فهرست مطالب

فنون ادبی - سال دهم شماره 1 (پیاپی 22، بهار 1397)

مجله فنون ادبی
سال دهم شماره 1 (پیاپی 22، بهار 1397)

  • تاریخ انتشار: 1397/01/01
  • تعداد عناوین: 8
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  • مقاله پژوهشی
  • معصومه نظری چروده، امیر اسماعیل آذر*، فرهاد طهماسبی صفحات 1-16
    در پژوهش حاضر داستان های کلیله و دمنه با تکیه بر حکایت «پادشاه و برهمنان» از دیدگاه روایت شناسان ساختارگرا بررسی شده است. در پیکره اصلی، ابتدا سطوح سه گانه یک متن روایی- داستان، گفتمان، و روایتگری - معرفی شده است ؛ آنگاه حکایت «پادشاه و برهمنان» در سطح «داستان» و مولفه های سه وجهی آن – پی رنگ، شخصیت و تعلیق - بررسی شده است. از مهم ترین یافته های این پژوهش برخورداری حکایت فوق از یک پیوند خطی و یکنواخت نقش ها بر روی زنجیره ای همگن و سلسله وار است که سازگاری معناداری با نظریه «سلسله» یا «پاره» رولان بارت در نقش ها دارد. همچنین در حوزه شخصیت، درست مانند الگوی «کنشگرا»ی گریماس از یک ساختار شش وجهی پیروی می کند (فرستنده، هدف، گیرنده/ یاریگر، فاعل، بازدارنده). درمجموع باید گفت ؛ حکایت های کلیله و دمنه اغلب با آرای روایت شناسان ساختارگرا تطابق دارد، درنتیجه می توان برای تقریبا همه حکایت های کلیله و دمنه یک ساختار روایی مشابه ترسیم کرد.
    کلیدواژگان: روایت شناسی، عنصر داستان، کلیله و دمنه، حکایت پادشاه و برهمنان
  • خدابخش اسداللهی*، ولی علی منش صفحات 17-32
    در سطح فرم اشعار بیدل دهلوی، عناصر متعددی زبان را نامالوف کرده و منجر به هنجارگریزی شده است. «وابسته های خاص عددی» از مهم ترین این عناصر است که دریافت معنی را نیز دشوار کرده است. وابسته های خاص عددی کلماتی هستند که در محور همنشینی زبان، هنگامی که با معدود رابطه معنایی برقرار می کنند، از هنجار عادی و متعارف زبان خارج می شوند. در زبان اشعار بیدل دهلوی، برجسته ترین و نامدارترین شاعر سبک هندی، وابسته های خاص عددی با بسامد بالا و به صورت گسترده تبلور یافته است. در این مقاله، روابط معنایی وابسته های خاص عددی و معدود در زبان اشعار بیدل با توجه به «هنجارگریزی معنایی» بررسی و تبیین شده است. وابسته های خاص ابتدا در چهار الگوی «عدد، وابسته مادی و معدود مادی»، «عدد، وابسته مادی و معدود انتزاعی»، «عدد، وابسته انتزاعی و معدود مادی» و «عدد، وابسته انتزاعی و معدود انتزاعی»، طبقه بندی شده، سپس انواع روابط معنایی در هر الگو به طور مجزا بیان شده است. نتیجه پژوهش بیانگر این است که میان وابسته های خاص و معدود انواع روابط معنایی ظرف، تشبیه، تضاد، زمان و... وجود دارد وابسته های عددی، برای بیان اندیشه ای خاص و ایجاد تخیل بیشتر، برخلاف هنجار معمول در محور همنشینی زبان به کار رفته اند.
    کلیدواژگان: بیدل دهلوی، هنجارگریزی معنایی، وابسته های خاص عددی، روابط معنایی
  • نازنین غفاری*، محمدصادق بصیری، محمود مدبری صفحات 33-46
    میرزا کاظم طبیب یزدی شاعر و طبیب برجسته اما گمنام عصر قاجار از خاندان حکیمان کرمان و منسوب به شجره ناظم الاطباء کرمانی است. دیوان شعر ایشان در قالب نسخه خطی منحصربه فردی در میان فرزندان و نوادگان وی به یادگار مانده است. در غزلیات میرزا کاظم التزام ویژه ای به چشم می خورد که به نظر می رسد باید خود او را مبدع این نوع التزام دانست. التزام، اعنات یا لزوم ما لا یلزم صنعتی از صنایع بدیع لفظی است که در کتب بدیعی تنها به مصادیق محدودی از آن اشاره شده است؛ درحالی که این صنعت در شمار تفنن های شاعرانه و دارای مصادیق متعددی است؛ از جمله این مصادیق، التزام به کاررفته در غزلیات میرزا کاظم است که در این نوشتار توصیف خواهد شد.
