پژوهشنامه نقد ادبی و بلاغت
سال چهارم شماره 1 (پیاپی 7، بهار و تابستان 1394)

Shahāb al-Din Mohammad Zeydari Nasavi, the author of “Nafsat al-Masdoor”, as one of the outstanding technical, literal and stylist prose writers, had a great interest in using different innovative and expressive arrays to illustrate his works. He looked simile as an essential element of fantasy, and a unique approach in presenting themes, ideas and sometimes transmission of emotions and feelings. This study is to review and analyze this expression technique in his Nafsat al-Masdoor, particularly from the point of the rhetorical approach. it should be said that Zeydari had totally used 241 cases similes from which abstract elements and natural manifestations have had the most usage. In terms of the structure, more than 61% of the similes have been used as additional components that impact on text distinctness and inspiring of imageries profoundly. The importance of Zeydari’s work is the manner he introduces similes, for most of them are the result of author’s innovation and creativeness. Meanwhile, he has often used these similes along with different verbal and semantic arrays particularly rhyme and pun and ambiguity, which led his words being consisted of fantasy and music multi-layers.

Through its evolution, the Islamic mysticism was led in pantheism which was introduced by Mohi al-Din Ibn `Arabī. Although pantheist ideas can be traced among the old mystics but Ibn `Arabī has been the founder and disciplinarian of such ideas. Along with the spread of Islam and Persian language and literature in India, Islamic mysticism, and subsequently, pantheistic mysticism spread in that country and the atmosphere of Indian Persian poetry was dominated by it. One of the Indian Persian language poets who noticed these ideas profoundly was 'Abd al-Qāder Bidel Dehlavi. In his quatrains and sonnets, he speaks openly of issues and components of pantheistic mysticism, and analyzes somethings such as God, Human, World and the existing relation between them on the basis of this thought school. Fantasy is one of the issues Bidel has dealt with in his poems. This article describes the manifestation of the issue in Bidel’s poetry and shows how Bidel explained it using a poetic language and different allegories.

At the beginning of 20th century, Psychology got a special status in contemporary criticism (or critical approaches) through the theories of Freud and Jung. Literary works were being criticized by such approaches on the basis of the text sender (author or poet), after a while, with the rise of other psychological schools – such as Gestalt- they started to be criticized on the basis of their influences on the reader(or audience), from which some of contemporary Arab critiques inspired. In present paper, the author is to recognize if there is any trace of such criticism in the works of Abd al-Qahir Jurjani, the rhetoric scholar and great critique? And if there was any, how would it be? Has modern criticism, particularly its psychological approach, been under its influence? In his two works, Asrar al-Balaghah (The Secrets of Elucidation) and Dalail al-Ijaz (Intimations of Inimitability), Jurjani had pointed both of these psychological methods of critisism out. He looks the subject from the point of text influence on the audience in Asrar al-Balaghah and has stated remarkable matters about each of similes and metaphors that can be considered as a base for western schools of literary criticism. Present study has been conducted through a descriptive-analytic method on the basis of library resources.

Composing his poems both in Persian and Arabic, Mohammad Reza Hakimi is among bilingual characters of Iranian contemporary literature. Trying to reform the society and to rescue people of darkness, he invites them, in his "Tears on a Mountain", to refer Ahl al-Beyt (the family of the Islamic prophet Muhammad) and believes that the emergence of Imam Mahdi underlies the justice in society. Present paper is to review the rhetorical peculiarities and literary industries of Hakimi’s ode critically to explore those themes and artistic contents which have not yet being paid attention by researchers and critics. In addition, the analysis of rhythm and music, its terminology and the imagery style have been accomplished by the authors through a descriptive-analytic method. Some of the results are: 1) Similes and Metaphors have been used much more than other expressive styles in this ode; 2) Hakimi has used 41 literary industries in his ode which can be divided in to two syntactic and semantic categories. Pun has the most usage in syntactic industries, and Syllepsis and Ambiguity got the greatest importance from among semantics in the text.

