JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2021 | Volume:14 | Issue:5 (63)|Papers Count:12

BACKGROUND AND OBJECTIVES: stylistics of a work of art is an important step to recognize it. So its importance is not hidden for anybody. sayyedā ye nasafi is one of illustrious poets in Hindi style in 11th century (17th ce) who grew up in Tajikistan. but his sonnets not yet reviewed from the stylistics perspective. Therefore, we decided to review his sonnets based on stylistics and introduce readers with different angles of his poetry and artistic personality. METHODOLOGY: In this study the type of our stylistics approach is structural stylistics. Based on that, we have paid to all three linguistics, rhetorical and mental areas in 30 designees of sayyedā sonnets in the form of detailed review and analysis. FINDINGS: Some of linguistic characteristics in his sonnets is that alliteration and repeat have the largest share in creating inner music. concrete nouns are three and half times more than abstract nouns. Persian nouns are two times more than Arabic nouns which is the characteristic of the Hindi style. Simple verbs also are five times more than composite verbs and he rarely uses prefix verbs. In this way, some of the grammatical elements in his poetry are also aesthetically intentions. In the field of rhetoric most frequencies belong to tangible and objective simulations. In the realm of metaphor, personification has the highest frequency. Among the imageries, symmetry and allegory has the highest frequency. Meanwhile, for each one of the rhetorical and lingual parts, frequently diagrams have been presented. CONCLUSION: The frequency of concrete nouns implies the poet wants to change reasonable things to tangible things. The use of negative, high frequency desperation verbs indicates a sad and distressing situation of the sayyedā . The frequency of simple sentences has given more speed and excitement in his style. He is a warrior poet. he was lovable and influential in his time.

BACKGROUND AND OBJECTIVES: The importance of the Iraqi style is not limited to the inclusion of many great works of Persian literature in it, but today, with the development of critical sciences and studies of Western literature, new angles of validity and importance of this style have been identified. Recent studies in the field of Oriental studies and the relationship between Eastern and Western literature show that many features of Western art and literature, especially the literary school of Romanticism in the eighteenth and nineteenth centuries, bear a striking resemblance to Eastern art and literature, especially Iran, when The establishment of the Iraqi style according to the speakers of the sixth to ninth centuries AH in the region of Jabal, Zagros and Ajam has been non-existent. The purpose of this study is to analyze the Iraqi style from this angle. METHODOLOGY: The present study has been done with a descriptiveanalytical method with the aim of highlighting the similarity between Iranian sentimental literature and Western romantic literature by quoting European sayings and works as well as mentioning and analyzing examples of related works of Iraqi style. FINDINGS: Realizing the similarity between the characteristics of the Iraqi style and some components of the school of Romanticism, especially at the intellectual level, is one of the most important achievements of this study. CONCLUSION: Coordinates such as sentimentality, individualism, imagination, religiosity, introversion and sorrow, as well as the tendency towards nature, which are characterized by the literary school of Romanticism, in the works of Iraqi style literature are clearly different from those mentioned in other literary styles. It shows itself, so that according to critics and the existence of Western literary books that have been written according to the works of Persian literature, especially in the Iraqi style, certain traces of similarity with romanticism can be found in this style.

BACKGROUND AND OBJECTIVES: The type of humor as a literary genre has always been present in the literature of this land with intensity and weakness for a long time. Humor is a critical writing that is mixed with the nectar of delicacy, that is, a humorist who cleverly and consciously expresses his protest in an artistic and beautiful way that makes the audience laugh, not a laugh of enthusiasm, but a bitter and biting laugh. In fact, humor is an evolved form of satire. This means that criticism became public insteed of personal, and also defended the right of society instead of defending individual rights. obaid zakani is one of humor who uses various techniques to create different types of humor. in this article, we have tried to examine them. METHODOLOGY: the present research has been done by the method of theoretical study and using library sources. Our study area and community is the generalities of obaid zakani, edited by Abbas lqbal Ashtiani and the efforts of parviz Atabaki, published by zavar publications. FINDINGS: Humorous poets and writers each deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satireeach deal in an almost ordinary way, but obaid zakani himself is the creator of various methods of satire. Sometimes in prose and sometimes in poetry, sometimes in the form of jokes and sometimes in the style of a humorous letter of advice, sometimes he invents humorous words, sometimes he interprets words in a humorous way. Characterization is also one of his tricks, sometimes he uses historical characters as his humor and sometimes fictional characters. He sometimes chooses animals as the characters of his stories. Obaid is so interested in expressing the facts and problems of his society that he does not hesitate to use vulgar words. CONCLUSION: Obaid uses tricks such as the metaphor of Tahkmiyeh, janas, playing with words, exposing the horseshoe, inverting Persian and Arabic anecdotes, and humorous interpretation of common proverbs and humorous reasoning.

