سبک شناسی

 Layered Stylistics is considered as one of the new approaches in linguistics, which can be used to determine the frequency of literary works, especially poetry. As one of the important elements of an ode, the condition plays an influential role in the creation of odes and is considered one of the main elements of the ode structure. Examining the rhetorical stylistic layer and aesthetics of the condition in odes is one of the approaches of researchers to examine the worldview of poets and also to understand the different intellectual angles of the ode.

The present study, using a descriptive and analytical method and using the tool of library study, examined the rhetorical layer of the expression of conditions in the odes of praise of Persian poetry by six poets, Saadi, Fakhr al-Din Iraqi and Kamal al-Din Ismail in the seventh century and Salman Sawji, Ubaid Zakani and Ibn Yamin in the eighth century AH.

The sharitha, which are one of the main elements of the ode, have rhetorical-declarative layers, and during these sharithas, poets in the seventh and eighth centuries used literary art and beauty to better demonstrate this element and used various rhetorical techniques such as simile, metaphor, allusion, and alliteration to convey their words.

The results of this research show that poets in the seventh century paid less attention to sharithas and used fewer expressive elements, but in the eighth century, poets have more laudatory odes and used many expressive techniques, especially simile and allusion, to describe their praised person in the sharithas of odes.

Mind and language are two important elements of the essence of poetry that are inextricably linked to each other. The poet"s intellectual system is explained in the form of poetry using his language and organizes his poetry. Sana"i Mashhadi is a lesser-known poet among the poets of the tenth century AH who has attracted the attention of scholars and writers due to his special poetic characteristics and innovations and his special way of expression; so much so that he has been considered one of the founders of the Indian style.

The present research method is descriptive-analytical, which was carried out using library documents and resources based on the texts and poems of Sana"i Mashhadi and seeks to answer the question: What were the most important features of Sana"i Mashhadi"s Divan from the perspective of mind and language?

Based on the findings of the research, Sanai Mashhadi is considered a pioneer poet in the Indian style who played a prominent role in the development and evolution of this style. Many features of the Indian style can be seen in his divan. The most widely used format in his divan is the "ode". In his poems, he has been able to use the linguistic possibilities of poetry well and use them to explain topics such as praise, descriptions, romance, etc.

Sanai Mashhadi has benefited from the capacities of the Persian language for word formation, composition, and creation of new and original images. He has used the common rhythm of the Persian language and has observed the side, internal, and external music; themes such as: praise of the Prophet and the pure Imams (AS), praise of kings and commanders, boasting, descriptions, romantic and mystical themes are among the most important and frequent intellectual themes in his poetry.

Shams al-Din Mohammad Asiri Lahiji Noorbakhshi was an Iranian mystic in the 9th and 10th centuries AH. His poetic characteristics have been less studied; the study and research into the Lahiji style reveals the evolution of the Persian poetic style in the late 9th century AH. Therefore, in the present study, an attempt has been made to examine the stylistic features of the Masnavi "Asrar al-Shuhud" at three levels: linguistic, literary, and intellectual.

Given its theoretical nature, the present study was conducted using a descriptive-analytical method and based on library and electronic studies. The target population and scope is the book Asrar al-Shuhod by Asiri Lahiji, with the correction and introduction by Seyyed Ali Al-Dawood.

The language of Lahiji's poetry is simple and fluent. Linguistically one of Masnavi weight has been observed in composing this Masnavi. In this Masnavi, ancient vocabulary and linguistic features are rarely found. Love is the poet's main theme. The widespread repetition of the word love is evidence of its importance in Lahiji's ideas and in Islamic mysticism. From a literary perspective, simile and metaphor are the most frequent rhetorical techniques in a poet's words. The frequency of "allusion of verb" is also higher than other allusions. In this Masnavi, Lahiji has dealt with the themes of Islamic mysticism and morality, in line with the intellectual characteristics of the Iraqi style. His poetic language is simple and fluent. It seems that Lahiji has benefited greatly from the verses with Radif in this Masnavi. The main reason for the high frequency of Radif in this Masnavi is to help enrich the external music of the work. In using puns, he has used its various forms, which shows the poet's proficiency in using similar words. The repetition of the word love in this Masnavi indicates the importance of this theme in Lahiji's style. From a literary point of view, considering the moral themes and the propagation of mystical beliefs, it seems that Lahiji has deliberately used simple similes that are more likely to benefit from mystical meanings than to create pleasure and aesthetic processing.

