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

Nowadays, in stylistic studies, as well as in the criticizing and analyzing of literary works, the study of motives is one of the important factors of cognition styles and one of the main instruments of measurement and critique in terms of their frequency and function. Among the styles of Persian poetry, The Indian style and among the Indian style poets, Saeb came to enjoy the motif as one of the most prominent features of the Indian style and Sa'eb poetry. In this research, Motif, means the words by which the poet relies on illustration, theme design, and the creation of associate network, such as dew, bubbles, tear of kebab and paper flowers. “Thom on the wall” is one of the most popular motifs with more than 90 repetitions in Sa'eb poetry. Based on the various features and aspects of this motif, he created various themes and images. In this paper the researcher applied a descriptive-analytic method to analyze the illusion cluster of this element to study the of Sa'eb's image on its basis.

Mohammad Sohrabi is one of the contemporary ritual poets with the poetical name "Meaning". Looking at the six books of poetry published by him, it seems that he has a special interest in the Indian style and following Saeb and Bedil. Deviation from soft as an important element, just as it caused the distinction of Indian style poetry from the poems of previous periods, has caused the renewal of Mohammad Sohrabi's ritual poetry compared to the ritual poetry of his predecessors. In the Indian style, some components of defamiliarization can be traced and followed. In the present study, we have tried to answer the question that considering the stylistic features of Indian poetry, especially Saeb and Bedil poems, which of its features and components has Mohammad Sohrabi used in creating defamiliarization in the creation of her poetry? To this aim, with the analytical-descriptive method and based on the evidence and documents obtained, we have shown that Sohrabi, by creating special combinations such as Saeb and Bedil, has both made his poetic images more imaginative, and he has used this linguistic capacity in the service of content.The existence of rhetorical sentences in Sohrabi's poetry indicates another language that has caused the word in practice to be two independent expressions, in the service of a single motif. Sohrabi's taste is not only in the service of properties, and by using slang terms and common beliefs among the public, he has been able to provide a field for public familiarity with his poetry.

The social issues of each period have a significant impact on the formation of the literature of that period. Because contemporary poets share common social events and experiences and experience almost identical intellectual and cultural conditions; Therefore, it is natural to see common tendencies and themes in their works. In this passage, the poems of "Saeb" and "Fuzuli" as two poets of the Safavid period have been studied from a sociological point of view in a descriptive-analytical method to answer the question of what social themes each of these two poets pays attention to. And what social concerns they have reflected in their poetry. The results show that the poems of both poets have a significant potential for sociological studies. Most of the social issues were common in the poems of both poets, but rarely did they encounter themes that appeared only in the poetry of one poet, such as: the tendency towards narcotics, Eid al-Fitr, and the complaint against the heavens. The issue of homelessness and closeness to the homeland was also one of the issues that brought different views of the two poets.

Saeb tabrizi as a representative of a style that is known for it’s novelty,new style and innovation, is one of the most prominent lyrics poets in Iran,which is located between two main currents of the Indian style: from the end of the tenth century Persian poetry to an enigmatic difficulty.It turns out of the most poetic themes are the result of linguistic manipulation and aberrations that are achieved through trying to discover new relationship.Hint, like other literary industries, can play a prominent role in arousing emotions and the inductive and imaginative power of speech, provided that it enjoys strong artistic themes. In the Indian style, the use of allusion has a high frequency compared to other literary techniques due to its special style. In the meanwhile, the longing for themes and the hunting of narrow and astonishing themes cause Saeb to use allusions and gestures far more than others. Saeb often uses allusion as a tool to create his themes, regardless of any depth and high human ideas and thoughts, for various subjects, especially the ontological system.

Denotation of phrases in Saeb’s writings show that his works were greatly influenced by the works of Hafez. However, considering the intertextuality among texts and looking deeper into the works of these two poets, we propose that Saeb is semantically defamiliarizing themes and phrases central to the works of Hafez. In fact, Saeb’s use of Hafiz’s themes and phrases was accompanied by a negative connotation, suggesting that perhaps, Saeb was envious of Hafez’s given title - Lesan ol Gheyb. It appeared that Saeb understood Hafez’s poetic language tricks in utilization of phrases and took a step further to manipulate Hafez’s themes and phrases in a way that is not superficially noticeable, but a deeper analysis can reveal this manipulation of lexical semantics. To substantiate this hypothesis, we used intertextuality method to make a comparative analysis of two sonnets of Hafez adapted by Saeb. Our intertextual analysis revealed that Saeb selectively and purposefully took advantage of Hafez’s phrases to ameliorate his own works. The finding supported our hypothesis, using intertextuality method.

