مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 64 (شهریور 1400)

What was the basis and theme in ancient religious poems, emphasized more on myths, traditions and cultural customs, but from the Islamic period, especially the Safavid Shiite government, took on a religious color and attention was paid to national and religious rituals. Constitutional social developments, social movements and modernism strengthened the sense of patriotism and archeology in poetry and literature during the Qajar period, the first and second Pahlavi. The victory of the Islamic Revolution and the era of war and holy defense changed the content and direction of ritual poetry, which can be referred to as the renaissance period in ritual poetry. The poetry of the revolution and the holy defense, using the religious concepts and the help of the school of Ahl al-Bayt (AS) and religious beliefs in the form of ancient, half and even white poetry, created the period of modernity of religious and ritual poetry. The present study aims to investigate Iranian and Islamic rituals and ceremonies and their crystallization in contemporary Iranian poetry with emphasis on the last four decades. In this research, an attempt is made to deal with the background, principles, components, themes, stylistic and sociological developments of this type of Persian poetry in the contemporary period.

This research has been done by documentary and library methods and in some cases by interviewing experts.

Ritual poetry, like other types of poetry and the realm of Persian literature, has expanded over time and a new sphere has opened before it. It is clear that new phenomena, developments of the contemporary period, changes in language, ideas and new themes have all marked new events in contemporary Iranian ritual poetry, and this type of poetry should be viewed in several ways and with different themes.

The study and recognition of Iranian and Islamic rituals and ceremonies in the contemporary period in the form of national and religious traditions and ritual poetry and literature are associated with cultural, social and sometimes political developments. In fact, it can be said that ritual literature has become a platform for transmitting the concepts and values of the Islamic Revolution, sacred defense, national and religious occasions, and customs and traditions.

Documents as one of the most important sources of historical research are of special importance; Because they are one of the most reliable means of communication with the past. This study aims to achieve the semantic and ideological underlying layers, find the dominant discourse and explain the cultural, social and situational factors in the endowments belonging to the Qajar period in the central provinces and Kermanshah to study and analyze these texts. The researcher believes that endowments are very valuable documents; However, due to their unavailability, they have been neglected by researchers and researchers; While research on these texts can not only clarify the various dimensions of the issue of endowment, but also provide other valuable information to researchers and those interested in research on historical texts. In fact, this study seeks to answer a few key questions; Including what values do words have ideologically? Is there a connection between word and meaning in endowments? What is the discourse that governs the endowments and the most important motivations of the endowments of that period? And were cultural, social, and geographical factors reflected in the endowments?

The statistical population of this study is 361 copies of endowments belonging to the Qajar period in the Documentation Center of the General Endowments and Charities of Markazi and Kermanshah provinces, of which 196 endowments belong to Markazi province and 165 documents belong to Kermanshah province. The research method in this research is descriptive-analytical, which is quantitative in the stage of describing words in terms of method and analytical frameworks. In the interpretation stage, the qualitative aspects of the text are also considered.

Endowments interact with each other at the levels of description and interpretation; Because literature and rhetoric serve political, social, and religious purposes, ideological beliefs have emerged in the structure of language.

At the level of word description, the use of semantic inclusion and semantic contrast has been very effective in enhancing the creation of semantic relationships in the linguistic structure. Dominant discourse in the introduction of most of the endowments studied can be considered philosophical, theological, jurisprudential and religious discourses and in the description and expression of details and how to use and maintain endowments, it can be considered a social and cultural discourse. In terms of interpretation, the text of endowment letters has been most influenced by the Holy Quran and hadiths.

Among the great Persian speakers, both early and late, there are few who, like Maulana Jalaluddin Mohammad Rumi, understand the role and effect of allegory in understanding and transmitting concepts to the audience. Used in the most intelligent and effective way. The purpose of the present study is to analyze the content of the spiritual Masnavi to deduce the principles of moral education in Rumi's allegorical anecdotes.

The research method is analytical and qualitative content analysis and deductive inference. In this way, first by analyzing the content of anecdotes and moral allegory of the first, second and third books of the spiritual Masnavi, moral concepts are dealt with, then we will infer principles for moral education and classify them.