BACKGROUND AND OBJECTIVES: One of the most important discussions in simile is the pseudo-face discussion, based on which one can notice the innovation or imitation of the artist. The pseudo-face expresses the breadth of the poet's imagination and the indicator of his new mental world. The simile is divided into allegorical aspects in terms of being compound and singular, closeness and nostalgia, real and imaginary, unity and plurality, allegorical and non-allegorical, vulgar and unlikely, research and imaginative, and single and multiple. The pseudo-face is also divided according to grammar. In Khaghani's poems, the aspects of doubts are very diverse. Khaghani has created this diversity by using imaginative aspects. Since in traditional rhetoric the relationship between pseudo-face and two elements of simile is not discussed, in this article, based on Gutli's division, a new classification of pseudo-face is discussed in Khaghani's Divan in order to answer the question of how to use pseudo-face in How is Khaghani's divan related to "similar" and "similar"? Is there a specific pattern for the pseudonym in his divan? Which ultimately leads to the achievement of the purpose of the article or the achievement of Khaghani stylistic features in the use of pseudonyms. METHODOLOGY: The method of this research is descriptive-analytical. FINDINGS: Most of Khaghani's similes are imaginary. Although the aspect of Khaghani's suspicions in some verses is imaginative for both "similar" and "similar" elements, but these verses are not very numerous and are not considered as Khaghani's stylistic features; On the other hand, the aspect of suspicions that is real for one of the imaginary elements and real or expected for the other element, is considered as one of the characteristics of Khaghani's style because it has the majority of similes. CONCLUSION: The face of Khaghani's doubts is in many cases the present face of doubts that gives character to "similar" or "similar" or that is interpreted in relation to similar. In Khaghani's poetry, we seldom come across verses that cannot be found in the form of character, forgiveness and symbolic interpretation. Khaghani has used the employment industry in a different way and has paid more attention to the virtual meanings of the words so that we can consider the use of this feature as one of the features of Khaghani style.

BACKGROUND AND OBJECTIVES: The manuscript "Principles of Seasons in Achieving Achievements" by Rezaghili Khan Hedayat (1215-1288 AH) is one of the authors of the Qajar era in the thirteenth century AH This work has not been edited or published yet. The book is a mystical encyclopedia in which the author deals with the course of mysticism from the past to the present. So far, two copies of this book have been introduced in the libraries of the Majlis and Bu Ali University of Hamadan. The guidance of this book is written in eighteen chapters and the attention to the eighteen principles of the book shows the essence of Sufism of the Qajar era. Given the historical and literary importance of this work, the author seeks to introduce the version of the principles of the chapters and study and the elements and components of style, expressing its linguistic features, literary, religious, mystical and historical value. Introducing this work, in addition to showing its literary status, will also be effective in explaining the scope of mysticism and Sufism. METHODOLOGY: This research was conducted by descriptive-analytical method with the help of library resources. FINDINGS: The author first introduces the mystical dynasties and then introduces the Nematullah dynasty and the life of Shah Nematullah Vali. From the point of view of linguistic structure, Hedayat has tried to use the language of the past and their linguistic practice in order to make his work acceptable to the general public; Hence, it has made extensive use of ancient uses of language. CONCLUSION: Hedayat prose is mature and stable and far from difficulty and complexity, for this reason and due to the proximity of this work to our time, it does not have special and privileged stylistic features, and since this prose work, along with verses from other poets' poems It has cases of stylistic coordinates.

BACKGROUND AND OBJECTIVES: The lyrical poem "Weiss and Ramin" belongs to pre-Islamic times and was composed in the Islamic period. Although this system is full of elements and references to pre-Islamic Iranian culture and religion; But Fakhreddin Asad Gorgani, due to being a Muslim, has referred to Qur'anic allusions and moral-Islamic themes in this poem. In fact, this kind of attitude of Fakhreddin arises from his religious beliefs. In this article, the elements, themes and Islamic allusions in this fictional system are analyzed and explained. This research is an attempt to show the place of Islam in the lyrical system of Weiss and Ramin. METHODOLOGY: This research was conducted by descriptive-analytical method and content analysis and in order to collect information from the library method used. FINDINGS: Items such as praising God with the attributes discussed in Islamic sects, the narration of the Holy Prophet (PBUH), Quranic teachings, sacrificing cows and the like are some of the references related to the religion of Islam in this system. CONCLUSION: The intellectual and moral system in Weiss and Ramin's system is based on religious beliefs. This poem contains Islamic references due to its composition in the Islamic period and due to the subject and root of the story, it contains the teachings and teachings and beliefs of ancient Iran, especially Zoroastrianism. Fakhreddin, who in the introduction of his work and in the section "Praise of God" by referring to issues such as denying the vision of God and rejecting the belief of the similes, proves to be a Mu'tazilite to some extent, although he has been forced to express Mazdisna religious topics and allusions. Due to his being a Muslim, there are many references to the principles of Islam in his work.

