مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 54 (آبان 1399)

The knowledge of stylistics provides the researcher with the opportunity to reach the different layers of the author's intellectual system in a methodical way. In the foregoing research, relying on library and documentary studies and using an inductive method based on description and analysis, We have explored the stylistic components of Mirza Mohammad Heydar Duglati's book "History of Rashidi" in phonetic, words, syntactic, rhetoric and ideological layers. The author's exemplary ability to exemplify the author's use of language and the style of historiography enables the researcher to examine the text in different layers. For example, the author's use of genres, rhymes, and repetition as internal music, as well as numerous verses from poets of various ages as external music, have created a phonetic layer of the word. In the word layer, the attractive competition for abstract and intuitive words throughout the text has made the audience more readable. In the syntactic layer, the application of the various verbal features (the use of the special compound, the verb structure, the time and the additive-descriptive) in a variety of ways illustrates the author's remarkable mastery in this field. In the rhetorical layer, the high frequency of the simile is added and guarantees to be more artistic and robust to the text and in the ideological layer, the author, while recounting the historical events, by applying the prominent features of the other layers, seeks to form a kind of honors and express his genius.

Metaphor is traditionally defined as a figure of speech that makes a comparison, for rhetorical effect, between two things that are fundamentally dissimilar. Today, metaphor receives scholarly attention in various fields of sciences including cognitive sciences and prominently cognitive linguistics. Johnson and Lakoff, two distinguished figures in the very field, claim that metaphor is pervasive in everyday life, not just in language but in thought and action. They introduced such iconoclastic foundation of idea in1980 with the publication of their book Metaphors We Live by. The present article focuses upon Obama's metaphorical language in his novel "Dreams from my Father" with regard to Jonson's and Lakoff metaphor theory. The research method is descriptive-analytical based on which the oriental metaphors are extracted from the novel and are studied for analysis. The results suggest that though the oriental metaphors tallying Johnson's and Lakoff metaphor theory is large in number, there still are other metaphors with apparently oriental quality that do not correspond to contemporary theory of metaphor. Hence, a new path for scholars in the field.

The manuscripts include historical, political, social and literary information for researchers. One of these manuscripts is the Diwan of Mirza Mohammad Ali Donboli, Under the pseudonym of Moflegh Tehrani in the Qajar era and the literary return period that the author or even the work itself has not yet been introduced. The "Diwan of Moflegh" is 2400 verses in the form of Qasida, piece, Tarkib-band and Qazal. The dominant content of the Diwan is in the expression of the kings and princes of Qajar and officials, and the facetious and invective expression of emperors and khans of the era. His poetry is eloquent and expressive. In writing poems, he follows the structure and style of the Khorasan-Iraqi period. The most important questions in this study include: Who is Moflegh Tehrani? What are the versification, characteristics, and the theme of his Diwan poetry? Further study of this work will introduce its literary and historical value. In this article, we first recognize “Moflegh Tehrani" and then introduce the versions of the Diwan and necessary descriptions and evaluation of his poetry.

It is true that everyone knows Shahnameh as an epic work and it is referred to as a heroic work, but in fact, the main mission of Ferdowsi in writing of Shahnameh is to communicate his spirituality, which is nothing but self-contemplation and the expression of the value of knowledge and wisdom, advice and advice and promotion of humanism. It is clear that Ferdowsi is the creature of the age of science and wisdom and is influenced by it. The aim of this research was to explain the place of “wisdom” and its concepts, especially in “between-parentheses” of Shahnameh; “pleonasm” is a term used in this paper as equivalent to the term “between added” that indicates the poet's ability to use this element with high frequency to add meaningful concepts to the text of Shahnameh. In this paper, there were very brief references to the question of self from various perspectives in the pre- and postIslamic religious books, and the end of the work was the proper influence of the "between-parentheses ".

