مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 72 (اردیبهشت 1401)

One Thousand and One Nights is one of the ancient and classical Persian texts that in terms of its breadth of content and its references to simple yet profound concepts that have been of concern to human beings throughout history, has been the subject of discussion to this day. The content and conceptual diversity of this work has given rise to the most extensive literary, theological, philosophical and symbolic discussions of this work. But one of the concepts that may not have been well received is the issue of human metamorphosis based on magic and in order to turn in this great work. The purpose of this article is to investigate the role and function of the element of magic and its relationship with rotation in the stories of One Thousand and One Nights.

This research has been done with a descriptive-analytical approach and using the library data collection method.

The concept of magic has long had a special place in the narrative literature and mythology of nations. In these stories, especially the ones that project the idea of ​​human metamorphosis in a completely imaginary way, an approach to the rich capacities of imagination in opposition to natural phenomena is conceivable.

In the stories of One Thousand and One Nights, the strong presence of the concept of magic has caused narrative suspensions and sometimes unravelings. Also, the structural process of concepts such as magic and wandering in One Thousand and One Nights shows them in their interaction with the world of myth, rather than meaning them in the construction of myths.

The world of mystical beliefs is based on the knowledge obtained from vague and internal intuition and sensory experience that conventional knowledge and language are not able to express. A hint of knowledge - not descriptive and inexperienced - that is gained through experience. Since the advent of the Qur"anic sciences and even before that, religious scholars, commentators, theologians, orators, parliamentarians, dervishes and Sufis have been well acquainted with the methods of cryptic expression. The most important indicator of the mystic"s thoughts and beliefs is reflection on language, and for this reason it is of special importance. In Persian, many mystics and Sufis have undertaken mystical interpretation of the Qur"an in order to achieve a deeper and more artistic understanding of God"s word, and during this period, various types of interpretation have been formed, one of which is the mystical interpretation of Kashf al-Asrar Meybodi. In this research, the third time of mystery discovery has been discussed from the perspective of layers and cryptographic networks and layers, and based on Roland Barthes cryptographic pattern in three hermeneutic, semantic and symbolic layers, the mystical features of mystical interpretation of mystery discovery in The third turn is analyzed.

This study was a descriptive-analytical study in the form of library studies.

In the third turn of Kashfil al-Asrar, Meybodi is a kind of hermeneutic, semantic and symbolic cryptography is an attempt to mystically interpret the verses of the Qur"an.

Most of the interpretation of Kashfil al-Asrar in the third turn is allusive and symbolic; In other words, Meybodi in this section tries to explore certain aspects of the message of the word in its underlying layers, which are closely related to literary and coded speech. Meybodi engages with the hidden meanings of the word with the help of various hermeneutic, semantic and symbolic codes.

Rumi (Mawlānā) is a mystic who has discussed the subject of man and perfect man comprehensively. In his poetry, he introduces a touchstone for being complete and becoming complete. Having contemplated the spiritual life of man and ways to direct him toward perfection, Rumi has gained a great status in Islamic and Iranian mysticism.

The present article attempts to compare the major theories of perfection in psychology with Rumi’s Shams Sonnets through an analytical descriptive method and then juxtaposes Rumi’s idea of perfect man with that of psychologists, including Allport, Moslow, Rogers, Frankl, Fromm, Jung, and Perls.

The results show that bearing the problems, overcoming the crises, caring for others’ needs, and fellowship are of the commonalities that the so-called psychologists and Rumi share regarding the process of perfection. Jung and Fromm’s ideas, each with 29% and 22%, are the most similar and Perls and Rogers’s ideas, each with 4% and 7%, are the least similar to Rumi’s elements of reaching perfection.

Rumi has addressed the content of perfect man in the context of Iranian mysticism and has maintained a personal psychological view toward man and the process of perfection in The Works of Shams and this makes him analogous to the psychologists, such as Moslow, Jung, and Fromm.

The Chashtiyeh cult is one of the most important Sufi dynasties in Iran, Afghanistan and India. Amir Ropoush"s book Tafsrat al-Ramuz is one of the works of the greats of this dynasty in the 11th century and a combination of poetry and prose. The Masnavi mentioned in this book is of special importance for the Studying of Persian poetry in the chashtiyeh cult. In this article, while introducing the unique version of the book, the linguistic and literary features of the Masnavi of Tafserat al -romooz have been studied.

