JOURNAL OF LINGUISTIC AND RHETORICAL STUDIES
Year:2020 | Volume:11 | Issue:21|Papers Count:18

The opening line should be seen as a kind of repetition that is abundant in the poetry of traditional and contemporary poets. This kind of repetition, which occurs at the beginning of the verses of the poem, is seen in the poetry of traditional poets, from the same primitive poets as Manouchehri, NaserKhosrow and other poets. However, in the poetry of some poets, such as Sanai, Khaghani, and Shams Moulana's lyric poems, it is more common. In the poetry of contemporary poets, who lack the usual weight, rhyme, and row, these lines are more common. In the poetry of poets such as ForoughFarrokhzad and Ahmad Shamloo, these lines have a higher frequency than poets such as NimaYoshij, Mehdi Akhavan Sales, SohrabSepehri. There are initial lines in different forms and it can be found at the level of syllables, words, sentences and quasi-sentences in the poetry of contemporary and traditional poets. The main purpose of the opening line should be considered its musical aspect. In addition, it is sometimes repeated for other purposes in poetry, such as highlighting, emphasizing the poets in order to convey specific meanings to the audience, and creating coherence in the composition and content of the poem. Sometimes the first line is interpretive and is used as a tool to explain, further explain and clarify the poet's intent, as if the poet intends to explain and convey something to the audience that achieves this goal by repeating a word or phrase. . Other goals and objectives can be seen in these lines. This article seeks to comprehensively address the initial lines in the poetry of prominent traditional poets and modern Persian poets.

The investigation of basic narrative structures which were followed regularly between formalists and structuralists in twentieth century, has a salient role in literary researches. Among formalists, Vladimir Propp’ s theory, manifested in the book “ Morphology of Folktale” , can be mentioned as the first attempt in theorizing narration that later attracted French narrative structuralists' attention. By utilization of Propp method, it was revealed that final narrative structure could be determined. This method in which the functions of narrative design were taken into consideration, was changed in Greimas’ s and Bremond’ s works. By studying structural semantics and continuing Propp’ s researches, Greimas could present actantial model. Also Bremond whose works were based on Propp’ s view, completed and revised his opinion according to Propp’ s theory. In the present study, by using descriptive-analytical method, Greimas’ s and Bremond’ s narrative viewpoints will be compared with Propp’ s opinion. Then it will be represented how Greimas and Bremond, applied Propp’ s perspective as a source for reflecting their comprehensive theories.

The conditions of social, cultural, political, and literary life of Nima and BadrShakirSyab in many cases are similar. Among these, we can refer to a life in rural environments with barbaric nature, social commitments, the influence of Western literary schools, life under the shadow of dictatorship, political tendencies, the use of common literary themes, the pioneering and breaking the tradition in new poetry Which has often attracted the attention of comparative literature experts. The "Jikour and the Trees of the City" ode is one of the most important ode of Seyyeb and, in his own words, is "Jokur of his Poetry". The ode of "along the river" is also an important piece of Nima which have been written in almost the same cultural and social conditions. Observing the similarities and the small volume of the odes, the quality of the coherence in these two odes can be questioned. The purpose of this paper is to evaluate the coherence and coordination, coherence in the text of the ode "Jikour and trees in the city" of Sayab, Iraqi modernist poet and the "river" of Nima, the Persian modernist poet NimaUshij Which is chosen selectively And written on the basis of descriptive-analytical and statistical methods. The author intends to find the coherence and it factors in poetry of two poets in a comparative analysis and critique with a spectacular and textual looking and with the trust of the systematic theory of Holliday and Hasan, 1985. It can be said that the co-ordination theory of coherence can be used in Persian and Arabic languages, and this pattern can be used in literary and non-literary texts and even quantitatively determine the coherence of the text. The study and application of the theory of coherence of Holliday and Hassan (1985) in the poem of Nima and Sayab showed that The Nima verse (93. 65%), because of the greater interaction between the elements of the coherence of the lexical section and its syntax, is more coherent than the Sayab (88. 95%). Both poets have succeeded to create an unbreakable link between words and meanings and thus reflect their thoughts and inner desires in the lyrics by using the elements of verbal and grammatical cohesion.

