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Volume 5, Issue 20 (10-2008)
Abstract
A.Ghanipor Malekshah.PH.D
S.Ardeshiri Lajimi, M.Esmaeili, I. Amn-Khani, Z. Salari
Abstract
One of the complicated and ambiguous issues discussed in the books on the history of Iranian literature is the starting point and the manner in which the Indian style was established. A review of the works done by researchers working in this area reveals a considerable diversity of opinion and view. Some researchers believe this style was the inevitable outcome of the natural path that the Persian literature went through. On the other hand others have surveyed this issue regarding social factors and the environment leading to its constructor. Still there are researchers who assume that the root and origin of this style springs from the poetry of past times rather than social factors or even the environment shaping it. These researchers have mostly mentioned poets such as Khaqani, Hafez, and Vahshi Bafqi etc as the founders of this style. But the significant point is that the result of such researches has not been accepted generally. The truth is that a wide scope style -such as the Indian style- can not be regarded as taken from the poetry of one poet, instead it is preferred to speak of the quality and quantity of the influence of these poets on this style, whereas this can merely happen using a new method; which is content analysis.
This essay also intends to show how and in what manners poets like Khaqani, Hafez, Vahshi Bafqi and Baba Faqani- the four leading poets of the Indian style- affected the foundation of the Indian style.
Volume 5, Issue 21 (12-2008)
Abstract
Javad Asghari.PH.D.
Abstract
“Stream of Consciousness” is one of the modern techniques for narrating a story which has been of particular notice to the story writers, especially in the last century. This method is one of the most prominent methods in narrating a story and writing psychological novels, but despite what might be imagined by some of the readers of this article, this technique differs with “inner whisper” and “mental analysis” techniques. Actually the first psychological stories, or in other words the initial appearance of these stories was in the form of “inner whisper” which gradually developed and later on found its form as our discussion conveys in both story form and modern novels. This article makes an attempt to offer a clear and precise definition of this technique, while it discusses its methods and characteristics, added to the basic principles and the psychological principles of the related technique.
Volume 5, Issue 21 (12-2008)
Abstract
Yahya Talebian.PH.D.
Najmeh Hosseini Sarvari
Abstract
This article surveys figurative language from the point of view of rhetorical scholars and experts of conceptual issues. Following the explanation of Jacobson’s Poetry theory and the definition he offers on the figurative pole of language, it attempts to convey the process of this phenomenon in the poetry of poets creating eulogies. In order to achieve this purpose, Manoochehri’s poetry, which is the best representative of this poetry in the first half of fifth century enjoying rich poetic images, the function of combination and selection are surveyed in his poetic verses. Following this, this article shows how the two mentioned axis which are related to the figurative pole of language, make the referent closer to the accurate case in the real world from a linguistic system to its concrete case in the outer world regardless of language. All these processes creates a poetry that despite utilizing linguistic ornaments, figures of speech, and artistic aesthetic is closer to the referee’s language and constantly conceptual from a linguistic point of view.
Morteza Heidari,
Volume 13, Issue 51 (8-2020)
Volume 13, Issue 51 (8-2020)
Abstract
The stylistics deals with studying repetitions, and so employing the statistical analyses in stylistic evaluations proved to be useful in studying the frequencies. Whereas the descriptive statistics cannot always explain the stylistic fluctuations, using inferential statistics theories in evaluating stylistic phenomena will bear a scientific accuracy. “Stylometry” is the term that has been coined for studying stylistics with the use of computer. In the present article, the author tried to evaluate imagination in the construction of simile in Khorasani style. In doing so, the books of twelve eminent poets of Khorasani style were studied diachronically and the relation of literal similes and imagination was examined. To analyze the data, the author adapted an inferential approach and calculated the Pearson Correlation Coefficient. The results showed that the correlation coefficient was 0 /374 and the significance level was 0/626 and therefore it could be said that there is a positive and direct relationship between variables. In stylistics terms, it means that the more compressed the angle of simile in Khorasani style, the more frequent literal similes would be, which is in line with the dominant norms of Khorasani Style.
Fatemeh Zamani, Mohammad Rezaei,
Volume 13, Issue 52 (12-2020)
Volume 13, Issue 52 (12-2020)
Abstract
"Tazrigh" or "Tarze Tarzigh" is one of the known Persian poetry styles in the 10th century, referring to absurd, meaningless, ridiculous and humorous poems. The style is generally recognized for employing taboo concepts and curse words, marked as being against social norms. Among the poets of this period, Fuqi Yazdi, who has written all his works in this style, has introduced the term "Por-pooch" [full of meaninglessness], which is far more expressive than "Tazrigh". In the preface of his book, Yazdi has referred to the intellectual foundations and literary coordinates of this style, which can be considered as the manifest of poets who employ this style. The present article aimed at introducing the term "Por pooch" and its semantic implications, and then examining the most salient features of this style such as linguistic aberrations, humor and parody.
Davood Poormozaffari, Fatemeh Ahmadinasab, Zohreh Sadat Naseri,
Volume 14, Issue 53 (3-2021)
Volume 14, Issue 53 (3-2021)
Abstract
Numerous studies in the last decade that have investigated the stylistic features of literary works in morphological layer do not help much in advancing stylistic studies and historical behavior of Persian language.
In the present study, which evaluates the literature of stylistics in morphological layer, twenty-seven research papers and dissertations written in the Iranian departments of Persian language and literature of academia have been reviewed and critiqued.
Numerous studies in the last decade that have investigated the stylistic features of literary works in morphological layer do not help much in advancing stylistic studies and historical behavior of Persian language. In the present study, which evaluates the literature of stylistics in morphological layer, twenty-seven research papers and dissertations written in the departments of Persian language and literature in Iran have been reviewed and critiqued. The findings indicate that these studies suffer several shortcomings, including: misunderstanding the basic morphological concepts, defining overlapping morphological categories, misreading texts and misidentifying the grammatical role of words, neglecting the diachronic behavior of Persian language, confusing research strategies and introducing unnecessary and redundant models and some other common mistakes. These problems are serious hurdles in the way of stylistic studies in morphological layer and also understanding Persian language changes. Finally, some suggestions have been made to address the aforementioned problems.
Studies on literary stylistics would seemingly lead to weak theoretical and applied literary research if linguistic theories and tools were not considered. Although in recent years, some researchers have paid attention to this important issue and inspected stylistic studies, they haven't considered linguistic theories. Literary stylistics as an interdisciplinary field studies literary styles with the help of linguistic tools. It is argued that the goal of literary stylistics is to find linguistic data for critical judgment of literary texts (Wales, 2006: 213). Studying the stylistic research related to morphological layer, the authors tended to investigate the attitude of researchers toward morphology.
Materials and Methods:
Investigating 18 research articles, 7 MA dissertations and 2 PhD theses in the field of Persian literature, this paper studies and evaluates the studies in field of stylistics and morphology, employing Spencer and Zwicky (2001) and Shaghaghi (2010). Morphology studies the internal structure of words and its rules and relations. The goal of the studies in the field of morphology is to identify words from non-words, morphemes and their types, types of words and word-formation processes. Also, inflection and derivation are considered as two distinct areas in morphology.
