دانشگاه اصفهان فنون ادبی 20088027 10 4 2018 12 22 Comparative critical study of riming prose in Persian and Arabic Rhetoric بررسی انتقادی تطبیقی صنعت سجع در بلاغت فارسی و عربی 43 66 23259 10.22108/liar.2019.93948.0 FA سکینه قربانی دانشجوی کارشناسی ارشد زبان و ادبیات فارسی دانشگاه فردوسی مشهد، مشهد، ایران سید جواد مرتضایی دانشیار گروه زبان و ادبیات فارسی دانشگاه فردوسی مشهد، مشهد، ایران 0000-0009-0009-0009 Journal Article 2015 07 13 Abstract<br />Riming prose which is a Figure of speech based on array of words, has been<br />discussed in most rhetorical works of Persian and Arabic. The purpose of this article<br />is the evolution of this figure of speech critically and comparatively from early days<br />of writing rhetoric books to the contemporary time. For this purpose, the historical<br />development of this figure of speech has been investigated based on the time and<br />language of writing these rhetorical works. Different definitions about this figure of<br />speech are presented in these works, some of which have been translated and<br />narrated from previous works. Altogether, equality of end and rhythm of words are<br />the main criterions of riming prose but each of the authors has expressed this equality<br />and harmony in various ways and presented different views on it.<br />In this article, for better understand and ease of work, types of riming prose and<br />related figures of speech to it have been categorized and criticized differently.<br />Riming prose for observance the principles and rules of equality, and its position at<br />the end of the dialects has been divided into parallel, symmetrical and lop- sided<br />types. For this reason, we recall these types main that are located in their main place;<br />at the end of spoken parts and phrases. Riming prose for the length of the rimed<br />prose sentences and the number of these words are divided in the form of Short,<br />medium and long. Given the main position of riming prose, if this figure of speech is<br />used in most of the words of the spoken parts and sentences or in the middle terms of<br />them, some of other forms of figures of speech are created which inlaying,<br />Parallelism and Guaranteed Portmanteau are the most important ones. And if the<br />main types of riming prose are used in the poem or more precisely, in the parts and<br />sections of hemistiches and verses, other figures of speech are created such as tashtir,<br />tasmit, and tajziye. Some of the types that rhetorical scholars and authors have come<br />up with the following of riming prose are completely null and void, and indication of<br />their ignorance and inattention in the historical background of riming prose. They<br />have been added these types with the aim of creation and innovating without any<br />rules and regulations. For this reason, these types have been studied below in vain<br />types.<br />After studying the evolution of the types of riming prose and all figures of speech<br />mentioned and comparing Arabic and Iranian experts' outlooks in different periods,<br />this can be concluded that there are slight differences regarding principles and<br /> M. A. Student of Persian Languages and Literature, Ferdowsi University of Mashhad, Mashhad, Iran<br />ghorbanisakine@gmail.com<br /> Associate Professor of Persian Language and Literature, Ferdowsi University of Mashhad,<br />Mashhad, Iran<br />Received: 13/07/2015 Accepted: 15/03/2016<br />This work is licensed under a Creative Commons Attribution 4.0 International License<br />Literary Arts, 10th Year, No. 25, Winter 2018-2019<br />10<br />methods of using riming prose. Persian rhetoricians have been affected by Arabic<br />rhetoricians for the totality of investigated figures and they have created slight<br />innovations in methods and rules of figures of speech. However, there are<br />deficiencies in defining riming prose and its principles and rules which resulted in<br />deviations and errors in defining its types at the level of the word and in the poem. سجع به‌عنوان یک آرایۀ بدیعی مبتنی بر آرایش لفظی و ظاهری، در اکثر آثار بلاغی عربی و فارسی مطرح شده است. هدف این مقاله این است که با نگاهی انتقادی و تطبیقی، تطور و تحول این صنعت را از دوران نخستین بلاغت­نویسی تا روزگار معاصر نشان دهد. بدین منظور، سیر تاریخی این صنعت بر اساس زمان و زبان تألیف آثار بلاغی و بدیعی مطالعه شد. برای درک بهتر و سهولت کار، انواع و اقسام سجع و آرایه­های متشکل از آن نظیر ترصیع، موازنه و تسمیط و تجزیه به صورت متفاوتی طبقه­بندی و نقد و بررسی شدند. با تطبیق دیدگاه­های عربی و فارسی در دوره­های مختلف این نتیجه حاصل شد که در مورد اصول و روش­های سجع­پردازی در این دو زبان، اختلاف­های اندکی وجود دارد. بلاغت­نویسان فارسی در کلیّت صنایع بررسی­شده، از علمای بلاغی عرب متأثر گشته­اند، اما گاهی نوآوری­هایی جزئی در روش و قواعد صنایع ایجاد کرده­اند که تکمیل­کنندۀ دیدگاه­های عرب­زبانان بوده است. با وجود این، نارسایی­هایی در تعریف صنعت سجع و اصول و قواعد آن وجود دارد که منجر به انحرافات و خطاهایی در تعریف انواع آن در سطح کلام و در شعر شده است. https://liar.ui.ac.ir/article_23259_14de22b06297fb8221cdfd1144f5303d.pdf