Shahram Ahmadi; Seyyedeh Fatemeh Kazemi Goodarzi
Abstract
Irony is an ambiguous word or phrase in which the secondary meaning is of more importance. Irony enjoys a great capacity to convey the meaning which cannot be directly expressed. Although Irony dates back to ancient Greece, classical and even contemporary Persian works have greatly benefited from ...
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Irony is an ambiguous word or phrase in which the secondary meaning is of more importance. Irony enjoys a great capacity to convey the meaning which cannot be directly expressed. Although Irony dates back to ancient Greece, classical and even contemporary Persian works have greatly benefited from this figure. Recently, it has been recognized as a notable rhetorical technique and in some cases, it is considered identical to humor, ambiguity, satire, mockery or parody, etc. However, each of these figures includes only a part of the function of Irony. To explain his thoughts amid the political and social repression of the Constitutional Age, Nasim-e-Shomal(Seyyed Ashraf-al-din Hussaini), had no choice but to express his liberal thoughts indirectly. Therefore, Irony and its variants could be found in his poems abundantly. This research was conducted through descriptive-analytical method using library sources. Using irony, Nasim-e-shomal eliminated boredom and monotony caused by the repetition of themes. In his poems, Irony is mostly used consciously in his poems where it is the result of the poet being Ironic rather than being seen as ironic by the reader. Taking his irony as humor limits the deep potentials of his poems. Seyyed Ashraf-al-din’s ironic language provides a wide ground to create irony. The Ironies used in his poems are not rare. Furthermore, they are often as simple as the language of his poems.
Fateme Fateme Hoseinpoor Masteri; ‘Abbas’ali Vafayi
Abstract
Exploring Persian grammar books, we find that most of categorizations of adjectives are repetitive and similar to each other. Focusing on semantics, the present article, offers a new classification according to the assignment or non-assignment (generality) of the adjective to the nouns. Therefore, the ...
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Exploring Persian grammar books, we find that most of categorizations of adjectives are repetitive and similar to each other. Focusing on semantics, the present article, offers a new classification according to the assignment or non-assignment (generality) of the adjective to the nouns. Therefore, the adjectives are divided into two specific and general categories; specific adjectives are divided into two special categories (type 1 and special type 2) based on their belonging to a specific semantic domain, or just a to specific adjective. General adjectives are divided into three general categories: less active (based on the scope of belonging to words), semi-active general, and active general. To obtain a set of traits, three novels: Symphony of the Dead by ‘Abbas Maroufi, Suvashun by Simin Daneshvar and Her Eyes by Bozorg Alavi were selected to extract the traits. After extracting the traits, the adjectives are classified into the general and the specific. These two categories are, in turn, were divided according to the expressive adjectives (simple (absolute), active, objective, relative, merit). Finally, it was determined which of the expressive adjectives is more close to each of the new divisions. Accordingly, the active adjectives are more close to the active and possessive adjectives, and the passive adjectives are associated with the active and unauthorized adjectives; Relative attributes, especially when they convey the concept of gender, are specific to the semantic domain of inanimate objects. The attributes of gesture, ambiguity, number, etc. are common and are considered as general attributes.
Fateme Heydari
Abstract
Naser Khosrow strongly suPported Islam and ‘Arabic language. However, The title "Hojjat (authority) of Khorasan Island" has encouraged him to help enrich Persian language and moderate borrowing from ‘Arabic through replacing some ‘Arabic words with Persian ones. In his prose works, ...
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Naser Khosrow strongly suPported Islam and ‘Arabic language. However, The title "Hojjat (authority) of Khorasan Island" has encouraged him to help enrich Persian language and moderate borrowing from ‘Arabic through replacing some ‘Arabic words with Persian ones. In his prose works, he expanded didactic literature in the field of religion, theology and philosophy. He consciously tried to replace ‘Arabic terms with Persian terms such as Ham goosheki, Zade-ye- rah, Ziridan, Karbandande and others using the familiar methods of word-making and word selection through compounding and derivation. These methods were also used in the Middle Persian language. He has protected the valuable Dari words by common and self-made methods. Following up Naser Khosrow's religious and theological terms in Pahlavi glossaries shows that he is not the inventor of these terms. Many of these terms have already been used in Middle Persian language and he used them with or without changing meaning. He revived and expanded the pre-existing vocabulary. This shows the difference between his prose and rhetorical prose. To answer how Naser Khosrow used the process of word-making and word selection in his five prose books and his use of compounding and derivation in Pahlavi language, this study has drawn on descriptive and analytical method.
