مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 82 (اسفند 1401)

Emla Bukhara is one of the mystic poets of the Vararoud region of Central Asia who has undergone a mystical cirrhosis in the service of his elders and has reached the authorities of certainty. His lyric poems are full of mystical terms and mysteries. The purpose of this article is to study the style of Bukhara's orthography and to introduce its manuscript.

This research was a descriptive-analytical method.

The poetic style of Emla is more inclined to the Iraqi style and has been greatly influenced by Hafez's poems; Of course, features of the Indian style can also be found in his poems, which shows that his poems have the characteristics of both Iraqi and Indian styles

Linguistically, Emla poetry is very simple and fluent, and the influence of ancient Persian and Arabic is very low. Creative and beautiful compositions, often popular poetry with different and new lines, are other features of his poetry at the linguistic level. Literally, there is a great variety of rhetorical techniques in his poetry. There are almost all kinds of widely used rhetorical techniques in his poetry. In the meanwhile, simile among the expressive industries and puns among the novelty industries have the highest frequency in his poetry. Intellectually, love and mysticism are the two dominant and unique themes in Bukhari's poetry collection. Rendaneh themes and more or less references to Nir verses and hadiths are other features of his poetry at this level. The lover in Emla’s poetry is like the poems of Hafez; It can be both earthly and celestial. However, it has characteristics such as cruelty, unfaithfulness, rebellion, and inaccessibility.

”Feminist stylistics" is one of the sociocultural approaches to stylistics that "Sara Mills", a stylist and researcher in this field, proposes a model in this field and this method is the best way to study and analyze the issue of feminism and its effectiveness in literary texts. Knows the use of their linguistic dimensions and aspects. In the following article, using this model, these questions will be answered, what is feminine Writing and what are the components of feminine Writing and how it is manifested in the novel in question. According to Mills, women writers use various linguistic components in the structure and content of their works under the influence of their feminine characteristics, emotions and gender views, and therefore three levels of words, sentences and discourse should be analyzed in their works. Therefore, with this view and using the desired model, the novel "Ahl Gharq" by Moniro Ravanipour was selected and studied.

This research was conducted in the field of practical stylistics with descriptive-analytical method and analysis based on the components of the model of Sara Mills and experts in this field.

Findings of the research with the expression of the characteristics of high-frequency feminism in the novel are: at the level of vocabulary, the use of words belonging to the field of women, the use of color words, the multiplicity of female characters; At the level of sentences, frequent use of news, descriptive, short sentences, use of question sentences in the form of Soliloquy , the use of a three-point metalanguage sign; At the discourse level, the third-person perspective, the narrative text and the author's narrator, one of the main characters of the woman, the polite tone using the native dialect of the place of the story, the theme using feminist ideas, the time of contemporary events in the second side, the place Occurrence of Jafreh settlement story in southern Iran and its surroundings.

The novel discussed in this study has followed the model of Sara Mills and most of the components of feminism were found in its text.

Mirza Seyyed Yahya Modares, deceased (1282 AH), nicknamed Fadai Yazdi, is one of the scientific and literary figures of the Qajar era, who has numerous works in poetry and prose in Persian and Arabic. His divan is a collection of Sonnets (Ghazal), Odes (Qasida), Mathnavis (Masnavi), Pieces (Ghat’e) and Quatrains (Robaei). In addition, he has two poems in Arabic. This article is dedicated to examining the stylistic and content characteristics of his poems from linguistic, literary and intellectual aspects. The purpose of this study is to determine the ability of the poet as one of the ode writers of the Literary Return period.

The present study is based on a descriptive-analytical method with library tools which has been done on a valid manuscript with the poet's own handwriting in the personal library of Seyyed Yahya Modarresi.

Fadai Yazdi has proved his ability in composing praise poems. His skill is in simile and metaphorical illustrations in the introduction of the odes. His poetry is full of beautiful literary industries. The use of expression techniques, especially sensory-to-sensory similes and novel balances and allusions, has a high frequency in his poetry. The choice of Bahr Mujtas and Raml makes the weight fit with the content and the use of heavy Arabic rhymes is one of the characteristics of his poetry. Intellectually, the main theme of his poems is praise, and his main praise is the great men of religion, especially Imam Ali (as). In the content of Fadaei Yazdi's Odes, the description of nature and the beloved and also complaining about the life and the expression of despair and hopelessness can be observed.

