University of Isfahan Literary Arts 20088027 10 2 2018 06 22 Pathology of the Description of Compound Verbs in Farsi Grammar Books (definitions and terms) Pathology of the Description of Compound Verbs in Farsi Grammar Books (definitions and terms) 1 20 22612 10.22108/liar.2017.94190.0 FA Mohammad Behnamfar Assistant Professor of Persian Language and Literature, University of Birjand, Birjand, Iran Mohammad Kazem Ebrahimzadeh M. A. Student of Persian Language and Literature, University of Birjand, Birjand, Iran Journal Article 2016 07 14 Describing and investigating the compound verbs have included a wide range of researches among language researchers (grammarians and linguists); however the issue of compound verbs seems unclear. The abundant criteria for recognition of compound verbs which most of them are often deficient can be as a good reason for this assertion. It appears that one of the elements resulting in this ambiguity is the method used in their researches. The main theme of this descriptive-analytic study, therefore, concerns with the mistakes in the process of research on compound verbs, focusing on shortcomings and deficiencies, based upon the data provided in Farsi grammar books in five parts, namely "definitions, terminology, examples, criteria and reasoning." This article, however, provides only the search results of the first two chapters. Pathology of the definition of compound verbs: Compound verb has been defined with different features as: 1. combination of two or more parts which one of them is a verb. 2. The two parts have a single meaning. 3. The verb component doesn't have its main meaning and isn't declinable. Among these definitions Homayoon Farrokh and Lazar have presented a better definition which is more appropriate and acceptable. The definitions analyzed in this research has defects such as: lack of exhaustiveness and exclusiveness, lack of accordance between the definition and examples, increasing or using unnecessary adverbs, ambiguity in the concepts of adverbs like different perceptions of the same adverb, using multiple concepts in definition of different kinds of compound verbs. These deficiencies indicate the lack of grammarians' attention to grammatical terms and concepts and prevent the readers to have a systematic perception from language. Pathology of compound verb terms: Compound verb is the only expression that his lead to ambiguous and multi-meaning expressions. It is over thirty years that the idiom "hamkard" is used as the verb component of the compound verb and combinations such as "hamkard shodegi" has been built based on it. Therefore, in spite of some applicative and verbal defects which have been proposed by some linguists, changing this term is not recommended. Consequently, verb being, conjugation and accepting "shenaseh" (distinctive component) can help us to obtain a perfect definition for compound verbs. There is no term for the nonverbal component of the compound verb to be overspread, but some grammarians have used "verb helper" for it, but it is better to use an expression like "hamkard" though it shows no relation with compound verb. In this research, some problems about the selection and usage of terms were found such as neglecting the common usage and grammatical system of these terms. Pathology of the research methods: It seems that the verbal researches are achieved in three steps: compiling, classification and formulation. In each of these steps there may be some problems. What was said about the expressions indicates the easy going way of researchers in presenting the information which occurs after the formulation step. The obstruction in definition of compound verbs is rooted in not having a comprehensive recognition of the compound verbs. The main problem in the third part is the lack of integrity proportionate to the number and diversity of instances. As presenting a comprehensive and proper definition of compound verbs is achieved from compiling and classification the verbal data, it can be said that these problems are a result of these two steps. Of course we are not sure about the lack of such researches and neglecting the structure of the language. Describing and investigating the compound verbs have included a wide range of researches among language researchers (grammarians and linguists); however the issue of compound verbs seems unclear. The abundant criteria for recognition of compound verbs which most of them are often deficient can be as a good reason for this assertion. It appears that one of the elements resulting in this ambiguity is the method used in their researches. The main theme of this descriptive-analytic study, therefore, concerns with the mistakes in the process of research on compound verbs, focusing on shortcomings and deficiencies, based upon the data provided in Farsi grammar books in five parts, namely "definitions, terminology, examples, criteria and reasoning." This article, however, provides only the search results of the first two chapters. Pathology of the definition of compound verbs: Compound verb has been defined with different features as: 1. combination of two or more parts which one of them is a verb. 2. The two parts have a single meaning. 3. The verb component doesn't have its main meaning and isn't declinable. Among these definitions Homayoon Farrokh and Lazar have presented a better definition which is more appropriate and acceptable. The definitions analyzed in this research has defects such as: lack of exhaustiveness and exclusiveness, lack of accordance between the definition and examples, increasing or using unnecessary adverbs, ambiguity in the concepts of adverbs like different perceptions of the same adverb, using multiple concepts in definition of different kinds of compound verbs. These deficiencies indicate the lack of grammarians' attention to grammatical terms and concepts and prevent the readers to have a systematic perception from language. Pathology of compound verb terms: Compound verb is the only expression that his lead to ambiguous and multi-meaning expressions. It is over thirty years that the idiom "hamkard" is used as the verb component of the compound verb and combinations such as "hamkard shodegi" has been built based on it. Therefore, in spite of some applicative and verbal defects which have been proposed by some linguists, changing this term is not recommended. Consequently, verb being, conjugation and accepting "shenaseh" (distinctive component) can help us to obtain a perfect definition for compound verbs. There is no term for the nonverbal component of the compound verb to be overspread, but some grammarians have used "verb helper" for it, but it is better to use an expression like "hamkard" though it shows no relation with compound verb. In this research, some problems about the selection and usage of terms were found such as neglecting the common usage and grammatical system of these terms. Pathology of the research methods: It seems that the verbal researches are achieved in three steps: compiling, classification and formulation. In each of these steps there may be some problems. What was said about the expressions indicates the easy going way of researchers in presenting the information which occurs after the formulation step. The obstruction in definition of compound verbs is rooted in not having a comprehensive recognition of the compound verbs. The main problem in the third part is the lack of integrity proportionate to the number and diversity of instances. As presenting a comprehensive and proper definition of compound verbs is achieved from compiling and classification the verbal data, it can be said that these problems are a result of these two steps. Of course we are not sure about the lack of such researches and neglecting the structure of the language.