The most prominent feature of Persian poetry in the Indian style is thematic creation. In the creation of themes, the poet establishes a connection among the far-fetched and seemingly unrelated elements which are not obtained necessarily by similar way or other aspects known in the rhetoric. Mostly, it is achieved from the stand of similarities, proximities and contrasts, implications, visual possibilities, associations of motifs, and literary conventions. Among the Indian-style poets, Saeb Tabrizi created new themes with calligraphy terms due to his mastery of calligraphy. The art of using calligraphy themes in his Divan has not been investigated yet. This article has tried to study the creation of themes by calligraphy terms in Saeb Tabrizi’s Divan. After finding a theoretical framework for this descriptive-analytical research, a conceptual model was proposed by studying the related books and articles. Then the couplets of the first volume of Saeb Tabrizi’s Divan were analyzed. In this research, the authors have found a thematic paradigm in the process of perception of meaning, vocabularies, and images of his poems that show how Saeb has created beautiful themes by using different handwritings, tools, genres, and terms and rules of calligraphy and combined them with imageries.

Existence originates from a first source that is the origin of the universe. This first source (the Unity) manifests himself in all phenomena and a holistic mystic, by observing these manifold of phenomena, reaches the source of the existence or the Unity. With the eyes of the heart, he/she sees the First Principle in all corners of the universe. Is this view, which was formed by Ibn Arabi, also visible in Sabk-e Hindi (Indian style)? Was Saib Tabrizi, as one of the pillars of the Indian style, fascinated by this view? The data of the research show that Saib Tabrizi has considered the unity of being in his Divan and has introduced it as a way to the true gnosis and theoretical knowledge. The present research has been done by analytical-descriptive method and its data is collected from library sources. The results of the study show that Saib Tabrizi, like the mystics who believe in the unity of being, considers the world of plurality as a symbol and manifestation of a single truth and seeks to discover this first source (the Unity).

Important historical sources about Saeb Tabrizi are sometimes mixed with all kinds of false information, which due to its reputation and position has caused the spread of these mistakes, to the extent that today it is considered as a misconception, even among researchers. There are also works that indirectly and in the margins, contain very valuable evidence that can be used to correct and explain and correct some incorrect information. One of these cases is the scope of the nine-year difference in the date of Saeb's death (1080-1089 AH) in the sources. This study, which is based on the transcript of the translation of one of Saeb's poems, while emphasizing the year of Saeb's death, ie 1087 AH, has been able to provide a more specific date from the time of Saeb's death and limit its estimate even from year to week and month. Another point is the story of enmity and quarrel between Kalim and Saeb, which also proves the falsity of this rumor from this translation

Imagination is the intrinsic part of a poem and helps to enrich it. Undoubtedly one of the factors that increases the effectiveness of words of the poet is creating and choosing new and impressive interpretations which origins from the poet's imagination. Saeb, as the leader of poets in the Iranian branch of Indian style, is a powerful master in this important matter. This well-known poet has benefited from some new techniques for innovation in using elegant and appealing interpretations. For this matter he has used some various imagery techniques and new and different methods in order to create fresh interpretations with the help of his ambitious imagination and make a great impression on the souls of the readers. Saeb in spite of has benefited a lot from the expriences of the great poets prior to himself, especially Hafiz; however, he has followed a pioneer path and has used fresh similes, metaphors and allusions for generating brand-new images interpretations which do not exist in ancestral poetry; and although understanding them requires great contemplation , they have granted a new elegance and acceptability to his words. In this essay, we have worked on introducing the mentioned imagery formation and techniques and analysing some examples.

