مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 56 (دی 1399)

Jam is the first human being in Iranian myth of creation and Solomon is the third Sami king of Israelite people. The Iranian people"s familiarity with Solomon through the Holy Quran and its interpreters contributed to the thematic coincidence of Jam and Solomon within the historical texts and , in consequence, entered into the Persian poetry. The current research intends to determine the relationship between both of these figures while also providing a new recognition of Jam mirrored through Solomon. The results of this quantitative- qualitative research which used an analytical descriptive method include: a) – the most prominent reason for coincidence and intermingling of Jam and Solomon is their similar personalities together with Islam"s entrance into their land, b)- although Solomon overtakes Jam in terms of frequency within the Khorasani style of poetry , he is influenced by the length, importance, generality of the elements, cultural variety of the Iranian people and intrinsic flexibility of the myths while Jam appears to influence them.

The book Faraj baadal sheddat is a work of fiction in Arabic, written by Abu Ali Mohsen bin Ali Tanukhi in the fourth century. This work is a collection of anecdotes in fourteen chapters with different themes, all of which are written on the axis of the vulva after intensity (opening the work after difficulty). There are two translations of this book, one by Aufi, of which only one name remains, and the other by the translation of Hussein ibn Asad Dehestani in the seventh century, which is in thirteen chapters. This work is considered a teaching-ruling work in terms of subject matter, but in terms of determining the type of its prose, there is a difference between literature. Factors such as the writing of the work in the seventh century (the period of the spread of technical prose) and the influence of the common type of prose on the work and the existence of similar anecdotes of this work with other fiction books have caused this disagreement. In this article, which is done in the library method, we seek to understand the type of prose of this translation. The results of the research show that the translator, in the entirety of the work, has based his work on the simplicity of the text and mentioning only fictional-historical content, but since he lived in the seventh century, the period of technical prose and he is a poet and translator, sometimes Especially in the descriptions section, he has been influenced by the style of the translators of technical prose and has included features in his work that bring the work closer to the books of technical prose; Features such as inserting verses and hadiths, recitation, use of imaginary and ...

Young poets are less familiar with classical Iranian culture and literature. The lack of knowledge of some of the young poets about the great cultural and literary heritage of our past has made their poems less and less enlightened. Unfortunately, they do not know that the prominent contemporary poets such as Nima, Akhavan and Shafi"i Kadkadi reached a degree of importance and prestige before they became familiar with Iranian classical poetry, culture, and literature and they read and understood them as well. Because of the importance of the subject, we studied the works by Qeysar Aminpour (1338 - 1338) to show the representation of classical Iranian culture and literature on his poems. Qeysar Aminpour was a PhD graduate in Persian language and literature and a professor at the University of Tehran, and worked in the fields of poetry and literary prose, as well as in the field of literary research. The research method of this article is library-based, and the basic questions are: 1. Has Qeysar Aminpour made use of classical culture and literature and the heritage of our past in his poems? 2. How has this influence from the classical Iranian literature shown itself in Aminpour"s poems? 3. Which period or literary style was Qeysar Aminpour most interested in and made use of? In this research, we studied his poems word for word and examined the various influences in terms of content, image, and showed the composition, interpretation of classical Iranian culture and literature.

Hossein Pejman Bakhtiari is a contemporary traditional poet who understood late Qajar period and Pahlavi era and was not fully aware of the changes in the form and shape of poetry, due to the form and the music of the predecessors. He brings a mixture of old and new terms into his poetry. From the linguistic point of view, the simplicity and psychic of the word is sparkling in his ghazale, and he does not use abusive and desolate vocabulary. He used the longest rows and repeated rhymes in most of his poems. He is capable of making beautiful compositions and elegance, and the element of imagination in his works has a competent place. Some of the compositions used in his poetry are: Iron courage, king Man, flattering, Sweet smell, Loving, Sugar Kisses,assassins , oppressors, gasbag( living away,help spreading,kamoor. From similes: oak hide, colorful shoulder, skyscraper... Poems are full of fresh themes and expressions. The poet"s art of illustrating is the use of expression arrays, metaphors, similes and metaphores. This use is modest and common, so that the word is complicated and does not act as unacceptable. The present study aims to analyze the poetic style of poetry"s ghazals in three levels of linguistic, intellectual and literary based on accurate statistics.