https://liar.ui.ac.ir/article_22612_3daf843edcf081fc2595e19194d08d80.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution 21 38 22614 10.22108/liar.2017.101584.1035 FA Saeed Hatami Assistant professor of Persian Language and Lliterature, Vali Asr University of Rafsanjan, Rafsanjan, Iran Hameed Jafari Qarye Ali Associate Professor of Persian Language and Literature, Vali Asr University of Rafsanjan, Rafsanjan, Iran Ali Haidarizade M. A. Graduate of Persian Language and Literature, Vali Asr University of Rafsanjan, Rafsanjan, Iran Journal Article 2017 01 06 Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution The study, deploying the descriptive-analytic approach, examines the aesthetics of the Rafsanjan poets’ poems after the Islamic Revolution. The results of the study show that the aesthetics of Rafsanjan poets’ poems has been based on innovation in music and alliteration, vagueness, metaphor, symbolism, and defamiliarization. 1. Statement of the problem In this paper, the viewpoint of Rafsanjan poets on poetry music, forms and figures is examined, the poets’ interest in poetry aesthetics is indicated, and the poets’ innovations and attempts are assessed along the way. 2. Forms The works of Rafsanjan are more in forms of sonnet, masnavi, quatrain, couplet, four-piece, Nimayi, Sepid, short poem, triad in quatrain (trio, two-rhyme quatrain, Nimayi short poem in quatrain form), Nimayi single-verse, Nimayi semi-verse, and rhyme-less sonnet. 3. Music of the poem 3.1. Alliteration Double alliteration, continuous alliteration, and discrete alliteration, are different types of alliteration in Rafsanjan poets’ poems from an external viewpoint, and from a practical and purpose-based view, one can mention the pleasing but meaningless poem. In the pleasing but meaningless poem, the music resulting from sound repetition is not related to the meaning at all. 3.2. Inversion Is a figure of speech which is made by inverting the word order of a compound or a sentence and creates a new meaning. 3.3. Vagueness Here, only the vaguenesses are mentioned which are not cited obviously in classical new books: 3.3.1. Linked verbal vagueness with the same letters It is a type of vagueness in which when the reader reads two (or more) words, they notice the presence of another word. 3.3.2. Linked verbal vagueness with different letters It is a type of vagueness in which the reader, when reading it, feels that from the link of the sounds of some words, they hear the sounds of another word or compound. 3.3.3. Verbal verbal vagueness In this kind of vagueness, a word, when read, evokes another word with a colloquial pronunciation, which has a separate meaning; however, in relation to the word having the vagueness with, is pleasant. 3.3.4. Allusion vagueness Allusion vagueness occurs when a word refers to two events at the same time, so that its semantic load, at the beginning, would refers to an accident and its implicit semantic load which comes to mind refers to another event. 3.3.5. Practical vagueness Sometimes the reader reads a poem and pronounces a word in such a way that the hearer thinks that they are the audience, however, as they continue reading, they find out that they were wrong and laughs for their mistake: Be Quiet!, a sound is coming from the sky The sound comes from God’s feast (Heydarizade, A2012: 77) 4. Defamiliarization in allusion for creating humor Likening today's lovers and beloveds to Leyli and Majnoun and making them get together contrary to the original story, is a kind of defamiliarization in allusion for creating humor: There is a reason Majnoun would go on strike In the first night of his marriage (Jahanbakhsh, 2013: 16) 5. Expressive figures of speech In Rafsanjan poets’ poems, most similarities are in association with the cultural and economic characteristics of the region and it seems that the poets of Rafsanjan have expanded a little the “Maknie” metaphor; the features of the metaphor in their poems are: personification, animal likening and plant likening. Regarding the use of symbol one can state: In the poems of the region, most symbols are from natural phenomena and are more intended to induce ethical messages. Generally, using animal symbols is the best way to create humor in their poems. Conclusions General assessment of the poems from Rafsanjan poets indicate that poems in different lyric, religious, humorous, and social types in classical, Nimayi, and short poem types have developed seriously and each have been developed in works of one of the poets and has been decorated with figures of speech. Innovation of Rafsanjan poets in quatrain and Sepid short poems and also attending to some of verbal games and figures of speech, in a way that they have had an undeniable role in creating meaning, has made the field dynamic. Aesthetics of Rafsanjan poets’ poems after the Islamic Revolution The study, deploying the descriptive-analytic approach, examines the aesthetics of the Rafsanjan poets’ poems after the Islamic Revolution. The results of the study show that the aesthetics of Rafsanjan poets’ poems has been based on innovation in music and alliteration, vagueness, metaphor, symbolism, and defamiliarization. 1. Statement of the problem In this paper, the viewpoint of Rafsanjan poets on poetry music, forms and figures is examined, the poets’ interest in poetry aesthetics is indicated, and the poets’ innovations and attempts are assessed along the way. 2. Forms The works of Rafsanjan are more in forms of sonnet, masnavi, quatrain, couplet, four-piece, Nimayi, Sepid, short poem, triad in quatrain (trio, two-rhyme quatrain, Nimayi short poem in quatrain form), Nimayi single-verse, Nimayi semi-verse, and rhyme-less sonnet. 3. Music of the poem 3.1. Alliteration Double alliteration, continuous alliteration, and discrete alliteration, are different types of alliteration in Rafsanjan poets’ poems from an external viewpoint, and from a practical and purpose-based view, one can mention the pleasing but meaningless poem. In the pleasing but meaningless poem, the music resulting from sound repetition is not related to the meaning at all. 3.2. Inversion Is a figure of speech which is made by inverting the word order of a compound or a sentence and creates a new meaning. 3.3. Vagueness Here, only the vaguenesses are mentioned which are not cited obviously in classical new books: 3.3.1. Linked verbal vagueness with the same letters It is a type of vagueness in which when the reader reads two (or more) words, they notice the presence of another word. 3.3.2. Linked verbal vagueness with different letters It is a type of vagueness in which the reader, when reading it, feels that from the link of the sounds of some words, they hear the sounds of another word or compound. 3.3.3. Verbal verbal vagueness In this kind of vagueness, a word, when read, evokes another word with a colloquial pronunciation, which has a separate meaning; however, in relation to the word having the vagueness with, is pleasant. 3.3.4. Allusion vagueness Allusion vagueness occurs when a word refers to two events at the same time, so that its semantic load, at the beginning, would refers to an accident and its implicit semantic load which comes to mind refers to another event. 3.3.5. Practical vagueness Sometimes the reader reads a poem and pronounces a word in such a way that the hearer thinks that they are the audience, however, as they continue reading, they find out that they were wrong and laughs for their mistake: Be Quiet!, a sound is coming from the sky The sound comes from God’s feast (Heydarizade, A2012: 77) 4. Defamiliarization in allusion for creating humor Likening today's lovers and beloveds to Leyli and Majnoun and making them get together contrary to the original story, is a kind of defamiliarization in allusion for creating humor: There is a reason Majnoun would go on strike In the first night of his marriage (Jahanbakhsh, 2013: 16) 5. Expressive figures of speech In Rafsanjan poets’ poems, most similarities are in association with the cultural and economic characteristics of the region and it seems that the poets of Rafsanjan have expanded a little the “Maknie” metaphor; the features of the metaphor in their poems are: personification, animal likening and plant likening. Regarding the use of symbol one can state: In the poems of the region, most symbols are from natural phenomena and are more intended to induce ethical messages. Generally, using animal symbols is the best way to create humor in their poems. Conclusions General assessment of the poems from Rafsanjan poets indicate that poems in different lyric, religious, humorous, and social types in classical, Nimayi, and short poem types have developed seriously and each have been developed in works of one of the poets and has been decorated with figures of speech. Innovation of Rafsanjan poets in quatrain and Sepid short poems and also attending to some of verbal games and figures of speech, in a way that they have had an undeniable role in creating meaning, has made the field dynamic.

