مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 99 (امرداد 1403)

The current research under the title: "Ritual poetry of the present century with an aesthetic approach and relying on epic reading (with a case study: Shahryar, Hamid Sabzavari, Ali Mousavi Garmaroudi)" aims to analyze the poems of three of the poets of the present century. Namely: Mohammad Hossein Behjat Tabrizi (Shahriar), Hamid Sabzevari and Ali Mousavi Garmarodi show how to benefit from the literary aesthetic components and then by examining the various viewpoints or existing readings (such as praise, mourning, moral, judgmental and epic-political readings) in the poem , to evaluate the effect of the poet and reach an epic reading.

The method of investigation in this research is analytical-descriptive; Based on this, by using library resources and taking notes from these resources, the desired goals have been achieved.

Among the findings of the research in the first stage, there was familiarity with the level of knowledge of the poets of the research community, as well as knowledge of the level of their knowledge and ritual literature among many other categories. He has benefited from many literary techniques, and finally, all of them - despite the differences and formal differences in their compositions - in different ways have succeeded in inducing different readings, especially epic readings.

According to the study and analysis conducted on the speakers of the community of this research, the following results were obtained: 1- The poets within the scope of this research are among the most prominent artists in the field of ritual poetry (province of friendship of the Prophet (PBUH) and his holy family) in the period They are contemporary and among their peers. 2- The attention of these poets among various topics in the religious field, mainly, was the uprising of Hazrat Aba Abdullah (AS) and the so-called "Ashurai poetry" or "Hosseinian poetry". 3- Poets' point of view in dealing with the subject of "Ashura" has been to emphasize the courage of the third Imam of Shiites and his other companions, and according to the famous expression of the religious writers of this period, "epic reading". 4- And finally, each of the mentioned poets has benefited from literary tools (verbal and spiritual) in a special way to cultivate the message and arouse passion and emotion in the audience and has been able to make their work permanent in the diary of the literary community of this time and also for the future.

The use of humorous language and the thought of Existentialism are two stylistic features of Bahram Sadeghi's stories. This research deals with the stylistics of these stories by searching for a meaningful relationship between these two stylistic features and tries to show with the help of humor theories that the presence of this type of language in his stories is meaningful and is in harmony with the dominant thought in those works. What causes such a search and effort is the abundance of humor and existentialist elements in the works of this author.

The method of this research is analytical and descriptive and based on a library study in three fields of study: theories of humor, existentialism, and author's works, and searching for links between them.

Among the three existing classical theories about agency and basis of humor, that is, theories of superiority, relief, and incongruity, the latter theory is aligned with the linguistic and intellectual style of the author's works and establishes a logical relationship between the language and the central idea of those works.

The incongruity theory of humor, because it considers the factor of laughter to be the disclosure of the emptiness of events from their known conceptual pattern, has a lot of harmony with a similar disclosure in Existentialism. Therefore, the presence of the dominant element of humor in Bahram Sadeghi's story-writing style explains the existentialist thought governing most of the author's works.

Sounds include two main groups of consonants and vowels, which are divided into two groups of voiced and unvoiced, from the point of view of the vibration of vocal cords, and from the nature of pronunciation of the consonants, into several groups of obstruent, fricative, nasal, smooth, semi-consonant, repetitive (vibration) and closed fricative. Among them, the obstruent consonants include two groups of voiceless (p, t, k, ?) and phonetic (b, d, g, q), which are used to express dry and repeated, explosive, discontinuous and continuous sounds, as well as describe movements that are accompanied by strong or mild shakings. Naftha-al-Masdoor, written by Zaydari Nasvi, is in the first half of the 7th century, which describes the war between the Moghol troops and Jalal-eddin Menkoberni. The purpose of this research is the phonetic stylistics of obstruent consonants in Naftha al-Masdoor from the point of view of Maurice Gramoon. Its main issue is to answer the question of how effective is the phonetic arrangement of Naftha-al-Masdoor in conveying its themes?

This research was done by descriptive-documentary method, by taking samples from books and articles. This research is a theoretical study which its scope and community is the book Naftha-al-Masdoor, Shahab al-Din Khorandezi Zaydari Nasavi, corrected and explained by Amir Hossein Yazdgerdi, which was published by Toos Publishing House in Tehran.

