مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 83 (فروردین 1402)

The theme of martyrdom in the field of ancient sciences such as jurisprudence, mysticism and philosophy and new sciences such as sociology and law has been and is the subject of many debates. But in this literary topic, martyrdom is examined from the perspective of the myth of death awareness to understand immortality and the act of selfsacrifice, and the martyr in the image of the archetypal hero. Tracing the motif of martyrdom from the ancient and mythological past literature to the historical era and the present day in the reference texts, including epic, lyrical, religious and mystical works can be researched. The main issue in this article is to find old elements and themes that have appeared until now (recurring) in the background and flow of heroic and martyrdom literature in the period after the victory of the Islamic Revolution, which has been interpreted as the period of revolutionary renaissance. This research provides a comprehensive understanding and a complete definition of this Iranian Islamic literary genre.

In this research, the poems and poetry notebooks of eleven poets of the revolution were examined in a descriptive-analytical way, and the motifs in them were counted and analyzed in terms of the meaning of martyrdom.

Based on this research, martyrdom literature has certain repetitive elements throughout the history of literary creations and has recognizable characteristics.

All textual (historical) and literary (imaginary) elements of martyrdom have been repeated from the distant past until today. except that they have lost their color in a specific time or place and have regained color and brightness in a new situation. The symbol of immortality is the fundamental element and central signifier in the phenomenon of martyrdom, and its reflection is more evident in literature than other motifs.

Love stories are one of the rich types of Persian poetry that have always been the manifestation of delicate feelings and pristine thoughts of Parsigo poets. There are several love stories in Persian literature, which in this article analyzes and compares nine love poems in the medieval history of Iranian literature (four to six). These works include Zal and Rudabeh, Goshtasb and Katayoun, Soodabeh and Siavash, Bijan and Manijeh, Wameq and Azra, Vargheh and Golshah, Khosrow and Shirin, Lily and Majnoon, and Weiss and Ramin. Time period, narrative originality, ending, type of love and storytelling are examined and compared.

The method of data collection in this article is library and the analysis is based on the content analysis method and is qualitative. In this article, the content features of the poems are studied and the focus of the research is on the verses that have the highest frequency of stylistic commonality and the expression of independent verses is avoided.

In all systems, lovers are human, male and female. Also, all works have a nonallegorical expression. Five of the nine stories (about 55%) are set in an epic context and are a mixture of richness and epic. The endings are "happy and with the carpenter" in five stories (55%), "unfortunate: death of both parties" (33%) and in one story (11%) "unknown"; Therefore, the frequency of happy ending is higher than the end of unhappy. In terms of origin, the highest frequency belongs to the type of myth (five cases: 55%), then semi-historical (two cases: 22%), unknown (one case: 11%) and imaginary (one case: 11%). In terms of time, eight stories (88%) are pre-Islamic and one story (11%) is post-Islamic. In terms of originality, five stories are of the original type (55%) and four stories are of the adaptation type (44%). Of these four stories, three are adapted from Arabic, and one (Wameq and Azra) has Greek origins.

All stories are narrators of earthly love; With the difference that in stories such as Lily and Majnoon, and Vargheh and Golshah, love is an excuse and chastity and goes towards heavenly and mystical tendencies. In most of these stories, the problems and obstacles of the union of two lovers are of the type of differences between family, race and lineage or tribe. Women play an active role in most of these stories and are sometimes the main actors and initiators.

Mir Abdul Wahed ibn Ibrahim ibn Qutbuddin ibn Mahro Belgrami is one of the most experienced and Sufi scholars in India whose mystical teacher is Chishti and the book "Sab’e Sanabel" is one of his works. The purpose of this article is to introduce, study and analyze the style of "Sabea Sanabel" manuscript. Correction of manuscripts and revival of these texts is one of the most important and fundamental fields of research in Persian language and literature.

This article has been done in a descriptive-analytical method by document and library methods. Also, while introducing the author, his works, intellectual and mystical foundations, the manuscript of "Sab’e Sanabel" has been introduced in detail and has been criticized in terms of style.

The author has been very much influenced by the Arabic language in composing this work. This is confirmed by the high frequency of Arabic words, Arabic, blue, and imitation of the context of the Arabic language in writing Persian sentences. Intellectually, the author has paid more attention to the customs, thoughts and intellectual foundations of the Chishti way than anything else. In terms of aesthetics and use of literary arrays, however, it has not been very successful and the frequency of arrays and rhetorical forms such as irony, simile, metaphor and all kinds of puns in this text is very low.

