JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2022 | Volume:15 | Issue:4 (74)|Papers Count:15

BACKGROUND AND OBJECTIVES: Mirza Nasrolah Ardabili is one of the most famous poets and mystics of the Neamato lahieh cult in the 13th AH century. He used Nosrat as his pen name and Nosrato lah as his mystic nickname. The subject of this research is to introduce one of the past intellectuals and some scripts of his Divan and his opems style. Also we wanted to find aneswers for the question whether there are significant figures of speech in his poems, if so, whate are they? METHODOLOGY: An analytical-library metod has been used for this article to be written and to introduce Divans different scripts and Nosrats poetic features. Also it is based on the intellectual literal linguistic features of Nosrats Divan. FINDINGS: Considering that Nusrat Ardabili is one of the poets of the literary return period, like many poets of that period, he used the characteristics of Khorasani language style; But with care and accuracy in his divan, it can be said that Nusrat's attention to this issue is too moderate, and since its function and effect are not very significant in terms of semantics and literary features and delicacies, it can be said that Nusrat uses the features of Khorasani language style. It is one of his weaknesses CONCLUSION: Based on the above findings, Nasrolah Ardabilis Divan is linguis tically important especially for its Korasani style, because it is in the Renaissance lage of literature. It is also important on the intellectual, mystic and religious features because Nosrat is a mystic poet. From the literal view he is moderat because he versifies for intellectual aims not to show his poetically skills.

BACKGROUND AND OBJECTIVES: Short poetry, after the Islamic Revolution, has become a specific and distinct stream of poetry that continues with a special structure, language and unique themes, and for which we can express the generality of stylistics. In this article, with the aim of identifying a specific style for this poetic flow, the stylistic features of short poetry in the poems of five contemporary shorthand poets at three levels of language, rhetoric and thought have been studied. METHODOLOGY: The research method is descriptive-analytical. The statistical community is the selected poems of five contemporary poets (Bijan Jalali, Mansour Oji, Seyed Hassan Hosseini, Seyed Ali Mirafzali and Sirus Nozari). FINDINGS: Short poetry in contemporary literature has existed among the halfforms of white and prose poetry, new wave, volume poetry, and pure wave, but after the Islamic Revolution, especially with the introduction of haiku to the literary community, poets from the seventies onwards It has a style and is no longer a poetic form but a literary current with its own theoretical foundations. In this poem, from the linguistic level, external and lateral music is not important. In the inner music of all kinds of puns, there is a repetition of phonemes and words. At the linguistic level, it has a simple structure and difficult words are not used. At the literary level, poetry is illustrative and there are all kinds of similes, discernments, contradictions, ambiguities, and the like. CONCLUSION: Contemporary short poetry has a simple linguistic structure free of difficult and unfamiliar words. Its stylistic feature is its lack of commitment to outside and side music, and poets have used it with taste. But in inner music, due to the linguistic capacities of Persian literature, it is rich. In the field of literature, it is an imaginative poem and all kinds of literary arrays are used in it. In the field of content, it is a committed and semantic poem that has paid more attention to descriptive, mystical and critical themes.

BACKGROUND AND OBJECTIVES: Mirza Mohammad Tahir Vahid Qazvini, one of the poets and writers of the 11th century AH, has left many works in poetry and prose. "Monshaat" is one of his prose works. With an approach to the position of secretaries in the court of rulers, it can be said that "Monshaat" is an important source of studies on Iranian history, culture and civilization. Since Vahid Qazvini's "Monshaat" has not been published yet, there is a need for research on it. The purpose of this study is to introduce the Monshaat of Vahid Qazvini and to study its stylistic features. METHODOLOGY: The research method is descriptive-analytical. FINDINGS: The Monshaat of Vahid Qazvini in terms of content is of great historical importance in relation to the Safavid government. The structure of letters consists of a prolog, which is usually phraseological and rhythmic prose; the text of the letter, which is less artificial than the prolog; mentions the bearer of the letter and the gifts sent, and finally a prayer for the addressee. Vahid Qazvini's Monshaat is very important from a linguistic point of view due to the author's attention to the adornment features of speech. In terms of lexicon, the multiplicity and combinations of Arabic words, Persian combinations, using some Turkish words, using multiple synonyms, the multiplicity of compound plurals and the use of words in a particular meaning and structure are interesting. Syntactically, the presentation of a verb, the distance between the two components of a compound verb, accompanying the transitive verb with the contracted infinitive, using of a descriptive verb frequently, the introduction of indicative future and possible future without "mi" and "b", the use of prepositions in their old meaning, putting "ra" in different meanings and some other syntactic features can be seen in Monshaat. In terms of phonetics, different types of rhymes, puns, balance and leonine verse, coordinating two or more sentences by observing the rhyme in the last verb of the two sentences, inversion, alliteration, multiple genitive cases, etc. have been used for visual beautification and melody of the language. CONCLUSION: The writing style of Vahid Qazvini's Monshaat is a continuation of the tradition of court secretaries, which is written in a completely technical and artificial way and there is no tendency in it to be simple. The aim of the author is not only to express meaning, but also poetic art and technical ostentation and difficult writing in his prose; nevertheless, some linguistic antiquities related to Mursal's prose can still be seen in the text of the book.

