Journal of the Stylistic of Persian Poem and Prose
Year:2020 | Volume:13 | Issue:5 (51)|Papers Count:12

Layer stylistics is a new knowledge which one of the most methods for scientific and applied assessing and analysis considered literature texts and works and is a combined method of common stylistics, formalism and structuralism. Under this method, text or texts are divided into five layers of lyrics, vocabulary, grammatical, rhetorical and ideological where stylist assesses each layer separately based on governing principles on each layer and determines portion of each layer in finding and explanation thinking scope of composer and evaluates and defines composer’ s objectives of composing the text. Since in every assessment and analysis of a text in regard of stylistics; the base of doing so is founded on distinct and high tolerance structures, then in this study due to highly distinct layers are vocabulary and ideological layers; we set to assess and analysis three works of Molla Abbas Ali Keyvan Qazvini (A. H. 1277– 1357) including: Beheen Sokhan, Ostovar and Razgosha based on two layers as mentioned above. Methodology of this study is descriptive– analytical and library method along with critical dialogue approach. By assessing mentioned works, portion of each layer out of two layers in finding and explanation of mystic thoughts belonging to composer through composer’ s works was determined.

Layer stylistics is one of the new stylistic methods that studies how concepts are formed in a language through analysis of the text's stylistic features. Part of the features of a text is determined by the kind of the selection of the lexicon and lexical elements are regarded as one of the basic features of poem's texture. The present study is about the lexical stylistics of poetry books of twenty brilliant Persian-composing poets of Mazandaran province from 1974 to the end of 2018 with a layer perspective. It attempts to analyze twenty two lexical issues from all of the existing stylistic schools, frameworks and genres in the poetry works of the province which somehow reflect the status of poetry in the last four decades. in this study the authors intend to specify the status of Mazandarani poets in contemporary poetry and show how successful they were in the application of lexical issues. Findings with respect to statistical analysis of the data showed that in the poems of Mazandarn's poets lexicons that are abstract, general, non-identified, colloquial, elegant, formal, paradoxical, local, color-based, motif, innovative, mysterious, and lyric are significantly used. research methodology used in this study is a mixed method (qualitative and quantitative) using reference documents and reliable Internet sites.

Jawzah Natanzi is one of the poets of the literary era who lived during Fath Ali's reign. His work is titled "Informed Al-Anwar", which has two copies of this manuscript, the first copy, kept in the Library of the Islamic Parliament No. 963 and introduced as "Delgosha". There is also another copy number 2311 available at the National Library of Iran. This article studies the style of Natanzi's poetry at three levels: linguistic, intellectual and literary. At the linguistic level, the phonetic part is mostly used of mild to moderate weights, and there is no news about heavy weights. The weights of his poems are those of Hafiz's sonnets. In terms of vocabulary, at the level of singularities, there is no innovation, and most of the vocabulary used is Arabic, which is a common word in Persian. In the syntactic section of his poems he is instructive, and the elements of the sentence are in accordance with the prose. At the intellectual level, the themes used are old-fashioned themes, and the mysticism is imitation and repetitive, and no new thought or theme can be found in his poems. At the literary level, metaphor and metaphor play the most part and sensory-metaphor is the most used. He has used the traditional rhetorical and spiritual industries, and generally his work is based on imitation, trying to get closer to his role models both in terms of speech and in the manner of expression and content. He exemplified the Iraqi style and paid more attention to Hafiz's poetry among the poets of this period.

Nasser-i khusraw-i qubadiyani is one of the gretest poets of Iran in Hejira fifth century. In thatv century, Ballade format was the prevalent and dominant format in Persian poem. The poems of this poet will be considered for identifying his personal style deeply and holistically in three levels linguistic, literary, and intellectual. According to study of these features, Nasser-i khusraw has composed his poems in twenty five rhythms. Most of the frequencies of rhythms belong to hazaj measure and the least ones belong to epopee and moghtazab measure. In the rhymes of his poems the most frequent letters in ravi position are 'r' and 'n' Approximately, 14. 5 percent of the Ballades in his poetical works has arrays that verb arrays have the hijher frequency. Vocabulary reduction is one of the remarkable features of his Ballades. Nasser-i khusraw has used the common Pahlavi and Arabic compounds and vocabulary in his poems. Metaphor is the most frequent and metonymy (imagery)is the least frequent. more arrays of Nasser-i khusraw s ballades are as follows: opposite, allusion, equivoque, proverb, … .

