مجله فنون ادبی
سال نهم شماره 1 (پیاپی 18، بهار 1396)

Semantic analysis, is the study examines the relationship between linguistic signs in the discourse and beyond, Sentence surface. This analysis shows that an indication in conjunction with other discourse sins and the discourse how the process works to have a special meaning. The elements that underlie the formation of meaning, is essential. The elements such as External and internal forms of discourse, Types of discourse, The role of verbs in discourse, tension process of discourse, actors, types of actions, relationships between the succession and juxtaposition structure and etc are Effective tools for semantic analysis considered. In this study we tried to find some of the elements of meaning-creation in the Leili and Majnun story narrated by Jami, and with these elements First show signs of discourse in this story is how the process works will lead to the formation of semantic structure to the story. We discuss the types of discourse in this story Secondly. We discuss narrative structure of the story to achieve foundation or text element Third

Significant innovations in contemporary poetry with imagination and tried to create amazing images and new compounds, the language of uniformity, and to revitalize the outside. Private contemporary poets and companion to emotions in the field of succession and deliberate deviation from the soft language of the contract ignores leading up to his word. Of course, this does not mean that any semantic field occupied language, has always been associated with beauty and success , but any change that takes place in these areas should be planned for and so it is Hdmnd as the creative process. In this way , the contemporary poets of Iran and Iraq in particular with regard to the intellectual and cultural commonalities , and is influenced by various factors in contemporary life , seeking the creation of new images and ignoring the semantic rules of the language, the way to understand the audience, stop intentional In this context it is important to note that although the two poets take advantage of the land imagery of the new techniques , often referred to their language has an exquisite effect , but when combined with the weakness and failure , the challenges of their given poems. From this perspective, based on the authors work in this research is to answer the question : which factors shared within the meaning of language, poetry vulnerable to Iran and Iraq have shown , what is ? The results indicate that extremes in tabular arrangement of words and the frequent disruption of family words , relying on stereotyped use of language, intellectual rigor Rkayyk situations and ... is The factors that the semantic field of language, aesthetic realm of contemporary poetry of Iran and Iraq are vulnerable .

Rhythm’ is the most important component in the music of poetry. In this paper, in addition to defining rhythm, we have studied relative components which have most influence on the music of poetry. ‘Rhythm’ is the first common factor in different arts especially music and poetry. Poetry has always been along with rhythm.
A short and complete definition of ‘rhythm’ is: “Rhythm is the balance resulting from sequence of letters or rhythms at certain limited times”. The most important factors affecting rhythm are:
Proportion of syllables at prosodic rhythms: Every syllable has its special musical load at prosodic rhythms. It is clear that if each of them is mostly used at one rhythm, it will mostly and clearly show its own special state.
Sequence of syllables at prosodic rhythms: Succession of long or short syllables because of their special vocal effect on rhythm is very effective on the musical quality of rhythm.
Application of long syllable: The most the number of long syllables in a verse, the heavier will be the rhythm of the verse. Because in this way the number of syllables of every verse will be decreased and their temporal duration will be increased.
Conformity of the end of words with the end of elements (space between words with space between elements): conformity of the end of words and elements because of the repeated sequence of an element highly strengthens the effect of that prosodic element at the mind of the listener. These constant and repeated scansions make the poem rhythmic and enrich its music.
Making accidental or the second rhythm: one way for innovation and overcoming the natural music of a rhythm is making a special rhythm other than the main prosodic rhythm of poem by arranging the words in a special order in a way that it conforms to the other scansion of the same prosodic rhythm.
Using regular space between words other than space of elements: sometimes the poet without using a different scansion of the main rhythm can make syllable conformity between them by using a type of symmetry among the words of two or few hemistiches at the form of the same prosodic rhythm. This way of syllable symmetry which is hidden because it cannot be scanned on the basis of prosodic rhythm has a great but old and insensible effect on the music of poetry and this insensibility increases its value.
Using one or few prosodic seas (poetic meter) at one poem: sometimes this innovation at the use of prosodic rhythms is purposeful and for overcoming the constant music of that special prosodic rhythm and making a better conformity between rhythm and a new content which poet wants to speak about in a number of verses.
Using two seas or more: one way for enriching the musical component of ‘rhythm’ is applying the capabilities of prosody for making a poem have two or few rhythm at the same time. At Badii science these poems are called capricious. This possibility is because of the capacity of the words of poem for applying necessities.
Dori rhythm: Dori rhythm is a type of rhythm which divides the verses to four equal parts. Dori rhythm because of its features is of musical distinction and the component of ‘rhythm’ in every poem with the form of Dori rhythm is naturally more salient than the rhythms of other poems. On the other hand, because in Dori rhythm potentially it is possible to use internal rhyme and Radif, this feature makes more salient the musical component of ‘vocal harmonies’-including pun, harmonious, repetition and etc….
Silence at prosodic rhythms: This kind of silence at prosodic rhythms is not common among all rhythms. When the last element is Mozahaf, if the second hemistich without the necessary pause- which dependent on the type of rhythm, its duration is different-the rhythm will break. Quantity of the silence after each hemistich is equal with the total quantity of the syllables which have been deleted from the last element (Mozahaf) of that hemistich.
Necessities: Sometimes the necessity of applying the model of prosodic rhythm makes the poet deviate from the main quantity of vowel and change it, that is, sometimes poet necessarily uses long and short vowels instead of each other.
Poet’s authorities: In total, less use of poet’s authorities, which causes applying symmetry at hemistiches and most following the main rhythm used in every poem, makes the poem’s music more rhythmical. But it does not mean that use of them destroys the poem’s music.
12-1. Stoppage: Sometimes application of the authority of ‘quieting’ causes the musical feature of ‘stoppage’(pause in a verse).Stoppage as a musical feature which makes lack of fluency at the rhythm of poem has a negative effect on the music of poetry.