BACKGROUND AND OBJECTIVES: In most books of literary criticism, the point of view is considered as the narrator. But the conditions of the narrator and the type of narration and other issues related to the narration such as the time of the narration, the place of the narration and the reliability and other elements of the narration are something that has been addressed by critics such as Kenan. With the same approach, the narrative logic of the text will be analyzed in the stories of "Uncle John Napoleon" by Iraj Pezeshkzad and the story of "Azita" by Hosseingholi Musta’ an. METHODOLOGY: The research method of this article is descriptive-analytical which has been collected through library studies and search of primary sources of narratology. FINDINGS: Iraj Pezeshkzad, along with the satire that is the main component of most of his works, through the intermediate narrator, presents the narrative logic of the text in a completely coherent way. The chronological order of the events of the story takes precedence over its causal relations. The narration in the story of Husseinghli is called "the hidden author". Through the metanarrator, he incorporates the events into the story inconsistently, and this confuses the reader of the text. CONCLUSION: Some writers provide storytelling credibility to the audience through the intermediate narrator and regular events. On the other hand, without considering the causal relations of the events, they confuse the audience in the story space only with the aim of presenting a moral, social or other message.

BACKGROUND AND OBJECTIVES: Persian poets have long been considered the intellectuals of their society. These poets have applied the scientific jargons of their era for creating themes and concepts and expressing their opinions and thoughts. Adibolmamalek Farahani is one of these intellectuals. During the Persian Constitutional era, he was a famous poet of the Persian Literary Return Movement. In an artistic way, he used scientific jargon in his sociopolitical poems. So far, no research has focused on this characteristic as one of the main features of his poetic style. That’ s why in this research project, the authors have attempted to address the usage of medical jargon in sociopolitical poems of Adibolmamalek Farahani as the stylistic feature of his poetry. This feature had a literary-scientific value and it can represent the poet’ s thoughts. METHODOLOGY: This research was conducted with a descriptive analytical method. The data was collected from the related available references related to the life, poetry, style and socio-political thoughts of Adibolmamalek Farahani as well as old and new references related to medical and pharmaceutical jargon. FINDINGS: According to the researches on Adibolmamalek Farahani’ s poetic style, some believe that his poetry represents Khorasani-Iraqi Literary School, while there are signs in his works that his poetry represents Azarbayjani Literary School too, such as extensive use of scientific jargon, patriotic emotions, sharp invectives and satires, complicated poems, complains of life. The main feature of Adibolmamalek Farahani’ s style are the use of medical jargon in the service of literary techniques. To create original socio-political poems, he used so many allegories. CONCLUSION: The results of the project indicate that although Adibolmamalek Farahani’ s poems show his extensive literary knowledge, his purpose in using scientific terms (particularly medical jargon) in sociopolitical poems was not to boast about his knowledge. He used scientific and medical terms and in fact his goal was to promote a general and social vocabulary in order to convey sociopolitical concepts of his era. It seems that the use of these jargon has a satiric and eulogy function.

BACKGROUND AND OBJECTIVES: This article aims to identify, classify, and analyze the roots of ambiguities in the works of Nizami. The high frequency of ambiguous dictions in Nizami Ganjavi’ s works converts the ambiguity as a kind of stylistic component. This factor has led to differences in the interpretations of his works; So that few pages of his poems can be pointed that there is no difference between the commentators in determining the meaning of a verse, term or word in it. METHODOLOGY: According to usual methods in literary research, the present paper is based on the analytical-library method. By examining various interpretation books of Nizami’ s Works and related researches, examples of interpretive differences have been collected and then ambiguous factors in military works have been classified and analyzed based on the mentioned data. FINDINGS: According to the authors' studies, some frequently cause ambiguity in military works: Differences in manuscripts, infrequent vocabulary, scientific and specialized terms, slang terms and allegories, rare metaphors and Metonymies, types of weakness of composing, semantic connection and longitudinal linkage of verses, etc. are among the most important of these factors. CONCLUSION: The bold and uniform presence of ambiguous components in the major parts of Nizami’ s works has caused the plurality and difference of readings and conflicting explanations of his works. These differences are mostly related to the linguistic and literary level. Some of the differences are due to inaccuracies or lack of access to comprehensive information. Differences of manuscripts are also an extra-textual factor that adds to the ambiguities in synergic ally with in-text factors.