The allegorical allegorical verses of Masnavi can be classified under seventeen titles or principles: for example, heresy, affliction, seeking help from God, truth-seeking, biosocial, self-knowledge. Under each heading, more detailed distinctions are provided and examples are given as examples to prove the research claim.

Rumi's philosophy of ethics in terms of expression is on two levels: idealistic and realistic. Rumi's idealistic morality is realistic and kingdomoriented and has nowhere to be abstracted, but his realistic morality derives from the text of subsistence reason and tangible social objectivity and is influenced by the war-torn culture and distorted humanity that leads to the Mongol conquest and a kind of submission. Inevitability is a matter of careful adjustment to the status quo.

Composition is one of the most important areas in which poets have entered in order to innovate the language and create creativity. Of course, it should be known that the talent of composing poets is different; The power of composing the poets of a period is not the same; And this inequality is more severe in different periods; In the Indian style, the issue of high compositional frequency is itself a stylistic factor. With the combinations that we encounter in the Indian style in the poetry of poets, as a collection of vague words and expressions, we become so confused and unfamiliar that we cannot get to the depth of the meaning of the verse. The purpose of this article is to study new and special compositions in the poetry of Indian style poets and its artistic functions.

The research method in this article is based on the objectives set in a practical way, taking notes and based on data analysis, analyticaldescriptive and data collection (use of library resources and documents, scientific and literary articles, dissertation). And sites), taking notes, setting and classifying them. The research is theoretical.

The present study practically and scientifically shows that "special and new compounds" are one of the most important factors in the ambiguity of language in the poems of Indian style poets and have doubled the complexity of their language. The themes of these compounds are mainly classified into two groups of abstract and objective concepts. According to the research data, the objective elements of the compounds in the Indian style have a higher frequency compared to the abstract elements.

This study by examining the thematic elements of new compositions in the poetry of Indian style poets shows that the elements of objective and abstract compositions can be classified into three groups "nature, objects and animals". The first group, objects 40% of all new compositions They comprise the Indian style, in the second order of nature, 35%, and in the third place, the new compositions of animal theme, 25% of the total composition.

The present article is going to make a survey on methonemy in Bahar’s Poems based on Littlemore’s (6413) point of view. From this cognitive model, 12 functions are mentioned for metonymy: 1. Referential; 2. Highlighting and construal; 3. Illocutionary functions of metonymy; 4. Relationship; 5. Anaphoric reference, cohesion and coherence; 6. Exophoric reference building and the establishment of discourse communities; 7. euphemism; 8. Hyperbole; 9. irony; 10. Vagueness; 11. Evaluation, ideology, and positioning; & 12.Creativity

This study has been done based on critical_discreptive method. In this study, all methonymy’s functions are surveyed in Bahar’s Poems and then calculated, in order to identify which conceptual methonomy with how much frequency has been used.

The result showed that the poet has been used all 12 metonymies in his poems with different percentage.

We found three most used roles “referential functions, highlighting and construal, illocutionary functions” and the least used one with the least frequency “relationship-building and the establishment of discourse communities”. The other finding showed that these methonymies are used for transferring poet’s messages like patriotic value and religious ideas, for different group of addressees.

Prose texts constitute a large part of Persian literature and its breadth is suitable for expressing any thought more than the words of the poem. The topics and concepts used in prose are generally divided into scientific and intellectual concepts, descriptive, narrative and news meanings, each of which is different from the other in terms of writing style, which includes topics such as religious issues, national celebrities, Stories and stories, history of astronomy, advice and sermons, Tersel, Sufism and mysticism, literary sciences, etc. This article will examine the stylistics of Persian works of Ibn Sina prose from a syntactic perspective.

This article is based on library studies and has been done in a descriptive-analytical manner.

Although most of Ibn Sina's works are written in Arabic; But he has written eight works in Persian: Alaei encyclopedia, radiology, scrap of nature, treatise on the truth and quality of the order of beings and the sequence of causes, Kunuz al-Mu'azmin, the criterion of the intellect, and Zafarnameh in Persian. These works are related to the period of language development. Persian and the early period of Persian prose are known as Mursal prose style. Mursal's prose works in the early period of the Persian language are generally devoid of literary features; Also, due to the scientific topics of Ibn Sina's works, the intellectual level in these works will not have much prominence.

