University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Kenari music in Mowlana’s quatrains Kenari music in Mowlana’s quatrains 1 14 20584 10.22108/liar.2016.20584 FA Mohamadreza Salehimazandairan Assistant Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran Parvin Golizadeh Associate Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran Nasrolah Emami Professor of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran Saad Savari M.A. Graduated of Persian Language and Literature, Shahid Chamran University of Ahvaz, Ahvaz, Iran Journal Article 2014 05 10 One of the most important factors in musical richness and also highlighting words in poetry, especially in the short and compact quatrains form of Kenari music, is rhyme and row. Mowlana in his quatrains used his rhyme and row in very desirable and sometimes surprising ways and hereof considered as one of the norm repellent poets. Mowlana has putted aside all exact and conventional rules among poets in using rhyme and row. In some cases, Mowlana repeats the rhyme for emphasis, rhythm fulfilment or musical richness. The song obtained from these repetitions has noticeable effects in musical richness. In some quatrains also, common consonants and vowels multiplies the rhymes and with this, causes the music feeling and also more joy feeling in the poetry. Although observance of the rhyme in the third hemistich is not necessary and is optional, but Mowlana observed the rhyme in the third hemistich to increase musical aspect of his quatrains. Also between Mowlana’s quatrains, we see quatrains their rhyme’s words are completely similar and have some kind of complete, incomplete or mixed pun. Use of these rhymes in quatrains cause more musical richness of verses and content to be more beautiful and elucidated. As we mentioned before this, Mowlana in his quatrains’ rhymes and rows, like poems, be a repellent and tradition breaker. In his quatrains sometimes rhyme and row switch positions, sometimes rhyme plays the role of the row, while rhyme is separated and row plays its role as the row. Mowlana sometimes rimes a quatrain without a row in its first hemistich, but makes the rhyme of the second hemistich in the verse as the row in the next verse. Sometimes rhyme and row merges together, and sometimes waiver the rhyme and present the row alone. Mowlana profits from row for different means. Sometimes his mean by repeating the row is just increasing the musical aspect or fulfilling the rhythm. In this case row has no role in completing the meaning of the verse. For this reason, we see in most cases Mowlana choose the meaningless and unclear words as his poetry’s row; but sometimes it is vice versa, he uses meaningful and deep words and phrase in his row for more influence on humans. About 61% of Mowlana’s quatrains are with row. One of the most important characteristics of row in these quatrains is their high levels of diversity. Mowlana in his quatrains uses all kinds of verbal, noun, word, adjectival and… rows, that more frequent ones, belong to verbal rows. Between these verbal rows, are imperative, present, future and rarely past verbs; But present verbs seen more than other ones. In some cases, Mowlana uses some rows that are rare in Persian poem and less poets choose these kind of words as rows. Also Mowlana in 250 of his quatrains repeated the row also in the third hemistich and with this, brought his quatrains’ song and rhythm to their highest level and shows his passion, thrill and emotions. The cause of this usage of rhyme and row by Mowlana is that since most of these quatrains were singed in spiritual sittings and in a spiritual contemplation state, in this state he was just thinking to the song and the end and Kenari rhythm of these quatrains and did not bound himself to any rule and principle. For this reason, in many of his quatrains we see that the meaning and the content were sacrificed for rhythm and what is obvious in quatrains is just the song and the rhythm and the dance of words, not a special meaning. One of the most important factors in musical richness and also highlighting words in poetry, especially in the short and compact quatrains form of Kenari music, is rhyme and row. Mowlana in his quatrains used his rhyme and row in very desirable and sometimes surprising ways and hereof considered as one of the norm repellent poets. Mowlana has putted aside all exact and conventional rules among poets in using rhyme and row. In some cases, Mowlana repeats the rhyme for emphasis, rhythm fulfilment or musical richness. The song obtained from these repetitions has noticeable effects in musical richness. In some quatrains also, common consonants and vowels multiplies the rhymes and with this, causes the music feeling and also more joy feeling in the poetry. Although observance of the rhyme in the third hemistich is not necessary and is optional, but Mowlana observed the rhyme in the third hemistich to increase musical aspect of his quatrains. Also between Mowlana’s quatrains, we see quatrains their rhyme’s words are completely similar and have some kind of complete, incomplete or mixed pun. Use of these rhymes in quatrains cause more musical richness of verses and content to be more beautiful and elucidated. As we mentioned before this, Mowlana in his quatrains’ rhymes and rows, like poems, be a repellent and tradition breaker. In his quatrains sometimes rhyme and row switch positions, sometimes rhyme plays the role of the row, while rhyme is separated and row plays its role as the row. Mowlana sometimes rimes a quatrain without a row in its first hemistich, but makes the rhyme of the second hemistich in the verse as the row in the next verse. Sometimes rhyme and row merges together, and sometimes waiver the rhyme and present the row alone. Mowlana profits from row for different means. Sometimes his mean by repeating the row is just increasing the musical aspect or fulfilling the rhythm. In this case row has no role in completing the meaning of the verse. For this reason, we see in most cases Mowlana choose the meaningless and unclear words as his poetry’s row; but sometimes it is vice versa, he uses meaningful and deep words and phrase in his row for more influence on humans. About 61% of Mowlana’s quatrains are with row. One of the most important characteristics of row in these quatrains is their high levels of diversity. Mowlana in his quatrains uses all kinds of verbal, noun, word, adjectival and… rows, that more frequent ones, belong to verbal rows. Between these verbal rows, are imperative, present, future and rarely past verbs; But present verbs seen more than other ones. In some cases, Mowlana uses some rows that are rare in Persian poem and less poets choose these kind of words as rows. Also Mowlana in 250 of his quatrains repeated the row also in the third hemistich and with this, brought his quatrains’ song and rhythm to their highest level and shows his passion, thrill and emotions. The cause of this usage of rhyme and row by Mowlana is that since most of these quatrains were singed in spiritual sittings and in a spiritual contemplation state, in this state he was just thinking to the song and the end and Kenari rhythm of these quatrains and did not bound himself to any rule and principle. For this reason, in many of his quatrains we see that the meaning and the content were sacrificed for rhythm and what is obvious in quatrains is just the song and the rhythm and the dance of words, not a special meaning. https://liar.ui.ac.ir/article_20584_0dfe203900c302f02ec0f4c5780090b2.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Scrutiny in the interpretation of Naser Khosrow’s poems Scrutiny in the interpretation of Naser Khosrow’s poems 15 28 20585 10.22108/liar.2016.20585 FA Ahmad Amiri Khorasani Professor of Persian Language and Literature, Shahid Bahonar University of Kerman, Kerman, Iran Zahra Anjomshoae Ph.D. Student of Persian Language and Literature, Shahid Bahonar University of Kerman, Kerman, Iran Journal Article 2014 05 30 Interpretation means return to original and in terms of turning the literal meaning of the word is meant to be non-appearance and reality. Interpretation there have been in texts and religious teachings in all religions, especially among Christians and Jews. With the advent of Islam and the revelation of the holy Quran, the Muslim interpretation of divine revelations became widespread. No one is denied interpretation of Islamic sects. Many Islamic sects like the Mu'tazili and Shi'a, and groups such as Sufis have shown to interpretation special attention. But this thinking has an important place in Ismailia and is based on the philosophical foundations. They extended interpretation to all the religious appearances and believe that the Scriptures are the secrets and hints that the facts and secrets hidden in it. Instances Ismaili interpretations can be divided into three major groups. 1)interpretation of Quranic verses and hadiths to levels their religious degrees into three parts interpret Quranic verses of the mind and the soul, the interpretation of the verses to the "asas", the interpretation of some verses of the Hojjat, Bab, Daie, Maezon and Mostajib divided. 2) Numerical interpretations and taste, such as the interpretation of the word "No God but Allah" in "vajh Din". 3) Interpretations of the legal and practical minutiae such as the interpretation of prayer and fasting that the interpretation given to religious orders Naser Khosrow, thoughtful prominent Ismailis as "Hojjat" of the Ismaili sect, over the issue of interpretation in its prose and poetry, is used and believes that religious education has the appearance and reality and religion without interpretation does not have any value and like a body without soul. And he who does not know the essence of religion, deprived not only of religion, but hated the Prophet (pbuh) also.He rejects the revelation appearance in his poems without interpretation and the revelation appearance as sea salt and interpretation as pearl knows. He considered interpretation of the feather wisdom and knowledge. Naser Khosrow widely in your prose books devoted to the issue of interpretation and in his own "Vajh Din" has some interpretations. In this article, the literally and idiomatic meaning the interpreter, is examined and then to the issue of interpretation of the Quran, hadith, philosophy, theology, mysticism and Sufism and hermeneutics are paid. Then the the issue of interpretation from the perspective of Ismailia, especially Hakim Naser Khosrow mentioned. Ismailis, according to default "Masal & Mamsul" have been extended interpretation to all the religious and their works full of religious interpretation and interpretation of numerical minutiae and interpretation of genetic and intellectual affairs. Although Ismailis consider the Imam to interpret teacher and believe that this interpretation will have them, however, quotes are not documentary in his speech. Works like Meybodi`s Kashf al-Asrar the mystical verses have been interpreted, On the basis of taste and mystical interpretations written. In fact, this works are aspect of literary and artistic and Poetic and these words, all the whispers of love and the main difference is with the Ismaili interpretations. Interpretation and hermeneutic based on the possibility of different readings of religion And religious propositions raised by some intellectuals,taken from Gadamer's hermeneutics based commentator these thinkers have asked,Principles and methods of philosophical hermeneutics topics the interpretation of Quran and Hadith to operate. It should be recognized that man is fallible understanding and about revelation - that word of divine – can’t be applied hermeneutics. Because you never can be claimed that the purpose of God, was the same thing is that we have taken. So the only correct way interpretation of religious texts, Citing to the infallible Imams speech (PBUH). Those for whom, own knowledge from God have taken and "Tathir" verse in their dignity is revealed. Interpretation means return to original and in terms of turning the literal meaning of the word is meant to be non-appearance and reality. Interpretation there have been in texts and religious teachings in all religions, especially among Christians and Jews. With the advent of Islam and the revelation of the holy Quran, the Muslim interpretation of divine revelations became widespread. No one is denied interpretation of Islamic sects. Many Islamic sects like the Mu'tazili and Shi'a, and groups such as Sufis have shown to interpretation special attention. But this thinking has an important place in Ismailia and is based on the philosophical foundations. They extended interpretation to all the religious appearances and believe that the Scriptures are the secrets and hints that the facts and secrets hidden in it. Instances Ismaili interpretations can be divided into three major groups. 1)interpretation of Quranic verses and hadiths to levels their religious degrees into three parts interpret Quranic verses of the mind and the soul, the interpretation of the verses to the "asas", the interpretation of some verses of the Hojjat, Bab, Daie, Maezon and Mostajib divided. 2) Numerical interpretations and taste, such as the interpretation of the word "No God but Allah" in "vajh Din". 3) Interpretations of the legal and practical minutiae such as the interpretation of prayer and fasting that the interpretation given to religious orders Naser Khosrow, thoughtful prominent Ismailis as "Hojjat" of the Ismaili sect, over the issue of interpretation in its prose and poetry, is used and believes that religious education has the appearance and reality and religion without interpretation does not have any value and like a body without soul. And he who does not know the essence of religion, deprived not only of religion, but hated the Prophet (pbuh) also.He rejects the revelation appearance in his poems without interpretation and the revelation appearance as sea salt and interpretation as pearl knows. He considered interpretation of the feather wisdom and knowledge. Naser Khosrow widely in your prose books devoted to the issue of interpretation and in his own "Vajh Din" has some interpretations. In this article, the literally and idiomatic meaning the interpreter, is examined and then to the issue of interpretation of the Quran, hadith, philosophy, theology, mysticism and Sufism and hermeneutics are paid. Then the the issue of interpretation from the perspective of Ismailia, especially Hakim Naser Khosrow mentioned. Ismailis, according to default "Masal & Mamsul" have been extended interpretation to all the religious and their works full of religious interpretation and interpretation of numerical minutiae and interpretation of genetic and intellectual affairs. Although Ismailis consider the Imam to interpret teacher and believe that this interpretation will have them, however, quotes are not documentary in his speech. Works like Meybodi`s Kashf al-Asrar the mystical verses have been interpreted, On the basis of taste and mystical interpretations written. In fact, this works are aspect of literary and artistic and Poetic and these words, all the whispers of love and the main difference is with the Ismaili interpretations. Interpretation and hermeneutic based on the possibility of different readings of religion And religious propositions raised by some intellectuals,taken from Gadamer's hermeneutics based commentator these thinkers have asked,Principles and methods of philosophical hermeneutics topics the interpretation of Quran and Hadith to operate. It should be recognized that man is fallible understanding and about revelation - that word of divine – can’t be applied hermeneutics. Because you never can be claimed that the purpose of God, was the same thing is that we have taken. So the only correct way interpretation of religious texts, Citing to the infallible Imams speech (PBUH). Those for whom, own knowledge from God have taken and "Tathir" verse in their dignity is revealed.

