University of Isfahan Literary Arts 20088027 18 1 2026 03 21 Major Stylistic Innovations and Deviations in Nami Isfahani’s Khosrow and Shirin Major Stylistic Innovations and Deviations in Nami Isfahani’s Khosrow and Shirin 59 80 29951 10.22108/liar.2025.146479.2506 FA Mehdi Ebrahimi PhD Student, Department of Persian Language and Literature,Sa.C., ,Islamic Azad University, Sanandaj, Iran Roghaieh Alavi Assistant Professor, Department of Persian Language and Literature,Sa.C., Islamic Azad University, Sanandaj, Iran Seyyed Keyhan Shohadaei Assistant Professor, Department of Persian Language and Literature, Sa.C., Islamic Azad University, Sanandaj, Iran Journal Article 2025 08 27 The poem Khosrow and Shirin by Muhammad Sadiq Nami Isfahani, a prominent imitation (nazireh) from the Literary Return (Bazgasht-e Adabi) period, has often been studied primarily through narrative comparisons with Nizami Ganjavi’s masterpiece. The principal aim of this research is to move beyond content-based analyses to identify, categorize, and explain Nami’s most significant stylistic innovations and deviations at various linguistic levels, thereby proving he was not a mere imitator but a creative poet with a distinct style. This study employs a descriptive-analytical methodology grounded in the principles of Layered stylistics. For this purpose, the corrected text of Nami’s Khosrow and Shirin was meticulously analyzed, and deviations from standard language and literary tradition—innovations and deviations—were extracted and examined at four levels: lexical, syntactic, rhetorical, and structural, supported by poetic evidence. The findings reveal that Nami Isfahani consciously implemented noteworthy stylistic innovations. At the lexical level, the fabrication of verbs, novel compounds, and archaisms are prominent. Syntactically, he achieved foregrounding and verbal music through the transposition of sentence elements. In rhetoric, contrary to the complexities of the Indian Style (Sabk-e Hendi), he utilized simple and sensory similes and metaphors. Major plot modifications were also executed in line with this pragmatic and simplifying approach. These innovations demonstrate that Nami, operating within the Nazireh tradition, imprinted his artistic signature on the work through specific linguistic choices, creatively reimagining the ancient narrative within the discourse of the Zand era. Keywords: Stylistics, Innovation, Deviation, Nami Isfahani, Khosrow and Shirin. Introduction Style is the distinctive mode of expression that shapes the identity of a literary work. It emerges through an author’s conscious or unconscious selections from the possibilities of language, particularly manifested as “innovation” and “norm deviation”. In Persian literature, the tradition of Nazireh-guyi (emulative composition) served as a platform for creative dialogue with the works of masters like Nizami Ganjavi. During the Zand dynasty and within the context of the “Literary Return” movement—a reaction against the complexities of the Indian Style (Sabk-e Hendi)—Mohammad Sadeq Nami Isfahani (d. 1204 AH/1789 CE) recreated Nizami’s romance, Khosrow and Shirin. Focusing on stylistics and moving beyond mere narrative comparisons, this research addresses a fundamental question: What are the stylistic innovations and norm deviations in Nami’s work that distinguish it from Nizami’s masterpiece? The primary objective is to systematically identify these innovations and demonstrate that Nami was a creative and original poet, not merely an imitator. The significance of this study lies in filling a research gap concerning the stylistic analysis of works from the “Literary Return” period and redefining “imitation” as a “creative dialogue” with literary heritage, thereby challenging common perceptions of this era. Materials and Methods The present study was conducted using a descriptive-analytical method based on library resources. Initially, the primary text, the “Khosrow and Shirin” poem by Nami Isfahani, was meticulously examined by close textual analysis and systematic annotation. Subsequently, stylistic innovations and norm deviations were identified at the thematic, structural, and linguistic levels. Finally, these features were analyzed and explained within the theoretical framework of stylistics, employing a comparative approach against the canonical work, Nizami Ganjavi’s Khosrow and Shirin. Research Findings This research demonstrates that Mohammad Sadeq Nami Isfahani’s Khosrow and Shirin is the product of a conscious and stylistic recreation within the framework of the “Literary Return” movement, rather than a passive imitation of Nizami. The findings indicate that Nami’s innovations on four primary levels create an independent identity for his work: Content and Structure: By omitting philosophical-mystical elements, simplifying the plot (e.g., shortening Farhad’s episode), and altering characters (transforming Shapur into a pragmatic advisor), Nami crafted an action-focused, worldly narrative. By adding Shi’ite content, he also reflected his own religious ideology, transforming the story from a lyrical-mystical