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

ReviewIn Persian literature, the widest semantic horizon is the horizon of lyrical poetry; Poems that express personal feelings and emotions. Lyrical poetry in Persian is presented in the form of lyric, Masnavi, quatrain, couplet and even ode, but the most important format is lyric. There are many types of lyrical literature, and Beth al-Shukwa's poetry is one of them. Shokouyeh's poem is in fact a kind of revelation of inner sufferings and pains that afflicts the poet, although the poet expresses his sorrow in terms of the moods and mourning of the poems and the imprisonment of the poems. And in satires and satires, he shouts his anger and disgust towards the factors of his sorrow, but in the complaints, he complains by introducing these factors. "The importance of complaints is more in recognizing the spirits of their poets, because each complaint, in addition to revealing the unfavorable situation of the poet's life, also gives a clear picture of his ideal society." (Cerami 2008). Since there are many issues that cause human grief as well as complaints and grievances, it is difficult to classify them.However, in terms of content, complaints can be divided into 5 categories: 1- personal 2- philosophical, 3- social, 4- mystical, 5- political.

Khajowi Kermani has used various rhetorical devices and tools in his lyrical poetry to expand the scope of meaning, which in contemporary rhetoric are considered to be a subset of the iham industry and can be said to be related to the decorative categories of iham, including iham of proportion, iham of contrast, iham of contrast, iham Translation, synonyms, etc. are different. The different types of these methods are: verbal allusion, virtual allusion, ironic allusion, structural allusion, multiple reading allusion, additional allusion and employment allusion. The problem that is addressed in this article in an analytical-descriptive way is, which types of allusions did Khajovi Kermani use in his sonnets to increase the semantic capacity of his words? And what is the frequency of using these Ihamic methods in his words? After presenting the definitions of idioms in past and contemporary rhetoric and examining the types of idioms leading to multiple meanings, based on a comprehensive study of Khajo's poetry, the following results were obtained: First, Khajo in his sonnets, except for polyphonic idioms, of all meaning-making types of idioms, Has used; Second, among the types of polysemous idioms, he has used employment more and additional idioms less than other types. Other types of allusion used in Khajo's sonnets are, respectively: verbal allusion, ironic allusion, structural allusion, virtual allusion and additional allusion.

The Ramayana (Valmiki poem) is one of the oldest Indian epics written between the 3rd and 5th centuries BC and later restored in verse and prose. Mullah Masih Pani Petty, in the year (1050 AH) has recreated this Indian epic in order; In fact, Christ wrote this system in response to critics who considered him impure and infidel for his work in composing the system of Ram Vesita. The verses of this poem have a remarkable literary value and in composing Naat, it has become an example for many poets after him. The purpose of this study is to investigate the stylistic features of the Ramayana system.

The present study was based on the documentary method (library) and on the direct study of the Ramayana verses of the poem of Christ and related books. To conduct this research, we have extracted the stylistic, content, and epic features of the Ramayana epic, in detail and point by point, and have presented them briefly and usefully.

The Ramayana of Christ is a combination of Khorasanian, Iraqi and Indian styles. Inherited the epic and epic and heroic terms from the Khorasani style, the tenderness, burning and lyricism from the Iraqi style and the capture of foreign meanings and the thinness of its strange fantasies, is a relic of the Indian style, which of course the Indian Style The rest is style.

This system is full of mythological foundations and beliefs and also has themes such as theoretical mysticism, superficiality, love, moral concepts and folk beliefs. Punishment and repetition in the realm of rhetoric; Metaphor, metaphor, allusion, brevity, allusion, metaphor, and metaphor are among the most prominent literary arrays used in this system. Among the linguistic features of this system is the use of grammatical and linguistic features of Khorasani style.

The aim of stylistic studies is to discover and explain the characteristics and features governing the texts, which are obtained through the analysis of stylistic elements. This article examines the stylistic features in the lyric poems of Emad Faqih Kermani.

This article is based on library studies and has been done in a descriptive-analytical manner.

Emad Faqih Kermani, through Sheikh Nizamuddin Mahmoud, was a follower of Sheikh Zainuddin Kamui and the same person was one of the trainees of Sheikh Shahabuddin Abu Hafs Omar Suhrawardi. Emad is a follower of the reprehensible way and has used various mystical themes in his poems which confirms this theory. Emad is one of the poets of the group that tries to combine two types of romantic and mystical sonnets with the spice of Qalandariat and Malamatiyeh.