Parody" or "contradiction" is an artistic trick in which a humorous imitation of a serious literary work takes place. In this research, the most important tool of "Kharestan"; AdibGhasemiKermani's satirical parody (1308-1238 Hijri / 1849-1929 AD) has been studied in two levels of surface structure and deep structure by comparative analysis using library tools, that is, word, form, and meaning. AdibKermani is one of the authors and poets in the field of critical and folklore literature. And his book "Kharestan" is written with the following of GolestanSaadi and he has used special words and phrases and non-natural and mostly comparative and critical words in response to the stable, original and literary words and serious issues raised in Golestan. Answer the main research question; That is, how to use the most important tools of controversy in the work and the degree of success of Ghasemi in it, is the goal of the authors. The results of the research show that the author has been able to use the local and slang words, interpretations and terms of Weaver's scarf class, specific allusions and proverbs of people in the streets and bazaars, in the structural form of Golestan, alternately, all three types of verbal, formal and content contradictions. Include in your work and achieve relative success in forming a humorous contradiction on GolestanSaadi.

Meaning and rhetorical science have been very effective in shaping mystical language؛ the way mystics have been able to convey their inexpressible mystical experiences and teachings through these rules and principles. It is undoubtedly a prerequisite for the influence of the sciences of meaning and rhetoric on the author's Understand the mood of the audience correctly. AzizoddinNasafi has tried to address the mystical prose in the book Al-ensan al-Kamel, in the minds and souls of their audiences, to convey to them their various goals and purposes. This book, like his other works, is influenced by his mysticism and mysticism, and also teaches mystical experiences while being educated. A relative knows very well that the impact of speech is far greater than writing؛ Because speech is the result of direct communication between the speaker and the listener; it therefore uses the speech to create a close and dynamic connection with the audience and to keep it satisfied؛ So that the audience understands both the mystical teaching concepts and the active and constant presence in the text. This research uses a descriptive-analytical approach to investigate the types of addressing in the mystical prose of relational addressing. The result of this study shows that Nasafi has attempted to use a variety of secondary meanings instead of dealing with the crude concepts of news sentences. In this way to increase the impact of his words in relation to the audience and to help seekers of the path in various ways along this path.

Irony is an expression style which is based on creating surprisal or satire through binary opposition and contrast between two meanings or situations. MasnaviManvi’ s allegories are often derived from folklore culture and common oral or written anecdotes. Yet, Moulana has created a wonderful world of meaning beyond the world and structure of Folk traditions for his readers. The influence of this transference of meaning is due to his special method of allegorization and his creative mental processes in choosing the conventional spaces to point out the unconventional purpose, the mechanism of blending dual spaces and providing meaning from the heart of this fusion. A meaning which is resulted from conflict between the opposed elements and concepts, and yet they are very prominent and influential. In this research, we intend to analyze the mechanism of creating ironic meaning through the study of projection and conceptual blending from a source to a target space in “ Inadmissibility of indecent interpretation of the housefly” allegory based on Mark Turner’ s theory of Literary Mind. The findings show that power and worth of such creation of meaning in this parable are resulted from Moulana’ s creativity in choosing the unusual source and target spaces in a way that their blending, while corresponds structurally, possess a powerful conflict in terms of concepts and elements. The final meaning of a parable, as Turner says, is not resulted only from the meaning of each input, nor simply from sum of them. It is rather a resultant meaning generated from the contrast of the elements and contexts of the source and target stories. It is such conflict from inside of which an aesthetic technique like irony is generated from the point of view of Moulana’ s mental mechanism. The ironic and humorous contradictions that arise from this mixing and tension have a persuasive and destructive effect on the minds of the audience, which is the semantic prominence of this allegory.

Most criticisms have justified the stylistic feature of the "easy and complicated" in the Golestan (a Persian literary book written in prose by Saa’ di) through classic rhetoric, but new approaches to literary criticism justify it from a structural point of view. Present paper, use morphological analysis for explaining the "easy and complicated" feature of the book from a structural point of view. As results show, the tales in Golestan have a very simple structure so that they often have no more than two or three characters, but the existence of a deeper and comprehensive plan in the underline of the entire text turns the separated tales to components of a complicated building. The absence of problem-solving and its mechanisms makes simplified the structure of the tales. The manner of the distribution of the characters, functions, and initial situations, in the level beyond mere individual narratives, has provided a comprehensive coherence in the text, which explain how Saa’ di create a new version of rhetoric in the way of "how to say". Combining simple and micro narrative tales with a well-structured macro text, makes the stylistic feature of the Golestan as something non-imitable.

