University of Isfahan Literary Arts 20088027 7 1 2015 03 21 0 19741 FA Journal Article 2016 06 14 https://liar.ui.ac.ir/article_19741_77432917e1aac00d4451f327ea8f7ca6.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 A critical examination of meters in Khaghani’s complete works (Divan) emended by Abd or-Rasooli A critical examination of meters in Khaghani’s complete works (Divan) emended by Abd or-Rasooli 1 8 19736 FA Nasr Ol-Lah Imami Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz Na’eem Maravene Ph.D. Student of Persian Language and Literature, Shahid Chamran University of Ahvaz Journal Article 2016 06 14 Khaghani’s complete works (Divan), emended by Abd or-Rasooli, consists of 144 qasida1, 16 composites, refrains, 356 stanza and small qasidas, 462 Ghazal, 361 quatrains and 5 Arabic qasidas. Despite its weak points, current edition as the first edition of khaghani in Iran is undoubtedly of high importance and can be used by students and researchers. In spite of value and significance of Abd or-Rasooli efforts, this emendation has considerable defects. For example, lack of index of all poems, disorders due to intermingling of small qasidas and odes makes it hard for readers to find poems and recognize their forms. Also Abd or-Rasooli analyzes some parts of Divan such as qasidas and refrains in terms of meter and leaved other parts as small qasidas, odes, Ghazals, quatrains and Arabic poems. Studying meters in Khaghani’s Divan emended by Abd or-Rasooli, some of them have been seemed to be incorrect. The mentioned mistakes are as below which we divided them to some groups for ease of access: 1- Making mistake in recognition of rhythm and meter, rhythm recognition, meter and its variations 2- Making mistake in recognition of meter variations. Case: falsehood in rhythm and meter recognition In pages 42 and 45 the rhythm of (Mufta’ellun Fa’ellat Mufta’ellun Fa’ellat “-UU--U-U-UU--”) has been named “Monsare Salem” but in page 57 there is a qasida with prologue and Abd or-Rasooli mentioned the same rhythm for it mistakenly and named its variations as “Matvi Majdou”: Rảh-e nafasam baste shod az ảh-e jegartảb Ku hamnafasi tả nafasi rảnam az in bảb It should be mentioned that meter is not Monsareh but it is “musamman akhrab makfuf mahzuf”. Next qasida with prologue is: Ᾰn pir ke sobh-e leghayist khezr-e nảm Har sobh buye khezr ảyadash ze kảm Stating the word “too”, he has recognized the rhythm of mentioned Qasida in “Ramal” meter while it has the meter of “mozare’ akhrab makfuf mahzuf” and its rhythm is “Maf’ulo Fa’elat Mofa’elan Fa’elon” and it is not “Ramal”. The conclusion is that studying rhythm in qasidas shows that Abd or-Rasooli was hasty at recognizing meters and this hastiness results to inordinate number of errors such as those in determination of rhythm and meter and meter variations. It is obvious that present criticism does not underestimate Abd or-Rasooli’s great dignity and his scientific wisdom in first emendation of Khaghani’s Divan in Iran and the value of this work is apparent for all scholars. Khaghani’s complete works (Divan), emended by Abd or-Rasooli, consists of 144 qasida1, 16 composites, refrains, 356 stanza and small qasidas, 462 Ghazal, 361 quatrains and 5 Arabic qasidas. Despite its weak points, current edition as the first edition of khaghani in Iran is undoubtedly of high importance and can be used by students and researchers. In spite of value and significance of Abd or-Rasooli efforts, this emendation has considerable defects. For example, lack of index of all poems, disorders due to intermingling of small qasidas and odes makes it hard for readers to find poems and recognize their forms. Also Abd or-Rasooli analyzes some parts of Divan such as qasidas and refrains in terms of meter and leaved other parts as small qasidas, odes, Ghazals, quatrains and Arabic poems. Studying meters in Khaghani’s Divan emended by Abd or-Rasooli, some of them have been seemed to be incorrect. The mentioned mistakes are as below which we divided them to some groups for ease of access: 1- Making mistake in recognition of rhythm and meter, rhythm recognition, meter and its variations 2- Making mistake in recognition of meter variations. Case: falsehood in rhythm and meter recognition In pages 42 and 45 the rhythm of (Mufta’ellun Fa’ellat Mufta’ellun Fa’ellat “-UU--U-U-UU--”) has been named “Monsare Salem” but in page 57 there is a qasida with prologue and Abd or-Rasooli mentioned the same rhythm for it mistakenly and named its variations as “Matvi Majdou”: Rảh-e nafasam baste shod az ảh-e jegartảb Ku hamnafasi tả nafasi rảnam az in bảb It should be mentioned that meter is not Monsareh but it is “musamman akhrab makfuf mahzuf”. Next qasida with prologue is: Ᾰn pir ke sobh-e leghayist khezr-e nảm Har sobh buye khezr ảyadash ze kảm Stating the word “too”, he has recognized the rhythm of mentioned Qasida in “Ramal” meter while it has the meter of “mozare’ akhrab makfuf mahzuf” and its rhythm is “Maf’ulo Fa’elat Mofa’elan Fa’elon” and it is not “Ramal”. The conclusion is that studying rhythm in qasidas shows that Abd or-Rasooli was hasty at recognizing meters and this hastiness results to inordinate number of errors such as those in determination of rhythm and meter and meter variations. It is obvious that present criticism does not underestimate Abd or-Rasooli’s great dignity and his scientific wisdom in first emendation of Khaghani’s Divan in Iran and the value of this work is apparent for all scholars.

https://liar.ui.ac.ir/article_19736_dc59dd366e529d254230ef1c1dbff07f.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 A comparison between the structure of Hamidi’s Maqamat and Sa’di’s Golestan A comparison between the structure of Hamidi’s Maqamat and Sa’di’s Golestan 9 22 19734 FA Esmaeil Shafagh Associate Professor of Persian Language and Literature, Buali sina University Ali Asmand Jonghani Journal Article 2016 06 14 Maqamat are successive stories in which the hero is the same in all of them. The hero does strange things or in other words stunts and in the end disappears and no one knows his conclusion and again in another story appears in a new character. Maqame can be considered as the highest grade of Picaresque stories that was customary in Spain in the sixtheenth century. Picaresque derived from the Spanish word Picaro which means janus-faced, sly and cunning; and Picaresque was the attribute for romances that proceed to Picaros’ actions. The main Maqame in Farsi, is Hamidi’s Maqamat composed by judge Hamid od-Din Balkhi (d. 559 AH) who was chief justice of Balkh that wrote it in (551 AH) following Maqamat of Badi’ oz-Zaman Hamedani and Hariri. In discussing about structure of the story, elements such as subject, theme, characterization, plot, point of view, setting, language, time and place are considered as main topics. Hamidi’s Maqamatimitating of Arabic Maqamat, in most cases has used Arabic words and compounds and did not welcome to Persian style statements as much. That is the reason it is full of complex and difficult words and idioms. Saadi's profound knowledge of Persian-language capabilities, understanding people's alive and vibrant slang and proficiency in fusion power of Persian-language, more use of prefix and simple verbs, utilization of metonyms, observance the brevity and briefness, abstaining from difficult words, avoiding of hyperbaton and formality, accuracy in selecting the words, all are effective factors at his innovative work which is Golestan. In some of Golestan stories, Sa’di himself is the hero and the main character. In some he plays an important role and in some others plays the minor role or is only a spectator and event viewer. The characters are static in Hamidi’s Maqamat. That means at the end of the story, the characters are the same they have been at the beginning. Story events have low impact on them and do not change them. The space and scene of the story in Maqamat, because Balkhi has tendency to periphrasis description, transmits to reader with more details while Saadi's descriptions are very brief and he quickly passes through the atmosphere and the scene of the story. Plot of Hamidi’s Maqamatin comparison with Golestan, is more consistent and somewhat follows the logic. But the plot of lots of Golestan stories is not more than a joke or sketch, and those stories that involve advice has been written without any sketch. Most of the Maqamat stories narrate from the exterior view perspective and the narrator as omniscient leads the story characters. But in Golestan the view perspective is fisrt person and the author is a storyteller. From the characterization perspective, story characters in both Magahamat and Golestan do not change. In lots of Golestan stories, the omniscient narrator (author) or third person narrator and other characters have tangible presence. Sometimes Sa’di himself is the hero of the story whole in Hamidi’s Maqamat the main character as the hero of the story even does not have a specified name. Intense interest of Hamid od-Din Balkhi in word prolongation to describe time and space has caused the time and space factors are not interesting and clear to the reader. Sometimes also in Golestan the time and space factors are vague, concise and unknown. In Hamidi’s Maqamatall of the stories bring up from the view of unlimited omniscient, but Ghazi Balkhi as says ''narrated me my friend who …'' yet tries to express events as if he had been the looker on and supervisor himself by being in one of the story heroes show. Maqamat are successive stories in which the hero is the same in all of them. The hero does strange things or in other words stunts and in the end disappears and no one knows his conclusion and again in another story appears in a new character. Maqame can be considered as the highest grade of Picaresque stories that was customary in