JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2024 | Volume:16 | Issue:11|Papers Count:15

BACKGROUND AND OBJECTIVES: Hasan Ali Mirza Shuja al-Saltaneh, with the name Shekete, was the sixth son of Fath Ali Shah and one of the princes of Ghazal poets and scholars of the Qajar era. He is one of the poets of the second period of the return and literary revival movement, who tried to keep alive the memory of the old poets. Simile is one of the foundations of the science of expression and one of the most important differences between literary speech and non-literary speech. Examining and analyzing the realms of simile will lead to the discovery and recognition of the lyrical works of this era and the level of creativity and understanding of the poet"s worldview. In this essay, the simile structure, as the main element and creator of the image in Shekaste Qajar"s poetry, and the process of literary creation and stylistic developments of the rhetorical device, have been reviewed. METHODOLOGY: This essay has been reviewed based on analytical-descriptive method and things like similar elements and components,Types of similes based on singular, binding or composite validity of the simile parties,types of similes based on mentioning or removing the elements of simile,Types of analogies based on sensory or intellectual aspects of the analogies,Types of similes based on shape,Combining analogy with other industries,innovation in analogy,simile in simile,And the unconventional simile is analyzed. FINDINGS: Divan Sheskete contains five odes, 75 quatrains and 353 sonnets, in total, the poet has used 731 similes to present themes. He has had a great interest in combining similes with some imaginative techniques such as metaphor, simile, simile, allusion, contrast, repetition, allusion, irony, and employment,However, there is not much complexity and ambiguity in the structure of his metaphors. CONCLUSION: The most similes in Shekaste Qajar"s poetry are human beings and their parts and belongings, and the similes are usually chosen from among natural phenomena and human artefacts. In many cases, he has succeeded in defamiliarizing them by introducing a new element into familiar and well-established Persian similes and making them new,However, in general, his similes have still and static images.

BACKGROUND AND OBJECTIVES: Mohammad Fozuli Baghdadi is one of the greatest poets of the 10th century of Hijri who wrote poetry in three languages: Arabic, Persian and Turkish. Persian Divan’s Fozuli is considered one of the most eloquent among Persian poets, and in the history of Persian poetry, it is actually known as a bridge between the Iraqi style and the well-known Indian style. In this research, one hundred ghazals and ten odes from the Persian divan of this poet are examined from the point of view of stylistics in three linguistic, intellectual and literary levels. METHODOLOGY: The current research is descriptive-analytical and based on library and electronic studies. FINDINGS: Fozuli"s poetic language is simple and fluent, and features of the old Persian language are rarely seen in it, and it has greatly benefited from the Arabic language. From a literary point of view, simile and metaphor are the most frequent rhetorical techniques in his words. Jenas and phonemes are at the top in the verbal industry section. Love is his main poetic theme and mystical themes are also seen in his poems. One of the other important aspects of Fozuli"s poetry is dealing with Shia themes and praising and praising Shia imams or writing elegies for them. CONCLUSION: There are many variations of the line in Fozuli"s poetry. He used a lot of similes and metaphors, his poems are full of Quranic allusions and stories of the past. The main theme of his poems is the praise of Ahl al-Bayt. In general, it can be said that Fozyli"s poetry is remarkable in terms of dealing with various topics and themes such as earthly love, mysticism, religious and Shiite themes. Beloved is at the height of cruelty and disregard in Fozuli"s poem.

BACKGROUND AND OBJECTIVES: Judgment and proceedings have always undergone many transformations throughout history and have changed from a simple and basic form to a complex military form. In Iran, the judicial system has undergone many changes in different periods. Among the fundamental changes in Iran in the fifth century is the re-formation of political-social institutions that were destroyed at the beginning of the Arab invasion of Iran. Among these institutions, we can mention the judicial system. In this article, an attempt has been made to provide a comprehensive and clear image of the judicial system in this period while examining the judicial system of Iran in the fifth century. METHODOLOGY: The present research is a theoretical study that was conducted in a library style. The scope and society under study is selected Persian prose texts of the 5th century. FINDINGS: Among the reviewed books, books such as Tarikh Beyhaqi, Siasat nameh, Al-Tavasol al-Tarassol and Nasihat al-Moluk contain more content and evidence related to the topic of the research compared to other prose texts. CONCLUSION: Based on the evidence obtained from these texts, it can be claimed that the king was the first and most powerful person in the judicial structure. Some kings have invented methods such as sitting on oppressors, chains of justice, wearing red clothes, etc. to deal directly with the problems of the oppressed. And on the other hand the plaintiffs, they have used methods such as standing in the way of the kings, telling stories, baring their heads, etc. And after the king, the Minister or the Grand Khwaja and the Qazi al-Qazat have been at the head of this position. The judge has been in charge of judging at a lower level than the judge of Qazi al-Qozzat.

