مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 60 (اردیبهشت 1400)

Mir Seyyed Mohammad Tabatabai alias Sanjar Kashani (1021-981) is one of the Persian poet poets of the 11th century AH. His life period was historically contemporaneous with the prevalence of the style known as Hindi or Isfahani, and like most poets of this style, he spent part of his life in India and composed his poems in that land. Due to Sanjar's lack of fame, despite the little research and research that has been done on this poet, the quality and details of his poetic status are not well known. The main question of the present study is what are the most prominent stylistic and content features of this poet's poetry at the intellectual, linguistic, lexical and rhetorical levels, and to what extent does he deviate from the main features of the Indian style?

The research method in this article is descriptive-analytical method and this research has been done by referring to existing references and references related to the life and circumstances of Sanjar Kashani and the stylistic and content characteristics of his poetry.

Sanjar enjoyed considerable fame and prestige during his lifetime, so much so that Saeb Tabrizi mentioned him in his poem. He is a praiseworthy poet and in his poetry he has praised several kings of India such as Akbarshah, Mirza Khani Bey, Shahnavaz Khan and Ibrahim Adel Shah.

Narrative thinking and the creation of new themes and attention to colloquial words along with the extensive use of allegory and paradox are the most central features of Sanjar's Indian style. Also, the use of words with a special semantic and symbolic load and also special attention to some religious events and allusions in religious praises can be considered as the distinguishing features of Sanjar's poetry in comparison with the poetry of other poets of this period.

Alexander the Great was originally a historical figure, but over time has become a fictional figure. Ferdowsi in Shahnameh and Nezami in Iskandernameh dealt with his subject based on the same transformed character and story of Alexander. In this article, an attempt has been made to deal with the style, similarities and differences of Alexander's story in Ferdowsi's Shahnameh and Alexander's military letter from the perspective of intellectual, linguistic and literary principles.

The research method in this article is analytical-descriptive.

Ferdowsi does not seek to expand his speech and tries to briefly report on Alexander's works. But Nezami, while elaborating on the story of Alexander, has also paid attention to some other categories beyond the story.

In Ferdowsi's poetry, Alexander finds a mythical and ideal image, but in military poetry, Alexander, while going through various stages, changes from a fanatical character to a wise and holy figure. In Alexander the Great, rhetorical images and elements are accompanied by punctuation and narrow-mindedness that is specific to the military.ش

Biddle Dehlavi is a Persian mystic and poet of Indian style and brought up in the Indian subcontinent. He had a special view and expression on various issues. The purpose of this article is to study his style and level of thought and it wants to analyze the salient features of Biddle's style of thinking about the perfect man and find out whether his attitude is influenced by Islamic mysticism or Indian mysticism and what is the difference between his view and Indian mysticism in explaining the perfect man?

In this research, Biddle's poetry and thoughts are studied from the perspective of intellectual stylistics with descriptive-analytical method and library tools. The four main axes of Biddle's thoughts are: Anthropology in Biddle's thought, Man as the cause of creation, Muhammadiah truth, Man's perfection in Biddle's thought and Indian mysticism.

Biddle Dehlavi, although he was brought up in India and influenced by Hindu mysticism and philosophy, gives a comprehensive and complete definition of man and his characteristics by Islamic mysticism perspective and he has been influenced by Ibn Arabi's thoughts in this regard. The perfect man in Biddle's view is different from the man in Indian mysticism. According to the Buddha, the ultimate goal of man is to attain nirvana (silence) and the status of "Arhat" (perfect man), and his view is also different from that of yoga, which aims to achieve the status of "living freedom". In Biddle's view, the perfect human being is the complete mirror of God, the summary of the nobility and the best of the horizons, that is, the Prophet of Islam (PBUH). Biddle considers the purpose of creation to be the holy existence of the Prophet Muhammad (PBUH).

One of the main themes in Biddle's intellectual level is the theory of the perfect man. In Biddle's view, man is a perfectionist being who can attain perfection through self-knowledge. In following these stages: self-knowledge, voluntary death and self-control, dignity, patience, trust in God and submission, and satisfaction play a special role in man's attainment of perfection. Biddle Dehlavi grew up in India, at the center of Indian philosophical thought and mystical schools. In this geographical space, the main source of his thoughts, in addition to Islamic sources, has been the study of Upanishads and Indian mysticism, but still his theory of the perfect man is Islamic and Ibn Arabi-like.