https://liar.ui.ac.ir/article_22614_9d293b7934117075929d7fe9b4b16a43.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 The status, purpose and style of the story telling (exemplum) in Shahnameh of Ferdowsi The status, purpose and style of the story telling (exemplum) in Shahnameh of Ferdowsi 39 52 22613 10.22108/liar.2018.93842.0 FA Farideh Vejdani Assistant Professor of Persian Language and Literature, University of Zanjan, Zanjan, Iran Mahdi Kamali Assistant Professor of Academy of Persian Language and Literature, Tehran, Iran Journal Article 2014 12 26 Abstract Most poets and writers in Iranian culture have used a lot of "exemplum" as a rhetorical element, because exemplum regardless that to be based on a famous story or habit or to be simply a wise, well-meaning and well-worded sentence has great persuasive power. Hakim Abolqasem Ferdowsi, like other poets, expresses the exemplum inShahnameh in various occasions by awareness of a persuasive power that lies in a variety of exemplums, and he interprets it as "storytelling". In this paper, the quality of these "storytelling" has been examined through descriptive-analytical method. To do this, we first have introduced different meanings of the word "storytelling" in Shahnameh, and then, based on the couplets that this word has been used in them in the meaning of the expression of the exemplum, we have tried to show that Ferdowsi often uses of this persuasive strategy at the time of hidden or obvious inconsistency or dissonance of events of the story, or the speech, or the act, or the verdict of the characters with the vote of the exemplum and rhetorical speaker, and in most cases, the appearance of the exemplum is for this reason that a word, an event, an adventure, a decision, a condition or an opinion, a belief and the behavior way that is not acceptable to be changed, and its speaker identifies that if he sees fit, to be expressed in the form of an exemplum which is the result of collective wisdom of predecessors, will have a greater impact. Ferdowsi also pursues various purposes such as punishment, annulment, reverence; strengthen the spirit, and weakening the spirit of narrating these exemplums. Although the most of storytelling in Ferdowsi's Shahnameh is accompanied by the announcement of the speaker, and he states, aside from the exemplum, there are examples in which they narrating the exemplum is done without news. There are other examples that the wise word is quoted from the wise human and is the basis for decision making and practice. This wise word is in fact the same exemplum, and in terms of content and status of appearance, has no difference with the words that have been referred to as their being sample, and the only difference is that there is no mention of the phrase "storytelling" . The present paper, these mentioned results have been obtained by examining the story telling technique in Ferdowsi's Shahnameh; the results that have no history in the field of rhetorical researches of Shahnameh, and can be effective in identifying the art of this famous poet and the his poetry style. Abstract Most poets and writers in Iranian culture have used a lot of "exemplum" as a rhetorical element, because exemplum regardless that to be based on a famous story or habit or to be simply a wise, well-meaning and well-worded sentence has great persuasive power. Hakim Abolqasem Ferdowsi, like other poets, expresses the exemplum inShahnameh in various occasions by awareness of a persuasive power that lies in a variety of exemplums, and he interprets it as "storytelling". In this paper, the quality of these "storytelling" has been examined through descriptive-analytical method. To do this, we first have introduced different meanings of the word "storytelling" in Shahnameh, and then, based on the couplets that this word has been used in them in the meaning of the expression of the exemplum, we have tried to show that Ferdowsi often uses of this persuasive strategy at the time of hidden or obvious inconsistency or dissonance of events of the story, or the speech, or the act, or the verdict of the characters with the vote of the exemplum and rhetorical speaker, and in most cases, the appearance of the exemplum is for this reason that a word, an event, an adventure, a decision, a condition or an opinion, a belief and the behavior way that is not acceptable to be changed, and its speaker identifies that if he sees fit, to be expressed in the form of an exemplum which is the result of collective wisdom of predecessors, will have a greater impact. Ferdowsi also pursues various purposes such as punishment, annulment, reverence; strengthen the spirit, and weakening the spirit of narrating these exemplums. Although the most of storytelling in Ferdowsi's Shahnameh is accompanied by the announcement of the speaker, and he states, aside from the exemplum, there are examples in which they narrating the exemplum is done without news. There are other examples that the wise word is quoted from the wise human and is the basis for decision making and practice. This wise word is in fact the same exemplum, and in terms of content and status of appearance, has no difference with the words that have been referred to as their being sample, and the only difference is that there is no mention of the phrase "storytelling" . The present paper, these mentioned results have been obtained by examining the story telling technique in Ferdowsi's Shahnameh; the results that have no history in the field of rhetorical researches of Shahnameh, and can be effective in identifying the art of this famous poet and the his poetry style.

https://liar.ui.ac.ir/article_22613_71840bd6c83e52ac1693052ec371847c.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 Study of Metaphor in Contemporary Ashura Poem Study of Metaphor in Contemporary Ashura Poem 53 68 22671 10.22108/liar.2018.101738.1044 FA Fateme Elhami Assistant Professor of Persian Language and Literature, Chabahar Maritime and Marine University, Chabahar, Iran Abdolghafoor Jahandideh Jahandideh Assistant Professor of Persian Language and Literature, Chabahar Maritime and Marine University, Chabahar, Iran Alireza Mir M. A. Graduate of Persian Language and Literature, Pardis Branch of Sistan & Balouchestan University in Chabahar, Chabahar, Iran Journal Article 2017 01 13 Abstract Metaphor and art of imagery is one of the most effective artistic tools that have long been considered by poets and orators. In the poem of Ashura in which the poet faithfully describes and analyzes the uprising of Ashura, the imaginative language of metaphor exes his passionate love and feeling for Imam Hussein (PBUH) and Prophet Mohammad’s Household in the most beautiful images. The ritual poet expresses a subject through poetic imagery in various ways. Repeating a concept with a different artistic language, and more imaginatively, will attract the audience to understand the subject and enjoy it, especially when the subject is related to belief and is bound to the beliefs of the individual. The gist of the content in this article is to answer these questions: 1- what metaphorical images have poets used to address the most important educational teachings? 2- How and to what extent are these images consistent with the message and the content of the work? 3- Is there innovation in the metaphorical images? In the text, we first defined the Ashura poetry and then explained the metaphor and its rhetorical role in poetry. By mentioning various metaphors and expressions of evidence, for example, we tried to illustrate the extent of the imagination of the poet and his breadth of vision. In explicit metaphor, almost all of the poetic images of elements of nature, the metaphors of belief, mysticism, religion and mythology, and submerged metaphor and its outcome, foregrounding, were analyzed and analyzed. And in implicit metaphor, the identification was initially made in the form of sentence, the addressed, additional and descriptive composition and investigated by pointing out the evidence that the poet increases personification in poetry to an "anemic" level through collection of different kinds of identification. Also, implicit metaphor (non-distinguishable) in the form of sentences, additional composition, and adjective and noun was also analyzed by very beautiful evidence in Ashura's poetry. The result is that the contemporary religious poet has used a variety of metaphors to ex his values, beliefs and ideas – and has expressed the most important instructional teachings by exaggeration and magnification in the art of illustration, displaying the immortality and realities of Ashura. The wide application of various types of explicit metaphor in expressing the bow and explaining the incident of Ashura shows the creativity and prosperity of the poet's mind in this regard. And it is a place for poetic imagery and descriptions of natural and religious phenomena in order to widen the poet's lyrical, sometimes intangible language to his fantasy, and to add to the richness of art and good influence and achievement of the audience. Although in this kind of metaphor, lesser innovation and imagery is seen, the diversity of the use of images in submerged metaphor in the exquisite and elegant compositions, especially in the poetry of