JOURNAL OF STYLISTIC OF PERSIAN POEM AND PROSE (BAHAR-E-ADAB)
Year:2021 | Volume:14 | Issue:1 (59)|Papers Count:12

BACKGROUND AND OBJECTIVES: Paradox is one of the factors of unfamiliarity and prominence of words in poetry. This literary technique has been used more or less in Persian literature since the sixth century AH and in the tenth century AH, it has become a prominent feature of the Indian style. This face of imaginary faces that appears in the poems of Kaleeme Kaashaani with considerable frequency, leads the reader’ s mind to discover the relationship between two seemingly contradictory words, to be able to take special pleasure in receiving the new semantic load of words and to understand how the hidden truth behind this contradictory appearance causes incompatibility between incompatible parties. The present study has examined the paradox in the collection of poems of Kaleeme Kaashaani and has analyzed various effects according to four perspectives: ‘ content, aesthetics, mysticism and the distance and relationship between the paradoxical parties “ METHODOLOGY: This research has been done by descriptive-analytical method. FINDINGS: One of the most important reasons for the existence of paradoxical images in the poems of the mentioned poet is the expression of high mystical meanings and truths, especially cases related to poverty, prosperity and unity of existence, which often have abstract themes and contents, and ordinary language cannot express them. In general, recognizing paradoxes and interpreting them, makes us more familiar with Kaleem’ s poetic thought and language and of course it helps in understanding the style, concept and thematic and contentic features of his poetry collection. CONCLUSION: The result of the research show that from the content point of view, more than eighty percent of the paradoxes in the poems of Kaleem are interpretive ones; from an aesthetic point of view the combination of paradoxes with expressive techniques is more frequent than novel; in terms of distance between the two sides of the contradiction, most of them are documentary; at the same time, Kaleem has used paradoxes to express mystical issues. In general by using this rhetorical technique, the language of Kaleem has been highlighted and achieved a stylistic identification.

BACKGROUND AND OBJECTIVES: The discourse genre is a continuum between speech and writing in which the elements of behavioral and written forms of language are intertwined. The language used in Shams’ articles is a special language and somewhat different from the language of the texts of the previous period and of course the later periods. A speech in which the speaker did not bother to write, record, edit and modification the speech and other author or writers have written the speech. The present article aims to introduce the writing style of Shams’ articles, which is very special and interesting in the Persian written tradition and in the phonetic, morphological and syntactic layers of language units and then, in summarizing as much as possible, distinguish the spoken boundaries of Shamse Tabrizi’ s articles from the written aspect and its criteria. METHODOLOGY: This research is based on descriptive-analytical method. FINDINGS: Shams breaks the monotonous and repetitive process of mystical texts by deconstructing and presenting a new discourse of linguistic structure and meaning and pays attention to the functions of language that were less noticed before him and in fact acquires a personal language. CONCLUSION: The text in the phonetic layer, the processes of homogeneity, change and deletion, and to some extent the phonetic process of the types of changes in pronunciations, the mixture of written and spoken language, represents in Shams articles. In the morphological layer, also the name of sounds and in a few cases the nonsenses and in the syntactic layer, style, mixing speech and writing in the type of usage of verbs material, verb indentifiers, personal pronouns, verbs of an indentifier, repeated syntactic construction and omissions in the syntactic structure of sentences taken place, is visible. In all linguistic issues and in the mentioned stylistic layers, the quantity of fusion of spoken and written types of language in the discourse genre of Shams articles has been considered. The syntax of Shams’ sentences is unique. He expresses the question sentences with the same tone of speech, there is a lot of movement and behavior in his words and hand and hand gestures. The melody of his sentences with face and hands expressions, makes the presence of the speaker in his words much stronger and bolder.

BACKGROUND AND PURPOSE: The text of the Shahnameh despite the common perception, is not a uniform text and if we accept the views of some Shahnameh scholars on the division of Shahnameh into two parts, mythological and historical, it can be said that in addition to the subject from a stylistic point of view, there are differences between these two parts. METHODOLOGY: In this research, which has done by analytical – descriptive method, nearly two hundred verses of the two mentioned parts were linguistically examined and compared. The verses have been selected in such a way that from the beginning to the end of Shahnameh, with the exception of Daghighi 's verses, after every thousands verses, four verses have been selected and examined. The obtained statistics are presented and analyzed in three branches of linguistic stylistic, namely phonetic, lexical and syntactic. FINDINGS: Relying on the study of verses that were selected from two parts of Shahnameh and analyzed, it can be said that this book, contrary to some theories based on its uniformity, does not have a unified structure and from a stylistic point of view, at different linguistic, intellectual and literary levels, there are significant differences in it. In other words, the separation of Shahnameh into two parts, mythical and historical, is not only discussed by the themes, rather, Ferdowsi's different language and style of expression in each of these two sections is the basis for separation. CONCLUSION: The research results confirm the aforementioned assumption. Phonetically, the differences indicates the variety and musical and phonetic strength of the first part compared to the second part. Literally, the first part has an older color than the second part by having ancient words and names and using more prefix verbs. At the syntactic level, the precedence of verbs and additional group is effective in blowing the epic spirit to the first part and distinguishes it from the second part.