Simple verbs and short sentences, word brevity, simplicity of language and fluency, short sentences and emptiness of tasks and verbal cues, avoiding rhyme and balance and avoiding the use of unfamiliar Arabic words and inclusion of technical terms are important features of books. Persian is the prose of Ibn Sina.

The study of literary works with regard to the principles of literary schools is useful in presenting new analyzes, classifying works and explaining the quality of the author. Ferdowsi's Shahnameh is one of the most important literary works in Persian language. The analysis of its stories, especially the events related to Kaykhosrow, with regard to the components of literary schools, is effective in recognizing Ferdowsi's literary power and a new reading of his intellectual foundations. In the present study, based on the components of magical realism, which derive from the school of realism, Kaykhosrow's character and Ferdowsi's narrative style have been explored in relation to him.

The present study was performed by descriptive-analytical method and inductive method.

Combining reality and fantasy and forming a part of narrative in the world of dreams, Keykhosrow's behavior based on magic, Keykhosrow mythology and presenting exaggerated images in the context of facts are among the components that make it possible to read events based on Keykhosrow theory. They have done magic.

The results of the research show that Ferdowsi has narrated the events related to Kaykhosrow in the context of the realities of Iranian society. Of course, he has used magical and supernatural elements in a limited and guided level to create the ups and downs of the narrative, to attract the audience's attention, to show the complexity and mystery of Kaykhosrow's character.

An adjective is a word that binds noun to itself and explains about it. Poets use a powerful tool called adjective to express their deepest feelings. In literary works, especially poetryو The adjectives appear in rhetoric rather than in grammar, and reveal the hidden points of the writers mental. Expressive adjectives in Attar's lyric poems have many rhetorical, aesthetic and stylistic values that are important both in terms of content and coherence of the text and in terms of determining the style of lyric poems.

The present research is a theoretical study that has studied these ambiguities in a library manner, analyzing artistic-aesthetic functions, find out a proportional relationship between these functions and Attar's personal style. For this purpose, the expressive adjective of the first 400 his lyric poems have been studied based on the rhetorical functions of stylistics.

The Attar's lyric poetry is one of the most glorious literary works in which descriptive compositions, while simple, have cryptic ambiguities that make them difficult to understand. In this research, have been found some manifestations of the aesthetic applications of adjectives in poetry, such as the equivalent adjective, the distinctive adjective, and so on, which have not been mentioned in literature works and grammatical-rhetorical researches of adjectives and worth considering.

The results show that the Attar's style lyrics in artistic application of adjectives, has been an intermediate style between a content and expression styles of the language and it has the most obvious rhetorical application to creation musical effects. Also the allegories in these lyric poems have an essential role in the coherence of the longitudinal axis; In such a way that the correct receipt of the concept depends on the correct receipt of the allegories.

By composing Masnavi, Rumi seeks to cure human psyche and reduce their pain. He turns to the growth and education of man and the exaltation of his soul in various ways, among which his three important and practical methods are story therapy, suffering therapy and community therapy. Story therapy is one of his basic methods. He treats the patient by telling stories and allegories and finds a solution for his mental health. The main purpose of his stories is to guide man towards spirituality and perfection. He also considers suffering necessary to purify the soul and purity within. In his view, God's absolute grace to test and afflict man hurts him. He also considers the presence in the monastery and the gathering of seekers and elders necessary for human growth and perfection. The purpose of this study is to investigate the different dimensions of Rumi's treatment methods in the first book of Masnavi.

The research method of this article is descriptive and analytical and based on library studies.

Religious literary texts inspired by religious worldview and influencing both cognitive and emotional domains of their audience can have many applications. Masnavi is one of the most significant and efficient Persian mystical texts in this field.

Narration of the story, acceptance of suffering and meaning for it, and presence in the monastery are among the psychotherapy techniques in the spiritual Masnavi. Rumi is one of the greatest thinkers by psychotherapists who can benefit from his views and ideas in this field by cultivating the principles of Sufism and Sufism and using it to treat human spiritual pain.