Bagheri, is significant in that the poet with a beautiful pen, his creative and deep mind creates art ambiguity and a new meaning in the discourse and makes the audience amazed and surprised. On the other hand, the abundant use of implicit metaphor represents the emotional burden of the poet's inner experiences in Ashura's poetry. As a result, the language and expression are out of the ordinary use, and in the realm of rhetoric, it has led to the creation of beautiful images and interpretations and elegant combinations and this shows the poet's power in expressing his breadth of thought and breadth of vocabulary. The abundant use of human-like literary interpretations in the minds of contemporary poets, in addition to the dynamics and sense of motion in the images, indicates that the poet believes that all the unobtrusive elements in nature are under the influence of the Ashura incident. And the poet depicts the highest levels of human-type feelings by attributing human characteristics to immoral objects and manifestations of nature and this will expand the emotional richness of poetry. Although some of the images are repetitive and similar, and rarely do they have strange images, combining all kinds of metaphors in one couplet leads to the creation of beautiful and entertaining images and animism form. Abstract Metaphor and art of imagery is one of the most effective artistic tools that have long been considered by poets and orators. In the poem of Ashura in which the poet faithfully describes and analyzes the uprising of Ashura, the imaginative language of metaphor exes his passionate love and feeling for Imam Hussein (PBUH) and Prophet Mohammad’s Household in the most beautiful images. The ritual poet expresses a subject through poetic imagery in various ways. Repeating a concept with a different artistic language, and more imaginatively, will attract the audience to understand the subject and enjoy it, especially when the subject is related to belief and is bound to the beliefs of the individual. The gist of the content in this article is to answer these questions: 1- what metaphorical images have poets used to address the most important educational teachings? 2- How and to what extent are these images consistent with the message and the content of the work? 3- Is there innovation in the metaphorical images? In the text, we first defined the Ashura poetry and then explained the metaphor and its rhetorical role in poetry. By mentioning various metaphors and expressions of evidence, for example, we tried to illustrate the extent of the imagination of the poet and his breadth of vision. In explicit metaphor, almost all of the poetic images of elements of nature, the metaphors of belief, mysticism, religion and mythology, and submerged metaphor and its outcome, foregrounding, were analyzed and analyzed. And in implicit metaphor, the identification was initially made in the form of sentence, the addressed, additional and descriptive composition and investigated by pointing out the evidence that the poet increases personification in poetry to an "anemic" level through collection of different kinds of identification. Also, implicit metaphor (non-distinguishable) in the form of sentences, additional composition, and adjective and noun was also analyzed by very beautiful evidence in Ashura's poetry. The result is that the contemporary religious poet has used a variety of metaphors to ex his values, beliefs and ideas – and has expressed the most important instructional teachings by exaggeration and magnification in the art of illustration, displaying the immortality and realities of Ashura. The wide application of various types of explicit metaphor in expressing the bow and explaining the incident of Ashura shows the creativity and prosperity of the poet's mind in this regard. And it is a place for poetic imagery and descriptions of natural and religious phenomena in order to widen the poet's lyrical, sometimes intangible language to his fantasy, and to add to the richness of art and good influence and achievement of the audience. Although in this kind of metaphor, lesser innovation and imagery is seen, the diversity of the use of images in submerged metaphor in the exquisite and elegant compositions, especially in the poetry of Bagheri, is significant in that the poet with a beautiful pen, his creative and deep mind creates art ambiguity and a new meaning in the discourse and makes the audience amazed and surprised. On the other hand, the abundant use of implicit metaphor represents the emotional burden of the poet's inner experiences in Ashura's poetry. As a result, the language and expression are out of the ordinary use, and in the realm of rhetoric, it has led to the creation of beautiful images and interpretations and elegant combinations and this shows the poet's power in expressing his breadth of thought and breadth of vocabulary. The abundant use of human-like literary interpretations in the minds of contemporary poets, in addition to the dynamics and sense of motion in the images, indicates that the poet believes that all the unobtrusive elements in nature are under the influence of the Ashura incident. And the poet depicts the highest levels of human-type feelings by attributing human characteristics to immoral objects and manifestations of nature and this will expand the emotional richness of poetry. Although some of the images are repetitive and similar, and rarely do they have strange images, combining all kinds of metaphors in one couplet leads to the creation of beautiful and entertaining images and animism form.

https://liar.ui.ac.ir/article_22671_1aedf52b195d786fc7817eb6f72da69d.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 "Combination" and "Derivation" in Persian and Arabic grammar "Combination" and "Derivation" in Persian and Arabic grammar 69 86 22680 10.22108/liar.2018.93960.0 FA Vajihe Zamani Babgohari M. A. Graduate of Persian Language and Literature, Shahid Bahonar University of Kerman, Kerman, Iran Mohammad Sadegh Basiri Associate Professor of Persian Language and Literature, Shahid Bahonar University of Kerman, Kerman, Iran 0000-0002-5566-0220 Journal Article 2015 07 27 Abstract There are several ways for word-making, but literati and linguists , have described "combination" and "derivation" as one of the most important processes in the word-making; In this regard, the Persian language is due to the "Indo-European" language family and in this family, the process of word-making is mainly made up with "combination", is classified as "combinatorial languages," and on the other hand, the Arabic language, have same origin with the "Sami" languages, these languages is introduced and classified in the "derivational languages" because of the importance of "derivation" in the process of word-making. In this article, it has been tried to investigate the two processes of "composition and "derivation" in two languages "Persian and Arabic" with more in-depth analysis and from this perspective, a comparative review of these two languages is investigated. However, the results of this research show that the processes of "combination and derivation" exist in both "Persian and Arabic" languages, but the concept and percentage of the usage of each process in these two languages are not the same and are different. Similarities of "combination" in Persian language with Arabic language The combination phenomenon in Arabic is not wide-spreading as Persian language. However, few similarities between some of the combination methods in these two languages can be counted: • In both languages, the combination phenomenon is in all ‎three types of the word (noun, verb, and letter). • In both languages, there are additional combinations: "آبرو، سرمایه / ماوَرد، رِسمال In both language, exist "Naht" (make a word from several words) or amalgamation: توانیر، رزمایش / جُلمود، طَبَرخَزمی Differences of "combination" in Persian language with Arabic language It should be said that although the main process of word-making in the Persian language is "combination", but some types of combination in Arabic language are wider, more systematic and methodic than Persian language. • The "Naht", phenomenon in Arabic is more than Persian language. Arabs uses of "Naht" in three types of word (noun, verb, and letter); whereas this method is rarely found in some Persian nouns. Similarities of "derivation" in Persian with Arabic However, the concept of derivation is different in both Persian and Arabic languages, but few similarities between them can be counted: • The process of "derivation", in both languages, is one of the main processes of word-making. • It was said that "derivation" in Persian means: adding prefixes and suffixes to the roots of words; this definition also applies to a few Arabic words. This means that in Arabic, "You can rarely find suffixes which are added to the clause of the words, and get new words from them." For example, in Arabic, "proportion ya" and "infinitive yayt"… are same kind of derivation. (Zakeri, 1372: 377) for example, in some words such as: Ansari, Kamiyat (quantity), Keifiyat (quality) these suffixes give new meaning to the words. • The role of "roots" in the process of derivation of both languages, Performs the main and fundamental role. • In both