نشریه پژوهش های دستوری و بلاغی
پیاپی 8 (پاییز و زمستان 1394)

The basis of oration is to convince and to encourage the interlocutor and to speak effectively. This technique is interpreted as “eloquence” and “rhetoric”. Since speech is the result of the mutual relationship between the speaker and the interlocutor, it’s essential to know the status and the perspective of the interlocutor in order to make speech effective. This cognition is reached just when the interlocutor is present and his perspectives and attitudes are sensible and tangible for the speaker. Jalāl al-Dīn Mohammad Mawlawi in his book Fihi Ma Fihi, which is a collection of his oral speeches at the presence of his audience and followers, has tried to impact on his listeners and to teach them his messages. The present study aims to investigate the variety of interlocutory statements and their functions in the prose of Fihi Ma Fihi using descriptive analysis. The results of this study reveals that Mawlawi, in order to express his internal emotions and to effectively and convincingly transfer his mystical and ethical thoughts to the audience throughout his book Fihi Ma Fihi, in addition to declarative sentences has made use of a variety of compositions and interlocutory sentences (imperatives, negative imperatives, interrogative and exclamatory sentences) to create emphasis, advice, premonition, guidance, encouragement and in general to maintain connection with his interlocutor. This way is consistent with didactic proselytism of Mawlawi. Interrogative sentences and imperatives have the highest frequency among interlocutory sentences in the prose of Fihi Ma Fihi.

Neshat Isfahani belongs to the revolutionary age of literature. He has been considered as a famous leader and also one of the real devotees of the Literary Restoration Movement. Not only has he made an attempt to remove deviation from Persian poetry and the style of writing, but also to vitalize the Iraqi and the Khorasani style. In this paper, Neshat's style of sonnets is highlighted. This article starts with a brief introduction about the biography of the poet, then the phonetic, the lexical and the syntactic levels of his sonnets have been investigated.

This study aims to analyze the image-making process by focusing on the role of imagination. Maintaining the subjective nature of the image, we consider a structure for it, under titles such as the central image, the image tool, the image expression and function, and mental image of the text. Then, different kinds of images are presented in terms of surface and depth, statics, dynamism, painting, cinematic, openness, wideness, limited and close up, and independence. Overall, an image is called “independent” when its elements have an exclusive nature and independent properties in such a way that they can function apart from the poetry. It can be said that the formation and application of independent images in Shamlu’s poetry were influenced by the ruling literary expression, and language and discourse flows and orientation of the time. The research method in the present study is descriptive-analytical methodology. The sample texts include Shamlu’s one hundred poems. The main criteria for the section of the sample were that they should be brief and have imagery. The results show that the aforementioned factors had a significant effect on the independence of the images. Allusive and figurative expressions served as the main literary expression in Shamlu’s poetry. Language flows and its effects on independent images indicates Shamlu’s social status as a social poet; and social-political discourse had dominant roles in the formation of independent images of Shamlu’s poems.

Feeling is a common language of human beings and literature and arts are the language for expressing of this sensation. Literature is the language of speech and writing and the arts show the reflection of the literature as images. Nature is the best and the most informative image for poets and artists. The natural elements have been inspiring the poets especially in Khorasani style and in the works of Ferdowsi, Rudaki, Manuchehri and Nezami. Literature and painting have an undeniable link and we see this link between the Khorasani style and the Harat style of miniature in its highest form. It may be said that the literary aesthetics of art, not only begins with the Khorasani style, but this style seems to be at its highest level. Writings, architectures, paintings, coffee houses paintings and … are the evolved examples that prove the hypothesis that the Khorasani style is the mother of Persian pictoraial literature.

Persian goddesses like Anahita, due to their potent presence in ancient historical periods and the mystical world and also by having motives from archetype of the Great Mother continue their existence in different arenas of the human mind. Persian folk legends, which are extracted from people's unconscious mind, have prepared the ground for Persian goddesses to continue to live through history, so that by analyzing such legends we can observe the presence of goddesses and their functions in different human and animal representations. The purpose of this study is to investigate the animal representations related to the existence of the water goddess (Anahita) in Persian folk legends. Through an analysis of sources, the results of the current study reveals that Anahita, the water goddess has some animal representations in Persian folk legends which are manifested as a horse, snake and bird, and thereby she is able to perform her functions in a superhuman model.

Shahnameh is undoubtedly one of the greatest and most influential epic works in the world. While being epic in nature, it also includes lyric, historical and love tales. The most interesting tale of Shahnameh, which is tinged with a love theme, is the tale of “Zal and Rudabeh”. Through a morphological approach, the present paper seeks to give an account of this tale and analyze its fictional elements such as characters, settings, contrasts, oppositions, narrative structure, and plot. Finally, the methodology developed here will be briefly compared with Vladimir Propp’s morphological methodology.

A collection of Imam Ali's (AS) sermons, letters and wisdom is called properly Nahj al-Balagha (Guidance of salvation) by its compiler, Sayyid Sharif Razi. Its rhetoric is visualized and its eloquence is achieved. In terms of its lack of the disturbing sense of brevity and long boring, all of its pretty standards are completed and from long time ago to our era proponents and opponents have confirmed it. Among common people like Abd al-Hamid al-Katib, Sheikh Muhammad Abduh and among the selected ones like Sayyid Razi, Sayyid Jafar Shahidi all have enamored its rhetoric and eloquence .Sayings of Imam Ali (AS) as literal and spiritual adorned with a variety of offerings and innovative that trimmed from the human redundancy is known as "akh-al Quran". From a long time ago, there was a rhetoric loss in the Persian translation of the sayings of Imam Ali (AS), the most prominent words in the field of rhetoric that professor Sayyid Jafar Shahidi the great translator has been fulfilled this old wish. Professor Shahidi relying on the verbal elegance and Arabic figures of speech and Persian words coped with this important issue. His first translation of Nahj al-Balagha is the only translation that shows part of the beauty of dawn doubles figures of Imam Ali's poetry. In this paper the reflection and narrative eloquence and elegance words of Imam Ali (AS), in the first sermon, the first letter and the wisdom of Nahj al-Balagha, have been investigated in Prof. Shahidi's translation.