Spain in the sixtheenth century. Picaresque derived from the Spanish word Picaro which means janus-faced, sly and cunning; and Picaresque was the attribute for romances that proceed to Picaros’ actions. The main Maqame in Farsi, is Hamidi’s Maqamat composed by judge Hamid od-Din Balkhi (d. 559 AH) who was chief justice of Balkh that wrote it in (551 AH) following Maqamat of Badi’ oz-Zaman Hamedani and Hariri. In discussing about structure of the story, elements such as subject, theme, characterization, plot, point of view, setting, language, time and place are considered as main topics. Hamidi’s Maqamatimitating of Arabic Maqamat, in most cases has used Arabic words and compounds and did not welcome to Persian style statements as much. That is the reason it is full of complex and difficult words and idioms. Saadi's profound knowledge of Persian-language capabilities, understanding people's alive and vibrant slang and proficiency in fusion power of Persian-language, more use of prefix and simple verbs, utilization of metonyms, observance the brevity and briefness, abstaining from difficult words, avoiding of hyperbaton and formality, accuracy in selecting the words, all are effective factors at his innovative work which is Golestan. In some of Golestan stories, Sa’di himself is the hero and the main character. In some he plays an important role and in some others plays the minor role or is only a spectator and event viewer. The characters are static in Hamidi’s Maqamat. That means at the end of the story, the characters are the same they have been at the beginning. Story events have low impact on them and do not change them. The space and scene of the story in Maqamat, because Balkhi has tendency to periphrasis description, transmits to reader with more details while Saadi's descriptions are very brief and he quickly passes through the atmosphere and the scene of the story. Plot of Hamidi’s Maqamatin comparison with Golestan, is more consistent and somewhat follows the logic. But the plot of lots of Golestan stories is not more than a joke or sketch, and those stories that involve advice has been written without any sketch. Most of the Maqamat stories narrate from the exterior view perspective and the narrator as omniscient leads the story characters. But in Golestan the view perspective is fisrt person and the author is a storyteller. From the characterization perspective, story characters in both Magahamat and Golestan do not change. In lots of Golestan stories, the omniscient narrator (author) or third person narrator and other characters have tangible presence. Sometimes Sa’di himself is the hero of the story whole in Hamidi’s Maqamat the main character as the hero of the story even does not have a specified name. Intense interest of Hamid od-Din Balkhi in word prolongation to describe time and space has caused the time and space factors are not interesting and clear to the reader. Sometimes also in Golestan the time and space factors are vague, concise and unknown. In Hamidi’s Maqamatall of the stories bring up from the view of unlimited omniscient, but Ghazi Balkhi as says ''narrated me my friend who …'' yet tries to express events as if he had been the looker on and supervisor himself by being in one of the story heroes show. https://liar.ui.ac.ir/article_19734_edcb59fc5b30ad3b1268e71545eb2436.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 Genesis and evolution of the sonnet (chahar-pare) composing in Iran Genesis and evolution of the sonnet (chahar-pare) composing in Iran 23 32 19735 FA Bbagher Sadrinia Associate Professor of Persian Language and Literature, University of Tabriz Journal Article 2016 06 14 Persian "Sonnets" (chahar-pare) or "continuous quatrains" are already mentioned briefly here and there but the emergence, evolution and the influence of the modern ottoman poetry on the inclination of Persian poets to this new poetic form have not been thoroughly discussed yet. The author of this paper, while studying the origin of this form of poetry by referring to its currency in French literature, seeks to answer the following questions: 1 – Did the Iranian poets compose sonnets under the influence of European and especially French literature? 2 – How much did the ottoman modern poetry influence the inclination of Iranian poets to this form? 3 –When did sonnet composing begin exactly and who first composed his poem in this form? It seems that there is no doubt about the idea that this form of sonnets or continuous quatrains as a new form in Persian poetic was borrowed from the European and especially French literature, but it is disputable whether the Iranians received this form and its special rhyme scheme directly from Europeans or they got accustomed with it through an intermediary language? From the viewpoint of the author these continuous quatrains were first considered by modern Turkish poets of Tanzimat and constitutional Revolution period such as Akif Paşa (1316 AH), and later Ibrahim Şinasi (d. 1871 CE), Ziya Paşaa (d. 1881 CE), Namik Kemal (d. 1888 CE) and the poets of the next generation such as Recaizade Ekrem Beik (d. 1914 CE) and Abdülhak Hamit Tarhan (d. 1937 CE) Tevfik Fikret (d. 1915 CE) who were familiar with french poetry and literature (Habib, 1340: 95); then this form entered Iranian literature via Turkish language and literature. On the one hand the distant priority of the Turkish modernist poets in using this form and on the other hand the familiarity of the first Iranian sonnet-composer poets such as Ja’far Xamene’i, Lahuti and Taqi Raf’at with the modern ottoman poetry and literature confirms the correctness of this hypothesis. First sonnets and first iranian sonnet-composers The researchers of the contemporary persian poem have generally considered the poem “Fulfillment of the Covenant” ( vafa be ‘ahd) of Ab al-Qasem Lahuti, which is composed in 1908 CE/1327 AH, the first persian sonnet (cf. SHafi‘i Kadkani, 1390: 423-425; SHams Langrudi, 65/1). However it is difficult to accept this opinion. Doubt about this view stems from this fact that there is no witness which shows that he was familiar with french literature and ottoman modern literature when composing this poem. The available evidences show that lahuti has composed his poem according to his iranian models of sonnet. In other words before Lahuti some other iranian poets such as Ja‘far Xamene’i who were familiar with french and modern ottoman literature have composed such sonnets and Lahuti has been accustomed with this poetic form via their poems. The sonnet which is published two years before “Fulfillment of the Covenant” by Lahuti in Azarbayejan newspaper at 15 rabi’ al-āxar 1325 confirms this opinion (cf. Maqṣudi, 1356: 697). With regard to what Brown and Ariyan-pur (Brown, 1335: 317; Ariyan-pur, 1372: 454/2) have stated about Xamene’i and his poem and also considering the existing examples of his poetry one can infer that because of his familiarity with french language and also modern turkish literature he has had definitely more necessary literary and theoretical capabilities than Lahuti for composing sonnets, and he began to compose sonnets before Lahuti. So with regard to these evidences one can consider Ja‘far Xamene’i the first or one of the first iranian sonnet-composers during the Constitutional Revolution. The sonnet form in its historical trend has undergone changes in regard to the rhyme (in this paper five sorts of it are discussed). In the end one kind of it, in which the second and fourth hemistiches rhyme with each other, has gained popularity and acceptance. This form of poetry, because of its concomitance with a kind of romantic poetry, in the course of time has changed to the original form of the poems with the romantic theme Persian "Sonnets" (chahar-pare) or "continuous quatrains" are already mentioned briefly here and there but the emergence, evolution and the influence of the modern ottoman poetry on the inclination of Persian poets to this new poetic form have not been thoroughly discussed yet. The author of this paper, while studying the origin of this form of poetry by referring to its currency in French literature, seeks to answer the following questions: 1 – Did the Iranian poets compose sonnets under the influence of European and especially French literature? 2 – How much did the ottoman modern poetry influence the inclination of Iranian poets to this form? 3 –When did sonnet composing begin exactly and who first composed his poem in this form? It seems that there is no doubt about the idea that this form of sonnets or continuous quatrains as a new form in Persian poetic was borrowed from the European and especially French literature, but it is disputable whether the Iranians received this form and its special rhyme scheme directly from Europeans or they got accustomed with it through an intermediary language? From the viewpoint of the author these continuous quatrains were first considered by modern Turkish poets of Tanzimat and constitutional Revolution period such as Akif Paşa (1316 AH), and later Ibrahim Şinasi (d. 1871 CE), Ziya Paşaa (d. 1881 CE), Namik Kemal (d. 1888 CE) and the poets of the next generation such as Recaizade Ekrem Beik (d. 1914 CE) and Abdülhak Hamit Tarhan (d. 1937 CE) Tevfik Fikret (d. 1915 CE) who were familiar with french poetry and literature (Habib, 1340: 95); then this form entered Iranian literature via Turkish language and literature. On the one hand the distant priority of the Turkish modernist poets in using this form and on the other hand the familiarity of the first Iranian sonnet-composer poets such as Ja’far Xamene’i, Lahuti and Taqi Raf’at with the modern ottoman poetry and literature confirms the correctness of this hypothesis. First sonnets and first iranian sonnet-composers The researchers of the contemporary persian poem have generally considered