JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2021 | Volume:14 | Issue:3 (61)|Papers Count:13

BACKGROUND AND OBJECTIVES: Manuscripts are the unknown treasures and cultural reserves of any nations, which the main tasks of researchers and scholars are to try to identify and study these works. One of these enduring heritags is the historical-religious epic of Delgoshanameh, which was composed by Mirza Arjmand Azad Kashmiri, on the subject of Mukhtar Uprising in the first half of the twelfth century A. H. in Motagareb rhythm in 15450 verses. In this article, we have introduced the work and studied the stylistic style of Delgoshanameh from the linguistic, literary and intellectual perspectives. METHODOLOGY: The present research is a theoretical study that has been done by library method and descriptive-analytical method. The study area and population is a manuscript of Delgoshanameh that is available in libraries in Iran and the world. FINDINGS: The content of this work has the characteristics of Khorasani style such as: old words and compounds, the use of verbs in the ancient form, the use of literary arrays, singular and sensory similes, understandable allusions, and so on. With initiative and innovation in using novel and expressive techniques, having some relatively original linguistic and literary features and extensive use of epic words and combinations, the poet has been able to use linguistic possibilities in the service of religious ideas and the subject of epic work. CONCLUSION: The results of the research show that 《 Azad》 has shown with great taste in composing this work and has been successful in following the poets of her predecessors, especially Ferdowsi, Saadi and Nezami. The choice of Motagareb rhthym in this work, due to the many long syllables and ending in the culprit, has brought it closer to the epic language style. The description of battlefield heroes, imaginative exaggerations, and transcendence of habits and virtues is quite evident in this poem. Bringing of Saghi letters and legal and lyrical terms has caused the combination of Ghanaian or epic language in parts of this poem.

BACKGROUND AND OBJECTIVES: Types of heartburn, needs, prayers, joys, sorrows and griefs are directly or indirectly related to crying. The mystical states of contraction and expansion and perdition, the study of which is one of the concerns of writers and researchers in the field of mystical literature, are all included in this article; Therefore, it is worthwhile to do this with more research and study, and not what has so far been limited to enumerating the numerical number of these verses. In the present article, while enumerating some important and noteworthy types of "crying" in the worldview of three current Sufi poets, namely Sanai, Attar and Mulav, the classification, analysis and description of poems are briefly presented. In other words, this article explains the question: What is the classification of crying in the texts of the mystical order of Sanai, Attar and Mulav and what are the obvious differences between their thinking and spiritual insight in this area? METHODOLOGY: This article is based on descriptive-analytical method. FINDINGS: Sadness or joy, when they are related to this world, are considered sad or happy by these poets, and when a person gives up his belongings of time and place, he cries and laughs, he expands, his joy and sorrow, and sadness and Happiness comes from another gender. CONCLUSION: Encouragement to cry in Sanai works is more due to the asceticism of this poet; In Attar, it is completely related to separation and distance from the main lover, while in Mulav's works, the poet's life is beyond laughter and crying, and this crying is a state of bewilderment and numbness for Mulavi Mubarak.

BACKGROUND AND OBJECTIVES: Types of heartburn, needs, prayers, joys, sorrows and griefs are directly or indirectly related to crying. The mystical states of contraction and expansion and perdition, the study of which is one of the concerns of writers and researchers in the field of mystical literature, are all included in this article; Therefore, it is worthwhile to do this with more research and study, and not what has so far been limited to enumerating the numerical number of these verses. In the present article, while enumerating some important and noteworthy types of "crying" in the worldview of three current Sufi poets, namely Sanai, Attar and Mulav, the classification, analysis and description of poems are briefly presented. In other words, this article explains the question: What is the classification of crying in the texts of the mystical order of Sanai, Attar and Mulav and what are the obvious differences between their thinking and spiritual insight in this area? METHODOLOGY: This article is based on descriptive-analytical method. FINDINGS: Sadness or joy, when they are related to this world, are considered sad or happy by these poets, and when a person gives up his belongings of time and place, he cries and laughs, he expands, his joy and sorrow, and sadness and Happiness comes from another gender. CONCLUSION: Encouragement to cry in Sanai works is more due to the asceticism of this poet; In Attar, it is completely related to separation and distance from the main lover, while in Mulav's works, the poet's life is beyond laughter and crying, and this crying is a state of bewilderment and numbness for Mulavi Mubarak.

