مجله سبک شناسی نظم و نثر فارسی (بهار ادب)
پیاپی 77 (مهر 1401)

 Mirza Jafar Kangavari whose nickname is Saghar is one of the great intellectuals and poets of the Kermanshah Literary school in the thirteenth century, it coincides with the rule of the Qajar dynasty in Iran. He is one of the prominent poets of the return period and also one of the influential figures in the formation of this school in Kermanshah area, whose scientific and literary rank is not well known. His collection of poems has been composed in the form of Gazelles and quatrains, the main purpose of this article is to determine the coordinates of style and innovations in these poems.

 The present study is based on descriptive and analytical studies, library and documentary search. The scope and community of the study of Saghar Kangavari Divan is the description, annotation, commentary and correction of Mohammad Ebrahim Malmir and Maryam Ghafourian, which has been published by Ansari Publications.

 Innovation in the field of word composition and the poet"s mystical taste for natural phenomena has found a special manifestation in Saghar’s poetry. Citing the rich sources of Quranic culture, national myths, as well as recalling the historical sites and popular culture are other characteristics of Saghar"s poetry. The use of similes, metaphors, metaphors and illusion also have a high frequency in Saghar"s poetry, which in general have created new images and subtle and pleasant themes.

 Saghar"s lyric poems are clearly and eloquently Khorasani style in terms of linguistic allusions and mostly follow the style of Hafez, Saadi, and Vahshi Bafghi’s poems. Also, in terms of content, these lyric poems include romantic feelings and mystical emotions in the style of the ancient Iraqi school. In his quatrains, Saghar beautifully repeats the same themes that have been mentioned in his lyric poems.
 

 One of the most common methods of scrutiny and evaluation of poets" poems is research in their rhetorical style. The subject of this research is the stylistic analysis of Mir Haj Gonabadi Heravi’s poems (d. 923 AH) from three perspectives: linguistic level, intellectual level and literary level. This article tries to evaluate the style of the poems of the poet, to explain the extent of his influence from other poets, to explain his influence on some poets after him, and also to determine the poems of other poets in his divan.

 The present study is a theoretical study that has been done in the style of library research. The area and society under study is the divan of Mir Haj Gonabadi Heravi, editted by Abbas Rastakhiz, which has been published by Movarrekh publications in Qom city.

 Gonabadi Heravi is a Shia poet who wrote his poem in praise of the family of infallibility and purity. His skill is composing of introductory odes. He is interested in Arabicism, especially in the position of rhyming poems. In his divan, he was influenced by the poems of several famous poets before him, and at the top of them, Zahir Faryabi and Hafez Shirazi and his poems have had an impact on the poetry of Khajeh Hosayn Marvi, Kalim Kashani and Feyz Kashani.

 Gonabadi Heravi is an imitator, not a master of style, who follows the style of Iraqi style poets in his poems. His skill is in simulated and metaphorical illustrations in the introductions of odes Due to the religious-praiseworthy nature of his poetry and Shia religious tendencies in it can be seen from the influence of Shia poets of previous centuries in his poetry. He is most influenced by the sublime words of Hafez, which the poets of the centuries after him have considered imitation and similarity to be the criterion for recognition. Theism, praise of the family of purity, Human love, sorrow and despair and sometimes moral concepts are the main themes of Gonabadi Heravi"s poems.

 Stylistics, as a linguistic and literary knowledge, seeks to identify and explain the salient features of a literary work, especially works that have received less attention, by finding the most frequent stylistic features that distinguish a literary work from other works. This research tries to study the stylistic features of his poems at the linguistic, literary and intellectual levels by carefully examining the poems of one of the anonymous poets of Indian style named Tabrizi.

 The research method is descriptive-analytical and in terms of work space, it is a library.

 Mirza Mohsen Tabrizi (1060 AH-1129 AH) is nicknamed "ta’sir" of the Shiite speakers of Iran in the Safavid era. His family was originally Tabrizi and Shah Abbas Safavid (AD 1038 AH) his ancestors from Tabriz He moved to Isfahan and Mirza Mohsen was born in this city. Impact to the year 1129 AH. AH died in Isfahan and was buried there. The main form of his poems is ghazals and ode Masnavi and quatrains can be seen in his divan.