    کلیدواژگان: میرزا کاظم طبیب یزدی، التزام، اعنات، لزوم ما لایلزم
  • پروین گلی زاده*، قدرت قاسمی پور، رضا گورویی صفحات 47-56
    یکی از وجوه شیوایی و بلاغت زبان مولوی عنصر ترکیب سازی است. پژوهشگران بیشتر به ادراک رموز عرفانی مثنوی توجه کرده و از روساخت و زبان مثنوی اشاره وار گذشته اند. یکی از فنون مولوی در انعطاف بخشی به صورت کلام و باروری موسیقی کناری، به کارگیری ترکیب های بکر اشتقاقی در جایگاه قافیه است. بیشتر ترکیب های برساخته او در مکان قافیه به پیروی از اصل برجسته سازی با قاعده افزایی ها و هنجارگریزی های مخصوص است که التذاذ وافر خواننده را از شعرش موجب می شود. بر انگیختن توجه مخاطب به صورت کلام یا نگارگری در عرصه سخن سرایی، افزودن بر بار موسیقیایی کلام و انباشت جای خالی قافیه از مهم ترین انگیزه های مولوی از به کارگیری این فن است. انواع ترکیبات اشتقاقی که مولوی جهت غنای موسیقی کناری و باروری قوافی شعری در مثنوی نمایانده است ذیل عناوینی چون ترکیبات ونددار، ترکیبات شبه ونددار، صفات فاعلی مرکب مرخم، ترکیبات وصفی، ترکیبات مصدری و کلمات پیوندی تحلیل و بررسی شده اند.
    کلیدواژگان: مثنوی، هنجارگریزی، موسیقی کناری، ترکیب سازی، تشخص سبکی
  • سیاوش حق جو *، مصطفی میردار رضایی صفحات 57-70
    با نگاهی اجمالی به مطالعاتی که در باب سبک هندی انجام شده است، به صراحت می توان دریافت که بیشتر این پژوهش ها، اصطلاح «معنای بیگانه» و اصطلاحات معادل آن (چون معنای غریب و دور، مضمون سازی های پیچیده و...) را از عناصر بایسته و از مختصات اصلی سبک هندی، و تلاش بسیار برای یافتن «معنای بیگانه» و مضامین تازه را سیره شعرای سبک هندی می دانند. این جستار، یکی از صناعات کنایه محور و پرکاربرد در غزل صائب با عنوان «استعاره ای هامی کنایه همراه با تشبیه» را که نامی است نونهاده برگونه ای صناعت رایج در سبک هندی، بررسی می کند. این شگرد ادبی، در مقام عنصری سبک ساز، در سراسر دیوان و در بدنه غزلیات صائب به فراوانی دیده می شود؛ چنانکه کمتر غزلی از غزل های اوست که از این صناعت بهره نگرفته باشد. در این شگرد، غالبا کنایه های انسانی، با لحاظ کردن معنایی دیگر، به اشیا، گیاهان و... نسبت داده می شوند و از این طریق معنایی آشنا را از طریقی ناآشنا و بیگانه بیان می کنند.
    کلیدواژگان: صائب، معنای بیگانه، سبک هندی، استعاره ایهامی کنایه همراه با تشبیه
  • فهیمه خراسانی*، غلامحسین غلامحسین زاده صفحات 71-84
    استعاره مفهومی یا شناختی بر پیوند میان زبان و تفکر تاکید دارد و استعاره را بیش از آنکه مربوط به زبان بداند، به اندیشه مرتبط می داند. استعاره پیش از آنکه در قالب یک عبارت زبانی بیان شود، بر مبنای یک تفکر ذهنی ساخته می شود. این رویکرد جدید توجه منتقدان را به زیرس
    یی ذهنی جلب می کند که در فرایند ساختن استعاره نقش مهمی دارند. ناصرخسرو، یکی از شاعران اندیشمند و فیلسوف سبک خراسانی، در بسیاری از قصاید خود، از استعاره بهره گرفته است. استعاره هایی که وی به کار می برد همه در قلمرو نظام عقیدتی و دینی او می گنجند و شاعر بسیاری از مفاهیم فکری مورد نظر خود را به صورت استعاره های مفهومی بیان می کند. از آنجایی که قصاید ناصر خسرو بیشتر در حیطه ادبیات تعلیمی جای می گیرند و در نگاه اول، چندان از شگردهای ادبی سود نمی جویند، این پژوهش بر آن است با بررسی پنجاه صفحه از دیوان قصاید ناصرخسرو بر اساس رویکرد استعاره مفهومی نشان دهد که شاعر بسیاری از مفاهیم و عقاید را در قالب استعاره های شناختی بیان کرده و این امر در بالا بردن درجه ادبیت کلام وی موثر بوده است.
