A Stylistic Analysis of the Poem “Lāmiyyā” by Homam-e Tabrizi

Stylistics is one of the literary sciences that researchers and linguists are interested in in the present era because it focuses on analyzing texts and poetry mostly on three levels, which are phonetic, structural and semantic. The stylistic study on the phonemic level sheds light on the literary text from two sides, which are the external rhythm and the internal rhythm of the text or poem. On the structural level, the tenses of verbs are studied as counting the number of repetitions of past and present tenses. On this level, the researcher studies the structures of verbs, nouns, and imperatives, and the meaning learned from them. On the semantic level, the rhetorical dimensions of a literary text are studied in terms of figure of speech, such as studying and counting similes, metaphors and other rhetorical terms in poetry or in the literary text. Al-Shanfarā’s “Lāmiyyāt al-Arab.” Muslim poets, both Arabs and non-Arabs, imitated it in terms of appearance, meaning, and form. That is why there are many “Lāmiyyāts” in Islamic nations, including Arabs, non-Arabs, Turks, and Indians. The Iranian Azerbaijanis did not neglect this matter, and they followed the example of other poets. One of these poets is Homam al-Din Muhammad ibn Ala’i al-Tabrizi, known as Homam-e Tabrizi. He composed his Lāmiyyā to express his love and praise for Sharaf al-Din Harun, the minister, and describe his virtues. This article seeks to provide a stylistic analysis of Lāmiyyā of Homam-e Tabrizi on the phonetic, semantic and structural levels. One of the most important findings of this article is that Homam-e Tabrizi has benefited from the possibility of changing the meter pattern represented in “Zihaf.” There is a strong focus on internal rhythm in the poem in which rhymes are condensed and the poet, on the semantic level, employs the rhetorical images that float on his poetry.