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

The guilt of Fereydun, one of the greatest Pishdadi kings, is mentioned in Mainyō-ī Khard and the Pahlavi narrative alongside Jamshid and Keykavus, although there is no indication of his guilt in the Shahnameh. In this essay, after criticizing the previous views on this matter, two hypotheses about Fereydun's sin have been proposed: one is considering that the Vedic counterpart of Zahhak, Vishurupa, a three-headed, three-faced and six-eyed dragon, in the Mahabharata, is a devout and religious Brahman who continuously recites the Vedas with one head, and Indra, fearing that he might take his place among the gods, kills him and because of this sin, loses the dominion of the sky and his strength decreases, it could be that Fereydon's sin is also connected with killing Zahhak; who is also a worshiper in disguise of Mardas and also vowed and sacrificed to Anahita and Wayo, still has signs of his Brahminism and religion in the Shahnameh. On the other hand, considering that Indra's other sin, is the seduction of Ilya/Ahlia, a Brahmin woman named Gautmahnam, and as a result of this sin, Indra loses all his beauty and it is transferred to two Nasitiyas, it is not unlikely that Feridun's other sin was kidnapping two Brahmin women. A matter that has been elegantly depicted following the fundamental Post- Zoroastrian transformations.

As much as poets have tried to elevate their words, prose writers have also tried to elevate their works by using various rhetorical aspects.The simile has been the first imagery since the beginning of the development of Persian language and literature. Every poet wanted to make his words more imaginative, sublime and fresh than predecessors, and in order to achieve such a thing, he had to redefy trite similes. Metaphor in every poet's poetry is the result of exaltation and perfect simile of poets before him. Considering the passage of several centuries in the literary life of the Persian language and literature and passing through the stage of growth and development, Saadi and Jami should have either used new similes or changed the similes of the predecessors to create a fresh and new image in order to elevate their literary works. and accompanied by metamorphosis. Considering the fact that Saadi's words for commoners and elites have often been far from ambiguity, it is expected that he and his followers have tried more to change the words of the predecessors and less to create fresh similes. In this research, we have tried to answer the question that what devices did Saadi use in the fifth chapter of Golestan and Jami in the sixth shrine of Baharestan to redefy their similes? For this purpose, by analytical-descriptive method and based on the obtained evidence, we have shown that Saadi and Jami use the devices of conditional simile, preferential simile and conditional simile, conceit simile, metonymical simile, allegorical simile, equivalent simile and asymmetrical simile, similes and additional imagery, negleational similes, the use of vehicle, and rare words of comparison have been used to redefy similes and eliminate trite. equivalent simile, especially in rhythmic prose, can be used as a device with which the poet, like the asymmetrical simile, can redefy the simile and provide an opportunity for homophony. Although Jami intended to follow Saadi's style, he was not always successful. When sensitive simile becomes rational simile, or vehicle becomes unusual, Saadi's words are always firm and unambiguous ; But Jami's words become ambiguous. Saadi is also sometimes helpless in finding a clear point of resemblance for allegorical simile or preferential simile of reference type. The process of forming  imagery usually begins with simile and the poet has to leave one of Sides of comparison in order to defamiliarization. Metaphor is the result of defamiliarization, de-familiarity with trite metaphor. negleational simile is a metaphor for familiarity, de-familiarization and a platform for creating metaphors. The negleational simile is a vehicle for defamiliarization  and a platform for the creation of metaphor. In order to keep their words out of ambiguity, Saadi and Jami have tried not to use often far-fetched or pristine metaphors, and instead have become for defamiliarization with the metaphors of the predecessors.