Examining and comparing the frequency of important words in each text shows the world of the author's language and the world of language represents the world of the author's thought; Therefore, one of the most important things that can be done in the research of texts is to explore the words and their uses and their meaning and concept in each text. This article also compares words, compositions, idioms and announcements in the poems of Mirdamad, Mulla Sadra and Sheikhs. The main purpose of this article is to study the similarities and differences of words, combinations and terms in the poems of Mirdamad, Mulla Sadra and Sheikhobahi.

The method used in this research is descriptive-analytical and documentary method has been used to collect information.

Statements and words in the poems of Mulla Sadra and Sheikh Baha'i are mystically similar to each other. Mirdamad's court also has a significant statement in presenting philosophical theories.

Similar words with almost identical meanings have been used in the studied divans in the field of philosophy, love and mysticism. In three courts, the words fire, love, sky, world, religion, cup, earth and sun have the highest frequency; The Divan of Sheikh Behbai also has more mystical themes. Mirdamad and Mulla Sadra have paid more attention to mystical and philosophical themes. Allegorical approaches are also seen more in the poems of Sheikhabai and Mulla Sadra.

Style is the expression of a writer or poet. Stylistics has long been the focus of writers and critics. A careful study of a literary work, in addition to explaining the style of the creator of that work, acquaints us with the social, political, and cultural conditions of the times. Feminine style is writing from the mind and language of women. Fereshteh Sari is a graduate of Russian Computer and Literature. In the past decades, he has published various works in the field of poetry, fiction and translation. In this research, the following questions are answered: What are the linguistic features of Fereshteh Sari's works? What are the literary features of Sari stories? What is the connection between Sari's thoughts and ideas and the creation of his works? Why is the presence of women more prominent in the works of Fereshteh Sari? What are the strengths and weaknesses of Sari?

The present study is qualitative and its research method is descriptive-analytical. The method of collecting materials is done by the library method. The method was that first the important sources and books of stylistics, articles, dissertations and treatises of stylistics were studied. After that, based on Shamisa's stylistic indicators, Fereshteh Sari's fictional works were evaluated in three levels of language, literature and thinking. To express the stylistic frequency of the long stories of Sari Morvarid Khatoon, Nili Island, Tomb of Lovers, Mitra, Parisa and Fennel Fragrance (1307 pages) were examined.

In recent years, women have been able to help society identify their homosexual emotions, needs, abilities, and right to life, while gaining an undeniable place in Iranian literature. Contemporary women writers, especially their younger generations, have consciously defended their rights with their vast knowledge and insight, and have displayed the coordinates of the pillars of their city in front of the audience.

By studying the fictional works of Fereshteh Sari from the linguistic point of view and phonetic analysis, the highest percentage of words in all novels are nouns, adjectives and adverbs. In lexical analysis, words have the highest frequency of words. In syntactic analysis, the mediation frequency of verbs is limited. From a literary point of view, irony has the highest frequency. His allusions are of the Emma type, and most of them are common allusions that everyone is familiar with. From an intellectual point of view, most of the author's works have a social approach and the author has tried to approach the text of society.

In Islamic culture, like different human cultures, much has been said about the world and its examples. The great Persian poets have often dealt with this issue based on their religious attitude and intellectual nature. Rumi, as one of the greatest poet-mystics in Persian literature, has also expressed his views and position about the world instead of Masnavi. This study intends to search for its roots and bases among verses, hadiths and narrations by examining the rhetorical images of the world in Masnavi. In fact, the main question of the present study is which positive or negative images of the world in the spiritual Masnavi overlap with the views of the Holy Quran and other religious texts, and to what extent is the Masnavi influenced and inspired by these texts in presenting these images?

The method of conducting the present research will be library type in terms of content analysis. Thus, in the beginning, by studying the Masnavi Manavi and other related sources, as well as by using various books, and referring to various electronic databases and using publications and magazines that are related to the research topic, the desired materials are filtered and then They are categorized comparatively according to the content of the content.

Rumi has a Quranic and revelatory view in expressing most of the images of the world, and by mastering the divine book, while being influenced by verses and hadiths, he describes the world in a completely beautiful way.

The miracle and beauty of his work is that these descriptions and images have been created in a eloquent and allusive way. Also, the negative and reprehensible images of the world are presented in this work far more than the positive images (almost twice), however, in no case is life itself presented as low and worthless, but it may be presented as low for human beings.

