جستجوی مقالات مرتبط با کلیدواژه « اشعار عربی » در نشریات گروه « ادبیات و زبان ها »

Jalāl al-Dīn Moḥammad Balkhi explains some outstanding artistic forms and special mystical themes in the form of Arabic poetry as the expression of Mathnavi teachings. This research examines the linguistic and literary aspects of this type of poems through the study of all-Arabic verses and stanzas of Mathnavi and it shows the amount of innovations in their structure and through Arabic poems, he pays attention to the most important purposes of Rumi in the presentation of themes. The aim is to analyze the artistic standards of Arabic poems, the heresies of Rumi in the structural domain of these poems and the quality of explaining the concepts considered by him to express the content. In order to know about the necessity of the existence of Mathnavi Arabic poems, the method of combining Arabic verses with Persian verses was studied in the method of content analysis and with an aesthetic approach. For this purpose, 123 verses and 99 stanzas were examined in six books of Mathnavi. The results show that in some cases it is not possible to express the meaning except in Arabic. The main reason for this, apart from criticizing the character of the grammar scholars, departure from the normal norms of language, the fusion of Rumi's thoughts and findings from Arabic and Persian sources, the creation of multiple meanings in a new form and the deepening of mystical experiences through the creation of a special Mathnavi language. On this evolutionary path, certain linguistic priorities occur in construction and form. In this regard, Mevlânâ does many creative things to deepen the foundations of Mathnavi thought and in this way, it smooths the uneven path of expressing Mathnavi themes in conveying its various purposes.

One of the rhetorical aspects of the Holy Quran is the special phonic and musical components in the Language's Form of Quran that with its distinctive features, it has created a special musical rhetoric within The language's context of the Quran. This rhetoric is not only related to auditory aspects but also has a close connection with the generation and transmission of meaning in the verses of the Holy Quran. So that it has given a specific form to the language of Quran in such a way that it cannot be classified as a poetic words or fall under the common elements of prose. The musical aspects within the context of Quran's language have been a longstanding subject of interest among rhetoricians as a rhetorical model. Among these, in the Arabic verses of Saadi's poetry, a significant manifestation of the influence of the rhetorical and musical components of the Quranic language can be observed. The influence of the musical rhetoric of the Quran on Saadi's literary creations has not received much attention in the studies of Saadi's works. In this article, in order to explain the musical impact of the Holy Qur'an in Saadi's poem, we examine the different aspects of the rhythmic and musical impact of the verses of the Qur'an on Saadi's Arabic poems. The results of the article show Saadi's various techniques in using different aspects of the musical rhetoric of the Quranic verses in his poems, as he has used the musical capacities of the Quranic verses in different positions of the inner, side and external rhythm of his poems. These methods, in addition to revealing Saadi's insights into the subtle layers of the musical rhetoric of the Qur'anic language, show his remarkable genius in the artistic use of the musical rhetoric of the Qur'an in different rhythmic levels of his poems, without One of the rhetorical aspects of the Holy Quran is the special phonic and musical components in the Language's Form of Quran that with its distinctive features, it has created a special musical rhetoric within The language's context of the Quran. This rhetoric is not only related to auditory aspects but also has a close connection with the generation and transmission of meaning in the verses of the Holy Quran. So that it has given a specific form to the language of Quran in such a way that it cannot be classified as a poetic words or fall under the common elements of prose. The musical aspects within the context of Quran's language have been a longstanding subject of interest among rhetoricians as a rhetorical model. Among these, in the Arabic verses of Saadi's poetry, a significant manifestation of the influence of the rhetorical and musical components of the Quranic language can be observed. The influence of the musical rhetoric of the Quran on Saadi's literary creations has not received much attention in the studies of Saadi's works. In this article, in order to explain the musical impact of the Holy Qur'an in Saadi's poem, we examine the different aspects of the rhythmic and musical impact of the verses of the Qur'an on Saadi's Arabic poems. The results of the article show Saadi's various techniques in using different aspects of the musical rhetoric of the Quranic verses in his poems, as he has used the musical capacities of the Quranic verses in different positions of the inner, side and external rhythm of his poems. These methods, in addition to revealing Saadi's insights into the subtle layers of the musical rhetoric of the Qur'anic language, show his remarkable genius in the artistic use of the musical rhetoric of the Qur'an in different rhythmic levels of his poems, without having followed the path of artificiality in this work. followed the path of artificiality in this work.

The most important and most frequent language and aesthetic features are the issues which are mostly studied in style features of a literal work. However, finding the reasons to use a language trick, aesthetic elements or a specific way of expression can represent valuable aspects of pragmatic features of that literal work. In a prose, like The History of Jahangoshay Joveini, not only historical information but also the way the events have been expressed are both of great importance. In fact, the author is mainly trying to transfer historical info9rmation; violating common norms if speech is not an accidental and useless event. Having supposed that all principles of conversation have been observed, any change of speaker’s language in expressing main and minor historical issues can be considered as the first, the main and the most apparent sign of violating Grice cooperative principles. The author who is familiar with secretarial style can easily replace Arabic poems either with similar poems or historical translated counterparts. Studying the first volume of The History of Jahangoshay Joveini in qualitative method, the findings reveal that Arabic verses have been used intentionally in order to achieve secondary goals which have violated one or some principles of Grice Cooperative Principles.