According to the type and phonetic arrangement of consonants and vowels, it can be said that Naftha-al-Masdoor, which is a report of the memories of the pain, suffering and tragedies of the author and the people of Iran during the terrible attack of Moghols and the narration of the social and political situation of Iran in the authors’ era, depicts a society full of depression, despair, unhappiness and dissatisfaction, in which the feeling of falling and failure (abrasion consonant) is mixed with anger, hatred and contempt (obstructive consonant) and indicates the weakness and helplessness that evokes the feeling of lassitude and calmness in a person, and when these consonants are accompanied by the consonants of nasal, sarcasm, irony and stinging sarcasm, more expressive and eloquent words are heard by the audience.

The result shows that the obstruent consonants, especially "d" and bright vowels, especially "a" are the most frequent consonants and vowels in this text. With such an arrangement, the author has been able to express his pains and sufferings from the Tatar attack, as well as express his anger and dissatisfaction of the conditions of his society.

The main topic of literary types in the new way is the classification of literary works in terms of content and meaning. However, in the new way of classifying literary texts, literary works are placed in four categories of lyrical, educational, epic, dramatic literature, but any type Literature can have other types within itself, and this is also true for the works of Khajawi Kermani. Although Khajawi Kermani is a poet, love stories can be seen in his works, such as Homay Vahmayoun, Gol and Norooz, but in each From his love poems, various manifestations of didactic, epic literature, etc. can also be seen. The present research examines the literary types and themes and content of Khajovi Kermani's works.

The present research is a theoretical study that was carried out using the library method and the descriptive-analytical method.

Literary types in Khajovi Kermani's works do not have the same frequency, and the poet was influenced by the atmosphere governing his poems, common traditions or influenced by the political, social and cultural conditions of his time. Quantitatively, the frequency of each literary type in Khajovi Kermani's works is related to the subject of each work. The main theme in Khajavi Kermani's works is praise.

The most important themes and contents of Khajawi Kermani's works are complaints, praises, laments, congratulations, satire, boasting, requests, prayers, descriptions, which use special linguistic techniques and functions according to each of these topics. In the works of Khajovi Kermani, there are didactic, epic, and lyrical literary types with their related branches and branches. Khajo draws his thoughts and emotions in beautiful pictures and excellent paintings and conveys the meanings and words to the reader in a concise manner and with a catchy song.

Mankind has long tried to build his society on the basis of his culture, literature and ideals. In this effort, literature has continuously surpassed other subjects and has found a special place in society and politics. As a result of the constitutional movement, the victory of the Iranian Islamic Revolution, the imposed war between Iran and Iraq, and similar events and issues, contemporary Persian poetry moved towards social and political poetry. To the extent that a branch called "social ghazal" was formed in contemporary Persian literature. In these sonnets, social themes and events of the era of poets are mostly mentioned. These sonnets are prominent in the ideological layer, which is related to the inner language, and the element of ideology is constantly repeated in them. The purpose of this article is to investigate the intellectual style of social sonnets after the revolution in the poems of Qaisar Aminpour, Abdul Jabbar Kakaei, and Saed Bagheri.

This research was conducted with a descriptive-analytical method.

After the Islamic revolution, the themes of this sonnet became more national-religious and issues such as martyrdom and stability were raised more. The most important themes in social sonnets after the revolution are freedom, patriotism, stability, martyrdom, peace and friendship, protest against the transformation of values, and the culture of expectation and Mahdism.

