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

Anwari’s divan is of prime importance and worthy of consideration from different perspectives especially from the linguistic one. He wrote poetry in five different forms: qasideh, qit’ah (fragment), ghazal (lyric), maṯnawi, and ruba’i (quatrain). However, what attracts one’s attention to his poetry is the versatile language and mode of expression he employs in different literary genres and forms. Consequently, although there are apparent similarities as to the thought and language of his composition, the stylistic characteristics of his poetry should be separately analyzed with regard to every given form. Employing an archival descriptive-analytical method, this article deals with the stylistic and linguistic peculiarities of his poetry regarding the forms, themes and audience appropriation in selected poems from his poetry collection. Results obtained from the analysis of Anwari’s poetry suggest that the poet employs different modes and techniques of expression appropriate to the subject matter, form, object of praise (mamdouh), and audience. In general, Anwari’s poetry can be studied in four types of language registers: 1) language appropriate to court and praise poetry; 2) language appropriate for advice; 3) language of the common people and in some cases the language of the lower class of the society: 4) lyrical and romantic language. With a fair and careful evaluation of Anwari's poems, it is proved that he can well handle the variety of forms and themes and the variety of language and expression in proportion to them, merge the word and the meaning in proportion to each other and make the most of language to express conceptual delicacies. Using various contemporary sciences such as medicine, astronomy, logic, etc., and at the same time approaching the language of the common people, Anwari created a modernity in the language of poetry. His poetry collection includes exemplary praise and court poems, poems palatable to common people’s taste and fascinating portrayal love poems.

One of the bases to evaluate the syncretism of scholars who used their own initiative and innate talent to particular expansion and innovation in the style of Persian poetry is considering the views and opinions of such scholars in the subject of the dignity and venerability of speech and eloquence. Such scholars present their views and opinions in their syncretism and works in the subject. This can provide new view and more and better understanding with their thoughts and works based on the literary criticism in their era. It is because the scholar descriptions about poesy and perfect speech and the definitions introduced for the compare the speech and eloquence along with their recommendations and guidance declares the criteria to make comparison between perfect speech and poor one and also to recognize capable poet. In fact, this actuality indicates the principal norms of criticism in Persian literary and approves that in spite of some claims; literary criticism has primeval background and Persian poems used to criticism long ago and this was an advantage of Persian literary. Hakim Nasir Khusraw Qbadyany is one of the well-known orators with a individual style of Persian poetry who has been able to create a new movement and a great development of Persian poetry, by relying on the strength of his poetic and authoritative talent and based on a new view at the subject of language and its relation to human and existence, achieved foremost changes in cognitive and literary structure to create poets and orators. He created a special style of poetry to look at poetry altitude and the objective of eloquence that famous poets such as Sanai, Nizami, Rumi and Attar continued his style to make progress on the status of oratory. This study aimed to evaluate the ideas and beliefs of Nasir Khusraw at the subjects of poet, speech, poesy and eloquence in term of explanations, descriptions and his recommendations in these regards in different point of views and to introduce the principal norms of literary criticism in his opinion.