Results:
This paper found that although these studies open a way toward stylistic study of morphology, they suffer some shortcomings, such as:
A) Misunderstanding the basic morphological concepts: It is obvious that stylistic researchers who focus on morphology and lexical layer should use the terminologies and specialized words of this field, so that avoid using unrelated terminologies. Any violation of this principle will lead to the confusion and misunderstanding of the readers, and finally not transferring the knowledge. Investigating the corpus of the present study, the authors find that there exists chaos in the use of terminologies and specialized words in the field of morphology. The most prominent misunderstanding of linguistic concepts was related to two key concepts of derivation and compounding. Stylistic researchers utilize "derivational compounding" and "derivational compound" to indicate the processes of derivation and compounding, and this shows the inattention and carelessness of these researchers in the use of standard terminology in the field of morphology.
B) Defining overlapping morphological categories: Investigating the corpus clearly shows that the authors didn't consider homogeneity principle in analyzing the Persian word-formation system. For instance, "affixed and semi-affixed compounds" is, in fact, the same as "derivation" in Persian which is formed by affixation. Furthermore, the concepts of "infinitive compounds", "adjective compounds", nominal compounds" and "truncated compounds of agentive and accusative adjectives" are overlapping and obviously shows the misunderstanding of researchers in identifying and differentiating the fields of morphology, syntax and semantics and also indicates their carelessness in methodology and in defining the categorization of concepts in a scientific and systematic way.
C) Misreading texts and misidentifying the grammatical role of words: some research, although few, didn't correctly identify the grammatical role of words, for example Abedi and Ali Jola (2015).
D) Neglecting the diachronic behavior of Persian language: One instance of neglecting the historical changes of language is incorrect usage of words like "archaic" and "obsolete".
E) Confusing research strategies and introducing unnecessary and redundant models.
F) Neglecting the application of coinage and neologism: In one of the studies (Golizadeh and Gorooyi, 2012), some words were regarded as coinage which were used long before that date.
G) Neglecting foundations and principles of corpus linguistics: Neglecting foundations and principles of corpus linguistics is one of the important shortcomings of the investigated studies. Most of these studies were done to investigate linguistic innovations and word-formation skills in Persian literary works.
Conclusion:
The negligence of researchers in choosing the corpus, linguistic norms and its frequency hurdles in the way of stylistic studies. In addition, the analysis showed that the researchers didn't consider linguistic knowledge. Stylistic linguistics uses linguistic theories in description and interpretation of literary texts, so the stylists in the field of literature should know linguistics and apply it in research. In order to satisfy this goal, there are some suggestions in stylistic studies in the field of morphology: a) choosing one linguistic element or concept in research, b) determining a definite goal for stylistic research, c) using linguistic theories for understanding the basic concepts of research and designing a purposeful structure for the research, d) studying the existing linguistic corpus.
References:
Abedi, M., & Ali Jola, E. (2015). Tarkibsazi va Hamayi Vazhegani dar Shaer-e Enghelab-e Eslami va Paydari. Adabiyat-e Paydari, 13, 205-226. [in Persian]
Golizadeh, P., & Gorooyi, R. (2012). Tahlil-e Sabkshenasi-e Tarikh-e Beyhaghi bar Mabna-ye Tarkibat-e Eshteghghi. Sabkshenasi Nazm va Nasr-e Farsi (Bahar-e Adab), 5(6), 275-292. [in Persian]
Shaghaghi, V. (2010). Mabani-y-e Sarf. Tehran: Samt. [in Persian]
Spencer, A., & Zwicky, A. M. (Eds.). (2001). The Handbook of Morphology. Oxford: Blackwell.
Wales, Katie. (2014). A Dictionary of Stylistics. 3rd Edition. Routledge.
Alireza Rayat-E Hasanabadi,
Volume 16, Issue 63 (12-2023)
Volume 16, Issue 63 (12-2023)
Abstract
One of the main propositions in understanding Espacementalism is that this literary trend does not claim to be new in its visual boutiques. In the Espacementalism manifesto, the existence of similar cases in classical Persian poetry is clearly acknowledged and pointed out. Royai, as the leader of Espacementalism has repeatedly mentioned in his notes that Espacementalism is not a new experience, but the result of focusing on a specific form of imaging and looking. On the other hand, the subjectivity of Espacementalism poetry when creating Espacemental images has a significant similarity with the model of abstract imagery of Indian style poets, especially Bidel Dehlavi. In this article, after defining and explaining the term Espacemental image, examples of this form of imagery have been analyzed, then by analyzing examples of this model of imagery in Bidel's poetry, it has been shown that Espacemental imagery is one of the common stylistic features of Royai's poetry.
Extended Abstract
1. Introduction
Espacementalism is one of the important currents of Persian poetry that recognized with the publication of the Espacementalism manifesto. The poets of this movement have performed a new type of poetry based on non-normative language and the construction of nested and multidimensional forms, which are fundamentally different from other contemporary poetry movements. The most important poet of this movement is Yadollah Royai, and although this movement has continued in the poetry of the second and third generation poets, this movement is still known as Royai, and other poets have presented criteria different from what is intended by Royai in their poetry.
In this essay, the term Espacemental image is used for the first time. It is a special way of looking at phenomena that has been repeated many times in Royai's poems and he has insisted on it. This feature does not contain all the ideas of the Espacementalism and is only one of the many features of this poetic style. Specialists in contemporary Persian poetry know that Espacementalism never claims imagenal innovation in modern Persian poetry. In the Espacementalism manifesto, three-dimensional jumps are emphasized, and this history and poetic experience is clearly mentioned that these three-dimensional jumps are also seen in classical Persian literature. So in this research, the main issue is to show examples of this Espacemental image in Bidel Dehlavi's poetry (as one of the most prominent poets of the Indian style).
2. Methodology
After defining and explaining the term Espacemental image, examples of this form of imagery have been analyzed. Detailed descriptive statistics of the Espacemental image status in important Royai’s books are presented in the form of a frequency table and a bargraph. Then, by analyzing examples of this model of imagery in Bidel's poetry, it has been shown that Espacemental imagery is one of the common stylistic features of Yadollah Royai and Bidel Dehlavi poetry.
3. Discussion and conclusion
Espacementalism is closely related to Persian classical poetry, and although it is in the continuation of the logical course of contemporary avant-garde and modernism in terms of time, on the other hand, it has maintained its relationship with classical poetry in imagery. The importance of this issue is that, contrary to the common idea that voluminous poetry is called a language game, rootless and disconnected poetry, etc., this current is based on the solid visual foundations of classical poetry and Yadollah Royai's effort in proposing Espacementalism and this poetic model can be seen as an act of updating some creative stylistic features of classical poets.
In Bidel Dehlavi's poem, a Espacemental image is used in topics such as unity and multiplicity, unity of being, exterior and interior, inside and outside, mirror and image, water and image, mask and beauty, container and container, etc. Concepts in which two present elements and one absent element are objective and non-abstract but in the Royai’s poems, the Espacemental image pattern is presented in addition to objective and understandable concepts, in abstract concepts such as death, sleep, silence, and in dimensions beyond three dimensions. In fact, Royai has been able to perform two poetic actions in his works. First, this model has turned imagery into a rule and style in his poetry in such a way that there is always an expectation of Espacemental imagery in the Espacementalism. Second, he has been able to improve this feature that was presented in Persian classical poetry in the limit of three dimensions and create a Espacemental image in more dimensions than three dimensions, and consciously improve the visual system of classical poetry in this regard.
Extended Abstract
1. Introduction
Espacementalism is one of the important currents of Persian poetry that recognized with the publication of the Espacementalism manifesto. The poets of this movement have performed a new type of poetry based on non-normative language and the construction of nested and multidimensional forms, which are fundamentally different from other contemporary poetry movements. The most important poet of this movement is Yadollah Royai, and although this movement has continued in the poetry of the second and third generation poets, this movement is still known as Royai, and other poets have presented criteria different from what is intended by Royai in their poetry.