Literally, association means two-sided or multi-sided call which is accompanied by action and reaction, while psychologically it infers to a psychological relation among concepts, events or mental states mostly originating from special experiences. In other words, association is “the mental correlation among two or further imagines or memories in a manner that the presence of either leads to the induction of another” (Staly and Bras, 257: 1369). The artistic language as the most prominent literary tool, owes its own elevation to association and its four rules i.e. “similarity, proximity, conflict, as well as cause and effect” (Safavi, 27: 1383). Indian poet fashion is among literary districts where a wider field is there for this artistic technique in as much as “the words applied in the Indian-fashioned poetry easily fly out from their nests of cliché images, where they freely, mysteriously and fully ambiguously fly in the free and dreamlike association of poets’ minds land in the nest of their neighbors to represent novel and unusual images” (Vafaie and Kamali Baniani, 365: 1394). During this era, unlimited struggles have been made to create new clusters of novel elements in addition to the extension of association district and the network of images attempted taking advantage of the elements prevalent among the poets from previous era (Shafii Kadkani, 71: 1366). Saeb, due to his unbound fiction in the usage of elements, can be regarded as the most leading pioneer in this area, and “razor” is of the elements that has notably been applied as a most frequent and canonical element in his lyrics association networks in both approaches of the extension of old networks as well as in the creation of novel networks. In other words, instead of the element itself, two dependent combinations i.e. “razor” and “” as margins and its new affiliates have been his focus in the creation of images in the expression of the concepts. Additionally, the poet has added intact clusters to the bushes of poetry fiction via the application of the element itself as the axis of novel association networks formed based on the new elements that have found their way to Indian-fashioned lyric district. Here in this article, the authors have studied the creation and development of fiction networks considering razor and its affiliates as the major theme, and have paid to the role of this element in converting paired words and the expression of its relation to other elements within this networks.

A descriptive-analysis and content-analysis method was applied in the investigation of the subject of this research and its edition. The theoretical reason of the research are based on the valid resources in the field of poetry techniques, stylistics, poetic schools, as well as the first class works in the district of concepts and expression. Relied on these sources, the theoretical bases and the outlines of the subject have been illustrated. Then, the evidence according to these bases of provable consistence with the subject of the research were extracted out as target source from Saeb’s Court and investigated. In this way, the elements either of most frequent association with the razor element, or applied as counterparts for it in paired words have been identified. Based on the concepts of the goal, these elements have been studied following 5 titles of association networks and 4 titles of paired words.

“The analogy between the allegories and the style of Saeb’s equations is rooted in the association of meanings, which Elliott also refers to the association of meanings, and believes that the only way to express emotions in an artistic manner is to find the association of meanings (Maleki, 2006: 97). Similar to all the elements in this context, the razor element and its elements have been associated with Saeb’s mind and have played a role as the dominant element of the core or prominent side in various networks of his imagination. In such a way that even the thinnest thread of the razor connection and its dependencies with other elementsis not hidden from his far-sighted and narrow-minded vision. In the five networks analyzedin the present article, water and hydration of the razor have allowed him to establish a broad range of connections between this element and the aquatic elements of nature such as wave, sea, flood, etc., and on the other hand attributing the razor to the beloved. And the desire of lovers for eternal life, by being killed by this razor and benefiting from its water and water supply, is an excuse to connect it with elements such as Khezr, the water of life, Jesus, etc. as symbols of life and life conferring. The trait of razor that brings confusion and absolute destruction to lovers by killing them, in another network based on the concept of confusion, has become the link between the elements such as sacrifice, sacrifice’s eye, Besmel (the sacrifice decapitated reciting the name of God), Martyr, etc. Also, obtaining ink and originality for the razor by enduring twisting, heat and other severe construction steps, sparks linking this element with ingredients such as chain, hair, chains, etc. and creating a network based on twisting concepts, austerity, the silence and originality of the essence of the razor is clear in the poet's mind. Another network in which the connection of elements is out of the realm of concept and is formed on the basis of proximity is a network in which the razor is associated with elements such as sutures, wounds, needles, strings, and ointments, and another opportunity for the poet to imagine. He has created allegories and rhetoric and other rhetorical industries. Another use of the razor is to create allegories and themes by relating it to certain elements, in pairs and in the form of a pair of words, which is the most common quadruple, that is, the words "razor and needle", "razor and whetstone", "razor and displaced chicken" and " razor and Hunting the shrine " have been investigated.