In general, Qaisar Aminpour should be considered a more serious and prolific poet than Saed Bagheri and Abdul Jabbar Kakaei in the field of revolutionary poetry. Even though Aminpour has many new poems in this field, his social sonnets about war, homeland and the value of martyrdom remain worthy of attention. Saed Bagheri has been martyred more than any other issue and has repeatedly expressed his regret and longing for his martyrdom and comrades. Abdul Jabbar Kakaei, but more than two other poets, has dealt with the subject of Mahdism and waiting for the promised. He equates his long waiting time with the loss of his dreams to reach the ideal society.

sociological analysis and evaluation of literary works, especially contemporary poetry, through obtaining the intellectual background and possible awareness and worldview of the poet, reveals the various intellectual structures of the society of which the artist is considered a member. Natural symbols, which are taken from the world around the poet, can reflect the worldview of the poet in a sociological reading. This research aims to achieve the dominant intellectual system in the thought of these poets by analyzing contemporary poetry and natural symbols in the poetry of Mahdi Akhwan Al-Talihi, Ahmad Shamlou and Forough Farrokhzad based on Lewis Goldman's sociological theory.

In its sociological perspective, the forward-looking essay has used the descriptive-analytical library method and has reread the text of the selected poems in the framework of the theory of sociological criticism with a focus on the works and writings of Lucien Goldman.

Lucien Goldman, a famous sociologist, relies on his theory of developmental structuralism to decode and analyze the society reflected in literary works and emphasizes that literary works create the society within itself with all its hidden and visible angles and dimensions. he does. The third brotherhood, Shamlou and Farrokhzad are all three poets whose sociological attention to various aspects and angles of life, problems, political and cultural atmosphere of the society can be followed in their poems.

The results of this research show that all three poets, especially in the second period of their poetry and from a year after the coup d'etat of August 28, 1332, reacted against the social categories of the era and as an activist, political activist and social critic, they were able to deal with contradictions, ruins, poverty. , express injustice, tyranny, etc. with symbolism with the help of natural elements in an effective way and present a clear picture of the second Pahlavi society.

Mathnavi of Javahir- al- Asrar, written by Rashid Zargar Tabrizi who known as Rashid Abbasi, Rashida-ye Tabrizi and Rashid Zargar, is one of the most important literaryscientific works on gemology during Safavid Dynasty. This Quatrain- Mathnavi work including about three thousand couplets is written by its author in eigth parts describing eigth worthy jewels and one part named as "the Spell of Eigth treasures" which describes characteristics of 22 other valuable stones. This work provides valuable information about jewels and precious stones and, further, introduces new and rare compounds and words.

This is a basic and theoretical study which is conducted by using of library books, perception and reading of manuscripts. The research scope includes Javahir-ul-Asrar manuscript maintained in Malek national library.

The author of Javaher al-Asrar is one of the writers who introduced and recorded dialect words, local names, new and rarely used terms, and also created new concepts and contributed to the enrichment of the Persian language.

Some of these words or compounds aren't noted in dictionaries and some are cited without any evidence or example. The original applications introduced and discussed in this article may be better to considered by authors working on development of Persian Comprehensive Dictionary.

Islamic mysticism is divided into two major schools: "Practical and Sukari mysticism of Khorasan" and "Theoretical and Sahawi mysticism of Baghdad". Islamic mystics are often included in these two mystical schools. In this article, we tried to take into account two mystics named and contemporaries of "Khorasan school of mysticism", namely: "Abul Hasan Kharqani" and "Abu Saeed Abul Khair"; Let's infer the differences in their behavior with comparative studies.

Considering that "Irfan Khorasan" school is pragmatic, for any research in its field, it is necessary to pay attention to the actions and behavior of its elders and their monastic teachings. These two Khorasani mystics, mostly by inferring from their actions, attitudes, behavior, conversations and teachings and relying on the book "Ahwal and Sayings of Sheikh Abul Hasan Kharqani" by Mojtaba Minavi, with the appendix of Khargani's book "Selected Nur al-Uloom" and "Secrets of Tawheed" by Mohammad bin Manoor and the book "Takhreh al-Awliya" by Attar, as well as related compilations and researches, were carried out in a descriptiveanalytical way.

The "Irfan Khorasan" school has two different professions. Kharqani's mystical profession is Qabbi, sorrowful, self-centered, introverted, seeking isolation and affirming other religions. And the mystical profession of Abu Saeed; He is happygo-lucky, extrovert, sociable, a person who listens and travels and rejects other religions. The "perfect human" also has different characteristics in the practical life of these two mystics, which we discuss in the research.