BACKGROUND AND OBJECTIVES: Dervishes are committed writers who in most of their stories have considered the poor situation caused by poverty in society. He portrays a flawed, superstitious, and powerless society in which children and adolescents have their rights ignored. In this research, the author's intellectual level has been examined in the stories of "from this province", "waterfalls", "bread season", "with my father's songs" and "cloudy years" in relation to the position of children and adolescents. METHODOLOGY: The research method in this research is library and the statistical population of the research is carefully studied and the author's intellectual level is extracted from them and then the sheets are classified based on the research components and the article is written analyticallydescriptively based on the obtained samples. FINDINGS: Poverty is the main subject of Dervish stories and Dervishes have criticized the worldview of a writer committed to capitalist society who has deprived the poor of children and adolescents with class distance. Poverty, in addition to economic scarcity, causes emotional crises and anomalies, which in this sense, cause the growth of working children, superstitions and ignorance, domestic violence against children, illness and death of children, child marriage at an early age, poverty and child delinquency in stories in The intellectual level of the author can be seen, the only positive thing is that the mother of the family pays attention to the children's literacy. CONCLUSION: Children and adolescents have an important place in his works, and the main concern of the author at the intellectual level of stories is to address the problems of this group. In simple language, Darwishians have narrated their problems in short news sentences and emotional and literary descriptions. In selected stories, dervishes describe the life of the lower classes of society, which is either the adolescent character narrator or the omniscient narrator, and children and adolescents have the main characters, and the author pays special attention to them and writes the story following their problems.

BACKGROUND AND OBJECTIVES: Samak-E-Ayyār is one of the most famous Persian folktale which has flourished in 6th century and it is known as romance. dialogue is one of the critical elements of fiction which has got the effective role in identifying the characters. Study and analysis of dialogue element are the main topic of this research. In this paper the researcher tries to analyze the dialogue function and role in Samak-E-Ayyār. METHODOLOGY: The present research is organized based on library resources and descriptive-analytical method. basically, this paper has studied Samak-E-Ayyār corrected by Parviz Natel Khanlari and published by Agah Press. FINDINGS: Following narration in Samak-E-Ayyār, there are direct and indirect dialogues. Most dialogues are short and reflex the pure classic prose of sixth century. In this work characters haven’ t got distinct representation. CONCLUSION: The function and role of dialogue in Samak-E-Ayyār have been demonstrated as argument, discussion and conflict. To reason the discourse, the mild language and errant’ reasoning, ministers and scholars are realized. Some facts, judgments and views are narrated by characters as well as narrator and it leads to democratic discourse. Love, suppliant and prayer are the reasons of emotional and sentient dialogue, characters’ performances make the audiences know them and bring along identification with the heroes. Dialogues are going to show as followings: They reflex events and adventures which help the narrative progress. Happy and sad settings are created by dreaming and astrology. Descriptions in dialogue deal to further introduction or recognition. Story’ s climax and anticlimax, complication and denouement are appeared superiorly. Besides dialogues help the time acceleration of in Samak-E-Ayyār.

BACKGROUND AND OBJECTIVES: Analysis of the debate has main contents and theories which each may be effective for analysis of encyclopedia, Nowruznameh, Kimiaye Saadat. The debate studies are important for showing a methodical relation between social, political and religious views of critics. Among this, the Ernesto Laclau and Chantal Muffle debates which are closer to the Foucault one globally and also Fairleigh debate may be used. Study of Avicenna, Khayam and Ghazali debates provides possibility of challenging inclusive debate ruling on effect and evolution of stabilized system of its concepts by determining meaningful relation of the text. METHODOLOGY: The present research is a descriptive-analytical study which has been performed by library method. In this research, the formation of the debate which is used by these three writers are analyzed by approach of debate analysis. FINDINGS: This study shows that the Avicenna debate in proving Asity is a philosophical-rational debate relying on reasoning. Khayam debate is a cultural-material debate which plays a fundamental role in reproduction of Nowruznameh debate. Ghazali debate has a mystical trend. CONCLUSION: Although these three debates are in contrast with each other, but the Khayam broad-minded debate is in contrast with the Avicenna and Ghazali broad-minded debates and the Avicenna and Ghazali debates are in contrast with each other. Among these three debates, the dominant Ghazali debate, with overstatement and boycott mechanism, rejects two other debates and features its debate as dominant and best power.

