جستجوی مقالات مرتبط با کلیدواژه « دیوان شعر » در نشریات گروه « علوم انسانی »

The written works of any nation are one of the most valuable national and cultural heritages of that nation. Therefore, introducing and correcting them is actually honoring the national identity and that is what the credibility and cultural greatness of our nation depends on. One of these manuscripts is the manuscript of Divan Mulla Mohammad Khaki Soleimanieh. The purpose of this research is to introduce this manuscript and examine its stylistic features from three perspectives: linguistic, literary and intellectual.

This research was done based on library studies and descriptive-analytical method. The method of correction is a critical method based on which several versions are compared and compared.

The language of Khaki's poetry is simple and fluent and has no complexity. He has used all kinds of puns and repetitions for the beauty of his poetry. Khaki pays attention to imaginary forms and simile can be considered the most prominent imaginary forms in his poetry. In addition to creating verses that include love on the earthly and heavenly levels, the poet has also expressed religious, mystical, educational, critical, praise, etc. issues.

Covering the ground in Persian and Arabic language and including verbal and spiritual ornaments is one of the advantages of his poetry. Among the commonly used weights in his court, the most frequent ones belong to Ramal and Hazaj. At the literary level, simile, metaphor and allusion stand out. The praise of the Almighty and the mention of monotheism, the saying of the Holy Prophet (PBUH), advice and admonitions, the superiority of love over reason, and mystical terms such as death and survival form the intellectual structure of this divan.

Mohammad ibn Yusuf Ahli Shirazi is one of the poets of the 9th and 10th century AH whose poetry is similar to the Iraqi style. He is definitely one of the poets of the Shia religion, who has praised the imams of Athar many times in his poems. The stylistic analysis of his poetry as a poet at the end of the Iraqi style and the beginning of the Indian style is important from a literary point of view. In this regard, the aim of this research is to analyze his poetry on three levels: linguistic, literary and intellectual.

In this research, using the "library" method of collecting information, firstly, the Divan of Ahli Shirazi"s poems was carefully studied and appropriate and desired evidences and examples, which showed the stylistic features of his poetry in three levels: linguistic, literary, and they show an idea, it is noted. In the following, based on the descriptive-analytical method, these evidences have been analyzed. It should be noted that the version of Diwan Ahli Shirazi corrected by Hamed Rabbani (1965) is the basis of this research.

The poetic language of the Shirazi people is simple and fluent, and the characteristics of the old Persian language are rarely seen in it. Also, there is no mention of heavy and uncommon Arabic words in Persian language in Ahli"s poetry. From a literary point of view, similes, especially detailed similes, eloquent similes, and eloquent similes are the most frequent rhetorical techniques in his words. Puns and phonemes are at the top in the verbal industry. Another characteristic of Ahli poetry in the literary layer is the diversity of using rhetorical techniques. Also, "love" is his main symbol, especially in his sonnets. Sometimes the themes of Qalandari"s mysticism can be seen in his poems, which does not have a significant frequency, but it is another telling of his personality and thoughts. In his quatrains, he is close to Khayyami"s thought and emphasizes the brevity of the world, seizing opportunities and happiness. One of the other important aspects of Ahli"s poetry is dealing with Shia themes and praise and praise of Shia imams, or writing elegies for them, especially in the mourning of Imam Hussain and the events of Karbala.

In general, it can be said that Ahli Shirazi"s poetry is significant in terms of dealing with various subjects and themes, from earthly love and male lover to Sagiyeh poems, Qalandari mysticism, religious and Shia themes, and the events of Karbala. Also, simple language and clear rhetoric, far from complexity, are other features of his poetic style.

Shab al-Zarif is one of the Syrian Arabic-language poets of the Mamluk period who was very skilled in the use of various genres and literary arrays. Among his beautiful and interesting arrays are four arrays: Hasan Tahir, Hassan Khatam, Hassan Tafam and Hassan Talil. In the present research, these four literary virtues in Shab al-Zarif's Diwan are examined from the aspect of aesthetics. The author of the present essay has done it in a descriptive-analytical way and based on library studies and has come to the conclusion that Shab al-Zarif has used the four literary virtues: Hassan Tahir, Hassan Khatam, Hassan Tafam, and Hassan Talil in a very artistic way. These merits, Hasan Talil compared to other cases, due to being accompanied by expressive arrays such as similes and metaphors, are among the imaginative and imaginative forms of rhetoric. By taking advantage of these literary qualities, Shab al-Zarif has increased the grace and prosperity of his speech after establishing his speech and meeting the needs of the audience, and has finally attracted the attention of the audience.