    کلیدواژگان: استعاره، استعاره مفهومی یا شناختی، نگاشت، قصاید ناصرخسرو
  • نجمه دری *، سمیه رضایی صفحات 85-98
    وزن شعر یکی از عوامل جدایی ناپذیر آن است که باید متناسب با مضمون و دیگر عناصر شعر انتخاب شود. حکیم سنایی، شاعر بزرگ اوایل قرن ششم، اشعار بسیاری از جمله قصیده، غزل، مثنوی و رباعی از خود به یادگار گذشته است. اشعار سنایی مصداق شایان توجهی از هماهنگی میان وزن و محتوا هستند. در این جستار، پس از بررسی گزیده ای از اشعار این شاعر نامدار (330 غزل و قصیده)، به کیفیت و کمیت انواع وزن در آن و همین طور میزان هماهنگی وزن و محتوای آنها پرداخته می شود. در این تحقیق که به روش کتابخانه ای انجام شده است، اشعار سنایی با توجه به مضمون آنها به چهار گروه وعظ- حکمت، عاشقانه ها، عارفانه ها - قلندریات و مدحیات تقسیم شده است. در اشعار بررسی شده، 26 بحر از بحور عروضی به کار گرفته شده است که در میان آنها بحرهای «رمل مثمن محذوف» و «هزج» بسامد بالایی دارد. اشعار گروه اول و چهارم بیشتر در وزن های روان و جویباری و اشعار با مضامین عاشقانه و قلندرانه با وزن هایی با تنوع چشمگیرتر و بیشتر در قالب بحر مسدس سروده شده است که کوتاهی آن گاهی هیجان بیشتری به کلام القا می کند.
    کلیدواژگان: حکمت، سنایی، عاشقانه، قلندریات، مدح، وزن
  • بررسی مضامین در غزلیات سلمان ساوجی
    زهرا منصوری نوری*، معصومه یاری ایلی، اقدس فاتحی صفحات 99-144
    در غزلیات سلمان ساوجی، شاعر قرن هشتم، تلفیق دوگونه غزل عارفانه و عاشقانه بنا به اقتضای عصر و دوره، به گونه ای بسیار طبیعی انعکاس یافته است. درونمایه ها و مضامین این اشعار دربرگیرنده معانی دقیق و ظریفی است که در اثنای کلام و در ظرف الفاظ گنجانده شده است. سلمان با زبانی لطیف، از ترکیب عشق و عرفان، مضامین پربسامدی همچون حجاب بودن جسم و تن، حلقه زلف، زلف مشکین و کفر زلف، رخسار و همچنین چشم مست معشوق و حسن روی او، لب و سخن معشوق، هجران و فراق دوست، وفای عاشق و جفا و بدعهدی معشوق، بی هنری عقل در طور عاشقی و باد سحر را با تشخصی جدید بازآفرینی کرده است. همچنین، با استفاده از برخی دیگر از مضمون های رایج در قرن هشتم، در قالب واژه ها و عباراتی همچون محتسب و زاهد ظاهرپرست، رند دردی آشام درون صاف، می جام الست، هیچ بودن نقش و نگار جهان، و دررسیدن شام اجل بر در سرای امل را دریافته و با توصیفات بس هنرمندانه و با توجهی وافر، به سان عارفی تمام عیار، تصاویری از این گونه مضمون پردازی های خود را به رخ کشیده است. از همین منظر است که می توان وی را سرآمد مضمون آفرینی بدیع در غزل فارسی به خصوص غزل سرایی قرن هشتم و بعد از آن به حساب آورد.
    کلیدواژگان: سلمان ساوجی، غزل، مضمون
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  • Masoumeh Nazaricharvdeh, Amir Esmaaeil Aazar *, Farhad Tahmasbi Pages 1-16
    In the present paper, Kalile and Demne anecdotes relying on King and Barhamnan’s anecdote have been investigated from structural narratologist’s point of view. In the main body of the paper, at first the threefold levels of a narrative text; that is, story, discourse, and narratology have been introduced, then the anecdote of “King and Barhamnan” at the level of “story” and its three – dimensional components; that is, plot, character, and suspense have been studied.
    Plot, is one of the elements of the story, and is an indicative of the motivation and the purpose of the story events. Plot is mentioned as a map, plan, network of discursive events and pattern of story events which is consisting of base sequences and sub-sequences. These sequences can be combined in three ways in the narrative:Embedded bonding: it is a story within another story such as the stories of Marzban Name.
    Chain bonding: in this type of bonding, the sequences like the rings of chain come together one after another such as the story of The Seven Labors of Rostam or Haft-Khan-e-Rostam
    Alternating bonding or intercross of sequences: in this type the narrator advances two or more story in parallel.
    In the story of King and Brahman, the combination of sequences is homogeneous and hierarchical that has a significant compatibility with the theory of "Dynasty" or "part" of Roland Barthes in roles. The author leads the story that has begun with an "unstable situation" in the first series into a "constant situation" at the final series (sixth) rely on positive and dynamic character and the protagonist of the story.
