مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 86 (تیر 1402)

The Holy Quran is a miracle that appeared in the form of words and was finally revealed with eloquence and eloquence. For this reason, many creators of poetry and prose works in Persian literature have used it in different ways in creating their works. The manifestation of the eloquent words of the Qur'an in Hafez's sonnets is also impressive. In this research, it has been tried to investigate the various methods and techniques of Hafez's effectiveness in sonnets from the verses of the Word of Revelation.

The study method in the current research is documentary-analytical. This research deals with the methodology of the effectiveness of Hafez's sonnets from the Holy Qur'an and by dividing the methods of use and presenting examples of verses from the Holy Qur'an and verses from Hafez's sonnets, it has consolidated its hypothesis.

The presence of Quranic words, verses, interpretations, themes and styles in Hafez's sonnets shows his deep and comprehensive familiarity with the Holy Quran, Quranic sciences and topics - such as strong and similar, abrogated and abrogated, and jurisprudence of the verses - along with familiarity with interpretations. This is a heavenly book. Studies show that Hafez not only understood the meanings of the verses, but also knew about the relationship between the verses.

The most important and main areas of influence and modeling of Hafez's ghazal from the Holy Quran are included in these cases: influence of the measured connection of words and meaning in the Quran; Effectiveness of the pattern of verbal and semantic harmony of the Quran; Using Quranic compounds and words to create imaginary images; Effectiveness of the pattern of minimal pairs in the Qur'an; Effectiveness in the knowledge of Ghazals from Quranic techniques; Effectiveness of the Quranic declaration; getting inspiration from Quranic ideas; Effectiveness of the phonetic-semantic method of the Qur'an; Inferring a taste from the verses of the Qur'an; and helping to complete the rhymes of the poem.

Imagination in all its aspects has the capacity to represent a network of mental images of a poet or writer. Gilbert Duran; Based on the presentation of a complementary model, the contemporary theorist has divided the system of imagination and symbolism into two systems of daily imaginations and nocturnal systems of imaginations. He presents two approaches in the daily imagination system; Images that are associated with light, life and positivity and are referred to as images with positive value, and images of symbols that are associated with darkness, death and negative thoughts and are referred to as images with negative value. The system of nightly imaginations is also stylized images of the same daily system of imaginations. This research examines examples of Soroush Esfahani's poems to analyze the poet's imagination system in order to reach the literary level and the semantic network of images.

This essay has been done in an analytical-descriptive manner and using library sources based on the criticism and theory of Gilbert Doran's imaginations.

In Soroush's poems, imagination occupies a significant part of the poet's illustrations. Although the use of this element has served to praise political and governmental people. But by examining these images, you can reach the layers of the poet's imagination system.

The results of this research indicate that Soroush Esfahani was more inclined towards the everyday system of imaginations with positive value in creating imaginative images. This desire was influenced by the prosperous life of the poet in the court of the Qajar kings.

Sa’di is a prominent ghazal-writer whose poetry has unique and distinctive stylistic characteristics. He is one of the outstanding poets in writing love ghazals. Sa’di writes his poems with absolute simplicity and distinctive eloquence. These characteristics have made him a pre-eminent poet in Persian literature. Also, he has influenced many poets such as Nasser Bokharaei, Khajouy-e Kermani, and Homam-e Tabrizi. The present study uses a descriptive-analytical method to demonstrate how Bokharaei is influenced by Sa’di by the use of similar aspects in axes such as external and marginal music, language, literary devices, literary aspects and content.

This study uses descriptive-analytical methodology and library research to analyze and interpret Sa’di’s influences on Bokharaei in the above-stated axes.

The findings of this research show that Sa’di’s and Bokharaei’s ghazals have common and similar aspects in four axes of external and marginal music, language and literary devices, literary aspects and content: in the first axis, elements such as rhythm and rhyme (in sixteen ghazals); in the second axis, the similarity of descriptive combinations and their relationship with the common love theme; in the third, literary axis, the similarity between similes and metaphors; and in the fourth, thematic axis, the similar love themes (specially the beauty of the beloved), and mystical themes and Saqi-nameh. These similarities attest to the influences of Sa’di on Bokharaei.

