JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2020 | Volume:13 | Issue:4 ( 50)|Papers Count:15

News language is related to the real part of the language, and the literary language is related to the fictional part of the language. According to some pundits, the use of literary language and rhetorical techniques in the news is against simplicity, a cause of ambiguity in the audience's understanding, deviation from standard language, and thus reduction of the speed of informing. But the reality is that the type of communication with the audience on the radio and Television is indirect, so there's less influence and intimacy, and thus the media fills this void, by using rhetorical techniques alongside meta-language elements such as tone and body language, and so on. This research examines the correctness or incorrectness of the usage of traditional rhetorical techniques and revived rhetoric (conceptual metaphor) in news texts, by descriptive-analytical method. The results of the study show that literary language, like the language of news, has no aim other than influencing the audience and delivering the message in the best way; so it is useful and even necessary to use rhetorical techniques in news texts as long as it does not obscure the text and delay the transmission of meaning. Also, the use of conceptual metaphors in most cases not only doesn’ t create ambiguity in the news and is not a source of deviation from standard language, but also is effective in attracting the audience, having more influence on them and better understanding the message of the news.

In this article, an analytical descriptive method has been used to study the satirical techniques of contemporary poet, researcher and satirist Abolfazl Zarroie Nasrabad in a collection of essays that almost cover all of his tales. In this work, Zarroi has been able to use different techniques of satire, including the use of interlaced language, funny imitation of others' poetry, prayer, playing with words, using humorous position, destroying symbols, mocking and treating others Exaggerating praise for others, the use of non-rickety sophistication, the mention of seemingly irrelevant reasons, ironic teasers, humorous accusations, highlighting, writing satirical footnotes in explaining your poems, likening humans to animals, and helping to gain weight and empty spaces in The poetry of his social political ideas. In a series of rhetoric, Zaravi finds the social dilemma in a state of distress for people and draws the heavy burden of these misfortunes in a seemingly bitter language from the reader's heart and soul, and in various forms, with a fluent language, he lushes joy and laughs on his lips, Literary critic.

Divination and humorous people and events have been the commonplace traditions of old societies. Fooling was a kind of prediction of future events, which in many cases inspired the savvy of his owner or plans to prevent possible losses. It is widely mentioned in various historical, literary and scientific works of the early centuries of the Persian language after Islam. Nizami In the sixth century AH, referred to this belief and commonplace in society among his five poems. This research was conducted with the aim of investigating the performance of Ganjavi's military khmesa to showcase the beliefs and types of foolishness in the military system and to introduce a variety of tales, interpretations and falsifications in the works. The present study is conducted in a librarian way, with the extraction of various types of horoscope from the works of this poet and their classification by reviewing the articles and the corresponding books. The results show that, given the abundance of military references, the poet himself does not have any opinion on this issue; however, he has addressed the situation of society. In his works, this work is common in two ways, sometimes in the form of good and evil, sometimes in the form of words interpreted, drawn and walled.

Taleb Ali Khan Lakhanoei called Eishi is a member of the poets and writers of the style of the return of the subcontinent who has spoken poetry in both Persian and Hindi. His general Divan remains intact in Farsi and contains 6435 verses of poetry including elegies, festive masnavi, quatrains and other literary forms. Eishi with the synthesis of 203 Persian lyrics in 1593 verses and 133 lyrics in the styling poetical metre of Ramal and Hazaj, he should have called to be like the dominant philosopher GhalebDehlavi and KalimKashani; but with detailed research and extraction of poetical metres in analytical-descriptive ways we have achieved different results. The thirteenth century is the period of literary return. This article, in addition to the introduction of this version; for the first time; in lyrics style; examined his lyric poetry, lexical, literary and intellectual qualities. The results of this research show that Taleb Ali Khan, from the viewpoint of literary rhetoric, has a radical interest in the simile industry specially eloquent analogy, from the point of view of the words, the words of thetavern wordsand Sufi terms are taken for the long meanings; He has been interested in ancient Iranian literature and culture, though in a ghazal. In Hafez’ s thought and Saeb’ s mystical wisdom heis grown. He has a philosophical and deductive mind. Sorrow in his world of thinking, is the cosmological foundation. His lyrics have continued the Indian tradition and in the weight of poetry, are sometimes experience the peak of the music of Hafez Shiraz in the tendency to return style.

Thousand and one nights, including our legendary books and the Islamic world in the field of oral and folk literature, in addition to the range of meaning and content, a wide variety of events, events and various personalities, beautiful testimonies and literary industries, The combination of order and prose. . . is an important source for the folk parables and idioms used in everyday interactions and conversations of that era. In this research, the author seeks to extract, categorize, analyze the frequency of types of parables in this book. For this purpose, the parables have been examined from different perspectives such as: narrative and descriptive, content, and orientation of parables, themes and heroes of allegories, Arabic and Persian parables, and the division of parable on Professor Bahman Yar, showing their frequency through the graph. The findings of the research show that 65 percent of the allegories are descriptive and about 72 percent of the parliaments are Persian, as well as more orientation of the parables from the descriptive and normative species, most of the book's parable are prose, allegory and hero. 71 percent of the allegorical parables are the human type.