BACKGROUND AND OBJECTIVES: Persian writers posed emotional phrases in their works, mentioned elegiac words about deceased people, objects, animals, and lost time that we tended to call "prosaic elegies". These rueful and emotional writings are some kinds of elegy or mourning-anthem, which were used cohesively and coherently, and sometimes interruptedly or uninterruptedly among prose texts. It has not been dealt with in a perfect analysis until now. In this study, attempt has been made to introduce different kinds of elegies by giving specific definitions of elegies in the most important texts of Persian prose texts and expressing content aspects and stylistics of these elegies. Description and analysis of types of elegies in the realm of statistics, functions and minor subcategoies are investigated. METHODOLOGY: The research method in this article is based on data collection and content analysis and with library tools. FINDINGS: The elegies are worthy to be discussed from different aspects such as artistic structure, aesthetics, style and form. Stylistically, since elegies are the manifestation of emotions and feelings, except in technical prose and eloquent style, even poets and writers who were known for their difficult language and specific style, tended to apply easy language and expressions in their elegies and in most of these elegies, dealing with complaints was a common way which began by Kelile and Demneh translationin withan eloquent prose. Then it was developed in Al-Tavassolelal-Tarassol and finally it reached its perf2021ection in Nafsat-Al-Masdour by Zeidari Nasvi. CONCLUSION: Persian literary texts are full of elegies whose writers could hardly cope with the calamities and they were always in conflict with them and they have lamented and complained of pain and regret. These elegies, which are considered to be the most prominent elegies in Persian literature, are full of tenderness and emotion, and in some cases in artificial and compelling prose texts, they are full of relatively difficult combinations, meanings and various allusions. Among historical texts, those which have a literary dimension, most of elegies are included because the writers had witnessed the historical catastrophies and they had always talked about death, murder, and destruction. From functional point of view, the reaction against excessive, abnormal and unexpected mournings are found frequently in Khā qā ni’ s words. If it is measured by a delayed and normal reaction and waiting for mourning compared to other writers, his irritability will be more visible.

BACKGROUND AND OBJECTIVES: The study of various methods and ways of processing meaning in the narrative structure of a work created different schools of thought and theories. Today, in the communication process of language, it is an independent and unique system. Its main role is to create communication and, consequently, to convey meaning. On the other hand, the text is the result of embodying the material dimension of language and its objective embodiment. This language is composed of various external and internal levels of various signs and elements. Mystical texts, especially mystical narratives, have many decoding and interpretive capacities. Cryptography is a common method in mystical narratives. In this paper, in order to interpret mystical codes in the field of pub idioms and their role in the development of narrative in the structure of sonnets, we have used Pierce's semiotic approach to mystical narratives. Pierce's semiotics examines narrative elements in the form of textual signs according to the interpretive horizons that open up to the audience and the reader, as well as its relevance to mystical texts. METHODOLOGY: The results of this research have been collected in a descriptive-analytical manner and based on library studies. FINDINGS: The psychological system of mystical sonnets with the subject of elements related to pub literature (Saqi, Badeh, Pir Moghan, etc. ) has an epistemological structure and mystic poets in the design of such narratives serve the process of processing and constructing meaning with the help of contrasting elements Expansion of meaning has been used. CONCLUSION: The results of research show that many of the signs in mystical texts are multi-layered signs that accept different meanings and meanings according to the structure of the narrative and the texture of the text. On the other hand, mystical narratives are very suitable for expressing the political and social conditions of the age of poets and artists.

