مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 108 (اردیبهشت 1404)

This research has tried to investigate the image of Iblis in the logic of Al-Tir Atar Neishabouri and the interpretation of Abul Fattuh Razi with a comparative and descriptive-analytical method. Data collection in this research has been done through library activity.

The story of Iblis as an important Qur"anic theme has been included in all Persian literary works and interpretations, and each of the poets and writers have different perceptions and interpretations regarding the image of Iblis, which started from the time of the creation of Adam (PBUH) and was accompanied by his descent to the earth. have offered The
image of Iblis is very prominent and impressive in mystical texts, and the way commentators deal with the issue of Iblis is almost uniform and is described in detail.

The results of the research show that Attar"s opinion regarding the element of Iblis, the reason for not prostrating and other issues is different from that of Abul Fattouh Razi. Abul Fattouh Razi introduces Iblis as a type of jinn, but Attar does not say anything about the type of creation of Iblis. Abul Fatuh Razi believes that Iblis was always a disbeliever, but he hid this disbelief and his worship was hypocritical. Attar considers the reason for Iblis" disbelief to be his knowledge of the secret of God"s creation and how the soul (treasure) belongs to the body of Adam (pbuh).

The present study aims to analyze and examine the intellectual style of Persian-speaking rubaiyat writers from the eighth century to the contemporary era. After Khayyam, rubaiyat has continued with approaches that revolve mostly around the theme of counting spoils until the contemporary era. In this article, the main goal of this research is to analyze and examine the intellectual style of Persian rubaiyat from the eighth century to the contemporary era.

The research method in this article is descriptive-analytical and library studies. The statistical population in this article is a selection of rubaiyats of the most prominent poets from the eighth century to the contemporary era.

The research findings indicate that the most important foundations of the thought and thinking of the rubai poets from the eighth century onwards include matters such as counting the spoils, paying attention to wine, philosophical despair, astonishment, tolerance and adaptation, and hope for the forgiveness of sins, all of which are manifestations of tolerance and forgiveness.

The research results and findings indicate that among the components of tolerance and forgiveness, paying attention to counting the spoils and being happy in the style and context of Khayyam’s thought is more frequent among the rubaiyats under study than other components.

The paradox is made from a collection of inconsistencies and contradictions, and it is different and more complicated than the contrast industry. Poems of Afshin Yadollahi, a contemporary poet and songwriter, are one of the best and most suitable platforms for studying and examining the contradictory types of contemporary poetry. Yadollahi"s poetry is so mixed with apparent contradictions that it can be considered the main characteristic of his poetic style. The use of this method of expression is not only an obstacle to the process of the text, but also makes it fluent and eloquent and adds to its richness. In this research, this poet"s poetry has been examined from the point of view of quality and contradictory types of visualization.

The present study was prepared and organized in a descriptive-analytical way to investigate the paradox of scene-making in Afshin Yadollahi"s poems in three main categories: "linguistic construction, literary construction, and content construction".

Yadollahi has used documental contrastive more than its combined type in linguistic contractiveness. In the literary sector, he mostly uses the relationship of contradiction between words, but besides that, industries such as simile, metaphor, allusion, sensationalism and irony are also significantly used in creating contradictory images. In the content section, he has used three types of conventional, religious and abstract paradoxes, and these paradoxes in his poetry often show a mystical color of love.

In Yadollahi"s poems, contradictory concepts or words have been created from the combination of many contradictory concepts and a kind of contradictory concept flow in the whole poem, which can be considered as one of the unique features of Yadollahi"s poetry style. In general, the paradox in Yadollahi"s poems, while being simple and exploiting the contrast between concrete, common and superficial words, still has the characteristics of innovation, surprise and complexity. He has represented complex concepts based on ontology and self-knowledge in the form of simple and understandable contradictory views for the audience.