Fadaei Yazdi has been a powerful ode composer. One of the prominent features of his poetry is the frequent use of words and combinations of Arabic language, which sometimes makes it difficult for the reader to understand the meanings of the poem. Like his contemporary poets, he followed Khorasani style and imitated predecessors and has considered their poetry in choosing weight, rhyme and themes of his poems. He was well acquainted with the poetic features of previous poets and has been able to reflect their linguistic, literary and intellectual features in his poems.

It can be said that in the theory of conceptual metaphor, the metaphors depend on the conceptual and semantic relationship of intermediate words, which act as a tool for understanding and conceiving a kind of human understanding of phenomena and abstract and tangible world affairs, as well. The literature on conceptual metaphor theory has various origins and destinations through which it explains the concepts of the mind to the reader in a tangible way. The main purpose of this research is to study poems of Sa’adi's Sonnets whose field of origin or destination with the concept of "love” has been paid attention by poet.

The research method of this research is descriptive - analytical based on library studies and the documentation method based on the selection of lyric poems in which love and its semantic clusters have been paid more attention.

According to studies, love has a high value and place Sa’adi's words. Sa’adi' s view on the issue of love is a positive and very imaginative view.

The research results indicate that the conceptual metaphor of love in Sa’adi's world view and intellectual view, which is itself derive from a conceptual system has overshadowed the structure of the poet's mind and thought. In Sa’adi's lyric poems, love for him is enlightening, life- giving, changeable, healing, purifying, and a restless phenomenon, not only relieves the heart but also languishes it, and love is a murderous robber.

Stylistics is a layer that indicates the depth of poetic meanings from the external and internal perspectives of poetry, according to the poet's intellectual background. In this article, with the stylistic layer of the sonnets of the three seventh century poets "Saadi, Majd Hamgar and Emami Heravi", the five phonetic, lexical, syntactic, rhetorical and ideological layers have been evaluated.

The present study was conducted in a descriptive-analytical manner and in order for the results to be natural, the studied sonnets were randomly selected.

Saadi's attitude towards love, as an ontological matter, causes the development of this concept in individual behavior (the concept of love in the Iraqi style), social behavior (attention to the social dimensions of virtues and vices) and the behavior of existence towards good. Magdaldin Hamgar's attitude is a purely individual one about love, and lyricalness is the basis of other layers of his poetry. According to Imami Heravi, mystical thoughts and Sufism are the principle and other layers of poetry are based on the expression of mystical thoughts.

The ideological layer in the attitude of these poets has influenced the other four layers of their poetry. Also, there are many commonalities in different levels of speech, unique features, artistic aberrations and stylistic characteristics of these three poets.

With the onset of colonialism in the world, which was accompanied by the industrial and technological advances of the West and then its military and weapons superiority, many reactions took place in the colonized countries; One of the most important reactions against the colonialists took place in the world of poetry and literature, and the freethinking poets of these nations reflected on the aggressions and crimes of the colonialists. Persian poetry of the constitutional era was also very active in this field and the poets of this period entered the field of anti-colonial struggles with a great sense of commitment to their people and their land. In this research, we have tried to study the important works and encounters of the poets of this period with the phenomenon of colonialism by studying the important works of Persian poetry of the constitutional era.

Our method in this research is based on library study and descriptive-analytical method.

An examination of the poetry of this period shows that the poets of this period dealt with the issue of colonization in eight major ways: Orientalism, Critique of the West and Western Civilization, Sanctions on Western Goods, Colonialism, Critique of Colonialism, Epicism, Nationalism, and Islamic Unity.

The poets of the constitutional era did not use the above methods in the same way; Some have been paid more, and some less, and this goes back to the power and conditions in Iran at that time.

Zoroastrian narrations, which contain jurisprudential and legal issues of Zoroastrian religion, have been collected over the years by various narrators from India and Iran and have been compiled in a collection called Zoroastrian narrations or Darab Hormozd narrations. Several copies of this book are available in Indian and Iranian libraries. In this research, the version of the parliament library has been studied in terms of structural, intellectual and literary features.

