مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 84 (اردیبهشت 1402)

Faqir Dehlavi is a Shiite poet of the 12th century AH and was born in the Dar al-Khalafah of Shah Jahanabad. This romantic Masnavi tells the love story of the queen, the daughter of the Roman emperor, to Imam Hassan Askari (AS). A complete copy belongs to the public library of the Ayatollah Golpayegani with the code 29/58 and the date of writing 1171 AH of this work remains. In this research, while introducing the version, its stylistic analysis has been done.

This study was conducted with a descriptive-analytical approach.

The study of this Masnavi shows that the poet has used soft music, along with the emotional tone and syllabic proportions of Bahr-e Hazaj along with the balance of words to strengthen the lyrical language of his poetry. Proportional use of various forms of imagination, the main element of which is simile, in the field of literary style, is the artistic basis of this Masnavi. His poetic language is simple and fluent, and unlike other Indian-style poets, there is no mention of the ambiguous themes and subtle fantasies in his words.

In narrating the story, the poet has used the element of emotion and feeling to promote the lyrical aspect of Masnavi. Although the poet has used rhetorical crafts to beautify and strengthen music, he has not sacrificed the meaning and concept of the word and has avoided the use of abandoned, ancient and obscure words and has used a smooth and smooth style. Nevertheless, the frequency of Arabic words, especially the plural of mokassar, is very high in his poetry. In this work, earthly love is a medium for achieving divine love.

In micro-discourse stylistics, the layers of the text are decomposed and divided into different layers. in order to obtain the dominant discourse and its contribution to the discovery of the ideology of the text, the discourse stylistics of the story of the mysteries of monotheism in two layers of vocabulary and rhetoric has been studied.

This research does by Descriptive-analytical method.

Asrar al-Towhid is one of the books written in the style of Sufi authorities. Dignity plays a prominent role in this type of literature, and language finds an ideological burden in it; and all its elements are used to empower the position of Sufi elders and serve to reproduce their power.

Examination of the layer of words and codes used in the text shows that the mystical discourse formed on the basis of dignity has a dominant discourse and the stylistics of the rhetorical layer confirms that the text, while coherence and rhetoric of the author's ideology, is the promotion of the sheikh Abu sa’eed and The consolidation of the institution of his power has been affected.

In the history of Persian literature, a series of writings are known by the general name of Majalis. These writings are the result of meetings and preaching circles of Sufis and jurists. The sermons and admonitions of the Sufis and the religious scholars from the pulpit are called "Majales-gooyi" and the written works that were created in this way either by the hands of the preachers themselves or by the hands of some disciples are called "Majales" and such a writing tradition is called "Majales-writing". To be in addition to introducing these works and their speakers, this research compares the spoken language of these two parliaments.

This article is based on library studies and is done in an analyticaldescriptive way.

In fact, Rumi's Majlis Sabe' is to some extent the echo of Masnavi's prelude. The exact time of writing Majlis Saba' is not known, but apparently it was written by Sultan Valad or Hessam al-Din Chalapi during a sermon, later it was reread according to the original form, some material was added to it, and perhaps it was passed down from Rumi's personal opinion, and probably himself too. It has had corrections and additions. The congregations are written in a fine suspension line and a fine pen, and the space between the congregations is written in a thick script. The photo version of Majalis is approximately 16 pages long, and except for the first page which has 32 lines and the last page which has 20 lines, all pages have 41 lines. Ancient sayings and allusions are written in 67 parts. But apparently, the number of councils should be less than this; What is the date of some assemblies in one day? Because the meetings that have the same objection date are not separate from each other. Therefore, the number of assemblies is not 67 but 22.

All seven Majalis Sab'e have started with Arabic sermons and almost all phrases at the beginning of each Majalis are Masjid. Majlis Sab'e is full of similes and allegories expressed in the sweet language of Rumi. Ancient assemblies are full of amazing images and pictures. Atigi speaks in a literary style and is one of the artists who, due to his genius, has expressed pristine and first-hand images.

In narrative poems, poets use the structure and elements of narration in order to create an attractive and attractive narrative. A narrative can be considered as a representation of an event or a series of events. Narratology as a science that analyzes the narrative structures of a narrative as a report of facts in an artistic form. The study of narratology of classical texts, especially narrative and story poems, is a new horizon in front of the audience. Based on this, the main goal of the upcoming article is to use Roland Barthes' narratology theories to analyze and analyze Nezami’s works as one of the story treasures of Persian language and literature.

