عنوان مقاله [English]
For a long time, syntax and morphology have been taught in many traditional schools by the scholars and poets. This method has led to the reflection of the related terminology, in an artistic and literary form, in Persian poetry. So, in this research, it was assumed that Persian poets have also shown their innovation in the use of those terms. Therefore, the questions in this study are the following:
What kinds of literary arts, these terms have been reflected in?
What are the relationships between imaginary and syntactax terms?
Which poets have enjoyed this advantage?
The research method is analytical-descriptive based on the study of poetry books inserted in the Dorj software. This research shows that the syntactical terms has been widely used in Persian poetry. The range of the names of the poets who used these terms was also broad and consists of a wide historical range from the fifth century to the contemporary period. Looking at these names, the subject is better understood: Amir Moazzi (12th and 5th centuries), Sayyed Hassan Ghaznavi (12th century), Massoud Saad (12th and 6th centuries), Abulfaraj Rooney (12th and 6th centuries), Saadi (7th century). Seif Fergani (7th and 8th centuries), Rumi (14th century), Khajavi Kermani (14th and 8th centuries), Jami (16th century), Orfi Shirazi (17th century), Fuzuli (17th century), Faiz Kashani (18th century) , Hazin Lahiji (19th century), Qaani (20th century), Farahani (20th century), Iraj Mirza (20th and 14th century), etc.
Concurrence of the inspired images of Syntax is one of the most contemplative points in the studied poems; often three images including equivoque, fantastic etiology, and congeries are combined. The circle of rhetorical vocabulary is also relatively wide in terms of diversity. That circle consists of technical terms such as simile, metaphor, kenning, equivoque, fantastic etiology, allegory, symbolic allegory, exemplum, and riddle. Thanks to the syntax regularity feature, poets have achieved what they need, such as showing the impossible things as possible, linking the unrelated things, proving the impossible, and so on. The shape of letters and words, their different meanings and the assertive and derivative features have provided a context for simile, metaphor, irony, and ambiguity.