JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2020 | Volume:13 | Issue:7 (53)|Papers Count:13

Siavash's story is one of the Shahnameh's stories which Ferdowsi has enriched it with artistic elements of some of the story elements and storytelling techniques. Siavash grief involves the two stories of Forbidden Love and the story of Siavash deportation to Turan Land and his killing by Afrasiab, a combination of the epic and richness. This article investigates Shahnameh storytelling techniques with emphasis on fictional elements in Siavash's story and has been written using descriptiveanalytical research method. This article investigates techniques of Shahnameh's storytelling with emphasis on fictional elements in Siavash's story and has been written using descriptive-analytical research method. In mourn of Siavash the element of dialogue is used to represent the characters' thoughts, to develop the story and to advance the events, to express the characteristics of the persons, to introduce the relationships between the persons and their relationships, to illustrate, to determine the places, to specify the time, and to make space. The results show that in this story, Ferdowsi uses elements such as characterization, conflict, and plot in addition to the dialogue, and uses techniques such as suspense, arousal, rhythm, flash back, and combining epic with lyric.

Mirza Abdul Javad Neyshabouri, nicknamed "Adib", is one of the poets who had a personal style during the constitutional era. He continues to speak of love and affection as most of the poets of his day put their poems at the service of the people and the constitution. With this attitude, Adib can be considered an imitator and follower of Khorasani style, especially Farrokhi Sistani, the poet of the return period, who lives in the constitutional period but in his poems to issues due to his great attachment and familiarity with the ancient Persian and Arabic language and literature. It is not common in the constitutional age. Even traces of mysticism can be found in his poems, at least to the extent of using the Sufi terms used extensively in his poetry. Factors such as familiarity with previous poems and numerous studies in the field of Persian and Arabic literature and as a result the abundant use of ancient words and combinations, strange and unfamiliar words, Arabic words and phrases, abundance of allusions and allusions, extensive use of information in various sciences make it difficult. And it's been a long time coming. Other features and signs of his propensity for the ancient language include the use of prepositional verbs, the use of two additional letters for a complement, and the use of numbers and few, the shifting of compound verb components, and the use of the vowel process to reduce and increase. At the literary level, he has benefited more from the guarantee and allusion due to his familiarity with various sciences and Arabic language, and he has used metaphors and metaphors in his poems to a great extent.

Due to the numerous social and political problems, Second Pahlavi era is considered as the age of satire improvement in the contemporary Persian literature. According to one of the most important theories of satire (the Improvement motivation), satire is indirect criticism of the Corruptions and evils of society to improve them. In this article, we have analyzed the status of offices in the second Pahlavi satire poetry by an analytical method, and library study. The results show that each of the satirists of this period have criticized the abnormal situation of their offices According to their present status. The judiciary, the National Assembly, the municipalities, the police department, and so on are the social institutions that satirical poets have studied them and examined their problems carefully. Although most political, social satire of any age (especially journalistic satire) may represent the daily situation of a society, it will be certainly an important part of its social, political history later on. Therefore, exploring the satires of contemporary literature is one of the best ways to know about contemporary Iranian history.

Kamaluddin Abu al-Atta Mahmoud bin Ali bin Mahmoud Kermani, known as "Khawaju" and known as "Khawaji Kermani", is one of the eighth-century famous poets and so-called Hafiz poets in the Ghazal alGhazali period. In this paper, which is written in a descriptive-analytical way, we have studied the stylistics of Kermani's sonnets. The main purpose of this article is to investigate and determine the style and content characteristics of Kermani sonnets. The results of the study show that the Ramal bhajr is more frequent than the eleven bhaju at which its sonnets are composed. The use of sensory-to-sensory similes, ambiguity in its various forms, various implications, including the characteristics of the sonnets at the literary level. are. The numerous patterns of equation, diagnosis and paradox in his sonnets indicate that Khaju was one of the first to take the first steps in the emergence of the Indian style. Love forms an important part of his sonnets and then the mystical themes in the sonnets. He has more appearance. He is, of course, a professional mystical poet because he is only interested in mystical themes and themes. In some cases the combination of love and mysticism and the combination of the two with elements of Randy and Calandari worlds has given special prominence to his words.

