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

The Monsha't of Khaqani Shervani (520-595 A.H), is a collection of his letters to the governors, scientists and acquaintances written with an esthetic and technical prose. These letters are of importance regarding literal, social and artistic aspects, so that studying them closely would be of great necessity. These letters can be used as some of the main references in "Khaghani Shenasi" as well as the sociology of the poet's era. Monsha'at provides us with beautiful aspects of 6th century A.H technical prose composed in utmost beauty, arrangement and sophistication, presented in the form of a letter. Some of his letters are "Del-Neveshteha" (written from the heart) which provide us with great amounts of information about the author himself and the social condition in which he has lived. This paper aims at manifesting the importance and the value ofMonsha'at as a vivid example of the art of a capable poet writing prose. This is done to remind Khaqani researchers about Monsha'at and its importance in helping the process of the studies.

The history of Monshaat genre dates back to the pre-Islamic era. The genre was dominantly used by the court secretariat who were interested in using Arabic words and structures, complexity of writing and using words, and the use of figures of speech. However, Monshaat genre underwent significant changes in middle of the period due to the social changes. This study tried to explore the evolution of the literary genre in the Qajar period and see the impact of court secretariats on the change from the simple style to complex style. It used a descriptive-analytical method. The data were collected from the selected sources and other library resources related to the subject. Then, the data were analyzed considering the stylistic aspect of Monshaat at linguistic, literary, and visual levels. The stylistic analysis of the Monshaat genre showed that there are remarkable differences between the Monshaats at the beginning of the period and the end of the period in terms of language, literature, and image. The language has changed from high complexity in using language, using Arabic words and expressions, and applying long and complex sentences, to simplicity and using Persian words.

The structure of sentences and the order of words are two representative factors of the syntactic style of an author which are highly useful in explaining his personal style. Understanding the personal style of each author can be very helpful for readers in understanding the themes of his/her texts, knowing the character of the author and identifying his/her personal characteristics. Ghaem Magham Farahani is one of the greatest writers of the Qajar period whose personal style distinguishes him from his contemporary writers.
 


Using the approach and theory of layer stylistics and the method of discourse analysis, the researchers have undertaken the study of syntactic level of the 45th letter in Ghaem Magham Farahani’s Monasha’at. They have attempted to identify the connection between meaning and the syntactic level in this text, and to explain to the readers what the syntactic factors are in this letter and how the syntactic structure of the text helps its theme.


One of the most famous literary figures in Qajar period is Ghaem Magham Farahani, the Grand Vizier to Mohammad Shah Qajar. Thanks to his talent, artistry, and dedication, Ghaem Magham managed to write about the issues of his time in his Monsha’at with the use of a colloquial language and a literary texture which is more often than not compared with Sa’di’s Gulistan, since like Sa’di’s masterpiece, it is full of Arabic words, anecdotes, and proverbs. When these factors are combined with folklore literature, the result is a pleasant, attractive and dynamic prose. In a word, “Ghaem Magham is the Sa’di of his time” (Shamisa, 2014: 282). In Ghaem Magham’s prose, one can distinguish three styles: simple, intermediate and complicated, which have been very common in the previous periods. The prose contains Quranic verses, religious fables and hadiths which are signs of prolixity in texts (Khatibi, 2007: 58). One can also find elements of conciseness in sentences and the avoidance of complexity which are manifestations of simple and straightforward style (Rastegar Fasaei, 2018: 243). However, the most frequent style used in his writings is the simple style which is a recreation of the ancient simple and straightforward prose (Rahimian, 2008: 12), since his texts are intended to be simple and devoid of complexities in style and meaning.
It is the aim of stylistics to study the characteristics of texts with the attention to different linguistic periods, and then analyze these characteristics in relation to the authors who have used them in their texts. Accordingly, by analyzing the works of a writer or a period, researchers of stylistics can reveal many aspects about the texts, such as the perspective of the author, the social condition of the period, the discourse of the age, the orientation of the writer, creativities or imitations in the style of the writer, the author’s ideology and the dominant ideology of the period. However, due to the high number of these stylistic characteristics in the texts, the researchers have divided them into 5 categories and study each category independently. These five levels are phonetic, lexical, syntactic, semantic and pragmatic levels. Each of these levels are again divided into several sublevels which eventually make up the meta-levels when combined with each other. Syntax is the study of the relationship between linguistic forms in sentences, structure, order, syntagmatic and paradigmatic levels. The analysis of the syntactic level makes the reader capable of discovering the relationship between the syntactic structure and the thematic structure of a text. Some of the issues discussed on this level are the structure of the sentences, the length of the sentences, the order of sentences, moods in adverbs, adjectives and verbs, the verb tenses, adjuncts, the use of Arabic words and expressions. The researchers have undertaken the analysis of these elements in letter number 45 of Monsha’at by Mirza Abol-Ghasem Farahani.
 