 New combinations and slang words are the linguistic features of Tabrizi lyric poems. Among the prosodic weights, the poet pays the most attention to the two seas of sand and mud. In terms of side music, he pays more attention to different poems and is often of the type of verb and noun. The long line also has a considerable frequency in his lyric poems. Paying attention to expression in poems is effective in constructing small meanings and pristine themes, and there are all kinds of similes, allegories, metaphors, metaphors, and metaphors in his divan with great frequency. Impact also makes extensive use of allusions and paradoxes, and besides them is not unaware of industries such as puns, ambiguity, and the ambiguity of proportionality. The main feature of his poetry is imaginative and imaginative, and the themes of love, sadness, advice and wisdom form the intellectual level of his poems.

 Poetic recitation and prose recitation are two ancient texts in the ancient Norse language that are the most important source in understanding Scandinavian myths. Mythological scholars have pointed out some basic similarities between Ida and Shahnameh (including the story of the murder of a boy); Of course, the similarity of the themes in these mythological texts is much broader than this example, and with a more detailed study and comparative study of Ada and Shahnameh, we can add to the list of these similarities.

 This article is a theoretical research that shows the similar patterns between some of the stories of Ida and Shahnameh using analytical-descriptive method as well as comparative study.

 This article, relying on love stories in Ada and Shahnameh, shows that in this area, significant similarities can be found between the two texts; I enjoy these commonalities from the beginning of a romantic relationship to marriage, and especially the path that is taken to reach the stage of reunion and marriage.

 The love story of "Freer and Gerd" in terms of the type of beginning of the relationship with Zal and Rudabeh and in terms of the three stages to satisfy the beloved (ie the promise of wealth, threats, and magic and sorcery) to stories such as Zal and Rudabeh, The marriage of the sons of Fereydoun, Kikavous and Soodabeh, and later Siavash and Soodabeh is similar. For example, the pattern of "debate" to prove wisdom can be seen in Zal, Rudabeh, Swibdeg and Manglood. In any case, it seems that the same comparative study can be done at the level of other stories of Shah and Shahnameh and other commonalities can be obtained.

 Shamloo"s works and ideas, as a new poet and master of style and format in contemporary Persian literature, have a relatively wide range and familiarity with the critiques of his poetry and thought, interest Critics and critics help people with a broader vision and a more principled approach to criticism. In this article, the articles of the last two decades on the subject of criticism and analysis of poetry and thought, which have been published in scientific-research journals, as well as the index books that have criticized and analysis of poetry and thought, have been reviewed and classified. This classification determines from which perspectives Shamloo poetry can be researched and from which perspectives it has remained unknown and neglected. The present article has tried to answer the question, which type of critique has been the most approached by critics in the last two decades, and what is the reason for the abundance or quantity of types of critique of Shamloo"s poetry and thought?

 For this purpose, sixty-four scientific and research articles published in prestigious journals in the eighties and nineties and thirty-seven index books in the field of poetry including poetry using descriptive-analytical method and data collection as The library has been reviewed.

 In the field of articles, the amount of criticism in the nineties is twice as much as the criticism in the eighties. Of the twenty-eight articles in the eighties, eight were rhetorical critiques, four were deconstructive critiques, and the rest were mythological, psychoanalytic, and feminist critiques. In the nineties, forty-three scholarly essays have critiqued poetry and inclusive thought, with the highest proportions being comparative, rhetorical, constructivist, and reader-centered, respectively. In the field of critical books, the most critical approaches that have been welcomed by experts and researchers in this field are: integrated criticism (frequency 27%), sociological criticism (frequency 24.32%), constructivist criticism (frequency 18.92%), Aesthetic Criticism (frequency 16.22%).

 The frequency of comparative, rhetorical, structuralist and structural criticism in the critiques of the last two decades shows that critics follow the latest approaches to criticism in the world and based on the new view of the world of criticism. On the other hand, there are many modern aspects in Shamloo"s poetry and the rhetoric of his poetry is western and new and is more in line with modern literary theories and has caused the exponential tendency of critics to his poetry.

