جستجوی مقالات مرتبط با کلیدواژه « سبک شناسی شعر » در نشریات گروه « ادبیات و زبان ها »

 This research deals with the stylistics of twelve famous and unknown poets of the second half of the 12th century, that is, the Afshariya and Zandiye period, which covers the years (1735-1797), on four phonetic, linguistic, literary and intellectual levels.

 The research method is library and documentary. In this research, Divan Shear of some famous poets and some manuscripts of anonymous poets were examined.

 The interlude period is a short period of sixty years, which is between the two periods of the Indian style and the return style, from the point of view of some researchers, there was no room for the growth and development of literature in this period, and no poet spoke to the extent that this period have been considered as one of the poorest periods of literature, and the only reason for them is that the poets followed the ancient way of thinking and style. Such a ratio is completely unfair and ignoring a large amount of works of poets of this period, by studying the divan of each of them, you can find many valuable and pleasant poems. The period of intermission has always been overshadowed by the period of return and the poetry of this period has not been paid attention to, while the poetry of this period had a significant impact on the formation, growth and perfection of the content of the poetry of the Qajar period and subsequent periods and is of great importance in the historical and literary history. Also, the formation of the great movement of literary return by several famous poets of Isfahan to reject the Indian style and return to the Iraqi style, all show the vitality of poetry in this period.

The researches show that in the period of Fatrat period, their theoretical foundations were back to the old models, to a very small extent from the dominant discourse and theoretical foundations of Khorasani and to a certain extent from the Iraqi style and the Timurid period, and the most examples were taken from the period of occurrence and the previous period. By itself, it was the Indian style. The famous poets of this period, such as Mushtaq, Hatef, Azar, Sabahi, have been more successful in taking examples from the ancient periods, both in language and in theoretical foundations, and the non-famous poets of this period, such as: Safi, Hashim, Nuralishah, in theoretical and language foundations. In terms of theory and language, they are close to the style of Iraqi and Tofan, Darvish, Rafiq, Tabib, and Ashiq, to ​​the style of the event and the Indian style.

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.

Shahr-ashoubs are a cycle of poems in the Qa`t`a form describing  trades, manner of traders,amusements  or  satirize  people and places and “Mas'ud-e  Sa'd-e  Salmaan” is the creator of the Shahr-ashoub genre . Mas'ud-e  Sa'd-e  Salmaan” is among the great Persian language poets of the fifth and sixth century A.H. and known as the greatest imprisoned Persian poet. His poems are in all of  forms of poems simill than Qasideh (ode), Ghazal (sonnet), Qa`t`a, and… The subjects of his qasayed (odes) include praise of the king and greats of the era, prison conditions and his torments from prison and the times. They have deemed Mas'ud-e  sa'd  the creator of the Mostazad form of poetry, and writer of the first chronogram. he aim of this article is the study of  Mas'ud-e-Sa'd-e Salmaan's  style of  Shahr-ashoubs. The methods used to examine poetic stile includes the examination of the nuances in language, culture and thought of these poems.

Manuscripts are valuable resources recognizing and for examining the evolution of thought and feeling in Persian literature.Manuscripts of many poets, such as Dehlavi's silence, have not yet been corrected and published.The purpose of this research is to study and critique the intellectual, linguistic and rhetorical level of the poems and lyric poems of this poet.

This research examines the content of Dehlavi Khamooshi Divan and her thought and poetry style by analyzing the content with the help of library tools.

The time of the poet's life is mentioned on the back cover of the King's library version, "Qajariyya, zero 1193 lunar".No information can be obtained from studying the two versions of this poet's divan. In the culture of orators, only one manuscript of the poet is mentioned and several silences are mentioned, and the poet of the present court is apparently Ali Hassan Khamoushi or Khamoosh Dehlavi, the poet of the 11th century, on the occasion of his poems about India. The results show that Dehlavi's silent poem has Indian style themes and attention to the poems of Saadi, Khaghani, Attar, Hafez, Rumi and Orfi Shirazi is another feature of it. This poet's style of poetry is similar to the Iraqi and Indian style, and his poems are in praise of the Prophet and more than that in praise of the Amir (AS). His lyric poems are also mystical and romantic.

The verbal and spiritual forms of her poetry have used the two dimensions of literary tradition, innovation and innovation;Sometimes there are weaknesses in her poems that are very weak against her poetic values. The weights of her poems are the most widely used weights of Persian poetry, and the rows and rhymes of her poems are simple, and most of the rows of her poems are current.Silence poems have more artistic value and variety of rhetoric and stylistics than her sonnets.

Hossein Pejman Bakhtiari is a contemporary traditional poet who understood late Qajar period and Pahlavi era and was not fully aware of the changes in the form and shape of poetry, due to the form and the music of the predecessors. He brings a mixture of old and new terms into his poetry. From the linguistic point of view, the simplicity and psychic of the word is sparkling in his ghazale, and he does not use abusive and desolate vocabulary. He used the longest rows and repeated rhymes in most of his poems. He is capable of making beautiful compositions and elegance, and the element of imagination in his works has a competent place. Some of the compositions used in his poetry are: Iron courage, king Man, flattering, Sweet smell, Loving, Sugar Kisses,assassins , oppressors, gasbag( living away,help spreading,kamoor. From similes: oak hide, colorful shoulder, skyscraper... Poems are full of fresh themes and expressions. The poet"s art of illustrating is the use of expression arrays, metaphors, similes and metaphores. This use is modest and common, so that the word is complicated and does not act as unacceptable. The present study aims to analyze the poetic style of poetry"s ghazals in three levels of linguistic, intellectual and literary based on accurate statistics.

Researchers point to style for KamaloddinIsfahani makes clear that his poetry is the moment to change the style of Persian poetry; on the other hand, overview history of Persian literature shows that poets after him, looking him in the poet's diction and style. This article seeks to look at the books of poetry Kamaloddin, and review and analysis of previous researchers about his opinions, clarify his role in the development of Persian poetry. The research method is the way of documents and using library facilities where it has been used by other researchers of scientific achievements. KamaloddinEsfahaniposition in Persian poetry, the necessity of regarding him and also, the lack of comprehensive research on the subject, recognize the importance and necessity of research. and the result of it, emboss Kamaloddin role in the development of new styles of Persian poetry through addressing the most important characteristics of his style that some of these factors has made its way in the Iraqi style and Hindi style, and some of them in Persian poetry, remained without imitation.