مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 71 (فروردین 1401)

Morteza Gholi Khan is one of the governmental, literary and cultural figures of the Safavid era, and since he is one of the pioneers and leaders of calligraphy, more attention has been paid to his calligraphy and his biography and works are not mentioned in the history books of literature. Morteza Gholi Khan has two poetry collections in Persian and Turkish. He himself has stated that the number of verses of his divan is about twenty thousand verses. In this research, we intend to determine his literary position by examining his poetry style.

In the present article, based on library studies and descriptive-analytical method, the stylistic features of Morteza Gholi Khan Khan Shamloo Persian poems have been studied and analyzed.

There are often common themes in the Indian style in the poetry of Morteza Gholi Khan. Since he has written the poems of his former and contemporary poets, the influence of the poetry of poets such as Khaghani, Nezami, Sa’adi, Rumi, Hafez, Babafaghani, Mullah Mohsen Feyz Kashani, etc. is evident in his poetry.

The language of most of Morteza Gholi Khan"s poems is inclusive, simple and far from poetic. He himself says that in Ghazal he follows the style of Saeb Tabrizi, but in some cases his poems prove that he paid special attention to the poetry of people like Bidel Dehlavi and Kaleem Kashani. However, there are all elements of Indian style in Morteza Gholikhan"s poetry, but what distinguishes his poetry from the poetry of his contemporaries is the use of terms and expressions related to calligraphy and calligraphy, which sometimes in simple and sometimes complex language are the basis of his poetic fantasies. Has been.

One of the most important branches of biography is autobiography. This literary genre is a self-written biography of the external and internal aspects of life. Iranians" attention to this type of literature begins in earnest from the Qajar period. This literary genre has the ability to reflect the socio-political and literary issues of a particular period. One of the first examples in the political arena of Iran, namely the autobiography of Amin al-Dawla, is one of the famous men of the Qajar period. This research has been done with the aim of introducing and analyzing the stylistics of Amin al-Dawla"s autobiography.

This research was conducted in a descriptive-analytical manner.

The findings of the research show that at the linguistic and literary level, "Amin al-Dawla" has used various linguistic and literary tools to express her meaning, the most important of which is the combination of Persian phrases with verses, Arabic proverbs, Coming from the language of humor in various forms such as metaphors of comprehension, elaboration, etc. In terms of content, the author has lengthened and marginalized the representation of issues related to the court and its events, and on the other hand, the basic problems and troubles of ordinary people in society have little place in this work.

Amin al-Dawla"s memoirs are writings that he wrote as a document proving his innocence from political currents. Such biographies cannot inherently adhere to the Covenant of Autobiography, ie truthfulness; Therefore, it can be said that Amin al-Dawla has acted "selectively" in narrating her actions and ethics and has used linguistic and literary tools and arrangements to convince the audience.

The most common and accurate way to examine the content of a poet"s divan is stylistic evaluation. The subject of this research is the stylistic analysis of the samet esfahani divan from three perspectives: linguistic level, intellectual level and literary level. In this article, is attempted while carefully analyzing the style, the extent of the touch this poet from of the poets before him and his contemporaries has been explained with poetic evidence.

The present study is a theoretical study conducted in the style of library research. The study area and community is the Samet esfahani Divan, edited by Ahmad Beheshti Shirazi and published by Rozaneh Publishing.

Considering the touch of most poets of the ninth century and later centuries on the universal poetry of Hafez, Samet in his poetry has been influenced both in terms of words and in terms of interpretations and images of the poetry of Khajeh Shiraz, besides There is obvious signs of his touch from poem of saeb, bidel, kalim kashani, orfi shirazi, asir shahrestani, and vahshi bafgi. His lyric can be studied in many ways. The salient features of the Indian style are also evident in the poetry of this poet. Sensory simile is the main feature of his rhetorical images.

The samet touch of Hafez"s sonnet and the existence of Hafez discourse in it follow the common tradition in the poetry of poets of the ninth century and the centuries after that Imitation and resemblance to Hafez"s poetry have been considered by poets as a sign of the identity of their poetry But the touch of his prominent contemporary poem Probably because of studying their works and finding common verbal and content proportions, in his poetry with the poetry of those poets, especially in the form of sonnet. The lyric of this poet is important in terms of thematic diversity and tangible images in order to make everyone understand it and affect the addressee.