https://liar.ui.ac.ir/article_20585_15699914ee30cb9b42890abdd6c2e2a0.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 The basics of repeats in Kaiser Aminpur’s poems The basics of repeats in Kaiser Aminpur’s poems 29 42 20586 10.22108/liar.2016.20586 FA Ahmad Ghanipour Malekshah Associate professor of Persian Language and Literature, University of Mazandaran, Mazandaran, Iran. Morteza Mohseni Associate professor of Persian Language and Literature, University of Mazandaran, Mazandaran, Iran. Ali Asghar Khosheh Charkh M.A. Graduated of Persian Language and Literature, University of Mazandaran, Mazandaran, Iran Journal Article 2014 11 19 The existence of '' repeat'' in all symbols of the world is recognizable in different ways; because every manifestation in the world creates something like itself that the investigation of it in to the aesthetic aspects of the human mind, create a unique beauty which cause esthetic and beautiful worshipping inside human mind. The principle of repetition or recurrence in the creation of art work, especially in poetry is an essential element and repeated balance in literary text shows the creativity of poet in which the balanced repetition is the ornament of speech. In traditional view repetition in poetry were analyzed through the oratory and rhetoric approach. But in new approach, and thus the result of interaction with other sciences and deep perspective on literary texts with different approaches, can be analyzed with other approaches. Since the written articles about the repeat both in classic and contemporary poems often pay attention to the musical aspect of repetition, repetition function, historical way and the division of this innovative array in the field of sentences, speech, words, phonemes, etc. analyzing the fundamental aspect of this array can be considered as a new subject for literary researcher who are in favor of politeness. The foundation and psychological origin of repetition from various science perspectives is different and through finding the difference of these origins, various functions will be found. For example, in psychology repetition often have educational and training function; in story have the function of emphasis, redundancy; in every day speech have the function of emphasis, hint, threat and inhibition; in political science have the function of emphasis, training and threat. In poetry also, sometimes based on the poem's environment, a different meaning from its original meaning will be found; so that its meaning regardless of context in which the repeated word is repeated is not that much possible. Repetition in Kaiser Aminpour poems has mental principles, psychological origin and also specific aim which it is taken from his inner feeling and mental thought. Repetition in Aminpour poems, cause the same identification for audience; audience in this organic connection is the poet's experience in his life and his subconscious which is tangible and concrete. The most prominent repetition foundation in Aminpour lyrics are: Repetition based on inner feeling: Sometimes repetition is the result of inner feeling and psychological aspect which often mentioned unconsciously by language; the repeat which comes from the inner feelings with the meaning of the words can be used as means that through which the audience understand the inner feeling and emotional state of the poet or can have the same characteristic with poet and this fact is one of the psychological aspect of repetition. The nostalgia feeling is an inner feeling in which the repeated words are under the influence of the thought and social context of the poet's time and poet's fatigue sprits unconsciously shows some of the lost concepts and positions by nostalgia feeling. The repetition under the influence of nature elements: One of the facts which affect the element of feeling and emotion is to see the beauty and attractive scenery of the nature. In this sense of communion with nature the poets tries to imitate and get some sample from nature. The repetition which is influenced with beautiful manifested elements of nature in human essence began with a visual experience and ends with verbal expression. The repetition that comes from the imaginative mentality: The other element of repetition in poetry is imaginative mentality. The poet through the connection between thought and phenomena and by providing proper image tries to make easy the meaning transfer and the influence of speech for the audience that shows the sign of emotional connection of poet and audience through similarity or by vicinity. The selection of appropriate poetic image for effectively transferring emotion is the result of the imaginative and artistic mind of poets which affect audience and audience motivation brings literary pleasure for audience. Creating suitable images for transferring meaning and influence of words in the hearts and minds of audience along with repetition of language, increase charm and excitement of poet's poems and cause too much arousal in the essence of the audience. The repetition that comes from this mentality cause stability and persistence of image and related words in the aesthetic filed of that image in the mind of that audience so that the audience by inducting that image and its repetition try to find out aesthetic value of this obvious array. Repetition that comes from centralized mentality: Sometimes focusing on a central thought, make challenge in the artists mind and artist use frequently repetition samples which comes from this central thought in his/her art with different motivation. In some other times the repetition with the aim of motivating audience with a central thought, increase in poet's mind and unconsciously the poet shows this language repetition of central thought in his/ her poems. The more the focus of mind and thought on the concept is richer, the more its art will be stimulating; moreover, the centrality of mind on some of these words is the result of capability of language which root in some of the personal characteristic of poet such as, types of thought and vision, spirit of faith and ideological foundation. The repetition that comes from the musical sense: Sometimes the repetition of words, phonemes, etc with the aim of affecting them musically will stimulate audience's emotion and in some other situation the musical capacity of words, phonemes cause the establishment of repetition. Furthermore, the aesthetic pleasure which is produced from musical repetition along with emotion and feeling in Aminpour poem's as a stylistic feature can be reviewed and analyzed. The existence of '' repeat'' in all symbols of the world is recognizable in different ways; because every manifestation in the world creates something like itself that the investigation of it in to the aesthetic aspects of the human mind, create a unique beauty which cause esthetic and beautiful worshipping inside human mind. The principle of repetition or recurrence in the creation of art work, especially in poetry is an essential element and repeated balance in literary text shows the creativity of poet in which the balanced repetition is the ornament of speech. In traditional view repetition in poetry were analyzed through the oratory and rhetoric approach. But in new approach, and thus the result of interaction with other sciences and deep perspective on literary texts with different approaches, can be analyzed with other approaches. Since the written articles about the repeat both in classic and contemporary poems often pay attention to the musical aspect of repetition, repetition function, historical way and the division of this innovative array in the field of sentences, speech, words, phonemes, etc. analyzing the fundamental aspect of this array can be considered as a new subject for literary researcher who are in favor of politeness. The foundation and psychological origin of repetition from various science perspectives is different and through finding the difference of these origins, various functions will be found. For example, in psychology repetition often have educational and training function; in story have the function of emphasis, redundancy; in every day speech have the function of emphasis, hint, threat and inhibition; in political science have the function of emphasis, training and threat. In poetry also, sometimes based on the poem's environment, a different meaning from its original meaning will be found; so that its meaning regardless of context in which the repeated word is repeated is not that much possible. Repetition in Kaiser Aminpour poems has mental principles, psychological origin and also specific aim which it is taken from his inner feeling and mental thought. Repetition in Aminpour poems, cause the same identification for audience; audience in this organic connection is the poet's experience in his life and his subconscious which is tangible and concrete. The most prominent repetition foundation in Aminpour lyrics are: Repetition based on inner feeling: Sometimes repetition is the result of inner feeling and psychological aspect which often mentioned unconsciously by language; the repeat which comes from the inner feelings with the meaning of the words can be used as means that through which the audience understand the inner feeling and emotional state of the poet or can have the same characteristic with poet and this fact is one of the psychological aspect of repetition. The nostalgia feeling is an inner feeling in which the repeated words are under the influence of the thought and social context of the poet's time and poet's fatigue sprits unconsciously shows some of the lost concepts and positions by nostalgia feeling. The repetition under the influence of nature elements: One of the facts which affect the element of feeling and emotion is to see the beauty and attractive scenery of the nature. In this sense of communion with nature the poets tries to imitate and get some sample from nature. The repetition which is influenced with beautiful manifested elements of nature in human essence began with a visual experience and ends with verbal expression. The repetition that comes from the imaginative mentality: The other element of repetition in poetry is imaginative mentality. The poet through the connection between thought and phenomena and by providing proper image tries to make easy the meaning transfer and the influence of speech for the audience that shows the sign of emotional connection of poet and audience through similarity or by vicinity. The selection of appropriate poetic image for effectively transferring emotion is the result of the imaginative and artistic mind of poets which affect audience and audience motivation brings literary pleasure for audience. Creating suitable images for transferring meaning and influence of words in the hearts and minds of audience along with repetition of language, increase charm and excitement of poet's poems and cause too much arousal in the essence of the audience. The repetition that comes from this mentality cause stability and persistence of image and related words in the aesthetic filed of that image in the mind of that audience so that the audience by inducting that image and its repetition try to find out aesthetic value of this obvious array. Repetition that comes from centralized mentality: Sometimes focusing on a central thought, make challenge in the artists mind and artist use frequently repetition samples which comes from this central thought in his/her art with different motivation. In some other times the repetition with the aim of motivating audience with a central thought, increase in poet's mind and unconsciously the poet shows this language repetition of central thought in his/ her poems. The more the focus of mind and thought on the concept is richer, the more its art will be stimulating; moreover, the centrality of mind on some of these words is the result of capability of language which root in some of the personal characteristic of poet such as, types of thought and vision, spirit of faith and ideological foundation. The repetition that comes from the musical sense: Sometimes the repetition of words, phonemes, etc with the aim of affecting them musically will stimulate audience's emotion and in some other situation the musical capacity of words, phonemes cause the establishment of repetition. Furthermore, the aesthetic pleasure which is produced from musical repetition along with emotion and feeling in Aminpour poem's as a stylistic feature can be reviewed and analyzed.

https://liar.ui.ac.ir/article_20586_c974ce29b7a28e0702a0857e8243aa18.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Deviation in “Vis and Rāmin” by Fakhruddin As'ad Gurgani Deviation in “Vis and Rāmin” by Fakhruddin As'ad Gurgani 43 62 20583 10.22108/liar.2016.20583 FA Masoud Forouzandeh Assistant Professor of Persian Language and Literature, Shahrekord University, Shahrekord, Iran Ali Mohmmadi Asiybadi Associate Professor of Persian Language and Literature, Shahrekord University, Shahrekord, Iran Amin Banitalebi M.A. Graduated of Persian Language and Literature, Shahrekord University, Shahrekord, Iran Journal Article 2012 12 28 Defamiliarization is an important term in the twenty-first century that was proposed by the Russian formalist Shklovsky for the first time. Defamilialization is directly related to foregrounding and is usually accompanied by sort of norm deviation. Poets and writers attempt to find a personal, distinguished and individual language in artistic and literal works. Therefore, they attempt to defamiliarize the language. The poet defamiliarizes the words, linguistic elements. Etc. through his/her poetic style and, on the other hand, and defamiliarization refers to any type of language use (from semantics to sentence structure) in which current norms are not observed. Accordingly, based on Leech’s theory, every norm deviation in poetry plays an important role and, in particular, syntactic and phonetic norm deviation are the most important ones in Vis and Ramin since these two norm deviations have much freedom and diversity in word exchanging and phonetic changes on side of rhythm necessity and rhetorical purposes. The most difficult sort of defamilialization is the one that occurs in the area of syntactic; since, on one hand, the syntactic potential, option and selection of every language are limited and, on the other hand, the syntactic area is the most diversified area in language and the poet can exchange the components of a sentence in his/her poet to deviate the syntactic norms and to distinguish his/her language from the normal language. Therefore, changing the usual order of words would change the way of thinking. In fact, when the order of wording is based on the natural syntax of language the view point of writer/speaker is neutral. But when one of the components of a sentence is displaced, in fact, the position of that component has been changed in the mind of speaker, and also, any kind of arrangement indicates a different meaning and attitude. By studying the poem “Vis and Ramin” the special and frequent characteristics used by Fakhroddin such as anagram combination participles, displacement of personal bound pronouns which is usually applied to meet some special rhetorical purposes like stressing on a particular part of speech can be perceived. First of all, a great deal of poet’s syntactic norm deviation is influenced by external and peripheral music. Secondly, since the content is rhetorical and emotion and feelings are the dominant elements in the story, the sentences have been expressed succinct and more artistic. Here, the poet exerts norm deviation by exchanging the elements of sentence and inducing his feeling to the words and also, according to the element of language economy, he attempts to accentuate and foregrounds the intended content by exchanging a word or a particular phrase. Wide usage of anagram combination participles in Fakhroddin is important and since the adjective describes a noun it can indicate the poet’s attitude and judgment on the content. Moreover, keeping in mind that Fakhroddin’s style is metaphorical, he has used these participles to foregrounds the details and, also, has emphasized the proper adjectives to find referent for abstract concepts and to elaborate the topic further. In phonetic norm deviation, the poet deviates the common phonetic structures in the normal language and applies a phonetic form that is not common in the normal language. In this norm deviation, the poet has a great opportunity to capture the reader’s attention and to astonish him/her. When the structure of the poem makes it necessary, Fakhroddin Gorgani deletes a letter of a word and makes it as a contraction or adds a letter to the word to observe rhythm and syllabic balance. Moreover, since Fakhroddin is aware of the external and internal music and applies it widely, the vowels and consonants are contracted to enhance the rhythm and attraction and, whenever