Linguistically, the Bahr-e-Ramal-e-Masadas-e-Mahduf (Masnavi weight) has been observed in composing this Masnavi. In Moradaf verses, the "verb Radif" has a higher frequency than the compound, verbal, nominal, and interrogative rows. To enhance the inner music of the poems, the poet has used the creative arts of repetition, phonetics, puns, alliteration, and contrast. In using puns, he has used various types of them, which shows the poet's proficiency in using similar words. The frequency of sensory-to-sensory and intellectual-to-sensory similes is higher than the other two types. Direct and detailed similes, due to their similarity to objects and features, have a higher frequency than other similes. But many of the similes in Asrar al-Shuhud are in the form of metaphors. The poet has used objects, nature, and human elements in his imagery. Most of the metaphors used to convey dynamism and greater understanding are metaphors of action. In allusion and omission of specification, the frequency of allusion to the verb is higher than that of allusion to the predicate and adjective. It is believed that the choice of this type of irony reflects the poet's logic in using common language to make the expression more eloquent in order to more easily understand moral and mystical concepts. Intellectually, Lahiji has devoted most of his themes to Islamic mysticism, including the teachings of the pilgrims, following the sages, Sufi ethics and morals, unity of existence, the perfect human being, extinction and survival, the mirror of manifestation, Dervish themes, submission and contentment.

This research aims to carefully examine and stylistically analyze the differences between the "masculine and feminine" grammatical gender of nouns within the lexically similar verses of the Holy Qur’an. Explaining and elaborating the lexical differences in this category of verses, as well as their intended purposeful meanings are considered prominent topics in Qur’anic Sciences. Many Qur’anic exegeses have overlooked the rhetorical and literary aspects of these alterations, though some authoritative Quranic commentaries and specialized sources have addressed this issue. The primary objective of this study is to answer questions regarding the reasons and modalities of these differences, as well as to clarify their underlying wisdom. Ultimately, this research seeks to provide a deeper understanding of the nature of these variations as one of the manifestations of the linguistic miracle of the Qur’an.

The present study is descriptive-analytical in nature, focusing solely on the differences in the "masculine and feminine" grammatical gender of nouns within lexically similar verses. The analysis and evaluation of these differences are conducted using various methods, including the study of the contextual flow of verses, the examination of the semantic and content-related relationships between consecutive verses, and the utilization of the "Quran to Quran" method to extract implicit meanings and enhance the understanding of the audience. The adoption of an analysis-oriented approach in this research has facilitated the examination of both the rhetorical elegance and linguistic structure of the Qur’an alongside the lexical variations. 

The results of the study indicate that the Lexically Similar Verses, in terms of the differences in "masculine and feminine" grammatical gender include eight prominent instances of noun differences. These instances, which appear to be expressed in various words, actually possess a purposeful linguistic structure and convey a message. The analysis and examination of these cases demonstrate that such differences are employed for specific rhetorical goals, including brevity, elaboration, emphasis, expressing individuality, and creating verbal and semantic harmony in the Qur’an. For instance, in some verses, the use of either the feminine or masculine noun not only serves to elevate the meaning of the text but also aligns the concepts with the context and overall structure of the Surah. All of these instances reflect the unparalleled linguistic richness and inner coherence of the Qur’an.Additionally, the semantic relationship between similar verses within a Surah can offer a new and more comprehensive interpretation of the Qur’anic verses. The use of combined methods for analyzing Lexically Similar Verses revealed further insights into the wisdom behind these differences. For instance, some instances of differences in the "masculine and feminine" grammatical gender of nouns are linked to the overall meaning of the verse and the general structure of the Surah. This connection makes it possible to understand the coherence and content harmony of the Qur’an, showcasing an example of its linguistic miracle.

The stylistic analysis of the linguistic differences in the Qur’an reveals that these changes are intentionally and meaningfully embedded within the Qur’an, each serving to convey deep rhetorical and semantic messages. In particular, the differences between the "masculine and feminine" forms of nouns represent a prominent aspect of the Qur’an that does not create contradictions, but rather has been carefully and subtly incorporated to enhance the understanding of Qur’anic concepts for the reader. This study confirms that these differences do not lead to complexity or ambiguity; instead, they contribute to a deeper understanding of Qur’anic concepts and strengthen the rhetorical messages of the Qur’an. By considering the context of the verses and analyzing the intertextual relationships between them, one can achieve a clearer and more accurate understanding of the linguistic phenomena within the Qur’an. These insights indicate that paying attention to the linguistic details in the Qur’an, such as the distinction between masculine and feminine nouns, can uncover the complexities and wisdom hidden within the Qur’an. These differences should be viewed as part of the linguistic miracle of the Qur’an, where understanding its linguistic subtleties can offer a deeper insight into its teachings and clarify all of its aspects.

The Divan of Bayani Kermani is noteworthy for its composition during the transition period of Persian poetry from the Iraqi style to the Indian style, as well as for Bayani’s emulation of Hafez’s ghazals in his mukhammas. The collection includes mukhammasat, qasidas, ghazals, and fragments. The primary objectives of this study are to introduce the manuscripts of the Divan of Bayani Kermani and to analyze its linguistic, intellectual, and literary characteristics.