Death is an experience that does not fall into the realm of human experience. For this reason, humans have reacted differently and sometimes contradictory to it and have made different judgments about it. Persian poetry in all its forms has been the narrator of feelings and thoughts that Persian poets have had and still have in the face of life and death. In this research, the views, perceptions and encounters of 9 contemporary poets (Shahriyar, Fereydoun Tolli, Shamloo, Siavash Kasraei, Nosrat Rahmani, Nader Naderpour, Shafiei Kadkani, Hossein Manzavi, and Qaisar Aminpour) on death are analyzed.

This research has been done by descriptive-analytical method and based on library data retrieval.

The research findings show that the components of mortality in the poems of these poets are mortality and aversion to death, mortality and mortality, romantic perception of death, mourning, longing for the instability of life and the passage of life, desire for immortality, and political symbolic use of death.

The most evidence and examples of poetry among these seven categories belong to the category of mortality and mortality. The main reasons for mortality in these poems are liberation from worldly attachments, martyrdom, submission to death, liberation from the sorrows and problems of life, and the futility of life. Also, there is the most connection between love and death in the works of Shahriyar, NosratRahmani, Naderpour and Manzavi, among which Manzavi is prominent. In the poems of these poets, wherever death has a positive face and is praised, it is associated with the sacred concept of martyrdom, or that there are spiritual and religious reasons such as abandoning worldly belongings. Part of the positive face of death in the eyes of these poets, especially Tully and Rahmani, is because of the futility and lack of value in life and a way to get rid of the many problems of the time. Also, the main reason for presenting a negative image of death is fear of it and regret for the instability of life.

The aim of stylistic studies is to discover and explain the characteristics and features governing the texts, which are obtained through the analysis of stylistic elements. This article examines the stylistic features in the lyric poems of Emad Faqih Kermani.

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

Emad Faqih Kermani, through Sheikh Nizamuddin Mahmoud, was a follower of Sheikh Zainuddin Kamui and the same person was one of the trainees of Sheikh Shahabuddin Abu Hafs Omar Suhrawardi. Emad is a follower of the reprehensible way and has used various mystical themes in his poems which confirms this theory. Emad is one of the poets of the group that tries to combine two types of romantic and mystical sonnets with the spice of Qalandariat and Malamatiyeh.

At the musical level, the sea of ​​sand has the most weights and the sea of ​​modesty and preparation have the least share, and the use of rows is one of his stylistic features. The inner music of Emad"s poems has also been strengthened by the frequency of puns and repetitions. Punctuation has the highest frequency among the types of puns in his poems, and the high frequency of repetition indicates Emad"s emphasis on his mental concepts. The dominant element in the rhetorical level of his poems is simile, and sensory similes are more frequent in Emad"s lyric poems, singular, singular and plural. In his lyric poems, Emad Faqih has paid attention to various verbal and semantic proportions in order to increase the richness of the spiritual music of his lyric poems. Ambiguity and its types play an effective role in increasing the spiritual music of Emad"s lyric poems. In the intellectual field, there are lyrical genres and mystical, romantic and Qalandar subgenres. He has also criticized Emad Faqih, a member of the monastery and piety, Zahedan the claimant, hypocrites, etc., and attacked them with bitter humor.

Drunkenness and Intoxication are two types of Sufi politics and moods, which are also interpreted as drunkenness and consciousness. Drunkenness indicates the state of Sufi ecstasy and drowning of the seeker in divine love, and Intoxication is the Sufi consciousness in the order before drunkenness or after which the seeker has a human face. There is disagreement among Sufis over the precedence of the two. Sheikh Safi al-Din Ardabili was one of the followers of Junaid and believed in the precedence of Intoxication over Drunkenness. Although the sheikh was from Sahwa, he was no stranger to drunkenness in the form of ecstasy and listening. Sheikh Safi"s followers were also on his school, and this went on among the followers of Sheikh Safi"s children and grandchildren until the time of Khajeh Ali, but after that, a change in this concept took place and "Sufi", in Sheikh Safi"s school, gradually found another meaning. Appeared. The present study seeks to find the cause of this change and how.

The results of this research have been obtained in a descriptive manner based on library resources from mystical and historical sources.

The findings of this study show that the tendency of the Safavids to power and their efforts in this direction helped to change the concept of these two states and with the Safavids coming to power and the need for property and administrative institutions, The government as well as the religious system were restricted until it reached its peak at the end of the Safavid dynasty.

Drunkenness and Intoxication, which were two Sufi states, were also common among the Safavids with a slight difference in their precedence and latency. With the coming to power of the Safavid monarchy, necessities were created for the Safavids to be serious in eliminating and abandoning these customs.