romance into a fast-paced romantic drama. Syntax: Nami’s most prominent innovation at this level is his “conscious simplification” of syntax. Through a predominance of simple sentences, avoidance of complex inversions (ta’qid), and the use of plain and conversational structures, he turned the poem into a transparent and swift narrative. Conversely, through purposeful “syntactic archaism”—employing obsolete structures like the particle rā (known as fakk-e ezafe) and the use of “abā” and “hamī”—he lent his language the gravitas of the Khorasani style. Rhetoric: In the realm of imagery, Nami deliberately distanced himself from the complexity and abstraction of the Indian Style (Sabk-e Hendi), opting for simple, sensory, and classical similes (e.g., comparing the army to a flood) and action-oriented metonymies (e.g., “reining back”). He prefers a “language of simile” over a “language of metaphor” to ensure narrative clarity is not sacrificed for rhetorical artistry. Lexicon: Through novel compound words (e.g., ātashin-khūy or “fiery-tempered”), the creation of neologistic verbs, and the integration of colloquial vocabulary (“harf” instead of “sokhan” for ‘speech’), Nami brought the poetic language closer to the discourse of his era. This approach, alongside lexical archaism (using “zinhār” for ‘beware’), demonstrates his linguistic mastery and purposeful stylistic choices to create a work that is both faithful to tradition and independently identifiable. Discussion of Results and Conclusions The stylistic analysis of Nami Isfahani’s Khosrow and Shirin reveals that the work is not a passive imitation but the product of conscious and creative choices within the framework of the “Literary Return” movement. Nami forged an independent identity for his work by transforming its narrative and linguistic structures. His innovations are prominent on four levels: 1) Thematic: By omitting philosophical and mystical elements and simplifying the plot, he created a pragmatic and worldly narrative; 2) Lexical: He invigorated the language through novel compounds and deliberate archaism, employing vocabulary from the Khorasani style to impart classical gravitas; 3) Syntactic: Through inversion of sentence components and the use of archaic expressive methods, he established a distinct rhythm and syntactic structure; and 4) Rhetorical: Distancing himself from the abstraction of the Indian Style (Sabk-e Hendi), he favored simple and tangible similes akin to the Iraqi Style. Nami’s archaisms were a deliberate deviation from the standard language of his time (Sabk-e Hendi) and served the goal of reviving classical traditions. The findings prove that he was not a mere imitator but an original poet (sāḥib-sabk, i.e., one possessing a unique style) who, with linguistic mastery, recreated an ancient narrative in a creative dialogue with literary heritage. The poem Khosrow and Shirin by Muhammad Sadiq Nami Isfahani, a prominent imitation (nazireh) from the Literary Return (Bazgasht-e Adabi) period, has often been studied primarily through narrative comparisons with Nizami Ganjavi’s masterpiece. The principal aim of this research is to move beyond content-based analyses to identify, categorize, and explain Nami’s most significant stylistic innovations and deviations at various linguistic levels, thereby proving he was not a mere imitator but a creative poet with a distinct style. This study employs a descriptive-analytical methodology grounded in the principles of Layered stylistics. For this purpose, the corrected text of Nami’s Khosrow and Shirin was meticulously analyzed, and deviations from standard language and literary tradition—innovations and deviations—were extracted and examined at four levels: lexical, syntactic, rhetorical, and structural, supported by poetic evidence. The findings reveal that Nami Isfahani consciously implemented noteworthy stylistic innovations. At the lexical level, the fabrication of verbs, novel compounds, and archaisms are prominent. Syntactically, he achieved foregrounding and verbal music through the transposition of sentence elements. In rhetoric, contrary to the complexities of the Indian Style (Sabk-e Hendi), he utilized simple and sensory similes and metaphors. Major plot modifications were also executed in line with this pragmatic and simplifying approach. These innovations demonstrate that Nami, operating within the Nazireh tradition, imprinted his artistic signature on the work through specific linguistic choices, creatively reimagining the ancient narrative within the discourse of the Zand era. Keywords: Stylistics, Innovation, Deviation, Nami Isfahani, Khosrow and Shirin. Introduction Style is the distinctive mode of expression that shapes the identity of a literary work. It emerges through an author’s conscious or unconscious selections from the possibilities of language, particularly manifested as “innovation” and “norm deviation”. In Persian literature, the tradition of Nazireh-guyi (emulative composition) served as a platform for creative dialogue with the works of masters like Nizami Ganjavi. During the Zand dynasty and within the