One of the greatest fields of linguistics is semantics and the knowledge of meaning review that is of a comprehensive concept and includes all common language signs and non-linguistic signs. the school of semantics has sub-branches, one of the most important of which is applied cognitive semantics, which itself is a sub-branch of cognitive semantics. In Shams"s poetry, in terms of explanation and explanation of the verses, we are faced with Some verses which have no specific meaning at all, and some verses have ambiguities at the level of words or words, which have caused confusion in the description of Shams"s poetry. The purpose of this essay is to examine the verses of the third category based on standards and in a descriptive and analytical way. This essay is based on the theory of Leonard Talmy in which there are three components for applied cognitive semantics.

The research method in the present study is a combination of analytical and descriptive methods based on the study of related books and essays with statistical results. The basis of work is Sham’s sonnets book and the first 40 poems of it.

Results show that among all components of Talmy’s theory, conceptual structure is of the most frequency and it means the coherence between words or collocation in the sentences.

Norman Fairclough"s critical discourse analysis is a new approach in discourse analysis studies that has attracted the attention of many humanities researchers, especially in literary studies, in recent decades. The literature of nations can be well analyzed and interpreted in the framework of linguistic criticism and critical discourse. The legend of Jamshid in the Shahnameh and the story of Prometheus in Greek mythology are among the two mythological stories that, with many common themes, show the dominant discourse of the battle of good and evil, moving away from the Yazidi sphere and trying to balance power. The main goal of the upcoming essay is to analyze and investigate the myth of Jamshid in the Shahnameh and the myth of Prometheus from Hesiod"s system based on Fairclough"s critical discourse analysis approach.

The research method in this article is descriptive-analytical based on library studies and using linguistic criticism with Fairclough"s critical discourse analysis approach in order to examine two mythological stories of Jamshid from the Shahnameh and the myth of Prometheus from Hesiod.

The findings of the research indicate that at the level of describing factors of lexical cohesion (repetition), contrast and synonymy, proportionality and grammatical coherence have been considered in both stories. At the level of interpretation based on the principle of intertextuality, both stories have common roots and bases of meaning, and at the level of explanation, the story of Jamshid and Prometheus is a reflection of the social structure of the mythological and ancient era.

At the level of description, lexical cohesion is in the form of repetition of nouns and pronouns, which, in terms of ideology, emphasizes and relies on the situational context of Jamshid and Prometheus. The semantic proportions in both stories serve to emphasize the nature and character of the two, and the words that convey power, warfare, war tools, opposition between good and evil, and goodness and evil have been given more attention. In the field of interpretation and explanation, both stories have a lot in common, including Jamshid and Prometheus" imprisonment and the anger of Zahak and Zeus. Deletion and replacement, semantic contrast, the chain of the same class and reference all in both stories are in line with the ideology of Jamshid"s power and Prometheus" rebellion against Zeus. Also, the conceptual and intertextual similarities between the two stories at the level of explanation and the battle between good and evil at the level of interpretation in both stories, which are the result of the social action of the mythological era man, are important.

By analyzing literary texts according to Michel Foucault"s theory, is known the content of power in society and its effect on governance. n this article, have been examined the book "Tarikh-i Bayhaqi" which was written with the aim of historiography of the Ghaznavid government in accordance with the historical reality, and the book "Marzban-nama" which is an imaginary allegorical text with the purpose of moral teachings. This review is about the content of power in punishing criminals and war with enemies, and has been analyzed the influence of power relations in governance.

The information of the article has been collected by library study and have been compared books of "Tarikh-i Bayhaqi" and "Marzban-nama" based on Michel Foucault"s theory of power. The article is written in a descriptive and analytical way. The statistical population is the book "Tarikh-i Bayhaqi" and the book "Marzban-nama", edited by Khalil Khatib Rahbar.

In "Tarikh-i Bayhaqi", Sultan Masʽud rules as the supreme power, and in "Marzban-nama", the kings are in the position of supreme power. According to the theory of Michel Foucault, the findings of the research show: the content of power in the two books is different. In the Tarikh-i Bayhaqi, the function of power in the society of the Masʽud I era is associated with the discourse of sovereignty. But in Marzban-nama, the kings rule with wisdom. In punishing criminals and war with enemies, they consult with the government and finally act according to the opinion of the court and the vote of the crowd and defeat the enemies.