the poem “Fulfillment of the Covenant” ( vafa be ‘ahd) of Ab al-Qasem Lahuti, which is composed in 1908 CE/1327 AH, the first persian sonnet (cf. SHafi‘i Kadkani, 1390: 423-425; SHams Langrudi, 65/1). However it is difficult to accept this opinion. Doubt about this view stems from this fact that there is no witness which shows that he was familiar with french literature and ottoman modern literature when composing this poem. The available evidences show that lahuti has composed his poem according to his iranian models of sonnet. In other words before Lahuti some other iranian poets such as Ja‘far Xamene’i who were familiar with french and modern ottoman literature have composed such sonnets and Lahuti has been accustomed with this poetic form via their poems. The sonnet which is published two years before “Fulfillment of the Covenant” by Lahuti in Azarbayejan newspaper at 15 rabi’ al-āxar 1325 confirms this opinion (cf. Maqṣudi, 1356: 697). With regard to what Brown and Ariyan-pur (Brown, 1335: 317; Ariyan-pur, 1372: 454/2) have stated about Xamene’i and his poem and also considering the existing examples of his poetry one can infer that because of his familiarity with french language and also modern turkish literature he has had definitely more necessary literary and theoretical capabilities than Lahuti for composing sonnets, and he began to compose sonnets before Lahuti. So with regard to these evidences one can consider Ja‘far Xamene’i the first or one of the first iranian sonnet-composers during the Constitutional Revolution. The sonnet form in its historical trend has undergone changes in regard to the rhyme (in this paper five sorts of it are discussed). In the end one kind of it, in which the second and fourth hemistiches rhyme with each other, has gained popularity and acceptance. This form of poetry, because of its concomitance with a kind of romantic poetry, in the course of time has changed to the original form of the poems with the romantic theme

https://liar.ui.ac.ir/article_19735_748c58564d13fac40c1df262733bf5d5.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 Encoding of Shath on the basis of Rhetoric Encoding of Shath on the basis of Rhetoric 33 46 19733 FA Ahmad Goli Associate Professor of Persian Language and Literature, Azarbaijan Shahid Madani University Vida Dastmalchi Ph.D. Student of Persian Language and Literature, Azarbaijan Shahid Madani University Journal Article 2016 06 14 Abstract "Shath" because of having extended relationship with spiritual experiences, unconsciousness, language and literature, religion and religious experiences, society and cultural circumstances often regarded as complex and sometimes meaningless matters confronting of interpretation. This complexity often is the result of aesthetic and literary language of shathiyat, the influence of unconsciousness mind of Arif (mystic) in the quality of shathiyat or the influence of the necessity of readerâs conditions in explanation of shathiyat. While, to extract meanings from sentences including "Shath" naturally one should know Rhetoric and detect implicit meanings because the surface structure of shath may be in contrast with religious and traditional beliefs and ideals. Another reason is that, according to the reason of collection of BalÃ¢ghat (Rhetoric) for better discovery of holy meaning of Quran, the holy and high-level meanings never transfer into the addressee by the words which are restricted to the primary meanings but always a set of literary tools such as Code, Symbol, Kenning, Metaphor, Simile and Trope hides a holy and sublime concept under the layers of words to keep far its superiority and reality from the damage of routine and primary meanings. Also, because of constraints and disagreements with mystic education in the many historical periods, mystics had to implicit their education so that their companions understand and outsiders do not. In fact, the interpretation of types of shathiyat werenât unrelated to the status and spiritual capacity of addressees (the necessity of addressee). It seems to be impossible expectation that we exactly can understand main meaning and real aim of a Shatah (speaker or writer of "Shath"),(of course, there isnât absolute meaning in realm of literature, but halo of meanings exist that give artistic aspect to literary text) as in hermeneutics doesnât exist one unchangeable meaning. But Rhetoric encodes ambiguities and complexities of "Shath" by systematic literary ways and detects internal real-related meaning. Undoubtedly, sentencesâ implicit meanings exist by circumstances, states, exigencies and rhetoric interprets sentences on the basis of this way (on the basis of concordance of speech with exigencies of states). Rhetoric has made this capacity in terms of aesthetic relation between the text and addressee to be considered the literary and routine language by the addressee and to enjoy from this difference. Meanwhile, the discovery of secondary meaning (implicit meaning) has another pleasure. The interpretation of shathiyat based on Rhetoric is performed by considering of shathiyatâs relation with three influential branches: the relation of shath with religion, social conditions and mysticâs spiritual conditions. However, always there is a critique about the shath which is based on Rhetoric: variety of spiritual experiences among mystics and unavailability of spiritual areas (because of to be beyond of these areas from the scale of veracity and falsity). Rhetoric wasnât efficient in the determining of mystics claims. According to what is said, it appears to be appropriate to revise the definition of shath and then to accept that shath often is a saying which is intentional and meaningful from the divinity resource that its paradoxical aspects are its capacity and location which are humane. Holy sayings are in the frame of mundane words, covering of divine message in the frame of humane expression. The key of encoding codes in this paradoxical, divinity/mundane and divine/humane relation is Rhetoric. This article extends this present theory. Abstract "Shath" because of having extended relationship with spiritual experiences, unconsciousness, language and literature, religion and religious experiences, society and cultural circumstances often regarded as complex and sometimes meaningless matters confronting of interpretation. This complexity often is the result of aesthetic and literary language of shathiyat, the influence of unconsciousness mind of Arif (mystic) in the quality of shathiyat or the influence of the necessity of readerâs conditions in explanation of shathiyat. While, to extract meanings from sentences including "Shath" naturally one should know Rhetoric and detect implicit meanings because the surface structure of shath may be in contrast with religious and traditional beliefs and ideals. Another reason is that, according to the reason of collection of BalÃ¢ghat (Rhetoric) for better discovery of holy meaning of Quran, the holy and high-level meanings never transfer into the addressee by the words which are restricted to the primary meanings but always a set of literary tools such as Code, Symbol, Kenning, Metaphor, Simile and Trope hides a holy and sublime concept under the layers of words to keep far its superiority and reality from the damage of routine and primary meanings. Also, because of constraints and disagreements with mystic education in the many historical periods, mystics had to implicit their education so that their companions understand and outsiders do not. In fact, the interpretation of types of shathiyat werenât unrelated to the status and spiritual capacity of addressees (the necessity of addressee). It seems to be impossible expectation that we exactly can understand main meaning and real aim of a Shatah (speaker or writer of "Shath"),(of course, there isnât absolute meaning in realm of literature, but halo of meanings exist that give artistic aspect to literary text) as in hermeneutics doesnât exist one unchangeable meaning. But Rhetoric encodes ambiguities and complexities of "Shath" by systematic literary ways and detects internal real-related meaning. Undoubtedly, sentencesâ implicit meanings exist by circumstances, states, exigencies and rhetoric interprets sentences on the basis of this way (on the basis of concordance of speech with exigencies of states). Rhetoric has made this capacity in terms of aesthetic relation between the text and addressee to be considered the literary and routine language by the addressee and to enjoy from this difference. Meanwhile, the discovery of secondary meaning (implicit meaning) has another pleasure. The interpretation of shathiyat based on Rhetoric is performed by considering of shathiyatâs relation with three influential branches: the relation of shath with religion, social conditions and mysticâs spiritual conditions. However, always there is a critique about the shath which is based on Rhetoric: variety of spiritual experiences among mystics and unavailability of spiritual areas (because of to be beyond of these areas from the scale of veracity and falsity). Rhetoric wasnât efficient in the determining of mystics claims. According to what is said, it appears to be appropriate to revise the definition of shath and then to accept that shath often is a saying which is intentional and meaningful from the divinity resource that its paradoxical aspects are its capacity and location which are humane. Holy sayings are in the frame of mundane words, covering of divine message in the frame of humane expression. The key of encoding codes in this paradoxical, divinity/mundane and divine/humane relation is Rhetoric. This article extends this present theory. https://liar.ui.ac.ir/article_19733_d26da5448e0d5f1d657fba879703473f.