مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 57 (بهمن 1399)

The teachings of Ahl al-Bayt, after Quran and prophet’s discourses, have provided the most influence on mystical texts. The deep contents of Ahl al-Bayt discourses as well as the rhetorical aspects were important factors, which were used by poets and writers. Using the mystical books that were originated in teachings of Ahl al-Bayt were completed in different intents with different methods. In this paper, it was aimed to study the reflective methods of Ahl al-Bayt in important mystical writings of Persian literatures until end of six-century using quotes – citation method. It is clear that unbreakable binding of the books with teachings of Ahl al-Bayt was the important point in this research, which were emphasized in this paper.

By publishing 12 collections of poems and also dispersed poems in publications Shafii Kadkani is known as a prominent and stylistic poet between his contemporary counterparts. One of his stylistic features which makes his poetry outstanding is his rich poetry`s cultural backing. In this paper sources of this cultural backing and the facts of the appearance of its elements are considered to both finding the role of cultural heritage in creating modern works of art and knowing the poet`s mental tendencies. For this purpose the cultural elements are identified, extracted, classified and analyzed in these groups: the Islamic culture, the culture of the ancient Iran, the Persian literature, the Sufi`s literary heritage, the Arabic literature and the culture of the WEST. The consequences of this research show that other than the elements of the Iranian culture the cultural elements of the other nations are also present in Shafii`s poetry; and there is a two-way relationship between this poetry and the cultural heritage. On the one hand the cultural heritage makes Shafii`s poetry wealthy in both meaning and language, on the other this heritage itself comes out from the dusts of the history, continues to be alive with a new face and relates to modern life and society.

Prayer as a form of religious behavior is intended to seek contact with the existence of the eternal that the individual worshiper bounces him as his creator or spiritual being into consideration.Worshipping is performed in different ways in various religions. Since the old days the ways of praying and worshiping among people as one of the most important elements of religious teachings have been of great interest to researchers. Attar is a prominent Sufi poet and genius of the Persian language who takes advantage of prayer to express his moral and spiritual lessons. He offers many of his sublime lessons in these prayers and teaches his audience directly and indirectly and visualizes many humans’ inabilities and perplexities on Earth and praying God, in the light of hope. He speaks of life and spiritual life and death that can offer solutions for the problems of human or to conform him or offer him sympathy and help.In some cases, the prayers criticize most of the problems, disorders, and power relations of the society. This study investigates some of Attar’s prayers and their features in his couplet-poems

Homesickness and loneliness have been taken into account by many researchers and proponents of mysticism literature from a few past decades. Since the soul -after the fall into the body- has represented as a stranger in the cage of body and due to the fact that Rumi has addressed such issue in details in Mathnawi, the researchers of this study decided to study the same. In the present paper, the soul homesickness has been investigated from Rumi’s perspective. It has been attempted to find out the principles the homesickness is based upon in Rumi’s opinion, how Rumi reacted to such homesickness and what outcomes it would bring about in the end. Rumi’s homesick thinking is based upon 4 primary presuppositions: mankind consists of both soul and body, the basis of mankind is the soul not the body, the mankind soul has the divine origin, and the mankind is constantly astray and restless due to the innate difference he has comparing to other creatures. Considering the mysticism insight, we can divide the Rumi’s homesickness by means of a cycle starting from The Soul Genesis to its Return to the Soul before the World, The Fall (Descending), The Ascending, The Ascension, and The Grief of the Loneliness and Separation. Since the Rumi has shown an eternal enthusiasm to free the soul from the body restriction, searching/finding more about this cycle seems necessary.