The present research is a theoretical study conducted through library research using a descriptive-analytical approach. The study’s corpus consists of two extant manuscript copies of Bayani Kermani’s Divan housed in the libraries of the Anjuman-i Taraqqi-i Urdu Pakistan and the Topkapi Palace Library in Turkey.

Bayani Kermani was a poet of the late 9th and early 10th centuries AH. His Divan contains approximately 2,700 verses, and his poetry is often devoid of novel imagery. The qasidas in his Divan are panegyrics, while his ghazals and mukhammasat often convey lyrical and mystical ideas. The sole fragment and single-line poem in his Divan serve as chronograms written to commemorate the deaths of two unnamed individuals.

Bayani follows the lead poets in writing his poems. Bayani Kermani"s imitation is so intense that out of the 86 makhms in his divan, 84 makhms were written to Following Hafez"s sonnets and all the verses of these ghazals are guaranteed in his makhmsat. The expressive poems in praise of Shah Ismail Safavi and the theme of his dilemmas are often mystical thoughts such as leaving material ties, choosing the old and ascending to the upper world. His sonnets often contain lyrical themes such as love, glory and complaints from the beloved, playing witness, the pain of parting, and educational thoughts such as being careful, being careful of the world, seizing the opportunity of life and avoiding hypocrisy, and the only piece and verse of this work is History has been written.

Given the importance, necessity, and role of Persian poetry collections in reviving the texts left by past generations, and considering that the Divan of Shahne and the poems attributed to this poet have been less examined, conducting this research can hold significant literary importance and necessity, contributing to the introduction of this Iranian poet"s works to enthusiasts of Persian poetry and literature.

This article aims to investigate the stylistics of the Divan of Shahne Mazandarani using a descriptive-analytical method based on library resources.

Mohammad Mahdi Khan Shahne Mazandarani, known as "Shahne" (deceased in 1247 AH), was a poet of the 12th century AH from the village of Pazvar (Babol) and one of the dignitaries during the reign of Fath Ali Shah Qajar. Shahneh Mazandarani is regarded as a poet of the literary revival period, and his poetic style is similar to the Iraqi style. To date, no comprehensive collection of Shahne"s works has been published. A manuscript titled Divan Shahne by Mohammad Mahdi Mazandarani is available at the Library of the Islamic Consultative Assembly under catalog number 9102. This manuscript includes 55 ghazals, with the shortest containing five couplets and the longest containing ten couplets. Additionally, several incomplete ghazals are scattered throughout the Divan Shahne in single-line, couplet, and multi-line forms. The themes of Shahne"s ghazals encompass love, union, nature, beloved, separation, and more.

Based on the research findings, similes of a tangible nature are frequently employed in the Divan Shahne, while metaphors are used less often. The metaphors present in the Divan are primarily indicative. Various types of metonymy related to part-whole relationships are also prominently observed.

The main objective of this article is to analyze and examine the linguistic, intellectual, and literary levels of the Surabadi commentary by Abu Bakr Atiq Neyshaburi, as one of the prominent works of interpretation of the Holy Quran in the fifth century, and to present a clear picture of this book with a stylistic analysis.

The research method in this study is descriptive-analytical based on library studies and documentary methods and taking notes from five volumes of Surabadi commentary corrected by Ali Akbar Saeedi Sirjani. The examples and instances have been selected selectively from the text of the work and we have analyzed them in a systematic and statistical manner. In order to avoid procrastination and within the scope of this article, it has been sufficient to mention some evidence and examples.

The research findings indicate that Surabadi has given his prose special characteristics by utilizing phonetic features such as various substitutions, mergers, increases, decreases and reductions, deletions and inflections at the linguistic level, original Persian and Old Persian words, a small use of Arabic words, the use of synonyms and suffixes at the lexical level, and paying attention to features such as the use of adjectives, pronouns, absolute object and the use of prefixed, compound, supplicatory, prohibition, command, and negation verbs at the syntactic level. Surabadi"s sentences are simple and he has not paid much attention to Arabic words. On the literary level, his sentences are mostly unadorned and free from complex and remarkable imagery and are summarized in simple similes and metaphors. On the intellectual level, his tendency towards monotheistic beliefs, the vision of God, predestination and free will, and intercession can also be observed.

Our study of Surabadi"s commentary shows that the author has been more successful in the linguistic field at the three levels of linguistic, literary, and intellectual. Persian words, various phonological processes, abdal, Persian synonyms, and the use of ancient and original words are among the characteristics that well demonstrate his proficiency at the linguistic level.