Irony is one of the important and highly used term in the three fields of literal critics, philosophy and eloquence. There are many equivalent terms such as sarcasm, satire, quip, ridicule, etc. for it. But not of these equivalents are a comprehensive definition for it. The contrast between existence and representation is the simplest definition. However, more than this contrast, irony has other components that play crucial role in its creation. Mosibatname is one of the theosophical curtsy books in which he has used this artistic technique to present theosophical and social issues in varieties of patterns based on the readers’ understanding. Atar in a superior position than others, has deeply comprehended his contemporary issues. The authors, by carrying out this analysis, have understood that Atar has used different types of irony like situational, lingual, dramatic, and Socratic in the structures of his stories. It can be said that the important reasons for using irony were flow of the story, expressing social and ethical concepts, political oppression, and Atar’ s conservatism.

The aim of this article is to investigate the words and syntactic structure in Siavash Kasrai's poems. Certainly, one of the most important aspects of poetry analysis for any literary researcher is to examine the poet's ability to take advantage of linguistic possibilities. Undoubtedly, one of the most prominent features of contemporary poetry is the poet's courage in using new words and using various syntactic structures. The studied poet, Siavash Kasraei, can be considered one of the successful followers of Nima Yoshij. The person who has used most of the linguistic possibilities and the variety of words and the use of old and new syntactic structures are the linguistic features of his poetry. Kasraee's attention to colloquial language words, along with the use of old vocabulary, did not cause the poetic and artistic creativity in his poems to decline. Regardless of the very small language slips, in general, the language of Kasra'i's poetry is a coherent and fluent language that often has a social color and smell. In this research, using descriptive-analytical method, we seek to study words and syntactic construction in the poetry of this poet.

Cognitive linguistics as a semantic approach included a set of theories, which conceptual metaphor and imaginary schema are the most important. Imaginary schemas are fundamental and abstract conceptual structures in the mind that are based on physical experiences and activities during the interaction or observation of the surrounding world. The present study intends to conduct a descriptive, analytical and comparative method and in order to get acquainted with the metaphorical and cultural system of "water and fire", to conduct a cognitive analysis of imaginary schemas taken from these two opposing elements in six books of MasnaviManavi and Shams Moulana’ s general poetical works. The aim of this study was to achieve cognition through the use of volumetric, motion and power schemas in Moulana’ s poems, so that by examining the function of these schemas, a more accurate knowledge of the individual and social personality of this poet can be obtained. One of the most important achievements of this research that can be mentioned: These two elements find supernatural properties in literary concepts and metaphorical functions, especially mystical themes, when placed along a verse, and depict a kind of long-standing contradiction between reason and love.

In addition to its syntactic role in grammar, interjection is an important topic in semantic science. The science of meanings determines the extent to which it is influenced by the audience by measuring the word; hence, it examines the implications of the use of Interjection and its place in the rhetoric of the text. Because semantic science can be adapted to various disciplines of linguistics, in particular, formalism and functionalism, in many respects, the tools of these sciences have also been used in the analysis of this paper. In the present paper, the analytical – descriptive, the issue of exclamations (addressing sentences) together with component roles and different aspects thereof such as addressee delay, omitting interjections, repetition in interjection, combining interrogative and addressing sentences were studied in the works of Mehdi Akhavan Sales (Prominent contemporary poet). Also, the impacts of such components on the rhetorical aspects of the verses in four poetry collections of his (namely: Zemestan (winter), the end of Shahnameh, from this Avesta, Swahili and Khoziat) were taken into account. The results show that Akhavan with full knowledge of the aesthetic aspects of Persian literature andlanguage proficiency of all its features-and considering the subject of an element called-used to deliver the desired concept In changing the position of interjection in his poems, he cares about two axes: the subject and the content of the structure that was originally laid out, as well as the emotional and emotional load on it. By examining the structureshighlighted in the poetry of the Akhavan as well as examining the emotions on them, one can receive the intensity of his interest or hatred towards the subject.

The relationship between rhetoric and poetry has been the subject of experts’ controversy since the beginning of the controversy, and this controversy has continued to this day without reaching a definite conclusion. The root of such controversy lies in Aristotle's two treatises on rhetoric and poetry. In these two treatises, the general boundaries between these two techniques are drawn and their minor boundaries remain invisible. In this descriptive-analytical method, while examining the commonalities and differences between the two rhetoric and poetry techniques, the present article tries to study the separation of their specific rhetorical techniques based on the two treatises of rhetoric and Aristotle's poetry. This article concludes that the art of rhetoric and the art of poetry, in addition to the commonalities and differences in generalities, components, materials, types, theologians, audiences, and styles, have more to do with the use of rhetorical techniques than the sharing of materials and differences; That is, the working materials of these two techniques Are generally common, and the purpose of using these materials in them is different.