Meaning has a significant role in content formation and literariness of a poem, just as Form does. However, meaning and innovation get greater importance and broader field in modern poetry. Present paper is to analyze the role of meaning in putting distinction between the content of poetic text and other non-literary works. In this regard, a comparative analysis has been conducted on descriptive meaning (poetic themes) and meaning production (by the poet). Considering the general assumption that lack of meaning production by the poet may lead to simplicity in form and lessens the boundary between poetry and prose, the results obtained are as follows: the old descriptive texts and the contemporary narratives have no complexity and are clear in form. The lingual distinction in such works is less than standard language; therefore the poet pays more attention to form innovation. But, the modern realistic texts and the introspective texts benefit more potential of meaning production and the poet innovation finds broader possibilities in meaning, in addition to form.

There is such a close and strong relationship between the classical linguistic research areas or rhetoric with modern linguistic researches that it can be referred to as the poetics of communication. This poetics of communication varies in regard of requirements of any kind of literary genre. Rhetorical language has been formed on a "communicative-persuasive" basis in Masnavi that the competence of the work to communicate with the audience and his reactions in a specific position or context can be assessed. So, five fundamental functions can be recognized in this communicative framework that each has its own dedicated features in mystical language. The present article is to explain the "communicative-persuasive" structure of Masnavi to analyze this pattern's related functions and their position in didactic genre of its text.

Linguistically, deviation is one of the words’ resurrection aspects that breaks the surface structure of words, not their deep structure, and makes the audience to experience a literary pleasure. This study is a descriptive analysis of deviated ironies in Ibn-e-Farez and Mowlavi’s divans. In addition to artistic and aesthetic aspects, as the study shows, ironies have been used in the works of these two poets to transfer ambiguous meanings which are hard to be expressed. While Mowlavi uses irony in possessive and attributive components, single form of irony has a high frequency in Ibn-e-Farez compositions that can be considered as a sign for brevity, innovation and his rich and delicate language. Ironic use of integrated literary industries which highlights the artistic aspects of poems is one of significant methods of both poets. Selecting irony interference as a technique, Ibn-e-Farez sometimes makes meanings abstruse which outstanding aesthetic aspect is one of its important functions. Popular language is one of Mowlavi’s poetry features, so brevity, as an irony, has a broad frequency in his poems.

Poets use different artistic forms, such as allegory and symbol to express their thoughts in educational and mystic works. In particular, this paper is to investigate the artistic images and symbols made with the theme of “child” and “childhood” in these works. Not only there are some thoughts about child training in educational and mystic poems, but each of his growth stages, up to his adulthood, can be considered as a symbolic theme. Child and childhood are symbols of foolish and weak people, novice wayfarers, and the ones who are secularist simple-minded self-seeker imitators. However, there is sometimes a positive approach to child and childhood, particularly when they are the symbols of mystics, but they are often attributed as foolish, faulty, ignorant and timid people who live ineffectively.

Typological studies of language show that there is no direct relationship between syntactic and semantic roles of the purpose. The difficulties of the literary comprehensions, in part, depend on the lack of information about the semantic approaches of the syntactic roles. The present study is to investigate this aspect in the verbal rhythms of Khaqani's odes. The research has been conducted through a descriptive-analytic method on the basis of data and content analysis technique using library documents. The research statistical society consisted of 132 Khaqani's odes and samples are 63 odes with verbal rhythms that in total encompass 3887 distiches. The results show that Khaqani has used 6, out of 24 functions of subject deletion in verbal rhythms of odes. The analysis indicates that the most frequent functions are: importance of predicate, rant avoidance, humiliation, obeisance, the author’s claim about subject clarity, and the intensity of its clearness, respectively. Each of these functions has somehow a link with the theme of odes, or with the content of distiches which has been investigated in this paper.