This article is fundamental and theoretical type, and has been written in a descriptive-analytical method with the help of library and filing tools. The verses of Masnavi"s Tafsrat al-Ramuz is 1277 and We got it statistics.

According to the findings, One of the most important intellectual features of Tafserat al-Rumuz"s Masnavi is Paying attention to the oneness of God and vahdate vojud, The guide"s relationship with God, Excessive use of mystical and philosophical terms, and used the Lyrical themes. The main stylistic features of this text is abbreviating phoneme and syllable in Phonetic level and Excessive use of Arabic words, Make original phrases and use pun, balance and leonine verse. as well as the most important literary features of Tafserat al- romuz"s Masnavi is High frequency of simile, Makniya metaphor, metaphor in verb as well as Use different types of word repetition (row, Tashaboh al-atraf, Tard va Aks, Anaphora).

Although some of these Masnavi have been composed in different rhythm, their stylistic similarities show that the author herself composed these poems. These Masnavi are of special stylistic importance Due to The most important stylistic features of these Masnavi are the use of dynamic and moving images, rich music, repetition and making original compositions.

Religious epics are considered as a subset of historical epics in terms of subject matter, and the oldest of them is the poem "Aliynameh", the poem "Rabi". This article examines the stylistic features of this work in three areas: linguistic, literary and intellectual.

This article is based on library studies and has been done in a descriptive-analytical manner.

The epic-religious poem Aliyameh was written by a poet with the name or nickname "Rabi". This poem is in the convergent sea in 11220 verses and in the subject of Manaqib and Maghazi Ali ibn Abi Talib in the war with Naqsh and Qastin. According to the text of the book, he was born in 420 AH. Sadat Asr, meaning "Ali ibn Tahir Arizi" from Sadat has dedicated the area. This poem was introduced to the literary community of the country in 2000 by Shafiee Kadkani.

The stylistic coordinates of this work are linguistically the same as the coordinates of ancient Persian or Khorasani style. Literally, this system is a treasure trove of words that are abandoned today. Also, due to the special subject of the system, there are Arabic words with considerable frequency. At the literary level, the most obvious imaginary forms and literary industries are exaggeration and simile. In making metaphorical and metaphorical images, tangible and material elements such as natural and animal factors have been used. In the content section, most of the themes of this poem are based on religious themes, especially the propagation of the Shiite religion. The poet of this poem, although describing the battlefields of Arab heroes, due to his attention and belonging to Shahnameh, often imitates Shahnameh in various forms and even words and expressions that indicate the reference to ancient Iran and the cultural context of Shahnameh, has entered in his work.

Prayer has a special place in all human cultures, religions and sects of the world and its effect on the human psyche and peace is certain. The poets of Persian literature, as the possessors of gentle and sensitive souls, have included in their verses, sweet and pleasant prayers, which is one of the deepest parts of their works. In this article, we have examined the prayers in the spiritual Masnavi with emphasis on the impact and contribution of the subject of love in the prayers of this work.

This article is based on library studies and has been done in a descriptive-analytical manner.

The subject of prayer is scattered in six books of Masnavi, the frequency of which is higher in the second book. Most of Rumi"s prayers in Masnavi are non-romantic and in the language of fictional characters and are in the service of teaching and counseling. They teach the principles and etiquettes of prayer and are basically in the position of educational literature. Expressed in the language of Rumi himself, they are in the position of lyrical literature.

Prayer in Masnavi is divided into three categories: educational (request), pure (romantic) and annihilation (God Himself). In prayers and educational anecdotes, the characters of the anecdotes pray to meet their needs, but in pure (romantic) prayers, the expression of needs is less seen and the prayer with the god is seen in the form of love and friendly and two-way conversation. In the prayer of annihilation, the worshiper of love becomes mortal in the presence of God, and in this position the one who prays and the one who answers the prayer becomes one, and that is God himself, and that is why Rumi also attributes prayer, worship and supplication to God. 

The unknown epic-historical Masnavi of the Turmoil of India describes a tragic war of power in the Great Mongol dynasty in the last years of Shah Jahan"s life based on objective observations and the honest narration of the Persian poet Beheshti Shirazi.This epic is one of the literary works of historiography in the Indian subcontinent combinated of narrative historical and literary narrative by a poet aware of historiography and literary techniques. This study tries to answer the basic question of what are the most prominent stylistic and content features of this work at the phonetic, lexical and rhetorical levels which has been hidden from the view of other scholars. The poet"s attitude towards historical events is analysed too.