there is a referent to bitter experience of his love the tone and rhythm of the vowels and consonants are elongated. It can be said that applying of contractions and accentuation of words is high in Vis and Ramin since its content is lyric. Fakhroddin, at times, by observing the prosodic rhythm, attempts to accelerate the narration of story and sometimes, elaborates the events and conversations and places the words in sentence rhythm and combination adeptly to arouse the reader’s emotions and imagination and help him/her enjoy the artistic elements of the story more effectively. It should be said that one of the signs of oldness of the poems like Vis and Ramin is negligence in observing the prosodic rhythm. In lexical norm deviation, the poet is able to create new words and to foreground. These words, absolutely, have sings because in a linguistic system, they have been never used in these forms. Therefore, it can be said that, after semantic norm deviation, lexical norm deviation is the most efficient way in composing poems. Lexical norm deviation is divided into two categories in Vis and Ramin: one category contains the prefixes and suffixes which are added to the words and the other contains words combinations and collocations. In temporal norm deviation, the poet is able to apply the words and structures that are not usual in the normal language at the present time. These word and structures are considered to be the units that have been usual in the past and then have been abolished. These kinds of norm deviations are called “archaism”. In Vis and Ramin, numerous words have been adopted from ancient and Pahlavi languages. Therefore, the criterion for selecting and distinguishing the unusual words is their transferring from Pahlavi language and applying them in Vis and Ramin. Since the source and origin of the story of Vis and Ramin is rooted in Pahlavi language, Fakhroddin has applied numerous words that have been related to this language or have been old and obsolete. In dialectic norm deviation, the poet uses the words and structures of a dialect outside of the normal language. Finally, from among all the norm deviations proposed by Leech, temporal, style, written, lexical and, particularly, semantic norm deviations are the ones that can be considered norm deviations to compose poems. It should be said that there were no evidence to indicate the existence of written and style norm deviations in Vis and Ramin. Totally, by analyzing the verses order of occurrence of norm deviations in Vis and Ramin is as follow: syntactic, phonetic, semantic, lexical, temporal and dialectic norm deviations. It is worth mentioning that the poet has observed the elements of conductivity and aesthetic in applying norm deviations. Defamiliarization is an important term in the twenty-first century that was proposed by the Russian formalist Shklovsky for the first time. Defamilialization is directly related to foregrounding and is usually accompanied by sort of norm deviation. Poets and writers attempt to find a personal, distinguished and individual language in artistic and literal works. Therefore, they attempt to defamiliarize the language. The poet defamiliarizes the words, linguistic elements. Etc. through his/her poetic style and, on the other hand, and defamiliarization refers to any type of language use (from semantics to sentence structure) in which current norms are not observed. Accordingly, based on Leech’s theory, every norm deviation in poetry plays an important role and, in particular, syntactic and phonetic norm deviation are the most important ones in Vis and Ramin since these two norm deviations have much freedom and diversity in word exchanging and phonetic changes on side of rhythm necessity and rhetorical purposes. The most difficult sort of defamilialization is the one that occurs in the area of syntactic; since, on one hand, the syntactic potential, option and selection of every language are limited and, on the other hand, the syntactic area is the most diversified area in language and the poet can exchange the components of a sentence in his/her poet to deviate the syntactic norms and to distinguish his/her language from the normal language. Therefore, changing the usual order of words would change the way of thinking. In fact, when the order of wording is based on the natural syntax of language the view point of writer/speaker is neutral. But when one of the components of a sentence is displaced, in fact, the position of that component has been changed in the mind of speaker, and also, any kind of arrangement indicates a different meaning and attitude. By studying the poem “Vis and Ramin” the special and frequent characteristics used by Fakhroddin such as anagram combination participles, displacement of personal bound pronouns which is usually applied to meet some special rhetorical purposes like stressing on a particular part of speech can be perceived. First of all, a great deal of poet’s syntactic norm deviation is influenced by external and peripheral music. Secondly, since the content is rhetorical and emotion and feelings are the dominant elements in the story, the sentences have been expressed succinct and more artistic. Here, the poet exerts norm deviation by exchanging the elements of sentence and inducing his feeling to the words and also, according to the element of language economy, he attempts to accentuate and foregrounds the intended content by exchanging a word or a particular phrase. Wide usage of anagram combination participles in Fakhroddin is important and since the adjective describes a noun it can indicate the poet’s attitude and judgment on the content. Moreover, keeping in mind that Fakhroddin’s style is metaphorical, he has used these participles to foregrounds the details and, also, has emphasized the proper adjectives to find referent for abstract concepts and to elaborate the topic further. In phonetic norm deviation, the poet deviates the common phonetic structures in the normal language and applies a phonetic form that is not common in the normal language. In this norm deviation, the poet has a great opportunity to capture the reader’s attention and to astonish him/her. When the structure of the poem makes it necessary, Fakhroddin Gorgani deletes a letter of a word and makes it as a contraction or adds a letter to the word to observe rhythm and syllabic balance. Moreover, since Fakhroddin is aware of the external and internal music and applies it widely, the vowels and consonants are contracted to enhance the rhythm and attraction and, whenever there is a referent to bitter experience of his love the tone and rhythm of the vowels and consonants are elongated. It can be said that applying of contractions and accentuation of words is high in Vis and Ramin since its content is lyric. Fakhroddin, at times, by observing the prosodic rhythm, attempts to accelerate the narration of story and sometimes, elaborates the events and conversations and places the words in sentence rhythm and combination adeptly to arouse the reader’s emotions and imagination and help him/her enjoy the artistic elements of the story more effectively. It should be said that one of the signs of oldness of the poems like Vis and Ramin is negligence in observing the prosodic rhythm. In lexical norm deviation, the poet is able to create new words and to foreground. These words, absolutely, have sings because in a linguistic system, they have been never used in these forms. Therefore, it can be said that, after semantic norm deviation, lexical norm deviation is the most efficient way in composing poems. Lexical norm deviation is divided into two categories in Vis and Ramin: one category contains the prefixes and suffixes which are added to the words and the other contains words combinations and collocations. In temporal norm deviation, the poet is able to apply the words and structures that are not usual in the normal language at the present time. These word and structures are considered to be the units that have been usual in the past and then have been abolished. These kinds of norm deviations are called “archaism”. In Vis and Ramin, numerous words have been adopted from ancient and Pahlavi languages. Therefore, the criterion for selecting and distinguishing the unusual words is their transferring from Pahlavi language and applying them in Vis and Ramin. Since the source and origin of the story of Vis and Ramin is rooted in Pahlavi language, Fakhroddin has applied numerous words that have been related to this language or have been old and obsolete. In dialectic norm deviation, the poet uses the words and structures of a dialect outside of the normal language. Finally, from among all the norm deviations proposed by Leech, temporal, style, written, lexical and, particularly, semantic norm deviations are the ones that can be considered norm deviations to compose poems. It should be said that there were no evidence to indicate the existence of written and style norm deviations in Vis and Ramin. Totally, by analyzing the verses order of occurrence of norm deviations in Vis and Ramin is as follow: syntactic, phonetic, semantic, lexical, temporal and dialectic norm deviations. It is worth mentioning that the poet has observed the elements of conductivity and aesthetic in applying norm deviations.

https://liar.ui.ac.ir/article_20583_b9abe608b866cbcb213834d9a3a2729c.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Analysis of “indice” and comparing it with “opening the future” in Nizami’s Khosrow and Shirin and Leili and Majnun Analysis of “indice” and comparing it with “opening the future” in Nizami’s Khosrow and Shirin and Leili and Majnun 63 74 20581 10.22108/liar.2016.20581 FA Abdollah Vasegh Abbasi Associate Professor of Persian Language and Literature, University of Sistan and Baluchestan Mohammad Amir Mashhadi Associate Professor of Persian Language and Literature, University of Sistan and Baluchestan Mahdi Rostami Ph.D. Student of Persian Language and Literature, University of Sistan and Baluchestan Journal Article 2014 01 26 Roland Barthes entered the term of indice in the field of narratology for the first time. He along with the functions of Propp called Nuclei, mentions another function with the name of indice. Indices are additional units of narration that their existence is necessary for making characters and atmosphere. Indices addition to the literal meaning has implicit signified and generally are divided into the one of these items:Association of the inner states of the characters; Indices associate thoughts and emotions of the characters. For example, if the story character has been fallen in a state of having to choose, then his standing among a crowed that are coming and going on and on, is an indice that associate his distress for the reader.Strengthening of color and space; sometimes indices are used in making the space of the story, and the narrator's story by using one or more indices boosts the space and color. For example, the narrator describes the moon half hidden among the clouds billowing. This description can be the indice of a stormy night in one hand, and on the other hand, a dreading space.Opening the future has been one of the narrative techniques in classic stories. In this way that the narrator, at the beginning of the story by describing nature or use of particular terminology, would have referred to the story. If opening the future is on the basis of description of environment, it will be same as indice. In this state, the writer or poet to refer to the main theme of the story, describes the nature's elements. In this case, opening the future like the indice on one hand, strengths the space and color of the story and on the other hand, associates the character's internal affairs. Sometimes, indice accords with opening the future that its samples can be seen in the Nizami'sf "Khosrow and Shirin" and "Layla and Majnun". The two stories, elements of show future of opening the future and indice accord with the theme and atmosphere of the story. For example, the field of luxury of Khosrow and Shirin is always green and attractive. Spring day and night moonlight. The first love-affair of Khosrow and Shirin is happened in a beautiful garden and is also conducted in the spring. Elsewhere, the narrator using opening the future and a spring indice makes ready the space for Shirin to fall in love with Khosrow's picture. Also the field of night Love-affairs of Khosrow and Shirin is always bright by moonlight. Bright Stars have been crystallized on the plane of the sky. These moonlight nights are described in the opening bit or bits. So, they are opening the futures as well as indices. In Shirin's prayer, night has made dark the space of the story. This opening the future indices the Shirin's dark days and bad fortune and associates the sadness of the protagonist. But in continue, the dark night, by coming morning takes a happy ending. The indice of rising in the morning, evokes the dawn of hope in Shirin's tight heart. At the end of the story, the narrator, describes the night and day horribly. This indice reports an infortune incident that will occur in the next bits: Khosrow beeing stabbed with a dagger. But, Majnun's night prayer is decorated with stars and lights of months. In this opening the future the narrator describes stars and planets and zodiac and houses of them in sky. However this pleasant description of night and day, indices a suit happening that will occur in the near future: getting Lily's letter to the Majnun. Roland Barthes entered the term of indice in the field of narratology for the first time. He along with the functions of Propp called Nuclei, mentions another function with the name of indice. Indices are additional units of narration that their existence is necessary for making characters and atmosphere. Indices addition to the literal meaning has implicit signified and generally are divided into the one of these items:Association of the inner states of the characters; Indices associate thoughts and emotions of the characters. For example, if the story character has been fallen in a state of having to choose, then his standing among a crowed that are coming and going on and on, is an indice that associate his distress for the reader.Strengthening of color and space; sometimes indices are used in making the space of the story, and the narrator's story by using one or more indices boosts the space and color. For example, the narrator describes the moon half hidden among the clouds billowing. This description can be the indice of a stormy night in one hand, and on the other hand, a dreading space.Opening the future has been one of the narrative techniques in classic stories. In this way that the narrator, at the beginning of the story by describing nature or use of particular terminology, would have referred to the story. If opening the future is on the basis of description of environment, it will be same as indice. In this state, the writer or poet to refer to the main theme of the story, describes the nature's elements. In this case, opening the future like the indice on one hand, strengths the space and color of the story and on the other hand, associates the character's internal affairs. Sometimes, indice accords with opening the future that its samples can be seen in the Nizami'sf "Khosrow and Shirin" and "Layla and Majnun". The two stories, elements of show future of opening the future and indice accord with the theme and atmosphere of the story. For example, the field of luxury of Khosrow and Shirin is always green and attractive. Spring day and night moonlight. The first love-affair of Khosrow and Shirin is happened in a beautiful garden and is also conducted in the spring. Elsewhere, the narrator using opening the future and a spring indice makes ready the space for Shirin to fall in love with Khosrow's picture. Also the field of night Love-affairs of Khosrow and Shirin is always bright by moonlight. Bright Stars have been crystallized on the plane of the sky. These moonlight nights are described in the opening bit or bits. So, they are opening the futures as well as indices. In Shirin's prayer, night has made dark the space of the story. This opening the future indices the Shirin's dark days and bad fortune and associates the sadness of the protagonist. But in continue, the dark night, by coming morning takes a happy ending. The indice of rising in the morning, evokes the dawn of hope in Shirin's tight heart. At the end of the story, the narrator, describes the night and day horribly. This indice reports an infortune incident that will occur in the next bits: Khosrow beeing stabbed with a dagger. But, Majnun's night prayer is decorated with stars and lights of months. In this opening the future the narrator describes stars and planets and zodiac and houses of them in sky. However this pleasant description of night and day, indices a suit happening that will occur in the near future: getting Lily's letter to the Majnun.