BACKGROUND AND PURPOSE: The book of ‘ Ghorare Dorar ‘ , the work of ‘ Abu-Al-Barakat Hosseini Samarkandi ‘ ( alive in the second half of the fifth century AH ) is one of the moral-literary texts that despite having instructive anecdotes from the beginning of Islam and the speech of the elders of the people, from the Prophet and his companions and Imams to the saints and elders, unfortunately, after centuries of writing and having valuable manuscripts, it has not been corrected and published. The purpose of this study is to examine the stylistic features of this book at three levels; linguistic, literary and intellectual. METHODOLOGY: The present research has been done with descriptive-analytical method and library tools. FINDINGS: By examining the elders and professors of his narration and the period of their life and year of death and the personalities mentioned in the book, it was discovered that the author of the ‘ Ghorare Dorar ‘ was born in the fifth century AH. Examining the stylistic features of the book, it became clear that the author did not go beyond the standard language of that period in writing his book. CONCLUSION: The prose of the book is simple and sent, away from special techniques and special verbal restrictions and free from any artificiality and obligation. From a doctrinal and theological point of view the author can be considered a Sunni Sufi who has had a special devotion to the family of the Prophet (peace be upon him ). In terms of structure and content, the book has been compiled in the style of ‘ Tanbih-Al-Ghafelin’ by ‘ abu-Al-leithe Samarkandi’ .

BACKGROUND AND PURPOSE: The richness of hers in literature provides the ground for the study of the system, laws and cultural and social values of the past and literary works reflect the social and cultural characteristics and express the values and social basis of their time. One of the most serious areas that reflects social and cultural issues is mystical literature. In fact, mystics I’ ve always mixed their views on the issues of the surrounding society with the spice of Mysticism and Sufism and in order to improve the relationship between the creature And the creator and worshiper and worshiped, They have tried to improve social and moral relations and by making human beings aware of their Divine principle, they could really use the anomalies of society, In this research with a descriptive-analytical method, Masnavi Manavi, Persian mystical literature, has been studied from the perspective of addressing social issues. METHODOLOGY: This descriptical-analytical Study has tried to identify the intellectual level of Movlanaa in relation to the social components and issues in the Masnavi Manavi. Data collection in this study was done through library activities and part of the content of the article in this product of the authors personal reflection. FINDINGS: Mollaye Rumi Has presented most of his social criticisms in the form of allegory and comic or smut stories. He has probably taken this approach, given the wide range of his audience, as well as his out-of school and formal education. Of course, the avoidance of outspoken criticism du to political Circumstances can also be added to these reasons. CONCLUSION: Moolanaa Usually in the hidden Layers of allegory, has Express his views of this organized society and his position on various issues such as: Oppression, injustice, bad religion, bigotry, Poverty, amassing wealth, ambition, theft, Bribery, sexual perversions, unemployment, prostitution and perversion of Sufis and jurists.

The Simile is core and axis of more imagery; and through which you can understand the artist's mentality and worldview and recognize the environment of his life. The climatic simile is a simile that its main elements, specially "tenor" and "vehicle" are climatic elements which taked from Poets' climates and environments. The problem and subject of this research is quality of the reflection of climate on climatic similes of Lorestan poets, especially on their "tenors" and "vehicles. So in this article, the reflection of climatic similes in the poems of 6 Lorestanian poets have analized and compared by an analytical-descriptive method. The results show that: the vernacular poets' works are richer than others in climatic similes. The climatic similes have notable frequency and include herbaceous covering in boath of men and women, but any of these groups notice to special sides of climate. Among the climatic similes used in the works of the poets, the similes which related to nature, including vegetation and trees, animals, landscapes of nature and the professions and jobs of Lorestan in the works of male poets have more prominent, and mention some natural elements. but in the climatic similes contained in women's poems, the influence of Lorestan's culture and customs has become more apparent. And some of these similes have symbolic dimentions.

