جستجوی مقالات مرتبط با کلیدواژه "نعت و منقبت" در نشریات گروه "ادبیات و زبان ها"

Azhari Shirazi is an anonymous poet of the 11th century AH who has not been researched about this poet. The basis of the present article is based on the unique version available in the library of Shahid Motahari High School and its purpose is to study the style and thought of the manuscript of this Safavid poet.

The present article is an intra-textual, stylistic and theoretical study that has been done by library research method. The study area and community is Shirazi Divan.

In Isfahani Divan, Isfahani style can be found along with verbal and spiritual industries and innovations. The language of this poet"s poems is simple and his lyric poems are very delicate. Despite the poet"s acknowledgment of composing Turkish poems, no trace of it was found in this version. His poetry has advantages in various aspects among the court of his contemporaries; Notable are the titles for the poems, the lamentation, the boasting, the romantic lyricism and quatrains, the humorous and satirical Masnavi, and the pieces containing the material of history. I also enjoy a variety of linguistic and literary benefits in this divan.

Azhari Shirazi has experimented with other Isfahani style poets. The time of the poet"s life can be considered according to the articles of the Divan, between the years 991 to 1061 AH or shortly after. At the intellectual and content level, religious, romantic and humorous themes are the main themes of his poems. At the linguistic level, unlike Isfahani style poets, slang words are less noticeable in his poems. The use of special weights and long lines is a feature of his poems. At the literary level, phonology, repetition, types of puns, as well as forms of imagination, simile, metaphor, irony, allusion, observance, and style of equation have the highest frequency in his poems.

Since the early Dari Persian literature emerged writing a preliminary part for a literary work in prose or verse became popular. The terms “preface” (dibache negari) and “prelude” (aghaz bandi) have been used synonymously and respectively in outstanding works of Persian prose and verse, though in verse works writing a prelude has been more common than in prose works. It is also true about writing a finale or “epilogue” for an epopee. The art of composing a prelude and epilogue could be counted in the literary and rhetorical techniques row. This is in a way a literary device that adds to the eloquence and decorum of the works of literati, both in verse and prose. Intellectual, philosophical, religious and ideological points of view of the literary composers can be traced in their introductions to their works, and so can lead to discover the secrets of their thoughts. This study deals with the analysis of initiation and termination of poems and versifications in Persian literature masterpieces. Ferdowsi’s Shahnameh is the first work to include a prelude, and then Sanāʾi applies it in a broader sense in his Hadiqat al-Haqiqat, so that the followers of Sanāʾi’s literary style continue his convention of writing preludes and epilogues in their mystic or lyric poems through the reign of Qajars. Nevertheless, there are some rare works with no prelude or epilogue, the most noteworthy of which is Rumi’s Mathnavi.