Literature is the creative application of language. New linguistic sciences revitalize language, as words do not simply manifest with meanings that have existed for centuries. New ideas and innovative techniques explore the undiscovered mysteriesof a literary work. One of the modern approaches to uncovering textual beauty is layered stylistics. Layered stylistics is a contemporary method for analyzing literary texts. In the present study, the descriptions of Rostam in the story of Rostam and Esfandiyarare analyzed based on layered stylistics. Stylistic features are examined across five layers: phonological, lexical, syntactic, rhetorical, and ideological, while the content of the text is simultaneously analyzed. Hakim Abolqasem Ferdowsi is a renowned poet associated with the Khorasani style; therefore, his poetry serves as a suitable foundation for identifying the characteristics of his era’s poetry as well as Persian epic poetry. In the phonological layer, Ferdowsi utilizes the music of speech, syntactic rhythms, and pronunciation techniques. In the lexical layer, he artistically emphasizes words based on the characters and their varying meanings. In the syntactic layer, he employs diverse word arrangements. In the rhetorical layer, he achieves the pinnacle of eloquence and clarity by employing principles from semantics, rhetoric, and literary devices, without artificial embellishments. In the ideological layer, both consciously and subconsciously, he reflects his personal perspectives, beliefs, and the fundamental values of the Iranian people.

Qeisar Aminpour is one of the prominent contemporary poets who has created valuable and significant works in various forms of poetry. He has combined the stylistic and rhetorical features of classical and seminal poetry with his poems and has well understood and fulfilled the expectations of today's audience. In this essay, the literary arts that Qeisar Aminpour used in his poems especially and prominently and that play a role in determining his style have been criticized and analyzed. The research is based on using examples of these literary techniques in Aminpour's works and considering the views of experts and the author's perception of these rhetorical arts. The article concludes that the new and innovative thematization, innovative symbols and paradoxes, diverse and pristine defamiliarizations, and other rhetorical innovations of Qeisar Aminpour play a very effective role in the beauty and impact of his words. it is one of the main features of his unique style that completely distinguishes his poems from the other poets.

Abdul Baghi Nahavandi writes a preface to Diwan-e 'Orfi, which was compiled after his death. In this preface, he classifies the poets of his time based on the distinct poetical style. This classification, which is considered one of the first stylistics of Persian poetry, is essential in the studies of the history of literature and poetry of the Safavid era. In this classification, Nahavandi puts the poetry of Sanayi Mashhadi, Mili Mashhadi, Dasht-e Bayazi, and some other poets in the same category. Some researchers believe that Nahavandi mistakenly placed these three poets in the same category and made a mistake in recognizing the style of these poets. This essay proves the accuracy of Nahavandi's stylistics based on literary history sources.

Among the contemporary research, special attention has been paid to this introduction in two books: History of Literature in Iran (1369 SH) and One Hundred Years of Real Love (1395 SH). In both researches, after quoting the speech of Abdul Baghi Nahavandi, his style of knowledge has been criticized and evaluated. Safa and Fotoohi believe that Nahavandi was not accurate in the stylistics of the poets' poetry and its classification and did not distinguish the poets' styles from each other properly. In this article, we have evaluated the views of these two researchers.

In the first stage, we collected various reports about the life and poetry of these three poets from literary history sources in order to find out how the literary historians of the Safavid era evaluated their poetry. Then, we continued through the Diwan poetry of these poets and analyzed their poems.

Critics do not consider Nahavandi's stylistics correct for three reasons:1) The existence of disagreement and conflict between Vali Dasht-e Bayazi and Hossein Sanayi
2) Considering the styles of Sanayi and Voqu’iyan as equal
3) The combination of Tarze-taze (new style) and Voqu’ style in Mili, Vali, and Sanayi's poetry
Regarding the first problem, it should be known that the story of the dispute between Vali Dasht-e Bayazi and Hossein Sanayi was reported only in some Tazkirehs and it is not seen in the poets’ Diwan. It is said that Vali Dasht-e Bayazi and Sanayi wrote poems in mockery of each other, but the poem attributed to Sanayi is not found in his Diwan. In addition, the name of Sanayi is not mentioned in the poem by Vali Dasht-e Bayazi. Regarding the second case, it should be said that in addition to Nahavandi, other literary historians such as Mirtaqi al-Din Kashani also introduce these three poets as having the same style in their works and compare and evaluate their poetry; therefore, Nahavandi is not the only one who considers these three poets to be of the same style. Regarding the third case, it should be noted that there are different reports of the poetry style of these three poets in different sources. For example, the author of Tazkareh Kheyr al-Bayan considers the style of Mili Mashhadi's poetry to be different in the form of Ghazal and Ghasideh. Furthermore, the poems of these three poets also show that they wrote poems in different styles and their poems are similar in terms of subject and imagination.

