مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 68 (دی 1400)

The surviving manuscripts of the past are the precious ethnic, national heritage and cultural identity of nations and can provide extensive information about the behavior, thought, intellectual and linguistic structure of writers and poets of the past and add to current human consciousness. The manuscript of Bostan al-Arifin and Golestan al-Abedin by Zina al-Abedin Shirvani is one of the authors of the ninth century AH in the Timurid era. The book is written in an introduction and three chapters, each of which consists of several chapters.

This research is a documentary, library and descriptive method with the aim of introducing this manuscript and examines the structure and some of its stylistic and content features.

The study of the manuscript shows that the mentioned work has a mystical and theological content and content and pays more attention to Rumi"s Masnavi, but in terms of structure, division, arrangement and method of arrangement, similarity in naming, as well as combining prose and prose and expression in the form of anecdote. It is similar to Saadi Golestan. Zayn al-"Abidin was aware of the circumstances and sayings of some of the former ascetics, mystics and theologians, and in the heart of the anecdotes he referred to some instructive speeches, aspects of their lives and behavior. The author has added to the literary value of the work by quoting the verses that are his own poems and marking them with the mention of "the author".

Bostan al-Arifin and Golestan al-Abedin are formed with measured, pleasant, and melodic expressions. In the first chapter, due to the variety of ten chapters, the types of rhyme and simile, and especially the eloquent simile, have a high frequency, but in the other two chapters, the use of literary industries has slightly diminished.

One of the stylistic periods of Persian poetry is the period called the period of return. Returning poets do not have a personal style and only imitated the style of ancient poets; But sometimes, with the same method of imitation, they created original works. As a result, reflection on how they came to be from previous poets can yield results for literary lovers. This article introduces one of the poets of the return period named Mohammad Khan Dashti and examines the stylistic features in his poems.

In this research, the poems of Mohammad Khan Dashti are studied by the library-documentary method for linguistic, literary and intellectual characteristics by the method of qualitative and quantitative content analysis.

Mohammad Khan Dashti is one of the poets of the second period of the school of return. His work is based on mere imitation and there is little innovation in it. Both in terms of word and style of expression and in terms of content, content and description, it only tries to approach its own examples, which, of course, has been somewhat successful in this way.

In terms of structure and form of poetry, the two forms of ode and lyric are the place of reflection of the lyrical themes of this poet. There is no mention of heavy and abandoned weights in his divan, and the weights used are all widely used weights. He has used simple words in his puns and has added to his music by using examples of repetition. Most of the words in his poems are simple and understandable and far from ambiguity and complexity. At the syntactic level, the use of grammatical features of ancient Persian has caused the antiquity of his language. Rhetorically and literary, pun and array arrays are more frequent than other arrays. The use of industries such as contradiction, allegory and equation proves his influence on the Indian style (pre-style). At the intellectual level, Mohammad Khan tries to express the thoughts of Saadi and Hafez eras and romantic themes, praise and lamentation are among the most important themes of his poems. But despite holding political office, social and political issues of the poet"s time are not reflected in his poems.

Khajavi Kermani is one of the famous poets of Iran in the eighth century who imitated Nezami by composing fictional and lyrical poems.

This research, which has been done through content analysis and library, examines the structure and the most important stylistic features of Khamseh Khajavi Kermani at three levels of thought, literature and language.

Khajavi Kermani is not a first-rate poet and one of the geniuses of Persian literature, but in some cases he is an innovative poet and many rare and original verses can be seen in his Khamseh. He is a poet who tries hard to innovate in poetry and use expressive and rhetorical tricks, and does not pay much attention to emotion in his poems, which is why his poems are not very popular. Therefore, one of the most important features of his poems is the extensive use of industry and the artfulness of his words and the language of his poetry.

Among the verbal industries, he has shown more interest in puns and among the spiritual industries, he has shown more interest in allusions and observance of similarities and contradictions. The permissible in his khums is not very artistic and the allusions in his khums are generally repetitive, and if their use causes a special beauty, it is because of how they are used in the structure of the verse.Khamsoo Khajou shows the essence of Iranian-Islamic culture and civilization and Khajou is aware of literary sciences and techniques, wisdom and astronomy and is fluent in religious sciences, including the narration of hadiths. For this reason, his poems are full of various allusions and allusions. Is. He is also a mystic poet and narrator of stories in which love is the main motive and the first motivator, and in addition to love stories and their specific themes, he has also dealt with educational literature, ethics and mysticism.