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.

Shahriar has been called the traditional poet of the nouveau riche and this is the dominant feature in his speech; Whether in terms of subject matter and content, language or poetic imagery. In his poetic imagery, new and traditional are mixed; He incorporates stereotypical and repetitive images taken from the Persian lyric tradition in his poetry and uses it unconditionally, and also creates new and unprecedented images of contemporary phenomena and personal experiences by relying on personal experiences, personal vision and objectivism. In the present study, Shahriyar's traditionalism and modernity in the field of poetic images have been studied and similes and metaphors in Shahriyar's poetry have been re-examined from this perspective and have been scientifically and critically analyzed.

The research method in this article is descriptive-analytical and the method of data collection is documentary (library).

The frequency of repetitive and clichéd images in Shahriyar's poetry is very high and a large volume of his images are images derived from the Persian lyric tradition. The similes and images related to the aesthetic features of the beloved are almost entirely from the past, and his innovations in imagery are mostly related to contemporary phenomena, the features of modern life, and the poet's personal experiences.

Images that reflect the aesthetic features of the traditional lover are widely included in his poetry. Many of his poetic images of the beloved are taken from tradition and have been greatly influenced in this regard, especially by Hafiz. Shahriar has benefited more from simile and metaphor in illustration, and if he has innovated in the field of simile, he is more traditional in metaphor. In his poetry, less signs and symbols can be found, and this factor is also a sign of lack of individuality in the general visual system of Shahriar.

Khajeh Hossein Marvi (born: Marv, apparently 934-died: Kabul 979 AH) is a descendant of Alaa al-Dawla Semnani, one of the good Iranian poets, writers and artists in the second half of the tenth century, one of the poets of the Safavid period The first (984-930 AH) traveled to India, in the court of Nasser al-Din Homayoun Shah and his son Jalaluddin Akbarshah had a special honor and status. The subject of this article is the study of the style of this poet's divan in three linguistic, literary and intellectual levels based on the book of generalities of Sirus Shamisa's style.

The research method in this article is analytical-descriptive.

His poetic subjects are: praise, praise, love, boasting, sacrilege, mourning, absurdity of time and squandering of time, destiny and moral issues. The influence of Saadi and Hafez's poetry can be seen in his poems, and his influence on Faizi - the greatest Parsigo poet of India in the tenth century, who had a special devotion and discipleship to Marvi - is noticeable. His style is eventful and virtual love is evident in his poetry with a special passion.

The poetic traditions of poets of previous centuries can be seen in his poetry. His poetry contains themes of love, praise, mourning, lamentation and moral themes. His poetry, while unassuming and devoid of verbal and spiritual beliefs, is fiery and influential. The context of numbers and the matter of history are two of his favorite novel industries, and in terms of poetic imagery he is a tangible analogy of the dominant image of the court. With the complete correction of Divan and his other work, one can clarify the vague corners of the literary history of Iran in the tenth century and better show the real face of this honorable Iranian poet and artist and use it in studying the historical course of "Persian lyric".

One of the concepts that is inherently associated with the concept of otherness is "highlighting". The basis of emphasis is to place the "us" at the positive pole. Emphasis appears in various forms in the realm of discourse. In order to examine the ways in which Abu Sa'id's dignity-oriented discourse interacts and conflicts with other discourses, it must be shown what highlighting tools this discourse has used to consolidate power and become hegemonic. The components of highlighting the text are: creating a kind of connection between the attributed places, monasteries and shrines of the elders, with the Prophet and the prophets and diverting the minds from the pilgrimage to the Kaaba to the shrines of the elders, simulating events, actions and Sufi figures with religious leaders for legitimacy. Highlighting the sanctity of Sufism to avoid criticism and highlighting religious tolerance for the development of discourse.

The research method in this article is descriptive-analytical and the method of data collection is documentary (library).

Abu Saeed authorities are detained in a bipolar prison. The basis of these confrontations is "contradiction". And in this contradiction, there is a hierarchical relationship. In this duality, the approval of Abu Sa'id is a denial other than him; So the value of one is always superior to the other. The basis of emphasis is to place the "self" at the positive pole.

Place in any discourse is a prominent component. With this knowledge, the author highlights the attributed places such as the monastery and the shrines of the elders, and in this way uses the authoritative elements in rival discourses such as building a monastery by the order of the Prophet, equality of the shrines with the shrines of the prophets, superiority of the shrines over the Kaaba.