The research method in this thesis is descriptive-analytical with the main narratological approach.

In the narrative pattern in the story structure of Khosrow and Shirin, Leyli and Majnoon, and Haft peykar from a balanced to an unbalanced situation, we are faced with various main and secondary developments, mutual actors, and many mediating profiles and functions. In all the stories, a complete transformation has occurred in the narrative and the main and secondary achievements of the story have appeared in the way of internalization and chain.

The research results indicate that the structural pattern of Khosrow and Shirin's narrative begins with the change of balanced to unbalanced conditions with a complete follow-up. The main story of Khosrow's and Shirin's love for each other, which includes the secondary stories of Khosrow's love for Maryam, sugar, royalty, and Farhad's love for Shirin. The mutual actors of the story, including the confrontation between Farhad and Khosrow, and Maryam and Shirin, in the end, the final whirlwind of developments, namely the death of Khosrow, the loss of the monarchy, and the death of Shirin, ends. The main development of the story of Leyli and Majnoon is the love of these two lovers for each other, which, along with secondary developments such as the beginning of the madness and madness of "Qais", the marriage of Laili with Ibn Salam, the death of Ebn-esalam, the proposal of the father of Qais to Leyli is the main core of the death of the two characters and the main actor. ends The contrast between Lili's love for Majnoon and her indifference towards Ibn Salam is one of the main action levels of this story. In the Haft Peykar series, the main achievements such as Bahram's accession to the throne, finding a room with seven figures of beauties, and bringing seven princesses from the seven regions of the world to Iran are depicted.

Postmodernism is a combination of modernism and mythology and is a return to pre-modernism. Moniro Ravanipour is one of the writers who turned to the style of postmodernism and used the elements of this school in some of his works. The purpose of this research is to know the characteristics of this school in the works of this author.

In this research, based on post-modern characteristics and descriptive-analytical method, the works of Moniro Ravanipour were investigated.

In these works, with the use of elements such as: the involvement of the narrator in the story, criticism of the story in the story itself, changing the direction of the story, using fantasy characters, changing the roles of characters, uncertainty, symbolism and intertextuality, the postmodern style emerged as metafiction. By creating postmodern works, the author tried to convey his point of view to the audience in an indirect way.

Postmodernism has become a platform for the expression of the author's opinions in the form of novels and stories and has provided the possibility to create different voices in the story.

Leyli and Majnoun, as well as Khosrow and Shirin are famous stories that have been composed into verses by many poets. Amir Khosrow Dehlavi and Nami Esfahani are the poets who versified these two stories commensurate with their own time and place conditions, and also made changes to the main poem composed by Nizami. This research aims to investigate the characterization of these versified stories using the Propp’s Theory and comparing key characters with each other.

For this bibliographical research based on Vladimir Propp’s theory, the descriptive-analytical methodology was adopted for conducting this research.

Characteristically, Khosrow, Shirin, Leyli and Majnun are all subjects to the conditions of their time. Little change has been made in the storyline with similar characters. In these four versified stories, the main plot of the story is a fixed one, with only some elements of the story being changed, eliminated or added. The introduction of characters is mostly done by direct description, interaction between characters and their conversations.

Khosrow and Ghais are both heroes that confront their rivals and obstacles. The motivator of Khosrow in Amir Khusrow’s narrative poems, is Shapour, whereas in Nami’s version, vise speakers considered as dispatchers motivate Khosrow. In both narrative poems, Shapour, Nakisa and Barbod are the helpers. The dispatcher of Ghais is his drive; his helpers cannot be of any help to him as obstacles are more powerful. There is villain in Khosrow-Shirin narrative poems whereas there are none in Leyli-Majnun but obstacles. Female characters in all four narrative poems are morally more realistic than male figures as the formers are depicted more resilient to difficulties and love melancholia. Among male characters, only Khosrow has a negative characteristic (he is a player) and has a less authoritative character in Nami’s version as he doesn’t show patience towards Shirin’s love. Majnun is weak and helpless towards love melancholia and is unable to tolerate it and dies. Both Amir Khusrow and Nami give Leyli more freedom of action as a consequence of their life condition and have both depicted a more detailed relationship for Leyli and Majnun, which is different from Nizami’s original version.

