sultan Valad, which have not been collected so far, have been selected and their position has been compared with the usage in Rumi's Masnavi. METHODOLOGY: The research method in this descriptive-analytical dissertation and research has been done as a textual research with library tools and by studying Masnavi, the first letter corrected by Jalaluddin Homayi (1997) and Rumi's Masnavi corrected by Nicholson (1987). FINDINGS: By examining the rhetorical layer of structure in Masnavi, proverbs can be seen that are the best tools for transmitting moral teachings. Due to the many functions of the likes of others, mental and sensory words have been used together to understand abstract matters. In the ideological layer, we see the reflection of Rumi's mystical educational ideas in Masnavi Valdnameh. In the syntactic layer, the use of the combination of Persian and Arabic syntactic structure in proverbs is remarkable. Sometimes there are differences in view and usage, as in these two Masnavi. Many valuable passages of Sultan Valad Masnavi have the same potential as others. CONCLUSION: Although Sultan Valad's thought and point of view is a continuation of Rumi's thoughts in Masnavi and Sultan Valad, like his father, constantly used other parables to explain his moral and mystical views, and in Sultan Valad's works there are many similarities with There is this great work, the position and quality of use of many proverbs in the birth certificate is different from the spiritual Masnavi.

BACKGROUND AND OBJECTIVES: Stylistic studies is considered today as one of the most accurate and practical methods of studying literary texts in different periods. In this article, the stylistic analysis of the poems of one of the poets of the eleventh century AH, named Ziba al-Nisa Begum, nicknamed "makhfi", has been introduced. METHODOLOGY: This research has been done by content analysis and library. FINDINGS: Ziba al-Nisa Begum, nicknamed Makhfi (1048-1114 AH) is one of the poets of the Safavid period in India. Some consider him to have an Indian style due to his life in the Safavid era and the existence of some features of Indian style in his poems, but the frequency of features of Indian style such as sensuality, equation style, etc. does not have a significant frequency in his poems. CONCLUSION: Ziba Al-Nisa is a lyric poet and his poetic themes are more romantic and mystical, but there are also moral and legal themes in his poems. Complaints also have a considerable frequency in his poems, one of the subjects of which is the complaint against India and the desire to travel to Iran, which Ziba al-Nisa introduces as his homeland. The weights of Raml and Hazj are more frequent than the other weights in his poems, which are in harmony with the themes of his poems. Also local words and word combinations related to the land of India can be seen in his poems. He has used allusions and similes more than other arrays.

BACKGROUND AND OBJECTIVES: The Ostovanameh Book is an important manuscript of the ninth century. The purpose of this study is to introduce the features of four existing manuscripts of this work in Iran and Turkey and to study its style in terms of phonetics, lexicon and syntax. METHODOLOGY: The present study is a theoretical study that has been done in a descriptive-analytical and documentary manner based on library sources. FINDINGS: A study of the language of the Ostovanameh shows that this book was written to the unrhythmic prose of the ninth century and is a movement from compulsive prose to simplification that includes many features of the prose of the Mongol and Timurid eras. In addition, in some cases, the personal style of the author can be seen, in general, the prose style of this work can be considered as intermediate. CONCLUSION: The Ostovanameh written by Ghiasuddin Mohammad Astarabadi is a work based on the beliefs of the fist followers of the Hurufism sect, which in addition to expressing the religious beliefs of this sect, helps to explain some aspects of the social events of the Timurid era. What distinguishes the Ostovanameh from other Hurufism works is the reliable information that the author of this work provides about the elders of this sect and how their thoughts evolved. The final part of the Ostovanameh introduces the special rituals of the Hurufism to us.