Power in the Tarikh-i Bayhaqi is based on the discourse of domination and the use of corporal punishment and the tyranny of voting in war, finally was defeated Sultan Masʽud. But in Marzban-nama, power is with the discourse of wisdom and it is the generator of morality, and finally it is the generator of justice and peace for the society and it has caused the defeat of the enemies.

Given the importance, necessity, and role of Persian poetry collections in reviving the texts left by past generations, and considering that the Divan of Shahne and the poems attributed to this poet have been less examined, conducting this research can hold significant literary importance and necessity, contributing to the introduction of this Iranian poet"s works to enthusiasts of Persian poetry and literature.

This article aims to investigate the stylistics of the Divan of Shahne Mazandarani using a descriptive-analytical method based on library resources.

Mohammad Mahdi Khan Shahne Mazandarani, known as "Shahne" (deceased in 1247 AH), was a poet of the 12th century AH from the village of Pazvar (Babol) and one of the dignitaries during the reign of Fath Ali Shah Qajar. Shahneh Mazandarani is regarded as a poet of the literary revival period, and his poetic style is similar to the Iraqi style. To date, no comprehensive collection of Shahne"s works has been published. A manuscript titled Divan Shahne by Mohammad Mahdi Mazandarani is available at the Library of the Islamic Consultative Assembly under catalog number 9102. This manuscript includes 55 ghazals, with the shortest containing five couplets and the longest containing ten couplets. Additionally, several incomplete ghazals are scattered throughout the Divan Shahne in single-line, couplet, and multi-line forms. The themes of Shahne"s ghazals encompass love, union, nature, beloved, separation, and more.

Based on the research findings, similes of a tangible nature are frequently employed in the Divan Shahne, while metaphors are used less often. The metaphors present in the Divan are primarily indicative. Various types of metonymy related to part-whole relationships are also prominently observed.

Narrative semiotics in poetry refers to the understanding of the narrative of a poem based on the signs in the poem. One of the great theorists who discussed narrative semiotics is Michael Riffater, whose goal was to determine a coherent framework for accurate reading of the text, moving beyond superficial meaning, and understanding the codes. The stages of his theory are: initial reading and exploratory reading. Exploratory reading itself includes the recognition of connotations, namely unfamiliar combinations, descriptive rhyme schemes, and hypograms.

The present article aims to examine and analyze the perceptions hidden in Rang Sepehri"s Death Notebook according to Riffater"s narrative semiotics theory. The method of conducting this research is descriptive-analytical, and the data are collected using questionnaires and studying related sources, and then analyzed using the content analysis technique.

Since Sohrab Sepehri is one of the poets whose poems are symbolic, Michael Rifater"s theory can help decipher his poems, which will make the reader more present in understanding and receiving the poet"s ultimate purpose and discovering the hidden codes of the poem. It can be said that Sohrab"s poetry can be analyzed using Rifater"s model, and the most important element is the creative and exploratory reading of the audience, which will help the reader to receive the meaning.

This research shows that Sohrab began the poems of Daftar Merg Rang with a socio-political perspective and gradually distanced himself from it because the exploratory implications revolve more around the darkness that dominates the poet"s environment. Although the poet acknowledges the existence of people who want to escape from the conditions prevailing in society, he ultimately accepts the despair and lack of awakening of society. In the last poem, he concludes that the black man has no intention of leaving, so it is better for him to be happy and focus more on his inner world.

Nizar Tawfiq Qabbani in contemporary Syrian literature and Mohammad Taqi Shams Langroodi in contemporary Iranian poetry are among the poets who share social concerns in some of their poems. In this article, the sociology of the emergence of sadness in their poetry is examined through a comparative study. Both are committed poets who have given importance to social events and their descriptions of the social situation are filled with sadness and despair.