When it comes to dealing with the concept of love and romantic relationships in Persian literature, the elements of death and loneliness also come into view. Being somehow masochistic, passionately in need of love and in pain and suffering, the lover"s character in Persian literature often feels lonely and dies from the sorrow of love at the end of the story; either committing suicide or being killed. These two items also play a key role in story development of romantic epic poems, by some means paving the way for the manifestation of poetic imagery. The present research examines the elements of death and loneliness in three main well known romantic epic poems in Persian literature: Vis and Ramin by Fakhruddin As"ad Gurgani, Khosrow and Shirin and Leili and Majnoon by Nizami Ganjavi. It aims to analyze and describe the abovementioned elements in these poems with the consideration of psychological, fictional, cultural, literal points and the like.

This research uses a library-based descriptive-analytical method.

In Persian romantic epic poems, "love" provides a foundation for different dimensions of the element of "death" and "loneliness". In fact, these two elements are directly related to the ups and downs of romantic relationships.

The dimensions of loneliness in these works include "loneliness as a result of the separation from the beloved", "loneliness as result of betrayal by one side of a romantic relationship", "voluntary loneliness and solitude as a result of failure in reaching the beloved", "preferring loneliness to unlawfully reaching the beloved" and "loneliness because of unrequited love". The dimensions and causes of death in these works can also be summarized into "wishing for death because of separation or failure", "committing suicide for the sake of love or the beloved"s death", "death from the conspiracy of the opponent in a love triangle" and "death from old age".

In the constitutional and Pahlavi periods, when there were extensive changes and transformations in the political, social and cultural spheres of Iran, Gilan was one of the regions that was directly involved in these developments. Gilani intellectuals communicated with the people mainly through publications and newspapers, and criticized power and political and social unrest. The most famous newspapers of the Constitutional and Pahlavi eras that were published in Gilan and enjoyed unparalleled public popularity due to their special satire were: Khair al-Kalam, Jangal, Nasim Shomal, Tolo, and Hafgaz. In this article, the most important mechanisms of creating humor in the mentioned newspapers have been analyzed and studied.

The present article intends to analyze the most important techniques of creating humor in these newspapers by analyzing five newspapers of the Constitutional and Pahlavi eras and examining the characteristics of their humor style in a descriptive-analytical manner.

All five newspapers used different and almost similar tools in creating humor. Humor in these newspapers is often used to criticize the political, social, economic and cultural situation and has been used to rectify the situation. At the same time, the biting arrow of humor in these texts has targeted not only the conditions, but also the persons and institutions that are causing these conditions.

The main mechanisms of satire style in the newspapers of this period are: 1) the use of proverbs; 2) the use of colloquial language; 3) the use of titles and titles; 4) use of ironic tricks; 5) Ignorance; 6) Fable; 7) contradiction; 8) language games; And 9) neglect.

Azhari Shirazi is an anonymous poet of the 11th century AH who has not been researched about this poet. The basis of the present article is based on the unique version available in the library of Shahid Motahari High School and its purpose is to study the style and thought of the manuscript of this Safavid poet.

The present article is an intra-textual, stylistic and theoretical study that has been done by library research method. The study area and community is Shirazi Divan.

In Isfahani Divan, Isfahani style can be found along with verbal and spiritual industries and innovations. The language of this poet"s poems is simple and his lyric poems are very delicate. Despite the poet"s acknowledgment of composing Turkish poems, no trace of it was found in this version. His poetry has advantages in various aspects among the court of his contemporaries; Notable are the titles for the poems, the lamentation, the boasting, the romantic lyricism and quatrains, the humorous and satirical Masnavi, and the pieces containing the material of history. I also enjoy a variety of linguistic and literary benefits in this divan.

Azhari Shirazi has experimented with other Isfahani style poets. The time of the poet"s life can be considered according to the articles of the Divan, between the years 991 to 1061 AH or shortly after. At the intellectual and content level, religious, romantic and humorous themes are the main themes of his poems. At the linguistic level, unlike Isfahani style poets, slang words are less noticeable in his poems. The use of special weights and long lines is a feature of his poems. At the literary level, phonology, repetition, types of puns, as well as forms of imagination, simile, metaphor, irony, allusion, observance, and style of equation have the highest frequency in his poems.

Shahnameh is one of the most important identity and historical works of Iranians that can be studied from different aspects of mythology, fiction, rhetoric and stylistics. What distinguishes Shahnameh from other works of all times is Ferdowsi"s personal style. In many books and articles, Khorasani style has been discussed, but Ferdowsi"s personal style has received less attention. In this study, in order to understand Ferdowsi"s style and understand his ability to create dialogues, two opposing human discourses, namely prayer and curse, which are manifestations of human emotions and feelings in different situations and situations and are rooted in human sadness and happiness, have been studied.