https://liar.ui.ac.ir/article_20581_2ed5e779bb3b44c19d4bdbee622cfee5.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Tracking themes in Manuchehri’s candle conundrum in Arabic and Persian poetry till the end of 7th century AH Tracking themes in Manuchehri’s candle conundrum in Arabic and Persian poetry till the end of 7th century AH 75 84 20587 10.22108/liar.2016.20587 FA Parvane Saneai M.A Student of Persian Language and Literature, University of Isfahan, Isfahan, Iran Aliakbar Ahmadi Darani Assistant Professor of Persian Language and Literature, University of Isfahan,Isfahan, Iran Journal Article 2014 11 29 In Persian poetry, the ode of candlesconundrum by Manouchehri (d 431 AH) with opening lines “Oh you’ve gotten on your crown, our body is alive by your life and your life by the body (Manouchehri, 1991: 79) is well-known among literature scholars and followers. The ode has been composed in the praise of Unsuri Balkhi (d. 431 AH) who was regarded for Mahmoud Ghaznavi as Malek o-Sho'arā Bahār. The ode is begun by the candle conundrum and its description, and ended by pen name couplet through the reproach and complaint against Manouchehri’s green-eyeds. And then Manouchehri continues by expressing his scholarship and expertise in Arabic literature. It may be thought that the candle conundrum and its theme is of Manouchehri’s initiatives, while Manouchehri serves as a linking transferring some of themes in candle conundrum from Arabic literature to Persian one. He possessed a wide range of information on Arabic literature, literary themes and Arab poets. After him, there are 9 candle conundrums from the beginning of 4th century AH, until the end of 7th century in Persian literature. Some poets imitated and followed Manouchehri including Osman Mokhtari (512-548 AH). Mu'izzi (d. 520 AH). Abdul al-Rahim Sarakhsi also known as Ayazi (d. 6th century AH). Rafei Neyshabouri (d. 6th century AH). Zulfikar Shervani (d. 669 AH). Nizam Al-Din Qamar Isfahani (d. 7th century AH). Athir al-Din Akhsiketi (d. 609 AH). Seif Esfarangi (6th & 7th century AH) and Farid Ahval Isfahani (7th century AH). They followed him in topic, rhyme and rhythm, form and theme. 1) Following in Topics: Conundrums in Persian literature are of description categories. Description is considered as one of poetic motives. And its importance and application in prose is much more than other poetic motives. Conundrums are composed in two manners:First: the poet clearly points out the composed conundrum. Second: the poet doesn’t points out explicitly the conundrum, and most of conundrums are fallen in this category such as this candle conundrum by Manouchehri. Poets such as Osman Mokhtari, Mu'izzi and Abdul al-Rahim Sarakhsi has begun their odes by interjection like Manouchehri. 2) Following in rhyme and rhythm: Rhythm of Manuchehri’s candle conundrum is Faelaton Faelaton Faelaton Faelat (Ramn Mossamman Mahzoof). The same is of the most important cue to attract poets’ attention to each other's poetry. Of 9 poets following Manouchehri, 5 poets have imitated Manouchehri in rhyme and rhythm and even in Zohaf. These poets are Osman Mokhtari, Abdul al-Rahim Sarakhsi, Zulfikar Shervani, Rafei Neyshabouri, and Athir al-Din Akhsiketi. It is noticeable that after Manouchehri, none of conundrums has been in Radif following him. In terms of rhyme, Manuchehri has chosen the rhyme character “ن”. In this respect, Seif Esfarangi, Rafei Neyshabouri, Farid Ahval Isfahani, and Abdul al-Rahim Sarakhsi have followed exactly Manuchehri. 3) Following in form: All of above poets, except Qamar Isfahani, followed Manouchehri in terms of the form. Qamar Isfahani has described the candle in the form of Gheteh. Of other Manouchehri’s characteristics followed by poets is the number of couplets in conundrum. Manouchehri has dedicated 17 couplets to conundrum, Mu'izzi (15 couplets), Seif Esfarangi (16 couplets), Farid Ahval Isfahani (16 couplets), and Osman Mokhtari (17 couplets) have composed the most couplets in conundrum following Manouchehri. 4) Following in themes: Manouchehri has derived some of his themes for ode of candle conundrum from Arabic literature. Following him, other poets have applied such themes in their poets. In fact, at the beginning of this stream is seen the composition of candle conundrum whose first symptoms can be seen in Arab poetry. Following Manouchehri, the poets have used in their poems the themes as follows: Shortening the wick of the candle, candles’ yellow face, candles’ laughing and crying, candles’ soul and body, Love and Lovers. In Persian poetry, the ode of candlesconundrum by Manouchehri (d 431 AH) with opening lines “Oh you’ve gotten on your crown, our body is alive by your life and your life by the body (Manouchehri, 1991: 79) is well-known among literature scholars and followers. The ode has been composed in the praise of Unsuri Balkhi (d. 431 AH) who was regarded for Mahmoud Ghaznavi as Malek o-Sho'arā Bahār. The ode is begun by the candle conundrum and its description, and ended by pen name couplet through the reproach and complaint against Manouchehri’s green-eyeds. And then Manouchehri continues by expressing his scholarship and expertise in Arabic literature. It may be thought that the candle conundrum and its theme is of Manouchehri’s initiatives, while Manouchehri serves as a linking transferring some of themes in candle conundrum from Arabic literature to Persian one. He possessed a wide range of information on Arabic literature, literary themes and Arab poets. After him, there are 9 candle conundrums from the beginning of 4th century AH, until the end of 7th century in Persian literature. Some poets imitated and followed Manouchehri including Osman Mokhtari (512-548 AH). Mu'izzi (d. 520 AH). Abdul al-Rahim Sarakhsi also known as Ayazi (d. 6th century AH). Rafei Neyshabouri (d. 6th century AH). Zulfikar Shervani (d. 669 AH). Nizam Al-Din Qamar Isfahani (d. 7th century AH). Athir al-Din Akhsiketi (d. 609 AH). Seif Esfarangi (6th & 7th century AH) and Farid Ahval Isfahani (7th century AH). They followed him in topic, rhyme and rhythm, form and theme. 1) Following in Topics: Conundrums in Persian literature are of description categories. Description is considered as one of poetic motives. And its importance and application in prose is much more than other poetic motives. Conundrums are composed in two manners:First: the poet clearly points out the composed conundrum. Second: the poet doesn’t points out explicitly the conundrum, and most of conundrums are fallen in this category such as this candle conundrum by Manouchehri. Poets such as Osman Mokhtari, Mu'izzi and Abdul al-Rahim Sarakhsi has begun their odes by interjection like Manouchehri. 2) Following in rhyme and rhythm: Rhythm of Manuchehri’s candle conundrum is Faelaton Faelaton Faelaton Faelat (Ramn Mossamman Mahzoof). The same is of the most important cue to attract poets’ attention to each other's poetry. Of 9 poets following Manouchehri, 5 poets have imitated Manouchehri in rhyme and rhythm and even in Zohaf. These poets are Osman Mokhtari, Abdul al-Rahim Sarakhsi, Zulfikar Shervani, Rafei Neyshabouri, and Athir al-Din Akhsiketi. It is noticeable that after Manouchehri, none of conundrums has been in Radif following him. In terms of rhyme, Manuchehri has chosen the rhyme character “ن”. In this respect, Seif Esfarangi, Rafei Neyshabouri, Farid Ahval Isfahani, and Abdul al-Rahim Sarakhsi have followed exactly Manuchehri. 3) Following in form: All of above poets, except Qamar Isfahani, followed Manouchehri in terms of the form. Qamar Isfahani has described the candle in the form of Gheteh. Of other Manouchehri’s characteristics followed by poets is the number of couplets in conundrum. Manouchehri has dedicated 17 couplets to conundrum, Mu'izzi (15 couplets), Seif Esfarangi (16 couplets), Farid Ahval Isfahani (16 couplets), and Osman Mokhtari (17 couplets) have composed the most couplets in conundrum following Manouchehri. 4) Following in themes: Manouchehri has derived some of his themes for ode of candle conundrum from Arabic literature. Following him, other poets have applied such themes in their poets. In fact, at the beginning of this stream is seen the composition of candle conundrum whose first symptoms can be seen in Arab poetry. Following Manouchehri, the poets have used in their poems the themes as follows: Shortening the wick of the candle, candles’ yellow face, candles’ laughing and crying, candles’ soul and body, Love and Lovers. https://liar.ui.ac.ir/article_20587_f1f11ca5d16d8015ccd1243004ac7af4.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 The conceptual metaphor of Noor portent in Quran The conceptual metaphor of Noor portent in Quran 85 102 20580 10.22108/liar.2016.20580 FA Behjatosadat Hejazi Assistant Professor of Persian Language and Literature, Shahid Bahonar University of Kerman, Kerman, Iran Journal Article 2013 11 10 The section of Quran’s marvel limit to literary and mystery elegances that, of Islam’s income in Iran, became offspring of efflorescence scene Persian language and literature. On basis descriptions belong to past generations, inside metaphor because of resemble and liken, always hided a false that is mystery of beauty of language and logical reason for perfect disharmony between liken and metaphorical. But in holy chancel of Quran despite textual and literary marvels aren’t actualize and false. Metaphor on basis current theory of Lack off and Johnson on basis cognition linguistic, discover a pervasive and splay plat that ,grade Quran auditors’ surface of receipt and uptake about metaphors special those about extent of theism and theology. In this reason, we will regard to 35/Noor portent – this is one of the disputable portents with high span of interpretive– on various a massive conceptual metaphor that small metaphors help to better comment. In the conceptual metaphors of Quran specially those belong to divine extent and theosophy, ingredients exterior verbal and mold words are persuasion auditor's view. In this reason mentality mood is predominate on verbal mood and maybe this is the most important that why we preferred epithet of the conceptual metaphor of 35/Noor portent. With theory of cognitions that metaphor accede of eloquence’s to language’s, view’s and life’s ,discover more general sense, receive many of Quran’s conceptual metaphors become more wise. Some of the words that implicate on special concepts in recognition extent, with few differences contagion to other recognition extents and create modern theory. One of these words is “metaphor” that in the literary arts, Aristotle with write “poetry art” start it as one literary art, had been beautify language. In the contemporary career George Lack off and Mark Jonson regard to metaphor on basis recognition linguistic and in their book “The metaphor we live by” definite it, wide spread phenomenon and not capable denial in the linguistic and behavioral life of mans. In other words, linguistic behaviors containing metaphor that have alignment originate of one concept focal metaphor that idiomatic observed “concept metaphor”. Authors aim of this research, isn’t match modern theory with Quran and confirm those, because holy realm celestial language is pure and innocent of these assuming and treatments and as noted, itself was ebullient sources knowledge s, recognitions and modern caught and would been. But sometimes close translating and impalpable component metaphors in Quran with metaphor language, associate schema of “conceptual metaphor” in the mentality that follow it for compulsion and on the other hand Quran unlike other texts, in one side is legible text and in the other hand is writable text and maybe in base of assuming signs to mohkamat as legible and motashabehat as writable. The view of recognitions that comprehend metaphor without false and untrue and cogency inescapable of life, maybe do more simple intellect concept real of metaphoric of Quran language. On basis view of classic arts scholars, if metaphor count only as literary art with difference kinds for beautification, this celebrated diction “whatever more beautiful more untrue” would viewed absolutely logical but with view of whom recognitions that metaphor of art’s extent accede to language’s extent, view and life and find totally concept, become advised reception many of Quran metaphors. In this article positivity noor to matter of god, is one “concept metaphor “ namely naturally “noor” in this sign isn’t ever sensory but for equipollents of “noor” in Quran that speed up understand and intellect this sign, we can to treatment that as one “concept metaphor” that compose with equipollents itself, one reticular schema. In Quran metaphor is only involuntary a kind of ultra-textually language that assemble possible meditation in the esoteric layers of concepts and difference caught. This matter intellect more devisal especially about motashabehat signs. Quran metaphors aren’t relative to language, society and date and in addition to, are ultra-linguistic, ultra-date and ultra-humanity. Reception conceptual metaphor conceptuality “Allaho noor os-Samavate val-arz” with aid component metaphors that in Quran, cabalas and philosopher locution’s and Gnostics, account equipollent’s of noor, become more easy for audience. The section of Quran’s marvel limit to literary and mystery elegances that, of Islam’s income in Iran, became offspring of efflorescence scene Persian language and literature. On basis descriptions belong to past generations, inside metaphor because of resemble and liken, always hided a false that is mystery of beauty of language and logical reason for perfect disharmony between liken and metaphorical. But in holy chancel of Quran despite textual and literary marvels aren’t actualize and false. Metaphor on basis current theory of Lack off and Johnson on basis cognition linguistic, discover a pervasive and splay plat that ,grade Quran auditors’ surface of receipt and uptake about metaphors special those about extent of theism and theology. In this reason, we will regard to 35/Noor portent – this is one of the disputable portents with high span of interpretive– on various a massive conceptual metaphor that small metaphors help to better comment. In the conceptual metaphors of Quran specially those belong to divine extent and theosophy, ingredients exterior verbal and mold words are persuasion auditor's view. In this reason mentality mood is predominate on verbal mood and maybe this is the most important that why we preferred epithet of the conceptual metaphor of 35/Noor portent. With theory of cognitions that metaphor accede of eloquence’s to language’s, view’s and life’s ,discover more general sense, receive many of Quran’s conceptual metaphors become more wise. Some of the words that implicate on special concepts in recognition extent, with few differences contagion to other recognition extents and create modern theory. One of these words is “metaphor” that in the literary arts, Aristotle with write “poetry art” start it as one literary art, had been beautify language. In the contemporary career George Lack off and Mark Jonson regard to metaphor on basis recognition linguistic and in their book “The metaphor we live by” definite it, wide spread phenomenon and not capable denial in the linguistic and behavioral life of mans. In other words, linguistic behaviors containing metaphor that have alignment originate of one concept focal metaphor that idiomatic observed “concept metaphor”. Authors aim of this research, isn’t match modern theory with Quran and confirm those, because holy realm celestial language is pure and innocent of these assuming and treatments and as noted, itself was ebullient sources knowledge s, recognitions and modern caught and would been. But sometimes close translating and impalpable component metaphors in Quran with metaphor language, associate schema of “conceptual metaphor” in the mentality that follow it for compulsion and on the other hand Quran unlike other texts, in one side is legible text and in the other hand is writable text and maybe in base of assuming signs to mohkamat as legible and motashabehat as writable. The view of recognitions that comprehend metaphor without false and untrue and cogency inescapable of life, maybe do more simple intellect concept real of metaphoric of Quran language. On basis view of classic arts scholars, if metaphor count only as literary art with difference kinds for beautification, this celebrated diction “whatever more beautiful more untrue” would viewed absolutely logical but with view of whom recognitions that metaphor of art’s extent accede to language’s extent, view and life and find totally concept, become advised reception many of Quran metaphors. In this article positivity noor to matter of god, is one “concept metaphor “ namely naturally “noor” in this sign isn’t ever sensory but for equipollents of “noor” in Quran that speed up understand and intellect this sign, we can to treatment that as one “concept metaphor” that compose with equipollents itself, one reticular schema. In Quran metaphor is only involuntary a kind of ultra-textually language that assemble possible meditation in the esoteric layers of concepts and difference caught. This matter intellect more devisal especially about motashabehat signs. Quran metaphors aren’t relative to language, society and date and in addition to, are ultra-linguistic, ultra-date and ultra-humanity. Reception conceptual metaphor conceptuality “Allaho noor os-Samavate val-arz” with aid component metaphors that in Quran, cabalas and philosopher locution’s and Gnostics, account equipollent’s of noor, become more easy for audience.