    In the field of character the pattern of Greimas "activist" follows a hexagonal structure (the transmitter, goal, receiver / contributor, agent, retardant). Heblar (the king) is transmitter. At first it seems that the Brahmans are the subject of this story, but with the progress of story and the reveal of Brahman's nature their character change its place from subject into competition and anti-hero position; in return the doings and actions of Irandokht, the wife of the king, turns her into the subject and agent of the story. The purpose is dream interpretation and disposal of possible risk caused by terrible sleep; receptors are all those who Brahmans decide to kill such as Heblar's wife and children and his secretary and minister and the white elephant and camel ... as well as the realm of the king and kingdom; the contributor of the Belar, the minister, and Idon, the wise man; and Brahman are considered as rivals and as a retardant.
    Within the scope of suspension the author has succeeded to create influential roles of different forms of suspension in creation of mixture of doubt and expect, particularly, methods such as "the ignorant of readers to the future of the characters and setting of the main character at a crossroads".
    In general, it is said that Kalile and Demne anecdotes conform to the structural narratologist’s opinions. In conclusion, we can almost delineate a similar narrative structure for Kalile and Demne anecdotes.
    Keywords: Narratology, Element of the story, Kalile, Demne, King, Barhamnan's Anecdote
  • Khodabakhsh Asadollahi *, Wali Ali-Manesh Pages 17-32
    At the level of the form of the poems of Bidel Dehlavi, various elements of language have been misunderstood and led to de-familiarity. "Numerical affinities" are among the most important elements that make it difficult to get meaning. Numerical affinities are words that, in the context of the language of the conjunction, when exerted by a few semantic relationships, are derived from the normal and standard norms of the language.
    In ordinary language, numerical affinities are words that denote by size, weight, number, area, type, gender, quantity, and form of a few, and are placed after the number in the locus of the language. Such as "two volumes of books". In poetic language, grammatical numerical affinities are just as normal, but in terms of the semantic associative system they act beyond the normal language, which is why they are known as special numerical affinities. Also, in poetic language, affiliates do not accurately state the size; for example, in the phrase "a mirror of the heart", the "mirror" like "bottle and kilo" cannot reflect on the amount and size of the heart. This ambiguity doubles when it is affiliated, and the few are both abstract, such as: "A hundred crazy madness"
    . Numerical affinities are one of the highlighting and ambiguous factors in the language of Bidel Dehlavi's poetry that has led the language to persuade and make it difficult to get meaning. Numerical affinities, such as: One hundred doomsday songs, one hundred strokes of madness and ... are affiliations that have crystallized in Biddle's poems, with a high frequency and with different structures than in other periods. Considering the necessity of knotting the sadness in the language of Biddle's poetry, the present study, with the help of a scientific study of particular numerical affiliations, attempts to resolve some of the tongues to a degree and to explain the relationship between the dependent and the few in terms of meaning rather than the valve To enter the poet's mind and thought, and also to get the meaning of numerical affinities and meaning of poetry.
    In this paper, the semantic relations of certain numerical and limited affinities in the language of Biddle's poetry have been explored and analyzed with respect to semantic normality. In semantic normality, the constituent elements of the sentence in the associative axis, and at the level of meaning, diverge from the semantic constraints and rules governing the normative language, and the language becomes prominent. "The domain of meaning as the most flexible level of language is used more than literary highlighting more than other levels of language" (Safavi, 2011, 1: 55). The particular affinities in Biddle's poems are initially in four patterns: the number, the material and material dependence, the number, the material affiliation and the few abstract, the number, the abstract dependence, and the few material, and the number, abstract, and abstract dependence, Classified, then the types of semantic relations are expressed separately in each pattern.
    The result of the research suggests that there is a variety of semantic relations in the fourteenth structure of the poetry of Bidel Dehwali in the axis of affinity between a number and a few. The semantic relationships in the structure of the "number, material affiliation, and material possessions" are: "the dish", such as: "One hundred grass of tulips and flowers"; "likeness", such as: "One hundred eyelashes"; "contradictions", such as: "One hundred storms of dust"; "necessity", such as: "One hundred caravans"; "tools", such as: "a swarm of swim"; "time", such as: "One hundred storms of sorrow," "kind", such as: "Thousand colors of sound "and "Creation" such as: "A breath of sting. "
    In the structure of the "number, material affiliation, and abstract", there are these relationships: "dish", such as: "One hundred depressions of madness"; "metaphorical terms", such as: "a dignified enamel"; "likeness", like "half "Tools", such as "one stepping stone"; "time", such as: "One hundred salt on the liver"; "necessity", such as: "a world of belonging"; "type", such as: "One hundred colors of sorrow"; "Creation", such as: "Thousands of Chinese behavior" and "Descriptive", such as: "A hundred storm earthquakes."