The article is written based on comparative studies in a library manner and is written in a descriptive-analytical manner. The data collection tool is a questionnaire. The statistical population of the study includes the poems of Nizar Qabbani and Shams Langroudi. Of Qabbani"s poems, the collections "Al-A"mal Al-Sha"ariyyah and Al-A"mal Al-Siyasa" and excerpts of poems have been examined, and of Langroudi"s poems, the complete collection of poems of the first volume has been examined.

In Qabbani"s socio-political poems, the issue of Palestine, Jerusalem, the Arab world"s stance against Israel, the civil wars in Beirut, and the economic and cultural problems of his society are mentioned. Langroudi pays attention to the problems of man in modern society, the oppression and tyranny of the 1950s, the imposed war, and social problems. In these poems, romantic sadness, the sorrow of war, and the socio-political sorrows of tyranny, injustice, poverty, and the problems of society are both seen in his poetry. In Romantic Despair, Langroudi has spoken with romantic despair about the plight of man in modern society and the decline of values, but Qabbani is saddened by the death of his wife who was killed due to civil wars. In the sorrow of war and socio-political problems, tyranny, the incompetence of Arab leaders, the occupation of Palestine, Israeli crimes, and the civil war in Beirut are mentioned in Qabbani"s poetry, and the most important reason for Langroudi"s sorrows is the oppression of the 1950s, the martyrdom of youth and children in the war, and the economic problems of society.

In the poetry of Qabbani and Langrudi, despite the differences in the social issues of the two countries: in a comparative study of the poetry of sorrow, the issue of war, tyranny in society, the socio-economic problems of society, and the sorrow of human decline in society are common concerns of both of them. What they have in common is their sorrow for war, tyranny, and the disorder of society, and what is different is romantic sorrow and specific descriptions of the problems of the two countries.

The main objective of this article is to analyze and examine the linguistic, intellectual, and literary levels of the Surabadi commentary by Abu Bakr Atiq Neyshaburi, as one of the prominent works of interpretation of the Holy Quran in the fifth century, and to present a clear picture of this book with a stylistic analysis.

The research method in this study is descriptive-analytical based on library studies and documentary methods and taking notes from five volumes of Surabadi commentary corrected by Ali Akbar Saeedi Sirjani. The examples and instances have been selected selectively from the text of the work and we have analyzed them in a systematic and statistical manner. In order to avoid procrastination and within the scope of this article, it has been sufficient to mention some evidence and examples.

The research findings indicate that Surabadi has given his prose special characteristics by utilizing phonetic features such as various substitutions, mergers, increases, decreases and reductions, deletions and inflections at the linguistic level, original Persian and Old Persian words, a small use of Arabic words, the use of synonyms and suffixes at the lexical level, and paying attention to features such as the use of adjectives, pronouns, absolute object and the use of prefixed, compound, supplicatory, prohibition, command, and negation verbs at the syntactic level. Surabadi"s sentences are simple and he has not paid much attention to Arabic words. On the literary level, his sentences are mostly unadorned and free from complex and remarkable imagery and are summarized in simple similes and metaphors. On the intellectual level, his tendency towards monotheistic beliefs, the vision of God, predestination and free will, and intercession can also be observed.

Our study of Surabadi"s commentary shows that the author has been more successful in the linguistic field at the three levels of linguistic, literary, and intellectual. Persian words, various phonological processes, abdal, Persian synonyms, and the use of ancient and original words are among the characteristics that well demonstrate his proficiency at the linguistic level.

According to Karen Horney"s perspective, inappropriate and abnormal childhood conditions prevent the development of a child"s talents and cause anxiety and distress in the child, which is called "basic anxiety." In such an insecure environment, the child is looking for an escape route that can save her/ himself from being harassed by others in order to be less anxious and fearful, and in the meantime, she/he benefits from the three techniques of "detached personality", "dominant personality", and "aggressive personality". In this article, the mechanism of basic anxiety from Karen Horney"s perspective in the character of women in the novel "Secret in the Alleys" by Fariba Vafi has been examined and analyzed.