Motif is one the most important elements in consolidating narratives. It can affect the narrative both structurally and syntactically and due to repetition creates beauty, attraction and semantic salience in narrative situations. In epics, too, they are the links between the written epics, most of which are recreating the motifs of earlier works. They can be divided into main titles such as people, events, places, objects, concepts, and several subheadings can be considered for each title. The aims of this research are these: finding high frequency motifs in the selected epics, declaring their similarities and differences and specifying their effects in the processes and results of epics.

Analytical-descriptive in which poetic books such as Ghazan Nameh, GaoonNameh, ZafarNameh, HomayounNameh, SharafNameh and TimurNmeh were studied as the first step. Then their motifs were extracted and the most frequent motifs and their different subclasses were specified and named.

Motifs like causes of war, tact, tactics, treaty and message are the most frequent motifs of epic-historical works of this research. The motif of war with causes such as malice, Islamophobia, power-seeking and display of power is present in the works with the most frequency. Defensive, deceptive and destructive measures and tactics are applied in various ways such as ambush, corps formation, obstruction, deterrence, intimidation and influence in the enemy corps. Covenants are loyal, protective, coercive, utilitarian, reverse, murderous. Messages fall into the categories of written and oral, prophecy, and sleep.

In historical and religious dimensions. The subject of the work, the poet, his worldview and attitude, and his linguistic and expressive creativity have influenced the role of motifs.and changed them semantically. It has affected the quantity and manner of their presence and the manner of their use. The motifs, despite the variety of themes, advance the epic narrative and increase the reader's awareness of the causes of war, the reasons for defeat, victory, and the motives of war.

Farrokhi Sistani is one of the prominent and capable poets of Khorasani style and one of the great composers of Persian literature, whose poems have long been known for their easy and restrained character. His divan includes ode, preference, piece, lyric and quatrain, of which ninety-two percent are owed. This article examines the stylistics of the poet's divan at both linguistic and literary levels. The main purpose of this article was to study and explain the characteristics of Farokhi poems at two levels.

This research was conducted in a descriptive-analytical manner.

Farrokhi Sistani's poems have been composed in ten different seas of prosody and five percent of the rhymes of his poems are current rhymes and there are fourteen verses of Morddaf in his divan. Also, the use of novel word arrays, especially various types of puns, ancient Persian verbs and words, Arabic words and phrases, and composition are among Farrokhi's linguistic features.

At the literary level, the poet has widely used various similes in his poems, most of which are sensory to sensory similes. After that, Farokhi was considered as a type of metaphor, and after that, irony and permission were in the center of the poet's attention, respectively. A variety of innovative spiritual industries have also been used in Farrokhi's speech, with the highest frequency being the array of contradictions and the lowest being the array of guarantees.

Sustainability literature is a reflection of the reactions of oppressed nations and their dissatisfaction with the current situation; Therefore, the literature of stability, in spite of linguistic, temporal, cultural, religious, geographical and similar differences, pursues a single mission, and that has been the awakening of the masses of the people and their incitement against the occupiers of their land or its oppressive rulers. The subject of the present study is the analysis of stylistic components in the poems of Mirzadeh Eshghi and Mohammad Taghi Bahar.

The research method is descriptive-analytical; The data were collected in the form of libraries and analyzed by content analysis.

The poetic motifs of the constitutional era are almost common in the poetry of the poets of that era, but the approach of each of them is different from the other and indicates his own worldview. This is also true of the sustainability motif.

Mirzadeh Eshghi's extensive use of the manifestations of folklore in expressing the concepts and issues of sustainability has caused folklore to play a prominent role as a stylistic feature in such poems. The reflection of folk beliefs and the use of idioms, allusions, similes and proverbs are the most important manifestations of folklore in the poems of Mirzadeh Eshghi. In contrast, Bahar has not used much of the effects of folklore in his poems on sustainability and has expressed the concepts of sustainability more in harsh and literary language. Intellectually, love is more radical than spring. In the beginning, Bahar's discourse, regardless of his linguistic maturity, is like a love with a cracking language, and it represents an unyielding discourse and all the protests in Ahmad Shah's period until the beginning of Reza Shah's period. But very soon after his imprisonment, this discourse changed and criticism gave way to praise of Reza Shah. In other words, stability in spring poetry gives way to submission and silence.