    The structure of the "number, abstract, and abstract", which has long-lasting and twisted relations, has these semantic relationships: "likeness", such as: "One hundred Armies of Resurrection"; "Contradictions"; "Required", such as: "One Khalid Halot" ;" Tools", such as:" A footprint"; "Time", such as "100 Spring of Presence", "Creation", such as "100 Hot Shock, "Descriptive", such as: "One Deathly Armageddon"; and "Accompaniment" such as: "One Hundred Thorns ".
    In the structure of the "number, abstract dependence and a few material", there are the following relationships: "likeness", such as "Several repentance"; "necessity", such as: "a pounding spontaneous"; "time", such as: "a moment Bubble "and" Creation", such as: "One hundred Melancholy". Some affiliations have a rhetorical semantic relation with a few, that is, these relations are justified in terms of literature (rhetoric), not linguistics, such as the similarity and metaphorical relationship.
    This research also indicates that Bidel Dehlavi did not use any affiliate with the few freely and arbitrarily. In numerical affiliations such as: "a desert of madness", "a mirror of astonishment" and "a prostration", and ... a deliberate poet and consciousness, to create more imagination and express a particular thought, dependents has chosen.
    Keywords: Bidel Dehlavi, semantic normality, numerical affinities, semantic relations
  • Nazanin Ghaffari *, Mohammadsadegh Basiri, Mahmood Modaberi Pages 33-46
    Mirza Kazem Tabib Yazdi, was a significant but anonymous poet and physician of Qajar Period and from the Hakiman Family of Kerman. He was also in the family tree of the Nazem al-Atebba’of Kerman. In 1214AS/1250AH, he was born in Yazd. He passed his elementary level of education in Yazd and then moved to Isfahan to further his education. As the number of physicians were quite few during the Qajar Period, Mirza Kazem was ordered by the ruler of Yazd, Jalal aldole the son of Zal alsoltan, to go to Abarkooh to practice medicine and to stay there for the rest of his life. Eventually in the year 1304 HS/1343 HA he died with 90 years of age in Abarkooh. Only one complete handwritten version and one half-complete handwritten pre-version of Mirza Kazem Habib's Divan is available today. His Divan has more than 4200 verses and has been written in Sonnet, ode, Masnavi, Msmt, Tarji’ band, Tarkib band, quatrains and sub forms like Mostazad and refrain Mosammat and etc. In his poems he has selected the name "BASIR/Sage" for himself as a pseudonym which has remained with his offspring as their family name in the Pahlavi Period. Mirza Kazem is one of the innovative poets of the Qajar period. His innovation is observed in the figurative literature and literary elements that he has used from novel verbal commitment, which is also called Eltezam, Enat or Lozoom ma yalzam. In the book of Badi'(novelty) there has been only limited applicability of this literature, while Eltezam is one of the poetic pleasures of poets and has various applications. This literature has been used in Mirza Kazem's sonnets which seems that it could be assumed that he has been the founder of it, due to his massive use of the literature.
    In many of Badi' (novelty) Persian and Arabic books, paying attention to a letter(s) or the sound before, the deletion of one or a few letters, or the repetition of one or more words in a poem are examples of the application of Eltezam. Now, the definition of this literature could be more than these uses. In fact, Eltezam in general terms means the use of any kind of adverb which its use is not necessary and the poet uses it for aesthetic creation and by committing him/herself to using it, makes his/her own task difficult.
    The eltezam used in Mirza Kazem Tabib's poetry seems to be a creation of his own, which we have named Eghtezaye Darsadr. Using this literature gives the poem a certain music, yet only in the beginning words. From among the 165 sonnets which exist in Mirza Kazem Tabib Yazdi's Divan, 128 of them have been created with a careful consideration of Eltezam, which have made a total of 1272 verses of the Divan. The first commitment observed in these sonnets is their number of verses. Mirza Kazem Tabib has written most sonnets in ten verses, in such way that in the total of these sonnets only two of them have nine verses. Yet the commitment or Eltezam which we are concerned with here is the commitment that the poet feels in using a certain letter in a certain place of a verse. The poet seems to have attempted to make such a collection but it has remained unfinished. In the first section of this collection he has finished all verses of his sonnets with the first letter of the alphabet and hence he has named this section as "Bab A". Then he has continued orderly, in every sonnet of this section, he has considered a letter from the alphabet and has begun the first and second verses of the poem with that very letter. In the following sections, "Bab B", "Bab T" and "Bab C”, he does the same, and only after a few sonnets from "Bab J" the collection is remained unfinished.
    This literature, besides its aesthetic contribution and beauty that it has to the poem, has a few disadvantages too such as the use of rare archaic words and sometimes even changing the spelling of the words. Although these examples are the result of the difficulty of the Elztezam literature, but it is also received as a kind of frailty on the part of Mirza Kazem's poetry language. In general, as this special Eltezam adds a new pleasure to the elements of poetry, it is very crucial to know.