In this essay, the term Espacemental image is used for the first time. It is a special way of looking at phenomena that has been repeated many times in Royai's poems and he has insisted on it. This feature does not contain all the ideas of the Espacementalism and is only one of the many features of this poetic style. Specialists in contemporary Persian poetry know that Espacementalism never claims imagenal innovation in modern Persian poetry. In the Espacementalism manifesto, three-dimensional jumps are emphasized, and this history and poetic experience is clearly mentioned that these three-dimensional jumps are also seen in classical Persian literature. So in this research, the main issue is to show examples of this Espacemental image in Bidel Dehlavi's poetry (as one of the most prominent poets of the Indian style).
2. Methodology
After defining and explaining the term Espacemental image, examples of this form of imagery have been analyzed. Detailed descriptive statistics of the Espacemental image status in important Royai’s books are presented in the form of a frequency table and a bargraph. Then, by analyzing examples of this model of imagery in Bidel's poetry, it has been shown that Espacemental imagery is one of the common stylistic features of Yadollah Royai and Bidel Dehlavi poetry.
3. Discussion and conclusion
Espacementalism is closely related to Persian classical poetry, and although it is in the continuation of the logical course of contemporary avant-garde and modernism in terms of time, on the other hand, it has maintained its relationship with classical poetry in imagery. The importance of this issue is that, contrary to the common idea that voluminous poetry is called a language game, rootless and disconnected poetry, etc., this current is based on the solid visual foundations of classical poetry and Yadollah Royai's effort in proposing Espacementalism and this poetic model can be seen as an act of updating some creative stylistic features of classical poets.
In Bidel Dehlavi's poem, a Espacemental image is used in topics such as unity and multiplicity, unity of being, exterior and interior, inside and outside, mirror and image, water and image, mask and beauty, container and container, etc. Concepts in which two present elements and one absent element are objective and non-abstract but in the Royai’s poems, the Espacemental image pattern is presented in addition to objective and understandable concepts, in abstract concepts such as death, sleep, silence, and in dimensions beyond three dimensions. In fact, Royai has been able to perform two poetic actions in his works. First, this model has turned imagery into a rule and style in his poetry in such a way that there is always an expectation of Espacemental imagery in the Espacementalism. Second, he has been able to improve this feature that was presented in Persian classical poetry in the limit of three dimensions and create a Espacemental image in more dimensions than three dimensions, and consciously improve the visual system of classical poetry in this regard.
Seyede Fateme Hoseini, Mahmoud Fotouhi,
Volume 17, Issue 65 (4-2024)
Volume 17, Issue 65 (4-2024)
Abstract
This research is based on the poems of two manuscripts of 1059 A.H. and 1083 A.H. Diwan Saeb Tabrizi states that Saeb's poetic style has gone through changes after returning from India, so that two different styles can be identified in his poems. This research, with the rhetorical stylistics of two manuscript poems, outlines the evolution of Saeb's style and shows that the rhetorical characteristics of Saeb's poetry have changed in these two styles and have shifted from metaphorical expression to subtle imagination and allegorical expression. Then, it deals with the characteristics that reveal the individuality of Saeb's style and finally, it examines the effective factors in changing the style of Saeb's poetry and emphasizes on the stylistic evolution of Saeb's poetry has emerged in line with the change of his ontological attitude..
1.Introduction
Saeb Tabrizi gradually changed his poetry style after returning from India (1042 AH) and moved from metaphor to subtlety and simile expression. The proof of this claim is the difference in the style of his poems in two manuscripts of 1059 AH. and 1083 A.H. which are related to two periods of Saeb Tabrizi's youth and old age. Manuscript 1059 AH. It covers the poems of Saeb's youth and his days in India (1034ـ1042 AH); But the manuscript of 1083 A.H. It mostly includes his late poems of his middle age and old age. This manuscript also has the signature of Saeb himself, whose signature confirms the authenticity of the manuscript. From the comparison of the ghazals of these two manuscripts, which contain poems from two periods of Saeb's life, it can be seen that the style of Saeb's poetry has evolved in such a way that two different styles can be seen in his poems.
The research is to prove this claim that "Saeb style from the manuscript of 1059 A.H. until 1083 A.H. has turned from metaphor to subtlety" so that it tries to answer these questions with the method of rhetorical adaptation: from the manuscript of 1059 AH. until the manuscript of 1083 A.H. What difference has the use of rhetorical arts made? What is the dominant rhetorical device in each manuscript? What have been the possible effective factors in changing Saeb's style? Which manuscript of Saeb represent his individuality and creativity?
2.Data and Method
In this research, Saeb's poem has been analyzed rhetorically from two perspectives; First, with a formalistic approach, we have measured the frequency of the highـfrequency devices of Saeb's poetry in each manuscript and shown the change in the frequency of rhetorical devices in the form of a diagram. In this statistical analysis, the number of verses in the manuscript of 1059 AH. (three thousand verses) considered as the basis and the same number from the manuscript of 1083 AH. have been chosen with the "systematic random sampling" method.
Therefore, we have chosen, with 2500 verses intervals, 6 samples of 500 verses from the 1083 AH manuscript. In the second approach, we have examined Saeb's frequent and especially innovative images from a cognitive perspective in order to find out the rhetorical and aesthetic foundations of his poetry. In this approach, we have considered all the verses of two manuscripts. In the qualitative and statistical analysis of this research, we have used MAXQDA Analytics data analysis software.
3.Results and Discussion
The main device in the poems of 1059 A.H. is a metaphor. The frequency of metaphor in youth poems is almost four times that of manuscript poems of 1083 AH. Metaphorical expression prevails in the poetry of Saeb's youth, but his later poems move away from metaphorical language to simile expression. Another feature that in the poems of 1059 A.H. stands out is the compact and concise language; Three factors can be considered for it: metaphorical expression, brief form of devices, image density.
Saeb's movement towards subtlety )Nazokـkhiyali(: Saeb in his poems of India says that he has precise imagination. It seems that this is the result of his trip to India. Saeb's attention has been drawn to his subtlety. After this, the concern of finding meanings and thin words and thinking about detail matters of existence became the "focus" of Saeb's attention.
From the comparison of Hind's poems with his later poems in the 1083 AH version, it can be clearly seen that subtlety and detail view are more important in Saeb's opinion. The course of this change can be seen in four basic differences: the increase in the frequency of subtle imaginations; exaggeration of expression; Creating and using new images; Expanding the scope of subtlety.
A comparative study of Saeb's youth poems with his later works leads us to other new features in Saeb's poetry. The characteristics that are found in the manuscript poems of 1059 A.H. They do not show much, but in the poems of 1083 A.H. They are among the stylistic components of his poetry and show the individuality of Saeb's style. These indicators include: exaggerated expression, comprehension subtle, predominance of sensory mentality over abstract mentality, simile.
The similarity of the poetry of Saeb's youth in a new style (Tarzeـtaze): In the days of Saeb's youth, a new style of narration is widely found throughout the territory of the Persian language, which was popular in some literary centers, especially in India, since the late 10th century. Literary sources and literary history of the 11th century generally called this style "new style"(Tarzeـtaze) and referred to the poets who follow it as "Tazehـgoyan" and considered poets like `Orafi Shirazi and Taleb Amoli to be the leaders of this new style.