Ahmad reza Ahmadi is one of the poets and writers of Iran who started writing from the 40 decade and also started writing of story book for the children syncronicly.His first book for the children has been written in 1348 and still he is witing.Ahmadi's works in this case has a different atmosphere.Studing his works will display some signs in the reader's eyes prominently. This article is investigating the semiology of this story by the name of 'Neshani'.Semiology is studying everything which indicates another thing and these signs can appear in the form of words,images,sounds,manners and objects. By reading Ahmadi's works markendness of imagery will be prominent. Studies indicate that imagery in his works has modern meaning which is called fantastic imagery. And also accompaniment of imagery, metaphor and ambiguity, will show the modern meaning of metaphor in paradigmatic, ambiguity and writerly text to the readers. This essay proceeds with the meaning of imagery and metaphor reflected in Romanists a symbolists theories and then will encode these sings based on lakoff theory.

One of the illustrious prose in eighty decade, is “A glass hot shath” belong to Ahmad Azizy, that he write to ironic style and a bout blame and plain of idiotism people of this period. Azizy’s art in diction and apparition ample apprised is in the most wisdom circle, for narrative altitude and bent of social life and encounter multiple discourses. Blend wring deep concepts, philosophy, mystic and wisdom, with words, structure and slangy comments show a kind of congruity with Hindi style, in this book. Whilst dominant style of him is ironic that allotment to two kind: fine, wise and slangy. Contraptions and style illustrious because of language, literary and mental, contradistinguish his style of other writer. And one of the contraptions style of him is inter stream circulation of mind of space of story to prose different with story the language of Azizy in the parts of this book is scare, glassy and biting and the other parts is benign, quieter and exciter interior literate. What signs prove conquest Ironic style in this his prose work? Writer in this search, would achieve a critic stylistic basis verbal, literary and mental prominence in this research.

Local poetry is one of the ethnic and cultural expression of any nation. Two native poems "Yadeten" by Saleh Sangbor and “ Marvouzu” by faramarz shakuriI, which are in Bandar Abbasi and Guilak dialect of Persian language respectively, are the full mirrors of popular culture of two nations residing in Bandar-Abbas and Bandar-Anzali. Both poems reflect a nostalgic throwback of the poet to the old days. . In this study we try to show the components of their nostalgic regards to cultural elements of society in which they have lived. To this purpose, nostalgic concepts of this poems, under two general titles of individual memory and collective memory has been analyzed. Review of this paper shows, despite the common benefit of both poet in nostalgic components, amount, style and practical purposes of folklores elements in two poems are different