    Keywords: Mirza Kazem Tabib Yazdi, Eltezam, Einat, Lozoum ma Yalzam
  • Parvin Golizadeh *, Qodrat Qasemipoor, Reza Guruyi Pages 47-56
    One of Molana’s techniques in Masnavi is the use of new derivatives compounds in the rhyme. The aim of Molana in using of these derivatives compounds in the end-rhyme, is affecting the audience. In this essay derivatives compounds such as: Affixes compounds, pseudo-affixes compounds, and short compound adjectives nominative, adjectival compounds, infinitival words have been analyzed. These derivatives compounds in the end-rhyme of Masnavi, created the literariness of his poem, so that we can say that this technique is result of the poetic genius. Our aim in this essay is studying the music function of derivatives compounds in the end-rhyme of Masnavi.
    Function of rhythmic compounds in Masnav
    1. Affixes compounds: Persian language is an analytical language that affixes with another simple or compound word to create numerous derivatives compounds. In Masnavi we can see well-made and newAffixes compounds in the rhyme of poem that increase the music of copulates.
    2. Pseudo affixes compounds: Another compound that we can see in Masnavi is Pseudo affixes compounds that aesthetic function in Molana poems is very important.
    3. Short compound adjectives nominative: these compounds are very widespread in Masnvi, because these compounds are very prolific in Persian language and poetry. The benefit of these compounds, in addition to aesthetic role, is the language economic function of them.
    4.Adjectivalcompounds: these compounds constructed in different forms such as: noun noun attribute noun, attribute attribute.
    5. Infinitival compounds: the structure of infinitival compounds is consisting essentially Short compound adjectives nominative that a suffix added to them.
    6. Hybrid combinations of words: These compound words are of another type of derivative compounds in Masnavi that they are often used colloquially known as "common components".
    Keywords: Masnavi, deviational compounds, music composition, combine construction, the stylistic distinction
  • Siyavash Haqjoo*, Mostafa Mirdar Rezaii Pages 57-70
    By studying books and articles in this field, one can see the upward trend in the trend from content to psychological research to explain the meaning of alien meaning. Accordingly, the sources are divided into three categories:1) The sources that are generalized and have focused on the meaning and content of poetry and have considered the creation of "alien meaning" on the basis of semantic transformations:2) Middling sources that paying attention to meaning and content, also referred to form;
    3( Partial sources that look to the form and call the creation of "foreign meaning" as the result of elegant rhetorical techniques and literary techniques.
    Specifications that the in-depth researchers have discovered and introduced are not individual and distinct semantics, but are combined from several literary arts. In the majority of these syntaxes, metonymy in center, and other features are surrounded by it. Basically, the use of the abstract is seen in many Indian styles, with the difference with other styles, which in fact the poets of this covenant, in addition to its normal use, benefit as a synthetic intelligence.
    Hence, it is possible to call these literary practices the "metonymy based craft”, that is, "the intonations made of the present verb and the compounds are in metamorphosis", or as a "metamorphosis", "metonymy ambiology", "ambiology Metaphor of metonymy", and " amphibology metaphor metonymy using simile ",which specifically addresses this issue.
    Amphibology metaphor metonymy using simile
    One of the most diverse industries is the metamorphosis of an analogy (or similar), in which, in addition to recognizing the structural style, it is in the analysis of the ambiguous and alien images and the way the alien meaning comes into being.
    The poet in this craft, once refers to an enigma that is related to the pseudonym (which is typically human) through the implicit metaphor metamorphosis to the pseudo-emperor; this pseudo-self contains the approximate form or claim that it needs; It exists from the original in that thing, but in the real world, the true carrying on of the essential meaning and the meaning of the abstraction does not come about that, as a result of the metaphor, it will remain in its power. Simply put, the appearance of metonymy is porous on a phenomenon, but its concept is attributed to it only through metaphor. But the poet does not endorse this, and he continues to pose a pseudonym (human). If we break down this syntax, we will get the following elements: By dividing this syntax, the following elements are obtained:1 metonymy; 2 implicit metaphors; 3 Reality; 4 Ambiology; 5 Similarities.
    Sample analysis:Be like the shellfish silent opposite of the see, be all ears although you are eloquent (1/4863)
    The syntax of metamorphosis has been used twice in this bit of Saeb, and in both cases, the poet deletes ‘you’ and similes it to shellfish in the terms “being all ears” and “being eloquent”:1 "being all ears" is a human metonymy;
    2 We attribute it to the shellfish through the implicit metaphor;
    3. The actual form of "foot to ear" can be seen in the "shellfish" style: the use of the name of the ear-shell may be cause of it;
    4 "being all ears in shellfish” in real life have nothing to do with the meaning of it in the human domain. Not good hearing nor good listening is not really in the shell;
    5. The poet use the term ”like” to simile "You" to shellfish, that is, the act, once attributed to it by its actual form in the shellfish mission, through the implicit metaphor, and again , The person is equally likened to the same shell, with the quintessential aspect of the principle that belongs to him!