This descriptive-analytical study was conducted to identify the characteristics of the book and the effect of Avestan, Pahlavi, Persian and Arabic scripts and languages on its language and writing, as well as the content of narrations and its literary style.

The script and language of this book are slightly influenced by the script, language and style of the tenth century and the use of Arabic words and more inclined to the script and language of Pahlavi and Avestan and Zoroastrian words. In terms of calligraphy, it prevails with continuous writing, and in terms of the use of words, Old Persian and Zoroastrian words and the Avestan language prevail, and in many cases, the Avestan script and language have been used directly in it. The handwriting of the book is also different in different places and in some pages it is ugly and irregular, which shows multiple scribes and adding content at different times. The content of the book also includes the doctrinal issues of the Zoroastrian religion, which has been quoted from authentic books through questions and answers and attention to the narrations of different narrators. From a literary point of view, no specific style can be considered for this book because It has no aesthetic basis and its features include syntactic shifts and deletion of verbs as well as repetition, a bit of simile and allegory. Poetic narrations do not have poetic features and do not have an aesthetic and original structure.

This book has different scripts and languages due to the use of different narrations from different sources and quoting various narrators, and the writing is not uniform, and its most important feature is the style of thought that expresses many dimensions of Zoroastrian religion in different languages.

Sheikh Azari Tusi Esfarayeni is one of the poets and writers of the Timurid period. The book Jawahar al-Asrar is one of his famous writings on the subjects of the Muqattaah Letters, mysticism, hadith and poetry. In this article, by introducing the Manuscripts of the book, has been studied its linguistic, rhetorical and intellectual style.

Data collection in the article is library method and its writing is descriptive-analytical method. The statistical population is four manuscripts of Azeri Jawahar al-Asrar.

Jawahar al-Asrar is written in the general style according to the style of the Timurid period. in the introductions, is the rhyming prose and the text of the book is simple. At the phonetic level of the language style: rhyme, pun, word repetition, Alliteration, rejection and reverse, at the lexical level: Arabic words and at the syntactic level: synonyms of words, titles and adjectives, matching of adjectives and adjectives, use of Arabic sentences instead of adjectives, Has a light characteristic . At the literary level, has similes, Imitation, Allusion, metaphors, allusions, Metonymy, allegories and proverbs. In his intellectual style, he has described and interpreted the letters of the Qur'an, hadiths, the words of mystics and the problems of the poets' poetry. In his interpretations, can be seen his mastery of syntax, mathematics, rhetoric, medicine and astronomy.

Azari Tusi Esfarayeni in Jawahar al-Asrar in accordance with the style of prose of the Timurid era, with a tendency to use words, Arabic sentences, Persian and Arabic poems, prose in introductions and simple language in the text, the use of metaphors, Imitation, Allusion, adaptation, Metonymy, Allegory and proverb has succeeded. As a commentator and critic, he has been able to provide the audience with useful information about syllables, hadiths, mystical subjects, difficult descriptions of poets' poetry, as well as historical, religious, medical, astronomical and biographical information of elders from his book.

In descriptive study, various aspects of description are considered as an important part and a main element and a broad perspective so that the description is used in the form of efficient and analytical structures to study and analyze literary texts such as stories and novels. Descriptors believe that it is possible to know and understand many of the methods and aesthetic techniques of a text and its features depending on the study of descriptive methods and how it is used in the text. In the past, the element of description was considered as a sub-element and static in narration, but today in the science of descriptively, this element is very important. The main purpose of this research and its field of study is to investigate the dynamics of the descriptive element in the text of the two stories of Tangsir and Buf-e-kur by Chubak and Hedayat.

The study method in this article is library and the use of descriptive-analytical method is based on the text of two stories of Tangsir and Buf-e-kur in terms of descriptive propositions.

The findings indicate that descriptive propositions in the structure and content of the two stories have been used artistically by Chubak and Hedayat in the service of storytelling, and therefore the descriptive elements in these two stories can be considered dynamic.

In Tangsir and Buf-e-kur have used short, detailed, long, explicit, implicit, hidden and content descriptions with literary, ironic, mythological and aesthetic functions.

