Types of Deviation in Saʿdi’s Amorous Tarji'band Based on Geoffrey Leech’s Theory

Articles in Press

Document Type : Original Article

Authors

1 PhD. Student of Persian Language and Literature, Faculty of Humanities, Bu-Ali-Sina University, Hamadan, Iran.

2 Professor, Department of Persian Language and Literature, Faculty of Humanities, Bu-Ali Sina University, Hamadan, Iran

10.22108/liar.2026.149763.2619

Abstract

AbstractSa'di's amorous Tarji'band is considered one of the most celebrated compositions in this form in the history of Persian literature. It is a long and resonant masterpiece that has attracted the attention of poets and scholars for centuries. The present article aims to demonstrate three types of deviation in this work. According to Geoffrey Leech, deviation is one of the two primary methods of linguistic foregrounding through which automatized language is transformed into literary language. Leech identifies eight different types of deviation, each occurring with varying frequency in Sa'di's poetry. In Sa'di's Tarji'band, phonological, semantic, and syntactic deviation appear most prominently. This paper examines the poet’s employment of these three types of deviation through a descriptive-analytical approach, within the framework of Formalism and based on Leech’s model of deviation. Phonological deviation occurs primarily through the elision of words in order to conform to metre and rhyme. Syntactic deviation is often achieved through omission, anastrophe, and modifications to standard grammatical structures. Semantic deviation is realised through contextualisation by means of lexical cohesion and repetition, as well as the use of various literary devices such as simile, metaphor, contrast, and amphibology.

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Literary Arts

Articles in Press, Accepted Manuscript
Available Online from 28 September 2026

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