The structure of sentences and clauses and the order of words in any text are representatives of the grammatical and syntactic style of that text which eventually lead the reader or the researcher of the linguistic behaviors to identifying the personal style of the writer. The analysis of the items under study showed that there is a relationship between the syntactic principles and the themes of the text. In this research, we studied the length of the sentences and analyzed the relationship between sentences from different perspectives. The findings showed that short sentences are used more than long sentences in this letter, which means that Ghaem Magham has used them for accelerating the expression of his thoughts. Short sentences are proper vehicles for transferring the purpose of the writer to the audience; however, whenever necessary, the writer has used longer sentences to explain and describe more. Therefore, the high frequency of short and concise sentences with independent thoughts in each sentence is indicative of the preference of meaning over verbosity in the mind of the writer and, as mentioned before, accelerates the expression of meaning. From among the four types of links in the sentences of this letter, the two types of equivalent and intertwined are more frequent than the other two, dependent and independent links. The use of these links brings more coherence and stronger relationship between the parts of the text and their meaning. The study of moods in this letter led to identifying Ghaem Magham’s ideology and individual character. In this regard, the findings show that in verbs, the indicative mood are more frequently used than imperative and subjunctive moods. This delineates that the writer of the letter has intended to narrate the incidents and phenomena; therefore, it reveals Ghaem Magham’s certainty in his text. The study of the mood in adverbs show his close relationship with the incidents; while the study of the mood in adjectives show the writer’s tendency toward different factors and people which usually express his power and certainty.

Gulistan of Sa’adi is among the literary works which has always been noticed and imitated to a great extent due to its specific features of structure and content. These imitations are sometimes seen in the content and other times in the prose and structure of the later works coming after Sa’adi. Qa’im Maqam Farahani is a politician who has been quite familiar with Gulistan and has considered it while authorizing his Monsha’at. This research has been conducted having the following goals: realizing the depth of impact ability of Qa’im Maqam from spiritual music of Gulistan, comparing Gulistan and Monsha’at in the use of rhetorical figures, recognizing the similarities and differences in expression style of Sa’adi and Qa’im Maqam, and understanding the type of intertextuality.

This research has been done in a descriptive-analytical manner. In order to do so, rhetorical figures containing: simile, metaphor, kenning, and trop are extracted and counted and then are analyzed and compared based on some drawn diagrams. The study area is the first hundred pages of Gulistan and Monsha’at.

In this book of Qa’im Maqam, in addition to some of Sa’adi’s expressions and poems, imitations of structural qualities of Gulistan can be also detected in the prose poem. Qa’im Maqam has mostly followed Sa’adi in terms of using figures of speech such as rhyming prose and monophony, but he has not pursued the expressive rhetorical figures used in Gulistan. The biggest difference between Sa’adi and Qa’im Maqam is in the use of kenning. kenning has a higher frequency in Gulistan than in Monsha’at. This is due to the thematic difference between the two works, which implies the speech to be clearer and leads the kenning of the speech to be more ambiguous.

