مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 66 (آبان 1400)

Masnavi Kanz Al-Maaref by "Mohammad Hussein ibn Mohammad Jafar" is one of the mystical and valuable works of the 13th century AH. This work has 7078 bits and is composed in the form of Masnavi. In this research, while briefly introducing the author; "Mohammad Hussein ibn Mohammad Ja’far" is one of the poets (13th century AH) and the introduction of his valuable work Masnavi "Kanz al-Ma'aref" examines the stylistic characteristics of this work. This valuable book has not been corrected and published yet, and the only surviving copy, numbered 10-2156, is in the library of the Islamic Consultative Assembly.

This research is based on descriptive-analytical method.

In this book, the poet tries to express his transcendent and mystical thoughts, which indicate his attention to moral, mystical, religious and educational issues, in a rhythmic and poetic form.

The poet has used verses and hadiths to enrich his poems and thoughts. It is noteworthy that he did not use jokes and vulgar words in his poems at all. His firm words have been combined with the observance of politeness and purity of speech and words, and he has made this collection a treasure and a reservoir full of sermons and moral and educational points. In his book, he has often dealt with stories, religious narrations, historical and Islamic events and great personalities such as the Holy Prophet and Ali (AS). In addition to these topics, he is well acquainted with Persian and Arabic literature and sometimes refers to these stories and characters. The study of intellectual, linguistic and literary levels of this work undoubtedly paves the way for the knowledge and thinking and scientific and literary practice of this poet for those who are interested and researchers.

Literature, especially poetry, is one of the important elements of a nation's culture. Customs, beliefs, convictions, and in a word, all human social habits, are the theme of poets' themes, and to recognize these elements in different periods, Poetry Divan is the best source that is more honest than history, social, political, economic and cultural changes. Haji Mohammadjan Ghodsi Mashhadi (1056-990 AH) is one of the great and less known poets of the Indian and contemporary style of the Safavid dynasty, whose image of the society of that era has a brilliant appearance in his poetry collection. This article has been written with the aim of gaining the image of Iranian society in the Safavid period, the poet's divan on the topics of funeral rites and mourning rituals, feasts and celebrations, beliefs and superstitions, games and entertainment, punishment and torture, and occupations.

Collection of materials and its organization in this research is a library method. The method of research is descriptive-analytical.

Ghodsi has used social issues and affairs in a wide and varied way in order to depict and thermalize in his poems.

By studying the sociology of the Holy Divan of Mashhad, a lot of information can be obtained about the social and cultural issues of the Safavid era. Among the cases examined in his speech, the manifestation of jobs and then the ritual of burial and mourning is more than other cases. This can be attributed to the prominent manifestation of social jobs in the Safavid period compared to previous periods, and the death of the young holy son.

Modernism is one of the most important schools of contemporary fiction. The most important point of differentiation of modernism from previous schools, especially realism and naturalism, is crawling in the inner world. Instead of narrating external events, the author of modernism observes and displays the psychological developments of the main character of the story. Converts memories. In this article, the most important modernist techniques in the collection of stories "samte tarike kalemat" by Hossein Sanapour are examined and analyzed.

The research method in this article is descriptive-analytical and the data are collected as libraries and then analyzed using content analysis technique.

Modernism as a way of thinking and school, by changing the philosophy and content of literature, created a new perspective and worldview and introduced a new world to human beings. The relativism of reality, the originality of the individual, the change in moral principles, and the spread of absurdity were among the most prominent views of modernism that found their way into literature. In addition, the change in narrative elements and different narrative styles was another change in modern literature. Modernism, in turn, influenced Iranian writers and created works in this field. The flow of modern fiction in Iran was formed in the late sixties.

In the story series "samte tarike kalemat", the author is very interested in breaking the chronological order of the event and one-line narration is rarely seen in it. They have taken advantage of the break in the story. Narrative breaks are sometimes made through quotations or chapters, and sometimes the result of the narrator's mental illness or mental flow is associated with his meanings. The rupture in the narrations sometimes has a fast process using mental and delusional flow and sometimes its process is slow and calm based on the association of meanings. Ambiguity in this collection of stories is a delicate category; It has caused ambiguity in the stories.