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 A Survey of semantic applications of Pen name in Rumi’s Sonnets (Ghazals) A Survey of semantic applications of Pen name in Rumi’s Sonnets (Ghazals) 47 64 19732 FA Zohre AhmadiPoor Anari Assistant Professor of Persian Language and Literature, Farhangian University Journal Article 2016 06 14 The pen name in sonnet is the poet’s poetic name which most of the poets mention it in their verses. Jalāl ad-Dīn Muhammad Balkhī also known as Jalāl ad-Dīn Rumi lived in 13th-century was a Persian Moslem poet, theologian, and Sufi mystic. He has written more than 3229 sonnets and dedicated to Shams Tabrizi. Thus mentioned, names such “Shams”, “Shams od-Din” and “Shams al-Haq” in the ending lines of his sonnets. One of the points which could be studied about pen name is study of theme or concepts which are mentioned alongside that. Entirely it has been said that the same theme which comes with the pen name “Shams” in 992 sonnets. In this study, we pay attention to mentioning the poets desired name which is not necessarily the pen name in Rumis’ sonnets, what theme does it carry and what is relationship of it with the previous lines? Themes which the poets apply in their sonnets beside pen name is mostly what that has been mentioned in the previous lines. However, in times the concept mentioned along side with the pen name is independent from the sonnet concepts, mostly eulogy. Studying Hafiz and Saadi sonnets shows that the most important themes existing are: love declaration, advice, eulogizing and sometimes a mischievous concept. Rumis’ sonnets are lover-based. Therefore, there is much talk of the lover in the whole sonnet. But in other poet’s sonnets, the lover (the poet) is the main theme is the sonnet. The poet may find a way to praise his own poem or stays in his dreamy world and focuses on the romantic feelings. Considering the fact that unlike other poets Rumi has not mentioned his own pen name but his lover “Shams”, the study focuses on the themes which are mentioned by the pen name “Shams” as the following: 1-Eulogy: One third of the Shams pen names are eulogies. The sufist approach has given the lines a special color. The similes and metaphors used for him are heavenly and mystical. The following could be drawn out for the eulogizing of Shams: 1-1 Religious: The titles which Rumi has used for Shams are mostly religious such as: Shams Din, Shams al-Haq. There even have been some exaggerations in praising of Shams which were out of the usual norms at that time. There could be in different areas such as: -Designating Shams as God -Likening Shams to Prophets -Likening him to Imam Ali -His mystical and religious status by describing him with different traits 1-2 Moral: being reticent, patient, honest, kind. 1-3 Social: The evil doers cannot bear seeing him, and he was eminent and mystical. 1-4 Appearance: Although the beauty of Shams has been likened to the Kaaba, in these cases also was considered Shams’ nature. 1-5 Description of Tabriz: Maulana attributed Shams to Tabriz and described him as: The proud of Tabriz, Khosrow of Tabrizi, insight eye of Tabriz, ornament of Tabriz, sun of the east of Tabriz. 2. Love Expression: Rumi has expressed his love towards Shams emphasizing these points: it is not a mundane love, their love is mutual, Rumi has given up himself to Shams and this love has enlightened him. 3. The spiritual and mystical effect of Shams. 4. Coming to Shams: pen name and inviting others to come to Shams in order to be relieved. 5. Expressing sadness and yearn for reaching him again. 6. Good news of reaching Shams: In 15 sonnets it has mentioned. 7. Requesting and begging from Shams: In 10 sonnets, Rumi desperately has asked Shams for help. 8. Advice: Rarely has been given any piece of advice. 9. Talking to Shams: In some of the sonnets the theme is Rumis monologue with Shams. Studying the themes which are used with pen name of Shmas shows that the most being used are: eulogy, expression of love, the spiritual power of Shams, persuading and inviting to Shams, expressing sadness for Shams, the happiness for reaching Shams, Requesting from Shams, Advice and talking with Shams. Considering the themes of Shams pen name shows that always the pen name is eulogized by the poem. If the poet chooses his own poetic name he would praise himself and his poetry but if like Rumi the poet chooses someone else’s such as Shams, that person would be praised all through the poet. The poet talks with his pen name, whether his own pen name or someone else such as Shams. One more point is that, considering the fact that the theme of a significant number of the sonnets is about Shams thus they also played an introducing part in making known Shams. On the relationship between the last lines which include the pen name with the earlier lines, it is worth mentioning that the line including the pen name has such as coherence with the previous lines. In a semantic point of view, the pen name Shams has an interpretational and emphasizing role, it is all about the love and the loss of lovers and at the end saying that by all it meant to be Shams. The pen name in sonnet is the poet’s poetic name which most of the poets mention it in their verses. Jalāl ad-Dīn Muhammad Balkhī also known as Jalāl ad-Dīn Rumi lived in 13th-century was a Persian Moslem poet, theologian, and Sufi mystic. He has written more than 3229 sonnets and dedicated to Shams Tabrizi. Thus mentioned, names such “Shams”, “Shams od-Din” and “Shams al-Haq” in the ending lines of his sonnets. One of the points which could be studied about pen name is study of theme or concepts which are mentioned alongside that. Entirely it has been said that the same theme which comes with the pen name “Shams” in 992 sonnets. In this study, we pay attention to mentioning the poets desired name which is not necessarily the pen name in Rumis’ sonnets, what theme does it carry and what is relationship of it with the previous lines? Themes which the poets apply in their sonnets beside pen name is mostly what that has been mentioned in the previous lines. However, in times the concept mentioned along side with the pen name is independent from the sonnet concepts, mostly eulogy. Studying Hafiz and Saadi sonnets shows that the most important themes existing are: love declaration, advice, eulogizing and sometimes a mischievous concept. Rumis’ sonnets are lover-based. Therefore, there is much talk of the lover in the whole sonnet. But in other poet’s sonnets, the lover (the poet) is the main theme is the sonnet. The poet may find a way to praise his own poem or stays in his dreamy world and focuses on the romantic feelings. Considering the fact that unlike other poets Rumi has not mentioned his own pen name but his lover “Shams”, the study focuses on the themes which are mentioned by the pen name “Shams” as the following: 1-Eulogy: One third of the Shams pen names are eulogies. The sufist approach has given the lines a special color. The similes and metaphors used for him are heavenly and mystical. The following could be drawn out for the eulogizing of Shams: 1-1 Religious: The titles which Rumi has used for Shams are mostly religious such as: Shams Din, Shams al-Haq. There even have been some exaggerations in praising of Shams which were out of the usual norms at that time. There could be in different areas such as: -Designating Shams as God -Likening Shams to Prophets -Likening him to Imam Ali -His mystical and religious status by describing him with different traits 1-2 Moral: being reticent, patient, honest, kind. 1-3 Social: The evil doers cannot bear seeing him, and he was eminent and mystical. 1-4 Appearance: Although the beauty of Shams has been likened to the Kaaba, in these cases also was considered Shams’ nature. 1-5 Description of Tabriz: Maulana attributed Shams to Tabriz and described him as: The proud of Tabriz, Khosrow of Tabrizi, insight eye of Tabriz, ornament of Tabriz, sun of the east of Tabriz. 2. Love Expression: Rumi has expressed his love towards Shams emphasizing these points: it is not a mundane love, their love is mutual, Rumi has given up himself to Shams and this love has enlightened him. 3. The spiritual and mystical effect of Shams. 4. Coming to Shams: pen name and inviting others to come to Shams in order to be relieved. 5. Expressing sadness and yearn for reaching him again. 6. Good news of reaching Shams: In 15 sonnets it has mentioned. 7. Requesting and begging from Shams: In 10 sonnets, Rumi desperately has asked Shams for help. 8. Advice: Rarely has been given any piece of advice. 9. Talking to Shams: In some of the sonnets the theme is Rumis monologue with Shams. Studying the themes which are used with pen name of Shmas shows that the most being used are: eulogy, expression of love, the spiritual power of Shams, persuading and inviting to Shams, expressing sadness for Shams, the happiness for reaching Shams, Requesting from Shams, Advice and talking with Shams. Considering the themes of Shams pen name shows that always the pen name is eulogized by the poem. If the poet chooses his own poetic name he would praise himself and his poetry but if like Rumi the poet chooses someone else’s such as Shams, that person would be praised all through the poet. The poet talks with his pen name, whether his own pen name or someone else such as Shams. One more point is that, considering the fact that the theme of a significant number of the sonnets is about Shams thus they also played an introducing part in making known Shams. On the relationship between the last lines which include the pen name with the earlier lines, it is worth mentioning that the line including the pen name has such as coherence with the previous lines. In a semantic point of view, the pen name Shams has an interpretational and emphasizing role, it is all about the love and the loss of lovers and at the end saying that by all it meant to be Shams.

