مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 69 (بهمن 1400)

Stylistic studies reveal many literary, intellectual and linguistic features of different works in different eras and contribute to the study of the fields of literary history, grammar, literary criticism and even literary genres. This article examines the structure and the most important stylistic features of one of Noor al-Din Abd al-Rahman Jami"s Masnavi called "Sabha al-Abrar" in three areas of thought, language and literature.

This research has been done by content analysis and library.

Jami in this Masnavi follows a neat structure; This means that he divides his work into forty contracts and in each contract he first introduces the principle of mystical and moral principles and then mentions an anecdote and allegory to explain that principle and at the end he brings a few verses as prayers. Therefore, in addition to being mystical, this work was created for the education and training of seekers and has an educational aspect.

At the linguistic level, the choice of the weight of "verbs, verbs, verbs" has made this system irreplaceable from this point of view. Also, word games in the use of rhyme and line are special features of this system. At the literary level, regardless of the use of confrontation and allegory (which has served to understand the mystical and moral content of the work) there is not much innovation in the work and the element of imitation is seen in all its literary elements and arrays. At the intellectual level, since Jami is considered a follower of the Ibn Arabi school, in his system, among the components of this school, he emphasizes more on the two issues of "unity of existence" and "perfect man". Although Jami was a follower of the Naqshbandi school, there is no sign of the sect"s teachings in the morning.

Although, like many other human phenomena, a precise and in-depth definition of mysticism and Sufism cannot be provided, in one sense it can be considered an attempt to depict a world free of violence and peace; Creating a world free from drought and bigotry with altruism, all of which are components of world peace in mysticism. Peace, as one of the most fundamental human needs throughout history, has always been the focus of philosophers, mystics and thinkers. One of the Iranian poets and mystics who plays a prominent role in spreading the concept of peace, tolerance, respect and reverence for diversity and differences between cultures and avoiding anxiety and conflict is Maulana Jalaluddin Mohammad Balkhi. Maulana peaceful thoughts and the fresh and pure life of his words can be interpreted in this regard.

The authors of this article, relying on the descriptive-analytical method, intend to extract the peace of this poet and mystic from among the various ideas of Maulana, which is expressed as "Masnavi-Manavi" due to his precious work, and after mentioning the evidence, relying on Masnavi. Rumi corrected Reynold Nicholson to describe and analyze the data and present the results.

A mystic such as Maulana has dealt well with the plagues and crises of the human soul and psyche in the form of universal teachings and has expressed the most important components of this peace with the existence of the universe in the form of his eloquent words. In fact, achieving peace, its obstacles and challenges are among the mental concerns of Maulana"s peace-loving thought.

The ontological manifestations of Maulana peace with the universe begin with the reconciliation, proportion and harmony of the opposites in the universe and end with peace with God, which is the most perfect kind of peace. The results of this research, which has been done in a descriptive-analytical manner based on library data, show that peace with nature, self, others and God are the four basic elements of peace from a universal and general perspective in Maulana style of thought in Masnavi. According to Rumi, peace is love.

One of the important factors in the evolution and birth of literary styles is the stereotyping of literary themes and images in different periods, a clear example of which is the emergence of the school of occurrence, the Indian style and the period of literary return. The most common analysis for identifying literary stereotypes is the recognition of repetition tools. The element of "repetition" plays a key role in the literature, both positive and negative. The high frequency of this element sometimes leads to the emergence of "stereotypes" and can appear in poetic images, additional and descriptive compounds, compound words, symbols and the like, as well as in the place of themes and emotions. Therefore, the present article examines and influences the element of "stereotype" in the literary dimensions of contemporary lyric poetry by studying the poems of Hossein Manzavi and seeks to prove how Manzavi has removed the color of repetition and antiquity from stereotyped images and themes.

This research has been done by descriptive-analytical method and based on the study of Hossein Manzavi"s lyric poems.

Isolation sometimes creates new images and themes by paying a little attention to stereotyped images and themes. This process often adds to the artistic and literary value of isolated poetry by combining stereotyped and creative ideas, and changes the audience"s view of the use of stereotypes

The most prominent innovations of Hossein Manzavi in ​​the use of themes and images of the ancients and their de-stereotyping include: innovation in the use of stereotyped combinations, innovation in the use of allusions for themes and illustrations, innovations in the use of allegory and irony in themes and imagery, themes and imagery Adaptation from the words of the past for theming and illustration, and combining rhetorical techniques with allusion, guarantee, and allegory. These arrangements represent isolated corners of isolated innovations and innovations as one of the pioneers and pioneers of new sonnets and show how his sonnets are different from traditional sonnets and similar to modern poetry.