The issue of "perfect human being" is one of the most important and controversial mystical issues, along with the issue of the unity of existence. The perfect man in "Irfan Khorasan" has examples that due to the pragmatism of this school, it becomes possible to examine its main characteristics and attributes in the practical life of the mystics of this school. These mystics, while being in a single mystical school, have differences in behavior, which is very important to pay attention to in understanding the ultimate concept of a perfect human being.

Imagination is a special use of language that the geographical environment, political, social, religious, historical, individual spirit, and the like are influential factors in the use of all kinds of imagery in poetry. One of the most obvious elements used by the poets of Persian literature in expressing themes and imagery is religious elements. The present article analyzes and compares the function of religious elements in the poetic images of Nasser Khosrow's, Sanai's and Khaghani's poems.

This article was done by descriptive-analytical method and the method of collecting information was library.

Quranic and religious themes and moral and religious teachings have been used many times to create rhetorical images in poets' poems. Apparently, Khaqani has more initiative and innovation in creating images based on Quranic concepts and in the form of innovative simile, metaphor and irony combinations. Naser Khosrow's poetic images also have a very deep connection with the principles of Ismailia religion and this religion has had a great impact on the type and genre of images. Sana'i, however, has brought the use of religious elements in the creation of poetic images closer to the atmosphere of mysticism and Sufism and has a mystical understanding of religion.

Religious elements in the minds of these three poets have been manifested in three specific aspects: in Nasser Khosrow, religious concepts have two prominent aspects; One philosophical and rational aspect and the other legislative and religious aspect. But the religious concepts in Sana'i's mind are the result of the entanglement of several dimensions, on the one hand, a philosophical view of its Islamic type, on the other hand, the religious dimension of Sana'i, which does not give much importance to interpretation, and the third dimension is the emotional dimension, which reaches its peak with making love to God. . In Khaqani's depictions based on religious elements, the proper place of Sharia thoughts is observed in the images, and the value and sanctity of Sharia foundations are preserved in the pictorial connections. However, sometimes a kind of contradiction and inconsistency can be seen between some images.

The advice of the human being and the human being, and the human being, has the work, and is in the light of the relevance of the recklessness and the abstract of the universal. Any admiration can be rendered to the extent and a month. This article examines the character typology of the hero and anti-hero in Najib Mahfouz's novel Bein al-Qasserin. Hornay as a revisionist specialist in Freudian psychoanalysis; It has either completed or revised the concepts of Freud's theory. Horne's view of personality, like other personality theorists, is a reflection of his personal experiences. From his point of view, the methods and tricks that a person resorts to in order to stay safe lead to the creation of three personality types; He becomes affectionate, superior, and isolated.

The research method is descriptive-analytical.

The main hero of Bin al-Qasreen's story is Seyyed Ahmed Abdul Javad, who is the only male head of the family and does not utter any words except commands and prohibitions and cursing. By giving the name Sid to this person, the author has well evoked his character for the reader. Therefore, different types of his personality can be seen throughout the novel.

Najib Mahfouz, the creator of the novel Between the Palaces, is a realistic story writer and refers to the realities of society and the spiritual, political-social, and intellectual crisis and their impact on people's psyche. He tries to depict the dark personal and social corners of Egyptian society amid the uproar caused by alien colonization; Therefore, he expressed the prevailing atmosphere in the society and criticized the superior personalities. According to him, the Egyptian society has still preserved its traditional form and many examples of patriarchy and humiliation of children, bullying and tyranny can be seen in the society.

oppression and justice have always been together in history and have been reflected not only in the context of human life, but also in literary and artistic works. Not only the epic, mythological, admonitional, moral and sustainable literature is full of stories of oppression and justice, but Persian lyrical and romantic literature is also not devoid of these themes and it is only the oppressor who turns his face and turns into an indifferent and intolerant lover. Parvin Etisami is one of the leading poets of the contemporary era, who is in the transition from the constitutional era to the new era of Iranian history. He saw the rapid changes in Iran and the shortcomings and imperfections of the Iranian society, some of which were specific to his era, while others were ancient and common throughout the ages and inherent in human life, and he reflected them in his poetry. In order to reflect insurances and hopes, oppression and justice in his poetry, he chose methods that had a long history in Persian literature, but Parvin proved once again the effectiveness of these ancient methods with mastery combined with simplicity and sincerity. Clarity in criticism and ambiguity in attribution, allegory, debate, allusion, revitalization and dualization are among these methods. Parveen also added a tenderness to her expression that is unique to her and is the result of her feminine spirit. In this research, the ways of explaining oppression and justice and drawing the faces of the oppressors and the righteous in the poetry of Parvin Etisami are discussed.