The present study uses a descriptive-analytical approach to examine the basic anxiety in the novel A Secret in the Alleys and analyzes and traces the dreams, feelings and emotions, needs, desires and women"s reactions to situations in light of Karen Horney"s theory of personality anxiety.

The psychological atmosphere prevailing in the novel "A Secret in the Alleys" is filled with anxiety and distress, and the description of the characters in this novel is very skillful. Also, due to the deep anxiety that is institutionalized in the characters, stagnation prevails over the women in the novel and the future has no meaning for them. Anxiety and worry in the behavior and reactions of the characters are seen most in Humeyra and Mahrokh, but other women also inevitably suffer from basic anxiety based on their childhood experiences.

Analysis of the female characters in this novel based on Horney"s theory of basic anxiety shows that Humeyra is the only woman who has become a detached character to treat her neurosis and basic anxiety, who turns to avoiding people, independence, and perfection to treat her neurosis. The character of Mahrokh turns to a combination of aggression and separation to treat her inner anxiety. On the one hand, she has become painfully passive towards her husband and has no hope of liberation and salvation, and on the other hand, she is not yet desperate towards her children and tries to use aggression to prevent her children, especially her daughters, from suffering her bitter fate. The characters of Aziz and Azar have also turned to aggression to treat their anxiety. They respectively consider the move against Mahrokh and Gholam Ali as a means of achieving power, exploitation, gaining prestige, enjoying admiration, and progress. Mastane and Monir have also become domineering personalities to treat their inner anxiety, and the need to move towards people, the need for approval and affection, and the need for affection are among the most important characteristics of this group.

Despite all the criticisms of researchers regarding the historical and sometimes rational validity and inaccuracy of the books of Tazkirah and Manaqib-namehs of the great Sufis, such books are still considered the most important sources for understanding the circumstances, works, and beliefs of previous mystics and Sufis. “Manqabat al-Jawahir” or “Masturat” is one of these Manaqib-namehs that was written about the life and miracles of the famous mystic of the eighth century AH, Mir Seyyed Ali Hamedani (786-714 AH). The author of this precious book is one of the disciples of “Seyyed Abdullah Borzeshabadi” named “Heydar Badakhshi”. After the mention of “Kholasat al-Manaqib” by “Nur al-Din Ja’far Badakhshi”, this treatise is the most valuable reference in understanding the circumstances and thoughts of Mir Seyyed Ali Hamedani. This article attempts to briefly examine and analyze the stylistic and descriptive manuscripts of this book.

This research is applied in terms of its purpose and in terms of its research approach in reporting the findings and results, it is descriptive-analytical and its statistical population is the existing manuscripts of “Manqabat al-Jawahir” or “Masturat” in Iran.

Although the Masurat treatise was written after and in imitation of the Kholasat al-Manaqib, it contains new material and remarkable stories about Mir Seyyed Ali Hamedani.

The prose of the Masurat is concise and simple, and its content is expressed without any effort or artificiality. The use of Arabic terms, phrases, and hadiths, as well as Persian poems, is balanced. Its author has tried to remain faithful to the subject as much as possible, but compared to the Kholasat al-Manaqib, he focuses more on the narration of miracles and uses less chronological accuracy and logical sequence.

In contemporary literary criticism, the meaning of a text is closely related to discovering the relationship between the text and the pre-text or pre-texts that, like metatextual components, are considered the reproductive factor of the work; hence, intertextual analysis is considered a methodological tool for analyzing the semantic, structural, and linguistic system of a work. In this study, we aim to evaluate the intertextual implications in Shahnameh Soleymani - an epic text in the style of Shahnameh from the tenth century - by using Gerard Genette"s intertextual approach.

The research method in this article is descriptive-analytical, based on library studies using the intertextual literary criticism approach based on Genette"s theory. The scope of the research is Shahnameh Soleymani by Fathullah Aref.

The findings of the research indicate that there are hidden and obvious links between the Shahnameh of Soleimani and the Shahnameh of Ferdowsi based on Gerard Genette"s intertextual theory.