Each literary genre has its own stylistic features. Knowing the style of theses literary genres will lead to a better understanding of them. The current research has tried to study the stylistic features of Amir Moazi,s poems, especially the praiseworthy poems in his divan linguistically and intellectually. The source used in this research was his collection of poems edited by Abbas Igbal.

this research was conducted by descriptive- analytical method and data collection tool is library.

Moezi, s poetic language is a simple, fluent and eloquent language. Moezi utters many meanings in simple and understandable words and his strong nature in making expressions easy and unambiguous has long been considered by critics. However, most poets rightly believe that his poetry is not at a high level in terms of illustration and in fact it is a repetition of past poets, images.

Moezi, s poetry has significant linguistic and historical values. Many Persian words in various morphological constructions were collected in his divan. However, many irrelevant Arabic words are also found in his speech, mostly for rhyming purposes. In the field of expressive techniques, the main rhetorical feature in his poetry is simile. However, the verbal features that lead to musical features more than the spiritual adornments. The main format of his poems is the ode/ laudatory poem which is relatively shorter than praise poems by other poets. Intellectually, the predominant element of his poetry is praise and moral and educational themes are very few in his poetry. Moezi also has a number of lyric poems, pieces, compositions, prepositions and quatrains among his poems in addition to his ode poems.

One of the heroic poems that has been written in imitation of Ferdowsi"s Shahnameh is Shahriyarnameh. The poet of this poem is an anonymous poet named Mokhtari, who probably lived in the Safavid period. This poem is about the heroism of Shahriyar Borzoo in the lands of India, Iran and Mazandaran. The purpose of this study is to analyze the stylistic features of this Masnavi.

This research is a descriptive-analytical approach. For this purpose, resources related to the subject of identification were studied and recorded.

Masnavi Shahriyarnameh has weak verses and is full of verbal and spiritual flaws. This Masnavi has been composed in twelve thousand and sixty-nine verses in a convergent format. Since this poem belongs to the Safavid era, many features of the Safavid era such as the extensive use of sending proverbs, allegories, as well as the use of slang, words The traditional composition of the Safavid period is evident in it. The poet has composed this poem in a parody of Ferdowsi"s Shahnameh.

This system is full of mythological themes and beliefs and also has themes such as justice, benevolence, advice of Wonders, praise of wine, misogyny, Ayari character and popular beliefs. Puns in the realm of rhetoric, simile in the realm of imaginary forms, exaggeration, and observance in the realm of spiritual novelty are among the most prominent literary arrays used in this system. One of the features of the language of this system is the use of rare or artificial words. Many grammatical and linguistic features of Khorasani style imitating Ferdowsi"s Shahnameh can be seen in this poem.

The issue of "unity of existence" is an abstract matter and addressing it is lead to the formation of various metaphorical systems in the text. In the present article, based on the view of cognitive linguists, the functions of conceptual metaphors in how to perceive and think about the concept of "unity of existence" have been studied. The issue of unity of existence has a special place in the court of Shah Nematullah Vali. The main purpose of this research is to answer to the question of what linguistic mechanisms Shah Nematullah Vali has been able to explain the abstract concept of "unity of existence".

The research method in this article is descriptive-analytical. The authors have reviewed first 1000 lyric poems of Shah Nematullah Vali’s Divan.

Conceptual metaphors are formed based on the physical and cultural experiences of each language; Shah Nematullah Vali has also explained the "unity of existence" based on cultural and physical experiences. The findings of this study show that in the first 1000 sonnets of Shah Nematullah"s divan, there are 851 conceptual metaphors about "unity of existence.

85% of the conceptual metaphors of Shah Nematullah"s court are related to ontological metaphors, 10% are structural metaphors and 5% are orientation metaphors. Personality (man, perfect man, prophet), objectification (mirror, cup, gold, treasure) and the elements of the universe (sea, water, light and sun) are among the most frequent ontological metaphors of the unity of existence in the lyric poems of Shah Nematullah, which is affected from mythological and religious beliefs. In structural metaphors, the number one, meaning, interior, truth and essence are the most important metaphors of unity of existence. Among orientation metaphors, in and high have higher frequencies.

