مجله فنون ادبی
سال هفتم شماره 2 (پیاپی 13، پاییز و زمستان 1394)

Stylistics can be defined as analysis and interpretation of the expression and different forms of speech, based on linguistic elements. German theorist , Buseman , devised his theses in statistical style based on the ratio of verbs to adjectives, generalizing a variety of literary and non- literary genera in German Language and Literature .
According to Buseman , increasing the number of verbs in verses, makes the text closer to literary style. Therefore, increasing the number of adjectives, makes the text closer to scientific or subjective style.
The most important achievement of statistical methodology of Buseman can be considered as: a) comparison of author’s style, literary periods and genres; b) studying the language system and variety of words; and, c) classification and grading differences or similarities of literary, periods and genres.
The purpose of this study: Stylistic analysis of Maqamat Hamadani and al-Hariri based on the statistical model of Buseman.
The question proposed in this study : a) How effective is the use of the statistical methods , in identifying and analyzing a variety of literature including Maqamat? b) How effective is the quantitative scope of verbs and adjectives , as two key parameters in determining the style of literary works? And c) Which element of fiction is most effective in enriching the literary approach ?
Specific research method is statistical – analysis ; We initially discovered and classified the number of verbs and adjectives in the Fifty- one of Hamadani Maqamehs and Fifty of Hariri Maqamehs ; then the scope of verbs and adjectives usage is shown in the form of tables and graphs . After that , we will assess the style of the literary work , based on the use of verbs and adjectives.
The research findings show : All Hamadani and Hariri Maqamat s quantitatively benefit from high -active approach, for the use of the verb . At 46 Maqameh Hamadani , and 48 Maqameh Hariri the verb scope is more than 80 %; The highest volume of verbs in the Maqamat Hariri and Hamadani 95/97 and 60/95 respectively; while the highest volume of adjectives subjective approach , between these two Maghamats is respectively 15/49 and 09/24 .
Dialogue between fictional elements is most effective in a literary approach , and increases the number of verbs in Maqamat . Because in conversation, inter action and movement happen; A reaction that takes place in result of talking between two people. So when reader interacts with the text which is the nature of any conversation , sees himself among the audiences of the story , then accepts the text’s effect , and ensures the continuity of story’s life .

Symbolization or symbolic language is an ancient and effective way to communicate among people. Understanding this symbolic language has shown new aspects of symbols in different literary works. In Europe it has formed a new doctrine of symbolism. Symbolism in Persian literature has not been as strong as Europe, but it can be seen in even oldest literary works of mythology. In mythological stories, symbols usually appear as unnatural people or objects. The best example of these symbols in Persian literature are mythologic symbols of Shahname by Ferdowsi like Rostam, Keikhosrow, Fereidun, Zahak and objects like Seven episodes of Rostam and Esfandiar and so on. In modern era of literature of Iran symbolism and symbolic literary language has been used a lot because of political and social causes. This various use of symbolism among contemporary writers has formed new symbols and also some metamorphosis of older symbols with new meanings.
In a brief look, we can mention these causes to spread large use of symbolism in contemporary literature:A: Suffocation and despotism of Pahlavi regime and its negative effect on literature
B: Affection from world known doctrines line symbolism
C: Creation of ambiguity and deepening older meanings of symbolism to create new symbols from older ones
D: Enriching meaning and creation of polyphony of literature arts by symbolism (Khosravi Shakib, 1387: p.148)
Tahere Safarzade is one of the well-known poets of contemporary literature in symbolism which faced a new world by using symbols in a new and creative way. SAFFARZADEH uses multiple objects and characters to symbolism in her poems like mythological or ritual or even ordinary characters. Symbols in her poems that vary in meaning sometimes from a partial to full metamorphosis. In this Research we try to clarify symbolism of these characters and their metamorphosis concerning the majority of use of symbols in her work and understanding her literary language and also her world view. In a brief and overview we can divide symbolic characters of her books to religious, historical, mythological and ordinary characters.