Belgrami has shown interest in using the characteristics of the ancient language and many manifestations of the ancient Persian language can be seen in Sab’e Sanabel. On the other hand, the excessive mixing of the language of this work with the Arabic language sometimes makes it difficult to understand the text. Nevertheless, in some parts of the text, especially in the narration of anecdotes, the language has become simple. Except in the preface and a few cases in the original text, we do not encounter the richness of rhetorical industries in the prose of this work; Although there are about 600 bits in this work, this frequency sometimes causes confusion and scattering of thought and order and coherence of the content.

Aref Sanandaji was one of the anonymous poets of the Qajar period and a contemporary of Nasser al-Din Shah. It is kept in Sulaimaniyah, Iraq. He has lived in Sanandaj and Talesh city in Gilan province for many years. In this article, by introducing a copy of his poetry collection, an attempt is made to examine his poems from the perspective of stylistic levels.

The research has been done in the form of a library and the version of the poet's divan is the statistical population of the research.

An examination of the stylistic features of the divan shows that the poet has used a variety of Persian poetry weights., The use of current short and long lines and questions, as well as the appropriate and timely and poetic use of literary industries in the field of rhetorical and spiritual novel. At the literary level, it is full of literary arrays and arrays of simile, metaphor and allusion are the highest There are mystical and Sufi themes in the intellectual coordinates.

According to this study, it should be said that Aref is one of the most prolific poets of the literary return period who follows the style of speech of great poets before him in his poetic style. And morality has paid more attention.

This research, which is based on the combination of important components of the critical analysis of the 'Fairclough' and 'Laclau and Mouffe' discourse, is formed. we plan to showcase broadcast discourses with important discourse components, the political discourse of the historical part of Shahnameh affiliated to which central slab, slab or dashes of the fluid and float, and more importantly, this discourse order considers its identity deeper and more naturally consolidated using the discourse components?

The present study is a theoretical study and has been done by library research. The study area is the historical section of Ferdowsi's Shahnameh, in two volumes that are published by inheritance by Jalal khaleghi Motlagh.

In this research, we showed that this discourse order was able to make Discourse oriented factors more prominent, more natural and close to reality by applying the appropriate components of discourse analysis. Ferdowsi's thoughts and beliefs and discourse components used by the series have an important impact on the direction of the religious discourse of Shahnameh.

The order of religious discourse is the historic section of Shahnameh affiliated to the central slab of religion and floating dashes and fluid mobs and elders .This discursive order by using the two components of the 'separation and non-religion' and 'naturalization' while hiding the weaknesses and revealing its strengths and vice versa revealing the weaknesses and hiding the strengths of religious discourse in conflict and conflict with this discourse, The consolidation of its identity represents more effective and more effective.

Qastas al-Atebba is one of the most authoritative medical books and a multidisciplinary culture written by Noureddin Mohammad ibn Abdullah Shirazi, a famous and prolific physician of the Safavid era (11th century). The purpose of this study, while introducing the author and the manuscript of Qastas al-Atebba, is to explain the stylistic features and valuable highlights of this work.

The present study was conducted in a qualitative method with a descriptive-analytical and library method.

The book Qastaseh al-Atebba contains a treasure trove of medical terms, quantities, names of sages, Persian medical vocabulary, poems, historical and geographical announcements. The use of words, phrases, hadiths in Arabic, the use of the ancient form of words, the fusion of order and prose, the use of the plural verb for the singular verb, the elimination of identities in the target verb, the abundance of Turkish and Hindi words and expressions, etc. are important linguistic features. Literary is the work.

The results obtained from this study show that in addition to expressing medical issues and often original Persian words, Arabic, Greek or Indian equivalents are also included in it and according to the scientific structure of the book, it also has literary features. The linguistic features of this work, despite the relatively long distance from Morsal's prose style, are still compatible with Morsal's prose style; In addition, despite having the stylistic characteristics of Morsal prose, this work also has the stylistic features of its period (Safavid).

The inclusion of Jung and ships in the poems of different poets, some of whom are unknown, in addition to placing these works in the ranks of divans and tazkirehs and the history of literature, shows the literary taste of the people at the time of their creation. For this reason, the poetic vessels are considered as important sources of correction of the court of poets. One of these wars is the War of Poems No. 3423 of the National Library of France, which was created by many writers between the 9th and 13th centuries. In this research, the most important features of this Jung have been investigated.