From the earliest Islamic centuries, Sufism as one of the pillars of knowledge was found in the deeds and writings of many Muslim scholars. Commentators of the Holy Quran were among those who used this sea of knowledge in interpreting the verses of the Quran. This article deals with the evolution of mystical themes in the Qur'anic interpretations of Khajeh Abdullah Ansari and Safi Alishah, who belong to two different periods of mysticism. Studies show that Khaje Abdullah Ansari, the mystic of the fifth century AH, mentions ethical and educational issues in addition to his mystical themes and practical practices in the form of prayers. Safi Alishah Arif himself wrote a poetic commentary on the Qur'an in the thirteenth century, expressing mystical themes in the form of a practical way of thinking; Sometimes these themes take on a philosophical color, so that the intersection of wisdom and mysticism and the convergence of reason and heart can be clearly seen in this interpretation.

This article tries to criticize this position while showing the old position in Sufism. According to excerpts from the works of Sufis during the fourth to eighth centuries AH (Orad al-Habab: Bakhrezi, Kashf al-Mahjoub: Hujviri, Asrar al-Tawhid: Mohammad ibn Munawwar, Qut al-Qulub: Abu Taleb Makki, Moravvej of religion Lahiji, Adab al-Sufiyyah: Najm al-Din al-Kubra, Qashiriyyah treatise: Abu al-Qasim al-Qashiri, Tazkerat alAwliya: Attar, Awaref al-Ma'arif: Abu Omar Suhrawardi: The etiquette of the dead: Abu Najib Suhrawardi, Al-lam in the description: Abu Nasr Siraj, Anis Al-Taybeen: Ahmad Jam and Mursad Al-Ebad: Najmuddin Razi)There are various mystical beliefs about the old. With the passage of time and the rise of Sufism, the work reached a point where these unconventional and subsequent beliefs and behaviors created room for corruption in some Sufi groups and led to the apparent encroachment on people's lives and property. Let the community understand that day.

The revival of the manuscript is an effective step in recognizing the cultural and literary heritage of each nation. Progress and advancement of any nation is not possible unless it is aware of the background of its culture and literary history. Therefore, transferring the works of the past people in a proper way and far from manipulation is the cultural necessities of any society. The manuscript of "The Absent Witness", one of these mystical works in the form of Masnavi in Bahr Hazaj Mosades Mahzuf is in the Persian language which was written by the poet "Ahmad" in 1953. This unique version has two parts: A: The first part describes the circumstances of Mir Mohammed Zivar Al-Din son of Mir Hossein Baghdadi, whose ancestry reaches Sheikh Abdul Qadar Gilani, and the second part deals with the Naghshbandieh dynasty and the practices of this conduct. The present study, while providing an explanation about the content of the manuscript of "absent witness", examines its structure and most important stylistic features at three levels of intellectual, literary and linguistic levels. The research method was library and content analysis and based on the principle of works and evidence derived from it.

The poem of Azhar and Mazhar from Nizari Qohestani, is a work in the form of Masnavi, the main theme of which is the narration of the story of two lovers and the battles of Mazhar for the retrieval of Azhar. Due to the subject matter of the work and the use of love and epic themes in it, this poem can be considered as a combination of lyrical-epic literature. In this article, which is written in a library method and in a descriptiveanalytical way, we have examined the stylistics of this work. Out of a total of 10, 612 verses in this book, four thousand verses are randomly examined from both the lyrical and epic parts of the poem. Therefore, the main purpose of this article is to study and determine the stylistic features in the two lyrical and epic parts of Azhar and Mazhar poem. The results of this analysis show that the choice of Hazj rhythm in addition to being appropriate for the subject matter in the lyric section is also proportional to the subject matter in the epic section. Repetition of phonemes, word discounts, and paronomasia increase the internal music of this poem. The stylistic structure of the words is a mixture of lyrical, conversational, epic, and mystical language. The literary coordinates of the words are more based on imitation. The most common type of analogy is sensory. Metaphors are mostly metonymical, and metonymies are mostly vernacular and colloquial.