The outcome of this research shows that some symbolic characters of poem like religious characters are very bold, because of poet's religious world view, so sometimes they boldly effect poets’ whole work sometimes and make it symbolic. One of the best examples of this type of symbolism is the long poem of "Safar Zamzam" in which poet has shown the main character as an outstanding symbol. As much of these religious characters has been used in poets’ works, metamorphosis is not significant because of holiness of religious beliefs by the poet, but in other symbols we can follow the order of metamorphosis.
Reading historic symbols also shows that there is no significant metamorphosis in symbols and it’s because of simultaneity of some of these characters with poet herself. About mythological characters in some symbols there are whole changes from a positive to negative character and in some symbols there are no changes. The most outstanding change in symbols metamorphosis is seen in ordinary characters and symbols. These symbols are used in her works widely and are mostly new symbols or new aspects of look to older ones. In other words it seems that poet has created a big list of private symbols in her art work to express her feelings and thoughts in special political and social condition of her era and endured Persian literature with these new symbols.Finally, by deliberation in her works we can deduce that Tahere Saffarzade is a poet who has preferred to create new symbols instead of creating metamorphosis in currently used symbols in Persian literature and made her own unique literary language.

This research at making a comparison between phonological processes in complex and compound Persian words. Data are gathered from a 40,000-word Persian dictionary. To catch some results, 4,034 complex words and 1,464 compound ones are chosen. To count the data, "excel" software is used. Some results of the research are: 1- "Insertion" is the usual phonological process in complex words. More than half of different insertions belongs to the consonant /g/. Then /y/ and // are in the second and the third order. The consonant /v/ has the least percentage of all. The most percentage of vowel insertion belongs to /e/. The vowels /a/ and /o/ are in the second and third order. Deletion in complex words can only be seen in consonant /t/ and vowel /e/. 2- The most frequent phonological processes in compounds is consonant deletion. In this process, seven different consonants including /t/, //, /m/, /r/, / ǰ/, /d, and /c/. The only deleted vowel is /e/. In both groups of complex and compound, /t/ deletion can be observed. A sequence of three consonants paves the way for the deletion of one of the consonants, if one of the sequences is a sonorant one like /n/, the deletion process rarely happens. 3- In complex words, consonant deletion causes a lighter syllable weight, whereas vowel deletion causes a heavier syllable weight. So, both of the processes lead to bi-moraic weight. 4- The production of bi-moraic syllable in Persian is preferable to Syllable Contact Law. So, Specific Rules have precedence to Universals. 5- Vowel insertion can be seen in both groups of complex and compound words. In complex words, /e/ insertion has the most fundamental part. The vowels /a/ and /o/ are in the second and third place. Whenever there are two sequences of ultra-heavy syllables. By vowel insertion, the first syllable is broken into two light syllables. The compounds that are influenced by vowel insertion, can be and are pronounced without any insertion processes. Therefore, the vowel insertion in compounds is optional. Long vowels are not inserted in complex or compound words

In the first place, the literary theory is about finding an answer to the question on what makes a verbal message into a work of art . This is related to the particular distinction of Lingual arts from other arts, and other types of Lingual behaviors . That is why literary theory is in the first position among literary studies. (Ahmadi, 1996: 1st volume/77) One of the fundamental aspects of literary studies is interpreting ancient texts from the perspective of the poet or writer’s own literary theory . On this basis, this article aims to discuss the literary theory and poetry structure of Anvari . Indisputably, Anvari’s structure is special and it is certainly based on the perspective, insight and cultural and social conditions in which it grew and formed. Each poet is the composer of their poetry and oratory and Anvary, himself, is the most informed person about his elocution method. He mentioned the elocution method in several places in his Divan: However, you looking into poetry styles
All taken into account the best style is mine (Anvari, 1958: 1st volume/85)
Accordingly, his Divan has been subjected to scrutiny, and judgment criteria have been derived from the verses of the poet .