https://liar.ui.ac.ir/article_19732_a72eb3b692878df997b1600b09a08ac5.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 Prosodic Zhafat based in an exact discipline Prosodic Zhafat based in an exact discipline 65 72 19731 FA Ali Heydari Associate Professor of Persian Language and Literature, Lorestan University Journal Article 2016 06 14 Zahf means farness from the orgion and delay from the purpose and goal. In term of prosody, every change that is occurred in afaeel pricipals is called zahaf. In ancient prosody books, sometime zahafs of persion prosody have been classified in a particular method and approximately scientific, but this method used as a sample for the earliest accoding to different reasons such as: unuseful complications, being of littleimportance in learning prosody, etc. Maybe these matters are the reason why honorable authors didn’t try to classify them. Among predecessors, Khaja Nasir od-Din has done useful efforts. But his efforts are not enough. The fact is that learning prosodic zahafs in the way mentioned in the most of prosody books is very difficult and probably impossible. Paying attention to these classifications, we can consider zahafs as one of prosody problems in zahafs section. In this essay, to facilitate learning and more importantly to make it long-lasting in the memory, we divide these zahafs in a different way. In a general classification, changes of zahafs in prosody afa’eel are either singular or compound. 1- Singular zahaf: 1.1- In this case one or some of syllables (short or long) in the beginning or at theend are deleted. 1.2- One syllable is added. 1.3- One syllebe from beginning, middle or endis changed to a short one. 1- Compound zahaf: In this cases two or three zahaf which have been concurrent by the methods of part one simultanously occurred in a foot, or all of the changes are from one method (for example long different syllable have been shortened two times), or simultaneouslya syllable deleted and other syllable is shortened and… that in the most cases for this zahaf obtained from all of those zahafs is created another name or sometimes is not. It’s clear that in the part one (1.1) (shortening long syllable) which are the most famous and practical in prosodic zahaf in Persian, each of prosody afaeel (Mafa’eelon, Faelaton, Mostafalon, Maf’oolato, Faelon, Fa’oolon) mostly have three zahafs of the four above-mentioned, and each of them certainly has not one of the four above-mentioned. For example, Mafa’eelon and Faelon have not Makhboon zahaf, because their first syllables are short and Makhboon means shortening the first long syllabl. Fa’elaton and Fa’elon feet, have not Mathvi zahaf, because their second syllables are short. The Mostaf’elon foot has not Maghtoo zahaf, because its third syllable is short and also Maf’oolato has not Makfoof zahaf, because its fourth syllable is short. The zahafs we classified according these qualities are approximately the most fomous and practical ones in persion. Constructing some other regulations which are in the way of this classification, we can also classify the rest cases. Considering what mentioned above, we can conclude that porosodic zahafs are based in a scientific regularity and arrangement. Zahf means farness from the orgion and delay from the purpose and goal. In term of prosody, every change that is occurred in afaeel pricipals is called zahaf. In ancient prosody books, sometime zahafs of persion prosody have been classified in a particular method and approximately scientific, but this method used as a sample for the earliest accoding to different reasons such as: unuseful complications, being of littleimportance in learning prosody, etc. Maybe these matters are the reason why honorable authors didn’t try to classify them. Among predecessors, Khaja Nasir od-Din has done useful efforts. But his efforts are not enough. The fact is that learning prosodic zahafs in the way mentioned in the most of prosody books is very difficult and probably impossible. Paying attention to these classifications, we can consider zahafs as one of prosody problems in zahafs section. In this essay, to facilitate learning and more importantly to make it long-lasting in the memory, we divide these zahafs in a different way. In a general classification, changes of zahafs in prosody afa’eel are either singular or compound. 1- Singular zahaf: 1.1- In this case one or some of syllables (short or long) in the beginning or at theend are deleted. 1.2- One syllable is added. 1.3- One syllebe from beginning, middle or endis changed to a short one. 1- Compound zahaf: In this cases two or three zahaf which have been concurrent by the methods of part one simultanously occurred in a foot, or all of the changes are from one method (for example long different syllable have been shortened two times), or simultaneouslya syllable deleted and other syllable is shortened and… that in the most cases for this zahaf obtained from all of those zahafs is created another name or sometimes is not. It’s clear that in the part one (1.1) (shortening long syllable) which are the most famous and practical in prosodic zahaf in Persian, each of prosody afaeel (Mafa’eelon, Faelaton, Mostafalon, Maf’oolato, Faelon, Fa’oolon) mostly have three zahafs of the four above-mentioned, and each of them certainly has not one of the four above-mentioned. For example, Mafa’eelon and Faelon have not Makhboon zahaf, because their first syllables are short and Makhboon means shortening the first long syllabl. Fa’elaton and Fa’elon feet, have not Mathvi zahaf, because their second syllables are short. The Mostaf’elon foot has not Maghtoo zahaf, because its third syllable is short and also Maf’oolato has not Makfoof zahaf, because its fourth syllable is short. The zahafs we classified according these qualities are approximately the most fomous and practical ones in persion. Constructing some other regulations which are in the way of this classification, we can also classify the rest cases. Considering what mentioned above, we can conclude that porosodic zahafs are based in a scientific regularity and arrangement. https://liar.ui.ac.ir/article_19731_42183c3fc28f7703953d652618a141bb.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 Rhetorical facets of imagination in contemporary poetry Rhetorical facets of imagination in contemporary poetry 73 86 19739 FA Hassan Delbari Assistant Professor of Persian Language and Literature, Hakim Sabzevari University Fariba Mehri M.A. Student of Persian Language and Literature, Hakim Sabzevari University Journal Article 2016 06 14 The present article deals with the trend of literary imaginative descriptions in the purview of poetical imaginations which have been regarded greatly in the discourse of rhetoric’s. The different facets of imagination of these imageries are also introduced in this article. Throughout this study poetical demonstrations are dealt with on the basis of their indications, functions and profundity. Meanwhile overcoming superficial and intermediate layers of imagination towards inner and profound thoughts would represent the domination of the poets in depiction of imagery. For this purpose, an introduction of numerous imagery layers with their deep and superficial, positive and subsidiary nature is presented through some examples. The result suggests that the extent of imagery complexity among many poets has a direct relation to their subjectivity in such a way that different levels of imageries are internalized as a unique stylistic feature of any individual poet. He endeavors to ornament his poem through imagery devices. Yousefi says: “any poem in which there is not imagery cannot be regarded as a poem. “The attractiveness of such imagination and the success or failure of the poet in conveying this imagery is a matter of poet’s tendency in using imagery devices. Through this article the contemporary poems are analyzed from the view point of objectivity and subjectivity. Furthermore, the poems are studied on their functions. The analysis has been carried out from two perspectives; idiosyncratic features of the poet and the characteristics of the era in which he has lived. The examples presented in this article are selected from among the poets with different linguistic backgrounds and unique ideologies. The reason behind this specific consideration is an indication of a generalizability rather than a representativeness of few poets with their idiosyncratic styles. Therefore, the results indicate the style characteristics of poet’s era more than any criteria. 1-The nature of images: In Persian “illustration” is a equivalent for “image” in European literature. It was 1st introduced to Persian poetry by Shafeei Kadkani in his salient book known as “Types of Imagery”. It goes: A manipulation of the concept of nature an man by the poet whereby he tries to make a relation between man and nature. It is the thing we call “imagination” or “illustration”. Admittedly others have proposed definitions of their own. 1-1- Different expressions of imagery: As Fotohi Rood Mojani has noted, illustrations are classified on the basis of their functions as positive (objective) versus imaginative (subjective). He also attributes deep and surface values for images on the basis of their covert (internal) and overt (external) feature and for this very reason the article is founded on a description of different imagery levels. Furthermore an analysis of poetical illustrations based on their subjectivity and objectivity (deep & surface) characteristics is proposed. For the purpose of better understanding these concepts and their related terms are discussed in detail. 1-1-1- Internal and external perspective of imageries: poetic images are elaborated from superficial descriptions to more profound ones in accordance with their imagery functions. It is quite clear that such imagination is more of 2ndary kind. For this very reason the illustrations are known as superficial and substantial manifestations. 