BACKGROUND AND OBJECTIVES: The present study examines the element of happiness in Ferdowsi"s poems and compares it with Farrokhi"s poems, and the purpose of doing it is to familiarize with the themes of happiness in the poems of the mentioned poets and to briefly compare the Samanian period with the Ghaznavid period. The great reflection of happiness and living happily by the mentioned poets and their praisers and the advice of people to be happy is one of the most important reasons for dealing with the present topic. METHODOLOGY: In order to carry out this research, in this thesis, firstly, all the divans of the mentioned poets were studied, and then all the verses related to happiness in the studied area were extracted and tabulated,Then the poems were classified and analyzed based on the content structure with the help of scientific sources related to the research topic. This research is represented by reference to library sources and descriptive-analytical method. FINDINGS: The frequency of happiness in Farrokhi"s poetry is much less than that of Shahnameh. CONCLUSION: In examining the symbol of happiness in Ferdowsi"s Shahnameh and its similarity with Farrokhi"s poetry, it was noticeable that the themes and concepts that mostly had the aspect of external happiness,But happiness in Farrokhi"s poetry is different from happiness in Shahnameh in terms of some concepts, especially in the context of praise.

BACKGROUND AND OBJECTIVES: Poets create innovation by using various methods in fixed and single concepts and distance their words from everyday and normal language. This importance convinces the audience"s sense of aesthetics and the ease of the process of transferring single concepts to the audience, which is considered in formalist criticism. Based on the basis of this criticism, adding rules is one of the main methods of literate people to distance speech from vulgarity and common language habits. In this essay, Amir Khosro"s main base-adding techniques to avoid the conventional relations of everyday language in Khamsa have been investigated and analyzed. METHODOLOGY: The present research was carried out based on library sources and descriptive-analytical method. FINDINGS: Amir Khosro Dehlavi has prevented vulgarity of speech in Khamsa with the purposeful and conscious use of two base-enhancing components, i. e. phonetic and lexical balance. CONCLUSION: The main manifestations of phonetic balance in this work are: phoneme repetition and harmony,Also, examples of lexical balance include the use of puns, repetition of words, rejection of al-Sadr Ali al-Ujjaz and rejection of al-Ujjaz al-Sadr, sajja, rhyme and row. The most important goal of the poet from the use of these two components can be seen as accelerating the transfer of lyrical, educational, religious, etc. content to the audience through strengthening the aesthetic dimensions.

BACKGROUND AND OBJECTIVES: One of the criteria for the progress of science production in academic societies is to write a scientific-research article. The publication of scientific-research articles in the contemporary period is a good opportunity to share the findings of researchers and inform the audience about the latest scientific achievements. Despite the quantitative growth of the publication of such articles in the last decade, not enough attention has been paid to their evaluation and criticism. In the field of Persian language and literature, one of the fields of research is the examination of the texts of mystics and mystics such as Hafez, Sana"i, and Molavi. In the meantime, Molavi is one of the people who have written many scholars about his opinions and thoughts and have shown his views according to his works. Among Maulavi"s works, his spiritual Masnavi has a special place in introducing Maulavi"s thoughts and many articles have been written about Maulavi. The purpose of this essay is to review and analyze these works due to their large volume. METHODOLOGY: In this article, 355 scientific-research articles published on Masnavi, in various academic and non-academic publications in Persian language from 2001 to 2013, with a descriptive-analytical method in two forms, the time of publication and the subject of the articles under review, review and classification It has been classified and the weak points of these articles have been examined in terms of structure. FINDINGS: In many of these articles, there are shortcomings and disadvantages such as the inconsistency of the title with the content, the disproportion of the abstract of the article, inattention or lack of attention to the background of the research, the use of inappropriate language, the descriptive and superficial nature of the articles, the lack of approach to analytical research, there is the repetitiveness of the subject, and the imposition of meaning on the text. CONCLUSION: From the examination of the mentioned damages, it can be concluded that despite the large number of articles about Maulavi"s Masnavi in the period of 2001 to 2013, the quality of these articles is not very favorable and since some of these damages are affecting the articles published in There are also academic and scientific-research journals, it is hoped that with the implementation of reform approaches and more accuracy of journals in accepting and publishing works, Masnavi"s articles will be of better quality.