One of the main features of Hafiz's poetry is his rhetoric. He achieved this by applying various literary techniques. One of the safeguards used to enhance the rhetoric of his poems is the use of, which has so far remained hidden from scholars. Understatement is a rhetorical and literary tool that is the point of exaggeration, and the point is to make someone or something weaker, inferior or inferior to themselves or to express them. In the present study, first, based on the viewpoints of the scholars, a complete definition of the understatement is presented, then the conceptualization methods of the understatement are reduced and its aims in Hafez's poems are analyzed through the study of libraries. The research results show that Hafiz, by relying on the extent of his rhetorical and linguistic knowledge, uses words such as few or lesser, I, m fear, perhaps, maybe, better, a little, and able to create the understatement of inferiority in his own words. His poetry has also semantic and aesthetic functions, among which semantic functions can be modesty, moderation, objection with caution, respect, exhortation and admonition, and aesthetic functions to verbal proportions.

Bīdel Dehlavī’s poetry is one of the rarest poems of all Persian poetry. There are several factors involved in the complexity and difficulty of Bīdel’s poetry, which most of them, in turn, form his stylistic categories; one of the factors that undermines Bīdel’s poetry is “word play". Word play which is one of aesthetics interest points of Bīdel’s poetry manifest itself in this way that Bīdel looks at words from non-conventional angles to achieve a new meaning and alienation and to create unpredictable symmetries. These artistic plays in Bīdel’s poetry are used both with different types of verbs and with different types of nouns. In this paper, the authors have tried to examine “word play" as one of the stylistic features of Bīdel’s poems through content analysis. The results of the research showed that this trick is applied at the level of all kinds of verbs and nouns, and has a very high frequency among the verbs "pull, eat, go" and among the nouns "crispness, water, sleep, passion". Also, Bīdel often uses figures of speech such as ambiguity, amphibology of proportion, exterminated exception pun, poetical aetiology and so on to achieve this goal and sometimes resorts to tricks that are not considered part of the figures of speech, the most important of which are attention to the apparent meaning of the core or the central word in ironic phrases and combinations, and attention to the unconventional meaning of the word.

The literary analysis of manuscript Gharayeb-ol-Asrar by Ghyasuddin Khandmir, the grand child of Mirkhand, author of Rawzat-ol-Safa. He was one of the most famous historians and author of the end of Timurid and beginning of Safavid period. 10th century. The manuscript is about the odd tales of human begins, happenings, places and natural surroundings i.e., cities, seas, rivers, islands, mountains, springs, water wells and is about behavioral patterns of human nature, super natural creatures, jinns, birds and animals of the colorful world. Most of the descriptions and tales use actual referrals from other books or documents. According to the index of manuscripts of Islamic republic of Iran’s parliament, only 3 copies of the manuscripts exist in Iran, that are mentioned in the essay. No critical or correctional analysis of the book has ever been recovered. The style of the writing, with the exception of the beginning is refined and pure verse. Although the author has not intended to use artful techniques of writing, the verse is not so easy to understand and in some parts poetry is also used, particularly in the beginning. The book is dedicated to Moein al Saltaneh Abolnasr Sultan Badiozzaman Mirza by the author. The main objective of this research is method analysis of literary, lexical, syntactical and philosophical levels of Gharayeb-ol-Asrar.

During the Mongol period, due to the special morale of the Mongols, the elimination of the Abbasid caliphate, the weakening of national tendencies, the gradual change of Iran's socio-political conditions and the spread of the historiographical movement, national epics flourished and the order of historical epics flourished. Zafarnameh by Hamdollah Mostofi is the most important historical epic available. It has over 75,000 verses and is divided into three parts (Islamic oath, oath of rulings about the history of Iran, and oath of Soltani about the history of the Mongols). Islam was written until the time of the author. In this article, written in the library method, in order to examine the extent of Mostofi's influence on Ferdowsi and to extract linguistic, literary and intellectual features, this work has been studied and analyzed in terms of stylistics. Out of a total of 75,000 bits of the work, two thousand bits (a total of six thousand bits) were examined. The results show that linguistically and literaryly, this work is an imitation of Shahnameh. Linguistically, the use of Arabic, Turkish and Mongolian words and ancient Iranian words has affected the heterogeneous and non-cohesive structure. From a syntactic point of view, the characteristics of Khorasani style and especially Shahnameh can be seen in it. From the point of view of formalism, similarity, exaggeration, irony and metaphor are seen in the order of order.