Abstract It is axiomatic for those who are stylistically a little familiar about the periods of Persian poetry that quasidas of Nāser-e Khosrow are totally different from those of the poets in fifth lunar century both in terms of their contents and technically. This difference is seen even in those areas of his poetry in which the poet is confided to make innovations. In this essay we are to identify more outstanding characteristics of his poetry by comparing with those of his most famous contemporaries (Onsory, Farrokhi and Manoochehri) in external, lateral and internal areas.
The outcome of this study reveals that his using of less used rhythms and making pauses in rhythms are the most items which form the external music in his poems. Also using radifs which are not verbs and the high frequency of puns and using them as axis for satire and criticism are respectively most eminent distinctive factors in Nāser-e Khosrow's poetry in the areas of lateral and internal music.

Sometimes exigency of stress or need to further explain in speech, requires the speaker or the writer to use the words that they can be replaced by others in the same sentence and they can play the same grammatical role We can mention to grammatical roles among them such as: apposition, paraphrase and repetition, that the grammarians have more or less attended them and they have submited a common or succinct definitions for them. We have studied another group of words in this article that they are antecedent (attached, detached) listed, if they can be removed and replaced by the pronoun they take on the role of the pronoun is omitted. For this reason we have chosen the name of “same role pronoun” for this group of words. There are pronouns that these word-groups are antecedent of them. They are often used in three roles such as: the possessive, complement form and object case.The later explaining, the role of the third person singular accusative In particular, they have differences with the other two roles. We believe that this difference has caused some modern grammarians have compared it with a specific application in Tehrani dialect of Persian and they mistakenly call it "nominative pronoun". In this paper, we have also demonstrated the Pronouns in sentences illustrate grammatical function is not continuous passive feeling something other than the object, complement or possessive and the grammatical role of the noun or detached pronoun at the beginning of sentences is “same role pronoun”. But in such sentences Insert a noun or detached pronoun instead of attached pronouns is being often the cause of non-grammatical sentence.

Iranian and French literatures have common features on educational literature grounds and by reflecting on the moral works of writers such as Saad Al- Din Varavini and Jean de la Fontaine these similarities become clear. Varavini’s Marzbaname and Jean de la Fontaine’s Fables are examples of great works which display their authors’ stance with regard to political and social conditions of the time. These advice and admonitions are told by Jin and humankind, animals and solids and plants also, they present to their literary, political and social society a variety of text and moral tale called Fable. Due to the fact that these two writers are highly influential in moral and educational literature, in this investigation we are going to examine Marzban Name and la Fontaine’s Fables, which are representatives of classical literature of their countries and the research will be conducted in a comparative manner. We are going to compare the aforementioned works by addressing some stories, with their respective characters and the moral messages they convey for the reader.

MahPishani is one of the most known Iranian tales that various narrations of it, is existed in Iran and in the world. The present article, justifies and analyses the structures of this tale based on the morphology theory of Propp and follows the characters and their functions in the depth of the time immemorial. Although, the general structure of this tale is adopted with Propp theory and it organizes the tale, but there is a very important motif that has not followed from the schematic pattern of Propp. Thus, applying the Propp’s morphology in paleontology of the tales, sometimes has no adequate sufficiency and necessarily the meta structure analysis is needed. The author after exploring the archetypes and motifs has presented the historical and religious sediments of Paleolithic Age (Hunting Age), Neolithic Age (Matriarchy Age), ancient Aryan and Zoroastrian religions in its frame.