The current research is descriptive and analytical and based on library studies. The basis of the research is Parvin Etisami's Diwan with an introduction by Malek Al-Shaarai Bahar, and to select examples and evidence, all the Diwans have been examined.

Contrary to the opinion of some critics, Parvin is a critical poet, although he cannot be considered a revolutionary poet. In his criticisms, he deals a lot with the subject of oppression and justice. His most important technique in explaining the duality of oppression and justice is frankness in criticism and ambiguity in attribution. Other methods he uses to explain injustice and justice are to keep the umbrella of ambiguity over his poetry. To provide and guarantee this ambiguity, he makes ample use of debate and allegory, and debate and allegory in his poetry, when one side is inhuman, inevitably leads to recognition. Also, in order to provide ambiguity in attribution, Parvin uses allusions and attributes his frank criticisms to historical figures. Sharp dichotomy is a lot to highlight the duality of injustice and justice in his poetry.

Parvin Etisami's poetry is a mixture of morals, emotions and imagery, which he created with mastery while following the poetic style of the ancients, creating a modern poetic product suitable for today's conditions. Relying on allegory and debate and choosing the format of the poem as the most important form of his poetry, he has reflected on the present and the day of the Iranian people in one of the most dangerous periods in the history of Iran. Parveen Etisami, as a woman and following the tradition of veiling in classical Persian poetry, speaks in a veil in many debates. Also, in his view, oppression is not necessarily human and may be cosmic.

Golzar's essay is a work of order and prose that was written in the eleventh century AH and imitated by Saadi Golestan. Although this treatise is a successful example of imitation of Sa'di's Golestan, it remains uncorrected. The introduction of this lesser-known work and its authorship style in imitation of Golestan is the main topic of this research.

This study was conducted in a descriptive-analytical manner. In this research, in addition to introducing Golzar's treatise, the author's style in imitation of Sa'di's Golestan has been discussed.

This work consists of eight chapters which includes 142 stories of the lives of sultans, ordinary people and mythical figures, historical and religious anecdotes. It seems that other poems narrated from Sa'di, Hafez, Rumi, and Ibn Fajr are other poems of the author of this work. By following Golestan's writing style, the author of Golestan has turned Golzar's essay into a remarkable example of educational works in terms of the psychological and steadfastness of words, the application of literary arrays, the selection of anecdotes, and the strength of poems, but its prose has been approached to technical prose and in some cases to the prose of the artifact.

Golzar's treatise which is included in the collection of works by the imitators of Golestan Sa'di, in its formal features include: compilation of the foreground, the reason for the compilation of the book, its dedication to the king of the time of the author, the titles of the gates, the themes and their plurality and linguistic features including: narrative centered, observance of arrogance and abbreviation, politeness, simplicity and mentality, the use of literary arrays (similes, metaphors, metaphors, metaphors, allegories, allegations, saja and descriptions) directly from Golestan Sa'di. Influence is accepted.

One of the parades of the ecole of realism is "climatic story". Moniro Ravanipour is one of the authors of contemporary fiction literature in the south of the country. Through familiarity with folk tales, legends, popular culture, archetypes, etc., she has depicted many native elements and components and beliefs of the people of the south, and the components of native realism and climate literature form the content of his stories. The main purpose of this research is to analyze the myth and the components of native realism and climate literature in the narrative works of Ravanipour.

This research was done in a descriptive-analytical way based on library studies to analyze the myth and the components of native realism and climate literature in the narrative works of Ravanipour.

