مجله فنون ادبی
سال دوم شماره 1 (پیاپی 2، بهار و تابستان 1389)

In Azerbaijani style due to strong language and motifs, Khaghanie’s poem is outstanding. Although there are some difficulty in understanding his verses, but using lingual devices like alliteration, creating new compound, virtual language, coining new words, attention to internal and external music and side rhythm, make his poem melodious. High frequency of alligory and finding new motifs are what make his poem close to Indian style. Of course there are some elements like educated language and epic tone that make his poetry different from Indian ones. Khaghani also has powerful imaginery and benefit from folklores and current belifes of his age in order to endow best effect to his poem. In this article we try to show the aesthetic aspects of his verses and also distinguish the poetic devices he has practiced and clarify how these devices can help reader to understand the beauty of his verses.

Radif is an instrument to create music and complete meaning or focus on it which can be studied both semantically and musically. In terms of the former, since the meaning of the Radif has a hidden connection to the spirit of the poet, it can show his inner spiritual matters and worries. In addition, Radif is a repetitive poetic element whose meaning carries an important role in observing content and literary traditions of sonnet. However, word or words which are Radif have an important musical role. Therefore, studying the role of Radif in creating music and reasons which increase this music is considerable. The present study, in line with this approach, investigated Radif in Saddi’s and Emad Faghih Kermani’s sonnets. These two poets belong to a period when Persian sonnet had greatly developed both semantically and musically.

The pen name of poet appears in the end of the poem and it is spread from the end of Mogul period. Although before this period, some poets write their pen name in the final verse of the poem too. The literary Restoration Period poets follow Hafiz and saadi in Lyrics. they wanted to imitate their great teachers exactly. so they imitate these two poets in their pen name. Mostly, the pen name is written in the final verse of the Sonnet, but some time, the poet write the pen name in the previous to last verse of Sonnet because of praising someone else or putting allegory in the final verse. Rarely poet didnt use his pen name in the poem, because of not finishing the poem or the poet did not want to use his name next to the praised name, sometimes they use pronoun "I" instead of their pen name. In this study, also we investigate the point of view in pen name amphibology in pen name, adjectives of pen name, and contents that use with it. Also in this study pen name in sonnet (Ghazals) of the literary Restoration Period are compared with pen name in hafiz and saadi Ghazals, so that the special manners of pen name applications in Lyrics of these two great master sonnet poets identified and the degree of imitation of others get in hand

Gole Bakavoli is the Prince Tajolmoluk's legend that after much difficulties marries with Bakavoli. Hindi is the primary story in the subcontinent with a lot of fame. Sheikh Ezzatollah Bengali for the first time in 1134 translated it from Hindi to Farsi. In Iran this Persian poetry so far not been published and introduced. Reports and our analysis based on the Manuscript "Sohaibe Arshad"private library in Pakistan (photo of this manuscript existing Iran and Pakistan research center) produced that so far is not listed. This article introduces its author and sociology and criticizes the story with Prap method and shows the important motifs. In this study we find Bakavoli legends with little movement in the action which is completely coordinated with Prap method functions. Various motifs, much compressed, shows the effect of Hindi and Persian legends.

One of the problems of Persian writing is the question of writing and including the noun or adjective "Prepositional" construction sign in words the written form of which end in a silent» h«which is in fact a short vowel equivalent to /e/ (kasra ). The difference between the two ways of writing the intermediary consonant /y/ (ی) at the end of the word with a last silent» h «, completely as «ی» or with the sign «ء» on the silent» h«is rooted in the controversy between the traditional and modern approaches of writing. The present study is about to study into the following subjects: an analysis and criticism of both the above approaches, a survey of the history of the intermediary /y/ (ی), recognizing its phonetic significance and its role in making and adding new syllables, and finally a conclusion about the more convenient way to write it. It is possible that the outcome of the present study will provide us with a unique form of writing of the case in different texts like books, articles, newspapers, journals and electronic texts.

Saadi’s Golestan due to its smoothness of language, its deep intellectual values, rhythm and its exhaustion of language has become the source of influence for many authors since its publication. Meanwhile the work has remained a unique one. The only writer who has been able to occupoy a greater position then other imitators is Ghaen Magham. He has been able to imitate successfully and create a rhythmical and simple prose free from complexity and language ornaments such as proserhythme and paromoiosis. His proper use of crossedrhyine Poetry, allegories and lively language are among some values of his poetry. The present article aims to render an analytical account of the influence of Saadi on Ghaem and magham the sharing characteristics of the two.

Rā is one of the prepositions in Farsi language that is used frequently in order to relate grammatical objects. Farsi grammar books mention various meanings and uses for the preposition Rā. However, one of the uses of Rā is in complex sentences where Linguists have paid less attention to it. This usage of Rā is related to combined sentences, for which the subordinate clause is in main clause and after Rā. But the verb of the main clause has no need for Rā. For example, "Ān rā ke kamande sa'ādat kašan mībarad če konad ke naravad". Some Linguists such as Khanlari and Mashkour argue that this uses is totally wrong and only exists in current books. Nevertheless, in old Literature such as Golestan, this usage could be easily found. In this article, I am going to introduce this characteristic of Rā and also analyzing the argument against this issue. According to the examples that could be found in old literature books, the usage of Rā will be represented in complex sentences, where the sub-clauses could be found in main clauses.

The most exquisite and the greatest manifestations of our culture in our turbulent historical periods are the magnificent works in Persian literature reflecting all historical, cultural, social, psychological, aesthetic, and other aspects. To appreciate the value of these invaluable gems, we must scrutinize over the delicate and witty points and distinguish between the good as well as bad aspects because our contemporary literature is the logical continuation of the past literature. In this regard, knowledge of different genres, history of literature, prosody, stylistics, mysticism, history of language, grammar, rhyme and rhythm, Radif, etc each provides a way for better understanding of literary works. Rhythmical language has a greatly significant role in assigning Prominence to the images present in the mind of the poets, similar to mysticism being an interpretation of attraction. These all, from all litrary perspectives, particularly Radif need to be repeated. It is noteworthy that Radif has been welcomed from ancient times. In the present article, contrary to the ideas proposed with most of the scholors, attempts to present the aduantages of using poetic Radifs in the forms of words, nouns, adjectives, advebs, vebs and sentence – wise in the works of famous poets of Iraqi’s style.