This descriptive-analytical study was conducted by referring to existing sources and other sources related to the life of Beheshti Shirazi and the stylistic and content characteristics of the Turmoil of india

The research findings show that Beheshti, by mastering the knowledge of the time, familiarity with literary techniques, attending the court of Shah Jahan and directly observing of the historical events of the end of this powerful king and plecise analysising of the events, has composed a coherent narrative of an important and sensitive part of Indian history. He has been presented in 17 events with a smooth expression the beautiful descriptions and illustrations to the readers. Also, the end of the narrative of this sad battle of fratricide is the compilation of instructive advice based on historical documents.

Easy way to avoid, difficult writing,coherent combination of narrative history and literary narration,increase of verbal music in the form of using nominal rhymes compatible with epic language and epic words in rhyme,weakening the strength of epic language by using the verbs in exding syllabes, low frequency of semantics resulting from phonology, creating formal unity and harmony of words using repetition and punctuation,success in meaningful choices of words and epic combinations and lexical appropriateness, lexical coherence and stability,use of description in the horizontal axis and Vertical storytelling,narrative and descriptive characterization a direct and indirect way,use of pictorial tools of tangible similes, metaphorical metaphors, illustrated exaggerations, documentary allusions, mythical allusions,mystical and epistemological style,Ethics, orientation and depiction of human character and advice are the most central features of the style and content of this Masnavi.

The weekly story system is the fourth work of Hakim Nezami Ganjavi, a talented poet of the sixth century AH. The main subject of this work is the life story of Bahram Gore, from his birth to his disappearance, along with the various stories that are included in it, and among these stories are seven legends that are told in the language of the seven princesses. In this research, with the aim of showing military skills in storytelling, the issue of "narrative speed" in this collection of poetic stories has been investigated.

This research has been done in a descriptive-analytical manner.

The study of the speed of narration is to show how long the events and actions of the story occur in a literary work and how much of the story is assigned to them according to each time period.

The speed of narration is moderate in the whole system and the components of increasing and decreasing the speed of narration are used in a balanced way. Although a number of slowing factors are more in some stories and less in others, due to the artistic aspects and poetic language of this lyrical system, the artistic pleasure of reducing and increasing the speed of narration has helped to balance and moderate the story.

Razeq Fani is one of the prominent poets of contemporary Afghan poetry who, unfortunately, like most of his compatriots, is not well known in Iran. A comprehensive analysis of Persian poetry in Afghanistan is one of the relatively neglected areas in our literary community. In this research, which has been carried out with the aim of recognizing the stylistic features of Raziq Fani"s poetry, an attempt has been made to introduce the great Afghan poet to those who are interested by presenting examples of Fani"s poetry. Also, identifying the position of Razegh Fani as a contemporary poet of Persian literature is one of the objectives of this research.

The present study is a theoretical study. Its data were obtained by library method and were done in a descriptive-analytical way and by presenting statistics. The study area is a collection of poems by Raziq Fani, published in Kabul by Hafiz Shariati Sahar. Razegh Fani"s classical poems have been stylized on three levels of language, literature and thought based on the method of Sirus Shamisa.

The most prominent linguistic features of mortal poetry are the use of slang words, ancient words, types of repetitions and novel rhymes. Its literary highlights include the high frequency of the method of proportionality, types of metaphors, new similes, types of irony, symbols, proverbs and allusions. The most important intellectual characteristics of mortal poetry are: love for the homeland, separation from the homeland, social pains and worries, grievances, protests and criticisms, problems and troubles of the land of immigration.

From the studies done, it can be concluded that Razegh Fani is a master poet who is completely proficient in the principles and rules of classical poetry and is familiar with different angles of Persian poetry and literary traditions.

The form and content of any literary text have a direct effect on each other, so that they can not be separated. Depending on the point of view of the author or poet, the form or content can overcome the other and change the meanings of the text. Attar Mokhtarnameh is one of the texts that has many contents despite the common form and format of the quatrain. Understanding these various contents requires classification and stylistic view, in order to achieve the content and semantic style of these quatrains by analyzing them. Accordingly, in this article, an attempt has been made to analyze the contents of this work in the quatrains with a stylistic approach and considering the content of the quatrains of the mandate. In this research, the themes of Attar"s quatrains have been extracted and analyzed.