Saeb also wrote in the manuscript verses of 1059 AH. he uses the words "style" (Tarz) and "new style" specifically about a poetic style that was spread in the realm of Persian literature in the 11th century and its leaders were `Orafi and Taleb. Saeb's attention to `Orafi and Taleb and their new style is only due to his explicit references in his poems of 1059 AH. It is not limited just in his speeches, but it is well expressed in his poetic style. As we have seen, in the manuscript poems of 1059 A.H. Metaphorical expression prevailed and abstract images were also more frequent. In his youth, Saeb, influenced by the new style, which is the style of metaphor, pays more attention to metaphors and the use of dense and concise poetic images, therefore, the language of his poetry is compact and metaphorical.
4.Conclusion
Saeb's youth and his stay in India are parallel to the spread of the new style in the Persian language. The style which `Orafi and Taleb were famous, and its most obvious feature is metaphorism. Therefore, in the poems of his youth, Saeb talked about a new way and wrote poetry in that way.
To avoid using the title "Indian style", some researchers have called the poetry of the 10th to 12th century A.H with the name of “new style”. Another group has divided the poetry of the Safavid era into Iranian and Indian branches and the Iranian branch was called the new style (Tarzeـtaze) and the Indian one was called the imaginative style (Doorـkhiyali). But the writers and poets of the Safavid era, including Saeb, called the special and common style in the second half of the 10th century and the first half of the 11th century with this title. In this period, of the Voqu style was declining. Then, various styles and subـstyles began.
Although manuscript 1059 AH. Demonstrates that Saeb following the new style of `Orafi and Taleb and includes the poems of Saeb's new style, it also mentions the appearing of another style called Nazokـkhiyal style. In the poems of India, Saeb mentioned the change of his style and talks about his familiarity with new principles such as detail and subtleـmindedness. Also, Saeb's youth poems, in manuscripts, 1059 AH. indicates a change in the flow of poetry in the literature of the Safavid era and a style, is known as the subtle one, appeared.
The style of the poet and his expression represent his attitude; Therefore, the change of Saeb's way of expression from a new way to a subtle way should be considered along with the evolution of the poet's attitude and worldview. The expansion of the world of Saeb's poetry and his attention to new concepts in the poems of 1083 AH. shows that Saeb's worldview has changed after his youth, and his view has turned to deeper issues and topics and various areas of human existence. The ideological transformations and new aesthetic foundations of the poet also require a different way of expression; Some of the characteristics of Saeb's personality, which were more or less visible in his new style of poetry, such as simile expression and objective mentality, were a suitable situation for changing the poetic style and expressing new thoughts; Therefore, these preparations and the way of expression come from the margin to the center of Saeb's style and form the basis of his style, and on the other hand, some new features such as comprehension subtle, which did not appear much in his new style of poetry and the transformation of Saeb's aesthetic foundations and ontological attitude are appeared in Nazokـkhiyal's poetry as the same time.
1.Introduction
Saeb Tabrizi gradually changed his poetry style after returning from India (1042 AH) and moved from metaphor to subtlety and simile expression. The proof of this claim is the difference in the style of his poems in two manuscripts of 1059 AH. and 1083 A.H. which are related to two periods of Saeb Tabrizi's youth and old age. Manuscript 1059 AH. It covers the poems of Saeb's youth and his days in India (1034ـ1042 AH); But the manuscript of 1083 A.H. It mostly includes his late poems of his middle age and old age. This manuscript also has the signature of Saeb himself, whose signature confirms the authenticity of the manuscript. From the comparison of the ghazals of these two manuscripts, which contain poems from two periods of Saeb's life, it can be seen that the style of Saeb's poetry has evolved in such a way that two different styles can be seen in his poems.
The research is to prove this claim that "Saeb style from the manuscript of 1059 A.H. until 1083 A.H. has turned from metaphor to subtlety" so that it tries to answer these questions with the method of rhetorical adaptation: from the manuscript of 1059 AH. until the manuscript of 1083 A.H. What difference has the use of rhetorical arts made? What is the dominant rhetorical device in each manuscript? What have been the possible effective factors in changing Saeb's style? Which manuscript of Saeb represent his individuality and creativity?
2.Data and Method
In this research, Saeb's poem has been analyzed rhetorically from two perspectives; First, with a formalistic approach, we have measured the frequency of the highـfrequency devices of Saeb's poetry in each manuscript and shown the change in the frequency of rhetorical devices in the form of a diagram. In this statistical analysis, the number of verses in the manuscript of 1059 AH. (three thousand verses) considered as the basis and the same number from the manuscript of 1083 AH. have been chosen with the "systematic random sampling" method.
Therefore, we have chosen, with 2500 verses intervals, 6 samples of 500 verses from the 1083 AH manuscript. In the second approach, we have examined Saeb's frequent and especially innovative images from a cognitive perspective in order to find out the rhetorical and aesthetic foundations of his poetry. In this approach, we have considered all the verses of two manuscripts. In the qualitative and statistical analysis of this research, we have used MAXQDA Analytics data analysis software.
3.Results and Discussion
The main device in the poems of 1059 A.H. is a metaphor. The frequency of metaphor in youth poems is almost four times that of manuscript poems of 1083 AH. Metaphorical expression prevails in the poetry of Saeb's youth, but his later poems move away from metaphorical language to simile expression. Another feature that in the poems of 1059 A.H. stands out is the compact and concise language; Three factors can be considered for it: metaphorical expression, brief form of devices, image density.
Saeb's movement towards subtlety )Nazokـkhiyali(: Saeb in his poems of India says that he has precise imagination. It seems that this is the result of his trip to India. Saeb's attention has been drawn to his subtlety. After this, the concern of finding meanings and thin words and thinking about detail matters of existence became the "focus" of Saeb's attention.
From the comparison of Hind's poems with his later poems in the 1083 AH version, it can be clearly seen that subtlety and detail view are more important in Saeb's opinion. The course of this change can be seen in four basic differences: the increase in the frequency of subtle imaginations; exaggeration of expression; Creating and using new images; Expanding the scope of subtlety.
A comparative study of Saeb's youth poems with his later works leads us to other new features in Saeb's poetry. The characteristics that are found in the manuscript poems of 1059 A.H. They do not show much, but in the poems of 1083 A.H. They are among the stylistic components of his poetry and show the individuality of Saeb's style. These indicators include: exaggerated expression, comprehension subtle, predominance of sensory mentality over abstract mentality, simile.
The similarity of the poetry of Saeb's youth in a new style (Tarzeـtaze): In the days of Saeb's youth, a new style of narration is widely found throughout the territory of the Persian language, which was popular in some literary centers, especially in India, since the late 10th century. Literary sources and literary history of the 11th century generally called this style "new style"(Tarzeـtaze) and referred to the poets who follow it as "Tazehـgoyan" and considered poets like `Orafi Shirazi and Taleb Amoli to be the leaders of this new style.
Saeb also wrote in the manuscript verses of 1059 AH. he uses the words "style" (Tarz) and "new style" specifically about a poetic style that was spread in the realm of Persian literature in the 11th century and its leaders were `Orafi and Taleb. Saeb's attention to `Orafi and Taleb and their new style is only due to his explicit references in his poems of 1059 AH. It is not limited just in his speeches, but it is well expressed in his poetic style. As we have seen, in the manuscript poems of 1059 A.H. Metaphorical expression prevailed and abstract images were also more frequent. In his youth, Saeb, influenced by the new style, which is the style of metaphor, pays more attention to metaphors and the use of dense and concise poetic images, therefore, the language of his poetry is compact and metaphorical.
4.Conclusion
Saeb's youth and his stay in India are parallel to the spread of the new style in the Persian language. The style which `Orafi and Taleb were famous, and its most obvious feature is metaphorism. Therefore, in the poems of his youth, Saeb talked about a new way and wrote poetry in that way.