Taskin is one of authority of poesy, in which he can use a long syllable ýinstead of two short syllables, but taskin inverse choice (the two short ýsyllables instead of one long syllable) is not true, in terms of prosody ýresearchers. however, in the poetry of the old and more recent periods, ýpoetry is seen where taskin inverse choice have been usedþ.þ
taskin inverse, although apparently in imitation of Arabic poetry ýý(transformation a Mafaeelon to Mafaelaton) but often are used in revolving ýmeters (dawri) that specific for Persian poetry and through vav (o) e gheyr e ýdawri, with transformation a long syllable center hemistich into two short ýsyllables, the meters of “ouble Mafoul o Faelaton” has changed to the ýý“Mafoul Faelat o Mafaeel o Faelaton” that as history in the lyrics of Moezzi, ýAttar and Awhadi and especially Khaghani, and also this option of meters ýHazaj e Akhrab”Double Mafoul o Faelaton” is evident in the poems of ýKhaghani & Ghavvami. Taskin inverse choice some times has applied to ýelements of Mafaylon and Mafolon and change this elements to Mafaelaton ýand Moftaelon that is used in poetry of Molavi and Hazin Lahiji.ý
This paper concludes by examining the various poetical works that:ý
For distinguishing whether or not the dawri of the poetries that has mixed ýmeters with dawri and nonþ Ü þdawri is relying on the couplets dominant ýmeter, First, we recognize original meter if the original meter was nonþ Ü þdawri should applied dawri for other couplets, and this is the result of ýTaskin choice usage. This blending in Mozare e Akhrab verb root meter, ýobserved in the poems of Anvari, Khaghani, Athir and Seyf, that by use of ýTaskin in the middle of some nonþ Ü þdawri verses with meters “Mafoul o ýFaelat o Mafaeel o Faelaton” changed their meter to dawri “Double Mafoul ýo Faelaton”. This subject is more fancy than musical. But if the original ýmeter was non-dawri, should verses meter that are dawri the result of ýTaskin choice usage.ý
Sometimes, poets by using Taskin inverse choice in the middle of some ýdawri verses, and cause them to become non-dawri, and have been ýcombining two meters in a poem. The musical fancy in Hazaj e Akhrab ýmeter “Double Mafoul o Mafaeelon” is evident in Khaghani & Ghavvami’s ýlyrics and also has seen in the Mozar e Akhrab verb root meter “Double ýMafoul o Faelaton” in poetry of Moezzi, Attar and Awhadi and above all in ýKhaghani’s poetry. Taskin inverse choice is more evident in Khorasani style ýpoetry and in odes more yield from the non-dawri “vav” (o) that can be ýremoved “vav” (o) which became a fancy and writing, changed the meter to ýdawri for more melodious. In that case, the reduced heavy meter and meters ýof both lines was dawri. In sonnets more, the word of the middle verses that ýconnects the last syllable of the second pillar to the first syllable of the third ýpillar. Thus Manipulation hypothesis scribes, the “vav” (o) in the middle of ýthe hemistich, is null at least in these sonnets.ý
Taskin inverse choice or to follow the Arab prosody or unconsciously, are ýused in Mafaeelon element in Mawlawī poetry and in poetry Mafoulon ýpillar doleful and some contemporary poets. This choice in pillar is ýpermissible under two conditions: first, that it does not become irregular ýpillar, but to become the same pillar. Such as: Mafaeelon to Mafaelaton or ýMafoulon to Moftaelon. Second, it was not be in place rhyming because ýmay changed rhyme syllables. Taskin is also for the same reason, should ýnot occur in the rhyme syllable and if does, he should be upheld in all verses ýcouple.ý
By accepting the fact that “Mostafel o Mostafel o Mostafal o Fa” is the ýoriginal meters of quatrain, the problem of Taskin inverse choice is canceled ýin quatrain meter

