LITERARY ARTS
Year:2015 | Volume:6 | Issue:2 (11)|Papers Count:12

Vocative is a role that noun accepts it and usually used in Persian language with interjection letters i.e. “Ey”, “Ya” and “Alef” that is attached to the end of the noun.By combining the definitions that have been mentioned for vocative in grammar books, it can be concluded that vocative is a noun that is addressed; whether it is a real address or figurative. The verbal symbol of vocative is “Ey” and its synonyms in sentence that sometimes these symbols are deleted from sentence and the change of word's song is replaced it. Vocative and more precisely the core of vocative may be deleted from the sentence.

The importance of stylistics in examining the texts has resulted in the burgeoning of various stylistic schools, with their differing methodologies.Among them, structural stylistics-which is the more polished version of formal stylistics-looks over the structure of words, sounds and syntax in the text and then focuses on their relation to the content. In fact, structural stylistics, drawing upon the structuralists views, is formed on the basis of structural linguistics, and works to analyze a literary text with regard to its organic unity and the inter-relationship of the parts to the whole. In other words, the main purpose is to approach the content of a work through its form and structure. In this method, stylistic features of the work are recognized through understanding the structural proportions between sounds, words and syntax. Accordingly, the structuralists regard the style as the manner of deviation and extra-regularity and the frequency of its occurrence in a particular era.

Literature as a verbal medium containing human characters is full of non verbal signs such as body language. Use of this indicational language in the Shams's sonnets is considerable.Mowlavi in this work, mostly for preserving sanctum of character, specially Shams, has described his gestures in various position, utilizing of body language in symbolic way. So, taking care of them, one can understand the response of addresser into addressee and assess his place and sense into him on the basis of discourse approach.This article consists of an introduction and three parts. Introduction and the part of problem statement involves defining the problem, questions, hypotheses and background of research. After introduction, the theoretical basis for research has been mentioned. In this section, we discussed non-verbal signs and body language, researchers’ ideas about the role of body language in literature and kinds of nonverbal signs. Then we spoke about methods of applying body language. For this purpose, non-verbal signs including a kind of visual, phonetic and symptoms related to the physical distance have been studied and then semantic range and frequency of repetition of each item have been determined. Main part of this article is dedicated to analyzing the data obtained from ghazals.

Diversity of suffix ‘-i’, called ‘ya’, in Persian language, which is of important consideration, for any reason, has not been able to attract scholars and grammarians in the field of Persian language. Here is an attempt to mention different kinds of ‘ya’ and to explain their applications, relying on grammar books, dictionaries, and today native application. The character generally has three types of applications in Persian language. It is firstly one of the Persian alphabet, so it primarily functions as a ‘phoneme’. It is applied in its second function when appears in the form of ’morpheme’, such as ‘-i’ in ‘mardi rad shod’ (a man passed) with usage of indefinite article. The third function appears when it comes in the place of a word, because it is one of the six types of pronouns. So, ‘ya’ is applied in three forms: phoneme, morpheme and word. In continue, it is attempted to explain these kinds in more details.

Caesura is a pause in a line of poetry that were used primarily in Greek poetry and moreover in the poetry of most indo- European languages: Latin, Sanskrit, Avestan, German and old English.Although in Persian prosody, Caesura has an important place; critics have paid little attention to it and consequently, its relations with prosodic meter of Persian poetry remains unclear. In first view it seems that the main situation of caesuras in Persian prosody is between two hemistiches of line or in middle of hemistiches with cyclical (symmetrical) meter; but in this study we tried to observe other inter-hemistich caesuras. The principle question we follow is the functions of caesura in Persian prosodic poem. We tried to prove that caesura is rarely the basic element of meter and in most cases, its main assistant.Primarily, we recognized caesuras in two kinds of meter: meter with obligatory caesura (that caesura is the main factor of its rhythm) and meter with voluntary caesura (that caesura is an assistant of its rhythm).