To avoid using the title "Indian style", some researchers have called the poetry of the 10th to 12th century A.H with the name of “new style”. Another group has divided the poetry of the Safavid era into Iranian and Indian branches and the Iranian branch was called the new style (Tarzeـtaze) and the Indian one was called the imaginative style (Doorـkhiyali). But the writers and poets of the Safavid era, including Saeb, called the special and common style in the second half of the 10th century and the first half of the 11th century with this title. In this period, of the Voqu style was declining. Then, various styles and subـstyles began.
Although manuscript 1059 AH. Demonstrates that Saeb following the new style of `Orafi and Taleb and includes the poems of Saeb's new style, it also mentions the appearing of another style called Nazokـkhiyal style. In the poems of India, Saeb mentioned the change of his style and talks about his familiarity with new principles such as detail and subtleـmindedness. Also, Saeb's youth poems, in manuscripts, 1059 AH. indicates a change in the flow of poetry in the literature of the Safavid era and a style, is known as the subtle one, appeared.
The style of the poet and his expression represent his attitude; Therefore, the change of Saeb's way of expression from a new way to a subtle way should be considered along with the evolution of the poet's attitude and worldview. The expansion of the world of Saeb's poetry and his attention to new concepts in the poems of 1083 AH. shows that Saeb's worldview has changed after his youth, and his view has turned to deeper issues and topics and various areas of human existence. The ideological transformations and new aesthetic foundations of the poet also require a different way of expression; Some of the characteristics of Saeb's personality, which were more or less visible in his new style of poetry, such as simile expression and objective mentality, were a suitable situation for changing the poetic style and expressing new thoughts; Therefore, these preparations and the way of expression come from the margin to the center of Saeb's style and form the basis of his style, and on the other hand, some new features such as comprehension subtle, which did not appear much in his new style of poetry and the transformation of Saeb's aesthetic foundations and ontological attitude are appeared in Nazokـkhiyal's poetry as the same time.
Saeid Akhavani, Mohsen Marasy,
Volume 17, Issue 66 (8-2024)
Volume 17, Issue 66 (8-2024)
Abstract
Most Iranian paintings in the Islamic period were used to illustrate manuscripts, and most of the illustrated manuscripts are literary books. Poetry and literature have been in the history of Iranian thought as a system of knowledge and epistemology. Therefore, the issue that is raised is that in Iran, what was the relationship between the history of painting and the history of literature and what effect did the change of literary discourses have on the history of painting? To clarify aspects of this issue, in this article, a section of a period has been discussed in which the literary discourse has changed in the history of literature. In this regard, the illustrations of Jami's Haft Awrang, illustrated in the court of Sultan Ibrahim Mirza, have been analyzed. In this research, Tartu-Moscow School of Cultural Semiotics and concepts of Inter-Semiotic Translation have been used. The results of this article showed that with the change of literary discourse, from the time of Jami to Ibrahim Mirza, Iranian painting has changed in terms of form and content. Haft Awrang, unlike Jami, is not a tool for conveying the concepts of Sufism for Sultan Ibrahim Mirza, but rather a literary and artistic text, and the literary and aesthetic aspects of the work were his priority. These literary and aesthetic aspects are also formed based on the attitudes and concepts of the Voqu School.
1. Introduction
Iranian painting has had a strong relationship with Persian literature due to its use in book illustration. The relationship between Iranian painting and Persian literature is important from two aspects: First, Iranian painting has a direct relationship with literary texts and has tried to translate literature into visual language. Secondly, due to the high costs and the presence of a large number of artists in the preparation of exquisitely illustrated manuscripts, only the court and the centers of power could carry out these projects. Based on this, painters, like poets and writers, were in the service of the royal court and libraries, and this closeness between artists and poets has led to a close relationship between painting and literature. So far, the relationship between Iranian painting and Persian literature has been investigated mostly at the text level. The case studies that have been done on an illustrated version have investigated the relationship between the literary text and the images added to that specific version. The subject of this article is reading the history of Iranian painting about the history of literature, and perhaps in this new perspective, we can search for new horizons in the history of Iranian painting and answer unknown questions. A comprehensive and accurate understanding of the relationship between the history of painting and the history of literature requires a diachronic and comparative study of the equivalence of the history of literature and the history of painting, which is not possible in the form of an article. In this article, to clarify aspects of the claim raised, in a synchronic study, the illustrated manuscript of Jami's Haft Awrang, which was prepared in the court of Sultan Ibrahim Mirza during the Safavid era, will be discussed. In this article, the images of this manuscript have been selected as a case study and analyzed to show the relationship between the history of Iranian painting and the history of Persian literature based on literary developments. Also, the influence of literary discourses on the form and content of Iranian painting has been studied.
2. Data and Method
In this article, to formulate the relationship between Persian literature and Iranian painting, literature as a discourse is considered. Discourse is defined here according to the theory of Michel Foucault, who introduced this concept about the concept of "power/knowledge". Iranian painting is also defined in this article based on the concept of "Inter-Semiotic Translation". Since Inter-Semiotic Translation refers to the translation from one Sign System to another, such as the translation from written signs to images, Iranian painting in the field of text illustration can be studied in the field of Inter-Semiotic Translation. In this article, the selected images are studied based on their relationship with the written text and their translation from the written sign system to the image.
To formulate and explain the relationship and difference between the two discourse spaces or the sign spaces in which the written text and the visual text are created, the theory of "Semiosphere" proposed in the cultural semiotics of the Tartu School has been used. According to this pattern, the discourse space in which the written text of Haft Awrang was produced represents a Semiosphere, and the discourse space in which the pictures are added represents another semiosphere. Jami's text has crossed the border between these two Semiospheres and based on the mechanisms of translation, it has been translated and internalized into the sign system of the new space (the discursive space that governs Ibrahim Mirza's library). With this theoretical approach, painting is not only an objective translation of the written text, but several factors are involved in this translation mechanism, which will lead to the formation of new layers of meaning in the text.
3. Results and Discussion
Abd-Al Rahman Jami, the author of the Haft Awrang Masnavi, had a Sufi attitude, so the poetic form and the narrations he narrated in his work all arose from his beliefs and the origin of Sufism. But Sultan Ibrahim Mirza and the artists of his library had a different attitude towards Jami poems. By adding illustrations to this manuscript, they have expressed their different approach to converting the written sign system of the Jami text into a visual sign system and have used mechanisms in this translation. For Sultan Ibrahim Mirza, Haft Awrang was not a tool to convey the concepts of Sufism, but a literary and artistic text, and the literary and aesthetic aspects of the work were his priority. The reason for this difference in attitude can be seen in the change of literary discourse at the beginning of the Safavid period.
In the first quarter of the 10th century of the Hijri (16th century CE), a new school of Persian poetry emerged, which took the lyric poem out of the dry and soulless format of the previous century. This new school was called "Voqu" and its purpose was to express love situations from reality and what happens between the lover and the beloved. Sultan Ibrahim Mirza was a poet and most of his poems are dedicated to expressing real situations and relationships between lovers. The editors of Ibrahim Mirza's poems in the introduction of the book of his poems that they have published have pointed out his tendency towards the school of Voqu, especially in his lyric poetry. Jami's period was the era of dominance of "imitative discourse" in poetry. However, in the case of Ibrahim Mirza, the literary discourse underwent a transformation and the "Voqu School" became the dominant literary discourse. Therefore, in the new conditions, the attitude of the elite towards literature and attention to the previous poets has also changed.