When we look deeply at the structure of Iranian famous letter –Shahnameh of Ferdowsi, it becomes clear that besides its stable and rigid content, its format and process of narration of its stories are also done scholarly and intelligently. The prologues of the stories are one of the most effective methods in the disciplined structure of stories. From among numerous numbers of story prefaces in Shahnameh, there are ten of them that are exhaustive prologue; which three of them are more alike in structure and have some differences with other ones. These three prefaces include prologues of “Key Khosrow”, “Rostam and Esfandyar”, and Kingdom of Hormozd” stories; which have a similar structure with Serenadings. They have obvious similarities with Serenading in: a) number of verses, b) theme, situation, narration, and their characteristic, which recall the first Serenading of odes to mind. So, we can say: the three mentioned prefaces have some features in common both in prologue and serenading. According to the structure (number of verses, pseudonym verse, subject, narration and characteristic), they are like serenading and, from the aspect of prophecy, they take the burden of prologue. But, these three serenading prologues, however, have some differences with ode serenading. They should have an amount of indirect and summarized expression of the text, because they have the prophecy of being a prologue; on this basis, the story they narrate on the ground of nature is allegorical and the natural characters used within them are symbols of the original characters of the story which symbolically express the sense of the story. The concept of these primary verses is somehow close to the whole text of the story; so, after reading them, we understand the feelings of happiness and sorrow which we would confront with in the whole text. But, ode serenading has not such a prophecy, since the main purpose of serenading is to create interest and emotion in the reader about the principal goal of the poet. There are three reasons why such prologues exist in the Shahnameh: first, era of Ferdowsi; because in this era, Samanian and Ghaznavian, poetry in the genre of Khorasani was in its highest place and all around Iran and Khorasan land was full of poets and poetry. Second, the genre of Khorasani poetry. The main sense of this genre was ode and the related poets had a realistic and concrete view to the surrounding nature. It is good to say about the mentioned factors: living in an environment which is full of poetry would irresistibly affect the poets and their sensations. The third factor is the entire familiarity of Ferdowsi with the poetic genres and poetry technics of his era. All of these factors had affected Ferdowsi’s serenading and Khorasani genre of poetry. A point to add is: the art of prologue is not the result of serenading ode. However, this is not separated from serenading ode and hasn’t been changed. Such an art has been existed independently and had been used in the poems, but without any special name; until the 8th century which Khatib Ghazvini in his summary of “Meftah al-Olum” of Sakaki with the subject:”Talkhis al-Meftah fi al-ma’ani val bayan val badie’” called it prologue.

This article introduces and reviews examples of "autobiographical writing" in ancient Iran. Analyzing of them presents history and the specific cultural characteristics of this type in ancient Persia. To achieve this goal is used from descriptive - comparative method. The first works were described and then compared to assess similarities and differences in order to achieve a general method for this type. Results show that this type originated in ancient Persia and should be classified autobiography according to the position and favorite author of autobiography not language and structure of the text. As in ancient Iran religious and political forces have to create two different types, political and religious type. First can be seen in inscriptions that kings try to introduce three elements of race, splendor and arts of themselves. In terms of structure, including the introduction and text and end. They are very similar in the text but are different in the end. Religious autobiographies concluding spiritual life and proceedings for example levitation of Main and Kartir is share in theirs autobiography.

One of the single most important functions of the row that compliance words and different words with different rhymes and to provide them with some prosodies, up to now not been investigated. in other words, Row gives the freedom to the word rhyme, Freedoms that because of it, the word across the continuum of musical rhyme and even closer to the beginning of the second line can move it.
According to the same function row, Words that rhyme in poetry as in specific prisody can not be used, Pushed to the position corresponding to the prosody they are. For example, words (Jahan, Ravan, Javan, and ...) in the prosody of Motagharaeb mosamman salem, (without row or letters of Vasl, Khorooj, Nayereh ) can be placed in the position of not rhyme, This is because by bringing an "ÇáÝ" or "ÑÇ" and so on, so the words can be used in place of the words rhyme in this prosody.
A cursory examination of the first period of Persian poetry with poets, we can see that in a lot of the lyrics, which serves as the anchor row Rhyming words and moves to reconcile them with some prosodies. Today, about one of the unique characteristics of Persian poetry, the "row" is far more extensive studies have been conducted. Nearly all of the same basic structure and formal aspects of the research and statistics Court orders and sometimes musical poet or poets row in particular, is formed.
In this article, we briefly discussed the basic functions row and shown even in the short lyrics that rhyme do not need to be in there, Again, to accommodate new rhyming words with different prosodies of the row is used.
Row, the unique characteristics of Persian poetry diverse functions that some of these functions has been paid. Those like Shafiee Kadkani role in Ghana row up music lyrics as well as the current row nominal or specifically in creating new virtual verbs and metaphors and images looked new.
The main reason for the emergence of rows in Persian poetry, prosodic function that has already been paid less. I just found something in the book Ghosn al-ban to be weak, the owner of the book, had no comments to this row. In this study attempted a new approach to the row, another reason for the entry and spread and extent of the row of Persian poetry, is shown. It should also be noted that in these lines as much as possible to engage in repetitive and stereotyped point of the row, has been avoided.