The first Persian advisories in Iran, after the advent of Islam, were written in the 4th and 5th centuries AH . the Writing advisories, at this time, was not only a continuation of the tradition of advisory writing of the Sassanid period, but also had political and social Purposes. advisories contain important points in analyzing the way society thinks And one of the most important parts of them from this perspective is the Standard character they cite. A Standard character is a person who, as the best example in confirming the relevant advice, is quoted or narrated.

In this article, an attempt has been made to study and analyze Standard characters and the reasons for their selection in the Persian advisories of the 4th and 5th centuries AH by the library method. The mentioned texts include Kheradnameh, Afarinnameh, Pandnameh of Anoushirvan, Siyar Al-Muluk, Kimiaye Saadat and Qaboosnameh.

Authors of the mentioned advisories for choosing Standard characters, regardless of personal thought , have also been noted On the one hand to the values and on the other hand to the existing challenges in society. Therefore, the high frequency of using certain specific Standard Characters or belong to a specific time period or job position, it shows the popularity and efficiency of those people in the society.

Examining the texts in this article, shows the attention of authors of the advisory is more focused on the political and then religious and social spheres. Also notice to the Iranian Standard characters or those who were interested in Iranian culture, both in ancient and in the Islamic period, is very prominent.

The poem "Mehr and moshtari " by Assar Tabrizi is one of the most powerful poets of the eighth century AH. This work, like other lyrical poems of the seventh and eighth centuries, although written under the influence of military poetic style, was not devoid of individual poetic creations. This poem, despite having a relative reputation during the poet"s lifetime, has not received much attention from researchers. In this article, while introducing this work, its linguistic and literary features have been studied.

This research has been done by library method with descriptive-analytical approach. The statistical research is all the poems of Mehr and moshtari.

The poem "Mehr and Jupiter" has been composed in the form of Masnavi and in the sea of ​​Hazj Masdas. Different types of puns, word repetition, conjugation, consonants, consonants, adjectives, adverbs, adverbs, and rejections and photographs have been used to enhance the inner music of the poem. At the lexical level in this system, Arabic words and compounds, astronomical words and compounds, and newly created compounds have a high frequency, which seems to be influenced by Khaghani and Nezami in the use of these terms. At the literary level, simile, metaphorical addition, explicit metaphor, and allusion are some of the most common arrays used in this system. Metaphor and metaphor are used in accordance with the lyrical spirit of the work. The ambiguity of proportion is often created by the names of the characters in the story, which give the poem an artificial color.

Assar Tabrizi, like his contemporaries, thinks in the style of military storytelling, but also has his own linguistic initiatives. The linguistic and literary features used in the work, such as the use of Arabic words, astronomical terms, sensory similes, etc., show the attention of Assar Tabrizi to the style of military poetry and the Azerbaijani style. The use of Arabic words and combinations, the use of novel combinations, the extensive use of literary arrays, the introduction of astronomical terms, music, chess, etc. are obvious signs of the style of this system.

In recent years, we have witnessed the introduction of the word social capital in discourses and scientific documents in various fields. Social capital is discussed as a factor for success in various areas of life with social health. The justification for this focus on social capital is based on the role it plays in the production and increase of human capital, and for this reason today it has a special place in the study and development of social indicators and development by reputable global organizations.

The research method in this article is descriptive-analytical. First, a complete study of the tales of One Thousand and One Nights from the version of Abdul Latif Tassoji has been done, and then the sources related to social capital from Pierre Bourdieu"s point of view have been explored.

"One Thousand and One Nights" is one of the books before the Achaemenid period, which in addition to literary and political issues is of special importance in terms of social and moral issues and in the field of social capital contains significant elements and components. Due to the development of new knowledge and theories in the field of social capital presented by experts, in this study, the intellectual level of Thousand and One Nights drawings from a new perspective and based on the theories of the twentieth century French sociologist, Pierre Bourdieu, is examined.

The results of this study indicate that the indicators of social capital used in these tales from the perspective of the three levels of micro, medium, and macro include religious beliefs, trust, hope, forgiveness and forgiveness, patience, cooperation and cooperation.