In the process of escaping the vulgarity of the use of elements in the art of poetry, in terms of creating new images and expressing unprecedented themes, Saeb, like other poets of the Indian style and more than most of them, has changed the borders and norms of various aspects such as logical relationships, co-ordination rules, image-making capacities, etc. This work of art requires the expansion and modernization of ancient visual and semantic networks and the creation of pristine networks in poetry, which factors such as the prevailing political situation and the change of poetry and poetic base from court to alley and market and boiling with popular culture, has helped the poet in achieving this goal. Thus, in this period, in addition to the penetration of some new elements and terms into the prohibition fence of classical lyric poetry, the root elements have also undergone a fundamental change, and with the expansion and reconstruction of art, they become the canonical point of association network.The razor element, has experienced both aspects of this method in Saeb's sonnet, so that at first, by changing the centrality of the poet's focus from the essence of the razor element to its two dependents, namely "razor ink" and "razor water" and connecting a range of other elements, as reminiscent of each others imaginary clusters, pristine and imaginative networks have shaped in his poetry, and on the other hand, in the dimension of expansion and modernization, the razor because of its mix with the elements introduced to the poetry from the public culture, has used as the most common art tool, and its application is so great.Some aspects of the razor that have manipulated by the imagination of the poet, have been discussed in this study. In most cases, the razor is quite different from those used in previous periods and shows the need for study in this case as well as in other popular and favorite elements of the poet to explain the intellectual system and deep understanding of his poetry

Comparative literature is one of the new branches of literary research. In the field of Persian language and literature, poets and writers have left a glorious legacy that future generations have always benefited from it. One of the most prominent poets of Persian language and literature is Hafez Shirazi. He created a revolution in poetry and lyricism and always influenced the poets after him. After the Iraqi style in which Hafez experimented and lived, the Indian style entered in literature. One of the prominent poets of this style is Saeb Tabrizi. Saeb has composed lyric poems under the influence of Khajeh's lyric poems. The similarities in weight, theme and content are the similarities of these lyrics. In this research, the author intends to study the effect of Hafez style on Saeb Tabrizi's poems. For this purpose, poems in two areas of thematic criticism and structural criticism were examined.

Indian style poets, especially Saeb Tabrizi, have been very influential in Hazz's sonnets. The most obvious form of the deliberate influence of any poet on the other is to go to the poetry of their poetry and to put poetry on the weight, rhymes and rows of the poems. In only thirty-two sonnets, Sa'eb expresses that he has welcomed Hafez, but has written a total of about thirty sonnets in the land of his sonnets. It is expected that Sa'eb in these poems will be among the ghazal-style loyalties imitated by Hafez and Indian style in walking, but this is not the case, and each of these ghosls has a relatively odd way that is different from the rest, and of course, Hafez's sonnets have something to say, closer to the features of the personal style of Saeb and Indian style. The present article examines the style of six ghazals that Saeb has expressed in the sermon of the famous sonnets "If This Left Shirazi Has Delivered Us", by showing that the intellectual, linguistic and literary features of that ghazal of Hafez And then the features of it will examine six sonnets and their similarities and differences with the Hafez sonnets. The differences in these appearances also reflect the diversity in the style of the welcoming and portrayal of the Indian poet.

One of the most widely used stylistic techniques is the comparison of similar literary works in different historical periods. The result of these similarities and differences will be the mystery of the poet's superiority to the other, as well as the level of linguistic, historical and cultural influences on the literary text. With a quick look at Indian poetry and Isfahani style, one can clearly understand the increasing tendency of their creators to apply poetry techniques and techniques to their predecessors. Techniques and instruments that, in different aspects (form and content), distort the speech on the language chain from the standard and standard language and its proximity to the language of poetry and poetry. In this regard, determining the style of a poet is to identify and identify the same tools and techniques in frequency that vary from poet to poet. Accordingly, it should be noted that the main difference between the style of Isfahan and Indian style poets in the poet's approach to poetry of these times is poetry and common themes of the literary (motiv) themes in the common Iraqi style in Iran. Biddle strives to end the style of Hindi not influenced by Isfahan's style (impact anxiety theory); Such an approach is less intense against the Iraqi style poets and is more intense than the likes of Saeb.