"Navader al-Vaqaye’" by "Ahmad Danesh" (1875-1890) is one of the important works in the field of education. Danesh is one of the important personalities of Tajikistan and his works have had a great impact on the education of this land. He was a writer, philosopher, astrologer, architect, painter and poet, and for some time he was present in the court of a noble like "Nasrullah Mughniti". He traveled to Russia three times and the experience of his travels has been reflected in his works, especially his most important work "Anecdotal Events".

This research is based on descriptive-analytical method.

In this book, the author has raised issues such as parents' rights, family issues, marriage, choosing a job, Islamic lifestyle, philosophy, Sufism, governance and military system, which had a great impact on the culture of his people.

In most cases, the language of this book is simple and comprehensible to the general public and is far from artificiality. From a literary point of view, arrays such as saj', puns, references to the Qur'an and hadith are widely used in it. From an intellectual point of view, the author, relying on religious elements and the views of mysticism and Sufism, has expressed his beliefs about the Islamic way of life and interaction with others, and in addition, he has also presented materials about his ideal and desired life.

The works of Safavid era poets are a full-view mirror of the social situation of this era due to their connection with the mass of people. With the separation of the poets from the court during the Safavid era and their joining other citizens, the subject of these poets' poetry also changed, and after that their poetic talent was used to express the customs and social beliefs of ordinary citizens of Iran. This essay aims to answer the question by examining the poems of the poets of this era, which superstitious beliefs, opinions and social customs have occupied the minds of the citizens of this time and to what extent have these things been reflected in the eyes of the poets?

The method of the present research is descriptive-analytical and the method of collecting information is documentary (library).

The findings of the research indicate that superstitious beliefs and opinions such as believing in eye sores and the influence of stars and planets on the condition and fate of people and turning to different ways to get rid of eye sores, as well as all kinds of magic and witchcraft and seeking refuge in soothsayers and soothsayers for Avoiding the damage of the evil eye and getting rid of the bad horoscope has not only affected people's lives, but also captured the hearts and souls of the kings of this country, and the abundance of these themes in the poems of the poets of this era is a clear proof of this claim.

The reference of these poets to superstitious and popular beliefs in this period indicates that these beliefs have spread in all religious, political and social affairs of this era. In this regard, the role of Safavid kings and rulers should not be ignored in this reality; Because their belief in these things had caused them to be involved with these superstitions to some extent; To the extent that each of them had a special astrologer with them to tell them the joys and sorrows of doing political and social affairs.

The use of Persian poetry in Iranian historiography has a thousand-year history. Most Iranian historians have been familiar with literary techniques, and it has been customary for historians to use poetry while dealing with historical events and recording events related to the kings and rulers of the region, in order to embellish words or express literary knowledge. Also, writing poems by the author himself and using the poems of other poets with narrative, descriptive and moral functions and in some cases recording the material-history is also seen in this. Therefore, in this research, the function of the poems used in two historical works "Tarikh ol-Jaytu" from the Mughal period and "Ehya al-Moluk" from the Safavid period is investigated in order to discover the personal style of these authors and the frequency of the mentioned functions in their works.

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

By examining both historical works, it was found that in the history of ol-Jayto, the historian's preference was to use narrative poems with a religious approach and fragment format. In Ehya al-Moluk, the historian prefers descriptive poems with a religious and mystical approach. The author of Ahya al-Muluk has preferred the Masnavi format over other poetic formats.

The results of this research indicate that in most cases, Kashani considered the contextual similarity of the selected poem with the incident or event mentioned in the text. This choice indicates the author's aristocracy on Iranian verse literature. The author of Ehya al-Maluk has also tried to introduce the poets of his ancestral land (Sistan) by choosing their poems. The common feature of both works is the high frequency of using Hakim Ferdowsi Tosi's poems, which can express the authors' interest in the epic atmosphere of the Shahnameh and the induction of the similarities between the desired Mamdoh and the heroes of the Shahnameh.

Simile is one of the rhetorical techniques of the science of expression, which by choosing two signs from the axis of substitution according to similarity and combining them in the axis of coexistence, makes the speech literary. Examining the performance of simile industry and its resulting secondary meanings in fictional texts can reveal the author's creativity level, his individual style, the movement of the text towards the literary and linguistic axis, the genre of the work, and finally the author's point of view on social, cultural, political issues, etc. Jamalzadeh and Chubak are prominent contemporary authors who have used the literary art of simile in their stories in a high frequency.

In this research, the rhetorical function of the similes in the collection of stories was the same and not the same, and the short stories for bearded children by Jamalzadeh and Antari, whose Luti was dead, and the marquee play by Chubak with qualitative and quantitative analysis methods. Been investigated.