languages, many parts of the derivation making, is based on the "verb" axis, it means that, derivation is limited to verb, but this principle has not been stable in none of these languages, and in few cases, derivations have also been derived from "names": Makalbe / Stealing; perhaps the only reason for the creation of such derivatives in both languages, is expanding their lexical domain. Differences in "derivation" in Persian language with Arabic language In Arabic, what is derived from root of verb called "derivation", and "underived" referred to other words, but in Persian, created with attachments (prefixes and suffixes), called "derivation" whether it derived from verb (verbal derivation) and whether not derived from the verb (non-verbal derivation). (Farshid Ward, 1382: 52). In process of derivation and word-making in Persian, "metamorphosis doesn't find in the root itself or main word, and its letters don't separate." (Daraei, 1350: 8). Persian example; for "رو" root روش، رونده، روان" " – form "رنج" root "رنجش، رنجور، رنجیدگی، دلرنج" / Arabic example; from "ج ل س" "مَجلِس، مُجالِسه، إجلاس، جُلوس ‏" • The root, in the Arabic derivative words, are "Consonant letters" which is seen in all cognate words, such as "ق ص د", inاقتصاد، مقصد، مقصود، قاصد"‏" which in this words consonant letters are;‎"‎ق ص د‎"‎ and root and letters ""أ، ت، م، و ‏ are redundant and adjoining elements, but root in derivation words of Persian; "The lexical part of the word is located in versus of the attachments (Suffixes and prefixes) and adjoining elements. For example; in the word "دانا", "دان" is root and "ا" is suffix and adjoining elements." (Farshidward, 1382; 136). • The number of roots in Arabic derivatives is originally "three letters" (ثلاثی) three times), though, a few of the roots are four letters (quatrain) or quintuple letters (epical), but in Persian derivative the number of letters in roots is different. • In Arabic, "all derivatives with the same principle are Branching out from" one root ", whereas this arrangement in some cases, been eaten in Persian. Today, in order to regulate the Persian derivation, from each verb must be considered two roots. "(Daraei, 1350: 17) One: is "بن مضارع" present infinitive, and another: "بن ماضی" past infinitive or idem abbreviation infinitive. In Persian language, the common and natural and alive word-making is done with Organized or wisely and poetic wording and by the way of "combining" more than "derivation". In word-making in Persian language, though, "combination" is considered as very extensive and important hybrid language, but "derivation" is also known for an important process of word-making. Also, since "derivation" is one of the most important ways of word-making in Arabic and it is considered as a derivational language, but "composition" also has its own place in this language. Therefore, both the processes of "combination and derivation" exists in both "Persian and Arabic" languages, although the concept and percentage of the use of each process are not the same and there are different in these two languages. Abstract There are several ways for word-making, but literati and linguists , have described "combination" and "derivation" as one of the most important processes in the word-making; In this regard, the Persian language is due to the "Indo-European" language family and in this family, the process of word-making is mainly made up with "combination", is classified as "combinatorial languages," and on the other hand, the Arabic language, have same origin with the "Sami" languages, these languages is introduced and classified in the "derivational languages" because of the importance of "derivation" in the process of word-making. In this article, it has been tried to investigate the two processes of "composition and "derivation" in two languages "Persian and Arabic" with more in-depth analysis and from this perspective, a comparative review of these two languages is investigated. However, the results of this research show that the processes of "combination and derivation" exist in both "Persian and Arabic" languages, but the concept and percentage of the usage of each process in these two languages are not the same and are different. Similarities of "combination" in Persian language with Arabic language The combination phenomenon in Arabic is not wide-spreading as Persian language. However, few similarities between some of the combination methods in these two languages can be counted: • In both languages, the combination phenomenon is in all ‎three types of the word (noun, verb, and letter). • In both languages, there are additional combinations: "آبرو، سرمایه / ماوَرد، رِسمال In both language, exist "Naht" (make a word from several words) or amalgamation: توانیر، رزمایش / جُلمود، طَبَرخَزمی Differences of "combination" in Persian language with Arabic language It should be said that although the main process of word-making in the Persian language is "combination", but some types of combination in Arabic language are wider, more systematic and methodic than Persian language. • The "Naht", phenomenon in Arabic is more than Persian language. Arabs uses of "Naht" in three types of word (noun, verb, and letter); whereas this method is rarely found in some Persian nouns. Similarities of "derivation" in Persian with Arabic However, the concept of derivation is different in both Persian and Arabic languages, but few similarities between them can be counted: • The process of "derivation", in both languages, is one of the main processes of word-making. • It was said that "derivation" in Persian means: adding prefixes and suffixes to the roots of words; this definition also applies to a few Arabic words. This means that in Arabic, "You can rarely find suffixes which are added to the clause of the words, and get new words from them." For example, in Arabic, "proportion ya" and "infinitive yayt"… are same kind of derivation. (Zakeri, 1372: 377) for example, in some words such as: Ansari, Kamiyat (quantity), Keifiyat (quality) these suffixes give new meaning to the words. • The role of "roots" in the process of derivation of both languages, Performs the main and fundamental role. • In both languages, many parts of the derivation making, is based on the "verb" axis, it means that, derivation is limited to verb, but this principle has not been stable in none of these languages, and in few cases, derivations have also been derived from "names": Makalbe / Stealing; perhaps the only reason for the creation of such derivatives in both languages, is expanding their lexical domain. Differences in "derivation" in Persian language with Arabic language In Arabic, what is derived from root of verb called "derivation", and "underived" referred to other words, but in Persian, created with attachments (prefixes and suffixes), called "derivation" whether it derived from verb (verbal derivation) and whether not derived from the verb (non-verbal derivation). (Farshid Ward, 1382: 52). In process of derivation and word-making in Persian, "metamorphosis doesn't find in the root itself or main word, and its letters don't separate." (Daraei, 1350: 8). Persian example; for "رو" root روش، رونده، روان" " – form "رنج" root "رنجش، رنجور، رنجیدگی، دلرنج" / Arabic example; from "ج ل س" "مَجلِس، مُجالِسه، إجلاس، جُلوس ‏" • The root, in the Arabic derivative words, are "Consonant letters" which is seen in all cognate words, such as "ق ص د", inاقتصاد، مقصد، مقصود، قاصد"‏" which in this words consonant letters are;‎"‎ق ص د‎"‎ and root and letters ""أ، ت، م، و ‏ are redundant and adjoining elements, but root in derivation words of Persian; "The lexical part of the word is located in versus of the attachments (Suffixes and prefixes) and adjoining elements. For example; in the word "دانا", "دان" is root and "ا" is suffix and adjoining elements." (Farshidward, 1382; 136). • The number of roots in Arabic derivatives is originally "three letters" (ثلاثی) three times), though, a few of the roots are four letters (quatrain) or quintuple letters (epical), but in Persian derivative the number of letters in roots is different. • In Arabic, "all derivatives with the same principle are Branching out from" one root ", whereas this arrangement in some cases, been eaten in Persian. Today, in order to regulate the Persian derivation, from each verb must be considered two roots. "(Daraei, 1350: 17) One: is "بن مضارع" present infinitive, and another: "بن ماضی" past infinitive or idem abbreviation infinitive. In Persian language, the common and natural and alive word-making is done with Organized or wisely and poetic wording and by the way of "combining" more than "derivation". In word-making in Persian language, though, "combination" is considered as very extensive and important hybrid language, but "derivation" is also known for an important process of word-making. Also, since "derivation" is one of the most important ways of word-making in Arabic and it is considered as a derivational language, but "composition" also has its own place in this language. Therefore, both the processes of "combination and derivation" exists in both "Persian and Arabic" languages, although the concept and percentage of the use of each process are not the same and there are different in these two languages.