https://liar.ui.ac.ir/article_20580_f01d50ac5a7e76dbe8a1eb074a0471ff.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 The exclamative sentences in Nafsat al-Masdur The exclamative sentences in Nafsat al-Masdur 103 118 20582 10.22108/liar.2016.20582 FA Mohammad Ali Khazanehdarloo Assistant professor of Persian Language and Literature, University of Gilan, Rasht, Iran Alireza Ghasemi Ph.D. Student of Persian Language and Literature, University of Gilan, Rasht, Iran Journal Article 2014 01 28 Nafsat al-Masdur, by Shahab od-din Mohammad Zeidari Nasavi, is one of the noted literary-historical texts in Mongolian period that includes a compact and straight exposition of devilry conflicts of that period. Its emotive friendly letter writing format, its relation to the bloody happenings of Mongolian invasion, the author's judgements towards some rulers, especially its main theme, i.e. the writer's description of his homelessness and complaint, makes it use exclamative sentences. Exclamative sentences means those sentences that lack a truth value, but state the feeling and emotions of the writer or reader. The study of Nafsat al-Masdur shows that Nasavi, in most cases, used exclamative sentences in reporting his personal feeling and heart leaning in order to influence the readers indirectly, and this shows his skillful usage of language to produce an impressive effect on readers. These sentences are important in the sense that they reflect the writer's true concerns and their usage is unconsciously in reciprocal relation to the atmosphere at that time, that is, as the writer's internal feelings gave rise to exclamative sentences, these sentences in turn help create such an atmosphere in the text. Nasavi, in his testimonies in Nafsat al-Masdur even quotes Quranic verses, religious quotations, poetries which such format. Although these sentences are scattered throughout the book, but their application increases in techy cases that are deeply bended to the writer's emotion. Among such techy situations, the writer's internal doubt and strife at the beginning of the book to write it, Soltan Jalal Al-din's engagement with joy and festivity and his negligence of the army against Tatar's invasion, cruelty of Sahib Amed, his decision to take refugee to Ayyobi Family, especially after the death of Jalal Al-din can be mentioned. The other point about exclamations in Nafsat al-Masdur is that most of these sentences are linked with verbal and spiritual industries, and this artistic linkage of rhetoric and eloquence intensifies the rhetorical impressions of the language. Throughout Nafsat al-Masdur, there are 97 interrogative sentences (70 in Persian and 27 in Arabic), 66 imperative sentences (40 in Persian and 26 in Arabic), 12 negative imperatives (11 in Persian and 1 in Arabic), 33 interjection sentences (17 in Persian and 16 in Arabic), 9 request sentences (4 in Persian and 5 in Arabic), 31 pray sentences (6 in Persian and 25 in Arabic). Therefore, among the exclamative sentences of Nafsat al-Masdur, interrogative sentences has the highest frequency followed by imperatives. In addition, the pray statements are the only ones in which Arabic sentences exceed Persian ones. Different kinds of exclamative sentences, according to the rhetorical tendencies and feelings of the writer, signify different secondary concepts, among which we can refer to denial, preaching, regret, astonishment as the most frequent ones. This issue, along with the high frequency of wishful sentences, whilst shows the dominance of regret, pain and disappointment on general atmosphere, has a major part in creating and expanding the emotive atmosphere throughout the book. Of course, Nasavi, in some parts of the book, used exclamative sentences, especially reproach and scolding without demand, to criticize some rulers of Kharazm Shahian dynasty. These libelous parts which mainly reflect the conflicts, hostility and debate of writer against royal members and his rivals, can show the dark and unknown side of Nasavi's personality. Nafsat al-Masdur, by Shahab od-din Mohammad Zeidari Nasavi, is one of the noted literary-historical texts in Mongolian period that includes a compact and straight exposition of devilry conflicts of that period. Its emotive friendly letter writing format, its relation to the bloody happenings of Mongolian invasion, the author's judgements towards some rulers, especially its main theme, i.e. the writer's description of his homelessness and complaint, makes it use exclamative sentences. Exclamative sentences means those sentences that lack a truth value, but state the feeling and emotions of the writer or reader. The study of Nafsat al-Masdur shows that Nasavi, in most cases, used exclamative sentences in reporting his personal feeling and heart leaning in order to influence the readers indirectly, and this shows his skillful usage of language to produce an impressive effect on readers. These sentences are important in the sense that they reflect the writer's true concerns and their usage is unconsciously in reciprocal relation to the atmosphere at that time, that is, as the writer's internal feelings gave rise to exclamative sentences, these sentences in turn help create such an atmosphere in the text. Nasavi, in his testimonies in Nafsat al-Masdur even quotes Quranic verses, religious quotations, poetries which such format. Although these sentences are scattered throughout the book, but their application increases in techy cases that are deeply bended to the writer's emotion. Among such techy situations, the writer's internal doubt and strife at the beginning of the book to write it, Soltan Jalal Al-din's engagement with joy and festivity and his negligence of the army against Tatar's invasion, cruelty of Sahib Amed, his decision to take refugee to Ayyobi Family, especially after the death of Jalal Al-din can be mentioned. The other point about exclamations in Nafsat al-Masdur is that most of these sentences are linked with verbal and spiritual industries, and this artistic linkage of rhetoric and eloquence intensifies the rhetorical impressions of the language. Throughout Nafsat al-Masdur, there are 97 interrogative sentences (70 in Persian and 27 in Arabic), 66 imperative sentences (40 in Persian and 26 in Arabic), 12 negative imperatives (11 in Persian and 1 in Arabic), 33 interjection sentences (17 in Persian and 16 in Arabic), 9 request sentences (4 in Persian and 5 in Arabic), 31 pray sentences (6 in Persian and 25 in Arabic). Therefore, among the exclamative sentences of Nafsat al-Masdur, interrogative sentences has the highest frequency followed by imperatives. In addition, the pray statements are the only ones in which Arabic sentences exceed Persian ones. Different kinds of exclamative sentences, according to the rhetorical tendencies and feelings of the writer, signify different secondary concepts, among which we can refer to denial, preaching, regret, astonishment as the most frequent ones. This issue, along with the high frequency of wishful sentences, whilst shows the dominance of regret, pain and disappointment on general atmosphere, has a major part in creating and expanding the emotive atmosphere throughout the book. Of course, Nasavi, in some parts of the book, used exclamative sentences, especially reproach and scolding without demand, to criticize some rulers of Kharazm Shahian dynasty. These libelous parts which mainly reflect the conflicts, hostility and debate of writer against royal members and his rivals, can show the dark and unknown side of Nasavi's personality.

https://liar.ui.ac.ir/article_20582_9add33d0755e6064947c7d71b611b228.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Cooperative rhetoric question in contemporary Persian literature Cooperative rhetoric question in contemporary Persian literature 119 136 20578 10.22108/liar.2016.20578 FA Mostafa Dashti Ahangar Journal Article 2013 05 05 Ma'ani as a field of rhetoric in Persian literature has so many things to be revealed. In fact, this field of literature is trying to explain the secondary meaning (connotation) of sentences. From ancient times, ma'ani is explained based on Arabic literature and only in recent times we have had some books on this literary science and on the basis of Persian literature. Hereupon we need some modern studies in this field of literature. One of the issues studied in the traditional rhetoric, is rhetoric question. Sirus Shamisa has counted 28 functions for question sentences. In this paper, In addition to these 28 functions another function is cited for rhetorical questions which are called "cooperative rhetoric question". These kind of rhetoric questions are often seen in new literary texts because these texts in a conscious way and more than the past times try to share the readers in defining texts. In other words, these sentences gave a reader-based property to the text and in this way the text is released from the author's domination. The important matter is that since the text has a coherent universality, for answering these kind of questions the reader requires an understanding of the text system. And traditional rhetoric is commonly incapable in understanding such a system. In linguistics, afterwards Saussure, it was debated that signs find their meaning in a system and the meaning and life of signs depends on the system which lives in; sign is only an analytic concept. (Sojudi, 1387/2008:198) Therefore in literature and also in ma'ani, the meaning which can be inferred from different sentences is subordinated to different systems: system which include these sentences (literary text), the literary system in which the text is embodied, the cultural system in which the text is embodied and etc. However our important focus point are those systems in which the text reader interpret the signs; systems like cultural system, meta-functional system, time and place system ant etc. And in this way different readers may infer different meanings from the same signs. This paper shows the history of such a discussion in linguistic studies and in literary discussions figure on poststructuralists' perspectives. In Drida's view, in reading a text some special relations should be inferred that are not stated by the author; relations among those he expects from its language and unexpected ones. In current era, and especially after structuralism, most of the approaches to the texts has formed based on the reader's role in perceiving and creating meaning. For example, in reception theory perspective, each literary work with every rate of cohesion has some gaps that the reader should solve them. These findings roots in the views of poststructuralists like Drida. Drida is not believed in semantic signification and logocenterism (discourse-base logic). Poststructuralists believe that the reader creates meaning and the center of gravity should be searched in his relation with the text not in author's personality. Regardless of some exceptions, in Persian literature whatever the texts come closer to old literature, their gaps is less and usually the tone of the text creator can be heard and there is no place for sharing the reader in the process of literary creation. Most of the question sentences in literature are cliché sentences in which not only the text goal in questioning is not question but also it want to dictate something on the reader (its outstanding example is rhetoric question). In current era and after poets and writers' acquaintance with new and modern thoughts, we can recognize the change and evolution of literary texts from monophony to polyphony. In this era, whatever the texts come closer to modern thought, the reader has more time in sharing the process of producing and perceiving the literary text. In addition to modern thought, lack of autocratic thought and attitude, there is another factor that it can be also effective in creating polyphony texts. For example it seems that in current Persian literature, the texts created by women writers have more aspects of polyphony techniques. Basically, in a formal point of view, there is no place for this kind of approach and stating cooperative rhetoric question in old Persian poem because old poem/poetry forms in horizontal axis and in comparison with new poems has no general coherent structure whilst the design of this question is performed in a general structure. In current literature, the question sentences are seen as a capability that can create plots or gaps in the text. These questions may be answered in different ways by the readers. Here we will study those question sentences which are inserted in the text for general goal of "sharing reader in perceiving artistic work". These sentences are the outstanding aspect of reader's role in literal text perception and its unique property is that: submitting authorities to the reader consciously by the literal text is not the property of old literature. Finally some samples of cooperative rhetoric question in current literature will be presented. It should be noted that the goal of these samples is to be more familiar with the subject matter and not the analysis of current literal texts; because it needs more time and study. Ma'ani as a field of rhetoric in Persian literature has so many things to be revealed. In fact, this field of literature is trying to explain the secondary meaning (connotation) of sentences. From ancient times, ma'ani is explained based on Arabic literature and only in recent times we have had some books on this literary science and on the basis of Persian literature. Hereupon we need some modern studies in this field of literature. One of the issues studied in the traditional rhetoric, is rhetoric question. Sirus Shamisa has counted 28 functions for question sentences. In this paper, In addition to these 28 functions another function is cited for rhetorical questions which are called "cooperative rhetoric question". These kind of rhetoric questions are often seen in new literary texts because these texts in a conscious way and more than the past times try to share the readers in defining texts. In other words, these sentences gave a reader-based property to the text and in this way the text is released from the author's domination. The important matter is that since the text has a coherent universality, for answering these kind of questions the reader requires an understanding of the text system. And traditional rhetoric is commonly incapable in understanding such a system. In linguistics, afterwards Saussure, it was debated that signs find their meaning in a system and the meaning and life of signs depends on the system which lives in; sign is only an analytic concept. (Sojudi, 1387/2008:198) Therefore in literature and also in ma'ani, the meaning which can be inferred from different sentences is subordinated to different systems: system which include these sentences (literary text), the literary system in which the text is embodied, the cultural system in which the text is embodied and etc. However our important focus point are those systems in which the text reader interpret the signs; systems like cultural system, meta-functional system, time and place system ant etc. And in this way different readers may infer different meanings from the same signs. This paper shows the history of such a discussion in linguistic studies and in literary discussions figure on poststructuralists' perspectives. In Drida's view, in reading a text some special relations should be inferred that are not stated by the author; relations among those he expects from its language and unexpected ones. In current era, and especially after structuralism, most of the approaches to the texts has formed based on the reader's role in perceiving and creating meaning. For example, in reception theory perspective, each literary work with every rate of cohesion has some gaps that the reader should solve them. These findings roots in the views of poststructuralists like Drida. Drida is not believed in semantic signification and logocenterism (discourse-base logic). Poststructuralists believe that the reader creates meaning and the center of gravity should be searched in his relation with the text not in author's personality. Regardless of some exceptions, in Persian literature whatever the texts come closer to old literature, their gaps is less and usually the tone of the text creator can be heard and there is no place for sharing the reader in the process of literary creation. Most of the question sentences in literature are cliché sentences in which not only the text goal in questioning is not question but also it want to dictate something on the reader (its outstanding example is rhetoric question). In current era and after poets and writers' acquaintance with new and modern thoughts, we can recognize the change and evolution of literary texts from monophony to polyphony. In this era, whatever the texts come closer to modern thought, the reader has more time in sharing the process of producing and perceiving the literary text. In addition to modern thought, lack of autocratic thought and attitude, there is another factor that it can be also effective in creating polyphony texts. For example it seems that in current Persian literature, the texts created by women writers have more aspects of polyphony techniques. Basically, in a formal point of view, there is no place for this kind of approach and stating cooperative rhetoric question in old Persian poem because old poem/poetry forms in horizontal axis and in comparison with new poems has no general coherent structure whilst the design of this question is performed in a general structure. In current literature, the question sentences are seen as a capability that can create plots or gaps in the text. These questions may be answered in different ways by the readers. Here we will study those question sentences which are inserted in the text for general goal of "sharing reader in perceiving artistic work". These sentences are the outstanding aspect of reader's role in literal text perception and its unique property is that: submitting authorities to the reader consciously by the literal text is not the property of old literature. Finally some samples of cooperative rhetoric question in current literature will be presented. It should be noted that the goal of these samples is to be more familiar with the subject matter and not the analysis of current literal texts; because it needs more time and study.