The current research is a theoretical research that was conducted in a documentary-comparative way. The studied society of Jang Poems Manuscript No. 3423 of the National Library of France in Paris, is the most reliable divans of poems of poets whose poems are included in this work, as well as references and history of printed literature. This means that in order to achieve more findings that express the literary value of this Jung, a comparative comparison has been made between the verses of this war and divans, the history of literature and tazkira.

More than eight scribes were involved in compiling this Jung. Examining the poems in this work shows that almost one-third of the poems of this war are new, and the new selections, the introduction of unknown and lesser-known poets, and the disambiguation and correction of some verses have added to the value of this collection. The poems in this Jung show the poetic interest of the writers of this covenant and the level of fame of the poets in the 9th century.

The collection of this Jung by many writers has increased the amount of new poems. In addition, the analysis of the poems of this Jung shows that the poems of famous poets such as Hafez, Maulvi, Saadi, Sanai, Anuri, and Khaqani were still liked by the people in the 9th century. In addition, the poems of Ibn Yamin Faryoumdi and Qazi Nizamuddin Isfahani, who are late poets of this Jung, enjoyed considerable fame in the 9th century. New selections from Diwan of early and late poets in this work have increased the semantic richness and removed ambiguity and corrected some verses in Diwans and printed notes.

 Layered stylistics as a new method is the result of the interdisciplinary view of traditional stylistics, hermeneutics and linguistics. This method seeks to understand and analyze carefully the phonetic, lexical, syntactic, rhetorical and ideological layers of the text. This research has been done with the aim of recognizing high frequency words, discovering the stylistic components of the work and interpreting their stylistic implications. For this purpose, the full text of the works of Ala’ al_Dowleh Semnani has been studied.

 In this research, the phonetic, lexical, syntactic, rhetorical and ideological layer of Ala Al-Dowleh Semnani"s Mosannafat has been studied with the method of layered stylistics.

 The findings of this research shows that an analysis will be made that Ala’ al_Dowleh Semnani’s interpretations of the sayings of elders, stories, anecdotes and events of himself and others are closer to the traditional hermeneutic method or to the new hermeneutic method or that his interpretations are a combination of these two approaches. hermeneutical criticism of Ala al-Dowlah"s prose works helps to better understand the works of Ala al-Dawlah Semnani will help with regard to the hermeneutic critique of his works, especially his percian Mosannafat.

 In this descriptive study, the most important characteristic of the mystical mysticism of Ala Al-Dawlah shows itself in its rhetorical and intellectual level. For his mystical interpretations, he has chosen the language of rhetoric, transcendence and dogma, and has made the most of allegory to induce mystical meanings that are consistent with traditional hermeneutics and singularity.

Moznab Badayouni is one of the unknown poets of Qajar era lyricists. This research tries to express the stylistic features, the theme of his poetry as well as its literary beauty. The goal of the researcher is not to determine the frequency and extent of imitation of Moznab from the ancient style, but to determine and examine the poet's style, at the linguistic, literary and intellectual levels, to answer these questions: 1- Which of the styles of Persian poetry is Moznab influenced by, and which poet or poets has had the greatest impact on him? 2- What are the manifestations of the school of occurrence and burning in Moznab Badayouni's sonnets?

Study

This research was done by content analysis and library method. The study method is in-text and with a critical view. The scope and community under study is Diwan Ghazliat Mozab.

Moznab has managed to bring his language and thought axis closer to the Iraqi style poets. In some of this poet's poems, the color of "School of Occurrence" and "Vasukht" can also be seen, which shows the change of his attitude during his life.

Moznab especially followed Saadi and Hafez in composing ghazals. On the linguistic level, his poetry is far from any complexity. He has used vernacular language as one of the main materials of artistic language and he tries to musicalize his words with the artistic use of vowels, an anthology of words and their arrangement together. At the literary level, expressive elements such as simile, metaphor, and original elements such as repetition, observance of analogy (more than 95 percent), contrast, and allusion have the highest frequency. At the intellectual level, the focus of his thoughts and the basis of his lyrical poetry is "love and its related topics". People's beliefs, customs, religious beliefs, proverbs, as well as many themes, including the political and social situation of the country (during the constitutional period), can be seen in his poetry.

In the history of Persian literature, each of the poets, based on their own thoughts and attitudes, has composed a lament and reflected their emotions in a lament. The element of emotion is presents in the mourning; The element of "emotion" in literature is equal to the "emotional self" And since mourning expresses human feelings and emotions, creates a good space to represent the "emotional self". By examining self emotions in the poet’s laments, in addition to revealing their mental and psychological states, we can understand the reasons for the poets' tendency to lament as well as their social atmosphere.