https://liar.ui.ac.ir/article_22680_3bbb31d195f3b7424e25bf9462546538.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 Morphology of folktales in Bushehr Province Morphology of folktales in Bushehr Province 87 100 22728 10.22108/liar.2018.101885.1053 FA Human Shakeri Faculty Member of Persian Language and Literature, Payame Noor University, Booshehr, Iran Bahaeddin Eskandari Assistant Professor of Society of Al-Mustafa Al-Alamiyah; Islamic Language and Education Center, Qom, Iran Journal Article 2017 01 18 Abstract The present study aims to analyze the morphology of some local stories of the city of Bushehr in Iran. These three stories, with some difference, correspond to the patterns of Vladimir Propp and are in harmony with the functions of his theory, though with slight differences. The present article mentions some of the elements that are not in Propp’s model. The novelty of this article is the reviving of the patterns of the Boushehrian stories and pointing out the differences between Iranian stories and the constructivist principles of storytelling. This research aims to answer some of the following questions: Do Bushehrian stories have a structure such as fairy tales of other nations and other magical legends in Iran? Is the structure of these stories the same as the structure of other Iranian stories? Do these stories share similar aspects? Which aspects of the story and its functions are identical to the patterns of Propp, and which ones do not correspond? Can one choose a native pattern for these stories and refresh the symbols of its elements? The structure and sequence of the events and elements of these stories are as follows: the time and place of these stories are as vague and unclear as the narrated story. These stories begin with an initial condition, a problem occurs for the proponent of the story (hero) and the hero travels (becomes absent); he is struggling with difficulty; he overcomes the problem and sometimes he takes on a magical object and overcomes the wicked one; he returns to the first place anonymously, or goes to the palace that has been driven out, and the vicious character of the story is punished and the story ends well. The functions, with a slight shift, are similar to the myths, the examples of which have been given by Ms. Pegah Khadish in her book, Morphology of Magical Legends of Iran. To analyze the elements of Bushehri's myths based on theories, it should be done similar to the methods of this book. Of the six functional pairs, the A-Z pairs form the main narrative frame. This pattern, which Khadish has designed, is also seen among these three stories, especially the first two stories, which have more magical aspects. The pair of D-F (dealing with helpers - getting the magic agent) (Khadish, 2009: 105), in these three stories, is the first pair. The M-N pair (difficult task and doing it) was also seen in these three Bushharian stories; in the first story, it is hard to find the "deer brain" to treat the Shah, which the main hero -the king’s son- finds it. In the second story, difficult task to achieve, here the finding of the finding of the Shawl and Mani Chang, which the hero helps with the help of a helper to pass a forest and battle with giants. In the third story, where the difficult task is waiting, the poor groom to wait patiently, or to confront the helper inside the well and meet his needs in a trip to the holly city of Mashhad. The Pr-Rs pair is less seen in these three stories. Actually, there is release, but there is no such pursuit. The pair of warfare and victory (H-I) is also in the second story between the boy and the two giants of war, and of course they do not win over the boy, and the mother of the giants know the son as the victorious person and bestows him the magic object. . The anonymous entry and identification is also present in three stories, and the tone of the final elements of the story is set up by the O-Q pairs. The king's daughter appears behind the curtain, and the father sees and knows her and then he is pleased. In the second story, moreover, the daughter and son of Shah (the children of the seventh wife) are finally identified. Abstract The present study aims to analyze the morphology of some local stories of the city of Bushehr in Iran. These three stories, with some difference, correspond to the patterns of Vladimir Propp and are in harmony with the functions of his theory, though with slight differences. The present article mentions some of the elements that are not in Propp’s model. The novelty of this article is the reviving of the patterns of the Boushehrian stories and pointing out the differences between Iranian stories and the constructivist principles of storytelling. This research aims to answer some of the following questions: Do Bushehrian stories have a structure such as fairy tales of other nations and other magical legends in Iran? Is the structure of these stories the same as the structure of other Iranian stories? Do these stories share similar aspects? Which aspects of the story and its functions are identical to the patterns of Propp, and which ones do not correspond? Can one choose a native pattern for these stories and refresh the symbols of its elements? The structure and sequence of the events and elements of these stories are as follows: the time and place of these stories are as vague and unclear as the narrated story. These stories begin with an initial condition, a problem occurs for the proponent of the story (hero) and the hero travels (becomes absent); he is struggling with difficulty; he overcomes the problem and sometimes he takes on a magical object and overcomes the wicked one; he returns to the first place anonymously, or goes to the palace that has been driven out, and the vicious character of the story is punished and the story ends well. The functions, with a slight shift, are similar to the myths, the examples of which have been given by Ms. Pegah Khadish in her book, Morphology of Magical Legends of Iran. To analyze the elements of Bushehri's myths based on theories, it should be done similar to the methods of this book. Of the six functional pairs, the A-Z pairs form the main narrative frame. This pattern, which Khadish has designed, is also seen among these three stories, especially the first two stories, which have more magical aspects. The pair of D-F (dealing with helpers - getting the magic agent) (Khadish, 2009: 105), in these three stories, is the first pair. The M-N pair (difficult task and doing it) was also seen in these three Bushharian stories; in the first story, it is hard to find the "deer brain" to treat the Shah, which the main hero -the king’s son- finds it. In the second story, difficult task to achieve, here the finding of the finding of the Shawl and Mani Chang, which the hero helps with the help of a helper to pass a forest and battle with giants. In the third story, where the difficult task is waiting, the poor groom to wait patiently, or to confront the helper inside the well and meet his needs in a trip to the holly city of Mashhad. The Pr-Rs pair is less seen in these three stories. Actually, there is release, but there is no such pursuit. The pair of warfare and victory (H-I) is also in the second story between the boy and the two giants of war, and of course they do not win over the boy, and the mother of the giants know the son as the victorious person and bestows him the magic object. . The anonymous entry and identification is also present in three stories, and the tone of the final elements of the story is set up by the O-Q pairs. The king's daughter appears behind the curtain, and the father sees and knows her and then he is pleased. In the second story, moreover, the daughter and son of Shah (the children of the seventh wife) are finally identified.

