مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 47 (فروردین 1399)

Abolfazl Zarroi Nasr Abad is one of the most successful and most celebrated figures of satire after the victory of the Islamic Revolution and raised the school of GOLAGHA. In this research by analytical and descriptive method the stylistics of his satirical works has been studied. The findings of the research indicate that the irrational and irony are two comrades of very high frequency. The humor of his first writings disruptions in the situation of urban services influenced by the political and social contexts and the imprint of the popular manner in which his periodical journals the marriage of youth criticized such issues as: economic problems and expensive. Over the course of time Zarroi has achieved personal use of his creative comedy talent in a personal style resulting in a philosophical satire extending to meaning and content whose scope is not condemned to time and place. The use of historical language to express contemporary human concerns the choice of the language of conversation which are sometimes his own works the combination of popular discourses through controversy the expression of popular culture are one of the most important features the archetypal look of the issues surrounding it and the use of proverbs.

Immortality of Shahnameh is due to the representation of "Emotional Me" that comes from the Great individuality, described in conjunction with the mythology in a deep and mysterious semantic system. "Emotional Me" indicates the identity of each agent. "Emotional Me" is more represented in the lament; because the enthusiastic "Emotional Me" at the laments is a good place to evaluate and reflect the represented me. The subject of the present essay is to examine the reflection of emotional me in the laments of Shahnameh. The lamens in the Shahnameh are analyzed in a case, after explaining the framework of the research and clarifying the types of emotions based on psychological typology –“Limited Human Me”, “Social Me”, “Transcendental me”. The result is that in Shahnameh, men’s mournings are reflected more than the women’s. Firdousi composes the shahnameh with morality and spirituality, and thus the transcendental emotional me is seen in the shahnameh, especially in the behavioral actions of Rustam, Siavash, Feraydoon, and sometimes Rudabeh. Generally, Turanians have shown in the three reactions of "anger and hatred", "sin and despair", "denial and regret" in the grief of their loved ones, that reflected their limited me. In the Persian’s laments, "social me" and "transcendental me" are more represented. The alignment of reflected “me”s with the characters of Shahnameh demonstrates the success of Firdousi’s success in the storytelling.

Indian style poets, especially Saeb Tabrizi, have been very influential in Hazz's sonnets. The most obvious form of the deliberate influence of any poet on the other is to go to the poetry of their poetry and to put poetry on the weight, rhymes and rows of the poems. In only thirty-two sonnets, Sa'eb expresses that he has welcomed Hafez, but has written a total of about thirty sonnets in the land of his sonnets. It is expected that Sa'eb in these poems will be among the ghazal-style loyalties imitated by Hafez and Indian style in walking, but this is not the case, and each of these ghosls has a relatively odd way that is different from the rest, and of course, Hafez's sonnets have something to say, closer to the features of the personal style of Saeb and Indian style. The present article examines the style of six ghazals that Saeb has expressed in the sermon of the famous sonnets "If This Left Shirazi Has Delivered Us", by showing that the intellectual, linguistic and literary features of that ghazal of Hafez And then the features of it will examine six sonnets and their similarities and differences with the Hafez sonnets. The differences in these appearances also reflect the diversity in the style of the welcoming and portrayal of the Indian poet.

The study of music in the history of Beihaqi is one of the most valuable historical and literary texts and documents of the importance of Iranian history in the Ghaznavid period.  In the field of biostatistics,it focuses on the stylistics of vocabulary and musical descriptions and the study of the status of music, the status of musicians and The concerts of music perform in the fifth century AH and, in addition to describing the status of the musicians, it deals with the position, functions and musical actions in the context of the life of the court and society of those times. However, due to the description of historical events, the use of special terms and the use of music is not numerous. A variety of percussion instruments and wind musical term meaning caring is used to describe a special occasion. The highest frequency of music vocabulary consists of the semantic vocabulary of music and percussion instruments, and has used historical narratives in charity music and narrative with the characteristic of the announcement.

Definitely, the current category is the most important and influential part of every sentence. Examination of verb features and extraction of results in commentary works of valuable Persian Language, especially at the beginning of formation of Dari language, can help identifying its categories and more complete classification of its ancient grammar rules. The works that are less investigated in the study of grammar, stylistics, different types of prose, linguistics, and understang language varieties in different regions of Iran, In particular. In this article, we attempt to study verb forms, from the 4th to 6th centuries, relying on Persian interpretations of aspects of time, structure, linguistic processes and types of verbs so as to see whether we can analyze and categorize the verbs in terms of language forms. What are the factors and characteristics that distinguish these verbs from each other? For this purpose, interpretations such as the translation of Tafsir al-Tabari, An Interpretation of the Holy Quran, Taj al-tarajem fi tafsir al-qor'an le-al-a'ajem, Interpretation of the Qur'anic verse, Commentary on the Holy Qur'an (Cambridge Edition), part of The Ancient Interpretation, Propositional interpretation of part of Commentary on the Holy Qur'an (Shanqashi interpretation), Interpretation of Nasafi, Rawz al-jinan wa ruh al-jinan, Kashf al-asrār wa ʿuddat al-abrār are investigated.