BACKGROUND AND PURPOSE: Revival of manuscripts is an effective step in understanding the cultural and literary heritage of each ethnic group. The progress and exaltation of any nation is not possible unless they are aware of the history of their literature and culture. Therefore the transfer of the works of the past in a correct way and away from the intrusion and occupation is one of the cultural necessities of any society. The manuscript of ‘ Lesaan-Al-Dhaakerin ‘ by ‘ Raathi Naaeni ‘ is one of the manuscripts of the prose of the twelfth century AH, which has not been corrected and published until now, and has been registered in the library of Goharshaad Mosque under number 548. This study while providing explanations about the content of the manuscript of the mentioned book, examines its most important stylistic features at three levels; intellectual, literary and linguistic. METHODOLOGY: This research has been done through content analysis and library tools. FINDINGS: The subject of this work is related to the tragic events of Karbalaa and a brief account of the circumstances and virtues of the Pure Imams along with Persian poems by author and is the type of ‘ murder ‘ . CONCLUSION: This work with a simple and beautiful prose in the form of rhythmic and eloquent phrases, mixed with many poems and verses, most of which are from the author, along with the adaptation of numerous Ayehs and Hadiths, describes the calamities that befell the Pure Imams. Numerous words games of the author with the names of the companions of seyyed-al-shohadaa in the forms of puns and ambiguity are the prominent features on this book.

BACKGROUND AND PURPOSE: Literary works have long been one of the main sources for studying and analyzing the political and social issues of past societies, Authors, as a conscious stratum of society, have reflected these issues in their works. Among these celebrities are” Khajeh Nizam-Al-Molk” , “ Muhammad ibn Ghazi Multiwi” , “ Zohiri-Samar-Kandi” and “ Ishag ibn Ibrahim Sajasi” who lived between the fifth and seventh centuries AH and were acquainted with the real life of the society of their time by attending at politics, positions, or meeting and communicating with Persians related to politics and society. This research studies the social issues reflected in the books of “ Syaasatnaameh” , “ Rozah-Al-Oghoul” , “ Sandbaadnaameh” and “ Faraed-Al-Solouk” and examines social issues in the forms of components of social justice and women and their functions, and shows that he extent to which the authors pay attention to these components and their characteristics. METHODOLOGY: This research has been done in a documentary manner with quantitative and qualitative analysis. FINDINGS: In the four mentioned works, the attitude towards social justice and women’ s affairs is almost the same. CONCLUSION: Attention to the component of social justice in the book, “ Syasatnaameh” Is more among these attention to oppression and litigation is significant and in the other three books, more attention is paid to supporting the deprived. In terms of women’ s issues, the author of” Syasatnaameh” has paid more attention to women’ s irrationality and the author of” Faraed-Al-solouk” had paid attention to women’ s modesty and fidelity, in “ Sandbadnaameh” , too, the frequency of referring to low-mined and capricious women is higher and in the “ Rowzah-Al-Oghoul” low-mined, capricious and wise women, the same frequency is raised.

BACKGROUND AND PURPOSE: “ Tazkareh Seyr-Al-Awlia “ was written in the eighth century AH by seyyed Mohammad Ebn Mobarak Alavi Kermani, nicknamed Mir-khord, in the biography of the elders of the Chishti sect in the Indian subcontinent. this book, in terms of antiquity and authenticity, is the source of valid memories and biographies of the history of the Chishti sect. the purpose of this article is to study the style and content of four copies of this work in three linguistic, intellectual and literary perspectives with the aim of achieving the author’ s success in following the Khorasani style. METHODOLOGY: This research is based on descriptive-analytical method. FINDINGS: One of the features of “ Tazkareh Seyr-Al-Awlia “ is the author’ s effort to follow the Khorasani style, which he has tried to be close to both in terms of words and expressions and in terms of content. CONCLUSION: from a literary point of view, with the use of literary techniques in the field of the science of rhetoric, this work approaches poetic prose and the book is based on praise. At the linguistic level, it has multiple prose and in the lexical part, it often uses Arabic words and compounds. At the intellectual level, it owes more to its predecessors. In general, the author’ s work is based on imitation.