Anvari believed that poetry is the result of integrating content with discourse whose output is captured hearts . He called poets the granters of speech and in composing poetry, he believed content is prior to discourse. He has an opinion that the container of discourse does accommodate content that on this basis he approached the ideas of " modern hermeneutics ”. He praised original meaning- which was not adopted by other poems- and he described proper poetry using graceful and delicate characteristic. In fact, in his viewpoint, a poem which has original meaning and graceful and delicate verse is a literary discourse which influences the reader .
From his viewpoint: 1- Improvisation and spontaneity
2- Composing in any literary style
3- Composing in all prosody meters
4- Proper use of rhyme
They are the most important criteria according to which the poetry capability of a poet is measured , In his view, the poet can benefit from techniques which make poetry more musical in order to be more effective, Including the use of a narrator that reflects that music promotes the rhetorical aspect of a work of art. Anvari believed that composing Ghazals is rooted in lust , eulogy is rooted in greed and epigram comes from wrath. His goal of writing poetry was to make a living out of it , and in this way he attributes the worst labels to poetry, Of course, it depends on the level of reward which the appraised person bestows that sometimes it was timely and exactly the amount which the poet wanted, but sometimes he was given little reward or even no reward. As a result of the degree of magnitude of the poetry from his perspective swings according to whether the poet received a reward. Finally Anvari believed that as long as a poem is written for noble objectives including praisi ng religious figures, it is the the result of divine inspiration and approval and it is a twin of wisdom and it is the best benignity of God towards people. He is fascinated by this kind of poetry . The ultimate aim of art is to affect hearts, its reader revel in it and it sticks to memories and it would not be removed from minds and language after artist's death. Anvari art is no exception to this, too. Anvari poems were renowned among friends, poets and intellectuals in his life time and long after his death. Some of his couplets are still etched in memories which show his poetry power and skills. Anvari interpreted taste, mind, science , and art as poetry tools ; as a result he considered poetry as a simultaneous try and ebullition, he studied the divans of poets and writers contemporary with him , and before that. He is aware of all the principles of prosody and rhyme ; he had an honor not to commit plagiarizing former or contemporary poetry. And quoting great poets is permitted only in order to revive the tradition of great figures . Furthermore, he tries to take full advantage of all the existing cultural capacities .

Persian as the second language of the world of Islam is closely related to the teachings of this divine religion, so learning Persian besides Islamic and Shia teachings would be helpful for Islamic scholars. In this regard, Jame’at al-Mostafa al-‘alamiye in the context of the Persian language tries to train Islamic scholars, translators and missioners.
Center of language education and Islamic teachings which is the subset of Jame’at al-Mostafa, has formulated a collection of eight books named Persian to Persian teaching which is taught in different centers of Jame’at al-Mostafa inside and outside of the country.
High goals of this Shia association represents the importance of authoring and analyzing education books. So their accuracy needs more attention and research. This essay aimed at describing and grammatical analyzing of this educational series. The present study deals with the importance and methods of teaching grammar to non-Persian speakers after introducing the Jame’at al-Mostafa al-‘alamiye; also, besides introducing the required grammatical issues, it describes eight volumes books of teaching Persian-to-Persian grammatically.
Then the grammatical difficulties of these books are investigated in ten separate sections with giving some examples. The study ends with providing some strategies to improve the grammatical issues of this educational set and other books of teaching Persian language to non-Persian speakers.