1-1-2- Superficial descriptions: from artistic and literary point of view as well as their functionality, superficial descriptions are the simplest poetic representations through which the poet presents the simplest kind of imaginations –what Hawks describes them just appealing to the public and without any poetical emotion or “ description “ 1-1-3- Profound (deep) imageries: Core of these illustrations is figures of speech that encompass richness and profundity. These figures make the host of literary devices of any language: Symbol, allegory, paradox, myth, mythical allusion are ample imagery devices for deep understanding. This means a descriptive creation by the poet. 1-1-4- Functional descriptions: Poetical imageries can be considered from functional perspectives as positive and imaginative illustrations. The foundation for this taxonomy are the extent of sensibility, feasibility of imagination, their concordance with intellectual rationales, language standards, public acceptability and its emotional and imaginative criteria. 1-1-5- Positive Imageries: The poet endeavors to confirm his ideology through this kind of imagery. Since the purpose is an affirmation of the present situation, there is no logic for any imagination, emotion and hyperbole (Confirmation is far beyond imagination). It is sensible, clear and in line with intellectual foundations. It is supported by the public and enjoys high readability of people. In sum it could be said that the poet tries eagerly to provide positive criteria for his ideology. 1-1-6- Imaginative Imageries: While positive imageries are based on logic and rational, imaginative illustrations are a host of dissimilation, paradox and great imagination. They are exciting devices with which the poet surpasses the ordinary life and goes beyond the habits of his reader. These images are unconsciously uttered by the poet. Thus a lack of rationale, intellectual thinking and decidedly rare are among the most significant characteristics of this kind of imagery. Results Focusing on imageries of contemporary poetry in Iran, the researcher has founded that the extent of visual or imagery illustrations by many poets has a direct relation to their mental (inner) complication in such a way that different indications of these imageries have been internalized as idiosyncratic style of any individual poet. Meanwhile the high frequency of such imageries reflects the prominent of a given style of the era in which the poets have experienced. But what can be said in certain is the fact that notable poets have been interested more on imageries having multitude connotations of imagination. They are somehow worried about public understanding of manifestations of their poetical imageries which have been shaped in these intervening and everlasting complexes. The present article deals with the trend of literary imaginative descriptions in the purview of poetical imaginations which have been regarded greatly in the discourse of rhetoric’s. The different facets of imagination of these imageries are also introduced in this article. Throughout this study poetical demonstrations are dealt with on the basis of their indications, functions and profundity. Meanwhile overcoming superficial and intermediate layers of imagination towards inner and profound thoughts would represent the domination of the poets in depiction of imagery. For this purpose, an introduction of numerous imagery layers with their deep and superficial, positive and subsidiary nature is presented through some examples. The result suggests that the extent of imagery complexity among many poets has a direct relation to their subjectivity in such a way that different levels of imageries are internalized as a unique stylistic feature of any individual poet. He endeavors to ornament his poem through imagery devices. Yousefi says: “any poem in which there is not imagery cannot be regarded as a poem. “The attractiveness of such imagination and the success or failure of the poet in conveying this imagery is a matter of poet’s tendency in using imagery devices. Through this article the contemporary poems are analyzed from the view point of objectivity and subjectivity. Furthermore, the poems are studied on their functions. The analysis has been carried out from two perspectives; idiosyncratic features of the poet and the characteristics of the era in which he has lived. The examples presented in this article are selected from among the poets with different linguistic backgrounds and unique ideologies. The reason behind this specific consideration is an indication of a generalizability rather than a representativeness of few poets with their idiosyncratic styles. Therefore, the results indicate the style characteristics of poet’s era more than any criteria. 1-The nature of images: In Persian “illustration” is a equivalent for “image” in European literature. It was 1st introduced to Persian poetry by Shafeei Kadkani in his salient book known as “Types of Imagery”. It goes: A manipulation of the concept of nature an man by the poet whereby he tries to make a relation between man and nature. It is the thing we call “imagination” or “illustration”. Admittedly others have proposed definitions of their own. 1-1- Different expressions of imagery: As Fotohi Rood Mojani has noted, illustrations are classified on the basis of their functions as positive (objective) versus imaginative (subjective). He also attributes deep and surface values for images on the basis of their covert (internal) and overt (external) feature and for this very reason the article is founded on a description of different imagery levels. Furthermore an analysis of poetical illustrations based on their subjectivity and objectivity (deep & surface) characteristics is proposed. For the purpose of better understanding these concepts and their related terms are discussed in detail. 1-1-1- Internal and external perspective of imageries: poetic images are elaborated from superficial descriptions to more profound ones in accordance with their imagery functions. It is quite clear that such imagination is more of 2ndary kind. For this very reason the illustrations are known as superficial and substantial manifestations. 1-1-2- Superficial descriptions: from artistic and literary point of view as well as their functionality, superficial descriptions are the simplest poetic representations through which the poet presents the simplest kind of imaginations –what Hawks describes them just appealing to the public and without any poetical emotion or “ description “ 1-1-3- Profound (deep) imageries: Core of these illustrations is figures of speech that encompass richness and profundity. These figures make the host of literary devices of any language: Symbol, allegory, paradox, myth, mythical allusion are ample imagery devices for deep understanding. This means a descriptive creation by the poet. 1-1-4- Functional descriptions: Poetical imageries can be considered from functional perspectives as positive and imaginative illustrations. The foundation for this taxonomy are the extent of sensibility, feasibility of imagination, their concordance with intellectual rationales, language standards, public acceptability and its emotional and imaginative criteria. 1-1-5- Positive Imageries: The poet endeavors to confirm his ideology through this kind of imagery. Since the purpose is an affirmation of the present situation, there is no logic for any imagination, emotion and hyperbole (Confirmation is far beyond imagination). It is sensible, clear and in line with intellectual foundations. It is supported by the public and enjoys high readability of people. In sum it could be said that the poet tries eagerly to provide positive criteria for his ideology. 1-1-6- Imaginative Imageries: While positive imageries are based on logic and rational, imaginative illustrations are a host of dissimilation, paradox and great imagination. They are exciting devices with which the poet surpasses the ordinary life and goes beyond the habits of his reader. These images are unconsciously uttered by the poet. Thus a lack of rationale, intellectual thinking and decidedly rare are among the most significant characteristics of this kind of imagery. Results Focusing on imageries of contemporary poetry in Iran, the researcher has founded that the extent of visual or imagery illustrations by many poets has a direct relation to their mental (inner) complication in such a way that different indications of these imageries have been internalized as idiosyncratic style of any individual poet. Meanwhile the high frequency of such imageries reflects the prominent of a given style of the era in which the poets have experienced. But what can be said in certain is the fact that notable poets have been interested more on imageries having multitude connotations of imagination. They are somehow worried about public understanding of manifestations of their poetical imageries which have been shaped in these intervening and everlasting complexes. https://liar.ui.ac.ir/article_19739_204d1536f32059674b4a64a87792f3e8.