Belief in the originality of "firm" or "meaning" is one of the important subjects in the world of rhetoric and our literary tradition. Should we know the importance of the formation of works of art from the Form or Form or from the Meaning (content)? which has made a long struggle between the supporters of these two approaches.This endless conflict during the time of Safaviyeh namely the peak and splendor of the literary criticism and stylistics with the attention and the deep knowledge of literary critics is being surprisingly continued. Besides in the Hindi style poem which has also been the most important field of rhetorical subjects and criticism and stylistics, in addition to many other important and new literary subjects, the attention to the originality of form or meaning is glaringly displayed. If in the poems of Saeb, the most rhetorical and fluent poet of Hindi Style, the subjects like:" pure form", "unfamiliar form", " polishing form", " new meaning", " delicate meaning", "strange meaning", "florid meaning", using form and meaning jointly, are seen frequently.

Referral theory addresses the intertextual and transactional reading texts. Based on his theory, the literary works refer to other texts and transcripts. Or the audience can the understand and receive the texts by referring to objective instances, or by referring to other texts. In this study, the allegories of Saeb have been chosen from the perspective of this theory.Because in each allegory; Saeb has referred the audience to a  text or an external. The authors have tried to describe and the texts and transcriptions that Saeb has used in making allegories in a descriptive-analytical way؛ the results of this research show two important points. First, the allegory has a referential basis; the poet has refereed the reader to a parable in order to support each claim. The other is that these parables are based on intertexttual or translated text  referrals.The Quran, hadiths, and prophets  the prophets of the most important texts ,social and natural are also the main transcripts that Saeb has used in his paraphrasing.The selection method is to collect and categorize the Saeb allegories based on  types of referrals.
  Cross-referencing in literary texts is the central idea in the intertextual approach to literary criticism which has its roots in the works of Saussure and Bakhtin. For Saussure, “a sign can be imagined as a two-sided coin combining a signified (concept) and a signifier (sound-image)” (Allen, 2016 [2000]: 21). Bakhtin, however, believes that “the abstract linguistics of Saussure strips language of its dialogic nature, which includes its social, ideological, subject-centred and subject-addressed nature” (ibid.: 36). In this context, two general views were formed in intertextual criticism about cross-referencing in literary texts: “reading” and “referencing”. The main difference between these two is that reading takes place when the reader, whom Barthes considers as “a collection of texts” (Modarresi, 2011: 68), reads a text in the context of his previous knowledge of texts. In this definition, language “refers to other texts instead of the reality and society” (Namvar-motlagh, 2016: 166). This can be illustrated by the use of literary tropes like metaphor, metonymy, and analogy which do not conform to ordinary language usage; that is, their signs cannot refer to the objective and conventional instances. To understand literary language, therefore, one should seek instances other than ordinary reality and significance. This is why Riffaterre developed his ‘theory of reading’ and proposed two types of reading: mimetic and semiotic. “Mimetic reading refers to the formal comparison of the text with external, real sources” (Namvar-motlagh, 2016: 236). In this type of reading, the text represents the real world and its linguistic instances can be interpreted by reference to the reality. According to Riffaterre, the problem of this type of reading is that only the superficial meaning is noted, thereby reducing a poem to unrelated bits and leaving its usually ungrammatical aspects unresolved (Selden and Widdowson, 1392: 85). Semiotic reading, however, is defined on the basis of the associations of the text with itself and other texts (ibid.). In other words, the text is perceived and understood by referring to instances in the world of texts rather than in the real world. It is only at this level that the reader can surmount the mimesis hurdle (Allen, 2016: 16) and analyze as well as understand the ungrammatical mysteries of the text. This second type of referencing is the one that is prevalent in academic research and makes use of both visible and hidden devices in the text to refer the reader to the absent texts.
Analogy, which is a kind of intertextuality, has always been widely used by literary authors for the purpose of providing evidence, argumentation, and persuasion. In analogy, a similar experience that is often rooted in the reader’s knowledge is referred to for proving an epistemological, intellectual, moral, or any other claim. Importantly, the realistic nature of analogy readily lends itself to an interpretation based on mimetic reading. In addition, it can also be approached through semiotic reading due to its poetic manner of expression. The present study intends to analyze the analogies of Sa’eb Tabrizi, which are of a great number and variety, from the viewpoint of both types of referencing. Sa’eb has both made extensive use of analogies to create texts and hypertexts and referred the reader to numerous texts and hypertexts to persuade, witness, and argue on a more solid basis. There are three research questions: 1) Can we analyze Sa’eb’s analogies on the basis of the theory of referencing? 2) What are the main texts and hypertexts which Sa’eb has referred to in his analogies? 3) Should the reading of these analogies be mimetic or semiotic?