BACKGROUND AND OBJECTIVES: The poem "Chenisernameh" is a perceptive work of Biglari, one of the poets of the 11th century of Hijri. This work, like other lyrical poems, with the theme of earthly and mystical love, although it was written under the influence of Khosrow and Shirin Nezami, but it is not devoid of stylistic and individual poetic creativity. This system has not been noticed by researchers in terms of style. In this essay, while introducing this work, the main goal is to introduce its linguistic, literary and intellectual features. METHODOLOGY: This research was done to collect library data and information with a descriptive-analytical approach. The statistical community of all the poems of Chenisernameh is around 1000 verses. FINDINGS: The findings of the research indicate that Biglari, the composer of Chenisernameh poem, tries to write a love story in the fictional space of Indian lyrical literature by modeling the poem of Khosrow and Shirin Nezami. The stylistic characteristics of this work, despite the fact that it entered the field of order in the 11th century, but it reflects some of the stylistic features of the Iraqi style. CONCLUSION: In the perceptive language style of simple words, without emphasis, Arabic words, Indian words and words, arrays such as detailed simile, irony, repetition, phonetic arrangement, puns, exaggeration, hint, etc. Has used a very simple and understandable limit. In the style of this work, it is simple, easy to understand, and away from special complexities and strange metaphors. In his intellectual style and description of romantic scenes, Biglari has paid much attention to the system, although traces of religious and mystical themes can be seen in the ending of the story regarding the lack of attachment to the world and avoiding whims and unstable loves.

BACKGROUND AND OBJECTIVES: The written works of any nation are one of the most valuable national and cultural heritages of that nation. Therefore, introducing and correcting them is actually honoring the national identity and that is what the credibility and cultural greatness of our nation depends on. One of these manuscripts is the manuscript of Divan Mulla Mohammad Khaki Soleimanieh. The purpose of this research is to introduce this manuscript and examine its stylistic features from three perspectives: linguistic, literary and intellectual. METHODOLOGY: This research was done based on library studies and descriptive-analytical method. The method of correction is a critical method based on which several versions are compared and compared. FINDINGS: The language of Khaki"s poetry is simple and fluent and has no complexity. He has used all kinds of puns and repetitions for the beauty of his poetry. Khaki pays attention to imaginary forms and simile can be considered the most prominent imaginary forms in his poetry. In addition to creating verses that include love on the earthly and heavenly levels, the poet has also expressed religious, mystical, educational, critical, praise, etc. issues. CONCLUSION: Covering the ground in Persian and Arabic language and including verbal and spiritual ornaments is one of the advantages of his poetry. Among the commonly used weights in his court, the most frequent ones belong to Ramal and Hazaj. At the literary level, simile, metaphor and allusion stand out. The praise of the Almighty and the mention of monotheism, the saying of the Holy Prophet (PBUH), advice and admonitions, the superiority of love over reason, and mystical terms such as death and survival form the intellectual structure of this divan.

BACKGROUND AND OBJECTIVES: Modernism can be considered one of the most important schools of contemporary fiction literature. The main difference between modernism and the schools before it, including realism, is the refuge of the characters in the story to the inner world, to the extent that it can be said that instead of narrating the external world and surrounding events, the modern writer focuses on the spiritual and mental changes and conflicts of the characters in the story. It gives and shows, and by breaking the narrative and linear structure and with the help of the fluid flow of the narrative, the plurality of narrators, etc., the story in the line of the past novels, the components of dissociation, wandering, death thoughts, originality of the individual, change in moral principles and so on. The main purpose of this essay is to examine the components of modernism in the intertextual approach Two fiction works are Buf-e-koor by Sadegh Hedayat and The nocturnal harmony of the wood orchestra by Reza Ghasemi. METHODOLOGY: The research method in this article is descriptive-analytical based on finding the modernist components of the intertextual approach in the comparative study of the two novels The nocturnal harmony of the wood orchestra and Buf-e-koor in a library format and using the content analysis technique. FINDINGS: Two modern stories of the Buf-e-koor and the nocturnal harmony of the wood orchestra have used propositions such as the originality of the individual, absurdity, loss of identity, the separation of the narrative system, the fluid flow of the mind. CONCLUSION: In the story of Buf-e-koor, Hedayat is interested in breaking the linguistic and spatial system of events, using techniques such as the fluid flow of the mind, nesting and vicious circle, mental associations and the integration of memories and time of the past, present and future in a delirious way, among his story tricks in Buf-e-koor. In a textual analysis, this narrative design can also be seen in the story of The nocturnal harmony of the wood orchestra.