At the musical level, the sea of ​​sand has the most weights and the sea of ​​modesty and preparation have the least share, and the use of rows is one of his stylistic features. The inner music of Emad"s poems has also been strengthened by the frequency of puns and repetitions. Punctuation has the highest frequency among the types of puns in his poems, and the high frequency of repetition indicates Emad"s emphasis on his mental concepts. The dominant element in the rhetorical level of his poems is simile, and sensory similes are more frequent in Emad"s lyric poems, singular, singular and plural. In his lyric poems, Emad Faqih has paid attention to various verbal and semantic proportions in order to increase the richness of the spiritual music of his lyric poems. Ambiguity and its types play an effective role in increasing the spiritual music of Emad"s lyric poems. In the intellectual field, there are lyrical genres and mystical, romantic and Qalandar subgenres. He has also criticized Emad Faqih, a member of the monastery and piety, Zahedan the claimant, hypocrites, etc., and attacked them with bitter humor.

The importance of the Iraqi style is not limited to the inclusion of many great works of Persian literature in it, but today, with the development of critical sciences and studies of Western literature, new angles of validity and importance of this style have been identified. Recent studies in the field of Oriental studies and the relationship between Eastern and Western literature show that many features of Western art and literature, especially the literary school of Romanticism in the eighteenth and nineteenth centuries, bear a striking resemblance to Eastern art and literature, especially Iran, when The establishment of the Iraqi style according to the speakers of the sixth to ninth centuries AH in the region of Jabal, Zagros and Ajam has been non-existent. The purpose of this study is to analyze the Iraqi style from this angle.

The present study has been done with a descriptiveanalytical method with the aim of highlighting the similarity between Iranian sentimental literature and Western romantic literature by quoting European sayings and works as well as mentioning and analyzing examples of related works of Iraqi style.

Realizing the similarity between the characteristics of the Iraqi style and some components of the school of Romanticism, especially at the intellectual level, is one of the most important achievements of this study.

Coordinates such as sentimentality, individualism, imagination, religiosity, introversion and sorrow, as well as the tendency towards nature, which are characterized by the literary school of Romanticism, in the works of Iraqi style literature are clearly different from those mentioned in other literary styles. It shows itself, so that according to critics and the existence of Western literary books that have been written according to the works of Persian literature, especially in the Iraqi style, certain traces of similarity with romanticism can be found in this style.

Welcoming means using an exemplary poem that according to the welcoming poet has a complete form, shape and design and has found a place among the people. The poet tries to put a new design in it by making some changes and uses the reminder of the welcomed poem in order to instill more meaning in the audience. However, taking advantage and borrowing is a major feature of welcome; Benefit from music and structure that has become familiar and well-liked over time, and words that sit well in the sample text and harmonize with other elements of the poem. This article shows the influence of Iraqi style poets (for example, Attar, Saadi and Hafez) on the model poetry (poems of Sanai, Khaghani and Salman, who is also Iraqi) on three levels of language, expression and thought and measures whether they are consistent or not. .

The research method in this article is analytical-descriptive.

Poets who are ideologically aligned with someone, in welcoming him, borrow the main ideas and thoughts from him and by welcoming the main elements of structure and music of the model, like other stylistic elements of their poetry, to highlight the content. Their words are profitable, and many greetings are not for the sake of experimentation or empowerment

In the matter of welcoming poetry, the example is sometimes so rhetorically effective that the borrowing poet is not looking for a new impetus for thought and emotional issue, and if he seeks to renew meanings and change the situational context of poetry, image, music and other relationships and It does not change the elements of the poem much. An interpretive poet like Hafez, in welcoming, while taking advantage of the intertextual relationship, takes another step towards changing the texture of speech and gives a new effect to the poem with mental interpretations.

The ode (Qesīda), one of the oldest forms of Persian poetry. To rhetoricians, odes have four sections: tasbib, main body, pseudonym ( takhalos)and sharita. This study seeks to examine the evolution of tasbib in both Khorasanian and Iraqi styles. To accomplish that, the researchers have examined this issue from various perspectives. The prose and poetic works of Khorasani and Iraqi styles have been studied to answer the following questions: what changes did tasbib undergo during the designated period of time? What was the basis for such changes and what factors led to such evolution? What was the poet's viewpoint about the introduction of the odes? Was tasbib viewed differently by writers and poets?

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.

Realism has a privileged position in the Persian poetry of early tenth century SH. This style, which is an intermediate between Iraqi and Indian styles, has brought about the greatest change in the poetic themes after Iraqi style. Amir Khusrau Dehlavi was a famous Persian-speaking mystic and poet in the second half of the seventh century and early eighth century. Although he is one of the most prominent Iraqi-style poets, he must be considered as one of the leaders of realism in Iran. His sonnets are noticeable for simplicity of language and the expression of the issues between the lover and the beloved, which are the hallmarks of this branch of realism. In his sonnets, when the lover encounters his beloved’s disregard, he does not flatter her but blames and reproaches her. The specific characteristics of his sonnets include punishment and taking revenge on the cruel beloved, expression of the relationship between the lover and the beloved, abandoning the lover, punishing the beloved, describing togetherness, expressing the baseness of the beloved and the helplessness of the lover etc. The article demonstrates that the poet has understood the heartbreak caused by love, which is one of the most important elements of this style, and has mingled it with imagination to use it as a thematic element in his poetry.

