فصلنامه زیبایی شناسی ادبی
سال سیزدهم شماره 54 (زمستان 1401)

The presence of some neglected rhetorical techniques in the two commentaries of Rooz al-Janan and Rooh al-Janan by Abul Fattuh Razi and Kashf al-Asrar and Kite al-Abrar by Abul Fazl Meybidi indicates a new miraculous rhetoric of the Holy Quran. Knowledge that has an undeniable role in understanding and interpreting the verses of the Holy Quran and recognizing the beauty of the divine word. The present article is a research in which the authors have tried, after defining rhetoric and introducing the two interpretations of Rooz al-Jannan and Kashf al-Asrar, with the analytical-descriptive method, as well as through library studies and direct reference to these two Persian interpretations, the literary beauties that are seen by the rhetoricians to find and examine those that have been left out or have been less addressed. Since receiving the points and nuances of interpretation of the text of the Qur'an has always been prosperous among rhetorical commentators, knowing the rhetoric and rhetorical methods of the Qur'an not only reveals the rhetorical wonders of this holy book, but also its hidden meanings and hidden treasures. reveals After analyzing the samples, the authors conclude that in these two interpretations, special industries such as: Al-Kalam, Basat, Mu'aqed, etc. communities are used, which need to be explained and republished more.

Meftun has effectively used rhetorical tools, especially semantics, in his couplets, songs and lyrical romances. In this research, the role of semantics in the transmission of poetic ideas in the enchanted couplets has been investigated in order to identify that when he wants to implicitly turn to advice and teaching in his lyrical and romantic couplets, What kind of sentences did he use and how did he use them to convey the intended themes to the audience in the best way. By using the science of meanings and its appropriate tools such as interrogative, informative and imperative sentences in an effective way, Muftun has succeeded in conveying poetic concepts and themes to his audience, and at the same time, in this way, the presence of the audience in the context of the text. It has also shown more prominently. Examining these sentences and their secondary purposes is very necessary to understand his thoughts. By examining the type of sentences used in didactic verses and their secondary purposes and meanings, it is determined how to connect the lyrical language of Mofotun with his educational goals these poems. In this research, the authors have investigated this category of sentences and their secondary meanings in a descriptive-analytical way and library tools, and the salient points of three topics of the science of semantics, i.e. imperative and informational interrogative sentences and their role and influence in The effective transmission of the poet's themes in the lyrical and romantic song has been described and explained

Poetry is the origin of the vast possibilities of language to produce meaning and image. The possibilities that, with their wideness, only in the productive grammatical constructions cause prominence and power of the language. Jurjani (d. 471 AH) proposed these possibilities in "Theory of verse" and "Meanies of Grammar" and Hafez used them in his lasting poems. Jurjani's creative reading and his transition from a superficial look to the text, as well as his creative understanding of the constructive functions of words in producing meaning and image, regardless of the morphological and syntactic features of words, turned his gaze even from the context of words to the power and ability of language. Hafez, by mastering the features of the Persian language and understanding the function of linguistic elements, at the same time by creating beautiful and amazing effects, strengthened the role of the language in conveying meaning.In this research, in addition to the citation-analytical method in benefiting and quoting the opinions and researches and analysing their relationship with the topics under discussion, the descriptive-analytical method has been used to present new studies and achievements. The results of this research show that examining the possibilities and power of linguistic elements is necessary to understand the aesthetic issues in Hafez's poetry. Undoubtedly, his familiarity with the rhetorical wonders of the Qur'an and his mastery of the Persian language and special language possibilities have led to the production of added meanings and lasting images in his poetry.

The school of imagery is one of the schools of modern art that is formed on the basis of imagination and indirect expression. In this school, the image does not have the aspect of decoration, but also forms the meaning and structure of the artistic works. T. E. Hulme was one of the first poets to express the basics of today's poetry and tried to alter poetry from yesterday's absolutism to today's particularism. Between Classicism and Romanticism, he chose classicism and tried to add a new element to it by adding intuition. On the other hand, the Iranian poet, Sohrab Sepehri has a clear tendency towards Romanticism in his poems; however, his acquaintance with the art of painting has made his poetry one of the most pictorial contemporary poems in Iran. The current article analyzes Sepehri's poetry from the point of view of the school of Imagism in a descriptive-analytical way. The criterion for the analysis is the 1915 Declaration. This statement is closer to the ideas and views of Hulme as the theorist of this school. The results revealed that although Sepehri's poetry is a pictorial poem at first glance, but in some components such as "explicit and clear expression as well as avoidance of ambiguity" is outside the framework of the school of imagism, which can be a sign of his intellectual and emotional independence. It is also a proof of the claim that the European art schools tend toward the poetry of the top Iranian poets,

music has a long history importance of music in the cultural background of the society, the association of poets with musicians, their activity in the field of music, has created a link between music and Persian poetry. in this field influenced their poetry. In the present study, the poems of three musical poets: Ali Akbar Shida, Rahi Mo'ayyeri, Mohammad Hossein Shahriar have been analyzed from the perspective of paying attention to vocal music and its effect on their poetry with a stylistic approach. Ali Akbar Shida is a great ballad composer and all his poems are composed, Mo'ayyeri wrote several ballads and had direct contact with musicians. Shahriar himself was a musician and while socializing with musicians, he also played an instrument. The results of the research show: that poets' familiarity with vocal music and collaboration with musicians have influenced the music of poetry, the beautification and content of their poetry. The music of their poetry is in accordance with the rhythm and harmony of the music, as it is suitable for singing, and most of their poems are composed. . In the aesthetics and content, they used musical terms, there are many arrays of similes, allusions, puns, and Congeries. n the theme of the poem, in the lyrical content, they have used musical words, they have expressed the description of love, persecution and unfaithfulness of the beloved, personal and social sorrows, loneliness and solitude with musical terms.