In the present article, by qalitative analyzing the texts and based on library sources, after explaining and defining the "emotional self" and its types from a psychological and literary point of view, the most important elegies in the poems of persian poets from the age of Rudaki to the age of Hafez, have been examined.

The results show that the highest frequency of limited and individual emotional self is in court elegies; The social self has the highest frequency in social and religious elegies, and the transcendent self in philosophical elegies; In familia and personal laments, the individual and transcendent_self have the most reflection.

The emotional action and empathy of language has always been important for great poets, because in this type of lingual action, the direction and tendency of the message is towards "self". Since the type of lament is the result of the contrast between the poet’s mind with the external hostile and bitter reality, therefore, the manifestation of the social and transcendent self is more. The evolution of the "emotional self" in the poems of these poets indicates their mastery of self and more attention to the spiritual world and the pass the physical world.

In contemporary theories, metaphor is considered not only an aesthetic tool, but also a fundamental cognitive process of the human mind. According to the theory of conceptual metaphor, the metaphor is understanding of a conceptual domain in the terms and expressions of another conceptual domain. This research is an attempt to analyze a key conceptual metaphor in the book Kashf al-Asrar by Ruzbihan Baghli.

The method of this study is library-analytical and it focuses on the issue of conceptualizing Union with God with the terms of the conceptual field of marriage in the book Kashf al-Asrar; however, by necessity, the other important works of the sheikh, i.e. Abhar al-Asheqin and Sharah Shathiyat, are also discussed.

Ruzbihan in the book Kashf al-Asrar - his spiritual autobiography, which is dedicated to the report of his revelations - tried to describe the abstract concepts of the conceptual field of Union with God by using the concepts of the conceptual field of "marriage". In this metaphor, the origin realm is the conceptual domain of "marriage," which is a tangible concept, and the destination realm is the conceptual domain of “Union with God” which is a metaphysical and abstract concept. Rozbahan explains the abstract concepts of love relationship with God with the terms and words of the field of marriage, such as bride, bridegroom, celebration ceremony, and the offerings made by the groom to the bride.

According to the theory of conceptual metaphor, Ruzbihan by choosing the conceptual field of "marriage" to describe " Union with God", explains both his perceptual and cognitive system about Union with God and adjusts his and the audience's expectations towards it. In fact, this metaphor transfers the intellectual system and the atmosphere governing "marriage" to the intellectual system and atmosphere governing the concept of "Union with God". Through the study of this metaphor, a concept that is unparalleled in the space of Islamic mysticism, we are introduced to new aspects of Ruzbihan's approach achieves the category of Union with God.

Analysis of literary texts' grammatical and linguistic structure is one of the essential branches of stylistics and critique of literary works. Especially when comparing the language style of men's and women's stories, paying attention to their grammatical structures can identify the differences in the style and language level of men and women and highlight the strengths and weaknesses of those works. One of the essential theories of linguistics and grammar is Michael Halliday's theory of scale and category. In this article, based on this theory, we have examined one of the critical grammatical categories, namely the devices of the verb group in Cheshmhayash and Suvashun stories.

This study was conducted using descriptive-analytical method.

In the first article part, according to the theory of scale and category, the verb group devices in the stories of these two authors are described, and the relevant statistics are shown. In the second part, the way the verb group devices are used in the stories according to theories of, Critical discourse, linguistics, and gender is analyzed to distinguish the styles of male and female writers. In this article, the role of the verb and its tense are studied.

According to the available analyses, one of the results is a significant difference between these two authors using the verb group No. 1 device of the news impersonal self-standing type. Alawi has made a mistake in objecting to these verb devices type, and inconsistency between the verbs has caused the incoherence of his story. On the other hand, sometimes, the differences in the use of the devices of the verb group between the two stories go back to the aspect of language and gender.

Mystical works are a suitable platform for creating meaning and spiritual interpretations. Favaed al-Salekin is a version written by "Baba Farid al-Din", one of the authors of the 6th and 7th centuries of the sub-continent. The subject of the edition is to mention the congregations of Sufi elders in general and to examine the congregations of Cheshtiyeh elders and Qutbuddin Bakhtiar Oshi, the elder and mentor of Baba Fariduddin Ganjshakar, in particular. In this research, the literary and content review of the version, its text, linguistic features and literary values were considered.