In this article, we consider the most important trait stile in the Bastani Parizi word. Current history scientists and historians acknowledge that Dr. Bastani Parizi had a unique technique in writting history its result is the attractiveness and popularity of his books and promotion of the study of history among various classes of society. However, despite the fact that many worthwhile works have been made, it is almost unknown to the students of facultative literature, and because of his many books and articles he has been carrying a pioneer order, his style needs to be examined. The purpose of this article is the introduction of the late Bastani Parizi as a master of the style. For this purpose, while expressing some of his important style features, Examples are listed for them. The most important of them is satire, Allegory, Simile, Archaism, easy and impossible, humanism historiography, Fiction technique with stream of consciousness. The most important and the usable of these Technique is satire. The most important role is in the delight and charm of the word. Subsequently, the use of Shiism and knowledge has been addressed, which performs the role of representation, description, guidance and punishment together and sometimes with the humor.  Also, the easy and impossible way in narrative of history and selection of fictional forms, along with using the stream of consciousness, inspired his prose, and eventually, Using the archeological part, it stimulates the sense of nostalgia and renews the reader's memories.

One of the most important subjects for scholars in Persian literature is studying the stylistics of the works of the writers and poets. In recent years according to expansion of post graduation, the number of academic articles is increasing and academic scholars are studying the works of the writers and poets of the past and present with scientific criteria. One of the contemporary writers that many researches have been done on his works is Mahmud Dowlatabadi. Over sixty academic articles have been written about his works and the purpose of the writers of this article is to extract the elements of his style from these articles and classify them for scholars. In this article we have used forty nine academic articles that are written about Dowlatabadi’s works. This article consist of seven parts that are: 1- prose, 2- themes, 3- story elements, 4- literary schools, 5- reflecting political and social issues, 6- local and rural literature, and 7- other issues.

Ash'ari's thoughts in the time and geography of Saadi's life have been commonplace. Some scholars believe that the signs of Sa'di's belief in Ash'arites are recognizable in his works. And there is no doubt that his religion is Ash'ari. Science of the Word, meaning the argument about the concept of revelations and its paraphrase, was not customary until the time of Rashedin Caliphate. But due to the peculiarity of Islam's pragmatism and the presence of scholars, led to the advancement of theology to deal with non-monotheistic thoughts. And the three sects of Ashkharites, Mu'tazilites, and Imāmī made the most important Islamic theological view. Undoubtedly, the lesser can be found a Persian poetry who has not used the ideas and religious beliefs and Islamic teachings in his poetry. In the era of Sa'di, theological issues and the struggle of the Mu'tazilites, the Asahirs and the prophetic beliefs were widespread, that also affected Saadi's thoughts. In the military schools, mainly Quranic and literary sciences, Hadith and Shafi'i jurisprudence and preaching and lectures were taught. And since Sa'di was a Sunni scholar and an Asharite poet, he has been engaged in discussions and studies for years in Baghdad. He also was a pensioner in Baghdad and he was living in the space and the environment of Ash'ari thought. In terms of stylistics at the intellectual level, the intellectual space and the environment of the author's growth, the author affects a great deal on the thoughts of the creator. Therefore, Sa'di's mental and religious paradigm has been formed during the period of Ash'arite's aspiration and domination in the Muslim world. For this reason, in the field of the Word, he thinks like Ash'arites. The question of this research is how are the theological basics of Asahari in Sa'di? The research method was descriptive-analytic. And the overall result shows that Sa'di in his poems and works is influenced by the Ash'aric theological thoughts.

In Persian literature, various works have been created in order and prose, and each speaker has chosen style and style for his expression. A piece of Persian poetry format that has been used to express the inner world of poets. Perhaps the most important feature of the unit of unity is the issue because the poet in each piece seeks to express a subject. Also, the piece's format is rich in the validity of the diversity of the subject matter, and in this regard there is no limit; every subject that the poet likes to order, The face of the piece is a poem; from sugar and grief to cheerfulness and exhilaration, and even a personal drink for medication . The constitutional era is one of the most prevalent periods in the form of a piece. In this period, with the change of the social system, the attention of the literate from the mental issues to the objective and social issues focuses. The present research seeks to introduce the descriptive-analytical method using the statistical method; after reading the three parts of the Constitutional Revolution, Iraj Mirza, Malek Al-Shaara Bahar and Parvin Etesami, the most important subjects of the three poets' parts are introduced and in terms of the frequency of value The results of the research indicate that these three poets have been experimenting on subjects such as ethical, social and political issues; however, Parvin Etesami has not been involved in topics of enthusiasm, passion, enthusiasm, ethics, history, and parody. But most of the debates are in the form of a piece of it. The Shahr-e Bahar spring has only one debate and a slip in the form of a piece. Some of the jokes of Iraj Mirza and Bahar are used in this format from the words of the reiki.