    6. From the faces of the two necessary and essential aspects of the term, the first of which is the truth in the shell, and the latter is a conception, metaphor for it becomes achievable; the reader, when faced with this image, imagine these two faces. He understands the idea, because he finds out that he has to think for a shellfish that the shellfish itself has its face in another sense.
    " amphibology metaphor metonymy using simile " is one of a variety of indigenous craft that, in addition to being a lightweight, has a great deal of help in dispersing obscure and alien images and in creating and producing alien meaning.. The presence of this syntax, as mentioned in the table, is seen in the body of the enchanting Saeb, a multiplicity, and as a stylistic feature, and is less of a Ghazal of its sonnets that have not been used.
    Keywords: Saeb, alien meaning, Hindi style, metamorphosis, anthropomorphism with similarity
  • Fahimeh Khorasani *, Gholamhossein Gholamhosseinzade Pages 71-84
    Nasser Khosro, as one of the figures of the educational and moral literature and one of the philosophers, has a special position in the history of Persian literature and is one of the most famous poets of Khorasani style. What is prominent in this poet's poem is the abundance of ideological, philosophical and moral issues and a remarkable point in the poet's style is the abundance of ideological, philosophical and ethical issues that are prominently seen.Therefore, in this research, some of Nasser Khosrow's odes are examined based on their relationship with conceptual or cognitive metaphor.
    Conceptual or cognitive metaphor emphasizes on the link between language and thinking. Metaphor seems to be related to thought rather than be accounted in connection with language. Thus, before being expressed as an expression of language, metaphor is made due to a subjective thought and then is represented. This new approach to metaphor attracts the attention of critics to mental substructures which play an important role in the process of creating metaphor. Naser Khosro, as a thoughtful poet, philosopher of khorasani's style, has used metaphor in most of his odes, remarkable point in his poems is utilizing metaphors which all are in the realm of religious system and the poet expressed most of his concepts as conceptual metaphors. Since Naser Khosro's odes are placed more in the training context at first glance, they don’t take advantageous of literally techniques. So in this research, by a review of fifty pages of Naser Khosro's odes based on conceptual metaphor, this study is aimed to show that most of poet's intended concepts and ideas have been expressed in terms of cognitive metaphors, which were effective in raising the literary level of his words.
    Conceptual metaphor is considered as one of the most important examples of the relation of language and thought. The scholars of this theory believe that the place of metaphor is in thinking, and most of routine language applications are rooted in thinking. On this basis, the metaphor is not merely literary, it is also used in ordinary language. Of course, apart from routine language, literary metaphors are rooted in thought and in exploring metaphors from a cognitive and conceptual point of view; we need to look at their roots in thought and thinking.
    Naser Khosro, as one of the leading poets of educational and moral literature and one of the scholars, philosophers and thinkers of Khorasani style, has expressed many of his philosophical and verbal beliefs in the form of cognitive metaphors that have shaped his special style. By examining the text in a conceptual metaphor view, it was noted that many of the ideological and philosophical concepts of the poet were expressed in a literary form. According to the study of the first 50 pages of Naser Khosrow's poems, four main themes of thought were identified which were expressed in different metaphors. These four major mental mappings are: Philosophical mapping, Ismailia mapping, moral mapping and self-glorification mapping.
    Conceptual metaphor is expressed in the form of an objective mapping, in the studied cases; the poet expressed the concepts of four areas of philosophical, moral, Ismailia, and Self-glorifications in the different metaphors and expressed his concepts in the form of particular objective mappings that each group of these metaphors formed around a specific concept. In other words, by examining the metaphor in these poems, examined by the cognitive approach, is determined relationship between thought and literary style. In the sense that dominant thinking and dominant belief in the text, it forms a group of special metaphors that are directly linked to the poet's ideas and thoughts.
    Keywords: Metaphor, Conceptual or cognitive metaphor, Mapping, NaserKhosro's odes
  • Najmeh Dorri *, Somayeh Rezaei Pages 85-98
    The true poetry is the birth of the unconscious poet without the intervention of his consciousness, as Plato and Aristotle, the critics of the first poetry, point to this point. If poetry is burst from inside the poet's conscience, the rhyme and all the elements of the poetry are followed by the contents of his poem, rather than the poet, with a figure of a pattern. The outer music of poetry follows the poet's feelings on his tongue, and a poem with a conventional weight of poetry identity is indistinguishable from the point of view of the poetry and intuition; as the poems of the great poets of Persian literature is an example of this harmony between elements of poetry.
    Sanai Ghaznavi is one of the popular poets of Persian literature whose poetry seems to come from his uneasy inside the poetic moments of her life. The purpose of this research is to determine the extent to which weight and content are coordinated in his poems, and whether the two elements of weight and content in the Sanaei poems are in line with each other.