In the early years after the Islamic revolution, some foreign students came to Iran to study Islamic studies so the supervisory board of non-Iranian students was established to answer and to organize their educational and livelihood status in 1979. “Jame’at al-Mostafa al-‘alamiye” was founded in Qom and other cities after the continuous changes in 2007. This center tries to grow the Islamic scholar, translator, and missionary by teaching Persian language; in this way, center of language and Islamic studies considered as a subset of Jame’at al-Mostafa has published a set of teaching Persian- to- Persian in eight books that are teaching in different centers of Jame’at al-Mostafa in country and abroad now. The valuable goals of this Shiite institution in spreading Islam show the importance and sensitivity of writing and analyzing its educational books so it is clear that their rightness and accuracy need more attention and study. The purpose of this study is to describe and to do grammatical criticism on this educational set. In this study, after expressing the importance of grammar in teaching Persian language to non-Persian speakers, the methods of writing grammar in Persian language and the required grammatical issues for the students whose native language is not Persian will be dealt. Teaching Persian language in Persian-to-Persian books is directly done without using the intermediate language or translation. These books have an instructional, traditional, and inductive approach, grammatically. In this set, grammatical rules are presented in a part of book namely "points". Examples of each section are presented in the form of sentence not text and they are usually ended with the related exercises. However, before dealing with the grammatical problems of this set, linguistic concepts and grammatical rules of every book are described in separate tables. In this study, the grammatical problems of teaching Persian-to Persian books are presented in ten separate sections and some examples are suggested for each one including
1. Grammatical incorrectness
2. Incomplete definition of grammatical rules and points
3. Grammatical incompleteness
4. Repetition of materials
5. Ignoring the logical order and sequence of grammatical topics
6. The presence of confusion in naming grammatical terms
7. Grammatical patterns
8. The presence of confusion in grammatical footnotes
9. The writing and editing difficulties in expressing grammatical issues
10. Incomplete pictures
By considering this study, the following items are recommended to improve the grammatical structure of teaching Persian-to-Persian: The review of design and curriculum of grammar and its compatibility with the updated materials by using the specialist's board of Persian grammar, teaching Persian language and its grammar based on the student's needs of learning these books to use Persian texts, cultures, to get four language skills, compatibility of grammatical concepts, and to adopt the same approach in designing and improving them, dependence on learning grammatical issues based on simply grammatical, scientific, and single-legal patterns, presenting efficiently grammatical issues to increase the student's four skills, using context especially communicational and conversational texts useful for students in teaching Persian grammar to understand the value of grammatical structures and their role, the sequence of materials and grammatical structures based on their frequency in language, ignoring the exceptional and rare items in grammatical issues, considering and emphasizing on teaching method from easy up to hard to make motivation and self-confidence in students and preparing them for next teachings, to cause the study of the regular grammar being delayed to advanced stages.

A sentence is the most complete syntactic unit of a language. The construction of a sentence is the most comprehensive, controversial and fascinating syntactic issue in the language grammar. The message or intention is usually conveyed through a sentence. In fact, the communicative function of a language is carried out via a sentence. A sentence can be classified in to different categories from different perspectives: semantically, constructively or performatively either with a verb or without a verb and also with regard to the construction.
With regard to the construction, a sentence is either simple or compound. A simple sentence is the one with a complete meaning which only has one verb. It must be born in mind that a sentence is a complete unit whit meaning and there can be a hesitation after that. There for units of speech that have a verb without a complete meaning and there can be no silence or hesitation after them cannot be regarded as a sentence. Since they are dependent upon another sentence to be completed. They are called phrases. Such phrases can be incorporated in compound sentences make main and subordinate clauses. Compound sentences are widely discussed whit in grammatical constructions, but their types and that how have been built their various constructions are less adequately discussed.
With regard to the manner of construction of compound sentences, the widest linguistic amenities can be observed in the sentences. There is not such complexity or disagreement over simple sentences but compound sentences have been less adequately investigated and there is room for more discussion and debate. Because, in some grammars, without considering the construction criteria, all sentences that are connected to one another, whit connectives are called compound sentences. This paper has precisely investigated compound sentences and has elaborated on the construction criteria of compound sentences.
The study has also pointed to the mistakes of some of the grammars. This research project has for the first time introduced constructive models of compound sentences in a comprehensive research taking in to account the tense of the verbs. The primary question in this research project is which kind of sentences can be considered as compound and what is the constructive of such a sentence? When defining a compound sentences, grammarians either shave the same beliefs or differ in their ideas. But all grammarians agree to the fact that a compound sentences has more than one verb. Different definitions are due to different criteria adapted in constructing a compound sentences. To construct a noun, and adjective, a verb and a sentence we should take similar and precise criteria to our consideration. In the grammatical units of noun, adjectives, and verbs construction means connecting two or more parts that can convey one similar meaning and its parts are dependent upon one another.