 In the view of Biddle Dehlavi and Sohrab Sepehri, there is an absolute truth and all natural phenomena of the material world are the manifestation of the same truth. The spiritual world and the supreme truth that the poet wants to achieve; It is expressed in the form of transcendental symbols. Since the extensive use of these symbols by Biddle Dehlavi and Sohrab Sepehri has made their poetry difficult to understand; The present article aims to remove some of the ambiguities in the poetry of these two poets, the transcendental symbols in Biddle"s lyric poetry collection and the collection of Sepehri poems that have a transcendental aspect; Examines. In addition to content analysis, the aesthetics of these symbols is also one of the goals of the present study.

 This research is based on descriptive-analytical method.

 The transcendental symbols in Biddle"s lyric poems and Sepehri"s poetry are rooted in nature. In this way, nature and its manifestations lead to the absolute truth (God) and lead us to theology.

 Biddle"s transcendental ideas in the Divan of Ghazals are such that many images are created in contradictory situations. Transcendence in his sonnets has a carnal and mystical character and he speaks of purifying the soul and heart and removing the evils of the soul from morals and moral vices in order to reach the ascension, superior life, truth and existence of God. Sepehri, on the other hand, has an inner view of God, just as God placed himself among the romantics as a heart and inner need, and they turned to religion from an artistic point of view. Is approaching.

 The main purpose of this article is to study and analyze the forms of scapegoating belief in the Molana’s Masnavi and Attar’s Divan and also to reach the meaning of this religion through these valuable works of mystical literature in order to investigate and extract mythical and folk examples of this religion in these poems.

 The present study was basically based on library studies and was done by descriptive-analytical method.

 Scapegoating is a religious mythical religion that has been common among different ethnicities and nations for various purposes for a long time. Many mythical and ancient traditions have recommended different methods of scapegoating for avoiding disasters or eliminating them. Scapegoating is a religion that is as old as human history in the geographical area of human civilization and is one of the religions that is seen in ceremonies and celebrations and among various tribes and civilizations. The religion of scapegoating has such a root and antiquity that even its traces can be clearly found in the classical literature of Iran and in Molana’s and Attar’s mystical poetry.

 The findings indicate that two prominent poets of Iranian mystical literature, Molana and Attar, are well acquainted with the mythological aspects of the religion of scapegoating and have been able to use it in their poems in the most artistic way possible. In the meantime, Molana pays more attention to the belief of scapegoating and his examples are more than Attar.

 Minority literature in the contemporary world has attracted much attention. Jill Deleuze, the theorist of this idea in the last century, has attracted many characters in sciences such as philosophy, literature, psychology and linguistics with his minority literature. After an in-depth study of Marx and Freud"s views along with Nietzsche"s views, he turned to writing works and proposing theories that influenced the views of critics and writers on literature and sociology. The design of minority literature by him and his friend Guitar created a revolution in the views and attitudes of the people of art and literature. Deleuze is one of the greatest contemporary philosophers and one of the thinkers who has studied significant minority literature. "Minority" is, in fact, the overcoming of the constraints that have gripped literature and invites us to think in new and different ways in order to eliminate and transform conventional realms through demilitarization. The meaning of becoming or becoming is the passages in which a concept, even a language, is transformed. "Becoming" plays a central role in Deleuze"s view. The purpose of this research is to investigate and recognize this theory in the novel "Vacancy of Salouch".

 This research has been done by descriptive-analytical method. The study area and society is Mahmoud Dolatabadi"s novel The Void of Salouch.

 Characters, actions and reactions and their reactions, especially in "Morgan", which has a polar character in the novel, were examined from the beginning to the end of the story with tools such as desire, becoming, negation and reactivation, and it became clear how both he and the story Leads to minority literature. All these actions are described in this article.

 Salouch"s vacancy is one of the stories that can be studied in minority literature and this work can be introduced to the audience in the position of a great work with minority components.

 Hint is one of the most widely used literary techniques. Many literary industries may be vacant in the collection of poems of early or late poets, but the industry commonly found in poetry is allusive. Due to the fact that allusion has undergone a special change and expansion in the Indian style, Bidel Dehlavi, like other poets of the Indian style, used this industry in his lyric poems; At the same time, his view of allusion was not like that of his earlier and contemporary poets. Although Bidel is less efficient in using the industry than his contemporaries, he has tried to innovate more. In this article, by describing some of the verses in which the allusion is used, an attempt has been made to solve the semantic problems of these verses as much as possible and for those who are interested to have a better understanding of the themes of this famous poet.