Sanayi's simple lyrical poems, Dasht-e Bayazi and Mili Mashhadi 's imaginary poems, along with poems with common themes, show that these three poets were not in conflict with each other. The literary dispute between Sanayi and Dasht-e Bayazi, which is famous in the history of literature, is not seen in their poems; however, by looking at their poems we realize that these poets were inspired and influenced by each other. The fame of the phrase “contrast between the style of Sanayi and the style of Voqu’iyan” can be seen for two reasons. First, there is a common point of view in the poetry studies of the Safavid era, which divides the poetry of this period into two groups, difficult and moderate; the existence of such an attitude causes attention to be paid to only one aspect of the poet's style. Secondly, in the stylistic analysis of the poets' poetry, literary historians have generally paid attention to the outstanding and dominant aspect of each poet's poetry, while Nahavandi considers all the dimensions of the poetry of these three poets and rightly considers their poetry style to be a combination of Tarze-Taze (new style) and Voqu’ style.

The current research has been carried out with a comparative approach and shows that despite updating the headings of stylistics courses in the curriculum in Afghan universities, this course does not meet the students' stylistic needs as it should and does not provide the students with the stylistic skills to identify styles. There are 4 units of stylistics in the curriculum of Afghan universities; But this lesson is implemented with a knowledge-oriented approach.

This research was carried out with analytical-descriptive method and comparative approach.

By completing this course, students can learn the characteristics of some general styles and the basics of stylistics; But in the transfer of stylistic skills, using style analysis software, stylistic research or developing professional skills for students, defining the sources of stylistic income, contemporary text stylistics, stylistics and computers, and stylistics in non-literary texts, there are many shortcomings.

The shortcomings in the stylistics courses of the curriculum of Afghan universities can be solved by providing a part of four units to create style in the fields of writing, speaking, digital content, advertisements, production and analysis and content editing. and analysis of qualitative statistics using software, the practice of recognizing the style of contemporary texts, the implementation of stylistics using the computer, the practice of recognizing the style of non-literary texts, etc.

One of the benefits of promoting Persian language and literature in the Indian subcontinent was that many books were written in Persian on various subjects by the intellectuals and elites of that land. Some of the masters and writers of the subcontinent have left behind valuable books and texts in Persian on rhetoric, understanding poetry, and literary criticism. Jame ol-Sanaye val-Awzan (770-778 AH) is one of these works. This book was written by Seyf Jam Heravi for Prince "Fath Khan", the son of "Firoz Shah" from the Tughlaq Shahi dynasty. Jame ol-Sanaye is a valuable book on rhetoric and the beauties and faults of Persian poetry. Although this book is influenced by some Persian and Arabic rhetorical works, such as Hadayegh ol-Sehr, Haghayegh ol-Hadayegh, Meftah al-Uloum, and Talkhis ol-Meftah, it contains significant innovations. These innovations will be mentioned in their place. In addition, the book contains valuable information and points about understanding poetry and literary criticism, and it is clear that its author considers poetry superior to prose and also considers the power of poetry to be innate. He distinguishes between a "poet" and a "composer"; he is in favor of the idea that poetry should have the meaning; But for him, the beauty and coherence of poetry are also important. He also has some noteworthy and testable opinions about the poets' following of the great poets of the past. He does not like the issue of “permissibility” in poetry. He also has indicators for criticizing poetry. Jame ol-Sanaye is the oldest rhetorical work in which an attempt has been made to define the “style” (Tarz) and stylistics of Persian poetry. In this regard, after stating some criteria, the styles of Persian poetry have been divided into nine styles, each of which has been attributed to a prominent poet. Finally, according to Seyf Heravi, the style of Amir Khusrow Dehlavi (651-725 AH), both in prose and in poetry, is superior to all styles. This opinion, along with his laudatory descriptions of Amir Khusrow, shows that this poet had a high position in the subcontinent.