By studying and studying the works of writers and poets, we find that each writer and poet uses a particular way of expressing his or her thoughts, feelings, and emotions in what is literally the style of a poet or writer. The style of a poet or writer is taken from all the political, social, economic issues and everything that happens in that poet or writer community. The style of the works of the Persian literary elders has been studied from late to modern times. In the contemporary era, due to the unfavorable conditions of society and political and social changes, the style of poets and writers was shaped in a new way in their works. Mohammad Ali Islami Nodoushan is one of the contemporary poets who wrote poetry in a new way. This essay examines the stylistics of contemporary poet, poet and writer Mohammad Ali Islamic poetry, and analyzes his collection of poems that have a new content and theme but are written in a classical way, at three levels: linguistic, literary, and intellectual. Analyzing the style of Islamic poetry not only reveals the poet's artistic, linguistic and intellectual beauties, but also reveals a part of Iranian culture, history and literature. In this essay, after noting the Islamic references and his poetic works, we become familiar with the style of his poems and find that he is influenced by the political, cultural, and social conditions of society, with new themes and new themes, Most of them are life-long.

One of the pioneers of contemporary Iranian satire is the style writer Ali Akbord Khodha, who has always been seen as a satirist by many of his comic strips. Reza Ganjeei, founder of Babashmal Magazine is one of the lesser known and successful Iranian satirists whose style of writing is heavily influenced by Dehkhoda's satirical style. The subject of this paper is a comparative study of Dehkhoda and Ganji's humorous style through the comparison of two "nonsense" and "heartache" humor columns in the four axes of linguistic, structural, humorous, and thematic questions to answer this question. To what extent has Ganjee been influenced by the style of God in writing his humorous articles? By comparing a number of articles by these two authors, it was concluded that the closet and Dehkhoda styles were characterized by linguistic features (especially simple and folk-language proverbs), structural features, humorous techniques (especially reversal, introduction). Innovative and. . . ) and in terms of the content of the works, they are remarkably similar. There are, of course, differences in each of these areas, especially in terms of narrative structure and some of the satirical techniques, in the writings of the two authors.

The present study was an attempt to investigate the inflectional features of Taleqani dialect based on Booij's patterns (2005) in nouns, verbs, adjectives and adverbs and answering the question of whether the inflectional features of Taleqani dialect fall within these rules. The research was descriptive-analytical and research contributors are twenty Taleqani speakers from the village of Kiyadeh who were in the range of 30 and 80 years and sex was disregarded. They include the illiterate and the educated. According to the research, it was found that all inflectional features of Taleqani dialect are in the form of the patterns provided by Booij (2005). So the patterns provided by the Booij can be used as a suitable tool for defining the inflectional features. Because this dialect, like many other dialects, is on the verge of extinction and the current speakers will be the last generation who speak this dialect, this research can be useful for next generation and those who interested in linguistics.

Investigation of satirical poems of Indian style poets can provide insights into a new history that is different from that covered in the historical books. This history offers a detailed description of a nation that lived in Iran during the 11th and 12th centuries AH and covers social, ethical, cultural, religious and other aspects of their lives. In other words, the Indian style gives an account of the history of unrests, turmoil and cruelties that have, unlike pure history that is never repeated, been plaguing human societies over the course of history. In their satirical poetry, Indian style poets draw on literary-artistic language and mysterious rhetoric styles to address the reflective and wise people. In the present descriptive-analytical study attempts are made to investigate the influence of rhetorical techniques on the satirical poems of two famous Indian style poets namely Bidel Dehlavi and Kalim Kashani. To this end, the satirical poems of these two poets were studied and their rhetorical elements were identified. According to the results, Allegorical satire which is characterized by significant number of rhetorical elements account for the bulk of satirical language in their poetry. In the present article attempts are made to figure out which rhetorical elements play the most significant role in Bidel and Kalim's satirical style.

One of the approaches in "Apostrophe" is to employ direct statements in conveying meanings. The advantages of the direst statement are as follows: affecting the audience more, better conveying the supposed meaning and making the audience mentally prepared for the desired meaning. Among mystical poems, Rumi's have a special impact on the audience. This worthy attribute is intensified by his penetrating language and occasionally by the mysterious silence he imposes in his poems. His silence does not derive from his incapability and helplessness; rather, it is a medium to convey a more transcendental meaning. Based on the structuralism of Jacobson and Ephrat concerning the communicative function of words between the speaker and the addressee, a meaning is conveyed through a physical channel. This theory is proposed in the six following forms: provoking, meta-lingual, emotional, empathetic, literary and referential. In this study, these factors are applied to analyze the silence and its examples in Rumi's sonnets.