"Angels Bring Light to Saadi" is one of the paintings in this manuscript that specifically refers to a poet and is the first painting from the Masnavi of Sobha al-Abrar of Haft Awrang. In this story, a "Sufi" has a negative attitude towards a "poet" and it becomes clear to him that a verse from Saadi's poem has brought him a high position that a Sufi may not achieve this position. The same issue shows that literature is higher than Sufism and the position of poets is higher than Sufi. Understanding why, among a text with these characteristics, Ibrahim Mirza and his court artists chose the story related to Saadi for illustration as the first image of this part and translated it into a visual text with the mentioned mechanisms, only through establishing the relationship between the history of Persian literature and the history of Iranian painting is possible.
In another picture, which is about the story of Lily and Majnoon, the place of the text and the margin have been changed, and marginal elements have come to the center, and Majnoon has been marginalized as the main focus of this narrative. The use of this mechanism has led to the creation of the meaning that the whole narrative of Majnoon is represented in the painting as a literary narrative. So, the specific narrative of Jami, in which the Sufi purposes have priority, is marginalized as a macro-narrative. Beloved in Persian Sufi poetry is an expression of the perfect human being or absolute truth. She is a holy goddess and her will is above the lover's will. Such a lover was the high point of the lyrical imaginations of mystics from the Sana'i period to the Jami era for about four centuries. This complete and absolute goddess disappeared from Shah Ismail in the Safavid era. The most common type of Persian poetry during the formation of the Safavid state was the simple romantic lyric. Lyric poems mainly have no theme other than love that is virtual love or real love of the poet for his fellow man.
As another example, "Salaman and Absal" in Haft Awrang narrates a romantic story that contains mystical and moral references along with anecdotes and parables. If Sultan Ibrahim Mirza had an attitude similar to Jami's towards this narrative, he could have chosen characters or scenes for illustration that have mystical connotations. But all these elements have been removed and only the scene of two lovers connecting in a heavenly land is depicted, far from any signs that have a mystical meaning. Therefore, in this painting, by removing mystical symbols, the possibility of understanding the meaning of Jami has been distorted. With this mechanism, based on the concept of "love" which is derived from Voqu School, the story of Salaman and Absal has been translated into a Semiosphere of the Safavid period.
4. Conclusion
The results of this article show that with the change of literary discourse in the Safavid period, painting also changed in terms of form and content. Since Ibrahim Mirza and his court poets were inclined towards the Voqu School, the characteristics and principles of this literary movement have influenced the way of illustrating Haft Awrang. Although Jami had a completely Sufi attitude in Haft Awrang, based on the literary discourse of the 9th century Hijri, the poetic form and the narratives he narrated in his works were tools for expressing his ideas. But Sultan Ibrahim Mirza and his artists had a different attitude from Jami and by adding pictures to this manuscript, they expressed their different approach in transforming the written sign system of Jami text into a visual sign system. For Sultan Ibrahim Mirza, Haft Awrang was not a tool for conveying Sufi concepts, but a literary and artistic text, and the literary and aesthetic aspects of the work were his priority. These literary and aesthetic aspects are also formed based on the attitudes and concepts of the Voqu School, the most important of which is the concept of love. This difference in the attitude towards the concept of love in the era of Jami and Sultan Ibrahim Mirza can be seen in the difference in the representation of love in Haft Awrang text and illustrated manuscript. As a result of paying attention to the real world in the literary discourse, Ibrahim Mirza established similarities between his life and the narrative inside the paintings and used Haft Awrang as a medium to reflect his personal life. By analyzing based on the Semiosphere pattern, it can be concluded that during the time of Sultan Ibrahim Mirza, Haft Awrang was translated into a visual sign system based on the literary discourse of the Voqu School using different mechanisms. The change in literary discourse and its effect on the illustration of manuscripts show that Persian literature had a discourse role in Iranian painting. For a precise understanding of Iranian painting, the history of Iranian painting can be considered a function of the history of Persian literature and studied about the history of literature.
1. Introduction
Iranian painting has had a strong relationship with Persian literature due to its use in book illustration. The relationship between Iranian painting and Persian literature is important from two aspects: First, Iranian painting has a direct relationship with literary texts and has tried to translate literature into visual language. Secondly, due to the high costs and the presence of a large number of artists in the preparation of exquisitely illustrated manuscripts, only the court and the centers of power could carry out these projects. Based on this, painters, like poets and writers, were in the service of the royal court and libraries, and this closeness between artists and poets has led to a close relationship between painting and literature. So far, the relationship between Iranian painting and Persian literature has been investigated mostly at the text level. The case studies that have been done on an illustrated version have investigated the relationship between the literary text and the images added to that specific version. The subject of this article is reading the history of Iranian painting about the history of literature, and perhaps in this new perspective, we can search for new horizons in the history of Iranian painting and answer unknown questions. A comprehensive and accurate understanding of the relationship between the history of painting and the history of literature requires a diachronic and comparative study of the equivalence of the history of literature and the history of painting, which is not possible in the form of an article. In this article, to clarify aspects of the claim raised, in a synchronic study, the illustrated manuscript of Jami's Haft Awrang, which was prepared in the court of Sultan Ibrahim Mirza during the Safavid era, will be discussed. In this article, the images of this manuscript have been selected as a case study and analyzed to show the relationship between the history of Iranian painting and the history of Persian literature based on literary developments. Also, the influence of literary discourses on the form and content of Iranian painting has been studied.
2. Data and Method
In this article, to formulate the relationship between Persian literature and Iranian painting, literature as a discourse is considered. Discourse is defined here according to the theory of Michel Foucault, who introduced this concept about the concept of "power/knowledge". Iranian painting is also defined in this article based on the concept of "Inter-Semiotic Translation". Since Inter-Semiotic Translation refers to the translation from one Sign System to another, such as the translation from written signs to images, Iranian painting in the field of text illustration can be studied in the field of Inter-Semiotic Translation. In this article, the selected images are studied based on their relationship with the written text and their translation from the written sign system to the image.
To formulate and explain the relationship and difference between the two discourse spaces or the sign spaces in which the written text and the visual text are created, the theory of "Semiosphere" proposed in the cultural semiotics of the Tartu School has been used. According to this pattern, the discourse space in which the written text of Haft Awrang was produced represents a Semiosphere, and the discourse space in which the pictures are added represents another semiosphere. Jami's text has crossed the border between these two Semiospheres and based on the mechanisms of translation, it has been translated and internalized into the sign system of the new space (the discursive space that governs Ibrahim Mirza's library). With this theoretical approach, painting is not only an objective translation of the written text, but several factors are involved in this translation mechanism, which will lead to the formation of new layers of meaning in the text.
3. Results and Discussion
Abd-Al Rahman Jami, the author of the Haft Awrang Masnavi, had a Sufi attitude, so the poetic form and the narrations he narrated in his work all arose from his beliefs and the origin of Sufism. But Sultan Ibrahim Mirza and the artists of his library had a different attitude towards Jami poems. By adding illustrations to this manuscript, they have expressed their different approach to converting the written sign system of the Jami text into a visual sign system and have used mechanisms in this translation. For Sultan Ibrahim Mirza, Haft Awrang was not a tool to convey the concepts of Sufism, but a literary and artistic text, and the literary and aesthetic aspects of the work were his priority. The reason for this difference in attitude can be seen in the change of literary discourse at the beginning of the Safavid period.