Based on the results, it can be pointed out that the similes used in the works of these two authors are divided into two categories: the first category includes similes that are used to describe and create the atmosphere of the stories with a low frequency, respectively 17% in Jamalzadeh's works and 30% in his works. Chopsticks are used. The second category is similes that have implicit and emotional meanings such as contempt, mockery, sadness, humor, and praise in high frequency, 83% in Jamalzadeh's works and 70% in Chubak's works.

In the works of these two authors, the low frequency of the implied meanings of happiness and praise, along with the high frequency of the implied meanings of humiliation and sadness, have a significant effect in strengthening the sad and bitter realistic and naturalistic atmosphere of the stories. Jamalzadeh has satirically criticized Iran's society, political conditions, etc. by choosing specific similes. Chubak has also depicted the bitter and sad fate of the lower class of society with his similes. The semantic load of similes selected from various conceptual fields such as animals, religion, nature, and disease, along with the high frequency of sensuality on the sides of the similes, is directly related to the realistic and naturalistic descriptive type of these works. Also, the presence of elements such as similes and similes has caused the closeness of the signified and the example in the stories and easy understanding of the text.

Stylistics is one of the most effective methods of text recognition. Stylistics divides the different levels of the work and examines the text. Khatm al Qaraib, the first a travelogue of Khaqani Sharvani's poetry, has catchy language and pleasant images. Stylistics can show the clear face of this work. In this article, the Khatm al Qaraib has been reviewed from the approach of critical stylistics

In this article, Fiest, the external and situational context of the text is examined, then the layers or internal levels of the text are analyzed. The method of stylistics is a layer of the main research approaches. In this article, relying on the text of linguistic structures, vocabulary, applied theme with the method Descriptive – Analytical, materials, Component, Theoretical and linguistic structures of Khatm al Qaraib havr been investigated.

In terms of the construction of words, combinations and new current phrase, the end of Khatm al Qarab is an indicative text. Text words are sensory and there are fewer axstract words. In the level of applied science and rhetoric, similes and metaphors are generally sensory or can be understood without mediation. The simple verb is superior to other verb constructions. From Modality, indicative is more prominent.

Khaghani is a poet who fully understands the importance of words and their function in poetry and has given a new and unique form and combination to poetry by using existing words or combinations he made in different situations.

Layered stylistics, which focuses on the analysis and study of literary texts on the basis of new approach, is considered as the foundation of linguistics. The high-frequency features of the works are recognized via each of the sub-layers of this style. Sherveh is a type of public poetry in south of Iran that became popular and developed during the period of literary return. The stylistics of literary genres that emerge in particular spatial, cultural, and geographical contexts can help to identify literary genres and the richness of literary history accurately.

This study examines the phonetic and rhetorical layers of southern Sherveh through descriptive and qualitative analysis. The statistical population of the study including Mahya, Fayez, Baqer Lari's Sherveh and the books concerned with Sherveh khani in south of Iran by Ali Babachahi, Dashti and Dashtestan by Abdolmajid Zangooyee, local songs of Fars by Sadeq Homayooni and folk literature of Bushehr is written by Abdullah Rezaei. Data were collected in the way of documents and libraries.

Shervehha, which are the most vital lyric types of public poetry in the south of Iran, has used other linguistic possibilities and literary techniques to literalize their text considering their meter, exclusive format, content, connection with music and short structure as a literary genre. This genre has always been composed in framework of a couplet that is a reminiscence of the original Persian rhyme their phonetic structure is powerful to great extent.

The examination and analysis of Sherveh in terms of layered stylistics in both phonetic and rhetorical sub-layers demonstrate that in these poems, other free and regular musical repetitions, word proportion, creative and literal, spiritual and imaginary elements to strengthen phonetic and rhetorical levels with high frequency has been used. These techniques are valuable linguistic possibilities that are naturally has been applied in highlighting the language of any type of poetry.

Since new perspectives with a new language and a new texture of modern Persian have left many stages and difficulties behind and in an intertextual and meaningful conversation, the mouth of the words of the masters and masters of contemporary styles, it is connected to our ancient literature more than anything. It requires the importance of searching in indexed and reliable versions; From the Safavid period in the field of stories and anecdotes, a considerable amount of literature has been remembered, and identifying them is a big step in understanding and developing the story and its different types in Persian literature; One of the valuable works of this period is a version of a romantic story from the 11th century called "Bahjat Afza"; Behjat Afza is a detailed description of the love and travels of "Badi Al-Zaman" and the events that happen to him. The work is a prose romance mixed with order. Analyzing the content and introducing the said work is the main goal of this article.