"Nesabossebyan" written by Abu Nasr Farahi is an educational poetic collection in lexis and literary science. It has been the focus of attention of the scientists and writers since its writing until the 14th century so that upon which too many commentaries were written. "Riyaz Alftyan" written by Ibne Hossam heravy whose author and the masterpiece itself have not been Introduced yet is one of its best commentaries and versions in the Teimurian period. The main issue in this paper is to introduce"Riyaz Alftyan,its investigation and innovation,stylistic and writing features,and introduction of its author.The findings of the present study obtained through a descriptive analysis procedure and on the basis of documentary method show that Nezamoddin Ibne Kamaloddin Ibne Jamoloddin Khafi Heravi known as Ibne Hesam Heravi is the philologist of the Teimurian age and his "Riyaz Alftyan" as an educational text is the oldest and most comprehensive commentaries of "Nesabossebyan " whose significan characteristics are miscellaneous writing, description,and documentary and testimonial extension of words. Morever,the masterpiece,is of high frequency in allusion, excerption, and reference to Koran verses and Tradition and refrence to the valid books of vocabulary. Ibne Hesam has greatly endeavoured in accurate registration of words inaddition to eloguence, tradition, and his masterpiece is the biggest treasury for introducing and interpreting "Moarrabat"(the Arabicized loaned words)

Historical developments, outbreak of wars, migrations and man’s changing insight are all influential and indispensible factors of the literary developments within any society. Historical developments, changing beliefs and intellectual developments have given rise to and furthered children’s literature. Investigating and extracting children-specific literary passages, produced both before and after the Islamic period, can shed light on fundamental shifts in this kind of literature. Therefore, studying such developments can enable the experts to cope with the current and future needs of Iranian children and adolescents. This study has sought to examine and discuss the four major elements of religion and morality, justice and injustice, Islamic educational system and, dreams and metaphysics in different historical epochs of Iran so that the findings could be potentially used for planning the creation of literary products for Iranian children.

Gothic is a style in story writing in which there is supra imagination, exciting factors, exaggerated events and ambiguous parts of human mind which are beyond human intellect and ration. This style was common during 18th and 19th centuries and now days are used by various novelists and story writers in various forms. This style was entered to novel writing in Iran and (blind owl) is the first novel which was written in this style. Some other Iranian novels which are affected by this style are including: Ehtijab prince, kingdom, gouge and guard. Distress and loneliness of characters, tingling, battle of characters with inner and outdoor worlds, monsters and ghosts, death, madness, imaginations, strange, stressful and irrational events, fear and so on are some characters of gothic. The man question is that what are most important gothic style factors in novels Ehtijab prince, gouge and guard?

In the infinite sense of Persian poetry and literature, despite all the efforts of numerous scholars, many works have not yet received much attention and the opportunity for scholars to identify and reflect on the many works ahead. One of the most prominent poets of the Safavid era who is unfortunately ignored by scholars is Mir Valeh Qomi, who, due to his talent in various fields, deserves his scrutiny. Mir Valeh Qom, who lived in the second half of the tenth century and the first quarter of the 11th century, is one of the poets, songwriters, and musicians of the Safavid era and one of the Sadat of Qom, whose works should be analyzed in the Indian literary realm. Contract analysis. Among his works are Divan Poems, which include quotations, sonnets, preferences and compositions, Masnavi, parodies, quatrains, fragments and material of history, and have a total of six thousand bits, most of which are quotations and sonnets. Forms. In this article, after briefly describing the period concerned, he first deals with the personality of Mir Valeh Qomi and, in the second step, examines his divan on the basis of new quadruplicate versions in order to establish the poet's position and order in this poem. Identify the great Safavid era, which has not received any significant research so far.