IntroductionThe Holy Quran, as a repository of knowledge and treasures of sciences, has always attracted the attention of scholars. In terms of content, it contains novel themes and in terms of rhetoric, it contains the most beautiful rhetorical techniques. One of the beautiful manifestations that is clearly and strikingly evident in this divine book is the vivid and original images that have been created through the use of multiple words and expressions, such that if the Holy Quran is viewed as a text, its verses can be weighed in a stylistic scale and its beauties revealed to the reader. Based on stylistic knowledge, this research attempts to analyze the stylistic features of Surah Al-Furqan and answer the following questions.What are the linguistic features of Surah Al-Furqan from a stylistic perspective?What is the structure of the literary features of Surah Al-Furqan from a stylistic perspective?  Research MethodologyIn this article, relying on the descriptive-analytical method, Surah Al-Furqan has been examined at the lexical, syntactic, and rhetorical levels.  DiscussOne way to prove the miracle of the Holy Quran is in its eloquence and rhetoric. Paying attention to the miracle of the Quran from the perspective of stylistics indicates that there is a close relationship between the beauty, order, and verbal rhythm of the Quran and its lofty meanings and concepts, and that syllabic and phonetic variables are accompanied and harmonized with semantic variables.  ConclusionIn this article, the stylistic features of Surah Al-Furqan were examined and analyzed at three levels: lexical, rhetorical, and syntactic. The results are as follows:- Understanding the stylistic features of the surah is directly and closely related to its ideological foundations. For example, the function of emphatic elements such as "amma" and "inn" and the style of swearing, which is at the syntactic level, is indicative of the ideological implications in the narrative context of the surah.-In Surah Al-Furqan, verses that have a single semantic context also have a single phonetic context.-The ideological layer is one of the effective principles in determining the structural form of layered stylistics; therefore, the ideological factor affects the syntax and the structure of sentences is transformed and marked under the influence of beliefs.-In this surah, imagery is used to establish the intended meanings in the mind of the listener or reader, and both types of virtual and real imagery are present in the rhetorical layer, such as simile, metaphor, and allusion.-In Surah Al-Furqan, sensory vocabulary has been used to make mental concepts more tangible so that the audience can more easily connect with the concepts.- The choice of words and vocabulary used in the sentences and phrases of Surah Al-Furqan is purposeful in such a way that each word is placed in its place in the sentence with its morphological structure.-The synonyms and antonyms used in this Surah all have a special message.- The words in Surah Al-Furqan are eloquent and free from rhetorical flaws, and the meanings of the words are harmonious with each other and have a coherent context in terms of concept.- The combination of words in the Holy Quran is based on their musical and spiritual subtleties, and even in the presentation and delay of the words of the Quran, there is a lot of wisdom, and there is harmony between the music of the words and their meanings.- In Surah Al-Furqan, it has been used at different levels to establish the intended meanings in the minds of the reader and listener, which affects the audience.

Since the birth of Islam, Persian literature has always benefited from God’s words and the Hadiths of the innocents (pbuh). In the mean time, the literary heritage of Islamic Sufism has provided rich sources of application of Quranic verses and hadiths. One is Majma Al-Bahrein by Shams al-Din Ibrahim Abarquhi (second half of the 7th century and the beginning of the 8th century of Hijri). He wrote Majma Al-Bahrein between 711 and 714 AH. In addition to its literary and historical value, this book is rampant of verses from the Holy Quran and various hadiths, especially the words of Prophet Muhammad (PBUH). The present essay, in the field of stylistics, focuses on the quality and quantity of their applications in Shams Al-din Ibrahim’s book.

We have obtained the required data of the following research from investigating the library sources and have scrutinized the data using descriptive-analysis method. The research path is that after the necessary introductions, first with a quantitative approach, some frequency measurements resulting from the complete investigation of the book have been carried out. It shows the standing of the verses and hadiths in this book. Then, we have examined the methods of using them in the book.

Majma Al-Bahrein exploits a lot of verses and hadiths used in borrowing (referenced and non-referenced) and hints methods. Abarqhuhi prefers referenced borrowing over non-referenced ones and hints. He has used borrowing more than a hint. In most cases, only a part of a verse or hadith that provided the author"s opinion appeared in the text. However, sometimes, as needed, he included several verses or hadiths in full and consecutively in his words. He usually mentions verses and hadiths in Arabic. However, sometimes, he uses their Farsi translation. In Majma Al-Bahrein, the dominant method of verbal communication is linking with "that". However, direct links, links with the help of compound simile structures, and quotations are also available in the book. In terms of propositional effectiveness, the most dominant purposes of his use of verses and hadiths are to complete the meaning, emphasize and confirm, bless and trust, explaining and describing, reasoning and justification, simile and allegorical explanation, warning and avoidance and inspiration, exemplification, and citation.

As a work in the field of mysticism and Sufism, Majmam al-Bahrein has a prominent link with the divine word and the words of the Prophet (PBUH). With the help of the literary devices of referenced or non-reference borrowing and implication, author has provided a successful management to create an effective text in which, based on a useful form and appropriate verbal connection, he has fulfilled his different purposes from mentioning the verses and hadiths.

Manuscripts of written heritage are from the heart of the history and civilization of nations and are of great importance because they introduce us to the culture and thought of the past. Through manuscripts, one can understand the history, thoughts and opinions of people of different ages. Examining the content and structure of manuscripts in any period and field can be an effective help in knowing the style, influential factors, knowing and promoting the scientific, cultural and intellectual achievements of different ages. One of these lasting written legacies is the manuscript of Mirza Mohammad Sil Akhbari"s collection of poems by poets and writers of the 13th century Hijri during the Qajar period. He is a Shiite and has many praise poems in praise of Imam Athar (AS). He is also one of the famous figures in the Qajar sources and has expertise in many sciences and has written numerous books on jurisprudence, theology, and defending the teachings of the Akhbariyya and opposing the teachings of the Usulians, most of which have been published. But his poetry divan has been neglected, therefore the present study introduces the divan of Sil Akhbar poems which includes sonnets, masnavis, quatrains, pieces and other poetic forms, as well as introducing his thoughts and opinions, which are reflected in his poems and up to now. No one has corrected it and deals with the poetic aspects of Sil in the age and period he lived in.