Qa’im Maqam has consumed more extensive similes in comparison to Sa’adi. It also seems that he has used less metaphors but more similes in general than any other rhetorical figures in his own Monsha’at. Also, the use of metaphor, trop, and kenning is spotted less in Monsha’at. The general result is that Qa’im Maqam has been influenced by the internal music of Gulistan rather than its spiritual music.

Mirza Mohammad Tahir Vahid Qazvini, one of the poets and writers of the 11th century AH, has left many works in poetry and prose. "Monshaat" is one of his prose works. With an approach to the position of secretaries in the court of rulers, it can be said that "Monshaat" is an important source of studies on Iranian history, culture and civilization. Since Vahid Qazvini"s "Monshaat" has not been published yet, there is a need for research on it. The purpose of this study is to introduce the Monshaat of Vahid Qazvini and to study its stylistic features.

The research method is descriptive-analytical.

The Monshaat of Vahid Qazvini in terms of content is of great historical importance in relation to the Safavid government. The structure of letters consists of a prolog, which is usually phraseological and rhythmic prose; the text of the letter, which is less artificial than the prolog; mentions the bearer of the letter and the gifts sent, and finally a prayer for the addressee. Vahid Qazvini"s Monshaat is very important from a linguistic point of view due to the author"s attention to the adornment features of speech. In terms of lexicon, the multiplicity and combinations of Arabic words, Persian combinations, using some Turkish words, using multiple synonyms, the multiplicity of compound plurals and the use of words in a particular meaning and structure are interesting. Syntactically, the presentation of a verb, the distance between the two components of a compound verb, accompanying the transitive verb with the contracted infinitive, using of a descriptive verb frequently, the introduction of indicative future and possible future without "mi" and "b", the use of prepositions in their old meaning, putting "ra" in different meanings and some other syntactic features can be seen in Monshaat. In terms of phonetics, different types of rhymes, puns, balance and leonine verse, coordinating two or more sentences by observing the rhyme in the last verb of the two sentences, inversion, alliteration, multiple genitive cases, etc. have been used for visual beautification and melody of the language.

The writing style of Vahid Qazvini"s Monshaat is a continuation of the tradition of court secretaries, which is written in a completely technical and artificial way and there is no tendency in it to be simple. The aim of the author is not only to express meaning, but also poetic art and technical ostentation and difficult writing in his prose; nevertheless, some linguistic antiquities related to Mursal"s prose can still be seen in the text of the book.

Monsha’at of khaghani is a glorious example of the qualities of Persian prose that, despite its great importance, has received little attention from scholars. On the other hand, the prose lyric literature has been neglected in comparison with its poetic type, and some have not considered this type of language to be effective for lyric literature. This research intends to study both cases by relying on the content analysis method and examining the lyrical aspects of Monsha’at text. With this aim, first, according to the known types of lyrical literature such as autobiography, praise, epigram, complaint, etc. the book was studied carefully and parts containing lyrical content were extracted and then introduced based on frequency. According to the results of the study, as prose is closer to the nature of language, Monsha’at more clearly reflects Khaghani's emotional images, autobiography, loneliness and bewilderment, praises, his high character, epigrams, incompatibility with his surroundings, and his delicate and quick-witted grievances. The obtained samples indicate that, contrary to the popular belief, Persian prose has no shortcomings in the expression of lyrical content, and in some cases, due to the author's lack of adherence to the poetry meter limit, lyrical prose has more literary impact and prominence.