 The method of work in this research, like most researches in the field of humanities, is descriptive-analytical and the use of library resources.

 Bidel is one of the least useful poets of Indian style in the use of Iranian allusions. But in his lyric poems, the names of lovers such as Majnoon and Farhad, along with Shirin and Lily, have a high frequency. Instead, Islamic teachings have a considerable frequency in his poems. Unlike the poems and Masnavi, which have made significant themes from the allusion to the Prophet Muhammad (pbuh), Bidel has alluded to prophets such as Moses, Jesus, Jacob, and Joseph in his sonnets.

 Most of Bidel"s use of the allusion industry has been done by his capture of the narrative, story, and story in question, and more importantly, he has almost always had his own interpretation of the subject. In fact, in almost all cases, the use of allusion in his sonnets is associated with conveying a moral-religious message, even if we are dealing with a romantic story. He has also occasionally combined allusion with industries such as simile, equation, irony, paradox, and metaphor.

 One of the most fundamental and precise ways to evaluate a literary work is to have a stylistic study. The present research aims to have a stylistic analysis of Ahmad Shamlou’s Poetry from three perspectives: literary, intellectual and linguistic. The present article attempts to have an accurate stylistic study and analysis of Shamlou’s poetry. These questions are going to be answered in the study: What are the linguistic features of Shamlou’s Poetry? How are the literary aspects of Shamlou’s Poems expressed? In which ways are the personal and social thoughts of Shamlou reflected in the intellectual level of his works?

 The present study hires a descriptive-analytic method and is a library study based on a random choice of the applicable examples.

 The study of linguistic, literary and intellectual levels of Shamlou’s poetry shows that he is inclined to archaism in the linguistic level; in the literary level, his poetry reflects a strong use of figurative language, especially similes; the use of popular ironies and informal language are also among the elements of his personal style.

 The results of the study show that Shamlou’s poetry can be regarded as having distinct characteristics in linguistic, literary and intellectual aspects which include unique innovations

 "Homay" is one of the mythical birds that has been the subject of many themes in the poetry of poets during the past centuries until today. The purpose of this study is to investigate the meaning and function of Homa from the mythological period to the contemporary period.

 Homa was studied in the poetry of poets by descriptive-analytical method.

 Homa was found in the poetry of all the desired periods, in some less and in some more. The apparent and mythical features of Homa have been reflected in the poetry of the poets.

 In each period, according to the prevailing thinking of the society, the images presented by Homay are different. In the early centuries, we encounter the mythical face of Homa. When poets turned to religious themes, Homa was described with religious meanings. In the 10th century, when poets sought modernity, new and contrasting images of Homay emerged. And as we approach the contemporary era, the mythical value of Homa diminishes.

 In this article, the general features of the Neo- Classicism in the Persian literature that is called return school in the Farsi, are briefly reviewed. Then, one of the most important but neglected point of this school is scrutinized; That is, eulogistic and religious odes. Research on the poetry of Persian Neo- Classicism school generally focuses on two areas: first one, identifying anonymous poets and correcting their poetical works, and other studies have been done on the methods of imitation and the influence of well-known poets. It seems that the Scholars agree on lack of innovations and additions poetry on this period, and by this reason, poetry of this period from prior times to nowadays to be rarely present in textbooks and excerpts from Persian literature.

 This article examines the content of the poems of 16 poets in the desired period, verse by verse and provides statistics on the innovation of Persian Neo- Classicism poetry in the field of ritual poetry and stagnation, imitation and repetition in the poetry of government-affiliated poets of this era. From each poet, two poems have been analyzed, one about praise of Imam Ali and another one about Imam Reza. Data analysis was performed with Microsoft Excel software.

 According to this research, there is an inverse relationship between the fame and innovation of the poets of this period. Well-known poets such as Saba and Qaani suffer from a lack of content, and deep precise poets such as Ayati Birjandi, Soroush Esfahani and Elahi Ghomshei do not have a great reputation. This challenges the judgments of authors of the periods of Persian Literature and their judging criteria.

 It is shown here that the most what is said about the Persian Neo- Classicism is based on the government-affiliated poets of this school and periods, not the Shiite poetry. The content of Shiite poetry in this period is completely changed and its quantitative and qualitative growth is palpable.

