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

The Suspensions of the Seven is one of the most brilliant works of poetry in the pre-Islamic era and a full-fledged mirror that shows the culture of the customs and life of the people as well as the geographical, social and literary situation of that era. Many scholars in various literary fields have worked on it; Because the suspensions of Saba are the identity of the pre-Islamic era, and the correct understanding of these poems and examining them from different aspects is a way to know the pre-Islamic era. Due to the geographical proximity of Arab and Iranian civilizations, Arabic literature is one of the most important channels of influence of Arabic culture and language on Persian literature, although this influence is reciprocal and deep; But undoubtedly the influence of Arabic literature on the poets of the early periods of Persian literature is deeper and greater. One of the main objectives of this research is to analyze and compare the structural and thematic effectiveness of prominent Khorasani poets in describing the beloved from the suspensions of Saba. Most scholars agree that Iranian poets have followed in the footsteps of Arab poets and imitated Arab poets in composing poems related to Atlal and Daman. The present article tries to identify the structural and thematic effectiveness of prominent Khorasani poets in describing the beloved from the descriptions of Saba with a comparative method and descriptive-analytical approach and to answer the questions that the influence of prominent Khorasani poets in the description of the beloved What about suspended poets? And which Khorasani style poet has been more influenced by suspended poets?

The present article is a comparative study between folk Bakhtiari poetry and classical Persian literature which attempts to trace a number of Bakhtiari poetical items to classical Persian poetry by adopting a historical approach. These common items can be divided as follows: images and depictions, literary collocations, historio-literary allusions, and customs used to create imagery. Although in some cases these are mere accidental similarities, they seem to originate in the shared past of these people, especially due to the isolation of the Lurs from the written tradition of Persian literature that questions the possibility of direct borrowing. However, a number of elements of Luri poetry are undoubtedly taken from Persian literature. The influence of Persian literature is seen more clearly in Bakhtiari allusions to Iranian legends, particularly those of the Shahnameh of Ferdowsi. Finally, considering the deep and old relationship of Persian and Arabic literature, a comparison has been carried out between Bakhtiari poetry and the Muʻallaqāt - as an example of the earliest Arabic poems.

The impact of region, geography, and the environment on the behavior, manners, and thoughts of human beings is undeniable. The manifestation of this effect has stood out in the literature ofa wide variety of peoples and ethnicities. Lifestyle creates the poetic and literary style and the style of Arabic and Bakhtiari poetry is influenced by their surrounding lives in terms of content and language. A quick glance at the poetry of Arab people,especially that of pre-Islamic period, would point to the fact that Arabic poetry is a total reflection of the nomadic life of that region. In the poetry of pre-Islamic era, what stands out the most is the quality of nomadic life, migration, and its requirements. In Iran a great deal of Luri poetry, particularly that of Bakhtiari dialect, have a lot in common with the Arabic poetry of pre-Islamic period. Migration and its concomitant state of being homesick, stopping by the beloved’s halting-place, crying over it, and the remembrance of the sweet memories of being in the company of the beloved in Bakhtiari songs find parallels in the Pre-Islamic poetry of the premises of the Suspended Odes. The important point is that Bakhtiari poetry, unlike Persian poetry, despite the thematic similarities, has not imitated the Arabic poetry, and this similarity in themes is the result of tribal lifestyles.The current research aims to comparatively examine instances of realizations of such similarity in Bakhtiari and Suspended Odes of Arabic poetry

Narration is a cognitive tool to understand the experience flow and the theses of Analysis of stream of consciousness is considered as one of the most recent and popular methods of analyses of literary works. In the stream of consciousness method, for a detailed and momentum description, the content of thought has a central function and appears in the form of Narrative tips and techniques like internal and dramatic, monologues, soliloquy and the omniscient style of the first, second, or third person method.
This study has a brief reference to its features and components of the stream of consciousness, and then tries to analyses a selection of seven pre-Islamic Arabic ode (Mu’allaqat) referring to their fictional nature using the narrative techniques of the stream of consciousness. In other words, we try to answer this question; can part of the heritage of Arabic literature be considered in the context of stream of consciousness? It should be noted that the title of stream of consciousness only applies on the part of the literary creation that contains all or parts of characteristic of this stream. But we must keep in mind that studying these seven odes doesn’t classify them in the context of stream of consciousness; its only an attempt to show the usage of modern techniques in such works. The findings show that: the poets of Mu’allaqat, along with other narrative technique, used a dominant narrative technique based on poetic motives and intentions; the number of these techniques varies between two to three.