This research is theoretical and has been done in a descriptive-analytical manner. The study area and society are two stories by Rostam and Esfandiar and Kamus Keshani from Ferdowsi"s Shahnameh by Saeed Hamidian, which was published by Qatreh Publishing.

The prayer propositions in these two stories are 18 bits and the curse propositions are 19 bits. Thus, in the beginning, the content of prayer and cursing propositions is extracted and classified from the verses. The theme of the Shahnameh"s prayers is more seeking happiness and peace, overcoming enemies, longing for heaven and paradise, and curses include calling for the destruction of enemies, cosmic curses, and cursed glories. The real curse, which is the request to destroy the enemies, occurs in a state of rage and anger, and generally on the battlefield, but the curses of the universe and cursed glories appear in a state of sorrow. After examining the content of prayers and curses, the descriptive-analytical method of words, verbs, syntax and sentence arrangement patterns in both types of propositions are described.

Ferdowsi did not follow a specific pattern in the arrangement of sentence components, but by examining and analyzing the data, key and repeated phrases are found that Ferdowsi has used in drawing the two situations of prayer and curse. In the prayer propositions, the key and frequent phrases "without you", "being away from" and "bad luck" are seen, and in the cursed propositions, the phrase "may + ... + prayer verb + may + ... (Wind) »is repeated. Also, in this research, it has been determined that the irony in prayer and curse, as the most colorful literary array, causes more rhetoric of prayer and curse propositions.

The third Masnavi of Haft Aurang is called Nooruddin Abdolrahman Jami, Tahfa al-Ahrar. In this article, the stylistic features of this system in three areas of language, literature and thought have been studied.

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

This Masnavi is a moral-religious poem that has been written in imitation of the repository of military secrets in the fast weight of the revelation: Muftalan, Muftalan, Fa"lan. And the five conversations with the old man enter the main part of the book, the twenty articles.

This poem has a simple language, but a warning tone, a mystical expression based on Ibn Arabi"s intellectual system, ie unity of existence, monotheism, purification and simile, and in it the religious content and principles of religion (prayer, fasting, zakat and Hajj) issues of theoretical mysticism (Sohr). Silence and seclusion) are also seen. The subject of most of the articles is religious, moral and to some extent mystical, but there are also articles in the form of social and political criticisms using the language of advice and warning to sections of society. The educational-ethical issue, the use of simple language and its specific audience, has made this system not have a special place in terms of literature. From a linguistic point of view, the use of balance, commitment, reflection of additions and melodic poems are among the prominent features of this system.

Nimayoushij started writing short stories at the same time as being a poet; He has one long story, several short stories and a short story. Although in this fieldhe never achieved the success he achieved in poetry, But the study of these works shows the art of Nima"s storytelling and acquaints us with his thought and language.

In this library method, his stories have been studied based on three levels of linguistic, literary and intellectual stylistics.

Nima has written his stories in simple and official language, but in it, humorous language, poetic prose and native words of the north, Arabic words, can be seen. At the syntactic level, it also pays attention to short sentences, protest sentences, descriptions and deletion of verbs. At the literary level, he has allegorical and symbolic stories, and in his imagination, he has used metaphors the most. At the intellectual level, the critique of religious superstitions and prejudices, poverty and the problems of villagers" lives, love, freedom, tyranny and oppression are the main themes of his stories.

Nima tries to innovate in storytelling like her poetry, considering simple language, native language, symbol array and social theme. With simple standard language, he has introduced the native space and language into the official language, he has been able to express the issues and problems of the society and his like-minded people by writing allegorical and symbolic stories that seemingly belong to children"s literature. The social problems of the people, especially the villagers, and their problems are deeply considered by Nima in his stories.

Existentialism is one of the traditional schools in contemporary philosophy and has been able to open its place in many fields of humanities such as literature, art and especially psychology. Psychological theorists and thinkers have offered different views and approaches in this regard. Yalom is a contemporary existential psychotherapist who helps people deal with life issues such as isolation, alienation, meaninglessness (fear), fear of death, pain and suffering. In his theory of psychotherapy, the question of the meaning of life is the most important and necessary component that is the basis of his psychotherapy. In this research, we try to study the existential meaning and ways to achieve the meaning of life, as well as to provide solutions to deal with the problem of meaninglessness in Saadi Park and Golestan.