'A' or 'Alif' the first letter of Persian alphabet, is a prominent vowel in Farsi language. It is the first letter of Abjad numeral system which represents number one in this system. Alif signifies the Taurus astrological sign. In mystical, philosophical, and rhetorical literature, Alif represents unique God, Holy Spirit, God's mercy; Adam's the father, abstract sphere, solitude, and the single mystery and etc.Due to its special form and position and some other unique features, letter Alif is one of the most used letters in order to create the original themes and poetic areas, mot and elegant expressions and compounds in Persian literature, poetry with Iraqi Style. Alif is a leading in most of poetry by these poets meanings like consistent and firm colossal stature, handsomeness, oblong, tense and stretched. It also signifies greatness, proud and honor, slimness, uprightness, stability, resistance, persistence, staunchness, loyalty, faithfulness and standing on one's promise. Alif has fallen in love with its stature. Since Alif has accent-like sign overhead, it is rebellious. Despite having tongue, it is dumb and silent. It is regarded as one of the poorest in terms of wealth among letters. It symbolizes poverty, abjection, destitution, vacancy, pauperism, beggary, inexistence, absence, loss, and self-denial. It also suggests nakedness, nudity, embarrassment, self-evidence, preparedness, distress and confusion and adornment. It carries meanings like solitude, individualism, loneliness, uniqueness, detachment, freedom, honesty, frankness, and innocence. Alif is motionless and stagnant. Its creation begins with points and dots. All letters and numbers then are founded upon this letter. Alif is the first letter of creation. It also indicates minuteness, brevity and tininess. Alif is the most common simile in Persian literature and the poetry's and prose's images or contents used in Persian literature are described. It was compared to needles, thorn, moon crescent, sticks, pens and plumes, fingers, arrows, bolts, cedars, gallows and scaffolds, newly grown whiskers or beard,  half or full moon, and etc. In this article, we try to study the literary, artistic, and video applications of letter Alif in poets' poetry with Iraqi Style.

One of the evaluation criteria of the poet's proficiency in eloquence is the use of rhetorical figures. The emphasis on a specific type of rhetoric may distinguish a poet's style from others, but it cannot be the only stylistic feature of a specific literary period. For example, allegory almost has been used during all times of Persian literature, but because of its high frequency during Safavids (Isfahani/ Hindi style) it has become a prominent style of then. Since allegory has things in common with the allegorical simile and so on, sometimes they are ignored and supposed one category, though this article intends to give some evidences of different types of the mentioned techniques in Fakhr-e Iraqi's divan. The results show that Iraqi, fallowing the literary style of his period, has applied many common literary figures sufficiently in his poems, amongst them allegory and allegorical similes with a high frequency and diversity of themes and structure are mostly shown off. This proves that he could exceed the limits of rhetorical principles without ignoring them and extract his methods from those limitations by innovation, invention and creativity to adorn his poems by a dignified style.

One obvious feature of Hafiz's style is ambiguity and among this, ambiguity of musical words has obvious usage. Among the poets that hafiz was under the influence of them; Khajou kermani and Amir Khosro dehlavi clearly use musical ambiguity too. so that some of words that make ambiguity in their poems have been used with common structures . Our main question is that in use of ambiguity, to what extent hafiz was impressed by Khajou and Amir Khosro. For this purpose, first we have extracted musical ambiguity of the three Divan, then we have separated mutual ambiguities and have written brief description of semantic and structural features of each of them, and by doing so, we have demonstrated that hafiz in his feature style, has paid special attention to khajou's poetry and Amir Khosro's Poetry.

Due to their rich cultural-literary backgrounds and to avoid redundancy and boredom and also to show their virtues، poets and mystics draw on different themes to express their mind and consciousness. One of these themes، which can cautiously be said to have its roots in the ancient Iranian culture، is the use of chess terms. Frequent usage and adaptation of chess themes from 6th to 9th centuries – stylistically concurrent with the Azerbaijani and Iraqi styles – furnished the opportunity for presenting the intricacies and delicacies of this game. The present paper aimed at a careful study of the works of the great poets and mystics to analyze correct rules and ways of playing this game together with its complexities and delicacies. The results show that the Azerbaijani style entails more attention to details and intricacies of the game than Iraqi does، probably unparalleled in the history of literature. In addition، Rumi and Khaghani outdo the rest of the poets and mystics in this respect.