During the Timurid period (771–913 Lunar Hijri), Shiite teachings became more widely spread as a basis for the Safavids' recognition of Shiism in the next century. The Timurids' inclination towards Sufism, which is the doctrine of tolerance of their beliefs, has had a great impact on this approach, while the existence of Shiite poets has increased the growth of this phenomenon. The role of Shiite and Sunni poets in the emergence and spread of Shiite beliefs is the question of this historical research. Findings based on statistical analysis and analysis of poems of several Shiite and Sunni poets in the Timurid period identified that in this period, Shiite poets, by composing Poetical works full of Shiite beliefs, praise, and care of the Twelve Imams, observed politeness and tolerance towards Sunni beliefs and Sunni poets by composing many poems in praise of twelve imams and the minimal praise of three caliphs, having an influential role in the emergence and consolidation of Shiite beliefs and the spread of that religion. It seems that the writing of correct poetry by the Shiite elders was considered a sign of grace and lack of work in this regard, a sign of the poet's lack of skill, and it resulted in the general lack of popularity of the poems.

Punishment is one of the most important literary techniques and verbal arrays that increase the music of poetry and its beauty. Given the importance of this industry in the field of poetry and literature and its impact on the beauty of poetry, the present study is dedicated to examining the beauty of puns in the poetry of one of the most powerful Arabic-speaking poets of the Syrian land named Shab Al-Zarif; Because this poet wrote pleasant and delicate poems and was very skilled in using all kinds of novel crafts to the extent that his poems were accepted by the literati. This research has been done in a descriptive-analytical manner and based on library studies. The result of the research shows that Shab Al-Zarif has used all kinds of puns in expressing his desired concepts and themes. He has used this array in different ways and in a very beautiful and desirable way in his divan and he has been very successful in this field. The use of this array has also had a great impact on the melody of the poem, the rhythm of the words, the strength of the link between word and meaning, increasing the musical aspect of the poem and finally attracting the audience.

Aref Sanandaji was one of the anonymous poets of the Qajar period and a contemporary of Nasser al-Din Shah. It is kept in Sulaimaniyah, Iraq. He has lived in Sanandaj and Talesh city in Gilan province for many years. In this article, by introducing a copy of his poetry collection, an attempt is made to examine his poems from the perspective of stylistic levels.

The research has been done in the form of a library and the version of the poet's divan is the statistical population of the research.

An examination of the stylistic features of the divan shows that the poet has used a variety of Persian poetry weights., The use of current short and long lines and questions, as well as the appropriate and timely and poetic use of literary industries in the field of rhetorical and spiritual novel. At the literary level, it is full of literary arrays and arrays of simile, metaphor and allusion are the highest There are mystical and Sufi themes in the intellectual coordinates.

According to this study, it should be said that Aref is one of the most prolific poets of the literary return period who follows the style of speech of great poets before him in his poetic style. And morality has paid more attention.

Comparative literature is a branch of literary criticism that studies literature and other cultural manifestations between linguistic and literary boundaries and examines the similarities and differences between them, and opens new intellectual horizons to nations beyond political and cultural boundaries. After the formation of the romanticism school in France and the expansion of the relationship between French poets and writers with Eastern literature, many common horizons emerged in the thought and speech of Iranian and French poets. Parveen and Andrezhid are among the great writers of Iran and France, and looking at the common themes in their speech, we get the general result that despite the distance between them, how much can there be the sameness in their thoughts, style of expression, theme and content of their works. Before and more than being able speakers, they are teachers of ethics who seek excellent examples of ethics, life and human society in different human aspects. Etsami, to examine the compatibility of words and thoughts of these two artists.

Paradox is one of the literary tricks that is present in oral speech, philosophy, logic and even areas of human life, and it is a poetic combination of two words that have a contradictory meaning and seem intellectually impossible. In literature, this trick is one of the beautiful verbal arrangements that its beauty factor is in the astonishment that it creates in the mind of the audience. Khajoo Kermani is one of the powerful poets of the eighth century AH who has used this paradox very artistically in conveying concepts and themes; Therefore, the present study is dedicated to examining the paradox in Khajoo Divan. The method of this research is descriptive-analytical. The results show that Khajoo Kermani in his poetry collection looked at these paradoxes as one of the literary and poetic tricks and considered them from different angles and used various techniques in expressing these contrasting elements. And has provided the means to highlight his word.