In the first quarter of the 10th century of the Hijri (16th century CE), a new school of Persian poetry emerged, which took the lyric poem out of the dry and soulless format of the previous century. This new school was called "Voqu" and its purpose was to express love situations from reality and what happens between the lover and the beloved. Sultan Ibrahim Mirza was a poet and most of his poems are dedicated to expressing real situations and relationships between lovers. The editors of Ibrahim Mirza's poems in the introduction of the book of his poems that they have published have pointed out his tendency towards the school of Voqu, especially in his lyric poetry. Jami's period was the era of dominance of "imitative discourse" in poetry. However, in the case of Ibrahim Mirza, the literary discourse underwent a transformation and the "Voqu School" became the dominant literary discourse. Therefore, in the new conditions, the attitude of the elite towards literature and attention to the previous poets has also changed.
"Angels Bring Light to Saadi" is one of the paintings in this manuscript that specifically refers to a poet and is the first painting from the Masnavi of Sobha al-Abrar of Haft Awrang. In this story, a "Sufi" has a negative attitude towards a "poet" and it becomes clear to him that a verse from Saadi's poem has brought him a high position that a Sufi may not achieve this position. The same issue shows that literature is higher than Sufism and the position of poets is higher than Sufi. Understanding why, among a text with these characteristics, Ibrahim Mirza and his court artists chose the story related to Saadi for illustration as the first image of this part and translated it into a visual text with the mentioned mechanisms, only through establishing the relationship between the history of Persian literature and the history of Iranian painting is possible.
In another picture, which is about the story of Lily and Majnoon, the place of the text and the margin have been changed, and marginal elements have come to the center, and Majnoon has been marginalized as the main focus of this narrative. The use of this mechanism has led to the creation of the meaning that the whole narrative of Majnoon is represented in the painting as a literary narrative. So, the specific narrative of Jami, in which the Sufi purposes have priority, is marginalized as a macro-narrative. Beloved in Persian Sufi poetry is an expression of the perfect human being or absolute truth. She is a holy goddess and her will is above the lover's will. Such a lover was the high point of the lyrical imaginations of mystics from the Sana'i period to the Jami era for about four centuries. This complete and absolute goddess disappeared from Shah Ismail in the Safavid era. The most common type of Persian poetry during the formation of the Safavid state was the simple romantic lyric. Lyric poems mainly have no theme other than love that is virtual love or real love of the poet for his fellow man.
As another example, "Salaman and Absal" in Haft Awrang narrates a romantic story that contains mystical and moral references along with anecdotes and parables. If Sultan Ibrahim Mirza had an attitude similar to Jami's towards this narrative, he could have chosen characters or scenes for illustration that have mystical connotations. But all these elements have been removed and only the scene of two lovers connecting in a heavenly land is depicted, far from any signs that have a mystical meaning. Therefore, in this painting, by removing mystical symbols, the possibility of understanding the meaning of Jami has been distorted. With this mechanism, based on the concept of "love" which is derived from Voqu School, the story of Salaman and Absal has been translated into a Semiosphere of the Safavid period.
4. Conclusion
The results of this article show that with the change of literary discourse in the Safavid period, painting also changed in terms of form and content. Since Ibrahim Mirza and his court poets were inclined towards the Voqu School, the characteristics and principles of this literary movement have influenced the way of illustrating Haft Awrang. Although Jami had a completely Sufi attitude in Haft Awrang, based on the literary discourse of the 9th century Hijri, the poetic form and the narratives he narrated in his works were tools for expressing his ideas. But Sultan Ibrahim Mirza and his artists had a different attitude from Jami and by adding pictures to this manuscript, they expressed their different approach in transforming the written sign system of Jami text into a visual sign system. For Sultan Ibrahim Mirza, Haft Awrang was not a tool for conveying Sufi concepts, but a literary and artistic text, and the literary and aesthetic aspects of the work were his priority. These literary and aesthetic aspects are also formed based on the attitudes and concepts of the Voqu School, the most important of which is the concept of love. This difference in the attitude towards the concept of love in the era of Jami and Sultan Ibrahim Mirza can be seen in the difference in the representation of love in Haft Awrang text and illustrated manuscript. As a result of paying attention to the real world in the literary discourse, Ibrahim Mirza established similarities between his life and the narrative inside the paintings and used Haft Awrang as a medium to reflect his personal life. By analyzing based on the Semiosphere pattern, it can be concluded that during the time of Sultan Ibrahim Mirza, Haft Awrang was translated into a visual sign system based on the literary discourse of the Voqu School using different mechanisms. The change in literary discourse and its effect on the illustration of manuscripts show that Persian literature had a discourse role in Iranian painting. For a precise understanding of Iranian painting, the history of Iranian painting can be considered a function of the history of Persian literature and studied about the history of literature.
Saeid Pourazimi,
Volume 17, Issue 67 (10-2024)
Volume 17, Issue 67 (10-2024)
Abstract
In 1321, Seyyed Hadi Haeri (Kourosh) published a collection of poems by Aref Qazvini that had previously appeared in the book Selections from the Divan of Aref Qazvini (edited by Sir Dinshah Selisiter Irani) and Arefnameh of Hazar (a compilation of correspondence between Aref and Mohammad Reza Hazaar Shirazi), along with several other poems, under the title Volume Two of the Divan of Aref Qazvini at the Golbahar of Kerman Trading Company (in Tehran). In 1372, Haeri published the book Unpublished Works of Aref Qazvini, which pursued the changes, distortions, omissions, and other transformations in Aref's poetry intending ideological, religious, political, and expedient motivations. He followed his tasteful changes, to correct linguistic errors (grammatical, logical, semantic), slips of the tongue, and prosodic issues from this book, to erase Aref's sharp criticisms of the clergy, to reshape him as an anti-Reza shah figure and an opponent of monarchy, to eliminate Aref's (national poet) satirical and biting remarks, and finally to use omitted verses with arbitrary manipulations in fake poems.
Extended Abstract
In 1993, Javdan Publications released a book by Haeri with the alluring title The Unpublished Works of Aref Qazvini. In this book, Haeri fabricated poems and falsely attributed them to Aref, creating a significant source of deviation in both the publication of Aref’s collected works and the literary study of his poetry and thought. Haeri’s fabricated poems, attributed to Aref, found their way into various collections of Aref’s works, leading researchers to base their judgments about Aref on these inauthentic pieces. Haeri included numerous related and unrelated details and images to bulk up the book, without attaching a single original document or manuscript by Aref to prove the authenticity of works. Instead, he provided only the assertion that "this poem has not appeared in any of the previous editions of Aref’s collected works and is being published for the first time", thereby misleading readers. Regardless of the evident inconsistencies between these poems and Aref’s poetic and intellectual style, it remains highly implausible that there would be no surviving manuscript of even a single verse from any of these dozens of alleged poems. Moreover, one may wonder why not a single verse from any of these dozens of alleged poems has appeared in newspapers or within Aref’s known letters or notes. For this very reason, Haeri has refused to offer an explanation on how he accessed these poems, as there was no authentic source he could cite. Being a poet with his own collections and manuscripts, he could easily alter the works of other poets—and indeed, he did. With conscious intent and varied personal motivations, and relying on his own personal flair, Haeri deliberately distorted and ruined Aref’s collected works. Disregarding the authenticity of the text, he took on the role of an arbitrary editor, removing the grammatical, metrical, and semantic deviations in Aref’s poetry in an attempt to accentuate the distinctions in his edition and elevate his own work. Haeri appropriated Aref's voice to fiercely criticize Reza Shah, defend Modarres, confront Iraj Mirza, and yield to the deceitful clerics. Aref, in his poetry, launched fierce attacks on two traditional power structures in Iran: the political institution (the Qajar dynasty) and the clergy. In turn, Haeri endeavored, through various means, to neutralize the sharpness of Aref's critique of the clerics and the religious establishment. Furthermore, Haeri, who harbored a deep disdain for Reza Shah, resolved to portray Aref as an anti-Reza Shah figure by distorting his poetry. To achieve this, he resorted to deletion, alteration, transformation, and fabrication of verses.