Some of the colors in different period of Persian literature have mysterious aspects of human life that have been decoded. Among these colors، black is one of the colors that has been used in the area of theology، religious، mysticism، spirituality، Sufi، literature and folklore. However each one has had different view points toward this special color. A short look at Persian literature shows in different periods the contents and educational missions and mystical aspect of this color has been emphasisedd. Accordingly، this study analyses this color in two styles of Persian poetry (khorasani and Iraqi). We found that in khorasani style، less than hundred cases، these colors have been used based on virtual language. The rest use of it has been for simple description and sensory metaphor. However، in Iraqi style often mystical text of Mathanvi education as well as a metaphorical and virtual language has been used.

The subject of this study is the Effect of Sultan Literature on the Beloved’ Work in the Lyric Literature of Iraqi Style، relying on Hafiz’s Ghazal. Over the years the king’s speech and behavior were a behavioral pattern for many people. In Iraqi style، the poets replaced their earth beloved to the king، because of the reduction of their kings’ acceptability. In order to describe an admirable glory for her، they exalted him and represent him as a high ideal being in their dream، and by royal praise. The king’s work، the army and court customs inspired them to praise the beloved and pictured her as a king that the court custom was done for her. Based on it، her each body organs was described as each war tools. The poets used them for the beloved in a new way and by the semantic changes. By this، the violence and ugliness of that were vanished. Now it was fit with the beloved’s gentle mood، and became the speech and the behavior that the lover was waiting for that impatiently.

Bidel Dehlavi، is one of the proficient and prominent figures in Hindi Style who along with other forerunners in Hindi Style like Kalim and Saeb was under the common influences like thought fluctuations، loss of psychic and spiritual balance، exposition to various situations، loquacity and ignorance vertical core of couplets. Influenced by mentioned factors، he tries to achieve new meanings and new themes or literally said «strange meanings» through contradiction in mythical، historical، religious and literary subjects، surrounding environment and phenomena. By contradiction in Hindi Style poems، we mean in the way of creating new themes and avoiding cliché and one-dimensional common themes in Persian literary form (Iraqi style)، the poet deconstructs and defamiliarizes prior verse traditions and creates unique subjects with two contrastive meanings (positive & negative، objection & praise). The researcher in this paper has extracted contrastive meanings and themes in Bidel Dehlavi poetry and discussed it alphabetically using other Hindi Style poets’ poems where it’s necessary. The purpose of the study is the determination of contradiction and contrastive meanings and themes in the context of Bidel Dehlavi poetry. The result showed the plentiful application of contradiction in Bidel’s Poetry under the influence of named Hindi style poets is in the highest degree

Since a long time ago, poets and orators used various knowledge sources and human sciences to express thoughts, intentions, and their intellectual achievements. For instance, they utilized natural and supernatural elements and names of geographical places as the sources of their artistic creation. The old poets and orators, which are known as the laureates and frontiers of classic literature, used the names of the cities, mountains, rivers and famous places like palaces and places of pilgrimage in their poems to make their works more elegant and more artistic. Using these geographical names for making images in the poems not only preserves and saves the name of these places but also it facilitates the reader’s comprehension and understanding. This article aims to investigate and analyze the imageries created by geographical names in Naser Khosro poems, the representative of Khorasani style, and Khghani poems, the representative of Iraqi style, to show the changes in the contents involving geographical names and the frequency of geographical names in these two styles. The analytical method is used in this study and some verses have been collected from Khaghani and Naser Khosro poems then they have been categorized and compared and finally analyzed.

The Indian style of Persian poetry originated in the 11th century. Invention of new themes, fancy, brevity, paradox, personification, and most significantly, parallelism are among the characteristics of this style of poetry. Some other literary schools such as Vasukht, or shunning the beloved, preceded and coexisted with the Indian style. Since one can find the roots of any style or literary school in the preceding ones, one can find the roots of some characteristics of the Indian style, especially parallelism, and the concept of Vasukht, in some preceding styles, such as the Azerbaijani style or in the work of some celebrated poets like Nezamis.Since from among the characteristics of the Indian style, parallelism has a special place in Nezami’s Panj Ganj, after some preliminary words about Nezami and the Indian style and a review of the concept of Vasukht and the history of parallelism in Persian literature, we show the roots of Indian style features and the concept of Vasukht in Nezami’s Panj Ganj.

Baba Taher Hamadani is one of the most well-known Persian poets of the fifth century. Researchers have not paid attention to him and his poetry as much as he really deserves. This is due to the fact that his poetry does not share anything with the courtly poetry of his age, and thus, was bereft of all materialistic possessions. Despite this, one should not forget that general public recite and remember a lot of his poems.The aim of this paper is to study three aspects of this poet’s influence on the succeeding poets, particularly those belonging to the Iraqi style era: incorporation, verbal, and semantic similarities. Even if we accept that these similarities are “connotative,” they indicate that Baba Taher’s thoughts and ideas have affected, and been employed by, other succeeding poets.