Literature, especially poetry, is one of the important elements of a nation's culture. Customs, beliefs, convictions, and in a word, all human social habits, are the theme of poets' themes, and to recognize these elements in different periods, Poetry Divan is the best source that is more honest than history, social, political, economic and cultural changes. Haji Mohammadjan Ghodsi Mashhadi (1056-990 AH) is one of the great and less known poets of the Indian and contemporary style of the Safavid dynasty, whose image of the society of that era has a brilliant appearance in his poetry collection. This article has been written with the aim of gaining the image of Iranian society in the Safavid period, the poet's divan on the topics of funeral rites and mourning rituals, feasts and celebrations, beliefs and superstitions, games and entertainment, punishment and torture, and occupations.

Collection of materials and its organization in this research is a library method. The method of research is descriptive-analytical.

Ghodsi has used social issues and affairs in a wide and varied way in order to depict and thermalize in his poems.

By studying the sociology of the Holy Divan of Mashhad, a lot of information can be obtained about the social and cultural issues of the Safavid era. Among the cases examined in his speech, the manifestation of jobs and then the ritual of burial and mourning is more than other cases. This can be attributed to the prominent manifestation of social jobs in the Safavid period compared to previous periods, and the death of the young holy son.

One way to get acquainted with the common arts of each period of history is to study the great literary works that have survived from that time. Among the present literary texts, the Divan of Haji Mohammadjan Ghodsi Mashhadi, a poet of the 11th century AH, is a contemporary of the Safavid dynasty, whose popular art of this era is widely reflected in his poetry.The era of flourishing Iranian art is in the Seljuk and Ilkhanid eras and reaches its peak in the time of the Timurids. However, the concentration and integration of the Safavid state organization caused all the arts to flourish, and for this reason, the types of arts in this era grew significantly in quantity. The Safavid government has been considered as a superior power in the field of politics, culture, economy and even art due to its religious authority and the confrontation of the great Shiite power with the Sunni government of Ottoman Turkey.In this article, an attempt is made to analyze the arts that were popular in the Safavid era, such as music, painting, calligraphy, book design and architecture through the Holy Divan of Mashhad.

Catalog of Iranian Handwritten works(Dena) and Catalogs of Iranian Manuscripts (Fankha) are two large collections for identifying manuscripts in Iran by various authors in various fields of science. One of the philosophers mentioned in these two books is Mullah Rajab Ali Tabrizi. In Dena (new edition) six works and in Fakhna four works have been attributed to Tabrizi. The main issue of this article is the validation of the attributions given to Tabrizi in these two books. Therefore, according to the manuscripts, catalogs, and biographical books and memoirs, an attempt has been made to carry out this validation. The purpose of this article is to show the position of the manuscripts attributed to this philosopher and on the other hand to correct the mistakes that have been made about Tabrizi in the catalogs.  The conclusion reached by this article is that the authors of both books in mentioning the list of  Tabrizi books and their description were not careful and in most cases trusted other catalogs. Hence, other catalog errors are also included in these two books.

Ray Ryan Anandram Lahori (1107-1164 AH) nicknamed Mukhles is one of the prominent Persian writers and poets of India, in the twelfth century AH, who has left valuable works of poetry and prose. Among them is a manuscript of his Divan, which is kept in the Reza Rampur Library of India, No. 3699. One of the characteristics of this Divan is that it is a poet in its own handwriting, and the other is that the poet has reread it and, in addition to adding 96 lyric poems to it, in many places, when reviewing, he has written one or more words and lines or verses. And has transformed them into another form. In this research, after introducing the manuscriptology of this handwritten copy, we have examined the sincere manipulations in this manuscript from his Divan and have given some points about them.

One of the prominent categories in the divan of Faiz Kashani , is the concept of pain and pleasure. Faiz, regards the transcendental and sublime pain as the transformation conversion and sublimation of physical attributes into spiritual attributes, which make it an internal flourishing and perfection of man kind. On the contrary , and gesia and virtual enjoys cause the mental and psychological imbalance, the bandit of remaining pleasures and ultimately causes the ruin, and waste of life. This article deals with the cincept of pain and pleasure in the Divan of Faiz Kashani , and also a course in the epostemic decoding of pained mystic about the importance of pain in path, the source of pain and pleasure, all sorts of pain and pleasure and Etc, and that human beings, through the rejection of the pain of the downfall, and the virtual and wordly pleasures,must bring real pain and burning within, to achieve true and lasting pleasure, which is the pleasure of joining and meeting God.