https://liar.ui.ac.ir/article_20578_6812e1b75a96d03eaf3319823a87415a.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Pathology of external music in Nimayi`s poetry Pathology of external music in Nimayi`s poetry 137 150 20579 10.22108/liar.2016.20579 FA Mahdi Firouzian Assistant Professor, Persian language and literature, University of Tehran, Tehran, Iran Journal Article 2013 06 22 This research paper is a critical approach to the external music in Nimayian poetry. We have examined some topics with examples of contemporary poetry, topics such as wrap method, the end of the hemistich, the use of prosodic options, and misleading effect of external music in Nimayian poetry. We also have detected shortcomings at the laws of prosody, done by the scholars, or the implementation of the law, by the poets. We tried to add some provisions and amendments to previous laws, to make it easier for scholars and poets to recognize the intricacies of external music in Nimayian poetry and get the best out of it. This article has five parts. Here are the contents of each section separately and summarily: 1. Wrap method in Nimayian poetry Most of the great poets, accepted wrap based on prosody`s law, but sometimes the law is in contrast with the meaning of sentences, and poet is forced to move short part of a sentence in one hemistich to another or A sentence has to be divided into several parts. It is better to match the sentence structure to the structure of prosody. Isolated short parts of a sentence and use of one or two syllables in each hemistich are signs of poet`s weakness in prosody. 2. The end of hemistiches Contrary to popular belief, making hemistiches Short or long is not completely free in Nimayian poetry, because short syllables at the end of hemistiches considered as long syllables and if we end the hemistiches with short syllables the mathematical order in syllables chain will fail. 3. Prosodic options and necessities Use of prosodic options in Nimayian poetry sometimes can be the reason of dissonance in the external music and make it difficult to understand the main meter, because In classic poems equality of hemistiches help us to find the meter, but in Nimayian poetry hemistiches are unequal and sometimes in short hemistiches by utilization of one prosodic option or necessities, the external music seems abnormal. This section has four parts: 1/3. Prosodic options and necessities in first hemistich of poem Meter is still not known in first Hemistich of poem, and use of prosodic options and Necessities can make it difficult to understand the true meter, therefore it is better to not using it in this Place. 2/3. Taskin It is better to not using taskin at the end of hemistich and if you did, you should not repeat it in several line, because if you do, the meter seems different. 3/3. Eshba' in one-syllabic words It is better to not using eshba' in one-syllabic words, because it is not appealing in the musical aesthetics. 4/3. Several prosodic options and necessities in one hemistich According to the musical aesthetics using several prosodic options and necessities in one hemistich of poem is not pleasant. 4. Unexpandability of external music in some meters Meters with united prosodic elements are easily comprehensible and in each of the long syllables, the hemistich can be finished, but in meters with intermittent prosodic elements which are made of two different prosodic elements, the elimination of one element and finishing hemistiches is impermissible. 5. Misleading effect of external music Long and short of hemistiches in some meters is misleading, specifically in this syllables chain: «- - U - U - U U - - U - U - ...» In classic poems, long and short of hemistiches are not permitted and we can recognize prosodic false by counting syllables, but in Nimayian poetry hemistiches are unequal and sometimes detecting prosodic false is difficult and for this reason, even great poets in Nimayian poetry made mistakes in prosody. We have given some examples in this regard. This research paper is a critical approach to the external music in Nimayian poetry. We have examined some topics with examples of contemporary poetry, topics such as wrap method, the end of the hemistich, the use of prosodic options, and misleading effect of external music in Nimayian poetry. We also have detected shortcomings at the laws of prosody, done by the scholars, or the implementation of the law, by the poets. We tried to add some provisions and amendments to previous laws, to make it easier for scholars and poets to recognize the intricacies of external music in Nimayian poetry and get the best out of it. This article has five parts. Here are the contents of each section separately and summarily: 1. Wrap method in Nimayian poetry Most of the great poets, accepted wrap based on prosody`s law, but sometimes the law is in contrast with the meaning of sentences, and poet is forced to move short part of a sentence in one hemistich to another or A sentence has to be divided into several parts. It is better to match the sentence structure to the structure of prosody. Isolated short parts of a sentence and use of one or two syllables in each hemistich are signs of poet`s weakness in prosody. 2. The end of hemistiches Contrary to popular belief, making hemistiches Short or long is not completely free in Nimayian poetry, because short syllables at the end of hemistiches considered as long syllables and if we end the hemistiches with short syllables the mathematical order in syllables chain will fail. 3. Prosodic options and necessities Use of prosodic options in Nimayian poetry sometimes can be the reason of dissonance in the external music and make it difficult to understand the main meter, because In classic poems equality of hemistiches help us to find the meter, but in Nimayian poetry hemistiches are unequal and sometimes in short hemistiches by utilization of one prosodic option or necessities, the external music seems abnormal. This section has four parts: 1/3. Prosodic options and necessities in first hemistich of poem Meter is still not known in first Hemistich of poem, and use of prosodic options and Necessities can make it difficult to understand the true meter, therefore it is better to not using it in this Place. 2/3. Taskin It is better to not using taskin at the end of hemistich and if you did, you should not repeat it in several line, because if you do, the meter seems different. 3/3. Eshba' in one-syllabic words It is better to not using eshba' in one-syllabic words, because it is not appealing in the musical aesthetics. 4/3. Several prosodic options and necessities in one hemistich According to the musical aesthetics using several prosodic options and necessities in one hemistich of poem is not pleasant. 4. Unexpandability of external music in some meters Meters with united prosodic elements are easily comprehensible and in each of the long syllables, the hemistich can be finished, but in meters with intermittent prosodic elements which are made of two different prosodic elements, the elimination of one element and finishing hemistiches is impermissible. 5. Misleading effect of external music Long and short of hemistiches in some meters is misleading, specifically in this syllables chain: «- - U - U - U U - - U - U - ...» In classic poems, long and short of hemistiches are not permitted and we can recognize prosodic false by counting syllables, but in Nimayian poetry hemistiches are unequal and sometimes detecting prosodic false is difficult and for this reason, even great poets in Nimayian poetry made mistakes in prosody. We have given some examples in this regard.

https://liar.ui.ac.ir/article_20579_bc57424dcf05de4e3ff2e913197b5cee.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 An investigation on Mowlana’s interpretive metaphors based on Jary and collation of Qoranic verses An investigation on Mowlana’s interpretive metaphors based on Jary and collation of Qoranic verses 151 168 21024 10.22108/liar.2016.21024 FA Leila Modiri Ph.D. Student of Persian Language and Literature, Islamic Azad University Arak Brabch, Arak, Iran Mohammad Ebrahim Maalmir Assistant Professor, Department of Persian Language and Literature, Faculty of Literature and Humanities, Razi University, Kermanshah, Iran Journal Article 2014 08 23 Jary and collation is an expression derived from narratives. It originally means "semantic solidarity and multi-significance". In fact, one of the idiomatic meanings of interpretation is matching words and verses with the events verses were said for and other external including people, conditions and requirement. Since the sophism is an expansive rang for multiplicity of meaning and since, Mowlavi is a famous theosophist, this article aims to investigate Qoranic interpretive verses based on Jary and collation. The main question is regarding Mowlavi’s style in using Qoranic interpretive metaphors. First, it is necessary to consider the semantics of interpretation and its triple methods. Next, Mowlavi’s interpretive metaphors are considered in lexical semantics, interpretation means returning to the origin. This word has been used seventeen times in fifteen verses in seven surahs. Generally, they are referred to as "interpretation in second saying in verb three" and "interpretation in dream" idiomatic semantics of interpretation: "interpretation is a real fact which Qoranic expressions and wisdoms are documented on it. Such a reality exists in the heart of all Qoranic verses, whether their original or their analogous. Such a reality does not come from their surface but it is from the hiddenite which is so high that cannot fit in to lexicon. God has entered them in to words to make human understand a small part of it (Tabatabai, 1982:75). Interpretation is based on 3 methods: 1. justifying analogous, 2.finding a way to the heart pf verses. 3 Jary and collation the word "Jary" refers to exact movement a long location (Mostafavi, 1999:77). The word "collation" means placing something on something else, in such a way that cover each other (Ibn Manzur, 19830. two notes should be considered: 1-achiving semantic comprehensive ness, 2- achieving external significant for Jary and collation. Right adjustment cases: 1-expressing the general significance of words 2-expressing the specific significance of words 3-isolationg meaning and attributing specialty. 1-expresshng the general significance of word: some narrative verses narrate the significance of a general concept. In shams divan such a coincident current is seen: we move toward date root like holy Mary because there are not any dates on willow (shams divan, 1/261). Mowlavi compares date root with the alimentary aspect, taken from the hidden world to which Theo sophists harbor from upbraid and enjoy gods food .it refers to the verse: when the time of delivery come, Mary move toward date root (surah Maryam, 23). 2-expressing the specific significance of words: many Qoranic verses are considered specific and exact whether lexically or structurally and syntactically. There are no adverbs to give them specific significance, therefore, giving specific significance to each of them has got problem. Mowlavi’s poetry is filled with this adjustment technic. An example is provided here, which is Day light: because of this god said: I swear by Day light, and the heart of the prophet got luminous (Shams divan, 2/295). Mowlavi calls Prophet Mohammad: the clarifier, which is derived from the first verses of two Quranic surah: vaz-Zoha and vash-Shams. 3-isolating meaning and attributing specialty: the late Mr. Tabatabai believes that "many of Qoranic verses resemble proverbs which do not refer to elementary cases and there are applied in cases which fit their decadence. This is one of the cases which refer to the coincident of holy Qoran (1983: 2/72). Mowlavi has correctly applied this case: Christ’s breathe like one hundred heavens, this material body has become by his favor: wind is jealous of Christ’s breath in reviving (shams divan, 5/17). Mowlavi compares spares springs breeze to the revival aspect of Christ’s breath. Of course, revival is one of the miracles of Jesus Chris. But, according to the principle of Jary and collation, attributing it to springs breath which is one of the traits of God, is not contrary and it can be said that the poet has attributed the characteristic: I created something like a bird by soil, then I breathed in it, then it became a bird (surah Ale Emran, 49). Conclusion: Jary and collation in this article are considered for the adjustment of Qoranic verses which is based on semantic similarity with external cases including people and situations with specific rules. The basis of Jary and collation is the semantic solidarity and multiplicity of significance. One of the stylistic characteristics of Mowlavi in applying interpretive metaphors has triple degrees and it has many applications. He considers whim-oriented interpretation as invalid and recognizes the lauded interpretation which causes mobility and dose not negate the surface of words. Jary and collation is an expression derived from narratives. It originally means "semantic solidarity and multi-significance". In fact, one of the idiomatic meanings of interpretation is matching words and verses with the events verses were said for and other external including people, conditions and requirement. Since the sophism is an expansive rang for multiplicity of meaning and since, Mowlavi is a famous theosophist, this article aims to investigate Qoranic interpretive verses based on Jary and collation. The main question is regarding Mowlavi’s style in using Qoranic interpretive metaphors. First, it is necessary to consider the semantics of interpretation and its triple methods. Next, Mowlavi’s interpretive metaphors are considered in lexical semantics, interpretation means returning to the origin. This word has been used seventeen times in fifteen verses in seven surahs. Generally, they are referred to as "interpretation in second saying in verb three" and "interpretation in dream" idiomatic semantics of interpretation: "interpretation is a real fact which Qoranic expressions and wisdoms are documented on it. Such a reality exists in the heart of all Qoranic verses, whether their original or their analogous. Such a reality does not come from their surface but it is from the hiddenite which is so high that cannot fit in to lexicon. God has entered them in to words to make human understand a small part of it (Tabatabai, 1982:75). Interpretation is based on 3 methods: 1. justifying analogous, 2.finding a way to the heart pf verses. 3 Jary and collation the word "Jary" refers to exact movement a long location (Mostafavi, 1999:77). The word "collation" means placing something on something else, in such a way that cover each other (Ibn Manzur, 19830. two notes should be considered: 1-achiving semantic comprehensive ness, 2- achieving external significant for Jary and collation. Right adjustment cases: 1-expressing the general significance of words 2-expressing the specific significance of words 3-isolationg meaning and attributing specialty. 1-expresshng the general significance of word: some narrative verses narrate the significance of a general concept. In shams divan such a coincident current is seen: we move toward date root like holy Mary because there are not any dates on willow (shams divan, 1/261). Mowlavi compares date root with the alimentary aspect, taken from the hidden world to which Theo sophists harbor from upbraid and enjoy gods food .it refers to the verse: when the time of delivery come, Mary move toward date root (surah Maryam, 23). 2-expressing the specific significance of words: many Qoranic verses are considered specific and exact whether lexically or structurally and syntactically. There are no adverbs to give them specific significance, therefore, giving specific significance to each of them has got problem. Mowlavi’s poetry is filled with this adjustment technic. An example is provided here, which is Day light: because of this god said: I swear by Day light, and the heart of the prophet got luminous (Shams divan, 2/295). Mowlavi calls Prophet Mohammad: the clarifier, which is derived from the first verses of two Quranic surah: vaz-Zoha and vash-Shams. 3-isolating meaning and attributing specialty: the late Mr. Tabatabai believes that "many of Qoranic verses resemble proverbs which do not refer to elementary cases and there are applied in cases which fit their decadence. This is one of the cases which refer to the coincident of holy Qoran (1983: 2/72). Mowlavi has correctly applied this case: Christ’s breathe like one hundred heavens, this material body has become by his favor: wind is jealous of Christ’s breath in reviving (shams divan, 5/17). Mowlavi compares spares springs breeze to the revival aspect of Christ’s breath. Of course, revival is one of the miracles of Jesus Chris. But, according to the principle of Jary and collation, attributing it to springs breath which is one of the traits of God, is not contrary and it can be said that the poet has attributed the characteristic: I created something like a bird by soil, then I breathed in it, then it became a bird (surah Ale Emran, 49). Conclusion: Jary and collation in this article are considered for the adjustment of Qoranic verses which is based on semantic similarity with external cases including people and situations with specific rules. The basis of Jary and collation is the semantic solidarity and multiplicity of significance. One of the stylistic characteristics of Mowlavi in applying interpretive metaphors has triple degrees and it has many applications. He considers whim-oriented interpretation as invalid and recognizes the lauded interpretation which causes mobility and dose not negate the surface of words.