Bokharaei not only follows Sa’di in writing ghazals, but also regards Sa’di’s simplicity and fluency in his ghazals as a model for writing his own ghazals. It should be noted that Sa’di’s ghazals are sweeter and subtler compared to Bokharaei’s; however, the simplicity and fluency of Bokharaei’s ghazals reminds one of Sa’di’s ghazals. As a consequence, Bokharaei has managed to make his poetry enduring and eternal.

The Shahnameh is not just an epic literary text, but an integrated set of internal and external elements in which men and women play a role. the low presence of women in this work; Deeper studies about his role in Shahnameh have become necessary. Analyzing the discourses of the Shahnameh is one of the ways to know the impact of the presence of women in this saga; which is possible by using methods like critical discourse analysis. In this way, you can understand the role of women in the epics and explore the events morf a new perspective. Therefore, this article seeks to analyze the discourse of identity among the female warriors of Shahnameh.

The framework of this research is based on the critical discourse analysis of Fairclough. According to this pattern, The text has been analyzed in three layers: description, interpretation, and explanation. Two characters, Gord dmorfA and Gordieh, have also been chosen as case examples.

In the first layer, the discourse of the identity of women warriors in Shahnameh is formed based on the superiority of Iranians and the distinction between insider and outsider. In the second layer, following traditions and archetypes shapes their identity discourse, and in the third layer, it is the choice among the identity-building components in the characters that from the story forward.

The ups and downs of sroAfmoG story in the Shahnameh erom caused the four dimensions of "role", "self and other", "tradition" and "archetypes" to eerahm compared to other women in the Shahnameh, which do not exist in the case of Gordafrid.

The Couplets is a semi-traditional form that was invented by modernists during the constitutional period with the aim of transforming the poetic form and was among the common forms until the Islamic Revolution. n this article, with the aim of analyzing the effect of Couplets in the transformation of classical poetry into new Nimaei poetry, the stylistics of Couplets of prominent poets of this form has been examined on three linguistic, literary and intellectual levels.

The collection of article information was done in a library manner and it was written with a descriptive and analytical approach. The analysis of the research has been written by reflecting on the collection of poems of poets who wrote Couplets and then turned to new Nimaei poetry or are among the poets of two streams. are cited among others. The poems of Nima Yoshij, Nader Naderpour, Fereydon Tavallali, Forough Farrokhzad and Fereydon Moshiri.

The Couplets form was started by the modernists as a reason for the transformation of traditionalism in the constitutional period. The analysis of Couplets after them shows that the fields of evolution of classical poetry that reached the theory of new poetry have also passed through this form. Most of the poets of new poetry, including Nima himself, have used this form at the beginning of a poem and by leaving it aside, they wrote new poetry. Abandoning classical rhyming, avoiding language problems and using difficult words, shortening sentences, paying attention to the audience and observing grammatical principles at the linguistic level, objective imagery, the use of modern elements in poetic images and images free of problems at the literary level, logical communication Language and content, realism in the content, matching the content with the issues of the society in the social and romantic theme at the intellectual level are the features of Couplets simplistic writing that has created the grounds for the transformation of classical poetry into new Nimaei poetry.

The Couplets form, which was started by the modernists during the constitutional period, is a form that has the features of simplification, the development of the simplicity of rhyme, language, images, the development of the lyrical and social content of the new Nimaei poetry.

Archetypes are eternal-eternal concepts that are in the mind of every human being and are passed from one generation to another and express concepts such as love, death, fear, happiness, sacrifice, leadership, hatred and hostility. For the first time, Carl Gustav Jung realized the importance of archetypes and discussed them in his books. They play an essential role in people's daily life and are also present in literature and art because artists and writers draw inspiration from their subconscious to create a lasting literary work, and since the position of archetypes is in the unconscious, their influence can be observed and analyzed in literary and artistic works. Based on this, the general purpose of writing this article is to examine and analyze the archetypes of the novel "Yekolya and Her Loneliness" by Taqi Modarresi.

This article is a Library-Based Compilation and its Compilation Tool is Note-Taking.

Based on the findings of this article, all kinds of archetypes can be seen and traced in this novel. In this novel, a shepherd named "Kooshi" is the animus of "Yekolya" and a woman named "Tamar" is the anima of "Mika Shah". Both Yekolya and Mika Shah fail to reach their anima and animus. In general, 11 archetypal symbols and effects are used in this work.