context of the “Literary Return” movement—a reaction against the complexities of the Indian Style (Sabk-e Hendi)—Mohammad Sadeq Nami Isfahani (d. 1204 AH/1789 CE) recreated Nizami’s romance, Khosrow and Shirin. Focusing on stylistics and moving beyond mere narrative comparisons, this research addresses a fundamental question: What are the stylistic innovations and norm deviations in Nami’s work that distinguish it from Nizami’s masterpiece? The primary objective is to systematically identify these innovations and demonstrate that Nami was a creative and original poet, not merely an imitator. The significance of this study lies in filling a research gap concerning the stylistic analysis of works from the “Literary Return” period and redefining “imitation” as a “creative dialogue” with literary heritage, thereby challenging common perceptions of this era. Materials and Methods The present study was conducted using a descriptive-analytical method based on library resources. Initially, the primary text, the “Khosrow and Shirin” poem by Nami Isfahani, was meticulously examined by close textual analysis and systematic annotation. Subsequently, stylistic innovations and norm deviations were identified at the thematic, structural, and linguistic levels. Finally, these features were analyzed and explained within the theoretical framework of stylistics, employing a comparative approach against the canonical work, Nizami Ganjavi’s Khosrow and Shirin. Research Findings This research demonstrates that Mohammad Sadeq Nami Isfahani’s Khosrow and Shirin is the product of a conscious and stylistic recreation within the framework of the “Literary Return” movement, rather than a passive imitation of Nizami. The findings indicate that Nami’s innovations on four primary levels create an independent identity for his work: Content and Structure: By omitting philosophical-mystical elements, simplifying the plot (e.g., shortening Farhad’s episode), and altering characters (transforming Shapur into a pragmatic advisor), Nami crafted an action-focused, worldly narrative. By adding Shi’ite content, he also reflected his own religious ideology, transforming the story from a lyrical-mystical romance into a fast-paced romantic drama. Syntax: Nami’s most prominent innovation at this level is his “conscious simplification” of syntax. Through a predominance of simple sentences, avoidance of complex inversions (ta’qid), and the use of plain and conversational structures, he turned the poem into a transparent and swift narrative. Conversely, through purposeful “syntactic archaism”—employing obsolete structures like the particle rā (known as fakk-e ezafe) and the use of “abā” and “hamī”—he lent his language the gravitas of the Khorasani style. Rhetoric: In the realm of imagery, Nami deliberately distanced himself from the complexity and abstraction of the Indian Style (Sabk-e Hendi), opting for simple, sensory, and classical similes (e.g., comparing the army to a flood) and action-oriented metonymies (e.g., “reining back”). He prefers a “language of simile” over a “language of metaphor” to ensure narrative clarity is not sacrificed for rhetorical artistry. Lexicon: Through novel compound words (e.g., ātashin-khūy or “fiery-tempered”), the creation of neologistic verbs, and the integration of colloquial vocabulary (“harf” instead of “sokhan” for ‘speech’), Nami brought the poetic language closer to the discourse of his era. This approach, alongside lexical archaism (using “zinhār” for ‘beware’), demonstrates his linguistic mastery and purposeful stylistic choices to create a work that is both faithful to tradition and independently identifiable. Discussion of Results and Conclusions The stylistic analysis of Nami Isfahani’s Khosrow and Shirin reveals that the work is not a passive imitation but the product of conscious and creative choices within the framework of the “Literary Return” movement. Nami forged an independent identity for his work by transforming its narrative and linguistic structures. His innovations are prominent on four levels: 1) Thematic: By omitting philosophical and mystical elements and simplifying the plot, he created a pragmatic and worldly narrative; 2) Lexical: He invigorated the language through novel compounds and deliberate archaism, employing vocabulary from the Khorasani style to impart classical gravitas; 3) Syntactic: Through inversion of sentence components and the use of archaic expressive methods, he established a distinct rhythm and syntactic structure; and 4) Rhetorical: Distancing himself from the abstraction of the Indian Style (Sabk-e Hendi), he favored simple and tangible similes akin to the Iraqi Style. Nami’s archaisms were a deliberate deviation from the standard language of his time (Sabk-e Hendi) and served the goal of reviving classical traditions. The findings prove that he was not a mere imitator but an original poet (sāḥib-sabk, i.e., one possessing a unique style) who, with linguistic mastery, recreated an ancient narrative in a creative dialogue with literary heritage.

https://liar.ui.ac.ir/article_29951_e0741c5600e5071314887786fd4e8f85.pdf