Understanding the artistic backgrounds of the artists, especially fiction, are possible through their study of how to reflect cultural, social, political economic factors in their work. the surveys the works of Jalal al Ahmad, Sadegh Hedayat Gholam hosein Sa"edi in addition to their artistic techniques reveals them in fiction, can lead to a number of levels of thought as authors of decades of 30 40. In this research, we try to find the level of their thinking in the field of ignorance superstition by selecting the stories of each writer, so we can answer the question that these writers reflected ignorance superstition with their angles glances at their dusts. The results are that they are the authors of the decades of 30 40 , show tradition and modernity, progress and backwardness and ignorance and consciousness of individuals in opposition to each other in the style of realism , to penetrate the peoples back , showing people who overwhelmed with thoughts events that their thinks don’t have the capacity to learn them, because of ignorance interest in imitating them blindly.

In Mostamli Bokharis “Sharh-e Taaruf” there are 269 stories. As to the analysis of the place of story in this work, one can see frequency, diversity and the type of application of stories as the distinguished features of the style of the work which has been sued as an efficient tool for explanation, transmission and effectiveness of the notions and themes. This research aims to examine the narrative elements of these stories as characterizations, brevity, language, the issues of theme, plot, point of view, time and place in the style of Mostamli Bokharis and find out the extent and quality of performance of theses elements in the impact of storytelling of Sharh-e Taaruf. Analysis of the narrative elements of stories suggests that the author has not intended to tell story has used story as only a tool in the service of narration. So stories do not enjoy all elements of narrative. But it has been successful in conveying and effectiveness of the notions.

Comics is created as a type of criticism literature from long ago in order to express complaints against the problems and to represent the obscenity and disadvantages and inefficiencies of the phenomena and relations dominating the social lives aiming at notifying, reforming, and removing the faults and chaos by the elite poets and writers and in order to express the suffocation and despotism using different literary tools. The climax of this literary tool could be observed in works of poets and writers in 7th to 9th centuries through which Mongolians and Teymori Kings ruled the country. Therefore, in the present study and using a descriptive-analytic method and with the help of observation of different texts composed and emphasizing at different literary tools such as simile, allegory, irony, paradox, …, we have tried to investigate about this type of literature in poems composed by Abdolrahman Jaami, who has been one of the most outstanding poets during the Teymori era. Findings showed that language techniques has had a great functional role in creating works of this poet. Regarding the content techniques utilized in poems by Jaami, we can observe the following items as the mostly used techniques: contradiction, stupidity, diligent and funny reasoning.

There always is composing poem on the base of the beat and form, composing similar and following of form, rhyme and beat of a poem during periods of Persian poem. The first poet of Persian literature is Rudaki that from the beginning, his poem has been noted poets due to a variety of themes, elegance, serenity, solidarity and novelty. One of his poems which have been noted over a millennium is the following distich qeta: What should do anyone who like wine as me so happy to have any lover It’s not wrong that you’re not It’s nothing hidden that you know In this work composing poem on the base of the beat and form of this qeta has been shown from the oldest age namely poet’s age to current period.

The poem "Good and Cute" by Nami Tirmidhi is one of the poets of the tenth century. Written in imitation of Khosrow and Shirin Nezami, this Masnavi has a Baluchi origin and is known in the subcontinent as the story of Sassi and Pannon. The only version of the system was found in the Ganjbakhsh library, which has been completed and is ready for publication. In this article, which is written in the library method, while introducing this unknown work, the stylistic features of the version have been evaluated and analyzed in three linguistic, literary and intellectual layers. The results show that at the linguistic level, the use of ancient words, etc., has made the poet a continuation of the ancient style of the poets before the school of occurrence and the Indian style. At the literary level, the most important feature of the version is the connection of images in both horizontal and vertical axes, and at the intellectual level, apart from romantic themes, some mystical themes are also reflected in the work.