BACKGROUND AND OBJECTIVES: Narrative and narratively is an important part of historical report and explanation of historic events and human actions. emplotment, as the composing manners of representing historic events in significant way, is the main aspect of narratively and in this respect was considered by historians. Tarikh-e beyhaqi (about Masood Ghaznavi’ s reign) is a specific sample of dynastic chronology in which the particular structure of outline and plots are neglected. this article, based on the comments of two theoreticians of historic narrative, Paul Ricoeur and Hayden White, is about recognizing and analyzing the emplotment techniques in Tarikh-e Beyhaqi according to an inductive approach and in regards to the applications and significations. METHODOLOGY: This article has been done by library method and descriptiveanalytical method. FINDINGS: In the article the outline and plots of tarikh-e beyhaqi has been analyzed in two separation parts. the analysis of the outline of tarikh-e beyhaqi is about sectioning and marking in the history and also anachronism in analepsis and prolepsis parts. In study of plots, the similarity of sequence to classic narratives (chiefly narrative of Abbasid history) and the narratives of Sultan Mahmooud’ s regin have been considered. In this section, also, two kind of changes applied on the original plot of adjunct narrative, has been introduced. CONCLUSION: In Tarikh-e Beyhaqi the emplotment techniques of prior history was applied increasingly and innovatively. The main methods of employment in tarikh-e beyhaqi are: Sectioning and marking the history, forming the outline of the history by interpolating paralysis and analysis parts, and attending to the patterns and similarities in composition of plots, which applies widely and in specific manner.

BACKGROUND AND OBJECTIVES: The purpose of this article is to study the process of converting the language of phrase into reference and the function of imagination in one of the Quranic verses which has been a forum for discussion, interpretation and interpretation of mystics and Sufis for centuries. Verse 54 of Surah Ma'idah contains verses that mean the good news to the friends of God. In order to study the evolution and transformation of the imaginary in the interpretation of this verse, some interpretations from the fourth century AH to the eighth century were selected, which are: Tafsir Abdul Razzaq Kashani known as Tafsir Ibn Arabi. METHODOLOGY: These interpretations were examined descriptivelyanalytically. FINDINGS: Salma in the facts to express his interpretations, adorns his speech with similes and uses poetic evidence in his interpretation. After that, Qashiri uses many similes in Latif al-Asharat to express his allusions. Meybodi in Discovering the Mysteries offers the most literary interpretation of the verse of love and connects allusive and mystical words with artistic and adorned words to the artistic industries. Roozbehan is at the peak of mystical interpretations, both linguistically and figuratively. In the interpretation of Gharaib Al-Quran, in explaining the verse of love, only a few mystical interpretations are sufficient and there is no obvious point in it from the point of view of linguistic aesthetics. The last interpretation in this research is the interpretations in which attention is paid to the hint interpretation more than the artistic use of language and the turning point of this interpretation is that it deals with the verse of love with a different point of view and expresses hints that are unprecedented until then. CONCLUSION: The language of these mystics is in allusions. They crossed the usual boundaries of language to express their mystical experiences. The richer their mystical experience, the richer it becomes in their language.

BACKGROUND AND OBJECTIVES: The widest type of literature in Persian poetry is related to the field of lyricism and the major part of Iranian lyric literature belongs to love poems. In this article, the stylistics of one of these works called "Observer and Purpose" of Bafghi's wild work is discussed. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Masnavi is a romantic observer and refers to the weight of Khosrow and Shirin Nezami, which tells the story of two Chinese lovers who meet after years of separation in Egypt. However, all post-Nezami romantic Masnavi are a kind of imitation of military works; But thanks to the expression, freshness and simplicity of the language, and especially the burning and melting in the observer and purpose system, has made this work attractive. CONCLUSION: Introduction The work has a glorious and heavy language due to its topics such as human creation, world, etc., but the main text (story) is soft, simple and pleasant. There is a lot of wild attention to verbal representations such as repetition, but It is not so much in the use of puns except in the rhyming rhymes where the words subconsciously have puns together. The choice of the sea has caused the weight to be appropriate to the subject matter. Most types of metaphors are sensory to metaphorical, metaphors are more meticulous, and allusions are more slang and colloquial. The greatest theme in this system is love, although the lover and the beloved in this system, despite being masculine; They have pure love of the Platonic type. After the theme of love, themes such as description, advice and counsel are also seen in the work, and the hero's hero (observer) war against the rival has created a special epic color in some parts of the work.

BACKGROUND AND OBJECTIVES: Religious and mythological stories such as the story of Kheze, Suleiman, Joseph, Jesus, Moses, etc. have been used extensively in the collected of Saeb's sonnets. since poets and writers recreate other texts in accordance with the literary and intellectual coordinates of their time, the stories of the prophets in Saeb's Divan must also have special rhetorical and ideological functions. METHODOLOGY: in this article, the most frequent stories of the prophets are extracted based on the first volume of Saeb's Divan. Then, the rhetorical and ideological aspects of each story are analyzed in the structure of Saeb's sonnets. FINDINGS: The result of this study shows that the story of the prophets, by going through the theme charter, recreating manifestations of the earthly love of the Khorasani style and the supernatural love of the Iraqi style, and creating new semantic and rhetorical spectrums. CONCLUSION: From various perspective, Saeb offers literary, social, and mystical interpretations of the story of the prophets. By making substantive and quantitative changes in the stories, he has not only prevented them from repeating their boring repetitions, but has also given them new semantic implications, and has sat down to critique the stories of the prophets through the moral and social criteria of his time.