Masnavi "Naz va Niyaz" composed by Abdolrazaq Beg Danbali, nicknamed "Fascinated" is a historian, poet, writer, commentator and translator of the literary return period. He composed this poem for the purpose of imitation, with the influence of Khosrow and Shirin Nezami Ganjavi, and the characteristics of the Iraqi style can be seen in it. In the present study, this system has been analyzed stylistically at three levels: linguistic, literary and intellectual. The main question of the research is what are the most important features of Abdul Razzaq's style in Masnavi Naz and Niaz?

The method of data collection in this article is based on library studies and research has been done in a descriptive-analytical manner.

Danbali, in accordance with the style of poetry in Persian literature, composed the Masnavi Naz and Niaz and is one of the most eloquent poets of the return period who has succeeded in following the previous poetic styles.

At the linguistic level, the poet has used the weight of the culprit and high-frequency rhymes and rows of nouns and nouns. At the lexical and syntactic level, the use of prefixes, suffixes and ancient words, Arabic words, various terms can be seen in his poetry. At the literary level, in proportion to the romantic and didactic theme, the use of all kinds of metaphors, metaphors and spiritual novelties has a lot of style and exaggeration. At the intellectual level, in addition to the romantic theme, which is its main subject, he has paid attention to the educational and religious themes and the letter; There is also a belief in popular belief and determinism in his thoughts.

Hossein Sanapour is one of the contemporary writers who creates his works with a realistic tendency. Most writers and literary critics believe that the use of archetypal and mythical elements is often found in works of surrealism and magical realism; For realists, realist works, except in rare cases, lack this art and deep literary construction. According to contemporary literary theories, sometimes the author of realism indirectly or in other words subconsciously uses some archetypal and mythological elements in creating his work. The authors of this article confirm this view based on the analysis of the two novels "Smoke and Destruction" by Snapur, and therefore in this article they have tried to find the mentioned elements by reading mythological and archetypal.

This research has analyzed the data by collecting and preparing the required books and materials by descriptive-analytical method. After studying and reviewing the authors, the study items were extracted from the mentioned works and they were classified and the data obtained from the research were examined.

The novels "Smoke" and "Destroy Miai" contain mythical elements that the author has sometimes consciously and sometimes unconsciously used to induce some concepts; The names of some characters, the use of some signs that have been transformed according to the background of myths, as well as the tree, representations of the mother's womb, for example, the sky, rain, etc., are among the items that are found in abundance in the text.

The quasi-mythical characters of the novel "Smoke and Destruction Come" are passive characters who had an unimaginable past with lofty goals; Their name is also a noun, contrary to their modern function. Laden, Muzaffar, Mahtab, Roozbeh, Ferdows, etc. are in this category. None of these names really represent their character in the course of the story. Other mythological concepts include; The myth of the tree, the myth of paradise, the descent and motherhood are also seen indirectly in these two novels.

Personality is the main element of the narrative structure of any story and the way they are expressed and created has a fundamental role in the process of plot processing and the formation of events and the forward movement of each narrative text. If there is no character in the story, no story will happen. The main characters of Suoshun's novel, Yousef and Zari, have been studied and analyzed from the point of view of expression. Based on the triple pattern; Supremacy, benevolence and isolationism are the characteristics of personalities whose formation is often considered to be influenced by environment and upbringing.

The following is the basis of the descriptive-analytical method and is based on the study of the spheres and the defense of Karen Hornay and the novel by Simin Daneshvar and the two main periods of Suoshun.

The main protagonists of the story are two types of power-loving and loving characters, the first is a man and the other is a woman. The analysis shows that the main reason for the formation of the loving character of the woman in the story is the anxieties and needs that are aroused by the existence and presence of the powerful character of the man in the woman. These challenges have made the woman self-deprecating and transformed into a submissive, self-blaming, dependent on the love and acknowledgment of others. At the end of these internal and external conflicts, Zari suddenly sees in herself what is in the existence of people like Yusuf and she always regrets their absence in her character. Joseph's need for power stems from the anxiety he sees about the influence of outsiders. He fears that his brothers and compatriots will die, and his sense of insecurity raises the need for power and victory.

Characters evolve through the struggles of the world and they change their social status or submit to the conditions of society. As with the sudden death of the male character, Joseph, a transformation in the type of loving personality is possible, and the abnormal distance between the real self and the imaginary self of the woman disappears.