  Based on a descriptive-analytical method, this study seeks to introduce and analyze the texts and hypertexts that are the point of departure in Sa’eb’s analogies. For this purpose, analogies were extracted from Sa’eb’s ghazals and classified according to their religious, intellectual, cultural, social, and natural background. The analogies were then analyzed in terms of intratextual and extratextual references as well as mimetic and semiotic reading.
  Sa’eb’s skill in creating analogies lies in his use of numerous texts and hypertexts which is manifested in intertextual and hypertextual modes of referencing. In terms of intertextual referencing, which denotes “one text referring to another” (Namvar-motlagh, 2016: 51), Sa’eb mainly touches upon four sources, i.e. the Quran, hadith, religious law, and historical anecdotes (usually those of the life of prophets). These types of analogy can be analyzed through three approaches. The first one is intertextual referencing which means that these analogies link the text to other texts. The second one is mimetic reading because texts like the Quran, hadith, and historical anecdotes tend to put emphasis on the reality instead of imaginary aspects. The third one is semiotic reading because the analogies are narrated within a poetic context. In terms of hypertextual referencing, which denotes “one text referring to the world outside the text” (Namvar-motlagh, 2016: 52), two umbrella hypertexts which form the basis of a large number of Sa’eb’s analogies are society and nature. He has made use of the capacity of nature and society to create relevant analogies and support his claims. These types of analogy can be interpreted with reference to both mimetic and semiotic reading because they chiefly rely on the realities of the nature and society. Furthermore, due to the poetic expression of these realities, a deep understanding of the analogies requires semiotic reading.
  Sa’eb pays so much attention to analogy and is so skillful at creating analogies that some scholars consider it as the dominant technique in his poetry. With the help of his dynamic imagination and creativity, this famous poet of Hindi school has made extensive use of intertextual and hypertextual contexts to create analogies. There is a realistic tendency in his analogies in a way that he moves from depth to surface in an attempt to objectify abstract concepts by translating them into their sensual equivalents. These sensual equivalents, or analogies, are mostly based on shared religious and historical knowledge and collective experience which is concrete and noticeable the context of nature and society. References, therefore, are mostly made to objective instance in the real world, or to categories that are taken for granted among the audience groups. Thus, they can be approached through mimetic reading. On the other hand, since all these realistic notions are expressed in a poetic language, their mysteries should be discovered by semiotic reading. The main sources involved in Sa’eb’s analogies are the Quran, prophet’s hadith, and historical anecdotes. The main hypertexts are the realms of society and nature. Being aware of these sources, the reader can come to an understanding of the cultural and intellectual roots of Sa’ed’s analogies and interpret them at a mimetic or semiotic level. Furthermore, this awareness can also act as an inspiration for other literary authors because the great variety in Sa’eb’s poems is due to his effective use of major religious, intellectual, and cultural sources as well as his close examination of the nature and society. The Hoy Quran, translated by Makarem Shirazi.
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Regarding the fact that in analyzing the poems of great poets in Safavid era, a type of generative sociology is felt like any other era, and considering that the recognition and analysis of literary works and gaining knowledge about the life of the authors who have created such works is not possible without investigating the society and culture through which they have been brought up, the present research, aimed at investigating about social status of the era and knowing the general public lifestyles, is going to investigate different social ethics and customs in Iranian branch of Safavid era (the poems composed by Vahshi-e-Bafghi, Mohtasham Kashani, Naziri-e-Neishabouri, Kalim-e-Kashani, and Saeb). In this era, different issues such as the different traditions to celebrate the New year, wedding ceremonies, mourning, drinking alcohol, and other customs such as tipping, holding babies in cradle, fastening the letters onto the wings of pigeons, bottling the fairies and wearing something onto the arms were among the most frequent mentions in the Divan composed by Saeb.In Bafqi's poems, there is the least mention of social  customs