Considering the availability of five copies of this work, the method of correction was considered based on the original version, in the version of the Majles library, and examining its differences with the modified version. In addition, the mystical, literary and stylistic content of the version was examined by the "content analysis" method.

The variety in the type of writing and prose of the book is also remarkable and worthy of attention; In this sense, in the opening part (especially the preface and introduction), he follows the style of the "Great Messenger"; But the main text of the book has been led to exaggeration in many cases. The book's prose follows the rules of the Arabic language, including the matching of adjectives and adverbs, the sequence of additions, the plural, the relative elimination of sentence components, the special use of verbs, the use of words and combinations in groups, and different meanings can be seen in most cases.

This book is an example of an essay of the 6th and 7th century AH and an example of the prose of the Sufi councils of the Indian subcontinent, and it can be used and analyzed to compare different styles of Persian prose. The use of original verbal and spiritual techniques such as puns, puns, guarantees, similes, metaphors, similes, and guarantees are among the other features of Favaed al-Salekin. In this work, the use of hadiths is to the extent that if they are removed from the text, the sentences and their meanings will suffer.

The myth and thought of the upper body, which has an ancient root, can be an allusion to the human desire to remain invulnerable, immortal and eternal life, and it reveals the human need for immortality and bravery. Man, as a living being, when he realized that death and nothingness threatens his life, he decided to find a way to get rid of death. This issue created the ideal of immortality and the appearance of the body became the long-standing desire to remain immortal. In this research, an attempt has been made to investigate the relationship between the element of water and Esfandiar's physical appearance in comparison to Siegfried and Achilles.

The current research is a theoretical study that was carried out in a descriptive and analytical way.

Some bodies are transformed by gods and superhuman beings with elements such as water and fire. In the myths of nations, there are many stories of super-body myths that often share many points, and one of these commonalities is the role of water in the super-body. Esfandiar has a special place in the Shahnameh with his mythological, religious, heroic, and epic role. The most important physical superiority of Esfandiar is the prophetic breathing in the water of Dahiti River by Zoroaster (a guardian and spiritual personality) that Esfandiar becomes a new body due to the spread of the Behi religion by washing himself in the holy water spring, and if during purification and washing his eyes It didn't close, it didn't have vulnerable parts and it remains eternal and immortal.

In comparing the physical appearance of Esfandiar, the Iranian hero, who had a human frame, with Siegfried, the hero of the German Nibelungen epic, who had a demigod example, and Achilles, the Greek hero, who had a godlike example, it is clear that Esfandiar's physical appearance is due to the following reasons. It has precedence over other mythological characters: 1) Esfandiar Pahlavi is a clean body; 2) Humanity is human; 3) He is a powerful prince; 4) His body is covered with holy water; (5) His bodily fluids have been sanctified by breathing prophetic breath; 6) His physical appearance was the reward for the spread of religion; 7) Holy water is a symbol of transformation and positive transformation; 8) Otenha was the person who chose Ruin-Teni.

One of the tools of effective reading of literary texts in order to analyze the hidden parts and discover the underlying layers of the text is to use new approaches of literary criticism. The views and opinions of Mikhail Bakhtin, the Russian theorist, are one of these approaches that largely originate from the sociology of literature. From Bakhtin's point of view, some novels have polyphonic capacity. Such novels have a democratic space to reflect suppressed voices or even voices that conflict with the author's ideology, which are heard parallel to the author's voice in the story. Multi-voice allows the audience to listen to different aspects of characters, ideologies, cultures, and in other words, the voice of the times, in addition to the storyline. The purpose of this article is to analyze polyphonic elements in the novel Deraznaye Shab by Jamal Mirsadeghi based on components such as type, hybrid speech and active and passive two-tone.

This research was done in a descriptive-analytical way using library studies.

By examining the mentioned novel, it was found that Mirsadeghi has used almost all polyphonic components by creating the characters of his story. By using different and contradictory voices, he provides a platform for the characters to express their opinions in a fair atmosphere.

The results of this research indicate that in this novel, using polyphonic components, especially antithesis and hybrid speech, we witness a forced encounter between tradition and modernity. The author depicts the confusion of the lost generation at this time through the contrasting expressions and speech. A generation that, on the one hand, has been transformed in the traditional teachings of the family and dominant culture, and on the other hand, is facing a different and glamorous world and the so-called "modernity". The result of this collision is the perfection of the first character of the novel, who steps towards the future with an active and independent discourse.