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 A Comparative Analysis of Golestan and rhymed Prose on the basis of Arabic Rhetoric A Comparative Analysis of Golestan and rhymed Prose on the basis of Arabic Rhetoric 87 102 19730 FA Taher Lavzheh Assistant Professor, of Persian Language and Literature, Payam Noor University Rahim Kooshesh Assistant Professor, of Persian Language and Literature, Urmia University Abdoolah Toloueiazar Assistant Professor, of Persian Language and Literature, Urmia University Journal Article 2016 06 14 Harmonious and rhymed prose is a literary kind of speech characterized by producing music and intonation in order to conveying meaning of the context as well as possible and influencing the addressee more. In this paper main question is “whether Sa’di in writing the Golestan, besides of applying rules of this kind of speech in Persian language, has used those characteristics of rhymed prose that exist in the main Arabic rhetoric books?” For this purpose, Characteristics of rhythmic and rhymed prose in Arabic rhetoric books have been examined by using description-annalistic approach, and brief pointing to the situation of Persian rhetoric science. The hypothesis is based on the belief that Golistan’s author uses ideas of Arab rhetorician in composition of this book to strengthen the structure of Harmonious and rhymed prose. The aim of the present study is recognizing that Sa'di in the rhymed prose of Golistan how much has used important Arabic rhetorical resources in the field of word and meaning. Having a critical look at the rhetorical books, New and Old Persian sources, it can be found that the researchers noted only a short definition limited to interpretation of some words or expressions based on great prose works and poetries, and not expressed their opinion by a critical attitude and also not looked on the details exactly and thoroughly of the aesthetic view. In the other side, in Arabic literature up to the Sa’di’s range, the field of rhetoric has been expanded and developed more and more. Most parts of Golistan are consistent with theories in view of Arab rhetoricians that in the following of this paper some cases are briefly mentioned: In the period of Abuhelal Askari, main idea was that meaning is superior to the word, and meaning was not as important as word. Abd ol-Qahr Jorjani abolished that belief and so emphasized that word and meaning cannot be separated and also proved that word out of the meaning frame and context order could have no sense, so that, be attributed to rhetoric. According to Ibn Asir, rhyme has its own rules and standards. So, it is not merely coming two uniformed or symmetrically matched parts of speech. But it is necessary that the harmony and consonance be embedded in its best state and appropriate demanded place in the speech. Ibn Asir and other great Arab rhetoricians know some conditions necessary for applying harmonious and rhymed prose and suggest the authors use them: 1- Appropriate words in speech should be chosen 2- The combination of words in sentences be at best 3- It is not correct that meaning follows the word 4- Each parts of rhythmic and rhymed prose should have different implications 5- Both parts of rhythmic and rhymed prose should be equal 6- No part should be longer or shorter than the other Those characteristics in Golistan are obviously represented. In writing most parts of Golistan, being free from artificiality is taken into account by the author. Beautiful words, poetic compounds with bluntly eloquent rhetoric, rhetoric in sense, strong cohesion and creating consistency in the whole work, are due to Sadi’s efforts to comply with those characteristics and features in the language and expression. So as the words and expressions are without cacophony, complexity, figuration, and other negative characteristics of literary speech. In Sa’dies expression, meaning follows the word. If a sentence is complete in meaning and does not need to be figured, it comes in the same simple form. In harmonious and rhymed prose of Golistan, there are examples of literary symmetry that both of sides have the same meaning and are not according to the conditions of harmony in the view of Ibn Asir and other Arab rhetoricians. But it should be mentioned that in the artistic features of Persian language, literary repetition is pleasing and acceptable in the customary of rhetoric, and also circumlocution in harmonic and rhymed prose emphasizes the meaning to influence the audience. Based on what was presented in the context of this study, the following points may be noted as a result of discussions: Persian books of rhetoric up to Sadi’s time, haven’t noticed to the artistic feature of consonance and harmony in prose, and rhetoricians have not tried to criticize its aesthetical aspects. So there is no doubt that Sa’di has been influenced by Arabic rhetoric that has made good criticisms on that. Sa’di has an artistic, creative and literary view about harmonious and rhymed prose and it is based on poetic and rhetoric scales of Qoran and Abuhelal Askari theories of “Word eloquence” and other rhetoricians, and Abd ol-Qaher Jorjani’s “Harmony of Word”. Making use of harmonious and rhymed prose in most parts of Golistan, Sa’di has aimed at conveying the meaning to the audience as well as possible through this kind of literary discourse. So the audience not only understands the artistic massage but also becomes familiar with music of words and their image making power, and therefore feels satisfaction more than before. Also Sa’di against the Arabs rhetoricians’ claims, in some cases proves that while observing the artistic aspects of consonance, this literary figure can be applied contrary to their views. Harmonious and rhymed prose is a literary kind of speech characterized by producing music and intonation in order to conveying meaning of the context as well as possible and influencing the addressee more. In this paper main question is “whether Sa’di in writing the Golestan, besides of applying rules of this kind of speech in Persian language, has used those characteristics of rhymed prose that exist in the main Arabic rhetoric books?” For this purpose, Characteristics of rhythmic and rhymed prose in Arabic rhetoric books have been examined by using description-annalistic approach, and brief pointing to the situation of Persian rhetoric science. The hypothesis is based on the belief that Golistan’s author uses ideas of Arab rhetorician in composition of this book to strengthen the structure of Harmonious and rhymed prose. The aim of the present study is recognizing that Sa'di in the rhymed prose of Golistan how much has used important Arabic rhetorical resources in the field of word and meaning. Having a critical look at the rhetorical books, New and Old Persian sources, it can be found that the researchers noted only a short definition limited to interpretation of some words or expressions based on great prose works and poetries, and not expressed their opinion by a critical attitude and also not looked on the details exactly and thoroughly of the aesthetic view. In the other side, in Arabic literature up to the Sa’di’s range, the field of rhetoric has been expanded and developed more and more. Most parts of Golistan are consistent with theories in view of Arab rhetoricians that in the following of this paper some cases are briefly mentioned: In the period of Abuhelal Askari, main idea was that meaning is superior to the word, and meaning was not as important as word. Abd ol-Qahr Jorjani abolished that belief and so emphasized that word and meaning cannot be separated and also proved that word out of the meaning frame and context order could have no sense, so that, be attributed to rhetoric. According to Ibn Asir, rhyme has its own rules and standards. So, it is not merely coming two uniformed or symmetrically matched parts of speech. But it is necessary that the harmony and consonance be embedded in its best state and appropriate demanded place in the speech. Ibn Asir and other great Arab rhetoricians know some conditions necessary for applying harmonious and rhymed prose and suggest the authors use them: 1- Appropriate words in speech should be chosen 2- The combination of words in sentences be at best 3- It is not correct that meaning follows the word 4- Each parts of rhythmic and rhymed prose should have different implications 5- Both parts of rhythmic and rhymed prose should be equal 6- No part should be longer or shorter than the other Those characteristics in Golistan are obviously represented. In writing most parts of Golistan, being free from artificiality is taken into account by the author. Beautiful words, poetic compounds with bluntly eloquent rhetoric, rhetoric in sense, strong cohesion and creating consistency in the whole work, are due to Sadi’s efforts to comply with those characteristics and features in the language and expression. So as the words and expressions are without cacophony, complexity, figuration, and other negative characteristics of literary speech. In Sa’dies expression, meaning follows the word. If a sentence is complete in meaning and does not need to be figured, it comes in the same simple form. In harmonious and rhymed prose of Golistan, there are examples of literary symmetry that both of sides have the same meaning and are not according to the conditions of harmony in the view of Ibn Asir and other Arab rhetoricians. But it should be mentioned that in the artistic features of Persian language, literary repetition is pleasing and acceptable in the customary of rhetoric, and also circumlocution in harmonic and rhymed prose emphasizes the meaning to influence the audience. Based on what was presented in the context of this study, the following points may be noted as a result of discussions: Persian books of rhetoric up to Sadi’s time, haven’t noticed to the artistic feature of consonance and harmony in prose, and rhetoricians have not tried to criticize its aesthetical aspects. So there is no doubt that Sa’di has been influenced by Arabic rhetoric that has made good criticisms on that. Sa’di has an artistic, creative and literary view about harmonious and rhymed prose and it is based on poetic and rhetoric scales of Qoran and Abuhelal Askari theories of “Word eloquence” and other rhetoricians, and Abd ol-Qaher Jorjani’s “Harmony of Word”. Making use of harmonious and rhymed prose in most parts of Golistan, Sa’di has aimed at conveying the meaning to the audience as well as possible through this kind of literary discourse. So the audience not only understands the artistic massage but also becomes familiar with music of words and their image making power, and therefore feels satisfaction more than before. Also Sa’di against the Arabs rhetoricians’ claims, in some cases proves that while observing the artistic aspects of consonance, this literary figure can be applied contrary to their views.