Discretional Verses form a great part in muallaqat saba’a. The composers of these qa
'id have not only pictured their own poetic intentions, but also described their lovers’ places of residence, natural phenomena, roadster (camel), warfare, and other events. To do so and to give a bare outline of the scenes they are describing, they have kept a rhythmic effect, especially through the phonetic music of the letters. Since the poet needs to unveil the exact features and status of the described event to prolong the audience gaze in the process of sensational description, the poets of Muallaqat Saba’a have enriched their sensational descriptions with the element of music so that the phonetic aspect of their desired phenomena becomes more vivid to the audience. As the music of the letters unlike the metre can be different in each bayt from other bayts, using a proper typesetting, these seven poets have intensified the music and maintained a phonetic solidarity and adapted it to the desired meaning., Among these seven poets, Imru` al-Qais and Labid, have demonstrated more adjustment of word, meaning and the music of the letters, and the typesetting effect (especially naturalistic ones) in their poems, is more rigorous. The reason may be the greater number of discretional verses about nature in their muallaqats and their being more attentive to nature compared to other poets of Muallaqat Saba’a. Antare and Imro-ibn-kolsum have also taken advantage of martial music resulted from letters and epigram typesettings to the greatest extent, so in describing warfare the music of their poems is sharper and clearer, as these two have utilized letters which when put together recall the clinging of swords and harpoons and the commotion of war. On the other hand, discretional poems of Tarafa, Zuhayr, and Harith embrace less phonetics and the adaptation of word and meaning in their poems is less precise, which can be explained by two arguments: first, compared to Imru` al-Qais and Labid these three poets have been less concerned with sensational descriptions of nature, and second, they have achieved music in their poems through the prosodic metre.

Among the societies with close geographical, cultural, religious, political commonalities, literary effects and influences can always be seen. Mu’allaqate Sabe, which is the most famous and the best odes of uninformed period, not only has had lots of effects on Arab poets but also many of Persian poets have composed poems based on its effects. Khaghani is one of the poets that in some cases there is external and internal relationship between his poems and mu’allaghat, and in some cases, this relationship becomes an imitative nature. His poems are semantic recompose and recreation that have been told before in Mu’allaqat. In other words, they have been recreated in an imitative texture and shape. These relationships include different backgrounds such as imitation, compilation, translation and coherence. This comparative-descriptive research compares one of Khaghani’s Arabic odes with Sabe’s Mu’allaqat from the viewpoints of justifiability structure, vocabularies, imagination, content, music, etc. At the end, Khaghani’s success in this imitation is researched. Although Khaghani’s poem’s in some areas, particularly in justifiability, structure and semantic have become close to Mu’allaqat but, in comparison with Mu’allaqat, they have weak solidity and stability, specifically in vertical area and individual image in such a way that in Khaghani’s poems, color of complication, difficulty and stress can be seen

The Poet is considered a sculptor, a painter and a musician who dramatizes his thoughts and visions through the technique of his poetry. Mu’allaghat Sab’ – as a part of classic Arabic literary masterpieces – display this aspect brightly. These works represent a wonderful variety of images among which the sensory images – including visual, auditive and tactile images – are very common. This article explores the auditory images of pre – Islamic odes and attempts to show that – besides the use of onomatopoeia – the pre – Islamic poets used different phonological features and auditive images frequently and successfully. Along with the visual images of various colors and smelling pictures of odors, they created dynamic auditory images of natural and not natural sounds in order to bridge the gap between the world of thoughts and visions and the real world.