Revival of poems and prose and analyzing them through different approaches is an effective step toward the further realization of the rich Persian culture and language. Zeinolabedin Abdi Beig Navidi Shirazi is one of the lesser known of prolific and skilled poets from the Safavid era whom while serving at the court of Shah Tahmaseb as a treasurer, should also be recognized for his writings in the style of Mathnawi similar to the works of Hakim Nezami Ganjavi. Abdi Beig (921-988 AH) started writing his poems during the first half of the 10th century, in the rise and popularity of the Hindi style and therefore the perfected characteristics of this style is not greatly present in his poems and his writings, due to following the works of such masters as Nezami and Amir Khosro Dehlavi, possess a style similar to both Iraqi and Hindi. His Haft Akhtar collection which is written similar to Haft Peykar of Nezami, while being influenced by and on a lower level compared to the masterpiece of Nezami, cannot be considered as pure imitation due to the poet’s efforts towards innovation and creating new images and concepts, new compositions and using short and fast anecdotes and narratives and still requires research and recognition by the literary community for having other characteristics such as dynamic and relative language correctness, pleasant descriptions, social critique and thoughtful tips. The present essay, while generally introducing Abdi Beig Shirazi and his Haft Akhtar work, tries to review its main stylistic components from the three aspects of linguistic, rhetorical and intellectual and tries to define the status of Abdi Beig in poetry.

Translation of religious texts has special theoretical foundations due to the special features of these texts. They are divided into revelatory and non-revelatory categories, the sensitivity of each of which is different from the other during the translation. Nahj Al-Balaghah is one of the non-revelatory Islamic religious texts. Due to the value of this work among Iranians, over fifty Persian translations of Nahj Al-Balaghah have been made so far. However, the use of these translated texts is more in the field of meaning and concept, and the translator is usually unable to convey the linguistic, expressive and literary subtleties of the original text. The translation of Nahj Al-Balaghah, which is based on language abilities and its artistic functions, requires significant linguistic literacy, literary taste and artistic ability. This research has been done by descriptive-analytical method with the aim of examining the translation of Omid Majd"s poem from Nahj Al-Balaghah in terms of the usage of expressive techniques. The findings show that compared to the original text, the translator has used three methods of expressive techniques in translating poems: Alignment of expressive techniques with the original text, creativity in translating expressive techniques, and adding expressive techniques in the translation process.

The love poem "Jamal wa Jalal" is an unknown work from the eighth and ninth centuries AH, the author of which is not fully known. Has become famous. This poem has been written in the light sea (Fa'latan, Ma'a'lan Fa'lan) and its writing was completed in 808 AH. In this article, which is written in a library method, in addition to introducing this system and its poet, the stylistics of this system have been studied. The results of research show that love and related topics are the most prominent themes of this work, but philosophical, mystical and moral themes are also seen in this system. Linguistically and literaryly, it is a simple and fluent work that is only slightly inclined to the task in the opening verses of the sections and in describing the sunrise and sunset (which is an imitation of the Nezami ).

The tone of one of the elements of the story and the type of expression of words and sentences that help to create the atmosphere of the story and affect the mind of the audience, even cause the recognition and determination of the literary type of a work. This story element is also related to the language of the work. The authors of this study have decided to study and explain the tone of lyrical stories of Shahnameh and answer these questions, what are the types of tone of lyrical stories of Shahnameh and what are the most important linguistic factors influencing the tone of these stories? This research has been done in a descriptive-analytical way and using library studies. After examining and analyzing the tone element in the lyrical story of Shahnameh, it has been concluded that the tone of lyrical stories of Shahnameh is epic-lyrical and linguistic elements such as phonological processes, syllables. And reliance, vocabulary, combinations, and imagery also have a big impact on the tone of these stories.

Color is one the most influential tools of creating literary – artistic works. Although, in the history of Persian literature this element lacked today’s diversity, in the realm of poetry, it has always played a critical determining role in inducing concepts and visualization. Studying the extent and manner of using different colors, either in ancient or modern poetry, is a useful attempt to get into the world of emotion and thoughts of poets and to understand the level of their mastery of using literary forms and techniques. According to the significance of this matter, the purpose of this paper is to analyze the functional role of color in the form and content of Sanai’s lyrics; an initiator of several literary movement of Persian poetry. Reviewing his lyrics with regard to this perspective can help identifying another significant part of his thought and poetic features. Sanaei mostly used color in to express theme of love in his poems. The most frequent colors used in his poems are: black, red, white, yellow. Simile and metaphors are the most common rhetoric – imagery figures of speech that he used on this ground.