In this research, some of the narrative works of Ravanipour, in which the beds, mythological elements and native realism components in them, have more objectivity and have enriched the imaginative aspect of her stories, have been analyzed. In the works of the target author, the most important function of myth is identity building. Analyzing the componens of native realism is a suitable foundation for preventing the erasure of native and ethnic culture and helping to rediscover the identity and culture of Iran, and has established the theory of this research and opens a new window to contemporary literature.

The result of the research shows that in the narrative works of Ravanipour, the space of climate literature, which is one of the characteristics of the ecole of native realism; has been seen and in terms of content of native and local elements, women's pains in personal and social life, characterisation, creating space and with color and native smell is depicted. By defending the social and national identity, the author engages in mythmaking, and by mixing legends and mythical creatures, the ancient beliefs of the predecessors, customs and traditions, seasoned with myth, have been able to play a role in the creation of stories based on native realism in contemporary Iranian literature.

The ghazal poetic form has always held a prominent place in Persian poetry. In the fourteenth century, alongside other forms of poetry, this poetic form grew and flourished in today's literary society. While much attention has been paid to renowned ghazal poets of previous decades, many lesserknown poets in the late fourteenth century composed ghazals that have remained neglected, with little focus on their thematic and stylistic characteristics. The main subject and goal of this research is to examine the ghazals of anonymous and lesserknown poets in this decade. In this article, we have attempted to analyze the ghazals of this period in terms of their impact on the audience and their artistic construction of language based on the two criteria of "language" and "innovation" as discussed in the article "A New Hypothesis about the Most Influential Factors on Literary Texts" by Omid Majd.

The research documents were gathered using library research tools and content analysis, a common scientific method in qualitative studies. After a thorough study of the ghazal diwans, the authors analyzed and examined them from the perspectives of language and innovation. The study population consisted of one hundred ghazal diwans published between 2017 and 2021, which were first published in various publications during this time period.

The ghazals of this period exhibit strengths and weaknesses in terms of grammar, linguistic stability, irreplaceability of words, word appropriateness, and communicative effectiveness. Innovation in these ghazals is also evident in various aspects such as thematic development, subtle and hidden use of literary devices, vocabulary usage, composition, imagery, and innovation in poetic form.

More than half of the ghazals have achieved an acceptable level of linguistic strength. However, some ghazals suffer from weaknesses and linguistic deficiencies due to numerous grammatical errors. The dimension of innovation is also highly pronounced in the ghazals of this period.

Khumsa "Makhira" or "Muhirah" was written in imitation of Khumsa Nizami (the founder of Khumsa Sarai in Persian literature) and by a poet named Abdul Wahab bin Muhammad Mahmoud bin Muhammad Omar Kermani in the 9th century AH. (15 AD). In Türkiye, it is kept in the libraries of Istanbul University and Hagia Sophia Library. This essay is the result of the bibliographic and stylistic analysis of the second volume of this Khamsa titled "The World List."

The current research is a theoretical study that was conducted using a library method and a descriptive-analytical method, and its sources are based on the version of the Istanbul Library (913 AH).

The findings of the research show that this poem was written following the military poetry of Khosrow and Shirin. Despite this, except for the weight, it has no resemblance or proportion. The poet believes that the legend of Khosrow and Shirin has nothing new to say and a new plan should be thought of. Aladdin has created original and sometimes beautiful and pleasant ballads following Nizami, and this can be seen as one of the advantages of his style. The content of this work is educational and in the field of philosophy and mysticism.

The poems are simple and fluent in terms of language. But the number of Arabic words in it is very high. The number of verses in this masnavi is not significant. Despite this, he has used a variety of rows. In terms of rhyme, "verb" and "noun" respectively constitute the most types of words in rhyme. Puns are widely used among innovative industries. In terms of rhetoric, it has various rhetorical techniques and industries; And sometimes it contains strong and creative similes. Among the types of similes, eloquent similes and then detailed similes are the most frequent. After simile, metaphor is the most frequent among expressive arts. The frequency of metaphor in the play is more than that of Makaniyyah. The poet has made the most of current references. The content of the work is educational and mystical, and during these discussions, he praises the Prophet, describes nature, flocks and herds from the past, etc., and in general, it can be said that he is more skilled in expressing lyrical themes than educational ones. themes