In the construction of compound sentences there must be the same criteria so that its applications can be truly recognized and identified just like the previously mentioned grammatical units. The first step to arrive at a criterion in defining and identifying compound sentences, is to separate this discussion from connective sentences that are relate to each other with connectives are called connective sentences. But sentences which are constructed with dependent making connectives and their parts are dependent upon one another are called compound sentences. Therefore the signs of compound sentences with regard to constructions and the meaning of criterion are as follows:1) They have more than one verb.
2) The consistence of two or more dependent phrases.
3) Phrases construct a complete sentences all together and convey one similar message.
4) One of the phrases is the main clause and the other one is the subordinate one.
5) The phrases or subordinate clauses can be related to one of the major parts and they can take a syntactic role as for the subordinate clause.
6) In compound sentences there are dependent connectives sentences, such as until, however, if, that.
7) The sign of dependence or being subordinate clauses is the existence of connectives.
8) Phrases or clauses in the compound sentences have no authority or independence and there is a pause at the end of the sentence. Therefore, a compound sentences consist of two or more dependent clauses and conveys one similar meaning or message. Compound sentences are so wide and various in Persian. What we mean by wide is their multiplicity and what is meant by various is that there are too many variants construction of different verbs. That’s why they are called dangling. Contrary to the construction model of simple sentences that is few than 30. Construction models of compound sentences are too many.
This paper has investigated the constructions of modern Persia sentences and some sentences from ancient text that’s are similar to todays’ sentences. 193 models for the construction of compound sentences are extracted and introduced. They has been called floating because of their multiplicity and variety of the construction of models and verb tense use. The results indicate that there are different kinds of verb in the construction of compound sentences and the construction model for compound sentences is so fluid and flouting. These construction can be used according to purpose, use, message, semantic value variety and the tonality. In some compound sentences and the variety in the construction of such sentences indicated that Persian language enjoys great. Capacity and capability in the construction sentences. Such sentences are indicative of the flexibility, volatility, and wide amenity of Persian language in sentences construction.

"Standard language", "sub-standard language" and "meta-standard language" are the language types of many varieties. Use of sub- standard language in making poetry, known as “stylistic deviation”, is one of the ways of highlighting poetic language. More attention to this technique of language in the contemporary period was paid by Nima. Nima believed that all words have the potentiality to enter the realm of poetry. No word is essentially poetic or non-poetic, but the way of using words by the poet determines its poetic value.
Hamid Mossadegh by the use of sub-standard language elements, in addition to increasing the richness of his poems, made them closer to the mind, language and life of people. Folkloric elements of Mosaddeq’s poems were divided into seven groups: 1) Slang words, 2) common and spoken vocabulary 3) Irony and Proverbs 4) Tlfzhay popular 5) allusion to folk tales 6) folk beliefs and customs 7) local vocabulary.
Slang words in poems Mosaddeq in the "verb" and "noun" have been examined. Many folk verbs such as "Shangidan" and "gap zadan (to chat)" in Mosaddeq’s poems have been applied. Some of folk verbs in his poems are in such a way that at first, one could not understand the point. These verbs have several meanings that one or more specific meanings are slang, like verb "gereftan (to get)" that means "to grow the root of the plant" has slang sense.
There is an abundance application of folk nouns in Mosaddeq’s poem. Some of the nouns used in Mosaddeq’s poem, considering their figurative meanings, can be investigated in the folk nouns group, like "foot" in the figurative sense of "will"."Colloquial and current words are of the most frequent elements of folk words in the poetry of Mosaddeq. These words in the category of "nouns" and "verbs" could be analyzed. Lexical verbs such as "to hip" and "Perfume of Moskow" are of this kind. "Irony and Proverbs" are the other folk elements of the poetry of Mosaddeq. "till eye can see" and "to dream" are of this category.