The research method in this study is to analyze information based on qualitative research with a stylistic, descriptive and analytical approach. The purpose of examining the themes is to deal with meaningful and repetitive themes of a concept that organizes both the content of the literary text and the form and aesthetics of the work.

Attar"s quatrains can be superior to other quatrains"s poems in various ways, including pure moral and mystical concepts that will never lose their novelty.

Mystical, didactic, philosophical, Khayyami and romantic themes are the most important themes of this work which include themes such as monotheism, astonishment, self-cultivation, death and discredit of the world, Qalandariat and divine love.

Mr. Gil"s Magnificent Smile is a play by Akbar Radi from the 1960s. The play, which refers to a period in Iran"s contemporary history, depicts the life of an aristocratic family after the implementation of the Land Reform Law. By portraying characters with many psychological crises, Rady depicts the plight of the feudal class at that point in history. In this study, the function of dialogue and characterization in depicting this crisis and unsettled situation is examined and the purpose of this study is to ask how the author has been able to represent different aspects of the life of declining feudalism using these two elements.

Leading research is a theoretical study that is done in a library method and descriptive-analytical method. The study area is Mr. Gill"s magnificent smile play, taken from the book On the Blue Stage (Volume, Volume 2, 1950s, Second Edition, (First Edition: 2003), pp. 7-146: 139 pages), which is by Drop Publishing has been published.

Authoritarian and rebellious temperament, pride and arrogance, eloquence and eloquence, contempt and resentment towards other members of the family, and a completely degrading view of the subject from above, are the characteristics shown through dialogue between the characters. The conversations are long and evenly distributed between the characters; This means that the author speaks the language of all his characters, according to the subject, and provides an opportunity for the reader to get to know him and make a more accurate judgment of the character. Children have achieved a kind of individualism or individual autonomy by obtaining a university education in Western universities and having a socially worthy position in terms of employment, and their relationships have been in crisis not only with their family members, but also with society. At the heart of the characters" moods in this play is pride and a sense of revenge. Each character displays these characteristics with his words, which are full of pride, arrogance, contempt and resentment towards the other. This mood is repressed desires that have become entangled and lead to selfish behaviors and sometimes far from reason and humanity. Almost all children wear intellectual masks using English and French words, long philosophical dialogues, reading Forough"s poems, and eating Western food. It"s nothing, it falls.

The reform of the land ownership law, as part of a modernization program in the Second Pahlavi period, was an event that brought about far-reaching social and political changes for the country. One of the consequences of this law was the decline of the landed aristocracy. Mr. Gill"s glorious smile reflects the life of a family of this aristocratic class. By creating appropriate dialogues with the spirits and temperaments of the characters, the author seeks to reflect the deteriorating mental and psychological state of the feudal lord during the implementation of the land reform law in Iran. Identity crisis is the most important issue that is represented in this play as one of the consequences of the implementation of this authoritative law, and it itself causes other immoral behaviors such as selfish attitudes, cowardice, lack of empathy of family members with each other. The contrast between tradition and modernity and patriarchy has been reversed.

"Hussein Ibn Hassan Rudsari Gilani" with the pseudonym "Faregh" is one of the unknown poets of Iran in the tenth century and the early decades of the eleventh century in the field of composing religious epics. In this article, while briefly introducing this precious poet and the Fareghname court, we intend to examine the stylistic and content features of this version from three intellectual, linguistic and literary perspectives.

The present study was based on the documentary method (library) and on the direct study of graduation verses. To conduct this research, we have extracted the stylistic features, the content of the dissertation in detail and point by point, and we have presented them briefly and usefully.

The Fareghname, like other religious epics of the Safavid period, is a mixture of reality and myth, which, of course, sometimes has a narrative and poetic fantasy aspect superior to reality; Although the existence of Imam Ali (as) is a real thing in these stories, but such scenes have never happened to him and such wars have not been witnessed by history. The lands in question are also unknown in the Fareghname.

The Fareghname system, despite having weak verses full of verbal and spiritual flaws, is a favorite book of the religious community. Among the poetic features of this poet is the extensive use of novel industries in the field of novel words and spirituality, among which; Puns in the realm of inner music, similes in the realm of spiritual music, are the most frequent literary arrays. Another feature of this manuscript is the use of current rows; In such a way that a large part of the poems of the court are dead. Rhyme flaws are also common in the Fareghname system. Among the most important intellectual themes of this book, we can mention such things as: "Mythical principles and beliefs, moral thoughts, religious thoughts, praise, prayer and astronomical terms".