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

Fakhr al-Din Abu al-Fadl Hindushah ibn Sanjar ibn Abdullah Sahabi Kirani is a fascinating historical figure. He was from Kirani, a region in Nakhchivan, though the exact details of his life remain somewhat mysterious. Some scholars believe he was born around 645 AH, while his death is thought to have occurred around 730 AH. Hindushah was educated at the prestigious Al-Mustansiriyah School in Baghdad, and his family had strong ties to the ruling elite of the time. He worked as a secretary, playing a role in the courts of influential families like the Juwaynis, the Atabakan Sulghuri, and the Atabakan of Lorestan. Among his notable works are "Tajareb al-Salaf," "Mawarid al-Adab," "Sihah al-Ajam," and "Tuhfat al-Ushaq.""Tajareb al-Salaf," is a translation of "Al-Fakhri," also known as "Muniyat al-Fudala," which explores the histories of caliphs and ministers, written by Ibn Taqtaqi (660-709 AH). This translation was completed in 724 AH and includes some additions and omissions throughout. Hindushah chose to omit the first section of Ibn Taqtaqi's work, which focuses on the etiquette of kingship and governance, and instead dedicated that space to a detailed account of the life of the Prophet Muhammad (peace be upon him). The second part of the book dives into the history of the caliphs, ministers, and the conditions of that time. Here, Hindushah did not leave out any significant information, aside from some minor details, and he enriched the text with many additions, especially concerning the ministers from the Buyid and Seljuk dynasties. The book is structured in a clear way: it starts with the biography of the Prophet (peace be upon him), followed by the first government, which covers the five caliphs from Abu Bakr to Hasan ibn Ali (peace be upon him). Next, it discusses the Umayyad caliphs and then the Abbasid caliphs. It also touches on the rule of the Alawids in Egypt and the Maghreb, along with the Buyids and Seljuks. For each caliph's era, the book elaborates on the state of the ministry and provides biographies of their ministers. It wraps up with a discussion of the thirty-seventh Abbasid caliph, Al-Mustasim, and his ministers (Roghani, 1382 SH, p. 104).

In order to understand the concepts of prose of " Tajareb Al-Salaf "along with its historical, political and cultural information , it is necessary to determine the position of the verse in the text  and the spiritual devotion and close connection of the contents are obvious.This study is based on the descriptive analysis method by using library research. In this way, Arabic poems are categorized according to the periods of the history of Arabic literature and are analyzed according to the preceding phrase.

The poetry featured in "Tajareb al-Salaf" spans over various periods, particularly the Pre-Islamic, Meccan, and Abbasid eras, with a strong emphasis on the Abbasid period.  Among the Pre-Islamic poets, Hassan ibn Thabit mourns Umar’s death at the hands of "Abu Luluh." Umar ibn Abi Rabi'ah contrasts women's flirtation with men’s  duty to engage in jihad, using vivid similes. Mutammim ibn Nuwayrah illustrates the anxiety of revenge in his poetry, while Imam Ali (peace be upon him) reflects on the futility of worldly life.In the Abbasid period, various poets contribute to the literary landscape. Imam Ali's elegy poignantly captures his own state and that of his assassin, Ibn Muljam Muradi. Al-Farazdaq praises Suleiman ibn Abdul Malik, while Abdullah ibn Hammam mocks Marwan ibn al-Hakam after the downfall of Muawiya ibn Yazid.Ibn Sinan al-Khafaji, a Mamluk poet, expresses astonishment at contemporary events, particularly regarding 'Izz al-Din Abdul Hamid's interest in a young boy named 'Uthman. Abu al-Atahiya reflects on the fleeting nature of life during the death of the Abbasid caliph al-Mahdi, while Bashar ibn Burd comments on the murder of Ja'far ibn Yahya al-Barmaki.The blind poet "Abu Zakariya" contemplates the inevitability of death, and Marwan ibn Abi Hafsa praises Fadl ibn Yahya, the foster brother of Harun al-Rashid. Hindushah emphasizes the martyrdom of Imam Hussein (peace be upon him) as part of divine destiny, and the poems of al-Munajjim offer insights into the instability of fortune.The themes of deception and hypocrisy are prevalent, as illustrated by a line from al-Tahami reflecting Sultan Mas'ud's performative mourning. An Abbasid minister recites a poem by al-Mutanabbi during travel, while Hindushah critiques the poetry of Minister al-Mu'tafiq for its linguistic flaws. The verses of Al-Hallaj before his execution carry a mystical theme, emphasizing the drifting away from contentment due to worldly desires.Various other poets, such as Ibn Rumiyyah and Abu Faras al-Hamdani, discuss significant historical events, including the betrayal of al-Rashid and the vivid description of al-Ma'mun’s wedding ceremony. The verses of Ibn Anbari follow the account of Ibn Baqiya’s crucifixion, highlighting the complex interplay of fate and divine decree.

The examination of Arabic verses in "Tajareb al-Salaf" reveals both minor and significant differences from the original collection, with instances of incorrect poet identification. The verses serve various grammatical roles, reflecting a wealth of historical and literary information that has transitioned into Persian literature. This includes shifts in the Abbasid caliphate and the actions of both capable and incompetent ministers, alongside contributions from notable poets.Cultural, religious, and political issues are also addressed, including critiques of the Abbasid rulers and discussions on the alteration of the Quran. Themes of instability, moral lessons, and significant historical events are woven throughout the poetry. Important odes commemorate the martyrdom of Imam Ali (peace be upon him) and Imam Hussein (peace be upon him), while the analysis highlights grammatical and syntactical errors, literary criticism, and the application of poetry beyond its intended context. Overall, "Tajareb al-Salaf" serves as a crucial text for understanding the interplay of history, literature, and spirituality in Arabic poetry, offering insights into the cultural and political landscape of its time.

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.