BACKGROUND AND OBJECTIVES: The works of Safavid poets are a mirror of the social situation of this era due to their connection with the masses. This article seeks to answer the question of what problems the Safavid society was facing and how the people reacted to these issues by examining the poems of the poets of this era. METHODOLOGY: The research method in this article is descriptive-analytical and the data collection method is documentary (library). FINDINGS: A study of the works of historians of this era and the writings of Western tourists and most importantly the poems of Safavid thematic poets who were in charge of the court situation, indicates that due to the Safavids' long occupation to fight foreign enemies and the weakness of some young rulers and The inexperience of this dynasty in the administration of the vast territory under their rule, unfortunately, gradually spread all kinds of moral anomalies in the society of that time. CONCLUSION: All kinds of anomalies from drugs and alcoholism to the prevalence of seasickness, theft, promiscuity and sexual perversions, had disturbed the situation of Safavid society. In the meantime, the famous poets of this era, who themselves were not immune from these harms, tried to inform the sections of the society about these matters and find a solution to get rid of these sufferings.

BACKGROUND AND OBJECTIVES: Manuscripts are valuable resources recognizing and for examining the evolution of thought and feeling in Persian literature. Manuscripts of many poets, such as Dehlavi's silence, have not yet been corrected and published. The purpose of this research is to study and critique the intellectual, linguistic and rhetorical level of the poems and lyric poems of this poet. METHODOLOGY: This research examines the content of Dehlavi Khamooshi Divan and her thought and poetry style by analyzing the content with the help of library tools. FINDINGS: The time of the poet's life is mentioned on the back cover of the King's library version, "Qajariyya, zero 1193 lunar". No information can be obtained from studying the two versions of this poet's divan. In the culture of orators, only one manuscript of the poet is mentioned and several silences are mentioned, and the poet of the present court is apparently Ali Hassan Khamoushi or Khamoosh Dehlavi, the poet of the 11th century, on the occasion of his poems about India. The results show that Dehlavi's silent poem has Indian style themes and attention to the poems of Saadi, Khaghani, Attar, Hafez, Rumi and Orfi Shirazi is another feature of it. This poet's style of poetry is similar to the Iraqi and Indian style, and his poems are in praise of the Prophet and more than that in praise of the Amir (AS). His lyric poems are also mystical and romantic. CONCLUSION: The verbal and spiritual forms of her poetry have used the two dimensions of literary tradition, innovation and innovation; Sometimes there are weaknesses in her poems that are very weak against her poetic values. The weights of her poems are the most widely used weights of Persian poetry, and the rows and rhymes of her poems are simple, and most of the rows of her poems are current. Silence poems have more artistic value and variety of rhetoric and stylistics than her sonnets.

BACKGROUND AND OBJECTIVES: One of the common topics in Persian grammar is the topic of "citizens". It can be said that this issue is one of the cases that arises outside the control of linguists and completely with the direct involvement of people in the language, and its law and rule have not been chosen by experts and have not created a stereotyped system and style. The present article is a research to understand the process of formation and prevalence of citizens in Persian language and literature as a new style in people's speech. In this research, literary works after the Constitutional Revolution (which is the time of the rise and prevalence of citizens) have been examined and after comparing the use of citizens in the old style, a new division has been made and named for citizens; Also, the effect of human feeling in the use of such combinations has been studied for the first time and along with extracting the cases of nationalities in the works of contemporary writers and poets, the formation and creation of this language style and its prevalence have been stated. METHODOLOGY: The research method in this article is descriptive-analytical and the data collection method is documentary (library). FINDINGS: Citizens, before being a kind of compound in grammar, is a special style of speech that has entered the linguistic and literary styles from the colloquial language of the people in the present age. CONCLUSION: The influence of people on social stories and articles-especially in the constitutional period when people were very involved in politics and reading articles and stories of that day-had a great impact on the prevalence of the use of negligent composition and also the effect of colloquial language on these works. Is. Works that have colloquial language and quotations from the language of the people of the street and the bazaar in their text, such as: Ebrahim Beyk's travelogue, Dehkhoda's nonsense articles, Jamalzadeh's works and other authors, have benefited more from national compositions, especially negligent ones. They had a language style.

BACKGROUND AND OBJECTIVES: A unique manuscript of Suleimannameh in the form of Masnavi and the convergent sea, by Yusuf ibn Siraj ibn Muhammad, nicknamed the teacher in 1339. It was composed in 8352 bits and written in Naskh script. The name of this anonymous poet does not appear in any literary memoir. This Masnavi is a religious epic that tells the stories of the prophets of the nation of BaniIsaiah, including Soliman, Elias, Elisha, Jeremiah, Dhu'l-Kufl, Yones, and Daniel. The present article introduces the manuscript of this epic-educational system. The main question of the research is what literary, linguistic, cultural, moral, social, and religious components are in this version and what information can be obtained from the author's time? This article also examines the stylistic and aesthetic features of the version, and since this version is unique, the recording of distorted verses has been done on the basis of stylistic symmetries and, of course, with the preservation of fidelity. METHODOLOGY: The research method in this article is descriptive-analytical and the data collection method is documentary (library). FINDINGS: The manuscript of Suleiman the Magnificent was written in the convergent sea of the deleted Muthanna and tells the stories of the prophets of Israel. The poet does not have a stylistic personality in the order of these stories, but examples of Khorasani style are evident in this poem. In this Masnavi, for the first time, the stories of the prophets of Israel are arranged; The stories that are still scattered in the books of commentaries on the Qur'an, the stories of the prophets, the chronicles and the stories of the prophets of the Torah, and many of them are unfamiliar to Muslim readers. CONCLUSION: In this poem, there is no mention of the city in which the poet lived, and the place of the poem can not be found in the text of the story, but the use of some words indicates the specific dialect of the region; As in Neishabour, such conversations are common. Regarding the stylistic and lexical features of the text, it should be said that all the mentioned features, except for two cases, including the use of the verbs "Danstmani" and "Avrdman" and the observance of the rule of signifier, which is related to the sixth and seventh centuries, The fourth and fifth are especially Shahnameh.