The result of this research shows that all kinds of archetypes in this novel can be observed, examined and analyzed. In this novel, Yekolya fails to connect with her animus. Also, MikaShah does not get to join his anime due to Yahweh's opposition. In fact, Tamar is the negative and evil aspect of Anima, and Mika Shah should avoid connecting with her. In the process of falling in love, Yekolya finds herself and accepts that loneliness is the inevitable fate of mankind.

Parsoner (1902) is one of the social theorists whose views have been the focus of social critics in the sociological study of literature. While paying attention to the normal issues of people's lives and providing ways to improve the conditions of society, he has investigated social issues under four sections: social system, cultural system, personality system and behavioral organism.

In this article, which is written in a library method and with the aim of criticizing the family system in the poems of Parvin Etisami, an attempt has been made to analyze Parvin's poems from the perspective of conformity with Parsoner's theory.

The results of the research show that Parvin's frequent references to the family and emphasis on the position and role of the mother are seen as a frequent theme in his divan. The structure of the family in his court is of the nuclear type, which, for some reasons, emphasizes the position and role of the mother, and the role of the father is partially mentioned. He tries to present his perceptions of the family and especially the mother to his reader with a moral and educational expression.

The allegorical aspect that Parvin has given to the poems related to the institution of the family, the very short and limited reference to marriage and its type, the immense attention to the role of the mother in which even the allegorical birds of his poems appear in this role - and not in the role of a lover are important features. And his poems are special.

There are many similarities between modern popular culture and ancient Iranian rituals. Since the mythological and epic elements originated from popular culture, they remain stable among them. Until now, many similarities can be seen between the themes of Ferdowsi's Shahnameh and the popular culture of the people of this time. The purpose of this research is to prove the similarity between the ancient ritual of marriage, in Ferdowsi's Shahnameh, with its current form in the popular culture of Lor and Bakhtiari peoples. The intellectual and semantic level of these commonalities, which is one of the basic foundations of stylistics, is examined and analyzed in this research.

The method of investigation and study in this research is analyticaldescriptive using the library method as well as field research and benefiting from the opinions of experts in the field of Shahnameh research and interviews with experts in the field of popular culture.

By exploring the Shahnameh, we can see that ritual and ancient topics have been discussed, which can still be seen in popular culture today. By examining the customs of the people of Lero Bakhtiari, many similarities between the ancient religion and their current form can be seen. Many of these customs are still held among the people, which both shows their dynamism in the present day and also speaks of people's preservation of these ancient assets, which respond to the cultural needs of each period according to the conditions of the time. In this research, examples of these traditions are examined in marriage rituals.

The investigations reveal that there are many similarities between the rituals of Ferdowsi's Shahnameh and the popular culture of Ler and Bakhtiari people. Throughout the ages, these people have adopted the example of Shahnameh in their religion and have preserved this unity. The present study proves the religious similarities between marriage among these people and Ferdowsi's Shahnameh, intellectually and semantically.

Stylistics is a science that examines the special way of each person in expressing his opinions and ideas. Layered stylistics with the approach of literary analysis examines the text in five layers, phonetic, rhetorical, syntactic, lexical and ideological. The purpose of this research is to analyze the style and content of Yaghmai Jandaghi's poems from three intellectual, linguistic and literary perspectives.

This article is based on library studies and has been done in a descriptive-analytical way, and the scope of the study is Yaghmay Jandaghi's sonnets.

Yaghma is considered one of the return style poets, but he was not just an imitator of the previous ones and he adopted a new method. In his poetry, all kinds of poetic styles and methods can be seen, from lamentation and Marathi to satire and humor. He is a point-wise critic, so that his poetry can be seen as the culmination of differences and contradictions. He has tested his style in various formats, from ghazal, masnavi, and quartet to nimaei and sepid.

Yaghma's lyrical poetry is usually of the type of romantic lyrical poetry, which is mostly written in Bahr Ramel, the use of Persian words is one of the special features of Yaghma language, the poet's attention to verbal arrays such as "repetition" is high, but he is not limited to the use of puns and in terms of image Different types of photos; Most of the similes are eloquent and of the sensory type, the metaphors are more explicit and the allusions are of the gestural type with the focus of recognition and succeed in creating beautiful images with a simple language.