One technique that has been overlooked in literary research in humor, despite its importance, is the naming technique for storytelling and fictional characters. The title is the gateway to the text and as the bridge between the text and the audience. It is also key in helping the reader read and understand the symbolic meaning of words. So it has to be artistically selected so that it can display the quality of the text with its limitations. On the other hand, the names of fictional characters can play a role in conveying the author's concepts and themes in addition to making them laugh. In this article, we examine the role and importance of name and naming practices in the fictional characters and characters of Iraj Pezzkadar, Abolghasem Payandeh, Khosro Shahani, and Fereydoon Tonekaboni. The results show that the authors have used methods of contradiction, synonymy, game with names, the use of historical and famous names to name their fictional characters.

Farsi is one of the world's most prolific languages in the field of order and prose. Persian poetry and prose are embedded in all layers of Iranian people’ s lives and are deeply embedded in the culture of the people in every region with every local dialect and dialect. In different geographical areas, according to their traditions and habits, when a family member is lost, the survivors resort to literature to express their emotions and feelings in the deceased person's language, using poetic, poetic and poetic expressions in the current language. In the publication of the funeral pamphlets, the poetry and literary expressions are very prominent. In fact, this mourning and the inscriptions somehow express the inner feelings of the survivors. Announcements of funerals in various parts of Iran are sometimes beautiful expressions of Persian poems and poems that are in fact a part of emotional letters. What is being studied in this study is the intellectual aspect of the stylistics and major themes of these poems and literary expressions, mourning the western writings of the country, relying on recent declarations of remarriage in Lorestan province. The study of this aspect of contemporary literature and the style of writing and most of the concepts considered in these declarations form the basis of this research.

This article tries to analyze the ancient and mythical model of five novels using descriptive method based on psychological critique and according to the characteristics of fiction literatu y Ahu khanom, s Husband" by Ali Mohammad Afghani, "Sovashun" by Simin Daneshvar, "I Turn off the Lights" by Zoya Pirzad, "Her Eyes" by Alavi and "Sang-e-sabur" by Sadegh Chubak The main protagonists of the novels, Ahu, Homa, Zari, Clarice, Farangis and Govhar are each a manifestation of Greek mythology, as well as various aspects of the ancient Jung patterns. After introducing the goddesses, the characteristics of these archetypes are matched with the characteristics of the novel's female heroes. Jung's outstanding archetypes such as mother and old Farzaneh are also examined and analyzed in the characters of these narratives. After conducting the analysis, the author found that these ancient patterns were largely consistent with the female characters in these novels. Deer is the chart of Hera and Dimitar, Zari is the chart of Hera, Dimitar and Athena, Clarice is the chart of Hera, Dimitar and to some extent Aphrodite and Farangis is the chart of Aphrodite and Athena.

The text style and its originality can help a researcher with correcting a text. In Nafsat-al-Masdour there were some errors most of with have been corrected in an edition and explanation by AmirhasanYazdgerdi and the following studies. However, there are still a few errors that need to be dealt with and corrected so as to keep the originality of the text. Since the first edition of the work and the evidences within it are the most appropriate tools at hand, the writers try to correct such errors through a descriptive-analytic methodology. This correction relies on text coherence, parallelism, word collocation and also intertextual relations between this text and other works specifically jalal-o-din's Biography. Finally, the researchers recommend the appropriate alternatives by presenting the reasons and evidences.

Ontology is one of the important metaphysical topics that by giving importance to the role of existence in the system of existence, provides the basis for ontological analyzes about man and the facts of the universe in literary texts. Considering that human beings by nature seek to discover the truths of the world, and on the other hand, the main feature of postmodern literature is a strong reliance on disintegration, contradictions and questionable narratives; Therefore, ontological studies can be considered as one of the basic discussions of postmodern literature. In postmodern fiction, by combining the boundaries of different worlds, the certainty of these worlds is negated, thus highlighting the ontological content of the text, and throughout the story, philosophical questions about the existence, nature of the world, and the structure of reality are raised in the audience's mind. Combining features such as: author's death and uncertainty, is the dominant approach of Bahadoran Fors's secret history novel. Therefore, in the present study, we decided to explain the components of postmodern ontology index in this novel to find Master Shamisa using From what arrangements does he express different and multiple inferences and perceptions of this text and to what extent has he been able to explain his words based on the unification of topics for the audience, in order to enter the existential fields by disrupting the existential areas of the text? Success in the text itself.