The anecdotes of Masnavi are not fabricated and paid for by Rumi, but Rumi has received them directly or indirectly from other sources. Some of these anecdotes, including the anecdote of "Shah and Kenizak", have been taken from non-mystical sources, but have been seized and then narrated in a very different way from their own sources in Masnavi. The most important possessions of Rumi in the sources of the story of the king and the maid are the possession of signs and the purpose of the present study is to investigate the why and how of these acquisitions.

This research is a theoretical study that has been done in a descriptive-analytical manner and the method of data collection is library. In this research, based on discourse semiotics and using critical discourse analysis tools, the ideological layer of Masnavi narrative style has been studied.

Rumi, as the narrator of Masnavi, has adapted the story of the king and the maid from four articles and Ferdows al-Hikma and other sources, and by capturing and changing its signs and using special symbols of mystical discourse, a new and different narration. It has provided. As a result of this change in discourse and style, the narrative has found an ideological and different function from its sources.

By removing this anecdote from the main context and by deconstructing and redefining the signs of the semantic system of the discourse governing the sources of the anecdote, Rumi employs it in mystical discourse and establishes his own mystical semantic system. Has transferred himself from the above story to the audience. Since Rumi"s mystical discourse is organized in opposition to the discourses of the world, theologians, cortical scholars, theologians and philosophers, in the Masnavi narration of this anecdote, a bipolar opposition is seen between the mystical discourse and the mentioned discourses; In such a way that the signs of rival discourses have been marginalized and rejected, and the signs of mystical discourse have become prominent.

Two very important issues that have always faced many challenges among experts and researchers in the field of mystical research, is the relationship between reason and love from the perspective of mystics. According to the different definitions and theories about these two God-given forces, which of the two leads man to divine bliss and encounter? Are they superior to each other in this direction? That a mystic poet like Rumi considers the feet of reasoners as wood, or that Attar Neyshabouri considers reason to be a child of the path in the path of God, and often mystics blame the intellect, and on the other hand, the same mystics speak of a gem called love and call it They know that they are capable of reaching God, these are the issues that make it necessary to discuss them.

This research has been written by library information retrieval method and descriptive-analytical-comparative. In the analytical processing section of the subject, first the mystics" views on reason are discussed and in the next section their views on love are analyzed and examined.

This has been discussed in detail in mystical prose texts. Kashfat al-Mahjoub has dealt with the mystics" differing theories in this regard as carefully as possible, and Qushayriyah"s treatise has devoted a chapter of his book to this subject. Of course, people like Najmuddin Razi, Bah به"u"ll ولh, and Suhrawardi have each written separate treatises on the subject.

The authors believe that the intellect has different levels that mystics consider only that part of the partial and subsistence intellect which is sanity, as opposed to love and the spiritual aspect of the intellect that can be related to the active intellect and the background of progress. Provided by the seeker, it has no conflict with love, but is in harmony with the compound of love.

The idea of ​​"cosmopolitanism" is one of the emerging and common themes in the literature of nations that has received more and more attention in recent decades; This article examines the reflection of cosmopolitan thought in the novel "House of Thorns" by Abdolhossein Farzad.

This type of research is a library and is based on content analysis through the study of sources and filing and analysis of slips. In this way, first, the sources related to the terminology and semantics of "cosmopolitanism" and its components have been studied, and then, by studying the novel, the sentences and signs related to the subject of cosmopolitanism in the form of The receipt was extracted and in the final stage, first the thematic classification of the receipts was done and then the contents were analyzed.

Abdolhossein Farzad has expressed his ideas and thoughts in this novel and one of his most prominent ideas is "Jahan-e-Watan". This idea is reflected everywhere in the novel, including in the narrator"s own words, in the characters of the novel, including Qadabik, and in general in all the elements of the novel.

The reflection of this idea in the novel does not mean that the author hopes for its realization, but he always warns his audience that the current path of the world will never lead to a "cosmopolitan" and a new plan must be devised to achieve this. The plan that the author proposes for the realization of the "worldview" is "love", which is the central theme of the novel. Farzad believes that love is the lost link of contemporary man, and if one can hope for the actualization of humanity and the realization of the "cosmopolitan" that love and affection have emerged in all aspects of contemporary human life.