In studying the foundations of contemporary Persian prose we should consider literary works before constitutional movement which emerged the revolutions leading to simplicity in language use, several different prose formats, and conceptual changes during the time of constitution. The scholars before constitution could learn about western lifestyles and composed works in the form of journey memories, plays, novels, and translation and avoided using classic prose contents and frameworks. Therefore, they affected the changes due to constitutional era. In this research, we have investigated about the book written by Fathali Akhoundzadeh as one of the most principal foundations of the contemporary prose aiming at affecting the constitution era literary styles regarding stylistics.

the present study has been carried out using library studies and a descriptive-analytic method. The statistic population includes the book of Tamsilat written by Akhoundzadeh and translated by Gharajedaghi and published by Kharazmi publications.

Akhoundzadeh was one of the pioneers in simplicity of contemporary prose and wrote the first play and the first novel in this form before the constitution. He avoided using the classic prose framework in his works and used novel styles in the form of plays, historical novels, foreign languages, and social critical thoughtswhich affected the poetry and prose during constitution era.

Akhoundzadeh proposed play writing and historical novels choosing the format of plays and novels during the constitution era. Regarding the language used by him, different Turkish, Russian, and Arabic words were frequently repeated in his works. Considering Turkish language which is his mother tongue, we can identify him as a fundamental figure in using his native language during constitutional era. Regarding syntax, he used sentences based on Turkish grammar and omission of appositives which led to the loose use of the language. Also he introduced language ruptures from the eloquent prose. He also repeatedly used Arabic words instead of traditional language usage. Regarding literature, he frequently used simile, irony, and proverbs. His thought foundations revolve around social and political criticism, laws, freedom, and women’s freedom which were bases of poetry and prose during constitutional era.

Masnavi is one of the deepest works that has been constantly criticized, analyzed and evaluated from various angles. One of the distinctive and unique features of this masterpiece of Persian mysticism literature is the confrontational structure and the way of using this contrast in the syntactic structure of Masnavi sentences. Since the syntactic model of Masnavi in ​​the structure of reciprocal words in terms of semantic function of mystical concepts such as transcendence and superiority (command / soul of soul) versus (I / body / body), this article deals with the confrontational attitude of the structure of Masnavi sentences and its role and application in output. It deals with the meanings from the material position to the realm and the transcendence of the earthly "I" to the command in Rumi"s intellectual system and analyzes Rumi"s sentence processing by referring to the approaches of constructivist stylistics and semiotics based on text analysis in the form of structural and fundamental contrasts.

The present study was conducted with a descriptive-analytical approach.

In Rumi"s intellectual construction, all phenomena and events, including the syntactic structure of sentences, have been considered from different directions in the direction of the confrontation of body and soul or the world and the hereafter, and from the point of view of semantic and value burden of this confrontation.

By examining this syntactic structure, it can be seen that Rumi has surprisingly used this method for a purpose other than aesthetics and rhetoric in order to pay attention to the semantic dimension of contrasts within the framework of the mystical model.

In Islam, the discussion of interpretation has been used for the first time regarding the verses of the Holy Quran. Some commentators consider the meaning of interpretation to be derived from the existence of nested truths that are presented in the verses of the Qur"an, especially similar verses, and therefore, while accepting the outward meaning, they also find out the inner meaning or meanings. Ein al-Qudat Hamedani (492-525 AH), like other mystics before and after him, in the prose of his Sufis, including the arrangements he wrote at the request of a group of his followers and in the letters which are now in the hands of 159 letters Has cited many divine verses and used them as a basis for reasoning and proving his theories and thoughts. This study intends to study the interpretation of the verses of the Qur"an in the preparations and letters of the judges of Hamedan and to examine his distinctive perception of interpretation.

This research has been done by descriptive-analytical research method based on library studies and relying on the main and mystical sources about interpretation in the works of Ain al-Quds Hamedani.

The same judges of Hamedani in their writings (letters) and arrangements have used interpretation in different states and forms in order to expand and expand the concepts of the Qur"an. In a general division, these interpretations of the same judges can be placed in two general and basic categories, direct and indirect.

The interpretations of the same judges are sometimes used according to his personal taste and sometimes in order to convince the audience and sometimes to complete his wise speech. At various levels, Ayn al-Quds has considered the interpretation of divine verses and the stories of the prophets from the Qur"an.

Sufism and mysticism, which has long been prominent in Iranian poetic and prose literature, can also be seen in the poetry of poets of the literary return period. This era can, in addition to introducing anonymous works, reflect and explain the manifestation of mysticism and Sufism in this period. This article intends to study the mystical themes in this work by introducing the manuscript of the divan of "Abdolrahim Hazin Shervani" and expressing the author"s condition and its contents.