Mohammad Mostafa Resalatpanahi; Habib Mottaghi; Reza Shajari
Abstract
Soorabadi Interpretation is one of the most ancient Farsi versions of Qoran which is, next to its intellectual and content value, of high linguistic and historical importance. Although Soorabadi has used the prevalent Persian language of 5th century, the usage of words and their choice of selection ...
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Soorabadi Interpretation is one of the most ancient Farsi versions of Qoran which is, next to its intellectual and content value, of high linguistic and historical importance. Although Soorabadi has used the prevalent Persian language of 5th century, the usage of words and their choice of selection has made his interpretation different from others of his era. The main method of this research is descriptive and analytical. The main question of the research is what the rare grammatical features of Soorabadi interpretation are. These are the findings of the research: the existence of stylistic coordinates and various aPplications of rare syntax and morphology as well as the author's writing style have made this valuable work worthy of attention and research. Some of the exemplary features of the work such as the use of adverbs, adjectives and rare grammatical examples, are only specific to this interpretation.
Mohsen Sharifi Sohi; Mohammad Fazeli
Abstract
Imitating and answering a poem, a poet’s poems sometimes is affected by vulgarity of rhyme scheme which in turn leads to plagiarism during the process of imitating another poem. The vulgarity of rhyme is one of the negative functions of composing poetry imposing thematic restriction on traditional ...
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Imitating and answering a poem, a poet’s poems sometimes is affected by vulgarity of rhyme scheme which in turn leads to plagiarism during the process of imitating another poem. The vulgarity of rhyme is one of the negative functions of composing poetry imposing thematic restriction on traditional poetry. Examining some poems of 5th to 8th lunar century poets, we have dealt with the problem in the first part of the article. The article is attempting to study plagiarism and its different types in the poetry of Amir Mo’ezzi Neyshabouri. Taking into consideration the role of rhyme and its vulgarity in poetry, we will first deal with his plagiarizing from Onsori, and Farrokhi to Qatran, and finally, we will show the plagiarism of Anvari, Watwat, Adib Saber and Hasan Ghaznavi from Mo’ezzi's poetry collection (Divan).
‘Abdol Reza Zand; Mohammad Fooladi
Abstract
Anvari and Zahir al-Din Faryabi are two of the most influential Poets in the history of Persian poetry. These two have had a major impact on Persian lyrical poetry. This article is a research on the most important manifestations of poetic music in the sonnets of these two poets. After providing an introduction ...
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Anvari and Zahir al-Din Faryabi are two of the most influential Poets in the history of Persian poetry. These two have had a major impact on Persian lyrical poetry. This article is a research on the most important manifestations of poetic music in the sonnets of these two poets. After providing an introduction to these two poets influence on the evolution and promotion of Ghazal, in a descriptive-analytical manner, the article explores the inner music (verbal novelty) in their sonnets presenting diagrams. The analysis of statistics has suggested these results: both poets have used internal music in inducing concepts and influencing the audience. Despite composing only a small number of lyric poems, Zahir Faryabi has been able to take advantage of the musical features of literary figures as well as of the mood of the audience to contribute to the promotion of musicality in language. Figures like alliteration, repetition, and perfect pun are of highest importance in creating verbal musicality.. Anvari also benefits a lot from this type of music. He has become more successful than Zahir in this field, especially in use of pun, alliteration and repetition. In general, both poets have played an important and fundamental role in promoting novel figures in their simultaneous reliance on the speaker, the text and the audience.
Parvin Golizade; Mokhtar Ebrahimi; Reza Gorooyi
Abstract
Bidel Dehlavi is one of the peaks of Persian literature in the Indian style. Most Indian style researchers have paid attention to the creative themes, delicacy, and imagery, but disregarded their artistic use of language . In this article, an attempts is made to address the art of creating combinations ...