One of the most important manifestations of love is literature and poetry. In Persian literature, the word love has a special importance and in Plato's thought, love has a high status. Many Indian poets have written precious poems about love, romance, the description of the beloved and the hardships of love; In other words, in most divans of Indian style poets, love is a kind of main theme of poetic themes and themes. Accordingly, the authors of this study intend to study love in the poetry of Safavid poets (Saeb Tabrizi, Talib Amoli, Naziri Neyshabouri, Orfi Shirazi and Kaleem Kashani) based on Plato's thoughts and division of love.

This research is a descriptive method and content analysis in the poems of Safavid poets.

Plato sometimes considers love as the desire to have goodness and sometimes the desire to possess beauty, so Platonic love needs beauty and perfection of the beloved and his love has a human face and can not be an obligatory description of transcendence, therefore it is not common in all universes. On the other hand, this love is a bridge to true love and absolute beauty.

The views of Platonic love can also be seen in the poems of Safavid poets. According to these poets, virtual love is the basis and prelude to achieving divine love and absolute beauty. Therefore, their love also has an epistemological aspect. In general, Indian poets have paid more attention to the reflection of virtual or physical love in their lyric poems. In this context, they talk about the ups and downs of the path of love, about the value and high status of love, as well as about the lover, the pain and sorrow of the beloved, and believe that the lover must go through worldly affairs to reach the beloved. The descriptions of love, lover and beloved in the poems of these poets are in line with Plato's ideas.

In the period of the Islamic Revolution, committed and committed poets to defend the values of the revolution and promote revolutionary ideas have expressed the facts and criticized the problems and issues of social, political, cultural, religious, moral, economic, etc. of their time, which These poems have been called "protest poems". Protest poetry as a nascent literary movement, a kind of social poetry and originates from the foundations of sustainability poetry. Among the poets; Tahereh Saffarzadeh, Simin Behbahani, Sepideh Kashani and Fatemeh Raka’ei are among the women critical poets; This research tries to study the themes, methods of expression, tone and format of protest in the poems of famous poets after the Islamic Revolution in various fields (political, social, religious, moral, economic, cultural, etc.) and the common denominator and Examine the differences between their poems in this regard.

This research has been done in a descriptive-analytical, statistical manner using library studies.

Poets have a realistic and at the same time cross-border attitude in criticizing the problems of the country or human society; As their protest poems are a reflection of the socio-political conditions of society and time, and such poems in addition to the active presence of women poets in the political and literary arenas of society is a confirmation of the sociological theory of literature that always affects art from social and political contexts. Ultimately, the purpose of protest poetry is to preserve Islamic values, reform society, and combat injustice.

The highest frequency of reflection of protest themes in Tahereh Saffarzadeh's poems and the lowest frequency is related to Sepideh Kashani, which has been composed in the form of Sepid, Nimai, Ghazal, Rubaei, etc. in political and social fields, respectively. These protests are global (foreign) and sometimes domestic, where the first type of protests revolves around protests against the policies of world powers, and domestic protests are related to injustices in society.

"Gavkhoni" is one of the contemporary mythological novels that has been considered by most critics and writers of literary works. The use of mythical concepts can be for two reasons; An aesthetic and comprehensible representation of the primitive human patterns in the author's conscious realm, as well as the author's (eternal secrecy) that allows artists to subconsciously pay attention to archetypal and mythological examples and apply them to their work. This article seeks to use mythological critique to present the mythological meanings of the work, both in the author's conscious form and in his unconscious form.

This research has analyzed the data by collecting and preparing the required books and materials in a descriptive-analytical method. After studying and researching, the researcher has extracted the research items among the mentioned works and classified them and examined the data obtained from the research.

The research findings indicate that Jafar Modarres Sadeghi, knowing the mythological topics, has consciously used some mythical elements and concepts in order to enrich the situation, characters, subject and plot hidden in his novel. Among the elements that have a mythical function in this novel are the following: the myth of water in the workings of motherhood, the myth of fertility, the return to the womb, death and rebirth, immortality, as well as the myth of patriarchy or Oedipal tendencies.