Folk pronunciations of words also have been represented in the Mosaddeq’s poems. These folk pronunciations occurred by alteration, combination or coincident deletions, complying with law of least effort in spoken language.
"Allusions to folk tales and beliefs" are of other folk elements in the poetry of Mosaddeq. "Demon", "Fairies’ king tale ", "The Death", "Patient stone" are among these cases.
"Local words" certified in the poetry of Mosaddeq are very limited and only for the completion of the research results were analyzed. Folk elements in Hamid Mosaddeq’s six poetry books – "Kavian’s awl", "Blue, gray, black", "In the path of the Wind", "The separations", "Years of patience", "Red Lion" – have not been similarly represented. In two books, "Kavian’s awl", and "Blue, gray, black", the tone of the words is relatively heroic, hence the elements of language mostly have been taken from ancient literature, and this is the reason why the elements of folk language in these two books are not considerable.
In the content of four books – "In the path of the Wind", "The separations", "Years of patience", "Red Lion" – love is the main subject. The love is neither a mystical one to need mystical terms, nor romantic love of an intellectual lover not fitting the perception of others. His love is worldly, tangible and intimate. Thus it demands a familiar, fluent and understandable language. The frequency and quantity of use of the elements of folk poetry were set on the basis of one third of his poems. Mosaddeq has used folk elements escaping the norms, in his poetry as an art form.
Sometimes these elements in his poems are used as an instrument to maintain meter and rhyme, and sometimes for increasing music resulted by repetition of a phoneme. Also Mosaddeq has used them as a tool for creating literary figures, such as contrast, proportion, ambiguity. In other words, Mosaddeq has applied these elements in order to spread the words of poem, simplifying and popularizing the language of poems, enriching the poetry in the areas such as music and rhetoric, so he has expressed his ideas by an artistic and intimate language.

One of the methods of literature review is addressing the literary forms that deeply attracted formalists’ attention. Formalists emphasizes certain shapes and forms and methods of literary language. In their view, the task of literature and art is not making known but representing the elements in the realm of art. So, for creating an outstanding work, novelty is not just important, but modes of expression can show a new dimension of the world to audience.
Shklovsky raised for the first time the term “de familiarization”. In his opinion, art renews sensory perception and transforms the familiar rules and seemingly enduring structures of reality. He believes defamiliarization is seeing things out of their natural context. According to Leach, the two usual methods to distinguish the general language from the language of arts are rule-increasing and rule-decreasing.
In deviation occurs a resurrection of words and the author creates a double pleasure through language games in contact with the audience. Imagery, music and syntax can produce a kind of defamiliarization.
Akhavan in the poem “The Eightieth Stag e ” has used a variety of deviations. The first is in the name of poetry. In this paper, the norms of lexical, semantic and stylistic in the poem “Eightieth Stage” is checked.
Lexical deviation : Sartre says the poet does not use the words, but sometimes words would use the new syntax. Akhavan in the words sometimes making terms such as “mardestan (masculinity), faramoshzar (plains of oblivion), gandomand (Robust), golazin (inflorescence), parhib (deception) and ...” and sometimes new compounds alters magically the effect of poetry. His compounds like talaei makhmal avayan (golden voices and velvet), pak ayin (clean rituals), malmalin dastar (silver turban), marde mardestan (men of masculinity), rakhshe rakhshande (the brilliant horse) and…" makes illustration that in some of synergistic base has helped to the poet's innovation. New expressions are also used in other parts of abnormality in “The Eightieth Stag e” . Stylistic deviation Sometimes, Akhavan uses local and slang words, and words with different songs and music produces deviation as well. This Application is one kind of abnormality. Words such as “han, hey, by the truth, pity, hoome, kope, meydanak and ...” are of this type of abnormality .