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Bidel Dehlavi is one of the peaks of Persian literature in the Indian style. Most Indian style researchers have paid attention to the creative themes, delicacy, and imagery, but disregarded their artistic use of language . In this article, an attempts is made to address the art of creating combinations by Bidle and the functions of this linguistic art. Creating combinations, with regard to capability of Persian language, has been practiced among poets since the beginning of Persian poetry, but in the Indian style it has become more prominent. Most of the combinations in Bidle's poetry are based on his own pen, and fewer examples of this compositions can be found even among contemporary poets. The abundant use of combinations in Bidle's poetry has many purposes. Defamiliarizing the language, emphasizing the form of speech, expressing grace, skillfully choosing vocabulary, decorating poems, and adding melody and sweetness to words are among them. Bidle's combination patterns in this article are: affix combinations, pseudo affix combinations, combination adjectives nominative, combination adjectives, infinitive combinations .The arrangement of linguistic combinations in horizontal and vertical axis of the verse is done with special order to make the poet's formalism more visible. The manifestation of many derivative combinations in Bidle's poetry, in addition to making his language eloquent, has created a unique identity for the style of his poetry.
Vahid Mobarak; Zahra Sayyadi
Abstract
Verb is the most important element of a sentence. The way verbs are used in a work shows the author's concern to create layers of meaning and effective communication with the audience as well as psychological functions. Can a verb be divided into extroverted, introverted, and neutral the same as characters ...
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Verb is the most important element of a sentence. The way verbs are used in a work shows the author's concern to create layers of meaning and effective communication with the audience as well as psychological functions. Can a verb be divided into extroverted, introverted, and neutral the same as characters are? The findings of this descriptive-analytical article give a positive answer. Examining Sanayi's sonnets, it suggests that because Sanayi, in love sonnets, deals with erotic and earthly loves of the Ghaznavid period, he has an extroverted tendency and uses action, movement and extroverted verbs. However, Sanayi in his Qalandari lyric poems which express the mystical concepts and meanings with lyrical words, romantic and norm-breaking, shows meaning, freshness of the mood, the depth of his spiritual experience, and the multilayered nature of speech, by using introverted verbs. In this section, introverted verbs show concepts such as revelation, intuition, inner knowledge, and attention to inner and spiritual conditions. The difference in the way verbs are used in his sonnets shows that there was a logical relationship between Sanayi 's changing life/action and his renewing ideas. The high frequency of the use of the imperative and indicative verbs (to be, to know...) in Qalandariat, confirms the didactic aspect of literature.
Mohammadreza Masoumi; Amin Mojallizadeh; Mehdi Salmani
Abstract
Rhyme is of great importance and place in Persian poetry; For this reason, and to facilitate the work of poets, books in the form of rhyming dictionaries have been written from the distant past to the present. One of the most prestigious and famous of these dictionaries is Al-wāfi fī Te‘dāde-l ...
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Rhyme is of great importance and place in Persian poetry; For this reason, and to facilitate the work of poets, books in the form of rhyming dictionaries have been written from the distant past to the present. One of the most prestigious and famous of these dictionaries is Al-wāfi fī Te‘dāde-l Qawāfī which was written in the eighth century AH by the famous Persian poet, Mohammad Assar-e Tabrizi. Manuscripts of this work are kept in libraries in Iran and abroad that have not been introduced, reviewed and corrected. The following article is dedicated to introducing and analyzing the text of Al-wāfi fī Te‘dāde-l Qawāfī along with tables and diagrams; It has been done in a descriptive-analytical manner and with reference to library sources. Assar’s treatise includes an introduction and several chapters; it dealt with rhyming topics such as letters, vowels, Ravi and defects of rhyme, as well as the meters of poetry. In the last chapter of the book, he has listed more than ten thousand words of two to seven letters in alphabetical and dictionary form. The results of this research, which have been obtained after correcting and comparing two manuscripts of the book, show that reviewing and publication of this valuable dictionary can be of great help to the research of both rhetoric and rhyme. Also, considering that in this book, rhyming words have been grammatically analyzed in terms of suffixes and final syllables, it can be used by linguists and researchers of Persian grammar; it can also be used as an ancient dictionary of suffixes.
Mohammad Reza Najjarian; Zohre Sorkhi Zade
Abstract
Mahmoud Kianoush, known as the Father of children's poetry in Iran, is one of the contemporary poets who composes simple and straightforward poems. Kianoush's poetry is the reflection of his thoughts and contemplation on the innate relationship between human and nature. Kianoush is a poet whose mind ...