One of the benchmarks and tools for investigating the elements of the art is "stylistics", in which the study of literary instruments and rhetorical elements in the language of poets is one of the most accurate and metric methods for the understanding and drawing of poetic images. This quantitative-statistic based, first analyzes and compares two groups of single literary techniques (simile, poem, metaphor, metonymy, and amphibology) and combined Techniques (metonymy metaphor, metonymy amphibology metaphor, simile metonymy amphibology metaphor) in five hundred bits of two logical and ritualistic Masnavi (Mosibatnameh and Mantegh Al-teir) and then in the same amount of Rumi's MasnaviManavi and then analyzes them. The results of the research indicate the magnificent rhetoric of Mosibatnameh among the three Masnavi according to using the combined techniques. The amount of Rumi's usage of the single technique "metonymy" and "metaphorical" is so impressive that, taking into account the totality of dingle techniques, MasnaviManavi is better than the other two. But in the field of combined techniques, the MasnaviManavi has the lowest frequency, and it can be said that Rumi has little desire to take advantage of these techniques. However, in the combined section of single and combined techniques, it is considered to be at the higher level than the Mantegh Al-teir and at the lower level than Mosibatnameh. The Masnavi “ Mantegh Al-Teir” in the single techniques section is the least-productive work and is lower than the other two works, and it is considered to be at the higher level than the MasnaviManavi and at the lower level than Mosibatnameh. But in the total number of single and combined techniques, it is lower than two other masnavi.

Most of the Hafez’ s poems are rhetorical criteria that appear in the field of "language" and "meaning, " and lead to the perception of the audience to layers beyond the initial level of expression. Hafez provides a complex process for expressing his artistic expressions that we can now explain in terms of semiotics. To explain this, the specific views of Umberto Eco in semiotics are very important. The adaptation of his view on Hafez's poems can provide significant theoretical bases for the semiotics of Hafez's poetry; In Eco's view, "role of the sign" has an implicit concept and acts as a link between the form of expression and the form of content. This concept can, in general, also be a kind of linguistic rhetoric; In the present article, an attempt is made to study the two signs of "Mohtaseb" and "the world" in a descriptive analytical research in one of the famous sonnets of Hafez based on the echo denominational approach. The research results indicate that Hafez uses concrete signs in his literary and contemporary atmosphere to express his poetry's thoughts and realms; his use of these signs is not limited to the exterior level of the language, but he tries to do so by the means that we can use it. Consider the functions of a sign to create a much wider scope and find a multi-dimensional area that is worthy of attention in both rhetoric and meaning.

Every poet have a dominant stylistic and linguistic aspects in their works and this aspects, usually repeat and build their poetics. Khaqanishirvani is one of the Iranian stylist poets and have a private poetic. Rhetoric and imagery originality is the two dominant elements in his poem and is a fixed Principles and criterions in evaluation of his poem. Khaqani’ s poems is one of the exquisite works in Persian literature and exist some manuscript from this divan. This work as yet, corrected by some author. Each one of this corrections have a both the weak and strong points. One of the fundamental reasons of non-methodical and accurate correction of this work is no recognition of the original manuscript. This reason, led to the correctors replace the choices of other invalid manuscripts and made a mistake. In this essay, will be try based on a measures as rhetoric and imagery originality, khaqani’ s poems to be evaluated. Then validity and originality of manuscripts of khaqani’ s poems according to these criteria’ s to be measured. The investigation in khaqani’ s poems from this perspective to prove that London manuscript is the original manuscript of khaqani’ s poems. The recognition of London manuscript as an original manuscript of khaqani’ s poems help to authors and correctors to supply a methodical correction from this divan

Rhetoric is one of the fields in which its artistic use has a prominent stand in the verse contexts. Each poet or writer has used it to beautify his work and attract the audience based on their needs. Shafiee is one of the poets who used the science of rhetoric thoroughly with complete coherence in his sonnets, and included the secondary intentions of each section well and carefully in his poems. He has put indicative and originative sentences by regarding to grammatical rules carefully and using knowledge of rhetoric in the interior of his sonnets. And he has made intelligible of what has considered as a secondary meaning. The use of Siege and palace beside the connection and season with sub-collections of each one has doubled the beauty of his sonnets. In this research, the author has used an analytical-descriptive method to extract exemplary evidence about the knowledge of rhetorical in the poet’ s sonnets. The following attempt is made to introduce it in brief.