Haeri's motivations for deleting, altering, transforming, and fabricating verses can be framed as follows:
1. Religious Ideological Motives: To eliminate Aref's fiery criticisms of the clergy and religious institutions.
2. Political Ideological Motives: To portray Aref as an anti-Reza Shah and anti-monarchy figure.
3. Expedience-driven Motives: To remove obscenities and harsh language.
4. Taste-based Changes and Correction of Linguistic Errors: Grammatical, logical, semantic errors, and metrical inaccuracies.
Incorporation of Omitted Verses into Fabricated Poems.
The distortions stemming from religious ideological motives are sometimes so intertwined with political ideological motives that they become inseparable. The collected works of other poets like Bahar, Iraj, Lahouti, Farrokhi, Nasim-e-Shomal, and even Mirzadeh Eshqi, as well as other Constitutional-era poets up until today, have seemingly remained unaffected by such massive manipulations. In fact, no poet’s work in this century has been so profoundly disordered, nor has an enormous volume of fake poetry been attributed to them. The present study was an attempt to uncover a major literary forgery of the past century. By relying on textual evidence and arguments, it seeks to exclude numerous fabricated poems, which have been falsely attributed to Aref and have infiltrated literary research and studies, from his authentic collected oeuvre.
Extended Abstract
In 1993, Javdan Publications released a book by Haeri with the alluring title The Unpublished Works of Aref Qazvini. In this book, Haeri fabricated poems and falsely attributed them to Aref, creating a significant source of deviation in both the publication of Aref’s collected works and the literary study of his poetry and thought. Haeri’s fabricated poems, attributed to Aref, found their way into various collections of Aref’s works, leading researchers to base their judgments about Aref on these inauthentic pieces. Haeri included numerous related and unrelated details and images to bulk up the book, without attaching a single original document or manuscript by Aref to prove the authenticity of works. Instead, he provided only the assertion that "this poem has not appeared in any of the previous editions of Aref’s collected works and is being published for the first time", thereby misleading readers. Regardless of the evident inconsistencies between these poems and Aref’s poetic and intellectual style, it remains highly implausible that there would be no surviving manuscript of even a single verse from any of these dozens of alleged poems. Moreover, one may wonder why not a single verse from any of these dozens of alleged poems has appeared in newspapers or within Aref’s known letters or notes. For this very reason, Haeri has refused to offer an explanation on how he accessed these poems, as there was no authentic source he could cite. Being a poet with his own collections and manuscripts, he could easily alter the works of other poets—and indeed, he did. With conscious intent and varied personal motivations, and relying on his own personal flair, Haeri deliberately distorted and ruined Aref’s collected works. Disregarding the authenticity of the text, he took on the role of an arbitrary editor, removing the grammatical, metrical, and semantic deviations in Aref’s poetry in an attempt to accentuate the distinctions in his edition and elevate his own work. Haeri appropriated Aref's voice to fiercely criticize Reza Shah, defend Modarres, confront Iraj Mirza, and yield to the deceitful clerics. Aref, in his poetry, launched fierce attacks on two traditional power structures in Iran: the political institution (the Qajar dynasty) and the clergy. In turn, Haeri endeavored, through various means, to neutralize the sharpness of Aref's critique of the clerics and the religious establishment. Furthermore, Haeri, who harbored a deep disdain for Reza Shah, resolved to portray Aref as an anti-Reza Shah figure by distorting his poetry. To achieve this, he resorted to deletion, alteration, transformation, and fabrication of verses.
Haeri's motivations for deleting, altering, transforming, and fabricating verses can be framed as follows:
1. Religious Ideological Motives: To eliminate Aref's fiery criticisms of the clergy and religious institutions.
2. Political Ideological Motives: To portray Aref as an anti-Reza Shah and anti-monarchy figure.
3. Expedience-driven Motives: To remove obscenities and harsh language.
4. Taste-based Changes and Correction of Linguistic Errors: Grammatical, logical, semantic errors, and metrical inaccuracies.
Incorporation of Omitted Verses into Fabricated Poems.
The distortions stemming from religious ideological motives are sometimes so intertwined with political ideological motives that they become inseparable. The collected works of other poets like Bahar, Iraj, Lahouti, Farrokhi, Nasim-e-Shomal, and even Mirzadeh Eshqi, as well as other Constitutional-era poets up until today, have seemingly remained unaffected by such massive manipulations. In fact, no poet’s work in this century has been so profoundly disordered, nor has an enormous volume of fake poetry been attributed to them. The present study was an attempt to uncover a major literary forgery of the past century. By relying on textual evidence and arguments, it seeks to exclude numerous fabricated poems, which have been falsely attributed to Aref and have infiltrated literary research and studies, from his authentic collected oeuvre.
Volume 18, Issue 72 (7-2021)
Abstract
This article is based on a plan that introduces a roadmap for achieving stylististics. The start point of this map is human perception. This path goes through perception by senses to the next point called interpretation. The study of interpretation based on science features continues in the same direction to reach the next point, namely criticism. Comparing the critique and identifying the commonalities and differences of studies recognized as criticism completes this path and finishes it to the destination point of this map, called stylistics. This article is a about this roadmap.
Volume 18, Issue 72 (7-2021)
Abstract
The main issue of this research is to identify the intellectual, cultural and political depths of the book of Asar Al-Wozarah's works, written by "Sif-aldin Haji-'bn Nezam Aghili" as one of the examples of Persian ministry writing in the Timurid period, by analyzing the light layers of this text. The results of this research, which was done by combined research method (analytical-descriptive-argumentative), are as follows: In the linguistic layer, the presence of high-frequency moral codes, lack of indexes and more use of sensory words make the text the main goal of ministry writing. The descriptions of the ministers and their works and the mention of details on the subject of bureaucracy have been omitted; In the syntactic layer, more use of the news aspect, simple sentences and short sentences have added to the certainty, clarity and speed of the narration in the text; In the rhetorical layer, the author has not made significant use of rhetorical tools; At the pragmatic level, expressive / declarative action takes place in the first place and persuasive action in the next stage, and shows how the author has used these two actions to recognize the values that govern his value (moral / ideal) views. Aqili's main purpose in processing this text, rather than compiling a historical / political text with the coordinates of the Ministry is to write an educational and ethical work with an approach. Encouraging moral virtues has been by emphasizing the instability of the world and reflecting human actions in his destiny by relying on the concepts of justice and resurrection.
Volume 20, Issue 79 (4-2023)
Abstract
In this article, some stylistic features of Khaqani's poetry have been analyzed in the rhetorical layer of the text. For this purpose, all compressed and extended images were analyzed and analyzed in terms of the source of the image and how the subject is related to the image. This is useful in several ways. First, the frequency of imagery sources in the text introduces us to the important categories of the poet's mind and thought, and on the other hand, the type of connection between the subject and the source of the image can be a sign of the poet's attitude and life experience with the world. Other topics such as the difference in the conceptual domain of the image between different types of lyrical, eulogy and judgmental poetry, identifying stylistic features and explaining the function of the image for the poet, are other categories that we have addressed in this article by mentioning the evidence.
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