Poetic figures of speech are among the factors which their prominence in a poet’s poetry makes up his/her specific style. One of the figures of speech and poetic techniques is allusive figures of speech or amalgamated allusions. As the name entails, these are types of figures in which allusion is located at the center and amalgamates with other figures. Such amalgamation brings about a novel complicated figure of speech.One special type of allusive figures of speech is an allusion which is occasionally amalgamated with metaphor and ambiguity, and at times in addition to metaphor and ambiguity with simile. The origin of this figure, which is recently referred to as “metaphoric ambiguous allusion, is traced back to Hakim baz in Persian literature.Although, poetry of Hafez is replete with metaphoric ambiguous allusion, it is considerably ubiquitous in Indian style in a way that its ignorance especially in Saeb’s poetry implies the denial of one of its foremost stylistic qualities.

Tazkares (anthologies), besides being one of the most basic research sources in literary sciences and being among original historical cultural sources, have generally artistic values due to their literary content and skill of their authors. Moreover, since they are sequential sources and under the influence of previous works, they also follow explicit and implicit criteria and patterns which sometimes promote them even to the level of a genre. Finding structural criteria and generic patterns of Tazkares is not an easy task because the nature of literary Tazkares is to some extent non-literary and overlaps with history and other human sciences and always wants to return to its main non-literary origins.On the other hand, since poetry and literature have been super-media in the classic world and consequently various groups of people in different periods liked them, an enormous fair of them has come into existence throughout time which has had different color and description for its customers and visitors. This matter creates many problems in the so-called literary decadence period. Due to this, generic criteria of Tazkares either remained unknown or were forgotten after the appearance of non-poets.

Kholasat ol-Maqamat is a manuscript on spiritual stations of famous mystic and Sofi, Sheikh Ahmad Jam. This manuscript has been written by Ab ol-Makarem Ibn Ala’ ol-Molk Jami, one of Sheikh Ahmad's descendants, in the time of Shahrokh Mirza’s reign (840) to whom that manuscript was presented.The style of this book is similar to that of Asrar ot-Towhid and as it appears from its name, it is a concise of some books on maqamat written in Sheikh Jam's time.Therefore, maqamt is a name applied generally to papers written about spiritual stations of special characters. Historically, it so happened that this work probably belongs to Sheikh Ahmad's time, because at that time or afterwards some books have been written on his spiritual stations which we will point out. We believe works of this kind which has been written afterwards, such as Asrar ot-Towhid on Abu Saeed' s spiritual stations are affected by the method of maqamat-writing in the time of Ahmad Jam, and Kholasat ol-Maqamat is an anthology of early works on this subject.

Kelile and Demne is one of the most salient samples of Persian technical prose rhetorical and semantic figures and figures of speech namely simile, metaphor, metonymy and irony are among the stylistic features of this book. Among these, simile, as the most influential imagination tool, play a dominant role in the illustrations of the book. In this article, simile has been analyzed and investigated in all its variations in Kelile and Demne. In this book, simile appears from its most laconic form (eloquent simile) to its most extensive form. But the major feature of theirs is their outspokenness, explicitness and sometimes their novelty. Among the likening components, the range of image vocabulary is one of the likening features in this book. Also the point of similarity has been usually abstracted from man's states, shape, place, space, volume and generally affairs concerning visual and tactile senses. So, its perception is not too much difficult. The variety and extension of likening vehicles in this work are worth of contemplating.

Tamsil (allegory), which has been mostly inspired by religion and myth, forms a great part of the mystical verses of Persian classical literature. Tamsil (allegory) is mainly defined in literature as an anecdote used for explaining and interpreting mystical and moral beliefs. Besides, Tamsil is considered as a sample of didactic and imaginary literature. Molana’s language and expression is more of symbolic allegory (Tamsil e Ramzi), a kind of allegory presenting a character, a thought, an event or a happening in the tangible world on the one hand, and explaining a topic beyond this appearance on the other hand. Such allegorical stories are both pleasurable and influential. Furthermore, they help to simplify the concepts and ideas which are a little complicated to the lay mind. As Shafiei Kadkani puts it, Tamsil can be used to refer to what western rhetoric calls allegory, and it is mainly used in the field of narrative literature.