Literary theories
mehdi bagheri; mohammad Khakpoor; mohammad mahdipour
Abstract
The criticism of prominent works have been common in all periods, and the importance of research in this field is not less than the value of created works. In the twelfth century AH, Imam Bakhsh Sahbai was one of the critics who inherited literary theories such as Munir Lahori, Azad Belgrami and Siraj-ud-Din ...
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The criticism of prominent works have been common in all periods, and the importance of research in this field is not less than the value of created works. In the twelfth century AH, Imam Bakhsh Sahbai was one of the critics who inherited literary theories such as Munir Lahori, Azad Belgrami and Siraj-ud-Din Ali Khan Arzu, incorporating into the formation of his unique literary orientation in the subcontinent. The treatise "Sharh-i-Se Nathr-i-Zuhuri" is one of the works that can be considered as the crystallization of new ideas Sahbaian that has been obtained as a result of analysis and critique of linguistic and rhetorical elements of this treatise. The outstanding feature of Sahbai's views in the field of literary criticism lies in its novelty, scientific orientation, and coherence. Among his stylistic features are manifestations of deviation from the apparent requirement (placing the manifestation in the implicit position), using the word stopped on hearing or analogy, dokhana (aware of two inertia), verisimilitude (metaphorical ambiguous metaphor), relation of words in speech, and neologism. Many of the terms in her work are the primary form of interpretation used today in modern literary criticism schools around the world; as he uses "wording" almost in the sense of texture, and "skeleton" in the sense of structure. Sahbai considers the value of metaphor in literary creations to be dependent upon its complexity and elaboration and its application in literary works. Adopting an analytical-descriptive approach, this article seeks to illustrate the unique, innovative perspective accompanying Sahbaian literary criticism
Persian Rhetoric and Grammar
mohammad khakpoor
Abstract
Belief in the originality of "firm" or "meaning" is one of the important subjects in the world of rhetoric and our literary tradition. Should we know the importance of the formation of works of art from the Form or Form or from the Meaning (content)? which has made a long struggle between the supporters ...
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Belief in the originality of "firm" or "meaning" is one of the important subjects in the world of rhetoric and our literary tradition. Should we know the importance of the formation of works of art from the Form or Form or from the Meaning (content)? which has made a long struggle between the supporters of these two approaches.This endless conflict during the time of Safaviyeh namely the peak and splendor of the literary criticism and stylistics with the attention and the deep knowledge of literary critics is being surprisingly continued. Besides in the Hindi style poem which has also been the most important field of rhetorical subjects and criticism and stylistics, in addition to many other important and new literary subjects, the attention to the originality of form or meaning is glaringly displayed. If in the poems of Saeb, the most rhetorical and fluent poet of Hindi Style, the subjects like:" pure form", "unfamiliar form", " polishing form", " new meaning", " delicate meaning", "strange meaning", "florid meaning", using form and meaning jointly, are seen frequently.
Mohammad Khakpour
Volume 66, Issue 228 , January 0, , Pages 33-60
Abstract
According to his remaining literary works, saeb tabrizi is the most eloquent and rhetorical poet of narration style in his period in terms of Iranian and Hindi branch of Hindi style. Poet motives in content and creation of exotic and unrealistic images which considered an appropriate field among poets ...
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According to his remaining literary works, saeb tabrizi is the most eloquent and rhetorical poet of narration style in his period in terms of Iranian and Hindi branch of Hindi style. Poet motives in content and creation of exotic and unrealistic images which considered an appropriate field among poets of Hindi style for manifesting the reader's wonder and chanter's performance play a significant role in saeb's poetry. Through motives and also complex association series he established an equation and creating correspondent relations between two hemistiches that are done only for creating new and various contents. However, despite the efforts of the poet, the poetry often leads to pains and artifice and gets far from his emotional outburst.
Indulgence in fantasy, hard saying and hard approving, is seen better in his poem when the poem like other followers of Hindi
style, changes motives in to the equation and arriving at the ultimate aim of the poem that is, content creating, which we can't understand their significance and concept, today, except through the cultures of safari era. However, when the emotional dimension balance of word and meaning and solidarity of lyrics overcome the theme making, and creation of complex and amazing relations, Saeb's single – couplets and his bright.
Mohammad Mahdipour; Mohammad Khakpour; Khadijeh Pourzeyni
Volume 68, Issue 231 , January 0, , Pages 109-136
Abstract
Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. ...
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Qasida as a genre of Persian poetry flourished up to the late 6th century AH, and the 7th century AH marked the beginning of a period of its temporal decline. Inspired by certain social developments, however, this poetic form revived in the Constitutional Period with its authentic, traditional norms. The present work is a structural and thematic analysis of the qasidas by Shahriar. Though Shahriar echoes many of the traditions of the classic Persian poetry, he does not arguably seek to follow the earlier norms and conventions as far as qasida is concerned. Due to his peculiar character, his qasidas employ a soft, lyric language. Though some of his qasidas do hold a candle to the relevant classic works, one should note however that qasida is not the major concern for him as he deems it as a rough poetic form. As with his other poems, the most important feature characterizing Shahriar’s qasidas is factography and expression of true, personal emotional experience. In qasidas with lyrical and emotional themes, this very feature has coupled with innovative fantasy and romantic descriptions to give birth to a new class of qasida unprecedented in the history of Persian literature. Shahriar’s qasidas fall in a wide array of thematic groups, but they can be split into the following categories in terms of the most prevailing purports: 1) panegyric, including Ikhwäniyät (brotherly poems), elegies, and social; 2) religious and monistic; 3) lyric; and 4) those dealing with the Iranian Islamic Revolutio