    In this research which was done by the library method, after reviewing the poetry of Sanai (330 sonnets and verses). Their subject and content were determined. First, the studied poems were divided into four groups of love, mysticism, ethics-preaching-social criticism, and eulogy. After determining their rhyme, the quality of rhyme and content and the level of coordination of these two elements were analyzed in Sanaei's poetry. It is worth noting that Sanaei's poems based on his work were chosen and studied by Modarres Razavi.
    In considering the weight of a poet's poetry, there are a few points to consider; for example, in the case of the Senaei's poems, he has said that he has undergone a number of existential issues and undoubtedly influenced these changes in his poetic style. Of course, the style of the time should not be ignored. This point should also not be ignored, with the advent of the purposive content of Persian poetry, a new chapter in literature begins with the name of Sanai Ghaznavi.
    The Sanai Ghaznavi's poems begin with mystical poetry, his lyrics and odes in this study, according to their contents were divided into four groups of preaching, mysticism, Qalandari, and romanticism. He has completed three stages of poetry. He used the great rhymes to compose eulogy, and according to the survey, rhymes can be said to fit into the theme of the eulogy.
    The important point regarding Sanaei is the romantic that has happy and sad rhyme at the same time. These poems are considered as lyrics that are more exciting. In his mystical and spiritual poems, the rhyme is calm. Although the poems with calm rhymes are more, but the short rhythmic poems are less that is the kind of rhyme in the speech.
    In the reviewed poems, Bahr-e Raml and Hazj are the most frequent. There is no rhymic forms in these poems.
    Keywords: Wisdom, Sanaei, Romanticism, Qalandari poetry, eulogy, rhyme
  • A study of poetic themes in Salman Savaji’s lyrics
    Zahra Mansoori noori*, Masoumeh Yari eili, Aqhdas Fatehi Pages 99-144
    Salman Savaji is an influential poet in the 8th century A.D. Saadi Maybe all known as love & Ghazal poet and Hafez as mystical Poet and Ghazal composer. But if without any considering prejudgment, Salman’s Ghazals be compared with Hafez and Saadi, Perhaps in some cases it’s higher as well and so he has been neglected.
    The most important issues in addition to eulogize lament and saluted in his Divan as following:Philosophical
    moral and legal
    Short and transient world
     instability joys
     human behavior and
    Movement of his soul to piety and disdain.
    Life:In memorandum of Dawlatshah Samarqandi states that: “Salman is one of the great poets who have been fixed in Saveh andhis family are always hadstates him as a great poets. His nick name is Jamal al-Din, and his father Khwaja Alaeddin Mohammed Savaji has been literati man. The great kubrawi Sufi shaykh ala al-Dawla simnani uttered no hyperbole at all when he asserted that: “the like of Simnam’s pomegranates and Salman’s poem cannot be found anywhere”.
    The versification of Salman’s poetry in Ghazal:Literary crisis or maybe the features of Salman’s age in the 8th century according to the Professor Shemisa:First, the Romantic/love Ghazal has peaked by Sa’adi in the 7th century and it could not go ahead. Secondly, the mystical Ghazal has peaked by Mevlânâ/Mawlana in the 7th century.
    Literature review:Up to now, the comprehensive and independent research that solely dedicated to the themes couldn’t take place in Salman Savaji Ghazals. His Divan has been reprinted several times; the last one is Kolliyyat-e Salman-e Savaji, emended by Dr. Abbas Ali Vafaee.
    Sazvari has also article entitled “The inter-fluence of Salman Savaji and Hafez”, He in his article reviews the subjec by focuses on both poets.
    Discussion and
    conclusion
    Salman’s Ghazals also is full of motifs and love theme and romance description like other poets. But in addition to the things very interesting in these Ghazals are mystical themes and the themes mentioned and embodied interim of words in his Ghazals.
    Salman uses the common themes of the era in his poems like many other poets: the temes such as the Lovers' Wind, opposite between love and wisdom, Muhtasib, eremitic as well as love and mysticism.
    4.1.   Salman and love
    The poet suffers from the pain or grief namely love, has defeated and humble feel that don’t let him describe love more.
    Expression of love is not possible to be indicated
    The commentary of love is not describable in wordage
    The poet hurt from sentimental love by which he sees as capital that recovers his hurt.
    What sadness that I caught in your love
    What sadness is the capital of my treatment?
    Separation and parting
    The Poet loses everything in the path of being free of hurt. The overwhelming hurt and normal routines are disrupted life for the poet. In the following Verse (poetry), the separation and grief are unbearable and the poet is tired out:Our separation which mountains unable to carry it
    Our Salman’s heart as though able to tolerate it
    Muhtasib, eremitic
    If we are looking at Salman’s verses from mystical point of view, he is not the only poet but he was so drunk mystic blessing of his selfless friend. If the eremiticis also understand God's mercy that he has understood, the Piety like flower surrounded it:If the eremitic understand God's mercy
    The Piety like flower surrounds you.
    Keywords: Salman Savaji, Ghazal or lyric poems, theme