BACKGROUND AND OBJECTIVES: Undoubtedly, genre is the oldest topic in the field of literary criticism. Genre has many examples that work in a specific collection in terms of form, content and culture. It also indicates a special type of phenomenon with special features and special roles. Historical and literary classification or periodization between different examples is one of the functions of genre. The important issue in the genre approach is to identify the form, content and function characteristics of the work. This research has typified the children"s poems of Kihan Bechaha magazine with the children"s genre approach. With the typology of children"s poems, we achieved a conceptual model whose framework is formed by form and content. In recognizing the form, we achieved the pictorial system, the musical system, and the linguistic system of the poems. And in understanding the content, we reached 6 categories in the following order: praise, nature and elements of nature, instruction _ educational, political _ social, fun and games, and children"s wishes and desires. The children"s poems belong to the beginning of the publication year of January 1956 until the end of the first half of 1981. METHODOLOGY: The research method of our research is descriptive-analytical. FINDINGS: The findings show that in the poems before the revolution, classical and praise themes with uplifting and entertaining functions have the highest frequency, and in the poems after the 1978 revolution, the form of new poems and social political themes with an educational function have the highest frequency. CONCLUSION: In the current research, the identification and classification of children"s poems have been done with the genre approach. In the form section, based on the data analysis, it has been determined that in the pre-revolutionary poems, classical form and praise themes with uplifting and entertaining functions have the highest frequency,But in the poems after the revolution, the form of poems with socio-political themes and educational function has the most frequency. These results show that with the change of social and political conditions, the content of children"s songs has also changed and the genre of children"s songs has also been affected by these changes. As a result of this research, it can help to improve knowledge and understanding of children"s literature and educational programs for children and teenagers.

BACKGROUND AND OBJECTIVES: Khazain Malakut, the work of the 10th-century poet "Khwaje Zain al-Abidin Ali" nicknamed "Navidi" and "Abdi", is one of the poets, sages, writers, and secretaries of the Safavid government. It is written in as many as 7580 verses, and on the weight of the verbs of the verbs of the verbs (Bahr Khafif Makhbun Mahzuf). There are two manuscripts of this Masnavi numbered 2425 and 362 of Imam Juma in the central library of Tehran University. This work is written in Nastaliq script, it has not been corrected and published yet. This research deals with the linguistic, literary, and intellectual interpretation and analysis of the Khazain Malakut Abdi Beyg Navidi Shirazi. For a better understanding of Abdi"s personal style, his linguistic characteristics are analyzed and examined at three linguistic levels (words and syntax), literary and intellectual,Then, while extracting this work"s most frequent linguistic features, his individual style has been examined. METHODOLOGY: This research is based on library studies and descriptive-analytical methods. The collection and analysis of data, it has been done using the documentary or library method and by extracting the manuscript text. FINDINGS: Abdi in addition to words and composition, uses images and pictures with original and imaginary words. The poet"s extensive knowledge of various subjects, mastery of the Arabic language, familiarity with the Qur"an, his acknowledgment of having covered 30, 000 hadiths from the Prophet of Islam (pbuh), and the mention of many miracles and miracles in this masnavi indicate the poet"s rich knowledge of this valley. CONCLUSION: Abdi Beyg has been very successful in composing this masnavi, of course, one cannot ignore his imitation of Amir Khusro Dehlavi"s Seven Military Figures and Eight Heavens, Zahab Jami"s series, etc., Therefore, in terms of structure, theme, and content, he was more influenced by poets before him,For this reason, he cannot be considered a poet with style.

BACKGROUND AND OBJECTIVES: The present article is carried out with the aim of measuring the components of embodied cultural capital in the book of Beyhaqi"s history. The concept of cultural capital is considered as a resource that individuals, groups and societies use to achieve desired results; Therefore, cultural capital is a set of beliefs, information, privileges, and the like that every person needs in order to be a member of a class of society. According to Pierre Bourdieu"s point of view, cultural capital can be examined in three areas: subjective or embodied, objective, and institutional. The meaning of tangible cultural capital is that type of acquired information that is internalized in the form of stable desires of the organism and is classified as one"s abilities. METHODOLOGY: This research is descriptive-analytical in terms of method and practical in terms of purpose, which library and internet sources including books and articles, theses and dissertations have been used to complete the theoretical foundations. The scope and society under study includes the book Beyhaqi"s history by Khalil Khatib Rahbar, published by Mehtab (2004). FINDINGS: Based on the findings of this research, the cultural attitudes in the book of Beyhaghi history can be classified under three main sections, which include political, religious and moral attitudes. CONCLUSION: In the political field, emphasis should be placed on prudence and avoiding unwiseness and consultation on various issues of the country; In the religious field, observing the practical rituals of Islam such as praying, giving alms, reading the Qur"an, believing in God"s judgment and destiny, and trusting in self-knowledge; And in the moral and educational part, themes such as forgiveness and trustworthiness, self-control, wisdom and kindness, study, avoiding misbehavior, greed, lying, backbiting, informant and gossip and things of this type can be observed.