https://liar.ui.ac.ir/article_19730_8e9a4b4d7efa96b5d713d1dbb4b310c6.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 The study of metaphor application in Vassaf’s History The study of metaphor application in Vassaf’s History 103 120 19738 FA Ali Reza Mahmoodi Assistant Professor of Persian Language and Literature, University of Zabol Journal Article 2016 06 14 Tajziyat ol-Amsar and Tazjiyat ol-Asar which is called Vassaf’s History had been written by Adib Shahab od-Din Fazl ol-Lah Shirazi (born in 663 H.) who was titled “Vassaf al-Hazra” and is known as “Vssaf”. The subject of this book is related to the history of “Ilkhanian”, the kings in Iran from 656 to 72 H., the author considers it as a complement for Jahangosha Jovaini’s Histiory. Vassaf’s History is a notable historical-artistic (technical) literary work. Euphuism prose or artistic prose is an ornated prose which is a genethliacum according to the different figures of speech, spiritual ornament and speech amplification by various descriptions, illustration, poetry, Persian and Arabic evidences and the usage of different science expressions inter-textually. The artistic prose has a close relationship with poeticalness. Some literary researches equal it to poetry based on emotional and poetical aspects of artistic prose. Vassaf al-Hazra tried to compose Vassaf’s History in order to develop a historical book into a famous and valuable literary-historical text through a poetical language. He has tried to create an ornament, beautiful, poetical and historical- precise text by using figures of speech and literary devices. The goal of this paper is to show the literary beauties of this book. The author tried to show the usage of various metaphors and ambiguity through descriptive and analytic method and conventional eloquence. The result of this research shows the specific attention of Vassaf to the use of poetic image. This application includes extended metaphor, metaphoric prediction and explicit metaphor. The application of metaphor in addition to poetic images create an individual style, this style is not very obvious in other historical-artistic texts because of the position of poetic images, with figurative and unfamiliar words and a lot of evidences. The existence of precise specially in explicit metaphor and metaphoric prediction in Vassaf’s History that is in relationship to emotive language, are the effective factors in Vassaf’s History in comparison to other historical- artistic texts. Tajziyat ol-Amsar and Tazjiyat ol-Asar which is called Vassaf’s History had been written by Adib Shahab od-Din Fazl ol-Lah Shirazi (born in 663 H.) who was titled “Vassaf al-Hazra” and is known as “Vssaf”. The subject of this book is related to the history of “Ilkhanian”, the kings in Iran from 656 to 72 H., the author considers it as a complement for Jahangosha Jovaini’s Histiory. Vassaf’s History is a notable historical-artistic (technical) literary work. Euphuism prose or artistic prose is an ornated prose which is a genethliacum according to the different figures of speech, spiritual ornament and speech amplification by various descriptions, illustration, poetry, Persian and Arabic evidences and the usage of different science expressions inter-textually. The artistic prose has a close relationship with poeticalness. Some literary researches equal it to poetry based on emotional and poetical aspects of artistic prose. Vassaf al-Hazra tried to compose Vassaf’s History in order to develop a historical book into a famous and valuable literary-historical text through a poetical language. He has tried to create an ornament, beautiful, poetical and historical- precise text by using figures of speech and literary devices. The goal of this paper is to show the literary beauties of this book. The author tried to show the usage of various metaphors and ambiguity through descriptive and analytic method and conventional eloquence. The result of this research shows the specific attention of Vassaf to the use of poetic image. This application includes extended metaphor, metaphoric prediction and explicit metaphor. The application of metaphor in addition to poetic images create an individual style, this style is not very obvious in other historical-artistic texts because of the position of poetic images, with figurative and unfamiliar words and a lot of evidences. The existence of precise specially in explicit metaphor and metaphoric prediction in Vassaf’s History that is in relationship to emotive language, are the effective factors in Vassaf’s History in comparison to other historical- artistic texts.

https://liar.ui.ac.ir/article_19738_3934ad33a80fc67d246ebbaba788c990.pdf

University of Isfahan Literary Arts 20088027 7 1 2015 03 21 Farhang’s Dictionary Farhang’s Dictionary 121 132 19737 FA Zahra Nasr Isfahani Assistant Professor, Faculty Member of Persian Language and Literature, Payam Noor University, Tehran, Iran Journal Article 2016 06 14 Mirza Ab ol-Qasem Shirazi, whose pseudonym was "Farhang", is the calligrapher and the poet of the thirteen century A.H. and the son of Vesal Shirazi. He has written some worthwhile works such as "Collected Poems", "Farhang’s Dictionary", "A Commentary on Hadaegh os-Sehr". His worthiest work is "Farhang Dictionary" that its writing has been completed in 1276 A.H., and its manuscript is kept at the National Library of Iran. This manuscript edited and interpreted by the author of this text, will be published soon. Farhang wrote this dictionary for the purpose of providing the poets with a comprehensive dictionary to have an easy and quick access to Persian vocabulary. The strength of this book is its word order in a particular way because the author has found equivalents for Persian, Arabic, and Turkish vocabulary. This book comprises an introduction, two sections, and a conclusion. The first section consists of different kinds of vocabulary; it has thirty one chapters that each of them has numerous chapters too. The second section consists of specific vocabulary and has twenty nine chapters that some of them have several chapters too. The concluding section of this book consists of words such as letters, gerunds, and noun of sounds. The sources that have been cited in this book are "Borhan Ghat'e", Jahangiri’s Dictionary", "Rashidi Dictionary", "Soruri’s Dictionary", and "Sarah al-Loghat". The author of this book has followed the following ways for the structure of vocabulary and making word: 1. Making word by deleting the inarticulate "h". 2. Making word by changing the consonants with similar pronunciation such as "B", "P" and "Ch", "J" and "K", "G". 3. Making word by deleting the final consonant of the words. 4. Making word by replacing consonants or vowels. 5. Making word by deleting the initial "A". 6. Making word by changing long vowel to short vowel. 7. Making word by deleting the middle consonant. 8. Making word by the conversion of long vowels. As the strong points of this book we can refer to (1) the author's particular method in finding equivalents for vocabulary, (2) devoting a chapter to the specific words that could be complied as a separate dictionary, (3) the selection of entries from among the common Persian, Arabic, and Turkish words. As the weak points of this book we can refer to (1) the use of Dasatiri fake words (2) not using poetic examples (3) not openly introduced resources. Mirza Ab ol-Qasem Shirazi, whose pseudonym was "Farhang", is the calligrapher and the poet of the thirteen century A.H. and the son of Vesal Shirazi. He has written some worthwhile works such as "Collected Poems", "Farhang’s Dictionary", "A Commentary on Hadaegh os-Sehr". His worthiest work is "Farhang Dictionary" that its writing has been completed in 1276 A.H., and its manuscript is kept at the National Library of Iran. This manuscript edited and interpreted by the author of this text, will be published soon. Farhang wrote this dictionary for the purpose of providing the poets with a comprehensive dictionary to have an easy and quick access to Persian vocabulary. The strength of this book is its word order in a particular way because the author has found equivalents for Persian, Arabic, and Turkish vocabulary. This book comprises an introduction, two sections, and a conclusion. The first section consists of different kinds of vocabulary; it has thirty one chapters that each of them has numerous chapters too. The second section consists of specific vocabulary and has twenty nine chapters that some of them have several chapters too. The concluding section of this book consists of words such as letters, gerunds, and noun of sounds. The sources that have been cited in this book are "Borhan Ghat'e", Jahangiri’s Dictionary", "Rashidi Dictionary", "Soruri’s Dictionary", and "Sarah al-Loghat". The author of this book has followed the following ways for the structure of vocabulary and making word: 1. Making word by deleting the inarticulate "h". 2. Making word by changing the consonants with similar pronunciation such as "B", "P" and "Ch", "J" and "K", "G". 3. Making word by deleting the final consonant of the words. 4. Making word by replacing consonants or vowels. 5. Making word by deleting the initial "A". 6. Making word by changing long vowel to short vowel. 7. Making word by deleting the middle consonant. 8. Making word by the conversion of long vowels. As the strong points of this book we can refer to (1) the author's particular method in finding equivalents for vocabulary, (2) devoting a chapter to the specific words that could be complied as a separate dictionary, (3) the selection of entries from among the common Persian, Arabic, and Turkish words. As the weak points of this book we can refer to (1) the use of Dasatiri fake words (2) not using poetic examples (3) not openly introduced resources. https://liar.ui.ac.ir/article_19737_8a8e5e4be02df9c7a7da79855f5721b2.pdf