poetry in a person's mourning and has existed since the first periods of Persian poetry. This literary genre was associated with the Karbala incident in the Safavid era and became a well-established culture. Since then, Shiite poets have written religious poems, especially Ashura poems, detailing their events. Ahli Shirazi, Babafghani Shirazi and Fuzuli Baghdadi are among the great poets of the Safavid era who wrote exhilarating poems in the mourning of Imam Hussein (AS) and the martyrs of Karbala. In this research, 318 verses of Ashura poems of the mentioned poets have been studied from the stylistic point of view and their style has been studied in three levels of literature, language and thought by statistical analysis of the data. METHODOLOGY: The research method in this article is descriptive-analytical and the data collection method is documentary (library). Referring to the three poets, ten mourning poems in mourning for Imam Hussein (AS) and his companions were collected as the statistical population of this study, which totals three hundred and eighteen verses; After collecting the information, the author has achieved a stylistic description of the verses of the elegies at three linguistic, literary and intellectual levels, and finally the analysis has been done based on the extracted findings. FINDINGS: Although in these elegies, poets do not pay much attention to poetic industries, Ahli Shirazi has more artistic uses than the other two poets. CONCLUSION: At the linguistic level, most of the laments have heavy weights and a calm and sad tone. The frequency of Arabic words as well as words with the mourning discourse of Ashura (such as Karbala, blood, martyr, grief) is significant in all elegies. The syntactic structure of many sentences is necessarily confused with poetry, but these changes are common in poetry and are not considered prominence. At the intellectual level, all the elegies confirm that the poets are Shiites; Attributing the incident of Ashura to the sky, which is a kind of determinism, is significant in these poems. The most important result of the present study is to reveal the similarities and stylistic differences of the laments of these three poets and to know their views about the martyrs, which cultivates the soul in the clear source of mourning for Ashura.

BACKGROUND AND OBJECTIVES: One of the words that has a significant frequency in two important mystical works, Hadith of Sanai and spiritual Masnavi, is the word intellect. In fact, Sanai and Rumi have tried to explain and describe this mystical, philosophical and religious term with their poetic and artistic language as clearly and better as possible. This research has tried to compare and analyze the way of depicting the types of intellect in the spiritual Sanai and Masnavi. The main question of the present study is what is the difference between artistic images about different types of intellect and what are the common or different features in each work? In this regard, poetic images about different types of intellect from a rhetorical perspective have been studied and evaluated in these two works. METHODOLOGY: The research method in this article is descriptive-analytical and the method of information analysis is documentary (library). FINDINGS: The imagery of the types of intellect is often similar in terms of the frequency of use of virtual images and rhetorical arrays, including similes and metaphors; However, due to his scientific, cultural and social status, Rumi has used less poetic images than Sanai in Hadith when speaking about reason in Masnavi. CONCLUSION: Both poets have used the most imagery about "total intellect", faith intellect and partial intellect are also in the next ranks; Because in his view, the mystic can connect his partial intellect to the general intellect by using the faith intellect during the stages of mystical cirrhosis. Also, in both works, the volume of positive and praiseworthy images about reason is more than negative and reprehensible images

BACKGROUND AND OBJECTIVES: Every speech and writing is done in order to convey a message to the audience and to communicate with him, but Rumi sometimes does not express his message naturally and based on a structure based on Sufi language habits and system of thought. He shatters the foundation of the reader's expectations and imaginations by disrupting the basis of mystical definitions. The dream is also intertwined in Rumi's mind with a multifaceted attitude and every moment is manifested differently. In this research, a descriptive-analytical method based on library data examines Rumi's thought style on the issue of sleep and its fundamental difference with common mystical ideas. METHODOLOGY: The research method in this article is analytical-descriptive. FINDINGS: Rumi has a different orientation regarding sleep and dreaming. While paying attention to this mystical and spiritual function of sleep, he considers awakening to be the cause of transcendence. "Transcendence" is one of the most important aspects of Rumi's mystical view of the phenomenon of sleep, which ultimately leads him to "God consciousness"; In other words, Rumi achieves consciousness through the process of sleep as well as through escape from sleep, and this issue is effective in transforming the poet's existential "I" into a new and extensive "I" or "I" connected to the kingdom. CONCLUSION: The element of awakening plays a key and important role in Rumi's thought. Contrary to the common practice among other mystics, he considers the "true awakening" of the heart to have the same value as the dream, which is the gateway to knowledge in the true seeker. Rumi has somehow resorted to innovation and deconstruction of meaning in this matter. For Rumi, the phenomenon of sleep is on the one hand an escape from virtual sleep and the neglect caused by it, and on the other hand it is the same as awakening. For Rumi, the sun is a factor that keeps him from sleeping, frightens him from sleep, and brings him closer to his "human face. "