https://liar.ui.ac.ir/article_22728_f0c872918e21d486633219954f49eb5e.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 Mohammad Ali Bahmani΄s normalizations in traditional ghazal template and experiencing new poetry templates Mohammad Ali Bahmani΄s normalizations in traditional ghazal template and experiencing new poetry templates 101 118 22851 10.22108/liar.2017.94207 FA Zahra Nasr Esfahani Associate professor of Persian Language and Literature, Payam -e- Noor University, Tehran. Iran. Maryam Mazloomi M.A Graduated of Persian Language and Literature, Payam -e- Noor University, Tehran. Iran Journal Article 2016 08 21 Among the modernist tradition poets, Mohammad Ali Bahmani has a special place; he has not cut off the literary traditions, nor does he deny the necessity of literary modernity, but has taken a moderate course. By combining the literary traditions of the predecessors, and the innovative language and thoughts that gave birth to his creative and innovative minds, he has been able to create a deep link between traditional and new poetry and to achieve an acceptable position among successful Sonnet processor. He is one of the main circles of the composer of new sonnet chain in our time that has played a significant role in the development of this poetry over the past decades and has left its lasting traces. In general, the poet's innovation in any of the elements that compose poetry, including content and form, can set new horizons of personal achievement to the poet. Mohammad Ali Bahmani is one of the poets who tried to bring his poetic language closer to personal style with a variety of innovations and deconstruction in the pillars of poetry. Among his innovations, his deconstruction is in traditional poetry, especially sonnet. In addition to transforming the sonnet in terms of image, language and music, he has also altered the appearance of the sonnet. The use of narrative techniques to reinforce the poetic image of the poem and its vertical axis strength are among the poetry of modern poets to create an innovative atmosphere in the sonnet. By using this technique, Bahmani has used one of his techniques to create a new atmosphere in the traditional poet and by creating a narrative-dramatic atmosphere in the sonnet he has forgiven an influential achievement and unified spirit to the his sonnet. The creation drama structure in the sonnet is one of the other possibilities that the poet has used to innovate in his poetry. Of course, the use of the structure of dialogue in traditional Persian poetry is consistent with the history, but the division and writing of the sonnet in the form of drama, one of deconstruction that is to be seen in his sonnet. The writing of the traditional sonnets in the way of new poetry should also be emphasized on previous techniques, which he used very well to give fresh sentiments to today's sonnet. In the traditional format of the sonnet, the length of the verses was the same throughout the poem, while in today's poetry, based on the creativity of the poet, and in accordance with the meaning of the poem, the verse, it can be divided into smaller parts, and if the requirements of the word create, even the parts of a covenant write apart. Wherever the meaning ends and the sentence ends, the poet starts the whole story. In other words, the traditional sonnet is written in the form of a new poem. In this structure, the length of each verse is determined in accordance with the capacity and the requirement of speech sonnet, another chapter begins to express the new subject. Another paradigm for creating diversity in the appearance of today's sonnets is its section, in which, when the subject is finished in a sonnet, another chapter begins to express the new subject. In fact, Bahmani is cutting off his own words and repeating the same music, rhyming and rows, somewhat reminiscent of the method of renewed knowledge in the poetry of the old poets, especially the idolaters, who have long lost their function, Particularly that it has not been so fortunate among the Sonnet processor; in other words, the renewal of knowledge in today's Sonnet is regarded as a kind of acquaintance, because today's audience's habits at the end of a Sonnet regards the unconscious as having ended, and expects afterwards with a different Sonnet and music and rhyme and another row; this is especially true when the longitudinal relationship between the verses in the vertical axis of the poem lies between its various parts. Behmni, in addition to creating an innovation in the traditional style of the Sonnet, has not ignored the structural methods of contemporary poetry. His efforts in the successful experience of new poetic forms are another of his innovations in the field of poetry. Concreting or viewing poetry is one of the possibilities of writing poetry in half, which has been used very well for make Space and position in his poetry. In these poems, the physical and formal delegation of words provides a detailed picture of their subjective meaning, which means imaging rather than meaningful representation; rather, the poet depicts a picture of it. In the pursuit of the poetry of today's poetry, some poets, by painting the semantic form of some words, created another form of poetry, which is called the poem of “Tograff”, meaning instead of writing words like the moon and the star of the painting they kill them. For example, the phrase "I am bigger than all my misery in the world" is written like this: "I am> from all the misery of my world". Bahmani has also experienced innovations in his poetry. Sampling in a very short poem format, such as a "she'rak" or torn image, which is a single and isolated image that is far from poetry, and in fact a unit of the image that can be expanded; the "taranak", the shortest full poem with construction and meaning complete and distinct, and "haiku", which is mainly related to nature and to a moment of its existence, although sometimes narrow veins can be found in poetic techniques, but there is usually no articulation and archetype, including successful experiences. It's in new and innovative poetry formats. The lyrics of the poetry are long and poetic, as well as the creation of unexpected starters, begin without a prelude, and the reader must guess the past of poetry, or poems that are left unstoppable, like some of today's stories, and the audience must pay attention to what is available to He is about to continue the poetry in his mind and achieve himself in the final result, as well as other ways to innovate and deconstruct in poetry. Among the modernist tradition poets, Mohammad Ali Bahmani has a special place; he has not cut off the literary traditions, nor does he deny the necessity of literary modernity, but has taken a moderate course. By combining the literary traditions of the predecessors, and the innovative language and thoughts that gave birth to his creative and innovative minds, he has been able to create a deep link between traditional and new poetry and to achieve an acceptable position among successful Sonnet processor. He is one of the main circles of the composer of new sonnet chain in our time that has played a significant role in the development of this poetry over the past decades and has left its lasting traces. In general, the poet's innovation in any of the elements that compose poetry, including content and form, can set new horizons of personal achievement to the poet. Mohammad Ali Bahmani is one of the poets who tried to bring his poetic language closer to personal style with a variety of innovations and deconstruction in the pillars of poetry. Among his innovations, his deconstruction is in traditional poetry, especially sonnet. In addition to transforming the sonnet in terms of image, language and music, he has also altered the appearance of the sonnet. The use of narrative techniques to reinforce the poetic image of the poem and its vertical axis strength are among the poetry of modern poets to create an innovative atmosphere in the sonnet. By using this technique, Bahmani has used one of his techniques to create a new atmosphere in the traditional poet and by creating a narrative-dramatic atmosphere in the sonnet he has forgiven an influential achievement and unified spirit to the his sonnet. The creation drama structure in the sonnet is one of the other possibilities that the poet has used to innovate in his poetry. Of course, the use of the structure of dialogue in traditional Persian poetry is consistent with the history, but the division and writing of the sonnet in the form of drama, one of deconstruction that is to be seen in his sonnet. The writing of the traditional sonnets in the way of new poetry should also be emphasized on previous techniques, which he used very well to give fresh sentiments to today's sonnet. In the traditional format of the sonnet, the length of the verses was the same throughout the poem, while in today's poetry, based on the creativity of the poet, and in accordance with the meaning of the poem, the verse, it can be divided into smaller parts, and if the requirements of the word create, even the parts of a covenant write apart. Wherever the meaning ends and the sentence ends, the poet starts the whole story. In other words, the traditional sonnet is written in the form of a new poem. In this structure, the length of each verse is determined in accordance with the capacity and the requirement of speech sonnet, another chapter begins to express the new subject. Another paradigm for creating diversity in the appearance of today's sonnets is its section, in which, when the subject is finished in a sonnet, another chapter begins to express the new subject. In fact, Bahmani is cutting off his own words and repeating the same music, rhyming and rows, somewhat reminiscent of the method of renewed knowledge in the poetry of the old poets, especially the idolaters, who have long lost their function, Particularly that it has not been so fortunate among the Sonnet processor; in other words, the renewal of knowledge in today's Sonnet is regarded as a kind of acquaintance, because today's audience's habits at the end of a Sonnet regards the unconscious as having ended, and expects afterwards with a different Sonnet and music and rhyme and another row; this is especially true when the longitudinal relationship between the verses in the vertical axis of the poem lies between its various parts. Behmni, in addition to creating an innovation in the traditional style of the Sonnet, has not ignored the structural methods of contemporary poetry. His efforts in the successful experience of new poetic forms are another of his innovations in the field of poetry. Concreting or viewing poetry is one of the possibilities of writing poetry in half, which has been used very well for make Space and position in his poetry. In these poems, the physical and formal delegation of words provides a detailed picture of their subjective meaning, which means imaging rather than meaningful representation; rather, the poet depicts a picture of it. In the pursuit of the poetry of today's poetry, some poets, by painting the semantic form of some words, created another form of poetry, which is called the poem of “Tograff”, meaning instead of writing words like the moon and the star of the painting they kill them. For example, the phrase "I am bigger than all my misery in the world" is written like this: "I am> from all the misery of my world". Bahmani has also experienced innovations in his poetry. Sampling in a very short poem format, such as a "she'rak" or torn image, which is a single and isolated image that is far from poetry, and in fact a unit of the image that can be expanded; the "taranak", the shortest full poem with construction and meaning complete and distinct, and "haiku", which is mainly related to nature and to a moment of its existence, although sometimes narrow veins can be found in poetic techniques, but there is usually no articulation and archetype, including successful experiences. It's in new and innovative poetry formats. The lyrics of the poetry are long and poetic, as well as the creation of unexpected starters, begin without a prelude, and the reader must guess the past of poetry, or poems that are left unstoppable, like some of today's stories, and the audience must pay attention to what is available to He is about to continue the poetry in his mind and achieve himself in the final result, as well as other ways to innovate and deconstruct in poetry.