The discovery of mythical concepts and components in the novel Bloody Cow, in addition to understanding the main plot of the novels, their sub-plot and elimination is also obvious and the author's purpose in designing this method of storytelling is clear. There are two main and elimination plots in this novel. The main plot that is obtained in the initial reading and the elimination plot that is specified in the subsequent readings; It shows the inner turmoil of the characters, and their actions and actions can be justified under the influence of this elimination plot in the story

The aim of the present study was to investigate the worlds of text in the story "Aghabala and Company Limited Child” written by Sadegh Hedayat based on Werth’s (1999) Text Worlds Theory in cognitive poetics approach. This is a new approach that connects the wider world of literature to linguistics.

The data were collected by the library method from the above story, and analyzed using descriptive-analytic method. The authors seek to show how this approach can identify the underlying semantic layers of this story; and to what extent the writer has used this model to advance his story.

This work of Hedayat is one of his humorous works. In particular, Hedayat’s humor is a bitter one, and it is certainly not possible to claim exactly who the audience of his humor is. Also, he expresses his intentions and goals not explicitly, but in humor and by masterfully using the principles of humor.

The results showed that the theory of text worlds is used to identify the hidden semantic layers of the story and the writer's mind. The findings also showed that among the world-building elements, Hedayat has mostly used “simple past tense" among different tenses, the element of the "house" among different places, and the element of "narrative" among function-advancing propositions, as well as the "epistemic sub-world" among those three sub-worlds in this theory to influence his words in the minds and souls of the audience

Blogging is one of the popular beliefs that has long been popular among Iranians as a way to ward off disasters and prevent real or mental harm. To ward off evil, sore eyes and calamities, tools such as spells, amulets, special plants, stones, etc. are used. Sacrificing animals is another way of circulating. The present article seeks to show the folk beliefs in the female characters of some of the fictional works of Ali Mohammad Afghani.

This article is a basic research based on descriptive- analytical library studies with the aim of adding to the anthropological knowledge in the works of Ali Mohammad Afghani.

In this author's novels, women use these tools and methods a lot to ward off injuries and calamities from themselves and their relatives; Also, sometimes, by referring to people such as witches, warriors, etc., they try to get rid of what they recognize as evil or evil.

In addition to the components of transgression in the works of Ali Mohammad Afghani, a clear picture of society and its beliefs, as well as Iranian customs from ancient times to the present, how they deal with daily suffering and issues, as well as keeping the intellectual and cultural level of women I like patriarchal thoughts. In Afghan novels, women suffer from a lot of gender discrimination, so by resorting to ancient beliefs, many of which are rooted in the archetypes and myths of Iran and the world, they find a way to escape their failures, thus establishing their shaky position in the family and Stabilize society

Despite the relatively large number of women in the subcontinent, their poems are less considered as an independent identity in the history of literature and stylistics and literary criticism. Sometimes they are mentioned in the memoirs without mentioning any verses. This study aims to introduce the Persian-speaking women poets of the subcontinent in the era of the Mongols and the Timurids, to study the stylistics of their poems.

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

The biographers mention 54 female poets in the subcontinent, some of whom are courtiers. Among these poets, only Ziba al-Nisa, nicknamed the "secret" of Diwani, contains verses, and the number of poems left by women poets of the subcontinent (including the verses of Ziba al-Nisa: 4025 bits) is 4218 bits. It is attributed to two women poets.

From an intellectual point of view, due to the high frequency of lyric form in the poems of quasi-continental women poets, the subject of love and its belongings is in the first place and subjects such as mysticism, description, etc. are also seen in their poems. One of the most important and innovative intellectual topics in the poems of these poets is the emphasis of biographers on women's poetry and self-evidentness and complaining about the aging of their husbands. From a linguistic and literary point of view, the poems of the women of the subcontinent are lacking in expression and innovation and are based on imitation. The language of poetry in the poems of subcontinental women is masculine, imitative, repetitive and lacks poetic identity and feminine sensory issues. Innovation, critical view of society and reference to gender and personal life are not reflected in their poems and imitation of poets. The former has caused repetition of images and lack of creativity and artistic creation in their poetry.