https://liar.ui.ac.ir/article_21024_60f4b3cf09476195db29ac254a9c4568.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Sa’di’s hints on Abolfaraj ibn Jawzi’s identity in Golestan Sa’di’s hints on Abolfaraj ibn Jawzi’s identity in Golestan 169 184 21025 10.22108/liar.2016.21025 FA Loghman Mahmoodpoor Assistant Professor of Persian Language and Literature, Payam Noor University, Tehran, Iran Journal Article 2014 02 26 Saadi in Gulistan (Saadi, 1368: 94) has referred to his attendance in meetings of "Ibn Jawzi". In the sixth and seventh centuries two Ibn Jawzis lived: the first is that is known with many compilations and is called “Abdulrahman bin Ali” and passed away in 597, the second is his grandson called “Abdor-Rahman Muhyiddin ibn Yusuf” that was killed in 656 in the Baghdad decline incident. About Ibn Jawzi identity in Gulistan, the researchers are divided into two groups: some say he is the same known Ibn Jawzi; and others say he is the second Ibn Jawzi or his grandchild. Late Iqbal and Allama Qazvini have said this Ibn Jawzi is the second or grandchild. The thing that makes them to consider the second as the second Ibn Jawzi is that they believe that Saadi was born in the early sixth century and was Saadi is unlikely to would have lived so much. No evidence these two have to prove their claim and yet they have not had any doubt in this regard. The author of these lines believes that the said Ibn Jawzi in Gulistan is the same known Ibn Josi or the first that passed away in the year 597. When Saadi speaks of his presence befor ibn Jawzi in his story, it is seen that there is evidences that with analyzing them versus historical and biographical books, this issue is proved that the one said is the same known as Ibn Jawzi. These evidences are as follow: Saadi has stated "Rahmatullah" after the name of Ibn Jawzi. Saadi has used to state these words and phrases just for the deceased and departed and not for the alive. And when he would have been writing Gulistan in 656, the famous Ibn Jawzi has not been alive, but Ibn Jawzi the grandchild has passed away at the same year. Ibn Jawzi the second or grandchild would have been an assistant teacher in school "Mustansiriyah" and then has become a teacher. In all of these two periods he would have taught only Hanbali fiqh. We certainly know that Saadi has not been a Hanbali Muslim in order to deduce he would have learned Hanbali Fiqh before him. Ibn Jawzi the second or grandchild would have not taught elsewhere. But the famous Ibn Jawzi might have been a great scholar that many people of different ages and from different religions would have participated in his lesson meetings, and therefore, it is natural that the said person in Gulistan is the known or first Ibn Jawzi. Saadi in Bustan has said that he had educated at Baghdad Nezamiyeh. His education at Nezamiyeh denies his education at Mustansiriyah because these two schools had both been religious ones and no one can educate similar courses at two schools. Saadi in Gulistan story introduced himself as "early youth" and Ibn Jawzi as "Sheikh al-ajal". Historical sources indicate that Ibn Jawzi the second or grandson was born in the early seventh century. If Saadi was born in the early seventh century, Ibn Jawzi could not have been the Sheikh al- ajal and the other early youth. It can be probable that someone would have been Sheikh and the other one a disciple. But Saadi has emphasized on age not on Sheikh and discipleship. But “Sheikh al-ajal" can be correct for famous or first Ibn Jawzi and no problem occurs. Saadi in Gulistan has used the titles "Sheikh" and "Sheikh al- ajal" for Ibn Jawzi. Sources and historical evidence proves that the title has been used only for the known or first and not for the second Ibn. Ibn Jawzi in his books refers to presence of teens before him and their repentance and training and recommends them to reclusion. This is fully consistent with the theme of the Gulistan story. Saadi in Gulistan mentioned the said person as Abol-faraj Ibn al-Jawzi. Sources and historical evidence suggests that this has been just used for the famous or first Ibn Jawzi (d. 597 AH) and not for the second Ibn Jawzi. All the above evidence suggests that the Gulistan of Ibn Jawzi is the famous or first Ibn Jawzi called "Abdulrahman bin Ali" that had died in the year 597, not the second or grandson of Ibn Jawzi Called "Abdul Rahman Ibn Muhyiddin Yusuf," who was killed in 656 in the event of the decade of Baghdad.What we can deduce out of this paper is that it seems the birth of Saadi may not be in the early seventh century, but in the last quarter of the sixth century. However, in this case Saadi's age goes up (because he had died in the year 690 to 694), but there is no obstacle to its acceptance. And we see no compelling reason that Saadi could not have long life. Saadi in Gulistan (Saadi, 1368: 94) has referred to his attendance in meetings of "Ibn Jawzi". In the sixth and seventh centuries two Ibn Jawzis lived: the first is that is known with many compilations and is called “Abdulrahman bin Ali” and passed away in 597, the second is his grandson called “Abdor-Rahman Muhyiddin ibn Yusuf” that was killed in 656 in the Baghdad decline incident. About Ibn Jawzi identity in Gulistan, the researchers are divided into two groups: some say he is the same known Ibn Jawzi; and others say he is the second Ibn Jawzi or his grandchild. Late Iqbal and Allama Qazvini have said this Ibn Jawzi is the second or grandchild. The thing that makes them to consider the second as the second Ibn Jawzi is that they believe that Saadi was born in the early sixth century and was Saadi is unlikely to would have lived so much. No evidence these two have to prove their claim and yet they have not had any doubt in this regard. The author of these lines believes that the said Ibn Jawzi in Gulistan is the same known Ibn Josi or the first that passed away in the year 597. When Saadi speaks of his presence befor ibn Jawzi in his story, it is seen that there is evidences that with analyzing them versus historical and biographical books, this issue is proved that the one said is the same known as Ibn Jawzi. These evidences are as follow: Saadi has stated "Rahmatullah" after the name of Ibn Jawzi. Saadi has used to state these words and phrases just for the deceased and departed and not for the alive. And when he would have been writing Gulistan in 656, the famous Ibn Jawzi has not been alive, but Ibn Jawzi the grandchild has passed away at the same year. Ibn Jawzi the second or grandchild would have been an assistant teacher in school "Mustansiriyah" and then has become a teacher. In all of these two periods he would have taught only Hanbali fiqh. We certainly know that Saadi has not been a Hanbali Muslim in order to deduce he would have learned Hanbali Fiqh before him. Ibn Jawzi the second or grandchild would have not taught elsewhere. But the famous Ibn Jawzi might have been a great scholar that many people of different ages and from different religions would have participated in his lesson meetings, and therefore, it is natural that the said person in Gulistan is the known or first Ibn Jawzi. Saadi in Bustan has said that he had educated at Baghdad Nezamiyeh. His education at Nezamiyeh denies his education at Mustansiriyah because these two schools had both been religious ones and no one can educate similar courses at two schools. Saadi in Gulistan story introduced himself as "early youth" and Ibn Jawzi as "Sheikh al-ajal". Historical sources indicate that Ibn Jawzi the second or grandson was born in the early seventh century. If Saadi was born in the early seventh century, Ibn Jawzi could not have been the Sheikh al- ajal and the other early youth. It can be probable that someone would have been Sheikh and the other one a disciple. But Saadi has emphasized on age not on Sheikh and discipleship. But “Sheikh al-ajal" can be correct for famous or first Ibn Jawzi and no problem occurs. Saadi in Gulistan has used the titles "Sheikh" and "Sheikh al- ajal" for Ibn Jawzi. Sources and historical evidence proves that the title has been used only for the known or first and not for the second Ibn. Ibn Jawzi in his books refers to presence of teens before him and their repentance and training and recommends them to reclusion. This is fully consistent with the theme of the Gulistan story. Saadi in Gulistan mentioned the said person as Abol-faraj Ibn al-Jawzi. Sources and historical evidence suggests that this has been just used for the famous or first Ibn Jawzi (d. 597 AH) and not for the second Ibn Jawzi. All the above evidence suggests that the Gulistan of Ibn Jawzi is the famous or first Ibn Jawzi called "Abdulrahman bin Ali" that had died in the year 597, not the second or grandson of Ibn Jawzi Called "Abdul Rahman Ibn Muhyiddin Yusuf," who was killed in 656 in the event of the decade of Baghdad.What we can deduce out of this paper is that it seems the birth of Saadi may not be in the early seventh century, but in the last quarter of the sixth century. However, in this case Saadi's age goes up (because he had died in the year 690 to 694), but there is no obstacle to its acceptance. And we see no compelling reason that Saadi could not have long life.

https://liar.ui.ac.ir/article_21025_4cf5295437cfb935f11afb7ebece97d6.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 A Kind of suspicious numeral in The History of Beyhaqi A Kind of suspicious numeral in The History of Beyhaqi 185 192 21026 10.22108/liar.2016.21026 FA Maryam Mahmoodi Assistant Professor of Persian Language and Literature, Islamiv Azad University Dehaghan Branch, Dehaghan, Iran Journal Article 2014 01 21 Numeral adjectives include cardinal, ordinal, distributive and fractional ones, According to the type of the numeral adjective, the position of the numerals and the enumerated nouns are determined in a way that the numeral sometimes precedes the enumerated noun and sometimes follows it in using cardinal numbers, the numeral usually precedes the enumerated noun. But sometimes, for the sake of certain reasons, the enumerated noun precedes the numeral. Although, poetic necessity determines this transposition in some cases, it is not the main behind that because in prose works we can also find evidence of such transpositions. When the enumerated noun precedes the numeral, it is sometimes accompanied by the indefinite or unity "ی" which implies approximation in this case the numeral is considered as a suspicious numeral, i.e. a numeral which does not show any certain or fixed number. The history of Beyhaqi is ample with this kind of numeral. The most famous vague numerals in this book include: suspicions numerals are used in the case of vagueness and uncertainty. One kind of these numerals is used in "the history of Beyhaqi" in which the indefinite enumerated noun precedes the numeral. In this book, this structure has been used more than eighty times. The precedence of the indefinite enumerated noun over the numeral occurs in different ways, including: - Indefinite enumerated noun + numeral. - Indefinite enumerated noun + numeral + adjective. - Indefinite enumerated noun + numeral + numeral. According to some of the authorities, in all these cases, suspicions numeral implies approximation and estimation, but sometimes text commentators did not attend to this concept. The high frequency of this kind of numeral in "the history of Beyhaqi" represents the fact that Beyhaqi did not transpose numerals and enumerated nouns for the sake of having fun or speech fineness. In most cases, his intention is to convey the approximation, estimation and sometimes humiliation. Anyway, one of the points relating to his precision, subtlety and description power on the one hold and to his honesty in recording and narrating events on the other, is using numbers and numerals in high frequency the is seeking to write in a careful manner and without any deficiencies. For this reason wherever there is no possibility for him to access precise and calculated statistics, he uses suspicions numerals investigating this kind of numeral in "The history of Beyhaqi" shows that: Firstly: Although using this kind of numeral was precedent to Beyhaqis time, its high frequency in this book is outstanding and significant. Secondary: The concept and meaning behind this numeral are hot attended to by all those who are concerned in duding the commentators. Thirdly: The great application of this numeral in this book can be deemed as a factor used in verifying Beyhaqis speech and chronology power and his honesty. Numeral adjectives include cardinal, ordinal, distributive and fractional ones, According to the type of the numeral adjective, the position of the numerals and the enumerated nouns are determined in a way that the numeral sometimes precedes the enumerated noun and sometimes follows it in using cardinal numbers, the numeral usually precedes the enumerated noun. But sometimes, for the sake of certain reasons, the enumerated noun precedes the numeral. Although, poetic necessity determines this transposition in some cases, it is not the main behind that because in prose works we can also find evidence of such transpositions. When the enumerated noun precedes the numeral, it is sometimes accompanied by the indefinite or unity "ی" which implies approximation in this case the numeral is considered as a suspicious numeral, i.e. a numeral which does not show any certain or fixed number. The history of Beyhaqi is ample with this kind of numeral. The most famous vague numerals in this book include: suspicions numerals are used in the case of vagueness and uncertainty. One kind of these numerals is used in "the history of Beyhaqi" in which the indefinite enumerated noun precedes the numeral. In this book, this structure has been used more than eighty times. The precedence of the indefinite enumerated noun over the numeral occurs in different ways, including: - Indefinite enumerated noun + numeral. - Indefinite enumerated noun + numeral + adjective. - Indefinite enumerated noun + numeral + numeral. According to some of the authorities, in all these cases, suspicions numeral implies approximation and estimation, but sometimes text commentators did not attend to this concept. The high frequency of this kind of numeral in "the history of Beyhaqi" represents the fact that Beyhaqi did not transpose numerals and enumerated nouns for the sake of having fun or speech fineness. In most cases, his intention is to convey the approximation, estimation and sometimes humiliation. Anyway, one of the points relating to his precision, subtlety and description power on the one hold and to his honesty in recording and narrating events on the other, is using numbers and numerals in high frequency the is seeking to write in a careful manner and without any deficiencies. For this reason wherever there is no possibility for him to access precise and calculated statistics, he uses suspicions numerals investigating this kind of numeral in "The history of Beyhaqi" shows that: Firstly: Although using this kind of numeral was precedent to Beyhaqis time, its high frequency in this book is outstanding and significant. Secondary: The concept and meaning behind this numeral are hot attended to by all those who are concerned in duding the commentators. Thirdly: The great application of this numeral in this book can be deemed as a factor used in verifying Beyhaqis speech and chronology power and his honesty.