Ancient deviation :One way to break out of the habit of poetry , is attention to ancient words and actions . Archaism is one of the factors affecting the deviation. Archaism deviation helps to make the old sp. According to Leach, the ancient is the survival of the old language in the now. Syntactic factors, type of music and words, are effective in escape from the standard language. ”Sowrat (sharpness), hamgenan (counterparts), parine (last year), pour ( son), pahlaw (champion)’’are Words that show Akhavan’s attention to archaism. The ancient pronunciation is another part of his work. Furthermore, use of mythology and allusion have created deviation of this type. Cases such as anagram adjectival compounds, the use of two prepositions for a word, the use of the adjective and noun in the plural form, are signs of archaism in grammar and syntax. He is interested in grammatical elements of Khorasani Style. Most elements of this style used in “The Eightieth Stage” poetry. S emantic deviation Semantic deviation is caused by the imagery . The poet uses frequently literary figures. By this way, he produces new meaning and therefore highlights his poem. Simile, metaphor, personification and irony are the most important examples of this deviation. Apparently the maximum deviation from the norm in this poem is of periodic deviation (ancient or archaism). The second row belongs to the semantic deviation in which metaphor is the most meaningful. The effect of metaphor in this poem is quite well. In general, Poet’s notice to the different deviations is one of his techniques and the key factor for perpetuity of this beautiful poem.

Elegy in word is derived from Rasa-Yarso means weeping on dead people. It is also defined as enumerating deceased benefits and composing the poem about. Elegy is categorized into different parts as follows: 1. Courtier 2. Personal 3. Religious 4. Philosophical 5. Social 6. Fictional.
Not only did Khaghani prove himself at composing praise and commendation, lampoon and imprisoned poems, but also he proved himself at composing elegy. Commentators of khaghani’s poems know him as an exclusive poet regarding elegy- making. Also Khaghani composed some odes in loyalty mourning and the world transience as well as personal, courtier and religious elegies which are sub- categories of philosophical elegies. Khaghani’s “Ivane Madayen” ode is considered as a social elegy. In this article, one just analyzes the elegies that Khaghani composed about people. This type of elegies in Khaghani’s Divan are categorized in three parts: a) Personal and family elegies which are about Khaghani’s son, wives, girl, son-in-law, uncle and his cousin, b) Courtier or ceremonial elegies which are about Nosrat od-Din Espahbud Leyalvashir, Fakhr od-Din Manuchehr Shervanshah, Shervanshah’s children (Azed od-Din Fariborz and aljijak) and other courtier men, c) Religious elegies composed about Imam Mohammad Yahya, Sheikh ol-Islam Abu Mansoor Hafade, Azed od-Din bu Emran and other religious characters.
There have not been any comprehensive research projects conducted about Khaghani’s elegies. Nasrollah Imami had presented summarized explanations in “Composing elegy” book at Persian courtesy, in the part about Khaghani that were valuable, and he used them as the reference in this article. Two valuable articles were written about comparative literature: comparison of Khaghani’s and Hogo’s elegies about sorrow of their sons by Reza Irandust Tabrizi and “Elegy composing in Persian and Arabic courtesy with the help of comparing Khaghani Shervani and Abolhasan Tahami’s elegy by Naser Mohseniniya and Arezu Yazdanpanah Kermani. In Persian courtesy, elegy is often versified and it may have different genres, but the most frequently used genre up to the end of 8th century is the ode, and fragment genre, Refrain and compounding are next ranks. Among Khaghani’s elegies, twenty-one elegies are composed in ode genre, sixteen of which have row and five others do not have any row.
After ode, Fragment genre has more applicability in Khaghani’s Divan in elegies. Generally, he composed nineteen Fragments about the courtier and religious men. Khaghani also composed four composite-tie about his son mourning and government’s personnel. One thing to be noticed by poet about elegy is the proportion of verse with subject. Most of prosodic verses couldn’t be used in elegy. From the beginning of Persian poetry to the end of 8th century, Ramal poetical meter (faelaton foot) is the most usable and Gharib poetical metre (faoulon foot) is less usable one among others. In Khaghani’s Divan Ramal poetical meter with fifteen cases, the most usable poetical meter is elegy. After future, Mozare octagonal poetical meter (mafoulo faelato mafailo faelon) and khafif poetical meter (faelaton mafaelon faelon) are placed next with six cases. Mojtas poetical meter (mafaelon faalaton mafaelon faelon) monsareh poetical meter (moftaelon faelato moftaelon fa) and gharib poetical meter (faoulon faoulon faoulon faal) are less usable poetric matre in Khaghani’s Divan about composing elegy.