Literature is one of the most original manifestations and the arena of emergence of unconscious and deep layers of the human psyche. "Mask" in application is a concept of Jung's psychological terms, which from Jung's point of view is actually that which is not a person; It is a representation of a personality that is not the same and equal to the person's real self. Saadi's works, as a part of literary masterpieces, are rooted in ancient beliefs and ideas and have benefited from the collective unconscious. The purpose of this essay is to show that Saadi's works include a wide range of archetypal concepts and archetypes from the perspective of archetypal criticism. In this research, among the various archetypes, we will examine the veil archetype in Saadi's works.

The research method in this article will be descriptive-analytical based on library studies and psychoanalytical criticism based on the archetypal ideas of Carl Gustav Jung.

By using myths, symbols and archetypes, Saadi's works have a great ability to reflect the deep unconscious layers of the human psyche. Much earlier than psychologists such as Jung, Saadi has paid attention to archetypes such as the mask in his poems and writings, with the knowledge of the human psyche and subconscious mind.

By using myths, symbols and archetypes, Saadi's works have a great ability to reflect the deep unconscious layers of the human psyche. Much earlier than psychologists such as Jung, Saadi has paid attention to archetypes such as the mask in his poems and writings, with the knowledge of the human psyche and subconscious mind.

Based on the results of this research, in Saadi's teachings, in line with Jung's analytical psychology and the collective unconscious, the archetype of the mask can be seen in two positive and negative dimensions in Golestan and Bostan. The basis of Saadi's teachings is that the way to perfection lies in true asceticism, piety, avoiding hypocrisy, arrogance, boasting, and observing moral standards. Saadi's type of education can be seen based on the archetype of the niqab in the positive aspect, especially idealism and expediency, and the negative dimension of the niqab can be expressed in the distance from arrogance, pride, hypocrisy, etc.

When the elements and components of a literary work are examined and how they are related to each other and their relation to the general structure of the work is retrieved, a basic (formalist) form reading is performed. It is with such a reading that we can talk about the degree of bonding of the components of the work (horizontal and vertical bonds). In this article, the form and structure of a lyric by Rumi has been read with the following information (with the help of in-text symbols): A word that rises from the soul of the soul to veil the gem and the lips of the sea, the tongue of the veil

It is a descriptive-analytical research method that examines Ghazal No. 921 from Shams Tabrizi's KOliat, edited by Badi ol-Zaman Farozanfar.

The feature of this sonnet in all verses is that the face is a veil and at the same time a means of expressing meaning. The world of existence is the world of forms and meanings, and forms are veils of meanings, and at the same time meaning manifests itself in the face. To reach the meaning, you have to go beyond the surface. Of course, the absolute meaning cannot be understood and there is always one curtain behind another curtain, and it is only in death and silence that we understand the meaning. The theme of the contrast between form and meaning and the contrast between pairs of their synonymous words can be seen in all the verses of Ghazal.

The link that can be seen between the verses of this ghazal has created an organ-like structure and the overall structure of this ghazal evokes one of the key oppositions of form and meaning in Rumi's thought, "wave and sea". For Rumi, the content is the tool for the evolution of the form, and the form is the material for the emergence of the truth of meaning. Rumi's poetry boils from inside him and finds its shape and form according to the type of boiling. However, due to the reliance on form, the new critique cannot be a suitable critique for mystics who are free from form.

The relationship between Iranians and Arabs dates back to prehistoric times, ie to the mythical period, which expanded in the Achaemenid period and deepened in the Sassanid period., Their cultural, social and economic extent.

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

In the pre-Islamic period, the Arabs had more or less extensive relations with the Iranians, but the Arab invasion and the arrival of Islam in Iran had many effects on the social, political, cultural and economic situation in Iran, especially on the Iranian religion instead of. However, the fledgling Islamic state could not be deprived of the experience and skills of Muslim Iranians in government and court affairs. The use of Arabic language to enter into social and political affairs, encouraging Islam to learn, historical dynasties, etc. The influence of Arabic language in Persian increases.

