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.
Mir Jalil Akrami; Hosein Rasoolzade
Volume 67, Issue 230 , January 0, , Pages 49-71
Abstract
One of the innovations of literaryin the constitutional period was "drama". After the prose plays that were experienced by Akhoundzadeh and Mirza Aqa Tabrizi, Verse dramas also was writed by borroweing from Persian classics works, such as Ferdowsi's Shahnameh and nizami worls. Verse plays are divided ...
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One of the innovations of literaryin the constitutional period was "drama". After the prose plays that were experienced by Akhoundzadeh and Mirza Aqa Tabrizi, Verse dramas also was writed by borroweing from Persian classics works, such as Ferdowsi's Shahnameh and nizami worls. Verse plays are divided into three types: 1) verse plays that have been implemented 2) Plays that were associated with the music “opera” 3) plays that have the elements of poetry in high frequency and not displyed in scence. This plays that named (close drama) or (dramatic poets) is important result in current poetry. (idela) and (afsae) and some of shahriar poets divided in this group. This paper will discuss the effects of other plays elemen (such as form and language and image) in current literature and specialy feachers of th (close drama) or (dramatic poets). Some works af akhvan sales (mardo markab) and monoochehr sheybani and shahriar review in this paper.Key words: irony, kinds of irony, ParvinE’tesami.
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