One of the elements which has a vital and relatively novel function in the analysis of contentand structure of literary works is motif. The recognition of this device as one of themost common expressions in art and literature is important due to its evoking and recurrent nature. The present study investigates the function and role of motif in the works of several novelists in 1320-1330. Motif has been commonly used in the literary works of this decade. These recurrent elements comprise a major part of most stories. The study introduces some prominent writers of the period; this introduction is preceded bythe description of the social and political conditions of the time. In addition, the functions of motifs are examined in some stories of this decade. The other objective of the paper is to analyzethe process of these meaningful elements, which represent writers' emotions, concerns andworldviews.

Metaphysics has appeared in the Shahnameh, in one of the perspectives, in the form of a conflict between the forces of good (Divine) and the forces of evil (the devil). That is why in most of the stories of Shahnameh, the footprints of one of these forces are clearly visible. The demonic forces that are the subject of the present discussion in the Shahnameh are: the devil, the satan, the demon, the sorcerer, and the dragon. Most of these phenomena can be transformed by relying on the superhuman force and transforming themselves into another and generally desirable form (such as a deceitful woman) and deceiving and misleading the characters in the story. All these phenomena, with all their strength and power, will eventually be destroyed by the hero, who is not without the help of the divine and good forces, and the world will live in relative peace until the next manifestation of these forces. It is noteworthy that as we move from the beginning of the Shahnameh to the historical parts (the end of the Shahnameh), there is a relatively significant change in the type of demonic forces. , for example, In the historical section unlike the mythological and heroic sections, there is no mention of demons, devils, or the daemon, and the dragon, and sometimes the sorcerer, has become the perfect representative of the demonic forces.

The Educated poet land of Iran in the thirteenth-century AH, which coincides with the Qajar dynasty in Iran, as in previous periods, has nurtured many poets. Due to the historical proximity of this period, there are relatively many biography of the poets available to the literary people who introduce the poets of this period. One of these biographies of the poets is Mehake shoara, written by Mohammad Saleh Shamlou Khorasani. Although the poetic style of this period is called return and has defined characteristics, the Mehake shoara biography of the poets provides to the researchers with new information by describing the poetry of thirteenth-century poets. this article introduces the poets of this period and examines the characteristics of this literary period Based on the information that this biography of the poets provides to the readers.

Love is one of the most fundamental themes of Persian mysticism and poetry, and its earthly and heavenly forms in poetry and mysticism have produced excellent themes and beautiful interpretations. In the thinking of Ruzbahan Baqli Shirazi and Salman Savaji, love also holds a high place. As one of the most influential mystics and poets of their time, Roozbehan Baqli Shirazi and Salman Savaji have a keen attention to this divine promise and have taken great interest in expressing religious concepts and mystical vocabulary. This research, carried out by library method, through a descriptive-content analysis and comparative study between Rozbehan Baqi Shirazi and Salman Savoji's sonnets, aims to study the subject of love on the basis of its division into Rozbehan's book To examine the names of these two mystics and poets. The results show that Salman Savaji's poems also show the division of love (found in Ibrahim al-Asheqin). And it is given to man in a glorious and manifest way. The infinite love, eternal and eternal motivation of creation and the supremacy of love over reason are common intellectual features on the subject of love in Abharol-Ashegin and Salman Savaj's sonnets.

Much of the existential style indicators of "death, suffering, fear and sin" exist in the works of Sadegh Chubak. The author tries to portray the ugliness and inequality of society in the eyes of the readers, in addition to depicting the consequences of this injustice. The main research question here is how did the most important indicators of existential style emerge in the stories of "The Stone of Patience, the Entry of the Dead and the Atma of My Dog?" Existentialist philosophy based its analysis of Raber's fate on three fundamental inferences and considered three signs of existence for it. The purpose of this article is to elucidate three existential principles (sensory, moral and faith) in Sadegh Chubak's works. The results show that Chubak's worldview is influenced by philosophers' analysis. As a social writer, Sadegh Chubak has a good understanding of society, its pains and problems. The author's stories are full of themes such as "death, suffering, fear and sin", which is one of the most important concerns of existences. In character analysis of the stories of "The Stone of Patience and My Dog Atma" we conclude that most of these characters do not rise above the solitude of moral and existential existence, and do not reach the stage of faith existence. Experiences faith.