BACKGROUND AND OBJECTIVES: Masnavi of Sadeghi Beg Afshar (1017-940 AD) is one of the epic-historical works that has been considered by some of the most important historians and biographers of this era; However, due to Sadeghi's reputation in painting and art, this work has received less attention in the later period. The present paper has tried to introduce this work and also to determine its significant stylistic frequencies. METHODOLOGY: This study was conducted using descriptive-analytical method. FINDINGS: Influenced by Shahnameh and to some extent Eskandarnameh, Sadeghi Beyg has tried to use all musical instruments that create poetry, including external, internal, lateral, etc. music, and along with lexical compositions, far from constructive Fake-as well as the meaningful use of important elements of expression such as simile, irony, etc., to illustrate how Shah Abbas gained power and the heroism of him and his troops until the conquest of Herat. CONCLUSION: The owner of Fathnameh, due to his special position as the head of the royal library of Shah Abbas Safavid, provides a direct account of some of the developments of this period, which is definitely important from a historical point of view.

BACKGROUND AND OBJECTIVES: The role of the Hear Narrative in the creation of the story is so fundamental that its absence is equal to the death of the fictional world. In addition to the dominant voice of the narrator, another voice that reaches the audience is the voice of the Hear Narrative. The Hear Narrative shows himself in several ways and is one of the four main roles in the narration (real writer, real reader, narrator and Hear Narrative); Therefore, knowing it can lead to recognizing the characteristics of the narrative text. The present study has a narrative analysis with a focused look at the analysis of the narrative using the works of the prominent Iranian author Jalal Al-Ahmad. METHODOLOGY: This research was a descriptive-analytical method. FINDINGS: The Hear Narrative in Al-Ahmad's works is intra-fiction. In the narrative space of this author, the Hear Narrative plays both the role of the narrator and the Hear Narrative has been addressed to the narrator indirectly with a question and pseudo-question. Has mastered. CONCLUSION: In the collection of studied stories, we see introspective Hear Narrative. In order to tell his stories in many parts of the story, the narrator chooses the Hear Narrative as a character and puts him in situations and encounters with events and happenings that happen to a character.

BACKGROUND AND OBJECTIVES: Hakim Nezami-Ganjavi, the greatest storyteller of Iran, has been indebted to the works of his predecessors in creating his unique masterpiece. As this valuable work is the result of "his connection and intellectual interaction with a large number of oral and written sources, historical and fictional texts, myths and legends". One way to access the "scope of study" and "breadth of thoughts" of the poet is to discover and identify the sources and sources of anecdotes and allegories that have been put in order. METHODOLOGY: Researchers have studied some of Khamseh Nezami's stories in a descriptive-analytical manner and have obtained the poet's benefit from previous texts according to their differences and commonalities. FINDINGS: Every valuable and unique work is undoubtedly the result of the owner's intellectual connection and interaction with previous sources, which presents meanings with new words and beautiful, creative and artistic clothes. Khamseh Hakim Nezami, who is no exception to this rule, has adorned many of the stories and anecdotes of the previous texts in his own style and context and has arranged them with a little manipulation. CONCLUSION: This research aims to obtain the sources and sources of military anecdotes-at least in the repository of secrets-as much as possible and pave the way for further studies; This research aims to obtain the sources of military anecdotes-at least in the repository of secrets-as much as possible and pave the way for further studies; One of the most important findings of this research is the direct military influence of some stories and allegories such as: "Biblical Bible", "Nahj al-Balaghah", "Blohar and Boudasaf", Udaneh Varga's commentary, Jaini narrations, "Lectures of Literature and Conversations of Poets"Aqd al-'Ali al-Muqqaf al-'Ali", ", "Generalities of the Persian Works of Khayyam Neyshabouri", He also mentioned the indirect influence of "famous men", "Akhbar al-Nisa '", "Ferdows al-Hikma", "Al-Mull wa al-Nahl", "Siyasnameh", "Tabqat al-Sufiya", "Kashfat al-Mahjoub" and so on. the poet's influence on "Sanai Hadigeh" and "al-Ahya al-olom" is significant and noteworthy.