Philosophical and religious systems have always sought to answer the question, how can a person achieve psychological harmony, peace and happiness? Studies indicate that it is impossible to overcome the psychological crises plaguing mankind today and improve his condition without changing his attitude and lifestyle, and in this regard, it is necessary to use of the capacities of various sciences in helping the knowledge of psychology. In between, literature is one of the knowledge that can help to change and modify a person's point of view due to its wide influence. Epic poems are a suitable option for analysis due to their heroic and mythological values and the high frequency of positive moral characteristics. The present essay, with a mythological approach, tries to find out how the high-frequency virtues influence nine heroic poems after the Shahnameh (Banooghoshaspnameh, Borzoonameh, Bahmannameh, Jahangirnameh, Samnameh, Shahryarnameh, Faramarznameh, Kok -e- Koohzadnameh, and Garshasp-nameh) deals with the attitude and lifestyle of man.

The method of collecting information in this research is a library, and the data analysis is mainly qualitative and sometimes quantitative, and the reasoning method is inductive.

In the character of the chosen heroes, in the nine heroic poems after the Shahnameh, high frequency of character virtues (wisdom and knowledge, humanity and love, courage, justice, moderation, spirituality) have been observed, in such a way that the character of these heroes is an example of flourish desired by positive psychology, in the present age.

The results obtained after measuring the capabilities of these texts in the possibility of increasing the tendency towards improvement and achieving satisfaction indicate that the narratives of these texts with the presence of wrestlers who are the embodiment of mythological gods and other elements Mythology, which originates from the collective unconscious, has the ability to affect the human subconscious mind. Therefore, the mentioned poems, benefiting from the high frequency of personality virtues and the use of archetypes, have potential capacities that require the attention of thinkers who are concerned about mental crises and sufferings resulting from them.

Philosophical and religious systems have always sought to answer the question, how can a person achieve psychological harmony, peace and happiness? Studies indicate that it is impossible to overcome the psychological crises plaguing mankind today and improve his condition without changing his attitude and lifestyle, and in this regard, it is necessary to use of the capacities of various sciences in helping the knowledge of psychology. In between, literature is one of the knowledge that can help to change and modify a person"s point of view due to its wide influence. Epic poems are a suitable option for analysis due to their heroic and mythological values ​​and the high frequency of positive moral characteristics. The present essay, with a mythological approach, tries to find out how the high-frequency virtues influence nine heroic poems after the Shahnameh (Banooghoshaspnameh, Borzoonameh, Bahmannameh, Jahangirnameh, Samnameh, Shahryarnameh, Faramarznameh, Kok -e- Koohzadnameh, and Garshasp-nameh) deals with the attitude and lifestyle of man.

The method of collecting information in this research is a library, and the data analysis is mainly qualitative and sometimes quantitative, and the reasoning method is inductive.

In the character of the chosen heroes, in the nine heroic poems after the Shahnameh, high frequency of character virtues (wisdom and knowledge, humanity and love, courage, justice, moderation, spirituality) have been observed, in such a way that the character of these heroes is an example of flourish desired by positive psychology, in the present age.

The results obtained after measuring the capabilities of these texts in the possibility of increasing the tendency towards improvement and achieving satisfaction indicate that the narratives of these texts with the presence of wrestlers who are the embodiment of mythological gods and other elements Mythology, which originates from the collective unconscious, has the ability to affect the human subconscious mind. Therefore, the mentioned poems, benefiting from the high frequency of personality virtues and the use of archetypes, have potential capacities that require the attention of thinkers who are concerned about mental crises and sufferings resulting from them.

Mahdavi poetry and the thought of expectation have always been among the themes of Persian poets. In the poem of expectation, the poets have addressed the subject of Mahdism based on their belief in the savior of the end of time and considering the governments of their time. Obviously, there are differences in their themes and interpretations in different periods, and the change and transformation of themes in this type of religious poetry, especially in the last century, is remarkable. In this research, while examining the content of the poetry of waiting in the three periods of the first Pahlavi, the second Pahlavi and the Islamic Revolution, the influential factors in the content changes of this important branch of religious poetry have also been discussed.

This research was done by content analysis method and using the library method in collecting information.