BACKGROUND AND PURPOSE: One of the most important concerns of political thinkers is to determine the end of political affairs. This process is very important because it provides a basis for identifying institutions and is providing a benchmark for evaluating political institutions and discovering legitimate ways of exercising power. The main importance of this article is that the analysis of the text of Shahname as one of the ancient Iranians along with its comparison with modern political theories, can localize political knowledge in areas related to end of political affairs in Iran will help a lot. For this purpose, in this study, we seek to answer the question that what are the similarities between the Shahname as one of the first-hand sources of the political affairs in the way of governing and how were they implemented? METHODOLOGY: In order to study and realize this matter and understand what is the end of political affairs in Shahname and its intellectual system, the method of reading the text and interpretation is used to study and explore the ends of political affairs in Shahname. FINDINGS: In this area, the history of reflection on the end of political affairs in Iran dates back to the time of Zarathustra and Avesta and then the political thought about the aforementioned in ancient Iran is expressed in the form of Andars-naameh and Khodaay-naameh. Meanwhile Ferdovsi’ s Shahname, as one of the ancient Iranian Khodaay-naameh that turned from prose to poetry after Islam, expresses the political thought of Iranians about the end of politics. CONCLUSION: In Shahname’ s system of political thought, several political ends have been drawn in line with new theories of political science in the religion of governance, such as security, welfare and prosperity, education and improvement of citizens, freedom and democracy, justice and protection of class bases which all very systematically are depicted in Shahname propositions for the efficiency of leading the country and the well-being of citizens and by implementing those, the excellence and happiness of the society will be achieved.

BACKGROUND AND PURPOSE: Translation Of religious texts has a special theoretical foundations due to the special feature of these texts. These texts are divided into revolutionary and non-revolutionary categories, that the sensitivity of each is different from the other during in the translation. The book of Nahj-Al-Balaaghah is one of the non-revolutionary Islamic religious texts due to the position of this work among Iranians, more than 50 Persian translations of Nahj-Al-Balaaghah have been made so far. However, use of these translated texts is more than the field of meaning and the translator is usually unable to convey the linguistic, expressive and literary subtitles of the original text. Translation of Nahj-Al-Balaaghah, which is based on the language abilities and needs artistic applications, requires significant linguistic, literary taste and artistic ability. The aim of this study is to investigate the poetic translation of Omid Majd from Nahj-Al-Balaaghah in terms of the use of expressive techniques in it. The main question of this research is how much and how do use expressly techniques and then mentioned translation according to their main text of Nahj-Al-Balaaghah is done. METHODOLOGY: This research has been done by descriptive-analytical method. FINDINGS: What is translation of Omid Majd from Nahj-Al-Balaaghah In comparison with main text, the translator has used expressive techniques and he’ s pretty translation in three ways: alignment and matching of expression techniques with the text, creativity and translating expressive techniques and addition of expressive techniques in the translation process. CONCLUSION: Majd has tried in his translation of Nahj-Al-Balaaghah In the section of expression, to reflect the emotional images and manner of expression of Imam Ali. This success is evidence in then use of similes, metaphors, allusions, allegories and other rhetorical techniques in this translation. The translator has tried not to damage original text and delivery of the message, transfer the original text to the second language by using various forms of imagination.

BACKGROUND AND PURPOSE: The emergence of Khayyami's thought in an educational-social work is neither compatible with the custom of educational literature nor with the custom of Khayyami's thought. In particular, one end of some of Khayyam's teachings, such as the tail, is to seize and windmill is far from the goal of educational literature. The essence of Khayyami's thought is taboo and immoral; Hence, Khayami's discourse is rejected in Islamic society. The most frequent themes of this idea are the reflection on the issue of death, which is also seen in Bustan, like Khayyam's quatrains, in allegories such as going to the cemetery, talking to the head, lifting grass from the grave, and digging bricks from the grave; Also, from Badastaism, the tail should be mentioned as booty, choice and astonishment and doubt in existence, the Creator and the world after death, and determinism, which have traces of debauchery and drunkenness. The main question of this research is whether these themes have been updated in the opportunity park and in this case, what is the purpose of them? Is this goal in line with Khayyami's idea or not? METHODOLOGY: This article has been done by descriptive-analytical method. FINDINGS: Saadi invites society to liveliness while warning of punishment after death, to enjoy this world while paying attention to that world, and to pay attention to collective rather than individual benevolence CONCLUSION: This article shows that the reflection of Khayami's thought in the park has not only been modified, but has become precisely a moral issue and as a result has lost some of Khayami's function. Saadi's thought in Bustan is far from Khayyami's thought because of his religious-moral, functionalist view and invitation to feel responsible for each individual in society, attention to the afterlife, and utopia.