Bilateral migration and migration, border cities, Iranian uprisings against Arabs, Iranians 'efforts to learn Arabic for religious and political reasons, Arabs' need for Iranians in governance, science and the formation of courts, the introduction of Iranian wisdom and advice to Arabic literature, Translation movement, etc. are among the important components in the influence of Arabic and Persian culture and literature on each other. Arabic was the language of the Qur'an and the religion of Islam, and the Iranians had no choice but to learn Arabic by accepting the religion of Islam. On the other hand, some Iranians, for other reasons, such as getting involved in politics and struggle, began to learn the Arabic language, and as a result, many Arabic words, phrases, and expressions became available in Persian through the Qur'an and the religion of Islam; And of course many words entered the Arabic language; The words that have been translated from Persian to Arabic are mostly related to the civilizational, cultural and political fields, and most of the words that Persian borrowed from Arabic are related to the religious field.

The relationship between Iranians and Arabs dates back to prehistoric times, ie to the mythical period, which expanded in the Achaemenid period and deepened in the Sassanid period., Their cultural, social and economic extent.

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

In the pre-Islamic period, the Arabs had more or less extensive relations with the Iranians, but the Arab invasion and the arrival of Islam in Iran had many effects on the social, political, cultural and economic situation in Iran, especially on the Iranian religion instead of. However, the fledgling Islamic state could not be deprived of the experience and skills of Muslim Iranians in government and court affairs. The use of Arabic language to enter into social and political affairs, encouraging Islam to learn, historical dynasties, etc. The influence of Arabic language in Persian increases.

Bilateral migration and migration, border cities, Iranian uprisings against Arabs, Iranians 'efforts to learn Arabic for religious and political reasons, Arabs' need for Iranians in governance, science and the formation of courts, the introduction of Iranian wisdom and advice to Arabic literature, Translation movement, etc. are among the important components in the influence of Arabic and Persian culture and literature on each other. Arabic was the language of the Qur'an and the religion of Islam, and the Iranians had no choice but to learn Arabic by accepting the religion of Islam. On the other hand, some Iranians, for other reasons, such as getting involved in politics and struggle, began to learn the Arabic language, and as a result, many Arabic words, phrases, and expressions became available in Persian through the Qur'an and the religion of Islam; And of course many words entered the Arabic language; The words that have been translated from Persian to Arabic are mostly related to the civilizational, cultural and political fields, and most of the words that Persian borrowed from Arabic are related to the religious field.

The subject and background of the upcoming research is the introduction of the manuscript of Shamayel al-Ataqiya and Razayel al-Ashqiya by Roknoddin Dabir Kashani in the way of Cheshtiye. In Sufism attributed to elders and learned man Chesht, Chesht is a district in old Khorasan that has been an influential method not only in Iran but also in the Indian subcontinent. The mystical foundations of this Sufi tradition have been codified by popular elders and scholars including Moein al-Din Cheshti, Nezamuddin Olya, Burhan al-Din Gharib, and other great figures of this dynasty. A large part of Cheshtieh's ideas and beliefs are in the form of "requirements" in the words of the elders and the masters of the aforementioned way, compiled by their disciples. In this essay, the main purpose is to investigate and deceit the views and thoughts of Sufism in this essay.

The following essay, which has been conducted by descriptive-analytical method based on document analysis and library studies, and by reviewing the existing version of the Shamayel al-Ataqiya and Razayel al-Ashqiya, we will examine the thoughts of taste mysticism in these works.

In the essay of "Shamayel al-Ataqiya and Razayel al-Ashqiya ", work of Rokn al-Din Kashan named "Spiritual Teacher" which is one of the Sufis of the aforementioned Sufis in the 8th century, the teachings and oral instructions of Sufi Cheshtieh have been written. The author has tried to convey the teachings of this way correctly. From the essay "Shamayel al-Ataqiya and Razayel al-Ashqiya", there is a stone print in 1968 AH. Hyderabad Deccan and several non-printed copies.

The results of this study indicate that paying attention to practical Sufism, cite, dignity, repentance, allegiance, communication, discipleship and awakening, purification and awakening, and Sama’ are among the things that Roknoddin Dabir Kashani has considered as the most important customs of The Way of Cheshtiya in his treatise.