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Mahmoud Kianoush, known as the Father of children's poetry in Iran, is one of the contemporary poets who composes simple and straightforward poems. Kianoush's poetry is the reflection of his thoughts and contemplation on the innate relationship between human and nature. Kianoush is a poet whose mind is abundant with people's issues. Among his works, there are 8 books which are specifically written as poems for children and young adults: The Language of Things, Indian Green Parrot, Gold Tip < /em>- Silver Wing, Garden of Stars, World's Children, Seven-Colored Arch, the Sun of our House, and Poem by Poem. Considering literary status, Kianoush's poetry can be considered among the most eminent kinds of poetry. The figures of his poetry include imagery especially simile, metaphor, and personification. Soleiman al-Issa is one of the outstanding Syrian poets whose predominant themes are motherland and ethnic sentiments. He has dedicated a major part of his odes (poems) to children especially to suffering Arab children. In his odes, Soleiman al-Issa uses some types of imagery which are easily understood by children. The variety of nominal, verbal, explicit, and implicit metaphors are especially noticed in his poetry. Also, he uses Personification which creates synesthesia and enlivens his poems. Focusing on metaphors, the present study aims to analyze and investigate children's poetry composed by the two Persian and Arab poets, Mahmoud Kianoush and Soleiman al-Issa.
javad khalili; Ya’ghob Noroozi
Abstract
Mersad-ol ‘Ebad, is one of the important mystical works in Persian prose. Najm Razi in this mystical work uses an eloquent style of expression and rhythmic language to convey teachings of Sufism. In this work, aspects of simple and complicated prose are mixed . As far as language and linguistic ...
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Mersad-ol ‘Ebad, is one of the important mystical works in Persian prose. Najm Razi in this mystical work uses an eloquent style of expression and rhythmic language to convey teachings of Sufism. In this work, aspects of simple and complicated prose are mixed . As far as language and linguistic elements are concerned, the Author is influenced by simple prose(Nasr-e Morsal). Yet, use of rhythmic language and musicality categorizes his work among those with complicated prose . The present article investigates the work’s archaic language and musicality focusing on parallel, pun, and assonance. The use of obsolete words which had been out of fashion in his time, as well as using old grammatical forms shows the author’s interest in linguistic archaism. The author’s abundant use of parallelism in assonance proves his attempt at composing rhythmic prose. The method of research is analytic-descriptive.
Mohsen Vesaghati Jalal
Abstract
Although exterior of language in the texts of Morsal prose has been embellished and glamorized through figurative language, the essential elegance of this type of prose rests on the interior of the language, and it is achieved through the artistic arrangement of words. According to systemic functional ...
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Although exterior of language in the texts of Morsal prose has been embellished and glamorized through figurative language, the essential elegance of this type of prose rests on the interior of the language, and it is achieved through the artistic arrangement of words. According to systemic functional linguistics, pronouns, due to their great flexibility, play a critical role in this embellishment. In such texts, pronouns are among the most frequent and crucial elements. Furthermore, their sliding position in the sentence structure has given them an exceptional prominence. Authors of such books like Tarikh-i Bal'ami or Tārīkhnāma and Tarikh-i Sistan (History of Sistan) achieved diverse artistic objectives by syntactical replacement of the pronouns. Therefore, Jakobson's theory of metonymic pole could equip us with an effective device to reevaluate the aesthetics of the pronouns in such texts. The aim of this article is to answer the question of how pronouns could attain such artistic and aesthetic function in conjunction with other words. Relying on the theory of the metonymic pole of language, the author of this article has closely studied Tarikh-i Sistan (History of Sistan), as one of the magnificent works of Morsal prose, using a descriptive-analytical method. The main findings of the present grammatical-rhetorical research indicates that the author of the Tarikh-i Sistan has used disconnected and connected pronouns in various forms in the beginning and the end of a sentence to create artistic language. The technique has also helped the author to obtain secondary purposes and creating literary figures of speech such as: praising, contempt, amazement, emphasis, brevity, syntactic equilibrium, Tard va Aks , Laff va Nashr ( two forms of chiasmus whereby individual elements in one line of poetry are rearranged in subsequent line), contradiction, irony, repetition as a literary figure of speech, creation of rhythmic prose, and creation of suspense. Also, along with moderate decorating of the exterior, he made the interior of the language meaningfully elegant and artistic. Seemingly; aPpreciating the rhetorical-grammatical features of pronouns in the Tarikh-i Sistan and other literary texts, as well as adopting them, could transform the tedious and sedentary nature of current pronouns and expand the literary capacity of contemporary Farsi language.
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