Understanding the artistic backgrounds of the artists, especially fiction, are possible through their study of how to reflect cultural, social, political & economic factors in their work. the surveys the works of Jalal al Ahmad, Sadegh Hedayat & Gholam hosein Sa'edi in addition to their artistic techniques reveals them in fiction, can lead to a number of levels of thought as authors of decades of 30 & 40. In this research, we try to find the level of their thinking in the field of ignorance & superstition by selecting the stories of each writer, so we can answer the question that these writers reflected ignorance superstition with their angles & glances at their dusts. The results are that they are the authors of the decades of 30 & 40, show tradition and modernity, progress and backwardness and ignorance and consciousness of individuals in opposition to each other in the style of realism, to penetrate the peoples back, showing people who overwhelmed with thoughts & events that their thinks don’ t have the capacity to learn them, because of ignorance & interest in imitating them blindly.

The present article seeks to explore the love stories of epic and lyric literature by citing poetic examples and to analyze their differences. The most important question is: Given the differences between the Khorasani and Iraqi styles, what are the differences between the epic love stories and the Lyric love stories? Epic love stories ("Zal and Rudabeh", "Rostam and Tahmineh", "Bijan & Manijeh" in Shahnameh) as one of Khorasani's style and lyric love stories ("Khosro and Shirin" and "Leily & Majnoon" by Nezami), As one of the Iraqi style items. The analytical results of this study are as follows: Love in the epic love stories is marginal And love is understood along with the courage, but love in Learic's love stories is the core of the story and the underlying. In epic love stories, despite love, the lover still maintains his pride and does not sacrifice his beloved, but the lover in the lyric love stories is worthless, painful, and sad. Women, as lovers of epic love stories, are leading the love, active and bold, but in the lyrical, passive and ineffective love stories. The description of the beloved beauty in epic love stories is brief, tangible, but in the lyric love stories, it is very detailed, delicate and imaginative. The depiction of nature in epic love stories is short and tangible, but in lyric romances it is long and imaginative.

Anthologies are very important because of the variety of poems. As it is known, literary taste changes in every century, and poem that was popular at a time may not be much appreciated at another time. Certainly, these poems will be forgotten, and sometimes even the names of their poets are gradually forgotten. Anthology seems to be a safe place to preserve these poems and the names of their poets. Thus, by using them, one could find examples of poem from poets whose diwans have not been transcribed and have disappeared. This shows the importance of Anthologies. In addition to these advantages, manuscript anthologies have some drawbacks that need to be corrected so that researchers who refer to them do not go astray. Anthologies are very important sources for introducing forgotten poets or recovering and correcting some of the lost poems. These Anthologies were sometimes written for personal interest and sometimes for the King's command. This Anthologi is written on the order of "Jalaluddin Amirzade Eskandar Bahador Khan"; in such cases, literate scribes were hired to do so. These scribes have access to credible sources of their day. So these works are very important. But incorrect entry is common in manuscripts, especially Anthologies, which are widely used. Therefore, they should be considered more carefully. The purpose of this article is to introduce and critique "jung Eskandar Mirza Timur", find the location of missing pages and the main place of the moved pages and review its content features.

Every literary work comes from people and society in its period. Therefore, in literary works, the observation and reception of events, events, and social demands can be observed more or less during the production period. Comic effects, from which criticism is usually based, reflects more and better on the disadvantages and problems of their societies, and they are important in sociological studies. After the Islamic Revolution, written humor grew. Of course, during the years of this period, they were driven by factors and components, and sometimes they came close to parody or falsification. These factors can be divided into internal (external) and external (social and audience) groups that determine the type, theme, format and manner of presentation of humorous effects. This research tries to explore the influence of internal and external factors on the humor of this period with a sociological perspective in a descriptive and inferential way.