The present article has been written using the library method and based on the lithographic version of the poet"s divan, which is the most complete and regular copy available in the library of the Documents Organization and the National Library of the Islamic Republic of Iran.

Mirza Abdolrahim Shirvani alias Hazin, a powerful poet of the 11th century AH, is from the Vesal Shirazi family and has been influenced by Mohammad Fuzuli, Amir Alishir Navai and Hafez in terms of thoughts and poetic style. Although he has shown proficiency in various forms of poetry such as quatrains and Masnavi, and he has three Masnavi with the names of Safa al-Qulub, Hedayatnameh and the content of Zabihnameh, he has not succeeded in composing lyric poems.

Shirvani"s sad poems are more introverted, mystical and romantic in terms of thinking, and sometimes they advise the audience. In mystical themes and advice, he is more influenced by Hafez and in romantic themes, he is influenced by Sa’adi. One of the most important and prominent mystical subjects in Shervani"s sad divan is the idea of ​​monotheism. According to him, monotheism is an infinite world that the mystic is required to enter this infinite world. Hazin, like other poets, has confronted reason and love and is opposed to the central reason. He is a religious poet whose life is imbued with love for the Prophet and the Ahl al-Bayt, and this is proven by a brief look at the court. The mystical terms of Hafez"s period can be seen in most of his poems, but without deep mystical use and only a brief reference to the terms, and for this reason, he cannot be considered a mystical poet just by mentioning these mystical terms. The unity of existence and monotheistic thought is the most important and frequent mystical thought in the sad intellectual system.

Time is an abstract concept and its essence has always been of interest to philosophers and scientists from the Greek period to the present day. But cognitive sciences’ scientists have dealt with how to perceive time and how the human mind perceives time. Based on the extensive research, they have concluded that the mind perceives abstract and obscure matters such as time through conceptual metaphor. In the present study, the poems of Hafez and Jahan Malek Khatoon have been examined from the perspective of the conceptual metaphor of time and its purpose is to find out that, these two poets have used the conceptual metaphor of time to convey what concepts?

It is in the form of in-text citation evidence and its scope includes all Persian verses of the two mentioned poets.

According to the studies done in the poetry of both poets, time has a high importance and position, meanwhile, Hafez has a special look at time, so that time and its meanings are reflected in most of his verses. In the Divan of Hafez and Jahan Malek Khatoon, in addition to showing the time of events, attention has been paid to the valuable aspect of time which has been conceptualized in the form of valuable, exquisite and irreplaceable object. In addition, through the conceptual metaphor of time, concepts such as: regret over lost days, punctuality, hope, spending moments happily, not wasting life with sadness have been addressed.

It seems that some of the verses related to the conceptual metaphor of time in the divan of both poets reflect their intellectual view and worldview, which originates from the conceptual system that has overshadowed their intellectual structure; In Jahan Malek Khatoon’s Diven, this part of the verses is composed mainly in the form of recognition and reflects the events that happened to her. She considers time to be a corrupt, destructive, unfaithful companion, a thief, an oppressor and a tyrant. The conceptual metaphor of time in Hafez"s Divan according to Hafez"s multidimensional personality, his mastery over Islamic and mystical culture, passion and poetic creativity, intellectual and philosophical contemplation, expresses hope, seizing opportunities, happy mood, ideal time and Khayyami thoughts Which is conceptualized through metaphor.

New illustrations have been the main work of various poets over time. This is not uncommon in Persian poetry. All poets have strived for innovation. Among Persian-speaking poets, Hafez has snatched the lead from others and is at the forefront of Persian poetry. In this research, we want to examine the causes of this flagship in Hafez"s poetry in terms of illustration. For this purpose, we have only examined the images provided by Hafez from the eyes of the beloved, and the research questions are as follows How does Hafez portray the eye in his poems? Has he used a new metaphor? If the answer is no, how does Hafez represent the ancient metaphor of Narges? The research hypotheses are as follows: Hafez uses the same ancient Narges metaphor in depicting the eye; But the structure of this image has a special freshness in its verses along with other imaginary forms. Apparently, although Hafez has often used his previous images in his poetry; But with other tricks, he has tried to discredit these images and has created a new one in the audience"s mind.

This article is based on descriptive-analytical method.

Most of these tricks include personification and characterization, observance such as confrontation, retelling, and so on.

Hafez has refreshed the old images more than he has created a new one, and this is the most important reason why Hafez"s poetry is the whole picture of Persian poetry.