BACKGROUND AND OBJECTIVES: The purpose of this article is to review the collection of poems by Abdul Samad Amir Shaghaqi, one of the contemporary researchers and poets, which was published under the title (Speaking Poems). Considering that the published poems of this poet have literary values in linguistic, intellectual, lexical and rhetorical levels. is significant and so far no research has been done in this field, conducting this research is considered an effective effort in the field of introducing the poetry and thought of this poet. METHODOLOGY: This research is done with a descriptive and analytical method and based on library studies. First, the examples related to the discussed levels will be extracted and then by referring to related sources, the necessary description and analysis will be done. FINDINGS: Amir Shaghaghi"s poetry has significant compliance with the principles and characteristics of Khorasani style poetry. He is a poet committed and bound to preserve and promote ritual and religious rites. There are also interesting interpretations in the field of lyrical poetry as well as attention to social and cultural issues in His poetry is visible. CONCLUSION: Amir Shaghaghi"s poetry can be examined at the linguistic, intellectual, lexical and rhetorical levels. He has also dealt extensively with the status of some religious personalities, social, cultural and other miscellaneous issues. At the lexical level, his mastery of the Arabic language and terms related to some sciences is evident. He has used simile, saj", tansiq al-sefat, Ersal al-masal and Phono tactics.

BACKGROUND AND OBJECTIVES: One of the important and fundamental currents of contemporary poetry is symbolic or symbolic poetry. According to many critics and experts, one of the main reasons for the tendency and attention of contemporary poets to symbolic poetry is the change and evolution of the political and social atmosphere of Iran in the contemporary era. In addition to this opinion, we can also mention the familiarity of poets with European poetic trends and the school of symbolism. During the constitutional era, the use of symbols, especially symbols related to natural and four elements, served to express the political-social intentions and goals of poets. Therefore, the purpose of the upcoming research is to examine the four elements of nature (water, wind, Soil, fire) in constitutional poetry in order to specify how the poets of this era have used these elements to explain their political and social goals. METHODOLOGY: This article is based on library studies and descriptive-analytical method. FINDINGS: Paying attention to the four elements has always had a prominent place and role among the culture and beliefs of various nations, including Iranian writers and poets, and has caused deep and significant thoughts, ideas and concepts to appear in Persian poetry in various periods. It has appeared in wide and artistic forms. During the constitutional era, especially the poems of Mirzadeh Eshghi, Aref Qazvini and Nasim Shomal, symbolization using the elements of nature has been paid attention to in order to pay attention to social and political issues. CONCLUSION: Mirzadeh Eshghi, Nasim Shomal and Aref Qazvini, according to the four elements of water, wind, earth and fire, concepts such as homeland, destruction and rebellion of kings and tyrannical rulers, the destruction of the homeland and the loss of freedom and independence of the country and its colonization by foreigners have depicted.

BACKGROUND AND OBJECTIVES: Humor is one of the sub-types of literature and the birth of protest, and it is a mirror in which the observers see the face of everyone but themselves. Humor is the artistic image of the society of the opposites, and humor in Persian stories has a long history. Akbar Eksir is one of the contemporary satirical poets who tried to correct the shortcomings and deficiencies of the contemporary era with the use of humor. The purpose of this research is to investigate the satirical techniques in this poet"s poems. METHODOLOGY: This research was carried out with a descriptive-analytical method and the data was randomly selected from Akbar Eksir"s poems. FINDINGS: The findings showed that the main methods of Eksir for humor are: the use of rhetorical techniques (such as allusion, paradox, simile, irony), the heart of the matter, surprise, antithesis (parody), simile to animals and self-deprecation, the use of colloquial combinations. Moving or reversing roles and positions. CONCLUSION: Using metaphor, contrast, simile, irony, hint, simile, etc. Narrative and fiction have shown the most basis of humor in the linguistic field of Akbar Eksir"s poems. Sometimes he brings poetry closer to the language of street and market people and uses native and local words, and sometimes he uses words that are not available to the public, and he has used all these things to create linguistic humor in his poems.