Khayyam's thinking and worldview are based on the belief in the fate and dignity of all things and the inability of man to understand the secrets of creation and the issues of creation. Poets before and after Khayyam also have poems with Khayyam themes. In this paper, which has been done in a library manner, after expressing the roots of Khayyam's thoughts, the course of Khayyam's thoughts in the three pre-Khayyam (Samanian and Ghaznavian), Khayyam (Seljukian and Kharazmshahian) and post-Khayyam (Mongol and Timor) has been investigated. The results show that Khayyam's thoughts in the pre-Khayyam period are less frequent than the other two periods and mainly include the subject of spoils and congratulations for escaping philosophical thought by poets. But in the Khayyam period and after the Khayyam period, due to the socio-political reasons and the religious and intellectual fanaticism of the Seljuks and the Kharazmshahis, Khayyam's thoughts are in fact a reaction to the oppression in these two periods.

Regarding the evolution of Persian poetry in sixth century AH from simplicity toward lingual and literary difficulty, on the one hand, and the unique richness of Khaghani's philosophy and thought as one of the stylistic poets of this period, on the other hand, this key question arises as to whether or not Khaghani's poetry in less known forms such as fragment is similar in structure and content to his personal style in other poetic forms? Scientific observations reveal that the fragment form in this period was initially emerged by Anwari and after that peaked with independent type by Khaghani, and then gradually reflected in an artistic form in the poetry of this period; so that although the language used in fragment was somewhat vernacular and informal, but in Khaghani's fragment in some cases can trace the footnote of difficulty and figure of speech, which is unique in its own way and is considered to be a personal style of the poet. Thus, in the present research, after examining 321 existing fragments in Divan (According to Master Sajjadi's printing and correction) and upon the thematic categorization of them into 14 types, provide a general overview of the content and structure of these fragment.

In motif of love, it has a long and deep story of human life that has shown its fascinating effects since the beginning of the formation of oral myths and anecdotes and written poems and proverbs. He considered one of the most essential human innate tendencies. This magnificent concept has been incorporated into the mystics' speech in various forms and interpretations. One of these texts is the mystical interpretation as Kashf-al-asrar, which deals with the subject of love with passionate anecdotes. Meibodi’ s mysticism is a romantic mysticism that interprets the relationship between God and man on the basis of love, and the story and anecdote are the appropriate and influential context for expressing these meanings that Meibodi brings to the utmost benefit and further instill the concept of love and motivation in meaning. In this qualitative content analysis, this research introduces some of these stories with the central theme of love and analyzes some of their ontological and epistemological dimensions and aims to familiarize the audience with the mystical-literary texts of the language. Persian is a longstanding subject of love and affection. The main question of the study is to what extent has Meibodi been able to portray the various dimensions of love by mentioning romantic mystical anecdotes?

Dorra-ye Nadera is written by Mirzamahedikhan Estarabadi. in Afshariyyah History. Given the author's unique place in Nader’ s government, this book is packed with valuable and first-hand information on the history of that period, and it is therefore one of the main sources of historical research on the late Safavid period, the Afshar career, and even the beginning of the Zandiyeh period. The author's special occasion in addition to stating some events is that he has implicitly expressed another part of the events of the time. The critical discourse analysis can be used to reach both the hidden layers of the text and its stylistic features, as this paper has done. In this essay, by choosing five particular stylistic features of this book, namely: obeying special reasoning at the beginning of each chapter, the vocabulary of Arabic phrases and sentences, the specific pattern of the unknown verb, the proportionality of the overlap, and the long descriptions, they are compared to what Norman Fairclough, a linguist has done. We compared our approach to analyzing critical discourse in our method. The findings of the study indicate that these stylistic features can be considered as text discourse categories under the Fairclough classifications, in addition, some of the features, such as the extreme use of comparison and the illusive comparison, the vocabulary-making, including phrase, sentence and the sentence of reasoning, are things that do not fit into the categories of Fairclough and they can also be categorized.