The research method in the preparation of this research is based on the manuscripts of this court that are available in the library of the Islamic Parliament and also other sources of the library, which will be in the form of content analysis.

Examining Sil Akhbari"s poems and understanding his capabilities in using arrays and verbal and literary arts and his times, etc., clearly shows that Sil was very skilled in writing poetry, like other sciences, and in this way He has been a follower of literary traditions, especially eulogies.Along with all the poetic arts that he used, he paid more attention to the allusion art, which he used in an artistic way according to the needs of the present, the audience and the desired.

Seal wrote poetry in both Arabic and Persian languages, he was greatly influenced by the poets before him, including Hafez, and while benefiting from all kinds of arrays and allusions and literary tasks such as balance, respect for example, commitment, literalism, observation and sharing, from industry. He has taken a lot of hints and proved his power as a poet in this field. He has experimented in various poetic formats and has used mystical terms in his poems. The theme of his poems is mostly praise and romance. He did not pay attention to the world and material things and expressed this point in his poems.

Nizar Tawfiq Qabbani (1923-1998) and Mohammad Taqi Shams Langroudi (1329) are famous poets of contemporary Syrian and Iranian literature. In this article, relying on stylistic similarities, their poetry is analyzed on three linguistic, literary and intellectual levels. The general goal is to determine how two poets have similarities in language, literature and content despite belonging to two different literatures.

This study was done with a library study and in a descriptive and analytical way. The statistical population of the research is Qabbani and Langroudi poems.

At the linguistic level, Qabbani and Langroudi deviated from the linguistic norms and the form of classical poetry and wrote new and white poetry. According to the era of his poetry, Qabbani turned to new poetry later, but Langroudi is the representative poet of prose poetry after the Islamic Revolution. Phonology, puns and repetition of words in their inner music have stylistic characteristics that are more in both repetitions of words. At the lexical level, they have used everyday and common words of the time. Word formation and new combinations, being interested in using some words related to the life around them is the stylistic feature of both of them. At the syntactic level, the integration of classical and colloquial language, tendency towards popular language, bringing the language of poetry closer to prose, shorthand and the use of new combinations are common. At the literary level, their similarity is in the innovation of elements of classical imagination, simplicity of images and depiction of elements around them. This similarity has many similes, metaphors, symbols and hints. Their common concern at the intellectual level is alignment with the reality of society, contemporary human problems, and social and political criticism. The romanticist look at the issue of love, the reflection of the important issues of the society, such as the issue of Palestine and Quds in Qabbani"s poetry, the Islamic revolution and the imposed war in Langroudi"s poetry, are their similarities, and their difference is the attention to personal emotions and the problems of their own society, which can be seen in these contents.

What brings these two poets together with different languages​​is their approach to language, literature, form and thought. Both of them turned to poetry with a fresh attitude and achieved innovation by crossing the tradition of classical poetry. They have a new language, a new imagination and a content in line with the reality of the contemporary society, suitable for the spiritual emotions of the contemporary man.

 Hamid Sabzevari is one of the poets of the contemporary century, whose special language in expressing concepts and dealing with pure themes is one of his poetic characteristics. He has manifested it in his poems in a distinguished way. The present research is a stylistic analysis of Hamid Sabzevari"s poems on three linguistic, literary and intellectual levels in order to better understand the beauty of his thought and poetry by scrutinizing the poems of this great contemporary poet.

 The present research is a theoretical study that was conducted on the library method and the descriptive-analytical method. The scope and society of our study is the book "To love travel" (selection of poems) by Hamid Sabzevari.

 Based on the findings of this research, Hamid Sabzevari is interested in Khorasani and Iraqi style, and his New and Nimai poems do not have a special place in his Diwan. Ghalib is prominent in his divan, sonnets and odes. Rows in Sabzevari"s poetry have a high variety, among which he tends to the current row and combined rows. Verbs and words of the old style of Khorasani can be seen abundantly in his Diwan. Also, the assurances that he has mentioned from previous poets in his poems show that the poet is fully aware of their poems.

 Arabic words have a low frequency in Sabzevari"s poems. He also used more simple words. Sabzevari has benefited the most from Bahr Ramel, which is one of the most used weights of Persian poetry. He has used all kinds of puns and repetition in his poetry to increase the musicality of words. Most of his similes are sensory to sensory and intellectual to sensory, and he uses tangible things and natural elements to express his poems, and among the similes, eloquent simile has the most frequency. has shown Among the intellectual themes in Sabzevari"s poems, we can mention the praise of imams and elders and elegies for them, as well as the expression of historical events of our time, etc. Also, themes such as advice, patriotism, etc. are also found in his poems. It can be said that Sabzevari"s poetry does not have complex and thin thematics of slow-to-understand fantasies and has simple and fluent poems.