Ghaem Magham Farahani is considered one of the great politicians of the Qajar period and has several writings, the most important of which is called Manshat. Manshat is a letter written in a simple and fluent style during the bureaucracy period and as a literary genre it has the capacity to be studied based on the theory of application of the principles of literature. Therefore, in this study, the theory of literature in the family letters of the deputy in the source is examined and analyzed in order to evaluate his personality and the way of communication with family members. Numerous theories have been expressed about the principles of literature, in this article, from Brown and Levinson's theory, based on the strategies of negative literature and positive literature, direct and indirect speeches; And Calper's theory has been used in relation to the strategy of positive etiquette and negative etiquette, and direct violation. The results of this research which was done by descriptive-analytical method; It shows that Farahani's deputy has benefited a lot from positive literature for his audience; And he has used negative literature to express his interest and has threatened someone less. Positive etiquette violations based on lack of empathy or inappropriate labels account for a small percentage, and negative etiquette violations and direct etiquette violations are very few in these letters. He also uses indirect expression as a reason for polite behavior; It is used more than direct expression.

Introduction and publication of prominent Persian literature, It enriches the scientific, literary and historical background of the country. many copies remain in libraries inside and outside the country Which need to be corrected, introduced and evaluated to identify. From Hassan Ali Khan Amir-Nezam Grossi, there are two literary works in written form, titled "Yahviyah" Which has not yet been introduced and analyzed. Grosso Letters is a work of Persian writing and correspondence Which in the thirteenth century has been written as a simple and middle-class poet in the style of Qa'im Magame Farahani. and it is important in terms of reflecting the historical, cultural, political, economic, social, and civil matters. therefore, the review, introduction and identification of this work can be effective in recreating the cultural past of Iran. In this article, while introducing the emperor of Grossi's system and his role in the promotion and reform of society, and the emphasis on literary and literary sciences, he has also introduced the essential and auxiliary versions of his writing, and outlines the most important features of this work.

Language always goes forward the brevity way, which means trying to convey its intentions by using the least number of words.The consequence of this process is contingencies such as deletion of sentence components. Poets and writers sometimes omitted some of the components of the word in order to summarize the word and, of course, to observe the principles of rhetoric, punctilios and syntactic subtleties in their poems and writings. This process (deletion), not only observe the syntactic principles of language as an artistic and influential factor in conveying the concept to the audience, but also leads to contemplation and mental activity to find out the excluded part.The present article deals with the issue of removing and reviewing its proofs in the book "Monshaat Sahife Shahi" by Mollahossin Sabzevari. Sahife Shahi is one of great works of the Timurid era. Considering that one of the stylistic features of the Timurid era is the elimination of the elements of the sentence, especially removed the verb, and this stylistic and written feature is also found in the works of most writers and writers of compositions of this period. This feature has been studied in this work and some examples have been cited.

The newly found transcript of Chahar-Bagh by Hakim Abolfath Gilani, is one of the prominent transcripts of Timurid era in India. Hakim Abolfath Gilani is one of the prominent scholars of Safavid dynasty who belonged to a very prestigious family. He immigrated to the court of Jalal al-Din Mohammad Akbar of India due to disturbance in political situation of Safavids. He managed to gain high positions in Akbar’s court. The transcript of Chahar-Bagh is a set of letters, decrees, texts and writings which Hakim Abolfath Gilani has written to different significant court individuals, governors and scholars of that time. These letters are important because of their socio-political, historical- geographical and particularly literary focus. Some of these letters are well descriptive of the turbulent situation of Iran in time of Safavids that paved way for the immigration of different professionals from Iran to India specifically the elites and scholars.

Composition is one of the old kinds in Persian literature which has determined structure that it wrote in three sections. In Safavi and Teimouri dynasty current sample prose and some of authors have not enough science, then this determine structure to be omitted. For ther more, some of authors try to write his letter base on previous period. As it is seen, the composition of this period divided to two sections. one of it has new method and another has old method . This paper investigates letters structure in Meibody book and Tafreshi book. Result research show that Meibody is following at previous method. He uses at Arabic and Farsi prayer in beginning of his letter and he wish that his addressing has longevity. He uses at simple and compound adjective is another manner at Meibody to create a letter similar to old book. We can say Meibody is one of the last authors that write his letter base on three sections. Tafreshi tries to write letters in new method. In fact in his letter we can not see limits betwixt beginning, text and end of letters. He omit simple and compound adjective in his letter, and tries to create a text which it is different with another books