Persian poetry has never neglected dealing with social and political issues. The poet was rewarded to propagate the king and government's thoughts or he was believing himself responsible and committed for society and people are different matters. Legitimacy has always been one of the means for their survival, and Persian poetry has not been indifferent to it. In the present essay we have tried to study the process of Iranian belief about legitimacy of king and government in Persian poetry, specially in Poetic Return and Constitutional poetry styles, to show how the poets have used poems to legitimate or illegitimate governments.

The most famous couplets of Persian literature are related to Baba taher. In these songs, which are written very simple in Lori accent, a pure mysticism and poem’ s lovesickness can be seen. A few centuries after Baba taher, poets such as Pur-e Fereydun, Sufi-e Mazandarani and etc. have also composed folk, romance and tragic couplets which some of them came to the Baba taher’ s book of poems because of their similarity to his poems. The poets of these couplets have not tried to imitate the poetry of Baba taher, But in the period of literary return, which the poets compose poem in the style of old ones, especially the great poets of Khorasani and Iraqi styles, Few of the poets, such as Izadi-e Kazeruni and Qafel-e Firuzabadi, were interested in Baba Taher’ s poetry style and they composed couplets in Lori accent and Baba Taher’ s poetry style; While of them were from Fars region and did not speak to Lori accent; Even Izadi’ s parentage came to Najd Arabs with several mediators. In the Divan of these two poets or in the biography books it is clearly mentioned that these couplets are "in Baba Taher’ s poetry style". Different factors make the similarities and differences of this couplets to the Baba taher’ s couplets. In this article, we review them and their success rate in following the style of Baba Taher. During the Qajar period, there was also a famous poet of couplets named Fayez Dashti which, although in some cases, has been influenced by Baba Taher's songs, but his poetry cannot be considered in Baba Taher’ s poetry style.

The professional recognition of a phenomenon depends on the measurement and comparison of the phenomenon with phenomena of the same type. Moulavi and Sa'di are seeking to guide and elevate their audience through their moral advices. But comparing their ethical recommendations reveals two substantial different ways of moral provocation. Both provocation ways are considerably welcomed in impressing the audience. Therefore, meanwhile revealing some of the artistic and effective methods of moral preaching, the research helps to better understanding of the personal styles of Moulavi and Sa'di through contrasting their works. Based on the ethical recommendations extracted from the works of Moulavi and Sa'di, and reference to the evidence, the research argues that Sa'di, in his moral provocation, relies specifically on wisdom and reasoning, and in this regard he uses a special contrasting method, that essentially features his style. Moulavi, however, relie s heavily on religion and mystical principles for ethical advice. From another point of view, Sa'di focuses on preaching, making use of worldly motives for persuading the audience to acquire virtues, while Moulana is hidden behind the name of the beloved, and disrespectful to the world, calls the audience to good morality that leads to a better Hereafter.

Massoud Saad is a poet of military, happiness, imprisonment and sorrow. In the linguistic aspect of his poems, the signs of a deeply rooted language approach to the use of literary figures and many Arabic words are approached. In his features, he follows the inventions (Mustard, Ashwood), figurative language (Types of Metaphors, literal documents), and description of non-sensual similie organ, various pictures, they are signs of impersonal style. . On the intellectual side, Massoud Sa'abedah, the lecturer of love and the calendar of happiness, has created new content for the storyteller, imitating the illusion with deep emotion, he has been imitated by other poets. But he has deep emotions that made him personal, The afore mentioned items have changed him to the poet of style, he is affective in his style. . The findings of this descriptive-analytical query show that having specific characteristics in expressing and choosing a template has led to his personal style and he influenced the change of Khorasani style to Iraqi.

Tohfe Fathiyah is a work of Abuolfazl-Bin-Mubarak, pen-named as Abu al-Fazl Allami, the nobleman, and historian of the 11th century AH. He was the second son of Sheikh Mubarak Nagoori and the younger brother of Feizi, and he was known as poet laureate in Akbar palace. There are two versions of this work, which has not been corrected so far. The first copy of No. 3811 belongs to the National Library of Malek in 116 pages and in Nastaliq form and the second copy of No. 1095 is kept in the National Library. The authors are correcting this article which is of great literary interest nowadays. One of the most important literary features of this work is the use of complex and multifaceted words and expressions that indicate the author's elegance and grace-telling. He is proud of his writings in various places of the book and considers himself to be the most authoritative writer. In this article, while addressing the general introduction of this work and its author, an attempt has been made to look at the most important features of its literary in a descriptive-analytical method.