Studying Persian literature and poetry from the beginning of its formation to the present time reveal that poets and writers have abundantly used Arabic and Persian proverbs and sayings in myriad ways and methods to add sweetness and eloquence to their writings. By studying the works of great poets such as Ferdowsi, Naser Khosrow, Onsorolmaali, Nasrullah Munshi, Saada din Verminy, Sanai, Anwari, Nezami, Khaghani, Attar Nish Aburi, Atta Mulk Jowini, Maulana, Sadie, Hafiz, and some others, it is disclosed that they have extensively used Arabic and Persian proverbs, verses, anecdotes and sayings to express high moral, mystical, social, political, and literary thoughts to the extent that such expressive way turns as a dominant characteristic of their style. Taghi Danesh, the eminent poet of late Qajar and early Pahlavi dynasties, was under the shining influence of anecdotes, Persian and Arabic proverbs and sayings and effortlessly attempt to reflect such beauty in his writings. The present study aims to investigate and analyze the ways and techniques of using Arabic and Persian proverbs, sayings and anecdotes in sonnets and fragments of Taghi Danesh. The present research achieves the result that use of Arabic and Persian proverbs, sayings, and anecdotes, following predecessors’ reflection, is evident in all his odes and sonnets and fragments and turns to his distinctive stylistic feature.

One of the tools influencing the audience is using the power of words to convey secondary meanings, and this issue is well seen in the secondary meanings of interrogatives. Due to the necessity and necessity of the topic, the poet raises news, orders and prohibitions in the form of questions, because the effect of the sentences of news or orders and prohibitions in the form of interrogatives is much greater on the listener than in the form of news or orders and prohibitions. Is; The poet expresses his meaning in the form and construction of questions in order to make the reader or listener to think faster and better, or to prevent him or to arouse his emotions. Literary questions in sentences often have no answer and are used to achieve various rhetorical functions. In this research, the author is trying to investigate the rhetorical question in Kassab Kashani's poems with descriptive-analytical method and library tools and to answer the question that what are the most implied meanings of questioning used in Kassab Kashani's poetry? The results of the research indicate that most of the questions in Kassab Kashani's poetry include the implicit meaning of helplessness and expressing despair, and Kassab has used all the linguistic tricks and abilities in the structure of semantics in his poem and embellished his speech in a way. Is. The optimal use of the science of meanings has made his words lasting and influential and heartwarming.

Music is very important in the mythology of different nations. This science, as one of the parts of theoretical wisdom, has an unbreakable connection with literary mysticism through similarity in intuitive and inner perceptions, metaphysical dimension, infallibility, etc. The conceptual expansion of music originated from here, which led to liberation from the monologue and one-dimensional atmosphere and to the music of the cosmic spirit, which gradually penetrated and gained strength in mysticism. The perception of music, which is a manifestation of mystic hearing and the resurrection of the worlds and spiritual states of the seeker, reveals and intuitively finds a celestial and cosmic music and directly engages emotions and feelings.Molavi has a very aesthetic view of receiving music, and because it is at a high level of heart import in esoteric receptions, and in other words, it is a symbol of all systems, customs and habits, the connection between his view and his thoughts with cosmic music is important. Show

Music is one of the essentials of visual and auditory beauty. There are few words that can come to life and be far away from this important factor, that is, music. Almost all the ancient literature of Iran is tied to this art, and in the past, even though they did not have a formal and fundamental understanding of it, they used it in the most beautiful way and created masterpieces of poetry and prose. Therefore, one of the factors that created the beauty and charm of Maulana Mohammad Baqer Khurde Kashani's poems is the aesthetics, the music of his words and the melody of his language. The beauty of poetry music is one of the main components of poetic language and it implies the sequence, order and arrangement of poetic words to express the feelings, emotions and poetic themes as beautifully as possible. In this research, which aims to investigate the aesthetic aspects of Maulana Mohammad Baqer Khurda Kashani's poetry, an attempt is made to analyze the musical element in Baqer Khurda's poems in a descriptive-analytical way, so the music of Baqer Khurda's poems in two topics of external music and The side music has been checked. The result of this research shows that one of the factors that contributes significantly to the good reputation of Baqir Khord and his poems is his poetic music, which relies more on external, side and spiritual music.

Allegory has a special place in literature, especially in children's literature. But in the allegory, the characters of the story do not play a role in their place; Rather, each character represents a certain stratum in society or a certain individual. In allegorical stories, an instructive and instructive point is stated by using the language of an example, and in this way, the audience does not feel that they are being directly addressed and admonished from a higher or even equal position. and in addition, the concepts intended by the author are better understood by the audience. This method is very practical and effective, especially in the case of children's and adolescent literature. Children communicate better with allegorical stories, especially fables, and the concepts become understandable and enjoyable for them. In this research, using a descriptive-analytical method and using library tools, the function of allegory in a number of children's stories of the 80s has been explored to convey the concepts of wisdom and advice, and each work is considered to be allegorical or not from the point of view of how the story is processed. And the inclusion of legal, moral, spiritual or social instructions and points has been examined. The result of the research shows that the use of all kinds of allegory, especially the fable type, can lead to the creation of an educational work based on advice and wisdom, and the use of allegory creates an enjoyable and entertaining atmosphere in the story.