BACKGROUND AND OBJECTIVES: One of the important functions in constructing Shahnameh narratives is the role of nature elements in events and human destiny. Among these natural elements, the element of wind has a special place. In Avesta, the difference between fire, water, soil on the one hand and wind on the other is significant. While the first three gods are only one species and have positive attributes, wind is two species. In Middle Persian texts, "God of the Wind" or "Wai Nik" and other "Demon of the Wind" or "Woe Bad" are mentioned. In the menu, wisdom is the wind among the gods, which is praised for its strength, and on the other hand, it is the devil wind that causes storms and strong winds. In the mentioned texts, the god of wind is praised for making kings and heroes in battle and their victory. This article has tried to study the role of the element of wind in ancient texts and Ferdowsi's Shahnameh and to show what changes this element undergoes after entering the epic space. METHODOLOGY: In this research, information was collected through library sources and the method of this research is descriptive-analytical. The basic text of Ferdowsi's Shahnameh is a 4-volume correction of Jalal Khaleghi Motlagh. FINDINGS: In Ferdowsi Shahnameh, wind is known for its pleasant and fragrant attributes. Bad wind is also associated with traits such as sharp, hard, dark and smoky. This element, regardless of its divine-demonic character, rushes to the aid of kings or heroes and often comes to the aid of Kaykhosrow. CONCLUSION: Bakundukav in the narrations of the national epic came to the conclusion that this element has lost its divine character and has become a natural element that acts only by the command of God Almighty and often supports the king and the worthy hero and fights for the right. They are.

BACKGROUND AND OBJECTIVES: Cognitive linguistics deals with the relationship between language, mind, and human physical and social experiences, and as a meaning approach, it includes the foundation of a set of theories, the most important of which is conceptual metaphor. From the point of view of this theory; Metaphors are an essential tool for understanding abstract and intangible things in the human mind and their field of work and influence is not at the level of words but in the depth of meaning and concepts. Examine conceptual metaphor theory and examine the areas of mapping or correspondence between the two domains of origin and destination that are done with the help of images. METHODOLOGY: This research is a descriptive, analytical method with a review of 20 lyric poems from Hafez's Divan based on the topics of "origin, destination, mapping and image" in the context of cognitive linguistic theory. The method of data extraction is such that first the linguistic metaphors are extracted and among these metaphors, the main maps hidden in them are identified. Then, the mental and visual concepts of some of their semantic functions are also analyzed. FINDINGS: The domains defined in the theory of conceptual metaphor and its examples are in many ways similar to the conceptual and practical contexts of Hafez's poems; In a way, Hafez's sonnets can be considered as an example of conceptual metaphors that use various maps and images to convey meanings and concepts appropriate to them. CONCLUSION: Metaphor in Hafez's divan is a powerful tool for expressing complex meanings, ambiguity and distance from the mind and image, which is best utilized using the poetic poetic and linguistic experience. According to the research data, the most important and most frequent maps and types of objective examples that Hafez has used to describe and illustrate them are: "Nature, love, hope, asceticism, mysticism and blame", which is the highest frequency of metaphorical concepts in Hafez's court. It is related to "nature" and the least is related to "mysticism and blame. "

BACKGROUND AND OBJECTIVES: The subject of the perfect man is one of the most important topics in Islamic Sufism, so much so that it can be said that the axis of all beliefs and principles of Islamic mysticism is summarized in this issue. Almost all mystics and Sufis have spoken about this subject, but Rumi has given more importance to this issue and especially in Masnavi and Divan Shams he has repeated it with more branches and depth. As it can be concluded, one of the most important pillars of Rumi's worldview and thinking is the theory of the perfect man. The present study aims to answer the main question of what commonalities and differences the image of a perfect human being has in these two works and why. METHODOLOGY: In this regard, using descriptive-analytical method, all the offices of Masnavi and Divan Ghazaliyat Shams have been examined from this perspective. FINDINGS: The most widely used rhetorical image in Masnavi and Shams lyric poems in describing the perfect man in the order of the sun and its belongings is the mirror, the shadow of truth, and alchemy and alchemy. The most widely used images are the manifestation of divine attributes in the perfect man and his caliphate, secrecy and secrecy, moral growth and promotion of disciples, and liberation from worldly attachments, respectively. CONCLUSION: In depicting the perfect man in Masnavi and Ghazals of Shams, Rumi has used elements of natural phenomena, human artifacts, animals and historical figures. Most of this belongs to natural phenomena and then to human artifacts. The most important characteristic of the perfect man in the rhetorical images around him in these two works is his insight and the place of manifestation of divine attributes. Hence, the most important feature and nature of a perfect human being in Rumi's view are summarized in these two attributes.