Sometimes, in order to confirm the goals of the sonnet, the poet narrates a story in the middle of it, which is referred to as a sonnet-story. In this type of poetry, the orator, like a storyteller, represents an incident and a story and uses the techniques of storytelling to narrate emotional moments. From the first days of the emergence of Persian poetry, narration was one of the topics used in poetry and the coming of the story in the middle of the sonnet, apparently first in Attar's poem and then in the sonnets of Rumi's Great Divan has been widely used. One of the characteristics of Fakhr al-Din Ibrahim Hamedani, known as the Iraqi (688- 610) in the range of lyric poetry, is the telling of the story and narration of emotional and pure moments in the middle of the lyric poems. In this article, an attempt has been made to classify, describe and analyze the prominent ways of telling the story in "Iraqi" sonnets so that the reader becomes more familiar with the poet's goals and motives and mental mechanism.

The research method in this article is descriptive-analytical with a fiction and narrative literature approach, and the method of collecting information is library and based on content analysis.

Out of a total of 303 ghazals in the generals of the Iraqi court, corrected by Saeed Nafisi (1998), 97 ghazals-stories were identified, which comprise about one third of the ghazals of the poet. 18 of them are dedicated to sonnets whose prominent element is "dialogue" and 33 are to sonnets- stories based on "anecdote".

Iraqi lyric-stories are short stories in a simple language and suitable for romantic and mystical situations in which either the only element of "dialogue" prevails, or it describes its situations and the beloved or a report of the event. Recounts and represents the clergy. Aware of the fact that the atmosphere of ghazal is not suitable for storytelling and has its own limitations, Iraqi has not engaged in marginalization in ghazal-stories and has summarized the story in simple and concise language and has established a direct and effective connection between the reader and the story.

The present study has been conducted on the place of mysticism in the literature of sacred defense poetry. The main purpose of this study is to answer the question of whether mystical terms and teachings have been used in the literature of the sacred defense system or not; If so, how did poets use mystical terms?

This research is of theoretical type, relying on qualitative content analysis. The research method is a library method based on the study of books and articles related to the subject, which has carefully extracted and evaluated the required data from sources using the method of taking notes.

Among the studied poems, those that had a mystical approach were extracted, and based on this, it was determined that the poets of the Holy Defense often used mystical teachings and terms in their poetry, and it was also determined that the poets were mystics. Practically and theoretically, they have also taken different positions in dealing with mysticism.

What is the result of this research is the certainty of the connection between mysticism and its concepts with the literature of sacred defense (poetry) and also the fact that the diversity of views and diversity of usage in relation to mysticism, combined with intensity and weakness, in the poems of observation poets Has been.

Spiritual journey can be considered as the most important pillar of Sufism and mysticism and as the feature distinguishing it from other religious systems. So, a great part of Sofieh teachings has been centered on defining and explicating this spiritual journey. Existence of different steps in the evolutional journey not only superficialy indicates the existence of rituals, attitudes and educational systems, but also is in depth an influence of Sufis’ ontological view (as the one who plans the journey for his followers). Therefore, the place of God and Man in the hierarchy of the being and the relationship between these two plays a crucial role in howabouts of the journey.

This research was conducted in a descriptive-analytical manner using library resources.

Shams Tabrizi is one of the influential Sufis of the middle Ages. He is also regarded as an innovative and creative mystic in areas of anthropology, theology and ontology. In many regards, for example in terms of spiritual journey he has new and innovative ideas that deserve more attention. He believes that man has fallen apart from his true place, which is Khaliftulah. Therefore, he can regain his position through doing some actions and avoiding some other actions.

Shams’ teachings regarding spiritual journey can be divided into two categories: 1) What the seeker should pay attention to on the outside and in the material life (human journey in society) & 2) what should happen in the heart and mind of the seeker (inner journey). In the first case, what is most important is the feeling of an inner need and a relationship based on love and knowledge of hijab, and te external requirement which must be observed by the seeker is choosing a guru.