 Gholam Hossein Yousefi and Abdul Hossein Zarinkoob are among the prominent writers and researchers of Persian language and literature. Considering the importance of the prose of these two authors in introducing or criticizing and analyzing Persian literary works, it is necessary to analyze their scientific writing stylistically. In many of the works of these two researchers, literary and scientific language have been combined, which has affected the clarity of the text and the power of conveying the message to its audience.

 In this article, the stylistic features of two important works, the Caravan of Helle Zarinkoob and the Roshan Yousefi Spring, have been investigated and analyzed in a qualitative and quantitative way. These two works were written for university audiences in the collection of literary criticism, which have literary style components.

 Based on the results obtained, it can be noted that the style of these two writers is a literary-scientific fusion style, which tends more towards the literary genre. The use of literary arts of simile, metaphor, irony, balancing arts such as puns, repetition, phonology, rhetorical questions with implied meanings, synonyms, rhetorical presentation and delay of sentence components, etc. have made both texts literary. Also, the use of components such as archaism, unquantifiable and ambiguous attributes, complex compound sentences, emotional sentences in high frequency has caused the text to move away from the scientific type of language.

 It should be noted that both authors have moved towards literary language in the field of literary criticism and poetry analysis, contrary to the main purpose of writing the text. Yousefi, by choosing the literary art of similes, besides describing the subject, has also made value judgments, while the similes in Zarinkoob"s text often lack value judgments. Both authors have used metaphors in verbs and nouns to literaryize the text. The use of rhetorical questions with emotional load and allusions with implied meanings in high frequency along with emotional sentences and value-judgmental attributes have made the text literary. In Yousefi"s text, the sentences are pre-compound and simple; However, in the text of Zarinkoob, sentences of the postparsed compound type have caused the complexity of the structure to some extent.

Imagery of mental, tangible, and sensory concepts, as well as the materialization of spiritual matters through concrete phenomena, is prevalent throughout the Holy Qur'an. Most of these images are conveyed through conceptual metaphors. The Almighty God has depicted key Qur'anic concepts that play a significant role in the Islamic worldview and the understanding of the universe for the audience through cognitive metaphors. Among these spatial representations, certain verses approach the topic of body parts. Body parts possess various meanings and applications, which are employed to provide specific meanings for the conceptualization of abstract ideas. Consequently, the authors of this study utilize a descriptive-analytical method to examine these verses based on cognitive metaphors. The findings reveal that the Holy Qur'an employs various body parts, including the heart, face, feet, mouth, and hands—concrete and material concepts—to conceptualize abstract and mental ideas, thereby conveying its intended message to the audiences.

Shamsuddin Mohammad Asiri Lahiji Noorbakhshi is a mystic, poet and one of the sheikhs of the Noorbakhshi dynasty in the 9th and 10th centuries of Hijri. In this research, the Masnavi of Asrar al-Shuhoud by Asiri Lahiji has been examined in the field of stylistics of phonetic sentences.

Considering its theoretical nature, the present research was carried out using a descriptive-analytical method based on library and electronic studies. The target society and scope of the book "Secrets of Witnesses" is Shamsuddin Mohammad Asiri Lahiji with proofreading and introduction by Seyyed Ali Al Dawood.

Lahiji is the owner of initiatives in the creation of monadas and has made innovations in this field. Lahiji"s initiatives in the creation of monada include 37% of the total vocal sentences of this masnavi. Also, in this masnavi, unlike many poets, he has not placed himself in the position of a preacher, just as in most of the vocative sentences, he is not in the position of teaching concepts, and he has given mystical and moral teachings in the form of anecdotes and from the words of individuals and elders. The mystic recounts. In this masnavi, other than the calls of God and the calls of the soul and heart, the rest of the calls are noticeable. The positive audience of Lahiji are Sufi elders and the negative audience are people who are ignorant of divine knowledge and the way of mystical conduct. Another finding of this research is the influence of Lahiji on Attar and Maulavi, some of the vocal sentences of this Masnavi are only found in the works of two mystics of the 6th and 7th centuries, which has made Lahiji"s influence more obvious.

Among the results, finding out about the features of Neda and Monada in this Masnavi, the number of Neda sentences, the recording of each of them and the frequency of their repetition in the present research. According to the statistical community, Lahiji has used one hundred and eleven phonetic phrases, one hundred and seventy-six times in the text of this masnavi. The highest frequency among phonetic letters is the letter "ey". God"s call has the highest frequency in this masnavi. The lowest frequency also belongs to the names of people. Monada"s names account for a total of one percent of the phonetic sentences of this Masnavi. Often in the content of Naadi"s sentences, the message that is conveyed to the monada is mystical teachings such as seeking divine love, seeking no need from creation, leaving the world, the concepts of annihilation and survival, the way of connection and some moral characteristics, in the Masnavi of Asrar. Al-Shoud, phonetic letters are not always in phonetic position and sometimes express surprise, regret or wish.