By studying books and articles in this field, one can see the upward trend in the trend from content to psychological research to explain the meaning of alien meaning. Accordingly, the sources are divided into three categories:1) The sources that are generalized and have focused on the meaning and content of poetry and have considered the creation of "alien meaning" on the basis of semantic transformations:2) Middling sources that paying attention to meaning and content, also referred to form;
3( Partial sources that look to the form and call the creation of "foreign meaning" as the result of elegant rhetorical techniques and literary techniques.
Specifications that the in-depth researchers have discovered and introduced are not individual and distinct semantics, but are combined from several literary arts. In the majority of these syntaxes, metonymy in center, and other features are surrounded by it. Basically, the use of the abstract is seen in many Indian styles, with the difference with other styles, which in fact the poets of this covenant, in addition to its normal use, benefit as a synthetic intelligence.
Hence, it is possible to call these literary practices the "metonymy based craft”, that is, "the intonations made of the present verb and the compounds are in metamorphosis", or as a "metamorphosis", "metonymy ambiology", "ambiology Metaphor of metonymy", and " amphibology metaphor metonymy using simile ",which specifically addresses this issue.
Amphibology metaphor metonymy using simile
One of the most diverse industries is the metamorphosis of an analogy (or similar), in which, in addition to recognizing the structural style, it is in the analysis of the ambiguous and alien images and the way the alien meaning comes into being.
The poet in this craft, once refers to an enigma that is related to the pseudonym (which is typically human) through the implicit metaphor metamorphosis to the pseudo-emperor; this pseudo-self contains the approximate form or claim that it needs; It exists from the original in that thing, but in the real world, the true carrying on of the essential meaning and the meaning of the abstraction does not come about that, as a result of the metaphor, it will remain in its power. Simply put, the appearance of metonymy is porous on a phenomenon, but its concept is attributed to it only through metaphor. But the poet does not endorse this, and he continues to pose a pseudonym (human). If we break down this syntax, we will get the following elements: By dividing this syntax, the following elements are obtained:1 metonymy; 2 implicit metaphors; 3 Reality; 4 Ambiology; 5 Similarities.
Sample analysis:Be like the shellfish silent opposite of the see, be all ears although you are eloquent (1/4863)
The syntax of metamorphosis has been used twice in this bit of Saeb, and in both cases, the poet deletes ‘you’ and similes it to shellfish in the terms “being all ears” and “being eloquent”:1 "being all ears" is a human metonymy;
2 We attribute it to the shellfish through the implicit metaphor;
3. The actual form of "foot to ear" can be seen in the "shellfish" style: the use of the name of the ear-shell may be cause of it;
4 "being all ears in shellfish” in real life have nothing to do with the meaning of it in the human domain. Not good hearing nor good listening is not really in the shell;
5. The poet use the term ”like” to simile "You" to shellfish, that is, the act, once attributed to it by its actual form in the shellfish mission, through the implicit metaphor, and again , The person is equally likened to the same shell, with the quintessential aspect of the principle that belongs to him!
6. From the faces of the two necessary and essential aspects of the term, the first of which is the truth in the shell, and the latter is a conception, metaphor for it becomes achievable; the reader, when faced with this image, imagine these two faces. He understands the idea, because he finds out that he has to think for a shellfish that the shellfish itself has its face in another sense.
" amphibology metaphor metonymy using simile " is one of a variety of indigenous craft that, in addition to being a lightweight, has a great deal of help in dispersing obscure and alien images and in creating and producing alien meaning.. The presence of this syntax, as mentioned in the table, is seen in the body of the enchanting Saeb, a multiplicity, and as a stylistic feature, and is less of a Ghazal of its sonnets that have not been used.