In the first Pahlavi period, poets based on the style and trend of the past, expressed their desire for the promised meeting and also on the basis of traditions, and did not promote any specific goal or direction. In the second Pahlavi period, due to more political and social freedoms and the expansion of religious poetry as well as political and social disturbances, poets connected the theme of waiting with the issues of the day and created a kind of hope for the future. In the poetry of waiting for the revolution, which is the last period examined in this research, we are faced with the emergence of new approaches in this type of poetry, and the poet, by linking waiting with political and social issues of society, addresses the orientation and mentions the duties of those waiting.

The desire for changes in the poetry of expectation has reached its peak since the 1940s, simultaneously with the emergence of the discourse of resistance and struggle, as well as the spread of new religious ideas, at the beginning and after the Islamic Revolution.

One of the intellectual characteristics of Molavi"s poetry is the use of Quranic concepts, including the use of Quranic characters. Molavi does not merely adopt a suggestive view in using the Quranic declaration; Rather, he interprets the elements of the Qur"anic stories, especially the character of the prophets, with a hermeneutic view. Rumi acts creatively in this process and creates rhetorical images from his interpretations.

The authors of this research, by describing and analyzing the data, after stating the generalities, analyze the types of intensive interpretative similes arising from the Quranic story of Jesus (PBUH) in order to determine the meaningful relationship of the frequencies.

In this research, the most frequent type of simile is the compressed (eloquent) additional simile, in which Rumi first interprets a story or a verse of the Qur"an based on the rule of running and applying and reaching the interior; Then, according to his rhetorical style, he creates original images such as Jesus of the Spirit, Mary of Love, the cradle of mold, the antichrist of grief, Mary of straw, etc., and this shows that Molavi looks at the stories and characters of the Qur"an with an internal and cognitive approach and a new look at It has the character of prophets including Jesus (pbuh).

Rumi mixes the story of Jesus (pbuh) which is an external matter with his mentalities and tastes and interprets it with a mystical perspective and he has opened this chapter to the audience that everyone can use images and combinations according to their understanding and attitude. To create poetry and rhetoric in the shade of interpretation. In this article, the authors have explained the forms of intensive simile in terms of the type of interpretation, creativity, and imitativeness, as well as sensory and intellectuality.

Malouli Shirazi is one of the few women who have survived to have organized and codified poems. However, like other female speakers, the description of her life and poems is placed in an aura of ambiguity and isolation, the identification of which is the main subject of this research. In this Essay, we have tried to introduce this little-known poet to the literary community.

The present study is written in a descriptive and library research method.

Using tazkare books and manuscripts of Divan of this poet, his life, circumstances and thoughts, were identified and his literary and stylistic characteristics were Definited.

In this research, it was determined that this poet of the return period, usually wrote poetry with reference to the poems of Saadi and Hafez, and sometimes, verses that include new innovative features that mentioned.

Speech act pays more attention to the practical dimensions of language and is considered among the theories of applied science. According to this theory, in the form of sentences and phrases, actions are also performed that have a direct link with the communication intentions of the speaker. In other words, this theory examines the intended meanings of the speaker in the form of part-speech. Baharestan Jami is one of the educational works that behind the apparent meaning of its stories, there are also secondary meanings. In this research, the speech acts intended by Searle - which include declarative, persuasive, emotional, and binding actions - have been investigated in Baharestan"s anecdotes.

The current research is based on library and documentary studies, and is carried out using a descriptive-analytical method.

Jami sometimes transforms declarative actions into persuasive actions by passing through the reporting system; Sometimes by using typical characters and avoiding linear narrative, he creates persuasive actions, and in some cases, by taking advantage of the double contrasts of the semantic system of certain words on which the structure of the story depends, he changes expressive actions into persuasive actions. He has also used tools such as allegory, body language, humor, and story telling to transform expressive actions into the descriptive context of stories.

Jami in Baharestan uses various contextual factors such as the format of a story, the combination of the didactic genre with the lyrical genre, the use of appropriate personality and characterization, and poetic references to express instructive concepts and persuade the audience to dynamic and constructive activism. Is. In terms of speech acts, declarative and persuasive acts have the highest frequency, and emotional-declarative, emotional-persuasive and declarative-declarative acts are in the next positions.