Collection of Compositions or Javame-ul-Ensha by Hossein Heravi is one of the most important Administrative Book remaining from Sultan Hossein Bayghra II. Within this secretarial work, one could identify the beaurucrartic developments and issues thereof during the last days of the Tamurid Period. It provides the reader with valuable literary and historical insights into the tumultuous administrative situation during the end of tamurid era which is incident marks one of the most prolific cultural periods . The unique copy of Javame-ul-Ensha which is held under number 4301 in Ottoman Noor Library in Turkey, has never been reprinted and much is not known about its author beyond his name, Hossein Heravi. He has not be referenced in none of the text dating from that period. By reviewing the stylistic characteristics, it is seem that the letters of introductions is filled with literary arrangement and all types of oratorical and novel constructs. The main text of the letters are somewhat more simple than the letters introductions. The most outstanding linguistic characteristic of Javame-ulEnsha is the propensity if Turkish, Mongol and Arabic terms as well as Arabic idioms, phrases and broken plurals. The literary style of the letters owes much to authors' use of all kinds of Aliases, rhymed prose, counterpoints, paronomasia, alliterations, contrastive, selected attributes, colloraries, and poetry (Arabic and Persian) as well as hints. A number of epistles point out to the deterministic and mystical attitude of the author.

Noting and writing letters are of the routine manners in the history of Persian literature, and it’s the general title for works, and books which involve rules, orders, friendly letters, responses, kings’ charters, Promissory note, treaties, victory or defeat memories. Teymuriera, is one of the splendid and rich eras for writing notes. Writing notes and letters, in this era, is a touchstone to trade off the speech and writers’’ motives. Note of Sahife- Shahi (royal notebook) or Taghvim-al-Makatib( the calendar of letters) is one of the Notes in Teymuri era, which was written by Mullah Husain VaezKashefiSabzevari, writer and secretary at the royal court of Sultan Husain Baighara, and the author of some books such as Javaher-al-Tafsir, Anwar-e- Soheili, Rozah-al-Shohada, etc. the handwritten scripts of this book exist in Islamic Parliament’s library, central library of university of Tehran, Melek library and some other libraries. As the historical and literature importance of the book of Sahife-Shahi, this paper tries to revive one of the Persian historical and literature heritages, besides providing an introduction of Notes’ history and handwritten scripts in a descriptive-analytical manner.

In terms of style, Monshaat (letters) of Khaghani is one of the complicated and industrial texts in Persian literature. Khaghani had a special style of prose writing, just as in verse, and a full knowledge of various writing methods. This work is of great importance in various aspects such as better understanding of Khaqani's writing style as well as getting acquainted with his environment and time. What has been considered in present study is the contemplation on some of Khaghani's phrases in his Monasaat, corrected by Mohammad Roshan, that are not semantically expressive and the audience may get in to difficulties in reading them. Bad reading and unprincipled copying of the editions are, in some cases, among the factors have reduced the literary value and artistic delicacy of the work. The re-correction of phrases has been accomplished on the base manuscript, and the least on some insignificant manuscripts such as Paris and Sepahsalar that include just a few of the letters. In many reviewed cases, other textual evidences are obtained when the right phrase stands on its right place.

AfzalodinBadilebn Ali KhaqaniShavani, in addition to Divan and Khatmolghareb, has written epistles and letters (Monshaât). The importance of these epistles and letters, beside literary value of them, is that they include important information about poet life. Because of difficulty of this text, the researches about these letters is very limited and finite. The best correction of these epistles and letters is undergone by Mohammad Roushan’ efforts, in turn his correction is indebted to Minovi and Forozanfar guidance and decoding’s. In this essay, we study and survey the record of a few phrases of this correction. I hope this attempt is a step to go forward the attempts of that learned and noble mans.