 One of the most popular beliefs of Gilan cattle breeders is the belief in a mythical creature called Siahgalesh, which over time, is intertwined with reality and fantasy and has a special place in the formation of their cultural identity. The Epic of Gilgamesh is the most comprehensive and ancient Mesopotamian myth that the protagonist is considered the shepherd god and the role of blessing and protection of domestic animals is one of the most important duties of this holy god. By analyzing these myths, while discovering the mechanisms and customs of the pastoral society, it is possible to achieve the degree of attachment of life and the achievement of dreams. Representing and examining the myth of Gilani Siahgalesh, and comparing it with the Sumerian myth of Gilgamesh about hunting and livestock, comprehensive support for ranchers and environmental protection, is one of the objectives of this research.

 This research was conducted by descriptive-analytical method.

 In these legends, Siahgalesh is one of those heroes who have dominated the social system of the pastoral and hunting society and has a special reputation. People consider him equal to the religious leaders because of his immortality and blessed power.

 The existence of common intellectual, religious, doctrinal and cultural themes between the two civilizations of Gilan and Sumer and the influence of these two civilizations on each other in rituals and customs, is one of the results of this study.

 Image is one of the most important pillars of art production in literature. The analysis of the poet"s imagery leads to the recognition of his artistic style and intellectual system. In this research, an attempt has been made to study the imaging structure of Khaju Kermani; In this regard, studies have been done by looking at the vertical and horizontal axis in the lyric poems of Khaju Kermani. In analyzing the frequency and explaining the frequency of different types of images, the details of the poet"s artistic and intellectual style, which has led to a coherent whole of the image in the vertical and horizontal axis of the images, are discussed.

 This research was conducted by descriptive-analytical method.

 The image in Khaju Kermani"s divan is a strong element for expressing various themes, especially romantic and mystical themes. Most of the tools used by the poet to illustrate in sonnets are expressive industries such as simile, metaphor and irony, and novel industries such as allusion, contradiction, paradox, and ambiguity, and simile is at the top of them. The high frequency of application of this tool in illustration is due to the possibility of creating images and visualization of multiple dimensions of romantic and mystical concepts by these industries.

 In the horizontal axis of images, more objective examples have been used and sometimes images have been made and processed using abstract concepts. Khajavi Kermani is one of the few Iraqi style poets whose vertical axis of poetry is very strong. In some of Khaju"s lyric poems, the poet"s emotional attachment and thought cause a return and re-illustration of an object, word or motif. Sometimes in his poetry we encounter a conflict of images, which of course has not caused the weight of meaning. This has happened both in the horizontal and vertical axis and has doubled the rhetorical burden of the poem.

 This article introduces and examines the content of the manuscript of the Great Criteria by Mohammad Azim Qureshi. "Azimiyeh Criteria" was written by Mohammad Azim Qureshi in 1130 (twelfth century AH), in vocabulary, rhetoric and grammar. The subject of this work is "Persian language in the subcontinent". This version is written in 414 pages, with annotations and spelling. Existing copies of this manuscript have been registered, one at the Noor Microfilm Center, the library of the Army Progress Association in New Delhi, and two copies in Pakistan, Karachi, Hamdard Collection, and Islamabad, Ganjbakhsh Collection, number 7872. This book is listed in the Guide to the Joint Index of Pakistani Manuscripts, vol. 13, p. This article introduces and examines the content of this collection ‌ and explains the issues in the version by citing evidence.

 The method of this research is descriptive-analytical using the library collection tool as a document research and content analysis data mining method. In this way, we have examined the corrected text of the manuscript of the great criteria, which is itself based on the method of intermediate correction, and we have analyzed its content, grammar and rhetoric.

 This text is a rich and useful educational book in the period in question, about Persian grammar, rhetoric and literary crafts, rhyme and prose, as well as other related sciences such as astronomy, logic, theology, etc. In this version, which the author has used all the relevant textbooks up to his period, he has not left out any points about the topics of discussion, and it seems that this book has been an educational book for teaching in schools.

 The Persian language and its development during the rule of the Gurkhanids in India was the concern of writers and rulers, and the writing of this book and similar books and the preparation of subsequent manuscripts from it, proves the necessity of this education and expansion. Although this book belongs to about two centuries ago, but because it is an educational book, it is as easy to understand as possible.