BACKGROUND AND OBJECTIVES: The study of the representation of the female face in contemporary novels is one of the important approaches of literary criticism in narrative and fiction works. The present study seeks to show the position of women in three novels of Kermanshah literary works. METHODOLOGY: This article has descriptively-analytically analyzed the position and personality of women in the stories ahead. FINDINGS: The authors of these stories process these characters by presenting the character and perspective of female characters, through narrative actions and how they overcome the tensions that have arisen. CONCLUSION: The writers ignore the one-dimensional view of women and in addition to moving their characters away from stereotypical and traditional roles, they enter the field of political and social events to narrate a part of the region's history and ruling cultural structure. The common denominator of all three novels is the choice of the female character to convey the theme and content of the story. The similarity of the novels in terms of the author's point of view and the processing of characters in the choice of masculine actions, indicates the state of the cultural structure of the society that created them. Considering that the novels are selected from two male and one female authors, I notice differences in the processing of the characters.

BACKGROUND AND OBJECTIVES: In literary studies, stylistics has a high status. Stylistics can express the linguistic, intellectual and literary characteristics of each work. This research introduces one of the poets of Indian style named Joya Tabrizi and examines the stylistic features in his poems. METHODOLOGY: In the present study, for better and more useful access to information, an attempt has been made to use the library method. In this method, the researcher collects the required information and data by referring to written and library sources and references, including books, articles and dissertations. The research method is descriptive-analytical. FINDINGS: Darab Beg Joya, nicknamed "Joya" and known as "Joya Tabrizi" is one of the poets of the 11th century AH, his ancestors were Tabrizi and his father "Mullah Samari" and his grandfather had immigrated to India before the birth of Joya. Joya was born in Kashmir with her two brothers, who were also poets. Joya is one of the poets of Indian style and the characteristics of this style are reflected in his poems. CONCLUSION: The two subjects of love and praise of the Holy Prophet (PBUH) and the Imams, which are reflected in his sonnets and poems, respectively, have the highest frequency in Joya's poems from an intellectual point of view. Other subjects such as religion, advice and literature, the fight against hypocrisy are also seen in his poems. From the point of view of linguistic level, the use of slang words has given a special prominence to his poems, he has also used soft and gentle weights in his poems and Bahr-e-Ramal has the highest frequency in his poems. At the literary level, the use of all kinds of similes and metaphors, guaranteeing the poems of contemporaries and allegories are the most used in his poems.

BACKGROUND AND OBJECTIVES: The literary identity of any nation is its manuscript. To this end, in order to revive the past history and culture of each region, it is worthwhile to correct, introduce and research these valuable treasures. One of these manuscripts is a divan called "Hairat Lahori" divan which is kept in the treasure library of the Persian Research Center of Iran and Pakistan No. 870. METHODOLOGY: This article is based on library studies and has been done in a descriptive-analytical manner. FINDINGS: Lahore wonder is contemporary with the prevalence and peak of Indian style; Therefore, in his poems, one can see the characteristics of this style (such as sensory application, numerical dependencies, equation style, etc. ). He is also believed to follow the Naqshbandiyya method, and the principles of this method can be seen in his poems. Love of God, unity of being, and love of the Prophet are the intellectual foundations of his poems. CONCLUSION: At the intellectual level, because the intellectual is astonished by Naqshbandiyya Sufism, he has referred to his Sufism and Sufi dynasty, which is the Naqshbandiyya dynasty. Love of God, unity of existence and love of the Prophet are among his other intellectual principles. At the literary level, Hairat Lahori is more interested in spiritual industries than arrays, and among them he is more interested in similes and allusions. Also, special features of Indian style such as sensibility, numerical dependencies, recognition, equation style, etc. have a high frequency in his poems. At the linguistic level, the frequency of the sea of sand and mud is very high in the court of wonder, and this shows his special interest and attention to the weights of the river. He is more inclined to use current rows than nominal rows. One of the poetic features of Divan-e Hairat is the existence of slang terms and interpretations of the poet's time that are scattered throughout his divan.