The method of collecting library information and the method of organizing it is descriptive-analytical. In this research, books, articles and existing researches about Saadi and Yalom and other written sources in this field have been used. The study area and society are Saadi Park and Golestan, edited by Gholam Hossein Yousefi and translated works (Sepideh Habib) by Ervin Yalom, a contemporary psychotherapist.

The research findings indicate that despite the cultural, temporal and spatial differences, both thinkers in almost the same language and manner seek to provide solutions to achieve the true meaning of life and get rid of emptiness and emptiness. They are semantic. One of these strategies is moral values. For Sa’adi, life is inherently absurd and meaningless, but it has a considerable value that man himself is the creator of, and it depends on the observance of a series of moral principles

Sa’adi tries to learn to think about the meaning of life. His goal is to guide man towards moral virtues and create meaning in life; Provided that we are ready to accept hardships and suffer in the face of adversity as part of the process of finding meaning. The words that arise from Saadi"s heart are sincere and deep enough for man to see the slightest hint of deception in it. His words are still practical and valuable after several centuries, just as the student turns to the teacher for the activity he is involved in. Existential turmoil should refer to Saadi"s works and by reflecting on his sayings and poems and applying these points in themselves to obtain a state that is useful for improving life and getting rid of emptiness. Therefore, the more a person pays attention to his quality of life and moral values ​​such as sacrifice, kindness, benevolence, forgiveness and altruism, the more meaningful life will be for him.

Banu gashspnameh is a unique epic poem whose hero is a heroine named Banu Gashsp, Rostam"s daughter. The composer of the unknown work and the time of its transmission are believed by researchers to be in the late fifth or early sixth century. This poem is a description of the heroism and wars of this heroine with the Mehtarjins, with her father Rostam who had made herself anonymous, with the messenger of Afrasiab and with three Indian kings which overcomes all of them and finally ends with the marriage of the lady with Giv, Goodars" son. In this research, we intend to examine the stylistic features of this pleasant work, which is an imitation of the Shahnameh.

Leading research has been done relying on the library method and taking notes. The study area is Banu gashspnameh, edited by Dr. Roohangiz Karachi and published by the Institute of Humanities and Cultural Studies.

This work was studied and analyzed at three levels: linguistic, literary and intellectual. In this system, the poet has used rows and their types with high frequency which is a kind of deconstruction in the language of epic. In the study of rhyme, he has used contrast rhyme to a great extent. The use of high-frequency puns, the use of Pahlavi words, and the use of epic words such as: epic animals, epic tools, epic attributes, epic verbs and the use of metaphors, metaphors, metaphors and exaggerations with high frequency are other features of this epic.

In the detailed study of verses, the most important intellectual and content feature of this system is the existence of Zoroastrian religious elements and Islamic religious elements, patriarchy, moral themes and characteristics of Iranian society. The poet of this poem has been almost successful among other epic poems that have been written in imitation of Shahnameh, and in addition to the epic structure, he has used many themes to imitate Shahnameh in his work.

Modern or layered stylistics is one of the applied methods in face-oriented and text-based stylistics which examines the text in five layers: phonetic, lexical, syntactic, rhetorical and ideological. In this method, according to the situational texture as a macro-layer, it breaks down the text into layers of layers and studies the style by examining textual layers and recognizing prominent or frequent features. It therefore examines the salient features of the style and their role and value in each layer separately and provides formal links to the text and its content. It should be noted that, in the history of prose writing, there have always been pioneers who have not only benefited from the intellectual and artistic tradition of the past., But they have also tried to innovate and sometimes valuable adaptations of literary genres and styles of other nations, to change or at least familiarize their nation with such writing styles and techniques. One of these prominent writers is Judge Hamid-ud-Din Balkhi. In this research, Hamidi officials have been studied with a layered stylistic approach.

This descriptive-analytical study has tried to analyze the style of Hamidi officials from the perspective of layered stylistics. Data collection in this research has been done through library activities and part of the content of the article is the product of the author"s personal analysis and review.

This work, as one of the examples of technical prose, has influenced the artificial and obsessive writings of the following centuries, and therefore has a special importance in stylistic discussions.

By examining this work with layered stylistics, types of phonological changes, high frequency of repetition of identical and contrasting words, intertwining of rhymes and punctuation, abundant use of marked words and codes, especially religious codes and Sufism, as well as the dominance of connected style and It is revealed in you and the high frequency of similes, metaphors, etc.