Considering the aspects and dimensions of Fathullah Aref"s influence in the Shahnameh of Soleimani from Ferdowsi"s great epic in the Shahnameh, Aref"s influence was not only in the linguistic and lexical field, but the poet, while examining the contrast in recreating a text in the form of a Shahnameh, relying on his sense of superiority and his work over Ferdowsi and the Shahnameh, tried to be influenced by the Shahnameh in imagery, characterization, rhetorical figures and expressive techniques, and the traces of this influence can be seen in the Shahnameh of Soleimani.

Fear and anxiety about the passage of time and the end of worldly life have always been the main concerns of mankind, and liberation from death and finding the water of life and the plant of youth to become immortal have become the motifs of the creation of world myths. In fact, epic death is the meeting point of pleasure with the deepest sorrow in a collective narrative; it is the meeting point of two conflicting ideas: mortality and immortality. In the epic narrative, death finds a deep connection with survival, and the individual, in his identification with the hero of the epic, finds survival in death. In this regard, the present article examines the two key concepts of "death and resurrection" in the poetic systems of the Garshasbnameh, Bahmannameh, and Borzunamah. The main emphasis in this research is on revealing the ethical issues and the religious and doctrinal themes in these works about death.

The article uses a descriptive-analytical method to comparatively examine the similarities and differences in the attitudes of the three aforementioned epics towards the issue of death and resurrection. In this study, the researchers seek to explain how Garshasbnameh, Bahmannameh and Borzonameh view the issue of death and resurrection.

The aforementioned epic poets, in their dealings with death, often come up with concepts such as the emptiness of the world, its disloyalty, the predestination and inevitability of death, the mystery of the world and the impermanence of its work. In the epic world, due to the warlike atmosphere and the confrontation with death, all heroes have always faced the issue of death. These heroes choose death while they could easily avoid it or fight it. Therefore, their death gives another meaning to life.

In general, it can be said that the purpose of these poets in addressing death is to strengthen the courage of the heroes and not to fear the enemy, to die for the glory of Iran, and to defend the homeland with a self-willed death. In fact, their insistence on showing the impermanence of this world in comparison with the eternity of the hereafter is to show the insignificant and unimportant pleasures and worldly attachments in line with choosing death and not to fear it; this is because the Iranian heroes considered heaven to belong to those who die in the defense of their homeland and its ideals.

The Divan of Bayani Kermani is noteworthy for its composition during the transition period of Persian poetry from the Iraqi style to the Indian style, as well as for Bayani’s emulation of Hafez’s ghazals in his mukhammas. The collection includes mukhammasat, qasidas, ghazals, and fragments. The primary objectives of this study are to introduce the manuscripts of the Divan of Bayani Kermani and to analyze its linguistic, intellectual, and literary characteristics.

The present research is a theoretical study conducted through library research using a descriptive-analytical approach. The study’s corpus consists of two extant manuscript copies of Bayani Kermani’s Divan housed in the libraries of the Anjuman-i Taraqqi-i Urdu Pakistan and the Topkapi Palace Library in Turkey.

Bayani Kermani was a poet of the late 9th and early 10th centuries AH. His Divan contains approximately 2,700 verses, and his poetry is often devoid of novel imagery. The qasidas in his Divan are panegyrics, while his ghazals and mukhammasat often convey lyrical and mystical ideas. The sole fragment and single-line poem in his Divan serve as chronograms written to commemorate the deaths of two unnamed individuals.

Bayani follows the lead poets in writing his poems. Bayani Kermani"s imitation is so intense that out of the 86 makhms in his divan, 84 makhms were written to Following Hafez"s sonnets and all the verses of these ghazals are guaranteed in his makhmsat. The expressive poems in praise of Shah Ismail Safavi and the theme of his dilemmas are often mystical thoughts such as leaving material ties, choosing the old and ascending to the upper world. His sonnets often contain lyrical themes such as love, glory and complaints from the beloved, playing witness, the pain of parting, and educational thoughts such as being careful, being careful of the world, seizing the opportunity of life and avoiding hypocrisy, and the only piece and verse of this work is History has been written.