https://liar.ui.ac.ir/article_22851_0a69d8cec46f4027f8c5b3a5af1520d3.pdf

University of Isfahan Literary Arts 20088027 10 2 2018 06 22 Classification of Persian metres Classification of Persian metres 119 134 22981 10.22108/liar.2018.94222.0 FA Mehdi Salmani Education and Literature Center of Isfahan University of Technology Naser Hadadi Language and Literature, University of Isfahan Journal Article 2016 09 21 Persian metres are in the form of quantitative-syllabic metres, which only relied on this feature, created more than 400 pleasant metres. Classification of "Persian metres" is one of the categories that has not yet been fully liberated from the traditional cumbersome rules of worship. The “New prosody” with people such as Khanlari, Farzad and Elwell Sutton took steps in this regard; but the mistakes made by each of these people and the lack of clear and scientific rules failed to completely eliminate traditional prosody. After many years, Abulhassan Najafi has been able to explain the results of his many-year research, which has become part of a paper and article, as a method for classifying Persian metres, which, of course, was not perfect. This research pursues two main goals. One is related to the critique of Najafi's work, in terms of both efforts and inventions, and weaknesses and landslides. Another goal is to introduce a new classification that, taking into account the inherent characteristics of Persian language and poetry, has a regular and basic system, so that it has several functions as fallows: a) it identifies the greatest number of metres; b) helps us easily to find the metre of its scansion and pillars(metrical feet); c) Properly illustrates the structural characteristics of each metre and metres of its family; d) For the metres that probably will add in the future will provide a good place. Najafi's efforts can be examined on two axes; one section relates to his exact and scientific pathology on the erroneous classifications of each of the past prosodists. The other part relates to the importance of the circle attributed to him, which is of course the innovations of Iranian prosodists, and referred to in Miyar Al-Ashar and Al-Mu'jam. The significance of the Najafi's circle and its corresponding table is that the 31 most popular Persian metres, which accounts for 90% of Persian poems based on their metres, is easily justified. This means that by scanning each of these metres and re-pillaring them, according to the formulation of this table (and contrary to what has been pillared in the traditional prosody), one of these metrical families can be obtained, either in accordance with the metre of the head group or one of the subgroups. The greatest Najafi slip can be seen as a failure to justify part of the pleasant metres that are beyond its circle, especially the 14 metres of the total metre of Simin Behbahani. To achieve a comprehensive classification of metres, the second goal of this research, we have introduced five weight categories: 1. Frequent metres, 2. Alternative metres, 3. Cyclic metres, 4. Broken metres, 5. Caudate-like metres. Each of these categories has a special form and consequently its own characteristics and is divided into subordinate metrical families. Each metrical families consists of a combination of two metrical feets, which are composed in the form of that category. Ultimately, syllable reduction method is used to reach other members of the family. For example, if we consider this metre, “mafā`ilun fā`ilâtun mafā`ilun fā`ilâtun”, then its analysis will be as follows: a) the metre is alternative; b) is the head of the “mafā`ilun fā`ilâtun” family; c) the root of this metrical family is made up of “mafā`ilun” (Four-syllable feet) and “fā`ilâtun” (the other Four-syllable feet); d) Another member of its family is “mafā`ilun fā`ilâtun mafā`ilun fā`ilun” which is obtained by syllable reduction method. Persian metres are in the form of quantitative-syllabic metres, which only relied on this feature, created more than 400 pleasant metres. Classification of "Persian metres" is one of the categories that has not yet been fully liberated from the traditional cumbersome rules of worship. The “New prosody” with people such as Khanlari, Farzad and Elwell Sutton took steps in this regard; but the mistakes made by each of these people and the lack of clear and scientific rules failed to completely eliminate traditional prosody. After many years, Abulhassan Najafi has been able to explain the results of his many-year research, which has become part of a paper and article, as a method for classifying Persian metres, which, of course, was not perfect. This research pursues two main goals. One is related to the critique of Najafi's work, in terms of both efforts and inventions, and weaknesses and landslides. Another goal is to introduce a new classification that, taking into account the inherent characteristics of Persian language and poetry, has a regular and basic system, so that it has several functions as fallows: a) it identifies the greatest number of metres; b) helps us easily to find the metre of its scansion and pillars(metrical feet); c) Properly illustrates the structural characteristics of each metre and metres of its family; d) For the metres that probably will add in the future will provide a good place. Najafi's efforts can be examined on two axes; one section relates to his exact and scientific pathology on the erroneous classifications of each of the past prosodists. The other part relates to the importance of the circle attributed to him, which is of course the innovations of Iranian prosodists, and referred to in Miyar Al-Ashar and Al-Mu'jam. The significance of the Najafi's circle and its corresponding table is that the 31 most popular Persian metres, which accounts for 90% of Persian poems based on their metres, is easily justified. This means that by scanning each of these metres and re-pillaring them, according to the formulation of this table (and contrary to what has been pillared in the traditional prosody), one of these metrical families can be obtained, either in accordance with the metre of the head group or one of the subgroups. The greatest Najafi slip can be seen as a failure to justify part of the pleasant metres that are beyond its circle, especially the 14 metres of the total metre of Simin Behbahani. To achieve a comprehensive classification of metres, the second goal of this research, we have introduced five weight categories: 1. Frequent metres, 2. Alternative metres, 3. Cyclic metres, 4. Broken metres, 5. Caudate-like metres. Each of these categories has a special form and consequently its own characteristics and is divided into subordinate metrical families. Each metrical families consists of a combination of two metrical feets, which are composed in the form of that category. Ultimately, syllable reduction method is used to reach other members of the family. For example, if we consider this metre, “mafā`ilun fā`ilâtun mafā`ilun fā`ilâtun”, then its analysis will be as follows: a) the metre is alternative; b) is the head of the “mafā`ilun fā`ilâtun” family; c) the root of this metrical family is made up of “mafā`ilun” (Four-syllable feet) and “fā`ilâtun” (the other Four-syllable feet); d) Another member of its family is “mafā`ilun fā`ilâtun mafā`ilun fā`ilun” which is obtained by syllable reduction method.

https://liar.ui.ac.ir/article_22981_f45dd79820eb06f0041338d13eb34d40.pdf