During the Mashroteh era and thereafter, many poets in the land of Bakhtiari have participated in the field of poetry and literature, many of them have mastered Persian language and literature and they have written works in the Persian dialect and they have also presented the works in the Bakhtiari dialect. Meanwhile, a number of Bakhtiari poets have particularly devoted their poems to the Bakhtiari dialect. One of the most prominent forerunners of Bakhtiari poetry in this era is Molla Zolfali Bakhtiari, whose work marks the beginning of a major revolution in contemporary Bakhtiari dialectic poetry. Molla Zolfali Bakhtiari is one of the pioneers of Bakhtiari dialect poetry before DarabAfsar. His poems in the original words of Bakhtiari indicate he was proficient in the Bakhtiari dialect. Molla Zolfali has two important works and some scattered poems - "Mearajnameh" and "Hadith of Kasa" which show the poet's authority and ability in the Bakhtiari dialect. He has written "Mearajnameh" in ascension of Prophet Muhammad (PBUH) and in favor of Bakhtiari’s Lore people and "Hadith of Kasa" in praise and greatness of the Prophet's family and Imams. Considering Molla's important role in writing poetry (Bakhtiari) and showing his position in this field, this article introduces the poet and it deals with the poet's opinions and his major thoughts on poetry. This research is descriptive-analytical and it is based on library resources.

Belief in prophecy is one of the principles of the religion of Islam. Faithful scholars have shown the qualities of the Prophet, Timmans and his joy for the emergence of beliefs and proximity to the prophetic tradition and persuading them to obey the carnal messenger. Sayf, a mystic poet of Ferghana's profession, is familiar with the deep moral, religious, and historical events of the Prophet's epoch and, with particular attention to the sources of the souland interpretation, with a comprehensive and artistic expression, has drawn the great events of the life of the Prophet into the field of purification and erosion. The image that he presents in Khatamalanbine's style expresses the deep devotion of this well-known poet to the Prophet Mohammad. In these lines, poetic evidence is extracted from the image of the Messenger of Nikki from the Divan Saif Farghani and descriptively-analytically, in terms of individual and social characteristics, attributes, titles,miracles and... Examined and categorized .

Ma› an-Nabi wa Ᾱleh Divān, written by Seyyed Muhammad Jamāl Hāshemi Gulpāygāni, is of particular importance due to its content and its focuse on Ahl al-Bayt›s virtues, and monodies. Hāshemi Gulpāygāni is really famous among the Arab poets because of his poem Bent ol-Khulood which was composed in the grace of Hazrat-e Zahra. Most of his poems which are included in this Divān are used by Maddāhs in Imams› births and mourning ceremonies. In the following article,
the author tries to make the readers more familiar with this book and its poet. Regarding this, he first provids a brief account of Hāshemi Gulpāygāni›s biographies, his literary works and manuscripts. Following this, He is going to introduce his Divān and also mention some of its odes. Therefore, he has discussed the cultural, literary, social, and political aspects of poet›s personality here.

Motenabbi and Saeb are two famous poet and philosopher and their divans are full of ethical and philosophical concepts. These concepts are continuously in interaction with between Arabic and Persian poets by citing the relationship between two languages. Since the frequency of simile's application in both works can be seen a lot, the present paper tries to study their divans comparatively and comes to the conclusion that Saeb were more successful in applying the similes than Motenabbi and this is because of his creativity in applying unique and beautiful similes and metaphors.

Sheikh Hamza bin Ali Malek Esfarayeni is a poet of the nineteenth century AH. Sheikh Azari was born in Esfarayen and spent several years in his life in India from 832 to 836 in the courtyard of the kings of Dehkan. Of Sheikh Azari's Divan, there are five copies in the libraries around the world, the oldest and most authentic version is the Royal Library of Copenhagen in Denmark. This edition is worthy of value for correctness in recording and editing, as well as proper maintenance, and has a major role in correcting Sheikh Azari's divan. In this article, we have tried to examine the formal and writing features of this unique handwritten. Because this edition has been recorded in the poet's lifetimes, it can be counted as one of the best manuscripts of Sheikh Azari's Divan in terms of the authenticity of recording and editing. The study of the religious background of Sheikh Azari as well as his tendency to Sunni religion is based on this version.