A section of the complete works of Khaqani contains his Arabic poems. This section is still disorderly and obscure. Studying the manuscripts and published copies of Khaqnani's complete works reveals that the scribes and those involved in the emendation have not paid attention to the identical contextual factors in determining the precise spelling of words, hemistiches, phrases and words which are recurrent in various ways in the other hemistiches, or they are repeated and manifested in the other works of the poet. Therefore, they have interpolated corrupt records and wrong choices into the text in their emendation. The identical contexts are any indications that can lead our minds towards other coherent contextual indications. These indicators comprise similar syntactic and semantic structures, figures of speech and thought such as interlaced rhymes, equilibrium, puns and plays on words, antithesis, parallelism, folding and unfolding, etc. The present research critically examines and analyzes some verses relying on these identical contexts and revealing their correct forms.

Saadi is one of the Persian poets and writers who have composed poems in different forms of Arabic language that shows his special skill and fluency in this language. Metaphor, as the most important rhetoric issue, has been discussed and analyzed in Saadi's Arabic poems in present research. It should be noted that he has totally used the metaphorical images 109 times, out of which 25 as stipulated and 84 as implicit metaphors. In using metaphors, he has paid his most attention to personification, the way he has presented 82 of his metaphorical images. This type of metaphor utilization has resulted in richness of images, dynamism, mobility, and human life in Saadi's Arabic poetms. The most important feature should be considered of the metaphorical images in these poems is their simplicity and clarity which helps, far from any ambiguity and controversy, conveying the thoughts and the themes of the poet's mind.

Due to their forms and content, the works of Saadi Shirazi, one of the well-known and outstanding Persian poets, have the potentiality of being analyzed from different points of view. Composing some remarkable parts of his poems in Arabic language, Saadi has tried to show his skills and proficiency in Arabic. These parts of his poems have been translated into Persian by Moayed Shirazi. The question raises here is how and to what extent the translated version by Jafar Moayed Shirazi indicates the spirit and the literary style of Saadi's works. Through a descriptive-analytical method, this research has been accomplished to study the translation from an aesthetic viewpoint to show the translator’s comprehensive knowledge of the language in conveying the meaning and the content. Due to Moayed Shirazi's knowledge of both languages –Persian and Arabic- he has adopted the precision of meaning transfer as a criterion and avoids the free translation that lets the translator to recreate a new text out of the source.

Sadi Shirazi is one of the greatest tales of Persian poets and poets who has been fluent in Arabic. Despite the dominance of Sadi in Arabic, Arabic poetry has given him a small part of his poetry, but these little poems show Raffi Sadi's position among Iranian Arab poets. Sadi Shirazi has used the imagination in Persian poetry and his Arabic poems. Although Sadi is a teacher in literary forms and forms, he has presented his skill to the friends of his friends. More than trying to demonstrate his ability and art in the use of literary industries, he sought to convey meaning in a variety of ways. Sadi has used Persian verse and Arabic poetry in all four subjects of the science of expression (simile, metaphor, metonymy and allegory), but the use (simile and metaphor) of his poems is more evident. In this research, Sour Zahal, has been analyzed and analyzed in Persian poetry and Arabic poetry of Saadi, with examples of Persian and Arabic verses.

Necessity of attend to distortion in correcting of Arabic poetry Khaghani Abstract Those who pay the correct context aware that many problems because of the distortion is corrected text Frequency distortion is also seen in Khaghani Arabic poetry in his manuscripts and editions. sometimes added the amplitude of this distortion through mistake in reading by editors The purpose of this paper is to assess distortion in Arabic poetry Khaghani and demonstrate the importance of this issue is the correct Arabic poetry. attend to the distortion, and finding the right words can be made ​​a better version of the Khaghani Arabic poetry. In this paper, the verses of Arabic poetry Khaghani that have been wrongly recorded in the existing editions and manuscripts investigated with respect to other criteria such as the valid version (London, Parliament, etc.), Persian poetry Khaghani works, the stylistic features of his poetry, meaning and corrected. Keywords: Khaghani, Arabic poetry Khaghani, distortion-corrected version

Sa''adi Shirazi، as one of the greatest Persian poets، was also fluent in Arabic language. Despite his fluency in Arabic، he has few poems in this language; however these few poems show his high position among Iranian poets who composed in Arabic. Metaphor as an important rhetoric figure would be analyzed in Sa’adi’s poems to show how much the manner of metaphor use، both in terms of form or content، is important in his specific poetic language. Since Sa’adi makes frequent use of metaphor in his poetry، the authors، in present article، try to study different types of imagery and metaphor used in his Arabic verses. He had used several types of metaphor، such as absolute، active، complex، compound etc. in his Arabic poems. The form and the quantity of the metaphors had been used in his poems show that he sought to convey meanings rather than showing his abilities in using literary industries.

Qaem Maqam Frahani (1193- 1254 A. H.) was a learned scholor who completely knew theology and had a high status in Arabic and Persian literatures. Some poems from poets in different periods of Arabic literature can be seen in his Monshaat such as: Nabegheh Zobianim, Imam Ali (p. b. u. h); Majnoone leili, Bashar Ebne Bord, Ebne Khayyat, Ebne Ammar, Mohye Al-din Al- Arabi; Safy Al-Din Al-Helli, etc. However, clear mistakes in representing vowels, misprints, and ambiguous wrong translations should be mentioned such as the following couplet from Abol Asvad Al- dowali: كَضَرائرِ الحَسناءِ قُلن لِوجهِها حَسَداً و بُغضاً انّها لَذمیمُWhich means: “like rival wives of a beautiful woman who with jealousy and spite call her ugly and deformed.”; In the book, it starts with کفراً یَرَ الحُسناً and has been translated by mistake as follows: “some shows the virtue as vice for their inferiority and enmity.” In the present study, the researcher tried to find poets of Arabic Poems regarding Qaem Maqam’s Monshaat which was edited by Badr-Al-Din Yaghmayi. Afterward Arabic couplets were analyzed and criticized. Then their syntactic relations with Persian expressions were mentioned.