Genetic stylistics seeks to identify the individual and social origins of personal style. Since the theme is a stylistic feature and affects the other stylistic elements, too, identifying it in Beizaee’s historical screenplays is effective for recognizing and analyzing personal style. In answer to this question, “what is the dominant thought in Beizaee’s historical screenplays and what is its origin?”, it can be said that the theme: “life is Shamiran”, is the dominant idea of Beizaee’s intellectual level and is expressed by motifs as disability or death of king, rape, homelessness of woman and child, murder, nightmare, return of the dead, ritual display of Shamiran and the persistence of turmoil in a chaotic and disorganized historical context. The origin of this idea is rooted in two reasons. The first is Beizaee’s attention to oral literature and folklore, since Beizaee is one of the first scholars in the field of dramatic literature and dramatic rituals of Iran. He took the word Shamiran from folklor and used it as the equivalent of Chaos in his researches. The second reason is attention to history. Iran’s defeat against Russia led Iranian to consider history as a way to save and develop the country and for this reason, translation, compilation, rewriting and recreation of history and production of historical dramas and novels are expanded. This affected Beizaee on the way that he became acquainted with the failures of Iran in the study of history from ancient times to the present and by examining the sufferings of the people in turmoil and failures, the statement “life is Shamiran” was generated in the intellectual level of his historical works.

Artistic interweaving of stylistic aspects of those texts which have sublime styles is considered fundamental feature. In Ferdowsi’s Shahnameh, as an epic masterpiece in the world, all stylistic aspects lead to revealing an epic style. What exists under the texture epic style appears to be the mythological-epic idea in terms of an Iranian one. this mythological-epic thought shows the space time from primitive era to periods civilization. This essay tries to represent the conceptual infrastructures of the story of Rostam and Sohrab in different aspects of stylistics such as mythological, epic, linguistic, visual and interpreter aspects. Therefore, stylistic aspects of the story of Rostam and Sohrab are representative of the becoming epic mythology of creation which reach as a conflict in the form of Rostam, Sohrab and Tahmineh which reminds becoming sacred kindness and fertility.

Among the poets of the Indian style of "fantasy" or "style of imagination", Mohammad Ibn Ishaq Bukharai, nicknamed "Shaukat", despite his great fame in the Ottoman lands, is an unknown name in Iranian literature. He is one of the poets of the 11th century AH who has left a divan in his memory. In this article, which is written in a library method, after introducing Shaukat Bukharaee, we have examined his poems from a stylistic point of view and with emphasis on the special features of Indian style in his poems. The results of the research show that from a literary point of view, similes and their types and the extensive use of allegory have given a special prominence to his poetry. The main feature of his poetry is imaginative and imaginative, and discernment, paradox and sensuality are among the most important types of novelty in his poems. The high frequency of some special words such as: color, tulip, etc. and making novel themes with them is another feature of his poems, and the creation of complex meanings, novel fantasies, has sometimes made his poems difficult to find. Poetic scales, new compositions and slang words are the linguistic features of Shaukat"s poems. From an intellectual point of view, the description of love, despair and sadness are the two main themes of his poems, especially his lyric poems.

Young poets are less familiar with classical Iranian culture and literature. The lack of knowledge of some of the young poets about the great cultural and literary heritage of our past has made their poems less and less enlightened. Unfortunately, they do not know that the prominent contemporary poets such as Nima, Akhavan and Shafi"i Kadkadi reached a degree of importance and prestige before they became familiar with Iranian classical poetry, culture, and literature and they read and understood them as well. Because of the importance of the subject, we studied the works by Qeysar Aminpour (1338 - 1338) to show the representation of classical Iranian culture and literature on his poems. Qeysar Aminpour was a PhD graduate in Persian language and literature and a professor at the University of Tehran, and worked in the fields of poetry and literary prose, as well as in the field of literary research. The research method of this article is library-based, and the basic questions are: 1. Has Qeysar Aminpour made use of classical culture and literature and the heritage of our past in his poems? 2. How has this influence from the classical Iranian literature shown itself in Aminpour"s poems? 3. Which period or literary style was Qeysar Aminpour most interested in and made use of? In this research, we studied his poems word for word and examined the various influences in terms of content, image, and showed the composition, interpretation of classical Iranian culture and literature.