https://liar.ui.ac.ir/article_21026_b760a4a3edfdf1f0514daa75688de3e9.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Complement of adverb, adverbial phrase or Prepositional phrase? Complement of adverb, adverbial phrase or Prepositional phrase? 193 204 21027 10.22108/liar.2016.21027 FA Maryam Heidari Ph.D. Graduated of Persian Language and Literature, University of Isfahan, Isfahan, Iran Journal Article 2014 10 03 Discussion of complement types is among new grammatical issues, not addressed in all its aspects yet. Place of adverbial complement in the sentence is also worthy of attention and study, since it is categorized as types of adverbs and also types of complements. What is a complement? There are enormous differences in the definition of complement. So much that almost no two grammarians have the exact same views. This is because some define complement as “what completes the meaning of the noun before or the sentence in which it has been used”, and some consider “a special type which is prepositional complement”. Complements are noun phrases placed after the preposition in a sentence and are sometimes compulsory and sometimes optional in accordance with their role. Complement types: Complement categories are very diverse and different in books. Thus, perhaps Kamyar’s division in this respect is more complete since only prepositional complements are included and almost all types are expressed: 1) verb complements, 2) noun complements, 3) adjective complements, 4) adverb complements, 5) pseudo-sentence complements. Adverb types: Adverbs are classified based on type and structure: a) adverbs with no indicator: 1- specific adverb 2- adverbs in common with nouns 3- adverbs in common with adjectives. b) Adverbs with indicators: 1- Adverbs with nunation 2- prefix adverbs 3- adverbial complements Types of phrases: 1.The grammatical unit made of one or more related terms, where the main word or the nucleus is a noun is called a noun phrase. 2. The verb phrase appears in the location of the statement and includes one or more smaller units. The main element here is the verb. 3- Adverbial phrase is part of the sentence that the verb does not need, and thus can be removed. 4. A string of words used as a phrase with an adjective nucleus is called an adjective phrase. Before the adjective a qualitative preposition, or a grade preposition can be used, and it can be followed by noun phrases, prepositional phrase or adjective phrases in a complementary role. So the adjective phrase may also appear as only an adjective. 5. The prepositional phrase is made of “a preposition + noun phrase”. Prepositions are grammatical words that appear only in front of a noun phrase. Prepositional phrases are used with various grammatical relationships, especially prepositional complement in noun phrase, indirect object and complement in verb phrase and also complement or adverbial complement. Prepositional phrase is not used in direct object and subject’s grammatical relations. Place of the adverbial complement in the sentence: Since the complement is a noun phrase that comes after the preposition and the adverb is removable it is hard to determine the position of adverbial complement as a phrase. So instead of being limited to noun, verb and adverbial phrases, we had better also consider prepositional and adjectival phrases. Thus, all the complements are categorized as prepositional phrases. It is also more appropriate for nouns in common with adverbs to be called adverbial complements whose preposition is removed. Conclusion: Mainly, differences about complements is due to authors’ perceptions because some, especially older authors, consider the complement solely with the literal meaning of the word, i.e. something that completes, in their definitions, so in addition to prepositional complement they consider other components such as objects and predicate as complements. Some, on the other hand, consider the connotation of the term and only categorize nouns placed after prepositions as complements of different types. This difference in perception could solve many uncertainties regarding the complements. Adjective in common with adverbs are categorized as either adverbial phrase or the adjectival phrase according to their role in the sentence. Whenever they are perceived as an adjective, they will be categorized as adjectival phrase, and whenever they are perceived as an adverb, as adverbial phrase. Therefore, it is vital to consider a word’s meaning and use in different sentences to determine their place. Limiting phrases to verb, adverb, and noun in the subject of adverbial complement and adjectives that take the role of a predicate will lead to ambiguities that can be disambiguated solely through considering the other two types of phrases, i.e. adjectival phrases and prepositional phrases. It is better to separate the prepositional phrases and noun phrases and consider the prepositional phrase as a combination of the nucleus, as a preposition, and a noun phrase Discussion of complement types is among new grammatical issues, not addressed in all its aspects yet. Place of adverbial complement in the sentence is also worthy of attention and study, since it is categorized as types of adverbs and also types of complements. What is a complement? There are enormous differences in the definition of complement. So much that almost no two grammarians have the exact same views. This is because some define complement as “what completes the meaning of the noun before or the sentence in which it has been used”, and some consider “a special type which is prepositional complement”. Complements are noun phrases placed after the preposition in a sentence and are sometimes compulsory and sometimes optional in accordance with their role. Complement types: Complement categories are very diverse and different in books. Thus, perhaps Kamyar’s division in this respect is more complete since only prepositional complements are included and almost all types are expressed: 1) verb complements, 2) noun complements, 3) adjective complements, 4) adverb complements, 5) pseudo-sentence complements. Adverb types: Adverbs are classified based on type and structure: a) adverbs with no indicator: 1- specific adverb 2- adverbs in common with nouns 3- adverbs in common with adjectives. b) Adverbs with indicators: 1- Adverbs with nunation 2- prefix adverbs 3- adverbial complements Types of phrases: 1.The grammatical unit made of one or more related terms, where the main word or the nucleus is a noun is called a noun phrase. 2. The verb phrase appears in the location of the statement and includes one or more smaller units. The main element here is the verb. 3- Adverbial phrase is part of the sentence that the verb does not need, and thus can be removed. 4. A string of words used as a phrase with an adjective nucleus is called an adjective phrase. Before the adjective a qualitative preposition, or a grade preposition can be used, and it can be followed by noun phrases, prepositional phrase or adjective phrases in a complementary role. So the adjective phrase may also appear as only an adjective. 5. The prepositional phrase is made of “a preposition + noun phrase”. Prepositions are grammatical words that appear only in front of a noun phrase. Prepositional phrases are used with various grammatical relationships, especially prepositional complement in noun phrase, indirect object and complement in verb phrase and also complement or adverbial complement. Prepositional phrase is not used in direct object and subject’s grammatical relations. Place of the adverbial complement in the sentence: Since the complement is a noun phrase that comes after the preposition and the adverb is removable it is hard to determine the position of adverbial complement as a phrase. So instead of being limited to noun, verb and adverbial phrases, we had better also consider prepositional and adjectival phrases. Thus, all the complements are categorized as prepositional phrases. It is also more appropriate for nouns in common with adverbs to be called adverbial complements whose preposition is removed. Conclusion: Mainly, differences about complements is due to authors’ perceptions because some, especially older authors, consider the complement solely with the literal meaning of the word, i.e. something that completes, in their definitions, so in addition to prepositional complement they consider other components such as objects and predicate as complements. Some, on the other hand, consider the connotation of the term and only categorize nouns placed after prepositions as complements of different types. This difference in perception could solve many uncertainties regarding the complements. Adjective in common with adverbs are categorized as either adverbial phrase or the adjectival phrase according to their role in the sentence. Whenever they are perceived as an adjective, they will be categorized as adjectival phrase, and whenever they are perceived as an adverb, as adverbial phrase. Therefore, it is vital to consider a word’s meaning and use in different sentences to determine their place. Limiting phrases to verb, adverb, and noun in the subject of adverbial complement and adjectives that take the role of a predicate will lead to ambiguities that can be disambiguated solely through considering the other two types of phrases, i.e. adjectival phrases and prepositional phrases. It is better to separate the prepositional phrases and noun phrases and consider the prepositional phrase as a combination of the nucleus, as a preposition, and a noun phrase

https://liar.ui.ac.ir/article_21027_0c855bf2b42dc0483f125f4bf1a48d0b.pdf

University of Isfahan Literary Arts 20088027 8 3 2016 09 22 Aesthetic Analysis of Nizami’s Haft Peykar Aesthetic Analysis of Nizami’s Haft Peykar 205 218 21028 10.22108/liar.2016.21028 FA Nahid Dehghani Ph.D. Graduated of Persian Language and Literature, Shiraz University, Shiraz, Iran Journal Article 2013 05 07 Every one use "Beauty" for every things that make him/her happy so it is not expected just one definition is presented for this concept. In other hand proposed theories of aesthetic just focus on certain aspect of "Beauty" so it cannot be considered as a principal frame. Undoubtedly poem as one of the most important branches of art can be aesthetically analyzed, but it is difficult to answer to this question "How beauty is created and what criteria should be considered. From years ago, Iranian poets and writers have spoken about beauty, but they have not presented a clear definition and precise criteria .concept and nature of beauty have been briefly explained by Nezami in" Haft peykar". Nezami has implicitly divided the beauty in two species look, material and real (spiritual). Nezami's emphasis on impermanence of the physical beauty and his order to transition from Physical beauty to spiritual beauty, showing his metaphysical beliefs about real beauty. Same as ancient Greek philosophers, especially Plato and Neo-Platonism, he knows the beauty as a heavenly and spiritual sense and also he believes that real beauty is connected with pure simplicity, while Non beauty phenomenon, is emptied of any spiritual concept and infected with destructive lust. Nezami’s great attention to spiritual beauty in compare to physical beauty has affected his view regarding poem beauty, in other words he searches beautifulness of poem in sublime beauty of the poem and doesn’t consider literal beautifulness but there is a paradox between this Nezami statement and what is comprehended from his poem. Nezami is one of the most famous poets of Azerbaijani poetry style. Literal and spiritual complexity and various techniques of literary and linguistic are important features of Azerbaijani style. At this time period, consideration to literary and linguistic techniques to outshine the others .has made this poem style very complicated and requires interpretation. Haft Paykar is one the most beautiful Persian lyric poem which has been considered by other poets from a long time ago. This poem with regard to the rhythm, ironic imaginary language, the word selection, beautiful descriptions, strong imagination, harmony between the image and emotion, artistic techniques, innovation in combination the history and legend, and deep concepts. Is worthy of analysis and thoughtful review. Although some of figures of speech at this poem are not without mannerism and this characteristic together with rhythmic limitation and language insufficient decreases the Beautifulness of many verses, but by ignoring this advantage, Haft Peykar can be considered as one of the most beautiful Persian poems. In this article, the most important aesthetic elements in the poem have been studied. Every one use "Beauty" for every things that make him/her happy so it is not expected just one definition is presented for this concept. In other hand proposed theories of aesthetic just focus on certain aspect of "Beauty" so it cannot be considered as a principal frame. Undoubtedly poem as one of the most important branches of art can be aesthetically analyzed, but it is difficult to answer to this question "How beauty is created and what criteria should be considered. From years ago, Iranian poets and writers have spoken about beauty, but they have not presented a clear definition and precise criteria .concept and nature of beauty have been briefly explained by Nezami in" Haft peykar". Nezami has implicitly divided the beauty in two species look, material and real (spiritual). Nezami's emphasis on impermanence of the physical beauty and his order to transition from Physical beauty to spiritual beauty, showing his metaphysical beliefs about real beauty. Same as ancient Greek philosophers, especially Plato and Neo-Platonism, he knows the beauty as a heavenly and spiritual sense and also he believes that real beauty is connected with pure simplicity, while Non beauty phenomenon, is emptied of any spiritual concept and infected with destructive lust. Nezami’s great attention to spiritual beauty in compare to physical beauty has affected his view regarding poem beauty, in other words he searches beautifulness of poem in sublime beauty of the poem and doesn’t consider literal beautifulness but there is a paradox between this Nezami statement and what is comprehended from his poem. Nezami is one of the most famous poets of Azerbaijani poetry style. Literal and spiritual complexity and various techniques of literary and linguistic are important features of Azerbaijani style. At this time period, consideration to literary and linguistic techniques to outshine the others .has made this poem style very complicated and requires interpretation. Haft Paykar is one the most beautiful Persian lyric poem which has been considered by other poets from a long time ago. This poem with regard to the rhythm, ironic imaginary language, the word selection, beautiful descriptions, strong imagination, harmony between the image and emotion, artistic techniques, innovation in combination the history and legend, and deep concepts. Is worthy of analysis and thoughtful review. Although some of figures of speech at this poem are not without mannerism and this characteristic together with rhythmic limitation and language insufficient decreases the Beautifulness of many verses, but by ignoring this advantage, Haft Peykar can be considered as one of the most beautiful Persian poems. In this article, the most important aesthetic elements in the poem have been studied.

https://liar.ui.ac.ir/article_21028_021a3af585f0da6c195529a37a3e9fe5.pdf