In Khaghani’s elegies like other poet’s elegies, imagination has been shown differently. Although Khaghani couldn’t hide his influence from the coming event, he also does not give up imagology. According to the conducted studies, one should say that Khaghani made nice images in elegy; images followed by formality, but its amount is less than Khaghani’s other odes. Simile is presented more than other imaginations in Khaghani’s elegies. Next step belongs to the metaphor. In addition to simile and metaphor among literary verses, hyperbole is of high frequency. This craft was so effective in making and activating marvelous tone. In courtier elegies, the poet tires to compensate lack of emotional burden by the help of exaggeration and where there is high emotional, aspect of exaggeration has no space or it is not suitable. After hyperbole, allegory is of high frequency among Khaghani’s elegies. Khaghani had basically used allegory in his uncle’s elegy and Imam Mohammad Yahya, Abu Mansoor hafade and Naser od-Din Ibrahim. In most of elegies, Khaghani starts his ode with an introduction on world transience and disloyalty of the day. Khaghani basically gives speech about universe transience and disloyalty at the beginning of men’s courtier and religious elegies.
Some of Khaghani’s elegies starts with poet’s mournful mood and the beaten poem. Khaghani started composing all his elegies about her wife’s mourning with description of his unpleasant mood. The beginning of Khaghani’s odes which he had composed, was followed by the addressee’s invitation to unanimity. All the factors are at the service of content in Khaghani’s elegies and they are used to activate the meaning of mourning and sorrowful space. One of these factors is row. Row is at the service of elegy content in accordance with the aspect of proportion in long vowel as well as semantic proportion. Of other factors used in relation with elegy one can name the adjectival proportion and similes for the deceased. For example, Khaghani used items like garden sight, cypress- figure and brilliant sun and in mourning of his wife, and in the morning of prophet’s names as well as religious men in making-image.

Bidel Dehlavi is the greatest Persian poet of India that difficulty is the main characteristic of his style. Technical discussions about Bidel’s style and his word difficulties, demands more attention to some syntactic cases that have been remained unnoticed. One of the poet's way of speaking is frequently using of compound numerical adjectives and specific classifiers in a specific and unique way. One of his specific methods to display and offer different concepts to the reader's mind is the use of certain words in place of numerical-classifiers, which is new and by breaking norms of language, makes the reader surprised and gives him pleasure. So, understanding his ways of using compound numerical adjectives and specific classifiers demands some researches as follows: 1) Survey of classifiers in terms of imagery
2) Survey of classifiers on the basis of meaning making
3) Survey of classifiers on the basis of ambiguity making
4) Survey of classifiers in the point view of concretion or abstraction
When it comes the classifier to be material and tangible and on the other hand, the numeri be abstract, the role of classifier will become more prominent.
According to what we found on this research, it turns out the structure of firstly “concrete classifier abstract computed noun” and then “concrete classifier abstract computed noun” with the most frequency, are in the best position in Bidel’s poem. In general, the basic principles of Bidel’s style are as follows: (1) The diversity and plurality of application of specific classifiers in compound numerical adjectives.
(2) Deviating from the norms of conventional languages, presented in a new and innovative way.
(3) The relationship and cohesion between classifier and computed noun.
(4) Being strong and prominent in image making.
(5) Being strong and prominent in meaning making
(6) Creating ambiguity and increasing the complexity of the word.
(7) Having a metaphoric role to express the diversity or lack of things
(8) According to Shafiee kadkani’s classification and on the basis of all available evidences in Bidel’s Divan, the compound (x material classifiers abstract computed noun), by 148 out of 314 cases, is the most. Therefore, Bidel has used of the best kind of compound numerical adjectives and numeri in his poem.