Works written in the area of Sophia's customs reflect the culture of that period as well as the author's thoughts. " Uorad al-Habab and Fusos al-Adab" by Abu al-Mafakher Yahya Bakharazi in Farsi and one of the most important books of the eighth century mysticism, in the context of the pathology of the Sufis. Bakharazi knows the consciousness of the conduct of the truth and the nature of Sufism for the reasons for the work of this work and seeks to provide a comprehensive and complete set of rules of Sufism. The sources of the writings of Gheshriyeh, Kashf al-Mahjub, Adab Al-Moridin, Avaref Al-Maaref, and Ghovat Al-Qolub have been the source of the author's inspiration for writing this book. Fusos al-Adab, part two of this work, has forty occasions and includes detailed discussions about the customs of Sufism, including beliefs and ethics, clothing and audacity, speaking and conditions of the Sheikh and the Prophet, the customs of the khadam, the traveling customs, the rituals and arbients, and austerity, and Is a mujahedah. In this research, the three literatures of "Speaking, Silence and Samaa" are among the adjectives that have come out in Uorad al- Habab, also, works written in the same centuries in the previous centuries were studied and compared to study the similarities and differences of these works by descriptive-analytic method.

The research in Persian poetry style, especially the individual style of poets, and especially the individual style of famous poets who are less concerned with their poetic style has a special priority. One of this literary work is Jahan Malek Khatoon’s divan. Jahan Malek, who lived between 784-725, contemporary of Saadi, Hafez and some of the prominent poets of the eighth century, does not have to be considered by the scholars of Persian literature. The purpose of this research is to review her mentally and literally - rhetorically from the perspective of stylistics of poetry and by providing statistical report shows that how much her poetry has smoothness and constancy and to what extent is her individual style indicators and initiatives and gentle and delicate innovations in her divan.

After the praise for God and respectful comments on the status of The Most High creator, eulogy of the prophet and explaining the life of the reverend prophet is commonly seen within Persian poetry literature. The question is: “what is the status and reflection of the great prophet in Persian poetry in 5th to 7th Hijri calendar centuries?” The goal of the present research is to investigate about the aspects and qualities of prophet eulogy in Persian poetry during the centuries mentioned above. Thus, this study has focused on the discussion and analyses of praises presented in outstanding Iranian poets’ masnavis such as: Sanaee, Nezami, Attar, Molana, and Saadi, using a descriprive-comparative method.

The original Manuscript of Mar'at- ol khial by Mikraj Multani – one of 12th century writers of Indian subcontinent – is among Persian technical prose works; however, like most other manuscripts, has not been reviewed so far. The writer's domination on Persian and Arabic languages as well as including verbal and spiritual ornaments in it are some of its merits. In this search, it is tried to analyze the work outstanding stylish properties by reading it critically and methodologically. The results show that the work has been written in a symphonic technical way. In its literal formation, making similes and musical correspondence and also attending to the selection and arrangement of such words have been very affective. Among the exquisite arrays which have an affective role in making the words music in this book, we can address to the rime, balance, harmonization, redundancy, and unisoudness.

The techniques described in the past are: actual, real, direct, living, personal, personality and stage, but the description species in contemporary fiction and modernist texts are more diverse than traditional ones. Some of these include: hermeneutics description, reflective, multidimensional, ideological, expressionistic, logical, contradiction, Circumstantial and semeiotic. This study introduces six new ideological, expressionistic, logical, contradiction, Circumstantial and semeiotic techniques in the works of Abootorab Khosravi. Examining the effects of Khosravi from the perspective of the above description techniques is a means for clearer and more accurate representation of the described in contemporary fiction. The descriptive study of this inquiry is investigated in the analytical method. Its results show that Khosravi works have a high frequency of description techniques and a new classification of technique.

Mirza Ahmed bin Mohammad Hossein Motavalli Bashi” known as “Roshan” is one of the poets who lived in the Hijri’s thirteenth century. He was one of the custodians of the Shah-e-Cheragh holy shrine which was a hereditary position in his clan. Mirza Ahmed Motavalli Bashi as a collection of valuable poetry, transcribed in broken Nastaliq script by “Ali Akbar Shaker” with its original handwritten volume still existing in the library of Shah-e-Cheragh shrine in Shiraz. Mirza Ahmed was one of the followers of Shia Islam and had great love for the household of prophet Mohammad. A large portion of his Diwan concentrates on the mourning of Imam Hossein and Karbala event. Other topics seen in Roshan’s poetry include Qalandaris poetry, love poems, and description of some events in his personal life. The historical poems written by him are also of great importance. Roshan’s Diwan includes a total of 3016 lines written in different templates including balladry, Ghazal (sonnet), segments, composite-tie, Multiple-poem and quatrain. This Diwan had not been edited or printed to this day and is not available to the society at large. Therefore, the authors the current article edited this Diwan and wrote an introduction for it. In this article, along with introducing Mirza Ahmed Motavalli Bashi and his family and their place in Persian literature, the stylish and literary characteristics of Roshan’s Diwan is introduced.