A study of the stylistics of the lyric poems of "Emad Faqih Kermani"

The aim of stylistic studies is to discover and explain the characteristics and features governing the texts, which are obtained through the analysis of stylistic elements. This article examines the stylistic features in the lyric poems of Emad Faqih Kermani.

This article is based on library studies and has been done in a descriptive-analytical manner.

Emad Faqih Kermani, through Sheikh Nizamuddin Mahmoud, was a follower of Sheikh Zainuddin Kamui and the same person was one of the trainees of Sheikh Shahabuddin Abu Hafs Omar Suhrawardi. Emad is a follower of the reprehensible way and has used various mystical themes in his poems which confirms this theory. Emad is one of the poets of the group that tries to combine two types of romantic and mystical sonnets with the spice of Qalandariat and Malamatiyeh.

At the musical level, the sea of ​​sand has the most weights and the sea of ​​modesty and preparation have the least share, and the use of rows is one of his stylistic features. The inner music of Emad"s poems has also been strengthened by the frequency of puns and repetitions. Punctuation has the highest frequency among the types of puns in his poems, and the high frequency of repetition indicates Emad"s emphasis on his mental concepts. The dominant element in the rhetorical level of his poems is simile, and sensory similes are more frequent in Emad"s lyric poems, singular, singular and plural. In his lyric poems, Emad Faqih has paid attention to various verbal and semantic proportions in order to increase the richness of the spiritual music of his lyric poems. Ambiguity and its types play an effective role in increasing the spiritual music of Emad"s lyric poems. In the intellectual field, there are lyrical genres and mystical, romantic and Qalandar subgenres. He has also criticized Emad Faqih, a member of the monastery and piety, Zahedan the claimant, hypocrites, etc., and attacked them with bitter humor.