The present article is based on the analytical method (language and content analysis) and is done with library tools, which is specific to the studied community, the "Bahjat Afza" manuscript, a work from the 11th century of Hijra.

In the realm of content, Behjat Afza is a romantic and prose story mixed with order from the Safavid period. In the literary aspect, the author has added to the aspects of verbal and spiritual beauty of words by using various expressive and innovative techniques. The frequency of using image elements. Instrument is in the field of expression more than other things; Intellectually, it is an unconventional work; concepts such as love, attention to the lives of the common people, the relations of the lower classes of society with the centers of power, spreading ethics and adherence to principles, as well as believing in the Shia religion and believing in divine providence, destiny and human nature in this work. It is thought-provoking.

Behjat Afza's story shows the growth and trend of the story and the approach of the artists of that time to fiction literature; In his descriptions, the author has mentioned Golestan Saadi and in some parts of the story, Kalila and Demeneh. His prose is in the style of a seer between the Safavid period. This story is in the line of works such as Mahbub al-Qulob, Zeenat Majlis and Golshan Khwamanas. The difference is that this manuscript is a long story. The style of the story is internalization with the content of travel stories and the themes of Ayari. The introduction of this work can be beneficial for researchers interested in fiction literature, the history of development and the course of the story in the Safavid era, folk literature and fiction. Also, the story contains valuable historical, cultural and social information.

Abu-Muslimname is one of the stories which had great popularity with the public over a period of time and various writings have been formed from it. In manuscript of Abumuslimname, some narrators have been mentioned such as Abu-Tahir Tarsusi, Abu-Bakr Razi, Hesham Sarakhsi. Current research is based on Abu-Mmuslimname attributed to AbuTahir Tarsusi corrected by Hussein Esmaiili. The corrector has estimated the second half of fifth century for the formation of this writing. In current text AbuMuslim in companion with a group of Ale-Rasoul’s fond (lovers of the prophet’s family), who are mainly craftsman, rebel on The Umayyad Caliphate to take revenge for Karbala martyrs. The question is which discourse has played role in formation of this writing of Abu-Muslimname. What aspects do the text have and how they are shown by using of words?

In order to achieve the answer of this questions, we used stylistics in lexical layer based on knowing of cods and marked words.

We came to this conclusion by knowing of cods and marked words that fotovvat discourse has fundamental role in production of this text. Marked words include epic and lyric marked words and epic marked words are dominant. on the other hand, studies of words show that opposition is a main relationship between words in this texts, so that the whole text formed around the dual opposition of Ale-Rasoul’s fond-Marvanian and creates opposition of We-They. Also the speaker uses religious codes and marked words for reinforcement of this opposition.

In general, it can be said that this writing of Abu-Muslimname has been formed under the influence of fotovvat discourse. Also, it is an oppositional text and has two aspects: ideological and epic.

Ritual poetry is one of the first thematic trends in Persian literature that has an ancient background. This trend also exists in the contemporary period and has been pursued much more widely than in the past. Seyyed Hassan Hosseini, Hamid Sabzevari and Ahmad Azizi are poets before and after the Islamic Revolution and are among the founders and artists of revolutionary literature and composers of ritual poems who have left their works on ritual and religious poetry. This research intends to study and analyze the ritual poems of these three poets in three linguistic, literary and intellectual realms and to identify and introduce their linguistic and expressive prominences and intellectual lines.

This research is a descriptive-analytical study and is based on library studies.

The study of contemporary ritual poems shows that committed Muslim poets with beautiful poetic taste and knowledge of rhetorical knowledge and the use of various weights and forms and the widespread use of expressive and original techniques and sometimes their own innovations, have created beautiful poems.

Poets of ritual poetry have been more successful in the realm of language. They create a glorious epic atmosphere by using weights and proportions appropriate to the epic and words. The poems of these poets are rich and fruitful in terms of being influenced by Islamic knowledge and culture, especially in the field of words and phrases. Linguistically, the reference to Khorasani style can be clearly seen in the poetry of this poet. Poets at this level have not only followed the style of previous poets and have also had innovations. Of course, no significant innovations have been seen in this area. In this regard, we see innovation in the ritual poems of Seyyed Hassan Hosseini, which can be seen in allusions and especially contradictions.